Elysia 500 Series Xpressor Neo Analog Stereo Compressor
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Auto Fast
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.
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.
Log Release
Time constants and especially the release parameter decide if the processing of a compressor is obvious or unobtrusive to the ear. As it is difficult to achieve perfect results for all kinds of different material with only one type of release curve, xpressor neo offers two different options: logarithmic and linear.
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. Its smooth performance makes the Log Release especially useful for mastering and stereo buss compression.
The linear mode, however, has a straight release profile, without the slower tapering release characteristic of the Log mode. The linear mode is a good choice for more aggressive dynamics control of dry signals, and it is especially useful when you want to process signals which do not have a long decay period.
Warm Mode
This function is basically a slew rate limiter that reduces the speed of the output amplifier stages. It affects frequency spectrum, harmonics and transient response.
Fast transients are slowed down a bit and the overall sound appears more round and merged. As this function influences the behavior of the output stages, the effect it creates has an impact on the complete processing results of all compression stages.
Choose between two different sound characters: the powerful transparency of the discrete class-A circuitry and the saturated richness of the Warm mode.
Sidechain Filter
A low cut filter with a selectable frequency which is located in the sidechain. This means that it will not affect the audio signal itself, but the way in which it will be compressed.
The keyword is "frequency selective compression". It reduces the influence low frequencies have on overall compression - an easy way to apply the desired amount of gain reduction without the side effect of the track starting to pump. Especially useful in mastering or when complete mixes are to be compressed, but it can also be a powerful tool for processing subgroups or even single signals.
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. It limits the control voltage according to the setting of the GR Limit controller. No matter how high the input level might get the amount of gain reduction will never exceed the value which you have set.
Loud parts can keep their dynamics, as they will not be compressed beyond the limit of the Gain Reduction Limiter. Special effects like ducking or upward compression can be achieved by only reducing quieter parts without changing the original dynamics.
Parallel Compression
Parallel compression is a technique for mixing a dry signal with a compressed identical signal. It maintains the subtleties of a performance while stabilizing the dynamics. The mix controller makes it possible to cross-fade between the unprocessed and the compressed signals. This allows parallel compression right in the box and makes additional routings redundant in favor of a better signal quality.
You can use extreme compression settings without killing a track. By mixing just a part of the compressed signal to the original, the major portion of the initial dynamic structure remains intact.
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A warranty can be a very important factor when making a buying decision. Because repairs can be very expensive in terms of parts and labour costs, manufacturers usually only provide one year limited warranties that generally only cover items that malfunction due to a manufacturer’s defect. With an important purchase such as a musical
instrument or piece of studio gear, however, many people want to have the peace of mind in knowing that their investment will be protected should the product no longer be performing at 100%.
Because of this, Long & McQuade provides our customers with a FREE one-year Performance Warranty on most of our products. The Long & McQuade Performance Warranty supplements the manufacturer’s warranty to ensure that our customers receive complete “no hassle” warranty coverage within their first year.
How does the Long & McQuade Performance Warranty differ from most manufacturers' warranties?
- Performance Guarantee: Normal wear and tear is covered, so your product will be performing as well as the day you purchased it for the entire duration of the coverage. Band and Orchestral Performance Warranty does not include replacing pads or cleaning for woodwind instruments, unless deemed necessary by our repair staff. Ultrasonic cleaning for brass instruments will be provided if deemed necessary by our repair staff, but is not routinely offered under the Performance Warranty.
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Long & McQuade reserves the right to restrict the purchase of additional years of Performance Warranty. Used products come with a 3-month Long & McQuade Performance Warranty. Some products (i.e. computers, software, cymbals and other items) are covered only by the manufacturer‘s warranty. Consumables (i.e. strings, reeds, drum sticks, batteries, tubes, cross faders) are excluded as they are designed to be replaced. Cosmetic Damage, Accidental Damage, or problems caused by Humidity or Temperature Issues are not covered. Speakers damaged by overpowering are generally not covered. Our coverage does not provide compensation for loss of use. As of June 2018 the Performance Warranty is no longer transferable. The warranty is only valid in Canada.
Purchasing additional years of coverage
Some manufacturers provide warranties for longer than 1 year; however, these are usually limited warranties that do not provide the same coverage as the Long & McQuade Performance Warranty. Customers interested in more complete and convenient (but not necessarily longer) coverage are still able to purchase additional years of the Performance Warranty.
If you are interested in receiving this coverage for longer than one year, you have the option of purchasing additional years of the Performance Warranty. The pricing is as follows:
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| Product | SKU | Qty |
|---|---|---|
| 500 Series Xpressor Neo Analog Stereo Compressor | 825321 |
