I love EQ, and I love compression mangling sounds into something they weren't before, is fun and can add excitement to music. Let me now hand over the review to recording and mix engineer Don Gunn, who discusses how he employed the plug-in for mixing. My comments above are from my use of Oxford Dynamic EQ in a mastering context. Just find the snare fundamental, set the trigger to Above, and add that 0.5 dB that makes it poke out at key times. This avoids putting a full-time boost across the track.
That means no boost is added until the band's level reaches the threshold. When the Trigger mode is set to "Above," dynamic gain change takes place when the signal goes beyond the Threshold level.
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Suppose the artist wants the snare to crack a little louder on the chorus. But the ability to boost a mix element can also be a lifesaver. Most of my examples have dealt with cutting or limiting certain frequencies. Cutting those frequencies with a full-time EQ was taking away too much energy, and using a sidechained compressor just made them more dense. On the single "Vesper Bells" by Delicious Pastries, I was able to tuck in two problem frequencies in the upper midrange that were poking out during two sections of the song. Another use is to seat the plug-in on harsh moments of guitar or cymbals during dense sections.
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With Oxford Dynamic EQ, I am able to come closer to the results I can achieve through manual editing. The best attack is usually a manual process - either spectral editing or individually adjusting the gain on each offending syllable. I like to explain that a dynamic EQ is a little mixing engineer who sits inside the workstation and rides the gains of an equalizer, as little or as often as needed.ĭe-essing during the mastering stage is tough. But they're not exactly interchangeable, and even when they both could be used to tackle the same problem, the results can be very different. And it would be reasonable to question if there is even a need for a dynamic EQ, given that a multi-band dynamics processor can do similar things. To the casual observer, a dynamic EQ looks like a multiband compressor. Type 3 is proportional?Q, which means that low amounts of cut or boost use a relatively broad filter, but as the boost or cut is increased, the Q becomes narrower - a more natural-sounding effect to the human ear. The manual explains that the plug-in leverages the Type 3 algorithm from the legendary Oxford R3 EQ. Although numerous factors go into sound quality, one of the main reasons it sounds so smooth is due to its Q implementation. It can correct an issue without distracting the listener with pumping or artifacts. Oxford Dynamic EQ has a very natural sound. Digging deeper, you'll also find controls for Attack, Release, and sidechain selection/EQ, among many other advanced parameters. Each band also has an Offset Gain (the static level of the band before dynamics are triggered), which works in conjunction with Target Gain to adjust the amount of dynamic gain change available to the specific band. Hence, a chosen band of a kick drum could be boosted only on big hits, or a band on a hi-hat could be reduced when it's too loud. What this means is that the band can boost or cut toward the Target Gain, based upon Dynamics ratio and Threshold level. You'll also find Dynamics, Threshold, and Target Gain. But clicking on one of the bands gives you access to more than just the standard frequency, Q, bell/shelf mode, solo, and mute controls. The frequency display may look like that of a standard EQ, complete with real-time response curves. Oxford Dynamic EQ's GUI is the most elegant Sonnox representation ever, with controls that allow novice users to start getting sounds without opening the manual. Fortunately, that's not the case with the recently released Sonnox Oxford Dynamic EQ. When plug-ins of this type appeared, most were confusing to my eyes and sounded artificial or hyped to my ears. Historically, they were outboard units, making them expensive and limited to one stereo track at a time. Dynamic equalizers have been around for a while.
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