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I usually process the body and transient separately, then fade them into each other and compress. Often it’s good to distort and add harmonics, and then use a filter such as OneKnob Filter and automate it so that a steep low-pass filter cuts the high frequencies and deadens them in the first 15-20 milliseconds after the transient hits. When distorting the body, you also get unwanted high harmonics, which the filter automation can tame to taste. If you do this, make sure that you join the transient to the body at a zero crossing and in context with the pitch movement of the body at the join.
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