User Manual

UAD Powered Plug-Ins Manual - 311 - Chapter 36: SPL Transient Designer
channels of the reverb return through two separate Transient Designer in-
stances. Turn the ATTACK fully right on one instance and reduce SUSTAIN
slightly (about -1.5 dB). On the other instance 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 ex-
treme positions, but you run the danger of ending up with a lopsided effect
that appears out of balance.
Backings A common problem especially with tracks that are recorded and mixed in dif-
ferent studios: Backings lack of ambience, and finding a reverb that
“matches” takes time... so simply emphasize the original ambience 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 main-
tain 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 microphone po-
sitioning—simply optimize them afterwards.
Mastering Like with any good thing, you also have to know where not to use it. For ex-
ample, 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 ele-
ments within the mix.