Using the Hold, Attack and Release controls, we could further control the gain reduction curve, dialling the boom of the kick sustain down just how we like it. Rather than pulling the sustain out of the kick as a whole, we could fine-tune the Sustain portion to work on the low-end only, with the Focus EQ enabling us to pinpoint the fundamental frequency, leaving the harmonics to ring out without using up all the bottom end in the mix. With Envolution, we were able to fine-tune those decisions. Punching Through We often use a transient shaper on kick and snare duties, pulling a little sustain out of a kick drum to control the low end, or for shaping the snare to bring attention to the initial snap of the stick hitting the skin. Additionally, there’s a DIFF button, which outputs only the changes in the signal, which can be useful for hearing what the processor is doing, or conceivably for creative sound design. The main output section has its own fader for gain staging, a mix knob, and a Warmth control which adds in additional harmonic saturation. The ‘attack’ portion, referred to here as ‘Transients’, has attack, hold, release and sensitivity controls in addition to the main gain knob, while the ‘Sustain’ portion has hold, attack and release controls alongside the main gain control.īoth Transient and Sustain portions can be made frequency conscious, by clicking one of the FREQ buttons, which opens up a basic one-band EQ, which can be switched from Focus (think standard parametric, with variable Q) to Tilt (which provides either a hi- or low-frequency shelving EQ, with 6 or 12dB/octave slopes).
While many transient-shaping tools, such as the highly revered SPL Transient Designer hardware, offer only basic tools – the SPL Transient Designer having just two knobs, Attack and Sustain – the Sonnox Oxford Envolution provides parameter junkies with everything they could want. Transient shapers are most commonly used on drums and other percussive signals, to add either presence or distance to the signal, but they can also be used on many other instruments to either bring up or push back the transients or the room sound, just as you otherwise would with a compressor or expander.
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