ATC
Adaptive Transient Control
A fully multiband transient designer. ATC splits the signal into low, mid, and high bands — plus a full-band mode — and gives each its own adaptive attack/sustain shaping and harmonic generation. Adaptive detection separates transient from sustain without the pumping of traditional designers, and a colour-coded display shows exactly what each band is doing to your audio.
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ATC in Detail
Audio Examples
Comparative demonstrations of processing applied to representative source material.
Technical Capabilities
Adaptive envelope detection with variable sensitivity
Independent attack and sustain per band
Three frequency bands plus a full-band mode
Per-band harmonics: saturation, distortion, and sub-harmonics
Colour-coded display — pick a band and see per-stage harmonic lines live
Band, stage and Mid/Side solos — audition exactly what any part is doing
Per-band Stereo / Mid / Side targeting
Attack layers: built-in or custom one-shots triggered per band, velocity-tracked
Multi-out: transient and sustain streams for every band as separate plugin outputs
Low-latency processing suitable for live use
Multiband Harmonics
ATC processes in three frequency bands plus a full-band mode. Each band has its own attack, sustain, and harmonics — so you can punch up a kick without touching the cymbals, or add air to the top without muddying the low end. Select a band with the FULL / LOW / MID / HIGH tabs and the display tints to that band's colour, showing its harmonic content in real time.
Full
The whole spectrum as one. Best for overall glue, gentle drive, or sources that don't need splitting.
Low
The low end. Tighten kick and bass transients, or add saturation for weight without muddying the mids.
Mid
Body and attack — where most instruments live. Sharpen snare crack, pick attack, or vocal consonants.
High
Air and detail. Enhance cymbal shimmer and string texture, or add gentle saturation for an expensive top end without harshness.
Harmonic Stages
Saturation
Smooth, tape/tube-style warmth. Mostly even harmonics that thicken and glue — subtle at low amounts, characterful when pushed.
Distortion
Harder edge and grit. Odd-harmonic clipping for aggression and presence — use it per band to add bite exactly where you want it.
Sub Harmonics
Synthesizes an octave below the signal, envelope-tracked so it stays tight. Adds weight to kicks and bass — most at home on the Low band.
Attack Layer
Layers a one-shot — eight built-in clicks, knocks and thumps, or your own sample — onto each transient the band detects, velocity-tracked to how hard the hit was. Reinforce a kick's knock or a snare's crack without a sampler.
Harmonic Gain
Blends the generated harmonics from −12 to +12 dB without changing the dry level, so you dial the exact amount of colour.