Behringer T1952 manual

TUBE COMPOSER ® T1952 www.behringer.com V e r s i o n 1 . 1 O c t ober 2001 Users Manual ENGLISH[...]

2 TUBE COMPOSER T1952 This symbol, wherever it appears, alerts you to important operating and mainte- nance instructions in the accompanying literature. Read the manual. SAFETY INSTRUCTIONS C A U T IO N : To reduce the risk of electric shock, do not remove the cover (or back). No user serviceable parts inside; refer servicing to qualified personnel[...]

3 TUBE COMPOSER T1952 FOREWORD Dear Customer, We thank you for expressing your confidence in BEHRINGER products by purchasing the BEHRINGER TUBECOMPOSER. It is one of my most pleasant tasks to write this preface, as our engineering team has made it possible to enhance the traditional tube circuitry design (particularly for our VINTAGER series of[...]

4 TUBE COMPOSER T1952 T1952 TUBECOMPOSER ® Interactive Tube Dynamic Processor[...]

5 TUBE COMPOSER T1952 T ABLE OF CONTENTS 1 . INTRODUCTION . . ................................................................................................................... 6 1.1 The concept ............................................................................................................................... ..... 6 1. 2 Before you ge[...]

6 TUBE COMPOSER T1952 1. INTRODUCTION In purchasing the new TUBECOMPOSER T1952, you have acquired an extremely efficient and universal dynamics processor, which combines the precision of the solid state technology with the warmth and liveliness of tube technology. The most commonly used dynamic functions are all present. Every channel has its ow[...]

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 Control) limiter, an intelligent combination of a cl[...]

8 TUBE COMPOSER T1952 1. 3 Control elements Fig. 1.1: Front of the TUBECOMPOSER The BEHRINGER TUBECOMPOSER has two identical channels. Each channel is equipped with 7 toggle switches, 9 rotary controls, 6 LEDs and 2 VU meters. The CH 1 MASTER switch is for stereo operation: Fig. 1.2: Expander/gate- and compressor section 1 The TUBECOMPOSER[...]

9 TUBE COMPOSER T1952 6 The THRESHOLD control sets the threshold point for the Compressor section. It has a range of -40 to +20dB. The Soft Knee characteristic is applied to the signal exceeding the threshold point by a maximum of 10dB. Above 10dB, the signal would experience Hard Knee compression. The THRESHOLD LEDs show the a[...]

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 in a range of -30 to +10dB. The nominal level [...]

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 website under www.behringer.com. 26 FUSE HOLDER / [...]

12 TUBE COMPOSER T1952 2.1 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 dynami[...]

13 TUBE COMPOSER T1952 Threshold Gain 0 dB Input Output 1:o o 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 floor. Expansion therefore occurs extremely [...]

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-toms, bass drum and cymbals together with t[...]

15 TUBE COMPOSER T1952 Control element Setting IN/OUT switch IN SC EXT switch O FF SC MON switch OFF INTERACTIVE/HARD KNEE switch INTERACTIVE SC FILT ER switch OFF THRESHOLD c ontrol of the c ompr essor s ection +20 dB RATIO c ontrol 3:1 AUTO sw i tch AUTO OUTPUT control 0 dB LIMITER control OFF GAIN RED./LEVEL switch GAIN RED. W ARMTH control COLD[...]

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 dashed graph above shows the input signal response. Th[...]

17 TUBE COMPOSER T1952 2. 6 The vacuum tube of the TUBE COMPOSER Our engineering team has made it possible to enhance the traditional tube circuitry (particularly for our TUBE COMPOSER) and adapt it to meet the high sound quality and dynamics requirements of modern, pro-level audio technology. The fact that we are still fascinated by antique [...]

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. In contrast to analog, side effects in the[...]

19 TUBE COMPOSER T1952 as the last link in the chain preceding the power amp. Thus, you can effectively avoid damage to the midrange/ tweeter range caused by clipping of the high-energy bass signals. This statement, as paradoxical as it may seem at first, can be explained with the fact that especially low-frequency signals with high amplitudes can [...]

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, laying the groundwork for many of the sounds wh[...]

21 TUBE COMPOSER T1952 3. 6 Side chain 3.6.1 The TUBECOMPOSER as De-Esser De-essing is a special application of frequency selective compression. A problem often encountered in recording, is the sibilant (Ssss) sound of the human voice. High frequency, sibilant sounds and pops can produce very high energy levels which can sometimes ca[...]

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Hz. This setting causes frequency specific com[...]

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 range of sound pressure levels or the dynamic rang[...]

24 TUBE COMPOSER T1952 frequencies are equally affected, we term this white noise. It is fairly obvious that electronics cannot function without components. Even if special low-noise components are used, a certain degree of basic noise cannot be avoided. This effect is similar when replaying a tape. The non-directional magnetic particles passing th[...]

25 TUBE COMPOSER T1952 Fig. 4.3: The interactive relationship between the operating level and the headroom The need therefore arises for a fast acting automatic gain control system which will constantly monitor the signals and which will always adjust the gain to maximize the signal-to-noise ratio without incurring signal distortion. This device is[...]

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 masking effect: noise will be masked and thus bec[...]

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 recordings. This is why purists still today consi[...]

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 charge of the screen grid attracts electrons emitted[...]

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 mimicked with highly sophisticated circuitry. Today[...]

30 TUBE COMPOSER T1952 Video 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 1/2" / 89.5 mm). Please allow at least an [...]

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 between the input and output signals (correction 6dB)[...]

32 TUBE COMPOSER T1952 6. SPECIFICATIONS Audio input Connectors XLR and 1/4" TRS Ty pe RF filtered, servo-balanced input Impedance 50 k O h m balanced, 25 kOhm unbalanced Nominal operating level +4dBu/-10dBV switchable Max. input level +21dBu balanced and unbalanced CMRR t y p . 40dB, >55dB @ 1 kHz Audio output Connectors XLR[...]

33 TUBE COMPOSER T1952 Peak Limiter section T yp e IGC (Interactive Gain Control) peak limiter Threshold va r i a b l e ( + 4 d B t o OFF (+22dBu)) Ratio oo:1 Stage 1 limiter type Clipper A t t a c k zero Release zero Stage 2 limiter type program limiter Att ack program dependent, typ. < 5 ms Release program dependent, typ. 20?[...]

34 TUBE COMPOSER T1952 7. WARRANTY The information contained in this manual is subject to change without notice. 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 BEHRINGER S pezie[...]