You can think of this as a creative effect to increase volume and add character rather than solving a particular problem. The sound of increased transient designer sustain is often compared to that of a driven compressor. You can produce some pretty interesting effects by increasing the sustain control on your transient designer. This way, you won’t have any instance of room tone appearing after your initial signal. This technique is very similar to gating, though the final product sounds far more natural.ĭo note that if your transient designer has a release control, you should reduce it as much as possible.
However, if you are recording your own vocals or instruments, you might want to get rid of nasty room tones that show up on your recordings as a byproduct.Īll you need to do here is reduce your transient designer’s sustain to get rid of the unwanted room tone.
If you are using software instruments exclusively, this may not be an issue. Most bedroom producers are working at home in untreated environments. One secret way to remove excessive or ugly room sounds on recordings is with a transient designer. Keep it as subtle as possible and use compression or EQ to tame anything left over. Als0, be careful not to go overboard with attack reduction, as it could start to sound unnatural or ruin the groove of your mix. Note that this will decrease the overall volume, so make sure to volume match once again. Instead, slap on a transient designer and dial back the attack just slightly. Some might even consider re-recording the sound altogether. Traditionally, one might reach for a dynamic processor, such as a compressor, to tame those spikey transients. That plectrum sound may be far too sharp or spikey for your mix. Let’s say that you record an acoustic guitar part where the microphone was placed too close to the neck, and most of what you are hearing is the sound of a plectrum. Rather than adding snap or punch to a sound, you can decrease the attack of a sound’s transients to soften it up. You can use transient designers in the complete opposite way of what we mentioned above. Some transient shapers can even do more than that by managing a sound’s tone or affecting transients only on a specific frequency band. We’ll see some of them on the list below.
These two parameters give producers full control over the waveform’s shape and, consequently, the sound. Similarly, turning the sustain knob up down makes the wave’s tail increase or decrease in volume.
Transient shapers manage the loudness of a wave’s first hit, as shown in the images below:Īfter we added an attack in the transient shaperĬonsequently, reducing the attack causes the opposite effect on the wave. A transient shaper also manages the decay of a sound, affecting its sustain.
Increasing the attack will make a sound more impactful, while decreasing it will make it more distant. The 6 Best Pitch Shifter Plugins 2021 (And 3 FREE Pitch Shifters)ħ Best Autopan VST Plugins 2021 | CableGuys, Melda, Waves, SoundtoysĪ transient shaper analyzes the initial attack present in a waveform and manipulates it for various results. The 11 Best Reverb Plugins 2021 (With 10 Best FREE Plugins) Top 6 Noise Reduction Plugins 2021 (And 3 Best Free Tools)ħ Best Sidechain, Trance Gate & Volume Automation Plugins 2021 Top 10 Gate Plugins 2021 (Best Noise Gate Tools) Production’s Imprint, surreal machines’ Impact, MolecularBytes’ AtomicTransient, and iZotope’s Neutron 3 Transient Shaper.