Harsh resonant buildups between 2-4 kHz have always been a pet peeve of mine. I’ve found Soothe to be a life saver, particularly for taming vocals, clean guitars, and cymbals. I find it stops fatiguing frequencies from poking through the mix, allowing for a more cemented mix.

oeksound’s plugins find their way into every mix of mine, whether it’s Soothe2 removing harsh whistles and overtones in cymbals and voices, or Spiff enhancing attack and body in my drum sounds without bringing out nasty cymbal spill. They’re both irreplaceable tools that greatly affect the listenability and clarity of my mixes.

Bloom is oeksound’s next logical step. I didn’t think I needed something like it until I got the first Alpha version of it. Whatever material I threw at it, things started to sound more balanced, more refined, and less cluttered instantly. Its broad strokes give you a great starting point for a wide range of signals. It is really hard to make it sound bad. The top end on Bloom I find especially delicate.

I’ve been fortunate to work with the good folks of oeksound since the very first days of the original version of Soothe. Throughout any of our collaborations, whether it be Soothe2, Spiff, or now Bloom, it has been nothing but striving for something truly great and unique. Even though I’ve brought up unpleasant questions quite a few times during the creation of this new plugin, there were no egos involved ever. The best idea/solution always won and I loved that.

I’m pretty sure that Bloom will become a catalyst for many music makers, beginners, and pros alike.

Soothe is a true gem. It’s been a tremendous timesaver during my production process - especially during vocal production and mixing, but it also shines on numerous other sounds.

Soothe does with ease what used to take hours and hours of tweaking. It manages to stay true to the original character of a signal while removing unpleasant resonances in a very musical way - and all of that dynamically, on an unlimited number of bands, in real-time.

It ended up on every single record I’ve done ever since I got my hands on it, and I don’t think that’s going to change anything soon. Kudos to Olli and his team at oeksound for this amazing tool.

Spiff is really one of a kind. It takes a completely new approach to transient design and I immediately found great uses. I’m actually going to remix a percussion project I’m doing so I can add Spiff. It’s that good.

Bloom is an adventure every time; you’ll discover colors and energy you didn’t know were hiding in your audio. Since the beginning of beta testing, its had a classic oeksound interface that encourages experimentation and quick results. It’s great for potent tonal shifts and snappy compression. I expect to see Bloom both used and abused!

I’m still pretty fresh using the plugin [soothe2] but it has changed my mixing night and day, especially with vocals. I use the vocal warmer the most and move the frequency bands around to taste for each song. I’ll also use it on harsh high end synths and guitars. It does the hard work of getting all the upper harsh resonances out of the mix giving me that clean mix I’m looking for. This plugin makes me more excited to mix now literally. It’s a top 5 plugin for me.

I had access to the Bloom beta for a couple months before release and it’s made its way onto every project I’ve been working on since. Bloom has been great for giving life to any track or bus that isn’t holding my attention enough or that I can’t wrangle with individual plugins. I like to throw a couple instances in series on my instrumental bus and just sift thru presets to add new dimensions to things I didn’t even realize were dull before. My go to to presets are Bye Bye Boxiness, Parallel Soft Width, Side Exciter, and Mix Bus Sheen.

I’ve been waiting years for someone to design a plug-in that does what Soothe does. Dynamic EQs and soft saturators never seem to do the job in a musical way and required a lot of tweaking and fussing. Soothe does in minutes what used to take hours. This plug-in will pay for itself very quickly in time saved.

Both Spiff and Soothe2 have made their way into my vocal chain template for writing sessions. It’s really a big help to be able to print a respectable vocal at the end of a writing day when there is no time for a mix-ready cleanup. I’ve also found Soothe2 useful on some resonant and piercing hi-hats. But Spiff has been the overwhelming positive surprise for me. Everything I’ve chucked it at has responded well. It’s been really interesting actually to hear what’s in the signal on delta mode. I like using it to smooth out low-mid noise on synth and guitars for example.

Soothe2 is the very first plugin on every vocal that I mix from now on. With the new features of Soothe2 and its drastically enhanced CPU performance, means that every vocal in my session can benefit from this amazing plugin. If vocals are your thing then this is a must-have plugin.

I love to use soothe as a final finishing stroke in mastering after I’ve done any EQing. It’s so invisible but can be very effective at reducing digital ‘glare’ and harshness that is otherwise hard to reduce with eq or other processing.

Soothe2 removes the guesswork out of EQ’ing and gets rid of all unwanted frequencies. Could you ask for anything better? Simply put, Soothe2 is a must-have plug-in and I highly recommend it!

If you’re looking for a couple of plug-ins that will sound great on literally every mix you do, then the Spiff and Soothe2 from oeksound are the right plug-ins for you!

You hear a lot about soothe’s vocal applications, which are indeed phenomenal, but I have found it to be a secret weapon for treating acoustic and electric guitars. Soothe does an incredible job of taking out all of the unpleasant and harsh resonant frequencies that guitar tracks are so full of. By removing the artifacts that occur when close mic’ing an instrument, Soothe actually makes recorded guitars sound more natural and true to life. This is especially important in the digital environment, where guitars often end up sounding harsh and sterile. Soothe brings back the warm organic qualities of the instrument, and makes mixing guitars much quicker and way more enjoyable!

Working with the lavaliere microphones on War for the Planet of the Apes was difficult. These mics are designed to be placed off-axis but were mounted on-axis on small booms on the motion capture helmets of the ape characters during the location recordings. Director Matt Reeves wanted the voices of Caesar and the apes to be made from Andy Serkis’ and the other actors’ on-location performances wherever possible, which meant using the lav mic sounds. These sounds were typically very harsh and occasionally overloaded in the highs.

I couldn’t get control of these extreme problems with all the usual de-esser and multi-band dynamics plug-ins. I saw a mention of soothe as an innovative new kind of de-esser from a Pro Tools music producer and gave it a try. I was thrilled to see how transparently soothe was able to make a harsh recording into a warm voice. I used soothe as an insert on all the ape lavaliere recordings for the film.

Being able to use the actual sync performances sounded great and helped us make the apes into the empathetic characters they are in the film, which won an MPSE Golden Reel for best Achievement in Sound Editing – Dialogue / ADR in 2018.

Wow, even more flexibility [compared to Soothe]. I save an incredible amount of time; Soothe2 gets what I need in seconds, really loving it on the mix bus, guitars, and vocals. No need for multiple plugins on problematic tracks or full program, Soothe2’s intuitive interface and flexibility takes care of all the problematic resonances with one clean sweep. It is extremely precise on suppressing harsh areas. Loving the attack and release features. The new low-frequency range is Huge!

I luckily was an early adopter of Soothe. I have enthusiastically shared with anyone that would listen how great I knew it was. When the new Soothe2 arrived, I had to get my hands on it. The bottom line is I’d be screwed without it. I use Soothe2 on almost every lead vocal I mix, and quite often I have it on the mix bus itself.

Microphones are unnatural things and can bring out overtones in the voice that the listener wouldn’t normally be bothered by. I’m always battling to make the music sound like real music coming through the unforgiving speakers, and routinely spend at least an hour automating EQ on individual syllables on a lead vocal.

Soothe is a magic wand for lead vocals. It keeps all the voice and takes away the harsh anomalies of what happens when you put a microphone a few centimeters away from a singer’s mouth. The results actually sound better than the EQ editing I’ve always done, as Soothe can make dozens of adjustments within one syllable. Thank you for such brilliant work!

Soothe is a game changing plug-in! The amount of time I’ve saved using this thing is crazy. It does wonders for vocals, guitars… I even have it on my master bus at all times. I call it the tinnitus protector! No more hours of notching out frequencies or automating resonances out of the mix. Soothe has it all covered.

Soothe2 has been my golden solution lately when I’m mastering a stereo mix and trying to control a buried vocal that is desperately fighting for space with a high frequency transient percussive element like a tambourine or a hi-hat mixed way too loud. Something about the way the dynamic EQ works sounds so natural and attenuates the issues smoothly while self-adjusting to whatever else is going on in that same frequency range… it also makes it sound like I just strapped a compressor on a vocal mix bus when I don’t have access to a multi-track or even stems to control balances or EQ something poking out. It works best in conjunction with my favorite de-esser. In the past, I would have spent hours manually automating those problem frequencies and losing my mind. Soothe2 has helped reduce that grunt work down in half.

Reasons I use Soothe2 on a daily basis:
A. I don’t need to cut with EQ’s anymore.
B. Soothe2 is both faster to set up and more accurate than any dynamic EQ.

Soothe, the first plug-in in a while to find its place in my otherwise analog mastering signal chain.

A secret weapon that I’ve been using a lot recently to tame harshness in hyper-processed vocals is soothe by oeksound, which functions similarly to a de-esser in that it adapts to the program material and attenuates unwanted frequencies only when they are detected. I’ve had great success using soothe at the very end of my vocal chain.

Spiff is a brilliantly intuitive transient design tool that I use in every mix I do.

Soothe is one of those very special plugins that can almost become addictive. It is amazing on drums and solo instruments like cello, analog synths, and of course, vocals. It is an essential plug-in to have for any style of mixing, period.

Spiff is an incredible transient designer, actually the only one I will use from here onwards. My initial test was on a kick and snare subgroup bus. In parallel with the “dry” kick and snare group, the punch and thud was incredible. I sent an a/b comparison to 2 other engineers and their first question was “how did you do that??” My other favorite drum use is on the toms, in parallel with the dry signal as well. The attack was amazing!

I also tried using Spiff to remove unwanted mouth noise on a vocal track and it worked wonderfully. This is probably the most versatile plugin I’ve used in a very long time.

While using soothe to deal with a few problem frequencies on a guitar sound, I ended up on the oeksound site and saw they have another plugin called Spiff.  I immediately downloaded it and put it to work. This plugin has a lot of possibilities, from removing clicks in a sustained keyboard sound to getting rid of leakage on drum tracks, it worked flawlessly. What an amazing tool. I look forward to the next oeksound creation!

The interface of Soothe2 is much more detailed and nuanced than version one, but still very easy to use.

I’ve been using Bloom quite a bit and have been so impressed!! The tone shaping is fantastic, the workflow with the frequency sliders is brilliantly intuitive, and the low latency makes it extremely usable during recording sessions. There are so many good points to touch on with this plugin. It’s extremely useful and a bit addicting with how much you can do with it.

Soothe2 is super powerful. I used it a lot on the recent Diplo - MMXX project for smoothing out challenging harmonics in pads and synths.

Especially on sounds with aggressive resonances like background vocals that clash with lead vocals or even hi-hats, it can be a lifesaver.

Soothe2 is always saving me when there’s a problematic vocal that I can’t tame with regular de-essers or dynamic EQs, Soothe to the rescue!

Congrats on another winner of a plugin [soothe2]. The attack and release are game-changers for me. Sometimes I’d find Soothe was either too subtle or too extreme and it’s always been about the timing for me. Now I can adjust it and it always does what I want and expect.

Soothe A plug-in that dynamically notches out problem frequencies and resonances - genius.

Bloom is one of the rare plugins I knew had to become a staple in my workflow the moment I started using it, incredibly intuitive to use and sounds great on everything I put it on. Will be a go to for me from now on!

Soothe2 is always in my vocal chain. I also love it on guitars, strings, and the mix bus. I used to spend hours automating EQ’s to do what Soothe2 does in seconds. It’s definitely one of my desert island plugins!

Soothe2 is an incredibly useful tool for taming and balancing resonant peaks that build up from vocals, synths, and distortion treatments. Right now I’m using it on my vocal bus to smooth out all my high end EQ boosts, and it’s great for instruments like Wurlitzers that can get really crunchy when the harmonics start to step on each other. Overall I’m finding it’s really useful for bringing up the presence of a sound without needing as much compression and EQ. It’s a much faster process than adding in dynamic EQ notches, so I love any plugin that saves me time.

oeksound has once again created a plug-in unlike anything else out there. Bloom breathes new life into audio like nothing I’ve ever heard before and has become a staple in all of my sessions since its release. 10/10 would HIGHLY recommend.

During the production and mixing stages of “Gooodbye”(Jason Derulo, David Guetta, Nicki Minaj, Willy William), Spiff allowed me to interact with transient information both creatively and technically, in a totally different way - It’s almost like having a transient “cheat-code”

By default, Bloom seems to respect and maintain the ultra elusive and intricate aspect of the part (which, more often than not, are the sonically imperfect and out of control elements of it) and making it feel more “done”. But when pushed further, even to extreme creative settings, it’s probably the new tone-shaping tool to beat!

soothe is the best name for this wonder, if you’ve ever had a sound (or combination of sounds) that takes your head off when you turn it up then Soothe is the answer for you. It’s very sympathetic to the energy of the original sound but manages to smooth the harshness while retaining the character.

The best thing about digital recording can sometimes also be the worst. The accurate capturing of transient information can be fatiguing and indeed painful to listen to. Analogue tape used to round the edginess of transients off and make them creamy and lovely to listen to, now Spiff does a similar job (and so much more!), oeksound have another winner on their hands, it’s all over my new mixes.

Soothe2 is without a doubt one of the best plugins that I have. It used to take me so long to look at problematic frequencies and resonances and try and tame them without taking a lot away from the source sound. Somehow this plugin is so transparent and it does everything I need it to do in a few seconds so I can move on. It’s been incredible on things like electric guitar where there are often nasty frequencies that I need to tame. I have used it on every session since I got it! Great work, oeksound!!

Bloom is such a powerful mix-tool for adding extra life and excitement into a whole range of instruments. It’s also incredibly useful when I need to shape a sound to fit into the mix; Bloom helps me do that quickly and effortlessly with an easy-to-use interface. Another must have tool from oeksound!

I wish I started using soothe a lifetime ago…
I just demoed it on a mix and it worked flawlessly, not only on vocals but on guitars too.
It takes the dog bark mid frequencies and harshness out without a notch eq.
One of the best plug-ins I’ve ever used, incredibly versatile.
A must-have plug-in for my toolbox

This plug-in is instantly usable, Bloom is already on today’s mix. On the vocal channel, I have both Soothe2 before my compressor and Bloom after. They are both doing exactly what they need to do.

Spiff is the transient designer we were always looking for: one where you can change the transient based on the frequency response. The fact that Spiff allows you to add or remove transients musically is completely unique and changes the way you approach drum transients. No more harsh low ends when boosting transients in drum samples. A game-changer for us!

While I do like multiband compressors and de-essers, they are often not detailed or specific enough in their ability to nail down nasty frequencies. soothe lets me dial in (or really, dial OUT) problem areas very quickly and without strange artifacts that can occur with a normal compressor. The GUI and controls are very intuitive and I can make a difficult track sit in the mix easily. The bottom line is that with soothe, I can spend more time being creative rather than fixing problems.

Acoustic pianos often create unwanted resonances that are difficult to tame. I used to spend hours fine-tuning surgical EQs to even out the frequencies. With Soothe2 I am able to get better results in a fraction of the time and with more flexibility. It’s also an amazing tool for balancing harsh vocals and cleaning up the mix bus.

Soothe saves me sooo much time. So simple yet dynamic, great GUI. Thank you for existing <3

Soothe 2 is an irreplaceable tool for modern music production. The ease of use and functionality of this plugin truly put it in a class of its own. This is one of the very few plug-ins you can put on anything and achieve a positive result.

Soothe is like magic, removes those nasty peaks and annoying frequencies you spend so much time trying to remove.

I wish I had this tool back when I mixed the talkbox for One Smile. One week’s job cut down to just minutes.

Also, apply Soothe to cymbals to make them less ringing and easier to fit into the mix.

Since being a part of the beta, Bloom has become an incredibly useful tool for me. It’s taken the place of what would otherwise have been shamefully long plugin chains in my sessions. I love routing all of my tonal instruments through a bus with Bloom and completely cleaning up the lows and low-mids. It can sound fairly transparent, or completely reshape the mix. It has that oeksound magic to it. I don’t know if I’ll ever fully understand what it’s doing, but getting the results I want from it has become very fast and intuitive.

Soothe2 is my scalpel for removing abrasive sharp frequencies, giving me complete control of the shape without having to sacrifice the top end. On Lil Nas X’s INDUSTRY BABY, I used it on high hats, snare, vocals and horns.

I use spiff a lot to cut mouth noises and high frequency issues.

Sometimes you want to EQ some weird resonance into a sound, but most of the time you find yourself actually eqing resonances and painful frequencies out of sounds. Soothe2 is an incredible time-saver. Plus the algorithm is so precise that its artifacts are also useful when you just keep the reduced frequencies for creative purposes.

Soothe2 has established itself as the perfect virtual assistant in my sessions in the past few weeks. Whether it’s 808 resonances, harsh guitar overtones, hihat hiss, or comb filter in vocal recordings, Soothe2 finds the weak points and straightens them out. The plugin always does exactly what a manually configured dynamic EQ does, although much faster and more intelligently. In an age where as a mobile producer you’re working in various, partly unfamiliar studios, I don’t want to miss out on this mojo anymore!

Spiff is such an incredibly powerful tool. Amazing for adding extra punch to drums or removing plosives and clicks from vocals. Fast, intuitive and powerful; I can’t work without it now.

Bloom is an amazing tool when you want to enhance a sound quickly and easily, it can bring a muddy sound to life. It’s also a great alternative to something like OTT when you push the Squash really hard.

I use Soothe2 on every session. Regardless of genre or how many elements are in a song, I find myself going to Soothe2 to improve the mix. It’s really easy to use, is easy on the eyes, and I haven’t found anything else that does what it does. Thanks for making a musical piece of tech!

oeksound is fulfilling a niche in a way no one is doing it right now. Soothe and Spiff are instantly apart of my every day chain for both mixing and mastering.