Vertigo Sound VSM-2 User Manual
Thank you for purchasing a VERTIGO SOUND PRODUCT.
The VSM-2 is VERTIGO SOUND's second unique design. The VSM-2 is a creative fully analog Mix and Mastering tool.
The VSM offers MS, Blending and two sophisticated Coloration Generators.
The Vertigo Sound VSM-2
a.k.a. The Mix Satellite
Operation Manual
The basic idea and concept of the VSM-2
The Vertigo Sound Mix Satellite offers LR and MS use of EQs or Compressors on two independent fully balanced Inserts,
AFL Solo of M and S and two frequency and stereo / MS selective distortion, coloration or saturation circuits.
The VSM-2 provides a bunch of tricks for Recording, Mixing and Mastering:
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Level matching up to + 30 dbu at the Ins and Outs
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Fast input and output metering plus various Clip Leds
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All controls can be easily recalled via stepped pots or switches
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MS De and Encoding
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AFL Solo for M and S-Signal
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Two fully balanced inserts on XLR
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Stereo Width control for M and S
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Dry-Wet Insert 1 Mix control provides “Parallel Compression” for LR and MS
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Two independent stereo coloration circuits
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Stereo and M or S Generation of pure 2nd and 3rd harmonics
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Coloration is independantly switchable to M, S or LR
You can “Crush or Blend” your master, “Search and Rescue” lost instruments or just enhance individual tracks
like vocals, drums or whatever your creativity comes up with.
Installation & Hook Up
The VSM generates a fair amount of heat. Please ensure that the ventilation holes on top of the housing
are not closed.
The unit can be used with either balanced or unbalanced
sources and the outputs can be loaded either balanced
or unbalanced:
Input: The audio input is as well electronically balanced
fully floating and can handle levels up to + 30 dBu. The
output load should not be less then 600 Ohms. If only
one of the output pin 2 or 3 is grounded, the signal level
on the other pin raises by + 6 dB.
Insert 1 and Insert 2: The audio input is as well electronically balanced fully floating and can handle levels up to
+ 30 dBu. The output load should not be less then 600
Ohms. If only one of the output pin 2 or 3 is grounded,
the signal level on the other pin raises by + 6 dB.
Output: The audio input is aswell electronically balanced
fully floating and can handle levels up to + 30 dBu. The
output load should not be less then 600 Ohms. If only
one of the output pin 2 or 3 is grounded, the signal level
on the other pin raises by + 6 dB.
Balanced IN / OUT
Pin 1 = Ground / Shield
Pin 2 = Audio + (hot)
Pin 3 = Audio – (cold)
Unbalanced IN / OUT
Pin 1 = Ground / Shield
Pin 2 = Audio + (hot)
Pin 3 = Audio common / Ground / Shield
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The Input
Start with the Input Knob in 12 o’clock position. You can
use the Input Stereo to trim the level for all following
stages (Inserts and Distortion ciruits)
The “Global System” Switch is a hardwire bypass for all
stages of the VSM-2
Insert 1
In the first insert you can plug in EQs, Deesers or Compressors. Mainly Insert 1 was designed to work in conjunction with a compressor.
Please select the mode you want to process your music.
Insert 1 in LR mode:
You can use your compressor or EQ for conventional
stereo processing
Insert 1 in MS mode:
If MS is enabled be sure to put your compressor in unlinked (dual mono) mode. Now channel A (L) of your
compressor is processing M and channel B (R) is processing the S Signal. The Level of “S” is compensated
so there’s no need for a very low threshold setting when
compressing. The ISR and its MS Decoding cancels this
level compensation.
Insert 1 in Off mode:
Now Insert 1 is switched Off and hardwire bypassed.
You can use “Off” if nothing is plugged into the Insert 1
or just to compare if your processing provides a sonic
benefit or not.
> HINT
Please use the SOLO to listen to the M and S
parts of the mix. MS processing can be very
powerful but the benefit is always depending
on the mix.
Try e.G. to optimize the time constants of a
compressor to the instruments of M.
Engage “Solo M” and set the Attack and
Release to work optimal with the Kick, Snare
and Vocals. Afterwards engage “Solo S” and
find the right time constants for the strings and
guitars on the Side. Always be aware that the
compression and its Make Up can change the
stereo image drastically. Please make sure
that the compressor Make Up provides the
same Level in “Active” and “Bypass”.
MS processing can be very powerful but the
benefit is always depending on the mix. After
some time working with MS Processing you
will have an immediate vision what benfits can
be reached with MS or if conventional stereo
processing might be the better technique to get
an fast improvement of your mix!
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Parallel Compression:
If the Parallel Compression Knob on Insert 1 is not engaged you will listen to the 100% wet processed signal
= 100% Return of Insert 1.
Parallel compression engaged
Now the Dry/Wet Knob is active! Please start fully clockwise on Wet! Moving the knob to dry (anticlockwise).
Now the processed signal of the returns of Insert 1 are
blended with the unprocessed signal of the Input. Now
you can mix in your compression on any track without
affecting the original signal. It’s like the best of 2 worlds,
a combination of the compressed and uncompressed
signal.
> HINT
Making an Expander out of any compressor!
Using only two phase reversed XLR leads
(Pin 2 and Pin 3 swapped) at any connector
of Insert 1 makes your compressor work
in opposite ! Your compressor becomes an
Expander the more you blend the signal
(move the parallel compression knob counterclockwise.
> HINT
Over-compression usually kills the dynamics
of a performance.
What is parallel compression ?
Parallel compression refers to mixing a dry
signal with a heavily compressed copy of itself.
The dynamics in the dry signal are preserved
while the compressed signal adds body and
character to the overall sound. It works for any
instrument, but on drums and vocals in particular, the added character can really bring a
track to life.
Setting for a quick start with “Parallel Compression”
Ratio 4 to Brick
Attack 1 ms or faster
Release set to 0,3 – 0,6 s
The transients give your sound bite and helps
instruments stick out better in your mix. The
compression gives your sounds more body and
more punch and brings out hidden frequencies
for a fuller sound.
Please feel free to experiment. E.g. try Parallel
Compression in MS Mode!
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