Behringer Autocom Pro-XL MDX1600 사용자 매뉴얼

MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

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The OUTPUT control allows you to raise or lower the output signal by 

max. 20 dB, so as to make up for a gain loss caused by the compressor or 

limiter action. Raise the gain by roughly the same amount that it has been 

reduced by the compressor. The GAIN REDUCTION display  

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  reads the 

value adjusted.

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The 12-digit INPUT/OUTPUT LEVEL display (MDX4600: 8-digit) reads 

both the level of the incoming audio signal and the level at the dynamics 

processor output. The range is from -30 to +18 dB (MDX4600: -24 to +18 dB).

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The IN/OUT METER switch selects whether the gain LEDs read the input 

signal (switch pressed) or the output signal (switch not pressed).

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The IN/OUT switch activates the corresponding channel. It provides 

a so-called “hard bypass”, i.e. if it is OUT or the unit is not connected 

to the mains, the input jack will be linked directly to the output jack 

(COMPOSER PRO-XL MDX2600 only). Usually, this switch is used for direct A/B 

comparison between unprocessed and compressed/limited signals.

Application hints
Setting the compressor will be much easier if you first set both limiter 

and expander to a neutral setting by turning both threshold controls 

(TRIGGER and LIMITER) to OFF.
Setting the compression ratio requires your “sense of hearing”: Anything goes. 

In general, however, the ratio setting should not be too high for mix signals; 

instead, use 2:1 as a starting point to preserve the natural sound of the music; 

a ratio setting of about 4:1 has proved successful for vocal recordings. The IKA 

(Interactive Knee Adaptation) characteristic allows you to achieve a gradual 

and inaudible compression and hence to use higher ratios. If you want to use 

the compressor as an effect in its own right, don‘t hesitate to experiment with 

higher values.
Turn the THRESHOLD control counter-clockwise until the GAIN REDUCTION 

display reads the desired gain reduction (don’t exceed 6 - 8 dB for mix signals). 

During this process the volume is reduced audibly. Now turn the OUTPUT control 

clockwise until this volume difference has been made up for. The levels of the 

compressed vs. uncompressed signals can be compared with the INPUT/OUTPUT 

LEVEL display activated with the I/O METER switch. These two levels should be 

the same.
The AUTO function for the attack and release times provides a program-

dependent—and largely inaudible—dynamics control, which suits 

most standard applications. If a somewhat more “open” sound processing 

profile is required, you can set the attack and release times manually 

(AUTO switch not pressed).
Start with a longer Release time, then make it gradually shorter. You will soon 

notice an unnatural pumping effect caused by rapidly changing levels. Select a 

longer release time until the effect cannot be heard any longer.
The Attack time setting, too, is highly dependent on the music material. 

Select longer attack times for a subtle and musical compression. As a result you 

avoid attack portions of treble signals being cut off if compression is triggered by 

a high-level bass drum beat that is played at the same time. The sound remains 

transparent and compact throughout.

If the compressor is being used as a limiter, the attack time should be as short as 

possible. This, in combination with a high ratio (>20:1), a medium to long release 

time and the maximum possible threshold will protect your sound reinforcement 

system effectively from getting overloaded.

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Fig. 2.4: Dynamic enhancer section control elements

The dynamic enhancer circuit implemented in all three dynamic processors 

allows you to dynamically enhance the treble range. Since the bass portions of a 

music signal often have the highest energy yield, they usually are the ones that 

trigger the compression process, thus also reducing the gain of middle to high 

frequencies. The enhancer controls the compression process and gradually adds 

more highs, the stronger the treble range is compressed, so as to make up for the 

subjective loss of high-frequency content.

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LEVEL control (MDX1600). The AUTOCOM PRO-XL features an adjustable 

enhancer, on which you can set the amount of treble boost with the 

LEVEL control.
ENHANCER switch (MDX2600 and MDX4600). Activates the 

dynamic enhancer.

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ENHANCER LEVEL. The LED chain reads the current treble boost within a 

range from -30 to 0 dB (MDX1600 only). 

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IN/OUT switch (MDX1600). Use this switch to activate the enhancer circuit, 

e.g. to assess the effect the enhancer has on the audio signal.

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Fig. 2.5: De-esser section control elements

From a circuitry point of view, the de-esser is placed in the side-chain path of the 

compressor, so it will operate only if the compressor is active.

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LEVEL control (MDX2600). Instead of an adjustable enhancer, the COMPOSER 

PRO-XL has a controllable de-esser, which helps you eliminate hiss noise 

contained in the audio signal. The LEVEL control determines the amount of 

frequency suppression.
DE-ESSER switch (MDX1600). The AUTOCOM PRO-XL also has a de-esser. 

At the touch of a button you can enhance the audio signal considerably, 

especially when processing vocal recordings. Switch  

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  can be found in the 

compressor section.