Hallo Guitar_TT,
danke! Nun es gibt auf Gearslutz einen größeren thread zu beiden Plugins, bei denen Zynaptic Chef Denis einige Hinweise zur Anwendung gibt.
In diesem Falle soll man z.B. bei Unfilter die "Int. BIAS" Funktion nutzen und die Höhen absenken, dann werden diese von der Bearbeitung ausgenommen. Nach einigen Versuchen war ich mit den Ergebnissen jedoch nicht so glücklich.
Die Korrektur der Bassresonanzen klappt gut, er wirkt danach straffer und deutlich aufgeräumter mit schöner Kontur. Nur die Becken wirken im Mix dann irgendwie künstlich spitz.
Denis selbst dazu:
"....I don't agree that it generally doesn't replace EQ, though - it has a very elaborate EQ section, handles the corrective EQ job pretty much automatically and is excellent for shaping frequency response in general. Have you tried switching the breakpoint curve to EQ mode and just moving up the rightmost node by half a dB? The result is a high-shelf EQ that extends all the way down and sounds incredibly smooth and musical. It has replaced all of my go-to clean EQ plugs, and I'm a NUT about clean EQ.
But I do concede: it definitely isn't a "character" EQ. For specific music-mixing creative EQ applications, it's simply to clean, doesn't generate harmonic distortion. This is a benefit for many scenarios, but for others you will want to use a "Mojo" device as well. I use it here in conjunction with a Massive Passive and some Siemens w295b, the latter two being used to put some nice deliberate bumps into the frequency response after getting a "clean slate" to start with using UF. Ah, and the Rockruepel comp.one in Ruepel mode also enjoys seeing a well-balanced input signal heh
Let me add some other thoughts and pointers. Starting with mainly music applications in mind for the moment, post and sound design related stuff will be the subject of another post
For use with already good sounding mixes, small adjustments are your friend - like with any processor. In such a scenario, you don't really want to change the general balance of a mix - you may want to reduce some build-up in the low mids, give the top end a slight "openness", tame some 250Hz punch on the drums that is eating too much headroom, or extend the low end a little further, for example.
For this type of processing, you may want to leave INTENSITY at the center position, and adjust it using the INT BIAS curve right from the start, dialing in only subtle amounts where desired. For small adjustments, using the cursor keys or the scroll-wheel on your mouse is a good idea. Compare to the original signal often, and make sure you adjust output gain to match the perceived volume to ensure you're not tricking yourself. This part is generally obvious to any true gearslut, but especially important with UNFILTER as it works differently than a traditional EQ (which leaves the general level in place and adds/cuts on top/off of that).
Try running it in adaptive mode ( = DCY smaller than max) vs. "static" mode, they both have their merits. Adaptive mode can be very useful for capturing that one noticeably too loud note here and there etc, as ionian described with the "bass" example.
If working on a recording that consists primarily of harmonic, clean instruments - like a piano concert - you should try using the NOISE mode to avoid prominent fundamentals and harmonics being misinterpreted as resonances.
If you're processing solo drums (and let me tell you: it KILLS on overheads!), you will want to keep SMOOTHING higher up to prevent any pre-ringing becoming audible.
It can be beneficial to actually *boost* low-mid stuff using the free-form or graphic EQ after taming that frequency range with the unfiltering process...."
