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Shadow Hills Industries and Vintage King are teaming up again for another limited edition Mono GAMA preamp. Available exclusively at Vintage King in 2025, the new Mono GAMA Hammer Forged preamps combine the classic sound of the original with art-deco-inspired aesthetics and a unique fourth transformer setting that you won’t find anywhere else.
To hear how the new “Stack” setting sounds compared to the other options, we asked Vintage King’s Bryan Reilly to record a whole song using each setting on every source. Continue reading to learn more about the new Mono GAMA Hammer Forged preamps, or keep scrolling to get straight to the sound samples.
Available in sleek copper and noir finishes, the Shadow Hills Mono GAMA Hammer Forged is a single-slot 500 Series preamp built around the classic Mono GAMA topology: a discrete, class-A input amplifier feeding a set of selectable output transformers. It expands on the original design with a fourth “Stack” mode that combines multiple settings for even more versatility.
The Discrete setting bypasses the output transformers entirely, delivering the pure sound of the op-amp and input transformer. Nickel provides a flat low-end with a 1 dB boost at 10 kHz, adding subtle air and presence, while Steel introduces a 1 dB boost at 40 Hz with a tight Q, perfect for adding low-end reinforcement.
Finally, the exclusive Stack setting combines both the Nickel and Steel transformers for greater saturation, more harmonic distortion, and maximum color. While the Stack setting was available on the limited-edition Mono GAMA Copper preamps from 2023, it’s unavailable on the standard Mono GAMA.
Just like the original, the Mono GAMA Hammer Forged preamps offer stepped gain control, a smooth output attenuator, and switchable impedance for detailed gain staging. Unlike the original, the new Hammer Forged transformer set adds an updated winding and core composition for extended headroom and low-frequency performance.
For this Hear The Gear session, Bryan Reilly recorded a variety of sources through a Shadow Hills Industries Mono GAMA Hammer Forged preamp to highlight the differences between all four transformer settings.
All sources were recorded with a single preamp and BURL Audio BAD4 converters, using no EQ or compression on the way in to showcase the natural sound of the preamp. Each source was recorded separately using each transformer option, all with the same gain settings. The Full Mix tracks use the same setting on each track in the mix.
In a full mix context, the transformer choice on each individual track subtly shapes the overall tone. The Discrete setting offers a clean, modern backbone. Nickel adds a touch of openness and air. Steel provides a solid, weighty foundation, especially in the low end. The exclusive Stack setting brings it all together with some additional harmonic saturation.
Vocals by Mike Leslie, recorded using a Peluso P-414 condenser microphone with the Gain setting at 5.
On vocals, the four transformer settings offer distinctly different sounds. The Discrete setting provides plenty of clarity and detail. The Nickel setting adds a subtle lift in the upper frequencies, enhancing presence and air without sounding harsh. The Steel setting introduces warmth and body in the low-mids, while the Stack setting combines both characteristics for a thicker, more saturated vocal tone.
Drums were recorded using a Coles 4038 ribbon microphone placed about two feet in front of the kick drum and one foot over the kick drum, pointed towards the snare and hi hat, with the gain setting at 9.
Shaker recorded using a Warm Audio WA-FT Fen-tone ribbon microphone in Ribbon Mode, with the gain setting at 20.
Tambourine recording using a Warm Audio WA-FT Fen-tone ribbon microphone in Ribbon Mode, with the gain setting at 15.
The drum samples showcase how each transformer setting affects the balance of a complex source. The Discrete setting captures the kit with impressive transient response and clarity. The Nickel setting enhances the cymbals and snare crack, while the Steel setting adds some weight to the kick drum, making it feel more powerful. The Stack setting delivers the most aggressive character, with a more compressed sound that glues the kit together naturally.
Bass recorded using a 2001 Fender Mark Hoppus Signature Jazz Bass with the gain setting at 5.
For DI bass, the right transformer can define the part. Discrete is tight, clear, and modern. Nickel is slightly rounder and more polished. Steel is the obvious choice and creates a solid foundation, pushing the low-mids forward. Finally, Stack delivers the most character, adding an almost tube-like saturation that helps a bass line cut through a dense mix.
Clean Electric Left was recorded using a Gibson Les Paul Traditional Pro in the middle pickup position with dual single coils through a 1974 Fender Twin, miked with a Shure SM57 dynamic microphone, with the preamp gain setting at 6.
Clean Electric Right was recorded using a Gibson Les Paul Traditional Pro in the bridge pickup position through a 1974 Fender Twin, miked with a Shure SM57 dynamic microphone, with the preamp gain setting at 3.
Clean Electric Lead was recorded using a Gibson Les Paul Traditional Pro in the middle pickup position with dual humbuckers through a 1974 Fender Twin, miked with a Shure SM57 dynamic microphone, with the preamp gain setting at 8.
Dirty Electric Left and Right were recorded using a Gibson Les Paul Traditional Pro in the bridge pickup position through a Marshall JCM900, miked with a Coles 4038 ribbon microphone, with the preamp gain setting at 1.
Acoustic Guitar recorded using a Peluso P-414 condenser microphone about a foot and a half away from the guitar with the preamp gain setting at 8.
The guitar tracks truly showcase the Mono GAMA's range. On clean electric tones, Discrete and Nickel maintain sparkle and clarity. Steel adds some fullness to the low-mids, especially with single-coil pickups. Stack introduces a beautiful, creamy breakup that enhances sustain.
On driven Marshall tones, Stack and Steel are phenomenal, thickening the distortion and yielding a richer, more musical saturation.
For acoustic guitar, Nickel offers a pristine, detailed sound, while Stack provides a warm, vintage-natured tone that feels perfectly balanced.
Piano was recorded using a 1912 Steinway grand piano was recorded through a Peluso P-414 condenser microphone outside of the shell, pointing towards the middle, with the gain setting at 5.
Much like the acoustic guitar tracks, the piano recordings showcase how the preamp affects harmonically complex sources. iscrete captures the instrument's full dynamic range with precision. Nickel adds a lovely sense of space and air around the notes. Steel reinforces the lower registers, giving the piano more power and body. And of course, the Stack setting combines both transformers for a thicker, more vintage character with enhanced harmonic richness
The Mono GAMA Hammer Forged preamps deliver everything engineers love about the Shadow Hills sound: punch, attitude, clarity when you need it, and unmistakable transformer-driven color when you want it.
With four distinct transformer modes and generous headroom, it adapts effortlessly to nearly any source. Whether you’re tracking delicate acoustic instruments, high-gain guitars, modern pop vocals, or full drum kits, the Hammer Forged version of the Mono GAMA gets the job done.
Want to hear more sound samples of the Shadow Hills Mono GAMA preamp? Check out our First Listen video of the limited edition Mono GAMA Copper preamp below!
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