Thanks for sharing. I always get real excited about your new videos. You focus on all the cool, old kit and they are always a joy to watch. I have the plugin on my UAD platform for so many years now, but I wonder how well it actually does against the hardware? Somehow, like always, I think the hardware will be better.
You showed the best case scenario for a 606 dynamic treatment. The Transient Designer is almost ment to be made for the 606. The TR-606 benefits tremendously from a TD. I didnt find the TD usefull on something like a 909/707. I prefer the TD processing on the 606 above any other dynamic tool. Great presentation.
Pretty interesting Gwem. I think the sustain on Transient Designer sounds a bit like a short decay distorted reverb effect. How much you get this for by the way?
Interresting tool, but wow, it's not cheap... If i'm not mistaken, it's sort of possible to decrease the attack of transients with a compressor, with the shorter attack time, a low threshold, a slow release (to taste) and a high makeup gain (might not work depending on the compressor's attack max speed though..).
You can to a certain extent, but a compressor has an amplitude (volume) threshold whereas a transient shaper/designer does not. So a compressor will only react when you hit the threshold, and the reaction will be dictated by how much you overshoot the threshold. A transient shaper reacts to the envelope of the sound, so it will react on the attack itself and not that the threshold has been reached.
@@lug00ber totally agree, the point is to set the threshold so that every transient is crossing it, and your compressor act as an enveloppe shaper. I guess the transient designer has a sort of "inteligent" variable threshold. btw, i didn't mean that a compressor can replace the transient designer, just to point out that the slow attack thing is feasible with a compressor. That doesn't diminish the usefullness of the SPL.
@@watchandpray yeah ok, then maybe I misinterpreted what you were trying to say :) I do feel somewhat obliged to point out that if you have transients with varying volume, then you will also have varying effect on them, since the compressors gain reduction is a function of the ratio applied to the amount of overshoot you have. So you will have more dramatic processing applied to the attack the more the signal overshoots the threshold. Also, if you have a new transient coming in before the compressor's recovery (release) phase is completed, the former sound's sustain will be impacted too since gain reduction is applied once again. And with a slow release setting, that would probably affect the sustain in ways you might not want (or do 🙃). So I suspect using a compressor can solve the same problem, but only where you have sounds with similar volume spaced enough apart to have time to fully release before the next transient. So good (enough) for let's say a kick drum channel, but possibly not working out if you run it on a bus - or as in this video on a drum machine output that have all the channels on one output.
@@lug00ber agreed again, on 1, 2 & the conclusion. :) I remember using such techniques with 2 compressors in chain: one as limiter to roughly even the peaks & the second to "transient shape". Of course the result wasn't remotely as clean as what Gwem shows us with the spl. Also, it was more of a fixed setting, once i'd found the right spots. The greatness of the transient shaper is also the direct controls over, well, the transients, which allows for consistent live manipulations (or so i guess). It becomes more like additional synthesis parameters, which is great. That's why this vid makes me want one (but 400+ eur... Isn't there cheaper options than the spl?)
Thanks for sharing. I always get real excited about your new videos. You focus on all the cool, old kit and they are always a joy to watch. I have the plugin on my UAD platform for so many years now, but I wonder how well it actually does against the hardware? Somehow, like always, I think the hardware will be better.
I appreciate you watching them and leaving useful comments Andrew :) I’m pleased some people are into the same stuff as me
Thanks! Cool device, didn't know about that. I'd like to try it with my MFB-522.
I expect it would sound really good with your MFB!
You showed the best case scenario for a 606 dynamic treatment. The Transient Designer is almost ment to be made for the 606. The TR-606 benefits tremendously from a TD. I didnt find the TD usefull on something like a 909/707. I prefer the TD processing on the 606 above any other dynamic tool. Great presentation.
It’s not so good on the 707, but I did like it on my 808.
Pretty interesting Gwem. I think the sustain on Transient Designer sounds a bit like a short decay distorted reverb effect. How much you get this for by the way?
Thanks for watching Aaron. Not sure about the cost, it’s not on my eBay history any longer. It was sub 200 that’s for sure.
@@gwEmbassy wow thats fair.
@@gwEmbassy close to 1000 euro...
Interresting tool, but wow, it's not cheap...
If i'm not mistaken, it's sort of possible to decrease the attack of transients with a compressor, with the shorter attack time, a low threshold, a slow release (to taste) and a high makeup gain (might not work depending on the compressor's attack max speed though..).
I’ll try it out! Thanks for watching :)
You can to a certain extent, but a compressor has an amplitude (volume) threshold whereas a transient shaper/designer does not. So a compressor will only react when you hit the threshold, and the reaction will be dictated by how much you overshoot the threshold. A transient shaper reacts to the envelope of the sound, so it will react on the attack itself and not that the threshold has been reached.
@@lug00ber totally agree, the point is to set the threshold so that every transient is crossing it, and your compressor act as an enveloppe shaper. I guess the transient designer has a sort of "inteligent" variable threshold.
btw, i didn't mean that a compressor can replace the transient designer, just to point out that the slow attack thing is feasible with a compressor. That doesn't diminish the usefullness of the SPL.
@@watchandpray yeah ok, then maybe I misinterpreted what you were trying to say :) I do feel somewhat obliged to point out that if you have transients with varying volume, then you will also have varying effect on them, since the compressors gain reduction is a function of the ratio applied to the amount of overshoot you have. So you will have more dramatic processing applied to the attack the more the signal overshoots the threshold.
Also, if you have a new transient coming in before the compressor's recovery (release) phase is completed, the former sound's sustain will be impacted too since gain reduction is applied once again. And with a slow release setting, that would probably affect the sustain in ways you might not want (or do 🙃).
So I suspect using a compressor can solve the same problem, but only where you have sounds with similar volume spaced enough apart to have time to fully release before the next transient. So good (enough) for let's say a kick drum channel, but possibly not working out if you run it on a bus - or as in this video on a drum machine output that have all the channels on one output.
@@lug00ber agreed again, on 1, 2 & the conclusion. :)
I remember using such techniques with 2 compressors in chain: one as limiter to roughly even the peaks & the second to "transient shape". Of course the result wasn't remotely as clean as what Gwem shows us with the spl.
Also, it was more of a fixed setting, once i'd found the right spots. The greatness of the transient shaper is also the direct controls over, well, the transients, which allows for consistent live manipulations (or so i guess). It becomes more like additional synthesis parameters, which is great. That's why this vid makes me want one (but 400+ eur... Isn't there cheaper options than the spl?)
Interesting device indeed, now I know what it does. A pity these are pretty expensive things!
The one I got, the original two channel version, is not so bad.
@@gwEmbassy The original version is/was a 4 channel.
They did a 2 channel semi-pro version, and a 4 channel pro version
There is a cheap 500 series, and this not expensive.
Number of channels doesnt mean pro in the engineering industry haha
Way too much sustain, roll it off a little and you will be proper. Mark my words...👍
Maybe! Thanks for watching :)
It's his untreated room buddy not the audio that has sustain.