To the casual observer, a dynamic EQ looks like a multiband compressor. Type 3 is proportional?Q, which means that low amounts of cut or boost use a relatively broad filter, but as the boost or cut is increased, the Q becomes narrower - a more natural-sounding effect to the human ear.
The manual explains that the plug-in leverages the Type 3 algorithm from the legendary Oxford R3 EQ. Although numerous factors go into sound quality, one of the main reasons it sounds so smooth is due to its Q implementation. It can correct an issue without distracting the listener with pumping or artifacts. Oxford Dynamic EQ has a very natural sound. Digging deeper, you'll also find controls for Attack, Release, and sidechain selection/EQ, among many other advanced parameters. Each band also has an Offset Gain (the static level of the band before dynamics are triggered), which works in conjunction with Target Gain to adjust the amount of dynamic gain change available to the specific band. Hence, a chosen band of a kick drum could be boosted only on big hits, or a band on a hi-hat could be reduced when it's too loud. What this means is that the band can boost or cut toward the Target Gain, based upon Dynamics ratio and Threshold level. You'll also find Dynamics, Threshold, and Target Gain. But clicking on one of the bands gives you access to more than just the standard frequency, Q, bell/shelf mode, solo, and mute controls. The frequency display may look like that of a standard EQ, complete with real-time response curves.
Oxford Dynamic EQ's GUI is the most elegant Sonnox representation ever, with controls that allow novice users to start getting sounds without opening the manual. Fortunately, that's not the case with the recently released Sonnox Oxford Dynamic EQ.
When plug-ins of this type appeared, most were confusing to my eyes and sounded artificial or hyped to my ears. Historically, they were outboard units, making them expensive and limited to one stereo track at a time. Dynamic equalizers have been around for a while.
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