Sonnox Oxford Inflator - Manual (Page 7)

2.4 Metering
and
Overload
Indication 2 OPERATION
2.4 Metering
and
Overload
Indication
For most workstation applications, the metering overload warning indicator is intended to
correspond to digital maximum modulation. Different software host applications (and
different versions of those applications) may present varying interpretations of what this
actually represents numerically. Because the Inflator requires a very accurate and
independent internal representation of numerical maximum, differences in overload
indication may arise between the Inflator and host applications. However since the
Inflator overload indication is set to respond to full level samples very precisely, it will
produce legal programme if overloads are not being recorded on the plug-in GUI, even if
overload indications are being triggered within the host mixer application.
Further user modifications to the Inflator process can be invoked to either gain greater
loudness or different characteristics in sonic detail, as described below.
2.5 Curve
Modification
The CURVE modification control subtly affects the characteristic of the Inflator process to
affect both the perceived loudness and tonal character of the signal.
With the CURVE control set at its minimum position (-50), the Inflator produces the most
subtle changes to the sound. Overall loudness enhancement is minimal but significant
harmonic content is added to produce a richer overall sonic character. When applied to
composite mixes, the predominantly loud parts of the mix will apparently be accentuated
over the background and reverberant parts of the programme, producing the effect of
dynamic expansion (without a time constant).
This setting is particularly useful when treating drums and percussion instruments, when
the impression of dynamic presence needs to be enhanced, or the contribution to the mix
needs to be ‘tightened up’. This kind of setting is also useful when used on single
instruments (such as acoustic guitars) where a softening of percussive aspects or ‘highs’
is needed without loss of apparent dynamic range.
Settings of the curve control between -50 and around zero have varying degrees of this
behaviour and style of overall impression, but with increasing ‘fatness’ and volume as the
curve control is advanced.
The CURVE control at its mid position (default zero) produces a special behaviour, which
in many respects may give the best results in most situations. The overall loudness of the
signal is considerably enhanced whilst retaining good dynamic balance between loud and
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