If you’re working with samples or someone else’s recording, then a transient designer is the only way to achieve this.īoosting attack tends to bring instruments forward in the mix, since in an acoustic environment the high-frequency components in the transients are the first to be absorbed by the room. Granted, we could have accomplished the same result via mike placement – but only if a) we’re recording acoustic drums and b) we’re the ones making the recording. By boosting the attack we’ve essentially changed the beater-to-shell ratio. There are two distinct parts of the kick drum waveform: the initial rapid rise from the beater hitting the skin (attack), followed by the ringing sustain from the drum’s resonance. ![]() Take a look at the following bass drum hit, shown before and after using MTransient to add 4 dB to the attack portion of the waveform: In a nutshell, what a transient designer does is figure out where the attack part ends and the sustain part begins, and then lets you boost or lower each of those portions of the waveform independently. ![]() But unlike compressors, limiters and gates, transient shapers respond to rise times rather than absolute levels. Transient designers fall within the dynamic processor family along with compressors, limiters and gates, insofar as their primary action is automatic amplitude adjustments.
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