The elysia mpressor 500 is a powerful instrument for modern dynamics processing. In addition to the proven standard features, this creative compressor offers some special functions that produce fat sounds with maximum punch, beautiful colourations and extreme processing possibilities. His favourite domains, besides classic tracking applications, are groovy effects compression and creative sound design.
- elysia mpressor 500 in elysia qube housing
- Robust aluminum housing
- Portable and stackable
- high quality power supply developed by elysia
- 2 channel compressor/limiter
- 100% discrete Class-A technology
- Auto Fast
- Anti Log
- negative Ratios
- Audio filter
- External sidechain
- Gain Reduction Limiter
- Analog dynamic LED display
- Transconductance Amplifier
- T12 Heater
- Frequency range: <10 Hz – 33 kHz (-3.0 dB)
- Noise: 20 Hz – 20 kHz -84 dBu
- Dynamic range: 20 Hz – 22 kHz 109 dB
- Maximum level input/output: +25/+27 dBu
- Input impedance: 10 kOhm
- Output impedance: 68 Ohm
mpressor moves the limits further. In all directions.
The attack parameter is a very important factor when using a compressor. Choosing the right attack time settings is crucial, whether you are editing individual tracks or complete mixes.
If you set a very short attack time, the compressor can catch the short peaks of the signal, but it can also process the decaying signal, which can lead to audible distortion. Longer settings reduce distortion, but the compressor then reacts too slowly to fast impulses.
This is where the Auto Fast function comes into play. For example, if you set the attack time to 80 ms and activate the Auto Fast mode, the attack time will automatically be shortened for fast and loud signal pulses. The compressor quickly reduces the signal and prevents it from slipping through.
After that, the attack time automatically returns to its original setting. In Auto Fast mode, the compressor can therefore react very quickly, but only when it is really necessary. This function affects the attack parameter only for short and loud pulses. In all other cases, the original setting of the Attack control takes precedence.
Gain Reduction Limiter
A special feature of the mpressor|500 is the gain reduction limiter for the control voltage.
This limiter is not located in the audio path, where it is normally found, but in the control path of the compressor. If it is activated, it limits the control voltage according to the setting of the GR limit controller. This means that no matter how high the input level becomes, the gain reduction will never exceed the value you have set.
Loud parts in an arrangement can retain their dynamics because they are not compressed beyond the limit of the gain reduction limiter.
Some very nice special effects such as ducking or upward compression can easily be achieved in this way by reducing only the quieter parts without changing the original dynamics.
Negative ratios – what exactly does that mean? To better understand this function, it is useful to consider what the ratio control of a “normal” compressor does:
- 1:1 The signal remains linear, there is no compression.
1:2 After exceeding the threshold, an increase of 2 dB at the input is compressed to an increase of 1 dB at the output
- 1:∞ Once the threshold value has been exceeded, the output signal is kept constant at the threshold level without reacting to further increases at the input (limiter).
In the case of a negative ratio, the characteristic bends and returns to the bottom once the threshold has been exceeded. The louder the input signal, the lower the output signal – perfect for groovy compression effects. In order to get the extreme “destruction” under control, switching on the Gain Reduction Limiter is exactly the right thing.
The mpressor|500 is a pure feed-forward compressor with the gain potentiometer positioned in front of the control element. This means that the intensity of the saturation can be raised or lowered by different settings of the gain control.
The special feature: The detector in the compressor’s sidechain runs in parallel and is therefore not affected by the THD boost at all. The actual compression does not change, only the sound is affected.
They generate a saturated signal, which is also reduced in dynamics, but the actual control of the compressor itself is always based on the original dynamics with all transients, impulses and so on.
Anti Log Release
A characteristic feature of a logarithmic release is that the time constant shortens as the gain reduction increases. The advantage of this behavior is that short and loud peaks (e.g. drums) have a fast release time, while the rest of the material is processed with a slower release time.
But if the aim is deliberately striking and creative compression, it makes perfect sense to turn things upside down. In the anti-log mode of the mpressor, the curve behaves in exactly the opposite way: If the threshold value is exceeded and compression begins, the release time is longer at the beginning. However, if the input signal decreases, the release time becomes faster.