![]() To create dramatic rhythms out of subtle sound sources Instead, I turned to Neutron’s Transient Shaper in multiband mode, set up the midrange band, and cleared up the problem in a matter of seconds instead of hours.ĥ. Sitting down to analyze (and then highlight) the exact frequency segments for an hour worth of audio would’ve taken ages. Conventional de-noisers and de-ambience modules didn’t do the trick, even in spectragraphic implementation, because the resonance vacillated at various points between those two frequency bands. There was a resonance that only occured in a band between 600–1500 kHz in a comedian’s microphone microphone. Once, I was hired to mix an hour long live panel discussion for a podcast. Since that interview, multiband transient shapers, like the ones found in Neutron, have really come in handy for me. With a slightly increased attack and a dramatically decreased release, a transient shaper can really mitigate unwanted ambience. I remember interviewing sound designers for about the work they did in Lost and other television shows often, they talked about using transient shapers as an intelligent gate in dialogue. One wouldn’t think they’d appear in movies, but they do. You also see transient shapers in post-production scenarios. This move can really deemphasize the harsher, plonkier aspects of an acoustic instrument and bring up the mellowness. Here’s where I’d reach for a transient shaper with a decreased attack and maybe a slight increase of sustain. You could probably make the whole thing work by spending a few minutes with a dynamic equalizer, a multiband compressor, or a multiband expander-but this isn’t a creative issue this is a technical thing you’d rather just fix and get on with so you can get to the fun stuff. A compressor won’t work either, because evening everything out after the transient is undesirable-it takes the musicality out of the picture. Now, a static EQ doesn’t work because it takes too much life out of the signal. Sometimes an acoustic guitar or a piano comes my way and it’s just too bright for the mix. For mellowing overly bright pianos or acoustic guitars When pushed, however, it may not sound natural, so do be tasteful.įor an example, check out this drum loop.ģ. No matter what unsubtle sound you’re going for, the transient shaper can get you there quickly. Decreasing the release will have the opposite effect, excising the room. If you crank that release, you’ll feel more roomy presence after that slice. If you crank that attack knob, each kick, snare, and hi hat will feel like it’s slicing you more. You could also parallel-process it in the “New York” style.īut for a quick-to-achieve in-your-face face sound, try reaching for a transient shaper first. If you’re given a drum loop and you want to make it sound livelier and more dynamic-something with more attitude, sure, you could compress it in all manner of ways. So without further delay, let’s cover six times a transient shaper just might beat a compressor. Also, don’t let relative easiness lull you into thinking they accomplish simple feats transient shapers can either engender or serve as the basis of complicated and rewarding sounds. They may have simple controls, but don’t let their ease of operation fool you: it’s just as easy to foul up a sound with a transient shaper as it is to serve the music at hand. “Snap” and “smack” are words often used in conjunction with transient shapers, though the process can also have the opposite effect, dulling the impact of a sound, or enhancing its sustain. Personally, I like to think of transient shapers as sound sharpeners-processors that create a sense of dynamic excitement. Instead you’re often presented two rather simple knobs: attack and release. You won’t find a threshold or ratio control. However, transient shapers do not boast the typical controls you’d see on a compressor. Transient shapers involve similar principles you’d see in compression and expansion in fact, the original hardware transient shapers were composed out of VCA circuits-the same circuits found in many of your favorite hardware compressors. Think of a drum hit, a guitar strum, a vocal consonant, or anything else with a hard beginning. So when we talk of transients, we usually mean sounds with sudden, initial bursts of energy. ![]() There is, by definition, an envelope to every sound-a signal must always go from silence to an amplitude for it to be audible-but a transient is more of a sudden burst than a gradual onset. In layman's terms, the transient is the initial part of a sound, its arrival. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |