A vertical gain reduction meter at the centre of the plug–in window gives an indication of how much dynamic processing is taking place and whether transients are being enhanced or suppressed.
Very short settings can bring out instruments such as bells without significantly changing the sound of drums playing at the same time, though in a typical mix, I found that settings from around 50 percent upwards were usually the most effective. The Overshoot Value control is roughly analagous to a compressor’s Attack control (but on the processing side rather than the side–chain detecting side) so that at low settings only the start of the transient is processed, while longer settings extend the processing further into the beat. Like a compressor, Transient Modulator has a Ratio control, but in this case it can go to both positive and negative values, where negative values denote gain reduction and positive values gain increase. The native version is protected using an iLok key.Īs far as I can work out, the transient modulation process looks at the ‘rate of change’ of the input rather than the instantaneous input signal level, as a standard compressor would do. The interface is visually similar to that of other Sonnox plug–ins, with only one plug–in window, and because of the relatively small number of controls, it occupies little screen real-estate. There are several other plug–in versions of this effect, but Sonnox’s implementation is, as ever, unique in several respects. Furthermore, by enhancing the attack of a sound and then dropping the overall level, the original impact can be maintained while suppressing room ambience and drum ring. In other words, the process can be used both to bring out and to suppress the transient elements of sounds. This approach allows the user to process dynamic material, such as drum parts, to enhance the attack of the drum hits or to push them back in the mix to soften over–aggressive attacks. Like SPL’s Transient Designer, Transient Modulator is a dynamics processor that reacts to the transient content of a signal rather than simply to its level. The one Sonnox plug–in we haven’t yet reviewed is Transient Modulator, so I’ll take a more detailed look here. The control section strikes a good balance between flexibility and ease of use, and the CPU load is far less than for a convolution reverb. 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.
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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.
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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. 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.
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