Features - The Rich Tozzoli Session Files - 4 The Oxford Dynamics - Part I
| Rich Tozzoli - Producer/mixer/composer and journalist Rich Tozzoli specializes in 5.1 Surround Sound production, and has mixed for such artists as Blue Oyster Cult, David Bowie, The Maralis Family, and HD networks such as HBO and PBS. He's composed for Panasonic ToughBooks, Nickelodeon, Discovery Channel, NBC Olympics and many others. |
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As with all Sonnox plug-ins, the Oxford Dynamics was ‘born’ from years of research that went into the Sony OXF-R3 console. Offering separate Gate, Expander, Compresser, Limiter, Side Chain EQ and Warmth functionality, the Dynamics plug-in can range from subtle to screaming. At first glance, it can look like there’s a lot happening onscreen, so let’s break it down a bit for you. This month we’ll review the basic functionality, and next, we’ll put it up on some sessions to hear how it sounds.
The high six-figure OXF-R3 console was quite advanced for the time, not only sonically, but in its overall operation. It assigned the function of each knob and fader to the chosen mode – which allowed the engineer to sit at the center section of a huge board and have everything within easy reach. No more sliding down to channel one just to put some EQ on that kick.
The Dynamics plug in uses the same basic concept of providing maximum options in a minimum amount of space – while maintaining the highest possible sonic resolution. The top half of the plug-in features several fixed meters for Gate, Exp, Comp and Limit. These remain onscreen no matter which function is selected. The other sections to the left, right and just below will adjust their display depending on what function is selected on the bottom half of the plug-in. As you can see by the screenshots, these choices include GATE, EXPANDER, COMPRESS, LIMITER, S-C EQ and WARMTH.
By pressing the Access soft key next to each option, the top half will then automatically assign its GUI (Graphical User Interface) parameters to each knob and button. Easy! So if you want to tweak the Compressor, hit the Access key next to the COMPRESS section. Instantly, you’ll see the compression parameters appear on the top of the plug-in. Or, if you ‘Access’ the Limiter, its relevant parameters will appear – and so on from there.
While all functions can be selected for processing at the same time, only one GUI will appear onscreen – the one that has been ‘Accessed’. Think about not only how much screen space this saves, but how a single plug-in can provide so many sonic options . To turn each section ‘on’, you must select the ‘IN’ button. It will light up green - letting you know it’s now in the signal path. Simply put, if you don’t turn it on, you won’t hear it.
At the side of these buttons sits the Input and Output level meters and a large display to view your gain transfer. This gives you additional visual feedback when tweaking the myriad of available parameter options.. Now that we’ve got some basics down, let’s dig a little deeper into several features that make this plug in sound so good. When one thinks of controlling dynamics in a mix, it’s often through the careful use of compression. Oxford Dynamics offers the standard options of Threshold, Attack, Hold, Release, Ratio and Makeup gain, but takes it a step further with a choice of timing functions. As it clearly states in the manual - “much of the artistic characters of the massive range of renowned compressors are determined by subtleties in the timing behavior of these units under complex musical signal conditions.” In other words, a wide variety of compression styles can be achieved with Dynamics since the Oxford offers three distinct types – Linear, Classic and Normal. Within these three compression types are two types of time dependency curves known as linear dB and exponential dB – each with its own sonic characteristics. But what does this mean in terms of sound? While the easiest way to find out is to experiment with the various options, it is important to understand that the Normal and Classic compression types use the exponential/dB curve. This type of curve is quite popular among classic compressors and tends to be quick and easy to set up. When compressing, the harmonic content functions in a way that is pleasing to the ear – something I would define as ‘smooth’. The Linear type of compressor used the linear/dB curve and tends to impart more sonic character into the sound than the exponential/dB curve does. This type of compression tends to take longer to complete a gain change and can be much more aggressive sounding. There is no magic compression solution, but it’s good to know that there are options available in Dynamics that can definitely affect your sound. Another nice feature is the Soft Limit function, which lets you choose between Soft 0dB, 5dB, 10dB, 15dB and 20dB, can also help smooth out the compression curve – providing a clean, clear sound.
Oh, there’s more! The Warmth function uses harmonics to enhance the signal without increasing its peak level. It takes short overshoot peaks/spikes and basically regenerates them back into the program material, providing a sound best described as ‘warm’ (hence the name!). The control can be varied from no effect at 0% to full effect at 100%.
Hidden under the S-C EQ button lies a nice little two-band side chain EQ with a LF from 20Hz-1kHz and a HF from 500Hz-20kHz, both with 20dB of gain or cut. The EQ can be routed to either the side chain, main signal path, or both. Aside of de-essing, it comes in handy for adding (or cutting) a little ‘something’ to drum loops, guitars, or whatever you might place it on.
As you might guess, Oxford Dynamics is a sonic utility tool. It can handle most every dynamic need that arises, all while offering maximum flexibility. Next month I’ll put it to the test on some great audio examples. |
