Waves Network Card Trans X User Manual

Waves – Trans-X  
Software Audio Processor  
User’s Guide  
Waves Trans-X software guide page 1 of 8  
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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 3 of 8  
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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 4 of 8  
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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 5 of 8  
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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 6 of 8  
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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 7 of 8  
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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.  
Waves Trans-X software guide page 8 of 8  
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