In this video we show you some audio examples of the Goly 4 Band Dynamic EQ know also as Gravity’s Rainbow. One of if not the only dynamic analogue dynamic EQ on the market.
The GOLY Gravity’s Rainbow Mastering Equalizer 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.
EQ SECTION
The 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
The 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.
The 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.
The 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.
COMPRESSION
The 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.
Crosscompression 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).