Sony Oxford Reverb Operating Instructions

Oxford Reverb Plug-in Manual

For

Digidesign ProTools

1. Introduction.

The Oxford Reverb plug-in is a highly flexible artificial reverberation generator, designed to complement existing
Oxford applications in providing the professional user with highest technical and sonic performance coupled with high
levels of artistic and creative facility.

By avoiding fixed algorithms and providing user control of all parameters including comprehensive equalisation
functions, the Oxford Reverb allows the professional engineer the powerful facility to build virtual spaces freely
depending on artistic need, ranging from dry reflection ambiences, room and hall simulations, sound effects, all the way
to wide open reverberant spaces with a very large range of possible texture and spatial character.

2. Installation and Authorisation.

ProTools versions

You will need to authorize your software by transferring the asset for your product to your iLok before use.

CD purchases: you can do this by following the instructions on the inlay card supplied with your CD.

Online purchases: you can do this by following the instructions sent in your order confirmation email after purchase.

3. Control Functions.

The control functions are arranged in operational sections, comprising of early reflection settings, reverb tail settings
and contribution mixing functions. Mixing functions are conveniently split into separate sections, for internal signal
contribution to the reverb tail section and overall level control and mixing functions. A separate Equalisation settings
page is accessible from the Early Reflections area of the GUI.

3.1. Early reflections.

Shape (28).

Selects the overall shape of the early reflection space. Four basic space shapes are provided to allow the application of
appropriate overall character to the reverberation.

Position (27).

Controls the relative back to front placement of the listening position within the virtual room simulation.

Size (26).

Sets the overall size of the simulated space, as measured between front and back walls. Room shapes remain in
proportion with this size.

Width (25).

Controls the stereo separation of the room reflections depending on their particular direction within the stereo field.
Normal position placement occurs with the control at minimum setting. Increasing the setting provides wider

separation. Increasing settings beyond 100% produces ultra-wide separation, often useful when adding spatial effects to
single mono tracks.

Taper (20).

Controls the loudness level of the reflections depending on their relative path lengths. I.e. longer delays are
progressively reduced in level because the sound will have travelled further. Increasing the taper control will
proportionally increase the relative contribution from long path lengths in relation to short paths. At maximum setting
all paths lengths will have equal level contribution .

Feed along (21).

Controls the amount of re-injection of distributed sound within the simulated space. Greater re-injection will result in
greater reflection density and echo complexity and cause the reflections to continue over a longer period of time.

Feedback (22).

Controls the proportion of the reflected signal that is re-circulated within the room simulation. Increasing feedback will
result in longer reflection duration (room reverb time) and greater room mode frequency response effects (boominess).

Feedback phase selector (24).

Modifies the phase relationship of the Feedback variable. Modified phase (preferred on position) will result in softer
reflections over time and produce greater modal and spatial dispersion, synonymous with natural rooms containing
objects that disperse reflections and tend to break up room behaviour. Normal phase (off position) will result in harder
reflections and greater modal frequency behaviour.

Absorption (23).

Controls the high frequency roll-off that naturally occurs over time due to absorption. Higher settings (greater
absorption) relate to spaces containing soft furnishings and wall coverings, low settings (less absorption) relate to
empty spaces with hard reflective surfaces etc.

3.2. Reverb tail.

Reverb Tail input mixing.

Facility is provided to drive the input of the reverb tail processor with a combination of signals comprising of; untreated
input signal, delay compensated input signal and the output of the early reflections processing. Two levels of cross fade
control are provided for this mixing function, so that relative contributions can be varied freely without disturbing
overall levels.

Delay Comp (7).

Sets the timing of the delay compensated input contribution to the reverb tail processing.
With ER Track selected the delay compensated input signal tracks the notional size of the early reflection processing

section. The available control is from zero to 2 times the early reflection Size setting, with mid position (1) representing
the normalised time alignment setting.

With ER Track unselected, the Delay Comp control is uncoupled from the early reflection Size setting and provides an
independent delay up to a maximum of 30 meters.

ER Mix (8).

Provides a cross fade between the untreated input signal and the output of the early reflections processor.

Tail Input (9).

Provides a cross fade between a delay compensated versions of the input signal provided by the Delay Comp control
and the mixed signal resulting from the ER Mix stage.

Please note that a combination of the input signal and delayed signal together can cause unwanted frequency combing
effects when the ER Size is set for smaller spaces. It is therefore best to arrange the ER Mix and Tail Input controls to
predominately use
spaces.

either a mix of the ER and the input, or the ER and the delayed input when simulating smaller