elysia xpressor Stereo Compressor (Rackmount) || The Universal Analog Compressor. Dynamic Talent. The xpressor is a discrete class-A stereo compressor with a pristine sound and an incredibly flexible feature set. It gives you an enormous amount of control over dynamics while still being comprehensive and easy to use. Achieve professional compression results in no time at all! 5 reasons why you should use the xpressor (even though there are many more!) Build Quality. The xpressor, just like all our products, is designed, engineered and handcrafted in Germany. Discrete Class-A Technology. Consequently represents the art of discrete signal processing. Audio Quality. Brilliant audio quality and transparent basic sound. Usability. Easy to use through clearly and structured operation. No hassles at all. Switchable Release Characteristics. This is a unique feature and makes this compressor so special and flexible. Build Quality. The xpressor is all about details. Every single of its many aspects - sound, features, circuitry, components, design, materials, manufacturing - has been thought over and over until there was just nothing left to improve. Basically, every single part of our fine products is custom, and most of these are made according to our own designs and specs. Only the best components the market has to offer are good enough for the xpressor, and it shows. Each of our product is manually built to order and tested by ourselves, here at our headquarters in Germany. Our product benefits sum up in an audio quality that is beyond all doubt. Even when extreme settings are used, the sound always stays clean and powerful. The xpressor achieves perfect processing results for all different styles of music and assures the 'this is it' feeling of a finished song. Its enhanced functions exceed the potential of normal compressors by far and give you unimagined options for mastering and mixing. Everything's Onboard. Sound, technology, features: The xpressor has it all. Its all discrete audio path combines a clear and open sound with a good lot of punch. The clearly laid out functions get you going straight away, while the extended features let you treat dynamics like never before. Stereo buss compression, processing single signals, approaching dynamics in creative ways - the xpressor shines in many different applications. And should you take your equipment on the road, you'll certainly enjoy the rigid full aluminum enclosure cutting weight into half. Auto Fast. This feature is from his bigger Brother, the alpha compressor. The attack parameter is a very crucial factor for the operations of a compressor. 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. Then the attack time directly and automatically returns to its original setting. In Auto Fast mode the compressor can be very fast, but only when it is really needed. This function influences the attack parameter on short and loud impulses only; in all other cases the original setting of the controller has priority. Gain Reduction Limiter. A specialty of the xpressor 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. 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. 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.
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