Description
Every FOH engineer knows a rider that calls out clean dynamics control on vocals, mix buses, or monitor sends — the BBE MaxCom answers that call while adding something most compressors can’t: built-in Sonic Maximizer processing for extra clarity and punch without reaching for another rack space.
Two fully independent compressor/limiter channels give you separate Threshold, Compression Ratio, Attack, and Release controls per side, so you can dial in vocals differently from a drum bus or a monitor mix. Need matched stereo processing instead? Engage the stereo link and control both channels from Channel One for phase-coherent gain reduction across your stereo pair — critical for mix buses and stereo instrument sources where mismatched compression smears the image.
The program-adaptive gate reacts to the material rather than a fixed threshold, so noise disappears between phrases without chopping transients or sounding like a gate at all. A built-in peak limiter guards against clipping when things get loud, and dual bar-graph meters per channel keep input level and gain reduction visible at a glance during soundcheck or mid-show.
Connectivity is straightforward for both live and studio setups:
- Balanced XLR or unbalanced 1/4″ inputs and outputs
- 1/4″ TRS key in/out for external triggering
- Auto mode for fast, reliable starting points
Spec-wise, expect 20Hz-20kHz frequency response, THD under .05%, S/N greater than 94dB, threshold range of -40dBu to +20dBu, ratios from 1:1 to 11:1, attack times of 0.1-200ms, and gate threshold from off to +10dBu — solid numbers for a workhorse dynamics processor on any tour or install.
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