Soothe's processing is presented in an EQ-like interface that allows you to focus it on the frequency ranges that need it most. CPU burden is also reduced by a new ability to set a higher quality mode for offline renders than is used in real time, so that you get the best possible quality when bouncing your mix, and by revised graphics coding that offlloads more of the work onto the computer's GPU. The plug-in's latency has been roughly halved, to around 45ms, and the already modest CPU load of the original has been lowered. The Soothe code base has been completely rewritten, with quite a few 'under the hood' improvements underpinning the new features. Is this an essential upgrade to an essential plug-in? Soothe Operator It's obvious from the 'new features' list that Oeksound have taken this expectation seriously, and have tried to deliver a substantial update. Both in music and post-production, Soothe is now widely perceived as a must‑have, and for good reasons.Īll of this means that Soothe 2 arrives with a weight of expectation that did not attend the original. It wasn't quite the first plug-in to attempt this, but word quickly spread that Soothe was by far the most successful. Described as a 'dynamic resonance suppressor', it was intended to counteract the harshness and edgy qualities that are sometimes associated with digital recordings (or, let's face it, with plain bad recordings). You could certainly apply this narrative to Finnish developers Oeksound, who made their debut in 2017 with Soothe. And just occasionally, one of the latter breaks through into the mainstream and releases a smash hit.

You've got your indie artists, toiling away in obscurity for the love of the music. You've got your prolific major-label acts, kept in the public eye by consistent high production values and lavish marketing budgets.

In a fanciful way, the world of plug-ins resembles the music business. Oeksound's Soothe has quietly taken the world by storm.

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