TEST: Gyraf Audio G23-S

There are products that already score a lot of bonus points with me during the packing process. One of those products is the Gyraf Audio G23-S, which is a mastering EQ from a Danish manufacturer and fits exactly into my visual scheme. The latent "submarine feel", which I know with its oversized knobs and switches, for example, also from companies like IGS, has simply done it to me. If you allow yourself the sonic luxury of analog signal processing, the haptic distinction from pixel pushing in the in-the-box mix can't be high enough. However, such a product must also deliver accordingly, because with a retail price of €3,549, the product is priced right up there with manufacturers such as Bettermaker or Tube Tech, for example, all of which are real heavyweights when it comes to sonic equalization.

The concept of the Gyraf Audio G23-S

Of course, the Gyraf Audio G23-S can also be used in the recording process, but the product's focus is on the mixing and mastering segment. Accordingly, the concept of the Gyraf Audio G23-S, which works with a simple stereo layout with parallel control of both channels. The back of the Gyraf Audio G23-S could not be more spartan, 2x In / Out each in XLR, power socket, done! In addition to the very clearly structured, almost spartan layout, the main feature of the product is to be found in the optional solid state or tube mode. A knob on the far right can be used to select solid state (S), tube (IN) or a complete bypass of the electronics by short-circuiting the input and output jacks. For tube operation 2 ECC88 are available, the product runs in Class A mode.

The electronics of the Gyraf Audio G23-S is embedded in a 2 U chassis made of solid sheet metal, which comes with an official installation depth of almost 31 cm. Equipped with two strong handles made of brushed aluminum on the outside, the 6 kg heavy product can be easily maneuvered from the front or from above into a 19 inch rack. For stand-alone operation, however, 4 plastic feet were also attached under the housing, which provide a little more stability. The Gyraf Audio G23-S is delivered with an instruction manual, which really only meets its own standards. I don't know if the manufacturer wants to achieve a trendy look with the layout, but four poorly copied sheets stitched together by hand are in my opinion diametrically opposed to the called retail price. Maybe the people responsible for Gyral should have a look at SPL and their competitors for fun, to see what the competition is offering the user in this price range.

The optical appearance of the front panel is dominated by a stately knob called "Linear Tilting" on the left side of the panel. The buttery smooth running control with 12 o'clock center detent offers a stepless combination control of "Basses in, Treble out" (counterclockwise) and "Basses out, Treble clean" (clockwise). Further to the right are three filters (basses, mids, trebles), also equipped with very high-quality controls, whereby each filter has three different operating frequencies. So that the user is not even tempted to find out the exact frequency, neither on the front panel, nor in the manual the respective frequency is mentioned. If you want to see which frequency you are editing, you have to start your analyzer, otherwise you won't find out the exact frequencies. Since the manufacturer has certainly thought of something, I will not do this on purpose and rely exclusively on my hearing.

After longer research, I managed to find out at least the dB level of the respective bands. Here it is noticeable that the Danes work with a very discreet control range. So the tilting, respectively treble control works with +/- 4dB, the midrange with +/- 2dB and the bass with +/- 6.5dB. Before anyone gets upset about the comparatively small control range, when was the last time you ran a mastering band with a range of +/- 15 dB? If at all, then probably only in an acoustic restoration department or in the FX area, but not in an official, balanced studio production.

The end of the right edge of the housing is implemented by a gain control and an On / Off switch, which was stylistically appropriate also installed as a rotary control and together with a small LED informs about the operating status. Very tasteful!

In practice

The operation of the Linear Tilting control is, although not entirely new, at least an unusual, albeit highly interesting approach to the final mix. Especially when dealing with unbalanced audio material, such as a slightly off-kilter live mix, or an over- or underemphasis of individual frequency groups, the Linear Tilting control can make a slight preselection regarding linearity as the first processing step. Especially in case of boomy material, which has been mixed in a too small control room, for example, and you have once again used too much sub-bass, the control brings a good openness into the source material with a few grips, so that the actual three-band control can be used for further processing steps without having to get the mixing errors under control first.

Regarding its mode of operation, the actual three-band tone control can best be described with the adjective "discreet", in the range of the mid-band even with "very discreet". Even velocity control paths bend the source material comparatively subtly, which has the advantage of causing comparatively little damage in the event of incorrect operation. Jim Marshall, the most famous all-tube amplifier manufacturer in the guitar sector, once answered the reproach why the tone control of his amplifiers was comparatively ineffective with the words: "So that the musician can't set a bad sound on a Marshall amplifier". A similar view already came to my mind when I heard about the +/- 2 dB mid band.

So if you want to bend frequencies properly in mastering, you won't really enjoy the Gyraf Audio G23-S, as its strengths lie in completely different spheres. Speaking of strengths, the subtle signal processing, coupled with a very fine resolution offers a clear frequent improvement, especially for "subtle" music styles. The point of application of the filters is very tastefully chosen and, with the appropriately fine fuse in the ear, allows the decisive 5- 10%, which can push a mix to the highest level in the high-end range.

Just as the general sonic approach of the Gyraf Audio G23-S is kept very fine, the sonic difference between the solid state and tube circuitry is much more subtle than many competing products might be. While other manufacturers like to use the popular saturation in the tube segment a bit more, Gyraf practices a very moderate differentiation of the circuits among themselves, so that the sonic difference is to be sought more in the area of compression and response, rather than in the frequency range.

Similar to a Vari-mu compressor, the tube circuit "glues" the audio material together much more than the solid state variant, while the latter scores with a more transparent sound and faster attack. Depending on the source material, these subtleties can bring great final differences. All in all, the Gyraf Audio G23-S has a very good sound, which covers a very special niche very successfully, especially in the mastering area. The fixation on the personal ear opens up a very individual way of working, which starts where one has been working in the past decades due to a lack of DAW plugins. By the way, it is really interesting to mix the subjective sound impressions once again only via the ear, which can advance to a real challenge depending on the dependence on visual assistance.

To what extent this high-end area is economically worthwhile in a world of decreasing quality in the music production area, everyone must find out for themselves. However, anyone working in the high-end sector should definitely test the Gyraf Audio G23-S once. It is worth it.

Conclusion

With the Gyraf Audio G23-S, the Danish manufacturer introduces a mix and mastering EQ of the high-end range in its ranks. The extremely subtle filter deliberately relies on a very fine mode of operation and explicitly demands the human ear as the final authority on the EQ's point of application. Even the different tube and solid state circuits work comparatively subtle and differ primarily in their overall sound, rather than in circuit-technical standards, as known from other manufacturers.

If you are looking for a very good and discreet analog master EQ, you should definitely try this product.

Additional Informations:

Gyraf Audio is a Danish company that specializes in the design and manufacture of high-quality analog audio equipment. Founded in 1995 by Danish engineer Jakob Erland, Gyraf Audio has become well-known in the audio industry for its innovative designs, attention to detail, and commitment to quality.

The company's product range includes microphone preamplifiers, equalizers, compressors, and other analog audio processors. Gyraf Audio's products are designed with a focus on transparency, clarity, and musicality, and are popular among recording engineers, producers, and musicians who are looking for high-quality, analog sound.

One of Gyraf Audio's most famous products is the Gyratec XIV, an all-tube stereo equalizer that was designed in collaboration with Danish mastering engineer Jan Erik Kongshaug. The Gyratec XIV has become a sought-after piece of equipment in the audio industry, and is known for its transparent sound and ability to bring out the best in recordings.

Another popular product from Gyraf Audio is the GSSL stereo bus compressor. The GSSL is a DIY kit that has become popular among audio enthusiasts who enjoy building and modifying their own equipment. The GSSL is known for its transparent sound and ability to add punch and glue to mixes.

Gyraf Audio's products are designed and manufactured in Denmark using high-quality components and strict quality control standards. The company prides itself on its attention to detail and commitment to customer satisfaction, and has a loyal customer base that includes some of the world's top recording engineers, producers, and musicians.

In addition to its product line, Gyraf Audio also offers DIY kits and schematics for some of its products, allowing audio enthusiasts to build and modify their own equipment. This has helped to establish Gyraf Audio as a respected and influential company in the DIY audio community.
In conclusion, Gyraf Audio is a Danish company that has become well-known in the audio industry for its innovative designs, attention to detail, and commitment to quality. Its product range includes microphone preamplifiers, equalizers, compressors, and other analog audio processors, all designed with a focus on transparency, clarity, and musicality. Gyraf Audio's products are popular among recording engineers, producers, and musicians who are looking for high-quality, analog sound, and the company has a loyal customer base that includes some of the world's top audio professionals.