The Shadow Hills Mastering Compressor Plugin is a faithful 11: model of the corresponding hardware version, offering all its non-linear behavior and analog sound quality in the digital domain. As is standard in all equipment deployed by Shadow Hills, the Mastering Compressor boasts discrete. The Shadow Hills Mastering Compressor is an absolutely legendary piece of kit. Made originally for use with UAD DSP hardware units, it’s been recently released as a native plug-in as well. In our opinion it’s one of the best compressors for finalizing your mixes.
Shadow Hill Master Bus Compressor
Meticulously modeled by Brainworx after the legendary hardware, no details have been spared when crafting the digital version of one of the most musical and versatile compressors out there. A well known staple in the industry, the Shadow Hills compressor easily tames even the most unruly and chaotic transients with flawless tone and control. It’s no wonder that it has been the go-to buss compressor on timeless records by Radiohead, Foo Fighters, Beck, Green Day, Coldplay and countless others.
Dual compression sections for unprecedented dynamic control One of the key things you can do with the Shadow Hills Mastering Compressor is treat your signals with dual-stage compression, dialing in compression either through the Optical or the Discrete sections - use both for maximum musicality! In the Optical section you will find the traditional Threshold and Gain settings, with a two-stage release time that is similar to the one you find on an LA-2A.
With this section you can easily shape your dynamic range and bring up the overall level. In the VCA Discrete section you have a more exacting control over the ratio, attack and release settings, which easily allows you to fine-tune the compression response to fit a large variety of material.
Switchable output transformers for sonic variety Further tonal character can be built with the three unique Output Transformers. Here you can toggle between each one to easily shift the tonal balance of the compressor. Choosing between Steel, Nickel or Iron will help the compressor add distinct flavors commonly found on a few legendary consoles. Nickel offers smooth lows with a polished top end and sounds great on more subtle and sparse recordings.
The Iron transformer has a more colored sound but still maintains a pristine high end with a small boost in the 100Hz range. It operates through a Class-A output stage that applies only even-ordered harmonic distortion, leaving you with a very musical sound. Finally, the Steel transformer has an extremely detailed and fast response with a subtle boost in the 40Hz range which contributes to a rocking low end. Brainworx Plugin Only Features To round out the huge features that came straight from the hardware, Brainworx went a step further by adding a Parallel Mix control, a Sidechain Filter and an External Sidechain option in the proprietary toolbar! The Sidechain filter can easily prevent frequencies below the setting from triggering the compression for ultra-tight sounding mixes. Try the Shadow Hills Mastering Compressor now to experience a whole new level of dynamics management.
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As I cover in-depth in my new online course (Mastering In The Box), compression is a great tool for any mastering engineer. It can help shape the tone, control dynamics, and boost the perceived (and actual) loudness of your source material.
Here’s a roundup of my most used compressor plugins as well as some unique features of each.
1. UAD Shadow Hills Mastering Compressor
The hardware unit is a behemoth, consisting of several compressors in one, with many different controls and options. Don’t let the complicated look fool you; once you get a feel for the Shadow Hills, it’s extremely easy to dial in a great sound.
I generally use slow attack and fast release times when applying compression to an entire mix, and only want to be applying 1-2dB of gain reduction as to not introduce pumping or compromise the mix. The Shadow Hills Mastering Compressor can be very transparent, or it can be pushed to get a huge, modern, in-your-face sound.
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Unique feature: There are many unique features on this one, but I’d have to go with the Nickel, Iron and Steel Transformer Types. Nickel is clean, Iron is subtly saturated, and Steel adds a pretty noticeable low end bump to your material.
2. Cytomic The Glue
The Glue is my favorite of the SSL-style compressors because it has a wet/dry blend knob. The Glue lives up to its name and really helps your material subtly breathe and “sit” within the same context.
The original SSL Bus Compressor has a very simple and functional layout, making it easy to quickly dial in a sound. You’ll find other emulations of this classic compressor from Waves and UAD.
Unique feature: As mentioned, The Glue has a wet/dry blend, so if I want to really push it and go for more than 3dB of gain reduction — add some subtle pumping — this allows me to dial back the entire mix for a more transparent sound while still boosting perceived loudness.
3. PSP MasterComp
Here’s another extremely versatile compressor with a lot of controls. It’s also specifically designed for mastering. PSP MasterComp is mostly transparent as long as it’s not pushed too hard, which is honestly what I’m looking for in a compressor most of the time. It does a fine job of adding intensity without unwanted pumping.
The metering is also great and includes more detail than most other mastering compressors.
Unique feature: It has a mix knob (wet/dry control), which as I’ve established, I really love. Additionally, it has unique side-chaining options, allowing you to compress more subtly by preventing extreme high and low frequencies from driving the compressor. It even has an external side-chain option, which is somewhat rare for a mastering compressor.
4. UAD Manley Vari-Mu
This is definitely the compressor on the list with the most tone. It doesn’t have as many features or intricate controls, but that doesn’t matter because this compressor makes your material sound better simply with the warm, rich tone it imparts onto the signal.
I’m very familiar with the hardware original and this is an excellent and faithful emulation.
Unique feature: The ability to work in mid-side mode adds a useful feature to what is already one of the most sought-after bus compressors.
5. iZotope Ozone 7 Vintage Compressor
The Vintage Compressor in Ozone 7 does a great job of combining the precise digital controls typical to the entire Ozone 7 Suite with a warm, vibey tone. I immediately notice a pleasant bump in the high end when using this compressor.
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The three different modes and mid-side option make it a very versatile choice if you need to add some vintage character to your material.
Unique feature: The Auto-Gain Compensation feature allows you to really hear if the compression that you’re applying is enhancing your source material, or simply making it louder.
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6. Vertigo VSC-2
I love the VSC-2 Quad Discrete Compressor from Vertigo Sound for when I am looking for the functionality of an SSL buss compressor, but with a different sonic flavor. UAD and Brainworx nailed this emulation of the very first hardware unit from Germany’s Vertigo Sound. The VSC-2 has a decidedly vintage flavor to it and is great for adding coloration and ‘glue’ to your two-buss and/or masters.
If you’re hoping for a mastering compressor that simply boosts perceived loudness without imparting character and ‘movement’ to your music, you may be better served elsewhere, but if adding texture and life to your program material is in order, the VSC-2 brings the goods. The stepped attack and release controls offer similar times to the famed SSL compressor unit, with the attack ranging from .1 to 30ms, and the release ranging from .1 to 1.2 seconds (also featuring an auto setting).
There are two unique settings on the ratio control: ‘soft’ which allows for more transparent taming of transients, and ‘brick’ which cuts off signal peaks entirely. Both of which are quite usable depending on the material. I recently mixed a rock track that needed some vintage vibe, and the VSC-2 did just the trick. Kick and snare transients are shaped in a really distinct way, and the mid-range becomes a bit more lively.
Mastering Tip: Make use of the sidechain (SC) filter. It’s advisable, especially when using extreme settings and therefore applying large amounts of compression, to preserve the low end by engaging a sidechain filter. Essentially, what happens is the filter assures that less low-end frequencies are fed to the compressor, and will prevent excessive ‘pumping’ and other negative artifacts. The VSC-2 sidechain section features separate 60Hz and 90Hz sections, which really allow you to dial in how the compressor reacts to low frequencies.
7. UAD SSL G-Buss
Widely hailed as the ultimate ‘glue’ compressor for mix buss duties, the SSL G-Buss Compressor plugin from Universal Audio is an end-to-end emulation of the legendary hardware unit which has sculpted the dynamics of countless records. UAD integrated several useful extra features including an internal sidechain filter which allows you to prevent an excess of low frequencies reaching the compressor and causing unwanted ‘pumping’ , a mix control which allows you to create a balance of the ‘wet and dry’ signals, and a headroom control in case you need to trim your signal before hitting the compressor.
The stepped attack, release and ratio controls help you achieve that famous SSL glue quickly. The SSL Buss compressor definitely has ‘a sound’, and as I mentioned earlier, it’s a popular choice for mix buss duties, however, if mix you’re delivered is lacking in cohesion, I wouldn’t hesitate to use the UAD SSL G-Buss Compressor instead of, or in addition to another mastering-grade compressor.
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Mastering Tip: Use a Slow Attack/Fast Release. One of the most common errors of novice engineers is over-compression which can results in pumping and weak low-frequency reproduction. I generally shoot for ‘just a kiss’ of gain reduction with the SSL, and I achieve this by using a slow attack (10 or 30 ms), a fast or moderately fast release (.1, .3 sec or ‘auto’), and set the threshold and ratio controls so that only about 1dB of compression is taking place during the loudest passages of the song. The sidechain control is similarly helpful in keeping the compressor working lightly, providing just the right amount of gain reduction before transients are compromised, and other unwanted artifacts appear. In the event you do want to experiment with more extreme settings, the mix knob is handy for achieving a happy balance between the unprocessed, and smashed signals.
8. DynOne by Leapwing Audio
When I saw that mastering engineer Bob Katz recommended DynOne for its transparency, depth, and ability to preserve transients, I figured it was worth a shot. Upon putting it through its paces on a wide variety of styles of music, Bob was right. This multiband compressor allows you to boost perceived loudness without compromising the source material to a degree that few, if any, other plugins do.
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It’s apparent that a great amount of care and detail went into the design of DynOne, and the result is an extremely clean and open sounding dynamics processor. Multiband compressing can be a great tool at the mastering stage if an equalizer can’t successfully tame sibilant vocals or brittle cymbals, I’ll often teach for one. Similarly, if the kick drum/bass guitar relationship is problematic, I’ll employ one if an EQ isn’t working.
For these applications, the DynOne shines. Another nifty feature is the adaptive attack and release times. DynOne allows users to set a “range” rather than a static setting for how it reacts to the material. If set properly, the result is a natural-sounding, smooth compression that responds appropriately over time to a piece of music that evolves from being more transient-heavy to having more sustained sounds.
Mastering Tip: Utilize parallel multi-band compression. Ensure that you can see the “global” controls panel, and make sure that “parallel” is checked. This will allow you to blend in the compressed signal to taste alongside the original. can As per Bob Katz’ advice, start with the factory default, drop all of the faders to negative infinity, and then bring up the faders (either linked or unlinked if you need more control over how compression affects the frequency spectrum) until you’ve achieved a wet/dry balance that best suits the music. From there, experiment with ratio, attack and release time, etc. The resulting sound retains the natural qualities of the dry signal while providing the boost in volume and subtle liveliness of DynOne’s compression.
Honorable Mentions:
The warmth, width and clarity of the Fairchild make it something that I reach for every so often. Although the controls on any Fairchild-style compressor don’t exactly allow for fine-tuning of attack and release times, the ability to blend in the dry signal on this emulation more than makes up for its limitations.
Although this doesn’t have the tone and attitude of some other compressor plugins, the sheer amount of controls and usability, which are common to all FabFilter plugins, make it a reliable option for both mixing and mastering. I find myself learning new things about compression when I use the Pro- C 2 simply because the metering is so incredibly detailed.
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As I cover in-depth in my new online course (Mastering In The Box), compression is a great tool for any mastering engineer. It can help shape the tone, control dynamics, and boost the perceived (and actual) loudness of your source material. Here's a roundup of my most used compressor plugins as well
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