The high/low-pass filters have slopes selectable from 6 to 36 dB/octave in 6dB/octave steps. User settings can be saved for future use and all controls may be automated if required. Each section can be bypassed separately and of course there's the usual master Bypass facility.
Placing the pointer over any rotary control will indicate the current value and changes can be made by dragging the knob around in circles or, if the host software supports it, by using 'relative' circular motion or up/down motion.
Operating the plug-in is very simple and visual feedback is provided by an EQ curve display at the top of the plug-in window. It would have been rather better if the authoriser created a version of the software that could be copied to any machine but which would only run with the specific card for which it was authorised. This authorises the software to run on one specific computer, which given the nature of the hardware, I feel is a little inappropriate.
Once the software is installed from the included CD-ROM, authorisation is via the Internet and follows the Pace challenge and response system, though it is slightly more involved insomuch as both a key file and an authorisation code are required. The host software must be VST or MAS-compatible, and sample rates of up to 96kHz are supported. I tested the PowerCore version, which requires a Mac running OS 9.0.4 or higher or a PC running Windows 98SE, ME, 2000 or XP with an 800圆00 minimum display resolution.
Oxford R3 runs on Pro Tools TDM and HD systems (with an optional GML 8200 emulation extra), or TC PowerCore cards running at least version 1.6 of the software. The remaining versions have different types of interaction built in to replicate the way some analogue equalisers work, and the high/low-pass filters also come in various flavours defined mainly by the filter overshoot response. Additionally, there are four variants on the filter characteristics, the first having the least interaction between cut/boost and bandwidth.
Both mono and stereo operation are supported, making a total of six permutations. The five-band EQ or the filter section may also be used alone to save on DSP power, in which case the unused sections are greyed out. In the case of the Sony Oxford R3 EQ, however, the original was also a digital, DSP-hosted design (used in the Oxford digital console), so its transfer to a plug-in was relatively painless and didn't necessitate any emulation.Įssentially, the EQ comprises a five-band, fully parametric design plus switchable-slope, variable-frequency high and low-pass filters. Plug-in equalisers that claim to emulate classic analogue designs can only ever be that - emulations, and depending on how well the algorithms are written, those emulations can be very successful or seriously disappointing.