With the museq I cannot think of a single case where I wouldn’t want to use this wonderful EQ! Single channel sources, stems or stereo mixes, if there is a need of some spectrum balancing, the museq will do it in a way that will make you smile. The xpressor is a big step forward from the average compressor. Apart from the standard "threshold - attack - release - ratio - make-up gain" set of controls, it offers a few more knobs to tweak that you don't find on just any compressor.

The Sidechain filter lets you administer just the right amount of low-end thump while the Gain reduction limit enables you to avoid any nasty surprises and allows you to explore more unconventional compression curves. The parallel compression functionality is built-in and controls like Auto fast and Log Release allow you to find just the right timing character for your material. It also features the warm mode like the museq.

The nvelope is equally useful on single instrument tracks and as a part of a mastering chain, thanks to Elysia's high-performance Class A design. It most commonly finds its way to the drum and percussion tracks, where it can either revive a dull-sounding or badly recorded kit,or tame excessively sharp attack spikes and ringing resonances of an especially lively instrument.

Besides that, it can soften of make more exciting everything from an acoustic guitar to a full stereo mix - the control range is well thought out and fits a wide range of usage.

Another one of the not-so-obvious uses is tightening up the voice recordings from an untreated room for videos or podcasts. The sustain knob does a much more natural job at removing unwanted ambiance than a fixed threshold expader. With the karacter you can start with mastering/bus type gentle saturation, by using the default drive mode with FET Shred and Turbo Boost turned off. This will produce euphonic, symmetric saturation that, at gentle settings, sounds very much like a good bus compressor. Try engaging the M/S mode in this tone range and enjoy a nice subtle blooming of the stereo field.

The FET Shred mode is an obvious shift in gears. The drive characteristic becomes a bit asymmetric, producing a fuller and a bit brighter distortion akin to overdriven tube gear. This one can already get a bit menacing, but when carfully administered, it can produce a snare crack that will bring an evil grin to your face.

Lastly, the Turbo Boost mode takes it all the way. It's a chaisaw, but with tone control and wet/dry mix. It will make an utterly, completely, helplessly boring track get some, well, karacter. And it might make hard(er) style electronic music producers shed tears of pure joy.