User manual SPL TRANSIENT2

[. . . ] Manual Transient Designer DUAL-CHANNEL, Model 9946 Dual-Channel Dynamic Effect Processor Transient Designer Manual Dual-Channel, Model 9946 By Hermann Gier and Paul White Version 1. 0 - 07/1999 The information in this document has been carefully verified and is assumed to be correct. However Sound Performance Lab (SPL) reserves the right to modify the product described in this manual at any time. This document is the property of SPL and may not be copied or reproduced in any manner, in part or full without the authorisation of SPL. Limitations of Liability: In no event will SPL be liable for any damages, including loss of data, lost profits, cost of cover or other special, incidental, consequential or indirect damages arising from the use of the unit, however caused and on any theory of liability. This limitation will apply even if SPL or an authorised dealer has been advised of the possibility of such damage. SPL electronics GmbH P. [. . . ] The envelope follower Env 3 (Diagram 4), again follows the shape of the original curve. For a longer period the envelope generator Env 4 (Diagram 4) holds the sustain level according to the peak level and the VCA control voltage is generated by the difference between Env 3 (Diagram 4) and Env 4 (Diagram 5: hatched area). The sustain is extended at positive settings and shortened at negative settings. Diagram 4 illustrates the original curve and both envelopes generated for processing the sustain period. The envelope follower Env 3 corresponds to the original curve. The sustain of Env 2 is extended Diagram 5 illustrates the difference between Env 4 and Env 3. It determines the VCA control voltage Transient Designer 7 Tech Talk Diagram 6 illustrates the processed curves with maximum and minimum sustain compared to the original curve from Diagram 1 Prevent overload Important advice for connection to digital recording systems: Each unit connected to the Transient Designer should be able to handle high input levels. With maximum ATTACK values the instantaneous input level can increase by up to +15 dB. For this reason it is recommended to connect the Transient Designer to an analogue mixing console, because these generally have enough headroom to process peak levels of more than 15 dB without clipping. However, it is imperative to check the input levels of the mixer and any clip monitor LEDs at the channel inserts. If the Transient Designer is connected directly to a ProTools 888 interface, a Yamaha O2R mixer or similar units with internal A/Dconverter, ATTACK values of about +6 dB may overload the converters. This second generator produces an envelope with extended sustain (Diagram 4, page 7). The difference between both envelopes is then used to calculate the voltage controlling the VCA, though as with the ATTACK circuitry, the enhancement ceases at the end of the signal being processed. Sustain amplitude is increased for positive SUSTAIN settings and reduced for negative settings. For detailed information about using the SUSTAIN control please refer to "Applications" below. Link 5 When processing stereo material, the LINK function should be switched on so that the linked channels produce the same degree of gain change, regardless of any difference in levels of both channels. The front panel controls of channel 1, including the ACTIVE switch, function as the master controls in LINK mode. Applications The Transient Designer is ideally suited for use in professional recording, in project or home studios and P. For the first time the Transient Designer provides the technology to manipulate the attack and sustain characteristics of a signal regardless of level, and using simple controls. Usually equalisers are used to separate instruments in a mix ­ the tonal aspect of the signal is considered, but not the temporal aspect. By accelerating the transients or/and shortening the sustain of an instrument, the mix can be made to sound more transparent. Instruments can be mixed at lower levels, still maintaining their positions in the mix, but occupying less space. "Front/rear-positioning" of drums or other percussive instruments can effectively be "re-miked" during the mix ­ at least, that's the subjective effect. Applied to single instruments or loops, this technology creates new sounds or adds weight and authority to existing sounds. 10 Transient Designer There are several ways to connect the Transient Designer to your equipment. One of the most flexible options is wiring the Transient Designer to a patchbay. A console with switchable insert points to prevent audio running through the patchbay when not required would be perfect. Alternatively, the Transient Designer may be connected directly to the channel or subgroup inserts. Applications Connections Multi-Track Channel or Subgroup Insert Sends Diagram 7 Connecting the Transient Designer to the channel inserts of the mixer to process different tracks Mixer Channel or Subgroup Insert Returns The Transient Designer may also be connected directly to the output stages of drum machines or samplers, if no suitable inserts are available, though it should not be connected via an effects aux send/return loop. Sampler Output Diagram 8 Direct wiring between sampler or drum machine and mixer Sampler Mixer Transient Designer output to Mixer One of the most interesting applications for the Transient Designer is processing drum and percussion sounds, both samples and live drum sets: · The attack of a bass drum or a loop can be emphasised to increase the power and presence in the mix. [. . . ] The detachable power cord is a standard 3-wire type fitted with an IEC mains connector; the transformer, power cord and mains connector have VDE, UL and CSA approvals. On the secondary side of the power supply, an RC combination is used to filter out noise and hum. Both half-waves are smoothed with 22, 000 microFarad capacitors in the positive and negative supply path, and both lines use precision voltage regulators for optimum stability. Deviations of only a few millivolts can impair audio quality, introducing artefacts such as loss of stereo imaging or a diffuse sound character. [. . . ]