This helps maintain a balanced spectrum when working with audio that changes over time, for example when streaming mixed music in broadcast applications. For one, its (un-)filtering engine can function as an adaptive program equalizer that continuously adjusts itself while the audio is playing. Three mastering grade EQs and an excellent high-pass filter, actually. Whether you need to make ADR blend with production dialog, get one guitar snippet to sound like part of another, or create new sounds, UNFILTER makes this task fast and easy. You can of course also store filter responses to disk as linear- or minimum-phase impulse response files, building a library of “colors” to have at your disposal any time. Or you can create room-tone to fill editing gaps, by applying a measured filter response to noise. You can also apply the measured filter response from one recording to another – placing the two in the same acoustic “world”. In real-time, and with minimal effort, Zynaptiq-style. ![]() As a result, previously problematic or unusable recordings can be made to sound good, and good recordings to sound great. You can then remove these by simply adjusting one control, leaving the rest of the signal virtually untouched. UNFILTER automatically detects resonances, EQ or filter effects – essentially any frequency response anomalies that aren’t part of the original signal.
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