The No.1 Website for Pro Audio
Sonnox Oxford Limiter - Favorite Settings?
Old 25th July 2019 | Show parent
  #31
Deleted 2ef94c5
Guest
Quote:
Originally Posted by Paul_G View Post
I'm finding it harder to use the Oxford limiter after the release of the Weiss Softube pack. It's so much more 3D and transparent, where I can't get away from the distortion on the Oxford limiter. I used to love it on almost everything though.
I never got the Weiss limiter to do anything special compared to the others. Any tips? Sounds flat to me. The parallel compressor and de esser however sound great!

Again regarding Oxford, the trick for me is to keep the enhance slider below 3% (closer to 2%) and only allow 1 limit light to flash here and there - not regularly. In this fashion it does something unique that works across more masters than not.
Old 25th July 2019 | Show parent
  #32
Lives for gear
 
oceantracks's Avatar
 

Quote:
Originally Posted by mpr View Post
I never got the Weiss limiter to do anything special compared to the others. Any tips? Sounds flat to me. The parallel compressor and de esser however sound great!

Again regarding Oxford, the trick for me is to keep the enhance slider below 3% (closer to 2%) and only allow 1 limit light to flash here and there - not regularly. In this fashion it does something unique that works across more masters than not.
I must have hearing problems because using Clean Master Safe or whatever it's called seems to work on everything for me without changing anything...though I do control how hard I hit it...

I am doing many rock and modern country though, no light jazz or classical..
Old 25th July 2019 | Show parent
  #33
Quote:
Originally Posted by mpr View Post
I never got the Weiss limiter to do anything special compared to the others. Any tips? Sounds flat to me. The parallel compressor and de esser however sound great!

Again regarding Oxford, the trick for me is to keep the enhance slider below 3% (closer to 2%) and only allow 1 limit light to flash here and there - not regularly. In this fashion it does something unique that works across more masters than not.
I use the whole pack and it is one of the only digital limiters that doesn’t sound distorted or 2d.
The Sony has a kick to it but yes I have to go very gently otherwise it sounds like Wu Tang Hip Hop.
The Fabfilter L2 sounds really good. That and the Weiss are my favs.
Old 26th July 2019 | Show parent
  #34
Deleted 2ef94c5
Guest
Quote:
Originally Posted by Paul_G View Post
I use the whole pack and it is one of the only digital limiters that doesn’t sound distorted or 2d.
The Sony has a kick to it but yes I have to go very gently otherwise it sounds like Wu Tang Hip Hop.
The Fabfilter L2 sounds really good. That and the Weiss are my favs.
You know what... I gave the Weiss another shot after many months, and I like it! I think I was too heavy handed with it long ago, and today I just had it doing about a dB in conjunction with pro-l2 and it was a nice changeup. Thanks for inspiring me try it again

You too oceantracks. I think I wrote this guy off prematurely after hitting it too hard.
Old 13th August 2019
  #35
Lives for gear
 
ajscent's Avatar
 

I used to use the sonnox limiter and the entire collection lots - just re bought the limiter last month.
Its nice and musical , sweet sounding and pleasant . However whilst doing mastering of my own tracks Im still not sure im going to use it.
Bought it because of memories of how much i used to use it and wanted to see if I was missing out.
re the enhance button - its like a smooth butter of invisible saturation - but I wouldnt use it - although when you turn it up a bit it does go wow / still i dont use it - it is sort of fatiguing .
Dont like stealth Limiter , Im not quite sure what it is I dont like about it , its praised a lot , I feel like somethings wrong with it and i dont know what ( I dont like IK full stop though )
Got the Weiss and I dont know if its placebo but I trust that its quality. V easy to reduce any peaks and tickle the mix with the thing.
I like the sonnox and do turn it on all the time - I like the meter - I trust the meter on it and its v easy to leave open and pleasant to look at - v good meter lols - its ace and whilst doing my own mastering - it will be int to see if it makes the cut - but right now just fixing any overshoots on source is prefferable and having soft kiss of weiss then maybe the sony as a saftety one without hopefully being used
Old 4th June 2020
  #36
Lives for gear
 

Giving this thread a bump as Sonnox is currently on sale for 50% off.

Are people still finding the Oxford Limiter useful compared to DMG Limitless, FabFilter Pro-L, Ozone 9, IK Stealth, etc.? I own so many limiters and while I'm not eager to "collect" the Sonnox for no reason, if it offers something unique, I'd consider it.

I will demo soon but curious for any current thoughts/experiences.
Old 4th June 2020
  #37
Motown legend
 
Bob Olhsson's Avatar
 

Verified Member
Each screws something different up.

Choice is good!
Old 4th June 2020 | Show parent
  #38
Lives for gear
 
oceantracks's Avatar
 

Quote:
Originally Posted by Melodeath View Post
Giving this thread a bump as Sonnox is currently on sale for 50% off.

Are people still finding the Oxford Limiter useful compared to DMG Limitless, FabFilter Pro-L, Ozone 9, IK Stealth, etc.? I own so many limiters and while I'm not eager to "collect" the Sonnox for no reason, if it offers something unique, I'd consider it.

I will demo soon but curious for any current thoughts/experiences.
The one plug in I can't mix without. Just amazing. Different from the others mentioned. Can make things sound big without sounding squashed. OR ...can squash things if you insist
Old 4th June 2020 | Show parent
  #39
Gear Maniac
 
darkalex's Avatar
 

Verified Member
Quote:
Originally Posted by Trakworx View Post
I have a favorite setting that's a combination of what I had come up with on my own plus hints I got from a screenshot taken by a friend of Ted Jensen's Pro-L2 settings using Modern mode.

Interesting how we each use the same gear so differently!
Hey Trakworx,

Would you mind sharing the screenshot of Ted Jensen's settings for the FabFilter Pro L-2?

Any techniques you want to share on how to use it well for punchy music?

I always try to get my head around the Pro-L2 or for the matter any limiter with manual attack and release times, but they always make the music either so hard hitting that it sounds like pumping or it will act so fast that it makes everything small, maybe your techniques and Ted's settings would help me out a bit to use this limiter.

Thanks !
Old 5th June 2020 | Show parent
  #40
Quote:
Originally Posted by darkalex View Post
Hey Trakworx,

Would you mind sharing the screenshot of Ted Jensen's settings for the FabFilter Pro L-2?

Any techniques you want to share on how to use it well for punchy music?

I always try to get my head around the Pro-L2 or for the matter any limiter with manual attack and release times, but they always make the music either so hard hitting that it sounds like pumping or it will act so fast that it makes everything small, maybe your techniques and Ted's settings would help me out a bit to use this limiter.

Thanks !

Sorry, no way would I ever do that and I hope no one would publicly share a pic of mine. (Edit: for ethical reasons)


Try hitting the Audition Limiting button (bottom right) and hear what happens with various attack, release and lookahead settings, then listen to the results you get. The Unity Gain button is also your friend.

Try turning oversampling off.
TP off.
Stereo link off.
Try Modern mode for punch.
Short lookahead.
Slow attack.
Fast release.

These are just things to TRY, then decide what works for you.

Last edited by Trakworx; 5th June 2020 at 06:30 PM..
Old 5th June 2020 | Show parent
  #41
Gear Maniac
 
darkalex's Avatar
 

Verified Member
Quote:
Originally Posted by Trakworx View Post
Sorry, no way would I ever do that and I hope no one would publicly share a pic of mine.
It's completely fine, I understand those settings might be valuable to you as they're what make you Trakworx compared to the average Joe (Get a louder record without squashing too much).

I wanted to know what do you mean by Slow and Fast in attack and release times, these seem too broad to be interpreted by me, some consider an attack time of 10ms to be fast, while some go lesser than 0.1ms, it's really confusing,
if you could guide a bit on this ?

Though how did you manage to get Ted's settings? If it's a matter that serious to you, that you do not want to share them with anyone nor would you expect anyone to do it?
Old 5th June 2020 | Show parent
  #42
Quote:
Originally Posted by darkalex View Post
It's completely fine, I understand those settings might be valuable to you as they're what make you Trakworx compared to the average Joe (Get a louder record without squashing too much).

I wanted to know what do you mean by Slow and Fast in attack and release times, these seem too broad to be interpreted by me, some consider an attack time of 10ms to be fast, while some go lesser than 0.1ms, it's really confusing,
if you could guide a bit on this ?

Though how did you manage to get Ted's settings? If it's a matter that serious to you, that you do not want to share them with anyone nor would you expect anyone to do it?
A friend snapped some room shots while in a session with him. I zoomed in. It's not about it being valuable to me, it's about respecting him. He can share his settings if he chooses but for me to share his settings would be unethical. Same applies to any of us. Having said that, clues to his general settings are in the suggestions I gave you.

I mean on the slower and faster areas of the ranges of the knobs. But you have to use your ears because it will depend on your other processing choices and on the music you're working with. There's no one size fits all setting and no one can tell you exactly where to set all the controls unless they're sitting right next to you in your room. Try the things I suggested and see what happens. Save some presets of settings you like and revisit with fresh ears. Best of luck!
Old 6th June 2020 | Show parent
  #43
Lives for gear
 
Adam Dempsey's Avatar
 

Verified Member
Quote:
Originally Posted by Trakworx View Post

These are just things to TRY, then decide what works for you.
And use the force: run it in compact mode. Also be aware that the attack and release times are always semi-auto under the hood.

I ought to try the Sonnox again. If I recall correctly the attack/knee combo is critical in preventing added distortion, and it can easily get fuzzy even in safe mode. As always, trust your ears – if you can trust your monitoring.
Old 6th June 2020
  #44
Motown legend
 
Bob Olhsson's Avatar
 

Verified Member
Since they added the Auto-Comp True Peak function, there is no longer any need for "safe" mode, and enhancement can be applied (or not) the way it originally was.
Old 6th June 2020
  #45
Gear Addict
 

Verified Member
I keep this on all of my mixes. Its a must great results with no distortion
Old 6th June 2020 | Show parent
  #46
Lives for gear
 
Ol' Betsey's Avatar
R.

Last edited by Ol' Betsey; 6th June 2020 at 01:56 PM.. Reason: Was pointing out "pants on fire" hypocrisy but whatever...
Old 7th June 2020 | Show parent
  #47
Quote:
Originally Posted by Paul_G View Post
I use a lot of outboard on my stereo bus so I only add tiny amounts of digital limiters as they always degrade the sound a little. The attack and release is always groove/dynamic dependent. I add enhance somewhere around 50% or less.
is this with Safe Mode on or off?
Old 26th June 2020
  #48
Lives for gear
 
chet.d's Avatar
 

Wondering if the Enhance feature on the limiter, compares very much to the Enhance on Inflator?

I have the limiter & considering getting inflator. I realize it's a different kinda harmonics thing but just not sure if what it brings is appreciably significant compared to Limiter. Thinking Inflator is a better bet for increasing RMS though?
Old 26th June 2020 | Show parent
  #49
Lives for gear
 
SmoothTone's Avatar
 

Verified Member
Quote:
Originally Posted by chet.d View Post
Wondering if the Enhance feature on the limiter, compares very much to the Enhance on Inflator?
From Paul Frindle, the designer of these plugins:

Quote:
Originally Posted by Paul Frindle View Post
I don't know where I have supposed to have said that the inflator and limiter are similar?! But they are not at all and are definitely not interchangeable in any way.

The inflator very basically speaking is a special kind of 'distortion generator' that has no dynamic activitiy over time, in other words it's a static process (i.e. it is not a compressor). It is designed to give the impression of loudness by providing the harmonic cues we associate with loud and stressed sounds - and increase the harmonic density of the programme in a way that is sympathetic to the ear.

------------

The enhance function of the limiter is a special kind of dynamic process that does not add distortion to steady state signals. It works over time, programme history, peak and average levels and LR stereo differences to limit the signal and squash peak events, whilst providing the listener with the impression that the peaks are still there! In this way it can sympathetically remove peak events so that you can provide more transparent limiting, or make the programme even louder without causing sample value overs.

It is used after the main leveller in the limiter application to allow you to use slower and softer attack times (which sound much more musical - particularly on percussion), without risking clipped sounds or overs due to peak overshoots.

If you select 'safe' mode the enhancer is always actively controling peaks - and the enhance slider lets you adjust the dynamic action from fairly neutral (where minimum audible differences occur) to full loudness increase (where it might get to sound ropey on some programme types).

---------------------------------------------

If you try to use the limiter and the inflator together you get mixed results depending on the programme. Although they have totally different ways of working and provide different effects, they can accentuate the side effects of each other in a way that can be counter productive and end up sounding worse.

Generally putting the inflator after the limiter (with the limiter's enhance wound up) will not increase the loudness very much before it starts to sound nasty. The reason for this is that the inflator makes the action of the enhancer more obvious.

Putting the inflator before the limiter is more successful in producing a grungy sheen to the programme, but will not really make it sound that much louder. SO the best settings for the inflator in this case is with the curve set to in the range from -ve to half way.

I hope this is helpful :-)
From here: Sony Oxford (Sonnox) still good? =>now with Paul Frindle replys :D
Old 27th June 2020 | Show parent
  #50
Gear Addict
 
Robb Robinson's Avatar
 

Verified Member
Quote:
Originally Posted by SmoothTone View Post
From Paul Frindle, the designer of these plugins:



From here: Sony Oxford (Sonnox) still good? =>now with Paul Frindle replys :D
Muchas Gracias!
Old 4 weeks ago | Show parent
  #51
Im lovin this thing! .. I'll get back to u on settings when I get a little more comfy with it
Old 4 weeks ago
  #52
Lives for gear
 

I also have licenses for ProL2 and the Weiss, but Sonnox is doing a sale, so I’m demoing their Limiter now. Used it years ago, and skipped it but now with better tracks, this thing seems to sound very decent. But I definitely had to read the manual, scrutinized it very carefully. Interesting that some settings I found are totally contrary to what was posted above. Still just learning.
Old 3 weeks ago | Show parent
  #53
Here for the gear
 
ReubenWalton's Avatar
 

Is the Sonnox Oxford Limiter plugin available for Logic Pro X?
Old 3 weeks ago | Show parent
  #54
Gear Addict
 

Verified Member
Quote:
Originally Posted by ReubenWalton View Post
Is the Sonnox Oxford Limiter plugin available for Logic Pro X?
Yes, Just get the native version.

https://www.sweetwater.com/store/det...B&gclsrc=aw.ds
Old 3 weeks ago | Show parent
  #55
Quote:
Originally Posted by Trakworx View Post
Yes. Usually Pro-L2 is distortion free but when it doesn't work it really doesn't work. And there are some modes I just don't like and would rather use a different limiter altogether. Usually it's a kick drum or some low mid resonance that distorts it. That's when Sonnox sometimes swoops in and saves the track.



Yes I'll give that a try.

That's funny - I almost exclusively use Pro-L2 in Modern mode Because it's so punchy. No other mode lets the kick/snare punch through like Modern does. I have a favorite setting that's a combination of what I had come up with on my own plus hints I got from a screenshot taken by a friend of Ted Jensen's Pro-L2 settings using Modern mode.

Interesting how we each use the same gear so differently!
I mostly use the modern setting as well. Mind sharing some of your PL2 Settings?
Old 3 weeks ago
  #56
Gear Addict
 

Verified Member
Curious, what is everyone's starting point when using it on a Kick or Snare?
Old 3 weeks ago | Show parent
  #57
Quote:
Originally Posted by scorpiwoman View Post
I mostly use the modern setting as well. Mind sharing some of your PL2 Settings?
See posts #40 and 42. Cheers,
Old 3 weeks ago | Show parent
  #58
Gear Maniac
 
darkalex's Avatar
 

Verified Member
This is what my usual Pro-L2 setup looks like:

Mode: Usually Dynamic/Punchy/Modern - Depends on the master,though Modern for mostly anything

Attack: In the slowest ranges, from around 5500 to all the way up to 10000 ms, depends on the music, have to experiment

Release: In the fastest ranges for maximum punch, from 0 to 50ms depending upon how snappy I want things to be.

Lookahead: In the minimum range, from 0 to 0.50ms, for maximum loudness, though much higher values are required for EDM/bassy music, in order to retain the punch.

Transient Linking: Unlinked 0%, for most transparent loudness

Release Linking: Linked from 65-100 percent, depends on how much am I pushing the limiter and how it affects the bass/punch.

True Peak limiting: Off. Always.

Oversampling: Off or at the lowest value (2x I guess?)

Also whenever increasing the gain/setting up the limiter, always use the 1:1 mode, that way you'll hear how much harm is the limiter doing to the music so that you can find the best compromise by tweaking it, you'll almost always have to experiment with the settings on the limiter for each song you work upon, I've never used the same setting on any two songs, never.

and there you have my starting point for FF-Pro-L2 for the loudest masters

Hope this helps!
Old 3 weeks ago | Show parent
  #59
Quote:
Originally Posted by darkalex View Post
This is what my usual Pro-L2 setup looks like:

Mode: Usually Dynamic/Punchy/Modern - Depends on the master,though Modern for mostly anything

Attack: In the slowest ranges, from around 5500 to all the way up to 10000 ms, depends on the music, have to experiment

Release: In the fastest ranges for maximum punch, from 0 to 50ms depending upon how snappy I want things to be.

Lookahead: In the minimum range, from 0 to 0.50ms, for maximum loudness, though much higher values are required for EDM/bassy music, in order to retain the punch.

Transient Linking: Unlinked 0%, for most transparent loudness

Release Linking: Linked from 65-100 percent, depends on how much am I pushing the limiter and how it affects the bass/punch.

True Peak limiting: Off. Always.

Oversampling: Off or at the lowest value (2x I guess?)

Also whenever increasing the gain/setting up the limiter, always use the 1:1 mode, that way you'll hear how much harm is the limiter doing to the music so that you can find the best compromise by tweaking it, you'll almost always have to experiment with the settings on the limiter for each song you work upon, I've never used the same setting on any two songs, never.

and there you have my starting point for FF-Pro-L2 for the loudest masters

Hope this helps!
why is that? .. to me a limiter should limit (at its best ability)
Old 3 weeks ago | Show parent
  #60
Quote:
Originally Posted by RightOnRome View Post
why is that? .. to me a limiter should limit (at its best ability)
FWIW, I too keep TP off always. Because it sounds better. To my ear TP kills transients. I'd rather lower the output ceiling a hair than use TP. Also, I noticed that non-TP masters have less overshoot in SRC and lossy encoding.
📝 Reply

Similar Threads

Thread / Thread Starter Replies / Views Last Post
replies: 77 views: 12796
Avatar for kmshroom
kmshroom 3rd October 2005
replies: 217 views: 45912
Avatar for wavemechanic.net
wavemechanic.net 8th November 2016
replies: 62 views: 22888
Avatar for MarkyGoldstein
MarkyGoldstein 30th December 2014
replies: 434 views: 118269
Avatar for Slug1
Slug1 25th January 2015
Topic:
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
🖨️ Show Printable Version
✉️ Email this Page
🔍 Search thread
🎙️ View mentioned gear
Forum Jump
Forum Jump