Behringer T1952 Tube composer and mastering The Who

[@TIvesmusic]

You are right. It really is big ! I have a pro vla also and I thought that was big enough. Thanks for the video 😊

[@Nightfool708]

I use the T1952 with a side chain of two Behringer Ultra Q Pro EQs... makes a amazing crystal clear sound. With the combination of the EQs it´s much easier to control the "sizzeling" of this unit, I love it. THX for this great review.

[@massfusionstudio]

Thanks for that info. I gotta try that trick 👍🏻👍🏻

[@valterbeicinha9633]

what do you mean, using the EQ's sequencialy on one line or on each line?? Before or After the compressor? im starting to learn on this :D

[@Nightfool708]

@@valterbeicinha9633 One EQ on each channel, so two EQs. I think the EQs are mono. I'm not sure if they work pre or after, it's like send/return so the Tube Composer works with the settings of the EQs. I have to read description about if it works pre or after... sorry.

[@jeremybalzarini279]

Dude, thank you for this video. It was a great review of this unit. Surprisingly, there is a lot of space inside of it. Like you said, there are other videos that show the components or just talk the parameters available but not an a/b comparison. As an audio and electronic technician, you’ve convinced me into getting one to experiment with.

[@mikeindel]

I gotta tell ya..I just a/b'd the beheringer tubes with some vintage GE tubes..night and day, today I just got my hands on some vintage mullard short plates..wow even better than the GE's , they add the top end sizzle without loosing the mids and round off the lows beautifully

[@headroomaodo2211]

Great review! I got one of these recently and agree 100% with you experience. Cheers

[@t.a.5092]

Finally a real time demo. Thank you.

[@inset09]

Thanks for the video, I really enjoy the fact you invested your time to make a test that we can't find anywhere in KZbin. I believe many people repeat others opinion about gear and specially behringer gear. Yeah, I'd prefer to hear A/B rather than reading someone's biased opinion. Dude, you wouldn't imagine how hard can be to get a decent piece of gear in some countries. Sometimes a compressor slightly better costs 5 times the price, so we stick to the ones people on gearslutz shit upon. In Brazil we pay 60% taxes on imports above $50, shipping included. And sometimes shipping is more than $60. For comparison, a second hand Alesis costs R$400. An Art Pro VLA II is around R$ 3-6k. Dbx 160 around R$1.5k. this behringer sales for R$1.3k. And I'm still not talking about the low salaries compared to many other countries.

[@sparks3019]

Nice demo,. Thank you. When one tube got weak after a few years of use I put a matched pair of TJ Fullmusic 12AX7s and replaced the backlights with blue LEDs. Not as bright now and looks cool. I use it to liven up the high end on a small gig PA. When running QSC HR tops above 100 dB the horns can get little brittle around 2-2.5k or so and band vocals can get a bit harsh. I'll run the T1952 on either the mains or a vocal sub and the little bit of tube saturation seems to let the vocal sit nicely on top of the mix. I have no recording experience at all, but if I can hear the difference in a club mix the Tube Composer is definitely doing it's job! Nice to see that someone else is not a hater.

[@GuitarLucius]

Thanks for the video bud, I've got the same gear. Cheers, Lucius

[@decemberswitch]

good review, I agree. I just dusted off a T1952 after 15 years of it being a rack filler - first time I've actually used it. honestly it sounds great on vocals and acoustic guitar if you know how to set it right. I think a lot of people who rubbished it either never used one or didnt know what they were doing. I had the same experience with the tube exciter, it gives an interesting harmonic distortion that is nice on the right sources. the other thing that's amazing is its integrated expander/gate and limiter. I'm still tweaking those. but overall the T1952 gives a different colour to my RNLA limiter, its brighter than the RNLA and so its particularly good on darker sound sources. I have a RNC compressor as well which is transparent so I"m finding the T1952 (particularly the tube exciter section) very useful as a different shade of colour to use.

[@RecordingStudio9]

And the MDX2400, Alesis and DEQ2496, all like in my studio! Cool

[@jamesokeeffe3216]

Thank you brother ☘️

[@RecordingStudio9]

You own the ART VLA II too, nice.

[@rahiemtaylor4695]

Awesome. I own one too. Can you make a video compressing a drum signal with this device?

[@massfusionstudio]

Sorry for the late reply. Yes i will do one for you.

[@mikeindel]

What would you rather master through the VLA or the behringer ?

[@massfusionstudio]

@@mikeindel I don't use that stuff. I use mastering plugins. You can use them, but I'm not a fan of the 2 for mastering. The vla works great on bass guitar and acoustic guitar.

[@jazzinuf1010]

can you give us a comparison to this and the pro vla?

[@massfusionstudio]

I'll get around to it. But the art and T1952 are two different type units.

[@Eppie55]

Remember It's not a Tube Compressor, nor is the ART VLA. The tubes work only in the outputgain section. And by the way, the T1952 is almost empty inside, way too big for its few components. Looks pretty cool though, I am still using mine alongside also my ART VLA. But non of them are real tube compressors like f.e. the Klark KT-2A which is one.

[@inset09]

Hi. How do you use this compressor? For guitars, drums, vocals? I don't know. It enhances high frequencies. I don't know if that's why we like the sound.

[@Eppie55]

I use it for drumbusses, guitarbusses and sometimes on the whole mix, because it has a SC filter, my Art VLA does not have this. Very little "Tube warmth", it can get a bit harsh in the high frequencies if you dial it in too much. I rather use my Pultec style Klark EQP-KT tube EQ 'sfor the nice shiny and musical high frequencies.

[@massfusionstudio]

Very transparent unit when dialed in properly. Very little compression artifacts

[@vavakuku407]

Thanks for the great information! Today I saw someone is seeling used one for $80 and found your video. I really like it! could u tell me, as a beginner (wanna start stepping into analog world) can I get it as my 1st tool? and how I have to connect it properly, what will i need besides it?

[@massfusionstudio]

Yes you can use it as your first tool. The hookup depends on what gear you have. Typical punch insert cables will work. TRS insert cables. Just use the tube knob sparingly. You didn't want to treat everything with it. If that's what you're looking for then go for it. The tube warmth knob is really noticable when mixing dance music. It gives the highs some air

[@vavakuku407]

@@massfusionstudio Thank u for your response sir! I have universal audio volt 276. btw, also what do u say about Aphex Compellor 320А?

[@massfusionstudio]

The unit is very transparent because of the opto technology. It's compressing and releasing from compression in nano seconds rather than primitive millisecond. Because of the fast attack and release time? The compression tool goes unnoticed in the signal path. The Behringer T1952 is a great tool when used properly and not abused. It retains the original dynamics very well for a cheaper made unit. It's just not as forgiving on three input signal. It can over distort on input before it even gets to the compression stage. I wish they come back out with a reissue of this unit. Just would like to see an input volume control like the famous 1176 has. But for theprice of the Behringer? It's worth it. Just remember that with Behringer products? Your work is a little cut out for you to get it set just perfect. Over all? This unit can compare with more expensive units of its class tube style compressor units. The final limiter on the tail end of this unit is an option that does put the Behringer T1952 in a mastering tube limiter unit. The Tube saturation blending works like a charm when using it to color the high end with warm harmonic distortion tube crux crunch. Use it sparingly! Remember the rule of thumb! Less is more! Just a tickle of tube coloration brings your ultra high harmonics to life in a very warm tone to the ear.

[@massfusionstudio]

Do not try this at home lol. Mix and a master in one cut. Is it possible? If The mix sounds good on playback systems? Will the end user notice the song was mixed and mastered in the same session? Or would only a trained mastering engineer notice it?

[@frankbellina3983]

Here's a test: Pull the tubes and see if the unit still passes signal.

[@massfusionstudio]

I never thought about that. I think the tubes are parallel feed. The main signal would probably still pass through. Just as if you rana reverb effect parallel and turned it off? The reverb effect stops.

[@massfusionstudio]

The 2 thumbs down probably listened to it on the phone mono speaker lol. Or they think they know what to listen for and didn't hear it lol

[@massfusionstudio]

Deceiving isn't it? A Behringer compressor being used as a mastering limiter on a classic hit song recorded in 1978? Don't believe what you hear and read about Behringer products. The end user isn't professional and an amateur engineer. Remember less is better. Mastering isn't about squeezing life out of a mix and compressing the hell out of it to turn up makeup gain to increase the rms level. I mix at 90 decibels at short period of time to be well within the Fletcher Munson curve. Not only are you hearing all frequencies, but you'll feel the sound pressure levels and know when your over compressing. In other words? Don't be afraid to crank it up when mixing and mastering. Stay within decibel levels and the exposure time before damage occurs or listening ear fatigue