The sacred beast of mastering compressors in a unique, ultra-rare version, modelled from one of the 50 existing units, and now available as a plug-in.

by Vince Bellanova, Mar. 2020

Unique and Rare

When talking about mastering, you can’t go wrong with Shadow Hills Industries. This well-known and respected brand is responsible for one of the most unique pieces of hardware, its Mastering Compressor. The hardware version comes at the cost of more than $9000.00. The Ferrari of mastering compressors, it built its reputation throughout the years for its incredible quality.

Another interesting difference between the Shadow Hills Industries Mastering Compressor and the Class A version is that with the gain set to identical values on both units, the Class A version clocks in roughly 1 to 3 dBs higher, matching the emulated hardware and as a result, delivering a thicker and richer tone to whatever is running through it.

Brainworx made it even more popular with their emulation that had the advantages of bringing this beast into the digital domain for a fraction of the price. But the story goes further and involves a new character. In 2012 Shadow Hills Industries released a special version of their Mastering Compressor, the Class A Mastering Compressor. Only 50 units of this special compressor were produced, and the unique retailer that offered those was Vintage King. In fact, this compressor is also known as Class A VK.

This monstrous 5 units rack included an updated Class A discrete compressor section utilizing Lundahl input transformers as well as hand wiring each compressor with Mogami Cable, which gave the limited-edition version a different character to the original.

The Class A Mastering Compressor is different from its sibling, and despite the controls, knobs and functionalities being the same, the Class A has a punchier VCA compression stage, more depth and character. Another difference is that, with identical settings on both units, the Class A clocks in 1 to 3 dBs higher. Visually, the original version has green lights (from now on GREEN) and the Class A red LEDs.

With this emulation, Brainworx also included their own parameter band, an additional section of the plug-in (more on that later) with very, very useful controls. If you want to check the GREEN version of the Shadow Hills Mastering Compressor, the classic unit, you can click here.

Class A Mastering Compressor

Both the GREEN and the Class A versions, as already mentioned, offer the same parameters. This unit is a 1:1 emulation and offers two stages of compression: a first Optical stage and then a VCA. Being a stereo compressor, we have the stages we just described for both left and right channel.

Each stage of compression can be turned off thanks to the Optical and Discrete IN/OUT selectors, so we can use just one stage if needed.

Stereo, Mono, or M/S? Originally, we could select between Stereo and Dual Mono with a dedicated selector. In Stereo mode the controls on the right hand appear disabled, but they are perfectly reflecting the ones of the left side; in Dual Mono, instead, we can have different parameter settings for each side.

And if these options weren’t enough, Brainworx added their module that offers the very useful Parameter Link and a Mid/Side option (turning left and right into, surprise, Mid and Side).

The famous big black knobs are faithfully emulated, and we can find no difference with the hardware. The two meters at the center of the UI can show the action of the Optical, Discrete compressors or the Output thanks to the selection knob, that is also independent for left and right channels, meaning we can see what the Optical stage is doing on the left channel and the action of the Discrete on the right.

The first stage of compression is the Optical, featuring a very smooth and musical action with slow attack and two-stage release, meaning that the 80 percent of compression is quickly released and the other 20 percent is going to be recovered slowly, the time is approximately one second but can vary depending on the amount of gain reduction. The Optical Threshold (knob with discrete values going from 1 to 24) indicates the input level at which the compression kicks in. It operates at a fixed ratio of 2:1.

This section offers a very pleasant compression that is capable of containing peaks without being too aggressive, it thickens and makes what passes in it more solid.

The second section, the VCA compressor, is much more versatile, and offers controls over threshold, ratio, attack and recover. This stage is more evident and colored, but it is highly addictive since it is capable of gluing tracks together in a way that a few tools can do.

Free Shadow Hills Compressor Vst Plugins

The unit also offers a Sidechain switch and an amazing transformer switch. We can choose between different materials, Nickel, that is described as the cleanest position that accentuates the ultra-high frequencies, Iron, that enhances the upper low range, and, lastly, the Steel position, for more distorted sounds and a boost in the low region. This section deserves attention since it can provide so much flexibility in the reaction of the compressor to audio material. Not only they alter the character and the distortion, but also the reaction to transients.
The Hardwire Bypass switch is also interesting, since it allows to connect the inputs directly to the outputs, bypassing the compression stages but still making the signal pass through the discrete op-amp and transformers, that can color the sound without affecting the dynamic. A great idea for busses or to add warmth to single tracks.

The last part in the bottom row is the Brainworx module, that offers some incredibly useful tools. As we mentioned, parameter link and M/S are there to provide more flexibility, as well as the patented TMT technology with channel selector and random channel. This technology takes in account the real-world tolerances of the circuit components in order to offer slight variations and more analog authenticity. In the lower, right part of the interface we will find the last five knobs: Headroom, HP – SC Filter, Monomaker and Stereo Width, crucial parameters for setting lower frequencies in mono and expanding the stereo field, and Parallel Mix.

While testing this compressor, I tried it on different material to observe its behavior. The compression is always very musical, meaning that it is always pleasant, not too pronounced but something absolutely warm and cohesive. I would like to stress the last part, since I felt that the Class A is capable of making a track very solid if used on the master bus, containing peaks in an ultra-smooth way and avoiding squashing and artifacts. While trying it on electronic music, I noticed that with bass-heavy material it can be crucial to set the transformer matrix to Nickel and avoid boosts on the low end. Another aspect I’d love to stress here is the Sidechain filter. When we exclude some of the low end, the compressor really shines, its action is even more clear, precise and smooth. We need to activate it with the selector and then choose the HP frequency from the knob in the bottom row, in the Brainworx matrix.

Conclusion

The Shadow Hills Mastering Compressor Class A is a true beast that I strongly recommend to everyone. It’s perfect for musical applications, but also for use in sound design (I am currently implementing it on layering groups while making Booms and Impacts sounds). Its action is evident but not invasive, colored but soft, although the favorite feeling I had with this on the master bus is how it can glue together the sounds.

Shadows Hill Mastering Compressor Class A is available through Plugin Alliance website in AAX, AU, AudioSuite, VST2 and VST3 version at the price of $329.00. If you already own the GREEN version of this compressor, you can upgrade it for just $99.00. In alternative, you can subscribe to their Mega Bundle for $24.99 per month or $249.99 per year. This being Plugin Alliance, significant sales are a possibility.

Plugin Alliance – Product page: https://www.plugin-alliance.com/en/products/shadow_hills_class_a_mastering_comp.html

Manual: https://files.plugin-alliance.com/products/shadow_hills_class_a_mastering_comp/shadow_hills_class_a_mastering_comp_manual.pdf

Audio Demos: https://soundcloud.com/pluginalliance/sets/shadow-hills-mastering-compressor-class-a

Another excruciatingly expensive hardware compressor gets the Universal Audio emulation treatment. Is this circuit-modelled plugin only fit for mastering? We put it to the test.

Shadow Hills Industries’ highly coveted – and equally highly priced – Shado Hills Mastering Compressor is the latest addition to the long list of classic studio hardware offered in software form by Universal Audio. In developing the plugin, UA joined forces with Shadow Hills’ Peter Reardon and occasional collaborators Brainworx (who dipped their toes into the water of circuit modelling just over a year ago with their emulation of Vertigo Sound‘s VSC-2 compressor).

The Shadow Hills unit is widely considered one of the finest mastering compressors available. To cut straight to the chase, the emulation works like a dream for stereo mix bus treatment or light cosmetic touches to the final master. That’s perhaps needless to say given Universal Audio’s track record, but for those who aren’t familiar with the sound of the original, what does the plugin offer?

The combination of a relatively subtle optical compression circuit routed in series with a more aggressive discrete (VCA) stage allows for a range of effects, from light dynamic control through to aggressive compression more suited to parallel compression techniques. On that front, it would have been nice to see an adjustable mix setting to allow parallel processing without the need for any further routing in the DAW.

Masters of the universe

Don’t let the presence of the word ‘mastering’ plastered across the front of this plugin fool you into thinking it’s a one-trick pony. Further use reveals its ability to process a wide range of signals. One particular highlight is its ability to treat a drum bus. The dual compression stages allow huge flexibility in terms of dialling in musically appropriate settings of gain reduction, attack and recovery (release).

The optical stage takes the tried and tested LA-2A approach to user controls, offering nothing more than a threshold control and a make-up gain setting. Attack time is fixed and release time is programme-dependent (according to Shadow Hills, “80% [of the gain reduction] is recovered quickly, while the last 20% takes over a second, depending on the amount of attenuation applied”). The discrete section offers the standard threshold, ratio, attack, release and make-up gain controls.

The combination of the optical and discrete stages also makes the plugin extremely versatile. It’s just as capable of taming peaks as it is gluing elements of a mix or increasing overall loudness. The ‘flood’ (brick wall/limiting) ratio setting in the discrete stage will even happily smash the living daylights out of your signal if you ask it to.

This audio example shows how the compressor has brought out the low end of this drum and sub groove, hugely increasing punch without sacrificing detail:

http://www.attackmagazine.com/wp-content/uploads/2013/01/Drum-Loop-Without-Compression.mp3http://www.attackmagazine.com/wp-content/uploads/2013/01/Drum-Loop-With-Compression.mp3

One of the interesting features of the plugin is its ability to treat the left and right channels either as a stereo pair or independently. Not only does that mean that each channel can compress separately if required, helping to maintain the stereo image, but it also allows different settings to be applied to each channel.

Admittedly there aren’t many occasions when you’d want to use dramatically different settings on each channel of a stereo signal, but in combination with a mid/side decoder such as Voxengo’s MSED, this flexibility also allows the mids and sides to be compressed independently – a technique most frequently used by mastering engineers but which also has interesting creative potential for producers.

Conclusion

Keeping in mind that the original hardware compressor is aimed primarily at the high-end mastering market, the Shadow Hills plugin’s main strength isn’t in obliterating material but in bringing out subtle nuances of the signal, taming dynamics and smoothing things out without losing musicality. As such, I would recommend the unit for what it does, but I would be wary of using it as a go-to compressor for material which needs a lot more punch. That being said, the sidechain filter on the unit is very effective, making it useful as a final stage on material which could benefit from such treatment. The pumping of the VCA-modelled section is musical and completely customisable in regards to attack and response times.

Compressor Vst Free Download

http://www.attackmagazine.com/wp-content/uploads/2013/01/Dirt-loop-without-compression.mp3http://www.attackmagazine.com/wp-content/uploads/2013/01/Dirt-loop-with-compression.mp3

It’s also worth bearing in mind that the sonic range of the plugin is multiplied by options such as the switchable output transformers – nickel, iron or steel; each progressively more coloured than the last – and the independently bypassed compression stages. You could, for example, bypass the compression stages altogether and simply use the output transformers to colour the signal.

In conclusion, the Shadow Hills Mastering Compressor is great for the experienced user who is regularly looking for a very high quality compressor for use mainly on sub-mix buses and the master channel. Novices might be put off by the many options available on the unit and, though the results are genuinely of very high quality in relation to other similarly priced compressors on the market, it can take quite a fair bit of button twiddling to get the optimal results.

The Verdict

Price: $299

Purchase: Universal Audio UAD Shadow Hills Mastering Compressor

The Final Word

Highly versatile compressor with great results once you find the right settings.