Behringer MDX2200 user manual Reducing leakage in stage mics, Reducing feedback in stage mics

COMPOSER PRO MDX2200

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/gate can effectively suppress background noise, compressor type pumping noise and microphone leakage etc. without producing any undesirable side effects. Expander/gates are commonly used 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 channel when it is not being used, reducing the possibility of feedback. Principally all mics should be included in this application.

4.2.5 Noise reduction on effects paths

The effects rack is one of the main overlooked sources of noise in a PA system or recording facility. The price of reverb and delay units and harmonizers has fallen drastically over the last number of years, which have made these units a common feature in small studios and home recording installations. However, multiple effects units considerably increase the overall noise level, so that the pleasure in acquiring a new sound effect 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 release time in order to maintain the natural reverb.

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, the quality of ambience or reverberation created by an instrument within a room can be modified: when an instrument stops decaying, the reverberation of the instrument falls below the user- defined threshold. The reverberation can be controlled by using the THRESHOLD control and the 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 the instrument. In SLOW mode, the signal is gently faded out - in FAST mode, the duration of the reverberation can be removed completely.

4.3 Compressor section

The task of a compressor is to reduce the dynamic range of program material and to control the overall level. The extensive controls of the compressor section, provide a great range of dynamic effects: from musical and soft compression to limiting signal peaks, right up to extreme and effective compression of the overall dynam- ics. For example, a low ratio and very low threshold setting can be used to achieve soft and musical processing of the general dynamics of the program material.

Higher ratios, together with low threshold settings, create relatively constant volume (levelling) for instruments and vocals. High threshold levels generally limit the overall level of a program. Ratios greater than 6:1 effectively prevent the output level from significantly exceeding the threshold point (provided that the OUTPUT control is in the 0 dB position).

Please note that the compression of the entire program material (achieved by low 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. Sensitive and moderate settings are generally used in mixing and for levelling of program material in broadcast.

18 5. APPLICATIONS