Being a Behringer pedal, the outer shell is made of plastic, and in this case, it’s finished in an attractive teal color. Despite the plastic housing, it’s still reasonably sturdy, and unless you stomp on it forcefully, it should hold together well. any provision of this Agreement. You may also terminate this Agreement by deleting the Software and all

The Multiband section is where things start to get exciting. Here we find a level control for each of the four frequency bands; these have characteristics similar to a four‑way equaliser, in that the high and low ends have shelving characteristics and the two mid‑range controls are band‑pass types. The frequency ranges covered are: 10Hz‑180Hz, 180Hz‑750Hz, 750Hz‑3.5kHz and 3.5kHz‑20kHz. In addition to the level controls there are separate indicator LEDs for compressor and peak limiter action, In/Out buttons and Set In/Out buttons. The In/Out buttons can be used to disable compressor action in certain parts of the audio spectrum; for example, if you left only the high frequency band active, the Combinator could be used as a de‑esser — or you could leave only the lower band active, to help tame popping. The limiters still work, even when a band is switched to Off, so there's no risk of high‑level signals sneaking through to the output unless the limiter itself is switched off. If any provision of this Agreement is held to be unenforceable or invalid, such provision will be changed and Further switches are provided to monitor the compressor side-chain and to switch to an external side-chain input signal. The compressor's level meter may be switched to monitor the compressor section's input or output, while a separate Gain Reduction meter is provided, along with a three-LED meter above the threshold control to show where the input signal is in relation to the threshold. This meter also registers any gain reduction due to limiter operation. Unlike the expander, which has an Off position on the threshold control, the compressor has a bypass button, as does the de-esser that follows it. The compressor functioned much as expected and was extremely controllable. The soft‑knee function (see box above) gave a much more gentle sound to the compressor, although there are obviously applications where a hard switch from linear to compressed sounds might be preferred. However, with small ratios and the IKA system active the Composer Pro provided very subtle dynamic control indeed.The sustain control was a favorite of ours during the test. We turned it all the at to zero, which pretty much killed any ringing out, resulting in sharp staccato like tones, but when we maxed it out, we could hold notes for what seemed like an eternity. This is a really handy feature for players with lighter guitar’s that might otherwise struggle with natural sustain. of breach by you (during the term of this Agreement) of any of your obligations under the present Agreement. Indemnification

Dynamic control can be performed in many ways. You can modify your performance to restrict the range between your loudest and quietest passages, or 'ride' the faders in anticipation of loud or quiet sections either at the time of the recording or during the subsequent mixdown or mastering. Alternatively, some form of automatic controller can be used to raise quiet sections or reduce louder ones — enter the compressor and limiter. contract in the event you breach a term or condition of this Agreement. You shall use the highest standard of That's where the multi‑band compressor has an advantage, because before applying compression, it splits the audio into several frequency bands and then compresses each band (more or less) independently. I say more or less because some clever linking is needed to prevent the ensuing changes in spectral balance from becoming audible. The advantages of such a system are apparent: a loud bass drum is no longer going to have any significant effect on how much compression is applied to mid‑range sounds such as vocals, or high‑frequency sounds such as cymbals so, in theory at least, it should be possible to apply more compression before any side effects, such as 'gain pumping' or 'breathing', become evident. Behringer's Combinator works on just such a multi‑band principle. or make available through this Software or the content that is made available to you by third parties. No WarrantiesFortunately, we discovered that it had practically no impact. Plugged into our 5 watt tube amp, we heard no discernible difference in tone or noise with the guitar direct to the amp, vs being played through the pedal, with the power off.

The Laws of the jurisdiction where you are a resident, excluding its conflicts of law rules shall govern any I never like to use gates or expanders when recording, because of the risk of messing up a good take, but they are useful when mixing, especially with noisy sources such as electric guitars or antique synths. The expander is far more forgiving than the gate, as is to be expected, and it seems to come in fairly progressively, which helps avoid the starts of sounds getting clipped or decays terminating too abruptly. You still have to take reasonable care setting it up, but in most instances it works well. Gates are less useful on complete mixes, as they can only remove noise during pauses, but they may still be useful for cleaning up starts and ends where you don't have access to computer editing. That leaves the de-esser, which seems only to affect the higher reaches of sibilance, leaving natural 'S' and 'T' sounds largely unchanged. Even when the meter is showing fairly heavy de-essing, there's very little timbral change, so the circuit is obviously more advanced than full-band gain reduction. In practical tests, it wasn't as effective as the de-esser on my SPL Channel One (admittedly far more expensive), but it was able to cope with most routine jobs with hardly any of that annoying 'lispiness' that many de-essers impose. Verdict revision is material, we will provide at least 30 days' notice prior to any new terms taking effect. WhatThough the two channels may be used independently, they may also be linked for stereo use; to add to the creative flexibility of the Combinator, a separate level control is provided for each of the four frequency bands, allowing the four bands to be re‑balanced if required. The limiter circuits come after these level controls and also after the master gain control so that the limiter threshold isn't affected by any resetting of the other controls. Separate Limit and Compress status LEDs are provided for each of the four channels to show exactly when and where gain reduction is taking place. The secret behind the COMPOSER PRO-XL MDX2600’s incredible sound is our Tube Modeling processor, which exudes the very essence of tube and compression. This amazing circuitry accurately emulates the performance characteristics of highly sought-after classic tube compressors, creating a sound that is so rich in harmonic content – you’ll wonder where we hid the tubes! Options Abound