"I received my Equinox the day before Thanksgiving 2008. I hooked it up immediately. My first pleasant surprise was that my Dynaudio BM5a’s became even more amazing once the Mackie Big Knob - and its proliferation of sonic mud - was taken out of the monitoring chain. The monitoring section of the Equinox is transparent - period. Of course, I had never noticed what the Knob was adding, but anyone would have heard the difference. The headphone feed had less mud as well.
My next “WOW” came in the form of the GAMA pre-amps and their selectable transformers. As if the summing and console-replacing control wasn’t enough. You can read the many GAMA reviews, but suffice it to say they get used in every session.
I use DP 6 and have always believed the DP summing algorithm to be one of the best in the DAW world. I still think that is true as regards DAW summing, but the addition
My next “WOW” came in the form of the GAMA pre-amps and their selectable transformers. As if the summing and console-replacing control wasn’t enough. You can read the many GAMA reviews, but suffice it to say they get used in every session.
I use DP 6 and have always believed the DP summing algorithm to be one of the best in the DAW world. I still think that is true as regards DAW summing, but the addition
of analog summing with the Equinox has changed the whole mixing game for me. Your mix will be altered by the summing unit. I don’t care what anybody says. My work flow now by-passes the whole DAW summing channel and I simply work my sessions with the Equinox playing the role of console. The transformers allow for very different sonic results that you may choose based on the music you are mixing. The same music can sound like it was done in three different studios - in three different eras no less. These are not subtle differences. You will likely pick a favorite. I certainly have and - No - I won’t tell you which one. I mean, why should you care anyway? Try them all and make up your mind.
The number of channels for summing, great console-type control, 2 amazing pre-amps, three selectable transformers….that’s enough right? Well, there is more. I finished up a record in December that I wanted to sum onto analog tape for the additional mojo that might add to this very dynamic production. We were going for something that would capture the 1970’s beginnings of alt.country and I believed tape would be the answer. I went to a big-name studio that specializes in analog tape work. I asked if we could do the summing through my gear and have him help me with the tape transfer. We set a time to work.
The process of working through the equipment in a great control room with time-aligned Urei monitors revealed even more pleasant sonic differences. I asked if we should compare the Equinox to his - we’ll call it “Steve” console - and he said there was no reason at all to do so. Both of us were very pleased with the results. The Equinox did its thing to the sound, the tape added the mojo and we were now ready to master the record with as little compression as possible and NO LIMITING whatsoever. Granted, performances and engineering helped get away with this but we would not have had the same sound without the Equinox.
If you are looking to replace an old console, considering one of the “inexpensive” new consoles, want better recall for mixes but don’t want to give up the analog gear on the master bus, or a myriad of other modern considerations, you owe it to yourself to try the Equinox. If you want to hear the mixes go to www.janglyrecords.com and listen to Zach Seibert and the Red Wagon."
Paul Bodamer
The number of channels for summing, great console-type control, 2 amazing pre-amps, three selectable transformers….that’s enough right? Well, there is more. I finished up a record in December that I wanted to sum onto analog tape for the additional mojo that might add to this very dynamic production. We were going for something that would capture the 1970’s beginnings of alt.country and I believed tape would be the answer. I went to a big-name studio that specializes in analog tape work. I asked if we could do the summing through my gear and have him help me with the tape transfer. We set a time to work.
The process of working through the equipment in a great control room with time-aligned Urei monitors revealed even more pleasant sonic differences. I asked if we should compare the Equinox to his - we’ll call it “Steve” console - and he said there was no reason at all to do so. Both of us were very pleased with the results. The Equinox did its thing to the sound, the tape added the mojo and we were now ready to master the record with as little compression as possible and NO LIMITING whatsoever. Granted, performances and engineering helped get away with this but we would not have had the same sound without the Equinox.
If you are looking to replace an old console, considering one of the “inexpensive” new consoles, want better recall for mixes but don’t want to give up the analog gear on the master bus, or a myriad of other modern considerations, you owe it to yourself to try the Equinox. If you want to hear the mixes go to www.janglyrecords.com and listen to Zach Seibert and the Red Wagon."
Paul Bodamer
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Shadow Hills Industries Equinox
The first thing that people notice about Shadow Hills boxes is the use of black Bakelite-style knobs and glowing green filaments that scream contemporary Batcave... but the defining feature of Peter’s work to date lies in the switchable output transformer settings. Each channel can be set to Nickel, Iron, or Steel. Steel is punchy, thick but bright, and is likely based on the vintage '70s API sound. Iron is essentially the St. Ives 1166 Neve hardware. And Nickel is softer and gooier and is based on a custom L.A. console. These three options not only are applicable on the two preamps going into your DAW but on the 32-channel summing buss coming out as well.
Therefore, you can route your digital signals out of your DAW and sum in the Equinox, switching the output transformer on your mix to emulate one of three heavy duty console textures; and remember, this is old-world hardware, not a digital simulation. The summing buss uses esoteric Holco metal film resistors (the same ones in Shadow Hills custom mastering consoles) located right next to the input transformers- wiring at its finest, which is reflected in the clean, fat sound.
The Equinox feels and sounds as if you are working on an actual console. This is no minor thrill for those of us who built our skills on computer DAWs. The talkback mic/ dim feature in the master section will make communication with the performer far more convenient and professional.
The mic preamps have their own separate I/O, so you do not have to spend any time behind the unit changing cables when you are mixing versus when you are tracking. The Equinox comes with a separate 2U power supply. The required connectors and cords are not cheap to purchase and should be factored into the total cost. All 32 summing inputs along with the speaker outputs are D sub. The preamp cabling is balanced XLR of course. There are also balanced XLR inserts on the 2-buss which I use for external processing after summing.
On the front panel, the master section has input choices for DAW, internal summing buss, external 2-track, and the built-in mic preamps. This makes it possible to toggle between in-the-box DAW and Equinox-summed mixes. You also have monitor volume control, stepped gain knobs for the two preamp/summing channels, and the expected phantom power, polarity, and pad switches. Finally there is the speaker-select knob to choose one of three sets of speaker outputs, as well as a mono/stereo switch and talkback toggle.
The Equinox is so visually stunning and sturdy and has so many features that it is easy to overlook that the most inspiring and useful feature by far is the sound. Essentially two high-end mic preamps and hardware summing of the highest quality, this unit has improved my mixes immeasurably. As an early owner of one of the other summing boxes (I found it too transparent), I was skeptical of outboard summing, but the Shadow Hills Equinox has made me a believer.
Jim Roll, TapeOp
The first thing that people notice about Shadow Hills boxes is the use of black Bakelite-style knobs and glowing green filaments that scream contemporary Batcave... but the defining feature of Peter’s work to date lies in the switchable output transformer settings. Each channel can be set to Nickel, Iron, or Steel. Steel is punchy, thick but bright, and is likely based on the vintage '70s API sound. Iron is essentially the St. Ives 1166 Neve hardware. And Nickel is softer and gooier and is based on a custom L.A. console. These three options not only are applicable on the two preamps going into your DAW but on the 32-channel summing buss coming out as well.
Therefore, you can route your digital signals out of your DAW and sum in the Equinox, switching the output transformer on your mix to emulate one of three heavy duty console textures; and remember, this is old-world hardware, not a digital simulation. The summing buss uses esoteric Holco metal film resistors (the same ones in Shadow Hills custom mastering consoles) located right next to the input transformers- wiring at its finest, which is reflected in the clean, fat sound.
The Equinox feels and sounds as if you are working on an actual console. This is no minor thrill for those of us who built our skills on computer DAWs. The talkback mic/ dim feature in the master section will make communication with the performer far more convenient and professional.
The mic preamps have their own separate I/O, so you do not have to spend any time behind the unit changing cables when you are mixing versus when you are tracking. The Equinox comes with a separate 2U power supply. The required connectors and cords are not cheap to purchase and should be factored into the total cost. All 32 summing inputs along with the speaker outputs are D sub. The preamp cabling is balanced XLR of course. There are also balanced XLR inserts on the 2-buss which I use for external processing after summing.
On the front panel, the master section has input choices for DAW, internal summing buss, external 2-track, and the built-in mic preamps. This makes it possible to toggle between in-the-box DAW and Equinox-summed mixes. You also have monitor volume control, stepped gain knobs for the two preamp/summing channels, and the expected phantom power, polarity, and pad switches. Finally there is the speaker-select knob to choose one of three sets of speaker outputs, as well as a mono/stereo switch and talkback toggle.
The Equinox is so visually stunning and sturdy and has so many features that it is easy to overlook that the most inspiring and useful feature by far is the sound. Essentially two high-end mic preamps and hardware summing of the highest quality, this unit has improved my mixes immeasurably. As an early owner of one of the other summing boxes (I found it too transparent), I was skeptical of outboard summing, but the Shadow Hills Equinox has made me a believer.
Jim Roll, TapeOp
Initié très tôt à la pratique de la musique, Sylvain Carpentier est vite captivé par les sonorités des innombrables instruments et toutes les possibilités qu'impliquent les différentes techniques d'enregistrement et de mixage.
Après avoir décroché son diplôme à la "School of Audio Engineering" il intègre, début 2000, l'équipe des prestigieux studios Plus XXX à Paris où il restera 4 ans.
Pendant cette période il aura l'occasion de côtoyer les plus grands ingénieurs du son et réalisateurs, de travailler pour les artistes français et internationaux les plus importants.
De RZA au Saïan Supa Crew, des Rita Mitsouko à Olivia Ruiz, de Saez à Lenny Kravitz, Cesaria Evora ou encore Cassius, pour n'en citer que quelques-uns, Sylvain multiplie les collaborations et affine ses techniques.
S'en suit une période de 6 ans en tant qu'ingénieur freelance, baladant ses machines de studios en studios au gré des projets qui s'enchaînent, notamment avec Saez avec qui il lie une relation de confiance ; on ne compte plus le nombre de morceaux enregistrés et/ou mixés ensemble ! Il travaillera également avec Alizée pour qui il réalisera un album et avec qui il partira en tournée en tant que guitariste et clavier. Cet album a été fait avec Jérémy Châtelain qu'il connait depuis l'époque de Plus XXX. Ensemble ils feront également un album pour Emma Daumas.
Après avoir décroché son diplôme à la "School of Audio Engineering" il intègre, début 2000, l'équipe des prestigieux studios Plus XXX à Paris où il restera 4 ans.
Pendant cette période il aura l'occasion de côtoyer les plus grands ingénieurs du son et réalisateurs, de travailler pour les artistes français et internationaux les plus importants.
De RZA au Saïan Supa Crew, des Rita Mitsouko à Olivia Ruiz, de Saez à Lenny Kravitz, Cesaria Evora ou encore Cassius, pour n'en citer que quelques-uns, Sylvain multiplie les collaborations et affine ses techniques.
S'en suit une période de 6 ans en tant qu'ingénieur freelance, baladant ses machines de studios en studios au gré des projets qui s'enchaînent, notamment avec Saez avec qui il lie une relation de confiance ; on ne compte plus le nombre de morceaux enregistrés et/ou mixés ensemble ! Il travaillera également avec Alizée pour qui il réalisera un album et avec qui il partira en tournée en tant que guitariste et clavier. Cet album a été fait avec Jérémy Châtelain qu'il connait depuis l'époque de Plus XXX. Ensemble ils feront également un album pour Emma Daumas.
Aujourd'hui, Sylvain a monté son propre studio d'enregistrement afin de gagner en autonomie et de pouvoir pratiquer des tarifs plus en phase avec l'évolution actuelle du marché de la musique. Depuis l'ouverture du studio, il a travaillé avec des groupes indépendants comme Thomas Howard Memorial, Hill Valley ou Bessa mais aussi avec des artistes signés comme Edi Casabella.
Avec ce pied à terre il élargit ses possibilités de créations mais reste toujours disponible pour travailler dans d'autres studios en fonction des besoins des artistes.
Site officiel de Hell's kitchen
Avec ce pied à terre il élargit ses possibilités de créations mais reste toujours disponible pour travailler dans d'autres studios en fonction des besoins des artistes.
Site officiel de Hell's kitchen
The Equinox represents all that is right about Peter Reardon and his Shadow Hills Industries products. It's beautiful, it's functional, it's innovative, it's a throwback to another time that anticipates the needs of the future, and it's not cheap; but it's probably worth triple its price.
The Equinox is a two-channel preamp; 32-channel summing buss; and master section complete with talkback mic, dim switch, mono/stereo switch, and outputs to three sets of monitors and your headphone amp; with a pair of green “magic-eye” VU meters; contained in a sturdy 2U-height steel case.
The Equinox is a two-channel preamp; 32-channel summing buss; and master section complete with talkback mic, dim switch, mono/stereo switch, and outputs to three sets of monitors and your headphone amp; with a pair of green “magic-eye” VU meters; contained in a sturdy 2U-height steel case.
Témoignages
Présentation
Le Shadow Hills Equinox est une console d’enregistrement complète. Tout d'abord, la section de monitoring dispose d’un contrôle de volume cranté 24 positions Full discret, Full Classe-A. Un sélecteur pour 3 paires d'enceintes ainsi qu'une sortie stéréo pour casque. Le sélecteur de source d'entrée 4 positions permet de basculer entre les signaux suivants
DAW: 1+2: le mix non sommé,
MIX 3 to 32: la sommation des 32 voies
EXTERNAL: entrée externe (compresseur ou tout autre périphérique externe)
MIC PRE: entrée micros 1 & 2
La section de Monitoring est une des meilleures sections de Monitoring que vous aurez jamais entendu. Elle offre le contrôle de 3 paires d'enceintes, plus sortie CUE pour amplificateur de casque, Talkback avec DIM. Mais également conversion Mono / Stéréo.
Les amplificateurs GAMA embarqués avec 3 transformateurs sélectionables en sorties (nickel, Iron & Steel) offrent 60dB de gain par voie. Mais géalement inversion de phase, Alimentation 48V par canal, PAD 20dB par canal, entrée DI (avec PAD et inversion de phase). Les préamplificateurs combinés aux 3 transformateurs de sortie sélectionnables (Nickel, Iron et Steel) offrent le son et le caractère de 3 types de consoles différentes.
L’Equinox est probablement le rack 2U le plus solide et le plus fiable jamais construit. Il vous permet d’enregistrer, de mixer et monitorer avec la tolérance d’une époque révolue.
Le Shadow Hills Equinox est une console d’enregistrement complète. Tout d'abord, la section de monitoring dispose d’un contrôle de volume cranté 24 positions Full discret, Full Classe-A. Un sélecteur pour 3 paires d'enceintes ainsi qu'une sortie stéréo pour casque. Le sélecteur de source d'entrée 4 positions permet de basculer entre les signaux suivants
DAW: 1+2: le mix non sommé,
MIX 3 to 32: la sommation des 32 voies
EXTERNAL: entrée externe (compresseur ou tout autre périphérique externe)
MIC PRE: entrée micros 1 & 2
La section de Monitoring est une des meilleures sections de Monitoring que vous aurez jamais entendu. Elle offre le contrôle de 3 paires d'enceintes, plus sortie CUE pour amplificateur de casque, Talkback avec DIM. Mais également conversion Mono / Stéréo.
Les amplificateurs GAMA embarqués avec 3 transformateurs sélectionables en sorties (nickel, Iron & Steel) offrent 60dB de gain par voie. Mais géalement inversion de phase, Alimentation 48V par canal, PAD 20dB par canal, entrée DI (avec PAD et inversion de phase). Les préamplificateurs combinés aux 3 transformateurs de sortie sélectionnables (Nickel, Iron et Steel) offrent le son et le caractère de 3 types de consoles différentes.
L’Equinox est probablement le rack 2U le plus solide et le plus fiable jamais construit. Il vous permet d’enregistrer, de mixer et monitorer avec la tolérance d’une époque révolue.
• Transformateur de sortie Nickel Custom ayant un son superbe et très claire (même catégorie que API 2503 à la sauce Shadow Hills Industries).
• Transformateur de sortie Iron, la version moderne du transformateur de sortie Classe A St. Ives (similaire au 1166 de Neve).
• Transformateur de sortie Steel custom Son Punchy et incisif, le son du Rock and Roll (retouché pour correspondre au transformateur de sortie des consoles Quad Eight).
Le sommateur est équipé des résistances HOLCO ésotériques calibrés main, les résistances utilisées sont du même type que celles du Mastering Compressor Shadow Hills Industries. La sortie du mixeur est également équipée des transformateurs sélectionnables, permettant ainsi trois sonorités et couleurs différentes pour vos mixes.
Connexions sur panneau arrière : entrées via DB25, par paires stéréo. Toutes les autres connexions (Entrées / Sorties) via XLR.
Garantie 5 ans
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