Compressor may lack character for some applications. Unlike normal enhancers, this one tracks the gain reduction to add more enhancement during times of heavy compression. Further switches are provided to monitor the compressor side-chain and to switch to an external side-chain input signal. This meter also registers any gain reduction due to limiter operation. Unlike the expander, which has an Off position on the threshold control, the compressor has a bypass button, as does the de-esser that follows it.

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It has a compressor—plus a voice-adaptive de-esser, a new dynamic enhancer, authentic tube emulation and more. This compressor can give you control over your mixes, mastering, or recording. Switchable tube simulation for the warmth classic tube. You can automatically or manually adjustable attack and release times. This uses digital tech, and simulates tubes. I think it works the best on the vocals. Easy to use and follow. Just plug in and sing with the gate and limiter set.

It has two main channels with XLR and quarter inch inputs and outputs. The attack time and release time can be set on automatic or manual by 0. You dealing with frequencies and that sometimes are hard to follow. Main frequency 0. The limiter and gate are easy to use. You just play around with the device until you get what you want. You want some response time in your vocals but enough to cut off after your phrase.

It helps a lot in the feeling and style of the recorded audio. Gives you that commercial cut-off sound.

You could use in live venues for sure. You always see tons of rack crates with gear in it at shows and let me tell you, they are heavy. Forget trying to pick one up.

They must have rollers on the bottom, but the sound in this unit comes out clear and clean. You always have to adjust the EQ of the instrument or vocals in your recording software.

Good sound for a low priced item. Meets commercial recording quality. I use one or two general settings to get the right sound. There is always a few tweaks here and there. It is a lower model but puts out a decent sound.

I would buy another compressor for every instrument. This unit is made well. All steel. This item you can tell is put out quick but it does not seem to make a difference. I have a 2nd to compress the overall mix. It is neutral and is suitable for the compression of sound.

The connector is in front of the rear jack or XLR 6. In short, are all in a 1U rack trs cheap. The MDX file a potato can not be my mix! However, it should be remembered that a compressor is not a cache-Misri: A good mix should sound good even before the transition to the compressor.

A BMOL for rglage enhancer and the "light tube": for me, these accessories are useless if the sound source is good enough, and I have some apprhensions for the management of the acute MDX.

I usually do mix quite soft, and I think that the enhancer and the "tube" rajoutent treble aggressive dplaisent me. Of course, I immediately Rasht one if mine breaks. I do not be facing a professional instrument, but a good deal effectively Swiss army knife that will delight home studios, but that did not take the road in a professional studio.

Another plus: the capacity of the MDX to handle a signal that stro plutt two mono signals. The little less: rglages "tube" and enhancer are useless if I think it was a good mix.


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BEHRINGER MDX2600 Composer Pro-XL



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