It has separate control sections for the early reflections and reverb tail, and comes with a useful library of presets covering everything from ambience to cathedrals. The reverb takes an algorithmic approach and, to my ears, delivers the type of sound you’d expect from classic hardware reverb units by the likes of Lexicon, Klark Teknik and AMS, yet without imitating any of them specifically. The limiter includes a unique Enhancement slider that increases subjective loudness and warmth in a way that sounds not unlike tape saturation. The Inflator plug-in is a little less conventional, as it takes a unique algorithmic approach to making mixes or individual tracks sound very loud and punchy, achieving extremely impressive results that have to be heard to be fully appreciated. The dynamics plug–in also has a great reputation, and a comprehensive feature set which includes both gating and compression, as well as expansion, side–chain EQ, a separate limiter and an adjustable warmth control. The EQ is a straightforward enough five–band parametric design with additional high and low shelving filters, and, in my opinion, is up there with the best.
#OTHER LIMITIER LIKE SONNOX OXFORD CODE#
They use the same DSP code as the original hardware and so produce exactly the same sonic end result.
The EQ and dynamics were derived from Sony’s flagship Oxford digital console.
#OTHER LIMITIER LIKE SONNOX OXFORD SOFTWARE#
To help promote the range, various bundles are being offered to make buying multiple plug–ins more enticing, and most importantly, they have all now been ported to native VST, Audio Units and RTAS formats, meaning that all users of mainstream recording software now have access to them. The processors have been renamed the Sonnox Oxford Plug–ins, and new plug–ins are in development. Recently, the software division of Sony that created these plug–ins have executed a management buyout led by Rod Densham, now MD of the new enterprise, an independent company trading under the name of Sonnox. We have already covered most of the Sony Oxford range of plug–ins in Sound On Sound, and they’ve received uniformly excellent reviews. And it has 4x oversampling and a true-peak final limiter (whereas Pro-L only has true-peak/ISP detection).There’s a new look and a new home for Sony Oxford’s suite of plug–ins, but the best news of all is that they are now available in VST and Audio Units formats. I mostly use the clipper after the limiter for mastering, as it allows me to dial in a certain amount of that juicy clipped ADC sound, exactly how I want (there are knee and MB separation knobs so you can place the clipping distortion where you want, or hide it pretty much altogether).
The kicker is there's also a comp, HF limiter, and clipper modules.
Variable release and lookahead like Pro-L. The wide-band BW mode sounds really good to me though, very natural materiel-dependent release scaling. Personally I like TDR Limiter6 GE, has multi and wide band BW modes, as well as a soft limit mode.
I would still use a bit of MB limiter prior to it to get what ever shape you're looking for, as Pro-L (and other similar BW limiters) stay pretty true in all modes. The dynamic mode is awesome, but I've found a way to create a similar effect by slighting expanding transients just before limiting. The transient response is pure excellence. Didn't try driving it too hard as I just liked what I heard at moderate levels. I demo'd Pro-L and it's pretty F'in good for getting pretty loud, extremely transparent masters.