Geshelli Lab Erish coming soon

[Jimbob54]

https://geshelli.com/erish-balanced

Don't know when the information released but it is on geshelli website now. Looks like Archel 2.5 pro with balanced output only. The measurements posted on the website seems promising. Just want to share this information so people have more choice on what they can get. If you guys have more information or any thinking about this amp please share with us.

Actually there's one big difference between the E and the A 2.5, apart from the output type and the balanced internals. It doesn't take RCA at the back. So it's only market is those with balanced DACs. The A 2.5 takes both.

 

[FirstLegion]

Outside of RME, who are these companies supposedly making pro gear that measures well? I admit ignorance on this matter.

If you are speaking only of headphone amplification, there aren't many in the pro arena that JUST make a great amp, (they are normally coupled with other things).

If I were to just name great headphone amps in pro audio that approach (but don't meet) Geshelli - 1) Rupert Neve Designs RNHP 1-channel Precision Headphone Amplifier (a more warm sound...sounds like a smooth, but accurate sounding tube. Good for MIXING); 2) Little Labs Monotor 2-channel Headphone Amplifier (closest to Geshelli's vibe, but still not quite as good. Great for MIXING, okay for MASTERING). All of the solid-state THX hi-fi stuff is mostly better for pro audio listening than either. But the ERISH BALANCED...nothing.

If I were to list great headphone amps built into other pro audio equipment, I have to split them into the MIXING and MASTERING categories:
MIXING: Burl Audio, RME, Universal Audio (prefer these modded), Antelope Audio, API, Coleman Audio, Grace Design, Dangerous Music, Solid State Logic, Heritage Audio, Neve, and MOTU (certain higher-end ones).
MASTERING:
Lynx, SPL (higher-end stuff), Shadow Hills Industries, Crane Song, Dangerous Music (high end stuff), Burl Audio (high end stuff), Bricasti, Benchmark, Chandler Audio, Sontec, Lavry, Mytek, Tegeler Audio.

If you are speaking in general terms of quality companies in pro audio (mixing and mastering), there are certainly more to name. Let me know if you want them, (specific uses, whatever). I have used or have owned something from just about everyone that has made equipment since 1988.

 

[hellboundlex]

If you don't need the xlr out,

Well nobody neeeeeds it. My cans all get xlr plugs, just because it is within my soldering capability and makes life easier.

 

[Jimbob54]

Well nobody neeeeeds it. My cans all get xlr plugs, just because it is within my soldering capability and makes life easier.

Ha, true. The A 2.5 is by far the more flexible device but I'm getting an erish as well as

 

[hellboundlex]

If you are speaking only of headphone amplification, there aren't many in the pro arena that JUST make a great amp, (they are normally coupled with other things).

If I were to just name great headphone amps in pro audio that approach (but don't meet) Geshelli - 1) Rupert Neve Designs RNHP 1-channel Precision Headphone Amplifier (a more warm sound...sounds like a smooth, but accurate sounding tube. Good for MIXING); 2) Little Labs Monotor 2-channel Headphone Amplifier (closest to Geshelli's vibe, but still not quite as good. Great for MIXING, okay for MASTERING). All of the solid-state THX hi-fi stuff is mostly better for pro audio listening than either. But the ERISH BALANCED...nothing.

If I were to list great headphone amps built into other pro audio equipment, I have to split them into the MIXING and MASTERING categories:
MIXING: Burl Audio, RME, Universal Audio (prefer these modded), Antelope Audio, API, Coleman Audio, Grace Design, Dangerous Music, Solid State Logic, Heritage Audio, Neve, and MOTU (certain higher-end ones).
MASTERING:
Lynx, SPL (higher-end stuff), Shadow Hills Industries, Crane Song, Dangerous Music (high end stuff), Burl Audio (high end stuff), Bricasti, Benchmark, Chandler Audio, Sontec, Lavry, Mytek, Tegeler Audio.

If you are speaking in general terms of quality companies in pro audio (mixing and mastering), there are certainly more to name. Let me know if you want them, (specific uses, whatever). I have used or have owned something from just about everyone that has made equipment since 1988.

The design of geshelli products, starting with the inclusion of XLR out on the enog2, seems perfect for small studios.

 

[hellboundlex]

Ha, true. The A 2.5 is by far the more flexible device but I'm getting an erish as well as

One thing that makes me lean towards an Archel 2 or 2.5 is that I may want to run unbalanced headphones, and I am not sure how well the Erish will do for driving unbalanced.

 

[Jimbob54]

One thing that makes me lean towards an Archel 2 or 2.5 is that I may want to run unbalanced headphones, and I am not sure how well the Erish will do for driving unbalanced.

I'll not ask how you'd run an unbalanced phone off a balanced xlr. I don't know enough about electrics but I took from here and other places you couldn't?

 

[FirstLegion]

The design of geshelli products, starting with the inclusion of XLR out on the enog2, seems perfect for small studios.

Truly. Even for a boutique (medium-sized) studio like mine, I don't have anything that is quite as close to perfectly uncolored transparency as the ERISH BALANCED. The Hilo from LYNX STUDIO TECHNOLOGY is almost there, but I can hear a difference. The AD/DA converters in the ENOG2 Pro are equal to the Hilo, but it lacks a lot of the features I personally need for mastering:

1. 12 inputs and 16 outputs (required for hybrid mastering (in-the-box with a DAW and with outboard gear)
2. 480 x 272 LCD touchscreen with visual metering, diagnostic, measurement functions
3. In addition to the analog XLRs, it also has AES/EBU XLRs and ADAT.
4. CLOCK I/O is the best I've ever heard in the Hilo. ZERO jitter. Perfect time alignment. The only thing that's even close is the Black Lion Audio Micro Clock MKIII XB. It only measures 0.6pS RMS of jitter at the BNC outputs using crystal oscillators and superior quality galvanic isolation, but who's counting.

 

[hellboundlex]

I'll not ask how you'd run an unbalanced phone off a balanced xlr. I don't know enough about electrics but I took from here and other places you couldn't?

Well, you would use the ground and the hot and ignore the cold, basically like a hemispherectomy on the amp. This may not work, or may cause damage to the unit. Or it might work fine.

Edit: someone tell me I am an idiot before someone else does what I said.

 

[Jimbob54]

Well, you would use the ground and the hot and ignore the cold, basically like a hemispherectomy on the amp. This may not work, or may cause damage to the unit. Or it might work fine.

Think I'm happy to let you carry that risk. I'll just keep plugging the gold sticky plugs into the round holes and the big 4 pinny things into the black wonky face things. (by the way, which is male and female in XLR? )

 

[hellboundlex]

Think I'm happy to let you carry that risk. I'll just keep plugging the gold sticky plugs into the round holes and the big 4 pinny things into the black wonky face things. (by the way, which is male and female in XLR? )

The one with the three (or four or five) pins is male and the female is the one with the locking switch thingy.

 

[solderdude]

Well, you would use the ground and the hot and ignore the cold, basically like a hemispherectomy on the amp. This may not work, or may cause damage to the unit. Or it might work fine.

In theory you could use the + and ground.
The question is whether or not that ground is easily accessible.
When they were smart they could have connected the shield of the 4-pin to ground. That way you could easily make an adapter that allows SE headphones to be used as well.
Don't know if they were that smart and implemented it exactly for that reason. Probably easy to modify the amp so it can be done.

 

[hellboundlex]

Don't know if they were that smart and implemented it exactly for that reason. Probably easy to modify the amp so it can be done

You were supposed to call me an idiot.

I had assumed that the shield was connected to ground.

 

[Jimbob54]

You were supposed to call me an idiot.

I had assumed that the shield was connected to ground.

Hurrah for ASR. Hurrah for St Solder of Dude

 

[hellboundlex]

Hurrah for ASR. Hurrah for St Solder of Dude

Before building any adapter, I would (will?) run it by Geno.


Or I just need a new pair of closed ears that I can wire balanced. Hmmm. 1770s?

 

[Jimbob54]

Before building any adapter, I would (will?) run it by Geno.


Or I just need a new pair of closed ears that I can wire balanced. Hmmm. 1770s?

I love the 1990s. Dont know how they compare. Or the Drop low impedance version that is already ready to take a balanced cable? But converting a low impedance dynamic phone balanced seems a bit pointless to me.

 

[hellboundlex]

I love the 1990s. Dont know how they compare. Or the Drop low impedance version that is already ready to take a balanced cable? But converting a low impedance dynamic phone balanced seems a bit pointless to me.

I really do need new closed cans so I can stop annoying the wife. I use her pair of B&O cans which sound, well, like B&O products, but are comfortable, but I can barely stand them if I have placed my hd600s over my ears recently. If the 1990s have very little sound leakage, might be worth a look.

 

[Tks]

If you are speaking only of headphone amplification, there aren't many in the pro arena that JUST make a great amp, (they are normally coupled with other things).

If I were to just name great headphone amps in pro audio that approach (but don't meet) Geshelli - 1) Rupert Neve Designs RNHP 1-channel Precision Headphone Amplifier (a more warm sound...sounds like a smooth, but accurate sounding tube. Good for MIXING); 2) Little Labs Monotor 2-channel Headphone Amplifier (closest to Geshelli's vibe, but still not quite as good. Great for MIXING, okay for MASTERING). All of the solid-state THX hi-fi stuff is mostly better for pro audio listening than either. But the ERISH BALANCED...nothing.

If I were to list great headphone amps built into other pro audio equipment, I have to split them into the MIXING and MASTERING categories:
MIXING: Burl Audio, RME, Universal Audio (prefer these modded), Antelope Audio, API, Coleman Audio, Grace Design, Dangerous Music, Solid State Logic, Heritage Audio, Neve, and MOTU (certain higher-end ones).
MASTERING:
Lynx, SPL (higher-end stuff), Shadow Hills Industries, Crane Song, Dangerous Music (high end stuff), Burl Audio (high end stuff), Bricasti, Benchmark, Chandler Audio, Sontec, Lavry, Mytek, Tegeler Audio.

If you are speaking in general terms of quality companies in pro audio (mixing and mastering), there are certainly more to name. Let me know if you want them, (specific uses, whatever). I have used or have owned something from just about everyone that has made equipment since 1988.

I was more wondering about specific SKU's. Are there any devices that clear THD+N metrics of 115dB+ for example?

 

[JohnYang1997]

Many good pro gears barely clears -100db barrier. And many of them are only at 0.00x% region. Not even mentioning not small portions of them are in the 0.0x% area. Clearing -120dB is almost never happened. Pro audio scene has just as much snake oil as the audiophile scene. They use their ears to evaluate, hence it is rarely accurate nor consistent. Though, the results are good "enough". Many blind tests done are flawed. More don't even conduct blind tests. Recent years, it has been better in some ways but bruh just look at the gearslutz forum man.

 

[JohnYang1997]

I was more wondering about specific SKU's. Are there any devices that clear THD+N metrics of 115dB+ for example?

Pro scene care more about dynamic range than distortion. Many gears do clear 118 to 123+ dynamic range. But majority fail to do the same on distortion.