GOLY CrosscOMPressionEQ Stereo Processing Unit

The GOLY CrosscOMPressionEQ 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.

THE CIRCUIT

The 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.

…BEYOND Q

Q 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.

DYNAMICS SECTION

The 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.

CROSS COMPRESSION

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. 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.

FEATURES:

• Two bands of stereo EQ (high/low)
• Bell/shelving mode switchable (high and low shelving respectively)
• Dynamics on both bands (compression/attack/release)
• Side chain is split between bands, but there are no crossovers the signal path
• Low band side chain features a variable high pass
• Q goes wide enough, that both bands can be set as full band compressor
• Cross Compression feature inverts compression and injects it into the opposite band at a variable ratio from 1:10 to 2:1
• Soft/hard settings for the dynamics per band
• Res/HR settings varies for resolution doing mixoriented tasks, and HR for mastering
• Master gain to level match
• True bypass
• All controls stepped, except the master gain for precise level matching