Elysia mpressor2 qube

• Class-A Stereo compressor for creative recording, mixing and mastering
• Anti-Log release curve
• Ideal for all kinds of music applications
• Negative ratios
• From pumping to sound design – everything precisely controllable
• Gain Reduction Limiter
• Hard Knee compressor

Elysia mpressor2 qube

Portable 2-Channel Compressor

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

A specialty of the mpressor|500 is the Gain Reduction Limiter for the control voltage.

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.

Loud parts in an arrangement can keep their dynamics, as they will not be compressed beyond the limit of the Gain Reduction Limiter.

Some very nice special effects like ducking or upward compression can be achieved with this easily by only reducing the quieter parts without changing the original dynamics at the same time.

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.

SPECS

Frequency response: <10 Hz – 390 kHz (-3,0 dB)

THD+N @ +0 dBu, 20 Hz – 22 kHz:
500 Series Module: 0,04 %
500 Series Module: (THD Boost): 0,24 %

THD+N @ +10 dBu, 20 Hz – 22 kHz:
500 Series Module: 0,19 %
00 Series Module: (THD Boost): 2,20 %

Noise floor, 20 Hz – 20 kHz (A-weighted):
500 Series Module: -79 dBu
500 Series Module: (THD Boost): -78 dBu

Dynamic range, 20 Hz – 22 kHz:
500 Series Module: 99 dB

Maximum input level: +21 dBu

Maximum output level: +22 dBu

Impedance:
Input: 10 kOhm
Output: 68 Ohm

Dimensions (W x H x D, incl. Knobs):  4,09“ x 5,39“ x 8,1“ 104 mm x 137 mm x 205 mm

Weight: 3,04 lbs / 1,38 kg

Power consumption: 6 Watts

Potentiometers: 41 Steps