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The Sonnox Oxford / GML 8200 Option adds the GML 8200 EQ
emulation to the Sonnox Oxford EQ plug-in. This is available as an optional
extra for the Sonnox Oxford EQ plug-in.
This highly accurate emulation, designed in collaboration
with GML for the OXF-R3 console, has all the finer characteristics of the
classic analogue outboard unit, faithfully reproducing all the control ranges
and responses of the original EQ, even to the point of producing centre
frequencies up to 26KHz whilst running at 44.1KHz or 48KHz!
This superlative EQ, much loved for its sonic detail and
sensitive musical character, has deservedly become regarded as indispensable
amongst a great many professionals in the industry. This plug-in, fully
endorsed by GML, brings a vast wealth of experience and matchless lineage
within the grasp of the Pro Tools user.
Enhances the Sonnox Oxford EQ plug-in by adding a GML-8200
emulation as an additional EQ type
Common control interface features with the built-in Sonnox
Oxford EQ types
Extremely accurate GML 8200 emulation with centre
frequencies up to 26KHz
Highly accurate control range and law matching with GML 8200
to retain the operational character of the analogue unit.
Extremely low noise and distortion.
Pro Tools AAX DSP & Pro Tools TDM
Programme equalisers have expanded, beyond their original
use as distance correction devices for film and vision, into highly creative
tools that represent a leading part of the sound engineer’s artistic palette. A
great many EQ designs have been developed over the years that have been
attributed with qualities that lend themselves to particular uses and sounds.
The Sonnox Oxford EQ plug-in is designed to be flexible enough to address as
many of these generic types as possible from a single application by presenting
a variety of types to the user.
The following text is presented as a general explanation of
many of the factors that affect EQ performance and to illustrate how we have
addressed these issues with the Sonnox Oxford EQ plug-in.
Control Ranges &
Interaction (types of EQ)
There are many different types of EQ, which differ in many
areas. One of the most important areas is the issue of control ranges and
interaction. Whilst it is true that with a parametric unit with continuous
controls (i.e. not quantised) any response could be obtained by matching their
curves, many of the popular EQs have control dependencies that lean towards a
specific application. One of the main areas where EQs differ is Gain / Q
dependency. Most analogue EQ has Gain / Q dependency as a result of the
circuits used. This factor can greatly affect the artistic style that an EQ
presents by facilitating certain parameter settings and encouraging particular
uses when the unit is operated. In the Sonnox Oxford EQ plug-in we have covered
this situation by providing 3 different styles of EQ that take account of Gain
/ Q dependency as well as overall control ranges.
Sonnox Oxford EQ
There are 4 types of EQ as standard in the Sonnox Oxford EQ,
plus an option for a fully approved GML 8200 emulation, for Pro Tools and HD.
The differences between the types are reflected within the curve
characteristics of the bell settings. The shelving curves are the same for all
4 types. They include the use of the 'Q' controls allowing and amount of
'undershoot' to be dialed in for boost settings, and overshoot when a shelf is
used in cut settings. As an example, when applying an HF shelf, adding Q will
cause the mid range just below the shelf to be cut, whilst simultaneously
increasing the slope of the rise to the shelf. This has the effect of reducing
perceived harshness, sweetening the sound, much like the legacy Neve and SSL G
EQ Type 1
This EQ can be regarded as a general and multi-purpose
'sharp' or clinical tool. Its response curves are very similar to that of the
EQs in the SL4000E consoles, popular in the 80's. Characterised with minimal
gain/Q dependency, the shape of the peak of the boost and cut curves, when in
'bell', remain virtually constant according to the Q setting, no matter what
level of boost or cut is in use. Even so, it is possible to mimic many other EQ
types with Type 1, due to the flexibility of the control ranges. The boost and
cut curves are mirror images of each other, termed reciprocal.
EQ Type 2
The boost curves are identical to Type 1, whereas the cut
curves are tighter. In fact this is a true 'constant Q' equaliser where the cut
curve is 3 times sharper than the boost curve, ideal for removing troublesome
EQ Type 3
This is a reciprocal EQ which has a moderate amount gain/Q
dependency. This means that at lower boost and cut settings, the shape of the
curve is broader, becoming progressively sharper with increased boost or cut.
This characteristic feels very comfortable to the ears and this type of EQ is
often deemed musical, resembling older well-loved Neve types and the SSL
G-Series which came along in the late 80's.
EQ Type 4
This type has the greatest gain/Q dependency. Its
characteristics are very soft and gentle, likely to be extremely useful in
GML Option (AAX DSP,
TDM & HD only)
This EQ emulates the GML-8200 rack EQ unit, but still uses
the control same interface as the Sonnox Oxford EQs. It has the same highly
accurate control range and law matching in order to retain the exact
operational characteristics of the analogue units. It’s an extremely accurate
emulation of the 8200, fully endorsed by George Massenburg, with an HF centre
frequency going all the way up to 26kHz, just like the real thing.
Pro Tools 7, 8, 9 & 10, 11
Approved Pro Tools CPU, OS and hardware configuration :
Mac OSX 10.4 or later
- Pro-Codec and
Codec Toolbox compatible with Intel Mac only
Windows XP / Vista / Windows 7 / Windows 8
RAM 1GB minimum
iLok key with latest drivers
iLok2 required for AAX plug-ins
SuprEsser DS compatible with ProTools 10 / 11 / S3L with
approved ProTools CPU, OS and hardware configuration. Go to AVID.COM to find
Audio Units compatible application (Logic, Digital Performer
iLok2 required for 64-bit plug-ins
VST compatible application (Cubase, Nuendo, Wavelab, Sequoia
iLok2 required for 64-bit plug-ins
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