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Gyraf G24
Old 3rd May 2017
  #1
Lives for gear
 
macc's Avatar
 

Verified Member
Gyraf G24

Thought I'd start a thread on this one - had it in my rack for just under a week now. I wanted to write a proper review, but have been too busy working to write much. It's no secret I'm a huge fan of the Infundibulum, so I was looking forward to trying this.

Going to quickly jot some thoughts down after getting to know it a bit, but this thing goes deep. Still scratching the surface really. Standard disclaimer: I don't work for them or whatever, I just think their gear is the business and it puts a smile on my face (and my customers faces).


Short version: It's absolutely magnificent.

Most important thing to understand: With this you are actually getting two distinct MS compressors in one box. The fact there's only one (minimal) set of passive components in the path makes no difference. It's two LR/MS compressors, simple as that.

Box tone: Sounds clean, but very expensive at the same time. As Jakob says in that SoS video on their site, 'clean but in a way that is exciting'. That nails it. Interestingly the signature eases up a bit under compression, I'm guessing due to the passive design, so it sounds really rather sexy and very natural when it's compressing. I'd kind of say that the compression is transparent, while overall the box sounds gorgeous and expensive. It is not a straight wire. The only times it's not sounded great switched in has been anything with excessive scratchiness (say, 5-6k). It's not that it adds that stuff exactly, but in bringing out life, if there's too much of that it might need attention before patching the G24 in.

Compression behaviour: It's an opto, and it feels like an opto. In Feedforward it's considerably faster than I'm used to from an opto, so it's totally usable for faster music - I do a lot of dnb etc so this was the first thing I checked.

Overall the compression feels versatile; smacky to smooth, and whatever you want in between. Going from feedforward to feedback (not a switch, it's fully variable) feels like leaning back in your chair and putting your feet up. And vice versa, going from FB > FF feels like you're sitting up and paying attention. Many useful settings in between as well. I'm coming to think of this as an 'attitude' control, or something like that. You can quite literally relax things or make them sit up just a bit with one detent on this knob. This is awesome, and something I've not experienced before with just a an FF/FB switch.

Emphasis: This is interesting and feels quite different to a typical HPF. It's odd in that it feels both minutely yet immensely variable all at once. Small tweaks can make big differences, and big tweaks can also err, make big differences. Getting used to it though - very useful indeed.

MS: does what it says on the tin. 12 o'clock = LR. Do more in the M or the S as you wish.


^ Now all that would be enough, and make for a pretty feckin good box.


And then you realise there's two of all of that, bar the emphasis control. Then your head starts to melt slightly as the possibilities become apparent. You can do some unbelievable stuff, all in the one box.

I've used it for all manner of tonal/spatial/dynamic shaping. Already too many things to list here. Killing too-wide HF while doing standard gentle 'groove' compression at the same time. Fattening thin mixes up (blue emphasis) while simultaneously holding the jumpy lead vocal in place in the centre. Punching things to smack hard in stereo, while (essentially) doing parallel compression focussed slightly in the M, in order to bring out width/space etc (low 'mix' on the AB knob, lowish thresh/ratio). And so on. You can manipulate the dynamics, tone and space to a frightening degree if you want.

I have had to re-start from a single compressor a number of times, as I've gone a bit too far; again, this box goes deeeeeep and will take a lot of getting to know. Like any powerful device you can twist stuff if you're not careful. Talking to myself here, ha. If any analogue box could do with an undo button it's this one, at least while I'm getting to know it.


So yeah, it's a compressor, Jim, but not as we know it. Very powerful, very useful (not just some passive technical masturbatory exercise), sounds gorgeous, and there's two of it. And it also has the active output which is a boon. Glad that's there.

For me the hallmark of a great bit of gear is that you suddenly find yourself doing less, not needing so many things, not needing or wanting to do so much. This has that in spades.

This got longer than I meant it to, and it's a bit incoherent. Anyway, it's not going back.
Old 3rd May 2017
  #2
Lives for gear
 
SmoothTone's Avatar
 

Bloody hell. I hate you.

And Jakob, I hate you too.

Just when ya think it's safe to browse the forums...


Nice review Macc.
Old 3rd May 2017
  #3
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macc's Avatar
 

Verified Member
Sorry man. Not really.

Reading it again that review it comes across quite serious, but I've been smiling and laughing out loud a lot using this box. Sort of says it all.
Old 3rd May 2017
  #4
Audio Alchemist
 
Lagerfeldt's Avatar
Good review!
Old 5th May 2017
  #5
Lives for gear
 
the unik's Avatar
Quote:
Originally Posted by macc View Post
Most important thing to understand: With this you are actually getting two distinct MS compressors in one box. The fact there's only one (minimal) set of passive components in the path makes no difference. It's two LR/MS compressors, simple as that.

I'd kind of say that the compression is transparent, while overall the box sounds gorgeous and expensive.

Overall the compression feels versatile; smacky to smooth, and whatever you want in between. Going from feedforward to feedback (not a switch, it's fully variable) feels like leaning back in your chair and putting your feet up. And vice versa, going from FB > FF feels like you're sitting up and paying attention. Many useful settings in between as well. I'm coming to think of this as an 'attitude' control, or something like that. You can quite literally relax things or make them sit up just a bit with one detent on this knob. This is awesome, and something I've not experienced before with just a an FF/FB switch.

MS: does what it says on the tin. 12 o'clock = LR. Do more in the M or the S as you wish.


And then you realise there's two of all of that, bar the emphasis control. Then your head starts to melt slightly as the possibilities become apparent. You can do some unbelievable stuff, all in the one box.


For me the hallmark of a great bit of gear is that you suddenly find yourself doing less, not needing so many things, not needing or wanting to do so much. This has that in spades.
This seems to be a winner for me, exactly what I'm looking for in any pieces of gear nowadays = multiple possibilities in one box, with a first class sound.
I need to try one out asap

And many thanks for that fine review
Old 7th May 2017
  #6
Lives for gear
 
mixerguy's Avatar
Quote:
Originally Posted by macc View Post
Thought I'd start a thread on this one - had it in my rack for just under a week now. I wanted to write a proper review, but have been too busy working to write much. It's no secret I'm a huge fan of the Infundibulum, so I was looking forward to trying this.

Going to quickly jot some thoughts down after getting to know it a bit, but this thing goes deep. Still scratching the surface really. Standard disclaimer: I don't work for them or whatever, I just think their gear is the business and it puts a smile on my face (and my customers faces).


Short version: It's absolutely magnificent.

Most important thing to understand: With this you are actually getting two distinct MS compressors in one box. The fact there's only one (minimal) set of passive components in the path makes no difference. It's two LR/MS compressors, simple as that.

Box tone: Sounds clean, but very expensive at the same time. As Jakob says in that SoS video on their site, 'clean but in a way that is exciting'. That nails it. Interestingly the signature eases up a bit under compression, I'm guessing due to the passive design, so it sounds really rather sexy and very natural when it's compressing. I'd kind of say that the compression is transparent, while overall the box sounds gorgeous and expensive. It is not a straight wire. The only times it's not sounded great switched in has been anything with excessive scratchiness (say, 5-6k). It's not that it adds that stuff exactly, but in bringing out life, if there's too much of that it might need attention before patching the G24 in.

Compression behaviour: It's an opto, and it feels like an opto. In Feedforward it's considerably faster than I'm used to from an opto, so it's totally usable for faster music - I do a lot of dnb etc so this was the first thing I checked.

Overall the compression feels versatile; smacky to smooth, and whatever you want in between. Going from feedforward to feedback (not a switch, it's fully variable) feels like leaning back in your chair and putting your feet up. And vice versa, going from FB > FF feels like you're sitting up and paying attention. Many useful settings in between as well. I'm coming to think of this as an 'attitude' control, or something like that. You can quite literally relax things or make them sit up just a bit with one detent on this knob. This is awesome, and something I've not experienced before with just a an FF/FB switch.

Emphasis: This is interesting and feels quite different to a typical HPF. It's odd in that it feels both minutely yet immensely variable all at once. Small tweaks can make big differences, and big tweaks can also err, make big differences. Getting used to it though - very useful indeed.

MS: does what it says on the tin. 12 o'clock = LR. Do more in the M or the S as you wish.


^ Now all that would be enough, and make for a pretty feckin good box.


And then you realise there's two of all of that, bar the emphasis control. Then your head starts to melt slightly as the possibilities become apparent. You can do some unbelievable stuff, all in the one box.

I've used it for all manner of tonal/spatial/dynamic shaping. Already too many things to list here. Killing too-wide HF while doing standard gentle 'groove' compression at the same time. Fattening thin mixes up (blue emphasis) while simultaneously holding the jumpy lead vocal in place in the centre. Punching things to smack hard in stereo, while (essentially) doing parallel compression focussed slightly in the M, in order to bring out width/space etc (low 'mix' on the AB knob, lowish thresh/ratio). And so on. You can manipulate the dynamics, tone and space to a frightening degree if you want.

I have had to re-start from a single compressor a number of times, as I've gone a bit too far; again, this box goes deeeeeep and will take a lot of getting to know. Like any powerful device you can twist stuff if you're not careful. Talking to myself here, ha. If any analogue box could do with an undo button it's this one, at least while I'm getting to know it.


So yeah, it's a compressor, Jim, but not as we know it. Very powerful, very useful (not just some passive technical masturbatory exercise), sounds gorgeous, and there's two of it. And it also has the active output which is a boon. Glad that's there.

For me the hallmark of a great bit of gear is that you suddenly find yourself doing less, not needing so many things, not needing or wanting to do so much. This has that in spades.

This got longer than I meant it to, and it's a bit incoherent. Anyway, it's not going back.
I had heard that Jakob was a mad genius.

The above review proves it.

;-)

Anyone know of the price point in USA?
Old 7th May 2017
  #7
Lives for gear
i fear it's going to be more than i can afford:(

great review macc, thanks!
Old 7th May 2017
  #8
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macc's Avatar
 

Verified Member
Quote:
Originally Posted by mixerguy View Post
I had heard that Jakob was a mad genius.
Mad, I don't know. But I am convinced he is a genius.

Why has nobody done stuff like this before?



On a related note, I told my assistant to check it out when he was in on a night session. His review was a bit more succinct than mine; '**** that thing sounds nice'
Old 9th May 2017
  #9
Lives for gear
 
gyraf's Avatar
Thanks for a great review, Macc - I was always sure you'd get the ideas beneath the surface, but I'm really happy it also seems to suit your taste and your way of working..

Quote:
Originally Posted by scraggs View Post
I fear it's going to be more than i can afford:(
It's ready to ship now, introductory priced at ca. USD 2868 ex. vat and freight.

..and it's significantly easier to get to buy if you're outside of the EU and California..

Jakob E.
Old 9th May 2017
  #10
Lives for gear
 

Are there any examples to listen to online yet? I tried it at Messe and concluded right then and there it sounded amazing and that I want one, but it would be nice to have some files to listen to in the studio.
Old 15th May 2017
  #11
Lives for gear
 
gyraf's Avatar
No sound examples just yet, but we're working on some quick-demonstration videos..

Jakob E.
Old 15th May 2017
  #12
Lives for gear
 
Switchcraft's Avatar
 

Is there one of these floating around the US for trial?
Old 15th May 2017
  #13
Gear Addict
 
bonne's Avatar
 

Quote:
Originally Posted by gyraf View Post
No sound examples just yet, but we're working on some quick-demonstration videos..

Jakob E.
Good idea, Jakob, looking forward to checking it out

JB
Old 16th May 2017
  #14
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macc's Avatar
 

Verified Member
Suppose I should write a quick follow up now I've had it a bit longer and had a much bigger variety of material through it, I can give a few more thoughts.

This thing is great. It's really, really deep. I tried hard not to get too involved but the temptation to fiddle is too strong. When you get it right though, jesus. It can render loads of other boxes unnecessary. It absolutely shines on anything that needs life, does well on well-balanced stuff, but can sometimes be a bit much on anything too up-front/already-coloured if you need it in FF mode. If that is the case though, moving it towards FB relaxes everything. If you need a more boring sound (as something is overcooked already) then, yeah, it's probably not the right thing. Nothing works on everything after all. But on most other stuff, the options.... the possibilities....

The more I use it, I realise the less of the surface I've scratched.

Last edited by macc; 16th May 2017 at 11:03 PM..
Old 17th May 2017
  #15
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macc's Avatar
 

Verified Member
Sorry for repeated msgs.

Today I made a dub reggae track wider and more centrally focussed all at the same time. A pretty neat trick.

A bit like the video camera was a bit out of focus, and the cameraman tweaked the focus to make both the central character and the background all appear crystal clear at once. Really something, that.

Very tired so probably haven't described this very well, but, yeah. Great stuff.
Old 18th May 2017
  #16
Gear Nut
 

I had a brief play with it at musikmesse and I was very very impressed. Unfortunately I don't do any mastering otherwise I'd probably grab it
Old 5th June 2017
  #17
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macc's Avatar
 

Verified Member
I'd apologise for posting again but bollocks to it. Falling deeper and deeper.

One note for anyone who may read this is - like the G21 - it's important to feed it with the right device, it's a little sonically sensitive to what it's being fed by. Have settled on the Dangerous BAX in-line before it for the time being. Levels too; less is more. Had to be set straight by Jakob on one or two things about it in that regard.

But man, this compressor is out of this world, honestly. Again; it's clearly an opto but jeez, the things it can do. Mind-blowing - a real jaw-dropper at times.
Old 29th June 2017
  #18
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macc's Avatar
 

Verified Member
Yeah another one. Sorry. Was going to write some erudite comment but basically this thing is ****ing ridiculous.

It just makes me laugh and smile, and use the word 'ridiculous' on a regular basis.

Whoever might read this in the future, when buying or having bought one: take the time to get to learn it. It's worth it.
Old 11th August 2017
  #19
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macc's Avatar
 

Verified Member
This f#cking thing. Calling it a compressor is just not doing it justice. It's a groove/tonal/spatial manipulation device of incredible power. But that's a bit more of a mouthful.

One thing I'm finding is that it's become really easy to get stuff VERY LOUD with this thing. Now it could be the slight transformer saturation. It could be that due to only being able to have one meter describing the bonkers sh1t going on in here, I'm compressing a bit more than I think. But tbh I am pretty sure that mostly, it's due to being able to very precisely match the compression feel (FB > FF) to the track, so it behaves exactly right. Plus you can create/reveal such a lot of space and openness with it, and shape the tone at the same time, meaning the signal is in really good shape to go wherever you want. It's *awesome*.


Yeah, sorry.... having (yet) another 'oh man, this compressor' moment.

Aaaaaaanyway...
Old 10th November 2017
  #20
Lives for gear
 
macc's Avatar
 

Verified Member
Bump because I'm still loving this. The in-between FF/FB settings are so useful. It's magnificent.

Nobody else?
Old 10th November 2017
  #21
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Jonathan Race's Avatar
Are there any audio examples floating about? I'd be curious to hear some fiddling
Old 11th November 2017
  #22
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macc's Avatar
 

Verified Member
I don't think so, BUT I am going to speak to Jakob and a client or two about releasing some wild and wacky sound examples of what this thing can do.
Old 10th February 2018
  #23
Gear Head
 

Still no demos of this beast?

Would be interesting for vocal tracking as well.
Old 11th February 2018
  #24
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macc's Avatar
 

Verified Member
Must get around to making some sound examples, sorry.

Had it almost a year now, wow. The more I use it, the more I realise how many other pieces of gear it can allow me to take out of the chain. It's fantastic. Quickly reading everything I've written above, I still agree with all I've said, but I have a deeper appreciation of it that's come from understanding it better. Had a whole LP the other day where this in passive mode with a digital eq was all I needed, and it did wonders. Like anything it's not for everything, but god I wish it was.

It would probably work very well indeed for vocal tracking, yep. You could set one comp up effectively for de-essing and the other to squeeze. And it would sound NICE.
Old 14th March 2018
  #25
Gear Maniac
 

I would love to see/hear an audio/video demo of this. I love optos, but they are often too slow for modern pop/dance etc.
Old 14th March 2018
  #26
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macc's Avatar
 

Verified Member
Quote:
Originally Posted by Boxtone View Post
I would love to see/hear an audio/video demo of this. I love optos, but they are often too slow for modern pop/dance etc.
I keep meaning to arrange this with Jakob. Absolutely slammed with work this year though.

It's the fastest opto I've used, I can say that. Doing 80% electronic stuff at all manner of tempos here. It was the only piece (in full passive mode) on a sort of ambient DnB EP the other day. Absolutely gorgeous.

The better I understand this thing the more I love it.
Old 6th August 2018
  #27
Lives for gear
 

Could anyone upload a few examples, please? I tried it again at messe this year and again - loved the sound - but really need some reference in the studio.
Old 10th August 2018
  #28
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macc's Avatar
 

Verified Member
Sorry - it's on a monumental to-do list!

Got a new room to finish building, moving to do etc.... will get it done though. Apologies all.
Old 12th August 2018
  #29
Lives for gear
 
Kimotei's Avatar
Im also curious about this. Its in my price range, yet looks like great bang for da buck. I currently only have a super clean VCA, and am looking for some more comp-spice color in the chain whitout needing to sell the car. For festival techno, minimal purist techno, dub techno, forest and other electronic styles.

Your coments about it being more then just a standard compressor caught my attention. And you seem to work somewhat with similar styles too..
Old 12th August 2018
  #30
Gear Head
 

With how versatile this compressor seems to be I'm wondering where in the chain are people placing it? Primarily after most of your EQ moves or before? Or is it just a "it depends" kind of thing? Curious, because for the time being my chain (what I've started on and further planning) is more or less fixed without any sort of switching or insert devices, so I'm wondering where this device would best sit.
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