Bob Daspit epitomizes today's flexible working engineer. A guitar player since his early teens, he went on to work with film composer extraordinaire Hans Zimmer for a dozen years. A music writer himself, Daspit also recorded and mixed a handful of records and DVD projects with ex Van-Halen frontman Sammy Hagar. We caught up with Bob recently as he was about to settle back into new digs at Zimmer's LA based studio complex.

Tell us about some projects you've used the Oxford plug-ins on.

Recently, I just finished a 5.1 mix with Sammy Hagar that will run on the HD Network. Its also going to be released as a DVD called 'Live In St. Louis'. I also used the Oxford plug-inson Sammy latest single. It's entitled 'Open,'and is available on iTunes. In addition, I've used Oxfords on a great band called 'Those Darn Accordions'. It's a guy and three girls who all play accordions through Marshals, etc. Drew Carey even sings a song with them. As for my own composing, I do a lot of library music and many spots for Premier radio, which used to be Clear Channel. I use the Oxford plugs on all of that.

Which do you find yourself using the most?

I use the EQ 'across the board'. It's my default EQ and it's fantastic. In particular, the type 4 EQ for mastering is killer on the stereo bus. I think it's absolutely the sweetest sounding plug in EQ that I've ever heard for that purpose. I'm using it as a hi-pass filter on everything across the board and you can do heavy carving to sculpt guitar sounds in particular. Even when I just chew out frequencies it still sounds really natural. Sometimes EQ's can sound too 'effecty', but with the Oxford EQ, I can sculpt thing pretty hard-core and it sounds musical

Tell us more about how you use it specifically?

With guitars, I usually hi-pass up to 180 or 200 Hz, unless it needs extra low end. Then I'll cut some upper low mids around 550Hz. Its one of the few EQ's where I can really just jack the treble and then blend the guitar into the track without having it sound harsh. It will just sit in there nicely, even when cranking up 3 or 4 KHz. With snares I usually give it a little treble, and cut around 1K. I'm usually just cutting some mids out of a snare and cranking the top end.

With Toms I will always EQ pretty heavily, trying to bring out more stick. Often times it's between 5-7K, but you never exactly know. Sometimes I'll find the fundamental and cut it with a real narrow cue. Or if there is no fundamental, I'll find it and give a boost. I carve or boost accordingly to make them even.

As for Sammy's vocals, I tend to roll off bottom around 100-125Hz and add a touch of 12K. I'll get his vocal sound right on the way in, recording with a Neve 1073 and a UA LA-4. I try to print the vocal as is, so I just have to add a little sparkle and a bit of de-essing with the Oxford Dynamics.

What else do you use the Dynamics on?

I always use the Dynamics on acoustic guitar. I love the fact that an acoustic will still keep the transients and sound punchy even when you're compressing quite a bit. That's something that I've always struggled with, because when you use certain compressors, it seems to mangle the sound.

How about the Limiter?

I always use the Limiter as the last insert on the stereo bus. It's definitely the best. I like the Enhance feature, and will typically run it around 30 percent, but I've taken it as high as 60 percent on certain tracks that need extra life.

How do you use the Transient Modulator and Inflator?

With Trans Mod, I'll sometimes put on the 2 bus, but clients are getting savvier to the crush thing. With a super crushed mix, I can throw it on and really get it to pop. Then, of course, I put the Limiter after it to bring it back down. Sometimes you have to hit tracks really hard though. I don't like to do it, but it gives me the tool to do so with. Oh, and Trans Mod works great on snare drums.

I use the Inflator mostly on vocals, and especially on backing vocals. BV's are always a delicate balance, because if it's a little too quiet, you can't hear it at all, and if it's too loud - it's not in the right spot. These days rather than touch the fader I will just pop the Inflator on it and adjust accordingly. I've also used it on the 2- bus on occasion

Last but not least, how about the Oxford Reverb?

I use the Reverb for everything across the board. I love that thing! It's totally musical and it works in every context that I've thrown at it, be it lead vocals, guitars - you name it. To me that reverb is a real lifesaver. . Each Oxford plug-in has its own application for color, leveling, or whatever. I do a lot of experimenting with them all.

Interview and editorial provided by Rich Tozzoli

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