{"product_id":"elysia-mpressor-two-channel-compressor-limiter-01407-used","title":"elysia mpressor Two-Channel Compressor\/Limiter #01407 (Used)","description":"\u003cp\u003eThe \u003cstrong\u003eelysia mpressor\u003c\/strong\u003e is a powerful instrument for modern dynamics processing. On top of the tried and tested standard features, this creative compressor provides several special functions that produce fat sounds with maximum punch, beautiful colorations and extreme processing options. Besides classic tracking applications, its favorite domains are groovy effect compression and creative sound design.\u003c\/p\u003e \u003cp\u003eThe circuit design of the mpressor is completely based on discrete analog technology. The entire signal processing is based on single transistors in permanent Class A mode, and even the sidechain and power supply are fully discrete circuit designs. Covering all the standards at ease, the mpressor offers an amazing set of special features which reach far beyond the possibilities of regular compressors.\u003c\/p\u003e \u003ch3 id=\"toc_0\"\u003eAUTO FAST\u003c\/h3\u003e \u003cp\u003eThe 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.\u003c\/p\u003e \u003cp\u003eIf 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.\u003c\/p\u003e \u003cp\u003eThis 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.\u003c\/p\u003e \u003cp\u003eThen 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.\u003c\/p\u003e \u003ch3 id=\"toc_1\"\u003eANTI LOG\u003c\/h3\u003e \u003cp\u003eIt is the time constants and especially the release parameter that decide if the processing of a compressor is obvious or unobtrusive to the ear. Mastering applications, for instance, require a discreet performance as a general rule. Here you will find mostly logarithmic or linear release curves.\u003c\/p\u003e \u003cp\u003eIt 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.\u003c\/p\u003e \u003cp\u003eBut 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.\u003c\/p\u003e \u003cp\u003eA special circuitry makes this behavior independent from the absolute amount of gain reduction. No matter if the compressor reduces 10, 15 or 20 dB, the curve will always stay the same at the beginning and it will only become faster at the end. With this feature you can create many exceptional compression effects just by the push of a button!\u003c\/p\u003e \u003ch3 id=\"toc_2\"\u003eNEGATIVE RATIOS\u003c\/h3\u003e \u003cp\u003eNegative 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:\u003c\/p\u003e \u003cul\u003e \u003cli\u003e1:1 The signal remains linear, there is no compression going on\u003c\/li\u003e \u003cli\u003e1:2 After crossing the threshold, an increase of 2 dB at the input will be compressed to an increase of 1 dB at the output\u003c\/li\u003e \u003cli\u003e1:∞ After crossing the threshold, the output signal is constantly held at the threshold level without reacting to further increases at the input (limiter)\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eAt 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.\u003c\/p\u003e \u003ch3 id=\"toc_3\"\u003eAUDIO FILTER\u003c\/h3\u003e \u003cp\u003eThis filter is a specialist in changing the overall sonic character of a signal with ease. It features two controllers per channel and is capable of producing convincing results flexibly in no time at all. Whenever a classic shelving filter would be too limited and a fully parametric filter would be too much, the Niveau Filter is the perfect tool.\u003c\/p\u003e \u003cp\u003eIts main function is to change the proportions between high and low frequencies. The principle is quite similar to a pair of scales: Dependent on the gain setting around a variable center frequency, the high frequencies are boosted whereas the low frequencies are attenuated (or vice versa).\u003c\/p\u003e \u003cp\u003eBy simultaneously boosting and cutting the selected frequency areas, it is much easier to influence the character of a track (‚bright‘ vs. ‚dark‘) compared to using other types of equalizers. The center frequency can be shifted continuously between 26 Hz and 2.2 kHz or between 260 Hz and 22 kHz respectively (when the x10 switch is activated).\u003c\/p\u003e \u003cp\u003eThe characteristics of the filter change in the extreme positions of the EQ Gain controller: the fully counter-clockwise setting will give you a low pass filter; fully clockwise position will result in a high pass filter. The overall level can drop quite noticeably then, but this can be corrected with the gain controller easily.\u003c\/p\u003e \u003ch3 id=\"toc_4\"\u003eEXTERNAL SIDECHAIN\u003c\/h3\u003e \u003cp\u003eThe external sidechain enables the compressor to control its processing totally independent from the audio material running through it. If the SC Extern switch is active, compression will not be triggered by the signals from the regular audio inputs anymore, but by different signals which are fed into the additional sidechain input connectors.\u003c\/p\u003e \u003cp\u003eIf, for example, a duplicate of the input signal is processed with an equalizer and then fed into the sidechain input, the result will be frequency-dependent compression. Another example is to send the bass drum of a drum machine into the sidechain input in order to achieve nice groovy compression that is pumping in sync with the music.\u003c\/p\u003e \u003cp\u003eThe creative options are almost infinite. Compression can be exactly on time or totally against it, which can of course be varied on the fly. Single instruments can be given more space in a mix according to its rhythm. All of a sudden, static sounds become vivid and sound really interesting!\u003c\/p\u003e \u003cp\u003eThe external sidechain inputs are equipped with a high pass filter that has its cut-off frequency at 80 Hz with 6 dB per octave. This has been done in order to reduce the influence of the low frequencies on overall compression by a certain amount in order to keep the effect as balanced as possible.\u003c\/p\u003e \u003ch3 id=\"toc_5\"\u003eGAIN REDUCTION LIMITER\u003c\/h3\u003e \u003cp\u003eThis 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.\u003c\/p\u003e \u003cp\u003eFor 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.\u003c\/p\u003e \u003cp\u003eHowever, 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.\u003c\/p\u003e \u003cp\u003eLoud 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.\u003c\/p\u003e","brand":"Elysia","offers":[{"title":"Default Title","offer_id":44451000418407,"sku":"191451","price":2995.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/elysia-mpressor-two-channel-compressor-limiter-01407-used_191451_1_a8cd313f-fbeb-42cf-866a-858acccd682b.jpg?v=1787095436","url":"https:\/\/vintageking.com\/products\/elysia-mpressor-two-channel-compressor-limiter-01407-used","provider":"Vintage King","version":"1.0","type":"link"}