This is what I did to get it going. This is for a different compressor, but most of the same settings can be applied here. I have this SCOM compressor set up in dual mono mode. This means I go into channel 1, then out of channel 1 into channel 2, then out of channel 2 into the power amp. Channel 1 and Channel 2 have different settings, and they are described here On the SCOM, do not use "Stereo Link". This is not my work, I'm posting from this link
compressor setup :
From Finger Blister:
SUGGESTED SETTINGS:
Behringer Composer 2200 & 2600
for BASS GUITAR in a Live Rig.
Daisy Chain both halves of the Stereo Compressor
by patching channel one output into channel two input.
Bass -> Preamp -> FX Send ->
MDX Channel 1 Input -> Channel 1 Output -> Channel 2 Input -> Channel 2 Output -> FX Return.
The Following Functions SET the same on BOTH CHANNELS
Set both rear panel level switchs to -10 dbV.
COUPLE: Set to DUAL MONO Not Stereo
SC EXT: OFF
SC MON: OFF
AUTO: OFF *
I/O METER: OUT (measure Output signal: button light is off)
IN/OUT: IN (Compressor is on: button light is on)
INTERACTIVE (Knee): ON
High Pass Filter = MDX 2200: SC FILTER: ON / MDX 2600: LO CONTOUR: ON
Expander/Gates =
MDX 2200: Slow Release. Threshold: 50 and Ratio: 3.5
MDX 2600: Long Release. Gate ON. Trigger @ -30 (at 10:00).
The Following Functions (if employed) should be used on Channel 2 Only
MDX 2600 Only: Tube
Later MDX Models Only: De-esser - play with this for best sound.
Later MDX Models Only: Dynamic Enhancer
If in doubt, or if HISS is present leave it out (off).
Channel 1:
Threshold: -10db, 12:00
Ratio 4:1, 12:00
Attack: 8:00
Release: 10:00
Output: 1:30
Set Peak Limiter (+16-18 db)...
Channel 2:
Threshold: 0db, 2:00
Ratio 6:1, 2:00
Attack: 7:00
Release: 10:00
Output: 1:30
Set Peak Limiter (+16-18 db)...
------The Theory Behind The Madness------
Channel 1's has Classic Bass compressor settings.
The magic is that Channel 1 gives Channel 2 a hotter signal
while maintaining dynamics and thus raises the headroom seen
at Channel 2 (1 gives 2 an additional Gain Stage)
Then Channel 2 re-compresses only the Peaks
that have been processed and boosted by Channel 1
thus Channel 2's Output provides a level, hotter signal.
The noise floor is lowered as high energy peaks are tamed, not limited,
for excreasing headroom without over compressing the dynamic signal.