Samson Music Mixer S Gate 4 User Guide

GAIN REDUCTION dB

LINK

30 24 18 12

HIGH

POWER

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

IN/OUT

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

IN/OUT

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

.25

KHz

CHANNEL

GATE

-50

+20

300

.01

.02

-50

+20

300

.01

.02

-50

+20

300

.01

.02

-50

+20

300

.01

.02

dBu

mSec

Sec

dBu

mSec

Sec

dBu

mSec

Sec

dBu

mSec

Sec

LOW

KEY LISTEN

DUCKER

IN/OUT

KEY

KEY LISTEN

DUCKER

KEY

KEY LISTEN

DUCKER

IN/OUT

KEY

KEY LISTEN

DUCKER

KEY

4 CHANNEL GATE

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Table of Contents

Introduction

S gate 4 Features

Controls and Functions

Front Panel Layout

Rear Panel Layout

4–5

Operating the S gate 4

Setting Up the S gate 4

Gating A Signal

Using The Filters

Using The Ducker

Dynamics Processing 101

Applications

10–11

System Set-ups

13–14

S gate 4 Connections

Block Diagrahm

Specifications

17–18

Printed October, 2001

Samson Technologies Corp.

575 Underhill Blvd.

P.O. Box 9031

Syosset, NY 11791-9031

Phone: 1-800-3-SAMSON (1-800-372-6766)

Fax: 516-364-3888

www.samsontech.com

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Introduction

Congratulations on your purchase of the Samson S Gate 4! The S Gate 4 is a four channel Expander/Noise

Gate with frequency sensitive triggering, offering unparalleled control and sonic transparency impressing the

most critical listeners. Never before have so many features been packed into a single rack space unit with

four noise gates - period. The S gate 4 is a powerful tool for live sound and recording, enabling you to clean

up your mix by eliminating hums, buzzes, noisy tracks and microphone bleed. S Gate 4ʼs DFT (Dual Filter

Trigger) enables pinpoint accuracy by letting you control the exact frequency that will open the gate. A full

complement of envelope controls including Threshold, Attack, Release, Hold and Range facilitate a wide range

of applications from a subtle clean up of a vocal track, to a drastic effect like gating reverb chambers.

With proper care and adequate air circulation, your S gate 4 will operate trouble free for many years. We rec-

ommend you record your serial number in the space provided below for future reference.

Serial number:

Date of purchase:

Should your unit ever require servicing, a Return Authorization number (RA) must be obtained before ship-

ping your unit to Samson. Without this number, the unit will not be accepted. Please call Samson at 1-800-

3SAMSON (1-800-372-6766) for a Return Authorization number prior to shipping your unit. Please retain the

original packing materials and if possible, return the unit in the original carton and packing materials.

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S gate 4 Features

GAIN REDUCTION dB

LINK

30 24 18 12

HIGH

POWER

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

IN/OUT

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

IN/OUT

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

.25

KHz

CHANNEL

GATE

-50

+20

300

.01

.02

-50

+20

300

.01

.02

-50

+20

300

.01

.02

-50

+20

300

.01

.02

dBu

mSec

Sec

dBu

mSec

Sec

dBu

mSec

Sec

dBu

mSec

Sec

LOW

KEY LISTEN

DUCKER

IN/OUT

KEY

KEY LISTEN

DUCKER

KEY

KEY LISTEN

DUCKER

IN/OUT

KEY

KEY LISTEN

DUCKER

KEY

The Samson S gate 4 dynamics processor utilizes the latest technology in gain management design. Here are

some of its main features:

glespace, 19" rack mount unit.

•

Extensive envelope control including Threshold, Attack, Hold and Release control for each

channel.

•

DFT (Dual FilterTrigger) for precise and predictable triggering.

Range control for Ducking.

Three stage Gate Open and Closed LED display.

Key input with Key Listen switch on each channel.

Eight Segment Gain Reduction Meter.

Stereo Link Switch for channels 1 & 2 and 3 & 4.

Advanced circuit design, utilizing low noise operational amplifiers and high quality VCAs.

Servo balanced inputs and outputs on XLR and 1/4" connectors.

High quality 41 position detent pots and backlit switches.

Internal Transformer.

Heavy-duty construction providing reliable performance session after session, performance

after performance.

•

The stylish bead blasted, electric blue anodized front-panel is as easy to read as it is to look at.

Three-year extended warranty.

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S gate 4 Front Panel Layout

GAIN REDUCTION dB

30 27 24 18 12

CH 1

LINK

CH 2

30 27 24 18 12

HIGH

TRIGGER

ATTACK

HOLD

RELEASE

RANGE

IN/OUT

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

+4 20

.25

KHz

4 CHANNEL

EXPANDER

GATE

-50

+20

300

.07

.02

100

-50

+20

300

.01

.02

100

dBu

mSec

Sec

dBu

mSec

Sec

LOW

DUCKER

KEY

DUCKER

KEY

KEY LISTEN

IN/OUT

KEY LISTEN

17 18 19 20 21

CHANNEL 3 CONTROLS - The same knob and switch

complement as Channel 1.

STEREO LINK SWITCH (3 & 4)-When engaged, chan-

nel 4 functions are controlled by the settings on chan-

nel 3.

HIGH FILTER CONTROL - Used to set the upper fre-

quency at which the 12dB cut is applied to the side

chain input, covering a range from .1 to 10 KHz.

GATE OPEN & CLOSED METER – Three segment LED

Meter indicating the GATE status. Green when Open,

Yellow when approaching threshold and Red when

closed.

CHANNEL 4 CONTROLS - The same knob and switch

complement as Channel 1.

10 MAINS POWER SWITCH - When turned on, activates

the S gate 4.

11 RACK EARS - Used for mounting into a 19 inch stan-

dard rack. (One on each side.)

12 LOWFILTERCONTROL- Usedtosetthelowerfrequencyat

whichthe12dBcutisappliedtothesidechaininput,covering

arangefrom30Hzto3KHz.

13 TRIGGER– Usedtosettheminimumsignallevelthatthe

Gate/Duckercircuitbeginstofunctioninarangefrom–60to

+10dB.

GAIN REDUCTION METER – Eight segment LED

meter displaying the amount of Gain Reduction when

Expander/Gate circuit is activated.

CHANNEL 1 IN/OUT SWITCH – Activates S gate 4’s

Channel 1.

STEREO LINK SWITCH - When engaged Channel 2

functions are controlled by the settings on Channel 1.

CHANNEL 2 CONTROLS - The same knob and switch

complement as Channel 1.

Rear Panel Layout

CH 4

KEY

BALANCED

OUTPUT

BALA

OUT

INPUT

AC INLET - IEC standard AC power cable connector

with external fuse.

CHANNEL 4, XLR LINE INPUT - XLR Balanced line

input.

CHANNEL 4, 1/4”TRS LINE INPUT

1/4”TRS Balanced line input.

KEY INSERT

-The gate trigger signal can be external

processed, or an external key signal can be inserted

here.

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S gate 4 Rear Panel Layout

GAIN REDUCTION dB

30 27 24 18 12

GAIN REDUCTION dB

30 27 24 18 12

CH 3

LINK

CH 4

HIGH

POWER

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

IN/OUT

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

.25

KHz

-50

+20

300

.07

.02

100

-50

+20

300

.01

.02

100

dBu

mSec

Sec

dBu

mSec

Sec

LOW

KEY

KEY LISTEN

DUCKER

IN/OUT

KEY LISTEN

DUCKER

14 KEYSWITCH –WhenengagedtheKeyinsertisenabledallow-

ingthetriggersignaltobeexternallyprocessedorexternally

controlled.

15 ATTACK- Adjuststheamountoftime,from.3to300milisec-

onds,thattheGate/Duckertakestobecomefullyopen.

16 KEYINSERT– TRSSendandReturnallowingforexternalcon-

trolandprocessingofthechannel’sSideChain.

17 HOLDCONTROL-Usedtosettheamountoftimebeforethe

gatestartstoclosewithavariablerangeof.01to4seconds.

18 RELEASECONTROL- Adjuststhelengthoftimethegatetakes

toreturn tothelevelsetontheRangecontrolcoveringarange

of.02to5seconds.

19 DUCKER SWITCH – Configures the channel for

Ducking.

20 RANGE – Adjusts the level of maximum attenua-

tion, from 0 to 100dB.

21 CHANNEL 2 IN/OUT SWITCH- Activates S gate 4’s

Channel 2.

22 CHANNEL 3 IN/OUT SWITCH- Activates S gate

4’s Channel 3.

23 CHANNEL 4 IN/OUT SWITCH- Activates S gate

4’s Channel 4.

CH 2

CH 1

KEY

BALANCED

OUTPUT

BALANCED

OUTPUT

INPUT

CHANNEL 3 -

Same Inputs and Outputs as Channel 4.

CHANNEL 2 -

Same Inputs and Outputs as Channel 4.

CHANNEL 1 -

Same Inputs and Outputs as Channel 4.

CHANNEL 4, XLR LINE OUTPUT - XLR Balanced line

output.

CHANNEL 4, 1/4”TRS LINE OUTPUT

1/4”TRS Balanced line output.

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Operating The S gate 4

Whether you are an experienced audio engineer, just starting out, or you just want to experiment, follow the steps

below to get going. Further sections in this manual will cover basic dynamics and the associated parameters, sys-

tem set-ups and applications for using dynamics processing in recording and live sound applications.

SETTING UP THE S gate 4

• Connect one set of inputs and outputs to the Channel 1 connectors on the rear panel. If possible, use your

mixer insert points to connect the S gate 4. For a detailed wiring, guide see page 16 in this manual.

• Set the controls to the following positions:

GAIN REDUCTION dB

CH 1

LINK

30 27 24 18 12

HIGH

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

IN/OUT

.25

KHz

4 CHANNEL

EXPANDER

GATE

-50

300

.07

.02

100

+20

dBu

Sec

mSec

LOW

DUCKER

KEY LISTEN

IN/OUT

KEY

HIGH FILTER CONTROL - .1

LOW FILTER CONTROL - 30

TRIGGER CONTROL - -60

KEY SWITCH - OUT

ATTACK CONTROL - 20

KEY LISTEN - OUT

HOLD CONTROL - .5

RELEASE CONTROL - .5 SEC

DUCKER SWITCH - OUT

RANGE CONTROL - 80

IN/OUT - OUT

In this configuration, the S gate 4 is simply passing audio at unity gain with no dynamics processing. It is a good

idea to check your gain structure at this point. Use the Gain Reduction meter to match the level.

•

Send a signal to the S gate 4ʼs inputs.

Look at the GAIN REDUCTION meter and confirm that no LEDʼs are illuminated.

Press the IN/OUT switch on and off and listen to the signal. You should hear no change in level.

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Operating The S gate 4

GATING A SIGNAL

Unwanted noises, buzzes and hisses can be easily removed by using S gate 4. The idea is to have the Gate

open only when the sound you want to hear is playing and to mute off and eliminate (Gate closed) the unwanted

noises, buzzes and hisses.

Below is a step by step example on gating a signal with the S gate 4. A CD with a sample of a snare drum hit with

reverb, or a drum machine is a good signal source for the purpose of this test example, however you can use any

audio source. To Gate your signal, do the following:

Follow the previous section, "SETTING UP THE S gate 4" for normalizing the controls.

•

To engage the Gate, make sure that the IN/OUT switch is pressed in and that the green LED is illumi-

nated.

Now with your sound source playing, increase the TRIGGER level and listen as the signal begins to gate.

NOTE: For a visual representation of the

gate activity, look at the GATE OPEN/

GREEN - GATE OPEN

RED - GATE CLOSED

YELLOW - HOLD

CLOSED DISPLAY located above the

TRIGGER control. The display has three

LED segments indicating gate open, hold

time and gate closed.

GAIN

CH 1

30 27 2

HIGH

TRIGGER

+4 20

ATTACK

•

To get the gate to operate fast, smoothly

and predictably use the ATTACK, HOLD and RELEASE controls to contour the shape.

In theory, the ideal gate settings would open the gate as fast as possible when the desired signal is on and close

the gate as fast as possible when the desired sound is off. The problem is that when the gate is opening and

closing, it is putting a new envelope on the hiss, buzz and noise you are trying to remove. This results in unwant-

ed sounds like pops and zips. DONʼT SWEAT! You can get rid of these unwanted noise artifacts by adjusting the

ATTACH, HOLD and RELEASE controls.

In order to get the best results, the S gate 4ʼs envelope controls include a HOLD time control. HOLD time is

especially useful since it lets you set the ATTACK and RELEASE to faster times. Generally, you can set faster

ATTACK and RELEASE times on sounds with fast attacks, such as drums. On sounds with slow attacks, such

as strings and synthesizer pads, slow ATTACK and RELEASE times will sound much smoother. You can also

change the characteristic of a sound such as using a slow attack and quick release to change an electric bass

into a synthesizer bass.

Keep in mind that all the controls including TRIGGER are somewhat interactive, so experimentation is the best

way to get the sound youʼre looking for. Remember to use your ears, because if it sounds good to you, it more

than likely sounds good.

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Operating The S gate 4

USING THE FILTERS

The S gate 4 employs a DFT (Dual Filter Trigger) circuit which allows you to create an equalization contour on

the trigger filter. The DTF is a two-stage, band-pass equalizer on the trigger or side-chain input. The filters are

applied to the trigger whether it is derived from the audio input, or by the KEY input. By using the DTF, you can

dial in and out the exact frequency range that you want to influence the opening and closing of the gate. This is

especially useful when gating drums, since you often have a lot of microphone bleed due to close placement and

the high SPL of the wood hitting the skin. By using the DFT, you can contour the trigger on each of S gate 4ʼs

channels to open the gate when it detects the frequency set on the High and Low Filter controls. Follow the steps

below to use the DFT to set the gate to turn a music track into a bass drum only track.

•

Connect the first two channels of the S gate 4 to the main left and right insert points of your mixer. For a

detailed wiring guide see page 16 of this manual.

•

Set both channelʼs controls to the default positions as described in the section "Setting Up the S gate 4".

Press channel one and twoʼs IN/OUT switches to the IN position and engage the LINK switch.

Play some music from a sound source (such as a CD player) into two channels of your mixer. For this

experiment you should use a recording with a contemporary, up-front drum track.

•

Set the High filter control to the 9:00 position which is 250 Hz.

You should immediately hear the bass drum breaking through the gate. By engaging the filter you have

just created an EQ curve with a band pass of 30Hz to 250Hz on the gateʼs trigger detector. The result is

only the low energy from the kick drum will cause the gate to trigger open. You can use the TRIGGER,

ATTACK, HOLD and RELEASE to fine-tune and dial in just the sound of the kick drum.

Note:

You can hear the effect of the DFT circuit on the trigger or side-chain input by pressing the KEY

LISTEN switch. When engaged, the KEY LISTEN circuit routes the trigger signal to the audio output

allowing you to hear what effect the filters have on the side-chain.

The example below shows a typical set up for using DFT while gating drum microphones.

Rack

m with the fil-

ter set on 250Hz and

800Hz.

Floor

m with the filter

set on 80Hz and 500Hz.

Kick Drum with the filter

set on 30Hz and 200Hz.

Snare Drum with the filter

set on 1KHz and 2KHz.

LINK

CH 4

HIGH

IN/OUT

TRIGGER

+4 20

KHz

-50

+2 0

dBu

LOW

IN/OUT

KEY

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Operating The S gate 4

USING THE DUCKER

S gate 4ʼs Ducker feature is a powerful tool for automatically mixing different sound sources. You can use the S

gate 4ʼs Ducker when you want one signal to control the level of another channel or channels. One of the most

popular examples of using a ducker is when you have a voice-over turn down a music program track. Another

example is to have a vocal track turn down a solo track. This is a great way to mix a sax or guitar solo around a

vocal improvisation.

You can experiment with the ducker by using a vocal track or microphone and stereo sound source, such as a CD

player. Below is a step by step example on ducking music with a vocal.

•

Connect the first two channels of the S gate 4 to the main left and right insert points of your mixer. For a

detailed wiring guide see page 16 of this manual.

•

Now take an output from your mic or vocal channel, either from a direct, auxiliary or bus output and con-

nect to the channel one KEY input on the S gate 4ʼs rear panel.

•

Set both channelʼs controls to the default positions as described in the section "Setting Up the S gate 4".

Set the RANGE control on both channels to 40.

GAIN REDUCTION dB

30 27 24 18 12

GAIN REDUCTION dB

30 27 24 18 12

CH 1

LINK

CH 2

HIGH

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

IN/OUT

TRIGGER

+4 20

ATTACK

HOLD

RELEASE

RANGE

.25

KHz

-50

+20

300

.07

.02

100

-50

+20

300

mSec

.01

.02

100

dBu

Sec

dBu

Sec

mSec

LOW

DUCKER

KEY

DUCKER

KEY LISTEN

IN/OUT

KEY LISTEN

KEY

•

Press the DUCKER and KEY switches to the IN position.

Press the channel one and two IN/OUT switch to the IN position and engage the LINK switch.

Play some music from a sound source (such as a CD player) into two channels of your mixer.

Now when the vocal track or mic is playing, youʼll hear the music track drop by 40 dB. You can experiment with

different RANGE settings until you find the balance you like.

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Dynamics Processing 101

To begin to understand dynamics processing, we must first understand what dynamics are. Dynamics, or the

dynamic range of a signal or audio device, is the amount of level between the softest and loudest possible out-

put. Dynamics processing is applied to a signal to manage the changes in level. Various types of processing

units are available to control dynamics including Noise Gates, Expanders, Compressors, Limiters and De-Essers.

All of these processes have a unique effect on a signal, but one common element they share is that in one way or

another they control gain. Some dynamics processors control gain in a subtle way by slightly reducing how soft

and loud a signal is, while others make drastic changes in gain like reducing the signal until itʼs off. Applications

for dynamics processing can be categorized by two distinct groups; first, to treat a signal that has an unpredict-

able dynamic range and make it predictable, and second, to create a "sound" by squeezing out the dynamic

range. Whether used for a live sound application, recording, mixing or mastering, dynamic processors like the S

gate 4 are valuable tools for controlling gain. The following is a basic overview of dynamics processing and how it

is used to improve the quality of recorded and live sound.

COMPRESSOR

A good compressor is one of the most useful tools in live sound and recording. Compressors are used to control

the dynamic range of a signal, which offers a variety of benefits including leveling a signal thatʼs being recorded,

having an instrument sit in the mix, and increasing the loudness of a sound system to name a few. Drastic

amounts of compression will also result in an effect that becomes more of a sound, than just controlling gain. To

understand how a compressor works, it is necessary to become familiar with the basic parameters which include

threshold, ratio, attack time, and release time.

Threshold

Threshold is the level that once the signal exceeds, gain reduction is applied. The normal range of adjustment for

the threshold level is –40 to +20 dBu. If the threshold level is set above the highest level of the signal being sent

to the compressors, the gain reduction is never triggered. Therefore, the compressor is virtually by-passed. If

the threshold level is set very low so that any signal will trigger gain reduction, the compressor is working as an

automatic leveler.

Ratio

The ratio control is used to set the proportion of gain reduction in relationship to the input signal. For example if

the ratio is set to 2:1 and the signal crosses above the threshold level, an increase in level of 2 dB will produce a

1 dB increase in level at the output. A ratio setting of ∞ to 1 means that an infinite amount of input signal is need-

ed to raise the output level by 1 dB. This means that the output level stays constant even when the input crosses

over the threshold level.

Attack Time

Attack time is the amount of time that a compressor takes to effect the gain reduction after the signal rises above

the threshold level. A well-designed compressor has adjustable attack times ranging from 100 µs (microseconds)

to 150 ms (milliseconds). A good compressor will sound smooth as it begins to control the gain regardless of the

attack time.

Release Time

The release time is set to control how long the compressor takes to return the input signal back to its original level

once the signal falls below the threshold level. The acceptable range for release time is from 500µs to 5 seconds.

In normal use, faster release times are used for spoken word and longer release times are generally better for

instrumental music.

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Dynamics Processing 101 - Continued

Soft-Knee / Hard-Knee

In order to prevent harsh, unnatural envelopes on compressed signals, sophisticated dynamics processors like

the S gate 4 feature an SKD (Smart Knee Detector) or automatic knee circuit. The Smart Knee Detector auto-

matically switches from Soft-Knee when the signal is less than 10 dB over Threshold, to Hard-Knee when the

signal is 10db above Threshold. In Soft-Knee mode, there is a gradual effect on gain change, which begins as the

signal approaches the Threshold level. In Hard-Knee mode, gain reduction is linear based on the Threshold and

Ratio controls. Any signal that falls below the Threshold level will be unprocessed.

Noise Gates

Noise gates are used to remove unwanted noise and/or bleed from recorded tracks in the studio or from open

microphones in live sound systems. Noise gates can also be used as a sound effect, most commonly to chop the

end of a reverb, letʼs say on a snare drum, so that the entire snare sound ends just before the beat. The basic

principle of a noise gate is to work as an automatic mute switch. Mute off (Gate Open) when the desired signal

is present and mute on (Gate Closed) when the desired signal is not present. In order to get the gate to work

predictably, it is necessary to set a threshold, or trigger level that will determine when the gate will open. If the

signal is below the trigger, the gate will remain closed. When the signal is above the trigger, the gate will trigger

open allowing the desired signal to pass and be heard. Noise gates often have other adjustable controls like

attack, hold, range and release. Many noise gates like the S gate 4 use sophisticated circuits to control some of

these parameters automatically.

Downward Expander

The purpose of a well-designed Downward Expander is to increase the perceived dynamic range of a system.

This is accomplished by decreasing the gain during the softer sections, thereby lowering the relative noise floor.

When the signal level is below the desired trigger level, the expander lowers the overall gain by the selected

amount.

Limiter

A Limiter is a specific form of a compressor configured to prevent peaks and for general overload protection. It is

often characterized by a high ratio setting (10 or above), as well as a relatively high threshold level.

Stereo Link Mode

The S gate 4 can be configured from dual-mono operation to stereo by using the Stereo Link switch. In Stereo

Link mode, Channel 2 functions are controlled by the settings of Channel 1 with the exception of IN/OUT, KEY

and LIMITER. The same holds true for Channels 3 and 4.

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Applications

Using the Expander/Gate to Remove Hiss and Noise

The S gate 4 is an extremely useful tool in reducing the level of unwanted noises. By using the Expander/Gate

you can effectively fade the noise into the noise floor or abruptly turn the unwanted signal completely off.

Letʼs say you want to reduce the bleed or cross talk that occurs when different instruments are recorded in close

proximity to each other. You have recorded an acoustic guitar simultaneously in the same room as with some

other acoustic instruments. The problem is that you hear a lot of the other instruments playing when the acoustic

guitar is silent. This can cause phasing and comb filtering problems due to microphone placement, so having

the bleeding signal drop into the noise floor is desirable. To do this, set the S gate 4 to Expander mode with the

Release switch to Slow and adjust the Trigger so that the acoustic guitar signal is well above the threshold level.

When the signal from the acoustic guitar track falls below the threshold level, the signal subtly fades into the

noise floor.

Now letʼs say youʼre attempting to remove the pick-up noise and hum from a guitar track that was recorded

through a loud amplifier. The hum and noise is most noticeable in-between the rhythm of the performance, so you

want to have the gate close during the silent parts and open during the musical passages. To do this, set the S

gate 4 to Gate mode and adjust the Trigger level so that the gate is open just during the musical guitar parts, and

so that the gate is closed during the silent passages so that the hum and noise is muted.

Gating Drums

Using noise gates on drums is particularly useful in recording and in live sound. When a drum kit is set up with

individual microphones on each drum in a live PA system, thereʼs potential for great sound. However, there are

several gain management problems that can occur. Several microphones, like the ones on the tom-toms, will

only be used occasionally and until the time that the tom-tom is actually played, its microphone is merely picking

up unwanted sound from other instruments on stage. This adds a lot of unwanted mush in the mix and also adds

to feedback problems. Set the controls so that the gate opens only when the tom-tom is played. This same tech-

nique is useful on drums that have been recorded on individual tracks. By using the Gate to mute the bleed of

the other drums, you can effectively reduce the comb filtering produced by phase cancellation due to microphone

proximity.

Gating Longer Sounds

When using a noise-gate on sounds with a longer decay such as a piano, it is usually necessary to use a longer

release time. Run the piano signal through the S gate 4 and set the Expander/Gate Release switch to Slow.

Adjust the Trigger level on sustained passages to get the best results. Be sure to listen for the natural decay of

the instrument and allow the gate to remain open until just after the end of the decay.

Using a Noise Gate to Tighten Up the Mix

S gate 4 can be used in mixing to clean up loosely played tracks, and even make a rhythm section sound tighter

than they really are. On a single instrument, like a rhythm guitar track, you can clean up the performance by gat-

ing the track. To do this, set a release time to exactly match the tempo of the music, so that you hear the guitar

playing, but stopping (gate closed) just before the beat. By doing this, a less than perfect rhythm track can quickly

sound like it was played by a great session guitarist. Also, pay attention to the space that the S gate 4 creates in

the track, since very often a great performance really jumps out when it is framed by the space, or silence around

the track.

To tighten up a group of instruments, patch in an S gate 4 channel on each instrument and dial in a good gate

setting on each. Now select the best performance from the group that you want to use as a master to control

the other instruments. Take the KEY OUTPUT from that channel and patch it into each the other channelʼs KEY

INPUT. The result is that the audio (performance and rhythm) from the master channel will key other channelʼs

gates to open and close so that the performance of all channels sounds exactly the same.

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S gate 4 System Set-Ups

LIVE SOUND SYSTEM WITH GATES ON INDIVIDUAL CHANNELS

KEY

BALANCED

OUTPUT

BALANCED

OUTPUT

BALANCED

OUTPUT

BALANCED

OUTPUT

INPUT

MIC/LINE

MIC/LINE 11

MIC/LINE 13

MIC/LINE 15

INSERT

INS

OUTPUTS

AUX

LINE

MIC/LINE 10

MIC/LINE 12

MIC/LINE 14

MIC/LINE 16

OUTPUTS

AUX

INSERT

PEAK

12K

GAIN

+26

-26

2T TO MIX

80Hz

12K

Mixer Insert

Points

AUX

MID

AUX

125

250

500

AUX

PAN

AUX

PAN

+15dB

0dB

0.3

500

.15

PAN

.15

0.1

-15dB

₈L₀F_Hz

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

12K

125

250

500

12K

AUX RETURN

SOLO

AUX1

80Hz

POST

AUX

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

DSP 3-4

DSP 1-2

DSP

PEAK

PAN

In this example, the S gate 4 is inserted on the mixer’s first four input channels.

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S gate 4 System Set-Ups

LIVE SOUND SYSTEM WITH GATES ON SUB INSERT POINTS

KEY

BALANCED

OUTPUT

BALANCED

OUTPUT

BALANCED

OUTPUT

BALANCED

OUTPUT

INPUT

SUB INSERTS

MIC/LINE

MIC/LINE 11

MIC/LINE 13

MIC/LINE 15

MDR 16

INSERT

INSERT MIX

MIX

OUTPUTS

AUX OUT

MONO OUT

LINE

MIC/LINE 10

MIC/LINE 12

MIC/LINE 14

MIC/LINE 16

MONO LEVEL

AUX RET1

AUX RET2

INSERT

PEAK

24 DSP

12K

DIGITAL EFFECTS

GAIN

+26

-26

2TK IN

2TK OUT

2T TO MIX

80Hz

12K

AUX

MID

AUX

125

250

500

16K

EQ IN/OUT

AUX

PAN

AUX

PAN

+15dB

0dB

+15dB

0dB

0.3

500

.15

PAN

.15

EQ TO AUX

0.1

-15dB

₈L₀F_Hz

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

12K

125

250

500

16K

12K

AUX RETURN

+48V

POWER

PFL

SOLO

AUX1

80Hz

SOLO

POST

AUX

+20

DSP ON

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX2

DSP

AUX

PAN

AUX

PAN

AUX

PAN

AUX

PAN

DSP 3-4

DSP 1-2

DSP AUX1

DSP

PEAK

PAN

-3

-6

-9

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

LEFT

RIGHT

-12

-16

-18

-21

DIGITAL EFFECTS

SOLO

LARGE HALL

MEDIUM HALL

LARGE ROOM

VOCAL RM.1

VOCAL RM.2

CHORUS+REVERB

CHORUS+DELAY

STAIRWELL

SOLO

SOLO/PFL

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

BUS

1-2

MIX MUTE

1-2 TO MIX

3-4 TO MIX

SOLO DEFEAT

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

BUS

3-4

MIX

SOLO

C/ROOM

+PHONES

CHANNEL

CHANNEL 9-10

CHANNEL 11-12

CHANNEL 13-14

CHANNEL 15-16

OUTPUTS

PHONES

MIX

In this example, the S gate 4 channels are connected to the mixer’s bus 1-4 inserts points.

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S gate 4 Connections

CONNECTING THE S gate 4

The are several ways to interface the S gate 4 to support a variety of applications. The S gate 4 features servo-

balanced inputs and outputs, so connecting balanced and unbalanced signals is possible without any signal loss.

The S gate 4 can be used on a single instrument by connecting to a mixer channelʼs insert points, or on an entire

mix "in-line" between a mixerʼs outputs and a power amp or equalizer.

INSERT POINTS

Many mixers today provide channel and bus or group inserts. Insert points are input and output patch points that

interrupt the channel or bus signal so that external processors can be connected. Channel insert points are ideal

for connecting to when using the S gate 4 to gate a single channel like a vocal, bass or guitar. Bus insert points

are ideal for gating groups of instruments like vocals, strings or drums. If you are connecting to a channelʼs

insert points, you may have a single TRS jack for Send & Return. In this case, use an Insert "Y" Cable that is

configured like the one in the wiring diagram below.

Insert Cable, 1/4” male TRS connector to two male 1/4”

in send and return configuration.

��

IN-LINE

In live sound operation, the S gate 4 can be installed in-line between a mixer and equalizer or power amplifier.

For these applications the S gate 4 provides both 1/4" TRS connectors and XLR connectors to easily interface

with most any professional audio device. Follow the wiring examples below for your particular installation.

XLR Balanced Wiring Guide

Unbalanced 1/4” Connector

��

�

��

Balanced TRS 1/4” Connector

��

�

��

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Block Diagrahm

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Specifications

System Specifications

Frequency Response

Dynamic range

THD

Crosstalk

Detector

20Hz to 20kHz +/ - 0.5 dB

95 dBu, un-weighted, 22 Hz to 22 kHz

0.008 % typ. @ +4 dBu, 1 kHz

90dB, 22 Hz to 22 kHz

RMS

Gate

Trigger range

Attack

Release

Hold

Range

variable (-50 to +20 dB)

variable (0.3 to 3000ms)

variable (0.02 to 5 sec.)

variable (0.01 to 4 sec.)

variable (0 to 100 dB)

DUCKER Section

RANGE

variable (1 to 100 dB )

Function Switches

Link

Linking two channels for stereo operation. Channel 1

becomes master for Channel 2. Channel 3 becomes

master for Channel 4.

Filter

Key Listen

Ducker

In/Out

Meters & LED's

Gain Reduction

8 segment LED display:

30/24/18/12/6/4/2/1 dB

Gate Activity

3 segment LED display:

green-open; yellow-hold; red-closed

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Specifications

Audio Input

Connectors

Impedance

XLR and 1/4" TRS jack

20k Ohm balanced, 10k Ohm unbalanced

Nominal Operating Level

Max. Input Level

CMRR

+21 dBu, balanced and unbalanced

Typ. 40dB, >55dB @ 1kHz

Audio Output

Connectors

Impedance

XLR and 1/4" jack

60 Ohms balanced, 30 Ohms unbalanced

+21 dBu, balanced and unbalanced

Max. Output Level

Power Supply

Mains Voltages/selectable

USA/Canada

U.K./Australia ~240 V AC, 50 Hz

Europe ~230 V AC, 50 Hz

~120 V AC, 60 Hz

Fuse

100-120 V AC; 250 mA (slow-blow)

200-240 V AC: 125 mA (slow-blow)

5 Watts

Power Consumption

Power inlet

Standard IEC receptacle/with fuse

Size

Dimensions

1 3/4" (44.5 mm)H x 19" (482.6 mm) x 7 3/4" (196.9 mm)

Weight

Net Weight

Shipping Weight

5.25 lbs.(2.4 kg)

7.5 lbs.(3.4 kgs)

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Samson Technologies Corp.

575 Underhill Blvd.

P.O. Box 9031

Syosset, NY 11791-9031

Phone: 1-800-3-SAMSON (1-800-372-6766)

Fax: 516-364-3888

www.samsontech.com

sg4omv2

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