In any event, such approaches limit flexibility at mixdown time, hence why we normally surround the kit with microphones, capturing individual drums up-close along with various stereo pairs that capture the entire kit. There are techniques for using just two or three mics, but these rely on excellent live-room acoustics and spending an awful lot of time honing the position of those mics prior to recording.
SONNOX OXFORD PLUGINS REVIEW HOW TO
The most fundamental part of the challenge lies in how to mic-up such a large and complex – not to mention loud – sound source. Recording and mixing an acoustic kit is, however, one of those sound engineering challenges that really separates the pros from the tinkerers. Much as I love building up rhythms and beats using a good drum sampler and pad controller, there’s nothing quite like the sound of a well-played live drum kit for groove, energy and spontaneity. Sonnox Oxford Drum Gate is an intelligent and adaptable gate processor that’s as easy to use as it is powerful, and that can save hours of painstaking gate setup work.
SONNOX OXFORD PLUGINS REVIEW PRO
So, is it worth 170 GBP for the native version, or 275 GBP for the Pro Tools HD-HDX + Native version? Yes it is, this is a very high-quality plugin with a lot to offer that you can’t find anywhere else.
This is very useful when dialling in your settings or to create an interesting effect. A very neat feature is the ‘DIFF’ button, that makes only the dynamic differences produced by the plugin audible. Besides the standard bypass control, the transient and sustain sections can each be bypassed individually, which I like a lot. Next to this is a ‘Warmth’ control that adds some very subtle drive that sounds great. Underneath this is a great ‘Mix’ control for blending in some of the original signal which always works better than duplicating the channel or bus. The output stage offers a master level to gain match for A/B comparisons and to avoid clipping. The plugin will easily stretch as far as becoming a ‘gate’ for live drums, as I found it’s is easier to shape the reduction curve in Envolution than in a standard gate. In fact, you can be quite subtle with Envolution, as if you were using a dynamic EQ, or use it very creatively in, say, EDM music. This is very clever, and allows crisper drum hits or smoother low-mid enhancements and everywhere in between. On both the transient and sustain sections it is possible with either an EQ focus or tilt, to target the respective processing.
It’s new party piece, which I haven’t seen in any other equipment before, is it’s frequency targeting. However, this is just the beginning of Envolution.
My only complaint would be to see these measured in ms rather than %, but this doesn’t effect the clear sonic differences. Couple this with extensive attack, release, hold and sensitivity parameters, these alone make Envolution extremely versatile. For both the transient and sustain sections there’s the obvious gain setting which both work in a positive and negative directions.
However, even if you haven’t used transient designers before, then Envolution can still deliver a great sound and it’s easy to use.Īs you’d expect, the plugin is divided into three sections transients, sustain and an output stage. Envolution takes transient and sustain shaping to the next level, offering detailed user control to give a huge variety of sounds. I have my favourites and of course some suit different applications better than offers, but it’s surprising how different they each behave. I use transient designers all the time, sometimes for effect but often as a stage of dynamics processing.
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