Behringer Multigate Pro XR4400 オーナーマニュアル

MULTIGATE PRO XR4400 User Manual

6.3.1  Suppressing crosstalk in multi-track applications
One of the most frequent applications of an expander/gate is the elimination 

of unwanted crosstalk between single channels during recording or playback. 

In particular, when recording acoustic drum sounds, this type of application is 

frequently used, because here several microphones closely positioned next to 

each other are used.
The high sound pressure levels of the individual instruments lead to crosstalk 

in adjacent microphones. Frequency cancellations and a non-defined sound 

(“comb filter” effect) are the result. It has proven wise to use a separate 

microphone for each drum instrument and to “gate” each microphone channel.
Insert the BEHRINGER MULTIGATE PRO into the recording channel of the snare 

drum, for example, and adjust the device so that it responds only to hits on the 

snare drum. Each single microphone should be optimally positioned before, 

and the threshold of the respective channel should be set so that the drum sound 

can be separated cleanly, just as if the instrument were played alone.

6.3.2  Reducing crosstalk in stage microphones
The MULTIGATE PRO can be used in a variety of live/stage and multimicrophone 

applications: a moderately set expander can effectively suppress background 

noise, or the noise build-up that is typically produced by compressors as well 

as crosstalk between microphones, etc. without causing other unwanted 

side effects.
Typically, an expander can be used to process vocal tracks. Particularly when 

using a compressor, the distance between singer and microphone is of crucial 

importance: As the distance increases, more and more disturbing background 

noise is picked up. You should therefore use the expander function to fade out 

unwanted interference noise “inaudibly” during signal pauses.
In live situations you can eliminate bleeding, for instance, from drum to piano 

tracks, or clean your recordings from other acoustic “pollution”.
If you do not have enough microphones (or MULTIGATE PRO!) to record each 

instrument separately, try forming so-called subgroups: comprise the snare and 

middle toms, side toms, kick drum and cymbals in one group using the subgroup 

facilities on your mixing console.
The goal is to position the group’s microphones and to adjust the expander 

so that with each hit on a specific instrument only one microphone opens, 

thus transmitting only one specific instrument, while the remaining microphones 

remain muted.

6.3.3  Reducing feedback in stage microphones
As soon as a singer sings into his/her microphone, background noise is masked 

and thus not perceived. During signal pauses, however, the microphone picks 

up the noise from PA and monitor speakers, which can lead to torturing feedback.
By inserting the MULTIGATE PRO into the vocal channel and by adjusting it to 

mute the microphone when it is not in use, you can reduce the risk of feedback in 

this particular channel.
Basically, this configuration should be used for all stage microphones.

Connectors 

XLR and 1/4" jack

Type 

RF filtered, servo-balanced input

Impedance 

50 kOhm balanced, 25 kOhm unbalanced

Max. Input Level 

+21 dBu balanced and unbalanced

CMRR 

typ. 40 dB, >55 dB @ 1 kHz

Connectors 

XLR and 1/4" jack

Type 

Electronically servo-balanced output stage

Impedance 

60 Ohms balanced, 30 Ohm unbalanced

Max. Output Level 

+21 dBu, +20 dBm balanced and 

unbalanced

Frequency Response 

18 Hz to 30 kHz, +/- 3 dB

Noise 

>95 dBu, unweighted, 22 Hz to 22 kHz

THD 

0.008% typ. @ +4 dBu, 1 kHz, Gain 1

IMD 

0.01% typ. SMPTE

Crosstalk 

<-100 dB, 22 Hz to 22 kHz

Type 

UTR (Ultra Transient Response) gate

Threshold 

variable (BYPASS to +10 dBu)

Attack 

program dependent

Hold 

variable (0 to 4 sec)

Release 

variable (50 ms to 4 sec)

Range 

variable (0 to -80 dB)

Type 

IRC (Interactive Ratio Control) expander

Attack 

program dependent

Ratio 

variable (1:1 to 1:4)

Frequency 

variable (100 Hz to 10 kHz)

BW (Bandwidth) 

variable (2.3 to 0.7 oct.)