These are still quite new and I still have the original box and all the stuff it comes with.

Ready to ship same/next day!

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Hear the difference!

xpressor|neo can enhance your mixes like you’ve never heard before! Choose between different examples including applications like recording, mixing or mastering, use good headphones or speakers. All you need to do is press Play and A/B between the bypassed and active sounds!

Synth Stab  Electronic Drum Loop  Mix Bus - Techno  Mix Bus - Dub  

Note: If you have technical difficulties and don't hear audio playing back, you may want to switch off silent mode on your mobile device.

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 mixesare 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 maintainsthe 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.

External Sidechain

The external sidechain enables the compressor to control its processing totally independent from the audio material running through it. If an additional audio source is connected to the external sidechain input of the xpressor|neo, compression will not be triggered by the signals from the regular audio inputs anymore, but by a different signal which is fed into the sidechain input.

Note: The sidechain send output (EXT 2) carries a buffered mono signal which is generated from summing the left and right input signals. The external sidechain feature is activated by inserting a ¼“ phone jack into the sidechain return input (EXT 1). To deactivate it, just remove the jack from the EXT 1 connector.