And these plugins are praised all over the net. Number of existing Townhouse bus comps: 1, number of existing working Focusrite SC Boards: less than 10(?). If you have a look at some of their recent products, they focused on some super rare hardware units. Brainworx is really smart in this regard. Because the smaller the options of cross-referencing are, the more unbiased you become towards the actual sound of the plugin which is not a bad thing. The competition in the relevant market is also lower and developers can get away with "cheating" easier than if thousands of units existed. So it's probably easier to market/sell this plugin as "the most authentic emulation of the ultra rare and iconic xyz ever created" than marketing something a lot more people know and have access to - like SSL channel strips, 1176es, Lexicon Reverbs, etc. The more inaccessible the existing hardware is, less people are likely to know how the plugin emulation is supposed to sound because they can not cross-reference it. Please, let us not confuse the SK Note emulation with the real thing.Ĭlick to expand.I think that is true of any plugin emulation - rather it is endorsed by the creator of the hardware and carries the brand name or not. The sound of the Class A discrete cell is outstanding adding even ordered harmonic warmth, headroom for days and a character that can only be described as finished. This version is outwardlly distinguished by the red LEDs gracing the front panel (instead of the normal green ones) and numbered plaque adorning the rear panel of the unit, signed by Mr. For this special edition, Shadow Hills has included an updated Class-A discrete compressor section,Lundahl input transformers and hand wired each compressor with Mogami Cable. One thing I do know for a fact is that, Dangerous Music has been extremely aggressive in pursuing big names engineers for endorsement deals.Īs to Emily Laza, the SHMC she owns and uses is serial number 13 of 50 made back in 2012, and officially known as the Shadow Hills Mastering Compressor Class A VK Limited Edition. No one piece of gear is ever good for every project, but the Shadow Hills has, in two months use, become an essential part of my mastering set-up, affording me a perfect solution to many of the problems we encounter in the post recording studio era.Ĭlick to expand.I find it hard to believe that it took Calibi years to find a replacement for the SHMC. Of course, the ultra-large knobs are the wow factor which all visitors to the studio have immediately remarked about. The ergonomics for the Shadow Hills are the best I ever encountered in a mastering compressor by a wide margin. The choice of iron/nickel/steel for the compressor is an ultra fine-tuning control which is the most fun part of working with the unit, as it affords a surprise in the special enhancement it provides and keeps the user from “settling” on a setting which is almost, but not quite, right. By linking the opto and discreet compressors, it is possible to nearly re-balance a mix by making the ambient elements and musical hooks move forward in a subtle and non-hyped way. It has a completely natural, smooth sound, which perfectly compliments mixes which have been done primarily in the box by smoothing many of the harsh overtones. The Shadow Hills Mastering Compressor is a very versatile and unique sounding unit, capable of transforming a quite ordinary sounding mix into something warmer, richer and more musically glued together. Not sure if she really does use it and how much she really paid for it. Then Emily Lazar claims she uses a special version of it ( so AFAWC, we, standard - potential - users, just go to hell ), to " color " and / or " glue " a mix. Peter Reardon kept him in the list of users, which so, is false info now.Ī " particular " guy, a " particular " company " : => " SHADOW HILLS INDUSTRIES - VICTORY IS OUR BUSINESS ", really ?! I really liked the timbre though.įrom here. I do not want to change that dynamic, I do not like it when the bass is undefined. But it frustrated me to break the separation between bass and bass drum. It does not provide the same warmth as the Shadow Hills delivers great mid-range heat. Meanwhile, I no longer use it, instead I use the Dangerous Music Compressor. It seemed to me that the bass drum loses punch through the tube circuit. I had problems with the Shadow Hills Mastering Compressor, which I used for years.
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