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”).
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