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Vertigo Sound VSC-3 Compressor

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Product Code: 2382
Vertigo Sound VSC-3
$4,900.00
Availability: Built To Order

This item is built to order so expect a lead-time before shipping, but we will get it to you as quickly as possible. Go ahead and place your order and we will follow up with an ETA as soon as we have it. If you have a deadline then please contact us before placing the order so we can meet your expectations.

Vertigo Sound VSC-3 Compressor

The Vertigo Sound VSC-3 Compressor is a nod toward the best VCA based compressors of the 70s and 80s, with some unique and innovative features lie beneath the bonnet, such as the ratio which increases with level in Soft mode, and a combination of classic based topology and modern mastering grade signal path.

The Vertigo Sound VSC-3 Compressor is the legal successor of the Vertigo Sound VSC-2, which now is a modern classic and can be found in many top class studios around the world. Vertigo Sound spent a lot of effort making a good product even better. The VSC-3 can do all the tricks the VSC-2 is known and loved for plus a bunch of new features and options.

The VSC-3 is still named QUAD DISCRETE COMPRESSOR because it`s topology stays the same. It is so named, because it uses 4 VCAs built using only discrete components. It’s design is a nod toward the best VCA based compressors of the 70s and 80s. The Vertigo VCA is in fact named 1979. Some of the best features of these classic Compressors have been complimented in the VSC. This classic based topology is combined with a modern mastering grade signal path. Some unique and innovative features lie beneath the bonnet, such as the ratio which increases with level in ‘Soft’ mode.

Vertigo Sound VSC-3 Compressor Features

  • ual Mono, True Stereo SC & Mono summed SC functionality
  • switchable to RMS or PEAK Detection
  • Dual - Mono, no shared contols - Mid side capability
  • Stereo and Mono SC Mode Channel A controls become master
  • The Stereo signal is phase coherent under all settings
  • No phase shift or L-R problems can occur due to the innovative SC design
  • Signal path is of Mastering quality
  • Real stereo mode! Channel A is stereo master
  • There is a minimum of circuitry with a hard relay bypass
  • Settings from Soft Knee (Soft=TipToe) to Hard Knee (Brick)
  • The Ratio selection switch compensates to provide equal loudness, allowing immediate comparison
  • Easy to recall! All parameters are detented (optional for Threshold & Makeup)
  • Wide selection of time constants. You can choose between 10 Attack and Release settings
  • Slow and fast Auto release Mode
  • Side chain High Pass Filters with two switchable frequencies are provided onboard
  • 20 segment gainreduction bargraph meter for each channel 0,25dB to 20dB
  • Handsome parameter control via customized scale ranges
  • Internal components are of the ultimate quality, modified where necessary
  • A Toroid transformer ensures no PSU noise
  • The ‘1979’ VCA is made of individual components, no Integrated Circuits
  • Encased in a ceramic material for thermal stability
  • Discrete VCA adds vintage character to the sound
  • The harder it compresses the more it colours
  • This VCA delivers Real Analogue punch
  • A Cinemag transformer and a state of the art line-out driver complete the picture by providing perfectly balanced In and Outs

Vertigo Sound VSC-3 Compressor Specifications

  • Type: True Stereo SC /Mono summed SC/ Dual Mono switchable
  • Transformers: Cinemag Balanced In. That Corp 1646 out
  • Dynamic Range: 115 db
  • Frequency response: 10 Hz … 70 kHz at -3dB gainreduction
  • Max. Output Level: + 27 dBu / 600 Ohm balanced floating
  • Signal to Noise Ratio at + 6 dBu: = 97 db (20..20 kHz, unweighted, RMS)
  • Noise: – 91 dBu (20 Hz – 22 khz – unweighted, RMS) @ 0 db Unity Gain
  • Crosstalk between channels: > 100 db at any frequency
  • Power consumption: max 12 Watts
  • Power: 115V @ 60Hz, IEC, Mainfuse 115V 400mA slow

Vertigo Sound VSC-3 Compressor Includes

  • VSC-3 Compressor
  • IEC Power Cable

Click here to view all Vertigo Sound products

1 Review Hide Reviews Show Reviews

  • 5
    Desert Island Compressor

    Posted by Frank Perri on Jul 13th 2020

    This compressor has spoiled me. It's got this very transparent way of bringing all the elements together without overly coloring them. The 100ms release just grooves like hell - it's the one I go to first on this compressor. The minute I bring this compressor in, it widens the mix like heck. You can hear it - the sides come up. I have no idea how it works, but it just has a way of bringing the sides of the mix to the same volume as the center and the mix just opens and gets wider.

    Super clear and open top no matter how hard you hit it. It's got a great range of ratios - the standard 2, 4, 8, 10, but also one called "soft" which is very reminiscent of an opto or vari-mu curve where it starts soft and the harder the music hits it, the harder the compression gets. It also has "brick" which is a 40:1 limiting ratio.

    I'm fond of running one channel into the other for vocals and using the "Brick" ratio into the "soft" ratio for a limiter into opto kinda vibe. It's insane how much I can level vocals with this compressor - especially doing that.

    On top of that, it's capable of both peak and RMS compression. The sidechain can be run in dual mono, stereo with mono summed sidechain, and a fully stereo sidechain. The mono summed sidechain seems to focus a bit more on the center and bring it forward while the fully stereo sidechain seems to have a really wide image, so there's even more variety in how it compresses just by virtue of the sidechain you choose. On top of that, the sidechain has two low cut settings, 60 and 90 hz to reduce how hard this compressor hits the bottom of your mix or bus.

    It also has a wide range of attacks from a fast .1 ms to 40ms and a really wide range of releases from an ultra fast .05 seconds to 1.2 seconds to two different auto release settings (a fast and a slow one).

    This compressor just dares you to try and find something that won't work with it. I use it on individual elements from drums to bass to keys, then on entire busses like drums and master bus. There's nowhere it doesn't work.

    Again, on the outset it seems pricey but you have to factor in everything this compressor is capable of from the nice selection of attacks and releases, to the ratios including the opto-like "soft" and limiting "brick" and the peak and RMS functionality. On top of that the fact that it can be run in dual mono with two sets of controls and used on two mono sources when mixing means in the end it's actually a good price for what this compressor can do.

    And once you hear how it sounds - you'll feel like it's worth double. No matter how hard you hit something it never gets thin or brittle or harsh. Another purchase I'm extremely happy with.