The Shadow Hills Dual Vandergraph is a direct descendant of the Shadow Hills Mastering Compressor and maintains its reputation of unquestionable quality and exceptional performance. It’s inner workings are developed from the discrete gain cells of the Mastering Compressor which are combined with the Optograph’s extremely flexible Sidechain Filter matrix. This combination provides great possibilities for new recording techniques and the dynamic control.
This stereo compressor’s fully discrete audio path is Class-A and features Shadow Hills' custom Iron Transformers.
The controls are:
Ratio, Filter, Compression and Output Level.
Just like the Mastering Compressor, the Compression and Output Level controls are Swiss made twenty-four position attenuators. The Ratio switch, selects between: 1.2: 1, 2.5: 1, 4: 1, 8: 1.
In addition to changing ratios, each selection changes preset attack and recover times.
The Sidechain Filter Matrix controls the frequency sensitivity of the side-chain. The positions are: 90 hertz, 150 hertz, 250 hertz and Bandpass.
Input impedance 20k
Minimum load impedance 600 ohms
Stereo
Fully Class-A
Discrete audio path
Discrete gain cells from Mastering Compressor
Sidechain Filter Matrix from Optograph
Swiss made discrete attenuators
Military Spec build quality
Meets the specifications of the VPR Alliance
There is no limit to the number of Dual Vandergraphs that can fit into any 500 series rack.
Shadow Hills Mono Optograph
This Single channel discrete optical compressor, in the API 500 series form factor, takes its cues and much of its design from the optical stage of its behemoth Big Brother, the Shadow Hills Mastering Compressor. The Optograph's front end is balanced by an original Jensen input transformer. The output utilizes our specially recreated Nickel transformer. The essence of the compressor's character comes from our custom electroluminescent cell and discrete op-amp combination. The high quality circuit is pristine enough for bus compression, and yet has a unique character reminiscent of an antique world class compressor, that has just now been discovered. It's also perfect for squeezing drum busses and massaging vocals. It's the perfect glue for tracking and mixing anything that needs to sound more finished, more like a record.
Just like The Mastering Compressor, the Optograph's threshold and make up gain are controlled by discrete attenuators, made from custom twenty-four position Elma switches. The tactile feel and quality of these controls are unrivaled. They are of the highest quality and will last forever.
Built into the side chain, are a very powerful series of filters: 90 hertz, 150 hertz, 250 hertz, and band pass. By engaging a specific filter, you choose at which point the onset of compression occurs. First position, nothing below ninety triggers compression. Second position, nothing below one-fifty. Third, nothing below two-fifty. The fourth position is a musical bandpass filter. In this position, compression is triggered by the program's mid-range frequency content, ignoring the highest and lowest frequencies. The filters are amazingly useful for shifting the focus of what should be more compressed and creating compression curves on purpose.
Another unique feature for sculpting the overall sonic character is the Transformer Desaturate mode. In this mode we cancel out any distortion and frequency non-linearity’s caused by the output transformer. The result is a pure, almost transformer-less sound, whilst still receiving the benefits, of limiting transients that can only come from magnetics.
By engaging stereo link mode, control voltage of two Optographs combine for Stereo compression.
There is also a VU meter for the display of gain reduction. The Optograph is enclosed in a twelve gauge steel chassis, has an engraved front panel and custom made knobs.
Features:
Pristine sound quality and unique character
Switchable sidechain filters
Transformer Desaturate
Detented switches
Engraved front panels
Shadow Hills Optograph
Derived from the optical section of it's behemoth big brother, the Shadow Hills Mastering Compressor, the Shadow Hills Industries Optograph is a no-compromise, stereo optical compressor, with quality and character on-par with the sought after esoteric compressors of the past. The essence of the compressor's sonics comes from our custom electroluminescent cell and discrete op-amp combination. The high quality all discrete signal path is pristine enough for bus compression, perfect for massaging vocals, tough enough for squeezing drum busses and gluing anything that needs to sound more finished, more like a record. The Dual Optograph's threshold and make up gain are controlled by discrete attenuators, made from custom twenty-four position Elma switches. All of the other rotary controls are similarly detented switches, for recallability of settings. The tactile feel and quality of these controls are unrivaled. They are of the highest quality and will last forever.
Built into the side chain, are a very powerful selection of filters: 90 hertz, 150 hertz, 250 hertz, and bandpass. By engaging the filters, you choose at which point the onset of compression occurs. First position, nothing below ninety triggers compression. Second position, nothing below one-fifty. Third, nothing below two-fifty. The fourth position is a musical bandpass filter. In this position, compression is triggered by the program's mid-range frequency content, ignoring the highest and lowest frequencies. These filters are amazingly useful for shifting the focus of what should be more compressed and creating compression curves on purpose.
The Output Transformer Selection Switch allows you to choose between Nickel, Iron, or Steel settings, thus changing the tonal capabilities to compliment to whatever material you are recording. Each transformer position is stellar unto itself, but the capability of switching between them allows you to change the character of the compressor with the flick of the switch. Another unique feature for sculpting the overall character is the Transformer Desaturate mode. In this mode we cancel out any distortion and frequency non-linearity’s caused by the output transformer. The result is a pure almost transformer-less sound, whilst still receiving the benefits, of limiting transients, that can only come from magnetics.
The Dual Optograph can operate in Dual Mono or Stereo. There is also a large VU meter for the display of gain reduction or output level.
The Chassis is made of twelve gauge steel. It has an engraved front panel and custom made knobs.
The Dual Optograph is powered by our robust external power supply.
Features:
Pristine sound quality and unique character
Output transformer switching
Transformer Desaturate
Switchable sidechain filters
Discrete attenuators and detented switches on all controls
Vu Metering
True Hardwire bypass
Dual mono and stereo operation
Engraved front panels
Robust external power supply
Shadow Hills Mastering Compressor
The Shadow Hills Mastering Compressor has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class-A compressor/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you're into that sort of thing.
The input stage is transformer balanced, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class-A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.
The first position is Nickel, which is our custom version of a famous L. A. custom console. Next is Iron. In this mode the signal goes through our op-amp and into a Class-A output stage then to our custom Iron transformers, the last transformer position is Steel. These selections allow you to choose between different output transformers that are in effect: clean, colored, and dirty, respectively.
The optical section has a hard-wired bypass that completely removes it from the signal path, and the Class-A VCA compressor is also hardwire bypassable, completely removing it from the chain. It is possible to independently bypass both compression sections and have your signal go through the input transformer and transformer selector only. There is also a hardwire bypass for the entire compressor, effectively a strait wire in and out of the box. So besides being a mastering grade, and highly functional buss compressor, it serves as an excellent tracking compressor.
For instance, you might call up the chain of the optical compressor, then to the Class-A output and Iron transformer, for vocals, or select just the Class-A VCA compressor with a 10:1 plus the Steel transformer for crushing some room mics, and on and on.
The metering can reflect, optical gain reduction, discrete gain reduction, or output level. The Magic eye tube follows the output meter to act as a peak meter.
All 17 of the rotary switches are detented. The front panel is engraved. The knobs are bake-lite, and the two-rack space external power supply will work in any country on any voltage.
Shadow Hills Mono Gama Mic Pre
The Mono is the single channel API 500 series version of the GAMA (Golden Age Microphone Amp), with all the capabilities, features, and quality of the original. The Shadow Hills Mono Gama is centered around our custom discrete op-amp. This no-compromise design exudes hugeness, fidelity, punchiness and depth, across the full frequency range, without becoming veiled or choked.
The preamplifier input is transformer balanced and utilizes an original Jensen input transformer. We couldn't decide which vintage output transformer we liked best, so we had our favorites perfectly recreated, and included them all. You can change the output transformer by cranking the knob, thus changing the tonal capabilities to compliment to whatever material you are recording. This allows you to audition different settings to find the perfect match for microphone or direct input without patching and un-patching other preamps, and possibly alleviating the need for EQ. Choose between Nickel, Discrete, or Steel settings. Each transformer position is stellar unto itself, but the capability of switching between them is like having three great pre's in one.
All the standard Mic-pre features are present: phantom power, phase reverse, a twenty dB pad, and direct input. We have also included the ability to pad and reverse the phase of the Direct Input.
Quality is unmatched. Engraved front panels, a twenty four position swiss made attenuator for gain control, custom made knobs, and engraved serial number plates, set the build apart.
Features:
Superb sound quality and character
Switchable output transformers
Stepped attenuator for gain control
Phase reversible and padable DI
Engraved front panels
75 ma current draw per module
Shadow Hills Quad Gama
The Shadow Hills Quad GAMA is a four channel version of the Gama, with all the capabilities, features, and quality of the original.
The Gama Is centered around our custom discrete op-amp. This no-compromise design exudes hugeness, fidelity, punchy-ness and depth, across the full frequency range, without becoming veiled or choked, the way non-discrete varieties can.
The preamplifier input is transformer balanced and utilizes an original Jensen input transformer. We couldn't decide which vintage output transformer we liked best, so we had our favorites perfectly recreated, and included them all. You can change output transformers with the flick of a switch, thus changing the tonal capabilities to compliment to whatever material you are recording. This allows you to audition different settings to find the perfect match for microphone or direct input without patching and un-patching other preamps, and possibly alleviating the need for EQ. Choose between Nickel, Discrete, or Steel settings, or upgrade the Discrete to Iron. Each transformer position is stellar unto itself, but the capability of switching between them is like having three great pre's in one.
The microphone gain is controlled by discrete attenuators made from custom twenty-four position Elma switches. This means that all of the channels are perfectly matched to each other and will never wear out like a pot can. Unlike other boutique companies that offer expensive stepped, or mastering options, but limit you to twelve positions, or use stepped pots that can fail over time, ours have twice the resolution and are included in the price.
All the standard Mic-pre features are present: phantom power, phase reverse, a twenty dB pad, and direct input. We have also included the ability to pad and reverse the phase of the Direct Input.
The separate power supply is very robust and can power two units.
Quality is also unmatched. Twelve gauge steel chassis, engraved front panels, large custom knobs, and personalized engraved serial number plates, set the build apart. The design esthetic is reminiscent of 1930's futuristic military technology, that has only now been realized.
Features:
Superb sound quality and character
Switchable output transformers
Detented switches
Phase reversible and padable DI
Separate robust power supply (included)
Engraved front panels
Shadow Hills The Equinox
The Shadow Hills Equinox is a complete recording console. First, the control room section features a twenty-four-position discrete monitor volume control and a three-position speaker selector. The four position input selector chooses from: DAW 1+2, Channels 3 - 32 summed, 2-track or external input, and Mic Pre.
The summing buss is a 30-channel mixer utilizing copper buss bars and esoteric resistors, for simply the finest sounding passive monitor section ever made. Combined through our switchable custom output transformers, Nickel, Iron, and Steel. Effectively giving you the sound of three different consoles. The Mic Pres are the same as our stellar Gama.
There is a built in talkback microphone, a dim and a mono stereo switch, and VU-meters. The Equinox may just be the most solid two rack spaces ever built. With it you can record, mix, and monitor to the tolerance of a bygone era.
The front panel is engraved. The knobs are bake-lite, and the two-rack space external power supply will work in any country on any voltage.
A dual channel version of the Golden Age Microphone Amp, and Thirty-two channel summing mixer in a 2u package. The microphone preamp features three selectable output transformers, to create a broad pallet of sonic characteristics. 24 position Stepped input switches included. 60DB gain, phase, 48v, 1/4" DI.
Custom Steel Transformer (hand wound to match a favorite 1970's American output transformer.) Tight and punchy, the sound of rock and roll.
Custom Nickel Transformer (hand wound transformer based on a L.A. custom console) Super clear and wonderful sounding.
Iron Transformer modern version of the class a St. Ives 1166 Neve output transformer.
The mode switch selects between microphone preamp and sixteen or thirty-two channel summing mixer. The summing mixer uses hand matched esoteric holco resistors, The same type used in our mastering consoles and attenuators. The mixer output also uses the selectable output transformers, thus allowing three different sounding mix buss options. The control volume section includes: Control room volume, 3 speaker selector, 2x two track inputs. You toggle between your DAW stereo mix, the summing mixer's stereo output, or just the 2x mic pre outputs. Dim, mute and talk back. Rear panel connections: sum buss inputs via DB25, in stereo pairs. Odd/left, even/right. All other connections via XLR.
3 Speaker selector on 1 DB25 - XLR cable wired as:
1+2 - Speaker set a
3+4 - Speaker set b
5+6 - Speaker set c
7+8 - Cue outputs
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