T1952 User´s Manual Bedienungsanleitung December 1998 TUBE COMPOSER ® Version 1.0 www.behringer.
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SAFETY INSTRUCTIONS CAUTION: To reduce the risk of electrical shock, do not remove the cover (or back). No user serviceable parts inside; refer servicing to qualified personnel. WARNING: To reduce the risk of fire or electrical shock, do not expose this appliance to rain or moisture. This symbol, wherever it appears, alerts you to the presence of uninsulated dangerous voltage inside the enclosure - voltage that may be sufficient to constitute a risk of shock.
TUBE COMPOSER Audio Interactive Dual Channel Expander/Gate/Compressor/Limiter/Peak Limiter. T1952 s Our new ULTRA-TUBE® circuitry warms up your music, without unwanted noise. s A special Warmth control lets you add the amount of tube sound you want. s Selected 12AX7 tubes for outstanding, ultra musical tube sound.
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 products), and adapt it to meet the high sound quality and dynamics requirements of modern, pro-level audio technology.
TABLE OF CONTENTS 1. INTRODUCTION..................................................................................................................... 8 1.1 The concept .................................................................................................................................... 8 1.2 Before you begin ............................................................................................................................. 9 1.3 Control elements ......................................
5. INSTALLATION ..................................................................................................................... 32 5.1 5.2 5.3 5.4 Rack mounting .............................................................................................................................. Mains connection .......................................................................................................................... Audio connections ...........................................................
1. INTRODUCTION In purchasing the new TUBE COMPOSER Model 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 own independent Compressor/Limiter, an Expander/Gate and a Peak Limiter complemented by an extremely low-noise Tube Stage.
bilities 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 clipper and a program limiter. Above an adjustable threshold the Peak Limiter begins to function and restricts signal peaks radically (clipper).
1.3 Control elements Fig. 1.1: The 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 converts to stereo mode by engaging the CH 1 MASTER switch, where the left channel assumes the control of both audio channels, i.e.
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 actual state of the input signal relative to the THRESHOLD setting. The IKA-Soft Knee range is indicated by the middle yellow LED.
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 the display is switchable between -10 dBV or +4 dBu with the OPERATING LEVEL switch.
25 27 29 31 E 26 28 30 Fig. 1.4: The back panel of the TUBE COMPOSER 25 SERIAL NUMBER. Please take the time to have the warranty card filled out completely by your specialized dealer and return it within 14 days after the date of purchase, so as to be entitled to benefit from our extended warranty. 26 MAINS CONNECTION / FUSE HOLDER - VOLTAGE SELECTOR. Use the enclosed power cord to connect the unit to the mains. Please also note the instructions given in the INSTALLATION Chapter.
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 dynamic level is dependent on the threshold, attack, release and ratio settings.
Output Gain 0 dB Threshold IRC-Curve E Expander, 1:8 Noise Gate, 1:oo Input Fig. 5.1: 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 soft with low ratio settings, while the known negative effects of expansion are inaudible. The Attack time of the IRC Expander is set automatically and program-dependent, i.e.
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 the help of a mixing console.
Control element IN/OUT switch SC EXT switch SC MON switch INTERACTIVE/HARD KNEE switch SC FILTER switch THRESHOLD control COMPRESSOR section RATIO control AUTO switch OUTPUT control LIMITER control GAIN RED/LEVEL switch W ARMTH control Setting IN OFF OFF INTERACTIVE OFF +20 dB 3:1 AUTO 0 dB OFF GAIN RED. COLD E Tab. 2.2: Initial settings for the Compressor section Rotate the THRESHOLD control counter-clockwise until an appropriate amount of gain reduction is indicated on the GAIN REDUCTION meter.
Peak Limiting Level Program Limiting Release Threshold Input Output 5 ms 10 20 20 ms approx. 1 s 30 t/ms Fig. 5.3: 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. The areas between the graphs represent the amount of gain reduction (bright areas are clipping areas, i.e.
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.
3.1.3 The TUBE COMPOSER in digital recording and sampling In an analogue 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.
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 overload the power supply in the amplifier(s).
3.3 The TUBE COMPOSER as a sound effects unit In the early 1960s, 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 which are now considered indispensable in contemporary music. The Compressor is used in this role because you can hear it working, and control of the dynamic range is of secondary importance.
3.6 Sidechain 3.6.1 The TUBE COMPOSER as a 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 cause an otherwise normal and undistorted voice to sound very harsh, shrill and sometimes unintelligible. The solution is frequency conscious compression or limiting.
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 compression, which reacts as soon as increased energy is detected in this band. By increasing the threshold level, the compression can be made to react only to loud pedal or stick actions.
Jet Engine 160 140 Sound-Pressure Level (dB SPL) Threshold Of Pain Power Drill 120 "Loud" Office 80 Normal Conversation 60 40 E Machinery Hall 100 Quiet Apartment Recording Studio 20 Falling Leaves 0 Threshold Of Audibility Fig. 4.1: Dynamic range of human hearing The range of sound pressure levels or the dynamic range of human hearing encompasses a factor of 10,000,000.
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 the replay head can also cause uncontrolled currents and voltages. The resulting sound of the various frequencies is heard as noise.
E 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 called a compressor or limiter. 4.1.
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 becomes inaudible as soon as considerably louder sound signals in the same frequency band are added.
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 consider digital recordings as sterile in sound. 4.4 Design and functional principle of tubes Tubes can be roughly classified according to the number of electrodes they use.
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 from the anode plate when it is hit by arriving electrons. To prevent this electron emission, a decelerating or suppressor grid is placed between anode and screen grid.
differentiates very clearly in the frequency range of human speech. 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.
A similar effect can be perceived when analog tape is saturated. This saturation effect also compresses the recorded audio material and produces additional harmonics. dB 100 analog Mixing console Compact Disc Analog tape Analog records FM Radio 25 Video tape 50 Digital tape (16 Bit) 75 Fig. 4.8: Dynamic range of various media 5. INSTALLATION Your BEHRINGER TUBE COMPOSER was carefully packed in the factory and the packaging was designed to protect the unit from rough handling.
voltage, remove the fuse holder and twist it by 180 degrees before you reinsert it. Matching the two markers monitors the selected voltage. + If the unit is switched to another operating voltage, the fuse rating must be changed. See the technical specifications in the appendix A safety fuse protects the unit from serious defects. If the fuse blows, this is a warning sign and always indicates that the circuit is overloaded. The fault must always be repaired before the fuse is replaced.
Unbalanced use of mono 1/4" jack plugs Balanced use of stereo 1/4" jack plugs Tip = Signal Tip = hot (+ve) Ring = cold (-ve) Sleeve = Ground / Shield Sleeve = Ground / Shield Tip Tip Sleeve Ring Sleeve Strain relief clamp Strain relief clamp For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.
6. TECHNICAL SPECIFICATIONS Audio input Connectors Type Impedance Nominal Operating Level Max. Input Level CMRR Audio output Connectors Type XLR and 1/4" TRS jack RF filtered, servo-balanced input 50 kOhm balanced, 25 kOhm unbalanced +4 dBu/-10 dBV switchable +21 dBu balanced and unbalanced typ. 40 dB, >55 dB @ 1 kHz Impedance Max. Output Level XLR and 1/4" TRS jack electronically servo-balanced output stage (optional transformer-balanced).
Peak Limiter section Type Threshold Ratio Stage 1 Limiter Type Attack Release Stage 2 Limiter Type Attack Release Function switches SC Extern SC Mon Iinteractive Contour Auto IGC (Interactive Gain Control) Peak Limiter variable (+4 dB to OFF (+22 dBu)) oo:1 Clipper zero zero Program Limiter program dependent, typ. < 5 ms program dependent, typ. 20 dB/s I/O Meter In/Out Operating Level CH 1 Master Warmth switches the detector section to the external SC input.
7. WARRANTY § 1 WARRANTY CARD To be protected by this warranty, the buyer must complete and return the enclosed warranty card (signed/stamped by retail dealer) within 14 days of the date of purchase to BEHRINGER INTERNATIONAL (address see § 3). Failure to return the card in due time (date as per postmark) will void any extended warranty claims. this modification/adaptation shall not be considered a defect in materials or workmanship.
