Shadow Hills Industries

This Single channel discrete optical compressor, in the API 500 series form factor, takes its cues and much of its design from the optical stage of its behemoth Big Brother, the Shadow Hills Mastering Compressor. The Optograph’s front end is balanced by an original Jensen input transformer. The output utilizes our specially recreated Nickel transformer. The essence of the compressor’s character comes from our custom electroluminescent cell and discrete op-amp combination. The high quality circuit is pristine enough for bus compression, and yet has a unique character reminiscent of an antique world class compressor, that has just now been discovered. It’s also perfect for squeezing drum busses and massaging vocals. It’s the perfect glue for tracking and mixing anything that needs to sound more finished, more like a record.

Derived from the optical section of it’s behemoth big brother, the Shadow Hills Mastering Compressor, the Shadow Hills Industries Optograph is a no-compromise, stereo optical compressor, with quality and character on-par with the sought after esoteric compressors of the past. The essence of the compressor’s sonics comes from our custom electroluminescent cell and discrete op-amp combination. The high quality all discrete signal path is pristine enough for bus compression, perfect for massaging vocals, tough enough for squeezing drum busses and gluing anything that needs to sound more finished, more like a record. The Dual Optograph’s threshold and make up gain are controlled by discrete attenuators, made from custom twenty-four position Elma switches. All of the other rotary controls are similarly detented switches, for recallability of settings. The tactile feel and quality of these controls are unrivaled. They are of the highest quality and will last forever.

The Shadow Hills Mastering Compressor has extraordinary functionality, and also provides mastering grade compression and limiting for tracking and mixing. Essentially it is two compressors in series, per channel, that can act in stereo, or dual mono. First comes our mastering grade electro optical compressor, followed by our discrete Class-A compressor/limiter. Both feed our switchable custom output transformers, Nickel, Iron, and Steel. There is enough gain in each section to overdrive the hottest tape, or clip your converters, if you’re into that sort of thing.

The input stage is transformer balanced, followed by our fully discrete optical compressor. This section utilizes the same T4B optical attenuator as the LA2A and LA3A, but is optimized for mastering. The second stage is our discrete Class-A VCA compressor. There are no electrolytic caps or IC chips in the audio path. There are six ratios: 1.2 to 1, 2 to 1, 3 to 1, 4 to 1, 6 to 1, and 10 to 1. There is six attack settings: .1, .5, 1, 5, 10, and 30 milliseconds. And there are six release times selectable: .1, .25, .5,8, 1.2, and Auto. There is an insertable filter in the side chain to limit pumping with bass heavy material. Lastly the signal goes through our new Shadow Hills custom transformer-switching network.

The Mono is the single channel API 500 series version of the GAMA (Golden Age Microphone Amp), with all the capabilities, features, and quality of the original. The Shadow Hills Mono Gama is centered around our custom discrete op-amp. This no-compromise design exudes hugeness, fidelity, punchiness and depth, across the full frequency range, without becoming veiled or choked.

The preamplifier input is transformer balanced and utilizes an original Jensen input transformer. We couldn’t decide which vintage output transformer we liked best, so we had our favorites perfectly recreated, and included them all. You can change the output transformer by cranking the knob, thus changing the tonal capabilities to compliment to whatever material you are recording. This allows you to audition different settings to find the perfect match for microphone or direct input without patching and un-patching other preamps, and possibly alleviating the need for EQ. Choose between Nickel, Discrete, or Steel settings. Each transformer position is stellar unto itself, but the capability of switching between them is like having three great pre’s in one.

The Shadow Hills Quad GAMA is a four channel version of the Gama, with all the capabilities, features, and quality of the original.

The Gama Is centered around our custom discrete op-amp. This no-compromise design exudes hugeness, fidelity, punchy-ness and depth, across the full frequency range, without becoming veiled or choked, the way non-discrete varieties can.

The preamplifier input is transformer balanced and utilizes an original Jensen input transformer. We couldn’t decide which vintage output transformer we liked best, so we had our favorites perfectly recreated, and included them all. You can change output transformers with the flick of a switch, thus changing the tonal capabilities to compliment to whatever material you are recording. This allows you to audition different settings to find the perfect match for microphone or direct input without patching and un-patching other preamps, and possibly alleviating the need for EQ. Choose between Nickel, Discrete, or Steel settings, or upgrade the Discrete to Iron. Each transformer position is stellar unto itself, but the capability of switching between them is like having three great pre’s in one.

The Shadow Hills Equinox is a complete recording console. First, the control room section features a twenty-four-position discrete monitor volume control and a three-position speaker selector. The four position input selector chooses from: DAW 1+2, Channels 3 – 32 summed, 2-track or external input, and Mic Pre.

The summing buss is a 30-channel mixer utilizing copper buss bars and esoteric resistors, for simply the finest sounding passive monitor section ever made. Combined through our switchable custom output transformers, Nickel, Iron, and Steel. Effectively giving you the sound of three different consoles. The Mic Pres are the same as our stellar Gama.

There is a built in talkback microphone, a dim and a mono stereo switch, and VU-meters. The Equinox may just be the most solid two rack spaces ever built. With it you can record, mix, and monitor to the tolerance of a bygone era.