The G24 is an optical stereo compressor – aimed at mix and mastering functions. It’s for those situations where you have a mix that is already nearly-perfect balanced, but you want to control some part of its dynamic without messing up the overall definition.
With its fully passive signal path it sounds clean and very expensive at the same time. In a unique twist, the G24 contains two separate side-chains which you can use individually or blend together. In essence, with G24 it feels like you are using two distinct compressors in one box.
Read more about G24 in manufacturers manual.
Gyraf Audio is the natural result of us working in the pro audio and recording business for more than fifteen years – as engineers, service-techs, and designers. Pro audio is an area where you need to be able to fix anything in no time – and come up with suitable technical solutions for just about any imaginable weird way of artistic thinking. In their small production facilities in Denmark, they are able to manufacture high quality equipment with the right amount of details for the rising demand for “old-fashioned” recording equipment.
"For the longest time I doubted if this would really be possible. It's not easy by any measure - the guys from Mixanalog has committed a genuine technological miracle making the G24 remoted without compromizing sound or functionality. It makes me really happy that our G24 can be part of demonstrating such game changing technology - and I really like that people from anywhere on the 'net can now access and enjoy this piece of hardware directly from the safety of their own speakers"
- Jakob Erland, Gyraf Audio
At mix:analog we feel proud that our years long admiration for innovative Gyraf Audio products resulted in mutual trust and collaboration between the two companies. Grab the opportunity to use the praised and mindblowing mastering compressor G24 from anywhere in the world.
I've used it for all manner of tonal/spatial/dynamic shaping. Killing too-wide HF while doing standard gentle 'groove' compression at the same time. Fattening thin mixes up while simultaneously holding the jumpy lead vocal in place in the centre. Punching things to smack hard in stereo, while doing parallel compression in order to bring out width/space. And so on. You can manipulate the dynamics, tone and space to a frightening degree if you want.
But be careful. Even small tweaks can make big differences. Like any powerful device you can twist stuff if you're not careful. You can quite literally relax things or make them sit up with one detent on a knob.
- Bob Macciochi, mastering engineer at Subvert Central Mastering