Behringer MDX4400 - Manual (Page 16)

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MULTICOM PRO MDX4400
5. APPLICATIONS
In this section, several typical applications of the BEHRINGER MULTICOM PRO are discussed. The following
basic settings can resolve most dynamic problems. They are the ideal starting point. Please take the time to
study the application examples carefully, in order to be able to make full use of the MULTICOM PROs capabili-
ties in the future.
Main Applications And Initial Settings
The main applications of the BEHRINGER MULTICOM PRO can be divided into two categories: The compressor
section is used to compress the program material and to create special effects and unusual sounds, which are
used for recording and musical performance. The subsequent Peak Limiter section is designed to protect
loudspeakers, tape recorders, transmitters etc. from being overloaded.
5.1 Compression/Leveling/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
A compressor converts a large dynamic level into a restricted range. The extent of the resulting dynamic level
is dependent on the threshold, attack, release and ratio settings. As it is the desired effect of a compressor to
increase a low level signal, generally the threshold is set low. The “inaudible” compression mode requires fast
attack and release times and low ratios. The faster the chosen control times and the higher the compression
ratio, the greater the effect on the short term dynamics. This fact is often used to achieve audible and creative
sound effects.
Leveling
The leveling 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. Leveling requires slow attack and release times, combined with a high ratio. Because of the very
slow response time, leveling has no effect on signal peaks or short term changes in average 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
average level without affecting signal peaks above the threshold, this is referred to as the program limiter. For
this purpose the attack time will be set above 20 ms. If the attack time is further reduced in order to also control
signal peaks, this is defined as the peak limiter.
Clipping
In contrast to the two previously mentioned limiters, the clipping mode features infinitely fast control times, an
infinite compression ratio and creates an unsurpassable barrier (“brickwall”) for all signals above a certain level.
To be able to control the signal peaks, the clipping function radically cuts signals above the threshold, without
affecting the amplitude of the original signal. If used in normal applications, this function remains inaudible and
under certain circumstances it can even lead to an improved sound, because cutting the transients creates
artificial harmonics. If misused, clipping can cause very obvious and distasteful distortion, which in an extreme
manner, will convert the signal’s waveform into a square wave signal. This effect is often produced in guitar
distortion devices (“fuzz boxes”).
5. APPLICATIONS