A longtime secret weapon for audio professionals, the Sonnox Oxford Inflator does what so many dynamics processors only pretend to do — increase the apparent loudness of your mix or individual tracks, without audibly affecting sonic quality or reducing dynamic range. The Inflator can add power, warmth, and presence to your mix, providing virtual headroom above digital maximum, while maintaining musical character. The proven answer to today’s heavily compressed, 'louder-is-better' mixes, the Inflator can deliver louder mixes without the pumping and over-saturation commonly associated with compressors. So you can add loudness to even heavily squashed or compressed material, or add musicality and apparent dynamic range to previously clipped signals. Is It Compression?
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I'm not sure what this plug in does. I tried it out to help control loudness of a digital drum mix, and was sold after the first try. The average power level of the tracked signal can appear to remain low, yet the perceived loudness of mix is very in your face and, in fact can sound like it is over clipping levels A quick glance at the meter shows that isnt so. Nonetheless, unattentive use of this plug in can result in distortion and clipping, and I find this very harsh. I prefer using it as a loudness or boost; I;m still experiementing where in the chain to use this, though it appears to best be used at the latest stages of mix. I also use it on music playback which can add a very nice overall loudness to the music at parties, etc.
This is one of those 'does one thing and does it well' plug ins that comes in really handy. I've used it on a few final mixes now and the clients have all smiled so far when they get the on / off demonstration. Not one single person has as yet said. I haven't read the manual yet, so I probably should so I can get the most out of it, but I think it's another great UAD-2 tool that I'll use daily. I see so many negative reviews here from cheapskates moaning about the cost of these plugs but c'mon guys, we're saving freaking thousands of dollars using these great plug ins instead of having to buy the hardware units that don't sound any different generally. This tech is just plain brilliant, especially when used with an Apollo.
A different path to the maximizer effect The Inflator is another path to Maximizing. Since uses a different algorithm than the P. Max, is sounds different - more 'Metal' than 'Jazz', more modern, more surgical, slightly less 'tubey'. It is easier to get too heavy-handed with the Inflator, but it is a good alternative to the P. Max for Mastering. I also found less use for the Inflator on mix busses and individual instruments than the P. As a mastering engineer, it is a great alternative to the P.
Max and other 'maximizers', harmonic enhancers and 'Exciters'. It definitely has a mature sound - no shoddy programming here.
Demo it and decide. And experiement! It has a wide range of sounds for so few controls. Good alternative to Precision Maximizer The Sonnox Inflator is another way to make mixes louder without squashing them. It doesn't work on everything; if a mix already has a lot of saturation and harmonic enhancement, the Inflator can make these elements harsh and unpleasant, but when a relatively clean mix needs that extra upfront sound (in your face), the Inflator makes a nice alternative to the P. Try both; invariably one works better for a given mix.
It is not always clear which one and sometimes neither is appropriate. Make no mistake, the Inflator has a different sound than the Maximizer - less 'tubey' and more surgical and aggressive (at higher curve settings). A good tool for mastering engineers. Easiest purchase decision! I activated the demo if this plugin soon after it was released and tried on lot of different materials I had edited/mastered before. I pretty much decided to get it right after testing it on two of my songs - its pretty amazing how this little thing works. Further tried it on some of my acoustic guitar tracks and that alone would have justified getting this plugin!
Really nice results. Sounds are maximised while not crushed and in individual tracks it does wonders on bringing selected tracks live. I own pretty much every plugin from UA but purchase decision had never been easier than for this one.
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 uses.
(Sony Oxford) - Sonnox Ltd. Has evolved out of Sony Oxford, which in turn traces its history back to a group of five dedicated audio professionals that first worked together in the early 1980s. These engineers spent many years together designing analogue and digital consoles for Solid State Logic, and subsequently left to start a new Company in 1988 that was called Oxford Digital. Over the following few years the team slowly expanded, until in 1993 it became Sony Oxford. The major product design from Sony Oxford was the OXF-R3 Digital Mixing Console, commonly called 'the Oxford Console'.
This high end digital audio console was conceived by Oxford Digital in the late 1980s and productised for commercial rele. (Sony Oxford) - Sonnox Ltd. Has evolved out of Sony Oxford, which in turn traces its history back to a group of five dedicated audio professionals that first worked together in the early 1980s.
These engineers spent many years together designing analogue and digital consoles for Solid State Logic, and subsequently left to start a new Company in 1988 that was called Oxford Digital. Over the following few years the team slowly expanded, until in 1993 it became Sony Oxford. The major product design from Sony Oxford was the OXF-R3 Digital Mixing Console, commonly called 'the Oxford Console'. This high end digital audio console was conceived by Oxford Digital in the late 1980s and productised for commercial release by Sony in the mid 1990s. All hardware and software, all audio i/o, all system architecture and cosmetic design, and all audio algorithms and signal flow were designed by the engineers in Oxford, including an audio DSP chip (at that time it was impossible to buy DSP technology with enough power).
Even a bespoke microcode compiler and router were developed from scratch. Although software maintenance of the OXF-R3 continued for some years, the core activities of the group diversified. Sony Oxford became the world leader for development of 1-bit audio processing (DSD, the basis for SACD), and additionally a variety of R&D contracts were undertaken on behalf of various groups in Sony. As technology became cheaper with increasing power, a group formed in Sony Oxford that began to focus on how best to re-purpose the Oxford technologies into audio workstations. This group became a development partner with DigiDesign and began work to create the Oxford EQ for Pro Tools. At the same time, work was started on the infrastructure for an e-commerce scheme that would become instrumental for sales and registration of the new software products.
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In September 2002 the CD boxed versions of the OXF-R3 EQ started selling around the world. This was followed by a port of the EQ to TC Works PowerCore, a version of the OXF-R3 Dynamics section, and then two newer plug-ins (the Inflator and the TransMod), which didn't feature prominently in the Oxford console and needed significant re-working for the plug-ins market.
These early products were followed with a Reverb and a Limiter, and the platform base was broadened to include native hosts such as VST and Audio Units. By 2006 this plug-ins software initiative was operating as an almost self-contained business unit within Sony. To stimulate the business and allow it to thrive, the business unit was spun out of Sony in April 2007 and became a new and independent Company called Sonnox Ltd. Looking to the future, Sonnox is committed to expanding its plug-ins business with frequent introduction of new products and support for a wide range of platforms. We are working hard to grow the world-wide distribution channels for our products. We're introducing innovations such as the MediaPack, which allows simple and flexible purchase of our products from any outlet; and Flexible Bundling, which invites the customer to choose the plug-ins in his own custom bundle and tops this with a generous flexible discount.
However, it all comes down to a passion for audio. We take a no-compromise attitude to our designs. We put extreme care into the quality, the functionality and the performance; we agonise over the user interface; we test, test and re-test; and we listen to feedback from our customers. We take great pride in our after-sales support. We want to provide you, the audio professional, with the innovative tools you need to undertake your job with more creativity, more flexibility and more efficiency. Our pedigree, for want of a better term, is the high end recording studio where quality is crucial.
The philosophy behind our products has always been to couple the highest quality audio with intuitive operational simplicity, and bring that to the pro-audio market at an affordable price.
Developed by Sonnox, the Oxford EQ plug-in for UAD-2 and Apollo interfaces is based on the EQ section of the iconic Sony OXF-R3 console. Introduced in the early ’90s, this console is regarded as the pinnacle of modern digital mixing console design. The Oxford quickly found favor with a range of “A-list” audio professionals — including George Massenburg, Peter Gabriel, and Mick Guzauski — as well as in professional post-production, sound design, and audio restoration rooms. Like the original hardware, the the Sonnox Oxford EQ plug-in features four EQ types give you myriad flavors of precise tone sculpting and fixative power that any mixer can harness.
Its intuitive interface and ability to provide strokes of broad, musical EQ just as easily as precise ones, have made it an important tool for mixers like RIch Chycki ( Rush, Dream Theatre) and Joe Zook ( Katy Perry, The Hives). Key Features 5-band fully parametric EQ incorporating exact algorithms from the legendary Sony OXF-R3 digital mixing console Variable HF & LF filters up to 36 dB/Octave Four different EQ types — from modern to “legacy” styles — in a single plug-in Fully de-cramped HF response Intuitive editable graphic display of all EQ/filter settings and adjustments A / B switches (automatable) Ultra low noise and distortion Requires a UAD-2 DSP Accelerator Card or Apollo Interface available from authorized dealers worldwide. A true Desert Island Plug-in This is a truly great plug-in! It is always #1 or #2 on those 'Desert Island' EQ plug-in lists. I don't understand the less than perfect reviews some has given it, which are not based on the sound and performance of the plug-in itself but because Sonnox sells the exact same plug-in.
Since I don't own any Sonnox bundles, it does not get much better than this. The UAD version is a few dollars cheaper than the stand-alone Sonnox Native instance, I had a small discount coupon which lowered the price even more, it takes advantage of my UAD DSP power, & I have been told the interface feels a tad better. I was very partial to the UAD Cambridge EQ graphical display, This has all that with famous Sonnox sound. Great a addition! Oxford EQ The Oxford EQ is the EXACT algorithm as the Sonnox version.
After speaking with the East Coast regional manager of UA, I learned that UA didn't market this plugin to people that already own the Sonnox version. This is for people that don't already have the plugin but prefer to have the UAD card handle the DSP processing. It's all a matter of personal preference. And for those of you who think the Cambridge EQ is the same thing, you are mistaken. The Cambridge EQ was UA's best crack at the Oxford type EQ before they had license to sell the real version. The Oxford EQ is the EXACT sonnox authorized version which also comes with 4 different EQ types which the Cambridge doesn't offer. Demis roussos discografia completa descargar. Amazing EQ but.
This is an absolutely amazing EQ. I own the native version and use it all the time, however I really don't see how the $299 cost for the UA version can be justified. Being a Logic user, I would almost be tempted to buy it anyway if this version included the GML option but it does not. One point I think is worth mentioning - other users have posted that they don't see why UAD have released this. The reason is this is a third party plugin developed by Sonnox with probably little to no input from UAD.
I totally get the point of it, but not at this price and definitely not without GML. Very good Oxford Native $200 Oxford TDM - AAX $350 Oxford Ua $299 The price is HIGH, i agree, but shoulndt be a surprise to anyone. I think in the future there will be an Oxford bundle at a better price. Upgrade from cambridge would be cool also, but i dont think they can do this, once sonnox must agree with something like that, and they wont. This is exactly the same code as native version. A very good eq!
Much like cambridge, but not the same, they are different. Why GML is not an option? This is where I would usually get all excited about the latest addition to the UAD-2 Plug-In family. Universal Audio has been incredibly consistent with mesmerizing my mixing ears, and I would have to say that I am very proud to have quite a nice and hefty collection of UAD-2 Plug-Ins cozily nestled in my Meter & Control Panel. This time however, I did not feel tempted to hit the 'BUY' button after downloading V6.3 and giving the Sonnox Oxford EQ Plug-In the 14-Day Trial. It's been 7 days and I would have to sadly report that I cannot share that same excitement I once experienced.
I am aware of the number of new features on board, however at the end of the day, it's just another EQ. How about an old valve mic preamp plug-in next time?
Sonnox Oxford Plug-Ins BundlePack v2 WiN AiR Plug-Ins VST WiN (PC) 189.45 MB ( FIXED installers ) The Ultimate Oxford Plugins Collection. Want the best sounding plug-ins available Sonnox Oxford SuprEsser The Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ. There is a simple mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning.
The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. As well as being able to trigger the full band compression, only the offending frequencies can be carefully carved out. Since the SuprEsser can operate at all frequencies, €plosives€™ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing. Sonnox Oxford Transient Modulator The Transient Modulator is an application that allows dynamic level of signals to be modified by the transients in the programme material over time.
The effect is to bring transient events in the programme forwards, or push them into to the background, such that the attacks of instruments can be accentuated or softened depending on settings. Sonnox Oxford Reverb The Oxford Reverb plug-in is a highly flexible stereo reverberation generator, designed to complement existing Sonnox Oxford applications in providing the user with the highest technical and sonic performance coupled with artistic and creative facility.
As well as providing stunning presets, the user has full control over all of its many parameters, including a very comprehensive early reflections section, and integrated 5-band EQ. The Sonnox Oxford Reverb allows the powerful facility to create virtual spaces freely, depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way to wide open reverberant spaces with a very large range of possible texture and spatial character. Sonnox Oxford Limiter The Oxford Limiter has been developed from decades of professional audio experience to provide a very high degree of quality and facility in programme loudness control and limiting functions. By employing highly accurate logarithmic side chain processing, along with innovative adaptive timing functionality using look ahead signal acquisition, the limiter provides exemplary performance, whether one is seeking general transparent level control, programme loudness maximisation or heavily applied artistic sound effects. Unique processing in the form of the Enhance function provides the sample value limiting needed to reliably avoid overloads in digital workstation environments and allows unprecedented volume and punch to be applied to programme beyond that available from conventional limiting functions. Comprehensive metering is provided which displays not only conventional peak sample value, but additionally allows the user to monitor the true validity of the programme in order to avoid the generation of damaging reconstruction overloads in the target equipment which are often invisible during production (sometimes termed ‘inter sample peaks’).
Urs Classic Console Compressor
A further function allows the user to dynamically correct for reconstruction overloads in real time, thereby achieving maximum possible modulation levels without the risks of producing illegal signals often associated with compression and limiting. Comprehensive dithering functionality with selectable and variable depth noise shaping ensures first class mastering output quality in either 24 bit or 16 bit modes. Sonnox Oxford EQ The EQ plug-in is based on the OXF-R3 EQ section. Buku pancasila pdf. It is a fully functional 5-band application with selectable shelf settings on LF and HF sections. Additionally, separate variable slope low pass and high pass filters are provided. The EQ also features 4 different selectable EQ types that cover most of the EQ styles currently popular amongst professional users, including some legacy styles which are renowned for their artistic capability.
The use of novel coefficient generation and intelligent processing design provides unparalleled performance that surpasses analogue EQ in both sound quality and artistic freedom. This plug-in may well provide all the EQ you ever needed. Sonnox Oxford Dynamics 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 uses.
Sonnox Oxford Inflator The Inflator is a unique process that can provide an increase in the apparent loudness of almost any programme, without obvious loss of quality or audible reduction of dynamic range, yet avoiding damaging increases in the peak level of the signal. The inflator process can also bring power, presence and warmth to programme material and even provide headroom overload margin above digital maximum with a subtlety and musical character reminiscent of tube systems. Sonnox.Oxford.Inflator.Native.VST.v1.5.1-AiR Sonnox.Oxford.Inflator.PowerCore.VST.v1.5.1-AiR Sonnox.Oxford.Limiter.Native.VST.v1.1.1-AiR Sonnox.Oxford.Limiter.PowerCore.VST.v1.1.1-AiR Sonnox.Oxford.R3.Dynamics.Native.VST.v1.3.1-AiR Sonnox.Oxford.R3.Dynamics.PowerCore.VST.v1.3.1-AiR Sonnox.Oxford.R3.EQ.Native.VST.v1.6.1-AiR Sonnox.Oxford.R3.EQ.PowerCore.VST.v1.6.1-AiR Sonnox.Oxford.Reverb.Native.VST.v1.0-AiR Sonnox.Oxford.TransMod.Native.VST.v1.3.1-AiR Sonnox.Oxford.TransMod.PowerCore.VST.v1.3.1-AiR INFO: Sonnox Oxford Plug-Ins BundlePack WiN v2-AiR 52363 Views.
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