The Transient Designer offers a completely new technology for level-independent shaping of the dynamic response of a sound: For the first time it is possible to control the attack and sustain behaviour of a signal in a very simple way! Unlike other dynamic devices, the processing is not goverened by the signal level but rather by its dynamic envelope, so all signals (loud and soft) are processed equally.

With no effort
you can shorten or lengthen the attack and sustain of all kinds of percussive signals, such as the bass drum, snares, toms, congas etc. to let them jump into your face or to flatten the signals. Booming toms for example are dried up in seconds — it’s almost like being able to change the amount of drum damping after the recording. Your idea of a kick drum sound is a kick drum in the words best sense? Just dial it in.

The same applies to virtually any other signal: Amplify or reduce the picking sound of an acoustic guitar, hold the sound of the strings longer, reduce the reverb time of a choir, actuate the piano pedal “electronically”, turn down the slap bass a notch or give it even more attack, etc.

Some say it is a must-have
Kenny Aronoff (Joe Cocker), Bernie Becker (Neil Diamond), Carl Cadden-James (Ludacris), Ed Cherney (Rolling Stones), Joey DeMaio (Manowar), Greg Droman (Brooks &Dunn), Richard Dodd (Tom Petty), Jim Ebdon (Aerosmith), Serban Ghenea (Justin Timberlake), Mark Linett (Brian Wilson), Bob Ludwig (Bruce Springsteen), John McBride (Martina McBride), Mark Needham (Fleetwood Mac), Justin Niebank (Brad Paisley), Simon Osborne (Sting), Simon Phillips (Toto), Ronald Prent (Rammstein), Jack Joseph Puig (John Mayer), Dave Reitzas (Madonna), Barry Rudolph (The Corrs), Cenzo Townshend (U2), Michael Wagener (Ozzy Osborne) ...