This month, let's take a look at the OXF-R3 EQ, and explore some of the ways you might use it in your productions. Born from the lineage of the six-figure Sony Oxford digital console, the R3 EQ plug in is a flexible and powerful tool.

Many people don't realize that there are four different types of EQ within the R3, and that the TDM version can be applied as either a 5 band EQ with Filters, 5 band EQ without Filters, 3 band EQ (minus LMF and HMF sections) or as Filters only. With the Native version, it will dynamically use DSP as needed, depending on how many sections are switched IN. Also, by adding the optional GML8200 emulation option, you've actually added a 5th type of EQ at your fingertips.

Accessible thru the + or - buttons, the various EQ types (1 thru 4 plus GML option) differ in their Gain/Q dependency, which translates to more sonic options. Type 1 has a relatively high Q regardless of gain boost or cut, and is said to sound most like the SSL 4000 EQ. Type 2 actually features a different Q depending if your cutting or boosting - with the cut retaining a constant Q. Type 3 has the Q reducing with gain and is subtler than the others - similar to that on certain Neve and SSL G Series boards. Type 4 provides a wide Q with Gain and is quite smooth sounding. The GML 8200 option (Type 5 if you will...) has settings that are matched to the analog hardware - so it behaves as such.

As you might guess, the easiest thing to do is try them all on a per track basis - since every sound has it's own sonic requirement. I've found that Types 3 and 4 works best on vocals and stringed instruments, with Type 2 being the most useful on transient sounds like drums and percussion. Notice in screenshot 1 how I have inserted a Type 2 EQ on a tympani drum, with a soft filter at 62 Hz and a slight boost at 134 Hz.

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In the next screenshot, I have switched the EQ to Type 4. Notice the dramatic difference in the overall EQ curve. That is one of the great things about this EQ - you can get many different sounds with it.

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The optional GML EQ type works nicely on the 'air' part of vocals, since it retains the classic characteristics of the hardware with beautiful soft high frequencies. I often will apply two EQ's on the same track, using one EQ type for the high end and one type for the low frequencies.

Another cool thing to try with this plug in is the A & B buttons. This lets you create 2 completely different EQ settings (minus the filters) and instantly switch between them. I've found this most useful in densely packed songs, where there are many frequencies competing for the same ear space. For example, sometimes it's difficult to get the snare to cut through, and with the A/B buttons I can test different frequencies and quickly check them.

Lets not forget about the filters here. I'm a big believer in filtering - especially in the low end of mixes. With the Oxford EQ, the filters run inline before the 5 EQ bands, and the order of processing is as follows; Input Gain, Low Filter, High Filter, LF, LMF, MF, HMF and HF.

I will typically use filters (in combination with EQ cuts) on many tracks, throughout a mix, ranging from bass to guitars, keyboards, vocal tracks and effects. What filtering does is create space in the mix for elements to shine through as needed. I've found that placing filters after reverbs can also help prevent low-end buildup from clouding the bottom of a song - especially with big snare drums and drum overheads.

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As an example, above is a screenshot of a filter Im using on a remix loop for Argentinean songstress Estella Raval. I wanted to get rid of the kick pattern and lighten the treble so other loops could fill that 'acoustic space'.

Here is an audio example of the loop with the filters inline, and a slight cut using Type 1 EQ at 3280 Hz.

Here is the same loop pattern with the filters out. Notice the low-end content is now back.

Finally, here is an audio example of the combination of loops I wanted to layer on top of eachother to achieve a pulsating effect - made possible by using the Sonnox EQ filter section.

Finally, note that by clicking on the SONY button (just above the EQ Graphics), a box opens allowing you to customize the plug in.

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You can choose to keep the values displayed when the mouse rolls over them (Changes), or permanently onscreen (Always). The Over Duration sets how long you will see the red overload light when a full level sample is detected. The Knob mode allows selection of Linear, where the value increased or decreases with a horizontal or vertical mouse movement - or Circular, where values change by moving in a circular motion around the knob. Finally, note that you can get fine value adjustments by holding down the Command Key before selecting a control.

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