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Zynaptiq Master Bundle: Intensity, UNMIX::DRUMS, and UNFILTER

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Zynaptiq Master Bundle includes Intensity, UNMIX::DRUMS, and UNFILTER.

 

Zynaptiq Master Bundle

 

Detail | Clarity | Density | Loudness

INTENSITY is a new kind of audio processor for mixing, mastering and sound design. Built on techniques typically found in facial recognition algorithms, INTENSITY brings out a sound’s inherent detail, increases its perceived loudness and density, and adds insane amounts of clarity. The unique algorithm carves out important signal features – making sounds sound more like themselves – and is operated with essentially one control. Between the proprietary algorithm and an optional soft-knee saturating limiter in the plugin’s output stage, INTENSITY also excels at attaining maximum loudness and creating a beautifully aggressive tone. 

 

The key INTENSITY features at a glance:

Mastering-grade processing for more detail, clarity, density and loudness. 
 
Intuitive and fast workflow using a streamlined set of controls. 
 
Proprietary INTENSITY circuit with optional frequency-dependent BIAS function. 
 
Additional precision soft-knee saturating limiter at the output stage. 
 
 

Think "Compressor"

So what IS this thing, then? You can think of INTENSITY like an infinite-band compressor operating in relative terms – whose time constants are zero, and which is controlled by an artificial intelligence at audio rate – making it possible to adjust the process with essentially just one knob.

 

Or Actually, do NOT Think "Compressor"

Well, except that this description would be completely inaccurate, as INTENSITY is absolutely NOT a compressor, and works in a completely different way. There's no RMS detector, no threshold, no ratio, no attack or release time. It doesn't pump or modulate in any other way. It doesn't overshoot and it works regardless of absolute levels and input type.

That said, the compressor analogy does serve to give you an idea of when to use it and what for.

 

Across the Board

INTENSITY is equally suited for processing individual tracks like speech, SFX, instruments – including guitars, bass and piano – as well as full mixes, multi-channel film stems, drum busses, and other complex content. This makes INTENSITY an indispensable tool for music producers, mastering engineers, sound designers, video producers, broad/podcasters, forensics professionals, audiophiles, or virtually anyone to quickly and easily add clarity, definition, and perceived loudness to their audio projects.

 

Fast, Faster, INTENSITY

This plugin is probably the fastest way to get great sound. No kidding. The actual, real-world usage story goes pretty much exactly like this:

Insert plugin
 
Adjust INTENSITY amount
 
Enjoy the result.

 

In some cases, you may additionally:

Adjust BIAS Amount and/or Curve
 
Switch LEVEL COMPENSATION off
 
Activate the saturation.

 ...that is literally it.

 

TL;DR – Summarize that in Plain English, Please.

OK, we'll drop the geek.

It's a high-tech thing that makes everything sound way more awesome.
Which is why we call it The AWESOME!-Knob in our offices.
Put it on everything, all of the time. 
Be careful, it's highly addictive.
Plain enough? :-)

 

Details

Zynaptiq INTENSITY: INTENSITY Trackball

INTENSITY

At the heart of the plugin lies its namesake, the INTENSITY  circuit. A combination of advanced neural network based analysis and proprietary input and output transforms is used to separate the signal into broad strokes and detail features. By boosting the details while leaving the broad strokes in place, the sound's unique characteristics are amplified, masking effects mitigated, details carved out, the density and perceived loudness increased. Sounds high tech? That's because it IS.

 
Zynaptiq INTENSITY: BIAS Trackball

BIAS

In most cases, the INTENSITY trackball is all you'll need to use to get a great sound. But the processing amount can be controlled frequency dependently, too, using the BIAS function.

 
Zynaptiq INTENSITY: BIAS CURVE Icon

Preset BIAS Curves

INTENSITY features ten preset bias curves, including two equal loudness curves, a presence boost curve, linear tilt curves, and more. Curves are selected using our proprietary Visual Menu widget, which allows you to preview a setting simply by hovering your mouse over it. 

 
Zynaptiq INTENSITY: BIAS Sliders

Custom BIAS Curve

Or simply create your own. Supported by multiple macro functions, finding just the right curve is a snap.

 
Zynaptiq INTENSITY: SATURATE Function

SATURATE

On top of the high-tech INTENSITY circuit, there's also a slightly more traditional, but nonetheless state-of-the-art soft-knee saturating limiter that can optionally be switched into the output stage. From subtle glue to in-your-face-ness to Yeah-I-Just-Got-Three-dB-of-Loudness-For-Free in mastering to straight-up overdrive, the SATURATE circuit delivers a beautifully warm, meaty tone...and can drive the loudness into La-La-Land.

 

Formats

INTENSITY is available for a variety of formats.

On MacOS X:

Apple AudioUnits (32/64bit)
Avid RTAS
Avid AAX Native including AudioSuite (32/64bit)
Steinberg VST 2.4 (32/64bit)
Steinberg VST 3 (32/64bit)

On Windows:

Avid RTAS
Avid AAX Native including AudioSuite (32/64bit)
Steinberg VST 2.4 (32/64bit)
Steinberg VST 3 (32/64bit)
 
 

System Requirements Mac

Apple Mac computer
OSX 10.8.x or newer
Intel CPU with at least 2 Cores; i7 or better recommended.
Apple AU (AudioUnits), Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
Internet Connection for Software Activation (though not necessarily on the computer used for audio)

 

System Requirements Windows

Windows 7 or newer
CPU with at least 2 Cores; Intel CPU recommended, i7 or better recommended.
Steinberg VST 2.4, VST 3 or Avid RTAS/AAX compatible Host software
For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
Internet Connection for Software Activation (though not necessarily on the computer used for audio)

 

Copy Protection

This software uses the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (or newer; not included). You will need a free iLok.com account to use our software, even for the the demos – but you do not necessarily need the iLok 2 dongle, if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.

*Please note: the older, first generation (blue) iLok is not supported!

 

BOOST OR ATTENUATE DRUMS IN MIXED MUSIC

UNMIX::DRUMS is the world’s first audio plugin that allows attenuating or boosting drums in mixed music, in real-time. Using advanced source signal separation (a.k.a. de-mixing, unmixing, sound extraction, sound isolation) technology under the hood, UNMIX::DRUMS provides frequency dependent drum level control that ranges from up to +18dB of boost to virtually complete removal* – while always sounding great. Whether used on a full mix or on a drum bus, UNMIX::DRUMS can be used to shape and enhance the impact of your drums in a unique new way. Sporting an intuitive multi-level GUI, frequency dependent control of key parameters, a sample accurate sub-bass (re)synthesizer, our high-precision analyzer display, M/S operation and an output limiter, UNMIX::DRUMS opens up exciting new options for mastering, music production, sample-based music creation, mash-up artists, remixers and DJs.
* Actually achievable amounts depend on input signal specifics.
 
 
The  UNMIX::DRUMS features at a glance:
Source Separation-Based Control of Drum Level in Mixed Music
SMOOTH and PUNCHY Boost Modes
Sample-Accurate Sub-base (Re)Synthesizer
Frequency Dependent Control of Key Parameters
Intuitive 3-way GUI Design
 
 

TURN IT UP (OR DOWN)

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UNMIX::DRUMS is your after-the-fact fader for the drums. It takes a mixed music input and allows you to change the level of the drums relative to everything else, in real-time. Attenuate the drums to "headphone bleed" levels, or make them sit squarely in your face – the choice is yours. Adjust DRUM LEVEL and THRESHOLD, done.

 

IMPACT SHAPING

 Picture
 

UNMIX::DRUMS doesn't only work with mixed music – you can slap it onto a drum buss, too. Adjusting DRUM LEVEL frequency dependently - using our slick breakpoint editor in the CURVES view - lets you shape the impact and punch of your drums like never before. Without touching a compressor or transient processor, and even if they're inside a full mix. We call this impact equalization. As drum punch connoisseurs, we're proud to say: It's simply awesome.

 

SMOOTH PUNCH, PUNCHY SMOOTHNESS

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Speaking of punch: UNMIX::DRUMS offers two boost modes, SMOOTH and PUNCHY. The SMOOTH mode was designed with a dry, organic sound in mind, for natural sounding medium boost situations, as well as pre-processing for drum extraction applications. PUNCHY produces a very snappy, tight sound that can really make the drums jump at you. Both modes allow boosting the drum reverb, too, SMOOTH focusing on early reflections and PUNCHY on long reverb tails. 

 

OFF THE RICHTER SCALE

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UNMIX::DRUMS features the world's first and only sample accurate sub-bass (re)synthesizer. Adding punchy and clean low frequency energy to your music or drums has never been easier. Simply raise the BASS SYNTH slider to taste – no level instabilities, false triggers or phase cancellation included. Whether subtly extending the frequency range on a jazz master or creating earth shattering club beats of woofer destruction, the onboard BASS SYNTH delivers – with minimal effort.

 

WORKFLOW MONSTER

Picture
 
 
So what is this plug-in for? In a nut-shell: creating unheard new sounds and smooth, sonically pleasing transitions that are different from the cookie-cutter crossfade approach. Create creature voices by combining speech with other sounds, apply the features of a drum loop to a sustained pad, transition from one ambience or SFX to another with surreal intermediate stages, or or create hybrid rhythms or instruments.
 
 
 

SPECIFICATIONS

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Formats
MORPH 2 is available for a variety of formats.

On MacOS X:

Apple AudioUnits (32/64bit)
Avid RTAS
Avid AAX Native including AudioSuite (32/64bit)
Steinberg VST 2.4 (32/64bit)

On Windows:
Avid RTAS
Avid AAX Native including AudioSuite (32/64bit)
Steinberg VST 2.4 (32/64bit)
 

System Requirements Mac

Apple Mac computer
OSX 10.6.8 or newer
Intel CPU with at least 2 Cores
Apple AU (AudioUnits), Steinberg VST 2.4 or Avid RTAS/AAX compatible Host software
For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
Internet Connection for Software Activation (though not necessarily on the computer used for audio with iLok 2)

System Requirements Windows

Windows Vista or newer (XP SP3 may work but is untested in-house)
CPU with at least 2 Cores
Steinberg VST 2.4 (32/64-bit) or Avid RTAS/AAX compatible Host software
For AAX Native 32-bit, the minimum required Pro Tools version is 10.3.6
iLok.com account for machine- or iLok 2 based activation (of full as well as demo versions)
Internet Connection for Software Activation (though not necessarily on the computer used for audio with iLok 2)

 

UNFILTER is a real-time plug-in that removes filtering effects, such as comb filtering, resonance, or excessive equalization – effectively linearizing the frequency response of a signal automatically. UNFILTER can also apply a detected filter response to another signal, or export it to disk as an impulse response, and can even perform mastering grade adaptive, free-form, and graphic equalization. Whether you're in music production, film post, game audio, broadcast, sound design, forensics, or engineering – UNFILTER makes time-consuming and often impossible tasks as effortless as adjusting one control.

The UNFILTER features at a glance: 

Automatically detect and remove resonances, equalization, roll-offs and the effects of comb filtering from musical,  location, dialog and surveillance recordings.
Apply the measured filter response to other signals to place them in the same "acoustic world".
Export the measured filter response to or import it from a linear- or minimum-phase impulse response file (WAV).
Mastering grade adaptive, free-form and graphic equalization.
Extremely steep 96dB/octave shelving high-pass filter.
Output limiter for unsupervised use in batch processing applications.
Highly time-efficient workflow and UI
 
UNFILTER Input Signal vs Output Signal

Set It Straight

UNFILTER automatically detects resonances, EQ or filter effects – essentially any frequency response anomalies that aren't part of the original signal. You can then remove these by simply adjusting one control, leaving the rest of the signal virtually untouched. As a result, previously problematic or unusable recordings can be made to sound good, and good recordings to sound great. In real-time, and with minimal effort, Zynaptiq-style.

 
UNFILTER Negative INTENSITY For Applying Response Curve To Other Signal

Make It So

You can also apply the measured filter response from one recording to another – placing the two in the same acoustic "world". Or you can create room-tone to fill editing gaps, by applying a measured filter response to noise. 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. 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.

 
UNFILTER Free-Form EQ

More Equal

UNFILTER is also an EQ. Three mastering grade EQs and an excellent high-pass filter, actually. For one, its (un-)filtering engine can function as an adaptive program equalizer that continuously adjusts itself while the audio is playing. This helps maintain a balanced spectrum when working with audio that changes over time, for example when streaming mixed music in broadcast applications. Secondly, UNFILTER sports a free-form EQ with various curve interpolation modes, from super-gentle slopes, through narrow notches, to brickwall steps. Thirdly, we added a streamlined 7-band graphic EQ for good measure. And finally, there’s a super-steep 96dB per octave shelving high-pass filter that removes low frequency rumble so efficiently you’ll forget that there was ever anything down there.

 
UNFILTER LEARN Control

Rocket Science

How does UNFILTER do all that? Technically, it performs a real-time blind de-convolution, a cutting-edge technology rarely found even in the most advanced of research institutes. Fortunately, we don't do lab coats.
This technology allows UNFILTER to take a close look at your audio, estimate what happened to its frequency response, and then create a filter that will undo the process. Sounds like rocket science? That's because it is. But all the technology in the world doesn't matter if it's difficult to operate or doesn't sound good. Well, UNFILTER is a breeze to use, and doesn't just sound good...it sounds amazing.

 
UNFILTER LEARN Control

Lightspeed

The UNFILTER UI is so fast and easy to use that corrective EQ can often be done within seconds by adjusting just one of our super-slick trackball sliders. And for advanced customization, every single function and control has been engineered with painstaking attention to detail – finely-tuned for optimal workflow and results. Whichever control you move, the right setting is never far away. UNFILTER is not only a life-saver, it is also a time-saver par excellance.

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