SPL Transient Designer 2715 User manual

Manual
Transient Designer
Dynamic Envelope Processor
RackPack Module, Model 2715
LINKON
T
R
A
N
S
I
E
N
T
D
E
S
I
G
N
E
R
2
7
1
5
dB
dB
S
I
G
.
O
V
L
-
2
0
-
1
5
-
1
0
-
6
-
3
0
1
2
3
5
+
6
S
U
S
T
A
I
N
-
2
4
-
1
8
-
1
2
-
6
-
3
0
3
6
1
2
1
8
+
2
4
O
U
T
P
U
T
G
A
I
N
A
T
T
A
C
K
-
1
5
-
1
3
-
1
0
-
6
-
3
0
3
6
1
0
1
3
+
1
5
dB

2RackPack: Transient Designer
Manual Transient Designer Model 2715
Version 1.2 – 5/2011
Designer: Vincenzo Triolo
This user's guide contains a description of the product. It in no way represents
a guarantee of particular characteristics or results of use. The information in
this document has been carefully compiled and verified and, unless otherwise
stated or agreed upon, correctly describes the product at the time of packaging
with this document.
Sound Performance Lab (SPL) continuously strives to improve its products and
reserves the right to modify the product described in this manual at any time
without prior notice. This document is the property of SPL and may not be cop-
ied or reproduced in any manner, in part or fully, without prior authorization by
SPL.
SPL electronics GmbH, Sohlweg 55, 41372 Niederkruechten, Germany
Phone. [phone]
Fax [phone]
Email: [e-mail]
Internet: spl.info
CE Declaration of Conformity
Manufacturer: SPL electronics GmbH, Type of Equipment: Audio Signal
Processor, Product: RackPack/Transient Designer, Model 2715, Compliance
Engineer: Wolfgang Neumann
Test Basis: EN50081-1:1992, EN50082-1:1992, EN60065:1993,
EN61000-3-3:1995, EN60065:2002, EN55013:2001, EN55020:2002,
EN61000-3-2:2000, 73/23 EWG; 93/68 EWG.
We herewith declare, that the construction of the Transient Designer, Model
2715, is in compliance with the standards and regulations mentioned above.
Notes on environmental protection
At the end of its operating life, this product must not be disposed of
with regular household waste but must be returned to a collection
point for the recycling of electrical and electronic equipment. The
“wheelie bin“ symbol on the product, user‘s manual and packaging
indicates that. The materials can be re-used in accordance with their
markings. Through re-use, recycling of raw materials, or other forms of recycling
of old products, you are making an important contribution to the protection of
our environment. Your local administrative office can advise you of the respon-
sible waste disposal point.
WEEE Registration: 9 7 3 3 49 8 8
© 2011 SPL electronics GmbH. All rights reserved. Names of other companies
and their products are trademarks of their respective owners.

RackPack: Transient Designer 3
Important Safety Information ...................................... 4
Hook Up .............................................................. 6
Scope Of Delivery ................................................... 6
Introduction .......................................................... 7
Rear Panel/Connections ........................................... 8
Wiring ............................................................. 8
XLR Sockets, Lundahl I/O Transformers, Channel Split .... . . . 9
Control Elements .................................................... 10
On, Attack ........................................................ 10
Sustain, Output Gain ............................................. 11
Link Mode, Configuring Modules For Link Mode ............... 12
Signal-LED, Overload-LED ....................................... 13
Applications ......................................................... 14
Drums & Percussion ............................................. 14
Drums: Ambience ................................................ 15
Guitars, The Transfer Of Dynamic Structures .................... 16
Bass: Staccato vs. Legato ........................................ 17
The Re-Invention Of Reverb ....................................... 17
Backings, Keyboards & Sampler, Post Production, Mastering .. . 18
Technology .......................................................... 19
Differential Envelope Technology, Attack Control Circuitry .... 19
Sustain Control Circuitry ......................................... 20
Specifications ....................................................... 22
Block Diagram ...................................................... 23
Options/Information On Lundahl Transformers ................... 24
Copy Master: Recall Settings ....................................... 25
Contents

4RackPack: Transient Designer
Important Security Information
Please note and retain this information. Carefully read and follow all
of the safety and operating instructions before you use the machine.
Be doubly careful to follow all warnings and special safety instructions
noted in this manual and on the unit. The following information refers
to modules built into the RackPack frame.
Connections: Only use the connections as described. Other connec-
tions can lead to health risks and equipment damage.
Water And Humidity: Do NOT use this machine anywhere near water
(for example near a wash basin or bath, in a damp cellar, near swim-
ming pools, or the like). In such cases there is an extremely high risk of
fatal electrical shocks!
Insertion Of Foreign Objects Or Fluids: NEVER allow a foreign object
through any of the machine‘s chassis openings. You can easily come
into contact with dangerous voltage or cause a damaging short circuit.
NEVER allow any fluids to be spilled or sprayed on the machine. Such
actions can lead to dangerous electrical shocks or fire!
OPENING THE DEVICE: Open the device only to fit or exchange mod-
ules. The fitting and/or exchange of modules should only be carried
out by qualified persons. In the light of possible physical damage
or injuries any manipulation is at your own risk. In order to avoid
any residual voltage, the device should be disconnected from any
power source at least 5 minutes prior to opening it. If you handle the
device improperly or ignore the manual (part of the delivery of the
RackPack frame) you risk to damage the device or expose yourself
to an electric shock. In these cases SPL electronics GmbH denies any
responsibility.
Electrical Power: Run this machine ONLY from sources which can
provide proper power at the prescribed rating. When in doubt about
a source, contact your dealer or a professional electrician. To be sure
you have isolated the machine, do so by disconnecting the power cord
from your wall connection. Be sure that the power cord plug is always
accessible. When not using the machine for a longer period, make sure
to unplug it from your wall power socket.
Power Cord Protection: Make sure that your power cord is arranged to
avoid being stepped on or any kind of crimping and damage related
to such event. Do not allow any equipment or furniture to crimp this
power cord.
Power Connection Overloads: Avoid any kind of overload in connec-
tions to wall sockets, extension or splitter power cords. Always keep
manufacturer warnings and instructions in mind. Overloads create fire
hazards and risk of dangerous shocks!

RackPack: Transient Designer 5
Important Security Information
Lightning: Before thunderstorms or other severe weather, disconnect
the machine from wall power (but to avoid life threatening lightning
strikes, not during a storm). Similarly, before any severe weather, dis-
connect ALL the power connections of other machines and antenna and
phone/internet cables which may be interconnected so that no light-
ning damage or overload results from such secondary connections.
Air Circulation: Chassis openings offer ventilation and serve to pro-
tect the machine from overheating. NEVER cover or otherwise close
off these openings. NEVER place the machine on a soft surface (car-
pet, sofa, etc.). Make sure to provide for a mounting space of 4-5 cm/2
inches when mounting the machine in racks or cabinets.
Controls And Switches: Operate the controls and switches only as
described in the manual. Incorrect adjustments outside safe para-
meters can lead to damage and unnecessary repair costs. Never use
the switches or level controls to effect excessive or extreme changes.
Repairs: Unplug the machine and immediately contact a qualified
technician when you think repairs are needed – or when moisture or
foreign objects may accidentally have gotten in to the housing, or in
cases when the machine may have fallen and shows any sign of having
been damaged. This also applies to any situation in which the machine
has not been subjected to any of these unusual circumstances but
still is not functioning normally or its performance is substantially
altered.
In cases of damage to the power cord or its plug, first consider turning
off the main circuit breaker before unplugging the power cord.
Replacement/Substitute Parts: Be sure that any service technician
uses original replacement parts or those with identical specifications
as the originals. Incorrectly substituted parts can lead to fire, electri-
cal shock, or other dangers, including further equipment damage.
Safety Inspection: Be sure always to ask a service technician to con-
duct a thorough safety check and ensure that the state of the repaired
machine is in all respects up to factory standards.
Cleaning: In cleaning, do NOT use any solvents, as these can damage
the chassis finish. Use a clean, dry cloth (if necessary, with an acid-
free cleaning oil). Disconnect the machine from your power source
before cleaning.

6RackPack: Transient Designer
Fitting A Module
The fitting and/or exchange of modules should only be carried out by
qualified persons. Please read the manual of the RackPack frame. It
contains all information needed to fit a module as well as all safety
and notes and warnings. If you don‘t have the manual at hand, you
can download it like all SPL product manuals from our website http://
www.soundperformancelab.com.
Symbols And Notes
IN THIS MANUAL A LIGHTNING SYMBOL WITHIN A TRIANGLE WARNS
YOU ABOUT THE POTENTIAL FOR DANGEROUS ELECTRICAL SHOCKS
– WHICH CAN ALSO OCCUR EVEN AFTER THE MACHINE HAS BEEN
DISCONNECTED FROM A POWER SOURCE.
AN EXCLAMATION MARK (!) WITHIN A TRIANGLE IS INTENDED TO
MAKE YOU AWARE OF IMPORTANT OPERATIONAL ADVICE AND/OR
WARNINGS THAT MUST BE FOLLOWED. BE ESPECIALLY ATTENTIVE TO
THESE AND ALWAYS FOLLOW THE ADVICE THEY GIVE.
The symbol of a lamp directs your attention to explanations of impor-
tant functions or applications.
Attention
Do not attempt any alterations to this machine without the approval
or supervision of SPL electronics GmbH. Doing so could nullify com-
pletely any and all of your warranty/guarantee rights and claims to
user support.
The scope of delivery comprises:
• The module
• This manual
• A flat ribbon cable to connect and a jumper connector to configure
two Transient Designer modules for LINK mode.
• Two Philips screws to mount the module to the back panel (if mo-
dule is delivered separately from the frame). Further screws needed
for mounting the module remain when you remove front and rear
covers from the RackPack frame.
Hook Up
Scope Of Delivery

RackPack: Transient Designer 7
The new Transient Designer provides a revolutionary concept for
level-independent dynamic processing. In this it differs in principle
from common compressors that are based upon processing signals
of a specific level. Working with the Transient Designer is very simple:
Attacks can be amplified or attenuated and sustain may be prolonged
or shortened. However, the possibilities for studio and live application
are seemingly endless.
Technical foundation is SPL‘s Differential Envelope Technology (DET)
which allows level-independent dynamic processing by calculating dif-
ferences in generated envelopes. These envelopes are always track-
ing the curve of the original signal to provide optimal results in every
moment of the music.
Thanks to the level-independent processing DET the setting of a
threshold is needless. Other common controls of dynamic process-
ing, such as ratio or parameters for time-constants are automated and
optimized adaptively in a musical manner according to the characteris-
tics of the input signal.
So 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.
Thus, in a very obvious and simple way, the Transient Designer opens
a whole new dimension in dynamic processing with entirely new, stun-
ning and vast possibilities for dynamic manipulation and processing
that cannot even be duplicated with several daisy-chained, conven-
tional compressors or other dynamics devices.
A new feature of the Transient Designer module for the RackPack
series is the output gain control that enables you to compensate
changes in the level of the processed signal. This ensures a simple
and safe adjustment of levels for any following device – especially A/D
converters.
The Transient Designer uses the excellently specified THAT 2181-VCAs,
which are particularly natural and transparent sounding and renowned
for minimal distortion values. The 2181 processes highest amplitudes
without damping of high frequencies or reducing bass.
Each channel is equipped with a relay hard bypass to ensure the
switching audio signals directly from input to outputs in the case of a
power failure. Signal flow is always maintained.
Introduction

8RackPack: Transient Designer
Rear Panel/Connections Wiring
or
Mixer
Insert Send
Converter
Output
or
Mixer
Ins. Return
Converter
Input
Channel
Split
O
U
T
P
U
T
2
O
U
T
P
U
T
2
O
U
T
P
U
T
1
O
U
T
P
U
T
1
I
N
P
U
T
I
N
P
U
T
RackPack

RackPack: Transient Designer 9
The Transient Designer is fitted with one XLR input and two XLR out-
puts for balanced operation.
Pin-wiring of all XLR sockets:
Pin 1 = GND, Pin 2 = hot (+), Pin 3 = cold (-)
Discrete balancing stages for both in- and output provide high com-
mon mode rejection and are capable of driving long cables (depend-
ing on the capacity of the cables and the following input balancing
stages).
The illustration shows the correct pin-wiring of the balanced XLR sock-
ets if an unbalanced wiring is required.
Lundahl I/O Transformers
The Input and Output 1 stages may be transformer-balanced if ordered
(please refer to page 26 for detailed information). Otherwise, all
inputs and outputs are balanced electronically. Output 2 cannot be fit-
ted with a transformer. It is actively decoupled and allows for the input
signal to be split into two output signals.
Channel Split
The channel split option through Output 2 always provides alterna-
tives in processing or routing of the input channel. While one output
may be used directly for mixing, the second output can be routed in
any other way—for example to further RackPack modules, to a same
module for LINK mode operation, to other effect units etc.
A very interesting LINK mode application for Transient Designer modules
is described under “Applications/The Transfer Of Dynamic Structures”
on page 16.
Rear Panel/Connections
XLR Sockets, Transformers, Channel Split
Input Output
balanced unbalanced balanced unbalanced
1=GND
2=hot (+)
3=cold (-)
1
2
3
1
2
3
12
3
12
3

10 RackPack: Transient Designer
On
With the ON button you can turn the device on or off. The ON button is
illuminated when the device is active.
Relay hard bypass circuits ensure signals to be directly switched from
input to output in the case power failures – this “Power Fail Safety“
feature guarantees signal flow in any situation.
If you operate a Transient Designer module in LINK-Mode, the ON but-
ton of the master module controls both modules. The LINK and ON
buttons of the Transient Designer module that is currently in LINK
mode will thus be illuminated as well—although they have not been
activated.
For more information on the LINK mode and the fitting of the LINK
cable please refer to “Link Mode”, page 12.
Attack
With the ATTACK control you can amplify or attenuate the attack of
a signal by up to 15 dB. For more information on the operation of the
ATTACK control please refer to “Technology” on page 19 cont.
The ATTACK control circuitry uses two envelope generators. One
follows the shape of the original curve and adapts perfectly to the
dynamic gradient. The second envelope generator produces an enve-
lope with a slower attack. From the difference of both envelopes the
VCA control voltage is derived. Positive ATTACK values emphasize
attack events, negative ATTACK values smooth out the attack enve-
lopes of sound events.
For an extensive description and explanation of the possible applica-
tions of the ATTACK control please refer to “Applications” on page 14
cont.
Control Elements On, Attack
LINKON
T
R
A
N
S
I
E
N
T
D
E
S
I
G
N
E
R
2
7
1
5
S
I
G
.
O
V
L
A
T
T
A
C
K
-
1
5
-
1
3
-
1
0
-
6
-
3
0
3
6
1
0
1
3
+
1
5
dB
dB
-
2
0
-
1
5
-
1
0
-
6
-
3
0
1
2
3
5
+
6
O
U
T
P
U
T
G
A
I
N
dB
S
U
S
T
A
I
N
-
2
4
-
1
8
-
1
2
-
6
-
3
0
3
6
1
2
1
8
+
2
4
LINKON
T
R
A
N
S
I
E
N
T
D
E
S
I
G
N
E
R
2
7
1
5
dB
dB
S
I
G
.
O
V
L
-
2
0
-
1
5
-
1
0
-
6
-
3
0
1
2
3
5
+
6
S
U
S
T
A
I
N
-
2
4
-
1
8
-
1
2
-
6
-
3
0
3
6
1
2
1
8
+
2
4
O
U
T
P
U
T
G
A
I
N
A
T
T
A
C
K
-
1
5
-
1
3
-
1
0
-
6
-
3
0
3
6
1
0
1
3
+
1
5
dB

RackPack: Transient Designer 11
Sustain
With the SUSTAIN control you can amplify or attenuate the sustain of
a signal by up to 24 dB. For more information on the operation of the
SUSTAIN control please refer to “Technology“ on page 20 cont.
The SUSTAIN control circuitry also uses two envelope generators.
One follows the shape of the original curve and adapts perfectly to
the dynamic gradient. The second envelope generator produces an
envelope with a longer sustain. From the difference of both envelopes
the VCA control voltage is derived. The gradient of the control voltage
matches the time flow of the original signal.
Positive SUSTAIN values lengthen the sustain, negative SUSTAIN val-
ues shorten the sustain.
For an extensive description and explanation of the possible applica-
tions of the SUSTAIN control please refer to “Applications”, page 14
cont.
Output Gain
The OUTPUT GAIN control allows you to reduce the output signal by up
to -22dB or boost it by up to +6dB. This ensures that following devices
receive an optimized level. The centered 12-o‘clock position of the con-
trol equals 0dB output gain.
IMPORTANT: In LINK mode, the master module does NOT transfer
OUTPUT GAIN settings to the slave-module. You ALWAYS have to set
the output values of both modules manually.
Control Elements
Sustain, Output Gain
LINKON
T
R
A
N
S
I
E
N
T
D
E
S
I
G
N
E
R
2
7
1
5
S
I
G
.
O
V
L
dB
-
2
0
-
1
5
-
1
0
-
6
-
3
0
1
2
3
5
+
6
O
U
T
P
U
T
G
A
I
N
dB
S
U
S
T
A
I
N
-
2
4
-
1
8
-
1
2
-
6
-
3
0
3
6
1
2
1
8
+
2
4
A
T
T
A
C
K
-
1
5
-
1
3
-
1
0
-
6
-
3
0
3
6
1
0
1
3
+
1
5
dB
LINKON
T
R
A
N
S
I
E
N
T
D
E
S
I
G
N
E
R
2
7
1
5
S
I
G
.
O
V
L
A
T
T
A
C
K
-
1
5
-
1
3
-
1
0
-
6
-
3
0
3
6
1
0
1
3
+
1
5
dB
dB
-
2
0
-
1
5
-
1
0
-
6
-
3
0
1
2
3
5
+
6
O
U
T
P
U
T
G
A
I
N
dB
S
U
S
T
A
I
N
-
2
4
-
1
8
-
1
2
-
6
-
3
0
3
6
1
2
1
8
+
2
4

12 RackPack: Transient Designer
Control Elements
Link Mode
You can operate two Transient Designer modules at a time by activat-
ing the LINK mode. You can only run two modules in the LINK mode at
a time. Main applications may be stereo processings. Another interest-
ing example is the transfer of a rhythmical pattern or structure from
one channel to another (see “The Transfer Of Dynamic Structures” on
page 16).
When operated in LINK mode, both modules are operated by the mas-
ter module’s control voltage. This ensures a coherent stereo operation.
In LINK mode, all controls of the master module—including the ON and
LINK switch—control the slave module. The master also controls all
switch illuminations on the slave. All controls of the slave module are
inactive in LINK mode. IMPORTANT: The only exception is the Output
Gain control which always has to be set manually at each module.
If you press the LINK button of the slave module without establishing
the LINK mode through the master module, you will find that the LINK
LED of the master module will not illuminate. This tells you that you
have pressed the wrong LINK button since the controls of the master
module control both devices in LINK mode.
Configuring Modules For LINK Mode
On the circuit board of the module you can see two twin dip switches.
One switch is positioned vertically. Below
this dip switch you see labels: the left switch
is the “Master” switch, the right switch is
the “Slave” switch. On a master module, set
the left switch upwards and the right switch
downwards. On a slave module, set the
switches the opposite way: left switch down-
wards, right switch upwards.
The other twin dip switch is positioned hori-
zontally. On a master module, set both dips
switches to the right. On a slave module, set
both dip switches to the left.
Now connect both modules with the flat ribbon cable which is pro-
vided with each module that can be driven in LINK mode (for further
details on this connection please refer to the RackPack frame man-
ual). >
Link Mode
LINKON
T
R
A
N
S
I
E
N
T
D
E
S
I
G
N
E
R
2
7
1
5
S
I
G
.
O
V
L
A
T
T
A
C
K
-
1
5
-
1
3
-
1
0
-
6
-
3
0
3
6
1
0
1
3
+
1
5
dB
dB
-
2
0
-
1
5
-
1
0
-
6
-
3
0
1
2
3
5
+
6
O
U
T
P
U
T
G
A
I
N
dB
S
U
S
T
A
I
N
-
2
4
-
1
8
-
1
2
-
6
-
3
0
3
6
1
2
1
8
+
2
4

RackPack: Transient Designer 13
Signal LED, Overload LED Control Elements
Since the modules are configured as master or slave with the dip
switches on the circuit board, you have to decide upon their placement
within the RackPack before you install them. It is customary that the
left module serves as master and the right module serves as the slave.
If two properly connected modules can not be run in LINK mode,
chances are that the dip switches are in the wrong position. The
switches in both modules could be in the same position for example
(upon delivery the switches of all modules are set to activate the mod-
ule’s master mode).
Check the position of the dip switches on both modules and change
them according to the configuring information on page 12.
Signal LED
The SIG. LED indicates that an audio signal reaches the input with a
level above -20 dB. This LED helps the operator especially in complex
setups to determine immediately whether the Transient Designer actu-
ally receives any signal.
Overload LED
The OVL LED indicates a potential internal overload. It begins indicat-
ing approximately 3 dB ahead of any expected overload to leave head-
room for peak levels.
Overloads must be avoided to exclude audible distortions. The gain-
ing is still perfect in most cases when the OVL LED is illuminating
shortly since there’s still a headroom of 3 dB for peak levels.
Permanent illumination of the OVL LED indicates overloads with possi-
ble audible distortions. Reduce the Output Gain control if the OVL LED
illuminates permanently until the OVL LED goes out or flashes shortly.
LINKON
T
R
A
N
S
I
E
N
T
D
E
S
I
G
N
E
R
2
7
1
5
S
I
G
.
O
V
L
A
T
T
A
C
K
-
1
5
-
1
3
-
1
0
-
6
-
3
0
3
6
1
0
1
3
+
1
5
dB
dB
-
2
0
-
1
5
-
1
0
-
6
-
3
0
1
2
3
5
+
6
O
U
T
P
U
T
G
A
I
N
dB
S
U
S
T
A
I
N
-
2
4
-
1
8
-
1
2
-
6
-
3
0
3
6
1
2
1
8
+
2
4

14 RackPack: Transient Designer
Applications
The Transient Designer is ideally suited for use in professional record-
ing, in project or home studios and sound reinforcement applications.
For the first time you can manipulate and control the attack and sus-
tain characteristics of a signal regardless of level in the most intuitive
and simple way. Usually equalizers are used to separate instruments
in a mix – the tonal aspect of the signal is considered, but not the tem-
poral aspect.
The Transient Designer opens this further dimensions in signal pro-
cessing. By manipulating the attack and sustain curves of a sound
event, the mix can be made to sound more transparent. Instruments
can be mixed at lower levels while still maintaining their positions in
the mix—but occupying less space.
During a remix or in general after miking you can arrange new posi-
tions of instruments. Reduce ATTACK and increase SUSTAIN to move
signals back into the mix that are too present. Additionally the FX parts
of too dry signals are strengthened.
Applied to single instruments or loops the Transient Designer allows
you to create entirely new sounds and/or effects.
The following examples are given as suggestions and examples. The
described procedures with specific instruments can of course be
transfered to others which are not mentioned here.
Drums & Percussions
Processing drum and percussion sounds is probably the Transient
Designer’s most typical range of application, both from samples to
live drum sets:
• Emphasize the attack of a kick drum or a loop to increase the power
and presence in the mix.
• Shorten the sustain period of a snare or a reverb-flag in a very musi-
cal way to obtain more transparency in the mix.
• When recording a live drum set, shorten the toms or overheads
without physically damping them. Usual efforts to damp and mike
are reduced remarkably. Since muffling of any drum also changes
the dynamic response, the Transient Designer opens up a whole
new soundscape.
• Miking live drums is considerably faster and easier because you can
correct the apparent ‘distance‘ of the microphone by simply varying
the ATTACK and SUSTAIN values.
Drums & Percussions

RackPack: Transient Designer 15
• The Transient Designer is a perfect alternative to noise gates in
live drum miking. Adaptively reacting to the duration of the origi-
nal signal, the sustain is shortened more musically than with fixed
release times and a drumset is freed from any crosstalk quickly and
effectively.
• Create unusual dynamic effects including new and interesting pan
effects. For example, patch a mono loop through two channels of the
Transient Designer and pan fully left and right in the mix. Process
the left channel with increased ATTACK and reduced SUSTAIN while
you adjust the right channel the opposite way and you get very spe-
cial stereo loop sounds. You have to try this to appreciate what it
sounds like, but expect to hear a lot of unusual stereo movement.
• Enjoy an amazingly simple integration of drum sounds into a mix. If
the acoustic level of a snare is expanded to approximately +4 dB by
increasing the attack value, the effective increase of peak levels in
the overall mix is merely about 0.5 dB to 1 dB.
Drums: Ambience
If your drums happen to sound as if the room mics have been placed in
a shoe closet, the Transient Designer can immediately turn that sound
into the ambience of an empty warehouse. Just send the stereo room
mics through two Transient Designer modules in LINK mode and crank
the ATTACK control to emphasize the first wave.
Now slowly increase SUSTAIN values to bring up a “all-buttons-in-
1176-sound“ room tone—but without pumping cymbals. For a solid
and driving rhythm track just fine-tune the SUSTAIN control to make
sure that the room mic envelope ends more or less exactly on the
desired upbeat or downbeat.
Drums: Ambience Applications

16 RackPack: Transient Designer
Guitars
Use the Transient Designer on guitars to soften the sound by lower-
ing the ATTACK. Increase ATTACK for in-the-face sounds, which is very
useful and works particularly well for picking guitars. Or blow life and
juice into quietly played guitar parts.
Distorted guitars usually are very compressed, thus not very dynamic.
Simply increase the ATTACK to get a clearer sound with more precision
and better intonation despite any distortion.
Heavy distortion also leads to very long sustain. The sound tends to
become mushy; simply reduce SUSTAIN to change that. If you, how-
ever, want to create soaring guitar solos that would make even David
Gilmour blush, just crank up the SUSTAIN control to the max and there
you go.
With miked acoustic guitars you can emphasize the room sound by
turning up SUSTAIN. If you want the guitars to sound more intimate
and with less ambience, simply reduce SUSTAIN.
The Transfer Of Dynamic Structures
This application requires two modules in the basic and four modules in
stereo mode. Feed a master module with a kick drum track and select
high ATTACK values. Don‘t care about the output signal, it is not used
or plugged anywhere.
Now feed the second module with a keyboard track for example. Run
this second module as slave in LINK mode. The attack of the kick drum
will now be applied to the keyboard track. If you vary the ATTACK or
the SUSTAIN of the master module you can easily optimize the results.
This method is also very useful to make kick drum and bass fit
together like a hand and glove. The bass simply receives the attack of
the kick drum. If kick drum and bass are already tight, added ATTACK
on the kick drum track emphasizes the transfer of drum attacks to the
bass track. If kick drum and bass are less tight, SUSTAIN variations on
the kick drum track allow you to “catch” the bass and get it closer and
tighter to the kick drum.
Applications Guitars, The Transfer of Dynamic Structures

RackPack: Transient Designer 17
Bass: Staccato vs. Legato
Speaking of bass: Imagine a too sluggishly played bass track ... you
may not have to re-record it: Reduce the SUSTAIN until you can hear
clear gaps between the downbeats—the legato will turn into a nice
staccato, driving the rhythm-section forward.
The Re-Invention Of Reverb
With all reverb applications mentioned below, the left and right chan-
nels of the Transient Designer are connected to the DAW or console and
panned hard to left and right (or where they would have been panned to
without the Transient Designer) to achieve the same stereo image.
Always and everywhere the same reverb presets – boring, aren‘t they?
Try looping the left and right output of your reverb through two linked
Transient Designer modules. Now crank the master ATTACK control to
the max and reduce SUSTAIN to a bare minimum. The intensity of the
reverb is now much higher in the beginning while the reverb time is
reduced.
The opposite can be just as intriguing: manipulate a reverb pattern
so that it takes on a pyramidal slope. Turn the ATTACK all the way to
the left and SUSTAIN all the way to the right. Now the beginning of the
reverb is strongly reduced whereas the sustain blossoms and seems
almost endless (obviously that will only happen if the decay of the
reverb in the actual reverb device has been set to a sufficient value—a
signal must always be present as long as the sustain time lasts.)
You can also create a reverb effect that moves from one channel to
the other. Reverb presets with a long decay or a long pre-delay and
especially those that have flamboyant reflections set to appear after
the beginning of the diffuse reverberation tail are predestined for
that. Insert the left and the right channel of the reverb through two
Transient Designer modules that are NOT running in LINK mode this
time. Turn the ATTACK fully right on one module and reduce SUSTAIN
slightly (about -1.5 dB). On the other module turn the ATTACK fully left
and the SUSTAIN to the 3-o‘clock position (about +12 dB).
These settings preserve the original complexity of the reflections in
the reverb but the maximum intensity of the effect will move from the
left to the right in the mix while the reverb will maintain it‘s presence in
both channels. You can make this effect even more dramatic by setting
all controls to their most extreme positions, but you run the danger of
ending up with an lopsided effect that appears out of balance.
Bass, The Re-Invention of Reverb Applications

18 RackPack: Transient Designer
Backings
A common problem especially with tracks that are recorded and mixed
in different studios: Backings lack of ambience, and finding a reverb
that “matches” takes time ... so simply emphasize the original ambi-
ence by turning up the Transient Designer’s SUSTAIN control.
And the opposite problem, too much ambience, is similarly simply
solved with the opposite processing —just reduce SUSTAIN.
Keyboards & Sampler
Sounds in keyboards and samples are usually highly compressed and
maintain only little of natural dynamics. Increase the ATTACK values
to re-gain a more natural response characteristic. The sounds occupy
less space in the mix and appear more identifiable even at lower
volumes.
Post Production
When dealing with overdubs in movies you can easily add more punch
and definition to effect sounds from any sample library.
The same applies to outdoor recordings that suffer from poor micro-
phone positioning—simply optimize them afterwards.
Mastering
Like with any good thing, you also have to know where not to use it. For
example, using a Transient Designer in mastering is not recommended,
as it is rarely a good idea to treat a whole mix at once. Instead, treat
individual elements within the mix.
Applications Backings, Keyboards & Sampler, Post Prod., Mastering

RackPack: Transient Designer 19
Of course you don‘t have to know how the Transient Designer works in
order to use it. However, since it offers a completely novel signal pro-
cessing, nothing shall be concealed from the more curious users.
Differential Envelope Technology (DET)
SPL‘s DET is capable of level-independent envelope processing and
thus makes any threshold settings unnecessary. Two envelopes are
generated and then compared. From the difference of both envelopes
the VCA control voltage is derived. The DET ensures that both low and
loud signals (pianissimo to fortissimo) are treated the same way.
Both ATTACK and SUSTAIN control circuitries operate simultaneously
and don‘t affect each other.
The ATTACK Control Circuitry
The ATTACK control circuitry uses two envelope generators. The first
one generates a voltage (Env 1) that follows the original waveform. The
second envelope generator creates the envelope Env 2 with a slower
attack envelope.
Diagram 1 illustrates the original curve and the two created envelopes
that control the ATTACK processing. Envelope generator Env 1 follows
the original waveform. Env 2 is generated with reduced attack.
Technology
DET, Attack Control Circuitry
Diagram 1: Generated Envelopes (Attack)
U/V Env 1
Env 2 (slower attack)
t/ms
Original Waveform

20 RackPack: Transient Designer
Diagram 2 shows the difference between Env 1 and Env 2 that defines
the control voltage of the VCA. The shaded area marks the difference
between Env 1 and Env 2 that controls the control voltage of the VCA.
The amplitude of the attack is increased if positive ATTACK values are
set. Negative ATTACK values reduce the level of the attack transient.
Diagram 3 displays the processed waveforms with maximum and mini-
mal ATTACK to compare against the original waveform in diagram 1.
The SUSTAIN Control Circuitry
The SUSTAIN control circuitry also plays host to two envelope genera-
tors. The envelope tracker Env 3 again follows the original waveform.
The envelope generator Env 4 maintains the level of the sustain on the
peak-level over a longer period of time.
The control voltage of the VCA is again derived from the difference
between the two voltages. Sustain amplitude is increased for positive
SUSTAIN settings and reduced for negative settings.
Technology
Diagram 2: Calculated Control Voltage (Attack)
Difference Env 1-Env 2
(Equals VCA Control Voltage)
U/mV
t/ms
Diagram 3: Processed Waveforms (Attack)
Maximum Attack
Minimum Attack
Original Waveform
t/ms
U/V
Attack Control Circuitry, Sustain Control Circuitry