The Shadow Hills Industries Dual Vandergraph follows the lineage of the Shadow Hills Mastering Compressor maintaining its reputation of undeniable quality and exceptional performance, in a convenient 2-slot API 500 Series format module. Its inner components consist of the discrete gain cells from the Mastering Compressor combined with the Optograph’s extremely flexible Sidechain Filter matrix. It features a fully discrete Class A audio path and Shadow Hills' custom Iron Transformers. This combination provides exceptional dynamic control making the Dual Vandergraph a premium stereo compressor for your 500 Series rack!
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.
Though the Dual Vandergraph operates in stereo, it is controlled by a single set of variable attenuators. It will function as normal with just one channel connected.
Class A fully discrete stereo compressor in dual-slot 500 Series module format
Four compression ratios (1.2:1, 2.5:1, 4:1, and 8:1)
Exceptional dynamic control on virtually any recorded source
Discrete gain cells from the Shadow Hills Mastering Compressor
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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