The Shadow Hills Mastering Compressor plug-in for UAD-2 and Apollo interfaces provides everything from a velvet touch to an iron fist — making it a go-to on records by Muse, Green Day, Gnarls Barkley, and more. Designed by Brainworx, the Shadow Hills Mastering Compressor plug-in is a thorough emulation of the high-end hardware.
Few pieces of audio hardware are as revered as the Shadow Hills Mastering Compressor. Created by enigmatic mastermind, Peter Reardon, this five-rackspace behemoth tempers dynamics and tames transients like no other compressor in history. With its serial, two-stage dynamics control and switchable output transformer matrix.
The genius of the Shadow Hills Mastering Compressor plug-in is its ability to control dynamics in two stages — an Optical and Discrete (VCA). Both sections can be bypassed, effectively providing three compression sounds (Optical, Discrete, and combined) in a single unit.
The Optical section is highly program dependent, with basic Threshold and Gain settings, and a two-stage release time akin to the classic LA-2A — perfect for gently taming dynamic range. The Discrete section takes over where the Optical section leaves off, provides precise control over gain, threshold, ratio, attack, and release.
The Shadow Hills Mastering Compressor plug-in’s tonal palette is enhanced by a unique matrix which allows selection between three output transformers — Nickel, Iron, and Steel. By switching the selected transformer type in and out of the signal path, you can hear the different frequency response, distortion characteristics, and transient limiting of each transformer — going from “clean” (Nickel), to “colored” (Iron), to “dirty” (Steel).