|
|
Post by warrenfirehouse on May 1, 2015 9:46:06 GMT -6
Looking to get into some outboard transient design. Anyone have any experience with these units? I know the elysia has more control via freq selection but Im leaning towards the simplicity of the SPL(two knobs) and the fact that its $300 cheaper and doesnt eat up two slots of real estate in my lunchbox.
Thoughts?
|
|
|
|
Post by mrholmes on May 1, 2015 18:26:39 GMT -6
My opinion:
Digtal domain is superb in TS ..... leave it there most DAWs have one in stock.....
|
|
|
|
Post by drew571 on May 1, 2015 21:42:52 GMT -6
the nvelope does crazy stuff a normal transient designer doesn't do. more a creative tool as well. i've been thinking about picking one up for a while. i vote for it and u can always supplement it with the built in transient designer of your DAW. FLUX Bittersweet is a good alternative and free.
|
|
|
|
Post by unit7 on May 1, 2015 23:35:53 GMT -6
I do a lot of transient shaping and use SPL and Logic SW and own both HW SPL TD4 and nVelope 500. For subtle stuff SW is ok. But if you need more grab/'smack' on upfront stuff like kick/snare there's no competition, with the Elysia being my fav. The 'tuning' feature is just crazy.
|
|
|
|
Post by warrenfirehouse on May 2, 2015 9:38:23 GMT -6
As far as software goes, I dont have many options as im currently stuck on a ppc mac pro and pro tools 7.  but that will change shortly as im updating my whole rig soon. I still like the idea of investing in hardware though. With the nvelope, you are able to switch full range or tuned freq correct? When in full range, how does it compare to the td4 sonically? Ive read about headroom issues with the spl. Any better on the elysia? Im starting to get the feeling if I go with the spl I will forever wonder what im missing from the nvelope. Thanks guys |
|
|
|
Post by Randge on May 2, 2015 10:43:58 GMT -6
I can tell you that their (Elysia) customer service is very good as well. I had an issue with my Xpressor and hated having to send it all the way to Germany but they busted ass on it and got it right back to me as quickly as humanly possible.
|
|
|
|
Post by warrenfirehouse on May 3, 2015 18:35:49 GMT -6
Good to know Randge. Whats your opinion of the xpressor? Are you using it on the 2bus? Drum bus?
I think im going to go with the elysia. Im sure the spl is awsome too but Ill be wondering how much better the elysia is. Im hoping it can help me get more drum punch on overheads
|
|
|
|
Post by Randge on May 3, 2015 21:11:51 GMT -6
I use it on a variety of sources but track with it on overheads. Sounds great on acoustic instruments, namely mandolin.
|
|
|
|
Post by NoFilterChuck on May 3, 2015 22:09:46 GMT -6
Good to know Randge. Whats your opinion of the xpressor? Are you using it on the 2bus? Drum bus? I think im going to go with the elysia. Im sure the spl is awsome too but Ill be wondering how much better the elysia is. Im hoping it can help me get more drum punch on overheads Just curious. how much of that lack of punch could be from your signal chain, the kit itself, or the drummer playing it? In another thread, Bob Olhsonn suggested that a fancy signal chain was mainly for correcting a bad room, mic placement, the instrument itself, or the performance. |
|
|
|
Post by warrenfirehouse on May 4, 2015 1:27:36 GMT -6
Good to know Randge. Whats your opinion of the xpressor? Are you using it on the 2bus? Drum bus? I think im going to go with the elysia. Im sure the spl is awsome too but Ill be wondering how much better the elysia is. Im hoping it can help me get more drum punch on overheads Just curious. how much of that lack of punch could be from your signal chain, the kit itself, or the drummer playing it? In another thread, Bob Olhsonn suggested that a fancy signal chain was mainly for correcting a bad room, mic placement, the instrument itself, or the performance. I wouldnt call it a lack of punch. Im actually very happy with the drum sounds ive been getting and so are my clients  . Its just a matter of getting the drums to punch through a wall of guitars/bass with less use of close mics in the mix. To me the less i need the close mics, the more airy and natural the kit sounds. Not trying to fix a problem, just enhance what im already doing. There are also a lot of other applications where id like to experiment with a TD. |
|
|
|
Post by unit7 on May 4, 2015 2:46:09 GMT -6
Just curious. how much of that lack of punch could be from your signal chain, the kit itself, or the drummer playing it? In another thread, Bob Olhsonn suggested that a fancy signal chain was mainly for correcting a bad room, mic placement, the instrument itself, or the performance. I wouldnt call it a lack of punch. Im actually very happy with the drum sounds ive been getting and so are my clients . Its just a matter of getting the drums to punch through a wall of guitars/bass with less use of close mics in the mix. To me the less i need the close mics, the more airy and natural the kit sounds. Not trying to fix a problem, just enhance what im already doing. There are also a lot of other applications where id like to experiment with a TD. You should of course follow your idea/instinct, and I'm sure you'll find cool sounds. But for punch I would normally not use TD on OH beacuse it messes with cymbals and everytime more than one drum/cymbal/hh is hit. And it messes with the room, air and natural sound. So if you like the air/naturalness from the OHs, my advice would be to eq/shape the close mics so you'll be able to use them for a touch of punch |
|
|
|
Post by dandeurloo on May 4, 2015 7:26:29 GMT -6
|
|
|
|
Post by swurveman on May 4, 2015 19:08:35 GMT -6
I have the Nvelope. It can do good things like dialing a pillowy kick sound. That being said, I never use the EQ and if I had to do it over again I would have gotten the SPL.
|
|
|
|
Post by ionian on May 4, 2015 22:18:02 GMT -6
I think im going to go with the elysia. Im sure the spl is awsome too but Ill be wondering how much better the elysia is. Im hoping it can help me get more drum punch on overheads For the record, the SPL Transient Designer was designed by none other than Ruben Tilgner, who left SPL to form Elysia with Dominik Klassen. So the Nvelope isn't a ripoff of the transient designer by Elysia, but rather an evolution of the concept by the same designer. Think of it rather as what the SPL Transient Designer would have eventually became if the designer had stayed with SPL and made a Mark II version. I love my Nvelope - it's especially great on guitar strums - being able to tune in the right frequency and cutting the sustain can give those amazingly tight, funky strums that I used to have to use a gate to get. Only thing is I wish the attack and sustain knobs were detented like the frequency knobs (and pretty much every knob in the Elysia 500 series is) for more accurate recall. But it really is an amazing piece. And the EQ is just gravy on top of it. Put it in series with the Xfilter and you have a 6 band, stereo linkable EQ with great sound for under $2000. Regards, Frank |
|
|
|
Post by warrenfirehouse on May 5, 2015 12:36:47 GMT -6
Lots of great advice thank you guys. The Ronan video was awsome and very helpful, except now I want both . Like Ronan said, for the modern rock stuff I do I think the nvelope will be a game changer. I can see so many ways where it can be useful. Those of you using them on close mic drums, whats your mix chain look like? Im guessing the best way would be to shape first, then eq, then compress with fast attack for leveling? |
|
|
|
Post by warrenfirehouse on May 5, 2015 12:39:35 GMT -6
And Frank, I was thinking the same thing with heavy rythem guitar chugs. Pull back sustain add a little attack and they should jump out of the speakers!
|
|
but that will change shortly as im updating my whole rig soon. I still like the idea of investing in hardware though. 
. Its just a matter of getting the drums to punch through a wall of guitars/bass with less use of close mics in the mix. To me the less i need the close mics, the more airy and natural the kit sounds.
