muzikal
Published on 03/04/07 at 14:37
Characteristics already described.
UTILIZATION
Compressor with standard controls, no specific comments.
SOUND QUALITY
Let's cut to the chase, sound: Compression is rather "hard", it distorts the sound and pump merrily. Usable in PA but not in the studio, on instruments electro / electric but I think to outlaw the vocal or acoustic instrument.
I had one 3 months and I sold.
The sound is really - and strangely - different series mdx2000 and 2100 (I own both). These series there are real compressors, versatile and transparent if properly adjusted.
The MDX2000 served a few years ago the voice recording of a musical with static (AKG "The Tube, NT2 ...). The catch bluffed sounds of experienced engineers ...
Since the FMR and I JOEMEEK. The mdx2000 or 2100 still serve me. They are a whole step down but does not spoil (main use drums). It is very clean and the patches are relatively well respected.
OVERALL OPINION
In conclusion, I advise MDX2000 or 2100 instead of 2200.
UTILIZATION
Compressor with standard controls, no specific comments.
SOUND QUALITY
Let's cut to the chase, sound: Compression is rather "hard", it distorts the sound and pump merrily. Usable in PA but not in the studio, on instruments electro / electric but I think to outlaw the vocal or acoustic instrument.
I had one 3 months and I sold.
The sound is really - and strangely - different series mdx2000 and 2100 (I own both). These series there are real compressors, versatile and transparent if properly adjusted.
The MDX2000 served a few years ago the voice recording of a musical with static (AKG "The Tube, NT2 ...). The catch bluffed sounds of experienced engineers ...
Since the FMR and I JOEMEEK. The mdx2000 or 2100 still serve me. They are a whole step down but does not spoil (main use drums). It is very clean and the patches are relatively well respected.
OVERALL OPINION
In conclusion, I advise MDX2000 or 2100 instead of 2200.