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21 November 2024
The idea for the Leveliza came to its creator, Jon Evelegh, while attending DJ events. He realized that controlling sound levels is essential to the experience. If it's a bit too loud, it can ruin the evening. If it's a bit too quiet, it can limit the enjoyment of the music. However, many DJs produce highly inconsistent output levels, often with a tendency for the volume to creep into the red during their set.
The addition of a limiter helps control the volume level but systematically degrades sound quality, causing audible pumping, loss of dynamics, and large level variations depending on the bass content. In short, it creates a constant contradiction to the musical flow.
To address this, Jon Evelegh decided to leverage his engineering expertise to develop an audio stage that meets regulation needs without harming the music. His approach began with a psychoacoustic study of perception, defining which parameters could be adjusted to achieve the desired outcome. The challenge was then to find an electronic solution capable of automatically adjusting these parameters based on the musical content, much like a talented sound engineer would.
Compared to having a sound technician at the controls, the Leveliza offers several distinct advantages. It doesn’t get tired, its perception doesn’t change throughout the evening due to auditory fatigue, it isn’t distracted by other tasks, doesn’t take breaks, and can’t be influenced by anyone.
Nothing could be simpler: the processor is inserted between the mixer’s output and the amplification channels. The connections are of the balanced type. The Leveliza then acts as a perceptive and adaptive tool, incorporating a weighting approach similar to that of human hearing to adjust its parameters and control sound pressure levels.
This approach, based on loudness — the sensation of perceived sound pressure — is preferred over the methods used in most dynamic processors, which evaluate signal levels based on electrical density. The manufacturer aimed to mimic human behavior with the Leveliza, ensuring it operates smoothly and adaptively over time while being able to respond quickly to unexpected sound events.
This concept aligns with broadcast mixing techniques, which target an average loudness defined by broadcasting standards over a given time frame — a Leq dB (Equivalent Continuous Sound Level) approach.
WHEN TO USE THE LEVELIZA?
Initially designed for DJ events, the processor also proves useful in installations for sound level control and at concerts where it can supplement the work of a technician at the controls. It is also relevant for managing sound pressure in venues that need to take precautions regarding noise emergence. However, it’s important to note that, due to its Leq-based approach, the Leveliza does not guarantee that the level will never exceed a given value.
The manufacturer warns users about what the Leveliza is not designed for. It is not a conventional processor meant to protect speakers from overloading. A standard limiter should be used for that purpose.
HOW TO SET UP THE DEVICE?
Given its original processing approach, the Leveliza’s setup procedure is unique and deserves careful attention.
At startup, the display should show "000," and all knobs should be turned fully clockwise.
This ensures the device remains transparent to the signal.
Play the musical signal at the desired listening level.
Gradually turn the threshold knobs counterclockwise until the display indicates "001,"
meaning the threshold is set 1 dB above the current level.
This adjustment requires a delicate touch and should be done using a representative musical passage that reflects the content to be played later.
The Leveliza maintains the perceived average volume at this level, regardless of increases in the input signal. At this point, it’s crucial to understand that this is a Leq-based approach, considering an average level over a sliding time interval. If a DJ suddenly raises the output level of their console, the output from the Leveliza will also increase but will then be progressively attenuated to ensure that, over time, the average level remains consistent.
This is where the second behavioral parameter comes into play: assertiveness, which determines how strongly the Leveliza enforces its action, affecting the integrity of the input signal to varying degrees.
ASSERTIVENESS
When set to "high," the processor reacts quickly to maintain the level. This setting favors force over subtlety, which impacts the signal's dynamics but is useful during the calibration phase.
After calibration, to better preserve the signal, the assertiveness knobs can be turned toward "low (normal)."
However, caution is needed: setting assertiveness too low can lead to sluggish reactions, which may be unsuitable for most use cases. At the extreme left position, the assertiveness is so minimal that it takes approximately 90 seconds to recover to normal from an attenuation of around 10 dB.
CAN THE LEVELIZA BE ADJUSTED DURING AN EVENT?
Yes, adjustments can be made during an event. For instance:
Input Level Adjustment: Initially set fully to the right, it can be reduced if the input level is excessively high.
Threshold Settings: These can be adjusted to influence the loudness.
Since the Leveliza uses a loudness-based approach with temporal integration, changes will gradually become apparent until fully perceptible. To reduce response time during adjustments, the assertiveness setting can temporarily be switched to “high (calibration).”
WHAT IS THE PURPOSE OF THE INPUT GAIN ADJUSTMENT?
The manual suggests initially setting the input gain to maximum. However, this limits its usefulness except for attenuating overly high input levels. A more flexible approach, as mentioned in the manual, is to set the gain knobs to the 3 o’clock position. This allows for upward adjustments if the input level is too low, providing a way to compensate for weak signals.
ADJUSTING ASSERTIVENESS
In cases of significant and sudden level fluctuations, such as a DJ switch or a new music source, the Leveliza may take time to stabilize if the assertiveness is set to “low.” Temporarily increasing assertiveness to “high (calibration)” can help the processor readjust quickly during these moments.
Similarly, if the musical source is highly irregular and a more consistent output level is desired, increasing assertiveness allows the Leveliza to react faster to maintain a stable level. For electronic tracks, which often lack significant dynamics, the assertiveness value can be adjusted relatively freely. Depending on the setting, it reacts more or less quickly but always in a transparent manner.
EXAMPLES OF ASSERTIVENESS SETTINGS
Tests with different types of music reveal that settings should be chosen carefully:
Electronic Tracks: For genres with low dynamics, such as most electronic music, assertiveness can be adjusted more freely. Depending on the setting, the processor will react more or less quickly.
Dynamic Content: For tracks with greater dynamic range, overly aggressive assertiveness might affect the musical integrity, requiring more cautious adjustments.
Careful tuning ensures the processor adapts effectively to the content while preserving sound quality.
THE MOST REMARKABLE FEATURE
The most notable aspect of the Leveliza is the complete absence of pumping artifacts or sound degradation—a result that would be impossible to achieve with conventional compression or limiting stages.
With dynamic music, such as pieces featuring acoustic instruments, the assertiveness setting is best positioned between the mid-range and "low." Short response times (closer to "high") can cause audible attenuation in dynamic programs when a denser sound, such as a harmonica over an airy rhythm (as seen in our tests), suddenly occurs. This highlights the need for caution with the assertiveness setting when dealing with dynamic content.
In such cases, a competent sound technician who knows the repertoire and adjusts manually will undoubtedly achieve better results.
HIDDEN SETTINGS
When the sound system needs to be left unattended or in fixed installations, the technician who has adjusted the threshold levels might want to prevent unauthorized modifications. The Leveliza includes two hidden M6-threaded holes on the front panel, sealed with screws. These provide access to hidden trims for configuring maximum thresholds.
To use these trims:
Turn the threshold knob fully clockwise.
With the reference musical program playing, lower the trim value until the display shows 1 dB of attenuation.
Replace the protective screws.
At this point, the Leveliza is limited, but the front-panel controls remain fully operational. The maximum threshold, and consequently the maximum average volume level the Leveliza will transmit to the sound system, is restricted to the pre-set trim levels.
NOTE ON ASSERTIVENESS
As previously mentioned, the assertiveness parameter should be handled with care when dynamic music is involved. For less dynamic or more consistent tracks, it can be adjusted more freely, but for dynamic content, conservative settings ensure better overall performance and minimal impact on the sound.
SOME QUESTIONS TO WRAP UP
After conducting our tests, we reached out to Jon Evelegh, the product manager, to clarify some ergonomic questions.
SONO Mag: Why does the Leveliza have two separate mono controls when it is intended for stereo signals?
Jon: The Leveliza was originally designed as a mono unit with two distinct and identical channels housed in the same unit. This design makes it completely flexible, allowing it to be used as a dual-mono unit or a stereo unit. Several users have suggested that a stereo unit with a single set of threshold and assertiveness controls would be more practical. We are considering this feedback for future products.
SONO Mag: Why does the display have three digits when a two-digit display, capable of showing up to 99 dB of attenuation, would have been sufficient?
Jon: These displays work very well for the Leveliza and have become a signature feature of the product. However, the manufacturer doesn’t produce a two-digit version, and that’s the only reason for the three-digit display.
SONO Mag: What does the minus sign that sometimes appears on the left of the screen mean?
Jon: The display shows the approximate attenuation being applied. When the Leveliza isn’t attenuating, the value is approximately zero. All analog circuits have small tolerances, so "zero" might mean something like 0.01 dB or -0.01 dB. The display will show either zero or minus zero depending on which side of zero the measurement falls on.
Why is there no bypass on the Leveliza to easily compare processed and unprocessed signals?
Jon: We deliberately avoided adding a bypass to prevent unauthorized individuals from bypassing the Leveliza to increase the music volume.
CONCLUSION
The Leveliza was conceived as an innovative and high-quality solution to address the issue of rising sound levels in clubs. For this purpose, it performs with great relevance:
No alteration to signal integrity.
Smooth operation when desired.
Ease of setup, especially for signals with low dynamics—which is almost always the case in club environments.
In such scenarios, the Leveliza offers a distinct and highly complementary solution alongside traditional electrical limiters. With low-dynamic music, it acts as an elegant safeguard, preceding, anticipating, and tempering the coercive action of protective compressor limiters. It’s the velvet glove before the iron fist.
AN EXAMPLE FROM THE BERGHAIN CLUB
The manufacturer shared an insightful customer experience from the Berghain club in Germany, which has been using the Leveliza for about five years:
The Leveliza is an absolutely indispensable and essential device in the audio signal chain for all the dance floors in our club. Its operation allows volume control without any loss of sound quality, particularly during long events with multiple groups. The Leveliza is a reliable tool for absorbing and managing audio system overloads.
This testimonial perfectly encapsulates the product’s value in maintaining quality and reliability in demanding club environments.