The SPL Transient Designer 4 Mk2: A trusted tool with a new design
3,8 / 5,0 | 
The SPL Transient Designer 4 Mk2 is the latest version of the well-known transient processor first introduced back in 1998. This versatile 19-inch rack unit now provides four channels to work with drums, percussion acoustic guitar, or controlling transients of any audio signal.
Rather than relying on the input level, the Transient Designer can isolate the attack and decay times of peaks within an audio signal. This allows you to focus the sound, reduce reverb tails, and add punch and clarity to a sound.
The SPL Transient Designer 4 Mk2
Alternatively, you can also use the effect to subdue elements and push them further back in the mix. Although the controls are simple, it’s surprisingly effective and provides up to 15 dB gain to boost or cut from the attack or 24 dB from the sustain points of a signal.
In addition, the Transient Designer 4 Mk2 has two stereo link switches across its four channels. This allows you to simultaneously process two sets of stereo channels, one stereo and two mono, or four mono channels.
The SPL Transient Designer 4 Mk2 up close.
The overall sonic quality and construction remain at the top level you’d expect from SPL. The aluminum buttons provide a professional feel, against the black anodized aluminum front panel.
Whether you’re mixing in the box or not, the Transient Designer could easily become an essential part of your workflow. The interface is simple enough for you to achieve decent results regardless of how much experience you have as a producer or engineer.
Pricing and availability:
The Transient Designer 4 Mk2 is currently available from Thomann.
More from SPL:
- SPL official page
- Everything SPL
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- SPL Transient Designer 4 Mk2 up close.: SPL
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One response to “The SPL Transient Designer 4 Mk2: A trusted tool with a new design”
In my opinion, these Tricks like psyoacoustic Prozessors and other Psychomagicans devices and Vst Tools dp try to let it Sound more than life. But on the other side, it destroyer the natural Sound of Nature. Thats why I love recording from before the nineties. When technics has restricted the possiblities for the sound engeneer. Recording of the past are giving you more the truth of the reality and it was really hard to edit mistakes while playing. Thats why these recording Sound much more Real an not sterile. Maybe one day, some Musicans find back to the Nature of Sound.