Sonnox Oxford Inflator User Manual

Contents

1 Introduction 3

2 Operation 4

2.1 Input Clipping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

2.2 Direct and Band Splitting Modes . . . . . . . . . . . . . . . . . . . . . . . . . 5

2.3 Basic Loudness Enhancement Procedure . . . . . . . . . . . . . . . . . . . . 6

2.4 Metering and Overload Indication . . . . . . . . . . . . . . . . . . . . . . . . 7

2.5 Curve Modification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2.6 Mixing with the Oxford Inflator . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2.7 Distortion Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3 DescriptionofControls 10

3.1 Input Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

3.2 Effect Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3.3 Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

4 Specifications 12

4.1 Pro Tools | HDX – Instances per chip . . . . . . . . . . . . . . . . . . . . . . . 13

5 PresetManagerToolbar 14

6 SupportedPlatforms 15

7 SystemRequirements 15

8 CopyrightandAcknowledgements 16

1 INTRODUCTION

1 Introduction

The Sonnox Oxford Inflator plug-in is designed to address the current preference to

produce the maximum apparent loudness from popular music mixes. Many processes are

already in use, which are variously reliant on compression and limiting to produce

maximum modulation and try to give an impression of excitement to the sound of the

programme. The Inflator plug-in goes further than these methods and can increase the

loudness of almost any programme material, regardless of the levels of prior compression

or remaining dynamic range. It will even make full level white noise sound louder! The

Inflator plug-in can also be used to create much of the warmth, character and dynamic

excitement of analogue systems within the digital domain.

The Inflator process functions by changing the relative probability of samples in the

programme material such that there is a greater probability of larger values than the

original signal. The Inflator does not employ signal compression, so there is no ‘pumping’,

dynamic level change, loss of presence or flattening of percussive attacks. The full

dynamic information of the music content is largely preserved despite the increase in

average modulation density.

In addition to loudness enhancement, the Inflator can create a harmonic profile in the

signal spectrum that not only increases the apparent dynamic impact of instruments and

performances, but also provides ’warmth’ to the programme, reminiscent of good valve

systems. When used in this way, the Inflator even has the ability of good valve systems to

produce great sounding programme when significantly overdriven, and can therefore be

used as an artistic enhancement tool on single performances within a mix.

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2 Operation

2.1 InputClipping

The Inflator process develops internal signal levels that

are notionally greater than digital maximum. For instance, with

the EFFECT level at maximum and the Clip0dBr off, signal peaks

above notional digital maximum can be accommodated, and

much of their harmonic information can be included in the output

signal, even though the peak output level will not rise above digital

maximum. The presence of this extra signal range is displayed

on the upper sections of the INPUT level meter, and represents

a range of up to +6dBr of useable overdrive before hard clipping

2 OPERATION

occurs.

The CLIP 0dBr function suppresses this extra range and restricts the Inflator process to

the normal digital maximum range. Therefore, you will note that, with CLIP 0dBr selected,

the input level meter will not rise above 0dB, however much input gain is employed.

Because the potential applications of this process are so varied, you are encouraged to

experiment with CLIP 0dBr on and off, to obtain the best results depending on your

intentions. Here are some general guidelines:

Generally it is better to start by selecting CLIP 0dBr on (the default) for most loudness

enhancement purposes including direct mode (non-band split) since the control of peak

levels, settings and sound character is more readily achieved when a maximum reference

level is imposed on signals before the Inflator process.

In certain cases better results may be obtained by de-selecting any input limiting. In

particular, the extra useable range can then be used to accommodate short-term

overshoot sounds produced by compression functions, where they are generated to

enhance attack and presence. Since these peaks are mostly short duration, they can

often be accommodated effectively in the overdrive ranges without excessive reduction of

sound quality or loss of average modulation. Please note that in this case it is important

to ensure that the peaks from any prior compression are not clipped between plug-ins, by

making sure that the output signal from the compressor does not quite hit peak levels

before applying it to the Inflator plug-in.

When using BAND SPLIT modes for loudness enhancement, using the Inflator with CLIP

0dBr off may produce a reduction in unwanted intermodulation side effects when

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2.2 DirectandBandSplittingModes 2 OPERATION

pushing for absolute maximum loudness, regardless of possible output clipping etc.

When using direct mode (without band splitting) for distortion generation, the results will

be quite different with or without input clipping, and may produce useful artistic effects in

either circumstance. The Inflator is able to soften clips that occur, either because of the

CLIP 0dBr setting, or even those that happen before its own processing in prior plug-ins.

Therefore overdriving the Inflator with the CLIP 0dBr function both on and off, or even

applying the Inflator to the output of other plug-ins driven into overdrive, can produce a

vast range of artistic effects. To explore the full range of possibilities, the importance of

experimentation cannot be overstressed.

2.2 DirectandBandSplittingModes

The Inflator application can run in either direct or band splitting modes. In normal

operation, the complete frequency range of the programme material is processed

simultaneously. This is usually the best way to run the process under most conditions.

One significant advantage of using this mode is that the output relative peak level will not

get larger than peak level, however much Effect is applied. Therefore more overall

enhancement is possible before clipping the output, and louder more powerful results are

possible. Also, when used for distortion generation, the relative phase of the distortion

harmonics are better preserved when band splitting is not used, so accurate clip rounding

is possible, thus producing a much more pleasing effect.

The BAND SPLIT function is offered as an additional mode

that may be useful under some specific conditions. When band

splitting is selected, the processing is split into three frequency

bands to avoid intermodulation distortion between parts

of the programme signal spectrum. This mode is occasionally

advantageous when going for maximum loudness enhancement

where there is a significant predominance of specific frequency

ranges in the programme content. However it should be noted

that, depending on programme and settings, operation in this

mode produces output levels that are beyond the relative input peak level. This means

that the signal is more likely to clip at the output, which may produce an increased

harshness to the sound. If this becomes obtrusive, reducing the input or output levels to

avoid clipping will obviously somewhat negate the purpose of the exercise!

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