Was so incredibly lucky to meet them at this year's Studioszene and try all their stuff and talk to them. They are incredibly courteous folk, know their stuff and you feel their passion. Long story short: Support Elysia, they've earned it
WIth all the time Wyste talks about this compressor, I wonder if Elysia will someday offer him one, imagine if only. Well to me, much deserved at least for all the great free content he's sharing online.
Never ever. Having an Alpha is a freaking PRESTIGE so you gotta pay the price for it. Giving away such an expensive device doesn't makes sense in a marketing stand point. They sell it at high price for a good reason : in the mind of a lot people "more expensive means better quality". Also the name of the compressor, think about it: Should an alpha male work for free when he can get paid A LOT for doing alpha shit others could not? I don't think so. + MrSnakeOil gets some cake by affiliate links, youtube money and Patreon already + new customers by streaming.
@@KOjoeProduction As if I don’t know this unit is about 10k and is something that can’t get offered. But can’t I just wish/hope the best for someone I like the content ? Wytse is sharing some fun, educational content for his community. Was just having a bit of magic fun and hope for a content creator. That’s why I said in my comment « imagine if only ».
@@Whiteseastudio ha I know, you’ve made a great video about Elysia, you often say they do great gear (which is true btw),just wishing you the best! I know it’s such a piece of gear you own by hard work and makes prestige and so, but yeah maybe I’m too much of a dreamer sometimes for wishing good things to people.
I always understood soft clipping to be the same as soft knee compression but with an infinite ratio, ie limiting. Would that be an accurate description?
Yep, except the "limiting" doesn't care about distortion. Which it (soft clipping) does plenty. Great if you want kicks and snares (transients) to have an edge, depending of course on the source material. Limiters hate transients and push back the drums in the soundfield.
Yh +1 for the SPL at least, love that thing but always find myself feeling like I just end up on the same "metal types" and side chains, as they work for bussing. @Whiteseastudio I'd love to see you actually dial in some real world examples on tracking. I know it's fundamentally not designed for that, but I feel I haven't unlocked it's full potential. But with your help??? 💪🤠👈
In general, infinite slope filtering (brickwall filtering) is not used in music because it results in ringing artifacts. The interesting thing is that, since you're not actually hearing the sidechain output, this "ringing" is probably below the threshold and therefore brickwall filters are well suited for the application
i purchased this after your first review but never really picked up on all the nuances even though i could tell this is a really nice special sauce compressor so this was a very much appreciated and timely overview thanks so very much! as usual informative and entertaining 👍🏻
After the museq, both the mixing or the mastering version, i was so taken aback i kept it where it was. Guess this is my blind spot. But: their Phil's cascade will render any radio type of crunch and tone...it is beyond amazing. Thanks for your explanation - explaining this compressor does much for understanding the museq as well
Really helpful to have this one spelled out. I've basically learned how to make it do what I want, but I always like to understand what's going on under the hood. I've never used the tilt eq function, but that will change now 😉👍
I have had this compressor for quite some time, but have never figured out how to use it. There are so many knobs and buttons on this compressor. When I start turning them, the compressor always works not smoothly and very aggressively. I always choose SSL style comp, Vari-Mu or Pro-C because they are more intuitive. After this video I decided to try again)
start off with choosing one of the presets, then tweaking a few knobs. Thats a good way to learn. A preset might get you close. But yeah, the interface does look a little daunting
Ha I think I'm so used to the reversed threshold knob, that a few others seemed odd to me recently, but I couldn't figure out why... lol. The mono version is almost always just doing enough for tracking, and on busses the mid-side is almost always in the chain somewhere. Love the Kazrog one tho for a different "analogue" sound and feel. Especially when a vocal or lead needs help. Elysia is more like best of both worlds in a weird way. In the analogue realm they are scarily "accurate" as I understand, but from experience in the digital dungeon, the plugins are not like any other emulations I own. Most don't have "sweetspots" in quite the same way. I would guess the hardware is as "unusual". Anyway, when used on the Master Bus alone, it creates a very different effect to most on a static digital mix. It was so subtle but almost unbelievable when I finally tuned in to what it was doing to "my mix". Forget that mix ,,, this is just better! I'd be lost without it ...
I got this Audient ID44mkII interface wich has an "ID"-button that when pressed the volume knob acts like a value-knob on everything your mouse in pointed at. Very nifty in this case:)
Possible application / experimentation for subtle but effective use of the Alpha's side-chain; Stacked leads sometimes like to be squashed into the buss all together with OTT, but sometimes they need to make space for each other to breath, in specific frequency ranges and or time domains (ie transients from 1 synth are muddying the beautiful pluck you crafted from scratch, but that 1 has no bottom at all). Alpha would almost definitely be used in both examples for me, but in the second it becomes godlike. M-Pressor however would be "my" go to when side-chaining from a different source. The Alpha is great for focusing in on the range and moments that need more extreme attenuation without audible compression. So for example I don't want to squash the bottom of the whole bus anymore, but I need a few deafening, high peaks at a lower "perceived" level. Often, they may not be that "loud" by the actual numbers (fletcher munsen curve is your friend), but your ear just knows it's too much. So, roll off the bottom end till it's just affecting the annoying bits. That's when the Alpha really shines for me, and it's one of the only times that split L/R mode does what I need. It just seems to sounds like it was "supposed to be like that". Then once they "sound" reasonable, use that channel (and probably the M-Pressor) to duck just the clashing frequencies of the other synth(s). That said, it's actually nice to experiment with cutting some other frequencies in the "duck" to really draw attention to the "loud" bits you wanted heard but not deafening. I hope that makes sense. Oh, and it obviously works exactly the same with the opposite problem. "Muddy" or "boomy" low mids clashing are not usually as obvious or "audible" at low levels of monitoring, so more often the whole track sounds very different loud. Tbh I assume most people have tools for this but the Alpha can do magic on your bottom too🤭, you just need to really listen to the release and attack settings until you hear when you're going too far. Side-note: I only bought it for what it can do on the master bus, but loved it so much I stopped "trying" other compressors so often as it usually worked without thinking about what I needed to do. That's when I realised the (overlooked) mono version, was actually all over everything, doing quite different jobs too. Just a joy to use, and changed how I think of compression in a mix tbh. For some more context, multiple synths, stacked (playing the same notes usually) but doing different "sonic jobs" can create something even you never dreamed of. Cutting screeches from one synth, but fat growling, warm mids from another, then sporadic and sparse a rhythmic element drifts in and out,,, but wait,,, that SUB!?! If you can do all that with 1 synth, first, WELL DONE! However, there's a good chance, whomever mixes it, will want to treat them all separately, which can be of limited success from 1 stereo stem. So, we, at the production stage, can help just thru awareness, and make the mixing job easier and more effective for the engineer down the line (or ourselves in most cases). However,,, you listen back in the morning, with good levels, good ears, and good coffee, and,,,, "What the actual F was I thinking ? And where's that fuuuuuzzzzzump sound coming from? ,,, ooo but that last section was life changing, how did I do that again?"... Lol. It never seems to work, just cleaning them all up, as you inevitably loose something of what you previously fell in love with. Just have a listen to what actually drives your emotional journey, and use the Alpha to focus in on what you want. It's also perfect to keep the others in check with transparency that keeps something true to your original vision. Usually "favourable imperfections" in my experience. So I guess the ultimate goal for producer and engineers (I believe anyway) is to help guide the listeners emotion and attention to where you want it to be within an orchestration / arrangement / mix. So good frikkin luck with that 🤔😘
Thanks for this excellent tutorial. It's made me revisit the plugin and appreciate it more. The only part I'm unclear about is the side chain. I don't think that the numbers refer to the filter slope. As I understand it, fully clockwise/anticlockwise engages a HP/LP filter at 6dB per octave (according to the manual). Anything else is 'in-between' but I'm not exactly sure how.
Circular knob mode on plugins usually lets you get finer precision and resolution by allowing you to drag out farther from the knob before you turn. Its not about dragging in a circular motion that makes it better, its definitely the resolution and control. It allows you to sweep within and easily get to those pesky decimal places in between as well. I hate straight up an down control knobs. Theyre for babies. Dragging out and making a large circle is literally every single knob being as large as you want, even gigantic.
Very good video, keep 'm coming ;) I like this compressor a lot on the drum buss, it pulls the drums forward and seems to increase the size a little, just with default settings already. Very nice to combine with the Lindell TE-100 EQ. I like plugins that shape the virtual picture.
Great video man. I have left this one gathering dust in my plugin folder for years, primarily because the ratio doesn't quite go high enough. I did like how it sounded though. Now that I know how differently it behaves in FF mode, I will definitely dust it off when an appropriate song comes around! Cheers
boy boyboy.. this one sounds great! just testing it the first time. but... this are a lot of buttons. i am always affraid in doing something wrooong. haha
I dunno, it seems kinda convoluted to me. I think the only way to make it worse in this respect, is to give controls for not only the L and R, but also the front and back, and while we're at at, add controls for the top and bottom too! I just feel it doesn't need this many controls for a compressor when you only really need 4 or even 3 for that matter.
this was my very 1st PA plugin, cool compressor but I usually don´t buy PA plugins anymore, marketing seems to be more important than quality to this "brand".
The UAD version of the Elysia plugins by brainworx sound slightly better. Punchier and cleaner. That’s true for any plugins made by brainworx that are available on the UAD platform. I’m not sure why. It could be an oversampling thing. But there is definitely a difference and for the better.
More Elysia Tutorials here: th-cam.com/play/PLil8shFjsBGaN5gy9ZEUTKGJrczBf8pwD.html
Was so incredibly lucky to meet them at this year's Studioszene and try all their stuff and talk to them.
They are incredibly courteous folk, know their stuff and you feel their passion.
Long story short: Support Elysia, they've earned it
WIth all the time Wyste talks about this compressor, I wonder if Elysia will someday offer him one, imagine if only. Well to me, much deserved at least for all the great free content he's sharing online.
I hope so, but I don’t think they will
Never ever. Having an Alpha is a freaking PRESTIGE so you gotta pay the price for it. Giving away such an expensive device doesn't makes sense in a marketing stand point. They sell it at high price for a good reason : in the mind of a lot people "more expensive means better quality". Also the name of the compressor, think about it: Should an alpha male work for free when he can get paid A LOT for doing alpha shit others could not? I don't think so.
+ MrSnakeOil gets some cake by affiliate links, youtube money and Patreon already + new customers by streaming.
@@KOjoeProduction As if I don’t know this unit is about 10k and is something that can’t get offered. But can’t I just wish/hope the best for someone I like the content ? Wytse is sharing some fun, educational content for his community.
Was just having a bit of magic fun and hope for a content creator. That’s why I said in my comment « imagine if only ».
@@Whiteseastudio ha I know, you’ve made a great video about Elysia, you often say they do great gear (which is true btw),just wishing you the best!
I know it’s such a piece of gear you own by hard work and makes prestige and so, but yeah maybe I’m too much of a dreamer sometimes for wishing good things to people.
I'm actually saving up for an Alpha Compressor, but it's going to take a lot of time to save up such an amount :-)
I truly enjoyed the way you presented this plugin, and the Distressor. If this is the new formal, I love it!!!
Great to have a tutorial on this comp. It's really good.
Your discussion about auto fast on the attack and release is seriously making me think about using this compressor again. Cool vid.
Good to see 'Snake Oil' guy getting familiarised with the plugin before reviewing it, a rare thing on this channel
Not anymore 😛
This was effin brilliant, as this plugin always overwhelmed me and I am to stubborn to read a manual. THANK YOU.
Great video! I love using the Alpha Compressor in mastering; it's so polite. Thanks so much!
I always understood soft clipping to be the same as soft knee compression but with an infinite ratio, ie limiting. Would that be an accurate description?
Yep, except the "limiting" doesn't care about distortion. Which it (soft clipping) does plenty.
Great if you want kicks and snares (transients) to have an edge, depending of course on the source material. Limiters hate transients and push back the drums in the soundfield.
I appreciate the more educational attempts lately!
Great tutorial. Thanks for making it!
Love this plugin. It really adds a nice punch to the sound when applied subtly.
Shadow Hills Class A from Brainworx next pls or the SPL Iron! nice video mate! :)
Noted! Will do!
Give this man a Cookie!
Yh +1 for the SPL at least, love that thing but always find myself feeling like I just end up on the same "metal types" and side chains, as they work for bussing. @Whiteseastudio I'd love to see you actually dial in some real world examples on tracking. I know it's fundamentally not designed for that, but I feel I haven't unlocked it's full potential. But with your help???
💪🤠👈
I second this vote
In general, infinite slope filtering (brickwall filtering) is not used in music because it results in ringing artifacts. The interesting thing is that, since you're not actually hearing the sidechain output, this "ringing" is probably below the threshold and therefore brickwall filters are well suited for the application
Thanks this great tutorial for use Elysia Comp
I got the EC three years ago, its become my favorite compressor, and always on my mixbus
Thanks for this tutorial, I never realized how to actually use it until then.
Great plugins and review man! I LOVE this track, where can I get it ? :)
i purchased this after your first review but never really picked up on all the nuances even though i could tell this is a really nice special sauce compressor so this was a very much appreciated and timely overview thanks so very much! as usual informative and entertaining 👍🏻
I felt the "Warm button" gave a bit of the "Pultec EQ trick" feeling.
After the museq, both the mixing or the mastering version, i was so taken aback i kept it where it was. Guess this is my blind spot. But: their Phil's cascade will render any radio type of crunch and tone...it is beyond amazing. Thanks for your explanation - explaining this compressor does much for understanding the museq as well
Would love to see you do a video like this one for "Dr. MS" by Mathew Lane
I think I learned how to master with this plugin, amazing tool, and very well applied in this video!
Thank You, very clear explanation!!
Really helpful to have this one spelled out. I've basically learned how to make it do what I want, but I always like to understand what's going on under the hood. I've never used the tilt eq function, but that will change now 😉👍
I have had this compressor for quite some time, but have never figured out how to use it. There are so many knobs and buttons on this compressor. When I start turning them, the compressor always works not smoothly and very aggressively. I always choose SSL style comp, Vari-Mu or Pro-C because they are more intuitive. After this video I decided to try again)
start off with choosing one of the presets, then tweaking a few knobs. Thats a good way to learn. A preset might get you close. But yeah, the interface does look a little daunting
Just what i was looking for!! Great Video👍👍
Thanks for a very informative review. This plugin sounds really nice. Love the 'warm' button - it's like the secret sauce :-)
Ha I think I'm so used to the reversed threshold knob, that a few others seemed odd to me recently, but I couldn't figure out why... lol. The mono version is almost always just doing enough for tracking, and on busses the mid-side is almost always in the chain somewhere. Love the Kazrog one tho for a different "analogue" sound and feel. Especially when a vocal or lead needs help. Elysia is more like best of both worlds in a weird way. In the analogue realm they are scarily "accurate" as I understand, but from experience in the digital dungeon, the plugins are not like any other emulations I own. Most don't have "sweetspots" in quite the same way. I would guess the hardware is as "unusual". Anyway, when used on the Master Bus alone, it creates a very different effect to most on a static digital mix. It was so subtle but almost unbelievable when I finally tuned in to what it was doing to "my mix". Forget that mix ,,, this is just better! I'd be lost without it ...
I got this Audient ID44mkII interface wich has an "ID"-button that when pressed the volume knob acts like a value-knob on everything your mouse in pointed at. Very nifty in this case:)
Strange to have the "active" led in the middle in blue but the other ones in white when on. Confusingly thinking of a three state switch.
Possible application / experimentation for subtle but effective use of the Alpha's side-chain;
Stacked leads sometimes like to be squashed into the buss all together with OTT, but sometimes they need to make space for each other to breath, in specific frequency ranges and or time domains (ie transients from 1 synth are muddying the beautiful pluck you crafted from scratch, but that 1 has no bottom at all). Alpha would almost definitely be used in both examples for me, but in the second it becomes godlike. M-Pressor however would be "my" go to when side-chaining from a different source.
The Alpha is great for focusing in on the range and moments that need more extreme attenuation without audible compression. So for example I don't want to squash the bottom of the whole bus anymore, but I need a few deafening, high peaks at a lower "perceived" level. Often, they may not be that "loud" by the actual numbers (fletcher munsen curve is your friend), but your ear just knows it's too much. So, roll off the bottom end till it's just affecting the annoying bits. That's when the Alpha really shines for me, and it's one of the only times that split L/R mode does what I need. It just seems to sounds like it was "supposed to be like that". Then once they "sound" reasonable, use that channel (and probably the M-Pressor) to duck just the clashing frequencies of the other synth(s). That said, it's actually nice to experiment with cutting some other frequencies in the "duck" to really draw attention to the "loud" bits you wanted heard but not deafening. I hope that makes sense. Oh, and it obviously works exactly the same with the opposite problem. "Muddy" or "boomy" low mids clashing are not usually as obvious or "audible" at low levels of monitoring, so more often the whole track sounds very different loud. Tbh I assume most people have tools for this but the Alpha can do magic on your bottom too🤭, you just need to really listen to the release and attack settings until you hear when you're going too far.
Side-note: I only bought it for what it can do on the master bus, but loved it so much I stopped "trying" other compressors so often as it usually worked without thinking about what I needed to do. That's when I realised the (overlooked) mono version, was actually all over everything, doing quite different jobs too. Just a joy to use, and changed how I think of compression in a mix tbh.
For some more context, multiple synths, stacked (playing the same notes usually) but doing different "sonic jobs" can create something even you never dreamed of. Cutting screeches from one synth, but fat growling, warm mids from another, then sporadic and sparse a rhythmic element drifts in and out,,, but wait,,, that SUB!?! If you can do all that with 1 synth, first, WELL DONE! However, there's a good chance, whomever mixes it, will want to treat them all separately, which can be of limited success from 1 stereo stem. So, we, at the production stage, can help just thru awareness, and make the mixing job easier and more effective for the engineer down the line (or ourselves in most cases).
However,,, you listen back in the morning, with good levels, good ears, and good coffee, and,,,, "What the actual F was I thinking ? And where's that fuuuuuzzzzzump sound coming from? ,,, ooo but that last section was life changing, how did I do that again?"... Lol. It never seems to work, just cleaning them all up, as you inevitably loose something of what you previously fell in love with. Just have a listen to what actually drives your emotional journey, and use the Alpha to focus in on what you want. It's also perfect to keep the others in check with transparency that keeps something true to your original vision. Usually "favourable imperfections" in my experience.
So I guess the ultimate goal for producer and engineers (I believe anyway) is to help guide the listeners emotion and attention to where you want it to be within an orchestration / arrangement / mix. So good frikkin luck with that 🤔😘
wow... the best tut for this amazing compressor... THANKS YOU... can you do something for SPL IRON ?
Great content as always.
Thanks for this excellent tutorial. It's made me revisit the plugin and appreciate it more. The only part I'm unclear about is the side chain. I don't think that the numbers refer to the filter slope. As I understand it, fully clockwise/anticlockwise engages a HP/LP filter at 6dB per octave (according to the manual). Anything else is 'in-between' but I'm not exactly sure how.
Best clipper on the market
Thank you.
Circular knob mode on plugins usually lets you get finer precision and resolution by allowing you to drag out farther from the knob before you turn. Its not about dragging in a circular motion that makes it better, its definitely the resolution and control. It allows you to sweep within and easily get to those pesky decimal places in between as well. I hate straight up an down control knobs. Theyre for babies. Dragging out and making a large circle is literally every single knob being as large as you want, even gigantic.
i think the term you’re looking for when talking about the balance eq is “tilt filter” :)
"Tilt Shelf" i guess :)
Thank you! Very useful.
Great Tutorial, thank you! When will you finally check out the Slate VSX headphones? :)
helpful thanks
Very helpful, thanks a lot!
Very good video, keep 'm coming ;)
I like this compressor a lot on the drum buss, it pulls the drums forward and seems to increase the size a little, just with default settings already. Very nice to combine with the Lindell TE-100 EQ. I like plugins that shape the virtual picture.
great tutorial 👌
LETS GET STAR... LETS TAKE A LOOK!!
Holy shit this is a Master Class at its best ❤
Thanks for this.
Great video man. I have left this one gathering dust in my plugin folder for years, primarily because the ratio doesn't quite go high enough. I did like how it sounded though. Now that I know how differently it behaves in FF mode, I will definitely dust it off when an appropriate song comes around! Cheers
Exactly the same here! It's kind of opaque to use, but this tutorial was super enlightening. I look forward to giving it another try soon!
Cool thanks !
Great video!
Nice! Thanks.
hi guys...does this review count for the UAD version? :) any opinions? thanks
I saw that subtle, awkward pause when stating that it oversamples 2x when your project is at 96khz 😆
The pause was also because I had to remember a lot of numbers 😅
ty wytse! 🖤
boy boyboy.. this one sounds great! just testing it the first time. but... this are a lot of buttons. i am always affraid in doing something wrooong. haha
thank youuuuu
Cool compressor!
Thanks for the good and informative video!!! Elyzia is No. 1!!!!
Stereo and mono versions are exactly the same. Then proceeds to describe the different features between the two. 😂
I dunno, it seems kinda convoluted to me. I think the only way to make it worse in this respect, is to give controls for not only the L and R, but also the front and back, and while we're at at, add controls for the top and bottom too!
I just feel it doesn't need this many controls for a compressor when you only really need 4 or even 3 for that matter.
Somebody wants a discount on the hardware I see (jk), can't blame you for that tho' hehe ;). I hope you'll get it one day!
16:23 Area! 😅
Comment for da algorithm
Streak count: 201
A new era begins
18:39
Sorry, I will sample it
I DON'T NEED ANOTHER COMPRESSOR I DON'T NEED ANOTHER COMPRESSOR I DON'T NEED ANOTHER COMPRESSOR I DON'T NEED ANOTHER COMPRESSOR
LOL good luck with that! :D
We all know you got like 20+ bro haha
PLUGIN JUNKIES u feel me right? Oskour
...BUT ANYWAY I PURCHASED ANOTHER COMPRESSOR
there, I completed it for you
this was my very 1st PA plugin, cool compressor but I usually don´t buy PA plugins anymore, marketing seems to be more important than quality to this "brand".
Your compressor doesn't matter; plugins will do just fine. Musical ideas are what matter. Change my mind.
Nice toys for the boys and girls….
🙂👍
I have the TDM version, is there a difference in operation between the TDM version and the versions?
Buy the real one man common !
Good Compressor, but NO WAY worth 12 G. I laugh when companies do this. Shadow Hills too. That's a sales tactic price. Don't ever buy into it.
The UAD version of the Elysia plugins by brainworx sound slightly better. Punchier and cleaner. That’s true for any plugins made by brainworx that are available on the UAD platform. I’m not sure why. It could be an oversampling thing. But there is definitely a difference and for the better.
Of course the ears hear the difference spending $150 on UAD vs buying it on Plugin Alliance for $10 like i did.
Looks so ugly and confusing
thank you! So much to learn