Aurora Audio GTC2 – Rev 10
Demo unit available

Pure Class A Stereo- or Dual Mono Compressor - incl DRY / WET pot

Features

  • Stereo or Dual Mono
  • Pure Class A
  • Input- / Output Transformers
  • Separate Opto- and FET circuits
  • “Combi” switch for serial Opto- and FET compression
  • Rev 10 – incl. DRY / WET pot for parallel compression

€ 2780,-
Price excl. VAT
excl. shipping

General

On first sight the Aurora GTC2 will appear to be a typical stereo / dual mono compressor.
As with most contemporary compressors you will find controls for ratio, treshold, attack, release, stereo link and gain make up.
Rev also offers today’s common DRY / WET pot.
This is were commonness ends.
Various switches on the unit wont look familiar:
The GTC2 houses two independent circuits for compression.
A switch allows you to select the “Opto-circuit” or the “FET-circuit” – per channel that is.
Generally speaking, set to Opto, the GTC2 will react more to VU level, set to FET the GTC2 will respond to peaks first and foremost.
Activate the blue “Combi button” and the signal will run through both circuits in series, first the FET, than the Opto.

You will also find two separate bypass switches per channel:
The green “In-switch” will activate the general circuit, including Input- and Output transformers and Make Up Gain Pot, but not the compressor as such yet.
Stunning colourisation of signal – mostly due to the output transformer – will now be present.
Low end will appear to be tighter, high end will sound smoother and appear to have more air.
3D imaging will improve notably.
(dB says: In mastering I tend to frequently use the GTC2 not for compression, but merely for colourisation and level boost)

On pressing the “On Switch” the actual compressor is activated, either in Opto- or in FET-mode, or – both circuits in series.
We regard the GTC2 to be one of maybe a handful compressors on the market that has the tendency to make musical program sound “bigger”, rather than “smaller”.
To describe its sound – as well as its possibilities – seems difficult.
One would be scratching the surface in stating that in Opto it will respond more to VU and more to peaks when set to FET.
For recording and tracking both circuits may deliver the required effect.
If you are going to simply “level out” a vocal recording, you might wanna set it to Opto.
You wont be hearing any compression artefacts, at the same time the vocal performance will retain steady and evened out volume.
If you merely want to elimate some peaks you would typically use the GTC2 set to FET.
Yet you can also use it as an effect, like adding attack to a guitar or shaping the envelope of a snare drum. Applications and possibilities are endless.

On the whole:

The GTC2 is one of the few few compressors on the market that will make your signal bigger rather than smaller.
As desert island compressor the GTC2 can be warmly recommended, not least cause with two very different compression circuits on board its like owning two very opposite tools for starters.
But mostly we recommend the GTC2 – cause however you set it – you will not succeed in producing any results that might be deemed “unmusical”.

However, what we do not recommend is this:
Do never try and fully comprehend your GTC2.

Links:

History

Few people would know that Geoff Tanner – in his early days – designed one of the best known compressors in the history auf audio.
Most would regard the famous Neve 33609 as coming from the drawing board of Mr. Rupert Neve in person, but this is not at all the case. It was Geoff Tanner who singlehandedly designed it.
Today the 33609 is in a league with classics like the LA2a, the Fairchild or the SSL Bus Comp.
Its applications range from Mix Bus to Drum Bus, guitar / bass recording – you name it.
So what do you do, if you happen to be the sole designer of one of the most famous compressors ever made and – 30 years on – you decide to build yet another one:
The answer is fairly simple.
You start with a blank piece of paper.

dB says

Now lucky me, I happen to own both a very first generation 33609 as well as a brandnew GTC2.
And I may assure you,  they are two completely different horses.
I still do use my 33609 frequently, like typically on stereo drum bus – however:
Ever since I first heard the GTC2 it has been literally hardwired to my mix bus.
I tend to use it on FET, when there is a steady and important beat in the track.
When the voice wants to be really loud, or when the musical style is more jazzy, classical or singer- / songwriter I will usually set it to Opto.
Whichever choice, the result will be different but still equally amazing.
There is this half finished mix, it does sound alright but yet it feels like I will have to spend the next three days automating the shit, because the levels are basically all over the place.
Thats when I activate my GTC2:
I am of the stern conviction, that inside this unit live about a dozen tiny tiny and well-trained sound engineers, that have no better to do all day long, than take care of my levels and automation.
All of a sudden BD and SN are steady as a rock, the vocal sits in the mix perfectly pretty much throughout the track and even that little guitar fill in the second verse is no more screaming out like a bullterrier on steroids but right where it wants to be.
At the same time some forgotten keyboard pads that had been buried somewhere in the background have become perfectly audible again.
How the GTC2 achieves this feat remains one of the unnresolved mysteries in our mysterious audio world.