Transient shaping was made popular by SPL with their classic Transient Designer hardware unit, which uses something called ‘differential envelope technology’ to shape the transients of sounds no matter whether they’re quiet or loud ones. In fact, this is the only processor we’re covering that doesn’t react to level directly – there’s no ‘threshold’ – responding instead to changes in level.
SPL’s processor is now available in plugin form both direct from SPL and also via the UAD platform. It’s no longer the only such plugin on the block, though, as you’ll find transient shapers from a number of plugin manufacturers. They tend to fall into two camps: the simple two-knob attack/sustain types, and the graphic-based ‘envelope shapers’ which tend to include a few more parameters. Either way, what we’re looking at is a processor that tracks and reshapes the envelope of the signal it encounters. It’s tempting to just head for the attack control to adjust the front end of a sound, but you also have control over the sustain, and this can be just as important when finessing the sound. Reducing the sustain for a more ‘clipped’ (as in abrupt, not distorted) sound can be a great alternative to gating when tightening up beats. However, increasing the sustain is often more rewarding, and on drums, for example, you can create the impression of quite heavy pumping compression simply by extending out the sustain control, without the transientsquashing that can be associated with compressors. In general, transient shapers work best on shorter sounds, as smooth, sustained sounds can begin to sound a bit lumpy under heavy processing. Finally, watch your output levels, as a transient shaper can generate considerable peak levels.