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The Oxford Dynamics plug-in is modeled on the extremely
flexible and capable unit used in the OXF-R3 professional mixing console.
Resulting from many years research into professional dynamics applications, it
offers separate Compress, Limit, Expand, Gate and side chain EQ functions, with
full independent control of all parameters. Features such as selectable time
constant curves and variable soft compress functions allow the user to
confidently tackle all common uses of compression, from subtle unobtrusive
level control and mastering functions to the production of great artistic
effects. The use of a feed-forward architecture with logarithmic side chain
processing, making use of look-ahead techniques, ensures exemplary sonic
characteristics and dynamic accuracy, with an artistic capability simply
unavailable from other single units, analogue or digital. This highly
sophisticated and professional product has the power and flexibility to obviate
the need for many of the separate applications most users keep for specific
64-bit compliant (AAX / AU / VST)
The dynamics section from Sony OXF-R3 console
Separate sections for Compressor, Gate, Expander, Limiter
2-Band side chain EQ (with audition function)
Warmth control for extra presence and tube-like warmth
Three different compressor types (linear and exponential
Variable soft knee compressor
Separate 5.1 bus compressor (where supported)
Ultra low noise and distortion
HD-HDX: Pro Tools AAX DSP, TDM,
Native: AAX Native, RTAS, Audio
Units and VST
The Oxford Dynamics
plug-in is a highly sophisticated device with comprehensive control of many
parameters. Therefore, to aid operation, there is separate page of controls for
each process, since it would not be feasible to have all controls and displays
available on a single page.
Although there are four gain level controlling
processes, Gate, Expander, Compressor and Limiter in the mono and stereo
plug-ins, their control signals are all derived from a single side-chain
detector, operating on a single gain control element. The amount of processing
necessary to allow a detector for each process would be far too great for
current processor capabilities, if done correctly.
The 5.1 Buss Compressor does not include gating
and and expansion, but as an additionally has a Sub Filter section.
The type of
architecture in the Oxford Dynamics uses feed-forward techniques. In this case,
a tiny delay is introduced into the signal path. (The amount of delay is
virtually insignificant, and can be compensated for, in order that all signal
paths are aligned, in any case.) This delay allows time for the side-chain
control signal to be generated so that it can coincide exactly with the signal
it will control. This technique allows very accurate control of the audio
levels by generating totally precise control signals, thus preserving audio
The gate acts like a
switch, where signals below the THRESHOLD setting are attenuated, according the
the RANGE control setting. This type of function is useful for suppressing
unwanted background noises, such as tape hiss, where the wanted signal is well
defined. Gates are very useful on drums and percussive instruments too.
Once the signal
reaches levels above the THRESHOLD, the gate opens allowing the signal through
at full level. When the signal level falls, it must reduce to 4dB below the
THRESHOLD before the gate will close again. This is known as 4dB of hysteresis.
Increasing the ATTACK time, softens the attack 'edge', and the RELEASE sets the
time for the closure take to take place. The HOLD sets the minimum time before
the gate is able to close again.
The expander has all
the same controls as the gate with the addition of a RATIO control. But whereas
the gate acts like a switch, allowing the full signal through once the
THRESHOLD has been reached, the expander allows the signal level to increase,
according to the slope of RATIO setting. This function can be used to lower
background background noises but is particularly useful for increasing the
dynamic attack of any musical instruments which are percussive nature, such as
drums, percussion and acoustic guitar.
allows gain reduction to signals beyond the level set by the THRESHOLD
according to the RATIO setting. The RATIO can be set anywhere between 1:1,
where no compression takes place, and 1000:1 where virtually total limiting
takes place, meaning that there is no increase in level whatsoever for signal
level beyond the THRESHOLD.
The ATTACK determines how quickly the
compression sets in, allowing initial transients to pass, with the longer
settings, useful to pass the intial attach of percussive intruments. The
RELEASE sets the time taken to recover to no gain reduction, once the signal
has returned to a level below the THRESHOLD. The start of the RELEASE phase can
be further delayed by increasing the HOLD control.
The transfer curve
of the compressor will normally show a corner at the THRESHOLD point, the
transition between no gain reduction and gain reduction. This corner can be
'smoothed' using the SOFT function which helps to 'hide' compression.
When compression takes place, the overall signal is reduced at the higher
levels, normally requiring the level to be 'made up' again. The MAKE-UP gain
control allows for this.
The limiter is
designed to set a fixed ceiling for signals according to the THRESHOLD setting.
Although it does have an ATTACK control which can allow initial transients to
pass, at the medium and fastest ATTACK setting, the signal can be retained so
as not to exceed the THRESHOLD. This is achieved with 'feed forward - look
ahead' techniques and allows initial attack transients to be significantly
modified without breaching the THRESHOLD setting.
originally designed to prevent transmission systems being overloaded but are
often used as artistic tools too. The ATTACK, HOLD and RELEASE behave in a
similar manner to those of the compressor, but have different ranges.
equaliser is a fully parametric 2 band section. Its main purpose is to allow
modification of the frequency response of the side-chain signal path for
functions such as 'de-essing'. It is possible to use it in the main signal path
alone as an additional 2 band equaliser, or it can be used in the side-chain
alone, or for both the signal path and side-chain combined.
The AMOUNT control
allows the addition of harmonically related signal with a tube or electronic
valve like characteristics. Signal increases of up to 6dB can be achieved
within the audio, but without going over the digital maximum. MAX TRIM allows
fine tuning in order to compensate the peak level. The warmth function is
independent without dependency on other dynamic processes.
Buss Compressor (only on supported platforms)
The AAX DSP, AAX
Native and TDM versions of the Dynamics plug-ins include a 5.1 buss Compressor
and Limiter with exactly the same controls and parameters as the mono/stereo
the sub channel, the LP FILTER sets the cut off frequency, the SUB TRIM sets
the contribution of the sub signal to the side-chain, and the SUB PASS sets the
amount of gain reduction control passed to the sub channel.
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
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