Sonnox developed the Pro-Codec plug-in in collaboration with Fraunhofer Institute. It is designed for real-time auditioning, encoding and decoding of audio signals using Fraunhofer codecs. Using this plug-in mix and mastering engineers can produce mixes optimized towards specific target codecs. They will be able to monitor, visualize and predict the artifacts introduced by a codec and ensure maximum fidelity.
- Codecs: mp3, mp3 Surround, AAC-LC, HE-AAC, and HE-AAC v2, mp3-HD and HD-AAC (Lossless Codecs)
- Ability to select up to five codecs for simultaneous export, in real time, to encoded files
- Comprehensive auditioning with glitchless switching
- Ability to audition the difference between input signal and codec output
- AB auditioning in real time between codecs, or between codec and input signal
- ABX mode for blind statistical testing
- High resolution display of the Input signal and Diff signal
- Indication of the audibility of audio removed by the encoding process
- Bitstream levels and ability to compensate for overloads
- Indication of filesize or datastream compression
- Phase metering
- Off-line encoding and decoding
Sonnox Restore is a suite of three plug-ins - Oxford DeClicker, Oxford DeBuzzer and Oxford DeNoiser - designed to accurately restore audio recordings that are impaired. Restore represents a quantum leap beyond previous restoration plug-in technology with its advanced algorithms and novel features that allow fast and extremely effective removal of pops, clicks, crackles, scratches, hum, buzzes and extraneous background noise from virtually any recording.
Capable of exceptionally high quality audio repairs, the three plug-ins are intuitive and easy to use, with each interface providing detailed graphical feedback, benefiting the user by saving time which of course is critical in the post-production process.
- Three sections with individual thresholds and controls: DePop, DeClick and DeCrackle
- Event display gives intuitive visual feedback of energy and duration of detected events
- 'Exclude Box' to select events that should not be repaired
- Dialogue Mode that allows two separate sets of control settings distinguished by input level
- Excitation displays to aid accurate setting of threshold controls
- Three audition modes, including option to listen to only removed events
- Advanced algorithms for accurate detection and high quality repair
- High performance hum and buzz removal using advanced algorithms
- Separate Detect and Remove Sections for intuitive workflow
- Scalable high resolution FFT of input signal shows strongest harmonics and removal filter
- Very accurate setting of fundamental over 3 frequency ranges
- Integrating frequency display shows strength of fundamental
- Tracking mode can be set to Automatic or Fast to follow fundamentals that wander in frequency, or to Freeze for fundamentals that vary in amplitude
- Choice of removal filters: Comb for general purpose narrow removal over many harmonics, or Parametric EQ for a more musical removal over a small set of harmonics
- Two audition modes, including option to listen to the removed buzz
- High performance noise removal using advanced algorithms
- Separate DeHisser, Detect and Remove Sections for intuitive workflow
- High resolution FFT of input signal showing noise profile
- Efficient DeHisser for preparation before wide-band noise reduction
- Detector noise profile can be set to automatic, freeze or manual
- Noise threshold and reduction are controllable in frequency bands using adjustable bias curve
- Two audition modes, including the option to listen to the removed noise
- Warmth control for sweetening after noise removal
- Make-up gain for true A/B comparisons
The Oxford SuprEsser is both a 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 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.
- Highly featured De-Esser
- Linear Phase Dynamic EQ
- Transparently controls aggressive frequencies
- Automatic Level Tracking follows energy levels (no need to automate threshold)
- Large intuitive graphic display makes finding frequencies very easy
- Full Spectrum Operation (20Hz -20KHz)
- Three different 'Listen' modes
- Advanced Mode for ultimate control of the Dynamic EQ
The Oxford Reverb plug-in is a highly flexible reverberation generator, designed to complement existing 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 five-band EQ. The 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 textures and spatial characters.
The Oxford Dynamics is modeled on the extremely flexible and capable OXF-R3 record/mix console processing. Resulting from many years of research into professional dynamics applications, the Channel Dynamics offers separate gate, expand, compress, limit and side-chain EQ functions. Also included is a separate bus compressor/limiter which is fully surround-format compatible.
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 level control and mastering functions to the production of great artistic effects. The use of a feed-forward architecture with logarithmic side chain processing ensures exemplary sonic characteristics and dynamic accuracy. This highly sophisticated and professional product has the power and flexibility to provide an artistic capability unavailable from other units, analogue or digital.
- Channel Dynamics with separately controlled sections for compressor, limiter, gate and expander
- Channel Dynamics includes fully featured two-band parametric side-chain EQ which can also be used in the signal path
- Separate bus compressor/limiter with surround format (5.1) support and selectable sub channel filtering and gain contribution control
- Selectable linear and exponential time constant curves
- Highly accurate logarithmic side chain processing
- Fully variable soft ratio function for extreme program tolerance and highly musical compression
- Variable harmonic enhancement for extra loudness, presence and 'punch'
- Selectable re-dithering function for word length reduction in mastering situations
- Extremely low signal path noise and distortion (below -130dBr)
- All functions are fully automated
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 Enhance function with Safe mode 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’).
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.
- Unique Enhance section – provides sample value limiting and enhances perceived loudness
- A 'Safe' mode is provided to allow absolute peak level control without excessive enhancer action
- Ability to add harmonic distortion, where artistic style requires
- Variable soft knee control
- Attack and Release controls
- Reconstruction Meter shows ‘actual’ signal rather than sampled signal
- Auto compensate feature – corrects recon errors without losing overall programme loudness
- 16 and 24 bit dithering with 5 selectable types
- User has control over variable depth noise shaping
- 16 presets – some quite extreme!
The Oxford EQ provides Pro Tools users with an EQ of the highest quality and artistic capability. It makes full use of the processing directly from Sony’s highly acclaimed OXF-R3 flagship record/mix console, using the exact same novel coefficient generation techniques, intelligent processing and double precision mathematics.
This plug-in is a fully functional five-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 four 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 will ever need.
An optional GML 8200 Emulation is additionally available for the Oxford EQ Plug-in. This option, designed in collaboration with GML, faithfully reproduces the control ranges and the responses of the original classic analogue outboard unit.
- Five-band fully parametric design
- Selectable shelf settings on LF and HF sections
- Overshoot/undershoot control in shelf settings
- Separate LF and HF Filters providing from 6 to 36dB/Octave slope
- Four selectable EQ types
- Fully de-cramped HF response providing the essential sonic characteristics of an analogue EQ
- All control coefficients are calculated "on the fly," allowing quantisation free and noise free operation which provides the "feel" of an analog EQ whilst retaining the extreme accuracy of a digital unit
- A/B comparison and selection between two complete sets of EQ settings
- Fully automatable (including separate automation for A and B settings)
- Support for sample rates up to and including 192kHz
- Extremely low noise and distortion (below -130dBr)
- Includes eight plugins in total for optimal DSP usage (Mono and Stereo versions of three & five Band EQs, Filters only, and full five Band EQ & Filters)
- Optional GML 8200 emulation
The Inflator is a unique process that can provide an increase in the apparent loudness of almost any material, 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. No matter how limited, compressed and crushed your material may already be, the Inflator will provide even more loudness, it will even add volume to a full-scale white noise signal or add musicality to previously clipped signals!
The Inflator was developed in response to requests from mixing and mastering engineers who are required to compete on the basis of the overall apparent loudness of their final results.
Use the Inflator to produce louder mixes than you ever thought possible, without overloads or compression pumping, or use it to add natural warmth and character to acoustic or jazz mixes. Use it on single instruments to add presence, softness and depth, or use it on percussion and drum tracks to produce amazing dynamic presence, tightness and volume.
- Increases the loudness of virtually any program material
- Creates warmth, character and dynamic excitement, similar to that of analog systems
- Provides virtual headroom above digital maximum to allow percussive peaks to pass without causing signal overload
- Creates artistic effects ranging from subtle tube-like harmonic characteristics for warmth, presence and 'in your face' fatness, to outright saturation distortion modelling
- Features two modes of operation - direct and band split - for maximum flexibility and artistic creativity. These two modes also ensure optimal DSP usage
Oxford Transient Modulator
The Transient Modulator is an application that allows dynamic level of signals to be modified according to the transients within the program material, over time. The effect works in two modes: to exaggerate or bring out transient events in the material, or push them more into to the background so increasing the ambience. In other words, the attack factors of instruments can be accentuated or softened, depending on settings.
The application was developed to address the common situation where there is a need to selectively tighten up percussive instruments or soften the unwanted percussive effects of acoustic musical instruments. Such effects are easily achieved with the Transient Modulator because its purpose designed adaptive processing acts on differential information within the program material, so that the overall long-term program level is minimally affected, and sensitivity to control parameters is drastically reduced.
- Radically change the dynamics of instruments
- Accentuate or flatten attacks and transients
- Bring sounds forward or push them back
- Increase or reduce the effects of ambience
- Produce rounded and dynamic percussive effects
- Harden up and give life to dull or flat-sounding recordings and mixes, without the unwanted changes in overall timbre associated with multi-band compression techniques
- Increase overall modulation potential by the reduction of very short peaks