The xpressor 500 is one of the best sounding and most versatile stereo compressors in the 500 series format. With its many unique features taken from our flagship products, you not only get great compression and tone, but an amount of control on processing which is hardly ever experienced elsewhere.
Stereo buss compression, processing single signals, approaching dynamics in creative ways – the xpressor 500 shines in many different applications. Best of elysia? You got it!
5 reasons why you should use the xpressor 500
even there are many more!
The xpressor 500, just like all our products, is designed, engineered and handcrafted in Germany.
Discrete Class-A Technology
Consequently represents the art of discrete signal processing
Brilliant audio quality and transparent basic sound.
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.
Inspired by his bigger Brothers.
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.
It is the time constants and especially the release parameter that 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, the xpressor 500 offers two different options to choose from: 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.
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.
Beyond infinity – made possible by the xpressor 500
Parallel compression, also known as ‘New York’ compression, is a technique based on mixing a dry signal with a heavily compressed identical signal. It is thought to maintain the subtleties of a performance while stabilizing the dynamics.
The mix controller of the xpressor 500 makes it possible to cross-fade between the unprocessed and the compressed signals. This allows parallel compression right in the box and supersedes additional routings in favor of a better signal quality.
Now you can use even extreme compression settings without killing a track by winning the loudness war. By mixing just a part of the compressed signal to the original, the major portion of the initial dynamic structure remains intact.
The xpressor 500 has 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 here is ‘frequency selective compression’.
Let’s say you are processing a mix which has a very prominent kick drum. If you used the traditional approach of full range compression, you’d probably end up overcompressing the whole mix because everything is reduced too much.
The reason for this is the great lot of low end energy the kick produces, causing high amounts of gain reduction on the complete mix. And what makes it even worse is that your mix can start to pulsate in the beat of the kick – cool for some electronic music, but certainly not always welcome.
The low cut filter of the xpressor 500 reduces the influence that the low frequencies have on overall compression – a very easy way to apply the desired amount of gain reduction without the side effect of the track starting to pump.
This technique is especially useful in mastering or when complete mixes are to be compressed, but it can also be a handy tool for processing subgroups or even single signals, too.
Gain Reduction Limiter
A specialty of the xpressor 500 is the 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. 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.