| COMPOSER PRO MDX2200 |
|
TABLE OF CONTENTS |
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1. INTRODUCTION | 7 | |
1.1 | Before you begin | 8 |
1.2 | Design concept | 8 |
| 1.2.1 High quality components and design | 8 |
| 1.2.2 Failsafe relays | 8 |
| 1.2.3 Balanced inputs and outputs | 8 |
| 1.2.4 Transformer balanced outputs (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 panel control elements of the COMPOSER PRO | 12 |
3. TECHNICAL BACKGROUND | 12 | |
3.1 | Noise as a physical phenomenon | 12 |
3.2 | What are audio dynamics? | 13 |
3.3 | Compressors/limiters | 14 |
3.4 | 14 | |
4. APPLICATIONS | 15 | |
4.1 | Compression/levelling/limiting/clipping | 15 |
4.2 | Expander/gate section | 16 |
| 4.2.1 Controlling leakage in the studio | 17 |
| 4.2.2 Initial settings for the expander/gate section | 17 |
| 4.2.3 Reducing leakage in stage mics | 18 |
| 4.2.4 Reducing feedback in stage mics | 18 |
| 4.2.5 Noise reduction on effects paths | 18 |
| 4.2.6 Creative use of the expander/gate section | 18 |
4.3 | Compressor section | 18 |
| 4.3.1 Initial settings for the compressor section | 19 |
| 4.3.2 The COMPOSER PRO as a sound effects unit | 20 |
| 4.3.3 The “muffling” effect of a compressor | 20 |
4.4 | Peak limiter section | 20 |
| 4.4.1 Initial settings for the peak limiter section | 21 |
5. SPECIAL APPLICATIONS | 21 | |
5.1 | Using the COMPOSER PRO for recording and cassette duplication | 21 |
| 5.1.1 The COMPOSER PRO in digital recording and sampling | 22 |
| 5.1.2 The COMPOSER PRO in mastering | 22 |
5.2 | The COMPOSER PRO as a protective 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 Improving the sound of a processor system | 23 |
5.3 | The COMPOSER PRO in broadcast | 23 |
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