Are you searching for new plugin manufacturers but have run out of options? Well, Sonnox has a variety of plugins that may meet any purpose. The Top 7 Sonnox Plugins For Different Purposes 2023 is what we have prepared for you.
DAWs may be “connected in” with plugins, independent bits of code, to increase their capabilities. Plugins often come from sound synthesis, analysis, or audio signal processing. Although the DAW interface might hide it, plugins often provide a user interface that includes UI. Virtual synthesizers, reverberation, and delays are examples of common plugins.
The DAW runs the plugins, sends a window of audio data, and returns a frame of processed output audio data to processing streaming audio data. In addition, the DAW tells the plugin of the new value of a setting when it changes. Although plugins often have unique user interfaces, DAWs offer a universal UI for all plugins.
What is Sonnox? Sonnox Ltd. is the industry leader in creating advanced audio processing plugins for seasoned audio professionals. Transmission, Television, feature-length film sound post-production, and scientific and forensic studies are a few of the speech enhancement Oxford plugins used.
Let’s jointly observe the arsenal of plugins Sonnox provides you in 2023.
Top 7 Sonnox Plugins For Various Purposes 2023
When all you’re attempting to do is lay down a few tracks, do you get lost in the EQ pits? Sonnox could have the ideal answer.
I think it’s very safe to say that we all have EQ plugins. Everyone has a go-to equalizer, whether it’s the built-in EQ in your DAW or something like Fabfilter’s Pro Q. This raises the question of whether you test a new EQ plugin when it comes out on the market.
There will be a big adjustment in your workflow and a sizable emotional commitment. However, Sonnox makes some audacious statements about Claro that persuade me to switch.
- Produce View
As straightforward as an Equalizer can be is the Produce perspective. It is simple to tell which frequencies are particularly potent and energetic and which are weaker by looking at the strip at the top of the Claro panel, which displays a real-time spectrum intensity reading of the sound.
In addition, the labeling on the tape provides both Hz values and clear explanations. From that standpoint, Claro only provides high-pass and low-pass filters in addition to three Equalizer bands.
- Second EQ Curve
Claro unlocks a second Equalizer curve that operates in the mid-side region when the plugin is used on a stereo recording. It functions as a frequency-specific stereo width control that acts on the sideband. Knowing whether you are working on the main Tone or the sideband Equalization is made easier by the color labeling.
- Tweak View
Switch to Claro’s Tweak view when the moment comes that you want more precise control. This displays an EQ interface with curves superimposed on a live spectrum analyzer, which is considerably more traditional.
On the curves, bands specified in Produce mode are shown, along with handles and pop-up parameter areas for additional adjusting. For even more precise control, the EQ curves may be extended by up to 16 additional bands.
- Mix View
Here, a list of Claro instances’ spectral intensity readings is shown, with one of them designated as the “reference” instance. Yellow markings are shown on non-reference instances as your mix plays when and when they produce frequency masking with the reference instance.
You can make EQ tweaks and observe precisely what effect they have on the entire mix in one plugin window, thanks to the miniature replicas of reference views and chosen Tweak instances that are presented on the right.
It is available as a 64-bit VST2, AU, and AAX plugin for macOS 10.7 or later and Windows 7 or later and for macOS 10.4.11 – 10.6.8, and Windows XP as a 32-bit plugin.
Although Claro’s processing is exceedingly clean and accurate, this may frustrate people who want their EQ to have some color and personality. Nevertheless, the plug-visual in’s readouts are excellent, especially the intensity readouts on the Mix page, which clearly show what’s happening throughout a mix and help you concentrate your attention where it needs to be. What’s most astounding, though, is how Sonnox flawlessly re-created an ideal EQ process in the shape of a plugin.
2. Sonnox ListenHub
ListenHub is an audio toolbox and monitor controller by Sonnox.
ListenHub is a CoreAudio device that functions as a virtual audio interface. It has four stereo input channels that send the incoming signal to several tools for analysis and then onto one of two stereo output channels. Unfortunately, being a CoreAudio device means ListenHub is available only to Mac users.
- Four stereo inputs
ListenHub has four stereo inputs to help you gather songs and signals from different sources. The first input is always configured to carry the system sound, which means you can use this channel to route songs from YouTube, Spotify, Apple music, or whatever platform you use straight into ListenHub. After this, you could set one of the other inputs as your DAW’s output channel. This way, you can keep track of your song and the reference clearly and neatly.
- Plugin format
If your DAW does not offer the feature of routing your output to a different device, then don’t be alarmed. Instead, you can use ListenHub’s plugin version and insert it into your mix bus. This way, ListenHub, and your DAW will share the same hardware outputs (monitors or headphones).
ListenHub automatically listens and analyzes the loudness of the input signals, which it then matches. This provides automatic level-matching to ensure that you compare your song with a professional song at the proper levels for maximum benefits. ListenHub also helps you with the output volume level and the interpretation of volume levels to an actual acoustic dB level. By doing all of this hard work, ListenHub provides you with a consistent normal monitoring level which you can get used to over time and mix better.
The toolbox is where you can start having fun with ListenHub. This is where the loudness meters are located. You get short-term LUFS and PSR dynamics metering options to help you get your song at the right loudness level. There is also a big spectrum analyzer that offers visual feedback on your song’s frequency response. It has different frequency bands, which you can isolate to focus on. There are sub, low, low-mid, high-mid, and high bands. Furthermore, you can solo different channels of the stereo image, like mid, side, left, and right. This is extremely helpful in achieving rich stereo spaces that are similar to the song you are referencing.
ListenHub is available on macOS 10.13 or higher only in VST3, AU, and AAX formats.
ListenHub is a great tool to use while mixing and mastering your music. It makes comparing your song to reference songs easy and straightforward by taking care of all the tedious and technical work behind the scenes. The features you’ll play with the most are the loudness meters, frequency bands, and stereo image channels, all of which will help you understand what your song lacks compared to a professional record.
3. Sonnox VoxDoubler
Sonnox Vocal Doubler focuses on the two most frequent vocal workflows with two separate plugins.
The plugin lets you choose between Widen or Thicken to apply processing to your vocals. You can use it to emphasize an already stunning vocal performance by doubling or even triplicating it. The plugin tries to remain as human as possible in an attempt to recreate a double-tracking scenario.
This plugin generates a couple of new mono versions of the original voice. One is panned hard left and the other hard right. With a little bit of delay between the two and the source, the plugin creates a wide image for the vocals, which can help emphasize some parts of the song.
Here, the process is different. This plugin will make it sound like you sang your mono vocal twice. That happens because the plugin creates a stereo copy of the input signal and overlaps it with the source. The result is the classic double-tracked vocal sound.
- Aux Mode
This little slider is present in both plugins and allows you to use it on a bus track. It automatically sets up the output to use the effect in parallel and generate more detailed results. You can, for example, use Widen in Aux Mode and apply a slap delay to the stereo doubles so that the delay will have different impacts on each side of the image.
Character & Sound:
You can create believable results due to this plugin’s effort to keep it simple. There aren’t any modulations or different effects here, just some good old vocal processing. And the plugins do it really well. You can use the Humanizing controls, Timing and Pitch, to make the doubles sound more natural. Alternatively, you can use the Depth knob to push the effect more profoundly into the mix or bring it upfront. The Tone control is an excellent addition, especially when you’re using this plugin as an insert on a track. In short, it balances the lows and highs of the double, helping you prevent too much sibilance or too much mud from coming from the effect.
This plugin is available for macOS 10.7 or later and Windows 7 and up in AAX, AU, VST2, and VST3 formats.
The Sonnox Vocal Doubler can be used in various instruments and not only on vocals. This makes it a fantastic tool for widening the stereo image of anything from guitars to synths and whatever else you can imagine. The results are always natural and reliable, which makes this a worthy plugin for your collection.
4. Oxford Drum Gate
Oxford Drum gate is one of the most highly advanced, intelligent, and innovative dynamic processors in the market.
That shows in its ability to distinguish and separate wanted and unwanted signals. The plugin comprises 3 tabs – each tab consisting of options relating to a separate characteristic of drum processing.
The first tab is the main tab and is in charge of the “detection” part of the operation.
The second tab is the decay tab which gives you the ability to manipulate the signal more precisely.
The last tab allows you to do the traditional input gating and dynamically control the remaining transients after fine-tuning the gate settings.
- Graphical display for the first tab and shows the transients of the input signal.
- Oxford Drum gate allows you to choose from three modes: Kick, Snare, or Tom mic. This gives the plugin idea of what it’s going to be dealing with and processes it accordingly and offers you a starting point for easier and faster processing.
- The second tab has a graphical representation showing the precise location of the energy of the source, which allows you to attack it much more precisely than any other plugin.
- This plugin has a leveler section that allows for dynamic control while eliminating the need for compression options.
Oxford Drum Gate works well on Windows 7 or higher for PC and OS X 10.7 or higher for Mac. It comes in VST/VST3/AU/AAX format and supports both 32 and 64-bit devices.
5. Oxford Dynamic EQ
With this dynamic EQ, you can change the algorithm in different ways to be more precise.
This Dynamic EQ by Sonnox is one of the oldest on this list. It’s a very effective plugin released in 2017 and was a reference for several similar plugins from the years to come, including the latest of the Fab Filter Pro Q series.
The Oxford Dynamic EQ is still one solid addition to your arsenal. It lets you change the algorithm’s behavior, looks good, and is not a heavy lifter for your CPU, but most importantly because it’s still a time saver and has one of the best sidechain processing settings that not many, even the most modern versions, share.
- Static and Dynamic EQ:
This plugin applies downwards and upwards compression and expansion to each band. You can also deactivate the dynamics (by turning the “dynamics” knob to 0) and use it as any other static parametric EQ with the possibility of changing the filter shape.
- Detection modes:
This plugin offers you two different ways to set the algorithm to detect the dynamic information of your signal: Peak and onset. When it’s set to peak, it’ll compress as you’d expect from any other dynamic eq, but if you set it to onset, the algorithm will look for subtle or sudden changes in that specific frequency or range and act upon it.
- Sidechain independency:
You can use the sidechain internally or externally and filter it independently from each processing band. This is very useful when you are shaping the tone of a vocal and you need to boost or cut aggressively because this sidechain independence keeps processing parallelly and feels a lot smoother.
Supports Windows 7 or higher, supports macOS 10.3.8 or higher, runs on 64 bit only, and comes in VST, VST3, AU, and AAX formats.
Sonnox’ Oxford Dynamic EQ is a particularly simple-to-use plugin that can do pretty complex processing without demanding too much effort. Unlike most other plugins with more complicated and entangled user interfaces, this one doesn’t give up any of its features to make it easier on the eyes but rather preserves them and offers you an intuitive layout that you can quickly pick up and do what you have to do.
As far as processing and transparency, I must say it’s pretty subtle, and even when taken to some extreme settings, you can still hear the natural tone of the signal. Another great feature of this plugin is its dynamic knob control that’s included in all frequency bands and works like a mix wet/dry control, which allows you to perform a very aggressive compression that you can later blend into the context.
6. Oxford Envolution Native
Sonnox’s Oxford Envolution is a hybrid envelope and transient shaper with a frequency-dependent approach.
The Envolution is split into two main sections: Transients and Sustain, each has its own set of controls. These parameters are measured in percentage because the plugin adjusts its time constants based on the input signal’s characteristics. The frequency buttons engage an EQ filter that lets you focus on where to apply the processing.
- Transient Parameters
Beyond the expected Attack and Release knobs, Envolution gives you two more controls: Hold and Sensitivity. Hold works just like the hold in a gate, in which it extends the duration of the processing before it decays. Increasing it when boosting can give the impression of an extra punch in the low-end, for example. The Sensitivity knob controls how many of the transients will be affected by the processing. If it feels like the plugin is distorting the sound, decreasing the sensitivity will solve the issue.
- Sustain Parameters
The names of these parameters are the same, but they work differently. Both Hold and Attack work together to delay the beginning of the Sustain. The higher the percentage, the longer it takes for the sustain to kick in. The release knob determines how fast the envelope returns to 0dB after being triggered by a transient. If the Transients part of the plugin is focused on a different frequency range, you can turn up the release and the Sustain knobs to make it give more punch to yet another frequency range.
- Spectral Shaping
If you decide to use this plugin’s Frequency controls, you will come across the Spectral Shaping graphic. In it, you can adjust the EQ curve in two modes: Tilt Mode and Focus Mode. Tilt Mode starts at a smooth default 6dB/octave slope, great for gentle tone-shaping. You can harden the slope until it becomes a high- or low-pass filter. Additionally, you can choose Focus Mode to give more precise control over a specific frequency. You can use it to add weight or presence without increasing the ambiance in that particular range.
Character and Sound:
With its frequency-dependent nature, the Envolution is a transparent plugin if not pushed too hard. You can distort like in most transient shapers, but the secret weapon this one presents is the Warmth knob. When set to 100%, it will allow input peaks to go up to +6dBFS without the sound of hard clipping while still limiting the output to 0dBFS. It also allows some of the harmonic content from these peaks to come forward, enhancing the natural warmth of the material.
It is available as a 64-bit VST2, AU, and AAX plugin for macOS 10.7 or later and Windows 7 or later and for macOS 10.4.11 – 10.6.8, and Windows XP as a 32-bit plugin.
Sonnox’s Oxford Envolution is not such a user-friendly plugin since mastering it takes some time. But once you understand it, it’s effortless to extract awesome-sounding results from it. It works as a transient shaper and as an envelope designer, making it a two-for-one plugin that greatly adds to a producer’s toolkit.
7. Oxford SuprEsser
Designed to be the “last word in de-essing applications,” this plugin gives you the ultimate level of control.
SuprEsser takes inspiration from dynamic EQs and multi-band compressors in performing its de-essing, providing an extensive level of control. Hence, you could even use this plugin for removing shrill sounds in woodwinds and low-end plosives in vocals due to its versatility.
In addition to what’s in the screenshot below, further controls are available in the Advanced menu. For example, you can select whether you want the entire band or a specific frequency to be the trigger or the effect receiver.
Let’s say you selected both the trigger and the receiver to be bands and set the filter to 20 Hz to 20 kHz. Now, you essentially have a regular compressor. There are many other things you could do with this flexible plugin. However, talking about them all would be beyond the scope of this article.
- Auto Level Tracking
This plugin has a feature that analyzes the level of gain reduction you set and automatically moves the threshold to match that level of gain reduction throughout the track. This feature is crucial when you have a vocal recording that gets quieter and louder over time (verse vs. chorus, for example).
- Full Spectrum Operation
SuprEsser lets you use the de-esser anywhere in the frequency spectrum from 20 Hz to 20 kHz. Therefore, it feels more like a full-blown dynamic peak filter than merely a de-esser. Also, while the feature may seem unnecessary, having the possibility is nice.
The filters employed by SuprEsser function in linear-phase, meaning you could use this plugin for both mixing and mastering. Although, this does create some limitations that we will address in the following entry.
- Multiple Variants
The linear-phase filters utilized by this plugin require latency-inducing features for them to perform well at low frequencies. Hence, SuprEsser comes in three variants: SuprEsser, SuprEsser HR, and SuprEsser LL. The first is the standard one. And the second one is best suited for low-frequencies (plosives), but it adds a lot of latency. In contrast, the third one has very little latency and works well for live settings at lower sample rates. However, note that it won’t perform well below 400 Hz.
This plugin is available for Windows XP or higher and macOS 10.4.11 or higher, both 32-bit and 64-bit. It comes in VST 2/3, AU, AAX, and RTAS formats.
SuprEsser is an incredibly powerful plugin way beyond any conventional de-esser. However, as big of a strength it is, it can also be a weakness. Not everyone wants a powerhouse for a de-esser, but then again, it could just be your thing.
We know how difficult it is to change from the plugins we are accustomed to and adopt new ones. However, by doing this, we succeed since mixing may occasionally be quite beneficial, allowing you to introduce a fresh sound and hone your abilities. Sonnox thus has plugins available that enable us to blend anything.
With Claro from Sonnox, you can correct the recording or song’s equalization from various angles thanks to its high-quality EQ and many Mix Views. It’s also important to notice the well-known Oxford Drum Gate. It has three features: detection decay, leveler, and the ability to manage each transient of the drum beat more visually. These features make the pace of the drums properly leveled. Also, their De-esser is very useful; you should all have it in your arsenal of plugins.
Finally, we can state that plugins are unquestionably necessary. It’s important to note that some of them are a little trickier to operate than others, but you’ll grow used to them. They are undoubtedly among the greatest, but they are also not overly pricey.
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Death metal enthusiast here. I am a Romanian musician and producer with over 13 years of experience in the music industry. I’ve experienced all types of Metal up until now, playing Melodic Death Metal, Brutal Death Metal, and Black Metal with different bands. Learning by doing is my base principle, which is why I’ve been drawn to sound design from an early age.