Behringer MDX2600 User manual

User Manual

MULTICOM PRO-XL MDX4600

Reference-Class 4-Channel Expander/Gate/Compressor/Peak Limiter
with Dynamic Enhancer and Low Contour Filter

COMPOSER PRO-XL MDX2600

Reference-Class 2-Channel Expander/Gate/Compressor/Peak Limiter
with Integrated De-Esser, Dynamic Enhancer and Tube Simulation

AUTOCOM PRO-XL MDX1600

Reference-Class 2-Channel Expander/Gate/Compressor/Peak Limiter
with Integrated Dynamic Enhancer, De-Esser and Low Contour Filter

2 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

Table of Contents

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited warranty ............................................................ 3

1. Introduction ............................................................... 4

1.1 Before you get started ...................................................... 5

1.1.1 Shipment .......................................................................... 5

1.1.2 Initial operation ............................................................. 5

1.1.3 Warrant y ........................................................................... 5

1.2 The user’s manual ............................................................... 5

2. Control Elements and Connectors ........................... 5

2.1 The expander/gate section ............................................. 5

2.2 The compressor section ................................................... 6

2.3 The dynamic enhancer section ..................................... 7

2.4 The de-esser section ......................................................... 7

2.5 The peak limiter section ................................................... 8

2.6 The rear panel control elements ................................... 8

3. Examples of Sidechain Applications ....................... 8

3.1 Eliminating interference ................................................... 8

3.2 Emphasizing instruments ................................................ 9

3.3 Time-delayed compression ............................................ 9

3.4 “Voice Over” compression (“Ducking”) ....................... 9

3.5 Triggering additional sounds from a

rhythm track ................................................................................. 9

4. Wiring ......................................................................... 9

5. Installation ............................................................... 10

5.1 Rack installation ............................................................... 10

5.2 Audio connections ........................................................... 10

6. Specications ........................................................... 11

3 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

9. Do not defeat the safety purpose of the polarized

TO BIND MUSICGROUP BY ANY EXPRESS OR IMPLIED

Important Safety Instructions

Terminals marked with this symbol carry
electrical current of su cient magnitude

to constitute risk of electric shock.
Use only high-quality professional speaker cables with
¼" TS or twist-locking plugs pre-installed. Allother
installation or modi cation should be performed only
by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the
enclosure-voltage that may be su cient to constitute a
risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the
accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section).
No user serviceable parts inside. Refer servicing to
quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and
moisture. The apparatus shall not be exposed to dripping
or splashing liquids and no objects  lled with liquids,
suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed ser vice personnel only.
Toreduce the risk of electric shock do not perform any
servicing other than that contained in the operation
instructions. Repairs have to be performed by quali ed
servicepersonnel.

or grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding-type plug
has two blades and a third grounding prong. The wide
blade or the third prong are provided for your safety. Ifthe
provided plug does not  t into your outlet, consult an
electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by
themanufacturer.

12. Use only with the
cart, stand, tripod, bracket,
or table speci ed by the
manufacturer, orsold with
the apparatus. When a cart
is used, use caution when
moving the cart/apparatus
combination to avoid

injury from tip-over.

13. Unplug this apparatus during lightning storms or
when unused for long periods of time.

14. Refer all servicing to quali ed service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power supply cord or plug
is damaged, liquid has been spilled or objects have fallen
into the apparatus, the apparatus has been exposed
to rain or moisture, does not operate normally, or has
beendropped.

15. The apparatus shall be connected to a MAINS socket
outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is
used as the disconnect device, the disconnect device shall
remain readily operable.

UNDERTAKING OR REPRESENTATION. THIS MANUAL
IS COPYRIGHTED. NO PART OF THIS MANUAL MAY
BE REPRODUCED OR TRANSMITTED IN ANY FORM
OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,
INCLUDING PHOTOCOPYING AND RECORDING OF ANY
KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS
WRITTEN PERMISSION OF MUSICGROUPIPLTD.

ALL RIGHTS RESERVED.
© 2013 MUSICGroupIPLtd.
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

For the applicable warranty terms and conditions
and additional information regarding MUSIC Group’s
Limited Warranty, please see complete details online at
www.music-group.com/warranty.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as
radiators, heat registers, stoves, or other apparatus
(including ampli ers) that produce heat.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCES
ARE SUBJECT TO CHANGE WITHOUT NOTICE AND
ACCURACY IS NOT GUARANTEED. BEHRINGER,
KLARKTEKNIK, MIDAS, BUGERA, AND TURBOSOUND
ARE PART OF THE MUSIC GROUP MUSICGROUP.COM.
ALL TRADEMARKS ARE THE PROPERTY OF THEIR
RESPECTIVE OWNERS. MUSICGROUP ACCEPTS NO
LIABILITY FOR ANY LOSS WHICH MAY BE SUFFERED
BY ANY PERSON WHO RELIES EITHER WHOLLY OR
IN PART UPON ANY DESCRIPTION, PHOTOGRAPH
OR STATEMENT CONTAINED HEREIN. COLORS AND
SPECIFICATIONS MAY VARY FROM ACTUAL PRODUCT.
MUSIC GROUP PRODUCTS ARE SOLD THROUGH
AUTHORIZED FULLFILLERS AND RESELLERS ONLY.
FULLFILLERSAND RESELLERS ARE NOT AGENTS OF
MUSICGROUP AND HAVE ABSOLUTELY NO AUTHORITY

4 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

1. Introduction

With this new dynamics processor from the PRO-XL series you have acquired
an extremely powerful and universal compressor which unites in one compact
device all of those dynamics control functions that are most frequently used in
practice: each channel has an independent compressor/limiter, expander/gate
and peak limiter. Thus, virtually all dynamics processing problems can be
remedied with little eort.

Future-oriented BEHRINGER technology

The new PRO-XL dynamics processors from BEHRINGER feature several innovative
circuit designs, making them top-class dynamics processing equipment.
Compared to their predecessors, they now have improvements such as the
de-esser, which allows you to eectively suppress disturbing hiss noise
(COMPOSERPRO-XL), additional LED displays to set the de-esser levels, plus a
switchable enhancer.

ATS (Authentic Tube Simulation) circuitry

Even today, the warm, expressive and transparent tonal character of electronic
tubes is a real “classic”. We proudly present the COMPOSER PRO-XL and its
high-tech circuit design enabling the authentic reproduction of this legendary
sound, and at the same time avoiding all of the technical drawbacks that
go along with tube technology. Owing to state-of-the-ar t semi-conductor
technology, thereis no sound deterioration caused by tube ageing, there are
no heat problems and no maintenance required at all. All that remains is the
advantage of tube technology: its distinctive sound!

The AUTOCOM PRO-XL not only includes an enhancer, but also a switchable
de-esser and a peak limiter, which has already proved its versatilit y in the
COMPOSER PRO.

The BEHRINGER MULTICOM PRO-XL has been upgraded with an expander/
noise gate plus enhancer. Additionally, we have managed to improve its audio
properties even further—in combination with a revised circuit design.

To give you the best operational reliabilit y possible, we manufacture our
products in accordance with the highest quality standards known in the industry.
Additionally the dynamic processors are manufactured under ISO9000 cer tied
manage ment system.

VAD (Voice-Adaptive) De-esser

The COMPOSER PRO-XL and AUTOCOM PRO-XL incorporate a newly designed
de-esser circuit specically adapted to process the critical range of treble
frequencies. Hiss noise on vocal tracks of ten contains high levels, giving the
signals a rather edgy, unpleasant sound. The de-esser responds to those
frequency ranges in which hiss noise usually occurs and limits the overall signal
level as soon as the audio signal is aected by excessive energy density in this
range. Unlike equalizers, however, it does not impair the frequency response of
the signal. In this way, intelligibility in low-level passages is perfectly preserved,
and you can even boost the treble range with a good equalizer. The sound
becomes transparent and fresh, while the de-esser prevents hiss noise from
becoming too dominant and disturbing the overall sound image.

IKA (Interactive Knee Adaptation) Compressor

Our proven IKA (Interactive Knee Adaptation) circuit successfully combines
the “hard knee” compressor concept with the “soft knee” characteristic.
Thisprogram-dependent control characteristic makes it possible to both provide
an “inaudible” and musical program compression and allows for creative and
ecient dynamics processing.

IRC (Interactive Ratio Control) Expander

A fundamental problem when using a compressor is the fact that the basic
noise oor depends on the amount of compression applied, i.e. it is amplied
maximally in low-level passages and breaks in the music (compressor noise).
To eliminate this problem, compressors are usually equipped with additional
expander or gate circuitry, simply fading out the noise during breaks.

The dynamics processors from the PRO-XL Series feature our IRC (InteractiveRatio
Control) expander, whose ratio setting changes automatically with the
program material. The result is an expander that can be set quickly and easily,
and does not cut o low-level wanted signals (e.g. the rst or last syllable of
a word in a vocal track). With the new IRC circuit, the expander/gate section
of the BEHRINGER COMPOSER PRO-XL MDX2600, AUTOCOM PRO-XL MDX1600
and MULTICOM PRO-XL MDX4600 can be used as an independent device to
eliminate any kind of interference, thus giving you almost unlimited exibility
ofapplication.

IDE (Interactive Dynamic) Enhancer

Probably the best known negative side eect of a compressor is the “dull” and
“compressed” sound that is likely to result from the processing of complex
program material. Low-frequency instruments usually produce the highest signal
energy and hence make the compressor reduce the overall level. Any instrument
in the higher frequency ranges concurrently played also has its level reduced,
which leads to a “compressed” overall sound.

The dynamic enhancer provides the solution to this problem, enabling you to
make up specically for the compression-induced loss of treble energy. Since the
enhancer can detect the amount of compression applied, it does not change the
sound image as long as the signals remain uncompressed. No treble energy is
lost, even when complex mix-down material is processed.

IGC (Interactive Gain Control) Peak Limiter

Another outstanding feature of BEHRINGER dynamics processors is the IGC
(Interactive Gain Control) limiter, an intelligent combination of a clipper and
program limiter. The clipper comes in as soon as an adjustable threshold is
exceeded and abruptly limits the signal gain. However, if the limiter threshold
is exceeded for longer than a few milliseconds, the ICG circuit is activated
automatically and reduces the gain of the overall output signal, so that
audible distor-tion is eliminated (program limiter). When the signal drops
below threshold again, its level is restored to its original value after about one
second. This IGC feature is an extremely usefull tool for both live applications
(e.g. speaker protection) and digital processing, in which excess levels lead to
unpleasantdistortion.

5 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

Safety relay

The design of the COMPOSER PRO-XL incorporates the so-called safety relays,
which set the unit to bypass in case of a power failure or other malfunctions.
Additionally, these relays are used to implement a switch-on delay, so as to
suppress harmful switch-on thumps.

Balanced inputs and outputs

The BEHRINGER dynamics processors from the PRO-XL series are equipped with
electronically balanced inputs and outputs. The automatic servo function detects
any unbalanced plugs connec-ted and adjusts the nominal level internally, so as
to make sure that there is no dierence in level between the input and output
signals (6-dB correction).

◊ First, this manual describes the terminology used, so that you

understand the unit and its func tions. Please read the manual carefully
and keep it for future reference.

1.1 Before you get started

1.1.1 Shipment

Your COMPOSER PRO-XL, AUTOCOM PRO-XL or MULTICOM PRO-XL was carefully
packed at the factory and the packaging is designed to protect the unit from
rough hand-ling. Nevertheless, we recommend that you carefully examine the
packaging and its contents for any signs of physical damage which may have
occurred during transit.

1.2 The user’s manual

This manual has been designed to give you a survey of all control elements and
at the same time provide you with detailed information on how to use them.
To help you understand what each control does, we have grouped the control
elements according to function. If you need more detailed information on specic
topics, please visit our website at behringer.com, where you will nd for example
explanations of in-detail dynamics applications.

2. Control Elements and Connectors

This chapter describes the various control elements of your dynamics processor.
All controls are explained in full detail, including useful suggestions on how to
use them.

The COMPOSER PRO-XL and AUTOCOM PRO-XL feature two identical channels, the
MULTICOM PRO-XL four of them.

MDX1600
MDX2600

Fig. 2.1: Linking channels with the COUPLE switch

MDX4600

◊ If the unit is damaged, please do NOT return it to BEHRINGER,

but notify your dealer and the shipping company immediately.
Otherwise, claims for damage or replacement may not be granted.

1.1.2 Initial operation

Be sure that there is enough space around the unit for cooling and, to avoid
overheating, please do not place it on power ampliers, near radiators etc.

◊ Before you connect the unit to the mains, please make sure that the

voltage setting on the unit matches the local voltage:

The fuse holder at the AC power connector has 3 triangular markings. Twoof
these three triangles are aligned with one another. The unit is set to the
voltage shown next to these markings and can be switched over by turning the
fuse holder by 180°. IMPORTANT: This does not apply to export models

designed exclusively for 115 V operation!

◊ If you set the unit to a different mains voltage, be sure to use a fuse

of the correct type and rating. Please refer to the “Specifications”
for details.

◊ Blown fuses must be replaced by fuses of the same type and rating!

Please refer to the “Specifications” for details.

The mains connection is made using the enclosed power cord and a standard IEC
receptacle. It meets all of the international safety certication requirements.

◊ Please make sure that all units have a proper ground connection.

For your own safety, never remove or disable the ground conductor
from the unit or of the AC power cord.

(1) Pressing the COUPLE switch links the channels. In couple mode,

dynamicsare controlled by using channel 1 switches and controls, whereby
the control signal is derived from the energy of both side chain channels
(true stereo processing). Therefore, all switches and controls of channel 2
(except for IN/OUT, SC EXT, SC MON, LO CONTOUR, TUBE, DE-ESSER, MALE,
ENHANCER, I/O METER switches and OUTPUT, DE-ESSER LEVEL and ENHANCER
LEVEL controls) will be disabled when you activate the COUPLE switch.
Onthe MDX4600, channel 3 controls channel 4 in link mode.

2.1 The expander/gate section

(3)

(4)

(2) (5)

Fig. 2.2: Expander/gate section control elements

(2) Use the TRIGGER control in the expander/gate section to determine the

threshold below which expansion sets in, so that signals below threshold are
reduced in gain. The setting range is from OFF to +10 dB.

(3) If a signal below the adjusted value is applied, the red LED (expansionon)

lights up. If the signal gain is above the adjusted value, the green LED
lightsup.

1.1.3 Warranty

Please take the time to ll in and return the warranty card within 14 days after
the date of purchase, so as to benet from our extended warranty. Theserial
number is printed on the top side of the unit. Or register online at behringer.com.

(4) In order to adapt the expander/gate optimally to the program material,

use the RELEASE switch to select a short or long release time.
Percussivematerial with little or no reverb at all is usually processed with
a short release time (switch not pressed). The long release time is the best
choice for slowly decaying or heavily reverberated signals (switch pressed).

(5) The GATE switch allows you to toggle between the expander

(switch not pressed) and the gate function (switch pressed).
Use the gate function to mute signals below threshold (e.g. noise).

6 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

Application hints

The purpose of using an expander is usually to expand the usable dynamics
towards the lower end, i.e. to improve the separation between low-level signals
and the unavoidable noise oor by reducing the noise level.

Start setting up the expander by turning the TRIGGER control from position
OFF clockwise until the LEDs show the onset of the gain reduction. Preferrably,
youshould use some music material containing pauses and soft passages, so as
to hear whether the beginnings or endings of words are cut o by the expander
or are suppressed too much. If necessary, experiment with the release time or
reduce the threshold a little bit.

Gates work basically in the same way, the major dierence being the fact that
they reduce gain to a much greater ex tent. Once the level drops below threshold,
the signal is muted completely.

The classic application of a gate is the separation of signals delivered by multiple
microphones in a multitrack recording. Especially when drums are recorded,
agate is almost indispensable to avoid crosstalk, e.g. of the cymbals into the oor
tom microphones.

However, you should always try to use the microphones and their directivity in
the rst place to achieve some degree of channel separation and hence a better
and more natural result. Subsequently, a gate helps you optimize your set-up.

The program-dependent IRC allows you to set both gate and expander easily and
conveniently. Nevertheless, you should experiment with dierent release times
and trigger settings to get a perfec t result!

2.2 The compressor section

(11)

(19)(12) (14) (20)

(6) Use the THRESHOLD control to adjust the compressor threshold from

-40 to +20 dB.

(7) These three LEDs (AUTOCOM PRO-XL and COMPOSERPRO-XL only) indicate

whether the input signal is above or below the adjusted compressor
threshold. The yellow LED in the middle refers to the IKA “soft knee”
range (if IKA is on).

(8) Activating the SC EXT switch interrupts the link between the signal

input and the compressor control section. At the same time, an external
control signal can be fed in via the rear panel SC RETURN jack, taking over
control of the input signal dynamics reduction. You can, for example,
intensify the control function in a specic frequency range by inserting an
equalizer via the SC SEND AND SC RETURN jacks. Detailed information on
this special application can be found in chapter 3 “Examples of Sidechain
Applications”. This function, too, is only available on the AUTOCOM PRO-XL
and COMPOSERPRO-XL.

(9) The SC MON switch links the sidechain input signal to the audio output,

thereby muting the audio input signal. For example, this allows you to
pre-monitor the sidechain signal in combination with an equalizer or other
device inserted into the sidechain channel. The SC MONITOR function makes
it easier to for example adapt the equalizer lters to the control signal.

◊ With the SC MONITOR switch activated, only the side-chain signal will

be present at the output, which is shown by the flashing LED switch!

(10) The RATIO control determines the ratio of input vs. output level with

regard to all signals exceeding threshold by more than 10 dB. Althoughthe
compression star ts earlier, the IKA characteristic ensures the smooth,
inaudible onset of the gain reduction, which is why the ratio value will be
reached only with 10 dB or more above threshold. It can be set continuously
from 1:1 (no compression) to oo :1 (limiter).

(6)

(10) (18)(22) (21)

MDX4600

(7)

(6)

MDX4600

(11) (19)(9) (14) (17) (20)

(10) (13) (16) (18)(8) (12) (15) (22) (21)

(7) (11) (19)(9) (14) (20)

(6) (10) (13) (16) (18)(8) (12) (15) (25) (21)

MDX1600

Fig. 2.3: Compressor section control elements

(11) The 12-digit GAIN REDUCTION display (MDX4600: 8-digit) informs you

about the current gain reduction applied (1 to 30 dB).

(12) The LO CONTOUR switch activates a high-pass lter in the side-chain

path and thus avoids the “pumping” eect caused by high-energy bass
frequencies and their inuence on the compression process.

(13) Use the ATTACK control to determine when the compression sets in once the

signal has exceeded threshold (MDX1600 and MDX2600 only). The setting
range is from 0.3 to 300ms.

(14) Press the INTERACTIVE KNEE switch to change from “hard knee” to

IKA characteristic: Input signals exceeding threshold by up to 10 dB will
be processed with a “soft knee” characteristic. Above 10 dB the control
characteristic changes from “soft knee” to a more conventional “hardknee”
compression. The IKA characteristic allows for a subtle and musical
compression of the program material, and should be used whenever
inaudible compression is desired.

(15) The AUTO function, which is activated with the AUTO switch, disables the

ATTACK and RELEASE controls and derives these time values automatically
from the program material. It thus allows for a heavy and, at the same
time, musical compression of signals with varying levels or of complex
programmaterial.

(16) The RELEASE control (MDX1600 and MDX2600 only) sets the time when the

original 1:1 gain is reached, after the signal has dropped below threshold
again. The setting range is from 0.05 to 5 s.

(17) Use the TUBE switch (MDX2600 only) to enhance the output signal

with the warm and transparent tonal character typically produced by
electronictubes.

7 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

(18) The OUTPUT control allows you to raise or lower the output signal by

max. 20 dB, so as to make up for a gain loss caused by the compressor or
limiter action. Raise the gain by roughly the same amount that it has been
reduced by the compressor. The GAIN REDUCTION display (11) reads the
valueadjusted.

◊ When you adjust the LIMITER control in the peak limiter section,

please note that the output gain of the compressor is set before the
peak limiter. If the level is too high here, the peak limiter may respond
permanently (see LIMITER control (29) in the peak limiter section).

(19) The 12-digit INPUT/OUTPUT LEVEL display (MDX4600: 8-digit) reads

both the level of the incoming audio signal and the level at the dynamics
processor output. The range is from -30 to +18 dB (MDX4600: -24 to +18 dB).

(20) The IN/OUT METER switch selects whether the gain LEDs read the input

signal (switch pressed) or the output signal (switch not pressed).

◊ This display is referenced to the operating level selected with the

OPERATING LEVEL switch on the rear of the unit (-10 dBV or +4 dBu).

(21) The IN/OUT switch activates the corresponding channel. It provides

a so-called “hard bypass”, i.e. if it is OUT or the unit is not connected
to the mains, the input jack will be linked directly to the output jack
(COMPOSERPRO-XL MDX2600 only). Usually, this switch is used for direct A/B
comparison between unprocessed and compressed/limited signals.

Application hints

Setting the compressor will be much easier if you rst set both limiter
and expander to a neutral setting by turning both threshold controls
(TRIGGER and LIMITER) to OFF.

Setting the compression ratio requires your “sense of hearing”: Anything goes.
In general, however, the ratio setting should not be too high for mix signals;
instead, use 2:1 as a starting point to preserve the natural sound of the music;
a ratio setting of about 4:1 has proved successful for vocal recordings. The IKA
(Interactive Knee Adaptation) characteristic allows you to achieve a gradual
and inaudible compression and hence to use higher ratios. If you want to use
the compressor as an eect in its own right, don‘t hesitate to experiment with
highervalues.

Turn the THRESHOLD control counter-clockwise until the GAIN REDUCTION
display reads the desired gain reduction (don’t exceed 6 - 8 dB for mix signals).
During this process the volume is reduced audibly. Now turn the OUTPUT control
clockwise until this volume dierence has been made up for. The levels of the
compressed vs. uncompressed signals can be compared with the INPUT/OUTPUT
LEVEL display activated with the I/O METER switch. These two levels should be
the same.

If the compressor is being used as a limiter, the attack time should be as shor t as
possible. This, in combination with a high ratio (>20:1), a medium to long release
time and the maximum possible threshold will protect your sound reinforcement
system eectively from getting overloaded.

2.3 The dynamic enhancer section

(23)

(22) (24)

MDX1600

Fig. 2.4: Dynamic enhancer section control elements

The dynamic enhancer circuit implemented in all three dynamic processors
allows you to dynamically enhance the treble range. Since the bass portions of a
music signal often have the highest energy yield, they usually are the ones that
trigger the compression process, thus also reducing the gain of middle to high
frequencies. The enhancer controls the compression process and gradually adds
more highs, the stronger the treble range is compressed, so as to make up for the
subjective loss of high-frequency content.

(22) LEVEL control (MDX1600). The AUTOCOM PRO-XL features an adjustable

enhancer, on which you can set the amount of treble boost with the

LEVELcontrol.

ENHANCER switch (MDX2600 and MDX4600). Activates the

dynamicenhancer.

(23) ENHANCER LEVEL. The LED chain reads the current treble boost within a

range from -30 to 0 dB (MDX1600 only).

(24) IN/OUT switch (MDX1600). Use this switch to activate the enhancer circuit,

e.g. to assess the eect the enhancer has on the audio signal.

2.4 The de-esser section

(26)(27)

The AUTO function for the attack and release times provides a program­dependent—and largely inaudible—dynamics control, which suits
most standard applications. If a somewhat more “open” sound processing
prole is required, you can set the attack and release times manually
(AUTO switch not pressed).

Start with a longer Release time, then make it gradually shorter. You will soon
notice an unnatural pumping eect caused by rapidly changing levels. Select a
longer release time until the eect cannot be heard any longer.

The Attack time setting, too, is highly dependent on the music material.
Selectlonger attack times for a subtle and musical compression. As a result you
avoid attack portions of treble signals being cut o if compression is triggered by
a high-level bass drum beat that is played at the same time. The sound remains
transparent and compact throughout.

(25) (28)

MDX2600

Fig. 2.5: De-esser section control elements

From a circuitry point of view, the de-esser is placed in the side-chain path of the
compressor, so it will operate only if the compressor is active.

(25) LEVEL control (MDX2600). Instead of an adjustable enhancer, the COMPOSER

PRO-XL has a controllable de-esser, which helps you eliminate hiss noise
contained in the audio signal. The LEVEL control determines the amount of
frequency suppression.

DE-ESSER switch (MDX1600). The AUTOCOM PRO-XL also has a de-esser.
At the touch of a button you can enhance the audio signal considerably,
especially when processing vocal recordings. Switch (25) can be found in the
compressor section.

8 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

(26) DE-ESSER LEVEL (MDX2600). The LED chain reads the current attenuation

within a range from +3 to +12 dB.

(27) MALE switch. This switch adapts the de-esser to the male (switch pressed)

or female registers (not pressed).

(28) IN/OUT switch. Switches the de-esser on and o.

2.5 The peak limiter section

MDX4600

(33)(32) (34)

(30)

(33) (34)(32)

MDX2600/MDX1600

(29)

Fig. 2.6: Peak lim iter section co ntrol elements

(29) The peak limiter limits the signal to an adjustable level. When the LIMITER

control is turned fully to the right, the limiter is switched o. Owing to
its extremely fast “zero” attack, this circuit is capable of limiting signal
peaks without any overshoot. If the signal is limited for more than 20 ms,
theoverall gain is reduced for about 1 s to avoid strong and thus audible
limiter eects.

Fig. 2.8: Rear p anel connector s and switches

(34) INPUTS. These are the audio inputs. They are also on balanced ¼" TRS and

XLR connectors.

◊ If you wish to use the peak limiter as a protecting device, the LIMITER

control and the OUTPUT control in the compressor section should be set
so that the peak limiter responds only rarely or never at all. It should
be triggered by peak signals only. To achieve creative sound ef fects,
on the other hand, you can also intentionally drive the peak limiter into
this peak limiting range.

(30) The LIMIT LED lights up as soon as the limiter is on.

2.6 The rear panel control elements

(31)

Fig. 2.7: Power supp ly and fuse

(31) FUSE HOLDER/VOLTAGE SELECTOR. Before connecting the unit to the

mains, ensure that the voltage setting matches your local voltage. Ablown
fuse should only be replaced by a fuse of the same type and rating.
Pleaserefer to chapter 6 “Specications” for details.

MAINS CONNECTION. Use the power cord supplied with the unit to connect
it to the mains. Please note the instruc-tions given in chapter 5 “Installation”.

(32) OUTPUTS. These are the audio outputs of your dynamics processor. The two

matching 1/4" TRS and XLR connectors are wired in parallel and balanced.
Ofcourse, unbalanced cables can be connected here as well.

(33) OPERATING LEVEL switch. This switch can be used to adapt the COMPOSER

PRO-XL, AUTOCOM PRO-XL or MULTICOM PRO-XL to various operating levels,
i.e. to toggle between home recording level (-10 dBV) and studio level
(+4dBu). The level meters will be referenced automatically to the nominal
level adjusted, so that the compressor works in its optimum operating range.

(35) (36)

Fig. 2.9: SIDECHAIN connectors

(35) SIDECHAIN SEND. This is the unbalanced sidechain output, which allows

you to route the audio signal to other devices for external processing.

(36) SIDECHAIN RETURN. The sidechain input allows you to use an ex ternal

signal or the processed (e.g. with an equalizer) audio signal routed from the
SIDECHAIN SEND jack to control your COMPOSER PRO-XL or AUTOCOM PRO-XL.

3. Examples of Sidechain Applications

A very common type of application is to make the compressor threshold
frequency-dependent by inserting a graphic or parametric equalizer into the
side-chain path. To be able to keep the threshold setting on the MDX1600 or
MDX2600, unwanted frequencies should be cut with an inserted equalizer,
without aecting the levels of selected frequencies. For example, to control the
compressor from a narrow-band midrange frequency band, we recommend
reducing the bass and treble controls on the inserted EQ, while leaving the
midrange control set to 0 dB.

3.1 Eliminating interference

Insert an equalizer into the sidechain control path in the following order:
SIDECHAIN SEND - equalizer - SIDECHAIN RETURN. Turn the THRESHOLD control
to the left until the GAIN REDUCTION meter reads a clearly noticeable gain
reduction. Now the equalizer must be set so that all frequencies are reduced in
level, except for the interference frequencies. Thus, the interference signal will
trigger the compression.

Using this technique you can, for example, reduce the dynamics of a bass
drum that is too loud in an existing recording. Simply use an equalizer to cut
all frequencies above 150 Hz, so that the compression will be triggered by the
individual beats of the bass drum.

◊ To monitor the equalizer setting, press the SC MON switch to isolate

and play back the processed signal.

9 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

Once you have checked the EQ setting, switch o SC MON and adjust the
THRESHOLD, so that the compressor responds to the interference signals only.

Control element Position

SC EXT s witch IN

SC MON swit ch OUT

INTERACT KNEE switch OFF

LO CONTOUR swi tch OUT

THRESHOLD control +2 0 dB

RATIO control 4:1

AUTO switch OUT

ATTACK control 0.3 msec

RELEASE control 150 m sec

OUTPUT control 0 dB

Tab. 3.1: Eliminating interference with an inserted equalizer (basic settings)

3.2 Emphasizing instruments

Conversely, you can also use your COMPOSER PRO-XL or AUTOCOM PRO-XL
to highlight solo instruments or vocal tracks acoustically in a less than
perfectrecording.

Please note that in this application only the amplitudes of the selected
frequencies should be reduced in level.

Compression produces a subjective volume reduction of the entire program
material. Only those frequencies selected on the equalizer will cause NO
compression and thus they seem to be emphasized acoustically. Thisinverse
type of compression helps you make instruments stand out even in
low-level passages.

3.3 Time-delayed compression

4. Wiring

Dynamics processors are usually inserted into the insert paths of a mixing
console, because their signals are not added to the mix (unlike reverb or phaser
eects, which are fed into the signal path via the aux busses).

Mixer

Return

Send

Channel Insert

Out

In

COMPOSER PRO-XL MDX2600

Fig. 4.1: Inserting a d ynamics proces sor into the inser t path

You can also insert the COMPOSER PRO-XL, MULTICOM PRO-XL or AUTOCOM
PRO-XL into a sub-group insert (miking of drums!) or to process the mix output
of the console (Main Out and/or Main Inserts). Here, too, the processor should be
inserted into an insert path, so that you can fade out the overall signal by closing
the main faders on the console.

COMPOSER PRO-XL MDX2600

Return Return

If you feed the audio signal directly into the SC RETURN input and at the same
time route it to the audio input via a delay unit, the dynamics processor will work
“anticipatorily”. With a bit of tweaking you can achieve “zero” attack eects for
specic frequencies. Longer delays produce an eect that is similar to an audio
tape being played back in reverse.

3.4 “Voice Over” compression (“Ducking”)

You can use the COMPOSER PRO-XL and AUTOCOM PRO-XL to lower music to a low
background level as soon as a speaker speaks into the microphone. In this type of
application the compressor section functions like an automatic fader controlled
by the speaker’s microphone, which is also connected to the SC RETURN input via
a preamplier. Music and microphone signal are then mixed with the help of a
console. This application is called “voice over” compression or “ducking”, and is
used frequently in discotheques or radio stations.

3.5 Triggering additional sounds from a rhythm track

This technique is used to give a rhythm track more “punch” by synchronizing the
rhythm instruments after recording. Only the expander/gate section is required,
the compressor and/or peak limiter remain disabled. Insert the bass guitar track
into the audio path of the COMPOSER PRO-XL (or AUTOCOM PRO-XL), and route
the bass drum to the SC RETURN input. Activate the SC EXT function to trigger
the bass guitar with the kick drum, i.e. the kick drum exceeds the expander
threshold, allowing the bass guitar signal to pass until the level has dropped
below threshold again.

Send

DAT Recorder

L R

Mixer

Main Out Main Insert

Fig. 4.2: Comp ressing a main mix sig nal with the MDX260 0

Send

L R

◊ When you process a stereo mix signal, we recommend that you link

the channels in couple mode, because there is no faster and easier
way to find the right settings. However, remember to set the output
levels separately!

If you wish to use the dynamics processor as part of a P.A. system integrating
an active frequency crossover (e.g. BEHRINGER SUPER-X PRO CX2310), youcan
connect it bet ween the mixing console output and the crossover input,
orbetween the crossover and the power amps. In the latter conguration you
can process individual frequency ranges specically (multi-band compression)
toprevent a few high-energy frequencies triggering the compressor to process
the entire frequency range. The illustration below shows how to set up this
conguration with the BEHRINGER MULTICOM PRO-XL MDX4600.

10 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

MULTICOM PRO-XL MDX4600

Mixer

Ch1

Hi

Input

L R

Ch2

Low

SUPER-X PRO CX2310

Ch3 Ch1 Ch2 Ch3 Ch4

Ch4

Hi

Low

Input

Power ampliers

Fig. 4.3: Multi-band compression with the MDX4600

5. Installation

5.1 Rack installation

Each device requires one rack unit for installation in a 19" rack. Please allow an
additional 4" of rack depth for the rear panel connectors.

Unbalanced ¼" TS connector

strain relief clamp

sleeve

tip

sleeve

(ground/shield)

tip

(signal)

Fig. 5.2: ¼" TS connec tor

Balanced ¼" TRS connector

strain relief clamp

sleeve
ring
tip

sleeve

ground/shield

ring

cold (-ve)

tip

hot (+ve)

For connection of balanced and unbalanced plugs,
ring and sleeve have to be bridged at the stereo plug.

Be sure that there is enough air space around the unit for cooling. To avoid
overheating, do not place the unit on power amps, for example.

5.2 Audio connections

You will need a large number of cables for the dierent applications.
Theillustrations below show the wiring of these cables. Be sure to use only
high-grade cables.

The audio connections of the MULTICOM PRO-XL, AUTOCOM PRO-XL and
COMPOSER PRO-XL are electronically balanced to avoid hum problems.

You can, of course, also connect unbalanced devices to the balanced inputs/
outputs. Either use mono plugs, or link the ring and shaft on stereo plugs
(or pins 1 and 3 in the case of XLR connectors).

1

12

3

input

1 = ground/shield
2 = hot (+ve)
3 = cold (-ve)

For unbalanced use, pin 1 and pin 3 have to be bridged

Fig. 5.1: XLR connections

2

3

output

Fig. 5.3: ¼" TRS connector

Insert send return ¼" TRS connector

strain relief clamp

sleeve
ring
tip

sleeve

ground/shield

ring

return (in)

tip

send (out)

Connect the insert send with the input and the
insert return with the output of the eects device.

Fig. 5.4: ¼" TRS connec tor for insert a pplications

11 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

6. Specications

Audio Inputs

Type XLR and ¼" TRS connectors,

HF-shielded, servo-balanced

Impedance

+4 dBu 90 kW bal., 45 kW unbal. @ 1 kHz

-10 dBV 180 kW bal., 90 kW unbal. @ 1 kHz

Operating level +4 dBu/-10 dBV (switchable)

Max. input level +22 dBu balanced and unbalanced

CMRR typ. 40 dB, >60 dB @ 1 kHz

Audio Outputs

Type XLR and ¼" TRS connectors

Electronically controlled servo-balanced
output stage

Impedance 95 W bal., 50 W unbal. @ 1 kHz

Max. output level +21 dBu, +20 dBm balanced

andunbalanced

Sidechain Inputs

Type ¼" TS connector, unbalanced,

HF-shielded, DC-decoupled

Impedance 45 kW

Max. input level +24 dBu

Expander/Gate Section

Type IRC (Interactive Ratio Control) expander

Threshold variable (OFF to +10 dB)

Ratio variable (1:1 to 1:8)

Attack <1 msec/50 dB, program-dependent

Release variable SLOW: 100 msec/1 dB,

FAST: 100 msec/100 dB

Compressor Section

Type IKA (Interactive Knee Adaptation)

compressor

Threshold variable (-40 to +20 dB)

Ratio variable (1:1 to ∞:1)

Attack/release variable (manual or automatic)

Auto characteristic wave adaptive compressor

Manual attack time variable

(0.3 msec/20 dB to 300 msec/20 dB)

Manual release time variable

(0.05 sec/20 dB to 5 sec/20 dB)

Auto attack time typ. 15 msec for 10 dB, 5 msec for 20 dB,

3 msec for 30 dB

Auto release time program-dependent, typ. 125 dB/sec

Output variable (-20 to +20 dB)

Sidechain Outputs

Type ¼" TS connector, unbalanced,

HF-shielded, DC-decoupled

Impedance 50 W

Max. output level +21 dBu

System Specications

Bandwidth 20 Hz to 20 kHz, +0/-0.5 dB

Frequency range 0.35 Hz to 200 kHz, +0/-3 dB

S/N ratio 115 dB, unweighted, 22 Hz - 22 kHz

THD 0.008% typ. @ +4 dBu, 1 kHz, gain 1

0.07% typ. @ +20 dBu, 1 kHz, gain 1

IMD 0.01% typ. SMPTE

Crosstalk dB @ 1 kHz

Peak Limiter Section

Type IGC (Interactive Gain Control)

peaklimiter

Level variable (0 dB to OFF (+21 dBu))

Ratio ∞:1

Level 1 limiter type clipper

Attack “zero”

Release “zero”

Level 2 limiter type program limiter

Attack program-dependent, typ. <5 msec

Release program-dependent, typ. 20 dB/sec

12 MULTICOM PRO-XL MDX4600/COMPOSER PRO-XL MDX2600/AUTOCOM PRO-XL MDX1600 User Manual

De-Esser Section

Type VAD (Voice-Adaptive De-esser)

MDX260 0

Filter frequencies 8.6 kHz (female), 7.5 kHz (male)

Filter bandwidth program-dependent

Level reduction variable, max. 15 dB

MDX16 00

Filter frequency 5-8 kHz

Filter bandwidth program-dependent

Level reduction max. 15 dB

Dynamic Enhancer Section

Type IDE (Interactive Dynamic Enhancer)

MDX4600

Filter frequency 2.5 kHz (lower cut-o frequency)

Characteristic high-pass lter (6 dB/oct.)

Power Supply

Mains Voltage

USA/Canada 120 V~, 60 Hz

U.K./Australia 240 V~, 50 Hz

Europe 230 V~, 50 Hz

General export model 100 -120 V~, 200 -240 V~, 50 - 60 Hz

Power Consumption

MDX4600 max. 18 W

MDX2600/MDX1600 max. 15 W

Fuse

MDX4600 100 -120 V~: T 630 mA H

200 -240 V~: T 315 mA H

MDX2600/MDX1600 100 -120 V~: T 250 mA H

200 -240 V~: T 125 mA H

Mains connection standard IEC receptacle

Dimensions/Weight

Dimensions approx. 1 ¾ x 19 x 8 ½"

approx. 44.5 x 483 x 217 mm

Boost max. 28 dB @ 7.5 kHz

MDX260 0

Filter frequency 2.5 kHz (lower cut-o frequency)

Characteristic high-pass lter (6 dB/oct.)

Boost max. 28 dB @ 7.5 kHz

MDX16 00

Filter frequency 2.5 kHz (lower cut-o frequency)

Characteristic high-pass lter (6 dB/oct.)

Boost variable, max. 40 dB @ 7.5 kHz

MDX4600

Weight approx. 5.3 lbs / 2.4 kg

Shipping weight approx. 7.9 lbs / 3.6 kg

MDX260 0

Weight approx. 5 lbs / 2.3 kg

Shipping weight approx. 7 lbs / 3.2 kg

MDX16 00

Weight approx. 5.3 lbs / 2.4 kg

Shipping weight approx. 7.5 lbs / 3.4 kg

BEHRINGER m akes every ef fort to ensure th e highest standa rd of quality. Necess ary modific ations are carrie d
out witho ut notice. Thus, the sp ecificatio ns and design of the dev ice may differ f rom the informatio n given in
this manual.

We Hear You