Pete Moshay Taps New Oxford Supresser For Daryl Hall

A Grammy award-winning engineer/producer/mixer who has worked with Average White Band, Ian Hunter, Barbra Streisand, Hall & Oates and many other first tier artists, Pete Moshay is a confirmed Sonnox Plug in fan. 
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One of Moshay’s most intriguing current projects is recording and mixing Live From Daryl’s House, a monthly webcast created by legendary blue-eyed soul superstar Daryl Hall.“The show features Hall and his special guests performing in the ‘Great Room’ of his upstate NY house,” Moshay explains. “It’s made from Hemlock and hard pine, and it has an amazingly distinctive sound. The show is pretty laid back, with Daryl doing classic Hall & Oates material, songs by other artists, anything that strikes his fancy. It’s fun, off the cuff, and the music is always great.”

A long time fan of Sonnox Oxford Dynamics and EQ plug-ins, Moshay also puts the Limiter to good use. “It’s great for providing extra density for tracks,” he says. “I’ll ease it across the bus mix, very gently, and open it up with a bit of the Enhance feature. It’s an incredibly musical tool and the perfect touch at the end of a chain. I particularly like the EQ,” he adds. “You can get a super tight Q and notch things out, but always remain totally musical”

Moshay captures Hall’s performances with a mobile hard disk recorder, using a combination of stage and studio mics. He then transfers the material into Pro Tools for final mixing and editing. New shows, available free online at or at, must be ready to roll by the 15th of every month.

The most recent show was recorded with KT Tunstall, and Nick Lowe in Hall’s home in England. The sessions mark Moshay’s first experience with the new Oxford SuprEsser. “It’s a very innovative de-esser,” he says. “It enables you to hone in and get the vocals way out in the mix without poking somebody in the eye with sibilance.”

Moshay is particularly keen on the SuprEsser’s flexibility. “The level of control Sonnox has built into this Plug-in provide it with much more versatility than standard de-essers,” he says. “You can change the attack and release time in the advance mode, and you can manage the compression to avoid hitting things too hard, or permitting too soft a release. You can also use it to shape sounds the way you would with the Transient Modulator.”

Moshay finds the SuprEsser’s visual feedback exceptionally helpful. “You get instant feedback watching the FFT,” he notes. “ If you want to get right to that offending 6kHz peak, you can get in there and nail it. I’ve been de-essing my whole career, and basically working ‘by ear.’ But no matter how good you may be, the ability to actually see what’s going on lets you zero in and do the fix immediately.

Moshay is equally appreciative of the SuprEsser’s automation features. “If you want to go line by line on a vocal, you can automatically shift a frequency to find a specific peak. You actually see what’s going on and then automate it to fit. And,” he stresses, “the instant visual feedback has no negative effect on the SuprEsser’s ability to retain the music quality. This isn’t just a new toy for your software collection, it’s a genuine innovation, an important tool that’s going to be getting a great deal of use.”

Following their London trip, Moshay and Hall took Live From Daryl’s House to the South by Southwest Festival where they recorded a show with Liam Finn and Chuck Profitt. On the horizon is a project with Mutlu, a new Philadelphia-based artist on Blue Note. Hall plans to work with a number of newer artists to keep the show fresh and interesting. Pete Moshay is confident that Sonnox Oxford Plug-In’s will continue to play a meaningful role in the show’s success.