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Hi,

I think Transmodder does not get the attention it deserves.  But, maybe, this could change if you would add further transient-shaping features as they are present in dominion (ie shape attack, release and suastain of transients).

regards, drjee


That's a good idea drjee - I could use a little more control of the rising transient - maybe a hidden advanced control panel so we can change the defaults.  I'm not sure there is any code in the TA right now to handle sustain and release (according to the manual anyway) but that would be most interesting also. -Kyle

I will study this subject in the future.  Right now I do not know how to fit the attack/release/sustain concept into the techniques I use in Transmodder.

It is maybe possible to make use of the attack/release/sustain in the filter part (like the Decay parameter), but I do not clearly see how to *reshape* the original transient exactly.  I mean, with Transmodder's concept you can amplify or attenuate the transient, but not adjust its shape in some 'free' form.

Or was it exactly what you are talking about - adjust attack/release/sustain of the filter?


Hi Aleksey,

thanks for taking this into regard.  You are right, I meant adjusting attack/release/sustain of the transients itself not just the filter.  If you haven't tried it: check Dominion.  Of course, I do not know how to implement this in the pluging, but I am confident that you will find ways and it surely will make Transmodder much, much more attractive to many people.

best, drjee


by the way: I got another suggestion.  I find the multi-track spectrum-overlay function in GlissEQ a great feature.  However, I feel that it would be even more useful if it were integrated in transmodder (if used for mixing purposes).

best, drjee


I'm not really sure this function will be that useful in Transmodder because Transmodder is not a general-purpose EQ.

it's not a general purpose EQ, but if you eg use Transmodder to add some parallel boost in the mid-range of a bass track you could them have an eye on the "interaction" with other tracks.

drjee


OK, I understand, but still I'm not totally convinced this is necessary.

There is a way to adjust the sustain / release portion of sounds, but it depends on the material you process.

Let's again consider the ever popular example of a kickdrum.  The enerhy in this type of sound makes a quick sweep from the highs, when the beater hits the drum, to the lows, when the membrane is pulsating at a constantly lowering frequency till it stops.

Let's imagine the sine components that combine to give what you see in an audio editor when you load such a sound.  Just think of the sine wave with a freq of 100 Hz and one with a freq of 50 Hz.  The former will be fading out at the time when the latter is gaining energy.

Now, bind a filter to TA1.  TA's freq 50 Hz, filter's freq 100 Hz.  Set the filter to boost some dBs.

Now, when the analyzer sees that energy accumulation in 50 Hz, it will boost the otherwise naturally decaying 100 Hz component of the sound, thus achieving an effect as sustaining those freq's at and around 100 Hz for a little longer (according to the filter's decay time).

Or you can use a similar setup, but this time trying to eliminate that boom at the end of a kick sample, if you think it doesn't fit the song or is masking other important frequencies.

Am I right in this, or not?


This is right down to the sensitivity of the analyzer - if the transient is not evident, TA won't detect anything.
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