Thank you. I only have one preset I use on the Shadow Hills Mastering Compressor Type A. I got it out of their manual: "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." They say to set the sidechain filter to "in" but the Plugin Alliance plugin of this compressor lets you choose the cutoff frequency. The real hardware is set at a fixed 90 Hz, so that is where I set it in the plugin. I had to look that up in the hardware manual for the Shadow Hills compressor. Also I turn on the "parameter link" button at the bottom so that I can adjust only one set of dials on the left and the right channel settings follow the same as the left. The "meter select" buttons I set so I can see optical on the left meter and discrete on the right meter. I like to see both gain reductions at the same time. The "dialing in" of the gain reductions is done by turning the corresponding thresholds clockwise until I get the desired gain reduction of about 1 dB on the optical and 2 dB on the discrete. I put the transformer matrix on "Nickel" about 90% of the time because that is the sound I like. And that's basically it. If anything is unclear or you need something additional, don't be afraid to ask - I'll tell you whatever I can to help you out.
@@LarsLentz I seriously appreciate so much you taking the time to explain that, and im going to make that preset now. all of this was beyond helpful. So you'd say with confidence that the SHMC really does shape up and the headache is worth it? Feel like throwing a light UAD 2A glue would do the same if not better, if I may say so.
Hey, no problem - any time. You can email me too if you want at larslentz@hey.com. I'm slow answering so apologies in advance. A 2A would probably do the same thing and I would say go that way because it is definitely a lot easier to work with. I kind of like the harmonics of the SHMC when it is on Nickel-mode, but it is certainly a pain to work with (that front panel is awful to look at). I'm still trying to find my favorites in mastering compressors. I've started using the Plugin Alliance Millennia TCL-2 but it is only good for certain, kind of ambient-like music, and when I put it on anything with a beat, it doesn't work as well for me. Same for the Maag compressor. I think every type of compressor (opto, VCA, etc.) has a place where it works, but the trick is finding which one to use. The one I keep coming back to is the Vertigo Sound one, but I have no idea why. It just seems easier to work with and faster. I'm remastering a lot of my previously released music right now and trying out these different compressors to build my skills with them.
@@LarsLentz Thanks! I do have another question, if I mastered my song and the LUFS is -18 and the streaming platform is -14 they will turn the volume up, it won’t clip if they do it?
Some don't make up the volume, and some raise it to a safe level like Spotify. Here is a good article, but older one, on the Meterplugs site: www.meterplugs.com/blog/2021/07/15/spotify-disables-their-limiter.html Also, I have asked Ian Sheppard whom I have gotten all of my advice from and he answers emails when I have a question, so here is his site: productionadvice.co.uk/about/
Good compensation between bypass signal, it tightens a bit more solid. Thank you. 🤞🏽🧿
Thank you! I think this is going to be one of my favorites as far as mastering compressors.
Someone said this sounded "squashed" with only 1 or 2 dB of gain reduction.
It's interesting that you're using Dual Mono versus Stereo. What made you pick Dual Mono?
Excellent question. For me, I find it widens my stereo image in dual mono and some of my stuff needs that.
Vry good
Could you make available a preset for this? Or if you like 10 presets for sale I'd purchase them?
Thank you. I only have one preset I use on the Shadow Hills Mastering Compressor Type A. I got it out of their manual:
"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."
They say to set the sidechain filter to "in" but the Plugin Alliance plugin of this compressor lets you choose the cutoff frequency. The real hardware is set at a fixed 90 Hz, so that is where I set it in the plugin. I had to look that up in the hardware manual for the Shadow Hills compressor. Also I turn on the "parameter link" button at the bottom so that I can adjust only one set of dials on the left and the right channel settings follow the same as the left. The "meter select" buttons I set so I can see optical on the left meter and discrete on the right meter. I like to see both gain reductions at the same time. The "dialing in" of the gain reductions is done by turning the corresponding thresholds clockwise until I get the desired gain reduction of about 1 dB on the optical and 2 dB on the discrete. I put the transformer matrix on "Nickel" about 90% of the time because that is the sound I like. And that's basically it. If anything is unclear or you need something additional, don't be afraid to ask - I'll tell you whatever I can to help you out.
@@LarsLentz I seriously appreciate so much you taking the time to explain that, and im going to make that preset now. all of this was beyond helpful. So you'd say with confidence that the SHMC really does shape up and the headache is worth it? Feel like throwing a light UAD 2A glue would do the same if not better, if I may say so.
Hey, no problem - any time. You can email me too if you want at larslentz@hey.com. I'm slow answering so apologies in advance. A 2A would probably do the same thing and I would say go that way because it is definitely a lot easier to work with. I kind of like the harmonics of the SHMC when it is on Nickel-mode, but it is certainly a pain to work with (that front panel is awful to look at). I'm still trying to find my favorites in mastering compressors. I've started using the Plugin Alliance Millennia TCL-2 but it is only good for certain, kind of ambient-like music, and when I put it on anything with a beat, it doesn't work as well for me. Same for the Maag compressor. I think every type of compressor (opto, VCA, etc.) has a place where it works, but the trick is finding which one to use. The one I keep coming back to is the Vertigo Sound one, but I have no idea why. It just seems easier to work with and faster. I'm remastering a lot of my previously released music right now and trying out these different compressors to build my skills with them.
What’s better the Class -A or the original one?
I would have to say that the Class A is better but they're both quite good. If you have the option, I would say get the Class A.
@@LarsLentz Thanks! I do have another question, if I mastered my song and the LUFS is -18 and the streaming platform is -14 they will turn the volume up, it won’t clip if they do it?
@@LarsLentz Thanks!
@@LarsLentz I have a question please. If my track is -18 LUFS and the platform makes the volume up to -14 LUFS. Does this will make my track clip?
Some don't make up the volume, and some raise it to a safe level like Spotify. Here is a good article, but older one, on the Meterplugs site: www.meterplugs.com/blog/2021/07/15/spotify-disables-their-limiter.html Also, I have asked Ian Sheppard whom I have gotten all of my advice from and he answers emails when I have a question, so here is his site: productionadvice.co.uk/about/