SONY OXF-R3_EQ
Owner's Manual

Knob control modes
If your host application supports it, all plugins can support three modes of control for knobs: Circular (the control is set to the value at which it is first clicked, and the value then increases or decreases with circular mouse movement), Relative Circular (the control�s value increases or decreases with circular mouse movement relative to its initial value), and Linear (the control�s value increases or decreases with up and down mouse movements respectively). At this time, Cubase and Nuendo are known to support this feature. For example, in Cubase 5.x, select the �Edit� menu, and choose �General...� from the �Preferences� submenu. You may then choose the mode from the �Knob Mode� drop down box in the Preferences dialog. In Nuendo or Cubase SX, select the �File� menu, and click �Preferences�. When the dialog box appears, click the �Controls� item; you can then choose the mode from the �Knob Mode� drop down box. If you are using any other host, please consult your user manual for more information.

6 Oxford EQ Specifications and Control ranges.
Section LF Filter LF Peak/Shelf LMF MF HMF HF Peak/Shelf HF Filter Gain 6dB/Oct steps +/-20dB +/-20dB +/-20dB +/-20dB +/-20dB 6dB/Oct steps Frequency 20Hz - 500Hz 20Hz - 400Hz 30Hz - 600Hz 100Hz - 6KHz 900Hz - 18KHz 2KHz - 20Khz 1KHz - 20KHz Q/Slope 0 �36dB/Oct 0.5 � 16 0.5 � 16 0.5 � 16 0.5 � 16 0.5 � 16 0 �36dB/Oct Overshoot 0 � 50% (Q adjust in Shelf)

0 � 50% (Q adjust in Shelf)

Total dynamic range Harmonic Distortion Control induced noise

> 138dB* (RMS unweighted) Undetectable < -95dBr (peak)

For any single section, including filters Using FFT analysis down to �160dBr During adjustment of any single control

* Excluding excess noise produced by the EQ applying gain to a 24bit dithered but silent input, or cascaded EQ applying gain to previous sections.

7 EQ types included in the Oxford Plug-in.
Programme equalisers have expanded, beyond their original use as distance correction devices for film and vision, into highly creative tools that represent a leading part of the sound engineer�s artistic palette. A great many EQ designs have been developed over the years that have been attributed with qualities that lend themselves to particular uses and sounds. The Oxford EQ plug-in is designed to be flexible enough to address as many of these generic types as possible from a single application, by presenting a variety of types to the user. The following pages are presented as a general explanation of many of the factors that affect EQ performance and to illustrate how we have addressed these issues with the Oxford EQ plug-in. Many types of EQ exist with many areas where they differ. One of the most important areas is the issue of control ranges and interaction. Whilst it is true that with a parametric unit with continuous controls (i.e. not quantised) any response could be obtained by matching their curves, many of the popular EQs have control dependencies that err towards specific application. One of the main areas where EQs differ is Gain / Q dependency. Most analogue EQ has Gain / Q dependency as a result of the circuits used. This factor can greatly affect the artistic style that an EQ presents by facilitating certain parameter settings and encouraging particular uses when the unit is operated. In the Oxford EQ plug-in we have covered this situation by providing 3 different styles of EQ that take account of Gain / Q dependency as well as overall control ranges. The following section describes these options.

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