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SPL Transient Designer Dynamics Plugins
Old 14th January 2003
  #31
Quote:
Originally posted by faeflora
Just feed the comp a very loud signal, set the ration real high, set the threshold real low, and adjust the attack so that the hit gets through, but then the tone gets squished. To totally mask the tone, run the signal through a gate afterwards so only the transient is heard.
Wow that's a ton of hoops to jump through when you can buy a cheap Transient Designer.
I'm not disagreeing with you in principal.
I had a play with one in a studio a couple of years ago. Me and the engineer both thought 'wow what an amazing box'. Two years on and neither of has got around to buying one yet.
Old 14th January 2003
  #32
Quote:
Originally posted by Jules
I want one to 'trick out' larger room sounds from my tiny drum booth.. and to perhaps go the other way - loose short reflections altogether to get 'super dead' sounds....

Who is using theirs on tracking or on mixing or on both... ???
I use mine for mixing only. Usually on drum and bass mults. I like the fact that I can mess with the sustain and get a more cohesive sound. I still end up EQing after though(at times too transparent for my taste). I have tried it on vocals a couple of times, but I still haven't figured out in what instances I can use it yet.
Old 15th January 2003
  #33
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faeflora's Avatar
 

Quote:
Originally posted by chrisso
Wow that's a ton of hoops to jump through when you can buy a cheap Transient Designer.
I'm not disagreeing with you in principal.
I had a play with one in a studio a couple of years ago. Me and the engineer both thought 'wow what an amazing box'. Two years on and neither of has got around to buying one yet.
How much is it for the 2 channel model? It's about $700 right? I've thought about getting one also. I'm worried though, because I'm afraid I'd design all the transients to sound like crap.rollz rollz rollz
Old 15th January 2003
  #34
Gear Maniac
 

I know the unit very well, so here are some answers :

Don`t go for the 2 channel one, because it has no XLR connectors. ( once you have 2 channels, you want 4 anyway )

I use it at tracking AND mixing.
Usually I don`t add any attack at tracking to not mess up my signal, but I lower the release a bit on the toms and snare bottom. It kind of works like an "intelligent" noise gate.
In the mix, I use the attack and the release for kick, snare and sometimes bass.
It`s also great for bringing up the attack of accoustic guitar, or to lower their attack to make them sound smooth.
As the attack is really making the attack louder and not the rest quiter, it works well for any overcompressed signal, such as drumloops or synth sounds

Most of the times you wanna use it as a tool as it doesn`t really have a sound of its own like a good compressor, but there are some ways of using it creativly :

Feed a stereo signal through it, i.e. a synth pad with lots of filter motion. Don`t use the channel link and adjust the left and the right channels the opposite way :
Left : full attack, no release
Right : no attack, full release
This gives you an volume dependant panner and sounds great.

Take an additional room mic and turn up the release :
The more you add, the larger it makes your drum room.

Please let me know if you need any additionalinformation.
i know the guy who was designing it ( he had the idea in his living room !!! ). Maybe i can get him to join in here.
Old 15th January 2003
  #35
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groundcontrol's Avatar
 

I'm really thinking about grabbing one this year... yumm...
Old 15th January 2003
  #36
Quote:
Originally posted by faeflora
How much is it for the 2 channel model? It's about $700 right?
I'd only consider a used or ex demo version.
They don't come up very often, but because there isn't a huge demand they sell very cheaply.
I've seen dealers selling ex demo models much cheaper than $700.
Old 15th January 2003
  #37
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5down1up's Avatar
 

never heard a unit before which can do what the TD can do .
i was playing around with it a few times , still dont have one , all i can say ... its a great idea and probably the best spl box .

< isnt there a plugin as well > ??? ( never heard it )
Old 15th January 2003
  #38
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MIKEHARRIS's Avatar
it so impressed the engineer on the MTV Latin Music awards show..that he purchased one..before the country music awards show the following week
Old 15th January 2003
  #39
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Screws's Avatar
 

Each channel (2 or 4) has two controls -- "Attack" and "Sustain", each of which can be adjusted to a positive or negative value.

The Attack control will add or subtract only the initial "hit" of the sound you're processing, REALLY great to add more THWACK or CLACK to snares and kicks.

Sustain works likewise for the portion of the sound after the attack -- add sustain to drum sounds and it sounds like you're turning up a very clean reverb. This also can bring out the ring of the snare shell, the actual snares themselves or the WOOM of the toms.

I've only had mine for a couple of weeks, so I haven't gotten beyond the amazing stuff it does on drums. Can't wait to mess with guitars, keys, voices and basses.
Old 16th January 2003
  #40
Gear Addict
 

So, is it now actually possible to fix it in the mix? heh

I've wanted one since I've heard of them. Who sells them in the US?

Bear
Old 16th January 2003
  #41
Old 16th January 2003
  #42
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jazzius's Avatar
 

i only played with one briefly but i was stunned by the thing...

....someone said you could set up the same effect using a compressor, but this ain't true because the TD increases/decreases the attack/sustain regardless of the signal level......so if you've got a quiet snare hit, it'll increase the attack as much as on a loud snare that comes just after...this is quite different to how a compressor works and is what makes it unique.......
Old 16th January 2003
  #43
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jazzius's Avatar
 

oh yeah, and in the wrong hands, it can be dangerous......i've heard several mixes where the (dimwit) enginneer thought he was making the drums fatter by increasing the attack, when he should have been cutting off the transient and turning the drum up.....big transients don't always sound fat.....sometimes they make your mix sound weedy....
Old 16th January 2003
  #44
Here for the gear
 

Me - TD-Slut

Arite! Time to get out of the closet: I'm a Transient-Designer-Slut.

Owning two TD4's, I can't imagine lifewithout it.
It's a great and unique piece of gear, you'll find yourself using it in the studio all the times, mostly on drums.

BUT,
what nobody mentioned so far:
It's a killer weapon for live mixing, especially drums, talking about ROCK drums, walloguitarstuff. Forget gates (even though a friend uses gates behind the TD, because in that way gates finally make sense), the TD does the job way more musically. If you increase the attack, you often even don't have to touch the EQ to get a monster kick, a smacking inyourface snare and round fat toms, that don't "booooing" you crazy. Bad PA, can't hear the singer well? Try TD (don't get that an the monitors though!)
My experience: the ****tier the club/PA, the happier you are, bringin a TD with you. Insert it, sometimes only to the drum subgroup, increase attack, lower sustain, done. Other mixers will hate you, but you'll shure catch them checking out the "spl-thing".

If you ever have a chance to go to the "musikmesse", make shure, you stop at spl's. Ruben, the nice guy with glasses, who developped the TD, usually patiently answers all your questions.
Last year, when clipgod and I were there, he told us the story of the TD. The prototype had the worktitle "Kickman" and was put in a ugly yellow box, according to Ruben.
Can you imagine me, right there, down on my knees, begging for a chance to buy that sacred relict?
Clipgod had to drag me away, because my saliva was getting ruben wet shoes.

I think there is only one reason, why at this time not everybody is using a TD: the uncool name.
Beeing a german mixer, pronouncing "trwensient d'saina" sucks. Dooing what we call "19inch-babble", it just doesn't sound cool.
No wonder "siebnfuffzicher (fiftysevens)" became big mikes: all german PA-dorks remember that!

I told Ruben already, hehe!
Anyway, thanx for reading, now go, get a Transvestite Designer.
Old 16th January 2003
  #45
Gear Maniac
 

Hi 2203 - NICE TO SEE YA HERE

and a warm welcome !!


I am going to SPL tomorrow, so if anybody has any specific question about the transient designer or other SPL gear - they make cool other stuff as well, check out their mastering desk and mastering eq - PM me and I ask them.
Old 16th January 2003
  #46
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kosi's Avatar
TD works very very good on Drumloops, you can bring easiily all these overcompressed loops to live again.
Or try this one: Send the signal to an Aux, then through TD attck short, sustain long, and you have an instant smashing natural room reverb to dial in !

On real drums, I prefer things like a Distressor, sounds better in my ears, the TD has a tendency to sound a lil bit sterile...

Andreas
Old 24th January 2003
  #47
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I just bought a 4 channel unit used here in The States for $800. Having both Distressors and 1176's for drums, this does what those units can't. I really like it for mults on drums to bring up that leading edge stuff to the front of the mix, without crowding anything else. Also great for enhancing the "bloom" of toms and rooms. Like it says, it's a "transient designer". It's definately unique and indespensable, but also a one or two trick pony. I guess I didn't say anything that wasn't already said.
Old 27th January 2003
  #48
rll
Gear Maniac
 

It's all over the latest Elvis Costello CD-- was used mostly on drums, and as an efx box. There was an EQ mag article from a few months back with the engineer who did the album raving about it (can't remember his name). I also know of an engineer who's been using it live with Aerosmith. So although it may be a one or 2 trick pony, its got to be somewhat versatile to be going from Elvis to Aerosmith...


rll
Old 28th January 2003
  #49
Gear Guru
 
Drumsound's Avatar
How well does it make a track with a lot of room sound like it's drier. It seems like everyone is getting more room with the TS, how about less room?
Old 28th January 2003
  #50
Quote:
Originally posted by rll
It's all over the latest Elvis Costello CD-- was used mostly on drums, and as an efx box. There was an EQ mag article from a few months back with the engineer who did the album raving about it (can't remember his name). I also know of an engineer who's been using it live with Aerosmith. So although it may be a one or 2 trick pony, its got to be somewhat versatile to be going from Elvis to Aerosmith...


rll
Would that be Kevin Killen you are thinkin of?
Old 28th January 2003
  #51
rll
Gear Maniac
 

Quote:
Originally posted by thethrillfactor
Would that be Kevin Killen you are thinkin of?

yes, that's who it is.

rll
Old 28th January 2003
  #52
Quote:
Originally posted by Drumsound
How well does it make a track with a lot of room sound like it's drier.

Yes..
I imagine that's how the live engineers use it.
Old 10th May 2003
  #53
Transient designer on record or mix (drums)

OK the unit does some weird things, a lot of it good, shall I track with it or put it on at mixdown?

I am tracking now...

Actually I just answered my own question,

I will take it off the kick & snare (wreckless fool I was) perhaps keep it on the toms...

And hop the other two ch onto the overheads, to help my weird little drum booth sound better..

Thanks guys, you were great!

Old 10th May 2003
  #54
Here for the gear
 

hey Jules -
I've been using this bad boy for a couple of records now, and I think i'm in love. You can use it in tracking, but only
if you've got balls like grapefruit. I slap it over the drum sub at mix down and spin knobs untill it's cool.
Here are a couple of tricks i enjoy - distressor nuke john bonham room made SMALLER - truly freaky. also try it on EGT's
for space. Hands down the best way to breath life into samples, and loops. I still havn't been able to use it on a vocal -- but i'll keep trying damn it.
good luck-have fun dave darling
Old 10th May 2003
  #55
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ray dsr's Avatar
 

I can't imagine mixing drums without it! But never would track with it.

Here's something I do:

Add attack/Cut sustain on the top snare mic, then do the opposite on the bottom snare mic. MMMM. Rich snare with punch and sustain without excessive bleed. I also love the TD on kick.

Oh, try cutting attack and adding sustain to tamborines! Really nice! Much better than using compression to do this.
Old 10th May 2003
  #56
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Roland's Avatar
I don't use transient designer as such, but I use the enveloper in Logic (same difference) though I would never use it tracking. Far too destructive as a tracking tool, you will find yourself with no way back. As I' not sure how you have your pro-tools configured and if you are using Logic as a front end, I can't comment further.

Good luck

Regards


Roland
Old 10th May 2003
  #57
Thanks folks, off to tweak last nights set up now, will use caution..

Old 10th May 2003
  #58
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stealthbalance's Avatar
 

is this the transient designer by SPL ??? is it in a plug in now for PT ???
Old 10th May 2003
  #59
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Roland's Avatar
Quote:
Originally posted by stealthbalance
is this the transient designer by SPL ??? is it in a plug in now for PT ???
Not sure if it is as a PT plugin now, but I think Jules is using the stand alone unit. If you use Logic the Enveloper in the logic dynamics plugs is the same sort of thing.

Regards


Roland
Old 11th May 2003
  #60
I took it off the kick and snare and kept it on toms and put the last 2 on overheads. I now have a solid kick and snare that are 'un weird' and some killer overheads and 'big' toms...
I was using an outboard 4 ch unit.
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