They previously collaborated on a UAD-based Transient Designer emulation, but can SPL's own in-house effort better it?Users of Universal Audio's UAD DSP system have been able to indulge in an official emulation of SPL's famous Transient Designer fora little while now. But, judging by SPL's recent move into native plug-in development with their Analog Code series, it's no surprise to see them launching their own entirely self-produced emulation of their classic hardware device.
The real test, of course, is how it fares against the original hardware version. Although it was introduced over twelve years ago now, the SPL Transient Designer was revolutionary in its concept: a level-independent dynamic processor that allowed one to adjust the attack and sustain portions of an audio signal. There were just two controls per channel and it took just about as many seconds to work out what it did. Throw it across a loop and the huge range of its abilities was staggering. Minimum sustain settings would be tight and punchy with any ambience sucked right out; maximum settings would yield pumping and breathing like the rudest compressor, but without the attack inconsistencies. It was a godsend for dance producers everywhere and many others beside.
Gone soft
The software plug-in is visually modelled on the latest hardware version found in SPL's RackPack. There are still just the two controls - Attack and Sustain - plus an output gain pot going from -20 to +6dB. Bypass and Link controls complete the main panel, with the latter offering ganged or independent operation on a stereo track. Beside the main panel are four 'settings' buttons, for storing and recalling different combinations with a click of the mouse.
A/B'ing it against the hardware version, it's clear that the essence of the original has been captured in the plug-in. Pull the Sustain back and any reverb on the audio starts to fade away. Turn it up and you get that satisfying pumping with the accompanying bottom-end breathing. If anything, the shape of the bottom end on pumped loops is more appealing with the plug-in than the hardware. Turn the Attack up and the impact of any blunt performance is enhanced. Turn it down and any hard, spikey parts sink softly into the mix.
There are one or two blots on its copybook, but nothing major. The Attack response, particularly with high frequencies, doesn't seem as controlled as the hardware. In our audio demos, you can hear the hi-hats spitting in the processed loop under software control, whereas with the hardware, the attack is completely smooth. A lookahead feature might have helped with this. Also, without an input level control, there's a danger of overloading the plug-in at the input if you're upping the attack on an already high-level signal. You can get round it with a trim plug-in beforehand, but an Input control would make more sense. Oh, and what about a sidechain facility? That could be fun.
The software version has lost none of the excitement that its hardware parent engendered. The sheer variation of attack and sustain characteristics created here is still astonishing, and all from just two knobs. With automation, the musical possibilities from subtly building up and dropping intensities using the Sustain control are particularly exciting.
Contact: info@audiopros.eu
Web: www.soundperformancelab.com
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Transient appeal
So what might you use the Transient Designer on? Drums are the obvious choice, as this processor is at its most useful on rhythmic material. If you're having trouble with a snare not cutting through in the mix, a touch of increased attack can give it the edge you need. If a torn is booming beyond its useful time, reducing the sustain can shorten it out of harm's way. If you have too much spill on a drum track, again, reducing the sustain can do the job of gating, but more quickly and efficiently - remember that, unlike a gate, it's not level-dependent.
To change the character of a loop over time, you might gradually lower the attack and increase the sustain (which is much easier with the software version) to give the impression of rising intensity. If a loop is pretty good but has too much reverb, pull the sustain level back and it should dry up.
You can, of course, find uses for it on guitars, bass, synths and, well, the lot!
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System requirements
(MAC) G4/lntel CPU. OS X 10.4. 256MB RAM, RTAS/AU7VST host
(PC)1GHz CPU, Windows 2000/XP/Vista, 256MB RAM, RTAS/VST host
Test system
(MAC) G5 2.5GHZ PowerPC, 4GB RAM Pro Tools HD3
Alternatively
Schaack Transient Shaper 2 cm127»9/10»€59
Easy to use, with adjustable attack/ release times and a great sound
UA SPL Transient Designer N/A»N/A»$199
Looks the same but the code has been done by UA, not SPL
Verdict
FOR
- Stunning dynamic shaping Sustain section on a par with hardware
- Automation works a treat
- A genius concept in software form!
AGAINST
- Could do with an input level
- Attack control can lead to treble spitting
- No copy/paste between settings
There's no shortage of transient-shaping plug-ins, but this one has a real pedigree behind it and a sound to match
MARK: 8/10
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