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COMPOSER PRO MDX2200
1. INTRODUCTION
In purchasing the new COMPOSER PRO MDX 2200, you have acquired an extremely efficient and universal
dynamics processor, which combines the most commonly used dynamic functions within a compact stereo
unit: every channel has its own independent compressor/limiter, an expander/gate and a peak limiter. The
precision and flexibility of the functions are the main outstanding features of this high end unit.
Despite the extremely complex internal circuitry, the unit has a control surface which is clearly laid out and
easy to understand. The internal design of the unit, together with its external side-chain path, gives the user
unsurpassed creative flexibility when processing sound.
Advanced BEHRINGER technology
Compared to its predecessors, the COMPOSER PRO offers several advanced features such as the extended
LED meters for ease of operation when setting the threshold, the adjustable expansion ratio in the expander/
gate section and the side chain filter. Additionally, we have succeeded in refining the audio properties as well
as the circuit topology.
For the first time, the COMPOSER PRO MDX 2200 uses SMD technology (Surface Mounted Device). These
sub-miniature components known from aerospace technology allow for an extreme packing density, plus
improve the units reliability.
IKA (Interactive Knee Adaption) compressor
Our proven IKA (Interactive Knee Adaptation) circuit successfully combines the concept of a hard knee
compressor with the characteristics of a soft knee approach. This program-dependent regulation scheme
forms the prerequisite both for inaudible and musical program compression and for creative and highly
effective dynamics processing.
With its IKA circuit the COMPOSER PRO is capable of delivering outstanding musical results both in studio
and live PA applications.
Additionally, the COMPOSER PROs side-chain filter allows for limiting the influence low-frequency signal
portions usually have on the control logic, so that the compression ratio is mainly determined by those
frequencies that are essential to the loudness perceived by the listenerthe midrange frequencies.
IRC (Interactive Ratio Control) expander
A basic problem in the use of a compressor is the fact that the noise floor is highly amplified during quiet
sections or when there are music pauses. This effect is exaggerated when the compression ratio is inappropri-
ate. In order to eliminate this problem, one would normally use an additional expander or gate. The noise is
then simply faded out in the quiet sections. However, simple expanders, even when they are used correctly,
drastically cut signals below the preset threshold. This effect becomes more noticeable during the transition
from signal to noise floor. This can mean, that the start or end of words can be cut on a vocal track.
A newly developed IRC (Interactive Ratio Control) expander has been integrated into the COMPOSER PRO the
ratio of which, is automatically adjusted, depending on the program material. The result is an expander which
is less critical of adjustment and which is more tolerant in the presence of those signals which appear slightly
above the noise floor. Because of its new IRC circuit design, the BEHRINGER COMPOSER PRO 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 COMPOSER PRO is the IGC (Interactive Gain Control)
limiter, an intelligent combination of a clipper and a program limiter. Above an adjustable threshold the peak
limiter begins to function and restricts signal peaks radically (clipper). If however, the threshold of the limiter
was surpassed for more than a few milliseconds, the IGC circuit automatically kicks in and reduces the level
of the overall output signal so that no audible distortion occurs (program limiter). After the level falls below the
threshold, the signal returns to the original value after a period of about 1 second. This IGC circuit proves to be
extremely valuable as much for live work (loudspeaker protection) as for digital situations, where any extreme
signal peaks would exceed the maximum headroom and therefore would cause severe problems. The following
instructions should initially familiarize you with the special terms used, so that you can get to know all the
functions of the unit. After you have read the instructions carefully, please put them away safely, so that you
can refer to them again if necessary.
1. INTRODUCTION