Sonnox Oxford Manuel utilisateur

Version 2.x

June 27, 2017

Contents

1 Introduction 3

2 Operation 5

2.1 InputClipping................................. 5

2.2 Direct and Band Splitting Modes . . . . . . . . . . . . . . . . . . . . . . 6

2.3 Basic Loudness Enhancement Procedure . . . . . . . . . . . . . . . . . 7

2.4 Metering and Overload Indication . . . . . . . . . . . . . . . . . . . . . 8

2.5 CurveModiﬁcation.............................. 9

2.6 Mixing with the Oxford Inﬂator . . . . . . . . . . . . . . . . . . . . . . . 10

2.7 Distortion Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3 Description of Controls 12

3.1 InputSection................................. 12

3.2 EﬀectSection................................. 13

3.3 OutputSection................................ 14

3.3.1 Sonnox Menu Button . . . . . . . . . . . . . . . . . . . . . . . . 14

4 Speciﬁcations 15

4.1 Pro Tools | HDX – Instances per chip . . . . . . . . . . . . . . . . . . . . 15

5 Preset Manager Toolbar 15

6 Copyright and Acknowledgements 16

1 INTRODUCTION

1 Introduction

The Sonnox Oxford Inﬂator plug-in is designed to address the current preference to

produce the maximum apparent loudness from popular music mixes. Many

processes are already in use, which are variously reliant on compression and limiting

to produce maximum modulation and try to give an impression of excitement to the

sound of the programme. The Inﬂator plug-in goes further than these methods and

can increase the loudness of almost any programme material, regardless of the

levels of prior compression or remaining dynamic range. It will even make full level

white noise sound louder! The Inﬂator plug-in can also be used to create much of the

warmth, character and dynamic excitement of analogue systems within the digital

domain.

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1 INTRODUCTION

The Inﬂator process functions by changing the relative probability of samples in the

programme material such that there is a greater probability of larger values than the

original signal. The Inﬂator does not employ signal compression, so there is no

‘pumping’, dynamic level change, loss of presence or ﬂattening of percussive

attacks. The full dynamic information of the music content is largely preserved

despite the increase in average modulation density.

In addition to loudness enhancement, the Inﬂator can create a harmonic proﬁle in the

signal spectrum that not only increases the apparent dynamic impact of instruments

and performances, but also provides ’warmth’ to the programme, reminiscent of

good valve systems. When used in this way, the Inﬂator even has the ability of good

valve systems to produce great sounding programme when signiﬁcantly overdriven,

and can therefore be used as an artistic enhancement tool on single performances

within a mix.

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2 OPERATION

2 Operation

2.1 Input Clipping

The Inﬂator process develops internal signal levels that are notionally greater than

digital maximum. For instance, with the EFFECT level at maximum and the Clip 0dB

oﬀ, signal peaks above notional digital maximum can be accommodated, and much

of their harmonic information can be included in the output signal, even though the

peak output level will not rise above digital maximum. The presence of this extra

signal range is displayed on the upper sections of the INPUT level meter, and

represents a range of up to +6dBr of useable overdrive before hard clipping occurs.

The CLIP 0dB function suppresses this extra range and restricts the Inﬂator process

to the normal digital maximum range. Therefore, you will note that, with CLIP 0dB

selected, the input level meter will not rise above 0dB, however much input gain is

employed. Because the potential applications of this process are so varied, you are

encouraged to experiment with CLIP 0dB on and oﬀ, to obtain the best results

depending on your intentions. Here are some general guidelines:

Generally it is better to start by selecting CLIP 0dB on (the default) for most loudness

enhancement purposes including direct mode (non-band split) since the control of

peak levels, settings and sound character is more readily achieved when a maximum

reference level is imposed on signals before the Inﬂator process.

In certain cases better results may be obtained by de-selecting any input limiting. In

particular, the extra useable range can then be used to accommodate short-term

overshoot sounds produced by compression functions, where they are generated to

enhance attack and presence. Since these peaks are mostly short duration, they can

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2.2 Direct and Band Splitting Modes 2 OPERATION

often be accommodated eﬀectively in the overdrive ranges without excessive

reduction of sound quality or loss of average modulation. Please note that in this

case it is important to ensure that the peaks from any prior compression are not

clipped between plug-ins, by making sure that the output signal from the

compressor does not quite hit peak levels before applying it to the Inﬂator plug-in.

When using BAND SPLIT modes for loudness enhancement, using the Inﬂator with

CLIP 0dB oﬀ may produce a reduction in unwanted intermodulation side eﬀects

when pushing for absolute maximum loudness, regardless of possible output

clipping etc.

When using direct mode (without band splitting) for distortion generation, the results

will be quite diﬀerent with or without input clipping, and may produce useful artistic

eﬀects in either circumstance. The Inﬂator is able to soften clips that occur, either

because of the CLIP 0dB setting, or even those that happen before its own

processing in prior plug-ins. Therefore overdriving the Inﬂator with the CLIP 0dB

function both on and oﬀ, or even applying the Inﬂator to the output of other plug-ins

driven into overdrive, can produce a vast range of artistic eﬀects. To explore the full

range of possibilities, the importance of experimentation cannot be overstressed.

2.2 Direct and Band Splitting Modes

The Inﬂator application can run in either direct or band splitting modes. In normal

operation, the complete frequency range of the programme material is processed

simultaneously. This is usually the best way to run the process under most

conditions. One signiﬁcant advantage of using this mode is that the output relative

peak level will not get larger than peak level, however much Eﬀect is applied.

Therefore more overall enhancement is possible before clipping the output, and

louder more powerful results are possible. Also, when used for distortion generation,

the relative phase of the distortion harmonics are better preserved when band

splitting is not used, so accurate clip rounding is possible, thus producing a much

more pleasing eﬀect.

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2.3 Basic Loudness Enhancement Procedure 2 OPERATION

The BAND SPLIT function is oﬀered as an additional mode that may be useful under

some speciﬁc conditions. When band splitting is selected, the processing is split

into three frequency bands to avoid intermodulation distortion between parts of the

programme signal spectrum. This mode is occasionally advantageous when going

for maximum loudness enhancement where there is a signiﬁcant predominance of

speciﬁc frequency ranges in the programme content. However it should be noted

that, depending on programme and settings, operation in this mode produces output

levels that are beyond the relative input peak level. This means that the signal is

more likely to clip at the output, which may produce an increased harshness to the

sound. If this becomes obtrusive, reducing the input or output levels to avoid

clipping will obviously somewhat negate the purpose of the exercise!

2.3 Basic Loudness Enhancement Procedure

For basic loudness enhancement, the procedure is to get the programme up to

maximum normalised level at the input (0dB) in order to fully beneﬁt from the Inﬂator

process, apply the Inﬂator processing to get the desired eﬀect, and then adjust the

output level to maintain desired maximum modulation.

Start with the CLIP 0dB function selected to limit the range of the Inﬂator to normal

digital maximum.

Using the INPUT level control and input meter, set the level such that the red 0 db

over indicator ﬂashes occasionally to indicate the presence of max peak sample

values.

Set the OUTPUT level control to maximum initially, so that the input and output

meters have similar readings when the music is played.

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2.4 Metering and Overload Indication 2 OPERATION

Set the CURVE control initially to its mid position (default) and deselect the BAND

SPLIT button.

Start with the EFFECT level control at 100% to obtain the maximum increase in

perceived volume without extra peak output level.

The object of the exercise is to get the input level as high as possible without

excessive distortion or deterioration in the sound. The type of programme material

and taste will determine the extent of the enhancement that can be achieved. If it is

found that the programme material is not signiﬁcantly degraded at normal peak input

levels, further gain in loudness may be achieved by de-selecting the CLIP 0dB

button and pushing the input level into the Inﬂator overload region.

Output overloads are entirely avoided only when the Eﬀect level control is set

to maximum position (100%).

In general the best results are most likely to be obtained by operating the Inﬂator

EFFECT level at maximum, and adjusting the INPUT level and CURVE control to

produce the best sonic compromise.

Further user modiﬁcations to the Inﬂator process can be invoked to gain either

greater loudness or diﬀerent characteristics in sonic detail, as described below.

2.4 Metering and Overload Indication

For most workstation applications, the metering overload warning indicator is

intended to correspond to digital maximum modulation. Diﬀerent software host

applications (and diﬀerent versions of those applications) may present varying

interpretations of what this actually represents numerically. Because the Inﬂator

requires a very accurate and independent internal representation of numerical

maximum, diﬀerences in overload indication may arise between the Inﬂator and host

applications. However since the Inﬂator overload indication is set to respond to full

level samples very precisely, it will produce legal programme if overloads are not

being recorded on the plug-in GUI, even if overload indications are being triggered

within the host mixer application.

Further user modiﬁcations to the Inﬂator process can be invoked to either gain

greater loudness or diﬀerent characteristics in sonic detail, as described below.

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2.5 Curve Modiﬁcation 2 OPERATION

2.5 Curve Modiﬁcation

The CURVE modiﬁcation control subtly aﬀects the characteristic of the Inﬂator

process to aﬀect both the perceived loudness and tonal character of the signal.

With the CURVE control set at its minimum position (-50), the Inﬂator produces the

most subtle changes to the sound. Overall loudness enhancement is minimal but

signiﬁcant harmonic content is added to produce a richer overall sonic character.

When applied to composite mixes, the predominantly loud parts of the mix will

apparently be accentuated over the background and reverberant parts of the

programme, producing the eﬀect of dynamic expansion (without a time constant).

This setting is particularly useful when treating drums and percussion instruments,

when the impression of dynamic presence needs to be enhanced, or the contribution

to the mix needs to be ‘tightened up’. This kind of setting is also useful when used

on single instruments (such as acoustic guitars) where a softening of percussive

aspects or ‘highs’ is needed without loss of apparent dynamic range.

Settings of the curve control between -50 and around zero have varying degrees of

this behaviour and style of overall impression, but with increasing ‘fatness’ and

volume as the curve control is advanced.

The CURVE control at its mid position (default zero) produces a special behaviour,

which in many respects may give the best results in most situations. The overall

loudness of the signal is considerably enhanced whilst retaining good dynamic

balance between loud and soft portions of the programme, with a minimum of

intermodulation eﬀect. The sonic character has a much enhanced warmth and

harmonic detail, adding presence and texture to instruments, especially in the low

frequency register. The highs and peaks in the programme are softened in character

without loss of apparent presence, attack or ‘bite’. Occasional peak programme

overloads are softened and become less intrusive and can therefore be tolerated

more readily. With the CURVE control in this position, the Inﬂator produces a gentle

and forgiving behaviour, which has many aspects in common with the character of

good valve ampliﬁcation systems, including a natural tolerance to overload

conditions. For example, when used in direct mode (band splitting de-selected) with

CLIP 0dB selected and the EFFECT level set to 100%, even clipped programme

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2.6 Mixing with the Oxford Inﬂator 2 OPERATION

signals can be rendered musical in nature. This can be used to produce artistic

distortion eﬀects on single instruments within a mix or produce dynamic ‘breaking

up’ eﬀects, much like that possible with valve ampliﬁers. Or you may just want to

obtain an overall valve-like character and warmth to the sound.

At positions between 0 and +50 the CURVE control provides increasing ‘fatness’ and

volume enhancement at the partial expense of dynamic precision, producing the

loudest and most exciting eﬀects at +50. In this position the sound becomes most

powerful with a harmonic proﬁle reminiscent of systems under great stress and

running to their very limits. The music will take on an ‘in your face’ quality, creating

the maximum excitement yet ﬁne detail and subtleties within the mix will be retained.

Despite rendering the signal signiﬁcantly louder, the impression of considerable

dynamic range is retained even though the output peak level range is largely

unchanged. The low level and background parts of the mix will become enhanced

and more audible and extreme LF contributions from instruments such as basses will

stand out more readily on smaller reproduction systems. Programme treated with

this process will produce louder sounds on all reproduction equipment, and in

particular it will produce unsuspected volume and power from small domestic and

portable systems.

2.6 Mixing with the Oxford Inﬂator

The Inﬂator can bring added beneﬁt to the mixing process if it is inserted on the main

output buss throughout the mixing session. In this case it is possible to use the

valve-like harmonic characteristics and the extra overload area to greater advantage,

because these form part of the sound of the mix as it is built up. In some respects

this process is reminiscent of analogue mixing where line-up operating levels may be

breached by transients without actual signal clipping, and the sonic character of the

signal chain is to some degree dependent on balance and instrument contribution

levels.

It is suggested that, in this case, the best initial settings are with the Inﬂator set to

direct mode (ie. not band split), with the CURVE control set to the mid position (0)

and with CLIP 0dB de-selected. The input gain should be set somewhat above unity

(+6dB) to allow the mixer to operate without clipping overshoots prior to the Inﬂator,

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