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Elysia mpressor 500

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Elysia mpressor 500

Delivery time send e-mail to [email protected]

The creative compressor in 500-rack format

Article code 210000010996
SKU 210000010996

€495,04

(€599,00 Incl. tax )

Article code 210000010996
SKU 210000010996

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Description
- Creative compressor
- Anti-Log release enabling creative styles
- Hard Knee compressor for a different characteristic
- Class-A Technology with discrete circuit designs
- Gain Reduction Limiter with precise control over compression
- Negative ratios for groovy compression effects
Anti Log Release

It is characteristic of a logarithmic release that the time constant shortens when the amount of gain reduction increases. The advantage of this behavior is that short and loud peaks (e.g. drums) have a fast release time, while the remaining material is processed with a slower release time.

But if intentionally striking and creative compression is the goal, it definitely makes sense to turn things upside down. In the Anti Log mode of the mpressor the curve behaves just the other way round: If the threshold value is passed and compression starts, the release time will be longer at the beginning. If the input signal starts to decline, however, the release time will become faster as a result.
Auto Fast

Choosing the right time settings is very important, but depending on the dynamic progress of the source material this can be a difficult task – no matter if single tracks or complete mixes are processed. If a very short attack time is chosen, the compressor is able to catch the short peaks, but on the other hand the sustaining signal will also be processed, which might result in audible distortion. Longer settings reduce distortion significantly, but then the compressor is too slow for catching fast impulses. This is where the Auto Fast function comes into play. For example, if you set the attack to 80 ms and then engage the Auto Fast mode, the attack time will be shortened automatically on fast and loud signal impulses. The compressor reduces the signal quickly and prevents it from slipping through.

Negative Ratios

Negative ratios – what exactly does this mean? To get a better understanding of this function, it makes sense to realize what the ratio control of a ‘normal’ compressor does:

1:1 The signal remains linear, there is no compression going on.

1:2 After crossing the threshold, an increase of 2 dB at the input will be compressed to an increase of 1 dB at the output

1:∞ After crossing the threshold, the output signal is constantly held at the threshold level without reacting to further increases at the input (limiter).

At a negative ratio, the characteristic curve bends and returns back down after crossing the threshold. The louder the input signal, the lower the output signal – perfect for groovy compression effects. To get a grip on the extreme ‘destruction’ this can cause, engaging the Gain Reduction Limiter is just the right idea.

Gain Reduction Limiter

This limiter is not placed in the audio path where you would usually find it, but in the control path of the compressor. When it is activated, it limits the control voltage according to the setting of the GR Limit controller. This means: No matter how high the input level might become – the amount of gain reduction will never exceed the value which you have set.

For comparison, imagine a fader on a mixing console with your hand moving the fader to ‘play compressor’. If now the fader was limited by a piece of duct tape at -10 dB, for example, it could only reduce the signal up to this value. If the input level dropped below this limit, the fader would be moved up correspondingly.

However, if the input signal got even louder, the fader could not be moved down any further because of the duct tape limit, and then the output signal would become louder again in correspondence with the input signal.

Transconductance Amplifier

A crucial part in the development process of a compressor is to design its control element that reduces the audio signal controlled by voltage. This is also where the main technological concepts show the most obvious differences.

The mpressor uses elysia’s fully discrete and temperature compensated Transconductance Amplifier (TCA). A differential pair of transistors that uses a modulated current source to affect the amount of amplification builds the core of this module. A few extra transistors were added in order to further decrease noise and unwanted influences of the control voltage.

The benefits of discrete electronics design can once again show their strengths by tailoring the sound via the concept of the circuitry and the choice of components. A further advantage of the TCA topology is the very fast response to the control voltage. This is the basis for a compressor that can even handle rapid changes in dynamics and which provides extremely fast time constants.

T12 Heater

Some delicate parts of the discrete circuitry can be influenced by the surrounding temperature easily. The main reason for this circumstance is the single transistors that can react very sensitively to variations in temperature (which can – depending on the place of installation and operating time – happen by all means).

With the T12 Heater elysia presents a system that arranges constant conditions and reduces the thermal fluctuation to a minimum. This system was inspired by high-precision measuring instruments. It features up to 12 discrete transistors in a massive copper ring that is warmed up to a definite temperature.

Once the system has reached its working temperature, it only needs little current to keep it at the same level. An electronic control circuit is responsible for a low variance of only a few degrees. The procedure is known from high end tube gear: the mpressor should be granted a short warm-up time to experience it absolute top form.
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Description

Creative compressor
Anti-Log release enabling creative styles
Hard Knee compressor for a different characteristic
Class-A Technology with discrete circuit designs
Gain Reduction Limiter with precise control over compression
Negative ratios for groovy compression effects

Anti Log Release

It is characteristic of a logarithmic release that the time constant shortens when the amount of gain reduction increases. The advantage of this behavior is that short and loud peaks (e.g. drums) have a fast release time, while the remaining material is processed with a slower release time.

But if intentionally striking and creative compression is the goal, it definitely makes sense to turn things upside down. In the Anti Log mode of the mpressor the curve behaves just the other way round: If the threshold value is passed and compression starts, the release time will be longer at the beginning. If the input signal starts to decline, however, the release time will become faster as a result.

Auto Fast

Choosing the right time settings is very important, but depending on the dynamic progress of the source material this can be a difficult task – no matter if single tracks or complete mixes are processed. If a very short attack time is chosen, the compressor is able to catch the short peaks, but on the other hand the sustaining signal will also be processed, which might result in audible distortion. Longer settings reduce distortion significantly, but then the compressor is too slow for catching fast impulses. This is where the Auto Fast function comes into play. For example, if you set the attack to 80 ms and then engage the Auto Fast mode, the attack time will be shortened automatically on fast and loud signal impulses. The compressor reduces the signal quickly and prevents it from slipping through.

Negative Ratios

Negative ratios – what exactly does this mean? To get a better understanding of this function, it makes sense to realize what the ratio control of a ‘normal’ compressor does:

1:1 The signal remains linear, there is no compression going on.
1:2 After crossing the threshold, an increase of 2 dB at the input will be compressed to an increase of 1 dB at the output
1:∞ After crossing the threshold, the output signal is constantly held at the threshold level without reacting to further increases at the input (limiter).

At a negative ratio, the characteristic curve bends and returns back down after crossing the threshold. The louder the input signal, the lower the output signal – perfect for groovy compression effects. To get a grip on the extreme ‘destruction’ this can cause, engaging the Gain Reduction Limiter is just the right idea.

Gain Reduction Limiter

This limiter is not placed in the audio path where you would usually find it, but in the control path of the compressor. When it is activated, it limits the control voltage according to the setting of the GR Limit controller. This means: No matter how high the input level might become – the amount of gain reduction will never exceed the value which you have set.

For comparison, imagine a fader on a mixing console with your hand moving the fader to ‘play compressor’. If now the fader was limited by a piece of duct tape at -10 dB, for example, it could only reduce the signal up to this value. If the input level dropped below this limit, the fader would be moved up correspondingly.

However, if the input signal got even louder, the fader could not be moved down any further because of the duct tape limit, and then the output signal would become louder again in correspondence with the input signal.

Transconductance Amplifier

A crucial part in the development process of a compressor is to design its control element that reduces the audio signal controlled by voltage. This is also where the main technological concepts show the most obvious differences.

The mpressor uses elysia’s fully discrete and temperature compensated Transconductance Amplifier (TCA). A differential pair of transistors that uses a modulated current source to affect the amount of amplification builds the core of this module. A few extra transistors were added in order to further decrease noise and unwanted influences of the control voltage.

The benefits of discrete electronics design can once again show their strengths by tailoring the sound via the concept of the circuitry and the choice of components. A further advantage of the TCA topology is the very fast response to the control voltage. This is the basis for a compressor that can even handle rapid changes in dynamics and which provides extremely fast time constants.

T12 Heater

Some delicate parts of the discrete circuitry can be influenced by the surrounding temperature easily. The main reason for this circumstance is the single transistors that can react very sensitively to variations in temperature (which can – depending on the place of installation and operating time – happen by all means).

With the T12 Heater elysia presents a system that arranges constant conditions and reduces the thermal fluctuation to a minimum. This system was inspired by high-precision measuring instruments. It features up to 12 discrete transistors in a massive copper ring that is warmed up to a definite temperature.

Once the system has reached its working temperature, it only needs little current to keep it at the same level. An electronic control circuit is responsible for a low variance of only a few degrees. The procedure is known from high end tube gear: the mpressor should be granted a short warm-up time to experience it absolute top form.

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