Although this hardware is very expensive (around £8,000), Brainworx have produced an excellent emulation of the hardware and wrapped it into a plug-in. Its two channels can be configured as stereo or dual-mono, and each channel features two compressors that offer huge sonic potential. The Shadow Hills Industries Mastering Compressor is a boutique, high-end dynamics processor intended purely for use in mastering. Shadow Hills Industries Mastering Compressor It can also sense for – and correct – inter-sample clipping, where the decoded analogue signal overloads despite no digital samples exceeding 0dB-FS. The processor is able to adapt to the incoming signal, adjusting its gain scaling over a longer time period, and gives very fine-grained control over the way signals that exceed the threshold are handled. Its ability to catch and control peaks is a given, but it’s how it does it – and how transparent it is when doing it – that’s most impressive. Limiters may seem like fairly mundane processors, but Sonnox’s Oxford Limiter is a very different matter. This model is stunning when used for broad-brush mastering EQ work.
#Sonnox oxford limiter v2 vs 1 pro
Pro Tools HD / HDX users can also add an optional fifth ‘GML’ model, which is based on the legendary Massenburg GML-8200 analogue EQ. When it comes to mastering it ticks all of the boxes, from gentle broad-brush adjustments to ultra-precise corrections, all of which it delivers with pristine clarity yet without sounding clinical. Its four EQ models make it exceptionally flexible, and suitable for a wide variety of tasks. The Sonnox Oxford EQ plug-in is taken directly from the high-end Sony Oxford R3 digital mixing console.
This is ideal when honing and perfecting a montage. What really makes the difference, though, is that it allows you to create different processing chains for different audio items, which you can then include in a montage while retaining each item’s specific processor chain in editable / adjustable form.
#Sonnox oxford limiter v2 vs 1 software
The software comes with an extensive collection of high-quality mastering plug-ins, has top-notch metering with oodles of different options, and has many other tools that are perfect for audio mastering work. I will be giving this some serious consideration as a stem sub master limiter.While you can master using pretty-much any DAW, Steinberg Wavelab is a DAW that’s very much specialised to the task. As many frequency bands as you want and a simple interface for what appears to be a pretty sophisticated engine - and the price is right. I just got this, so I haven't really used it on an active project, but it seems to be an absolute monster. I generally only use this when doing after-the-fact mastering of finished stereo mixes. But the more sophisticated algorithms like IRC IV add a bit of latency that may be too much if you're trying to sequence percussion or spiccato strings. Inter-sample peak detection / correction, and the Transient Recovery thing can really help avoid squashing the peaky stuff. Five frequency bands, very low latency allows you to leave it on all the time, even while recording new stuff, and it can do massive amounts of "louder-izing" while still sounding pretty invisible. Waves 元-LL MultiMaximizer on stem sub masters.