Behringer Multicom Pro-XL MDX4600

4-channel Compressor/Limiter/Gate
Behringer Multicom Pro-XL MDX4600 image 1
Behringer Multicom Pro-XL MDX4600 image 1
$149.99
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Behringer Multicom Pro-XL MDX4600
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Multi-channel Compressor/Limiter/Gate

Looking for a multi-channel compressor for stage and studio? The Behringer Multicom Pro-XL MDX4600 Compressor is a four-channel compressor/limiter/expander ready to take on your biggest challenges. The expander increases signal presence and energy, while the compressor minimizes peaks without loss of high frequencies. The switchable Interactive Knee Adaptation (IKA) in the MDX4600 combines the advantages of hard and soft-knee compressors. You can run the MDX4600 as four separate processors or couple them for two stereo channels.

Behringer Multicom Pro-XL MDX4600 Compressor/Limiter/Expander at a Glance:
  • LED meter
  • Run as four separate channels or two stereo channels
  • Switchable IKA compression
  • Dynamic Enhancer
  • XLR and 1/4" ins and outs
Keep your signal in check with the Behringer Multicom Pro-XL MDX4600.

Additional Media

Autocom Pro-XL MDX Series User Manual
Multicom Pro-XL MDX4600 Spec Sheet
Signal Processing Buying Guide

Tech Specs

Number of Channels 2
Controls Threshold, Release (Gate), Threshold, Ratio, Attack, Release, Output Gain (Compressor), Peakstop (Limiter)
Threshold -40 dB to 20 dB (Compressor)
Ratio 1:1 to Inf.
Frequency Response 20Hz-20kHz
Side Chain Inserts Yes
Inputs 4 x XLR, 4 x 1/4"
Outputs 4 x XLR, 4 x 1/4"
Rack Spaces 1U
Height 1.75"
Depth 8.5"
Width 19"
Weight 4.63 lbs.
Manufacturer Part Number MDX4600

Customer Reviews

3.5/5
Based on 4 reviews
Write your review
4.5/5

Great Compressor

I have owned and used Behringer compressors since 1996 and never had a problem with any of them. This particular model offers 4 independent channels with several valuable features on each channel. Several manufacturers have started putting "one knob" compression on some of their board channels, but you cannot get the control out of those that you can with this unit. I used it for two years with a Behringer SX2442 board on three vocalist and it really smoothed out the vocals. (trick) If you have enough board channels you can split your vocal signal into two channels, one for mains, the other monitor and insert this compressor on the mains keeping it out of the monitors and you won't have to worry about any feedback on the monitors which sometimes is a problem with compressors running on the same channel for mains and monitors as you have on some of the "one knob" compression boards. I've also used these compressors in studio recording and they work great. Several years ago a national music magazine published an article featuring a "well known" recording engineer. Guess what brand of compressors he was using in his home studio?? Behringer takes a lot of knocks, but I've never had a problem when properly used and cared for. With Sweetwater service backing them, what do you have to lose by trying one before you drop twice or three times the money on a similar unit from another manufacturer.
Music background: drummer, sound, recording
4/5

Stop the spikes

I have a small home recording studio and have tried to keep the vocals from overdriving during recording. However when I am singing at the same time, well I don't always succeed. The Behringer MDX4600 has been a great help. Easy to set up.
Music background: Performing Artist, Sound Technition
4/5

A real road warrior

I have used the Mulitcom Pro XLs in my set up for over ten years. The one I'm using now has been on my sound cart, in constant use for over seven years. I am a feature film sound mixer and my gear is exposed to extreme conditions, both temperature and environmental. I've had this unit on movies in swamps with rain and humidity, dust storms and heat in El Paso and Santa Fe, and have had to wipe frost and snow off the top of my cart in Michigan. I use an analog mixer to a time code 10 channel recorder for isos. The Multicom is a great way to tame my mixes on the fly. I don't have time to monitor and adjust all the wireless lav channels as they are usually isoed and sort of "set and forget". I like that I can easily dial in the ratios and thresholds on a scene to scene basis rather than relying on an "all in one" compressor. If the gain structure is properly set, I never hear pumping or artifacts. I will be adding another one soon. I can't believe it has survived the abuse its been subjected to. Another bonus is the added 20 db of gain I'm able to achieve with absolutely NO noise. This is especially helpful for scenes with quiet actors or scenes which have a lot of dynamic range. I've mixed over 35 feature films and the Multicom has been on over 25 of them.
Music background: Professional location sound mixer - feature films
2/5

Quality Control?

I giving this item 2 stars just because it's a bargain and Sweetwater support was excellent, but it came out of the box with what the Sweetwater support tech and I agreed was a non-functioning noise gate feature across all 4 channels. The indicator lights showed the trigger threshold was working as designed, but the GATE feature didn't even seem to try to hush the signal when engaged. It's kind of a big deal when the first feature you try to use simply doesn't work, especially with a name like Behringer that has taken a lot of lumps for this sort of thing. I'm not sure if I'll be pursuing a replacement. You really want something for 150 bucks to work like others rave about it doing, but this kind of thing causes a guy to lose faith in the product even if the second one does work initially. At least I know what to do with my old Alesis 3630s that still have one functioning channel after all these years (i.e., keep them close by)
Music background: Hobbiest and Performer
See also: Compressors, Behringer, Behringer Compressors / Limiters, Behringer Expanders / Gates, Behringer Compressors / Limiters