Universal Audio SHADOW HILLS MASTERING COMPRESSOR - Manual (Page 7)

The Mastering Compressor
p. 7
IN USE
In
the
vocal
chain,
on
the
master
fader
or
the
drum
buss,
the
S.H.M.C’s
two-­‐stage
compression
and
transformer
matrix
will
impart
its
unique
sound
quality
and
character
upon
your
best
work
to
take
you
to
new
levels
of
creativity.
Sometimes
there
is
no
finer
chain
for
female
vocals
than
the
optical
cell
with
medium
compression,
side
chain
filter
out
and
nickel
transformer
selection
from
the
output
matrix.
The
optical
will
soothe
as
it
adjusts
sultry
voices
as
only
this
combination
can
deliver.
The
nickel
transformer
adds
that
ultra
high
frequency
70’s
hi-­‐fi
sheen
like
a
subtle
air
band.
Mastering
is
the
most
subtle
use
of
the
Mastering
Compressor.
Dial
in
one
dB
of
optical
gain
reduction
and
two
dB
of
discrete
gain
reduction.
Select
a
ratio
of
1.2:1,
an
attack
time
of
thirty
milliseconds
and
a
recover
time
of
.1
seconds.
Set
the
side
chain
filter
to
“In”
and
select
the
transformer
matrix
to
taste.
Another
application
of
the
Mastering
compressor
is
to
bypass
the
optical
and
discrete
cell
and
to
pass
the
signal
through
the
transformer
matrix
only,
for
the
color
it
imparts.
If
you
record
dry
electric
bass
or
guitars
through
a
DI
box
for
re-­‐amping
or
use
of
amp
simulation
software,
try
the
transformer
matrix
as
the
last
part
of
your
signal
chain
before
going
into
the
amp.
The
Mastering
Compressor’s
flexibility
and
precision
of
controls
will
enable
you
to
apply
any
type
of
compression
you
can
imagine,
on
purpose,
every
time.
EVADING ENEMY CAPTURE
Should
the
probability
of
its
capture
be
greater
than
not,
it
is
the
duty
of
the
operative
so
issued
to
destroy
the
Shadow
Hills
Mastering
Compressor
to
keep
the
technologies
contained
therein
from
falling
into
the
wrong
hands
and
thus
forfeiting
our
advantage
to
the
enemy.
The
following
instructions
are
offered
for
the
proper
destruction
and
disposal
of
the
Shadow
Hills
Mastering
Compressor,
should
it
become
your
duty.
First,
use
a
torque
screwdriver
to
remove
the
nine
6/32
screws
from
the
top
cover.
Inside,
along
the
bottom
of
the
unit,
are
the
two
main
audio
boards.
On
each
of
the
audio
boards
are
the
Shadow
Hills
Operational
Amplifiers.
There
are
six
total.
These
op-­‐amps
attach
to
the
audio
boards
by
six
pins.
Pull
each
op-­‐amp
out
vertically
-­‐
they
are
friction-­‐locked,
so
no
desoldering
is
required.
Once
removed,
break
off
each
of
the
six
pins
and
crush
the
op-­‐amp
circuit
board
with
the
heel
of
your
boot.
If
time
permits,
incinerate
all
pieces
after
crushing,
and
then
bury
or
scatter
the
ashen
remains.
Remove
the
eight
screws
securing
each
audio
board
to
the
chassis
with
a
Philips
screwdriver
and
pull
the
boards
out.
Cut
all
wires
several
times,
in
a
random
fashion,
so
that
the
former
lengths
can
not
be
determined.