Sonnox OXFORD ENVOLUTION User's Guide

Version 1.0.0

December 5, 2015

Contents

1 Overview 4

2 TheMainLevelControls 5

3 CentrePanelAssignment 6

4 EnvelopeScope 7

5 EnvelopeShaping 8

5.1 Transients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

5.1.1 Attack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

5.1.2 Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

5.1.3 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

5.1.4 Sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

5.2 Sustain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

5.2.1 Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

5.2.2 Attack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

5.2.3 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

6 SpectralShaping 15

6.1 Tilt Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

6.2 Focus Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

7 WarmthandLevelControl 18

7.1 Warmth Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

7.2 Loudness Enhancement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

8 MasterDry/WetMix 20

9 DIFF Listen 21

10 Specifications 22

10.1 Pro Tools | HDX – Instances per chip . . . . . . . . . . . . . . . . . . . . . . . 22

11 PresetManagerToolbar 22

12 SupportedPlatforms 23

13 SystemRequirements 24

14 CopyrightandAcknowledgements 25

1 Overview

1 OVERVIEW

The Oxford Envolution plug-in provides comprehensive control over the transient and

sustain portions of an audio signal. Unlike most alternatives, attack, hold and release

can be independently adjusted, enabling a wide variety of effects.

In addition to this, the effect of the transient and sustain processing may optionally be

applied in a flexible frequency dependent manner. This is achieved without splitting the

signal into separate bands, so unlike conventional multi-band processors, Oxford

Envolution may be freely used in parallel routing configurations without creating

phase-cancellation problems.

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2 THE MAIN LEVEL CONTROLS

2 TheMainLevelControls

To enhance or reduce the Transient or Sustain portions of the input signal, simply

increase or decrease the main level control.

Gain is set in dBs and will not exceed the selected setting, regardless of the Profile

settings. The current level of the gain envelope is displayed in the circular meter inside

each level control.

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3 CENTRE PANEL ASSIGNMENT

3 CentrePanelAssignment

The centre panel can be assigned to three views. Use the left-hand buttons to assign the

panel to a different view.

Scope

See Envelope Scope

TransientFrequencyMix

SustainFrequencyMix

See Spectral Shaping

See Spectral Shaping

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4 ENVELOPE SCOPE

4 EnvelopeScope

The Scope display shows an amplitude over time trace for the input signal (grey),

Transient envelope (yellow), and Sustain envelope (purple).

By default, the scope operates in Scroll Mode, in which the time axis scrolls freely from

right to left.

When using Envolution in a tempo-mapped project, the Bar Sync modes are more

appropriate. To select a different mode, click the settings panel which appears with the

mouse cursor over the Scope display.

Particularly in Scroll mode, it may be useful to freeze scope display in order to inspect the

shape of the envelopes. To do this, just click anywhere inside the Scope display. When

frozen, a blue border is drawn around the display. Click again to unfreeze.

Frozen scope display. Click to un-freeze.

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5 ENVELOPE SHAPING

5 EnvelopeShaping

Transient Profile Controls

For high-quality and versatile detection and processing, all time constants are

automatically adjusted based on characteristics of the input signal. Because of this, the

timing profile parameters are shown as a percentage of the available range.

While the Attack, Hold and Release controls perform similar functions for both the

Transient and Sustain sections, their behaviour in use is quite different. These differences

are outlined in the following sections.

The Scope display in the centre panel of the plug-in helps to visualize the sensitivity and

shape of the gain envelopes which are applied to the signal.

See Envelope Scope

5.1 Transients

5.1.1 Attack

This can be used to smooth the leading edge of the transient envelope over time. Slower

attack times allow some of the initial edge of the detected transient event to pass through

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5.1 Transients 5 ENVELOPE SHAPING

the plug-in unchanged.

Fast Transient Attack speed

Slow Transient Attack speed

Slower Attack times also decrease how sensitive the transient detection is to small, fast

transient events. However, the Sensitivity control will be more effective!

5.1.2 Hold

This delays the onset of the release portion of the envelope, and is very powerful for

shaping the sound of processed transients. For example, when boosting, increasing the

hold time a little can give the impression of more low frequency ‘punch’ without overly

lengthening each transient event.

No Transient Hold

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5.1 Transients 5 ENVELOPE SHAPING

Long Transient Hold

Another useful application of Transient Hold arises when processing plucked or

strummed acoustic instruments; with some performances there may be multiple transient

events very close together. When processed separately these can begin to sound

unnatural due to multiple fast excursions in the gain envelope. Increasing the Hold control

will effectively group adjacent events together, which can provide more pleasing results.

5.1.3 Release

This smooths the release portion of the transient envelope over time, resulting in longer

transient events with a smooth decay.

Fast Transient Release

Slow Transient Release

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5.2 Sustain 5 ENVELOPE SHAPING

Try reducing Transients by 3 to 6 dBs with a slow Release time for a level-independent

compressor-like effect which will leave sustained signal components untouched!

5.1.4 Sensitivity

This Sensitivity control adjusts how sensitive the gain section is to small transient events

in the gain envelope. At 100%, all detected transient events are allowed to contribute to

the gain envelope. As Sensitivity is increased, more transient events are detected.

Default Sensitivity – not all of the audible transient events are detected!

High Sensitivity – all audible transient events are detected and processed.

If the Transient processing ever sounds like it is ‘distorting’ or ‘fluttering’, try reducing the

Sensitivity control.

5.2 Sustain

5.2.1 Hold

This delays the onset of the attack portion of the Sustain envelope.

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5.2 Sustain 5 ENVELOPE SHAPING

No Sustain Hold

Longer Sustain Hold

In conjunction with the Sustain Attack control, this allows you to shift the focus of the

Sustain envelope later in time, so that only the ‘decay’ portion of the signal is processed.

Longer Sustain Hold and Release, pulling up only the decay

5.2.2 Attack

As in the Transient section, this smooths the leading edge of the Sustain envelope over

time. However, this is much more useful here!

As Attack time is increased, the Sustain section takes longer to reach the target set by the

main Sustain Level control. Adjusting the Sustain Attack can also help when adjusting

the speed of the Sustain envelope to match the speed of a musical performance.

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5.2 Sustain 5 ENVELOPE SHAPING

Fast Sustain Attack

Slower Sustain Attack

If the Sustain processing ever sounds like it is ‘distorting’ or ‘fluttering’, try increasing the

Attack control.

5.2.3 Release

This sets the speed with which the Sustain envelope returns to 0 dB in response to a

detected transient event.

As such, it is usually best left at the default setting, which is quite fast.

Fast Sustain Release

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5.2 Sustain 5 ENVELOPE SHAPING

Slow Sustain Release

However, this control can be used as an alternative way of enhancing or reducing

Transient events. For example when reducing Sustain, increasing the Release time will

soften the leading edge of each detected transient, without using the Transient section’s

processing. When increasing Sustain, increasing the Release time will allow the beginning

of transient events to be boosted as the envelope releases back towards 0 dBFS. So, the

Release control can be used to adjust how ‘punchy’ the Sustain processing sounds.

This can be useful when the Transient section is already being used for another effect,

perhaps focussed on a different frequency range.

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6 SPECTRAL SHAPING

6 SpectralShaping

The Frequency Mix (FREQ) controls allow the Transient and Sustain effects to be applied

by different amounts in different frequency ranges.

To view these controls, click the FREQ button for the Transient or Sustain section.

Transient Frequency Mix controls

This can be thought of as a frequency dependent wet/dry mix – the top of the graph is

fully Wet, the bottom is Dry.

These controls make the detection and application of the Transient and Sustain effects

frequency dependent. An important aspect of this behaviour is that it is achieved without

splittingthesignalintomultiplefrequencybands. Because of this, inserting the

Envolution plug-in into parallel routing paths will not introduce static phase-cancellation

artefacts. There are no FIR filters either, which allows the plug-in to have very low latency.

With 0% Tilt/Focus settings, Envolution is frequency-independent and

completely true to the spectrum of the input programme, unlike a multi-band

processor.

6.1 TiltMode

Tilt Mode provides ‘tilt EQ’ style control of frequency dependency. Defaulting to a smooth

6 dB/octave slope, this is very useful for gentle tone shaping. At extreme settings (-100%

and 100%), the response changes to a low-pass or high-pass filter, allowing you to

exclude low or high frequency signal components from the processing.

If you’re ever hearing too much effect in the Low or High regions, use Tilt Amount to tilt

the curve down in that region. For example, when using the Sustain section to reduce

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6.2 FocusMode 6 SPECTRAL SHAPING

room ambience on a drum bus, the cymbals may begin to sound unnaturally ‘gated’. To

resolve this, simply use Tilt Mode to reduce the Freq Mix Amount at high frequencies.

High frequency ambience will be reduced by a smaller amount, allowing the cymbal

decay to pass through unaffected!

Sustain Frequency Mix configured to de-emphasise the effect in the HF region.

Transient Frequency Mix configured to de-emphasise the effect in the LF region.

6.2 FocusMode

Focus Mode provides a band-pass or notch response for more precise control.

Here are some examples of how Focus Mode can be used:

Use with a Sustain Level boost or cut to treat drum resonance without affecting the tran-

sients.

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6.2 FocusMode 6 SPECTRAL SHAPING

Use with a Transient Level boost to add weight to kick drums without boosting LF ambi-

ence!

Reduce high-mid frequency ambience without losing presence.

Tweak the balance of sustain enhancement to prevent excessive low-mid build-up.

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7 WARMTH AND LEVEL CONTROL

7 WarmthandLevelControl

Although the Transient process works to maintain constant average signal levels, the

process can produce significantly larger peak levels when positive Level settings are

used. With highly percussive sounds, the peak levels can increase by up to 24 dB.

The Sustain process can dramatically change average signal levels, and can also

increase the peak level of the input programme.

This effect will be seen on the plug-in’s Output Meters as well as on the Transient and

Sustain Effect meters. Since most DAW applications provide no headroom above the

peak level operating target that most users aim for, the increased signal level is

susceptible to overloading processing after the Envolution plug-in. Therefore care must

be taken to set appropriate OutputGain settings to prevent levels over 0 dBFS.

7.1 WarmthProcessing

The Warmth process is included to allow a degree of relief from premature clipping if high

modulation levels are required, by providing a method for the harmonic content of peak

information above digital max to be included in the final output signal from the plug-in.

When set to maximum (100%) the Warmth process will allow peak input signals up to

+6dBFS to be included without the sound of hard clipping, while preventing output signal

overloads greater than 0 dBFS. Warmth processing will also change the harmonic

content of the programme to provide warmth and richness to many programme types.

7.2 LoudnessEnhancement

When used with negative Transient Level settings, Envolution can provide a useful

method to increase the loudness of programme by reducing very short transients that

may otherwise cause overloads. In many cases, very short transients may not be a

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7.2 LoudnessEnhancement 7 WARMTH AND LEVEL CONTROL

prominent part of the programme sound, and can be reduced without damaging the

sonic character of the results. If very short-term peaks are reduced, higher modulation

levels can be achieved without overloads. Since the look-ahead process timing can act

on the signal before it appears at the output of the plug-in, short-term peaks can be

effectively reduced without apparent loss of overall sonic character.

To achieve this effectively, small negative Transient Level and Transient Release values

should be used with the minimum Transient Attack setting, in order to catch the fastest

transients only. Coupled with an appropriate Transient Sensitivity setting transients can

be reduced by the required amount, allowing the overall level of the programme to be

increased before limiting occurs.

Since Envolution is an adaptive process that constantly changes with programme

content, the peak limiting function will not be as predictable and accurate as that

provided by a programme limiter.

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8 MASTER DRY/WET MIX

8 MasterDry/WetMix

A Master Dry/Wet Mix control is provided to adjust the strength of the combined

Transient and Sustain effects.

This can be used to make final adjustments more easily than adjusting the Transient and

Sustain controls independently.

It can also be used with extreme Sustain settings to achieve level-independent parallel

compression effects.

For more powerful parallel processing options, just place Envolution on a parallel effects

bus!

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9 DIFF LISTEN

9 DIFF Listen

The DIFF listen mode allows auditioning of the difference between the original input

signal, and the Transient/Sustain processed signal; this can can have various uses.

Listening to the difference signal can help hear the optimum Transient Sensitivity setting –

where all transient events are detected without any false positives.

However, the DIFF listen mode can have more creative uses too!

Here are just three examples of what’s possible in DIFF listen mode:

• Increase or decrease the Transient Level to extract only the transient events. These

extracted transients can then be used to trigger other dynamic processors, or to

feed time-based effects processors.

• Increase or decrease the Transient Level, and use the Transient Release control to

adjust how quickly the extracted transients decay. For percussive signals, this can

provide excellent sustain reduction, and leaves the Sustain section available for

further envelope shaping!

• Increase or decrease the Sustain Level to extract only the non-transient events.

This can sound similar to extreme negative-ratio compression, but is still

level-independent! Use the Sustain Attack and Release controls to adjust how

aggressive this effect is.

In order to prevent harmonic distortion from inhibiting the utility of the DIFF listen mode,

the Warmth processing is not included in the difference signal.

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10 Specifications

10.1 ProTools|HDX –Instancesperchip

44.1/48 kHz 88.2/96 kHz 176.4/192 kHz

Mono 7 3 1

Stereo 6 2 1

11 PresetManagerToolbar

11 PRESET MANAGER TOOLBAR

Sonnox Oxford plug-ins come equipped with their own onboard Preset Manager, which is

displayed at the top of the plug-in window. The reasoning behind this is to allow

increased portability of your presets across all the host applications, while also providing

a consistent and versatile interface. While most host platforms allow creation and loading

of presets, those host-created preset files are not portable between different host

applications. With the Oxford plug-ins’ Preset Manager, you can create a named preset in

one host application and load it when using an alternative application.

The Sonnox Preset Manager is fully described in a companion document — Sonnox

Toolbar and Preset Manager User Guide — available for download at

www.sonnox.com/docs

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12 SupportedPlatforms

• Avid Pro Tools (AAX Native 32/64-bit)

• VST hosts (32/64-bit)

• AU hosts (32/64-bit)

• Mac Intel OSX 10.6 or higher

• Windows 7 and 8 (32/64-bit)

12 SUPPORTED PLATFORMS

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13 SYSTEM REQUIREMENTS

13 SystemRequirements

For latest System requirements, please visit www.sonnox.com.

Allversions

• Free iLok account

• Appropriate product licence

• iLok2

ProTools

• Approved Avid CPU and hardware configuration

• Pro Tools 10.3.5 or above

VST

• VST host application (e.g. Cubase, Nuendo, etc.)

AudioUnits

• OSX 10.6 or higher

• Audio Unit host application (e.g. Logic, Digital Performer, etc.)

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14 COPYRIGHT AND ACKNOWLEDGEMENTS

14 CopyrightandAcknowledgements

Trademarks and content copyright © 2007-present Sonnox® Ltd. All rights reserved.

Sonnox® and the five dots logo are registered trademarks of Sonnox Ltd.

This product is manufactured and supplied by Sonnox Ltd. This product is protected by

one or more European and/or US patents.

DIGIDESIGN, AVID and PRO TOOLS are trademarks or registered trademarks of Avid

Technology Inc.

VST is a trademark of Steinberg AG.

All other product and Company names are trademarks or registered trademarks of their

respective holders.

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