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Elysia mpressor² qube

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Elysia mpressor² qube

Delivery time send e-mail to [email protected]

Analog Soul Food for the most flexible and powerful compression you can get. Including the power of two! of our famous and award-winning compressors from the future, the mpressor 500.

Article code 210000010997
SKU 210000010997

€1.180,99

(€1.429,00 Incl. tax )

Article code 210000010997
SKU 210000010997

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Description
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.
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.

THD Boost

The mpressor|500 is a pure feed forward compressor, and the gain potentiometer is placed before the control element. This means that the intensity of the saturation can be raised or lowered by different settings of the gain controller.

What’s special: The detector in the sidechain of the compressor runs in parallel and is therefore not influenced by the THD Boost at all. The actual compression does not change, it is only the sound which is being influenced.

You generate a saturated signal which as a result is also reduced in dynamics, but the actual control of the compressor itself is always based on the original dynamics including all transients, impulses and so on.

Analog Dynamic Meter

The gain reduction meter is a very important visual tool for evaluating the operation of the compressor in addition to what your ears tell you. The mpressor|500 these uses an analog dynamic variant that combines the benefits of both VU meters and LED chains. This meter is based on LEDs, too, but a special circuit design makes it possible to show intermediate values by modulating the brightness of the LEDs.

This means a true analog way of showing the operation of the compressor: Very fast, but with smooth transitions. The user gets an important tool for precise gain reduction monitoring – finally the relationship between acoustic and visual perception feels just right.

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.

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.
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Description

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.

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.

THD Boost

The mpressor|500 is a pure feed forward compressor, and the gain potentiometer is placed before the control element. This means that the intensity of the saturation can be raised or lowered by different settings of the gain controller.

What’s special: The detector in the sidechain of the compressor runs in parallel and is therefore not influenced by the THD Boost at all. The actual compression does not change, it is only the sound which is being influenced.

You generate a saturated signal which as a result is also reduced in dynamics, but the actual control of the compressor itself is always based on the original dynamics including all transients, impulses and so on.

Analog Dynamic Meter

The gain reduction meter is a very important visual tool for evaluating the operation of the compressor in addition to what your ears tell you. The mpressor|500 these uses an analog dynamic variant that combines the benefits of both VU meters and LED chains. This meter is based on LEDs, too, but a special circuit design makes it possible to show intermediate values by modulating the brightness of the LEDs.

This means a true analog way of showing the operation of the compressor: Very fast, but with smooth transitions. The user gets an important tool for precise gain reduction monitoring – finally the relationship between acoustic and visual perception feels just right.

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.

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.

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