Waves Trans-X Manuale utente

Waves Trans-X software guide page 1 of 8

Waves – Trans-X

Software Audio Processor

User’s Guide

Waves Trans-X software guide page 2 of 8

Chapter 1 – Introduction and Overview

The Waves Trans-X transient processor is a special breed of dynamics

processor designed specifically for detecting and shaping the transient attacks

of audio signals. This is useful for adding or reducing the punch or pluck of a

certain instrument. Trans-X is also a great tool for shaping the impact of the

impulsive transients vs. the continuous and sustained components of the

sound.

While normal dynamics processors detect when the level goes over a certain

reference level, the Trans-X detects when gain rises faster than a certain

velocity reference; hence the signal can be low at times and higher at other

times or even fade out gradually, and the transient attacks will still be detected

and re-shaped as required.

Many times we face a situation where a sound doesn’t transparently cut

through the mix, although its frequency response and dynamic range are

satisfactory. Other times the opposite happens: we need to tame the impact of

the attacks of a certain instrument to focus its continuous and harmonic

properties and reduce its rhythmic or impulsive attacks. Classic examples

include a drum set that never sounds close enough and a bass drum track

that kicks nicely when soloed but disappears when the other instruments join

in. An acoustic guitar track usually presents a very distinct pluck or strum

versus its rich continuous harmonics. The Trans-X is perfect for making it

sound as if it were recorded with different microphone placements or pick

material. A bassline track can enhance its rhythmic drive or tame it to become

a “Virtual Fretless Bass” (see the factory presets).

To control the detection of transient attacks, Trans-X allows you to specify the

Duration of the attacks you want to detect, and the Sensitivity to the attacks’

amplitude. Only attacks shorter than Duration will be detected, and as the

Sensitivity is lower, only attacks with higher amplitude will be detected.

To control the shape of your transient attacks, Trans-X allows you to specify

the Range of gain adjustments, and the Release time for the gain to return to

unity after the attack has ended.

Shorter attacks naturally have more impact and longer ones have less punch.

It is necessary to adjust the Duration according to the program material and

the nature of the attacks that you want to shape.

The Trans-X comes in two flavors, wideband and multiband. The wideband

consumes fewer process resources than the multiband component. It detects

attacks in the total program energy so it is especially useful for processing a

certain single instrument or single track.

Waves Trans-X software guide page 3 of 8

The Multiband plug-in splits the program to four bands by engaging three

phase-compensated crossovers. The crossover design is identical to the

Waves C4. In the multiband component you can specify a dedicated range

and sensitivity for each band. This allows you to make better adjustment on a

drum group auxiliary or a drum loop that needs improved punch.

Sometimes, using the Trans-X Multi on a single instrument, allows you to

design the spectral nature of the transient, so you are shaping not only the

attack but also the EQ of the transient. This process usually requires more

careful adjustment but can yield results superior to anything else we have

come across during the development of Trans-X.

The Trans-X has automatic level padding when the range is extended. The

reason for this is that a typical application will be to boost the attacks on a

signal that is already hot. Without the level padding this is sure to produce

clipping and distortion instead of the desired punch and impact. The output

level can be adjusted after the impact is satisfactory, and you can use the trim

button to bring the output peak gain to the full scale.

The Trans-X can co-exist with other dynamics processors, such as

compressors, expanders and limiters, and it can work before or after these

processors in the signal path. It may seem that using a fast-attack compressor

after the Trans-X will destroy all the good work of the Trans-X, but in reality it

doesn’t necessarily do that, and many times a lot of the punch survives post

compression with the shortest attacks. The reason for this is that normal

dynamics compression can’t change the attack time of the instrument, which

defines punch and impact; it can only lower its gain when the energy exceeds

a certain threshold. The secret is that the detail and settings of compressors

and similar devices can affect the punch regardless of using transient

processing. Transient processing can also be quite effective post

compression, expansion, limiting, etc.

The Trans-X is the mixing engineer’s secret weapon for the articulation of

transients as well as a handy tool for reaching the desired balance between

the continuous and sustained vs. the impulse and transient. It is not designed

for mastering or for human voice processing, although you may find creative

uses that are beyond the scope of its intended applications.

Waves Trans-X software guide page 4 of 8

Chapter 2 – Using the Trans-X

Although using the Trans-X is easy (there are only a few controls to set), there

is still a range of subtle nuances and general functionality that gives complex

results. The Trans-X comes with a set of factory presets that can serve as

good starting points and are usually classified and named according to the

application they were designed to carry out.

SETUP BASICS

The recommended technique for adjusting the Trans-X is to begin with

extreme Range settings to adjust the rough and conceptual picture and then

fine tune it by moderating the extreme settings to the desired effect.

The first step is to identify the element that needs transient processing.

All elements can benefit from the multiband advantage but in many cases the

wide band will simply do the trick. The general rule is that single instrument

tracks that seem to have good EQ but just need transient extension or

moderation, can do very well with the Wideband component, while mixed

percussion, full drum kits and also wide-range polyphonic tracks will usually

require the Multiband.

Here are some examples of such elements:

•Bass Drum that sounds good on its own but loses presence when it

plays along with other instruments.

•A snare drum that doesn’t sound close enough even when completely

dry. Or that sounds too punchy and needs to be looser.

•A Drum loop that sounds somewhat worn-out or originating from an old

and dull recording.

•A percussion track that needs focusing.

•An acoustic guitar that was recorded from too far away and needs to

sound closer or vice versa.

•A Bass guitar or synth that needs to more actively drive the music with

its rhythmic pattern.

•A piano or tuned percussion track (i.e. marimba, xylophone,

vibraphone) has overly aggressive attacks.

The Trans-X factory presets include a preset for all of the above elements.

Once you insert Trans-X, select the related preset from the Load menu on the

Plug-in’s top toolbar. Solo the track whose transients you are processing to

hear it on its own. Take the Range to the maximum value and fine-adjust the

duration and sensitivity to make the desired effect. If the sound seems grainy,

try a longer duration and release time. Un-Solo and review the duration and

sensitivity settings.

Waves Trans-X software guide page 5 of 8

Note! When boosting the range, it is important to anticipate the drop in overall

track level. You may then use the AutoTrim button to bring the output level

back up to just below clipping. Moderate the range to fit your needs. This is

best done by ear while listening to the actual program.

MULTIBAND CONSIDERATIONS

When you have a mixed percussion track or a full drum set it is obviously

advantageous to use the Multiband component. You will immediately see how

each band responds to the excitation of the sounds within its frequency range.

Typically you will see the dynamic gain line jumping in the low bands for the

bass drum kicks, the mid, high-mid for the snare drum, and the high band for

the hi-hat. Sometimes, you will want to improve the punch of the bass drum

and snare, while moderating the attacks of the hi-hat. You can do this by

setting the crossovers so that the three lower bands have a positive “boosting”

range and the hi-hat gets a negative “cutting” range.

Each band has an On/Off control so you can easily A/B compare between the

effect on just one certain band by turning the others off. The On/Off does not

shut out the audio in the band but it shuts off the transient processing.

Transient attacks usually have a wider frequency range than the sustained

part of the sound and sometimes shaping the transients can be enhanced by

spectrally shaping the transient process. For example, a certain bass drum

needs help at the higher frequencies of its transient in order to cut through the

mix, especially on small speakers. In this case you can insert the Multiband

component on the bass drum track and set it so that the two mid bands both

react to the bass drum’s attacks and specify higher sensitivity and range for

the higher of the bands that shape the transient attack.

Waves Trans-X software guide page 6 of 8

Chapter 3 – Controls and displays

TRANS-X CONTROLS

RANGE: +18 to –24dB. Default: +6dB.

The range control defines the maximum gain adjustment possible. When set

to +18dB, it means that it will boost up to 18dB more and never go over the

range limit. The range is displayed on the graph as a purple area above or

below 0 dB. Its boundaries are shown by a light purple color.

You can adjust the range from the graph by using the grab markers, the

triangle to the side of the meter in the Wideband component, and each of the

crosshair markers on the Multiband component.

SENS =SENSITIVITY: +10 to –10. Default: 0dB.

The Sensitivity defines what the amplitude of the attack should be in order to

be detected. With a high Sensitivity setting, even small attacks will be

detected, while a low setting ignores small attacks, and detects only large

amplitude attacks. Too much sensitivity will begin to introduce continuous gain

adjustment because it will be so sensitive that every upward fluctuation of the

waveform will trigger it before it can reach any release.

DURATION: 0.01ms to 500ms. Default: 4.10ms.

The duration control defines the Attack time of the transients that we want to

shape or the velocity of the gain changes that we want to detect. Here, it is

usually best to set a value that corresponds to what you would set as the

attack time of a compressor. As a general rule, the longer the duration value,

the more attacks that will be detected and processed. It is best to set this by

ear in context and achieve the desired balance between Duration and Sens.

Waves Trans-X software guide page 7 of 8

RELEASE: 0.50 to 500ms. Default:10.02ms.

This is the release time for the gain adjustment. Once the detected transient is

over, this is the time it will take the gain adjustment to settle back to 0dB. The

release is actually not completely linear and in the multiband it is even scaled

differently for each band.

OUTPUT: +18dB to –18dB. Default: 0dB.

The Output fader is located between the output meters and adjusts the gain of

the overall output of the Trans-X.

TRIM: Click to Trim.

The Trim control is located between the clip indicators and shows the number

that is the difference between the peak energy and the full digital scale or

0.0dBfs. When you click the Trim control, it will adjust the output gain by the

indicated value. For example, if the Trim box indicates 3.2dB below full scale,

then clicking it will increase the current output gain by 3.2dB. This is

convenient for setting the best level for the plug-in output without clipping it.

Multiband Only: Per band ON/OFF: Default: On.

This will turn the Transient processing on and off for the related band.

Waves Trans-X software guide page 8 of 8

TRANS-X DISPLAYS

GAIN ADJUSTMENT METERS:

The Trans-X Wide shows a gain adjustment meter where the range is

indicated by purple shading and a yellow line represents the gain adjustment

within the range. The Trans-X Multi shows a similar display with a dynamic

gain line over the full band spectrum so that you can see how much gain is

adjusted per each band.

OUTPUT METERS:

The output meters measure the top 30dB peak value. Beneath each meter is

a peak counter that holds its peak value until reset by clicking on the meters.

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