![2 bus compressor mixer signal path 2 bus compressor mixer signal path](https://i.pinimg.com/originals/07/93/78/0793789f35d0fb017d128fadd0e2b6b7.jpg)
Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension.
![2 bus compressor mixer signal path 2 bus compressor mixer signal path](https://files.sirclocdn.xyz/tiganegerimusic/products/_210218142852_Behringer%20X1222USB(3)_full.png)
In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Center-panned elements like solo instrument or vocal can be brought forward in a mix, in relation to supporting instruments. The depth control adjusts the spatial positioning of elements in the sound stage. both channels include closely similar material that is in phase), this mono content is enhanced. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. The width control enables the user to increase or decrease the width of a stereo image (wide/mono) and adjust the amount of ambience inherent in the recording. The stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters. Additionally, the limiters share the same discrete, class-A gain module and VCA with the compressors, so using the Limiter does not introduce more stages that the music would have to pass through.
#2 bus compressor mixer signal path free#
In this manner, the MBP’s limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast-acting limiter. This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). Our new Adaptive Release Technology is behind this revolutionary performance.
#2 bus compressor mixer signal path how to#
At first glance, one might scoff at the single knob operation – however, this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. The MBP also features an extremely versatile, transparent and musical limiter. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements. And lastly, Blend creates a parallel mix between the compressed and dry signals. SC HPF inserts a high pass filter at 125 Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. Peak mode alters the compressor’s attack to react to peak transients with a roughly. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent “modern” response (feed-forward), or a smoother, more musical “vintage” response (feed-back). Ich kenne keine wirkliche Alternative außer zwei eher exotischen anderen Klonen, die man aus Großbritannien oder Chile bestellen muss.The MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. Ich kann eine Empfehlung aussprechen, wenn man zwischen eher statischen Plugins und der "Magie" des Originals zu landen bereit ist, und den Transformer als "nicht SSL typischen" weil schmutzigen Bonus mitnimmt. Und schaltet man den Transformer zu, kommt eine ganz unverhofft schöne Sättigung und Mittenanhebung zum Signal. Aber er ist als Compressor für Summenkanäle oder Drums oder dynamische Vokals ziemlich nah dran - ich würde grob schätzen so bei 80 Prozent. Er liegt auch noch nicht ganz auf Augenhöhe mit dem SSL Compressor, der im Sixx eingebaut ist (den ich auch oft nutze). Mit einem Original SSL Bus-Compressor kann der Bus-Comp nicht mithalten. Ich benutze den Bus-Comp sehr gerne und bin ein kleiner Warm-Audio-Fanboy geworden. Sein Preis aber liegt im Vergleich zum Original bei unter einem Fünftel. Sein großes Vorbild ist der SSL Bus Compressor. Seine Herkunft leugnet der Bus-Comp nicht.