MF Blowout on Behringer Autocom Stereo Comps $49 - any good?

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by SKEETER » Wed Jan 26, 2005 11:06 am

I have been using compressors for over 30 years, too numerous to count. I probably have 7 or 8 of them now, in various configurations. I did not say "soft knee" was foreign to me, I used it as an example that came to mind as one of the many ammenities the device has. I use compression very sparingly ( I try to avoid relying on artificial means to accomplish good musicianship), and prefer natural sounding music, so it is something I want available when I want to use it, but not something I automatically click on as a habit. Of all the compressors I have used and have, the Berhinger is one in my rack that I use more regularly, I have others that I use for other things (such as, I always record bass direct in through a compressor to emulate the rock era bass sound tape compression), I have used the same compressor for that purpose for years.
Of all the compressors I have used, the Berhinger is probably the best as far as uselfullness for it's various functions, but along with those functions comes the fact that it is somewhat more complex than most.
The one I have is the 4600, which has 7 buttons and 5 knobs ror each of the 4 channels. Along with the normal gating and comp functions controlled with the knobs are the buttons : Release (which, I always forget exactly what it does TO the release time,, so I often refer to the manual), contour, Interactive Knee, I/ometer, gate on/off, enhancer (which again, enhancer can mean more than one thing, I forget on that device exactly what it's function is, and always refer back to the manual to make sure I understand how to use it effectively), and an in/out button.
I have had a lot of comps and gates, this one is indeed more complex than any I have owned in the past, as I say, I have always used compression and other devices only to the degree I felt neccesary , and only when needed, not as an automatic inclusion. I have so many devices that with some of the more complex ones that I don't use every day ( for example my GR-09 guitar synth) I often refer back to the manual when i blow the dust off of them for a project. Granted I have a clinically bad memory, and am suffering the pitfalls of age, I am still sure that a lot of other musicians and engineers must refer back to their manuals as well, particularly on devices they use sparingly and rarely.

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by MoreSpaceEcho » Wed Jan 26, 2005 11:25 am

well i'm glad that's settled.

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by RodC » Wed Jan 26, 2005 11:49 am

I'm Glad its settled also, cause MF is out if them! :lol:

There are a couple of other sites with the same price.

I ordered one, heck they will be going for $90 on ebay next week ( + $15.00 Shipping) :lol:

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by tony moore » Wed Jan 26, 2005 3:04 pm

what joel said...

i've been using the first generation of behringer composer, autocom and multicom compressors in a live rig and project recording for years now. these things have seen lots of use and just consistently work.

tony

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by RodC » Mon Jan 31, 2005 10:17 am

Just got mine a few days ago, dudes in SKEETER's defense this thing does much more than just the normal compressor, you do need to read the manual for this one. The soft knee is not a normal soft knee it has what Behringer calls Interactive Knee Adaptation that combines the benifits of a soft knee and a hard knee.

It has a built in expander and an enhancer to make up for those lost highs when you get a good bass thud. These features work pretty good. The expander does reduce feedback and the enhancer does make a notable difference.

I have been using it with my PA and it sounds great. I'm not sure I would like it for recording but it controls live sound where you run into many different bands in a single night wonderfully.

If you turned off all the different features and used it as a streight compressor/limiter it may be great for recording.

No I don't work for Behringer, but for $49 it works great!

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by syrupcore » Mon Jan 31, 2005 1:27 pm

my second compressor ever was one of the behringers. to each his own but I think they suck. I'm sure in a live situation, they're fine enough but I would pretty much never stick one of those in my recording chain. I bought two cause, well, I'm dumb. I'll be selling them soon if you missed the MF 'deal'.

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Will

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by scott anthony » Mon Jan 31, 2005 1:47 pm

MoreSpaceEcho wrote:
Don Shumai wrote:I'm looking for something to just watch out for dangerous peaks while tracking. Would I be wasting $50 on this for this purpose? I compress in the box otherwise.
hello don.

save your loot. they're junk, and i doubt they're really fast enough to grab stray peaks on tracking. i'd say just lower your input levels a bit. if you're recording 24 bit there's no need to be peaking right up to zero.
best advice...

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by SKEETER » Mon Jan 31, 2005 2:20 pm

I use mine in a studio and it does a superior job. It could very well be that the Behringer is too complex for some, and they have bad luck with it because it is a little over their heads. I use mine for limiting peaks and some gating, and it works well, but it does take some thought and some understanding of exactly how compression and gating works, it is certainly not one of the simpler plug and play devices that does simple tasks.
Like I say, of all the comps I have had , this one is the most versatile, and stands up to the best as far as function and transparency.

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by pappas » Mon Jan 31, 2005 3:15 pm

i would say go for it if everything else in your studio is around the same price point. the autocom is fine for low budget studio and live sound apps, but in higher end studio settings its lack of transparency shows pretty vividly. i played with them in a recent mix i did along with a few other higher end comps and and the end of the day ended up using it just to bairly glaze my cymble tracks with compression. the color of the comp seemed to work with the cymble freqs. the autocom made any of the drum tracks sound like paper being struck (yes, i do know how to use a comp). it also seem to suck the color out of the guitar tracks too. definatly not transparent, but if you dont care and just NEED some compression i guess i say dive in.

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by colinandrew12 » Mon Jan 31, 2005 5:09 pm

SKEETER wrote:I have a lot of behringer stuff, and it is all fantastic stuff, even if it was not so inexpensive I would buy it because I like the quality of it.
I have a quad comp/gate that is similar to the one you are talking about, and it does a great job, it is very transparent sounding. The gate works really well. The only thing I don't like about the one I have is that it does too much, it has a lot of buttons on it, (stuff like "soft knee" compression) that I have to pull the manual out ever time I use it. But as far as how it functions, I couldn't have chosen a better device.
whoa.
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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by trodden » Mon Jan 31, 2005 6:41 pm

RodC wrote: The soft knee is not a normal soft knee it has what Behringer calls Interactive Knee Adaptation that combines the benifits of a soft knee and a hard knee.
is that like a bionic knee? lile 6 million dollar man n shit?

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by RodC » Tue Feb 01, 2005 4:37 am

Nope a $49 dollar knee with viagra, its soft to a point then it gets hard LOL

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Re: MF Blowout on Behringer Autocom Stereo Comps $49 - any g

Post by HaVoK » Tue Feb 01, 2005 7:34 am

Having had the opportunity to work under some of the best (and worst) that the NYC big-studio scene had to offer, I can say with authority that some surprising names use Behringer gear to get their distinctive sound. I think they have a very narrow window of usefulness, but within that window, they can be perfect. Of course an LA-2A will always sound good, even in bypass, but if you work the Berrys, it is very possible and even likely to find something that works in a very musical manner. I would imagine they can be like every other bit of gear out there...some are good, some are atrocious. You have to use your ears first, not your eyes. I've heard beat up 'classics' that shouldn't be used for doorstops because it would be an insult to the door, that were used on every session with producers and engineers who should have known better cooing over this 'fantastic' bit of gear. Inevitably, it was bypassed or cut out of the chain. Use what works.
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