BEHRINGER T1952 - Manuals

5 TUBE COMPOSER T1952 TABLE OF CONTENTS 1. INTRODUCTION ..................................................................................................................... 6 1.1 The concept ...............................................................................................................

7 TUBE COMPOSER T1952 expander/gate section can be used as an independent unit to eradicate noise offering almost limitless possibilities within this application. IGC (Interactive Gain Control) peak limiter A further remarkable feature of the BEHRINGER TUBE COMPOSER is the IGC (Interactive Gain Cont...

10 TUBE COMPOSER T1952 Fig. 1.3: Control elements of the peak limiter and tube sections 17 The VU METER can display three levels: the actual gain reduction of the compressor, the input or the output level. Gain reduction is displayed in a range of 1 to 30 dB, the input or output level is displayed i...

11 TUBE COMPOSER T1952 26 28 30 31 29 27 25 Fig. 1.4: Back panel of the TUBE COMPOSER 25 SERIAL NUMBER . Please complete and return the warranty card within 14 days of the date of purchase. Otherwise, you will lose your right to the extended warranty. Alternatively, you can register online at our we...

13 TUBE COMPOSER T1952 Threshold Gain 0 dB Input Output 1:oo Noise Gate, Expander, 1:8 IRC-Curve Fig. 2.1: IRC curve characteristic of the expander The result is expansion, which is less critical to adjust and which is more tolerant of useable signals, whose level is slightly above that of the noise...

14 TUBE COMPOSER T1952 If the controls are set correctly, the drum sounds will be “dry”, “sharp” and clearly defined. If you do not have enough mics (or TUBE COMPOSER channels!) to record each instrument separately, try to create subgroups: put the snare and mid-toms together, and group the side-tom...

15 TUBE COMPOSER T1952 Control element Setting IN/OUT switch IN SC EXT switch OFF SC MON switch OFF INTERACTIVE/HARD KNEE switch INTERACTIVE SC FILTER switch OFF THRESHOLD control of the compressor section +20 dB RATIO control 3:1 AUTO switch AUTO OUTPUT control 0 dB LIMITER control OFF GAIN RED./LE...

16 TUBE COMPOSER T1952 Output Input Peak Limiting Program Limiting Release Threshold t/ms Level 20 ms 10 20 30 5 ms approx. 1 s Fig. 2.3: IGC characteristic of the limiter section The diagram illustrates the functioning of the IGC limiter. The solid graph represents the output signal, while the dash...

18 TUBE COMPOSER T1952 3.1.3 The TUBE COMPOSER in digital recording and sampling In an analog recording, too low recording levels lead to an increased noise level, whereas too high levels will cause a compressed and “squashed” sound. In extreme cases, it will cause distortion due to tape saturation....

20 TUBE COMPOSER T1952 3.3 The TUBE COMPOSER as a sound effects unit In the early 1960’s, musicians began looking at the recording process as a way to create new sounds. The pumping effect which had been avoided by earlier engineers suddenly became fashionable and was utilized as a creative tool, la...

22 TUBE COMPOSER T1952 3.6.3 Suppressing instruments during recording Another function of the BEHRINGER TUBE COMPOSER allows helpful correction of previously recorded material. If, for example, an excessively loud bass drum needs to be suppressed, reduce all the equalizers frequency bands above 150 ...

23 TUBE COMPOSER T1952 0 20 40 60 80 100 120 140 160 Threshold Of Audibility Falling Leaves Recording Studio Quiet Apartment Normal Conversation "Loud" Office Power Drill Threshold Of Pain Jet Engine Machinery Hall Sound-Pressure Level (dB SPL) Fig. 4.1: Dynamic range of human hearing The ra...

26 TUBE COMPOSER T1952 level of noise, hum or other ambient background hiss, which can disturb the quality of the program material.Normally these noises are inaudible if the level of the desired signal lies significantly above the level of the noise. This perception by the ear is based on the “maski...

27 TUBE COMPOSER T1952 processing meant the beginning of a new era of recording media that provided plenty of dynamic response and allowed for loss-free copying of audio signals. As digital media were enhanced, however, many people began to miss the warmth, power and liveliness they knew from analog...

28 TUBE COMPOSER T1952 Fig. 4.6: Pentode In a triode the capacitance between grid and anode is a problem with regard to high frequencies and large amplification factors. For this reason, the pentode has a positively charged screen grid between the control grid and the anode. However, the positive ch...

29 TUBE COMPOSER T1952 4.6 The best of both worlds Despite many efforts neither manufacturers nor developers have succeeded so far in simulating these positive properties of the tube by means of other devices. Additionally, the natural capabilities of the tube to act as a soft limiter can only be mi...

30 TUBE COMPOSER T1952 V ideo tape Compact Disc Analog records FM Radio Digital tape (16 Bit) Analog tape dB 100 75 50 25 analog Mixing console Fig. 4.8: Dynamic range of various media 5. INSTALLATION 5.1 Rack mounting The BEHRINGER TUBE COMPOSER fits into one standard 19" rack unit of space (3 ...

31 TUBE COMPOSER T1952 for trouble-free operation, even at high operating levels. Externally induced mains hum etc. will be effectively suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and adjusts the nominal level internally to avoid level differences betwee...