By Andy Peters • October 8, 2012 Noise gates, usually called just “gates,” are dynamics processors that you use when you want to automatically turn off a channel if the signal is not present. They perform this magic by “looking” at the input signal, and if it is below a certain level, the gate is closed. When we say that the gate is closed, what really happens is that the gain of a device in the audio path called a Voltage-Controlled Amplifier (VCA) has been set to minimum. Because the various signals you might want to gate are all different, most gates provide a handful of control knobs that let you tailor the gate’s action to your liking. This article will discuss what those knobs are, and how they affect the gate’s response. I’ll assume that the gate is connected to a console’s insert loop, and that the channel’s input level has been set properly, and I’ll also use a drum as the example input, since gates are most commonly used on drums. A typical full-featured gate will have the following controls: threshold, attack, hold, decay and range. Additionally, there may be high- and low-frequency controls. Less expensive gates may not include one or more of these controls. There are usually LED indicators which tell whether the gate is open or closed. Some gates use an LED bar-graph display to tell you how much attenuation the gate provides. I find it easiest to start when all of the gate’s controls are set for “no gating.” Start with the Threshold set to Minimum (largest negative number!), and attack time at minimum, (shortest time), hold time at maximum (longest), decay time at maximum (longest) and the range to maximum (largest negative number). Set the low-frequency control to minimum, and the high-frequency control to maximum. As the drummer slowly bangs on something, raise the threshold. At some point, the gate will close and no sound will pass through the gate. The threshold control “looks” at (the envelope of) the input signal, and if the input signal is below the threshold, the gate is closed. The gate opens when the signal is above the threshold. So, the trick is to find the point where the drum opens the gate, but the ambient noise on the stage, or the next drum, doesn’t. With a little practice, you’ll find it’s easy to narrow that down. Read the rest of this post 1 2 3 4 Comments Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *Comment Name * Email * Website Tagged with: Audio Basics Processors Sound Reinforcement · all topics Subscribe to Live Sound International Live Sound International brings you information on a wide range of pro audio topics. Stay up-to-date, get expert tips, industry news, new products and technologies delivered. Discover how to make smart use of today’s sound technology, Subscribe Today!