SPL Transient Designer 9946 User manual

DUAL-CHANNEL, Model 9946
Manual
Dual-Channel Dynamic Effect Processor
Transient
Designer

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. Changes
without notice.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.O.Box 12 27
D- 41368 Niederkruechten,Germany
Phone +49 - 21 63 / 98 34-0
Fax +49 - 21 63 / 98 34-20
E-mail: [email protected]
© 1999 SPL electronics GmbH. All rights reserved.
Transient Designer
Dual-Channel, Model 9946
Manual

Transient Designer
3
Contents
Dear customer,
Thank you for the confidence you have shown towards SPL elec-
tronics GmbH by purchasing SPL’s revolutionary dynamic
processor, the Transient Designer. As you would expect from an
SPL unit, the Transient Designer combines exemplary technical
specifications with intuitive usability and unrivalled audio perfor-
mance. Even though the Transient Designer is very simple to use,
please read this manual carefully to ensure you have all the infor-
mation to get the best out of your new purchase.
We wish you every success with the Transient Designer.
Your Sound Performance Lab-Team
I would like to start with my thanks to all our staff, particularly
Ruben Tilgner, who created the Transient Designer.
Our products are often tested and compared in many publica-
tions as well as by our customers themselves and constantly
attract outstanding evaluations for their audio performance.
I would like to pass on this broad appreciation to those, who
deserve it – my excellent colleagues.
Hermann Gier
Foreword
Thanks
Foreword ...................................................................................................... 3
Thanks ........................................................................................................... 3
Introduction ................................................................................................. 4
Operation Safety......................................................................................... 5
Connections ................................................................................................ 5
Tech Talk ....................................................................................................... 6
Differential Envelope Technology®....................................................... 6
The attack control-circuitry ..................................................................... 6
The sustain control-circuitry ................................................................... 7
Prevent overload ........................................................................................ 8
Control Elements ON.............................................................. 9
SIGNAL LED (Sig.LED) .......................... 9
ATTACK .................................................... 9
SUSTAIN ...................................................10
LINK ...........................................................10
Applications Connections ...........................................11
Drums & Percussion .............................11
Guitar & Bass ..........................................12
Backings ..................................................12
Keyboard,Sampler ...............................12
Movie Post Pro .......................................13
Power Supply...............................................................................................13
Specifications ..............................................................................................14
Warranty........................................................................................................16

Transient Designer
4
The new Transient Designer provides a revolutionary concept
for dynamic processing rendering controls such as Threshold,
Ratio and Gain superfluous. The Transient Designer's automation
is highly developed, so that while the processing going on inside
the box may be very complex, the user has to deal with just a few
intuitive controls. SPL's Differential Envelope Technology® is the
first solution for level-independent processing of envelopes allo-
wing transients to be accelerated or slowed down and sustain
prolonged or shortened. The degree of dynamic processing
required to do this couldn't be duplicated even if a chain of
several conventional compressors is used, yet only two controls
per channel are required to allow the user to completely reshape
the attack and sustain characteristics of a sound.
Attack can be amplified or attenuated by up to 15dB while
Sustain can be amplified or attenuated by up to 24 dB, enabling
weak drum sounds to be made much more percussive and
powerful, or for over-percussive transients to be softened. All the
necessary time-constants (Attack, Decay and Release) are auto-
mated and optimised adaptively in a musical manner according
to the characteristics of the input signal. This results in natural
sounding signal processing and fast operation.
The Transient Designer uses envelope followers to track the
curve of the natural signal so that optimum results are guaran-
teed regardless of the input signal's dynamics. Because of the
level-independent processing inherent in Differential Envelope
Technology®, manual threshold adjustments are not required. In
order to maintain the cleanest possible signal path, the Transient
Designer uses the excellently specified THAT 2181-VCAs, which
are especially natural sounding, transparent and create minimal
distortion. High amplitudes are processed without damping of
high frequencies or reducing bass.
For stereo operation the LINK function connects channel pairs
such that both channels are controlled by the same side-chain
voltage so as to maintain a coherent and stable stereo image.
When operating in LINK-mode, the control elements of the first
channel, including the ON switch, control the second channel,
too. Each channel is equipped with a relay hard bypass circuit to
ensure a minimum signal path when the process is bypassed.
The Signal-LEDs provide a simple and positive means to quickly
monitor the signal flow, which is particularly important if both
channels are connected to a patchbay.
TheTransient Designer intro-
duces level-independent
dynamic processing.
The attack and sustain
characteristics of any
musical sound can be
changed
Transients can be accelerated
or slowed down and sustain
may be prolonged or shor-
tened
Adaptively optimised time-
constant parameters for
maximum ease of operation
SPL's Differential Envelope
Technology® for level-
independent processing
The latest VCA-technology
preserves audio transparency
and minimises distortion
The two independent chan-
nels may also be linked for
stereo operation
The unit features a relay hard
bypass and Signal-LEDs to
simplify metering
Introduction

Transient Designer
5
Packaged in a standard 19" EIA format and occupying 1U
(44,45 mm) of rack space, the Transient Designer can be installed
in a standard rack,but it is recommended that the rear of the case
be supported, especially in touring applications. The Transient
Designer should not be installed near units which produce strong
magnetic fields or extreme heat. Do not install the Transient
Designer directly above or below power amplifiers or digital
processors.If possible,the Transient Designer should be placed in
an 'analogue rack' where the majority (or all) of the equipment
installed is analogue. Check that the voltage details quoted on
the back panel are the same as your local mains electricity supply.
• Use a small, flat bladed screwdriver to set the voltage selector
to the voltage for the area in which the unit will be used.
• Never cover up the ventilation slots on the top side of the unit.
• If,during operation,the sound is interrupted or indicators no
longer illuminate,or if abnormal odour or smoke is detected,
or if liquids are spilled on the unit,immediately disconnect the
power cord plug and contact your dealer.
• Only clean your Transient Designer with a soft, lint-free cloth.
Use only standard cleaning agents.Never use alcohol or paint
thinner, because they may damage the finish.
Important security advices
Operation Safety
Connections
Before connecting the Transient Designer switch power off at all
connected units.
The Transient Designer is fitted with unbalanced Jack connec-
tors for the inputs and outputs of both channels.
Rear panel of the
Transient Designer Dual-Channel,
model 9946

Transient Designer
6
Two envelopes are generated
and compared – theVCA control
voltage is derived from their
difference
Diagram 1
illustrates the original curve and
both generated envelopes for
processing the attack period.
The envelope follower Env 1
corresponds to the shape of the
original curve.The attack of
Env 2 is lower
Diagram 2
illustrates the difference from
Env 1 and Env 2,giving the
VCA control voltage
In nearly every aspect the Transient Designer is different from
conventional Dynamic Processors or Compressors. You don't
need to know how the Transient Designer works in order to be
able to use it effectively, but if you're at all curious as to what goes
on inside the box, read this section while referring to the
diagrams.
Differential Envelope Technology®
Differential Envelope Technology® maintains identical enve-
lope processing from quiet to loud signals (from pianissimo to
fortissimo) without the need for the user to adjust any external
parameters. In a conventional system, low level signals would be
excluded from processing. Both parameters (ATTACK and
SUSTAIN) work in parallel and do not influence each other.
The ATTACK control circuitry
The ATTACK control circuitry uses two envelope generators.The
first follows the shape of the original curve (Diagram1: envelope
follower Env 1), while the second generator produces the enve-
lope Env 2 (Diagram 1) with a slower attack.
The hatched area shows the difference between Env 1 and Env 2
(Diagram 2), and the VCA control voltage is derived from this
difference.Positive ATTACK values emphasise attack events,nega-
tive ATTACK values smooth out the attack envelopes of events.
Tech Talk

Transient Designer
7
Tech Talk
The SUSTAIN control circuitry
The SUSTAIN control circuitry includes two further envelope
generators. 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 3
illustrates the shapes of the
processed curves with maximum
and minimum attack,compared to
the original curve from Diagram 1
Diagram 4
illustrates the original curve and
both envelopes generated for
processing the sustain period.The
envelope follower Env 3 corre-
sponds 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
8
Diagram 6
illustrates the processed curves
with maximum and minimum
sustain compared to the original
curve from Diagram 1
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/D-
converter, ATTACK values of about +6dB may overload the
converters. In such cases reduce the Input Gain of these systems
to provide adequate headroom to accommodate the enhanced
transients.
Tech Talk
Prevent overload

Transient Designer
9
The ON button operates a hard-bypass relay circuit to switch
the channels in and out of processing. The illuminated button
indicates that the channel is active.
The unit switches to relay hard-bypass automatically in the case
of a power failure, either on the primary or secondary side of the
power supply,or when the unit is turned off at the POWER switch.
If the Transient Designer operates in LINK mode (see 5),channel
one's ON also switches channel two in and out. Note that channel
two's ON button illumination follows channel one's ON status in
LINK mode.
The SIGNAL-LED indicates incoming signals with a level excee-
ding -40 dB. In complex studio arrangements the LED indication
helps to check if a signal actually arrives at the Transient Designer.
With the ATTACK control, the attack period of a signal can be
emphasised or attenuated by up to 15 dB. For detailed informa-
tion about the mode of operation of the ATTACK control please
read the section 'Tech Talk' on pages 6,7 and 8.
The ATTACK control circuitry incorporates two envelope gene-
rators. One follows the original curve while the second produces
an envelope with a slower attack period (Diagram 1,page 6).
The difference (Diagram 2, page 6) between these envelopes
results in a voltage that controls the VCA, boosting the transient
for a period equal to the duration of the original transient. The
amplitude of the attack is increased,if positive ATTACK values are
set, while negative ATTACK values reduce the level of the attack
transient. For detailed information about the ATTACK control
please refer to pages 11ff.
Control elements
Attack
3
Signal-LED
2
On
1
5
34
2
1

Transient Designer
10
The SUSTAIN control increases or reduces the level of the
sustain portion of a signal by up to 24 dB. For detailed informa-
tion about the mode of operation of the sustain control please
read the ”Tech Talk”section on pages 8 and 9.
Two envelope generators work in the SUSTAIN control circuitry,
too. Again an envelope follower pursues the original envelope
and adapts optimally to the curve of sustain. This second gene-
rator 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.
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. This is necessary to maintain a coherent and
stable stereo image.
The front panel controls of channel 1, including the ACTIVE
switch,function as the master controls in LINK mode.
The Transient Designer is ideally suited for use in professional
recording,in project or home studios and P. A. applications.
For the first time the Transient Designer provides the techno-
logy to manipulate the attack and sustain characteristics of a
signal regardless of level,and using simple controls.Usually equa-
lisers are used to separate instruments in a mix – the tonal aspect
of the signal is considered, but not the temporal aspect. By acce-
lerating the transients or/and shortening the sustain of an instru-
ment, 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 instru-
ments 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.
Control elements
Sustain 4
Link 5
Applications

Transient Designer
11
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.
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.
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 sustain period of a snare or a reverb-flag can be shortened
in a very musical way to obtain more transparency in the mix.
• Recording a live drum set,toms or overheads can be shortened
without physically damping them.
• Miking live drums is considerably faster and easier, because the
apparent 'distance' of the microphone can be corrected by
varying the ATTACK and SUSTAIN values.
• The Transient Designer is a perfect partner to noise gates in live
drum miking.
Channel or Subgroup Insert Sends
Channel or Subgroup Insert Returns
Multi-Track
Mixer
Sampler Output
Transient Designer output to Mixer
Mixer
Connections
Diagram 7
Connecting theTransient
Designer to the channel
inserts of the mixer to
process different tracks
Diagram 8
Direct wiring between
sampler or drum machine
and mixer
Drums & Percussion
Applications
Sampler

Transient Designer
12
• Corresponding adaptively to the duration of the original signal,
the sustain can be shortened more musically than with tightly
adjusted release times,effectively reducing crosstalk.
• When recording live drums or other instruments on a HD recor-
ding system, the Transient Designer prevents time-consuming
removing of crosstalk signals on the hard disk.
• It is possible to create unusual dynamic effects, including new
and interesting pan effects. If, for example, a mono loop is
patched through both channels of the Transient Designer
panned hard left and right in the mix, processing the left
channel with increased ATTACK and reduced SUSTAIN while
the right channel is adjusted in the opposite way, a very special
stereo loop sound is the result. You have to try this to appre-
ciate what it sounds like, but expect to hear a lot of unusual
stereo movement.
• By reducing ATTACK and increasing SUSTAIN, signals that are
too up-front sounding can be moved back into the mix.
Additionally the FX parts of too ”dry”signals are strengthened.
• Drum sounds are easier to integrate into the mix.If the acoustic
level of a snare is expanded to approximately +4 dB by increa-
sing the attack value,the effective increase of peak levels in the
overall mix is merely about 0.5 dB to 1 dB.
• Used for guitar sounds, the Transient Designer softens the
instrument by lowering the attack.Alternatively, increasing the
attack lets the sound jump to the front of the mix, which works
particularly well for picking guitars.
• Distorted electric guitar sounds are already highly compressed,
leaving them with minimal dynamic range. This can obscure
the note attacks, but increasing the attack setting clarifies the
individual notes.
• High distortion also prolongs the sustain, broadening the
sound. Reducing the SUSTAIN setting counteracts those
effects.
• Increasing the sustain period of miked acoustic guitars
produces clearer audible stereophonic sounds. Reducing the
sustain value can help dry up the sound.
• When recording choirs, the effect of too much ”ambience”can
be reduced by using a lower sustain setting.
• Frequently keyboard and sample sounds are intensively
compressed leaving little of their original dynamic range.
Increasing the attack brings back the natural dynamics so the
sounds need less space in the mix and are easier to pick out,
even at lower levels.
• ”Budget“ drum machines can provide sounds and grooves that
sound far more powerful and dynamic.
Guitar & Bass
Backings
Keyboard, Sampler,
Drum Machine
Applications

Transient Designer
13
Applications
• Effect sounds and sample libraries benefit from more punch
and more power – useful when working on TV commercials or
movie soundtracks.
• Outdoor recordings often suffer from poor microphone posi-
tioning.The Transient Designer can help create the effect of re-
positioning the mics during the mix.
• However, like with any good thing,you have to know where not
to use it. For example, mastering applications are not recom-
mended, because it can be problematic to generate unambi-
guous envelopes from a complex signal. Instead, treat the
individual elements within the mix.
Special care has gone into the design of the power supply of the
Transient Designer. The power supply is the heart of any elec-
tronic system, and the better it is, the better the whole system
works. In an audio system, this translates into better sound
quality, lower noise and lower distortion.
The power supply is based around a 15VA torroidal transformer
and is designed without an air gap to minimise induced hum and
noise.The primary voltage may be selected between 230 V/50 Hz
and 115 V/60 Hz by means of a recessed slide switch on the rear
panel and a ground-lift switch is fitted for use where ground
loops are causing hum problems. When the GND LIFT switch is set
to off,the circuit ground is isolated from the chassis ground.
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. The fuse has a value
of 315 mA.
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. Particular care has gone into the
circuit layout and component choice to minimise crosstalk
between the audio circuitry and control voltages.
Movie Post Pro
Mastering?
Internal 15 VA
torroidal transformer
Voltage selector
Ground-lift switch
Transformer,power cord and
mains connector with VDE,
UL and CSA approvals.
Fuses (primary voltages):
315 mA.
Positive and negative voltage
paths are smoothed with
22.000 microFarad
capacitors.
Power Supply

Transient Designer
14
Input & Output
Input impedance .......................................... = 100 kOhms
Output impedance ...................................... < 600 Ohms
Max. input level .............................................. +24 dBu
Max. output level .......................................... +22,4 dBu
Minimum load ohms ................................... 600Ohms
Relay Hard Bypass,Power Fail Safety
Measurements
Frequency response ..................................... 20 Hz - 100 kHz
... (100 kHz = -3 dB)
THD & N ............................................................ 0,004 % @ 1kHz
S/N CCIR 468-3 ............................................... -89 dBu
S/N A-weightened ........................................ -105 dBu
Power Supply
Torroidal transformer ................................... 15 VA
Fuse ................................................................... 200 mA
Ground-Lift switch,Voltage selector
Dimensions
Housing ............................................................ Standard EIA 19"/1U,
482 x 44 x 220 mm
Weight .............................................................. 2,25 kg
Note: 0 dBu = 0.775V.Subject to change without notice.
Specifications

Transient Designer
15
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Transient Designer
16
SPL electronics GmbH (hereafter called SPL) products are
warranted only inthe country where purchased, through the
authorised SPL distributor in that country, against defects in
material or workmanship. The specific period of this limited
warranty shall be that which is described to the original retail
purchaser by the authorised SPL dealer or distributor at the time
of purchase.
SPL does not, however, warrant its products against any and all
defects:1) arising out of materials or workmanship not provided
or furnished by SPL, or 2) resulting from abnormal use of the
product or use in violation of instructions, or 3) in products
repaired or serviced by other than authorised SPL repair facilities,
or 4) in products with removed or defaced serial numbers,or 5) in
components or parts or products expressly warranted by another
manufacturer.
SPL agrees, through the applicable authorised distributor, to
repair or replace defects covered by this limited warranty with
parts or products of original or improved design, at its option in
each respect, if the defective product is shipped prior to the end
of the warranty period to the designated authorised SPL warranty
repair facility in the country where purchased, or to the SPL
factory in Germany, in the original packaging or a replacement
supplied by SPL, with all transportation costs and full insurance
paid each way by the purchaser or owner.
All remedies and the measure of damages are limited to the
above services. It is possible that economic loss or injury to
person or property may result from the failure of the product;
however, even if SPL has been advised of this possibility, this
limited warranty does not cover any such consequential or inci-
dental damages.Some states or countries do not allow the limita-
tions or exclusion of incidental or consequential damages, so the
above limitation may not apply to you.
Any and all warranties, express or implied, arising by law, course
of dealing, course of performance, usage of trade, or otherwise,
including but not limited to implied warranties of merchantabi-
lity and fitness for particular,are limited to a period of 1 (one) year
from either the date of manufacture. Some states or countries do
not allow limitations on how long an implied warranty lasts, so
the above limitations may not apply to you.
This limited warranty gives you specific legal rights, and you
may also have other rights which vary from state to state,country
to country.
SPL electronics GmbH, D-41372 Niederkruechten, Germany.
Warranty