Recording - August 2012 - 49
t[Refract] and t[Adaptation] affect the time-dependency of the effect. The t[Refract] setting determines how quickly the plug-in adapts to signal changes, and the t[Adaptation] is where you roughly try to match the reverb time of the reverb you’re trying to remove from your signal. Finally, Presence adds a random element to the input signal that can smooth out some types of signals (like vocals) for more natural-sounding results, especially at higher frequencies. The Transient Threshold slider lets UNVEIL ignore certain transients so as to improve clarity and punch. This is really program-dependent, and as with all of these controls you’ll want to play with it while listening. The associated Solo button lets you hear what’s getting through or not. The manual does its best to explain these ideas, and mouse-over hints help remind you in use which way you want to turn a knob in order to get closer to the desired effect (e.g. if you hear pumping, turn t/f Localize up). But overall this is very much a listen-and-tweak program... there aren’t any tried and true solutions, you turn the knobs and listen as you go. You’re aided by a realtime display that shows your Input vs. Output signals (so you can see how much you’re removing) as well as the Adaptation curve (the reverb time you’re trying to remove, which should be neither too much shorter nor too much longer than what you can see in the I/O display) and a Stimulus display that Zynaptiq doesn’t explain anywhere in the manual and that doesn’t appear to change when you tweak the knobs. [Zynaptiq explains that the Stimulus peak indicates the “full scale Dirac impulse” and essentially shows the full scale for the Adaptation curve.—Ed.] The acid test This is all well and good, but how well does UNVEIL actually work? I tested it out on a couple of different Macs and produced some results that ranged from merely fascinating to utterly mind-blowing. Here are a couple of tests that are perhaps the best illustrations of the method, if not the most dramatic examples of UNVEIL at work. To see how UNVEIL worked on a relatively simple track, I started with a djembe loop from Sony’s Continental Drift sound library, as played by my colleague Paul Vnuk Jr.. I ran it through a digital reverb to add ambience, then went back and tried to remove the ambience from the loop with UNVEIL. I chose two algorithmic reverbs reviewed in our September 2011 issue: Audio Damage Eos and 2C Audio Breeze.
RECORDING August 2012
49
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Recording - August 2012
Table of Contents for the Digital Edition of Recording - August 2012
Recording - August 2012
Fade In
Contents
Talkback
Fast Forward
Sibelius 7 As A Tool For Sample Playback. Part 1: The Sibelius Sounds and Mixer
AEA RPQ500
The Player’s The Thing
Plug-in Outlet: Softube’s Newest Emulations
Peavey MuseBox
Computer Composition—A Workflow Report
PreSonus AudioBox 44VSL
Recording Fundamentals. Chapter 8: The Music Production Process—Who Does What
Reviewed and Revisited: Universal Audio 1176 Classic Limiter Plug-In Collection
Plug-in Outlet: Zynaptiq UNVEIL
Plugin Alliance BIG 4 Bundle
The Making of Quartet
Readers' Tapes
Advertiser Index
Fade Out
Recording - August 2012 - Recording - August 2012
Recording - August 2012 - Cover2
Recording - August 2012 - 1
Recording - August 2012 - 2
Recording - August 2012 - 3
Recording - August 2012 - Fade In
Recording - August 2012 - 5
Recording - August 2012 - Contents
Recording - August 2012 - 7
Recording - August 2012 - Talkback
Recording - August 2012 - 9
Recording - August 2012 - Fast Forward
Recording - August 2012 - 11
Recording - August 2012 - Sibelius 7 As A Tool For Sample Playback. Part 1: The Sibelius Sounds and Mixer
Recording - August 2012 - 13
Recording - August 2012 - 14
Recording - August 2012 - 15
Recording - August 2012 - 16
Recording - August 2012 - 17
Recording - August 2012 - 18
Recording - August 2012 - 19
Recording - August 2012 - AEA RPQ500
Recording - August 2012 - 21
Recording - August 2012 - The Player’s The Thing
Recording - August 2012 - 23
Recording - August 2012 - 24
Recording - August 2012 - 25
Recording - August 2012 - 26
Recording - August 2012 - 27
Recording - August 2012 - Plug-in Outlet: Softube’s Newest Emulations
Recording - August 2012 - 29
Recording - August 2012 - 30
Recording - August 2012 - 31
Recording - August 2012 - Peavey MuseBox
Recording - August 2012 - 33
Recording - August 2012 - 34
Recording - August 2012 - 35
Recording - August 2012 - Computer Composition—A Workflow Report
Recording - August 2012 - 37
Recording - August 2012 - 38
Recording - August 2012 - 39
Recording - August 2012 - PreSonus AudioBox 44VSL
Recording - August 2012 - 41
Recording - August 2012 - Recording Fundamentals. Chapter 8: The Music Production Process—Who Does What
Recording - August 2012 - 43
Recording - August 2012 - 44
Recording - August 2012 - 45
Recording - August 2012 - Reviewed and Revisited: Universal Audio 1176 Classic Limiter Plug-In Collection
Recording - August 2012 - 47
Recording - August 2012 - Plug-in Outlet: Zynaptiq UNVEIL
Recording - August 2012 - 49
Recording - August 2012 - 50
Recording - August 2012 - 51
Recording - August 2012 - 52
Recording - August 2012 - 53
Recording - August 2012 - 54
Recording - August 2012 - 55
Recording - August 2012 - Plugin Alliance BIG 4 Bundle
Recording - August 2012 - 57
Recording - August 2012 - 58
Recording - August 2012 - 59
Recording - August 2012 - The Making of Quartet
Recording - August 2012 - 61
Recording - August 2012 - 62
Recording - August 2012 - 63
Recording - August 2012 - Readers' Tapes
Recording - August 2012 - Advertiser Index
Recording - August 2012 - 66
Recording - August 2012 - 67
Recording - August 2012 - 68
Recording - August 2012 - 69
Recording - August 2012 - 70
Recording - August 2012 - 71
Recording - August 2012 - Fade Out
Recording - August 2012 - Cover3
Recording - August 2012 - Cover4
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