The lower values will cause just the initial transients and leading edges of signal changes to be affected. The OVERSHOOT fader sets the period over which dynamics changes occur. As an example, if the RATIO fader is set to +1.00, and a signal peak 10dB above the average occurs, the Transient Modulator could increase that to a 20dB peak. The RATIO fader sets the amount of instantaneous change, positive or negative, to the signal. The DEADBAND knob sets a window below which transient changes will remain unaffected, preventing unwanted modification to lower level signals. The greater the signal level above the threshold, the greater the effect, the Transient Modulator will have. In this case, only signals above the THRESHOLD knob setting will be processed.

Other processing is tracking changes in the waveform and is not related to any absolute setting. Unlike the rest of the processing in the Transient Modulator, the THRESHOLD knob sets an absolute value. Conversely, negative ratio values can reduce the overall levels significantly, therefore the GAIN fader has been designed to operate over a considerable range.

When the RATIO fader is set positively, significantly larger peak levels can be produced, with potential to increase them up to 24dB greater than the original signal. Any control signals it develops are purely dependent upon the extent and rate of change of signal levels. In other words, it will have no effect on a steady state signal, such as a continuous tone which does not change in level. The functions of the Transient Modulator are adaptive and totally dependent upon dynamic level changes within the signal. Such effects are easily achieved with the Transient Modulator because its purpose-designed adaptive processing acts on differential information in the program so that the overall long-term program level is minimally affected and sensitivity to control parameters is drastically reduced. The application was developed to address the common situation where there is a need to selectively tighten up percussive instruments or soften the unwanted percussive effects of acoustic musical instruments. The TransMod can give life to dull sounding recordings, without the unwanted changes in overall timbre associated with compression. Conversely, it can bring up the ambience surrounding a specific sound by softening the attack. A 'soggy' drum kit can be brought to life, or a bass made to sound more punchy. It can completely exaggerate or dampen the attacks, with continuous variation between all settings. The Transient Modulator allows dramatic manipulation of signal transients.

Sonnox oxford transmod