Elysia xpressor neo qube

An Evolution of the xpressor, Focused on Stereo Depth

Since its launch in 2010, the xpressor has found its way into numerous studios thanks to its modern approach to compression. With the xpressor NEO 500/qube, elysia retains the features that made it successful while reworking the circuit to refine the sound reproduction.

This evolution is aimed in particular at a wider, deeper stereo image, as well as a better-defined phantom center. It brings the xpressor closer to the purist philosophy of the alpha compressor, the brand’s flagship model, without sacrificing the creative possibilities of its predecessor.

Ergonomics have also been improved: a less reflective front panel, laser-engraved markings designed to withstand wear, and redesigned knob finishing to improve the touch sensation. The bevels have been moved to the sides of the front panel, while the values shown on the LED gain reduction display have been modified.

From Individual Tracks to the Master Bus

This stereo studio compressor is designed for sound engineers, producers, and musicians who want to control dynamics without losing the character of their sources. It is equally suited to processing a track during recording, tightening up a subgroup, or compressing a complete mix.

On percussion, it lets you shape impact and density. On a stereo bus, its RMS detection and soft-knee curve promote gradual action. In mastering, the sidechain filter, logarithmic release, and gain reduction limiting provide precise ways to preserve the balance of the program.

Tools for Shaping Dynamics Without Being Overwhelmed by Compression

Auto Fast: Capturing Peaks While Preserving the Rest of the Signal

A very short attack can contain fast transients, but it can also affect sustain and cause audible distortion. Conversely, a longer attack allows more of the peaks through. Auto Fast adapts this compromise: the attack speeds up only on short, strong transients, after which the selected setting takes priority again for the rest of the signal.

Two Release Curves for Choosing the Response

Log Release mode shortens the time constant as gain reduction increases. Important peaks therefore benefit from a fast release, while the rest of the program is processed more slowly. This smooth response is particularly well suited to mastering and work on a stereo bus.

The linear curve provides a straightforward release, without the gradual evolution of logarithmic mode. It is a relevant option for firmer control of dry sources, particularly when their sustain is short.

Warm Mode: A Different Texture at the Output

Warm mode acts as a slew rate limiter on the output amplification stages. It modifies their transient response as well as the spectrum and harmonics. Fast attacks are softened slightly, creating a rounder, more cohesive feel.

You can therefore choose between the transparency of the discrete Class A circuit and a richer, more saturated texture. Since this function acts on the output stages, its color combines with the various compression settings.

Sidechain Filter: Keeping the Low End Under Control

The selectable-frequency high-pass filter operates in the detection circuit rather than directly in the audio signal path. It reduces the influence of low frequencies on compression triggering. This allows you to apply the desired gain reduction while limiting pumping caused by a kick drum or dominant bass.

GR Limit: Setting a Limit for Gain Reduction

Unlike a limiter placed in the audio path, GR Limit acts on the compressor’s control voltage. Gain reduction does not exceed the defined value, even when the input level increases. Loud passages are therefore not compressed beyond this limit, which also opens up creative processing possibilities, particularly for ducking.

Parallel Compression Without Additional Routing

The mix control creates a blend between the unprocessed signal and the compressed signal. This integrated parallel compression allows you to use heavy settings, then retain only an appropriate proportion of them. You can increase density while preserving some of the original nuances and dynamic structure, without creating an external parallel circuit.

Technical specifications

Category	compressor	Analog outputs	jack, XLR
Number of channels	2	Color	Black

Type	stereo VCA compressor.	THD+N at 0 dBu, from 20 Hz to 22 kHz, Mix 100%	0.007%.
Architecture	Class A discrete circuit.	THD+N at +10 dBu, from 20 Hz to 22 kHz, Mix 0%	0.003%.
Applications	recording, mixing and mastering.	THD+N at +10 dBu, from 20 Hz to 22 kHz, Mix 100%	0.02%.
Auto Fast	faster attack on short, strong impulses.	Noise level, from 20 Hz to 20 kHz, A-weighted	-91 dBu.
Selectable release curves	logarithmic and linear.	Dynamic range, from 20 Hz to 22 kHz	112 dB.
Warm mode	slew rate limiting in the output stages for a second sonic signature.	Maximum input level	+21 dBu.
Sidechain filter	selectable-frequency high-pass filter in the detection circuit.	Maximum output level	+21 dBu.
GR Limit	gain reduction limiting in the control circuit.	Input impedance	10 kΩ.
Parallel compression	integrated blend control between the dry and compressed signals.	Output impedance	68 ohms.
THD+N at 0 dBu, from 20 Hz to 22 kHz, Mix 0%	0.003%.