Sonically, things are equally impressive, with the plug-in coming exceptionally close to matching the sound of the original hardware (digital models can never quite capture the sound of electrical signals flying around hot electronic components).

We speak with Sam and hear the story of Blank Studios construction.

Those who have heard of Shadow Hills know of the impressive reputation the companys boutique pro-audio hardware commands, not to mention the serious price tags associated with it.

But Shadow Hills tends to avoid advertising and marketing, relying instead on reputation and word-of-mouth alone its almost like a secret society where if you know, you know and if you dont know, you dont need to know.

This was released as a UAD plug-in for use with Universal Audio interfaces and satellite DSP hardware, where it rapidly became one of the most popular and respected dynamics plug-ins available on the platform.

Brainworx has now updated its model and, through its partnership with Plugin Alliance, has released this for all plug-in formats: VST, AU and all flavours of AAX.

But its how the processor operates thats of most interest, and this is what makes the SHMC stand apart from the competition.

Like many dynamics processors, the SHMC has two processing channels that can be linked for stereo operation, or used independently in a dual-mono configuration; the intriguing thing is that each channel has two compression stages that can be used individually or in series, and three transformer models that change the character of the sound.

Like most compressors of this ilk, this has a single control to both reduce the threshold and increase the ratio of the compression being applied.

This is a discrete VCA-style compressor with independent threshold, ratio, attack and release (or Recover as it is labeled on the SHMC).

In the original hardware, this stage offers a choice of three different transformers, each created using wire made of different metals nickel, iron and steel and each wound in different ways.

Switching between the different transformers changes the character of the sound in subtle but appreciable ways: Nickel adds distinction and airiness to the upper mids, Iron fortifies and smooths the mid and lower-mid and Steel thickens and warms the lower end of proceedings.

When operating as a mono plug-in, both meters remain active so that you can monitor two levels simultaneously for example optical gain reduction on the left meter and discrete gain reduction on the right meter.

This gives something of an indication of the level and crest factor (ie, difference between peak and average signal level) of the processed signal.

It isnt easy to describe how it does this, but suffice it to say that its more of an intuitive guide than an accurate readout; it looks pretty cool, too.

Theres also the ability to store four different setups A to D in each instance, and call these up instantly with the click of the mouse.

Optical compressors are generally good for gentle progressive compression that tames dynamics without being too obvious about it, while VCA compressors are good for bringing peaks fully under control and for evening out longer-term volume differences.

If you want a more noticeable effect then the SHMC offers various ways of achieving that, each with its own character.

The different transformer models add a whole other range of tonal choice, too, especially if driven hard by the discrete stages output gain.

And despite its name, the SHMC is an excellent channel compressor, too: its perfect for vocal and speech processing, sounds fabulous across brass and lead synths, makes snares snappy and gives solidity and character to basses and kicks.

It is also just about the best compressor for acoustic guitars that Ive ever had the pleasure to use truly magnificent.

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