Behringer MDX1400 - Manual (Page 11)

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AUTOCOM PRO MDX1400
22 AUDIO IN. These are the audio inputs of your AUTOCOM PRO, available both as balanced 1/4" TRS
and XLR connectors.
23 AUDIO OUT. These are the audio outputs of your AUTOCOM PRO. Matching phone jack and XLR
connectors are wired in parallel. These outputs can be transformer-balanced by retrofitting the optional
output transformer OT-1.
24 With the OPERATING LEVEL switch you can adapt the AUTOCOM PRO to various operating levels,
i.e. you can select both the -10 dBV home recording level and the professional studio level of +4 dBu.
The level meters are referenced automatically to the selected level, i.e. an optimum operating range of
the meters will always be ensured.
25 SC SEND. This is the unbalanced sidechain output which allows for routing the audio signal to external
processing devices.
26 SC RETURN. This is the unbalanced sidechain input used to return any external or processed control
signal.
3. APPLICATIONS
In this section, several typical applications of the BEHRINGER AUTOCOM 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 AUTOCOM PROs
capabilities in the future.
Main Applications And Initial Settings
The main applications of the BEHRINGER AUTOCOM PRO can be divided into three categories:
1. The EXPANDER/GATE section is used to eliminate interference and to suppress background noise and
leakage on individual tracks in multitrack recording.
2. 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.
3. The subsequent DYNAMIC ENHANCER section is designed to freshen the signal after compression.
3.1 Compression/Levelling/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.
Levelling
The levelling 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. Levelling requires slow attack and release times, combined with a high ratio.
Because of the very slow response time, levelling 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.
3. APPLICATIONS