Let me give you a few ideas on the use of this versatile tool:
The basics: You band-pass (or high-pass etc) a desired freq with the analyzer and then using the overlay you adjust the decay on it so that the tone you hear overlaid does't produce any crackles. This is important, cause this is the signal that will drive the filter below. You choose a freq for the filter to be manipulated by the aforementioned signal, adjust the range to the maximum gain/cut you wish to happen when the analyzer signal reaches its peak and you are ready.
Maybe you want the beater click of a drum to be used to boost the low end. Set the analyzer to the most prominent freq of the click and then use this signal to make gains to a low freq that complements your drum. It's better than simple EQs cause once you have the beater transient then you cause the gain to the low end and this gain will depend on how hard or soft the beater transient was. If the drum was hit delicately, you will not get an exagerated and unnatural bass boost.
Or maybe you want to achieve an effect similar to the one achieved with Gliss EQ. Set the detector band pass and the filter to the same freq and then you will be boosting or cutting that freq according to its current intensity. I mean, if the detector maxes out, the gain/cut will be the one indicated by the range. When it is somewhere in-between maximum and 0, the gain/boost of the filter will be somewhere within the boundaries ot the range setting. It's practically the same thing Gliss EQ does, if configured this way. It's dynamic filtering.
Don't constrain yourself to the above two examples. See the main idea: if you have a freq range that you want to strenghten/eliminate when there is energy in another range, use Transmodder.
Do you want some high end transients to stand out above any mud or bass? Use Transmodder!
Do you want the said transients to stimulate some other transients that are somewhat burried? Use Transmodder!
It can work as a compressor or gate or compander with a side-chain. It's how you think of it. It can do changes to your material all over the place.
It's not like a standard multi-band processor, where you split the frequency spectrum and make adjustments for each band. Here, you can have one band alter another.
Master the workings of this plug-in and you will be rewarded.
Oh, I haven't already purchased this one, but have put the demo to the most strenuous tests. It did't break!
Let's say you have a drum kit all in one channel and you don't or can not separate it across several channels, ie kick in one, snare on another etc.
You have problems in the kit, let's say when the snare hits occur along with the kicks, you get a boxy peak down low.
Set a transient analyzer to the initial smack of the snare -that's gonna be somewhere high, at 3-6 kHz.
Bind a filter to that analyzer, set it to the boxy peak you want to eliminate or make unobtrusive, then set the decay to a value that suits the tempo of your song and an suitable negative range and you're done. It's not the same as a standard EQ, because it only acts at the moment the problem occurs, not all the time. Maybe when your kick and snare don't hit together you don't want that dip in the frequency spectrum.
For setting up the decay time, you can hit the calculator button on your MS keyboard, bring up the windows calculator and do the really simple but highly important maths:
60000 / tempo = quarter note value in ms. You can use that or maybe divide it by 2, in order to get the ms value for the eighth note etc.
That was a text to illustrate that Transmodder can be quite a rhythmic effect.
And, by the way, I use it as a track insert all the time in Cubase 4, no problem!
More texts to follow...
I' ve come up with yet another use for the Transmodder:
You have probably heard or read about some equivalences in the frequency spectrum. I mean, something like "instead of giving a boost at 2k for presence, try a narrow cut at 200Hz instead" or something like that. With Transmodder, you can have that cut and in a dynamic way: when 2k gives a strong peak, ie a rising transient, you will have a deeper cut in 200 Hz . Well, doesn't that sound better than a static cut? Sure it does!
And now, a revolutionary idea (!):
Transmodder lets you manipulate a band of frequencies based on the transients of another. Ok, but this happens in a single channel strip. What if one could use two Modders, one on, say, the kick buss and the other on the bass? Then he could achieve the ultimate separation between the two. Think about it: bye bye competing, overloading frequencies and bye bye true sidechain compressors, or something like that!
The transient analyzer on the kick controls the cuts in the bass and when you also set the filter decay to a value synced to the thempo of your song, then you can be so so much cre8ive. And you don't have to be muddy, do you?
What do you think?
Well, not exactly. The effect will be tighter and you could use it for many more things than ducking the bass.
I wish I could program DSP. Anyway, I hope sometime I will. I' ve started learning OOP.
Hmm, I just ran through the manual once again after thinking about some things and realized I was using this plug-in in a rather strange way, ie. expecting it to do things not designed to do, at least to the degree I supposed.
But, beware, the plug does more important stuff than what I had supposed! Yes, that's right.
Transients carry a great lot of information about a sound, about the way we perceive it. The perception of a sound's clarity, muddiness, brilliance or boxiness etc mainly comes from the frequency content of the transients of a sound -correct me if I'm wrong, but I have verified that from various sources.
So, Transmodder can alter that said content of the transients, thus altering the perception of a sound's overall character without having to mess with the body / sustain of it.
I used it very carefully -I will write the process in detail in a future post- on a synthetic bass that had a certain boxy and nasal quality, which rendered it somewhat ...fake and annoying. By eliminating the problematic frequencies that occured at the transient hits of the notes, I converted it to a robust and "earthy" bass, just the way I wanted it.
The same applies for drums. I have heard of and tried a technique where you combine a transient and a decay phase from two different drum sounds, to generate one drum sound just the way you like it. It's quite painful and much ...scientific, I would say. It demands working at an extreme waveform zoom, cutting, pasting, even using the sample editor' s (yup, I use Cubase) pencil to fix some "imperfections". But, with Transmodder you can forget mixing and matching as described above. You work on one sound and you get quicker results, which at a later point in time can be altered to something completely different without the hassle of the aforementioned procedure.
Spend as much time as you can using many different things on this plug-in, and you will be amazed to realize for yourselves what great impact transients have on sounds.
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