Behringer T1952 User Manual download pdf (Page 17)

Control element Setting

IN/OUT switch IN

SC EXT switch OFF

SC MON switch OFF

INTERACTIVE/HARD KNEE switch INTERACTIVE

SC FILTER switch OFF

THRESHOLD control COMPRESSOR section +20 dB

RATIO control 3:1

AUTO switch AUTO

OUTPUT control 0 dB

LIMITER control OFF

GAIN RED/LEVEL switch GAIN RED.

WARMTH control COLD

Tab. 2.2: Initial settings for the Compressor section

Rotate the THRESHOLD control counter-clockwise until an appropriate amount of gain reduction is indicated

on the GAIN REDUCTION meter. This operation will be accompanied by an audible drop in output level. The

OUTPUT control should now be turned clockwise to reinstate the output level. The level of the unprocessed and

the processed signal can be compared by pressing the I/O METER switch and observing the INPUT/OUTPUT

LEVEL meter.

Final adjustments of the controls can then be made to suit your particular requirements, including the RATIO,

ATTACK and RELEASE controls. The AUTO function of the attack and release times, provides program

dependent dynamic processing which suits most standard uses. If a condensed or wider sound processing

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

needs to be managed efficiently by the engineer, without the convenience of continual A/B comparison.

The SC filter (Sidechain filter)

Compressors are often blamed for making the sound duller or muffled. This is because most of the energy in a

signal is usually in the bass region causing the Compressor to react mostly to the bass. When the Compres-

sor identifies a strong bass signal the gain must be reduced according to the settings of the Compressor.

When high frequencies are present they will also be reduced. This is why a highly compressed drum kit

sounds muffled, the cymbals are drowned out by the bass and toms. This also happens to ambient noise like

reverb.

The solution to this is to reduce the compression ratio or to increase the attack time. Increasing the attack

time will cause the Compressor to react slower to transients so that high frequency signals will be able to pass

through before the gain is reduced.

The TUBECOMPOSER T1952 offers you another more elegant solution. When engaging the SC FILTER, a

high pass filter can be switched in the SC signal. This prevents bass signals from dominating the compression

process. A bass signal is compressed less than a mid or high frequency signal of the same amplitude. The

benefit of this is that the frequency response and attack and release time can remain optimal.

Bass signals are often already processed in popmusic. This means that the SC filter is suited to process the

entire mix. With the help of the TUBE COMPOSER you can increase the overall loudness without the de-

scribed side effects usually associated with compression.

The Tube Stage used in the TUBECOMPOSER is ideally suited to give the compressed signal the finishing

touch.

2.4 Peak Limiter section

As a section of its own and independent of the remaining control functions, the Peak Limiter enables you to

limit the maximum peak level on the TUBECOMPOSERs output. It has been designed for use in combination

with the Compressor section. Independently of all Compressor functions, you can protect subsequent devices

against signal peaks, short-time overload and excess modulation (radio stations, etc.).

2. OPERATION

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Behringer T1952 User Manual Page 17

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