|
|  | | Behringer |
Model Options:
Behringer Tube Composer T1952 ProcessorBehringer's audio engineers have designed their Ultra Tube circuitry to deliver the desired warmth and additional power associated with that tube sound. Now you can get that real kick, when tubes are working past their saturation point - without the headaches. Ultra Tube circuitry continuously generates the tube sound, regardless of level, and guarantees clean, transparent audio to boot. The Warmth control you'll find on all new Behringer tube devices allows you to add precisely the desired amount of additional harmonics to the original signal: your key to the coveted tube sound. With the new Ultra Tube circuitry Behringer has managed to combine state-of-the-art solid state technology with the classic warmth of tubes, and created a revolutionary new product line for you: the Vintager line. XLR and 1/4 inch TRS I/O, and premium tubes are features throughout.
T1952 Tube Composer Dynamics Processor
Now the famous Behringer Composer Pro is available in a tube version. The Tube Composer provides various dynamics processing functions just like its solid-state, industry-standard counterpart including compression, expansion gating, peak and program limiting. Features include auto/manual attack and release switching, a switchable stereo link mode and can be set to +4 dBu or -10 dBV, inputs and outputs with XLR and 1/4 inch TRS connectors and relay-controlled hard bypass.
Behringer T1952 Tube Composer Compressor Features
- Special Warmth control and selected 12AX7 tubes allow you to precisely add the desired amount of tube sound to your audio
- IKA (Interactive Knee Adaptation) combines soft knee and hard knee characteristics
- Automatic or manually controllable attack and release times
- Switchable high-pass filter and monitor function for side chain
- Compression switchable between interactive knee and hard knee operation
- IGC (Interactive Gain Control) peak limiting circuit combines clipper and program limiter
- IRC (Interactive Ratio Control) expander/gate circuit for gentle disturbance suppression
- Precise displays for input and output level and gain reduction
- Stereo link function
- Servo-balanced inputs and outputs with 1/4 inch TRS and gold-plated XLR connectors
- Relay-controlled hard bypass switch with auto bypass function in case of power failures (safety relay)
- Manufactured under ISO9000 certified management system
The VINTAGER Technology
Digital audio technology has undeniably given us several advantages regarding audio quality, recording capacity and efficient signal processing. There are still many people, however – people like you that live for music – that prefer the warm sound that only comes from tubes. A technology that has been around for decades. From the unmistakable sound of a tube guitar amp to the warming of a digital recording with the help of a tube processor, this classic technology is experiencing a remarkable revival in today's audio world. Unfortunately, this popular tube sound is often accompanied by noise, hum and failures. How many stories have you heard about tube equipment failing at precisely the wrong moment? That's what motivated BEHRINGER's audio engineers to look for a possibility to combine the classic tube sound with the reliability and signal purity of solid state technology. Uli Behringer's passion for vintage tube radios, along with two years of intensive research by BEHRINGER's engineering team, resulted in a revolutionary development: the ULTRA TUBE circuit.
Usually, the desired warmth and additional power associated with that tube sound are only created when tubes are working past their saturation point. That's when the additional harmonics are generated that give tubes their unmistakable sound; their personality. We've developed a technology, which continuously generates the desired tube sound, regardless of level, and guarantees clean, transparent audio to boot. The "Warmth" control you'll find on all new BEHRINGER tube devices allows you to add precisely the desired amount of additional harmonics to the original signal: your key to the coveted tube sound. With the new ULTRA TUBE circuitry BEHRINGER has managed to combine state-of-the-art solid state technology with the classic warmth of tubes, and created a revolutionary new product line for you: the VINTAGER line.
TUBE COMPOSER T1952: the masterpiece is complete!
The BEHRINGER COMPOSER PRO has become the industry standard compressor for numerous applications. Today, you'll find stacks of COMPOSER PRO's in the racks of professional touring companies as well as in leading studios the world over. Now there's a device that combines the COMPOSER's famous interactive concept with modern tube technology: the TUBE COMPOSER T1952.
Five dynamic processing functions
Just like its solid-state counterpart, the TUBE COMPOSER offers various dynamic processing functions. Fully automatic as well as manual compression, for example. Not to mention expander/gate, peak and program limiter. The TUBE COMPOSER's IKA circuitry combines the advantages of hard knee and soft knee compression in a single dynamic processing function. The acoustic result is always entirely natural and transparent, even in the case of extreme compression ratios. The IRC circuit of the expander/gate section enables musical fade outs, makes the threshold setting less critical and virtually eliminates chattering – even at critically low S/N levels. The limiter section offers two stages of dynamic control: first, a peak limiter applies instant brickwall limiting. If clipping occurs, the IGC program limiting circuitry is activated, reducing the input level to eliminate overloading.
Tension and relaxation: attack and release
Activate the intelligent Auto function, and the TUBE COMPOSER relieves you from the constant re-setting of attack and release times. For creative envelope shaping or percussive signal processing, you can of course choose the manual mode and set attack and release times yourself.
Completely equipped
The T1952 also features a switchable stereo link mode and can be set to +4 dBu or -10 dBV. Servo-balanced inputs and outputs with XLR and 1/4 inch TRS connectors and a relay-controlled hard bypass function ensure trouble-free operation and prevent nasty surprises in the case of power failures.
A COMPOSER with tubes
BEHRINGER's ULTRA TUBE circuitry breathes life into your music without adding noise. You can precisely add the desired amount of overtones with the Warmth control. Painstaking construction and carefully selected components and tubes ensure that your TUBE COMPOSER will be a reliable partner in any and all live or studio situations for years to come.
Behringer T1952 Compressor Specifications
Audio Input
- Connectors XLR and 1/4 inch TRS jack
- Type RF filtered, servo-balanced input
- Impedance 50 kOhm balanced, 25 kOhm unbalanced
- Nominal Operating Level +4 dBu/-10 dBV switchable
- Max. Input Level +21 dBu balanced and unbalanced
- CMRR typ. 40 dB, >55 dB @ 1 kHz
Audio Output
- Connectors XLR and 1/4 inchTRS jack
- Type electronically servo-balanced output stage
(optional transformer-balanced)
- Impedance 60 Ohms balanced, 30 Ohm unbalanced
- Max. Output Level +21 dBu, +20 dBm balanced and unbalanced
SC Input
- Connector 1/4 inchTRS jack
- Type RF filtered, DC de-coupled, unbalanced input
- Impedance >10 kOhm
- Max. Input Level +21 dBu
SC Output
- Connector 1/4 inchTRS jack
- Type RF filtered, DC de-coupled, unbalanced output
- Impedance 2 kOhm
- Max. Output Level +21 dBu
System Specifications
- Bandwidth 18 Hz to 30 kHz, +/- 3 dB
- Signal-to-noise ratio > 100 dB, unweighted, 22 Hz to 22 kHz
- THD: 0.008 % typ. @ +4 dBu, 1 kHz, Gain 1
0.04 % typ. @ +20 dBu, 1 kHz, Gain 1
- IMD 0.01 % typ. SMPTE
- Crosstalk < -100 dB, 22 Hz to 22 kHz
- Stereo Coupling true RMS detection
Expander/Gate Section
- Type IRC (Interactive Ratio Control) Expander
- Threshold variable (OFF to +15 dB)
- Ratio variable (1:1 to 1:8)
- Attack < 1 ms / 50 dB, program dependent
- Release variable (SLOW: 100 ms / 1 dB, FAST: 100 ms / 100 dB)
Compressor Section
- Type IKA (Interactive Knee Adaption) Compressor
- Threshold variable (-40 dB to +20 dB)
- Ratio variable (1:1 to oo:1)
- Threshold characteristics variable (Interactive or Hard Knee)
- Auto characteristics Wave Adaptive Compressor
- Manual Attack Time variable (0.5 ms / 20 dB to 100 ms / 20 dB)
- Manual Release Time variable (0.05 ms / 20 dB to 5 s / 20 dB)
- Auto Attack Time typ. 15 ms at 10 dB, 5 ms at 20 dB, 3 ms at 30 dB
- Auto Release Time program dependent, typ. 125 dB/s
- Output variable (-20 to +20 dB)
Peak Limiter Section
- Type IGC (Interactive Gain Control) Peak Limiter
- Threshold variable (+4 dB to OFF (+22 dBu))
- Ratio oo:1
- Stage 1 Limiter Type Clipper
- Attack zero
- Release zero
- Stage 2 Limiter Type program Limiter
- Attack program dependent, typ. < 5 ms
- Release program dependent, typ. 20 dB/s
Function Switches
- SC Extern switches the detector section to the external SC input
- SC Mon monitoring the external SC input, disengaging the normal audio
- Iinteractive enables the Interactive Knee Adaptationcharacteristics
- Contour allows for frequency dependent detection
- Auto enables the automatic and program dependent setting of the Attack-/ release times, disengaging the manual Attack-/Release controls
- I/O Meter switches between input and output for the Level Meter
- In/Out relay-controlled hard-bypass
- Operating Level changes the internal reference level from +4 dBu to -10 dBV
- CH 1 Master linking both channels for stereo operation. Channel 1 becomes master
- Warmth variable (+10 dB to +60 dB)
Options
- Output Transformer BEHRINGER transformer OT-1 retrofittable
Power Supply
- Mains Voltages
- USA/Canada 120 V ~, 60 Hz
- U.K./Australia 240 V ~, 50 Hz
- Europe 230 V ~, 50 Hz
- General export model 100 - 120 V ~, 200 - 240 V ~, 50 - 60 Hz
- Fuse
- 100 - 120 V ~: T 1 A H
- 200 - 240 V ~: T 500 mA H
- Power Consumption max. 30 Watts
- Mains Connection standard IEC receptacle
Physical
- Dimension (H x W x D) app. 3 1/2 (89.5 mm) x 19 (482.6 mm) x 8 1/2 inches (217 mm)
- Net Weight app. 8.0 kg
- Shipping Weight app. 10.0 kg
BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time
to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.
|
|
Rate and Review this Product:
 | |
| | 8 people wrote reviews | |
| | AMS Customer from USA | | Overall Ranking: | | Quality:
|  | | Features:
| | | Ease of Use:
| | | Value:
| | | Subject: | For the money, the best buy I have seen. | | Overall:
| This thing sounds very good, is VERY easy to use, and looks great in your rack. There are better compressors out there, but for three times the price they had better be! For the home studio owner (as I am) this is probably one of the must have pieces of gear out there. | |
| | AMS Customer from USA | | Overall Ranking: | | Quality:
| | | Features:
| | | Ease of Use:
| | | Value:
| | | Subject: | Simply incredible! | | Overall:
| The bass player in my band has recently enjoyed a fattening of his Fender tone in our recordings. The Behringer Tube Composer is behind it. It's very easy to use, and quite intuitive in its operation (even someone who doesn't know how to use a compressor will find it easy to learn). Rather than EQ a bass to try to make the low notes quiter and the high notes louder, pass it through this baby at about a 3:1 to 4:1 ratio--with just enough limiter to get the LEDs to wink at you occasionally. The result is a perfectly clean, consistent bass tone with tons of bite and high-end that hits as hard as the low. I own four compressors, and this is the only one I'll run a bass guitar through now! As he puts it, "It makes me sound a lot better than I am." And it does. I've not used it for drums or vocals, but it does a decent job with guitars too. This is one of those magic boxes that can make a real difference--especially for bassists (or those having to record/mix them). I bought mine f | |
| | AMS Customer from USA | | Overall Ranking: | | Quality:
| | | Features:
| | | Ease of Use:
| | | Value:
| | | Subject: | perfect peice of gear.. | | Overall:
| This thing rocks, i own alot of behringer gear and i love it all.
| |
| | AMS Customer from USA | | Overall Ranking: | | Quality:
| | | Ease of Use:
| | | Value:
| | | Features:
| | | Subject: | AWESOME!! | | Overall:
|
QUALITY:
The thing looks awesome. It seems to be well constructed. I love the knobs, they are tight and stay where you put them. I expect this thing will outlive myself. I have a Joe Meek SC2.2 which I paid $700 and I will still use that maybe for some things, Behringer have made a quality machine that is worth $100's more.
FEATURES:
It's got more junk in the trunk than J. Lo. You can dial in any type of setting you need. The gate works awesome. Matter of fact it's the best noise gate I have heard. The ratio's really work and the auto switch is genius. I prefer to dial in my sounds, but if you were an inexperienced engineer and wanted to produce good quality sounds, this is for you. It will automatically adjust to whatever is going into it.
EASE OF USE:
The manual is easy to read and understand. Lays out everything it is capable of and guides you through hooking it up.
VALUE:
The Behringer is worth $100's more. Behrin | |
| | White Marsh from White Marsh. MD | | Overall Ranking: | | Features:
| | | Value:
| | | Ease of Use:
| | | Quality:
| | | Subject: | This thing is awesome! | | Overall:
| Easy to use, just turn the dials till it sounds right. Great improvement in the bass and drums. cause they tend to push the tubes.
Over all compression with the limiter works great. Did you know Alice Cooper uses this for his vocals! |
|