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ABOUT
GATING
Noise reduction
The
basic
purpose
oi
a
noise
gate
is
to
remove unwanted
background
sounds
in
the
spaces
between
desired
foreground
sounds.
Note
that
there has to be
some
real
distance
in
level
between
the
unwanted and wanted
material
—
at least a
few dB
—
in
order
for
the
166's
gate
to "get
its
foot
in
the
door.V
If
levels
are too close
(e.g.,
because
of earlier
compression,
or
because the mikes
were
closer to
the
unwanted
than
to
the
wanted
sound),
the
gating efforts of the
1
66
will
be
for
naught.
One
of the
more
common
uses
for
a
gate
is
to tighten or "dry up"
drum
sounds.
As
with
most dynamics
processing,
it's
ideal
if
there
is
a
sep>arate
mike
on each
drum
and
cymbal
(or
group
oi
cymbals) and each
is
individually
gated.
Each mike
is
auditioned
separately
and the gate
threshold adjusted to eliminate the
sound
of
all
but the desired
drum.
(Hint: start
with the threshold very low,
so
all
the sounds
come
through, then
increase
it
until
only the desired
drum
is
left.)
It's
likely
that
you'll find
the Fast release
setting best for
most
drums, while slow
usually
is
better
for
cymbals
and
some
toms.
When
things
are adjusted correctly,
each
drum
will
sound
tight,
punchy,
and
dry
—
detailed
and defin^.
When
you
don't
have
erK>ugh
mikes
(or
166es0
to
cover each
drum,
then group
them:
snare
and center toms,
side
toms,
bass,
cymbals. The
idea
is
to get as close as
p>ossible
to
only
one mike on
at
a time
so only
one
sound
is
picked
up,
instead of several.
Another
common
use
for
a gate
is
in
vocal recording. Especially after compression,
the
noises
picked up by a
mike an
inch
away
from
a
singer's
mouth
can be very
obtrusive.
Try the 166
in its
slow
relecise
mode
to
gate out these
noises.
Other
applications include
keeping
live
drum
tracks
from
"contaminating" an acoustic-piano
track,
and
general
solv-
ing of
other
sorts of
leakage problems.
Chanf^g
sound
quality
There's
more
to
gating than
just
keeping out
unwanted background
noises:
you can
use
the
1
66 gates to
change
sonic character. This
is
because
gates
can
be used to reduce
or
otherwise
alter
tfie
quality of
instrumental
ambience and
reverb.
As
the
sound decays
after
an instrument
stops,
its
reverberation
level
will
fall
through the
166's
Threshold
setting,
below which
it
can be
made
to die
out
more
or
less
quickly
—
in
any case
faster
than the natural sound.
Experiment
with changing the
"tail"
of
the sound; the
fast
setting
will
nearly eliminate reverb.
In
other
situations,
a
166
can be
used to prevent or reduce leakage
among
mikes
in
sound reinforcement
or
during panel
discussions.
Simply
set
the Threshold control
below
the
level of
the music
or speech.
Similarly,
in
broadcasting, a
166
can be
used
to
clean
up
noisy
feeds
Oand
lines,
ENG
audio)
if
it's
placed at the output.
Wind
or air-condition-
ing noise
during
a
remote
interview
can be
controlled as well: proper 166 gate
attenua-
tion
can keep
noise during pauses
from
being
either loud (obtrusive-sounding)
or
too
soft
(peculiar-sounding)
—
or
modulated.
The
attack
time
of
the 166 gate
is
short, so
the
complete
transient at the
beginning
of a
sound
comes
through.
We've
already
touched on the
differences
between
the Fast
and Slow
release
rates,
but
never
hesitate to
experiment
to get the best
results for
a
particular situation.
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