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DISCLAIMER................................................................................................................................................... 4
WHAT DOES THE PLUGIN EMULATE? ........................................................................................................... 5
SHADOW HILLS MASTERING COMPRESSOR ................................................................................................. 6
OPTICAL COMPRESSOR SECTION .............................................................................................................. 7
RATIO & KNEE ........................................................................................................................................... 7
ATTACK & RELEASE ................................................................................................................................... 9
DISCRETE COMPRESSOR SECTION .......................................................................................................... 10
RATIO & KNEE ......................................................................................................................................... 10
RATIO 1.2:1 ............................................................................................................................................. 11
RATIO 2:1 ................................................................................................................................................ 12
RATIO 3:1 ................................................................................................................................................ 13
RATIO 4:1 ................................................................................................................................................ 14
RATIO 4:1 ................................................................................................................................................ 15
RATIO 20:1 (FLOOD) ................................................................................................................................ 16
ATTACK & RELEASE ................................................................................................................................. 17
TRANSFORMER SWITCH.......................................................................................................................... 18
BRONZE ................................................................................................................................................... 19
SILVER...................................................................................................................................................... 20
GOLD ....................................................................................................................................................... 21
P1A .......................................................................................................................................................... 22
LGV .......................................................................................................................................................... 23
USING THE SHADOW HILLS MASTERING COMPRESSOR......................................................................... 24
ABOUT ACUSTICA AUDIO COMPRESSORS OPERATION .......................................................................... 25
LANGEVIN 258-A PROGRAM EQUALIZER .................................................................................................... 27
LOW BAND BOOST (40 Hz) ...................................................................................................................... 28
LOW BAND CUT (40 Hz) .......................................................................................................................... 28
LOW BAND BOOST (100 Hz) .................................................................................................................... 29
LOW BAND CUT (100 Hz) ........................................................................................................................ 29
HIGH BAND BOOST (3kHz) ...................................................................................................................... 30
HIGH BAND CUT (3kHz) ........................................................................................................................... 30
HIGH BAND BOOST (5kHz) ...................................................................................................................... 31
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HIGH BAND CUT (5kHz) ........................................................................................................................... 31
HIGH BAND BOOST (10kHz) .................................................................................................................... 32
HIGH BAND CUT (10kHz) ......................................................................................................................... 32
HIGH BAND BOOST (15kHz) .................................................................................................................... 33
HIGH BAND CUT (15kHz) ......................................................................................................................... 33
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DISCLAIMER
Before we even start this cookbook, it is important to mention that music is a form or art and
that there is no right or wrong when it comes to art. A great mixing engineer once said that
“there’s no wrong way to make a sound” and this something I truly believe. Each person has a
completely different concept about music. So, at the end of the day, everything is acceptable, as
long it pleases the ears of the listener.
In this cookbook, I do not intend to teach you anything. My purpose is just to show you the way
I personally like to approach the product, but keep in mind this is not the only way that it can be
used. Feel absolutely free to follow different paths and try to create your own sonic signature!
That said, I hope this guide can help you in some way.
Best,
Alexandre Machado
You can connect with me at the following social media platforms:
All trademarks and images are the property of their respective owners. All names of hardware
manufacturers, plugin developers and models are used solely to identify the products analyzed
in this e-book and do not in any way imply any association with or endorsement by any of the
named manufacturers or developers.
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WHAT DOES THE PLUGIN EMULATE?
Shadow Hills Industries Mastering Compressor
Source: https://www.sweetwater.com
Langevin 258-A Program Equalizer
Source: https://reverb.com/
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SHADOW HILLS MASTERING COMPRESSOR
Source: https://www.sweetwater.com
The Shadow Hills Mastering Compressor is a $10.000,00 unit that offers mastering grade
compression and limiting functionalities plus a custom transformer-switching network. In case
you do not know, it has two different compression sections that can be used at the same time
for a unique result.
The processing chain starts with a fully discrete optical compressor section, that employs the
same optical attenuator as the famous Teletronix Levelling Amplifiers LA-2A and LA-3A, except
that here the T4B optical cell is optimized for mastering applications.
The optical compressor is followed by a discrete Class-A VCA compressor section, with six ratios
(1.2:1, 2:1, 3:1, 4:1, 6:1 and flood), six attack settings (.1, .5, 1, 5, 10, and 30 milliseconds) and six
release times (.1, .25, .5, .8, 1.2 and auto, which is labelled as dual on the device). There is also a
detector filter that allows you to deload the low frequency input to limit pumping with bass heavy
material.
Finally, you can switch between different transformers to choose which one suits better the
music you are working on. According to the manufacturer, the transformers can be described as:
clean (nickel / gold), colored (iron / silver), and dirty (steel / bronze).
After this brief introduction, let’s see how it actually affects the signal and try to learn something
by analyzing this fantastic processor.
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OPTICAL COMPRESSOR SECTION
According to the hardware manual, the optical section comes first in the signal path. This section
utilizes an Electroluminescent Optical Attenuator and is the primary level adjustment applied to
the source material being processed. The optical compression is highly effective for reducing
input material dynamics due to its two-stage release time, where 80% is recovered quickly, but
20% may take over a second to release, depending on the amount of gain reduction applied.
RATIO & KNEE
The plugin manual mentions that the optical section operates with a fixed ratio of 2:1. But let’s
check how it looks on the analyzer so we can better understand how the unit works.
To find out what a compressor is doing in terms of ratio and knee, we can simply perform a ramp
test. The test consists of passing through the plugin a signal that ramps up, while registering the
input and output levels for each decibel increment in a graph.
In case you don’t know, the ratio of a compressor defines the maximum amount of compression
applied to the signal after exceeding the threshold. If your ratio is set to 2:1, for every 2 dB that
exceeds the threshold, the compressor will output only 1 dB (in other words, 1 dB will be
compressed, and you will have 50% of compression). If your ratio is set to 3:1, for every 3 dB that
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exceeds the threshold, the compressor will output only 1 dB (in other words, 2 dB will be
compressed, and you will have 66% of compression).
As we’ve already mentioned, according to the plugin manual, the optical section has a fixed ratio
of 2:1, which is pretty usual for mastering applications. However, after comparing the emulation
with a regular digital compressor, I found that the ratio of the optical compressor is actually a
lot closer to 4:1.
In case you do not know, the ratio is always accompanied by another setting called knee, that
basically tells the compressor how to apply the ratio. A hard knee setting means that the
compressor will apply the full ratio as soon as the signal exceeds the threshold point (which is
expressed in decibels). This results in a more accurate compression, but it also has a more
perceivable effect. In other words, a hard knee compressor is more likely to pump and to produce
other audible artifacts due to the abrupt transition between uncompressed and compressed
states.
On the other hand, a soft knee setting means that the compressor will gradually apply the ratio
until the maximum value is reached. This results in a less accurate compressor, but with a less
perceivable effect. In other words, a soft knee compressor is less likely to pump and to produce
other audible artifacts due to the smooth transition between uncompressed and compressed
states. By the way, most renowned analog compressors have a soft knee design.
Digging a little deeper, when using a hard knee setting, the threshold is a simple line. Whenever
the signal exceeds that line, the compressor will act over the audio, compressing it at the full
ratio that was set. However, when using a soft knee setting, the threshold turns into a range: at
the lowest point, the compressor will start applying the ratio in a very subtle way and will rise it
slowly as the signal level reaches higher points within the threshold range. How large that range
is will depend on how soft the knee is. You can visualize that idea I have just described on the
image below:
Source1: https://masterizacao.com/
1
The original image was edited by me to better represent the explanation presented in this cookbook.
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Notice that, since the threshold becomes a range when using a soft knee setting, the compression
starts below the threshold with a subtle ratio and will only achieve the maximum ratio above the
threshold point.
When it comes to optical compressors, I really expect to see a soft knee when I perform the
forementioned ramp test, because transparency and musicality are inherent characteristics of
optical attenuators. And that’s exactly what we have here. This means that the ratio will be
gradually and slowly applied, avoiding the abruptly changing from the uncompressed to the
compressed state.
ATTACK & RELEASE
With regards to the time constants, this section has a fixed slow attack time, as expected from
optical units. It is important to mention, however, that the higher the gain reduction applied the
faster the attack time will be. Furthermore, notice that the attack has a nice S-shaped curve that
is not so often found on compressors out there. The release time is also program-dependent, as
we have mentioned earlier. The unit features a two-stage release, where 80% is recovered
quickly, but 20% may take over a second to release, depending on the amount of gain reduction
applied.
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DISCRETE COMPRESSOR SECTION
According to the hardware manual, the discrete compressor section comes second in the signal
path. This section utilizes a discrete Voltage Controlled Amplifier. The main idea is to use the
discrete section to finish the job that the optical section started.
RATIO & KNEE
The VCA compressor section features six selectable ratios (1.2:1, 2:1, 3:1, 4:1, 6:1 and flood,
which corresponds to a ratio of 20:1), which we are going to analyze in-depth on the next pages.
The most interesting aspect here is that that engraved numbers does not correspond at all to the
actual behavior of the compressor.
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RATIO 1.2:1
As you can see on the image above, at the ratio of 1.2:1, the unit employs a soft knee design,
which is desired for mastering, as it smooths the compression effect and make it more pleasant
to our ears. Nevertheless, the graph definitely does not correspond to what a ratio of 1.2 to 1
would look like. When you select 1.2, the compressor is actually operating with a ratio that lies
somewhere between 2:1 and 3:1.
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RATIO 2:1
At the ratio of 2:1 (image above), the compressor operates on a much higher ratio (I would say
it is in reality somewhere between 8:1 and 9:1). Also, notice how the knee is now much harder
than it was at 1.2:1. For mastering purposes, unless you are going for some parallel kind of
sorcery, it is highly recommended to stick to the ratio of 1.2:1 if you want to avoid accidentally
overprocessing your audio material.
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RATIO 3:1
The ratio of 3:1 (image above) is even more aggressive, as expected at this point. We are almost
limiting here, instead of merely compressing.
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RATIO 4:1
At the ratio of 4:1 (image below), the compressor is acting as a limiter, as we approach the
practical ratio of infinite to 1.
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RATIO 4:1
At 6:1, we are already over the ratio of infinite to 1 (to be honest, I don’t even know how to name
this behavior).
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RATIO 20:1 (FLOOD)
Finally, at the flood setting, although the hardware manual indicates a ratio of 20:1, we are
actually way past infinite to 1. Unfortunately, I cannot think of a situation where I would use such
an aggressive ratio, but I would definitely try using AQUAMARINE compressor in parallel to create
an effect.
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ATTACK & RELEASE
With regards to the time constants, the discrete section has selectable attack times of .1, .5, 1,
5, 10, and 30 milliseconds. According to the hardware manual, “the control labelled Discrete
Attack varies how fast or slow the compression engages once the compression threshold had been
reached. A slow attack time (…) is useful for retaining signal transients relative to compression”.
Thus initial attack is realized before the onset of compression. Fast attack times have the effect
of equalizing initial transients relative to the level of compression”.
The unit also features selectable release times of .1, .25, .5, .8 and 1.2 seconds, as well as an
automatic mode, which is labelled as dual on the device and basically mimics the two-stage
release found on the optical section. The hardware manual mentions that “the Discrete Recover
control determines how long it takes the signal to return to the uncompressed level, once the
signal falls below the threshold of compression”.
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TRANSFORMER SWITCH
Shadow Hills Mastering Compressor features a custom transformer-switching network, which
slightly change the coloration the unit imparts to the sound. According to the manufacturer, the
transformers can be described as: clean (nickel / gold), colored (iron / silver), and dirty (steel /
bronze).
It is interesting to notice that, judging by the frequency curves, the gold transformer, which was
supposed to be the cleanest one, is actually more likely to darken the sound than the others. That
is because the gold model is accompanied by a gentle low-pass that takes away a significant
amount of the high frequencies, starting at about 2kHz.
AQUAMARINE also offers two additional preamp flavors:
• P1A: a vintage Pultec EQP-1A preamplifier, which is supposedly very clean;
• LGV: a mono line preamplifier derived from the Langevin 258-A Program Equalizer.
On the next pages, you will see how each transformer and/or preamplifier affects the frequency
by applying a sort of equalization curve and creating new harmonics on top of the existing ones.
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BRONZE
BRONZE transformer frequency response
BRONZE transformer harmonic response
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SILVER
SILVER transformer frequency response
SILVER transformer harmonic response
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GOLD
GOLD transformer frequency response
GOLD transformer harmonic response
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P1A
P1A preamplifier frequency response
P1A preamplifier harmonic response
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LGV
LGV preamplifier frequency response
LGV preamplifier harmonic response
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USING THE SHADOW HILLS MASTERING COMPRESSOR
After reading both the hardware and plugin manuals, as well as carefully analyzing the emulation,
I feel comfortable saying that this unit was developed with a step-by-step serial compression
approach in mind.
The first step would be to set the optical compressor section. The electroluminescent optical
attenuator provides a fixed slow attack behavior, which will most likely make the compressor
ignore transients and act more as a levelling device. Also, the program-dependent release helps
to keep the desired transparency for mastering purposes. This section is very straightforward and
dumb proof, because all the parameters are fixed (ratio, attack and release). The only thing you
need to do is to adjust the threshold, to control the gain reduction (1 dB should be enough), and
the optical gain.
The next step would be to set the discrete compressor section to finish the job we’ve started
with the optical one. I like to think of the optical section as a loudness compressor and the VCA
section as a peak taming compressor. As I showed you earlier, the ratios on the discrete section
are way more aggressive than you would expect. For mastering applications, I’d recommend
starting with the 1.2 to 1 setting to avoid overprocessing your track. As for the attack, I consider
either 30 milliseconds or 10 milliseconds to be good starting points (you will get slight peak
control without squashing the signal). Finally, the best option for the release is the dual, which
mimics the two-stage release of the optical compressor, but I would also try both .1 second and
.25 second settings. Adjust the threshold to achieve the desired gain reduction (1 to 2 dB should
be enough) and the make up for the gain loss by raising the discrete gain.
Also, feel absolutely free to play with the mix control until you find the perfect blend for the
sound you are processing. One of the greatest mastering engineers I know swear that this is the
best compressor Acustica has ever made and that the mix knob is the key for perfect dynamics.
The third step would be to choose between the three transformers available on the plugin. As
you might have noticed on this picture, the transformers are not level matched and for that
reason the increase in volume may think that one sounds better than the other (when you are
actually being fooled by the loudness discrepancy). The nickel mode has the flattest frequency
response. The iron mode is a bit darker, due to a slight top end roll-off. Lastly, the steel mode is
even darker, with a more aggressive high-end roll-off. On AQUAMARINE, we have two extra
options: the preamps from a Pultec EQP-1A Passive Equalizer and from a Langevin 258-A Program
Equalizer.
In case you experience pumping or undesired compression artifacts, try activating the sidechain
filter to avoid overloading the detector with low frequencies.
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ABOUT ACUSTICA AUDIO COMPRESSORS OPERATION
Acustica Audio compressors does not operate as expected above a certain input level. I first
noticed this behavior when I was writing the ‘cookbook’ about SNOW, but it is also present on
AQUAMARINE (and other Acustica compressors).
This is how a compressor that is operating on its ‘healthy’ state looks on the analyzer:
And now this is what happens with the measurement of AQUAMARINE with the gain staging set
to 0 dBFS:
Notice how the compressor ‘breaks’ and start behaving oddly after a certain input level is
exceeded. The conclusion is that the input gain is really important for Acustica compressors. By
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experimenting a lot, I found that -20dBFS or -21 dBFS are the sweet spot for the input gain. To
make your like easier, use -21dBFS every time, just to be safe.
On the picture below, you can see how smoothly it operates as soon as we back the input level
down to -20 dBFS:
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LANGEVIN 258-A PROGRAM EQUALIZER
Source: https://reverb.com/
The Langevin 258-A Program Equalizer is an ultra-rare passive equalizer from the 1950s. It is
packed with two intuitive shelf bands (one for the lows and one for the highs).
• Low band: 40Hz and 100Hz;
• High band: 3kHz, 5kHz, 10kHz and 15 kHz.
This equalizer feature very broad curves, what makes it perfect for general tone shaping of
program material and mastering applications. Now, we are going to take a deeper look on how
it affects the sound.
Before we proceed, note that the preamplifier section was already analyzed here, while
discussing the Shadow Hills Mastering Compressor transformer switch.
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LOW BAND BOOST (40 Hz)
LOW BAND CUT (40 Hz)
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LOW BAND BOOST (100 Hz)
LOW BAND CUT (100 Hz)
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HIGH BAND BOOST (3kHz)
HIGH BAND CUT (3kHz)
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HIGH BAND BOOST (5kHz)
HIGH BAND CUT (5kHz)
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HIGH BAND BOOST (10kHz)
HIGH BAND CUT (10kHz)
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HIGH BAND BOOST (15kHz)
HIGH BAND CUT (15kHz)
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