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13055
Shadow Hills Dual Vandergraph 500 Series Stereo Compressor
Fully discrete 500 Series stereo compressor
MFR# Dual Vandergraph
Product Description
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.
Product Specifications
| Condition | New |
|---|---|
| Tube or Solid State | Solid State |
| Channels | Dual-Channel |
| Chassis | Module |
| Module Type | 500 Series |
| Module Slot Count | 2 Slots |
| Digital I/O | No |
Product Reviews
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Dual Vandergraph is awsome gear!!
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it is not just otpo compressor. without compressor, gives us amazing tone With compressor , this becomes monster.
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Loving the Vandergraph…. Using it as a parallel buss compressor, and it adds so much to my mixes.
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If I had to use one word it would be ...WOW. This thing does something that makes whatever you run through it go to another level.
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Buyer's Guide: Compressors/Limiters
05.23.2019Read MoreCompressors 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 → -
Buyer's Guide: 500 Series
07.12.2019Read MoreThe 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 →
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. 
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