Rik Simpson

The sends on chorus lead vocal go to aux tracks with the Waves H–Delay, the FXpansion Bloom with a lush, wide stereo delay, a small chamber from the QL Spaces plug–in, a mono delay from the UAD Echoplex, and several other delays.

On the ‘@MasterNoLimiting’ track itself I have the Slate Digital FG–X saturator, which adds some glue, the Ozone 5 for some compression and the Ozone 6 using its EQ to boost low end and a bit of top end.

On the ‘@MasterNoLimiting’ track itself I have the Slate Digital FG–X saturator, which adds some glue, the Ozone 5 for some compression and the Ozone 6 using its EQ to boost low end and a bit of top end.

The bass track without a side–chain has the VMR, the UAD LA2 compressor, and the UAD Pultec EQP1A, which is fantastic.

There’s also a UAD Maag EQ4 on the ride cymbal. I love that EQ because it has a unique top end that adds some air and just opens up the sound.

One of Will’s crash cymbal tracks has a Brainworx BX_refinement to get rid of some harshness

The drum parallel has the UAD Fatso Jr.

The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB.

The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB

Rik Simpson acknowledges having the Echo Fix Tape Echo EF-X2 on his Instagram, praising its ability to modernize vintage tape echo effects.

Rik Simpson appears in the "in use by" artists list at the end of the official ShaperBox 2 video, at 2:11.

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

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

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

I bought the SuprEsser when it came out towards the tail end of the project and I really like it's versatility. It can do anything from taming harshness on strings to removing clunks from an over-exuberant control room vocal performance.

If you had to pick a favorite Oxford plug-in, which would it be and why?

Actually, one I haven't mentioned yet, the Inflator. In these dark days of over-limiting, it's great to find a process that does exactly the opposite - to my ear it adds punctuation to sounds. It's very easy to place treated sounds within a mix. The Inflator is a great piece of software. My philosophy is to remain open to new options as they present themselves. It's great to be grounded in the basics, but every so often the R&D wizards come up with stuff that can really make a difference in how you work and what you can accomplish.