Privet, Aleksey, a long time since I've written anything here.
It just came into my mind how much you have been in advance of others, in your many designs of plugins, which shape sound in remarkably ear-attracting and friendlly ways.
What happened is that although i'm far from the work I once was doing with sound, I took a free tryout copy of Neutrino, a new offer as you doubtless know from one other very respectable company or lab in this field, iZotope.
I worked with it enough to understand what it is offering -- and find that shaping tranient is a big part of this, perhaps the most effective.
This takes me back to my initial days with GlissEQ -- who has not immediately enjoyed (and recognized) the BBC warmth preset? Even as I consulted to them once, not about audio matters, but for a year in a huge studio in Scotland.
I remember how I once used Transmodder, a rather technical plugin, to solve a very demanding problem which couldn't be tied down at the time -- it was actually a peculiarity of a setting used for other good reasons on an otherwise excellent variable-pattern Rode mic -- the setting making a narrow-band pattern peak off the back sides, which picked up then a nasty interpretation of recording room echo, even with gobos.
This one was a 'taming' -- I could pull out those harsh elements as they occurred on transients of vocalization and in that narrow band, especially well via Transmodder.
Today i attacked one more time a very bad 'last tour' recording of a Swedish acoustic and songwriting band, which I'd made much better before with a large stack of plugins half of them yours. And found it was the transient-orientated features of Neutrino which again were the most important to achieving some of the same improvements, rather quickly.
I mean this story-telling to encourage as well as honor, of course. I don't know just where the business aspect of your creations has developed for you in present day, but there is an intuition of a path that might be interesting, at the least.
Neutrino's transient features, where they are visibly so, are of course on the other end of the spectrum of complexity set beside Transmodder, with GlissEQ (and possibly your newer TransGainer) somewhere in the middle.
What I am wondering is if you might recognize a way to make transient-based sound shaping more approachable yet, inspired perhaps by some of Neutron's tactics this way. Something as you've long approached simplifying by automation compresser controls -- indeed the one-knob idea showing up often.
I'm not thinking of Wave's one-knob single purpose items, though I've seen one or two of them work with effectiveness.
Maybe though there's fresh ground to explore here. Maybe, part of it might be controls that are labelled for their audio tendencies rather than technical effect -- -then there could be more knobs without more complexity. And quite possibly a place to get extra fruit out of what you evidently understand deeply about sonic perception. Perceptual controls -- that is this line anyway.
Ok, enough English, am sure. I hope things go well for you, Aleksey, and of course for family.
Hi again, Aleksey -- much later :)
I think I probably made you miss my point by talking about 'transient' abilities -- for me it's an old engineering term -- and although it's nice to hear you're thinking again about Transmodder.
A good challenge to go somewhere on that rather technical plugin, but that leads me to make my point better, always about appreciating things you've done and do.
The word you use for what I was talking about is 'dynamic' -- as in the wonderful GlissEQ basis on dynamics of voice or music. Again, that BBC setting is masterful, in its results...or if you cut it in half, as I've often successfully done.
The competition is catching on, ten or fifteen years later, was also part of my point. Here's another data point: Wave, offering two things in one. There's a remarkable price, for them -- clearly a 'loss leader' trying with other offerings to draw people in where they show also by remarkable package sale prices that they can't actually continue to charge as they used to.
But as you'll see here, also they are also encroaching the territory you pioneered. http://www.waves.com/plugins/f6-floating-band-dynamic-eq .
My thinking in response is that the next place to go is in intelligent, thus simplified, 'knobs' -- settings.
You've again pioneered here, often to be sure, with your 'one-knob-sets-all' compressor controls wherever they appear.
To achieve that single knob means some combination of sound perception as well as audio engineering practice knowledge that you clearly have, plus probably analytic 'circuitry' which attunes to situations.
What if GlissEQ had an alternate face (or separate product, either way), where you tuned the sound on one or two knob continuum.
One dimension could be ranging from 'Subtle and deep (BBC)' to 'Sparkly and Millenial', say, to sound more like US public radio, which has gone from authoritative to youthful-sounding voices?
I think there might usefully be two dimensions here, one about spectrum shaping, the other about...dynamical qualities (and I am purposefully making that vague-- your insight particularly at work for that).
Anyway, I am just trying to invite your own thinking, and its developments in the direction of intelligent controls. And to help your own market, definitely...!
All the best,
Ok, and with respect, will try not to make too many :)
Here is just an extra piece of 'market evidence' on above, though:
They're making a promotion price also, $99. Particular attention to the 'Transient Shaper', and its minimal controls, per what we are talking about.
p.s. slight edit to previous message probably makes more clear my thought about transmodder.
p.p.s you can look further on their site to see what the deeper Neutron is about. I was particularly interested in the acoustic Masking meter -- and what further might be done in that area, perhaps, at least personally.