{"title":"GOLY","description":null,"products":[{"product_id":"goly-porter-grinder-mastering-eq","title":"GOLY PG Porter Grinder Mastering EQ","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY Porter Grinder Mastering EQ\u003c\/strong\u003e is based on the highly regarded “NetEQ”, by the late Barry Porter. After many years of listening tinkering with the design, building, and listening, and adjusting, and listening, and doing custom units with various solutions -- and listening -- the only thing that remains unchanged is the parallel filter section. The in and output sections, the high and low pass filters, the layout of the circuit, the Q circuit, and the whole implementation of it has been redesigned, and when the listening tests were done, GOLY took a really deep dive into the details and precision of all the controls. The result is still a Porter at its core, but also, very much a Grinder.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450646884455,"sku":"146911","price":3680.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-pg22_146911_1_2_21ccd7da-3301-48e5-8fc7-7cc44148e976.jpg?v=1787093900"},{"product_id":"goly-dynamic-shelving-eq","title":"GOLY Stereo Dynamic Shelving EQ","description":"\u003cp\u003eThe first stage of the \u003cstrong\u003eGOLY Stereo Dynamic Shelving Equalizer\u003c\/strong\u003e consists of a precision, high and low cut filter, each with 6 selectable frequencies, and 6, 12 and 18dB\/oct. switching – all frequencies on relay-switched, precision matched capacitors. The second stage consists of a high and low shelving filter, each sporting ±5.5 dB of gain, and dynamic control of the shelving, with 11 frequencies on relay-switched, precision matched capacitors. The dynamic section will let you vary the attack and release times, as well as the dynamic hold on the shelving filters, while the soft\/hard switch takes you from a low, soft knee ratio, useful for subtle sculpting, to a higher, harder knee ratio, with a high end roll off on the side chain, for a bit more bite and grab.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE PHILOSOPHY\u003c\/h3\u003e\r\n\u003cp\u003eThink of it as a high\/low end management system, with a very elaborate and carefully designed high\/low cut filter set-up, as well as the more prominent dynamic control strapped over a pair of shelving filters. This is done without crossovers in the signal path, which means without concern for the artifacts usually associated with multi-band processing. It has a characteristic, sonic imprint, and will even lend some weight to the perceived loudness of your program material when desired, anchoring or lifting the density, not just as a function of RMS, but by shift of focus from the sonic imprint. In essence, it's a completely new animal in terms of design topology, features, strengths and implementation. It was designed to put a new perspective on shaping the arch of your program material, as well as the sonics, within the full scope of the interface and electronics. If you approach it from that angle, I am convinced it will blow your mind.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450646949991,"sku":"146910","price":4443.06,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-ds-eq_146910_1_56792480-579f-4715-b0f3-997e9b8de0be.jpg?v=1787093900"},{"product_id":"goly-pg-porter-grinder-mastering-eq-demo-deal","title":"GOLY PG Porter Grinder Mastering EQ (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY Porter Grinder Mastering EQ\u003c\/strong\u003e is based on the highly regarded “NetEQ”, by the late Barry Porter. After many years of listening tinkering with the design, building, and listening, and adjusting, and listening, and doing custom units with various solutions -- and listening -- the only thing that remains unchanged is the parallel filter section. The in and output sections, the high and low pass filters, the layout of the circuit, the Q circuit, and the whole implementation of it has been redesigned, and when the listening tests were done, GOLY took a really deep dive into the details and precision of all the controls. The result is still a Porter at its core, but also, very much a Grinder.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450686271591,"sku":"154461","price":3813.02,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-pg22_146911_1_1_110ed7f5-f016-469b-8429-ec686f41a098.jpg?v=1787094099"},{"product_id":"goly-stereo-dynamic-shelving-eq-demo-deal","title":"GOLY Stereo Dynamic Shelving EQ (Demo Deal)","description":"\u003cp\u003eThe first stage of the \u003cstrong\u003eGOLY Stereo Dynamic Shelving Equalizer\u003c\/strong\u003e consists of a precision, high and low cut filter, each with 6 selectable frequencies, and 6, 12 and 18dB\/oct. switching – all frequencies on relay-switched, precision matched capacitors. The second stage consists of a high and low shelving filter, each sporting ±5.5 dB of gain, and dynamic control of the shelving, with 11 frequencies on relay-switched, precision matched capacitors. The dynamic section will let you vary the attack and release times, as well as the dynamic hold on the shelving filters, while the soft\/hard switch takes you from a low, soft knee ratio, useful for subtle sculpting, to a higher, harder knee ratio, with a high end roll off on the side chain, for a bit more bite and grab.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE PHILOSOPHY\u003c\/h3\u003e\r\n\u003cp\u003eThink of it as a high\/low end management system, with a very elaborate and carefully designed high\/low cut filter set-up, as well as the more prominent dynamic control strapped over a pair of shelving filters. This is done without crossovers in the signal path, which means without concern for the artifacts usually associated with multi-band processing. It has a characteristic, sonic imprint, and will even lend some weight to the perceived loudness of your program material when desired, anchoring or lifting the density, not just as a function of RMS, but by shift of focus from the sonic imprint. In essence, it's a completely new animal in terms of design topology, features, strengths and implementation. It was designed to put a new perspective on shaping the arch of your program material, as well as the sonics, within the full scope of the interface and electronics. If you approach it from that angle, I am convinced it will blow your mind.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450691317863,"sku":"155298","price":2839.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-ds-eq_146910_1_1_47575cd6-935c-410d-a7f0-948b55813d59.jpg?v=1787094118"},{"product_id":"goly-daq-dynamic-asymmetrical-eq","title":"GOLY DAQ Stereo Dynamic Asymmetrical Equalizer","description":"\u003cp\u003eThe first stage of the \u003cstrong\u003eGoly DAQ Stereo Dynamic Asymmetrical Equalizer\u003c\/strong\u003e consists of a peak\/bell filter, which will operate in the Low Mid or Low frequency spectrum, depending on the setting. The second stage, with the filters in series, consists of a peak\/bell filter, which will operate in the High Mid\/High frequency spectrum, depending on the setting. While the filter design in itself bears no resemblance to the design of the Dynamic Shelving Filters in the GOLY DSEQ, the basic mechanics of the side chains are the same on the two units.\u003c\/p\u003e\r\n\u003cp\u003eThe dynamic sections on each filter will let you vary the attack and release times, as well as the dynamic hold, while the soft\/hard switch takes you from a low, soft knee ratio, useful for subtle sculpting, to a higher, harder knee ratio, with a high end roll off on the side chain, for a bit more bite and grab.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eThe Philosophy\u003c\/h3\u003e\r\n\u003cp\u003eThe DAQ was originally conceived to complement the DSQ, and since it is the younger sibling, it is hard to describe it in a vacuum. The older sister, the DSEQ, has a very peculiar and pleasing distortion characteristic, which lends itself to broad strokes of tonal shaping, tape like emulations, and it will let you push your loudness curves a little farther than you would usually be able to go, due to the dynamic hold.\u003c\/p\u003e\r\n\u003cp\u003eThe DAQ fills in the gaps. It is a much cleaner design in terms of sonics, and while it can easily do broader strokes, the design and interface is tilted towards surgical types of tonal shaping, which are virtually impossible to achieve on the DSQ.\u003c\/p\u003e\r\n\u003cp\u003eDuring the development of the DAQ, the feedback from the engineers listening and commenting turned out some really interesting features and controls, and with a “more is more” approach (the DSQ had a “less is more” approach), there was a high degree of implementation, which will be covered on the coming pages.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450740535399,"sku":"157730","price":4579.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-daq_157730_1_c0bc2bd0-ff7f-4afa-aeda-11184121898a.jpg?v=1787094327"},{"product_id":"goly-dynamic-tracking-dock-recording-channel-with-500-series-slot","title":"GOLY Dynamic Tracking Dock Recording Channel with 500 Series Slot","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY Tracking Dock\u003c\/strong\u003e is a 500 series host, that will dock your preamp of choice, and merge them into the perfect recording channel. You can swap the module to taste and application, from recording to recording, or just use your favorite module statically. The processing stage consists of a two equalization peak\/bell filters, which will operate in the low\/low mid spectrum, and high mid\/high spectrum respectively. The dynamic sections on each filter will let you vary the attack and release times, as well as the dynamic hold, and the soft\/hard switch toggles between a more aggressive and subtle compression characteristic. The Q on each bell goes so wide, that you can practically use the two bands for anything from individual, full band compressors to do de-essing or notch out specific frequency. Finally, there is a side chain boost EQ, with a narrow\/wide boost and sweepable EQ available.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450818162791,"sku":"174567","price":2300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-tracking-dock_174567_1.jpg?v=1787094650"},{"product_id":"goly-stem-mix-compression-matrix","title":"GOLY Stem Mix and Compression Matrix","description":"\u003cp\u003eThe \u003cstrong\u003eGoly Stem Mix \u0026amp; Compression Matrix\u003c\/strong\u003e is a flexible, channel-split mix-bus compressor for modern, hybrid and hardware mixing. With the sidechain mix and stem mix compression return, you can easily expand your possibilities in an integrated, hands on manner. In extreme examples, it can be used it as a drum sub mixer, with only the snare attacking the compression circuit, or you can simply set all SC mix controls flat on all subgroups, summing to stereo.\u003c\/p\u003e\r\n\u003cp\u003eThe stem outputs on all channels are useful in terms of delivering stems for further processing or stem mastering. The idea is, you can get 95% of the way rolling your hybrid set-up, and with the stems back itb, you can do minor tweaks for mix polishing or mastering applications. Stem outputs deliver the isolated tracks, with the master processing applied, as if the channel was still “part of the whole” in terms of buss processing.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE CIRCUIT\u003c\/h3\u003e\r\n\u003cp\u003eThe basic circuit consists of 8 channels, grouped into stereo, and a master compression engine that feeds back to each channel\/stem. Each channel is split into a side chain mix, which sums into the compression side chain. The control voltage is routed back through stem compression mixer, where you can adjust the amount of compression folding back to each stem. In addition to that, there is a direct stem output, and a fully featured compression section.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eSTEM MIX\u003c\/h3\u003e\r\n\u003cp\u003eThese are your standard, signal path gain controls. The channel gain controls gain section come into play when adjusting levels relative to the offset in balance brought on by outboard processing, and also depends on how well the mix elements blend\/mix during hybrid operation. Range is ±5 dB\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eSIDE CHAIN MIX\u003c\/h3\u003e\r\n\u003cp\u003eThe Side Chain mixer adjusts the levels going into the engine room of the master compression section. In essence, this lets you adjust what the compressor sees, and triggers off of. You can do odd things, like bring up elements further than they are in the signal path to push harder, back off bass elements to inject less low end, or just set them all flat, so everything goes into the side chain as per usual. What really matters is, how the SC Mix makes your compression react, but in the master section, you’ll find a “SC LISTEN” function, which routes the Side Chain Mix to the output for auditioning. (Please note the fidelity of the Side Chain Mix is lower than the fidelity of the actual signal path, if you want to use it creatively for processing\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eSTEM COMPRESSION\u003c\/h3\u003e\r\n\u003cp\u003eOn a standard compressor, your compression\/threshold sets the amount of compression. This is no different, apart from the fact, that you can send it “per channel” To put it into context:\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eWhen you adjust the Side Chain Mix levels, you dial in the stereo mix the compression side chain sees\u003c\/li\u003e\r\n\u003cli\u003eWhen you adjust the StemCompression, it determines how much compression folds back to each stereo pair\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003eThere is a compression dial in the master section for global nudges, as well as global gain compensation.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_4\"\u003eATTACK\u003c\/h3\u003e\r\n\u003cp\u003eThe attack time of the dynamic processing. Note that the fastest times are marked red on front, since these can cause distortion on some program material. We left in those fast settings, even thought they can almost make the unit sound “broken” in some instances, because the mentioned distortion is just as often extremely pleasing and helpful. It depends, and cutting it into “safe” range would leave out something really special.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450855026791,"sku":"178980","price":3890.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-stem-mix_178980_1.jpg?v=1787094814"},{"product_id":"goly-crosscompressioneq","title":"GOLY CrosscOMPressionEQ Stereo Processing Unit","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY CrosscOMPressionEQ\u003c\/strong\u003e builds on feedback and design work experience gathered from the DAQ\/DS dynamic suite. This was boiled down to a 2RU design, and founded on readily available parts. It heavily expanded the “decomp” feature, originally introduced on the DAQ, while other aspects were toned down to keep it more restricted and focused. You can use this unit as a BAX-style EQ, an “auto-tilt” dynamically triggered EQ, a standard EQ, two full band compressors working in tandem, or two bands of EQ. It will hold down excessive dynamics, or inject a dynamic element into your program material, if its a little too restrained and needs to dance a bit more.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE CIRCUIT\u003c\/h3\u003e\r\n\u003cp\u003eThe CrosscOMPressionEQ (COMPEQ) is a stereo processing unit with two bands of EQ. You can switch each band between shelving and peak bell filters, and they both feature a full dynamic section, which feature a “cross compression” feature more on that later). The side chain is split between the frequency domain of each band respectively, and the low band side chain has a variable high pass filter built in.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003e…BEYOND Q\u003c\/h3\u003e\r\n\u003cp\u003eQ range goes from extremely narrow to extremely wide, which means, you can practically use each, individual band as a full band processing device, provided you set the frequency selection correct. The original intention was to set up the switching between shelving and peak, so the Q would remain constant in Q mode, but this was still on the to-do list during the earlier day of doing listening tests and getting feedback on the fundamentals. The test pilots did not take my advice to “set the Q around 0.7 when in shelving mode”, and it turned out, it was extremely helpful keeping the ability to go beyond that. In general, you will want to keep it around 0.7, as I had recommended, but you can carve out some really helpful and unusual shapes when the frequency of the shelving bands gets in close proximity to its counterpart. You can also use it to shape how the respective shelving filters shape the curves coming into the audible frequency spectrum, For example, if you are fond of the high frequency type EQs, extending way beyond 20 khz, because you enjoy the ability to be able to shape the curve by extending the frequency of the bell, you can achieve that and much more by extending the high shelving filter, and varying the Q on this unit.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eDYNAMICS SECTION\u003c\/h3\u003e\r\n\u003cp\u003eThe usual controls dynamics, compression, attack and release, with 3 modes of auto-release, and a few settings going a little faster than the electronics are actually able to work continuously at.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eCROSS COMPRESSION\u003c\/h3\u003e\r\n\u003cp\u003eInverts the amount of compression done on a band, and injects it to the opposing band at the ratio you set on the dial. Since you’re using the low end to counteract the high end, and vice versa, it really can be described is “musical” in a meaningful way. It’s also important to note, that use of the cross compression and compression does not exclude each other. You can have 4 dynamic interactions going on at once.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450855059559,"sku":"178979","price":3000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-crosscompressioneq_178979_1_f9c47f9b-3d52-41b7-af53-51b3eb15e9b7.jpg?v=1787094814"},{"product_id":"goly-stem-mix-and-compression-matrix-demo-deal","title":"GOLY Stem Mix and Compression Matrix (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGoly Stem Mix \u0026amp; Compression Matrix\u003c\/strong\u003e is a flexible, channel-split mix-bus compressor for modern, hybrid and hardware mixing. With the sidechain mix and stem mix compression return, you can easily expand your possibilities in an integrated, hands on manner. In extreme examples, it can be used it as a drum sub mixer, with only the snare attacking the compression circuit, or you can simply set all SC mix controls flat on all subgroups, summing to stereo.\u003c\/p\u003e\r\n\u003cp\u003eThe stem outputs on all channels are useful in terms of delivering stems for further processing or stem mastering. The idea is, you can get 95% of the way rolling your hybrid set-up, and with the stems back itb, you can do minor tweaks for mix polishing or mastering applications. Stem outputs deliver the isolated tracks, with the master processing applied, as if the channel was still “part of the whole” in terms of buss processing.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE CIRCUIT\u003c\/h3\u003e\r\n\u003cp\u003eThe basic circuit consists of 8 channels, grouped into stereo, and a master compression engine that feeds back to each channel\/stem. Each channel is split into a side chain mix, which sums into the compression side chain. The control voltage is routed back through stem compression mixer, where you can adjust the amount of compression folding back to each stem. In addition to that, there is a direct stem output, and a fully featured compression section.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003eSTEM MIX\u003c\/h3\u003e\r\n\u003cp\u003eThese are your standard, signal path gain controls. The channel gain controls gain section come into play when adjusting levels relative to the offset in balance brought on by outboard processing, and also depends on how well the mix elements blend\/mix during hybrid operation. Range is ±5 dB\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eSIDE CHAIN MIX\u003c\/h3\u003e\r\n\u003cp\u003eThe Side Chain mixer adjusts the levels going into the engine room of the master compression section. In essence, this lets you adjust what the compressor sees, and triggers off of. You can do odd things, like bring up elements further than they are in the signal path to push harder, back off bass elements to inject less low end, or just set them all flat, so everything goes into the side chain as per usual. What really matters is, how the SC Mix makes your compression react, but in the master section, you’ll find a “SC LISTEN” function, which routes the Side Chain Mix to the output for auditioning. (Please note the fidelity of the Side Chain Mix is lower than the fidelity of the actual signal path, if you want to use it creatively for processing\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eSTEM COMPRESSION\u003c\/h3\u003e\r\n\u003cp\u003eOn a standard compressor, your compression\/threshold sets the amount of compression. This is no different, apart from the fact, that you can send it “per channel” To put it into context:\u003c\/p\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eWhen you adjust the Side Chain Mix levels, you dial in the stereo mix the compression side chain sees\u003c\/li\u003e\r\n\u003cli\u003eWhen you adjust the StemCompression, it determines how much compression folds back to each stereo pair\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cp\u003eThere is a compression dial in the master section for global nudges, as well as global gain compensation.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_4\"\u003eATTACK\u003c\/h3\u003e\r\n\u003cp\u003eThe attack time of the dynamic processing. Note that the fastest times are marked red on front, since these can cause distortion on some program material. We left in those fast settings, even thought they can almost make the unit sound “broken” in some instances, because the mentioned distortion is just as often extremely pleasing and helpful. It depends, and cutting it into “safe” range would leave out something really special.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450919743591,"sku":"189256","price":3490.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-stem-mix_178980_1_9a0222a2-33c5-43d5-82f4-7c48776de068.jpg?v=1787095100"},{"product_id":"goly-pg-porter-grinder-mastering-eq-rev-2023","title":"GOLY PG Porter Grinder Mastering EQ (Rev 2023)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY PG Porter Grinder Mastering EQ\u003c\/strong\u003e is based on the highly regarded “NetEQ”, by the late Barry Porter. After many years of listening tinkering with the design, building, and listening, and adjusting, and listening, and doing custom units with various solutions -- and listening -- the only thing that remains unchanged is the parallel filter section. The in and output sections, the high and low pass filters, the layout of the circuit, the Q circuit, and the whole implementation of it has been redesigned, and when the listening tests were done, GOLY took a really deep dive into the details and precision of all the controls. The result is still a Porter at its core, but also, very much a Grinder.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003e2023 REVISION\u003c\/h3\u003e\r\n\u003cp\u003eThe sound and the circuit remains exactly the same as the original. Gain is ±6 dB on a custom 41-step pot, with center tap, in order to obtain a perfect, zero gain reference. Frequency is set up on a custom 41-step pot, which means, you have an almost continuous flow while dialing in your frequency. The torque is adjusted to give you a stepped feel while doing more careful tuning. Design of the interface and control scales reflects these changes, and it's possible to make perfect recalls, even at this resolution.\u003c\/p\u003e\r\n\u003cp\u003eThe Q was changed from RMS to peak gain behavior. RMS behavior keeps the energy constant, while the peak behavior keeps the peak level constant. Think of a balloon, if you squeeze it to make it narrower, it gets longer (higher peak, same amount of energy), but if you let a little air out, it will stay the same height as before (static peak, less energy). What is preferable comes down to temperament, but aside from the practical aspects, the redesigns gave a less ringy and more intuitive behavior, especially at more narrow settings.\u003c\/p\u003e\r\n\u003cp\u003eIn the original design, the high and low pass filters were added in series with the core circuit, and they were done with a simple RC filter on an opamp. They always seemed be a bit “out of place” with the bands standing out relative to the rest of the EQ, so the 2023 Revision nixes Porter’s HP\/LP add-on, and with the help of a few relays, they are tapped directly into the core of the parallel circuits. Their resonance peaks don’t look very good on paper, but they sound amazing, and they are fully sympathetic to the other bands, when they are engaged.\u003c\/p\u003e\r\n\u003cp\u003eThe center section features a Bypass which allows you to bypass the filter section. It also includes MS which wraps the MS encoder and decoder around the whole filter circuit. The MS circuit is built on modern, precise, integrated circuits.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450923348071,"sku":"190109","price":3560.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-pg-23_190109_1.jpg?v=1787095116"},{"product_id":"goly-dynamic-tracking-dock-recording-channel-with-500-series-slot-demo-deal-open-box","title":"GOLY Dynamic Tracking Dock Recording Channel with 500 Series Slot (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY Tracking Dock\u003c\/strong\u003e is a 500 series host, that will dock your preamp of choice, and merge them into the perfect recording channel. You can swap the module to taste and application, from recording to recording, or just use your favorite module statically. The processing stage consists of a two equalization peak\/bell filters, which will operate in the low\/low mid spectrum, and high mid\/high spectrum respectively. The dynamic sections on each filter will let you vary the attack and release times, as well as the dynamic hold, and the soft\/hard switch toggles between a more aggressive and subtle compression characteristic. The Q on each bell goes so wide, that you can practically use the two bands for anything from individual, full band compressors to do de-essing or notch out specific frequency. Finally, there is a side chain boost EQ, with a narrow\/wide boost and sweepable EQ available.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450942517351,"sku":"194545","price":1899.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-tracking-dock_174567_1_ad6d69bd-0266-4c22-9a74-1cf334bd0767.jpg?v=1787095197"},{"product_id":"goly-crosscompressioneq-demo-deal-open-box","title":"GOLY CrosscOMPressionEQ Stereo Processing Unit (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY CrosscOMPressionEQ\u003c\/strong\u003e builds on feedback and design work experience gathered from the DAQ\/DS dynamic suite. This was boiled down to a 2RU design, and founded on readily available parts. It heavily expanded the “decomp” feature, originally introduced on the DAQ, while other aspects were toned down to keep it more restricted and focused. You can use this unit as a BAX-style EQ, an “auto-tilt” dynamically triggered EQ, a standard EQ, two full band compressors working in tandem, or two bands of EQ. It will hold down excessive dynamics, or inject a dynamic element into your program material, if its a little too restrained and needs to dance a bit more.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003eTHE CIRCUIT\u003c\/h3\u003e\r\n\u003cp\u003eThe CrosscOMPressionEQ (COMPEQ) is a stereo processing unit with two bands of EQ. You can switch each band between shelving and peak bell filters, and they both feature a full dynamic section, which feature a “cross compression” feature more on that later). The side chain is split between the frequency domain of each band respectively, and the low band side chain has a variable high pass filter built in.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_1\"\u003e…BEYOND Q\u003c\/h3\u003e\r\n\u003cp\u003eQ range goes from extremely narrow to extremely wide, which means, you can practically use each, individual band as a full band processing device, provided you set the frequency selection correct. The original intention was to set up the switching between shelving and peak, so the Q would remain constant in Q mode, but this was still on the to-do list during the earlier day of doing listening tests and getting feedback on the fundamentals. The test pilots did not take my advice to “set the Q around 0.7 when in shelving mode”, and it turned out, it was extremely helpful keeping the ability to go beyond that. In general, you will want to keep it around 0.7, as I had recommended, but you can carve out some really helpful and unusual shapes when the frequency of the shelving bands gets in close proximity to its counterpart. You can also use it to shape how the respective shelving filters shape the curves coming into the audible frequency spectrum, For example, if you are fond of the high frequency type EQs, extending way beyond 20 khz, because you enjoy the ability to be able to shape the curve by extending the frequency of the bell, you can achieve that and much more by extending the high shelving filter, and varying the Q on this unit.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_2\"\u003eDYNAMICS SECTION\u003c\/h3\u003e\r\n\u003cp\u003eThe usual controls dynamics, compression, attack and release, with 3 modes of auto-release, and a few settings going a little faster than the electronics are actually able to work continuously at.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_3\"\u003eCROSS COMPRESSION\u003c\/h3\u003e\r\n\u003cp\u003eInverts the amount of compression done on a band, and injects it to the opposing band at the ratio you set on the dial. Since you’re using the low end to counteract the high end, and vice versa, it really can be described is “musical” in a meaningful way. It’s also important to note, that use of the cross compression and compression does not exclude each other. You can have 4 dynamic interactions going on at once.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450946220135,"sku":"194770","price":2450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-crosscompressioneq_178979_1_8962ca23-21de-4f47-8d44-46c346067b0f.jpg?v=1787095213"},{"product_id":"goly-crosscompressioneq-stereo-processing-unit-demo-deal","title":"GOLY CrosscOMPressionEQ Stereo Processing Unit (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY CrosscOMPressionEQ\u003c\/strong\u003e builds on feedback and design work experience gathered from the DAQ\/DS dynamic suite. This was boiled down to a 2RU design, and founded on readily available parts. It heavily expanded the “decomp” feature, originally introduced on the DAQ, while other aspects were toned down to keep it more restricted and focused. You can use this unit as a BAX-style EQ, an “auto-tilt” dynamically triggered EQ, a standard EQ, two full band compressors working in tandem, or two bands of EQ. It will hold down excessive dynamics, or inject a dynamic element into your program material, if its a little too restrained and needs to dance a bit more.\u003c\/p\u003e\n\u003ch3 id=\"toc_0\"\u003eTHE CIRCUIT\u003c\/h3\u003e\n\u003cp\u003eThe CrosscOMPressionEQ (COMPEQ) is a stereo processing unit with two bands of EQ. You can switch each band between shelving and peak bell filters, and they both feature a full dynamic section, which feature a “cross compression” feature more on that later). The side chain is split between the frequency domain of each band respectively, and the low band side chain has a variable high pass filter built in.\u003c\/p\u003e\n\u003ch3 id=\"toc_1\"\u003e…BEYOND Q\u003c\/h3\u003e\n\u003cp\u003eQ range goes from extremely narrow to extremely wide, which means, you can practically use each, individual band as a full band processing device, provided you set the frequency selection correct. The original intention was to set up the switching between shelving and peak, so the Q would remain constant in Q mode, but this was still on the to-do list during the earlier day of doing listening tests and getting feedback on the fundamentals. The test pilots did not take my advice to “set the Q around 0.7 when in shelving mode”, and it turned out, it was extremely helpful keeping the ability to go beyond that. In general, you will want to keep it around 0.7, as I had recommended, but you can carve out some really helpful and unusual shapes when the frequency of the shelving bands gets in close proximity to its counterpart. You can also use it to shape how the respective shelving filters shape the curves coming into the audible frequency spectrum, For example, if you are fond of the high frequency type EQs, extending way beyond 20 khz, because you enjoy the ability to be able to shape the curve by extending the frequency of the bell, you can achieve that and much more by extending the high shelving filter, and varying the Q on this unit.\u003c\/p\u003e\n\u003ch3 id=\"toc_2\"\u003eDYNAMICS SECTION\u003c\/h3\u003e\n\u003cp\u003eThe usual controls dynamics, compression, attack and release, with 3 modes of auto-release, and a few settings going a little faster than the electronics are actually able to work continuously at.\u003c\/p\u003e\n\u003ch3 id=\"toc_3\"\u003eCROSS COMPRESSION\u003c\/h3\u003e\n\u003cp\u003eInverts the amount of compression done on a band, and injects it to the opposing band at the ratio you set on the dial. Since you’re using the low end to counteract the high end, and vice versa, it really can be described is “musical” in a meaningful way. It’s also important to note, that use of the cross compression and compression does not exclude each other. You can have 4 dynamic interactions going on at once.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44450993635431,"sku":"208394","price":2699.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-crosscompressioneq_178979_1_a06d54ad-8a81-496f-9a4f-f00d80646e98.jpg?v=1787095405"},{"product_id":"goly-gravity-s-rainbow-mastering-equalizer","title":"GOLY Gravity's Rainbow Mastering Equalizer","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY Gravity's Rainbow Mastering Equalizer\u003c\/strong\u003e is a 4-band dynamic EQ which features a crosscompression send\/return system on 2 busses providing all sorts of possibilities for bus and mix processing. Use this to liven overcompressed or flat material and make your tracks pop.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eEQ SECTION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe equalizer section behaves as a normal mastering\/bus 4-band EQ featuring selectable shelving filters on the high and the low bands and broader range on the High Mid band. Each band includes attack, release, and compression controls plus a \"super soft\" push button which engages a super soft mode which activates a very soft knee, and a very low 1.5:1 ratio, and leaving it off gives you a harder knee and a ratio around 6:1\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe aforementioned expanded High Mid+ band covers the full spectrum of deessing or \"taming\" types of processing. GOLY widened from the initial 400-4K to 400-8K plus added a pair of focus filters on the band dynamics. The filters let you set the range of what goes into the side chain, so you can zoom in on the trigger frequencies. \u003c\/p\u003e\r\n\r\n\u003cp\u003eThe low band has a variable filter in the SC, just enough to nudge it out of the way from deeper snares upwards, as well as excessive sub bass triggering downwards.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe 8 step release has two auto-settings, one being a more conservative set-and-forget function (A1), while the other will go into timings where you can experience an increased amount of timing related distortion (A2).  The 12 step attack also features an \"out of bounds\" timing, which is super useful when catching the odd transient, but it may trigger timing related distortion when catching continuous peaks and reengaging super fast. It is marked accordingly, so you know you're in dangerous territory. \u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eCOMPRESSION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe unit has a \"sound\" that starts kicking in at around 14 dBU, and 18 dBU leaves you enough space to push the level far enough to get some tone out of it, while also leaving a meaningful amount of clipping headroom, and reaching the relative ceiling on the compression with the dial set to 0. The master gain is there to balance your levels, so you can do meaningful A\/B comparisons, and the global bypass is a full, hard bypass of the unit, while the individual band \"in\" takes the bands in and out of circuit by detaching the controls from the band itself. \u003c\/p\u003e\r\n\r\n\u003cp\u003eCrosscompression inverts the amount of compression done on a band, and injects it to the opposing band at the ratio you set on the dial. Since you’re using the low end to counteract the high end, and vice versa, it really can be described is “musical” in a meaningful way. Crosscompression was  first developed in a 2-band configuration on the COMPEQ, so each side just fired across to the other side, crossing between the bands (hence the name, crosscompression). The Gravity's Rainbow employs a 4-band set-up so GOLY added a send\/return buss system for the feature. You can send the compression being done to bus A or B, and you can return to any band (even itself).\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451012018279,"sku":"211370","price":5930.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-gravitys-rainbow_211370_1_9de15256-fadb-4374-a977-d9a1ef3ea8b0.jpg?v=1787095487"},{"product_id":"goly-pg-porter-grinder-mastering-eq-rev-2023-demo-deal","title":"GOLY PG Porter Grinder Mastering EQ (Rev 2023) (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY PG Porter Grinder Mastering EQ\u003c\/strong\u003e is based on the highly regarded “NetEQ”, by the late Barry Porter. After many years of listening tinkering with the design, building, and listening, and adjusting, and listening, and doing custom units with various solutions -- and listening -- the only thing that remains unchanged is the parallel filter section. The in and output sections, the high and low pass filters, the layout of the circuit, the Q circuit, and the whole implementation of it has been redesigned, and when the listening tests were done, GOLY took a really deep dive into the details and precision of all the controls. The result is still a Porter at its core, but also, very much a Grinder.\u003c\/p\u003e\r\n\u003ch3 id=\"toc_0\"\u003e2023 REVISION\u003c\/h3\u003e\r\n\u003cp\u003eThe sound and the circuit remains exactly the same as the original. Gain is ±6 dB on a custom 41-step pot, with center tap, in order to obtain a perfect, zero gain reference. Frequency is set up on a custom 41-step pot, which means, you have an almost continuous flow while dialing in your frequency. The torque is adjusted to give you a stepped feel while doing more careful tuning. Design of the interface and control scales reflects these changes, and it's possible to make perfect recalls, even at this resolution.\u003c\/p\u003e\r\n\u003cp\u003eThe Q was changed from RMS to peak gain behavior. RMS behavior keeps the energy constant, while the peak behavior keeps the peak level constant. Think of a balloon, if you squeeze it to make it narrower, it gets longer (higher peak, same amount of energy), but if you let a little air out, it will stay the same height as before (static peak, less energy). What is preferable comes down to temperament, but aside from the practical aspects, the redesigns gave a less ringy and more intuitive behavior, especially at more narrow settings.\u003c\/p\u003e\r\n\u003cp\u003eIn the original design, the high and low pass filters were added in series with the core circuit, and they were done with a simple RC filter on an opamp. They always seemed be a bit “out of place” with the bands standing out relative to the rest of the EQ, so the 2023 Revision nixes Porter’s HP\/LP add-on, and with the help of a few relays, they are tapped directly into the core of the parallel circuits. Their resonance peaks don’t look very good on paper, but they sound amazing, and they are fully sympathetic to the other bands, when they are engaged.\u003c\/p\u003e\r\n\u003cp\u003eThe center section features a Bypass which allows you to bypass the filter section. It also includes MS which wraps the MS encoder and decoder around the whole filter circuit. The MS circuit is built on modern, precise, integrated circuits.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451082731623,"sku":"398157","price":2637.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-pg-23_190109_1_855efb90-8295-47a0-a544-f3e371057ee1.jpg?v=1787095765"},{"product_id":"goly-gravity-s-rainbow-mastering-equalizer-demo-deal","title":"GOLY Gravity's Rainbow Mastering Equalizer (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY Gravity's Rainbow Mastering Equalizer\u003c\/strong\u003e is a 4-band dynamic EQ which features a crosscompression send\/return system on 2 busses providing all sorts of possibilities for bus and mix processing. Use this to liven overcompressed or flat material and make your tracks pop.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eEQ SECTION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe equalizer section behaves as a normal mastering\/bus 4-band EQ featuring selectable shelving filters on the high and the low bands and broader range on the High Mid band. Each band includes attack, release, and compression controls plus a \"super soft\" push button which engages a super soft mode which activates a very soft knee, and a very low 1.5:1 ratio, and leaving it off gives you a harder knee and a ratio around 6:1\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe aforementioned expanded High Mid+ band covers the full spectrum of deessing or \"taming\" types of processing. GOLY widened from the initial 400-4K to 400-8K plus added a pair of focus filters on the band dynamics. The filters let you set the range of what goes into the side chain, so you can zoom in on the trigger frequencies. \u003c\/p\u003e\r\n\r\n\u003cp\u003eThe low band has a variable filter in the SC, just enough to nudge it out of the way from deeper snares upwards, as well as excessive sub bass triggering downwards.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe 8 step release has two auto-settings, one being a more conservative set-and-forget function (A1), while the other will go into timings where you can experience an increased amount of timing related distortion (A2).  The 12 step attack also features an \"out of bounds\" timing, which is super useful when catching the odd transient, but it may trigger timing related distortion when catching continuous peaks and reengaging super fast. It is marked accordingly, so you know you're in dangerous territory. \u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eCOMPRESSION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe unit has a \"sound\" that starts kicking in at around 14 dBU, and 18 dBU leaves you enough space to push the level far enough to get some tone out of it, while also leaving a meaningful amount of clipping headroom, and reaching the relative ceiling on the compression with the dial set to 0. The master gain is there to balance your levels, so you can do meaningful A\/B comparisons, and the global bypass is a full, hard bypass of the unit, while the individual band \"in\" takes the bands in and out of circuit by detaching the controls from the band itself. \u003c\/p\u003e\r\n\r\n\u003cp\u003eCrosscompression inverts the amount of compression done on a band, and injects it to the opposing band at the ratio you set on the dial. Since you’re using the low end to counteract the high end, and vice versa, it really can be described is “musical” in a meaningful way. Crosscompression was  first developed in a 2-band configuration on the COMPEQ, so each side just fired across to the other side, crossing between the bands (hence the name, crosscompression). The Gravity's Rainbow employs a 4-band set-up so GOLY added a send\/return buss system for the feature. You can send the compression being done to bus A or B, and you can return to any band (even itself).\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451121758311,"sku":"457958","price":5337.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-gravitys-rainbow_211370_1.jpg?v=1787095920"},{"product_id":"goly-pg-25-porter-grinder-mastering-eq","title":"GOLY PG25 Porter Grinder Mastering EQ","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY PG25 Porter Grinder Mastering EQ\u003c\/strong\u003e is based on the highly regarded “NetEQ”, by the late Barry Porter. After many years of listening tinkering with the design, building, and listening, and adjusting, and listening, and doing custom units with various solutions -- and listening -- the only thing that remains unchanged is the parallel filter section. The in and output sections, the high and low pass filters, the layout of the circuit, the Q circuit, and the whole implementation of it has been redesigned, and when the listening tests were done, GOLY took a really deep dive into the details and precision of all the controls. The result is still a Porter at its core, but also, very much a Grinder.\u003c\/p\u003e\r\n\r\n\u003cp\u003eCompared to the basic Porter circuit, the in- and output sections were completely redesigned, the shelving filters were redone, an MS section was added, and GOLY rounded it off with a master gain control that basically works as a full frequency band.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451242672231,"sku":"481717","price":3861.55,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-pg25_481717_1_8ecff214-922f-4bdf-8fce-43302fbf7e43.jpg?v=1787096448"},{"product_id":"goly-gravity-25","title":"GOLY Gravity25 Dynamic Equalizer","description":"\u003cp\u003eAs an EQ, the \u003cstrong\u003eGOLY Gravity25\u003c\/strong\u003e dynamic equalizer covers the frequency range the same as any standard, 4 band bus\/mastering EQ, with selectable shelving filters on the high and low bands. The High Mid+ band is extended to make sure the band covers the full frequency range where de-essing or \"taming\" type of processing can be desirable, and also features a focus filter in the side chain.Each band features a set of standard, dynamic controls in the form of attack, release, and compression, and a \"super soft\" push button, which switches the ratio and knee into a super soft mode.\u003c\/p\u003e\r\n\r\n\u003cp\u003eFinally, the crosscompression reads the compression being done on a band, and send it to another band. You can then use it to trigger expansion or compression, which is useful for bringing some life into flat, unexciting or overcompressed program material in a very musical way. The feature was developed and implemented in a 2-band set-up on the COMPEQ, so each side just fired across to the other side, crossing between the bands (hence the name, crosscompression). This is a 4-band set-up, so GOLY added a send\/return buss system for the feature. You can send the compression being done to bus A or B, and you can return to any band (even itself).\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451242704999,"sku":"481960","price":6295.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-gravity25_481960_1_a153f85c-e7d0-49e0-b22d-e5fd08390958.jpg?v=1787096448"},{"product_id":"goly-compeq","title":"GOLY CompEQ Stereo Processing Unit","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY CompEQ\u003c\/strong\u003e builds on feedback and design work experience gathered from the DAQ\/DS dynamic suite. This was boiled down to a 2RU design, and founded on readily available parts. It heavily expanded the “decomp” feature, originally introduced on the DAQ, while other aspects were toned down to keep it more restricted and focused. You can use this unit as a BAX-style EQ, an “auto-tilt” dynamically triggered EQ, a standard EQ, two full band compressors working in tandem, or two bands of EQ. It will hold down excessive dynamics, or inject a dynamic element into your program material, if its a little too restrained and needs to dance a bit more.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTHE CIRCUIT\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe COMPEQ is a stereo processing unit with two bands of EQ. You can switch each band between shelving and peak bell filters, and they both feature a full dynamic section, which feature a “cross compression” feature more on that later). The side chain is split between the frequency domain of each band respectively, and the low band side chain has a variable high pass filter built in.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003e…BEYOND Q\u003c\/h3\u003e\r\n\r\n\u003cp\u003eQ range goes from extremely narrow to extremely wide, which means, you can practically use each, individual band as a full band processing device, provided you set the frequency selection correct. The original intention was to set up the switching between shelving and peak, so the Q would remain constant in Q mode, but this was still on the to-do list during the earlier day of doing listening tests and getting feedback on the fundamentals. The test pilots did not take my advice to “set the Q around 0.7 when in shelving mode”, and it turned out, it was extremely helpful keeping the ability to go beyond that. In general, you will want to keep it around 0.7, as I had recommended, but you can carve out some really helpful and unusual shapes when the frequency of the shelving bands gets in close proximity to its counterpart. You can also use it to shape how the respective shelving filters shape the curves coming into the audible frequency spectrum, For example, if you are fond of the high frequency type EQs, extending way beyond 20 khz, because you enjoy the ability to be able to shape the curve by extending the frequency of the bell, you can achieve that and much more by extending the high shelving filter, and varying the Q on this unit.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eDYNAMICS SECTION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe usual controls dynamics, compression, attack and release, with 3 modes of auto-release, and a few settings going a little faster than the electronics are actually able to work continuously at.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eCROSS COMPRESSION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eInverts the amount of compression done on a band, and injects it to the opposing band at the ratio you set on the dial. Since you’re using the low end to counteract the high end, and vice versa, it really can be described is “musical” in a meaningful way. It’s also important to note, that use of the cross compression and compression does not exclude each other. You can have 4 dynamic interactions going on at once.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451242770535,"sku":"481957","price":3238.09,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-compeq_481957_1.jpg?v=1787096448"},{"product_id":"goly-compression-matrix-ii","title":"GOLY Compression Matrix II  Stem Mix and Compression Matrix","description":"\u003cp\u003eThe \u003cstrong\u003eGoly Compression Matrix II\u003c\/strong\u003e can be used it as a drum sub mixer, with only the snare attacking the compression circuit, or you can simply set all SC mix controls flat on all subgroups, summing to stereo. The stem outputs on all channels are useful in terms of delivering stems for further processing or stem mastering. The idea is, you can get 95% of the way rolling your hybrid set-up, and with the stems back in the box, you can do minor tweaks for mix polishing or mastering applications. Stem outputs deliver the isolated tracks, with the master processing applied, as if the channel was still \"part of the whole\" in terms of buss processing.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_0\"\u003eTHE CIRCUIT\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe basic circuit consists of 8 channels, grouped into stereo, and a master compression engine that feeds back to each channel\/stem. Each channel is split into a side chain mix, which sums into the compression side chain. The control voltage is routed back through stem compression mixer, where you can adjust the amount of compression folding back to each stem. In addition to that, there is a direct stem output, and a fully featured compression section.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_1\"\u003eSTEM MIX\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThis is your standard, signal path gain controls. The channel gain controls gain section come into play when adjusting levels relative to the offset in balance brought on by outboard processing, and also depends on how well the mix elements blend\/mix during hybrid operation.\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_2\"\u003eSIDE CHAIN MIX\u003c\/h3\u003e\r\n\r\n\u003cp\u003eThe Side Chain mixer adjust the levels going into the engine room of the master compression section. In essence, this lets you adjust what the compressor sees, and triggers off of. You can do odd things, like bring up elements further than they are in the signal path to push harder, back off bass elements to inject less low end, or just set them all flat, so everything goes into the side chain as per usual. What really matters is, how the SC Mix makes your compression react, but in the master section, you’ll find a \"SC LISTEN\" function, which routes the Side Chain Mix to the output for auditioning. (Please note the fidelity of the Side Chain Mix is lower than the fidelity of the actual signal path, if you want to use it creatively for processing).\u003c\/p\u003e\r\n\r\n\u003ch3 id=\"toc_3\"\u003eSTEM COMPRESSION\u003c\/h3\u003e\r\n\r\n\u003cp\u003eOn a standard compressor, your compression\/threshold sets the amount of compression. This is no different, apart from the fact, that you can send it \"per channel\" To put it into context, when you adjust the Side Chain Mix levels, you dial in the stereo mix the compression side chain sees. When you adjust the Stem Compression, it determines how much compression folds back to each stereo pair. There is a compression dial in the master section for global nudges, as well as global gain compensation.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451242803303,"sku":"481959","price":4189.14,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-compression-matrix-ii_481959_1_55d9cfc2-4691-4d5c-9917-bc315e63f412.jpg?v=1787096448"},{"product_id":"goly-pg-25-porter-grinder-mastering-eq-demo-deal-open-box","title":"GOLY PG25 Porter Grinder Mastering EQ (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY PG25 Porter Grinder Mastering EQ\u003c\/strong\u003e is based on the highly regarded “NetEQ”, by the late Barry Porter. After many years of listening tinkering with the design, building, and listening, and adjusting, and listening, and doing custom units with various solutions -- and listening -- the only thing that remains unchanged is the parallel filter section. The in and output sections, the high and low pass filters, the layout of the circuit, the Q circuit, and the whole implementation of it has been redesigned, and when the listening tests were done, GOLY took a really deep dive into the details and precision of all the controls. The result is still a Porter at its core, but also, very much a Grinder.\u003c\/p\u003e\n\n\u003cp\u003eCompared to the basic Porter circuit, the in- and output sections were completely redesigned, the shelving filters were redone, an MS section was added, and GOLY rounded it off with a master gain control that basically works as a full frequency band.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451329671271,"sku":"496414","price":3475.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-pg25_481717_1_bc049845-8a74-447d-80b2-a4e113ebe040.jpg?v=1787096813"},{"product_id":"goly-gravity-25-demo-deal-open-box","title":"GOLY Gravity25 Dynamic Equalizer (Demo Deal)","description":"\u003cp\u003eAs an EQ, the \u003cstrong\u003eGOLY Gravity25\u003c\/strong\u003e dynamic equalizer covers the frequency range the same as any standard, 4 band bus\/mastering EQ, with selectable shelving filters on the high and low bands. The High Mid+ band is extended to make sure the band covers the full frequency range where de-essing or \"taming\" type of processing can be desirable, and also features a focus filter in the side chain.Each band features a set of standard, dynamic controls in the form of attack, release, and compression, and a \"super soft\" push button, which switches the ratio and knee into a super soft mode.\u003c\/p\u003e\n\n\u003cp\u003eFinally, the crosscompression reads the compression being done on a band, and send it to another band. You can then use it to trigger expansion or compression, which is useful for bringing some life into flat, unexciting or overcompressed program material in a very musical way. The feature was developed and implemented in a 2-band set-up on the COMPEQ, so each side just fired across to the other side, crossing between the bands (hence the name, crosscompression). This is a 4-band set-up, so GOLY added a send\/return buss system for the feature. You can send the compression being done to bus A or B, and you can return to any band (even itself).\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451329704039,"sku":"496332","price":5502.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-gravity25_481960_1_2123b7a0-7c5f-46dd-942a-3fbde4e34c57.jpg?v=1787096813"},{"product_id":"goly-compression-matrix-ii-demo-deal-open-box","title":"GOLY Compression Matrix II  Stem Mix and Compression Matrix (Demo Deal)","description":"\u003cp\u003eThe \u003cstrong\u003eGoly Compression Matrix II\u003c\/strong\u003e can be used it as a drum sub mixer, with only the snare attacking the compression circuit, or you can simply set all SC mix controls flat on all subgroups, summing to stereo. The stem outputs on all channels are useful in terms of delivering stems for further processing or stem mastering. The idea is, you can get 95% of the way rolling your hybrid set-up, and with the stems back in the box, you can do minor tweaks for mix polishing or mastering applications. Stem outputs deliver the isolated tracks, with the master processing applied, as if the channel was still \"part of the whole\" in terms of buss processing.\u003c\/p\u003e\n\n\u003ch3 id=\"toc_0\"\u003eTHE CIRCUIT\u003c\/h3\u003e\n\n\u003cp\u003eThe basic circuit consists of 8 channels, grouped into stereo, and a master compression engine that feeds back to each channel\/stem. Each channel is split into a side chain mix, which sums into the compression side chain. The control voltage is routed back through stem compression mixer, where you can adjust the amount of compression folding back to each stem. In addition to that, there is a direct stem output, and a fully featured compression section.\u003c\/p\u003e\n\n\u003ch3 id=\"toc_1\"\u003eSTEM MIX\u003c\/h3\u003e\n\n\u003cp\u003eThis is your standard, signal path gain controls. The channel gain controls gain section come into play when adjusting levels relative to the offset in balance brought on by outboard processing, and also depends on how well the mix elements blend\/mix during hybrid operation.\u003c\/p\u003e\n\n\u003ch3 id=\"toc_2\"\u003eSIDE CHAIN MIX\u003c\/h3\u003e\n\n\u003cp\u003eThe Side Chain mixer adjust the levels going into the engine room of the master compression section. In essence, this lets you adjust what the compressor sees, and triggers off of. You can do odd things, like bring up elements further than they are in the signal path to push harder, back off bass elements to inject less low end, or just set them all flat, so everything goes into the side chain as per usual. What really matters is, how the SC Mix makes your compression react, but in the master section, you’ll find a \"SC LISTEN\" function, which routes the Side Chain Mix to the output for auditioning. (Please note the fidelity of the Side Chain Mix is lower than the fidelity of the actual signal path, if you want to use it creatively for processing).\u003c\/p\u003e\n\n\u003ch3 id=\"toc_3\"\u003eSTEM COMPRESSION\u003c\/h3\u003e\n\n\u003cp\u003eOn a standard compressor, your compression\/threshold sets the amount of compression. This is no different, apart from the fact, that you can send it \"per channel\" To put it into context, when you adjust the Side Chain Mix levels, you dial in the stereo mix the compression side chain sees. When you adjust the Stem Compression, it determines how much compression folds back to each stereo pair. There is a compression dial in the master section for global nudges, as well as global gain compensation.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451329736807,"sku":"496331","price":3369.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-compression-matrix-ii_481959_1_ffb6ddfa-21f2-4792-b99d-30a19c38f37d.jpg?v=1787096813"},{"product_id":"goly-pg25-porter-grinder-mastering-eq-ju53-used","title":"GOLY PG25 Porter Grinder Mastering EQ #JU53 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eGOLY PG25 Porter Grinder Mastering EQ\u003c\/strong\u003e is based on the highly regarded “NetEQ”, by the late Barry Porter. After many years of listening tinkering with the design, building, and listening, and adjusting, and listening, and doing custom units with various solutions -- and listening -- the only thing that remains unchanged is the parallel filter section. The in and output sections, the high and low pass filters, the layout of the circuit, the Q circuit, and the whole implementation of it has been redesigned, and when the listening tests were done, GOLY took a really deep dive into the details and precision of all the controls. The result is still a Porter at its core, but also, very much a Grinder.\u003c\/p\u003e \u003cp\u003eCompared to the basic Porter circuit, the in- and output sections were completely redesigned, the shelving filters were redone, an MS section was added, and GOLY rounded it off with a master gain control that basically works as a full frequency band.\u003c\/p\u003e","brand":"GOLY","offers":[{"title":"Default Title","offer_id":44451380232295,"sku":"499208","price":3249.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/goly-pg25-porter-grinder-mastering-eq-ju53-used_499208_1.jpg?v=1787097010"}],"url":"https:\/\/vintageking1.myshopify.com\/collections\/goly.oembed","provider":"VINTAGE KING AUDIO","version":"1.0","type":"link"}