Compressor as tube effect question

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RandyW

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I have this Tube Composer T1952 that I'm not getting much use out of.
More than likely the fact I don't know what I'm doing using it in a side
chain configuration. When I insert it into a channel I lose that channel in play
back mode using what the company that starts with B' B Channel.
I'm wondering if I could use it sort of as a mic pre "just for tube warmth". I would have to run it into the mic pre with 48V on the mixer since the unit can't
give me the 48V my mics need. What would be the out come of hitting it with the 48V from the mixer.
 
You will have to go through the mixer first. Your mixer may have an insert point on each channel, if it does, hook your compressor up through here. Your compressor will need a line level signal.
 
That is the problem

When I connect the compressor in an insert I get no sound in that channel.
I have 2 different compressors the same result with each.
The mixer is a MX3242X with 16 channels 16 inserts and 16 b channels which are suppose to be a fancy way of listening to previous tracks with out
recabling. There are also 16 direct outs the manuals don't state anything more that you stated plug them into inserts.
Anyone have any experience with this mixer and inserting compressors.
I suppose if I can't make it work with the inserts I could give subgroups a try.
 
The MX3242X has 16 inserts, I just checked the manual online (page 10). An insert functions as both an "in" and an "out" from a single 1/4" jack.

You need a Y cable in order to use this jack. Hosa makes them for about $5. There are two ends, a grey end and a red end. The grey should go into the compressor input. The red should go into the compressor output.

If you don't get sound, try cabling it in reverse (red on input, grey on output).

This has little to do with your question, but I will put this information here because you may find it helpful, and since you asked your past question, I'm assuming you could use this info: Make sure you are using your B channels (returns) to monitor the sound from your tape machine/digital recorder as you are tracking and making overdubs.

Let's pretend you have a microphone plugged into channel 1, which is also track 1 if you are using your direct outs. The channel and recorder would be hooked up as follows:

The microphone would be plugged into channel 1's XLR input. The direct out would be plugged into your recorders input onto track one. You would then connect track one's output back into your mixer, into channel 17, which is about the insert on the same block as channel 1.

After hooking everything up like this, you want to make sure you are monitoring from the recorder. To do this, the recorder must be in record ready mode on the track/channel in question. I'm not sure if on the Behringer this means you have to have the flip switch pressed up or down. On most consoles it would mean that the switch is NOT pushed down. Connected like this, you would record and overdub until you are finished with the song. You would monitor from the Mix B control.

After you are finished recording, you would push the flip switches for each channel down, putting volume and EQ control to the main faders for mixdown.

I hope all of this information helps you and makes things a little bit clearer on how you should be operating. Best wishes,
-MD
 
"You need a Y cable in order to use this jack. Hosa makes them for about $5. There are two ends, a grey end and a red end. The grey should go into the compressor input. The red should go into the compressor output."

I've tried this with the y cables even tryed switching them. I also tried using TSR cables. I still lose play back when I have them inserted.

I'm pressing the flip switch for each channel I want to monitor during over dubbing. I've tried it with the flip switch on and off. I believe this switch will
let you use the everything on the channel for remixing ie, faders, aux, eq.

But I have my monitors hooked up on the main ous, so maybe that could be my problem. I think I read somewhere where they shouldn't be hooked up that way.

Tonite I'll try them hooked to the B outs and see what happens.
However I've tried all these combinations with head phones and still can't get
sound with the inserts connected.

Thanks for the info MD I'll double check software settings make sure I'm monitoring every thing through it then set up monitors on the B outs.

Then all I have to do is figure out how to use the compressors if I'm lucky.
I'm thinking it won't be to bad once I can hear something.
 
Get the sound monitoring on the B channels first, which you'll be able to tell by playing with the B channel volume control (the knob, not the fader).

Keep the faders are unity, which is at 0. Use the gain knob to get the proper amount of volume for the microphone.

I think before you've been monitoring the board and not the recorder. What are you recording on to? If it's a computer, you'll have to double check that all of your monitoring is set up properly in there, which I can't help you with, because I've never really done computer multitrack recording.

See if you can get everything monitored correctly on the B channels first, then we'll tackle the compressor.

-MD
 
MD, I'm recording and playing back through 2 M Audio 1010lts.
I know when I over dub I'm not using the monitoring 100% through the software which is Cakewalk GTP3 only listening to the previously recorded tracks through the mixer and my guitar processor also through the mixer. But of course this is with out any compression hooked up. So that may be another clue to the puzzle.
This evening I'll redo the monitor setup and set the software to do the monitoring of real time tracks as they are being recorded. I avoided monitoring
live tracks thinking it would save me some processing power and latency problems.

Thanks RW
 
OK, I'm beginning to understand. You're trying to run a hybrid setup, between analog mixer and computer, and I think that's where a lot of your troubles are coming into play.

It is possible to do this, but it can get complicated when trying to run everything from the computer into the board.

Ideally you'd want to monitor each track through the channel B returns. With your set up, it may be easiest to do this by submixing within the computer when you overdub, but I don't know for sure because I've never set up a studio this way.

If you were using a tape machine or standalone digital recorder, the channel B would be your best bet, as this is what it was designed for.

I have a Delta 44, and even with only four tracks in and out I haven't been able to have much success with that kind of setup, so I just use the computer for mixdowns now.

Best of luck,
-MD
 
When I started out wanting to record I originally wanted to get a nice reel to reel like an old Tascam 8 channel but could not find one I thought was any good.

I ended up getting a Fostec R8 8 Channel but could not stand the sound of the tape running so fast, limited recording time plus the problems of finding tape for it so I decided just to go the DAW route.

I would like to get something like a HD 24 I think it is by Alesis but I've spent to much as it is for now and want to stay out of the dog house.
 
RandyW said:
I have this Tube Composer T1952 that I'm not getting much use out of. More than likely the fact I don't know what I'm doing using it in a side chain configuration.
Click to expand...


Also very likely that it just plain sucks.

.
 
the Tube composer is an excellent piece of kit when you're trying to get extra loud hiss into your signal path.

You can hear the effect of double tracked hiss at the start of Oasis' cigarettes & alcohol :eek:
 
Gee thanks for all the help guys you really lift my spirits

I have tried the B mix out to the monitors looks like I'm see some action on processor but I can't record in this configuration. The only way it wants work
is with the inserts pulled.

As far as brands go every thing electronic is crap. I don't see a huge difference between the specs of a Heath Allen that goes for a grand and this Behringer that cost about 1/3 of the Heath. In a couple years they will both be obsolete.
So I figure that $700 I saved will just be collecting interest.

I have to admit one thing though Behringer tech support doesn't even exist so I suppose that would be reason alone not to buy it.
 
RandyW said:
As far as brands go every thing electronic is crap.
Click to expand...
Wow. That's an interesting statement. Explain please.
RandyW said:
I don't see a huge difference between the specs of a Heath Allen that goes for a grand and this Behringer that cost about 1/3 of the Heath.
Click to expand...

Use your ears, not specs.
 
I figured it out

My problem was me. I will relay it here for reference other users.

I had my compressors set out in side chain which does not seem to
work on its own. I've since hooked them with straight in and outs
and they work fine. I've hooked up the side chains to equalizers
and that seems to be the function of side chains to hook other
processors into the same insert.

The compressors are the T1952 " a great year "
and the MDX 2600.

Just for the record I don't detect any additional hiss or noise with these
units. In fact with the equalization it is quiter than a clean signal and
no compression.

The only other mixers I have used in the last 30 years are the Tascam PortaStudio 424MKII built in mixer and the Fostex 450 8 channel.
Compared to these mixers the M3242X is as quit as a church mouse.
 
RandyW said:
I had my compressors set out in side chain which does not seem to
work on its own. I've since hooked them with straight in and outs
and they work fine. I've hooked up the side chains to equalizers
and that seems to be the function of side chains to hook other
processors into the same insert.
Click to expand...

Do you know what sidechaining is? Your post seems to indicate that you have no idea how to operate a compressor - maybe I am just misreading????
 
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