we're talking about the same sort of thing
the point I was trying to make is more that the design of different synths (even if they're clones of each other) can drastically change what those transients sound like. the 0 attack of one synth can be 10x faster than the 0 attack of another, even without mentioning the quality of the oscillators. while envelope is the way one would primarily change the transients of the output sound, by letting one hear them or not, they don't actually change the timbre of the original sound

 

Might disagree with you on that. No biggie. Not a big debater.

 

It's a well guarded studio secret. Ppl talk about analogue, but they do not really know, what to listen for.
You have to listen for the transients. Its all in the transients (and the midrange).

What is analogue gear doing?
What is saturation doing?
What is tape doing?

Everything is smoothing transients.

Compare JP or Virus unison or seq sounds with less good sounding VSTis (Z3ta, Vital, Hive, even Diva). You only need a second to hear, if the synth is sounding good.
Virus, JP allow to fine tune the attack, so that it does not honk in, but also does not sound like a harmonica. Many VSTis do not have this ability. You either have a honky, aggressive attack, or no attack at all.

Btw: once your ears are trained enough, this works even with songs: one second with transients is enough, to recognize if it sounds like a record or amaeurish.

 

Last edited: Sep 25, 2024

most of my songs that reached alot of views on royal family youtube they all actually contain some part of hardware
songs without recorded hardware has less views

this tells SOMETHING

 

yeah but that has nothing to do with the JP8000 supersaw. Thats what I mean in my previous post.

 

Wavetraxx use JP6K in his tracks.
https://www.patreon.com/Wavetraxx/posts

 

Last edited: Sep 25, 2024

I don't understand?
With supersaws/unison sounds, the sound quality of the transients becomes even more important.

 

Transients are created by the Envelope no matter what waveforms has its input.
A waveform without any envelope just has a attack but there is not really a transient.

"
In audio, a transient refers to a short, high-energy sound event that occurs at the beginning of a waveform or sound signal. It usually represents a sudden burst of energy, such as the initial “attack” of a sound, and is often characterized by a sharp change in amplitude. Transients are crucial in defining the clarity and impact of percussive sounds, such as the strike of a drum, the pluck of a guitar string, or the snap of a snare.


In audio production, handling transients is important for preserving the natural dynamics of sounds while avoiding unwanted distortion or clipping. Tools like compressors, transient shapers, and limiters are often used to manage transients, either enhancing them for more punch or softening them for a smoother sound.
"
Or what do you mean with transient of the supersaw? its beating when detuned?

Do you have an obvious sound example of what you mean please?

 

Last edited: Sep 26, 2024

Most synth plugins do not do everything you want them to. You stick an audio plugin as an insert on the same channel and call it a day.

Transient designer plugins are great, not only just for fixing attacks. They are also very helpful to create space between sounds, like a gate; but they frequently have more adjustable parameters in the sustain/hold/ department. They are perfect for shortening tails, more smoothly than a gate might be. Also, they can leave everything intact but shorten the reverb tail, where some "reverb removers" do not just affect the tails. SPL Transient Designer is a good one, or ADPTR Sculpt, etc.

 

i use the transient shaper in nexus plugin...the SPK knob.. also in cubase the stock shaper is good for snares and kicks

 

Multipass can be used as a nice multiband shaper as well or even shaperbox where you can even see the waveform you are shaping