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that the Gate remains open during short pauses. The Gate closes the audio channel in the preset release time
after the hold time has elapsed.
The release time may also be used to adapt the Gate perfectly to the program material. As a rule, percussive
audio material with little or no reverb is processed with quick release times, whereas longer release times are
used for signals with a slow decay or heavy reverb. You will note that short release times are suitable for most
percussion instruments, while longer times are generally required for toms and cymbals.
Due to its digital design, the ULTRA-DYNE PRO Gate features a look-ahead function. The ULTRA-DYNE PRO
can analyze the audio signal and thus work without losses. As a result, the Gate always opens at the correct
time without cutting off signal flanks.
If you do not want the Gate to remain open during brief signal peaks, set the impulse width of the signals to be
ignored with the peak width parameter. Increase the value until the Gate only opens for the program material.
Drums will sound dry, snappy and well-defined when the parameters are correctly set. If you do not have
enough individual microphones (or ULTRA-DYNE PRO!) at your disposal, try to arrange several microphones
into subgroups.
The objective is to position the group microphones and set the Gate section in such a manner that a signal
from a given instrument opens only one microphone, while the other microphones remain muted.
3.2.3 Reduction of crosstalk from stage microphones
The ULTRA-DYNE PRO has a wide range of applications in live or stage operation and multiple microphone
deployment: The moderate, careful application of the Gate can effectively suppress background noise, com-
pressor-related background noise accentuation, microphone crosstalk, etc. without undesirable side effects.
The processing of vocal tracks is a typical application for the Gate. The distance of a vocalist to the microphone
becomes increasingly critical when using a compressor. Increasing amounts of background noise are trans-
mitted the further the vocalist moves away from the microphone. Use the Gate function with long release times
to "inaudibly" eliminate unwanted background noise during pauses. In live applications, drum crosstalk in
piano tracks can be suppressed for example, or recordings cleaned of acoustic "contamination".
3.2.4 Reduction of feedback from stage microphones
A vocalist singing into a stage microphone masks background noises, which are then no longer apparent. In
pauses, however, the microphone picks up noise from the PA and monitor speakers, which can cause
unpleasant feedback.
This susceptibility to feedback can be reduced considerably if the ULTRA-DYNE PRO is inserted into the
vocal channel and set to mute the microphone when it is not in use. In principle, all stage microphones should
be included in this application.
3.2.5 Noise reduction in effects chains
One of the most frequently overlooked sources of noise in a sound system is the effect rack. The prices of
reverb and multi-effect devices have dropped drastically in recent years, making them standard equipment
even in small studios and home recording environments. The noise level increases drastically with the number
of devices, however, quickly spoiling the pleasure to be had from the new effects.
This can be countered by inserting the ULTRA-DYNE PRO as the last unit in the effect chain and using the
noise-reducing function of the Gate section. Set the unit for a long release time to ensure a natural reverb.
3.2.6 Creative application of the Gate section
In addition to the applications described above, the Gate can also be used for the creative modification of audio
characteristics. For example, the quality of environmental reverberation or the spatial impression of instruments
can be modified. During its decay time, the reverberation of an instrument will drop below a user-defined
threshold. The duration of the reverberation can be controlled using the preset threshold and release time. The
adjustment of the release time permits the reproduction of the decay characteristic of the instrument in a
manner that preserves the instrument's character. Take the time to experiment with modification of the decay
of a signal. Long release times result in a slow fade, while short release times can completely remove the
reverberation of the instrument.
3. APPLICATIONS
