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Post by viciousbliss on Jun 24, 2017 18:55:23 GMT -6
Once again, I'm guessing everyone knew about the Sonnox sale. I tried and bought this literally a few hours before the sale ended after comparing it against L1, L2, L316, AOM Invisible Limiter, Vlad Limiter 6, Stealth, Limitless, Ozone, Flux Pure and Jungler, whatever other limiter I had or could get a demo for. Once I got a handle on the controls, this was the best thing for me. Most of the time I'm leaving Safe Mode, Auto Comp, and Auto Gain on. I'm not try to push this into loudness war territory, but I've heard it's good at that. The enhancement I'll usually set between 10-30%, so stuff sounds fuller but not overblown. It's like the Inflater, but more pleasing. Threshold might go to -2. Attack and Release I don't change much. Sometimes I'll move the soft knee up a tad, but not much. This thing seems to accomplish a lot without tons of tweaking. There's not much info out there on it, I looked all over. Supposedly it's a decent step up from V1.
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Post by ChaseUTB on Jun 24, 2017 22:19:06 GMT -6
I have this as well in the UAD platform and wish I could get a native license now that it's native ... so frustrating because PIA plugins work on dates OS X like mine and UAD does not so I have not been able to even use this Limiter yet and have owned it since xmas or before 🤦♂️🤦♂️
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Post by noah shain on Jun 25, 2017 9:31:22 GMT -6
The enhance alone is worth the price. I use it all the time. So good.
I almost never get the meter registering at all just using enhance.
I'm addicted to this thing.
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Post by noah shain on Jun 25, 2017 9:31:48 GMT -6
The enhance alone is worth the price. I use it all the time. So good. I almost never get the meter registering any gain reduction at all just using enhance. I'm addicted to this thing. |
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Post by ChaseUTB on Jun 25, 2017 14:02:44 GMT -6
Yeah I can't wait to use it I am about to jump to 64 soon 🤠😂
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ericn
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Balance Engineer
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Post by ericn on Jun 25, 2017 20:36:27 GMT -6
The enhance alone is worth the price. I use it all the time. So good. I almost never get the meter registering at all just using enhance. I'm addicted to this thing. To this day other than the first time I used PT TDM the most impressive digital Audi Experience was the little time I spent on an Oxford, I wonder where we would be if Sony had kept the development group together! |
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Post by Tbone81 on Jun 25, 2017 20:53:30 GMT -6
The enhance alone is worth the price. I use it all the time. So good. I almost never get the meter registering at all just using enhance. I'm addicted to this thing. To this day other than the first time I used PT TDM the most impressive digital Audi Experience was the little time I spent on an Oxford, I wonder where we would be if Sony had kept the development group together! I've often wondered why someone doesn't develop a 2017 take on the Sony DMX r100. There are impressive digital boards for live sound, seems like It wouldnt take much for a manufacturer to repurpose a live sound console for serious studio work. |
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ericn
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Balance Engineer
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Post by ericn on Jun 25, 2017 21:21:46 GMT -6
To this day other than the first time I used PT TDM the most impressive digital Audi Experience was the little time I spent on an Oxford, I wonder where we would be if Sony had kept the development group together! I've often wondered why someone doesn't develop a 2017 take on the Sony DMX r100. There are impressive digital boards for live sound, seems like It wouldnt take much for a manufacturer to repurpose a live sound console for serious studio work. While I do love the Oxford, digital consoles are basically the mix engine of a DAW in a dedicated box, in Live and Broadcast it makes sense, and when you look at the price of the huge film mixing consoles a dedicated studio board. Also live is going more and more cheap compact almost consumer boards, Friday night went and saw Joe Jackson with 900 others Vertec and the Midas M32, 17 years ago Same size audience and Vertec but a Midas XL4 ! I just think the Sony Oxford team with Sony money would have given us some very original, intelligent products! Imagine SACD with the guys who brought us Oxford! |
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Post by keymod on Jun 26, 2017 8:20:32 GMT -6
To this day other than the first time I used PT TDM the most impressive digital Audi Experience was the little time I spent on an Oxford, I wonder where we would be if Sony had kept the development group together! I've often wondered why someone doesn't develop a 2017 take on the Sony DMX r100. There are impressive digital boards for live sound, seems like It wouldnt take much for a manufacturer to repurpose a live sound console for serious studio work. Yamaha DM series ? |
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Post by Tbone81 on Jun 26, 2017 10:06:16 GMT -6
I've often wondered why someone doesn't develop a 2017 take on the Sony DMX r100. There are impressive digital boards for live sound, seems like It wouldnt take much for a manufacturer to repurpose a live sound console for serious studio work. While I do love the Oxford, digital consoles are basically the mix engine of a DAW in a dedicated box, in Live and Broadcast it makes sense, and when you look at the price of the huge film mixing consoles a dedicated studio board. Also live is going more and more cheap compact almost consumer boards, Friday night went and saw Joe Jackson with 900 others Vertec and the Midas M32, 17 years ago Same size audience and Vertec but a Midas XL4 ! I just think the Sony Oxford team with Sony money would have given us some very original, intelligent products! Imagine SACD with the guys who brought us Oxford! I guess that's what I'd want though. Take the m32, make it 96k 24bit, allow different i/o cards to customized it for your preference and put a digital i/o card that's switchable between Dante, thunderbolt, FireWire etc. Then make it so you can dual boot as a live board or a recording console. Seems like the live consoles are almost there already, but the routing makes them cumbersome for a studio workflow. Idk, am I the only one that would like to see that? |
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