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SKU
13055
Shadow Hills Dual Vandergraph 500 Series Stereo Compressor
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 - in a 500 Series format. 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.
These Black Friday deals are no longer available, please click here to shop all current 2019 Black Friday promos.
Black Friday, the day itself, might be over, but we are far from done offering savings over at Vintage King. Our Black Friday Sale continues on until December 3rd with so many ways to save!
Whether you’re looking for subtle glue on your mix bus, tight transient control on your tracks, or downright dirty parallel compression, we’ve got you covered this Black Friday with crazy deals on some of our most popular compressors. Continue reading →
Compressors and limiters are some of the most important and versatile tools that any audio engineer can use. Virtually every modern recording uses compression somewhere in the chain of tracking, mixing, and mastering. This ubiquity makes them valuable but also creates confusion when considering the many choices in the marketplace. To help straighten that out, we’ll discuss the main types of compressors and the terminology that explains their usage.
The purpose of a compressor is to even out the audio signal in order to tame loud transients and bring up lower amplitude material. Compressors were born out of necessity to fill that very straightforward role, to protect radio transmitters from overly hot signals, and to keep recordings in a narrower dynamic range that was easier to reproduce on tape or record. Continue reading →
The 500 Series format consists of a whole slew of different signal processing modules in a compact rack unit. Mic preamps, equalizers, compressors, DI boxes, filters, effects... You name it, you can find it in a 500 Series version from a wide variety of manufacturers.Most of those manufacturers participate in the VPR Alliance, established to set standards for the format to ensure that the end user can rely on consistent specifications with regard to voltage, current draw, size, etc. along with proper compatibility with existing modules. The essence of this idea is to make it simple for the user to mix and match modules from different makers, thus allowing for the broadest range of implementation for their products. Continue reading →
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