AUD · Audio tools

Audio Transient Shaper

Attack and sustain are separate things to a listener and a single number to a compressor. A transient shaper splits them by running two envelope followers at different speeds and looking at the gap between them.

How the detection works

The fast follower reacts in about 1 ms, so it climbs with the front of every note. The slow follower takes as long as the response control says, so it lags behind.

While the fast one is ahead, the signal is in its attack. While it is behind, the signal is decaying. That difference in dB is what the attack and sustain controls are scaled against, which is why there is no threshold: a quiet hit has the same envelope shape as a loud one and gets the same treatment.

Attack

Attack runs from -12 to +12 dB and applies only during the leading edge of a note.

Positive values push the stick, pick, or consonant forward, which reads as more definition without any change in overall level. Negative values round the front off, which is the fastest way to calm a clicky kick drum or a hard piano attack.

Sustain

Sustain covers everything after the front of the note, over the same -12 to +12 dB range.

Positive values pull the tail up: longer cymbals, more room, more of a guitar’s ring. Negative values shorten the decay, which tightens drums and removes bleed. This is where a transient shaper does something a gate cannot, because the decay is faded rather than cut at a threshold.

Response

Response sets the slow follower’s attack time between 5 and 200 ms, so it decides how much of each note is treated as its front.

30 ms is a reasonable default for drums. Sources with a soft start, like bowed strings or a synth pad, need 80 ms or more before the shaper reacts to anything at all.

Output

Output trims the result by up to 6 dB either way. Raising attack and sustain together raises the whole file, so this is where you take the difference back out before comparing.

Example: a room-heavy drum loop

Attack +4 dB, sustain -5 dB, response 25 ms, output -1 dB.

The hits come forward, the room between them drops back, and the loop sits in a mix without needing a gate.

Frequently Asked Questions

It boosts or cuts the front of each note separately from the body of it. Attack changes the hit, sustain changes what follows. It reads WAV, MP3, M4A, AAC, Ogg, Opus, FLAC, AIFF, and WebM audio, and exports in the format the source arrived in.

A compressor reacts to absolute level against a threshold, so a quiet passage is left alone and a loud one is squashed. A transient shaper reacts to the shape of the envelope, so a quiet hit and a loud hit get the same treatment.

It moves the boundary between what counts as the attack and what counts as the body, from 5 to 200 ms. Short settings only catch the first few milliseconds of a hit. Longer settings treat more of the note as attack, which suits slower material like a plucked bass.

Room tone lives in the decay of every note, so raising sustain raises it too. Negative sustain is the usual way to get a drier drum recording, and it removes room and bleed at the same time.

It works, but the envelope it follows is then the sum of everything playing. Use small amounts, 2 to 3 dB, or apply it to a range where one element dominates.

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