Behringer Tube Composer Compressor Review

Behringer Tube Composer Compressor Review

[Applause] [Applause] all right this is a Behringer tube compressor or tube composer and limiter it has two channels it is Model T 1952 with ultra tube circuitry made in Germany I believe I bought this used off eBay for I think it was a hundred and thirty dollars I'm only using channel one right now and you can see the the interactive compression basically because the microphones hooked up right now you're not actually getting the microphone signal right on the video towards the end of the video I'm actually gonna let you hear the compressor as it is so basically I have it hooked up with a Y cable in the back here which you can't see but I'll try to put some demonstration photos it goes from there over here as you can see now that I'm talking a little close from other microphone as you can see the green right there that's my excuse me mixer and I'm only using one channel on that as well obviously before it goes right there into the audio interface so the chain basically is we have a tube compressor but I actually am singing in to the mixer it goes into that Y cable right here this is the Y cable okay and it goes into the back and then obviously it sends the signal right back into here and then over into the audio interface anyway what do I think of this thing well for the price look anything under 200 bucks you can't complain too much about because and their world of compressors and all this other business you know things are sky high there's thousands and thousands you know vintage analog tube gear can fetch as much as 10 or 20 grand for a single unit so at 130 bucks or whatever I got it for which like I said I can't remember I consider this a steal on a deal under it is the composer Pro XL and although I use that for a long time I feel like this thing is a lot better this unit is much louder my my gain over here I want to point out basically that on each channel channel 1 and channel 2 you can turn up your tube warmth when you when you turn up the tube warmth it definitely gets a little bit louder there's not a massive amount of loudness to it what I would say is you can really hear the warmth of the tube what I mean by that is the tube has this lis like a vintage crackly plate electronic sound it's very hard to describe it's almost glassy you know well not surprising tubes or glass enough there's any relation to that but uh is a very glassy plate II like sound that's what I noticed like I said I'm using channel 1 so we have threshold we have slow release we have fast release as C Mon which currently as you can see it's off I don't use it and then the SC ext the interactive or the hardening SC filter and you can also SC filter off the first compression ratio knob over here is a 1 to whatever compression ratio and there's a second compression ratio which is a blank to 1 so 1 to let's say 1 to 6 or 4 to 1 so what I was normally using down here on the old composer Pro Excel as that would turn it right here to a 4 to 1 compression ratio because that's about the amount of compression I like when I sing it maybe a little more I haven't experimented quite a bit or quite enough yet with this thing ok so moving on and then as far as we have the attack your milliseconds obviously from 1 to 150 the auto versus the manual and you can definitely hear you can definitely hear a difference between your auto and manual when you turn the auto on and so on and so forth again we have the release knob over here and then the and an out the in-and-out actually correlates to the output knob so for example I at least understand this much this is zero here then plus 20 decibels minus 20 decibels you know I mind I'm coming in and I have it turn all the way up to 20 right now just for the sake of getting a feel for the whole thing and if I put out you know it's gonna send that extra 20 decibels out but what I have coming in seems so weak that's why I'm using the in and the UP button anyway you can see as I'm gonna display here by talking closer to the microphone you can see this one and this one you can see them move because those are the two that are on channel one and I am using as I said I'm using channel one we have the actual power button over here and you may want to let your unit warm up as to sound of butter when they are fully warm okay so this is going to be a recording using the behringer so here we go I'm gonna try to sing a little yeah I kind of suck at singing so best I can do here one two three we am broken for good just and now with before huh and I'm about five inches away from the microphone okay now and unplug it we had broken the for good just an hour before okay I'm gonna go ahead and plug it back in right now okay so it's plugged back in right now my settings on chant using channel 1 I have the warmth turned all the way up so it's definitely it's doing something that's doing its job I hope the compression is set at 6 to 1 right now so that's a decent amount of compression in my opinion so you know you can hear me talking the interesting thing that I notice about it is it's very rich I would definitely say you can hear the tube like you can hear the effect of the tube way more so than comparing it to the composer Pro XL that I was using a while back is this the pre amplification or just the gain that you get out of this unit is pretty awesome at the actual tubes if I can get some focus going on here okay so you can see the two tubes there sorry about that you can see the two tubes there they're all lit up and so on and getting a little bit closer you get some macro shots in here so you know I'm talking right now it's interacting with my voice although that's not what you're actually hearing on this is the analog gauges going back and doing here sorry about a little bit of blurring it's my lens but the analog gauges I really enjoy watching you know when I get close to my mic as I'm quite close to my microphone right now you know you can see the gauge is moving quite a bit just like you can see the LEDs moving I mean they're moving together just over here on the solid state mixer obviously you can see the LEDs going up and down the closer and farther I get away from the microphone and so on and so forth if you have any questions if you have any questions please feel free to you know ask if you want to add it to the forum or conversation go ahead and add if you own one of these and you're the master of it dude please leave notes I mean don't be a dick when you're doing it because like I'm trying to point out in this video I do not know everything about it I'm reviewing it on the basis as something new that I just came into ownership of and so on and so forth nowhere am i claiming in this video that I am the tube master etc etc so please I welcome people having an open discussion about this piece of equipment whether using it for guitar drums vocals keys sound effects whatever it may be cetera thanks have a great [Applause] [Applause] [Applause] [Applause] [Applause] [Applause] [Applause] [Applause] [Applause] [Applause] [Applause]


  • Nafik chanel says:

    Can be bought if sold can send to Indonesia No Whatsap 082350495998 Email [email protected]

  • Nafik chanel says:

    Whastap 082350495998

  • 240walnut says:

    Sub back clean

  • Massfusion Studio says:

    Besides all that? Tube saturation is in the upper harmonic distortion tones. Warming up a signal? Put the unit in bypass, play material through it. Use a real time frequency analyzer and watch the upper 8-20k frequencies jump when you start adding warmth with the warmth knob when you take it out of bypass. That's tube harmonic distortion you'll be seeing in the frequency analyzer. Now you just learned the secret to test your gear to see what it's doing to the material……. Most people can't hear above 10k. That's why they swear it's not doing anything. Because you can't hear those harmonic frequencies. Good hearing can hear up to 15k

  • Christopher Matthias says:

    I have the all of the Ultra 1952 series pieces and they are all great tools to have in the studio the Ultragain is great for vocals and guitars and the Composer I use mostly for track laying it adds depth and presence to any thing that passes through it drums for example sound huge the Enhancer and the Eqs work well on almost anything used sparingly or not depending on what you need for a particular sound all together they make a good case for themselves and all my friends who have studios have at least two pieces in their rack 1 like myself has the whole set.

  • lcaise says:

    try to use it at drums pls

  • lml1501 says:

    Ha ha. The first ratio Is for the expander, It has nothing to do with the compressor. . . This unit seems to have a gate and a tube compressor per a channel . . . Its a very nice tool to have. . .

  • Egbert Nobacon says:

    have you used the side chain yet?

  • braulio curro says:

    una pregunta. como haces la coneccion
    por favor nesecito tu ayuda

  • Scott Osterloh says:

    I have it and I use it. The signal is split into 2 parts clean and saturated (tube enhanced) then blended together. The amount of the saturation effect is set via the warmth knob. Thanks for the video.

  • L'Quik Shrtz says:

    Is it a REAL tube compressor? I read somewhere that the tubes were fake

  • Golden Age Studios says:

    thanks man!!

Leave a Reply

Your email address will not be published. Required fields are marked *