Category Archives: Dynamics

Sonnox Release The Oxford Dynamic EQ Plug-In For VST, AU, & AAX

Oxford+Dynamic+EQ

As engineer’s, there are many cases where we may find ourselves asking – do we really need another “insert any plug-in type here” but when it comes to dynamic EQ’s, the more the merrier in my opinion. I’ve been a long time Sonnox user for well over a decade now. In fact, they were one of my first purchases with respect to 3rd party plug-in’s. So needless to say I was pretty excited when I saw the news that Sonnox had entered the market with their very own Oxford Dynamic EQ.

So first of all what is a Dynamic EQ, and why use it over a traditional EQ?

Well to answer that, I’ll simply quote the good folks at Sonnox, as they are much smarter than me, and have a really simple but thorough explanation:

“A static EQ is just that. Set. If you dial in a 5db cut at 1kHz, it’ll be applied irrespective of the level of your incoming signal. Let’s say that you’re only bothered by the 1kHz frequency when the singer is really going for it in a chorus. On one note. If you apply a static EQ, 1kHz is cut all the way through the song and you’ll need to automate your way around the problem.

A dynamic EQ is more kind to your recording, only doing its thing when you need it to. The result is a less processed and more natural sounding. Less is more!”

Check out the video examples below to see the Oxford Dynamic EQ in action

Key Features

  • 5 bands of the Oxford Type-3 EQ curve which offer proportional-Q, often considered the most musical EQ curve-type
  • All bands can overlap fluidly without the static phase distortion or low frequency artefacts associated with multiband compressors
  • Each band can process and/or detect from mono, stereo, mid or side channels
  • Flexible per-band internal/external side chain controls
  • A clear and informative GUI simplifies the often-complex workflows associated with multiband dynamic plug-ins
  • Flexible upwards/downwards compression and upwards/downwards expansion
  • Engage the effect either by setting a level threshold or by using the unique onset detection feature for very precise transient processing

Compatibility

AUDIO UNITS

  • Audio Units-compatible application
  • Mac OS X 10.7 – 10.12
  • iLok USB device with latest drivers
  • iLok2 / iLok3 required

VST2 / VST3

  • VST2 or VST3 compatible application
  • Mac OS X 10.7 – 10.12
  • Windows 7 or later
  • iLok USB device with latest drivers
  • iLok2 / iLok3

AAX

  • Pro Tools 10.3.8, 11.3.2, 12 – AAX Native
  • Approved Pro Tools CPU, OS and hardware configuration: www.avid.com 
  • iLok USB device with latest drivers
  • iLok2 / iLok3 required

Pricing & Details

For full details and pricing, or to demo the Oxford Dynamic EQ, be sure to head over to the Sonnox website. And needless to say, keep your eye on the blog for a full review coming soon.

 

 

 

 

How to Combat Writers Block – Part 3 – Wrap It Up

Here’s an open question for you – how do you know that your track is finished?

For me its usually when the client is happy with the work and signs it off. If I’m happy too then that’s a bonus. Maybe you’re in a band so everyone needs to be happy. That’s trickier and I’ve noticed over the years that some of the best bands out there have a hierarchy, where certain members quietly lead the process. Often but not always, it’s the songwriters. If that’s what is needed to get an album finished – a good balance of band politics – then it’s worth giving it some thought and think ‘maybe I should back down, or ‘maybe I should step up’…

There are plenty of hurdles before the finish line: indecision, fear of criticism, even thinking that your gear is not ‘pro’ enough so it can’t be released yet. Whatever they might be for you, I think its valuable to recognize what they are, and whether they are really a good enough reason to not wrap it up and move on.

Perfectionism Is Less Than Perfect

If starting a project is hard, then finishing an idea can be even harder. Perfectionism is one of the biggest barriers for the developing writer. The need for things to be perfect can become a horrendous feedback loop whereby you trawl over the same ideas again and again, never quite satisfied with the result, and crucially not moving forward either. Of course we all want things to be the very best they can be – but it is very important to keep moving forward too.

Just like the work quantity vs. best work ratio, this is a major balancing act. When you do find yourself in that feedback loop of tweaking and tinkering I find its best to either just end it and say its done [very difficult but sometimes necessary] or to deliberately shelve the idea and allocate time to it later when you can approach it from a fresh perspective. It’s a very personal thing of course, but if a need for perfection is holding you back from releasing anything then you have a problem. If you’re a producer then your job title literally indicates that a finished product is on the horizon, and that’s the role when you produce for others so why not if you self-produce?

The Law Of Diminishing Returns

The phrase ‘good enough’ doesn’t have a great ring to it. However it doesn’t necessarily need to mean something is bad. It can actually be very liberating to realize that not everything needs to be completely perfect. In fact the effort to perfect a track might lead to a drain in what was interesting in it in the first place. I know that these days there’s a certain amount of expectation that music is tuned and airbrushed, but there’s also still a real appetite for stuff that’s a little rough and ready too. You can spend an awful lot of time doing those tiny tweaks, especially in the early days. But there’s often a point where the tweaks are just not worth it, and if you’re unlucky the process throws itself into reverse and you proceed in making things worse. If you keep your wits about, you can sense that change and do something about it.

The Rear View Mirror

I’ve got stacks of recordings I’ve made over the years. Two track cassettes, four track cassettes, Zip drives.. You get the idea. I wouldn’t play them all to you because frankly some of them are properly awful. Some of them are not bad, but the point is that they all represent steps on a journey to doing better work. I’ll sometimes have a go at updating the odd tune, with varied success but that’s just the way it goes. For creators, writers, and producers there’s just no simple formula to follow. The best we can hope for is good guiding principles that can be applied when we need them. Whether you’re a seasoned professional or an aspiring writer I think its vital to break down your process now and again – to figure what works and to think about how you can make improvements.

“Art is never finished, only abandoned” – Leonardo Da Vinci

We all navigate our own path, and we all somehow manage to get in our own way sometimes. It would be great to hear about your strategies for getting over the finish line. If you feel you have something valuable to add to the community, post your thoughts in the comments below.

3 Ways To Use The Waves DBX 160: Part 3 – Vocals

https://embed.pivotshare.com?media_id=59159&channel_id=7235

In this video, Marcus Huyskens demonstrates using the Waves DBX 160 in parallel on vocals, in order to help level off a performance, while still retaining the dynamics, and raising the apparent loudness.

3 Ways To Use The Waves DBX 160: Part 2 – Drums

https://embed.pivotshare.com?media_id=59158&channel_id=7235

In this video, Marcus Huyskens demonstrates using the Waves DBX 160 in parallel on drums, to add solid low-end reinforcement to the kick, crack to the snare, and raise the apparent loudness.

Video Review – Oxford Limiter v2 By Sonnox

Check out this awesome in depth video review of the Sonnox Limiter – courtesy of Peter Barter from our sister site Pro Tools Expert.

Like Peter, I too have always been a huge fan of Sonnox plug-in’s – and this particular limiter has long been my go-to limiter of choice on my music mixes. In addition, this latest update has also brought it right up to par with the modern specs we need to hit via the added “True Peak” limiting mode.

Main Features

  • Peak limiting with attack, release & variable soft-knee
  • Enhance section to increase perceived loudness 
  • Recon meter shows actual rather than sampled signal 
  • Auto Comp fixes recon errors without losing overall loudness: conforming to the industry’s true peak measurement standard (ITU-R BS.1770-4)
  • Audition and apply TPDF dither for 24-bit and 16-bit output word lengths with four types of variable noise shaping
  • Four variable-strength noise shaping modes for use with highly dynamic program material
  • Full backwards compatibility with previous Plug-In versions
  • Great library of factory presets to get you started

Compatibility

  • AU, VST2, AAX
  • Mac / Windows

Peter goes on to say;

“With the inclusion of the very musical sounding enhancement section and newly added reconstruction meter and automatic correction to take care of the true peaks for use in broadcast loudness workflows and mastering for digital download and streaming, is the Oxford Limiter v2 the ultimate modern limiter?”

If you’d like to get a copy or take the plug-in for a test drive – visit the Sonnox website for more information.

FREE Plug-in – T-RackS Opto Compressor – Grab It While You Can!

T-Racks+Free+Opto

Check out this nice find from our sister site Pro Tools Expert – For a limited time, you can get the T-RackS Opto Compressor ($80 Value) FREE until February 16th, 2017.

Download, register and authorize T-RackS Custom Shop and get the Opto Compressor for free. T-RackS Custom Shop is IK Multimedia’s free desktop application that allows users to host IK Multimedia’s mixing and mastering plug-ins. What’s nice is that you also get two extra free plug-ins for Pro Tools by IK Multimedia in one download.

Two Extra Free T-RackS Plug-ins

T-RackS Custom Shop already includes two free plug-ins:

  1. The Classic Equalizer module – A 6-band parametric mastering EQ
  2. The T-RackS Metering Suite – Contains a host of useful and detailed displays including Peak, Perceived Loudness, Phase, and RMS meters, plus a Spectrum analyzer with Peak, RMS and Averaging indicators. And now, during this special giveaway you get the Opto Compressor, an optical compressor that is perfect for vocals and many other tracks, absolutely FREE. 

Visit the IK Multimedia website to download T-RackS and get your three free Pro Tools Plug-ins.

How To Download Your Free Opto Compressor

  1. Install T-RackS Custom Shop from the IK Multimedia User Area.
  2. Register, Authorize and Install T-RackS CustomShop.
  3. Launch and Login to CustomShop.
  4. Chose Restore My Gear from GEAR.

3 Ways To Use The Waves DBX 160: Part 1 – Bass

https://embed.pivotshare.com?media_id=59157&channel_id=7235

In this video, Marcus Huyskens goes over using the Waves DBX 160 in parallel to bring out low end detail, and and help thicken up a bass track.

Smoothing Out Compression Using Volume Envelopes In PreSonus Studio One

Compression is an extremely useful tool to help even out the dynamics of a vocal track to sit in a dense modern mix. Having said that, most compressors by default are not that smart, and can benefit from some “help” with how they deal with the program material.

In the above free video tutorial in PreSonus Studio One – Marcus Huyskens demonstrates how to smooth out a vocal Pre-Compression by using volume envelopes to tame harsh sibilant consonants, and correct general level discrepancies in a performance.

Note: It’s worth mentioning that in a final mix – the above example would still benefit greatly from a De-Esser, but this is more about the principle of using this concept to smooth out the performance first, before adding additional processing.

What about you? Do you currently use a similar method when mixing vocals? Leave us a comment below – We’d love to hear your thoughts.

Maag Audio Announce Magnum-K Compressor With 10% Pre-Order Discount

Maag+Magnum-K

A nice catch from our sister site Pro Tools Expert –  Maag Audio have announced the MAGNUM-K which is a single channel compressor made up of of two compressor sections (MAGNUM COMP and K COMP), a Parallel EQ (with LMF and AIR BAND®), and a Soft Limit (soft limiter).

“Whether putting the finishing touches on a 2-mix or making a vocal sound bigger than life without taking your head off; the MAGNUM-K has been designed to help elevate your craft to a whole new level.” 

The MAGNUM-K Compressor helps quieter sonic signatures become as big as you want them to be while simultaneously reigning in those louder, more dominant tones and offers control from its INPUT ATTN (attenuator) and INPUT GAIN controls, to its SIDECHAIN capabilities and MAKE UP GAIN. Controls are stepped (detented) to allow for easy recallable settings and channel matching.

We are arranging to review this i=unit as soon as it can be arranged

Mixing With Waves Plug-ins: Part 7 – Processing The Vocals

https://embed.pivotshare.com?media_id=55602&channel_id=7235

In this 7th video of an 8 part free Mini Series, Marcus Huyskens demonstrates the vocal processing chain used on the vocals & vocal chops. He starts off by adding some grit using the Kramer HLS, then adds some stereo width using the Doubler2. He then adds some ambience using the RVerb, and reigns in on some harsh frequencies using the C4. Lastly he turns to the CLA-76 to tighten up the overall dynamics, and sends them out the the H-Delay, and Sound Shifter to complete the chain.