The G14-S is a passive stereo equalizer, equipped with two different topologies for makeup gain and interfacing. The filter itself consist of five bands – each with 11 switchable frequencies, continuous variable “Q”, and individual boost/bypass/cut selection. The unit has an overall output level “TRIM”, and a hard relay bypass serving as reference for your work.
The stereo channels are linked – controlled with one set of knobs, so you won’t ever have to match settings of two channels. The “Q”s, filter sharpness, are rather low when boosting, but higher at cut – approaching notch behavior at extreme cut settings. This is both a side-effect of the applied passive technology – as well as quite desirable in situations where sound integrity is the paramount factor.
Frequencies for the five bands have been selected with special attention to controlability of the midrange area, with approximately half a frequency-range overlap to the adjacent bands.
This equalizer technology is a very extended version of the classic passive inductor/capacitor type filter. Although the classic versions are very useful tools in many situations, they often feel somewhat limited due to their simple construction and coverage. Our engineers wanted – as engineers tend to do – much more of everything. So we came up with the parallel-passive design, the G14.
G14-S is based on this truly passive design – switching a set of inductors and capacitors in and out of circuit. This passive filter set is then matched with input/output interfacing for trouble-free interfacing to the outer world, and a gain stage to make up for the approximate 20dB passive loss in the filters.
For this, we give you a selection of two different technologies – at a flick of the bypass switch: When set to “IN”, you have the traditional and much-loved selection of tube makeup gain based on 6H23n (E88CC/6922) tubes combined with transformer-balanced input and output interfacing.
If this gets to be too much of a good thing, you switch the bypass to “S” – and we replace everything but the filter and controls with entirely different technology: The inputs are now integrated balanced differential receivers, amplification is handled by a high-grade opamp, and output is driven by state-of-the-art active servo balancing circuits. Two entirely different personalities in one box.
An important feature – for us – is that the original signal path of the classic G14 is fully preserved in the G14-S: Only parts relating to the solid-state path has been added, in “tube mode”, the G14S
Input impedance – around 5K Ohms, transformer balanced or 24K Ohms Servo/ differential receiver balanced input
Output impedance – ~1K Ohms, transformer balanced or ~100 Ohms, active servo balanced
Make-up gain Amplification by 6n23p/E88CC tube stage or contemporary opamp circuit
Max boost/cut – ~10-12dB, depending on “Q” setting
Gain trim ~+3 – -5dB – unity gain somewhere between 12:00 and 14:00, depending on tube matching point
Each of the five bands are individually hard-bypassable (on the “MODE” control)
Channel tracking better than ~1dB
Frequency markings are:Low: 35-48-60-70-80-100-120-160-190-220-270HzLow mid: 180-230-280-330-400-430-490-550-590-650-750HzMid: 500-570-700-800-900-1K-1K1-1K3-1K5-1K8-2K1 HzHigh mid: 950-1K2-1K4-1K7-2K-2K5-3K-3K5-4K2-5K-6K3 HzHigh: 4K5-5K6-6K5-7K8-9K1-12K-14K-16K-18K-20K-22KHz
G14-S is as standard available as a 230V mains unit – other mains voltages will be made on request (at no extra cost).
Der G10 ist ein Vollröhren-Stereo-Kompressor, basierend auf dem klassischen Variable-Mu Prinzip. Die Methode, die Lautstärke durch die Veränderung des Stroms in Differenz-Röhrenpaaren zu kontrollieren, ist viel schneller als das elektro-optische Prinzip. Die Geschwinigkeit war der Hauptgrund für die Verwendung in den ersten Limitern wie dem Fairchild 670 oder dem Universal Audio 176, aber die klanglichen Eigenheiten dieser Schaltung sind die Hauptgründe für ihre Popularität. Die Bedienelemente des Gyratec IX: Der Eingangsregler erlaubt in die Regelung des Eingangslevels und damit des „drives“ des Vorverstärkers. Der Threshold-Knopf regelt den Schwellenwert der Kompression. Entgegen dem Uhrzeigersinn gedreht, wird ein niedriger Schwellenwert festgelegt und damit mehr komprimiert. Auf Rechtsanschlag wird die Kompression deaktiviert. Am Ratio-Regler wird die Stärke der Kompression in Abhängigkeit des Eingangslevels justiert. Auf Rechtsanschlag wird die Kompression deaktiviert. Attack- und Release-Zeit können an den entsprechenden Reglern angepasst werden. Der Ausgangsknopf kontrolliert den Signalpegel des Ausgangs während der Bypass-Schalter den gesamten Signalweg per Relais direkt umgeht. Die Ein-und Ausgänge des Gyratec III sind trafosymmetriert und erdfrei ausgelegt. Der Eingangsimpedanz liegt ist >10K Ohm, am Ausgang sind es <1k ohm. Basierend auf einem sehr kurzen, echten Differenz-Signalpfad vom Eingang zum Ausgang, werden sehr sorgfältigt selektierte PCC189 (7ES8) Regel-Dual-Trioden für die Verstärkerstufen verwendet, während in der Ausgangsstufe E88CC (6DJ8) rauscharme Trioden als Kathoden-Verfolger zu finden sind. Beide Typen sind auch heute sehr gut erhältlich. Die im Gyratec X arbeitenden Halbleiter und OP-Amps dienen lediglich der Stromversorgung und der Sidechain-Funktion. Zu keiner Zeit läuft das Audiosignal durch irgendetwas anderes als Transformer, Röhren und passive Bauteile. Also reden wir hier – genau wie bei allen anderen Gyraf-Geräten – über ECHTEN Röhrenklang. Gyratec X ist ab Werk auf 230V Netzspannung angepasst – andere Netzspannungen werden auf Anfrage ohne Mehrkosten unterstützt. Achtung: Leider musste das Front-Design ein bisschen geändert werden, da das bisher eingesetzte VU-Meter nicht mehr erhältlich ist. Das VU-Meter ist aber das EINZIGE was verändert wurde, denn der G10 ist sehr feines Ding – er läuft schliesslich seit mittlerweile 8 Jahren unverändert.
Für weitere Informationen lesen Sie die Besprechung des Gerätes von George Shilling im Resolution Magazin oder besuchen Sie die Homepage.
- Dual sidechain. No, not just a dual-mono option, but two separate stereo-compressor sidechains acting simultaneusly on the signal. Equals two separate stereo compressors. You can use one to grab short transients with fast timong, and the other to slowly ride gain... On top of this we give you the "Control" pot, that morphs seamlessly between the two compressors- Gradually variable all the way from L/R to M/S. Yes, although the G24 can be thought of as a couple of stereo compressors, it is in reality two M/S compressors that are fully variable all the way from from M-only (Mid component) to S-only (Side component) - the beauty being that when the "Elliptic" control is centered, (M-compression = S-compression), it acts (and is) the same as a stereo compressor. or rather: Two stereo compressors..- Compression Fully variable from FeedForward to FeedBack. Now wait, two individual compressors, you say: But how do we decide which of those comes first? Kinda important factor in compression, is it not? Aah yes. We included a "Feed" control for your convenience, allowing you to dial in a setting from feed-forward to feedback INCLUDING everything in-between. You are not limited to having just one of them first (or last) - you can set both of them as you want, e.g. having both first (!). Uh - and you can set them in-between also, off course - you may realize that FF and FB compression are subjectively perceived as two very different beasts - and the continous fade between their ways makes a lot of sense. - Mono-compatible Sidechain signal summing for M/S collapsing to make sense. When initially trying to think up this compressor, the main design obstacle was about keeping the sidechain (relatively) simple. As we really want both L, R, M, and S to be able to contribute to the derived control voltages (because it's a MS-compressor as well as a LR), we could not simply add input/output signals to derive a singular signal for the sidechain, as this would completely cancel out the "Side" part of the signal, leaving us with only "Mid" component. One - in reality almost impossible - option would be to build four tracking sidechains, and then sum them before Ratio control. What we did is something old and new: We re-purposed an ancient signal processor that was designed to maintain mono compatibility for stereo signals e.g. when transmitted over AM - this processor shifts signal phase +90 and -90 degrees in the two (LR), which ensures that when adding the two channels after processing, you get +3dB Side component and +3dB Mid, in stead of loosing all "S" and getting +6dB of "M"- Sidechain Tilt emphasis
Der G14 ist ein passiver Vollröhren-Stereo-Equalizer mit 5 Bändern. Er bietet in diesen Bändern je 11 wählbare Frequenzen, regelbaren „Q“ und natürlich Verstärkung bzw. Absenkung. Weiterhin findet sich ein Ausgangsregler und ein „harter“ Bypass-Schalter.Die beiden Kanäle sind verbunden und werden gemeinsam kontrolliert. Die „Q“s (Bandbreiten) sind bei Anhebung eher breit und schmaler bei Absenkung, bis hin zur „Notch“-Charakteristik bei extremer Absenkung. Dies ist zum einen ein Nebenprodukt des verwendeten passiven Designs, aber eben auch sehr wünschenswert in Situationen, in denen die musikalische Integrität im Vordergrund steht. Die Frequenzen wurden mit besonderem Augenmerk auf die Kontrollierbarkeit des Mittenbandes ausgewählt und überlappen den halben Frequenzbereich des benachbarten Bandes. Dieser Equalizer ist eine sehr erweiterte Version der klassischen passiven Induktor/Kondensator Filter, von denen der berühmteste Vetreter der „Pultec“ sein dürfte. Obwohl die Klassiker nützliche Geräte in vielen Situationen sind, werden sie doch durch ihre einfache Konstruktion im Gebrauch limitiert. Unsere Ingenieure wollten – so wie Ingenieure nun mal sind – mehr von allem. Also entwarfen wir den parallel-passiven G14. Sein Schaltungsdesign ist komplett passiv, beruht also auf dem Ein- und Ausschalten einer Gruppe von Induktoren und Kondensatoren im Signalweg. In der Ausgangsstufe arbeitet eine E88CC (6DJ8) Röhre zur Levelanhebung . Im Signalweg finden sich keinerlei Halbleiter - hier haben wir es mit einem echten Röhrengerät zu tun. Die Ein- und Ausgänge sind natürlich trafosymmetriert, um sorgenfreie Integration zu gewährleisten.
Eingangsimpedanz: ~ 5 kΩ, trafosymmetriert
Ausgangsimpedanz: ~1 kΩ, trafosymmetriert
Max. Anhebung/Absenkung: ~10-12dB, abhängig von der 'Q'-Einstellung
Verstärkung: ~+6 - -20dB
Channel Tracking: innerhalb ~1dB
Jedes Band ist einzeln schaltbar (hard bypass),
Frequenzen:
Low: 35-48-60-70-80-100-120-160-190-220-270Hz
Low mid: 180-230-280-330-400-430-490-550-590-650-750Hz
Mid: 500-570-700-800-900-1K-1K1-1K3-1K5-1K8-2K1 Hz
High mid: 950-1K2-1K4-1K7-2K-2K5-3K-3K5-4K2-5K-6K3 Hz
High: 4K5-5K6-6K5-7K8-9K1-12K-14K-16K-18K-20K-22KHz
Gyratec IX ist ab Werk auf 230V Netzspannung angepasst – andere Netzspannungen werden auf Anfrage ohne Mehrkosten unterstützt.
Hier finden Sie eine Besprechung des Equalizers im "Resolution Magazine"
Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
It's really not easily explained - and we're working like dogs to manualize how to work it. The G21 is kinda an elaboration on our G14 parallel-passive eq - the parallel topology enables multi-band control without running into the traditional problems in multi-banding (i.e. the problem in phase at recombining) Use carefully - this is in no way a fire-and-forget gadget: Multiple types of interacting nonlinearities are at large, even a few in macroscopic time-domain because of components heating and temperature coefficients. Changing something in one band will sure as hell result in something else showing up somewhere else. Feels organic in that. Classic problem is that multi-banding gives inadequate results because of filter phase shift messing up recombining. We deal with this by NOT band-splitting, but in stead dealing with all frequencies in parallel fashion, only opening frequency-selective channels into the clipping circuitry. Byproduct of this is that spike/peak phase is altered first, only to be real-clipped if pushing the phase won't get the total signal below threshold. Kinda like an audio file hair-remover (work title of the G21 was "The AudioShaver") As we all know, clipping generates harmonics - there's simply no way around that. But what you do with those harmonics will make a lot of difference. The beauty is here, that as the clipping is done at the remote end of a frequency selective channel, the clipping byproducts (harmonics, at frequencies multiple times the clipped) have a hard time getting back out and into the audio, because they are now no more in the right frequency range.. And other than the three bands of clipping, we have an overall clipper that can be set for linear (white), pink -3dB/oct or red -5dB/oct emphasis - enabling gradually lower "threshold" at higher frequencies. Then there's a fine-trim for output level and a 18dB/oct lowcut at the input - mainly because most of our test pilots were mastering engineers :-) An example of a song that got varying amounts of G21 on every single track and the mix is Marybell Katastrophy's version of Libertine's "The Boy Looked At Johnny" Yes, it's kinda rough, but NME only gave them 24hours total for arranging, recording, mixing and mastering.. Jakob E. G21 is as standard available as all mains voltages - it's entirely passive (!)
Gyraf Gyratec XXII "G22" Dual/Stereo/MS Vari-mu Tube Compressor. The G22 is an elaboration of our old popular G10 - keeping the basic audio path design (if it works, don't fix it!) - but it's control interface has been thoroughly redesigned to allow even more creative use. First of all, this is now a dual-channel unit - allowing you to use it as two compressors on two different signal sources. 'nuff said. Second, it's still a fully stereo-linked compressor with all the freedom and ease of control this gives you - flip the "CONTROLS" switch to L/M mode, and now only the left-hand group of knobs are controlling the action. Third, for material that benefits from the effects of dual individual compressors on stereo, there is a continuously variable stereo link "VARI-LINK" that is activated by the "VARI" setting of the "CONTROLS" switch. This allows for gradual cross-linking between the two compressors, from full link (i.e. Stereo) to none (Dual) Fourth, the "MODE" switch allows using the G22 in either standard stereo L/R or in M/S mode, where the source signals are matrixed at the input transformers into M and S components - and then later de-matrixed from M/S back into L/R at the output transformers. This allows for different processing on mono and stereo components of the signal, and is a very powerful tool for stereo imagery processing.
The G23-S is an elaboration of our G23 tiltinging-type Equalizer, where we added a selectable option for either solid-state or tube audio path.
Like the standard G23, it’s aimed at the situations where you have a mix that is already nearly-perfect balanced, but you want it a tad darker or brighter without messing up the overall definition.
The G23-S is as standard available as 230V or 115V mains voltages – Please specify when ordering
The G23-S is an updated version of our G23 – now including an option for selection between all-solid-state technology or classic tube circuitry. We added an additional step to the bypass switch - marked "S" - which instantly shifts you into solid-state land: Inputs become differential instrumentation type in stead of transformer, active equalizer stage gets controlled by a state-of-the-art opamp, and output stage gets servo-balanced in stead of tube/transformer drive
Designed around a highly linear 1dB/oct slope filter, so that rotating the tilting control will tilting an almost ruler-straight response curve, to a maximum steepness of 1dB/Oct. What sets it apart from all other tilting EQ designs is that we designed it around a highly linear 1dB/oct slope filter, so that rotating the tilting control will tilting an almost ruler-straight response curve, to a maximum steepness of 1dB/Oct. So what we acheive in the 1dB/Oct tilting function is to "spread out" or distribute the "needed" phase roll across the whole spectrum, meaning that at any given interval, only minute amounts of group delay is apparent. In total, it allows quite some correction without sounding "Eq'ed". And because you'd occasionally want to correct outer ends of spectrum, we have added a gentle Baxandall tone control, shelving lows and highs, wide-Q bell mid, each at three selectable frequencies, that we spent quite some time optimizing.
Gentleness and subtlety were main design targets here: Nothing anywhere near surgical: tilting and Highs at +/-4dB, mids at +/-2dB, and lows at +/-6.5dB.
€3,549.00*
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