Behringer COMPOSER PRO MDX2200 User manual

COMPOSER®PRO MDX2200
www.behringer.com
ENGLISH
User’s Manual
Version 1.3 June 2001

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COMPOSERPROMDX2200
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you to important operating and mainte-
nance instructions in the accompanying
literature.Read the manual.
SAFETY INSTRUCTIONS
CAUTION: To reduce the risk of electric shock, do not remove
thecover (or back).No user serviceableparts inside;
referservicingto qualified personnel.
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expose this appliance to rain or moisture.
DETAILEDSAFETYINSTRUCTIONS:
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RetainInstructions:
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Heed Warnings:
Allwarnings on the appliance andin theoperating instructionsshould beadhered to.
Followinstructions:
Alloperation anduser instructions shouldbe followed.
Water and Moisture:
Theapplianceshould not beusednearwater(e.g. nearabathtub,washbowl,kitchen sink, laundrytub,ina wet
basement, or near a swimming pool etc.).
Ventilation:
The appliance should be situated so that its location or position does not interfere with its proper ventilation.
For example, the appliance should not be situated on a bed, sofa, rug, or similar surface that may block the
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Heat:
The appliance should be situated away from heat sources such as radiators, heat registers, stoves, or other
appliances(including amplifiers) thatproduce heat.
Power Source:
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Precautionsshould be taken so that the groundingor polarizationmeans ofan applianceis notdefeated.
Power-Cord Protection:
Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed
upon or against them, paying particular attention to cords and plugs, convenience receptacles and the point
wherethey exitfrom theappliance.
Cleaning:
Theappliance shouldbecleaned onlyasrecommended bythe manufacturer.
Non-usePeriods:
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Damage Requiring Service:
Theapplianceshould beservicedbyqualified servicepersonnelwhen:
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Servicing:
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alerts you to the presence of
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COMPOSERPROMDX2200
FOREWORD
DearCustomer,
Welcometo theteamof COMPOSERPRO usersandthank youvery much forexpressing yourconfidencein
BEHRINGERproducts bypurchasing thisunit.
It is one of my most pleasant tasks to write this letter to you, because it is the culmination of many months of
hard work delivered by our engineering team to reach a very ambitious goal: making an outstanding device
better still. The COMPOSER has for quite a long time been a standard tool used by numerous studios and
PA rental companies. The task to improve one of our best-selling products certainly meant a great deal of
responsibility,which weassumed byfocusing on you,the discerninguser andmusician. It alsomeant alot of
work and night shifts to accomplish this goal. But it was fun, too. Developing a product usually brings a lot of
peopletogether, and whatagreat feelingitis wheneverybodywho participated insuch a projectcanbe proud
ofwhatwe’veachieved.
Itisour philosophytoshareour joywithyou, because youarethe most importantmemberof the BEHRINGER
family. With your highly competent suggestions for new products you’ve greatly contributed to shaping our
companyand making itsuccessful.In return,weguarantee you uncompromisingquality(manufactured under
ISO9000 certified management system) as well as excellent technical and audio properties at an extremely
favorable price. All of this will enable you to fully unfold your creativity without being hampered by budget
constraints.
Weare oftenasked how wecan makeit toproduce such high-gradedevices atsuch unbelievablylowprices.
The answer is quite simple: it’s you, our customers! Many satisfied customers means large sales volumes
enablingus to get better conditionsof purchasefor components,etc. Isn’tit only fair to pass this benefitback
to you? Because we know that your success is our success, too!
Iwould like tothankall peoplewhosehelp on“ProjectCOMPOSER PRO”hasmade it allpossible. Everybody
hasmadevery personalcontributions,startingfrom thedesignersofthe unitviathemany staffmembersinmy
company to you, the user of BEHRINGER products.
Myfriends, it’s been worth the trouble!
Thankyou very much,
UliBehringer

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COMPOSERPROMDX2200
MDX2200MDX2200 MDX2200MDX2200
MDX2200
COMPOSER®PRO
Interactive 2-channel expander/gate/compressor/limiter of the reference class
VIKA(Interactive KneeAdaptation) compressor conceptcombines theadvantages of “hardknee” and“soft
knee”characteristics
VAttack and release times controllable automatically or manually
VSwitchablehigh-passfilter incontrolsignalpath avoids low-frequencysignalsfrom dominating compressor
action
VCompressioncharacteristics switchablebetween IKA and“hard knee”characteristics
VIRCcircuit inexpander/gateallows for“inaudible” elimination ofdisturbing noisesignals
VIGC(Interactive GainControl) peak limitercombines clipperwithprogram limitercircuits
VExtremelylow-noise operational amplifiersandhigh-grade VCA’s
VHigh-qualitydetent potentiometersand backlitswitches
VStereocouple functionselectable withreal totalingof RMSoutput
VAccurate12-digit LEDmetersfor inputlevel, output leveland gainreduction
VTraffic-lightfunction for easythreshold setting
VSwitchable side chain input with side chain monitor function
VOperatinglevel switchablefrom +4dBu to -10dBV
VServo-balancedinputs and outputsfeaturing6.3 mmTRSandXLR connectors
VHigh-gradeoutputtransformerBEHRINGER OT-1canberetrofitted
VRelay-controlledhard-bypass switch withauto-bypass function (failsaferelay)
VManufacturedunderISO9000 certifiedmanagementsystem

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COMPOSERPROMDX2200
TABLE OF CONTENTS
1. INTRODUCTION.....................................................................................................................7
1.1 Beforeyoubegin ............................................................................................................................. 8
1.2 Design concept ............................................................................................................................... 8
1.2.1 Highquality componentsanddesign..................................................................................... 8
1.2.2 Failsaferelays ...................................................................................................................... 8
1.2.3 Balancedinputs andoutputs................................................................................................. 8
1.2.4 Transformerbalancedoutputs(optional)................................................................................ 9
2. CONTROL ELEMENTS .........................................................................................................9
2.1 Expander/gate section .................................................................................................................... 9
2.2 Compressor section ...................................................................................................................... 10
2.3 Peak limiter section .......................................................................................................................11
2.4 Rear panelcontrol elementsofthe COMPOSERPRO .................................................................. 12
3. TECHNICAL BACKGROUND ..............................................................................................12
3.1 Noiseas a physicalphenomenon.................................................................................................. 12
3.2 Whatare audiodynamics? ........................................................................................................... 13
3.3 Compressors/limiters .................................................................................................................... 14
3.4 Expanders/noise-gates ................................................................................................................. 14
4. APPLICATIONS .....................................................................................................................15
4.1 Compression/levelling/limiting/clipping........................................................................................... 15
4.2 Expander/gate section .................................................................................................................. 16
4.2.1 Controllingleakage inthe studio ......................................................................................... 17
4.2.2 Initialsettings forthe expander/gatesection ....................................................................... 17
4.2.3 Reducing leakage in stage mics ......................................................................................... 18
4.2.4 Reducing feedback in stage mics ....................................................................................... 18
4.2.5 Noisereduction oneffects paths ......................................................................................... 18
4.2.6 Creativeuse of theexpander/gatesection ........................................................................... 18
4.3 Compressor section ...................................................................................................................... 18
4.3.1 Initial settings for the compressor section ........................................................................... 19
4.3.2 TheCOMPOSER PRO as a soundeffects unit ................................................................... 20
4.3.3 The “muffling”effectofa compressor ................................................................................... 20
4.4 Peak limiter section ...................................................................................................................... 20
4.4.1 Initial settings for the peak limiter section ........................................................................... 21
5. SPECIALAPPLICATIONS.....................................................................................................21
5.1 Using the COMPOSERPRO forrecording andcassetteduplication ............................................. 21
5.1.1 TheCOMPOSER PROindigital recordingandsampling .................................................... 22
5.1.2 TheCOMPOSER PRO inmastering ................................................................................... 22
5.2 TheCOMPOSER PRO asaprotective device ............................................................................... 22
5.2.1 Protection of a system with a passive crossover ................................................................. 23
5.2.2 Protection of a system with an active crossover .................................................................. 23
5.2.3 Improvingthe soundof a processorsystem ........................................................................ 23
5.3 The COMPOSERPROin broadcast ............................................................................................. 23

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COMPOSERPROMDX2200
6. EXTERNAL SIDE CHAIN APPLICATIONS...........................................................................24
6.1 Theside chainfunction ................................................................................................................. 24
6.2 Using an equalizer in the side chain path ..................................................................................... 24
6.2.1 TheCOMPOSER PRO asa “de-esser”............................................................................... 24
6.2.2 Frequency-selectivefiltering of unwantedsignals ................................................................ 25
6.2.3 Suppressinginstruments during recording........................................................................... 25
6.2.4 Emphasizingmusical instrumentsduringrecording............................................................. 25
6.3 Anticipatedcompression............................................................................................................... 25
6.4 “Voice-over”compression(“ducking”)............................................................................................. 26
6.5 Triggeringadditional sounds froma rhythm track........................................................................... 26
7. INSTALLATION .....................................................................................................................26
7.1 Rackmounting.............................................................................................................................. 26
7.2 Audioconnections ........................................................................................................................ 26
7.3 Selectingthe operating level.......................................................................................................... 27
8. SPECIFICATIONS..................................................................................................................28
9. WARRANTY ...........................................................................................................................30

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COMPOSERPROMDX2200
1. INTRODUCTION
Inpurchasing thenew COMPOSER PROMDX 2200,you have acquiredan extremelyefficient and universal
dynamics processor, which combines the most commonly used dynamic functions within a compact stereo
unit: every channel has its own independent compressor/limiter, an expander/gate and a peak limiter. The
precision and flexibility of the functions are the main outstanding features of this high end unit.
Despite the extremely complex internal circuitry, the unit has a control surface which is clearly laid out and
easy to understand. The internal design of the unit, together with its external side-chain path, gives the user
unsurpassedcreative flexibility whenprocessing sound.
AdvancedBEHRINGER technology
Comparedto its predecessors,theCOMPOSER PROoffersseveral advanced featuressuchas theextended
LEDmeters forease ofoperation when settingthe threshold,the adjustableexpansion ratioin the expander/
gatesection andthe sidechain filter. Additionally,we havesucceeded inrefining the audioproperties aswell
as the circuit topology.
Forthe firsttime, the COMPOSERPRO MDX2200 usesSMD technology (SurfaceMounted Device).These
sub-miniature components known from aerospace technology allow for an extreme packing density, plus
improvethe unit’sreliability.
IKA (Interactive Knee Adaption) compressor
Our proven IKA (Interactive Knee Adaptation) circuit successfully combines the concept of a “hard knee”
compressor with the characteristics of a “soft knee” approach. This program-dependent regulation scheme
forms the prerequisite both for “inaudible” and musical program compression and for creative and highly
effectivedynamicsprocessing.
With its IKA circuit the COMPOSER PRO is capable of delivering outstanding musical results both in studio
andlive PAapplications.
Additionally, the COMPOSER PRO’s side-chain filter allows for limiting the influence low-frequency signal
portions usually have on the control logic, so that the compression ratio is mainly determined by those
frequenciesthat areessentialto theloudness perceived bythe listener—themidrangefrequencies.
IRC (Interactive Ratio Control) expander
A basic problem in the use of a compressor is the fact that the noise floor is highly amplified during quiet
sectionsorwhen therearemusicpauses. Thiseffectisexaggerated whenthecompressionratio isinappropri-
ate. In order to eliminate this problem, one would normally use an additional expander or gate. The noise is
then simply faded out in the quiet sections. However, simple expanders, even when they are used correctly,
drastically cut signals below the preset threshold. This effect becomes more noticeable during the transition
from signal to noise floor. This can mean, that the start or end of words can be cut on a vocal track.
AnewlydevelopedIRC(InteractiveRatioControl)expanderhasbeen integrated into theCOMPOSERPROthe
ratioof which,is automatically adjusted,depending onthe program material.The resultis an expanderwhich
isless criticalof adjustmentand whichis moretolerant inthe presenceof thosesignals whichappear slightly
abovethe noise floor. Because of its newIRC circuitdesign, theBEHRINGER COMPOSERPRO expander/
gatesection can beusedas anindependentunit toeradicatenoise offering almostlimitlesspossibilities within
this application.
IGC (Interactive Gain Control) peak limiter
A further remarkable feature of the BEHRINGER COMPOSER PRO is the IGC (Interactive Gain Control)
limiter, an intelligent combination of a clipper and a program limiter. Above an adjustable threshold the peak
limiter begins to function and restricts signal peaks radically (clipper). If however, the threshold of the limiter
was surpassed for more than a few milliseconds, the IGC circuit automatically kicks in and reduces the level
ofthe overalloutput signal sothat noaudible distortion occurs(program limiter).After the levelfalls belowthe
threshold,the signal returnstothe originalvalueafter aperiodof about 1second.This IGCcircuitproves tobe
extremelyvaluable asmuchfor livework(loudspeaker protection)asfor digitalsituations,where anyextreme
signalpeakswouldexceedthemaximumheadroom and thereforewouldcausesevereproblems.Thefollowing
instructions should initially familiarize you with the special terms used, so that you can get to know all the
functions of the unit. After you have read the instructions carefully, please put them away safely, so that you
can refer to them again if necessary.
1. INTRODUCTION

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COMPOSERPROMDX2200
1.1 Before you begin
The BEHRINGER COMPOSER PRO MDX2200 was carefully packed in the factory, in order to ensure safe
transport.Nevertheless, should thebox show signsof damage pleasecheckthe equipmentitselfimmediately
forany signsof externaldamage.
If the unit is damaged, please do not return it to us, but notify your dealer and the shipping
company immediately, otherwise claims for damage or replacement may not be granted.
Shipping claims must be made by the consignee.
Besure thatthereis enoughspacearound theunit for coolingand pleasedonot placetheCOMPOSER PRO
onhigh-temperature devices suchaspower amplifiers,etc.to avoidoverheating.
Before connecting the COMPOSER PRO to the mains, please carefully check that your
equipment is set to the correct supply voltage!
Thefuse holder onthe female mainsconnector has 3triangularmarkings. Twoofthese trianglesareopposite
eachother.TheMDX2200 issettotheoperating voltage shownnexttothesemarkings. It canbesettoanother
voltage by turning the fuse holder through 180°. CAUTION: this does not apply to export models, which
were designed e.g. only for a mains voltage of 115 V!
Connection to the mains is made by means of a mains cable with an IEC receptacle which complies with the
appropriatesafetyregulations.
Please note that all units must be grounded properly. For your own safety, you should never
remove any ground connectors from electrical devices or power cords or render them in-
operative.
1.2 Design concept
1.2.1 High quality components and design
The philosophy behind BEHRINGER products guarantees a no-compromise circuit design and employs the
bestchoiceof components. TheoperationalamplifiersNJM4580 which areusedinthe COMPOSERPRO,are
exceptional.Theyboast extremelinearityand very lowdistortioncharacteristics. The mostimportantaspect of
the COMPOSER PRO design is a radical VCA implementation which results in outstanding technical
specificationand excellentperformance. To complementthis designthe choiceofcomponents includeshigh
tolerance resistors and capacitors, detent potentiometers, gold plated relay contacts and several other
stringently selected elements.
Forthe firsttime, the COMPOSERPRO MDX2200 usesSMD technology (SurfaceMounted Device).These
sub-miniaturecomponents knownfrom aerospacetechnology allow foran extremepacking density,plus the
unit’s reliability could be improved. Additionally, the unit is manufactured in compliance with a ISO9000
certifiedmanagement system.
1.2.2 Failsafe relays
Failsafe relays have been incorporated into the design of the BEHRINGER COMPOSER PRO, which
automatically and silently bypass the unit in the event of power supply disconnection or failure. These relays
arealso active atswitch-on to isolatethe COMPOSER PROuntilthe powerrailshave settled,thuspreventing
the possibility of a potentially damaging switch-on thump.
1.2.3 Balanced inputs and outputs
As standard, the BEHRINGER COMPOSER PRO is installed with electronically servo-balanced inputs and
outputs. The new circuit design features automatic hum and noise reduction for balanced signals and thus
allows for trouble-free operation, even at high operating levels. Externally induced mains hum etc. will be
effectivelysuppressed. The automaticservo-functionrecognizes thepresenceof unbalanced connectorsand
adjuststhe nominallevel internally toavoid leveldifferences between theinput andoutput signals (correction
6 dB).
1. INTRODUCTION

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COMPOSERPROMDX2200
1.2.4 Transformer balanced outputs (optional)
In contrast to electronic balancing, the use of transformer-balanced outputs offers the advantage of galvanic
separationbetween units.Electricalpotential differencesandground loopsinaudio installationsdo not there-
fore impair the performance of the units. The transformer-balanced outputs, commonly used in radio and TV
engineering,canalsobefitted retrospectively uponrequest.TheBEHRINGERtransformerOT-1 is designedto
the highest exacting standards and is available as an accessory.
2. CONTROL ELEMENTS
1
Fig.2.1: COMPOSERPRO frontpanel
TheBEHRINGER COMPOSERPROhas twoidentical channels. Eachchannel isequippedwith eightbacklit
push-buttons, eight rotary controls and 30 LED’s. The COUPLE switch is for stereo operation:
1
ByengagingtheCOUPLEswitchtheCOMPOSERPROisconvertedtostereomode,wherethecontrolsof
the left channel take over the control of both audio channels. The control signal for the control
characteristic consists of either the sum of the left and right audio signal or the sum of the external audio
signals, which are being fed into both SC RETURN connectors. By pressing the COUPLE switch, you
override all the controls and switches of channel 2 with the exception of the IN/OUT, SC EXT, SC MON,
SC FILTER and I/O METER switches. As a result, the controls of channel 1 take over the functions of
channel2.
Should you wish to use the SC EXT function in stereo mode, then be sure that both SC RETURN
connectors are connected to the external control signal, and that the SC EXT switches on both
channels are engaged.
2.1 Expander/gate section
Fig.2.2: Controlelements ofexpander/gatesection
2
Use the THRESHOLD control to determine the threshold point below which expansion occurs. The
range of this control is from OFF to +15 dB.
2. CONTROLELEMENTS

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COMPOSERPROMDX2200
3
The RATIO control is used to adjust the expansion ratio when the signal drops below the threshold
value.Thiscontrol determineswhetherthe unit worksasan expander(lowratiolevel) orasa gate (1:8).
The expansion ratio can be set from 1:1 to 1:8.
4
When a signal below the threshold value is applied, the “-” LED lights up, while the “+”-LED lights up
whenexpansion occurs.
5
Tooptimallyadapt theexpander/gatetothe programmaterial,the RELEASEswitchallowsfor selecting
a SLOW or FAST release time. When you engage this switch, the expander responds with a slow
release. As a general rule, percussive material with little or no ambience is processed using the FAST
release mode, whereas signals with long decay or with heavy ambience require the SLOW release
mode.
2.2 Compressor section
Fig. 2.3: Control elements of the compressor section
6
The THRESHOLD control sets the threshold point for the compressor section. It has a range of -40 to
+20 dB. The “soft knee” characteristic is applied to the signal exceeding the threshold point by a
maximum of 10 dB. Above 10 dB, the signal would experience “hard knee” compression. The
THRESHOLD-LEDsshow theactual stateof the input signal relativeto theTHRESHOLD setting.The
IKA-“soft knee” range is indicated by the middle yellow LED.
7
TheRATIO control determinesthe ratio betweentheinput andoutputlevel forallsignals exceedingthe
threshold point by more than 10 dB. The control range can be adjusted from 1:1 to oo:1.
8
The ATTACK control determines the rate by which the compressor responds to the signal which ex-
ceeds the threshold. This control can be adjusted from 1 to 150 milliseconds.
9
TheRELEASE controldetermines therate thatthe compressorreturns to unitygain afterfalling below
the threshold level. This control can be adjusted from 0.05 to 5 seconds.
10
By activating the AUTO switch, the ATTACK and RELEASE controls are disabled and the attack and
releaserates areautomatically derived fromthe programmematerial. This functionallows forunobtru-
sive musical compression of signals or mixes with widely varying dynamics. Only if set to “MANUAL”
will the settings of the attack and release controls function.
11
The OUTPUT control allows for the increase or decrease of the output signal by a maximum of 20 dB.
Thus, a level loss due to the compression or limiting process can be compensated for.
Please note when using the THRESHOLD control of the peak limiter section, that the OUTPUT
control of the compressor section precedes the peak limiter section. If the OUTPUT control is
set too high, this can result in continuous peak limiting (see item 19 “THRESHOLD control”).
12
When activated, the SCEXTswitchsevers theconnection betweenthe audioinput and theside chain
path, whilst at the same time allowing an external signal to be sourced at the SC RETURN jack on the
rearpanel.
2. CONTROLELEMENTS

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COMPOSERPROMDX2200
13
Using the SC MON switch will enable you to connect the side chain control signal to the audio output,
whilstat thesame time mutingthe audioinput. This functionprovides youwith the abilityto monitorthe
sidechainsignalthat is returnedviainsertedequalizersorother external processors.TheSCMONITOR
functionwill assistyou withtuning equalizerparameters forexample.
Please note when the SC MON switch is engaged, the audio processing facility of the respec-
tive channel is disabled. When this function is active, a visual indication will be provided by
the switches LED, which will blink.
14
TheIN/OUT switchactivates therelayand hencethe correspondingchannel. This switchacts asa so-
called“hard-bypass” relay,which meansthatwhen theswitch isOUT orwhenthe unitis disconnected
from the mains, the input jack is directly linked to the output jack. Normally, this switch is used to
performa directA/B comparisonbetween theunprocessed andthe compressed or limited signals.
15
PresstheINTERACTIVE switchto changefrom“hard knee”toIKA characteristics.IKAprovides avery
subtle and musical compression of the program material and should therefore be used whenever
compressionshould bemore orless inaudible.
16
TheSC FILTERswitchactivates a high-passfilter intheside-chain pathand thus limitsthe influence of
lowfrequencies onthe COMPOSERPRO’s control processes.
17
The12-digitGAINREDUCTION meterindicateshow effectively thegainis reducedbythe compressor,
within a range from 1 to 30 dB.
18
The 12-digit INPUT/OUTPUT LEVEL meter informs you—depending on the setting of the I/O METER
switch—about the current input or output level, within a range from -30 to +18 dB. When the switch is
set to IN (engaged), the meter reads the input level, when it is OUT (not engaged), the output level is
displayed. The meter is referenced to the operating level (-10 dBV or +4 dBu) adjusted with the
OPERATINGLEVEL switch.
2.3 Peak limiter section
Fig. 2.4: Control elements of the peak limiter section
19
The peak limiter limits the signal to a level adjusted with the THRESHOLD control. Owing to its
extremely fast response (“zero” attack), the limiter is capable of limiting signal peaks without audible
distortion. Whenever the signal is limited for more than 20 ms, the overall level is reduced for about
1second toavoid heavyandthus audiblesignal distortion.
When you use the peak limiter as a protective device against signal peaks, the THRESHOLD
control should be set in combination with the OUTPUT control in the compressor section so
that the peak limiter responds rarely or not at all. Thus, only real signal peaks will activate the
limiter circuit. However, to produce creative sound effects, the peak limiter can be
deliberately set to lower levels.
20
The LIM LED lights up as soon as the limiter function is activated.
2. CONTROLELEMENTS

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COMPOSERPROMDX2200
2.4 Rear panel control elements of the COMPOSER PRO
Fig. 2.5: Control elements of the rear panel
21
SERIALNUMBER. Pleasetake the timeto completeandreturn thewarranty card within14 daysofthe
date of purchase, otherwise you will lose the right to the extended warranty. Or just use our online-
registration(www.behringer.com).
22
FUSEHOLDER/VOLTAGESELECTOR. Beforeconnectingthe equipmenttothemains supply,please
checkthatthe voltagedisplayconforms with yourmainsvoltage supply. Whenreplacingthe fuse,make
sure you use another one of the same type. With many units the fuse holder can be set in one of two
positions,in order toswitch between 230Vand 115V.Please note:ifyou wishtooperate a unitoutside
Europe, then a stronger fuse must be used.
23
MAINSCONNECTION. Usetheenclosedpower cordtoconnectthe unittothemains. Pleasealsonote
theinstructions given inthechapter 7.“INSTALLATION”.
24
AUDIO IN. These are the audio inputs of your COMPOSER PRO, available both as balanced 6.3 mm
jackand XLRconnectors.
25
AUDIO OUT. These are the audio outputs of your COMPOSER PRO. Matching phone jack and XLR
connectorsare wiredinparallel. Theseoutputscan betransformer-balancedby retrofittingtheoptional
outputtransformerOT-1.
26
Withthe OPERATINGLEVELswitch youcanadapt theCOMPOSERPRO tovarious operating levels,
i.e. you can select both the -10 dBV home recording level and the professional studio level of +4 dBu.
Thelevel metersare referenced automaticallyto theselected level, i.e.an optimumoperating rangeof
the meters will always be ensured.
27
SCSEND. Thisistheunbalanced side-chainoutputwhich allows forroutingthe audiosignaltoexternal
processingdevices.
28
SCRETURN. Thisis theunbalancedside-chain inputused toreturnany externalor processedcontrol
signal.
3. TECHNICAL BACKGROUND
Byemployingcurrent modernanalogtechnologyit ispossibletomanufacture audio equipmentwitha dynamic
range of up to 125 dB. In contrast to analog techniques, the dynamic range of digital equipment is approxi-
mately25 dB less.With conventional recordand tape recordertechnology,as wellasbroadcasting, thisvalue
isfurtherreduced. Generally,dynamicrestrictions are duetonoisy storageintransmissionmedia andalsothe
maximum headroom of these systems.
3.1 Noise as a physical phenomenon
Allelectrical componentsproducea certainlevel of inherentnoise. Currentflowingthrough aconductorleads
to uncontrolled random electron movements. For statistical reasons, this produces frequencies within the
whole audio spectrum. If these currents are highly amplified, the result will be perceived as noise. Since all
frequencies are equally affected, we term this white noise. It is fairly obvious that electronics cannot function
without components. Even if special low-noise components are used, a certain degree of basic noise cannot
beavoided.
Thiseffectissimilar whenreplayingatape.The non-directional magneticparticlespassingthereplay headcan
3. TECHNICALBACKGROUND

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COMPOSERPROMDX2200
also cause uncontrolled currents and voltages. The resulting sound of the various frequencies is heard as
noise.Eventhe bestpossibletapebiasing can “only”providesignal-to-noise ratios ofabout70 dB, whichisnot
acceptable today since the demands of listeners have increased. Due to the laws of physics, improving the
designof themagnetic carrieris impossible usingconventional means.
3.2 What are audio dynamics?
Aremarkablefeature ofthehumanear isthatitcan detect themostwide ranging amplitudechanges- from the
slightestwhisper tothe deafeningroar ofa jet-plane.If one triedto recordor reproducethis widespectrum of
sound with the help of amplifiers, cassette recorders, records or even digital recorders (CD, DAT etc.), one
would immediately be restricted by the physical limitations of electronic and acoustic sound reproduction
technology.
Theusable dynamicrange of electro-acousticequipment islimitedas muchat thelowend asat thehighend.
The thermal noise of the electrons in the components results in an audible basic noise floor and thus repre-
sents the bottom limit of the transmission range. The upper limit is determined by the levels of the internal
operatingvoltages; ifthey areexceeded, audiblesignal distortion isthe result.Although intheory, theusable
dynamic range sits between these two limits, it is considerably smaller in practice, since a certain reserve
must be maintained to avoid distortion of the audio signal if sudden level peaks occur. Technically speaking,
werefertothis reserveas“headroom”-usually this isabout10- 20 dB.Areductionofthe operating levelwould
allowfor greaterheadroom, i.e.the risk of signal distortiondue tolevel peakswould bereduced. However, at
the same time, the basic noise floor of the program material would be increased considerably.
Ear
Microphone Amplifier
Power Amplifier
Tape Recorder
Radio
Cassette
Recorder
P/dB
140
120
100
80
60
40
Fig. 3.1: The dynamic range capabilities of various devices
Itis thereforeuseful tokeep the operatinglevel ashigh aspossible without riskingsignal distortionin orderto
achieveoptimum transmissionquality.
Itis possible tofurtherimprove thetransmissionquality by constantlymonitoringthe programmaterialwith the
aid of a volume fader, which manually levels the material. During low passages the gain is increased, during
loud passages the gain is reduced. Of course it is fairly obvious that this kind of manual control is rather
restrictive; it is difficult to detect signal peaks and it is almost impossible to level them out. Manual control is
simply not fast enough to be satisfactory.
3. TECHNICALBACKGROUND

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COMPOSERPROMDX2200
t
P/dB
+20
0
-20
-40
-60
-80
Clipping
Headroom
Operating level
Effective SNR
Noise floor
Fig.3.2: Theinteractiverelationship betweenthe operating leveland theheadroom
The need therefore arises for a fast acting automatic gain control system which will constantly monitor the
signals and which will always adjust the gain to maximize the signal-to-noise ratio without incurring signal
distortion. This device is called a compressor or limiter. This system is a part of the COMPOSER PRO.
3.3 Compressors/limiters
Bymeasuring thedynamicrange ofmusical instrumentsinlive recordingsituations, you willfind thatextreme
amplitudes occur which often lead to overload in subsequent signal processing equipment. Especially in
broadcastingandrecord cuttingtechniques,thesesignal peakscanleadto heavydistortion.To avoid thiskind
of distortion or, for example, to avoid loudspeakers being damaged by overload, compressors or limiters are
used.
The principal function used in these devices is dependent on an automatic gain control as mentioned in the
previoussection, whichreduces the amplitudeof loudpassages and thereforerestricts theoriginal dynamics
toa desiredrange. Thisapplication is particularlyuseful inmicrophone recordingtechniques, to compensate
for level changes which are caused by varying microphone distances. Although compressors and limiters
perform similar tasks, one essential point makes them different: Limiters abruptly limit the signal above a
certainlevel, whilecompressorscontrol thesignal“gently” overawider range.Alimiter continuouslymonitors
thesignal and intervenesas soon asthe level exceedsa user-adjustable threshold.Any signal exceedingthis
thresholdwill beimmediately returned tothe adjustedlevel.
A compressor also monitors the program material continuously and has a certain threshold level. With com-
pression,in contrastto theaction ofa limiter, signalsare notreduced inlevel abruptlyonce the thresholdhas
been exceeded, but are returned to the threshold gradually. The signal is reduced in gain, relative to the
amount the signal exceeds this point.
Generally, threshold levels for compressors are set below the normal operating level to allow for the upper
dynamicsto be musicallycompressed.For limiters,thethreshold pointisset abovethenormal operating level
inorder toprovidereliable signallimiting,to protectsubsequent equipment fromsignal overload.
3.4 Expanders/noise-gates
Audio, in general, is only as good as the source from which it was derived. The dynamic range of signals will
oftenbe restrictedby noise. Synthesizers,effects devices,guitar pickups, amplifiersetc. generallyproduce a
high level of noise, hum or other ambient background hiss, which can disturb the quality of the program
material.
Normally these noises are inaudible if the level of the desired signal lies significantly above the level of the
noise. This perception by the ear is based on the “masking” effect: noise will be masked and thus becomes
3. TECHNICALBACKGROUND

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COMPOSERPROMDX2200
inaudibleas soon asconsiderablylouder soundsignalsinthe samefrequencyband areadded.Nevertheless,
the further the level that the desired signal decreases, the more the noise floor becomes a disturbing factor.
Expandersor noise-gatesoffer asolution forthis problem:these devices attenuate signals when their ampli-
tudes drop, thereby fading out the background noise. Relying on this method, gain controlling amplifiers, like
expanders,can extendthe dynamicrange ofa signal andare thereforethe oppositeof acompressor.
Inpractice, it isshownthat anexpansionover theentiredynamic rangeisnot desired. Withanexpansion ratio
of 5:1 and a processed dynamic range of 30 dB, an output dynamic range of 150 dB will be the result,
exceeding all subsequent signal processors, as well as human hearing. Therefore, the amplitude control is
restrictedto signals whoselevelsare belowacertain threshold.Signalsabove thisthresholdpass through the
unit unchanged. Due to the continuous attenuation of the signals below this threshold, this kind of expansion
istermed“downward” expansion.
Thenoise-gateis thesimplestformof anexpander:incontrast to theexpander,which continuously attenuates
asignal below thethreshold,the noise-gatecutsoff thesignalabruptly. Inmostapplications this methodisnot
veryuseful, sincethe on/off transitionis toodrastic.The onsetof asimplegate functionappears veryobvious
andunnatural.To achieve inaudibleprocessingoftheprogram material,itisnecessaryto be abletocontrolthe
signal’senvelope parameters.This ispart of themany featuresof theCOMPOSER PRO.
4. APPLICATIONS
Inthis section,several typical applicationsof theBEHRINGERCOMPOSER PROare discussed. Thefollow-
ingbasic settingscan resolvemost dynamic problems.They arethe idealstarting point. Pleasetake thetime
to study the application examples carefully, in order to be able to make full use of the COMPOSER PRO’s
capabilitiesin thefuture.
Main Applications And Initial Settings
Themain applicationsof the COMPOSERPRO canbe dividedinto three categories:
1. The EXPANDER/GATE section is used to eliminate interference and to suppress background noise and
leakageon individualtracks in multitrackrecording.
2. The COMPRESSOR section is used to compress the program material and to create special effects and
unusualsounds, whichareused forrecordingand musicalperformance.
3. Thesubsequent PEAKLIMITERsection isdesigned to protectloudspeakers, taperecorders,transmitters
etc.frombeingoverloaded.
4.1 Compression/levelling/limiting/clipping
Now that the functions of the individual sections have been clearly explained, we would like to acquaint you
with more terms and relationships of the dynamics process.
Compression
Acompressor convertsalarge dynamiclevel into arestricted range.Theextent ofthe resulting dynamiclevel
isdependent onthe threshold,attack, releaseand ratio settings.As itis thedesired effectof a compressorto
increasea low levelsignal, generally thethreshold issetlow. The“inaudible”compression moderequiresfast
attack and release times and low ratios. The faster the chosen control times and the higher the compression
ratio,the greatertheeffect onthe shorttermdynamics. Thisfact is oftenused toachieveaudible andcreative
soundeffects.
Levelling
The levelling mode is used to keep output level constant, i.e. to compensate for long term gain changes,
without affecting the short term dynamics. Normally, the threshold is set quite low in order to be able to
increase low level signals. Levelling requires slow attack and release times, combined with a high ratio. Be-
causeof the veryslowresponse time,levellinghas no effectonsignal peaksorshort term changesinaverage
level.
Limiting
The limiting function requires a fast attack time and a high ratio and release time setting, which is dependent
on the specific use and the desired sound effect. As it is usually the task of a limiter to limit only high signal
peaks, the threshold is usually set at a high level. The dynamics are reduced dependent on the ratio setting
and the degree by which the threshold point was exceeded. If the attack time is adjusted to control only the
4. APPLICATIONS

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COMPOSERPROMDX2200
averagelevel withoutaffectingsignal peaksabove the threshold,this is referredto astheprogram limiter.For
thispurpose the attacktimewill besetabove 20 ms.If the attacktimeis furtherreducedin order toalsocontrol
signal peaks, this is defined as the peak limiter.
Clipping
Incontrast tothe two previouslymentioned limiters,the clipping modefeatures infinitelyfast control times,an
infinitecompressionratioand creates anunsurpassablebarrier(“brickwall”)forall signals aboveacertainlevel.
Tobe ableto control thesignal peaks,theclipping functionradically cutssignalsabove thethreshold, without
affectingtheamplitude oftheoriginalsignal. If used innormalapplications,this functionremainsinaudibleand
under certain circumstances it can even lead to an improved sound, because cutting the transients creates
artificialharmonics. If misused,clippingcan causeveryobviousand distastefuldistortion,which inanextreme
manner, will convert the signal’s waveform into a square wave signal. This effect is often produced in guitar
distortiondevices (“fuzz boxes”).
4.2 Expander/gate section
Themain task of the expander/gate is to “inaudibly” eliminateundesirable backgroundnoise fromthe usable
signal.Asalreadydescribed in chapter3.4,adownwardexpander automatically reducestheoveralllevelfor all
signalsbelow an adjustablethreshold. The expandertherefore operates inopposite way tothat of acompres-
sor/limiter. Expanders generally function with a flat ratio curve, so that the signal continually fades. Noise-
gates however, can be seen as “high ratio” expanders. If the signal falls below the threshold, it is radically
attenuated.
TheBEHRINGER COMPOSERPRO is equippedwith anewly developed IRC(Interactive RatioControl) Ex-
pander,theratio ofwhichis automatically adjusteddependenton theprogrammaterial. The responsecharac-
teristics of conventional expanders tend to cut into the signal abruptly and the result of this is unacceptable
most of the time. Gain changes become audible.
The IRC Expander is therefore equipped with a soft, interactive non-linear ratio curve, which is best suited to
human hearing. Critical signals in the vicinity of the threshold level are processed with a minute expansion
ratio, whereas signals that reduce in level will be subjected to an increasingly higher ratio, which will result in
greaterattenuation.
Threshold
Gain 0 dB
Input
Output
1:oo
Noise Gate,
Expander, 1:8
IRC-Curve
Fig. 4.1: IRC curve characteristic of the Expander
The result is expansion, which is less critical to adjust and which is more tolerant of useable signals, whose
levelisslightly abovethatofthe noise floor.Expansiontherefore occurs extremely“soft”withlow ratiosettings,
while the known negative effects of expansion are inaudible. The attack time of the IRC expander is set
automaticallyand program-dependent, i.e.extremely short forquickly changing signalsand slower foramore
balancedprogram material.Since theexpander/gate adapts itselfautomatically tothe programmaterial, you
willnote thatthenew IRC(InteractiveRatio Control)circuitproduces considerablybetterresults thanconven-
tionalexpanders.
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COMPOSERPROMDX2200
4.2.1 Controlling leakage in the studio
Expander/gatesaremost commonlyusedtosuppress undesirable leakageofsound from onetrackto another
duringrecording orplayback. They areusually usedwhen recording drumkits, wherethe mics arevery close
to each other. High volume levels of individual instruments often cause considerable leakage onto all the
adjacent mics and results in conflicting frequency and phase coherence problems, as well as unspecified
sounds (“comb” filter effects). It is vitally important that every instrument is recorded into a separate mic and
that each mic is individually gated.
PatchtheMDX2200 into asnaredrumchannel for exampleandadjustitso thattriggeringonlyoccurson snare
hits. Each mic should be set to its maximum operating level, monitored (see SC MON switch) and the
THRESHOLDlevelset sothateach snare hitsoundsacoustically cleanandseperate, as thoughitwas played
on its own.
Theoptimum useofthe expander/gatedepends principallyonmicrophone technique.Be particularly careful,
when high frequency instruments are located to the side or rear of a cardioid microphone. Most cardioids
exhibit a sharply rising off-axis response characteristic at higher frequencies. If there is only a 2 or 3 dB
differencebetween the on-axisand off-axis responsein the5to 10kHzregion, cymbalsmayleak excessively
into the tom mics and you may have hi-hat spilling all over the snare mic.
Pleasemake fulluse ofthe directional characteristicof themics, toacoustically excludeall other instruments
as much as possible. Make sure that you do everything possible to achieve source separation with good
microphonetechnique. Otherwisethe expander/gate isnot ableto undertakeclear acoustic separation.
Sometimes, it is necessary to prevent the expander/gate from responding to low frequencies (rumbles etc.),
especially if a singer is moving the microphone around on a mic-stand. More information about this topic in
chapter6.2.
4.2.2 Initial settings for the expander/gate section
lortnoC gnitteS
lortnocDLOHSERHTFFO
hctiwsESAELERWOLS
lortnocOITAR2:1
Tab. 4.1: Initial settings for the expander/gate section
Begin with very low threshold levels, so that the signal can pass through the unit unaffected. Now turn the
control clockwise until all unwanted noise is removed and only the sound of the desired instrument can be
heard.
To adapt the unit to the program material properly, you can additionally choose between a SLOW or FAST
releasetime. Inthedepressed position,the unit worksat aslowrelease time.Percussive material withlittle or
no reverb, is processed in fast mode, whereas the slow mode is advantageously used for signals with long
durationsor signalswith heavyambience. You will find thata fastrelease time(FAST mode)is preferable for
acoustic separation of most percussive sounds, whilst cymbals and tom toms, normally benefit from the
SLOWmode.
TheRATIO control determinestheratio betweeninputand output level,forall signalsbelowthe selected point
ofthreshold. Usethis control todetermine whetherthe sectionworksas anexpander oras a gate(Ratio 1:8).
If the controls are set correctly, the drum sounds will be “dry”, “sharp” and clearly defined. If you do not have
enoughmics(or COMPOSERPROchannels!) to recordeachinstrument separately, trytocreate sub-groups:
putthe snareandmid-toms together,andgroup theside-toms,bass drumandcymbals togetherwiththe help
of a mixing console.
The aim is to set up the expander/gate and to position the group mics so that each strike on an instrument
opens a specific mic and so only that instrument is recorded, whilst the other mics remain “muted”.
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COMPOSERPROMDX2200
4.2.3 Reducing leakage in stage mics
The COMPOSER PRO has many uses in live-work, on stage and in multi-miking situations: a well set up
expander/gatecan effectivelysuppress background noise,compressor typepumping noiseand microphone
leakageetc. without producinganyundesirable sideeffects.Expander/gates arecommonlyused for process-
ing vocals. When specifically used with a compressor, the distance and position of the mic in relation to the
singer is very critical: the further the distance, the more sensitive the mic is to background noise. Use the
expander/gate section in the slow release mode to “inaudibly” eliminate background noise, that occurs in
pauses between singing. When used in live situations, leakage of miked instrumentation is substantially
reduced, as well as other acoustic contaminants in various recording situations.
4.2.4 Reducing feedback in stage mics
When a singer is using a vocal mic, their voice effectively stops other sounds from entering the mic. But in
pauses between the singing, the mic will pick up noise from the house PA and monitors, which can lead to
unpleasant feedback problems. If the COMPOSER PRO is inserted into the mic channel, it will shut off the
channelwhen itis not beingused, reducingthepossibility offeedback. Principally allmics shouldbe included
in this application.
4.2.5 Noise reduction on effects paths
Theeffects rackis one ofthe mainoverlooked sourcesof noise ina PAsystem or recordingfacility. Theprice
ofreverbanddelayunitsand harmonizers hasfallendrasticallyoverthelastnumberof years, whichhavemade
these units a common feature in small studios and home recording installations. However, multiple effects
unitsconsiderablyincrease theoverallnoise level, sothatthe pleasureinacquiringa newsoundeffect is short
lived.
It will prove useful to use the BEHRINGER COMPOSER PRO as the last component in the chain of effects
units and use the noise reduction function of the expander/gate section. We recommend that you use a slow
releasetime inorderto maintainthe naturalreverb.
4.2.6 Creative use of the expander/gate section
In addition to the previously explained applications, the expander/gate can be used to change the sound
characteristics.For example,thequality ofambience or reverberationcreated byaninstrument withinaroom
canbe modified:whenan instrumentstopsdecaying, thereverberation of theinstrument falls belowthe user-
definedthreshold. Thereverberation can becontrolled byusing theTHRESHOLD control andthe RELEASE
switch. The decay characteristics of the instrument can be controlled using the release switch, so that the
natural characteristics of the instrument remains. Experiment with the effect, this control has on the decay of
theinstrument.In SLOWmode,thesignal is gentlyfadedout - inFASTmode, the durationofthe reverberation
canbe removed completely.
4.3 Compressor section
Thetask of a compressor isto reducethe dynamicrange of program material andto controlthe overalllevel.
Theextensive controlsofthe compressorsection,provide agreat range ofdynamic effects: frommusical and
softcompression tolimitingsignal peaks,rightup toextreme and effectivecompression oftheoverall dynam-
ics.Forexample, a lowratioandvery lowthresholdsettingcan be usedtoachievesoft and musicalprocessing
ofthe generaldynamics of theprogram material.
Higherratios, together withlowthreshold settings,createrelatively constant volume(levelling)for instruments
andvocals.Highthresholdlevelsgenerallylimit the overall levelofaprogram.Ratiosgreaterthan6:1effectively
preventtheoutputlevel from significantlyexceedingthethresholdpoint(provided that theOUTPUTcontrolisin
the 0 dB position).
Pleasenote thatthe compressionof the entireprogram material(achieved bylow threshold settings)sounds
less natural with higher ratio settings. Ratio settings in the range of 4:1 and lower, effect the dynamics of the
program material less and are often used to compress the sound of a bass guitar, a snare drum or a vocal.
Sensitiveandmoderatesettings are generallyusedinmixingandfor levellingofprogrammaterialinbroadcast.
5. APPLICATIONS

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COMPOSERPROMDX2200
Threshold Gain 0 dB
Input
Output
oo:1
Limiter
Ratio 2:1
Ratio 4:1
Hard Knee
green yellow red
IKA Curve
LED
Fig. 4.2: IKA characteristic of the compressor section
The new IKA (Interactive Knee Adaptation) circuit prevents aggressive compression, created by high ratios,
from sounding too unnatural. This is achieved with an interactive control function, which begins above the
thresholdlevel andintroducesa “SoftKnee“ curve characteristicin therangeup to10 dBabovethe threshold
point. Beyond this range, the signal is subjected to linear (“Hard Knee“) compression.
With the threshold control completely turned to the right, the threshold value is +20 dB. Since such a
value will not be reached in practice, you can use it to disable the compressor section and work exclu-
sively with the expander/gate and limiter circuits.
4.3.1 Initial settings for the compressor section
lortnoC gnitteS
hctiwsTUO/NINI
hctiwsTXECSTUO
hctiwsNOMCSTUO
hctiwsEVITCARETNINI
hctiwsRETLIFCSTUO
lortnocDLOHSERHTBd02+
l
ortnocOITAR1:3
hctiwsOTUANI
lortnocTUPTUOBd0
Tab. 4.2: Initial settings for the compressor section
RotatetheTHRESHOLDcontrol counterclockwise untilanappropriateamountofgain reduction isindicatedon
the GAIN REDUCTION meter. This operation will be accompanied by an audible drop in output level. The
OUTPUTcontrolshouldnowbeturned clockwise toreinstatetheoutputlevel.Thelevelof the unprocessedand
theprocessedsignal canbecompared by pressingtheI/O METER switchandobserving the INPUT/OUTPUT
LEVELmeter.
Finaladjustments ofthe controls canthen bemade to suityour particularrequirements, including theRATIO,
ATTACK and RELEASE controls. The AUTO function of the attack and release times, provides program
dependentdynamic processing whichsuitsmost standarduses.If a “condensed“or“wider“ soundprocessing
4. APPLICATIONS

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COMPOSERPROMDX2200
technique is required, the attack and release times can also be manually adjusted.
The experienced user will be in a position to specify parameters while in bypass mode and thus realize the
effect before the unit is actually switched into operation. This is important in live situations, where a signal
needsto bemanaged efficientlybythe engineer,without theconvenience of continualA/B comparison.
4.3.2 The COMPOSER PRO as a sound effects unit
In the early 1960’s, musicians began looking at the recording process as a way to create new sounds. The
pumpingeffectwhich had beenavoidedbyearlierengineers suddenlybecamefashionableandwas utilized as
a creative tool, laying the groundwork for many of the sounds which are now considered indispensable in
contemporarymusic. The compressor is usedin thisrole becauseyou canhear it working, and controlof the
dynamicrange isof secondaryimportance.
The BEHRINGER COMPOSER PRO, with its extensive range of functions, is well suited to this application.
Sound effects of this kind can be achieved using “extreme” settings. To achieve this, set the THRESHOLD
control to a fairly low level, the RATIO control to almost maximum and use the ATTACK and RELEASE
controls to obtain the desired effect. Experiment with all the controls in order to get a feel of their function!
4.3.3 The “muffling” effect of a compressor
Quiteoften,compressors aresometimesaccusedof “muffling”thesound,whilst atthesametime reducingthe
dynamics.This factshould beinvestigatedfurther. Bassfrequencies containmost of theenergy withinmusic
andtherefore causethe compressorto reducethe overalldynamics. Ifthe musicalso containshigh frequen-
cies along with the bass frequencies, these are also reduced in level. This is the reason why: in an extremely
compressed recording of drums, the cymbals and high-hats are acoustically swamped by the sound of the
snareorthebassdrum. The sameeffectisexperiencedwhenprocessingreverberated or ambientsounds.The
solution commonly used to this basic problem is either to reduce the compression ratio or to slow down the
attacktime, sothat the increasinghigh frequencytransients pass throughthe compressorunhindered before
thecompressor takes effect.
The COMPOSER PRO MDX2200 offers a solution to this problem that is by much more elegant. The SC
FILTER switch allows you to activate a high-pass filter in the control signal path of the compressor. This filter
makessure thatmidrange andtreble range frequenciesare takeninto accountto agreater extent, andthat a
low-frequency signal triggers less compression than a midrange/treble signal of comparable level. A major
advantageofthisdesign can beseeninthefact that thefrequencyresponseofthe overall signalisnotmodified
belowthe thresholdadjustedwith theThreshold control.
In pop music the dynamics of both kick drum and bass guitar are usually processed individually. The side-
chain filter is therefore ideally suited to apply overall compression in the mix-down, to compress the music
whileincreasing itsloudness, butwithouthaving toaccept thedrawbacks describedabove.
Please note that we offer a whole series of high-grade equalizers and enhancers/exciters, which are perfect
toolsto giveany dynamics-processed signalthe finishingacoustictouch. Pleaseask fordetailedinformation!
4.4 Peak limiter section
Asa section ofitsown andindependentofthe remainingcontrolfunctions, thepeaklimiterenables youtolimit
themaximum peaklevel on theCOMPOSER PRO’soutput. Ithasbeen designedfor usein combination with
thecompressorsection.Independentlyofallcompressorfunctions,youcan protect subsequent devices against
signalpeaks, short-timeoverload andexcess modulation(radio stations,etc.).
4. APPLICATIONS