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1. INTRODUCTION
In purchasing the new COMPOSER PRO Model MDX 2200, you have acquired an extremely efficient and
universal dynamics processor, which combines the most commonly used dynamic functions within a compact
stereo unit: every channel has its own independent Compressor/Limiter, an Expander/Gate and a Peak
Limiter. The precision and flexibility of the functions are the main outstanding features of this high end unit.
Despite the extremely complex internal circuitry, the unit has a control surface which is clearly laid out and
easy to understand. The internal design of the unit, together with its external side-chain path, gives the user
unsurpassed creative flexibility when processing sound.
Advanced Behringer Technology
Compared to its predecessors, the COMPOSER PRO offers several advanced features such as the extended
LED meters for ease of operation when setting the threshold, the adjustable expansion ratio in the expander/
gate section and the side-chain filter. Additionally, we have succeeded in refining the audio properties as well
as the circuit topology.
For the first time, the COMPOSER PRO MDX 2200 uses SMD technology (Surface Mounted Device). These
sub-miniature components known from aerospace technology allow for an extreme packing density, plus
improve the units reliability.
IKA (Interactive Knee Adaption) Compressor
Our proven IKA (Interactive Knee Adaptation) circuit successfully combines the concept of a hard knee
compressor with the characteristics of a soft knee approach. This program-dependent regulation scheme
forms the prerequisite both for inaudible and musical program compression and for creative and highly effec-
tive dynamics processing.
With its IKA circuit the COMPOSER PRO is capable of delivering outstanding musical results both in studio
and live P.A. applications.
Additionally, the COMPOSER PROs side-chain filter allows for limiting the influence low-frequency signal
portions usually have on the control logic, so that the compression ratio is mainly determined by those frequen-
cies that are essential to the loudness perceived by the listener - the midrange frequencies.
IRC (Interactive Ratio Control) Expander
A basic problem in the use of a compressor is the fact that the noise floor is highly amplified during quiet
sections or when there are music pauses. This effect is exaggerated when the compression ratio is
inappropriate. In order to eliminate this problem, one would normally use an additional expander or gate. The
noise is then simply faded out in the quiet sections. However, simple expanders, even when they are used
correctly, drastically cut signals below the preset threshold. This effect becomes more noticeable during the
transition from signal to noise floor. This can mean, that the start or end of words can be cut on a vocal track.
A newly developed IRC (Interactive Ratio Control) Expander has been integrated into the COMPOSER PRO
the ratio of which, is automatically adjusted, depending on the program material. The result is an expander
which is less critical of adjustment and which is more tolerant in the presence of those signals which appear
slightly above the noise floor. Because of its new IRC circuit design, the Behringer COMPOSER PROs
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 COMPOSER PRO is the IGC (Interactive Gain Control) Limiter,
an intelligent combination of a clipper and a program limiter. Above an adjustable threshold the peak limiter
begins to function and restricts signal peaks radically (clipper). If however, the threshold of the limiter was
surpassed for more than a few milliseconds, the IGC circuit automatically kicks in and reduces the level of the
overall output signal so that no audible distortion occurs (program limiter). After the level falls below the thresh-
old, the signal returns to the original value after a period of about 1 second. This IGC circuit proves to be
extremely valuable as much for live work (loudspeaker protection) as for digital situations, where any extreme
signal peaks would exceed the maximum headroom and therefore would cause severe problems. The following
1. INTRODUCTION
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