When asked about his favorite plugins, Madeon says "The ones that really matter to me are the Oxford Dynamics Compressor, which I've used forever..."

"And then, my favourite probably to go compressor is the Oxford, Whenever I switch this on and start taking down the Threshold it already sounds amazing." (26:10)

Omar Hakim talks about how he uses Sonnox plugins in this video. They're first seen on screen at 2:21

Obviously the Dynamics, Limiter and EQ; they're standard first ports of call in many a studio I've worked in.

Oxford Dynamics is listed in the making of Here Comes The Sun.

How about the Oxford Dynamics?

Wow, I was really impressed with that one. I find that good software compressors are generally hard to come by, especially if you want to do something comparable to the 'days of old,' when I would plug into an LA-2A or the Fairchild and it simply worked or didn't. That's the way the Dynamics feels to me and I'm blown away by its flexibility. It has a lot of components in there, which help me out when I need them. I also like the way you can turn the different modules on and off. For example, sometimes I'll wish I had a little limiter on a track, and with the Dynamics I'll just enable it and place it in line. You can do a lot of tweaking within the same plug in, but also keep it simple and just pop on the compressor.

Also, I like the fact that it doesn't have too many controls. I love that, because I don't have time to sit there all day to get the perfect setting. I like throwing it up on something, turning a few knobs like the Threshold and Output Gain and making it work. The Dynamics is probably one the most hardware-like sounding compressor I've heard. I put that thing on the stereo mix of a game I did recently, and got a great classic 'vintage 70's' sound. It's hard to get that unless you're using expensive gear, especially when it comes to bus compression. Now I always pop the Dynamics on my tracks and just see what it's going to do. It's one of those pieces of software that just does magical things.

What other Sonnox plug-ins do you turn to?

I use the Oxford Dynamics plug-in a lot, mostly for hybrid tracks. It's great when you want to compress a reverb tail. It sounds totally transparent and it works perfectly. What I like most about it is that, like the Limiter, it sounds as if there is no compression. It just maintains the volume we want. It's especially useful in complicated mixes where I would lose the tail completely without it. But it's also great on bass, drums and vocals. I like to use it when vocalists are singing very softly and you want to hear the final articulation from the voice. It makes a great difference in terms of interpretation, and it sounds completely natural.

Even though I use many plug-ins, Sonnox makes the most significant impact in my final product and mixes.

Excerpt from interview:

How do Sonnox plug-ins fit into your productions?

I’ve been using Sonnox for quite some time, but since they’ve been 32-bit / 64-bit, I’ve really noticed a massive sonic difference. They really have overtaken the best analogue equivalent now. For instance last year Eric and I produced The Breeze - an Appreciation of JJ Cale – among others Guest Artists we had Tom Petty and John Mayer sharing lead vocals with Eric. So a classic JJ Cale trick would be to put a stereo compressor across all the vocals and pull them forward. In Pro Tools, I would have a backing vocal bus which is often a good idea, but also I had a bus dedicated to the two lead vocals, panned slightly left or right and I then used the Sonnox Dynamics & EQ, stereo linked to just hold everything in place and fine tune the EQ. It’s really quite fantastic what you can do with it. I would say 50% of a really great record, has to be the vocals.

I also just finished mixing Slowhand at 70, Eric’s live shows from the Royal Albert Hall. The big issue with live shows is always the huge amounts of leakage on the stage mics. In the old days, you’d really have trouble with a conventional console, trying to get that to sound good, because so much goes through the actual lead vocal mic. Now, I have a real secret weapon - the Sonnox Dynamics. This is an incredible tool for filtering in an intuitive way, and I don’t mean just gating. With Sonnox Dynamics, you have limitless possibilities with Range and ADSR on the Expander to let as little or as much through as you want on any instrument before you compress or limit anything.

With the Eric Clapton project, you did surround and stereo?

Yes. Check out the Blu-ray if you can! The Surround is stunning, especially at 32-bit / 96kHz. On this project, we effectively built a Sonnox Oxford ‘console’ in the box by using the bussing within Pro Tools. I had all the tracks routed to one 5.1 buss, and across that I created what felt like a Classic Neve Surround Summing Mixer, using the Full Oxford Dynamics, GML EQ, and then finally the Oxford Limiter, which is really quite an incredible tool.

Oxford Dynamics featured in this video from 11:22.