behringer's(agh) 3 compressors

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detuned6

Metal dude
Ok i was just over at zzounds and they got the
autocom $70
composer $90 w/free ground shipping!
muilticom $100 w/frree ground shipping!

seems like the cheapest prices ive seen on these, ive heard good things about the composer, but......... what is the differance and sound quaility of these units, which is better. I have like no money- but, the composer for $90 is kinda tempting(please Mr.Visa)

or should i hold out till november/dec to get a RNC. For the same price of the RNC i could get 4 channels of behringer compression.
 
Well, their website states:
"The AUTOCOM PRO features the same extensive, IKA-based compressor/limiter section as the COMPOSER PRO. Instead of a separate peak limiter, however, the MDX1400 sports a unique dynamic enhancer, enabling subtle and musical compensation for the bass “boost” effect resulting from heavy compression. "

As far as the multicom is concerned; here you got 4 channels, but no control over the attack and release.

Don't know how handy the dynamic enhancer would be compared to the peak limiter. Or the other way around. I'd go with the peak limiter since that seems more handy to me in a live environment. (I do livemixes occasionally....)
 
I have the 'Multicom', and find it to be great for what I use it for...Live Vocals. However, I would not use it as a compressor in a recording/mixing situation, because it has no control of the attack/release. For recording, I would only use it as a peak limiter.

I have no experience with the other Behringer compressors, but hear the 'Composer' is supposed to be pretty nice (especially for the price).
 
I have the Composer Pro MDX 2200, and have been VERY happy with it!! The expander allows you to get rid of a good amount of background noise, and is quite easily controlled so you don't cut off your source with it. Like anything, you have to play with it. It has a side-chain on both channels, though I haven't used that feature yet. The compressor adds no artifacts that I have heard yet, that you often hear on cheaper compressors. The compressor in combination with the limiter are great. The only way I could beat it was to run my bass through it and play slap, but slapping the string right INTO the pickup. Regular slap was handled beautifully!!

Chris
 
I have the Autocom.....great limiting....compressor is pretty decent too....

i dont think there will be a difference is sound quality between the units, mostly just different feautres (as have been pointed out)......
 
I saw where Mars had those same models for ten dollars less than you quoted above.
 
Get the Composer. I've got three older units (MDX 2100 and 2000), and I'm *very* happy with them.

One of the main differences between the Autocom an the Composer is that the latter has hard bypass, which is a rare feature on lower priced gear. Hard bypass means the sound is not altered when the unit is in bypass mode, so you can keep it plugged into the insert. I find this pretty handy, as I don't have to buy a patchbay and lots of cabels. I just keep buying more (used) Composers ;)
 
The Behringer website shows three new compressors, which is why prices are dropping on the current models. The new ones add gates.

Glenn D.
 
Yep, both the Composer and the Autocom have gates, which actually do their job very well. On my old Boss compressor the gate was virtually unusuable, at least for tracking. The Autoquad, however, never had gates, but the new model seems to have gates, too. Since there's still no detailed product descriptions or manuals, I suspect It'll take a while before the new models hit the stores. I actually prefer the old 2100 Composer; it just looks more solid. The new Composer model seems to have a deesser, though. Still, I'm not excited about the SMD technology that they have been using since the PRO series. Last weekend I opened my Behringer units, just to see what the boards look like (actually made pictures, too). The old ones look pretty decent, lots of metal film resistors and Behringer's own opamps. I've only got one PRO unit, a parametric EQ, and when you open it, all you see is the power supply, no board at all! Upon closer inspection you'll find that thanks to SMD technology the board is so small it fits into the space behind the controls. So it's exactly the size of the front pannel. Oh, and by the way: it's been reported that the Composer uses DBX VCAs. That's not true. It does use a DBX RMS level sensor chip, but other than that, there's no DBX chips in there. Actually the later units have a THAT sensor chip instead of the DBX chip, but from what I could gather from the website, DBX doesn't make chips anymore, and THAT has taken over that field from DBX.
 
Hey All,

I have the Behringer 2200 (I think..I am at uhh, work, right now). Anybody here have any tips on where to go to learn how to effectively use it?

In case it matters, the first project I plan on using it for will include a double bass (pizz, and possibly arco, also), acoustic guitar, and vox, so I will want to learn to use it for recording those instruments first, if at all possible.

I am a total newb, I only got it on the word of someone whose work I really respect. He said a compressor is an absolute must, and that the behringer models were usually pretty good, especially for the price. Alas, I only get to pick his brain once in agreat while.....

Muchas Gracias in advance, people!
 
This is what I've heard - in a nutshell

Composer - good for final mix (limiter), not so good for vocals
Autocom - good for vocals(enhancer), not so good for final mix
 
I forgot to mention that I have the Autocom and I'm happy with it.
 
NeuzGrouper said:
Hey All,

I have the Behringer 2200 (I think..I am at uhh, work, right now). Anybody here have any tips on where to go to learn how to effectively use it?

In case it matters, the first project I plan on using it for will include a double bass (pizz, and possibly arco, also), acoustic guitar, and vox, so I will want to learn to use it for recording those instruments first, if at all possible.

I am a total newb, I only got it on the word of someone whose work I really respect. He said a compressor is an absolute must, and that the behringer models were usually pretty good, especially for the price. Alas, I only get to pick his brain once in agreat while.....

Muchas Gracias in advance, people!
Click to expand...

Que Pasa Amigo!

Experimentation is the key to finding the rite setting when processing. Keep in mind that the 2200 has a slight delay when changing thresh and ratio settings, therefore it's wise not to
record a track unless you are satisfied with the proc'd signal.
I RARELY use the 2200 on bass, but for peak levelling and simple
normalization.
 
Awesome! Muy apreciado. (I am going to get in over my head on the spanish in a hurry, I am using dictionary.com...)

One more question, if I may: Do you ever track with compression?
 
Tracking with compression depends on whether you want it or need it, quite simply. Tracking with ANY signal processing can not be undone - it's there. You can always add later. However, maybe you like the way a particular compressor colours your sound... then track with it. Maybe you are recording something with a really wide dynamic range, and want to keep a hot input level without clipping your converters.... use it.

Chris

I track bass, vocals, and live drums with compression.
 
Thanks!

Now I know some of the more broad params to go with, it's time to get to the "What do I do to even get the thing to do ANYTHING" stage....
 
Maybe I am overdoing it, but...

I also just want to say "Thanks" to everyone who took the time to post replies to me. I still can't believe how great everyone on here is.
 
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