http://www.lautundleise.com

After receiving this EQ for a Demo from Andy I had the chance to use it live on a MTV unplugged Show
and was blown away how this unit can add proximity and depth to my mix even on a PA System.
Subtle boosts in the midrange lead to great clarity instantly and together with the boosts in the 2 other bands the PA
seem to come closer with tight low end (special when using the filter against the low band) and really smooth top end.
Had no other choice than buying the VSE-II right away

Stefan Holtz

Setup MTV unplugged show

Stefan Holtz, FOH engineer for "Die Toten Hosen", Marius Müller Westernhagen, Fanta4

 


 

In this episode I recalled a mix I did for Boom Boom Boom called "Dream of Life" running The Oracle Summing Mixer with the Vertigo Sound VSE-2 EQ on the stereo buss insert. I explain a bit about the Oracle's functions as well is how the VSE-2 sounds in action.

 

 

In this episode Greg visits Craig Bauer at his Hinge Studios in North Hollywood, CA. Craig discusses his hybrid workflow which utilizes an Avid S6, 48x2 of SPL MixDream Summing, and a ton of outboard gear including three Vertigo Sound units.

Greg Wurth is a Grammy Nominated, Gold & Platinum award winning producer, working as Manager and Chief Engineer at L.A.’s Mothership Studio and Patigonia Studio. His credits range from Steve Vai and Tony MacAlpine to Tracii Guns to Jim Florentine & Don Jamieson, 2Cellos and Mary J Blige. He has been Steve Vai’s Engineer for 10 years. A lot of his time is spent in the “Harmony Hut” studio in Encino, CA where they currently do all of Vai’s projects.

 

http://en.wikipedia.org/wiki/Craig_Bauer

Craig Bauer about the Vertigo Sound VSM-2:

A quick look into my analog side.
And if you're unfamiliar with the orange box... Vertigo Sound VSM-2 Mix Satellite is always on my 2 bus. Nothing else does what it does.

Craig Bauer



http://mixedbyjohnomahony.com

"I've tried almost every stereo VCA compressor on the market and have found the 'sweet spot' on each one to be quite a small. They trip past a point into sudden compression and then before you know it the audio is degrading and things begin to sound small.

The VSC-2 does not suffer such problems, on more extreme applications you can drive into heavy ammounts of compression without fear of collapse and maintain solid control of the envelope, I've used this to great effect on drum busses and room mics. In more gentle applications like the mix bus I’ve found that even a gentle 1db of compression goes a long way and holds everything together. 'Soft’ mode dips you gently into compression and adds brilliance to the mix in accordance to how far you drive into it. The Side Chain filters are well tuned and the Stereo Mode maintains image while reacting to peaks on either channel. The build quailty is superb and the controls are clearly marked to allow accurate recall of you settings, Vertigo have set the new benchmark for VCA compression with the VSC-2."

John O’Mahony
New York City

John O'Mahoney



http://davecobbproducer.com

"Just got a chance to try this morning it sounds insane!!! It retains the low and hi end when pushed really hard I've never heard another buss compressor do that!"

Dave Cobb

http://losbreakdowns.bandcamp.com

Aron 'Hot Rod' Hallam: Rhythm Guitar

http://www.lautundleise.com

Stefan Holtz FOH engineer for "Die Toten Hosen", Marius Müller Westernhagen talking about the VSC-2 compressor.

How long have you been working as an FOH engineer?
since the early 90´s.

What are the artist or for wich projects have you been working for?
Currently FOH engineer for "Die Toten Hosen & Marius Müller Westernhagen also I am system engineer for Die Fantastischen Vier and audio consultant for the Ruhrtriennale

For what signals you use analog compression?
Voice and Mix Bus.

What attributes you exspect of a analog compressor you like to work with?
A Hardwired Bypass is important, sturdy pots and rotary switches and low distortion even at high gainreduction wich always can happen in a live application...

How did you use the VSC-2 compressor at the latest "Die Toten Hosen" Tour 2012?
the VSC-2 is used in the Mix Bus....just in front of a Waves Limiter.
Using quite long attack times.. allows me to get my mix more dense while real peaks are processed by the limiter behind...

Do you have a typical setting wich works best for you? What is the maximum Gainreduction?
Soft or 1:2 with long attack (10 or 30ms) and a short release. The maximum gainreduction is around 3dB

There are a lot of compressor on the market? What`s the reason you go for the VSC-2?
Actuallly Georg Türk, FOH engineer of Silbermond and H-Bloxx...recomended this unit so i gave it a try.
Because of the my positive experiences with it i will definetley use it for the next "Tote Hosen" tour again.

Stefan Holtz FOH engineer for "Die Toten Hosen", Marius Müller Westernhagen

https://myspace.com/fohspike

Spike Jones FOH Engineer for: Primal Scream ,Archive, Placebo, The Streets, Pharrel Williams and Tricky Support tours have included REM, Pantera, Tool,Smashing Pumpkins, Top Loader and the Cranberries.

Hi Guys Just finished the Bonnie Tyler Quo support ,
I had to Use a Yamaha MC7L which is not my choice of desk for such Large Arena shows but budget dictated i have to use it.
Thank fully i had your compressor to dig me out of a hole.
I have been using The VCA Vertigo comp for a year now With Jonathan Wilson Supporting Tom Petty.
These were Arena shows Like the Albert Hall On a Digidesign Desk.
This Desk has loads of Plug Inns and you can get the Vertigo As a Plug in.
But to use the Real Thing is what makes the difference.
I mainly use this for Lead Vocals .
I like to use a Fast Mid Range Attack and slow release with a 2:1 compression and make up gain.
With this compressor combined with Digital desks it adds a Anolog Full Vocal sound which brings your vocal to the front of the mix.
The other great feature it compresses smoothly but fast and to the max without the public noticing .
Which is what i want from a comp.
The click action Knobs feel great and you can adjust them freely during the mix without the Audience noticing a change.But they work so you are able to switch live to hard compression in the mix and back live without a massive audible change in the PA.
Its like slamming a old DBX 160 into the red.
The main reason for choosing this comp is that it adds warmth to a digital desk and your vocal is around you at the desk not sounding like it comes from the stage.
I have always used a expensive Tube comp on Vocals with a digi desk to add warmth and depth .
The one i usually use have a pre Amp but even without a pre Amp ,the VCA`s in this comp warm and compress and combined with the make up gain its amazing.

Spike Jones, FOH mixer for Primal Scream ,Archive, Placebo, The Streets, Pharrel Williams and Tricky Support tours have included REM, Pantera, Tool,Smashing Pumpkins, Top Loader and the Cranberries.



http://www.lowswing.de

Georg Türk, FOH mixer for Silbermond and the german hard-rockers H-Blockx relies on the VSC-2 for Mix Bus compression.

Georg Türk



http://www.recording-lab.de

As a mastering engineer i was always looking for a compressor that gives me a great sound without making the music sound "dead".
And i found it with the Vertigo VSC-2!

It's able to sound very clean but also very characteristic.
The Vertigo VSC-2 Plugin is my first choice when it comes to a compressor plugin.
But not just only for Mastering where i love to use the VSC-2 alot, i also love to use it on Drums it just gives them this perfect edge.

The VSC-2 is my weapon of choice.



Michael Conn / Mastering engineer



http://www.332studio.com

So unique and easy to use. Owned it for a couple of weeks and already seems like years.
It´s powerful and musical.
As a mastering studio it´s always delicate to decide which piece of gear may help you add something new or interesting to your chain. Most of the times, you stick with what you have. But, the VSC-2 is one of the most exciting units we´ve ever decided to add.

The ratio settings helps a lot in making it a versatile unit. The soft option can be really smooth, while choosing 2:1, 4:1 or up helps ( like no other ) to bring out impact, punch, groove, details, lost elements and can make a mix really strong.
The carefully chosen attack and release timing settings are really useful and effective.
The SC-Filter adds yet another great tool to this unit.
The output knob delivers subtle to considerable ¨color¨. It´s a nice tool to add a sweet presence to a mix in the mids and highs when driven hard. Audio quality is always rich, thick and clear.

Helps enhance great mixes and also useful to give life and excitement to rather regular mixes.
We are surprised on how well it works with dense mixes revealing details.
The VSC-2 has character, it´s strong, punchy, clear, thick and always deep and open sounding.

Diego Calviño - Founder and Junior Engineer of 3:3:2 Studio



http://www.lowswing.de

The VCS-2 Compressor from Vertigo Sound is an extreme useful and flexible compressor, much more then suggested by just looking its standard set of controllers.
the VCS-2 work a charm on the master Bus it can go from subtle tape-like glue to really punchy "push" of the groove elements.
whatever setting you tune it to it always brings this warm "creamy" sound while retaining the original frequency response , even under heavy compression setting clarity always stays in tact ,in fact everything I put through the VSC-2 seems to gain from a very pleasant "openness" character of this compressor.
But my use for it doesn't stop at the master bus, this is a very versatile tool for mixing, it can control very complicated and dynamic acoustic guitar track, put vocal solidly in front of a mix (with a ridiculous amount of gain reduction yet absolutely artifact free) or bringing drum track to life.

the build quality and design quality of the VSC-2 is second to none an absolutely modern classic

Guy Sternberg - Low Swing Studio
http://lowswing.de/discography.php

http://www.elektramastering.com

Since my early years as a mastering engineer, I had always looked for a compressor that was a "GroovePusher" rather than a "Look-at-my-RMS-it's-Loud".
So I was exited to receive the VSC-2.
No surprises : the unit is extremely well built, with typical attentions you're expecting with this beautifull blue hancrafted unit.
Then I installed it. I was so pleased !

It leaves thing where they are, if you want.
It reveals things if you gently playing with the knobs.
And makes everything so groovy !!!

A global revelation !
It took exactly 15 minutes to decide that this machine will stay where it is : in my rack !

Thanks you, Vertigo Crew !!!

Bruno Gruel - Elektra Mastering



http://www.musictechmag.co.uk/mtm/reviews/vsc-2-1

We love the VSC-2. It`s a versatile compressor but it`s intuitive to use. It´s also very well built using the finest bespoke components and cosmetically pills off the trick of looking retro in a thoroughly modern way.
Sound quality is first rate and SC-filters mark it out as a mix bus compressor that is second to none. A very well thought out design!
Musictech Mag Score: 9 of 10



http://www.spherestudios.com

Sphere Studios UK & Francesco Cameli and his Vertigo Sound VSM-2


His engineering credits include albums by artists including New Model Army, Gary Moore, Otis Taylor, Westlife, The Streets, Ronan Keating and Duran Duran.


Musicians who have worked at Sphere include:
Super Furry Animals, Geri Halliwell, Ronan Keating, Duran Duran, Supergrass, The Boomtown Rats, Razorlight

 

 

http://www.goldengatemanagement.com/produzenten/olsen-involtini

Olsen relies on the VSC-2 for Rammsteins FOH Mix Bus.

RAMMSTEIN was touring South Africa for the first time ever in February 2011. They where performing on 9th February at the Grand Arena in Cape Town and on the 11th February at the Coca-Cola Dome Johannesburg.

 


http://www.roughedge.com/features/jackdouglas.htm

The Vertigo Quad Discrete VCA Compressor is, by far, the most exciting thing I have ever put across my stereo buss. It gives me incredible control of attack and release and get's me from "0-120" mph of punch faster than anything before it.

Jack Douglas

Jack Douglas was working at the recording desk contributing to many projects: Miles Davis, The James Gang, Alice Cooper, Cheap Trick, Montrose, Rough Cutt, Artful Dodger, Aerosmith, The Who and John Lennon.
After this landmark recordings he was given a chance to engineer John Lennon's classic 1971 IMAGINE album. Douglas and Lennon formed a close bond and worked together for the remainder of Lennon's tragically short life. In 1980 Douglas was working as producer with Lennon and Yoko Ono on their penultimate Double Fantasy album (for which he won a Grammy Award for Album of the Year).

 



http://www.resolutionmag.com


The maker of the highly-rated VSC-2 compressor has come up with an elegant and flexible solution for integrating analogue gear in a chain.

NIGEL JOPSON takes a mastering standpoint and fiends something that is truly innovative.

The four MS matrices, levelmatching,switching and blending make the device a unique product. The two distortion sections make a pretty good fist of simulating a variety of funky audio effects normally only achievable with a mixing console linking a bagful of vintage transformers, overdriven Dolbys in record mode, FET compressors and suchlike. Costbenefit and sound-for-pound wise, it’s a very good solution.

Nigel Jopson for Resolution Magazine V9.5 2010

 

 

http://www.soundmediapro.com/

The VSM-2 offers a lot of creativity and flexibility that extends to every piece of gear I own. It was like buying an upgrade for all the other outboard in my studio. I'm doing parallel compression with a Fearn VT-7 or Chandler TG-1. I can do Mid-Side processing with a FATSO, or Daking EQ's, or de-ess the mono content of a mix with a feakin' Voxbox! The list goes on. Other mastering routers do that too, but the fun continues with the distortion generators, which can be used in mastering for the most subtle and targeted ways to add thickness or sparkle, or abused for effect while tracking or mixing. I also appreciate that if you don't need color, you simply bypass those sections, allowing the character of the gear connected to it to come through. It's like a Swiss Army Knife, but it's orange instead of red, and being able to rescue a mix without remixing -- getting a vocal to sit better, or guitars to jump to life is a LOT more exciting to me than a can opener and a toothpick!

I should also say the guys at Vertigo were very helpful, (emailing me to say hi before I even received my unit) and their build quality is nothing short of immaculate. A peak inside reveals what looks like aerospace level construction. A work of art.

Brandon Busch
Seattle, WA

 

 

http://www.soundandrecording.de

It does not happen often that devices come onto the market which break the bounds of usual perspective.
To list all the potential application examples would exceed all limitations.
Subtle corrections in mastering are equally as possible as major operations in a mix.
The VSM2 seems here predestined for use on the vocal or drum subgroup.
Great that there are such devices.

taken from Sound & Recording 06/2010

 

 

http://www.diemischbatterie.de

I was searching to get my stereobus sounding right to my ears for nearly 3
years and I already had a bunch of great comps – once the „vertigo bundle“
arrived in my control room for testing the sound I was searching for was
just there. The VSC is nothing but awesome and the Mix Satellite adds all I
desperatly needed in the past ...

Stephan Zeh / die:mischbatterie, Mitterfeld

 

 

http://www.studio-magazin.de

"The Mix Satellite isn`t limited to be a Studio processor it`s a extension for all the gear you already own."

"You can`t get such a "amp sound" out of a digital amp farm. The bass guitar roars and sounds like a real amp"

"Every mastering studio must have this unit and production Studios should have a very close look to the Mix Satellite. It´s hard to realise from the beginning but the Vsm-2 offers so many useful options and tricks.
Well done guys!

taken from Fritz Fey-Studiomagazin 04/2010

 

 

http://www.teenagefanclub.com


I’ve always thought of buss compression as being somewhat akin to cosmetic surgery: something that purports to enhance beauty but often creates something that although initially impressive is actually a bit uglier than what was there beforehand. So, in recent years I’ve tended to bypass that step and hope that the mastering engineer can help me out in that area if needed. However, I’ve increasingly found myself mixing stuff where I feel the need to shape the whole envelope of the music to get the song to do what I want it to do, but when I’ve tried to do that with the tools I’ve had to hand I haven’t been able to achieve the effect I wanted without things also getting ugly. So, when I found out about it I was keen to try out the Vertigo VSC-2 to see if it could give me what I wanted. Using it across the mix of a song by a new Glasgow band called Snowgoose I quickly managed to get the punch I wanted without inadvertently punching myself in the face. Straight away I found the switchable 60Hz / 90 Hz sidechain filter to be a really useful feature. The VSC-2 has continued to do the job beautifully on subsequent projects. It’s also reassuring to know that should I really want to over-compress and push it to the limits, well, it can do that too and still sound musical.

"Raymond McGinley"

Teenage Fanclub are an alternative rock band from Glasgow, Scotland.
The band is composed of Norman Blake, Raymond McGinley, Gerard Love and Francis MacDonald .
TFCs third album "Bandwagonesque" won Spin magazine's 1991 end-of-year poll for best album, beating Nirvana's Nevermind, their Creation stablemates My Bloody Valentine's album Loveless, and R.E.M.'s hugely successful Out of Time.

http://www.the-scorpions.com/english

When it matters-Vertigo Sound!

The Scorpions rely on the Vertigo Sound VSC-2 mix bus compressor for mixing their "Live in Recife-Brasil DVD"!

Mr. Buff and Rudolf Schenker august 2009
(from left to right)

http://www.alwaysaudio.com

Thanks for making such a great product!

The superior routing, processing and signal path quality of the Mix Satellite completes my mastering processing chain.
Having the option of the mix blend knob and M/S routing with my compressor and the M/S routing with my Eq is like an expert tech meticulously modify my existing processors to get the very most out them, adding features I don't want to be without.

By the way, it looks absolutely stunning - sometimes just staring at it, makes my masters sound better ; )"



Mark Pappakostas, California USA

 

 

http://www.tapeop.com

Tape op Review 2010 by Matt Foster

Matt is based in London UK where he has been involved in the music industry
for more than 10 years. Initially trained as a studio engineer he has credits on records from Whitney Houston, The Corrs, Jungle Brothers etc.

Jumping straight into the main intended use of this little blue baby mixes.Adding a sense of dimension, coherence and overall sense of weight or power that makes the uncompressed mix seem limp and more than a little lacking. What's more it does this whilst preserving the overall tone, stereo image and size of your mix, and if anything further enhances it with very little of the adverse effects of lesser units where low and high end can become diminished.
Mix-buss compression probably being the most demanding of a compressors uses - this unit, when sitting side-by-side with SSL and Focusrite RED bus
compressors, trumps them all. I also found a very nice sheen or enhancement of overtones brought on by the VSC-2 that
added that finished/polished dimension to a mix that rapidly becomes very addictive.


 

 

http://klausjedelsky.eu

Klaus Jedelsky purchases the first Vertigo Sound VSM-2 Mix Satellite in Germany!


I know Markus & Andy for quite some time and i appreciate there high expertise for classic analog recoring eqipment! Their work and knowledge helped me to put the benfits of my analog gear into practice when working in a digital recording environment.

With their Vertigo Sound brand they created "Full Trust Pro Audio Equipment" you can buy without hearing! The longer i own both Vertigo units the more i understand the effort and enthusiasm behind their products.

Being the owner of the first "Mix Satellite"-serial Number 1 i want to say.

Thank you Vertigo!



Klaus has worked with artists as diverse as Vanessa (Ex-No Angels), Celest, Kimo, Amadeus or Bruno Ferrara.
He`s also resopnsible for the realisation of many audiobooks like Donna Leon, Simenon, Paulo Coelho or Martin Suter.

 

http://www.a-centauri.co.uk

Alpha Centauri relies on Vertigo Sound VSC-2 as their main bus compressor!

This incredible SSL mix and recording room in North London boasts the greatest spec for a studio of its kind in the UK. Here is a mix room, set up in the renovated and legendary Battery complex, where clients can experience a no-expense-spared SSL mix environment.

The studio's prolific collection of top-end outboard gear is nothing short of a dream for mix engineers and producers alike, and accompanies the room's awesome SSL 4060 G+ custom built Console with Total Recall as well as a combination of monitors including a pair of Dynaudio M4+ custom built active speakers .

It’s this combination that amounts to a whole new standard of Solid State mixing. Alpha Centauri is undoubtedly leaving the vast majority of other SSL mix studios light years behind.

Please check out the "Daily Mails" recent article about Alpha Centauris key gear! (4.Compressor)

http://www.dailymail.co.uk:80/home/moslive/article-1166437/Wheres-volume-A-look-Britains-advanced-recording-studio.html

Alpha-Centauri Mix Room

 

http://www.matthowe.net

Matt won Category "Best Album of the Year" at the Grammy's with Lauryn Hill's The Miseducation of Lauryn Hill, beating Madonna, Sheryl Crow, Garbage and Shania Twain. Matt has triumphed with multiple successes including 3 Westlife albums and 8 number one singles with multi-platinum or gold sales recognition.

As I mentioned we have plenty of options including Trident A Range console, Langevin EQ, Roden Scwhwartz, Gates, Telefunken, early Universal Audio etc..plenty of colouration devices to choose from. The mix bus compression choice is mostly Smart C1 or early 1980's Neve 33609. On sensible setting, the Smart can always "hold it own" or "fight it's corner" when compared against Neve or Vertigo. When driven too far, the Smart starts to sound like a cheap product & has a plastic sound. I think it becomes one dimensional. Keeping the output gains similarly matched, we applied same high level input & observed similar meter reduction to Vertigo but it never turned cheap....maybe very over-compressed. The lookout sign is how it handles the pumping effects of the bass end & if the high end becomes too dampened as well as what happens spatially with the ambience or "air" in the sound. The vertigo remained neutral as possible with regard to frequency response & almost transparent for the amount it had to press the material very hard.

Another observation, I remember saying to myself many years ago about how useful the C1 would be in a tracking situation. It's funny but I can't think of a time that I have ever used it for that job. But the vertigo I have more inclination to use it for this application. It's wonderful to use on Bass guitar or Piano in conjunction with filters. Its compressing (or over-compressing if you want) in a continually pleasing way & doesn't tear-up the sound (we can find other boxes to do that).

The Vertigo gives you a sense of trust & security - that your entire mix programme is safeguarded from becoming cheap sounding & one-dimensional.

Grammy award winning engineer Matt Howe at AIR STUDIOS

 

http://www.wildcowboys.com/

After one year of intensive use of the VSC-2 i can`t pass on this fantastic piece of gear. I have been always a fan of SSL type bus compression. a characterful compression you can easily identify in a finished production.
What i like about VCA Bus compression is the character you imprint on music! I am not talking just about levelling dynamics! For me the VSC-2 provides that certain character and trademark sound even better than any SSL or similiar compressor concepts. With high Gainreduction the VSC-2 makes my mixes sound "expensive & well balanced", the low end stays intact, the mids push a little more and the top end sounds like silk. I just hear more "Good" than "Bad"!
Beside Mix Bus applications the Vertigo VSC-2 works equally good on vocals, guitars or drums, whenever i am looking for a thick & tight sound. Drums get huge and the punch is unmatched! Negative artefacts are reduced to a minimum and the compressed signal sounds always better if a propriate setting is used. With its SC filters and the unique SOFT Mode this compressor is much more versatile and flexible than other competitors.

Probably the best VCA Compressor of its kind!

Credits: Kenneth "Babyface" Edmonds, Missy Elliott, Mary J. Blige, Monrose, Popstars, JayJay Johanson, Alcazar, The Stranglers, Barbara Tucker u.a.

Patrick Flo Macheck

 

http://www.sportfreunde-stiller.de

Das MTV-Highlight des Jahres 2009!

Nach mittlerweile sechs veröffentlichten Alben haben die Sportfreunde Stiller natürlich genug Stoff für das MTV Unplugged in New York Konzert. Die Sportfreunde vertrauten sowohl beim Live-Recording (Gaga Recording Mobile) als auch im Studio bei dem aktuellen Mix "Ein Kompliment" auf den Vertigo VSC-2 als Mix Bus Compressor.

Erst sechs deutsche Bands hatten die besondere Ehre ein Unplugged-Konzert bei MTV aufnehmen zu dürfen. Vertigo Sound ist stolz beim "Ritterschlag" der Sportfreunde mit dem VSC-2 Compressor mitgewirkt zu haben.

Olli Zülch + Peter Brugger

 

http://www.oleak.de

Since 1978 Rainer Oleak was a member of the band Neue Generation (New Generation), After this band came apart he joined among others Hans Joachim Neumann and founded Neumis Rock Circus!
Rainer composed over 300 titles for TV and film and produced and recorded many rock and pop albums for artist like Puhdys, Karat, Jaenette Biedermann or Silbermond.

A great unit! I like particulary the very musically puping release! while compressing a piano track the unit offers a warm, well balanced punch and all peaks are controlled in a very accurate way!
Using a large amount of compression the Vertigo VSC-2 behaves very "gracious" I have the possibilty to compare the Vertigo VSC-2 against my API, TG1 or my old Compex!
The Vertigo sounds very natural and provides a a well controlled 3D low end!

Rainer Oleak

 

http://www.truebusyness.com

Sascha"Busy"Bühren - TrueBusynessMastering

Sascha is a well known producer and sound engineer who worked for artists like Lil Kim, Common or Xavier Naidoo.
Since several years "Busy" is specialized on mastering for artists like Seeed, Peter Fox, Nena, Curse, Culcha Candela, Silbermond, Samy Deluxe, Massiv, Beatsteaks and many more.

I have always being a fan of multiband compression, cause i was able to do creative masterings-givin my clients the special treatment of creating loudness without losing dynamics...

For stereo buss compression i tested a couple processors, but ended up on digital, cause they were givin me the exact results of the hardware units, they are emulated from.
Some day Andy from VERTIGO SOUND, sent me the VSC-2, wich to be honest i´ve never heard off, racked this heavy depth unit, plugged it in between my other outboard stuff and started playin with it, even without knowing what it does when it is in “Soft Mode”. I figured out when the needle is jumping -6db and you add gain, it does something magic to the music, wich i dont have on other compressor units.

Now i use the VSC-2 on almost every music program, it doesn`t matter if it is , Techno, Heavy Metal, Rapmusic, Ballads or minimalistic acoustic recordings.

The other day i did this job where the producer called me, that the drums need
more punch within the mix, i knew that my other processors were already pushed to the Limit, so i decided to switch the VSC behind my Multiband Processor, i used the Ratio 2 using it`s softlimting and it did magic to the drums. I sent the new master back and the producer called back and was goin crazy about the new sound, he even heard more detail in his Mix... so i guess he made the decision for me to keep the unit.

For me as a engineer who likes cranking up the knobs and who doesn`t care about 0,5 dB Steps, it is the ideal tool to work even on the most complicated material, Before owning the Vertigo i used one setup on my one stereo bus compressor but now i have individual setups wich give me more options for the perfect treatment on any musicprogram, wich i call “Trademark Sound” and so my customers think too!

Sascha"Busy"Bühren

http://www.seeed.info

Olsen uses the Vertigo VSC-2 for his studio work and live mixing!

Olsen Olic "Involtini" mixed all Seeed and the 2008 Peter Fox album and was working for many artists like Bela B or Rammstein just to name a few.

Interview in German language:
http://diereferenz.com/peter-fox-auf-tour



Olsen in front of his outboard rack! Peter Fox Tour 2009

 

http://www.soundgarden.de

http://www.cloudshillrecordings.com

In the early nineties Chris founded the Soundgarden Studio in Hamburg and was working particulary for bands belonging to the "Hamburger Schule". He worked for bands like Blumfeld, Tocotronic, Franz Ferdinand, Kante or Die Sterne.

Chris about the Vsc-2:

The VSC-2 has a clear warm sound even with high gain reductions! Contrary to many other compressors the sound image never smears up, gets narrow or sounds too gritty and the mix stays always the mix! A very nice feature are the switchable lowcout wich work extremley well!

The studio section of Clouds Hill Recordings occupies a total area of 200 square meters and offers unique, carefully selected equipment that will satisfy the highest technical demands for all phases of analogous and digital music production and post-production. It is the only studio in Germany that is equipped with a vintage Neve 8068 console, the audio mixer that Sir George Martin commissioned Rupert Neve to manufacture in 1978.

Johann about the Vsc-2:

Normally i am not very keen to test Mix Bus compressors because avoid bus compression in my mixes and i work closely with Chris who`s doing the mastering of my mixes!
I normally hesitate to give public statements on gear because i think almost every unit can work fine in certain apllications!
I just finished a production and applied a quite radical amount of compression in the mix! Why? Because i don`t know any other compressor that is able to grab that hard, that musical and enhances the mix if the audio is just led through without compression!
Great results because of great sounding VCAs and a clever SC detection!

Many thanks for the easy transaction from testing to property!

Chris von Rautenkranz / Johann Scheerer

 

http://www.h-peh.de

Hans-Philipp "H-Peh" Graf, Mastering-Engineer aus Hamburg Schon nach kurzer Zeit hat er Projekte vieler deutscher Gold- und Platinkünstler / -produzenten, z.B. Jan Delay, Glashaus, Dennis Lisk, Sido, Azad, Samy Deluxe, Adel Tawil, Nneka uvm, klanglich veredelt.

Der VSC-2 ist mein "Go-To"-Kompressor geworden. Die Kompression ist sehr offen, frequenzneutral und trotzdem sehr lebendig - und das sogar bei starker Kompression. Und das Wichtigste: Der Mix bleibt der Mix, aber er klingt einfach besser! Mein alter VCA-Kompressor hat somit ausgedient, der VSC-2 hat ihn klanglich, bedientechnisch und optisch übertroffen

Hans-Philipp "H-Peh" Graf Mastering engineer from Hamburg was adding his magic touch to projects by gold and platinum disc winning German artists and producers as Jan Delay, Glashaus, Dennis Lisk, Sido, Azad, Samy Deluxe, Adel Tawil, Nneka uvm,just to name a few.

The VSC-2 has become my "Go-To" compressor. The compression is open and the frequency spectrum stays fully intact even under heavy compression. But the most imortant point is that the Mix stays your Mix-while just sounding better. Now my old VCA compressor has served it`s time-the VSC-2 beat my old one in sound, operation and look!



Hans-Philipp "H-Peh" Graf


http://www.film-scoring.de

Andreas Moisa is a composer for film and advertising and in collaboration with partner Philipp Kuempel he writes music for prime time TV-documentaries and -series like “SOKO Leipzig”, TV commercials for MAN Group and Danone Actimel, also image films for Porsche, Mercedes-Benz and many others. He is also author for the German music-magazine KEYS.

“We are doing a wide variety of musical styles and the VSC-2 really adds clarity to anything you throw at it, it’s very musical. You can easily achieve 6dB (or more) of Gain reduction without having the feeling that the music sounds “compressed” and your mix stays intact. I’m pretty sure that the VSC-2 will work its magic for years to come when we are all asking ourselves if we can activate our Plug-ins on the new computer system XY! Andy from VERTIGO SOUND took a lot of time to explain all the unique features of the unit and I like the spirit of a small but very personal company – it’s definitely money well spent.”

Andreas Moisa

 

http://www.professional-audio.de

M. Nötges about the Vertigo VSC-2

Edelkompression, Made in Germany

"....der Mix ist jetzt knackiger, wesentlich griffiger und ordentlich angeheizt durch die Klirranteile! Ausserdem wirkt er ingesamt ausgewogener und wesentlich organischer . Hier zeigt der VSC-2 wieder einmal seine phänomönale Vielseitigkeit und eine Klanggüte, die restlos begeistert."

Hi-End Compression, Made in Germany

".....the mix has more punch, grip and is quite enhanced with VCA-coloration! The mix is better balanced and sounds a lot more organic. One more time the VSC-2 shows its versatility and a sound quality that delights without compromise"

Professional Audio Magazin, Feb. 2009

 

http://www.united-balls.de

http://www.harry-kulzer.de

The munich based punk band sold over 1 million copies worldwide!
POGO in TOGO reached no. 14 in Germany, Australia and New Zealand. After "Pogo in Togo the group had some minor hits in Germany, Austria and Switzerland.

I decided to get a hardware mixbus compressor as a longterm investment for my studio and the software plug ins and TC Finalizer weren`t really my cup of tea.

For the compressor shoot out i got the compressor from all relevant manufacturers like Api, Manley, DBX, Avalon and Vertigo Sound. After extensive tests the choice came down to the VSC-2:

-It`s a great dual mono compressor for tracking
-It was the most flexible compressor in the shoot out ( from "Soft to Pump")
-the workmanship is just gorgeous
-the best manufacturer support

Today i can`t go without the the Vertigo VSC-2 in my studio setup. Along with some other investments the VSC-2 upgraded my "demo studio" to a professional studio workplace.

If you are around Augsburg feel free to contact me to check out the Vertigo in its daily use!

Harry Kulzer-United Balls

 

 

http://www.litenstudio.se

Having used the vertigo compressor just about everyday for the last 6 months, the only word that come to mind describing it would be stunning. I simply cannot unhook it from my mixbuss. Even at moderate settings it adds a distinct shimmer to the sound that you really miss when it's not there.
I find the sc filter very useful. The low frequency cut seem to be very smooth and make it really easy to avoid pumping.

I've bought, used and sold many compressors over the years. But the vertigo is here to stay.

Keep up the good work!

Fredrik Carnö of litenstudio.se

 

 

http://www.jackthebear.com.au

The VSC-2 is a snappy, musical, clean, 'tight' sounding, go-to compressor - an essential tool in our palette, and being used on everything from folk ballads, to solo piano, to pounding rock and electronic projects. Great build quality and LED-lit meters, too.

For us, being essential to offer high end mastering service and results, the flexibility and solid sound of the VSC-2 has been one of the key improvements we've made to an already world-class facility here in Australia's "music capital".

Adam Dempsey and Tony "Jack the Bear" Mantz, Deluxe Mastering, Melbourne, Australia.

 

 

http://www.audiotechnology.com.au

The VSC-2 is basically one of the best stereo mix bus compressors I’ve ever heard… end of story. From here on in consider these words as filler, pulp… waffle even.

A compressor of this calibre comes along infrequently. If high-end VCA compression is something you appreciate, the Vertigo is worthy of very serious consideration, particularly if your job involves delivering stereo program to paying clients. While it may seem pricey, the VSC-2’s abilities to add that professional touch to mixes more than justifies the expense. It’s a tool that would likely provide years of quality service and constitute a classy long-term investment.

The results were instantly gratifying, with gain reduction up to three, four and five dB seemingly falling away like water off a duck’s back. Needless to say I was more than impressed.

If compressors are like cars, the Vertigo is the Lamborghini of gain reduction!

Andy Stewart -drummer & producer


http://www.audiomedia.com

I hooked the unit up to my mastering rig as a straight replacement for my usual analogue compression, and the first word that came to mind on using the Vertigo was‘classy’:

the sound of the compressor is exemplary and has a lovely silky quality. I was struck by the fact that, as with some of the better compressors, any given program material had a range of settings that could be employed, thus handing control back to theoperator to make the most appropriate choices for the application. I also noticed that with some of the gentler settings (especially when using the Soft ratio), you might think the compressor was doing very little, until bypassing it and realising that much more was going on than you’d thought.
The VSC-2 is a very effective dynamic controller – I found the Attack control in particular to be a powerful tool, and I don’t think I’ve come across a compressor where the level of transients one lets through or not could be dialled in quite so simply-and declare the Vertigo VSC-2 ‘highly recommended’.



Audiomedia Issue May 2008

Nigel Palmer
http://www.lowlandmasters.com

 


http://www.studio-magazin.de

"The VSC-2 never sounds dull or dear even when pushed to the limits."

"Processing vocals or instruments is a pleasure! Even over 10db Gainreduction (if set correctly) there isn`t any audible pumping: Just a thick, dense dynamic sound without losing the original musical character! For this use the VSC-2 is the "Secret Weapon " and no signal can cheat the Auto Release function."

"The VSC-2 is a wonderful , professional tool! Although the market is swamped with analog compressors the VSC-2 occupies a incontestable place!

"Der VSC-2 klingt niemals erstickt oder tot, egal wie sehr man ihn fordert."

"Die Einzelbearbeitung von Stimmen und Solo-Instrumenten ist ein wahrer Genuss, denn selbst bei hohem Pegelhub jenseits der 10-dB-Marke ist – bei entsprechender Einstellung – kein hörbares Regelverhalten feststellbar, sondern lediglich eine extrem dichte Dynamik, die ihren Ursprung nicht verliert. In dieser Disziplin ist der VSC-2 eine echte Geheimwaffe und die Auto-Release-Funktion erweist sich als praktisch nicht zu überlistender Parameter."

"Mit dem VSC-2 ist dem Entwicklerteam ein ganz wunderbares, professionelles Werkzeug gelungen, das trotz des inzwischen fast unüberschaubaren Angebotes analoger Kompressoren einen individuellen und unanfechtbaren Platz belegen kann."




taken from Fritz Fey-Studiomagazin 05/2008


 

www.strazicky.de

You find his name on more than 25millions sold albums and more than 100 film & tv scores.

"The VSC-2 is simply my compressor choice for the mix bus! The Vertigo compressor does a great job and it doesn`t matter whether you are mixing in the box or doing a console mix. The VSC-2 gives me the desired sound without fiddley parameters.
You work on the mix instead on the compressor. It compresses the music in the fashion of those late 70ties/early 80ies gear without negative consequences on frequency response or liveness of sound. When mixing AZDA II (nominated best score for casual computer game 2008) the VSC-2 was my main tool.
Even on the smallest PC speakers the sound stays thick and vivid!"


Sein Name findet sich auf mehr als 25 Mio. verkaufter Alben und mehr als 100 Film- und TVScores.

„Ich möchte keinen Mix mehr ohne den VSC-2 in der Summe machen! Er funktioniert in jeder Umgebung ob Workstation Mix oder Konsolen Mix.“
„Endlich mal wieder ein Gerät mit dem schnell den Sound bekommt den man sich vorstellt.
Man konzentriert sich wieder auf die Musik und nicht auf das Outboard.“
„Verdichtet den Sound wie die Summenkompressoren der späten 70er und frühen 80iger Jahre ohne deren negative Auswirkung auf Frequenzgang und Lebendigkeit.“
„Bei den Mischungen für AZDA II (nominated best score for casual computer game 2008)
mit dem Scorenament Team war er ein unverzichtbares Tool. Selbst auf den kleinsten
Computeranlagen bleibt der Sound dicht und lebendig.“



Klaus Strazicky
(Producer & Engineer)

 


Malcolm Luker at present working on “The Forbidden Kingdom”

This is my first movie production with the Vertigo VSC-2 and my immediate impression is a solid stereo image with well pronounced definition of instruments and sections.

The discrete VCAs really do preserve the full audio spectrum, even when put under pressure, unlike typical “chip VCA compressors” which become dull and lifeless.
I particularly like the SOFT ratio which reacts to varying input levels – an original innovation.

The Vertigo VSC-2 has become a fixed part of my Class A arsenal.



Malcolm Luker. L.A. Film Score Recordist and Mixer
Shrek 3, Pirates of the Carribean, The Bourne Identity etc.

 


http://www.peppermint-park.de

his 1998 production "Horny" featuring Hot 'n' Juicy reached the top of the Billboard dance charts in the late 1990s and the Top 20 in the UK and Australia. In that same year, he was also nominated for a Grammy for his remix of the Michael Jackson hit Ghost. In 1999 Mousse T wrote and produced "Sexbomb" for Tom Jones which became a world wide hit. Since then, he has written, produced or remixed the work of world-renowned artists from Zucchero to Mary J. Blige.

The Vertigo Vsc-2 is my choice for versatile compression. Whatever setting I use, the Vertigo Vsc-w always makes my beats kick and my vocals smooth! I want to hear my mix and not my compressor, and the Vertigo allows me to do that. FAT!



Mousse T - Remixer, Dj, Producer & Songwriter

 


http://www.online-mastering.com

Exciting!
This was our first impression when adding the VSC-2 comp to our mastering chain. The unit convinced us from the very first minute sound was running through its well designed circuitry with absolute impeccable sonic performance.

Using the VSC-2 gives you a huge set of possibilities to shape the sound with just a few controls. Turn on the VSC-2 and the music starts to groove instantly. You can use channel link and side filters to open the stereo image nicely and the sound of the VSC-2 can seamlessly be pushed from soft and subtle to a hard and crunchy VCA like compression without any annoying artefacts. It can deliver full frequency punch - more than just that typical in-your-face mid range madness you often get from other devices.
It’s awesome how the VSC-2 delivers tonal control: high frequency content gets some nice sparkling silver on-top, details in the mix are shaped out nicely, the low end gets contour and precision and the whole mix receives clarity and punch. We also love the SOFT mode which –for example- allows to shape transients in a fantastic new way. The unit can even bring live back to already over-compressed signals. It’s seems to be magic what happens when audio touches the VSC-2.

Vertigo – You did a amazing job with this compressor. This is my absolute tool of choice. I can’t wait to get my hands on any future product. What should I say: A piece of gear I can’t afford to miss. The VSC-2 is more than just highly recommended.



Alex Zwarg
Engineer Studio 1

 


http://www.buffwerk.com

Hans-Martin Buff engineer & producer- working 4 years as the "In-House" engineer for Prince, Soul Asylum or No Doubt just to name a few.

Here`s his condensed opinion about the Vertigo VSC-2 Compressor:

I was mixing at a studio in switzerland where the in-house tech urged me to try his new entry the"VSC-2 Compressor", so i stuck it on my bass and it was so good-i didn`t change it for three weeks. The VSC is as warm as a Neve, but packs the punch of a SSL comp. Can`t wait to have my own.



Hans-Martin Buff


http://www.calyx-mastering.com
http://www.airmate.info

Hannes Bieger is a music producer and journalist. Besides working on his own projects Airmate and LLava, he is a freelance author with the Sound&Recording magazine and a mastering and mixing engineer at Calyx Mastering.?He has been working with the likes of Mozez (Zero 7), Izzi Dunn, Fat Jon (Five Deez), amongst many others.


"After months of craving I finally convinced myself to pony up the cash and go home with one of these Blue Beauties.
Be it brutal spanking or the most gentle touch - the Vertigo now adds punch and clarity to my drum and mix buss right before they hit the tape recorder.?

Not only as the owner of the first V72-Neue-Heimat-Rack that has ever been built, I share a passion for vintage equipment with the HE Studiotechnik/Vertigo Sound team for many years. When it comes to analog gear, they have an extremely high expertise and experience - even by international standards.

Since they told me they're going to release their Vertigo Compressor, I was anxious to hear what it sounds like. After working with it for a while now I have to say I'm deeply impressed. VCA-compressors have never really been the dynamic tools of choice for me (usually I lean more towards opto- and FET-compressors), but this thing is different! It sounds as tight and precise as you would expect it from a good VCA-compressor, yet it preserves a certain smoothness and elegance that you usually only get from high-end opto-devices. The VSC-2 is has an absolutely unique quality: it can thicken and widen program material at the very same time. With one or two dB of gain reduction, the side chain filter engaged and both channels not being linked, the overall sound gets tighter, the sub bass gets even deeper, the stereo image widens, and last not least a beautiful sparkle is being added to the air band. What more can you ask for?"



Hannes Bieger

 


http://www.g-stoned.com
After a long long search for technicians who could help me with some of my vintage babies without the usual bla bla bla and not so satisfying end results i found Andy and Markus of Neue Heimat. Their first job for me was the racking and service of my various V76 V74 V72s and then a custom job for my beloved Klangfilm EQs.
Just the amount of work and love they put into these things was astonishing, so i was very eager to hear their first creation the VSC-2 Quad Discrete Compressor.

When i received the VSC-2 i was just working on a mix and put the VSC- 2 out of the box straight on the mixbuss. My first impression was that the whole stereo image became a little clearer and the detection of the various instruments easier. I tracked various mixdowns with different settings and it's more a matter of taste which one we will finally choose as they all sound great.
I love that the compressor does not have that ''midrange in your face'' thing going that i totally dislike (...yeah, i know some peeps love that, but not me) and that it keeps the overall frequencies spectrum nicely intact.
The sidechain filter frequencies are very well selected and work fantastically on bass heavy music, you just set attack and release until the compressor starts pumping in a rhythmical way and then engage the SC Filters and voila sexy compression without the naughty artifacts.
That said it can also be a mean beast if you want that and sometimes we all like it rough. Also tracking through the VSC-2 makes the job of mixing easy as it controls the transients in a smooth and musical way. Chaining channel A + B and you have another interesting set of options.
I love it when people design tools that make me look like i know something about my job and the VSC-2 Quad Discrete Compressor is certainly one of those magic pieces. Can't wait for the next things in the Vertigo range they'll come up with.

Thank you guys.



Peter Kruder

 

http://www.dominiqueklatte.de
Congratulations! Both vertigo units are a real big time! The compressor on its own offering great flexibility in Mastering from Electro to Classical Music but in combination with the Mix Satellite this setup sets a new benchmark.
Ijust want to approve and cite a testimonaial from this site:
"Thanks for making such a great product"


Dominique Klatte
Mastering Engineer & Filmtonmeister

 


http://www.resolutionmag.com

Review (Resoultion Magazine V6.7) by George Shilling who achieved success early in his career, engineering the No. 1 smash hit "The Only Way Is Up" by Yazz, and producing "I'm Free" by The Soup Dragons. Since then he has worked with many famous artists like Teenage Fanclub, Primal Scream, Blur, Mary J. Blige, DeLaSoul, The Corrs... just to name a few.

"The VSC-2 is one of those units that oozes quality right from the first time you hear signal through it!....this is superbly designed and engineered product that i have no hesitation in heartly recommending."

"Soft is a unique feature where almost the entire audio range is the knee. With the the appropriate Attack and Release settings, this makes a fantastic setting for general recording or processing of individual instruments. Vocals and acoustic guitar in particular sounded wonderful fluid-controlled in an extremley pleasant manner, with no evidence of pumping, just really natural sounding."

"As a stereo bus compressor the unit excels. Across the mix, the sound is punchy and dynamic....the 1979 VCA adds a certain vintage-style colouration as it is pushed and a pleasent subtle crunchiness begins to occur."

www.msm-studios.com

Christoph Stickel at MSM discovered his new favourite dynamic tool:

"Normally I’m very cautious about using devices I am not familiar with in an actual production but, despite everything, the Vertigo VSC-2 breathed life into the stereo track. Since then I have used it on all further productions, whether for a pop album such as “Monrose” or for remastering the “Mahavishnu Orchestra” recordings from the 70ies."

"One of the big benefits of the compressor is the precise sound imaging and the detailed,untouched, spatial sonic performance. The stereo image is solid as a rock. Furthermore, the unit just sounds right to my ears and provides that certain punch which is so hard to find. It’s not just that it compresses and squeezes the sound – the VSC-2 seems to put life into the music. All instruments quickly find their place in the mix using gentle settings but when pushed a little harder they seem to jump out of the speakers."

"The Vertigo VSC-2 provides a wonderful sound, without bothersome artifacts and has something exceptional which is difficult to put into words."


Christoph Stickel - Senior Mastering Engineer

 


http://www.soundandrecording.de
Taken from the SOUND&RECORDING Review 08-2007

"The sonic performance is purely astonishing."

"
For all who those who like the smoothness of good optical compressors but were just missing the right portion of grip."

"The Vertigo isn`t limited to soft sounding results-you can really rock your mix-it`s just that it never sounds harsh or nasty.



http://www.bereich03.de

Using the Vertigo VSC-2 for mastering is so much fun! It doesn`t kill either the HF nor the LF. Finally i found a compressor wich improves my program material as soon as you read gainreduction on its meters. The behaviour of the unit is just impressive. The VSC-2 can thicken the program material or can boost out that big punch out of the mix. But the best feature is that the unit isn`t limited to soft settings-it just stays musically and natural sounding! The Vertigo VSC-2 provides this killer punch and the stereoimage stays untouched & stable.

I just love if a company produces well tought out concepts and a elaborate realisations!

Der Vertigo VSC-2 macht richtig Spass beim Mastern. Er zerstört weder die Höhen noch matschen die Bässe. Endlich steht mir ein Kompressor zur Verfügung der die Musik verbessert sobald er zu Arbeiten beginnt. Das Regelverhalten ist schlichtweg beeindruckend. Ich kann mit dem VSC-2 sowohl eine leichte Verdichtung des Programmmaterials erzeugen, als auch der Mischung richtig Punch verleihen! Das Beste ist, daß man sich nicht auf ein dezentes Regelverhalten beschränken muss. Auch bei relativhoher Gainreduction klingt der VSC-2 nie unnatürlich oder unmusikalisch. Er macht "Mörderdruck", "pumpt" nicht und das Stereobild bleibt wunderbar stabil!
Ich mag es einfach, wenn sich jemand bei der Entwicklung eines Gerätes richtig Gedanken gemacht hat. Ich bin begeistert!

Michael Heilrath

 


http://www.recmag.de/
Schlicht genial ist, daß ein Regeln der Ratio nicht zu großen Pegelsprüngen führt.

"It`s just ingenious that a ratio change doesn`t result in a change of loudness impression!"

Ein Gerät das zum Experimentieren mit unterschiedlichsten Einstellungen beim aufnehmen, mischen und mastern mit Sicherheit eine solide Investition darstellt und kreativen Schub gibt

This device is a solid investment for Mixdown, Recording and Mastering applications and provides a significant "step forward" for your creativity.

 


http://www.baselcitystudios.com
Rivalry in Switzerland!

Vsc-2 just dropped in at baselcitystudios.

Forceful enough to make its way directly into the Mix Buss!


Studio 1


http://www.4ohm.de
Klaus Scheuermann and Jakob "JDawg" Bernhart (Producers & Engineers) about the new VERTIGO compressor:

"When we first heard about Andy and Markus' plans on developing a state of the art bus compressor, we were worried wether the 'high-end' concept could meet our 'over the top' needs. Those who listened to some of our work know that we rarely use 'correct-sounding' equipment but those magic boxes that have their own personality.
The VERTIGO is a kind of wolf in sheep's clothing. It can be a very subtle tool that pushes the brilliant details of a fine vocal performance without actually changing the sound. But it also can be the hard motherf**ker across your mix bus of a metal-core slasher that blows peoples stereo systems!
There was not much of a discussion whether to get this thing or not. We heard and own a lot of classic characteristics compressors and the
VERTIGO perfectly found its place in our racks.
Not another clone, but a creative advancement for innovative sound guys.

Pry it from our cold dead hands ... ;-) "


Klaus Scheuermann (left), Jakob "JDawg" Bernhart (right)

 

http://www.zombienation.com
Splank is the man behind the projects Zombie Nation and John Starlight. His releases are always highly acclaimed by DJs like Sven Väth, 2manyDJs, Tiga, Justice and of course the loyal zombie fanbase. Touring the world every weekend since ´99 he has made himself a name as one of the busiest electronic music liveacts of today.
In Splank´s munich based Studio he creates his own music and does mastering for his company UKW Records & Publishing..

I have my VSC-2 now for a few days and I already fell in love with it.
This is exactly the subtle punch I am looking for and I have the feeling
there is a lot more in this box waiting to be discovered.
It's that piece of gear that you have in your studio
and you just know that it does the right job for you


F.S alias Splank

 

http://www.soundsound.ie

SoundSound is the trading name of Engineer Producer DanDan FitzGerald. The business was primarily Live FOH sound during the Eighties and Nineties. Live recordings led to studo work, which is now the main activity. However DD can still be spotted mixing bands such as Buille, Dervish, or Scullion.
SoundSound Recording Studio, founded in 95, is DD's personal use facility in Cork City, Ireland.
I recently had the pleasure of using a prototype Vertigo VSC-2 on several sessions.
The Vertigo people did some analogue modification and repair work for me in the past. From then I knew this is a company with deep reserves of technical know-how, respect for the classic analogue past, and a passion for both sound and technology. Their new baby, the VSC, confirms my opinions. It is a highly accomplished piece, beautifully constructed, with sound beyond reproach. It arrived during a tracking session. I opened the box, took one look, and immediately put it to work on vocal (U67-V78-VSC) and bass guitar (Mike Tobias Bass- Countryman FET 85 DI- V78-VSC). Both musicians and myself were immediately happier. I later compared the VSC with an original UREI 1176 as mixing inserts. With the VSC, Vocals and acoustic guitar were as well controlled as the UREI but somehow smoother. Words such as Creamy and Velvety come to mind. The Ace however, was the transformation of the Bass sound. A very high quality signal chain was used, so the Basses, a Mike Tobias and a Warwick fretless, already sounded great. On bothe Tracking and Mix Insert duty the VSC took the Bass sounds up to another level altogether. I expect that on Electic Guitar , Drums, and any other Rock and Roll duties, the VSC will be a new colour on the block, a cure for ‘Distress’ ;-) DD


Control Room- Nip Tuck!