TEST: GYRAF AUDIO G23-S

Gyraf Audio is a Danish audio company specializing in the manufacture of high-end analog audio equipment for the professional audio industry. Founded in the early 2000s, the company quickly established a reputation for producing high-quality analog gear that is both aesthetically pleasing and technically advanced. The company's products are known for their solid build quality, timeless design, and exceptional sound quality. Gyraf's products are manufactured in Denmark and are built to meet the highest standards of quality and reliability. The company uses only the best components and materials available, and all of its products undergo rigorous testing and quality control procedures to ensure they meet the company's strict standards. Gyraf's products are used by professional audio engineers, recording studios, and mastering facilities around the world. The company's products are widely regarded as some of the best in the industry, and are highly sought after by audio professionals who demand the best in terms of sound quality and performance. In addition to its analog audio gear, Gyraf also offers a range of accessories and support services to its customers. The company provides detailed documentation and user guides, as well as technical support and repairs if needed. The company also offers custom-design services for clients who require a unique solution for their audio needs. Gyraf Audio is a company that is dedicated to producing high-quality analog audio equipment for professionals. Its products are designed and manufactured to meet the most exacting standards, and are backed by a commitment to customer satisfaction and technical support. Whether you're a professional audio engineer, recording studio, or mastering facility, Gyraf Audio has a product to meet your needs. There are products that score big bonus points with me right from the process of unboxing. One of those products is the Gyraf Audio G23-S on test, which fits perfectly into my visual concept as a Danish-made mastering EQ. I'm just attracted by the latent "submarine haptic", which I know from companies like IGS with its oversized knobs and switches. If you already allow yourself the luxury of analog signal processing, the haptic separation from pixel pushing during in-the-box mixing can't be high enough. However, such a product also has to deliver accordingly, because with a retail price of 3,549,- €, the product is priced in direct proximity to manufacturers such as Bettermaker or Tube Tech, all real heavyweights when it comes to sound 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 focus of the product is in the mix and mastering segment. Accordingly, the concept of the Gyraf Audio G23-S is designed with a simple stereo layout with parallel control of both channels. The back of the Gyraf Audio G23-S couldn't be more Spartan, with 2x In / Out in XLR and cold plug, done! In addition to the very clearly structured, almost Spartan-looking layout, the main feature of the product is the choice of solid-state or tube operation. A knob on the right side allows the operating modes solid state (S), tube (IN) or a complete bypass of the electronics by means of a short circuit from the input and output plugs to be selected. 2 pieces of ECC88 are available for tube operation, the product runs in Class A operation. The electronics of the Gyraf Audio G23-S are embedded in a 2 HE chassis made of solid metal, which comes with a hefty installation depth of just under 31 cm. Equipped with two powerful brushed aluminum handles on the outside, the 6 kg heavy product can be easily maneuvered into a 19 inch rack from the front or top. However, four plastic feet were also attached under the case for a bit more stability in stand-alone operation. The Gyraf Audio G23-S is delivered with a manual that only really meets its own standards. I don't know if the manufacturer is trying to achieve a trendy look with the layout, but four badly copied, hand-stapled sheets in my opinion stand in a diametrical relationship to the requested retail price. Maybe the Gyral responsible should take a look at SPL and the like to see what the competition offers the user in this price league. The Gyraf Audio G23-S concept Of course, the Gyraf Audio G23-S can also be used in the recording process, but the product's focus is on the mix and mastering segment. Accordingly, the concept of the Gyraf Audio G23-S is straightforward, with a simple stereo configuration and parallel control of both channels. The back of the Gyraf Audio G23-S could not be more Spartan, with 2x In/Out in XLR and a cold device socket, done! In addition to the very clearly structured, almost Spartan-like configuration, the main feature of the product is the option of solid-state or tube operation. A rotary knob on the right side can select the operating modes of Solid State (S), Tube (IN), or a complete bypass of the electronics through a short circuit of the input and output sockets. For tube operation, 2 ECC88 tubes are available and the product runs in Class A operation. The electronics of the Gyraf Audio G23-S are embedded in a 2 HE chassis made of solid metal, which comes with a hefty 31 cm installation depth. Equipped with two sturdy brushed aluminum handles on the outside, the 6 kg product can be easily maneuverable from the front or top into a 19-inch rack. For standalone operation, 4 plastic feet have been added under the housing to provide some stability. The Gyraf Audio G23-S is delivered with an instruction manual that 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, hand-stapled sheets stand in a diametrical relationship to the asking price, in my opinion. Perhaps the Gyral responsible parties should look in on SPL and the like, to see what the competition provides in this price range. The front panel's visual appearance is dominated by a substantial rotary knob called "Linear Tilting" on the left side of the panel. The butter-smooth running knob with a 12 o'clock center grid offers a stepless combination regulation of "Bass in, Treble out" (counterclockwise) and "Bass out, Treble in" (clockwise). To the right are three filters (bass, mid, treble), also equipped with very high-quality knobs, with each filter having three different frequency ranges. To prevent the user from being tempted to find out the exact frequency, neither the front panel nor the manual mentions the frequency. If you want to see what frequency you are editing, you actually have to turn on your analyzer, otherwise, you will not learn the exact frequencies. Since the manufacturer has certainly thought of something, I will not do this intentionally and rely solely on my hearing. After extensive research, I was able to find out at least the dB degree of the respective bands. The filters are, in my opinion, very effective, even if not very high in frequency, but extremely musical and musical. All in all, the Gyraf Audio G23-S is a high-quality stereo equalizer, which is more in the high-end segment and is also very suitable for recording and mastering purposes. The working principle of the Linear Tilting Regler is, although not entirely new, at least an unusual, though highly interesting approach to the final mix. Particularly when it comes to unbalanced audio material, such as a slightly misaligned live mix or an overemphasis or underemphasis of individual frequency groups, the Linear Tilting Regler can make a preliminary selection regarding linearity as a first editing stage. In the case of boomy material that was mixed in a too small studio, for example, and as a result too much sub-bass was used, the Regler brings good openness to the original material with a few adjustments, so that the actual three-band control can be used for further editing steps without first having to control the mixing errors. The actual three-band sound control can best be described with the adjective "subtle," especially in the mid-band range, even with "very subtle." Even attack control paths bend the original material relatively subtly, which has the advantage that in case of incorrect operation, relatively little damage is done. Jim Marshall, the most famous vacuum tube amplifier manufacturer in the guitar sector, once replied to the accusation that the sound control of his amplifiers was relatively ineffective by saying, "So that the musician can't set a bad sound on a Marshall amplifier." A similar perspective came to mind when I heard about the +/- 2 dB mid-band. So if someone wants to bend frequencies properly in mastering, they won't really enjoy the Gyraf Audio G23-S, as its strengths lie in completely different spheres. Speaking of strengths, the subtle signal processing combined with very fine resolution offers a significant frequency improvement, especially for "subtle" musical styles. The point of use of the filters is very tastefully chosen and allows for the decisive 5-10% of the corresponding fine tuning in hearing, which can push a mix into the highest level in the high-end area. Just like the general sound approach of the Gyraf Audio G23-S is very fine, the sound difference between the solid state and the tube circuit is much more subtle than it is likely to be the case with many competitors. While other manufacturers often exploit the popular saturation in the tube segment a bit stronger, Gyraf also practices moderation in the separation of the circuits from each other, so that the sound difference is more in the area of compression and response than in the frequency range. Similar to a vari-mu compressor, the tube circuit "glues" the audio material together more than the solid-state version, while the latter boasts a more transparent sound and faster attack. Depending on the starting material, these nuances can result in significant final differences. All in all, one must give the Gyraf Audio G23-S a very good sound quality, which specifically in the mastering area covers a very special niche very well. The focus on personal hearing opens up a very individual work approach, which starts where one worked in previous decades due to a lack of DAW plugins. By the way, it's really interesting to mix subjective sound impressions only through hearing again, which can become a real challenge depending on the dependence on visual aid. To what extent this high-end sector makes sense economically in a world of decreasing quality in the music production sector, everyone must find out for themselves. However, anyone who works in the high-end sector should definitely test the Gyraf Audio G23-S. It's worth it. Conclusion: With the Gyraf Audio G23-S, the Danish manufacturer presents a mix and mastering EQ of the high-end sector in its range. The extremely subtle-working filter deliberately relies on a very fine work approach and explicitly demands the human ear as the final authority on the EQ's application point. Even the different tube and solid-state circuits work relatively subtly and primarily differ in their overall sound, rather than in circuit technical standards, as one is used to from other manufacturers. If you are looking for a very good and discreet working analog mastering EQ, you should definitely test this product. Additional Informations: Linear Tilting refers to a method of adjusting the angle of an object along a straight line. This term is commonly used in various fields such as architecture, engineering, and design to describe the tilt of a structure or a surface. In the context of mechanical engineering, linear tilting is the act of adjusting the angle of a machine part in a linear, rather than rotational, motion. The linear tilting mechanism allows for precise and controlled adjustments in the angle of an object, providing a more efficient solution for various applications. The 19 inch format is a standardized size for electronic equipment used in data centers, server rooms, and audio/visual studios. This format refers to the width of the equipment and allows for easy integration into racks, which are 19 inches wide. This allows for multiple devices to be mounted in a rack, maximizing the use of space and facilitating organization and maintenance. The 19 inch format has become an industry standard and is widely used for various types of equipment, including servers, switches, and storage devices. It is a popular choice due to its versatility and compatibility with a range of equipment.

 TEST: ART VOICE CHANNEL

Sometimes you get the impression that the studio industry is also moving more and more in the direction of fashion boutiques when it comes to product selection. There is hardly a new product in the outgear or monitor sector where you don't have the feeling that the MK II version will arrive just 365 days later and immediately devalue the first edition by a full percentage. But they still exist, the products that have been in constant studio use for years and whose basic design was created so close to practice that there would be nothing to change in the conception except for tiny details that would not cause a change in either appearance or function. One of these products is the ART Voice Channel, which, as a Channel Strip, combines the most important components for a vocal recording in one device.

The construction of the ART Voice Channel

The ART Voice Channel is a 2 U channel strip, which not only contains almost all common control options of a strip, but also has an extensive connection periphery on the back of the housing, in addition to the fact that it has a Class A tube circuit.

The first haptic impression of the Chinese-made product is very good. With a weight of almost 5 kg, the ART Voice Channel leaves quite a massive impression, which conveys a long life. The product does not come with any rubber feet for stand-alone operation, as the manufacturer has focused exclusively on rack operation. All knobs, switches and pushbuttons run pleasantly smoothly, which immensely supports sensitive control. The individual control options of the ART Voice Channel are as follows:

1.) Input jack / Preamp:

Both on the front, as well as on the back is an XLR / TRS input combo jack, which is very helpful especially in rack operation. The control range of the preamplification in the microphone range is 0 dB to +60 dB, in the high-impedance range +3 dB to +40 dB. With this, pretty much all microphone types up to the low-power ribbon microphones can be covered well. For very powerful signals a PAD switch is available. In addition, there are the standards such as phase shifter, phono power and a low cut. Below these pushbuttons is the first special feature of the ART Voice Channel, which is especially useful for dynamic microphones.

The input impedance of the channel can be tuned continuously (!) from 150 to 3 kOhm, which has a massive effect on the sound of the microphone. An impedance selector in itself is not a great feature, but I have actually never seen a continuously tunable input range on a 19 inch outgear product before.

2nd) Compressor / De-Esser:

The compressor section has the rule standards attack time (250 uSec to 100 mSec), release time (100 mSec to 3 sec), threshold (-40 dB to +20 dB) and a ratio of 1:1 (off) all the way up to 20:1. The de-esser can be adjusted by sibilance all the way up to -20 dB, with a stepless frequency selection from 2.5 kHz up to 15 kHz.

 3.) Expander / Gate:

Above the compressor / de-esser function is an optical LED indicator, which informs about the audio signal of the optional expander or gate circuit to be activated. A push button selects the function, the Threshold control adjusts the degree of processing (up to +20 dB).

4) Tube Voltage:

As already mentioned, the ART Voice Channel has a 12AX7 tube in the signal path, which allows for significant saturation depending on the control. To vary the sound even more, the tube voltage can be switched between "Normal" and "High" via a push button switch. But beware, the tube needs a few seconds to change its voltage state, so don't be surprised if the sound doesn't change immediately after switching.

5) EQ:

Indeed, the EQ section of the ART Voice Channel also comes very extensive. Besides a bass control (optional 50 Hz / 150 Hz) and a treble control (optional 5 kHz / 15 kHz), the product offers 2 semi-parametric mid bands, which work like the shelving EQs +/- 12 dB and are tunable from 100 Hz to 3 kHz, respetive 500 Hz to 15 kHz. In addition, you can choose whether the EQ should run post or pre compressor. With a bypass switch, the EQ is completely removed from the signal path if necessary.

The Master section displays the output level via a large VU meter and an LED chain, while the Master Volume control boosts the signal from minus infinity to +20 dB. The listing of tools alone gives an idea of how much you can actually work out with the ART Voice Channel in terms of sonic versatility.


If you think that's it, you haven't seen the back of the ART Voice Channel yet. The sample rate selector switch gives an idea of what the product has in store, especially in the digital area. On the one hand, the microphone preamp can be tapped separately in the analog area and the signal can be further modulated via an FX loop using a Y-cable. But the ART Voice Channel can really shine with its digital connections, as there are:

- Sample rates from 44.1 - 192 kHz
- ADAT
- S/PDIF optical and coaxial
- AES/EBU and USB
- word clock I/O

In addition, there are two A/D loop-in paths and two analog, balanced outputs in the form of XLR and TRS. If you now once again recall the retail price of comparatively only 666, - €, the ART Voice Channel already offers a very good price / performance ratio from the equipment alone.

For the numbers nerds, here are a few more measured values:

Frequency Response:

- Analog In to Analog Out: 12 Hz to 100 KHz +0, -1 dB
- Analog In to Digital Out: 12 Hz to 20 KHz +0, -1 dB @ 44.1 KHz sample rate - 16 Hz to 42 KHz +0, -1 dB @ 96 KHz
- THD: 1 KHz < .015% typical - 20 to 20 KHz < .033% typical

Equivalent Input Noise:

Mic/Line: -130 dBu, Input shorted, Max gain, "A" weighted.
Instrument: -105 dBu, Input shorted, Max gain, "A" weighted


The ART Voice Channel in practice

Personally, I have always been a big fan of self-explanatory front panels. The counter-productive around-the-corner thinking of some manufacturers never had anything to do with cult for me, but mostly with bad product development. I was all the more pleased with the interface of the ART Voice Channel, because you really didn't have to think or ponder once before you could start working.

Accordingly, it was quick and easy to find the sound that I had already worked out in my head. All the controls did exactly what their labels said they would do, but with varying degrees of intensity. In general, one can attest the ART Voice Channel a slightly coloring character, which is far away from products based on a pure tube circuit. However, the product also has a discreetly condensing character in the complete standby circuit, which, however, does not affect the sound quality.

In addition to a well and simply functioning compressor, 2 points in particular struck me sonically. On the one hand, the EQ offers a good, but not very spectacular sound overall, despite the extensive control options. The entire control range is rather discreet according to its field of application, but in my opinion the ultimate "fine" is missing, which offers the next higher league. Please do not misunderstand, the ART Voice Channel sounds really good for the mentioned retail price, just not spectacular.

What convinced me, however, is the High Voltage circuit, which indeed not only brings the additional expected compression with it, but adds more foundation to the vocal sound. The sound is properly "thickened" and gains massive assertiveness, which will probably also prevail in the mastering massacre of many rock and metal productions.

Overall, the ART Voice Channel must be given a very good rating, especially when it comes to the all-in-one solution. Especially ambitious project studios should benefit from the extensive detailed solutions, especially when it comes to the least possible "conversion path" within the signal flow.

Conclusion

With the ART Voice Channel, the manufacturer introduces an inexpensive, all-around successful channel strip in its portfolio, which is not without reason considered one of the company's biggest revenue generators. With a clear structure, good workmanship, interesting detailed solutions and an extensive digital management, ART offers a multifunctional tool that primarily prepares and optimizes vocals, but also other recordings for recording within a short time.

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