The Shadow Hills Equinox is like
a complete small-format recording console in just 2 rack spaces. It
features 2 GAMA mic preamps, 30 channels of analog summing, and a
mastering-grade monitor controller.
Microphone Preamp
The mic preamps are the Golden Age Microphone Amps. Each has 60dB of
gain, 24 position gold-plated stepped attenuators, 48V Phantom Power, 20
dB Pad, Phase Reverse, and 1/4” DI Input. The most exciting feature of
the amplifier section is the switchable output transformers, which allow
for several different sonic flavors in the same box. The transformers
and characteristics are as follows:
Steel Transformer (hand
wound to match a favorite 1970's American output transformer.) Tight and
punchy, the most colored with the biggest low end. The sound of rock
and roll.
Nickel Transformer (hand
wound transformer based on a L.A. custom console.) Super clear and
wonderful sounding, but with a subtle and musical smoothing of the
transients.
Iron Transformer (modern
version of the classic St. Ives 1166 Neve output transformer.) - Warm
and round, with a super detailed and present mid-range.
Summing Network
The summing buss is a 30-channel mixer utilizing copper buss bars and
esoteric resistors, for simply the finest sounding passive summing. DAW
inputs 3-24 are STEREO summed and distributed odd to left and even to
right, while DAW inputs 25-32 are sent MONO to both channels of the
summing network. The summed signal then passes through the Golden Age
amplifiers with selectable output transformers. Effectively allowing
the user to choose between the sounds of three different consoles on the
mix bus.
Monitor Section
The monitor section features: choice of 4 input sources, choice of 3
speaker outputs, 24 step Monitor Level control, Monitor Level DIM
switch, switch to engage built-in Talkback Mic, Cue output, and
Stereo/Mono switch.
With the INPUT SELECT switch in the:
DAW 1-2 position the Equinox monitors the stereo mix output of the
user’s DAW. In this mode, the incoming DAW 1-2 signal bypasses the
GAMA amplifiers and feeds the Monitor Level control. This allows the
user to employ the Equinox’s mic preamps standalone and record/monitor
them through the DAW’s I/O.
MIX 3-32 position, the Equinox monitors the summing network after passing through the GAMA’s.
EXTERNAL position, the Equinox is able to monitor an additional balanced stereo source via rear panel XLR connections.
MIC PRE position, the Equinox routes the mic preamp output
directly to the Monitor Section. This allows the user to monitor the
signal coming directly from the preamp, prior to any converter artifacts
or intermediate processing.
The monitor section also features 3 pairs of Speaker Outputs and a Cue
(or headphone) Output. Both reproduce what the Input Select is set to.
Only one speaker output pair may be selected at a time. The speaker
output level is control by the Monitor Level knob. The Cue Output is
unaffected by the Monitor Level, and switches to the Talkback signal
when the Talkback Switch is engaged. Simultaneously, the Monitor Level
dims when the Talkback Switch is engaged.
With all these features in a rugged 2U enclosure the Shadow Hills
Equinox is equipped for the demands of modern recording, but styled and
crafted to the high standards of a bygone era.
Note: This unit requires the Shadow Hills PSU (not included).
Original Manufacturers Description
Technical Documents
Specifications
Brochure
Product Manual
Recall Sheet
User Testimonials
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.
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
"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 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
"Incredible gear. Like having a high-end console (in terms of function and sound) in my rack. Part of my new studio upgrade, and a great Ryan recommendation!" Lee Negin
