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elysia nvelope 500
Stereo impulse shaper 500 series module with dual EQ capabilities
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Fake Price................................... $1,049.00
Real Price............... $975.00
Status: Usually Ships Same or Next Business Day

elysia nvelope 500 Description

The nvelope 500 is a powerful audio processor capable of making subtle or drastic changes to a sound by providing control over its attack and sustain characteristics. This is extremely useful for reshaping all sorts of individual tones, and is a wonderful tool in any mixing situation as well.

The nvelope 500 operates independently of the specific level of a signal, and (unlike with compressors) you do not have to spend a lot of time trying to balance a set of complex controls to quickly get the results you seek.

With its unique Dual Band mode, the nvelope 500 gives you enhanced control over processing, and can easily handle complex program material. Additionally, its dynamics sections can be bypassed, allowing it to function as a flexible high/low shelf EQ...

elysia nvelope 500
  • Discrete Class-A Topology: Pristine audio quality
  • Full Range Mode: Fast & efficient envelope shaping
  • Dual Band Mode: Enhanced frequency controls
  • EQ Mode: Alternative high/low shelf equalizer
  • Mixed Mode: Two different processors at the same time
  • Stereo Link/Dual Mono: Flexible channel use and combination
  • Auto Gain: Eliminates level peaks and distortion
  • Made in Germany: High grade components, solid aluminum knobs


(1 Rating, 1 Review) Average Rating:
Nvelope 500
Benny Grotto (Somerville, MA) 6/18/2012 12:08 AM
This is a box that does exactly what it says it does, and it does it very, very well. Straight outta the Fedex packaging, I used it to dial a bit of extra attack out of the kick drum for a Blood For Blood EP I was working on. Minimal hassle hooking it up; virtually no learning curve to get it where I needed (though I had watched the extremely informative promo video on Elysia's website). It delivered the EXACT thing I was after: a bit of extra definition (via the attack control), and a slight decrease in the low end sustain to keep some of the faster parts from getting murky or overly boomy. If you're not familiar with BFB, they're a hardcore band that's rather loud, very aggressive, and generally pretty fast, but still tend to use more "natural" drum sounds (in other words, they steer clear of the "ticky" staple gun kick sound common in a lot of contemporary metal). This thing provided just enough "point" to get the kick to poke through a very dense bottom end and very bright wall of guitars, while avoiding a "triggery" sound. The multiband nature of it was completely essential for this, and I'm already considering buying a second one because I can see this thing becoming very addictive. The following weekend, I used it on a front-of-kit drum mic (in this case, the AEA R92, about a foot off the ground and three or four feet in front of the kit). Created a threshold-free smashy drum room sound. Lots of sustain, reduced attack; great for sneaking in at -30dB to add some extra body and, if I wanna push it higher in the balance, some trash to the drum kit. While sound checking, I nailed a god-like snare sound (heh, yea), but when the drummer was playing takes, his dynamic inconsistency yielded a rather limp-sounding attack. The nvelope rendered this a non-issue when it came time to print roughs; I dialed in some attack in the upper octaves while pulling back the overly-aggressive ring that came about from a wimpy stick impact. Snare sounded godly again