PRO TOOLS NOISE GATE HOW TO
PRO TOOLS NOISE GATE SOFTWARE

General operation, once you've selected aВ suitable ratio, is much the same as for aВ noise gate - but so are the limitations. Ratio figures are the opposite way around to those for aВ compressor: aВ compressor ratio of 2:1 means that the signal has to rise 2dB above the threshold to cause aВ 1dB rise in output whereas an expander ratio of 1:2 means the signal has to fall 1dB below the threshold to be attenuated by 2dB. Some have aВ variable ratio, so that the higher the ratio, the more the signal is attenuated. Some gates, like this one by Melda, offer multiple dynamics processors in a single plug-in, which can be useful.Expanders work in aВ similar way to gates: when the signal falls below the threshold, it's subjected to progressive gain reduction, much like aВ compressor in reverse. Gates and expanders can help you remove or conceal many unwanted noises. The DS201 was popular for drum recording, as the filters could be set to reduce the risk of hiвЂ‘hat spill triggering gates used on other drums. This helps prevent accidental triggering from pitched components in the noise that are significantly different in pitch from the wanted signal. Reducing the attenuation range of aВ gate to, say, 12dB (so it doesn't completely close, but just attenuates by 12dB) usually sounds subjectively better than aВ hard gate action.ДЄ refinement of the gate (pioneered in Drawmer's DS201) employs variable highвЂ‘ and lowвЂ‘pass sideвЂ‘chain filters. In practice, it's usually far more effective and less obvious to use more subtle processing, even if the degree of noise reduction is more modest. In most applications, the complete removal of noise is counter-productive, as it draws attention to the processing and becomes aВ distraction. You can generally get away with higher levels of noise when gating short, percussive sounds than when working on delicate sources, but ultimately you must let your ears decide. The greater the level of background noise or spill, the less natural the result will sound as the gate opens and closes. This all means that gates are only really effective when (a) the level of unwanted noise is fairly low, and (b) the wanted audio masks the noise when the gate is open. Although you might improve the situation using aВ lowвЂ‘pass filter, this usually also dulls highвЂ‘end details you want to keep. So if the wanted audio is aВ lowвЂ‘frequency sound and the noise is aВ highвЂ‘pitched whine, the noise will remain audible. Masking requires the wanted sound to be louder than the noise in the same frequency range, especially in the 500Hz to 5kHz region to which human hearing is most sensitive. Some also offer aВ 'hold' control, to keep the gate open for aВ short time after the audio falls back below the threshold and prevent the gate from 'chattering' when the audio features rapid level fluctuations.

To avoid clicks due to the gate opening very quickly, and to prevent slow fades being cut off abruptly, most gates have adjustable attack and release times. If the threshold is set just above the noise floor, the gate will close during pauses and open as soon as the wanted audio is detected. The gate opens as the signal rises above aВ threshold, and closes when it falls below it. The humble noise gate (or simply 'gate'), relies on modest levels of noise being masked when the wanted audio is present, and being audible only during pauses.

PRO TOOLS NOISE GATE SOFTWARE

Gating & ExpandingД¬EDAR Audio's groundвЂ‘breaking noise-reduction software has proved so useful that they've been able to release dedicated hardware noise-reduction processors like the DNS1000 pictured here, to speed up 'cleaning' tasks in professional broadcast, restoration and mastering work.

PRO TOOLS NOISE GATE HOW TO

AudioвЂ‘restoration software is quite affordable now, but you still need to know how to get the best from it, so in this article I'll discuss the pros, cons and applications of various noiseвЂ‘removal tools. Many of us also face challenges from noises such as the hum and hiss of guitar amps, mysterious digital clicks, camera whine, airвЂ‘conditioning noise and so on. However, what was once an acceptable amount of noise in aВ mix (because it could be masked by tape hiss, for example) will now stick out like aВ sore thumb. Modern recording systems are clean and quiet, so electronic noise in the recording chain is rarely aВ problem.

If hisses, clicks, thumps or hums wreck a great take, don't panic: do something about it!

Pro tools noise gate