- #How to get decibel gain sonnox oxford inflator full#
- #How to get decibel gain sonnox oxford inflator plus#
#How to get decibel gain sonnox oxford inflator full#
The EQ can be applied to the full stereo signal or just the left, right, Mid or Sides signals, which, together with the new stereo width and balance controls, gives you much greater control over the final stereo image. MasterQ 2 also features the ‘frequency hunter’ mode first seen on PSP’s flagship Neon EQ, which isolates the audible effect of a chosen band to make it easier to home in on unwanted frequencies in your material, and the ‘linked filters’ mode that moves all band frequencies simultaneously, making it easy to tune them individually to different harmonics of the first - perfect for notching out hum-based interference, for instance.
#How to get decibel gain sonnox oxford inflator plus#
Clicking on the plus symbol next to the Q label switches the EQ skirt to a different shape, more closely matching that of some analogue EQs.
The outer two parametric bands still offer a shelving option as well as the normal peak response, but all five peak bands also now have a ‘soft’ peak mode that flattens the tip of the EQ curve for a sweeter sound when you have to dial in severe equalisation settings. However, almost every aspect has been enhanced in some way or another.įor starters, apart from the usual 12 and 24 dB/octave options, its high-pass and low-pass filters now offer an extra-steep 36dB/octave slope, which is particularly handy for removing cone-flapping subsonic excursions or high-frequency aliasing. PSP’s basic design remains the same, with a graphic display of the overall EQ curve in the upper portion, and controls for up to five parametric EQ bands plus high-pass and low-pass filters beneath. The exceptions are those that model some sort of ‘analogue’ behaviour, such as the aforementioned soft clipping or low-level harmonic distortion - which brings us neatly to MasterQ 2. Tests have shown if you can exactly match their frequency response curves, many digital EQ plug-ins sound vanishingly similar, so you might as well choose one with a graphic interface you find pleasing or most easy to use. It has continued to find its way into my songs over the years, thanks also to its array of limiting and soft-clipping algorithms, which prevent harsh digital clipping in favour of a selection of gentle compression characteristics. When I reviewed PSP’s original seven-band MasterQ equaliser plug-in way back in SOS June 2004, I was impressed with its sweet oversampled sound and its incredible versatility.