Published on June 18th, 2006.
Author: Kevin.Rossiter
Category: Virtual Effects.

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Kjaerhus Audio – Golden Audio Channel – GAC-1

What you’re looking at is a complete track strip for your mixer.

It’s designed to replace all your existing eq’s and compressors with one single all-purpose swiss army knife of a plug.

Golden Audio Channel – GAC-1

So the burning question is: Does it succeed in doing this?

The short answer is Yes.

Let’s take a closer look and see how this might measure up to your expectations – or not.

What’s inside GAC-1?

It’s a chain of switchable effects starting with:

• A Noise Gate

• De-Esser

• 2 Parametric Equalisers

• 2 Compressors

This instantly raises two questions:

What sort of FX are they (My bathtub is already full to the brim with FX)?

Why 2 comps and 2 eq’s (I’m confused as I only ever use 1 of each)?

What sort of FX are they?

The Noise Gate is so convenient to have. You know how you promise yourself you’ll always use a gate to keep your tracks cleaner and less muddy, but somehow you forget?

With GAC-1 you’ll never forget again as the Gate is starting you in the face every time you load it.

So for virtually nil effort you’ll get a cleaner sound, simply because it’s so convenient to do.

The De-Esser might save your skin when the eq can’t fix sibilant vocals. If you record a variety of voices you need this handy and available for fixing the vocalist while they look over your shoulder. On the other hand, if you’re your own vocalist, then you’ll have the tool to slide out any ‘orrible essiness or tarty tuttiness from your warblings.

The Equaliser has a complex spec, plus that famous Pultec overshoot that makes for the classic eq sound.

Please see the Kjaerhus’ Golden EQ review (elsewhere in Trax) for details on why this is so good to have (as in clean crisp eq edges).

The main differences from GEQ is that GAC-1’s eq is smaller and a bit more fiddly to use. EQ is generally something you can spend a bit of time on, sliding back and forth, blind testing, trying to find the hot spots and the sweet spots and get things in tune. So the fiddliness is awkward. But I like being able to drag blind until I hear what I want, instead of “see what I think I’m supposed to see”.

There are 5 filter types, cut, shelf, peak, hi and lo, so basically GAC-1’s eq will let you eq any part of the audio spectrum accurately, as you require. This applies to the whole eq. It’s so feature rich that it just does whatever you want, without distorting, unless you need to add a severe 12db of gain!

For this eq to be perfect I would have liked a pop-up mode, so it expands to a larger size at a click. But I can manage without too ; )

The Compressor is reviewed here at Trax as Kjaerhus’s Golden Compressor, so I won’t dwell on the Opto, Smooth and Classic saturators (or why Opto comps sound so good with acoustic guitars).

The addition to GCO is sidechaining, which is connected to the eq for bass or kick ducking.

The cool features are auto-gain which is so convenient to use, and usually gets it right, and the PDE or Programme Dependent Envelope which increases gain some more without increasing the pumping effect.

The big plus with all Kjaerhus’ comps is transparency. This comp adds punch while keeping the dynamics intact. This feature alone says it all. Cheap comp or amateur comp means everything is loud and squashed to a solid black bar. Pro comp means the liveliness in the track is retained. In turn this stops the ear tiring quickly as it’s more prone to do with overcomped sounds.

Why 2 comps and 2 eq’s

This is the magic part of GAC-1.

Let’s get something straight first. GAC-1 is ideal as a track strip with only one eq and one comp.

It would be worth it just for the convenience of having a pro-class track strip right there at the fingertips.

But in the GAC-1 package comes 40 presets that use 2 eq’s and 2 comps in varying combinations, designed to dazzle and amaze.

Let’s step back and put this in context:

We’ve all heard stories of legendary studios where engineers would double tracks into different black boxes, and reblend sounds in unique ways, and then swear by these unique processes while they sipped Dr Pepper.

GAC-1 now gives you these unique unearthly powers, and they have to be seen to be believed.

So I make no apologies for reprinting a few preset descriptions from the manual so you can get a feel for the possibilities of GAC-1

Fat Vocal – Vocals

With this preset your vocalist will get a fat and energetic voice he or she will thank you for. Set the threshold of Compressor 2 about 30 dB below the level shown in its input meter. If the signal is too low you can increase output gain in Equalizer 2.

Set the threshold to the level of the quietest words sung. The maximum compression should read -3 to -6 dB. Adjust the output gain of Compressor 2 to the desired fatness of the vocal. Use EQ 1 to make the tonal balance and turn on the Noise Gate and De-esser if necessary.

Kiss FM Radio Speaker – Vocals
Makes just about anyone’s voice sound like they are a DJ on a Kiss FM / Energy radio station, aka, “The Deep Voice”.

Keep gain reduction on Compressor 1 between 1-2 dB. Compressor 2 creates the real “pumping/breathing” underneath. Make sure it compresses at least 3 dB and compensate with the gain accordingly.

Instant Lift

Works with pretty much anything that needs to be lifted.

Bass Solidify – Instruments
Solidifies most synthbass-like patches and keeps them under control. Two compressors in series provide the stabilization / solidity.

Compressor 1 feeds into Compressor 2, which in turn has a sidechained EQ (EQ 2) section. The equalizer boosts around 100Hz to drive the Compressor 2 and keeps the bass under control. Gain reduction should be around 1-2 dB on both compressors.

DrumBus Compression – Drums
Gives some slap to the drum bus. Compressor 1 provides low-level compression, binding the drums together. Compressor 2 provides an aggressive SSL like slap to the drums.

Gain reduction on Compressor 1 is nominal at around 2 dB. Compressor 2 can be hit much harder to give the slap. Nominal gain reduction to achieve that SSL-like sound is about 5-7 dB. Compensate with gain.

Strum Acoustics – Guitars
Background strummed acoustic guitars usually need to be compressed to death in pop music. This starting point will try to make the compression very organic and pumping. Hype up those guitars!

The key overall point to remember is that there are 40 of these presets for you to study. Scrounge a copy of the demo and listen. You’ll be astonished by some of the routings and possibilities. New tracks for old, new tracks for old!

Life with GAC-1

I’ve used GAC-1 since it first came out, and I’m still using it. It’s heavy on cpu when there are lots of GAC-1’s , but with Freeze now fast and easy to apply, there’s no excuse not to do the mix you want to do, rather than the mix your computer will let you do.

To get the most out of GAC-1 you have to believe in channel strips, which can mean parting with this or that fave comp or eq. This is fine by me. It’s better to stick with one thing, knowing it’s about as pro as current technology can make it, and learn it well.

And when you want to add in an extra eq or an extra comp, you can. I feel everyone would benefit from bringing this added dimension into their musical thinking.

Competition

Golden Audio Channel 1 isn’t cheap at $198, but you get 6 top effects for your money, so at $30 odd dollars each, it doesn’t sound so bad.

Wave Arts Trackplug comes in at the same price with only one eq, but with spectral analysis and a limiter.

Waves Audio Track is only $150 but is fairly basic.

Pros

• A whole new dimension to track mixing

• Incredibly convenient

• Wow presets

• Fabulous quality

Cons

• Fiddly eq

• Heavy on cpu when used on every track, especially in double mode.

Rating

4.5 / 5
(because the eq is too fiddly)

These are based on a scale of 1-4
5 – Superb.
4 – Outstanding.
3 – Good.
2 – Okay.
1 – Not so good.

More details, a demo and mp3s at kjaerhusaudio.com.

Review brought to you by Kevin Rossiter.

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