Recording - October 2010 - 47

Figure 1: Transient Modulator applied to a drum loop

Figure 2: Transient Modulator applied to a synth track “But let’s take the opposite approach. In setting #2 (Figure 4) we are reducing attacks. Bells and shakers sound more present now compared to drums, and so is the room ambience (or early reflections).” He’s right! You can hear the original soupy loop and Josep’s two sets of Transient Modulator settings in audio clips 3a, 3b, and 3c. Transient Modulator is a fascinating application. Highly educated and experienced engineers will undoubtedly have no problem mining all of its potential immediately. Musicians who wear a second hat as engineer may take a little longer, but within an hour or so even the novice will be adding punch and clarity to tracks. Inflator Ok, I admit it: I can get thrown into a panic when reading manuals aimed at audio mixers who possess a knowledge of the principles and theory of engineering vastly greater than my own. The first paragraph of the Inflator manual tells the user in a straightforward manner that this tool addresses the current preference for loud mixes. Great, no problem, I get it! Here’s how the second paragraph kicks off: “The Inflator process functions by changing the relative probability of the samples in the programme such that there is a greater predominance and likelihood

of larger values than the original signal.” Uh oh, I’m in trouble. But it turns out that this plug-in is easy to use, and its effect is fabulous; if you never figure out how the Inflator is working—or if it’s built on a traditional compressor model—it will nonetheless add perceived gain and even some analog-style warmth to individual tracks and mixes. The Inflator sports four faders. The leftmost affects input gain. At a setting of 0 dB a full-level input signal is at maximum peak. Beyond 0 dB the Inflator can bring lower-level signals up to full modulation, and it can be used to deliberately overdrive and create distortion. A pair of input meters are adjacent to this fader. If the Inflator’s Clip 0 dBr button is engaged the plug-in won’t allow you to exceed the 0 dBr threshold, but these meters will let you know when you otherwise would have. [dBr is Sonnox’s term for dB relative to Full Scale or Digital Zero, i.e. the absolute maximum level a digital signal can have before it goes into digital clipping—where each binary data word has all 1s. Recording follows the written convention 0 dBFS.—Ed.] On the right side of the screen you’ll see the Output control. If you choose to deselect the O dBr button and heavily process your material with the Effect and Curve controls (more on them in a minute) you’ll most likely have to pull down the output to avoid clipping (Figure 5). Notice how the old-school drum loop sounds without the Inflator in line (audio clip 4a). In audio clip 4b you can hear the effect of the Inflator with some aggressive settings applied; the output has been scaled back to –1.38 dB to compensate for this processing. The Effect fader with its own meters simply allows you to set the amount of, well, the Inflator’s effect. At first blush this confused me, because once you throw up the input gain, aren’t you by definition using that control to affect the amount of change the plug-in brings to your material? Further study, however, reveals the way this plug-in (and the entire Sonnox line) reflect the characteristics of the Oxford console from which they were derived. The Curve fader imparts a harmonic character to your program material. This tonal shaping, along with gain alteration, is modified by the Effect control. Note the Band Split button located just below the Clip dBr button in the center of the application. Activating this function splits the incoming signal into three bands which the Inflator processes separately. You do not, however, have access to these bands. When applied to the loaded drum loop the result was a signal overdrive that clipped even when the O dBr button was engaged. In the old days clipping Digital Zero was seen as the devil’s

work, but today we understand that it can be used to artistic effect. My friend Ed Goldfarb calls the Inflator “The Better Knob,” because it seems to enhance every mix he’s working on. Call it, to use language that Sonnox is not using, a compressor, expander, exciter, or a combination of the three, just to relate in more familiar terms what it does. Regardless of the definition, the Inflator is a simple-to-use application that will be equally useful whether you’re looking to spice up individual tracks or impart sizzle and a bit of warmth to final mixes.

Figure 3: Transient Modulator settings to reduce unwanted ambience by enhancing attacks

Figure 4: Transient Modulator settings to reduce attacks, strengthening key percussion elements

Figure 5: Inflator applied to a drum loop Gary Eskow (eskow@recordingmag.com) is a composer, journalist and recording engineer. His work can be heard and read at his website, www.garyeskow.com.
RECORDING OCTOBER 2010

47


http://www.garyeskow.com

Recording - October 2010

Table of Contents for the Digital Edition of Recording - October 2010

Recording - October 2010
Fade In
Contents
Talkback
Fast Forward
Cakewalk V-Studio 20
Abbey Road Sessions—Good Reasons To Be Prepared
AKG Perception 820 Tube Microphone
A Basement Conversion—The Borla/Mouse Basement Studio
DAW Details
SM Pro Audio P-Control, DiDock, and CT-3
Green Glue
Alesis PalmTrack
It’s Your Music—Know Your Rights. Chapter 7: Income Earned By Songs—Part 2
Reviewed and Revisited
Plug-In Outlet
Do It Yourself: Rack Panels For Under Four Dollars
Cockos REAPER—A Walking Tour
Recording’s Showcase of Sounds
Readers' Tapes
Advertiser Index
Fade Out
Recording - October 2010 - Recording - October 2010
Recording - October 2010 - Cover2
Recording - October 2010 - 1
Recording - October 2010 - Fade In
Recording - October 2010 - 3
Recording - October 2010 - Contents
Recording - October 2010 - 5
Recording - October 2010 - Talkback
Recording - October 2010 - 7
Recording - October 2010 - Fast Forward
Recording - October 2010 - 9
Recording - October 2010 - Cakewalk V-Studio 20
Recording - October 2010 - 11
Recording - October 2010 - 12
Recording - October 2010 - 13
Recording - October 2010 - Abbey Road Sessions—Good Reasons To Be Prepared
Recording - October 2010 - 15
Recording - October 2010 - 16
Recording - October 2010 - 17
Recording - October 2010 - 18
Recording - October 2010 - 19
Recording - October 2010 - 20
Recording - October 2010 - 21
Recording - October 2010 - AKG Perception 820 Tube Microphone
Recording - October 2010 - 23
Recording - October 2010 - A Basement Conversion—The Borla/Mouse Basement Studio
Recording - October 2010 - 25
Recording - October 2010 - 26
Recording - October 2010 - 27
Recording - October 2010 - DAW Details
Recording - October 2010 - 29
Recording - October 2010 - 30
Recording - October 2010 - 31
Recording - October 2010 - SM Pro Audio P-Control, DiDock, and CT-3
Recording - October 2010 - 33
Recording - October 2010 - Green Glue
Recording - October 2010 - 35
Recording - October 2010 - Alesis PalmTrack
Recording - October 2010 - 37
Recording - October 2010 - It’s Your Music—Know Your Rights. Chapter 7: Income Earned By Songs—Part 2
Recording - October 2010 - 39
Recording - October 2010 - 40
Recording - October 2010 - 41
Recording - October 2010 - Reviewed and Revisited
Recording - October 2010 - 43
Recording - October 2010 - Plug-In Outlet
Recording - October 2010 - 45
Recording - October 2010 - 46
Recording - October 2010 - 47
Recording - October 2010 - Do It Yourself: Rack Panels For Under Four Dollars
Recording - October 2010 - 49
Recording - October 2010 - 50
Recording - October 2010 - 51
Recording - October 2010 - 52
Recording - October 2010 - 53
Recording - October 2010 - 54
Recording - October 2010 - 55
Recording - October 2010 - Cockos REAPER—A Walking Tour
Recording - October 2010 - 57
Recording - October 2010 - 58
Recording - October 2010 - 59
Recording - October 2010 - 60
Recording - October 2010 - 61
Recording - October 2010 - Recording’s Showcase of Sounds
Recording - October 2010 - 63
Recording - October 2010 - Readers' Tapes
Recording - October 2010 - Advertiser Index
Recording - October 2010 - 66
Recording - October 2010 - 67
Recording - October 2010 - 68
Recording - October 2010 - 69
Recording - October 2010 - 70
Recording - October 2010 - 71
Recording - October 2010 - Fade Out
Recording - October 2010 - Cover3
Recording - October 2010 - Cover4
https://www.nxtbook.com/musicmaker/musicmaker/recording_202404
https://www.nxtbook.com/musicmaker/musicmaker/recording_202403
https://www.nxtbook.com/musicmaker/musicmaker/recording_202402
https://www.nxtbook.com/musicmaker/musicmaker/recording_202401
https://www.nxtbook.com/musicmaker/musicmaker/recording_202312
https://www.nxtbook.com/musicmaker/musicmaker/recording-november-2023
https://www.nxtbook.com/musicmaker/musicmaker/recording_202310
https://www.nxtbook.com/musicmaker/musicmaker/recording_202309
https://www.nxtbook.com/musicmaker/musicmaker/recording_202308
https://www.nxtbook.com/musicmaker/musicmaker/recording_202307
https://www.nxtbook.com/musicmaker/musicmaker/recording_202306
https://www.nxtbook.com/musicmaker/musicmaker/recording_202305
https://www.nxtbook.com/musicmaker/musicmaker/recording_202304
https://www.nxtbook.com/musicmaker/musicmaker/recording_202303
https://www.nxtbook.com/musicmaker/musicmaker/recording_202302
https://www.nxtbook.com/musicmaker/musicmaker/recording_202301
https://www.nxtbook.com/musicmaker/musicmaker/recording_202212
https://www.nxtbook.com/musicmaker/musicmaker/recording_202211
https://www.nxtbook.com/musicmaker/musicmaker/recording_202210
https://www.nxtbook.com/musicmaker/musicmaker/recording_202209
https://www.nxtbook.com/musicmaker/musicmaker/recording_202208
https://www.nxtbook.com/musicmaker/musicmaker/recording_202207
https://www.nxtbook.com/musicmaker/musicmaker/recording_202206
https://www.nxtbook.com/musicmaker/musicmaker/recording_202205
https://www.nxtbook.com/musicmaker/musicmaker/recording_202204
https://www.nxtbook.com/musicmaker/musicmaker/recording_202203
https://www.nxtbook.com/musicmaker/musicmaker/recording_202202
https://www.nxtbook.com/musicmaker/musicmaker/recording_202201
https://www.nxtbook.com/musicmaker/musicmaker/recording_202112
https://www.nxtbook.com/musicmaker/musicmaker/recording_202111
https://www.nxtbook.com/musicmaker/musicmaker/recording_202110
https://www.nxtbook.com/musicmaker/musicmaker/recording_202109
https://www.nxtbook.com/musicmaker/musicmaker/recording_202108
https://www.nxtbook.com/musicmaker/musicmaker/recording_202107
https://www.nxtbook.com/musicmaker/musicmaker/recording_202106
https://www.nxtbook.com/musicmaker/musicmaker/recording_202105
https://www.nxtbook.com/musicmaker/musicmaker/recording_202104
https://www.nxtbook.com/musicmaker/musicmaker/recording_202103
https://www.nxtbook.com/musicmaker/musicmaker/recording_202102
https://www.nxtbook.com/musicmaker/musicmaker/recording_202101
https://www.nxtbook.com/musicmaker/musicmaker/recording_202012
https://www.nxtbook.com/musicmaker/musicmaker/recording_202011
https://www.nxtbook.com/musicmaker/musicmaker/recording_202010
https://www.nxtbook.com/musicmaker/musicmaker/recording_202009
https://www.nxtbook.com/musicmaker/musicmaker/recording_202008
https://www.nxtbook.com/musicmaker/musicmaker/recording_202007
https://www.nxtbook.com/musicmaker/musicmaker/recording_202006
https://www.nxtbook.com/musicmaker/musicmaker/recording_20205
https://www.nxtbook.com/musicmaker/musicmaker/recording_202004
https://www.nxtbook.com/musicmaker/musicmaker/recording_202003
https://www.nxtbook.com/musicmaker/musicmaker/recording_202002
https://www.nxtbook.com/musicmaker/musicmaker/recording_202001
https://www.nxtbook.com/musicmaker/musicmaker/recording_201912
https://www.nxtbook.com/musicmaker/musicmaker/recording_201911
https://www.nxtbook.com/musicmaker/musicmaker/recording_201910
https://www.nxtbook.com/musicmaker/musicmaker/recording_201909
https://www.nxtbook.com/musicmaker/musicmaker/recording_201908
https://www.nxtbook.com/musicmaker/musicmaker/recording_201907
https://www.nxtbook.com/musicmaker/musicmaker/recording_201906
https://www.nxtbook.com/musicmaker/musicmaker/recording_201905
https://www.nxtbook.com/musicmaker/musicmaker/recording_201904
https://www.nxtbook.com/musicmaker/musicmaker/recording_201903
https://www.nxtbook.com/musicmaker/musicmaker/recording_201902
https://www.nxtbook.com/musicmaker/musicmaker/recording_201901
https://www.nxtbook.com/musicmaker/musicmaker/recording_201812
https://www.nxtbook.com/musicmaker/musicmaker/recording_201811
https://www.nxtbook.com/musicmaker/musicmaker/recording_201810
https://www.nxtbook.com/musicmaker/musicmaker/recording_201809
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201808
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201807
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201806
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201805
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201804
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201803
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201802
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201801
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201712
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201711
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201710
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201709
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201708
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201707
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201706
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201705
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201704
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201703
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201702
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201701
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201612
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201611
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201610
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201609
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201608
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201607
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201606
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201605
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201604
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201603
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201602
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201601
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201512
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201511
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201510
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201509
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201508
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201507
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201506
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201505
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201504
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201503
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201502
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201501
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201412
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201411
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201410
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201409
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201408
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201407
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201406
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201405
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201404
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201403
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201402
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201401
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201312
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201311
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201310
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201309
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201308
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201307
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201306
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201305
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201304
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201303
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201302
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201301
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201212
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201211
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201210
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201209
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201208
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201207
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201206
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201205
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201204
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201203
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201202
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201201
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201112
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201111
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201110
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201109
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201108
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201107
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201106
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201105
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201104
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201103
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201102
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201101
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201012
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201011
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201010
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201009
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201008
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201007
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201006
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201005
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201004
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201003
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201002
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201001
https://www.nxtbook.com/nxtbooks/musicmaker/recording_200912
https://www.nxtbook.com/nxtbooks/musicmaker/recording_200911
https://www.nxtbook.com/nxtbooks/musicmaker/recording_200910
https://www.nxtbook.com/nxtbooks/musicmaker/nxtd
https://www.nxtbookmedia.com