Elysia

collapse expand iconDescription

The elysia xpressor 500 is an extremely versatile stereo compressor available in 500-series format. With its many unique features taken from Elysia's flagship products, you not only get great compression, but an amount of control on processing which is hardly ever experienced elsewhere.

No matter if you want set-and-forget, or to delve deep into the secrets of compression, the xpressor 500 is for you. Its discrete audio path running in constant class-A mode provides superior audio quality, which combines a clear and open sound with a lot of punch.
Stereo bus compression, processing single signals, approaching dynamics in creative ways - the xpressor 500 shines in all applications.

Discrete Class A Topology
A true elysia specialty, the audio path of the xpressor 500 is completely based on discrete circuitry and does not use any integrated circuits at all to color the signal path. Its entire audio path is a new design based on the exclusive use of high-grade discrete components. A truly unique recipe. In addition, it operates in permanent class A mode. This means that the transistors are always conductive, resulting in the absence of crossover distortion, providing a pristine sonic base; the general sound character is always wide, open and punchy.

Auto Fast
Inspired by Elysia's flagship compressors: Auto Fast enables you to set the perfect attack. It's a switchable, semi-automated attack based on the value you set by ear. However, sometimes one setting doesn't always work based on changes in the program material. For example, if a very short attack time is chosen, the compressor can catch the short peaks, but the sustaining signal will also be processed, which might result in audible distortion. Longer settings reduce distortion significantly, but then the compressor is set too slow for catching fast impulses. That's where Auto Fast comes in: For example, if you set the attack to 80ms 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. Afterward, the attack time 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
This alternative characteristic of the release curve follows a logarithmic course instead of the standard linear function, resulting in a very gentle compression. Since it's difficult to achieve perfect results on different material with only one type of release curve, the xpressor 500 offers two different options to chose from: logarithmic and linear.

In logarithmic release mode, the time constant shortens when the amount of gain reduction increases. The advantage 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 bus compression.

The linear mode 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 that do not have a long decay period.

Negative Ratios
The characteristic curve bends and goes back down-heavy pumping, backward sounds, etc.-perfect for very cool compression effects.

Negative ratios-what exactly does that mean? To get a better understanding of this function, it makes sense to understand 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 2dB at the input will be compressed to an increase of 1dB at the output.
¢ 1:ˆž - 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
Available directly on the unit: the direct and the compressed signal can be blended in any desired relation by simply turning the mix controller.

Parallel compression, also known as "New York" compression, is a technique based on mixing a dry signal with a heavily compressed identical signal. It maintains the subtleties of a performance while stabilizing the dynamics.

The mix controller of the xpressor 500 makes it possible to crossfade between the unprocessed and the compressed signals. This allows parallel compression right in the box and eliminates additional routing for 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.

Sidechain Filter
A tunable low cut filter in the sidechain of the xpressor 500 avoids over-compression and pumping when there is a lot of low-end energy in the mix.

The xpressor 500 has a selectable-frequency low-cut filter 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 key phrase here is "frequency selective compression."

Let's say you are processing a mix that has a very prominent kick drum. If you used the traditional approach of full range compression, you'd probably end up over-compressing the mix. The reason for this is the great amount of low-end energy the kick produces, causing high amounts of gain reduction on the entire 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 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 compressing a mix before mastering. Plus, 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 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 that no matter how high the input level might become, the amount of gain reduction will never exceed the value you've set.

By way of example, imagine a fader on a mixing console with your hand riding the fader to "play compressor." If 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. This way, loud parts in an arrangement keep their dynamics, since 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 easily achieved with this, by only reducing the quieter parts without changing the original dynamics.

Warm Mode
The xpressor 500 offers a second switchable sound flavor by altering its frequency spectrum, harmonics, and transient response.
This function is basically a slew-rate limiter that reduces the speed of the output amplifier stages. This affects the frequency spectrum, the harmonics, and transient response at the same time.

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 EQ stages.

In this way the xpressor 500 offers two different sound characters at the push of a button: the powerful transparency of the discrete class-A circuitry and the saturated richness of the Warm mode.

Analog Dynamic LED Meter
The gain-reduction meter modulates its LEDs in their brightness in order to show the action of the compressor in an analog way: fast, with smooth transitions.

In addition to what your ears tell you, the gain-reduction meter is a very important visual tool for evaluating the operation of the compressor. A lot of devices make use of more-or-less precise VU meters. But because of the inertia of the needle, these meters are only useful with moderate time parameters.

Another popular form of meter is the LED chain. Unfortunately it has a disadvantage, too: When the standard driver units are used, the change between two values always happens abruptly. A single LED in the chain can therefore only show an imprecise value in a defined interval. Frenetic flicker indicates that the actual value must be somewhere in between.

The xpressor 500 solves these problems by using a dynamic analog 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.

Stepped Potentiometers
All potentiometers in the xpressor 500 have 41 steps that are a great help for recalling your previous sessions fast and precisely. They also provide a useful range of possible settings-and you'll just love the feel of them.


*Note: In order to operate, 500-series units require a VPR**-compliant power suppy, or "lunchbox" such as the Radial Workhorse (#H74107), A Designs Audio 500HR Rackmount Frame (#241582), or Empirical Labs EL 500 (#H72812).

** What is the VPR Alliance?
Initiated by API Audio, the VPR Alliance is a program of standardization and consistency guidelines for manufacturers wishing to make products designed to fit into API's 500 series rack format. The program provides complete design specifications for manufacturers interested in producing third party products that physically fit and electronically conform to API's rack specifications.

The creation of the VPR Alliance has been encouraged by the overwhelming popularity of API's 500 series racks, including the ten-space 500VPR and the six-space lunchbox, which has led to a proliferation of third party modules to fit the API format. Typically installed into API racks, these third party modules have raised issues of warranty and interaction with API-manufactured modules in the same rack.

Because of the variables related to those third party modules, API has previously been forced to declare that including third-party modules into a 500VPR or lunchbox simply voids the warranty of the API rack. Through the VPR Alliance, API is able to eliminate confusion as to which third party products void the API warranty and which do not. This straightforward resolution saves the company both time and money, and promotes goodwill to customers.

Customers benefit from the VPR Alliance through the elimination of any confusion as to which products are endorsed for placement in API racks. Customers also benefit from a wider range of module choices for their racks, safety in the knowledge that the specification of the third party unit is correct, and that there is no risk of damage occurring.
Elysia xpressor 500 Stereo compressor available in API 500 series format
Elysia xpressor 500 Stereo compressor available in API 500 series format
Elysia xpressor 500 Stereo compressor available in API 500 series format

collapse expand iconFeatures

  • Discrete Class-A Topology
  • Pristine audio quality
  • Auto fast-attack; perfect attack in any situation.
  • Switchable release characteristic; smooth or crisp - the choice is yours.
  • Warm mode; transparency? Saturation? Both!
  • Parallel compression; mixing direct and compressed signals.
  • Sidechain filter
  • Frequency-selective compression.
  • Gain reduction limiter; ultimate control of compression
  • Made in Germany with high-grade components and solid aluminum knobs

collapse expand iconSpecs

  • Frequency response: <10 Hz - 400 kHz (-3.0 dB)
  • THD+N:
  • @ 0 dBu, 20 Hz - 22 kHz, Mix 0%: 0.002 %
  • @ 0 dBu, 20 Hz - 22 kHz, Mix 100%: 0.006 %
  • @ +10 dBu, 20 Hz - 22 kHz, Mix 0%: 0.003 %
  • @ +10 dBu, 20 Hz - 22 kHz, Mix 100%: 0.056 %
  • Noise floor:
  • 20 Hz - 20 kHz
  • -94 dBu
  • Dynamic range:
  • 20 Hz - 22 kHz
  • 115dB
  • Maximum level:
  • Input
  • Output
  • +21 dBu
  • +21 dBu
  • Impedance:
  • Input
  • Output
  • 10 kOhm
  • 68 Ohm

collapse expand iconReviews

4.16

186 Reviews

81%

of respondents would recommend this to a friend

119527412362221

Most Liked Positive Review

4

A very cool guitar, if you're into the 1980's shred thing!

I have been in the market for an 80's style shredder for a few years now. As a big fan of George Lynch, in particular the stuff he did from 1985 to 1990, I've been looking for a used ESP Skulls and Snakes model. That said, they are hard to find on the used market, and they command a premium price. Enter the Friedman Cali model. With its high-output humbuckers, Floyd Rose tremolo, and single volume knob, it's got similar specs as the Skulls and Snakes, and with a much lower point of entry. So, I jumped on it, and I am glad I did. I've spent the last few days getting to know my new Friedman Cali and I can say with confidence this is an excellent guitar for the price. That said, it does have some minor drawbacks that I will gladly look past given how amazing the guitar feels and sounds. My particular guitar was a scratch and dent, which in my case means pre-owned. I say this because when I took delivery of the guitar, I noticed a tremolo stop had been installed, poorly I might add. I confirmed with Friedman they did not install these at the factory; hence my opinion the guitar was previously sold to another customer. In any case, there are no other blemishes or visual imperfections to speak of other than, of course, the factory relic job. After my initial inspection, I put the guitar back in the case to chill out for 24 hours to acclimate to the environment. After that, I remove the old strings, cleaned and polished the frets, lubricated the hardware, applied contact cleaner to the pot and switch, put on fresh strings, and gave it a proper set-up. Some things I noticed during the whole process: the b-string tuner doesn't seem to work as smoothly as the other tuners. These appear to be Hipshot open gear locking tuners, similar to what I have on my Tyler, and I know they usually work very well. Next time I change strings, i will pull the tuner and take it apart for inspection. Another thing I noticed is the screw-in style tremolo bar on the Floyd Rose. This is simply an antiquated design and needs to go the way of the rest of the dinosaurs: extinction. I much prefer the convenience, feel, and adjustability of the drop-in replacement bar, so that is what I installed. Now the tremolo feels expressive and smooth, and the bar drops in quickly. Once I got the Cali set up, I was amazed how comfortable it is to play. Let's first talk materials and craftsmanship. The relic job on the maple neck and fingerboard, combined with the rolled fret edges and slick fret crowning, make this guitar feel like you've been playing it for decades. It's really quite special and something you have to play to understand. because of the compound radius and excellent fretwork, I am able to set the action very low without excessive buzzing. I use 9-gauge strings, and two tremolo springs are sufficient to ensure the tremolo sits parallel to the body while keeping low tension on the strings. Bending is super easy and very smooth, and the tremolo feels so expressive. The guitar just feels slinky and rather addicting to play. On the tone front, it's an absolute monster. The Friedman Classic pickups feature Alnico 5 magnets, which happen to be my favorite for hard rock tones. The bridge pickup sounds thick with gobs of sustain, while the neck pickup is round and fat. Both pickups are articulate and clear, and allow single notes in complex chords to shine through. Rolling back the volume knob will clean up your tone nicely, especially with a good tube amp. These guitars were a collaboration between Dave Friedman and Grover Jackson. Unfortunately, they are no longer working together, and Grover has moved to the Nashville, TN area. I do believe Friedman guitars will be hitting the market again soon, made by someone other than Grover. With that said, the Grover-era are pretty amazing guitars, and may become harder to find. So, if you are in the market for a 1980's super-Strat style shredder, I'd recommend checking out a Grover-era Friedman while you can.

VS

Most Liked Negative Review

3

Amazing bass with a major flaw

Being mainly a guitarist, this bass is perfectly ideal for what my needs are. A great bass with a great sound/tone for recording, and many option with the knobs to fine tune and tweak that sound to my preference. However, my biggest gripe is that the string action is ridiculously tight for this bass. I like to play with ticker gauge strings, as I typically go for lower tunings, but this bass is (ironically with it being a 5 string) is simply not made for it. The action towards the neck of the fretboard makes thicker strings unplayable. They make contact with the fretboard at around the 2nd-3rd fret, and raising the bridge to compensate isn't enough. To make matters worse, the screws that are used to raise the strings on the bridge are very easily stripped, and I'm struggling to find any sort of replacements for them.

Filters
Best Uses
  1. Practice4
  2. Recording3
  3. All around great guitar1
  4. Metal songs1
  5. Rock songs1
Cons
  1. None6
  2. Poor Quality2
  3. Virtually no low end warmth.1
  4. Kind of expensive1
  5. Shipping box arrived damaged1
Describe Yourself
  1. Beginner2
  2. Stray player since 19741
  3. 74 years old, been playing 60 years.1
  4. Jazz, rock, classical player for 60 years1
  5. Metal,hard rock and instrumental rock1
Pros
  1. Sound4
  2. Attractive3
  3. Stays in Tune2
  4. Stays in tune2
  5. Tone2
  • Great all around strat

    5

    submitted14 days ago

    byCass

    fromDenver

    Price is right

  • Sounds really good

    5

    submitteda month ago

    byTrenton

    fromGladwin county

    This pedal sounds quite good. It is quite customizable. If you do buy this, if you do not have the cord used to power it, there is a battery adapter under the actual pedal part. you just put the black pins on the pedal in and take the pedal off. anyways, really good sound if you want a proper rock or metal distortion/overdrive for an affordable price.

  • Not too bad for the price

    3

    submitteda month ago

    byJeff

    fromNashville TN

    Typical Chinese bling, the sound is lacking.

  • This drum is just like the vintage ones

    5

    submitted2 months ago

    byJeff

    fromSeattle, WA

    Play with freelance jazz and rock standards groups. All kinds of gigs and shows. I want to buy one of the sets.

  • Love this guitar.

    5

    submitted2 months ago

    byLarry

    fromMinnesota

    Love this guitar. Easy/Good tuning, very playable, thin neck is fast.

  • Its so good it fits my church setting well

    5

    submitted2 months ago

    byjordan

    fromHamilton, new jersey

    This product is the best drums i've ever played on because the shells are a nice color and when you tune the drums up, it sounds so good. When you play it in a open space it fills the room and when you play it in an enclosed space it sounds even better. All Im saying is that this is hands down one of the best drum sets.

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