201:
96:
109:
33:
371:
550:"Bowie's performance thus grows in intensity precisely as ever more ambience infuses his delivery until, by the final verse, he has to shout just to be heard....The more Bowie shouts to be heard, in fact, the further back in the mix Visconti's multi-latch system pushes his vocal tracks , creating a stark metaphor for the situation of Bowie's doomed lovers shouting their love for one another over the Berlin wall."
547:" may have been the first in rock. Visconti recorded Bowie's vocals in a large space using three microphones placed 9 inches (23 cm), 20 feet (6.1 m), and 50 feet (15.2 m) away, respectively. A different gate was applied to each microphone so that the farther microphone was triggered only when Bowie reached the appropriate volume, and each microphone was muted as the next one was triggered.
1225:
88:. A noise gate does not remove noise from the signal itself; when the gate is open, both the signal and the noise will pass through. Even though the signal and the unwanted noise are both present in open gate status, the noise is not as noticeable. The noise becomes most noticeable during periods where the main signal is not present, such as a bar of rest in a
341:
sound. The snare microphone will output a signal composed of a high level snare signal and a lower level kick drum signal (due to the further distance of the kick drum from the snare microphone). If the threshold level of the noise gate is set correctly, a snare drum signal can be isolated. To fully
332:
In the context of a multi-microphone recording session, noise gating is employed to reduce the leakage of sound into a microphone from sources other than the one the microphone was intended for. One example involves the mic-ing up of a drumkit. In most multi-mic drum recordings, one microphone will
127:
control is used to define the length of time the gate takes to change from open to fully closed. It is the fade-out duration. A fast release abruptly cuts off the sound, whereas a slower release smoothly attenuates the signal from open to closed, resulting in a slow fade-out. If the release time is
76:
to pass through only when it is above a set threshold: the gate is "open". If the signal falls below the threshold, no signal is allowed to pass (or the signal is substantially attenuated): the gate is "closed". A noise gate is used when the level of the "signal" is above the level of the unwanted
306:
Noise gating works well when the static is steady and either narrowly confined in frequency (e.g. hum from AC power) or well below the main signal level (15 dB minimum is desirable). In cases where the signal merges with the background static (for example, the brushed drum sounds in the
142:
control is used to define the length of time the gate will stay fully open after the signal falls below the threshold, and before the release period is commenced. The hold control is often set to ensure the gate does not close during short pauses between words or sentences in a speech signal.
571:
because of its prevalence in trance) is the use of a gate on a track additional to the one it attenuates, so called because the latter's amplitude profile will then match or closely follow that of the first. Envelope following may be used to create syncopated rhythms or to tighten sloppy
264:, and if the signal amplitude in any one band is lower than a preset threshold, then that band is eliminated from the final sound. This greatly reduces perceptible background noise because only the frequency components of the noise that are within the gated
580:
Noise gates play an important role in drum mic'ing in heavy metal shows. The drum and cymbal mic channels will typically have noise gates so that the mics will only be turned on when the specific drum or cymbal is being played. This dramatically reduces
187:
below, to close the gate. This means that once a signal has dropped below the close threshold, it has to rise to the open threshold for the gate to open, so that a signal that crosses over the close threshold regularly does not open the gate and cause
302:
include easy-to-use digital noise gating code: the user selects a segment of audio that contains only static, and the amplitude levels in each frequency band are used to determine the threshold levels to be applied across the signal as a whole.
527:. They were quite revolutionary at the time and they had a very individual sound. It was very effective on the heartbeats. That was a kick drum, and you hear the noise being modulated by a noise gate, which is an integral part of that sound."
451:, rather than being allowed to decay naturally. This can also be achieved by: sending the "dry" snare signal to the reverb (or other process) unit, inserting a noise gate on the path of the reverb signal and connecting the snare sound to the
154:
to be applied to the signal when the gate is closed. Often there will be complete attenuation, that is no signal will pass when the gate is closed. In some circumstances, complete attenuation is not desired and the range can be changed.
212:. Rock musicians may also use small portable "stompbox" units to control unwanted noise from their guitar amplification systems. Band-limited noise gates are also used to eliminate background noise from audio recordings by eliminating
498:. During the recording of this segment, each time the voice signal began, it triggered the noise gate to open up another channel, which carried a pre-recorded loop of a crackling sound (created by overdubbing the sound of
572:
performances. For example, a synth pad may play whole notes while keyed to a guitar or percussion part. Examples include DJ Nexus's "Journey into Trance" (1:11), Chic's "Everybody Dance", and Diana Ross's "Upside Down".
455:
of the gate unit. With the gate unit set to "external sidechain" (or "external key"), the gate will respond to the snare signal level and "cut off" when that has decayed below the threshold, not the reverberated sound.
349:
Noise gates are useful when editing live recordings to remove background noise between passages or pieces of dialogue. However, care must be taken in setting the gates so they do not trigger due to spurious noises.
342:
isolate the snare drum signal, the release rate has to be quite fast, which can cause the tail end of the snare sound to be "chopped off". This can usually be remedied by the inclusion of one or more
176:, where the noise gate is not controlled by audio signal but a preprogrammed pattern, resulting in a precisely controlled chopping of a sustained sound.
112:
A noise gate without hysteresis can open and close undesirably with a fluctuating signal (top). With hysteresis, the noise gate does not "chatter".
494:
For the "Fire" sequence, Godley and Creme used a noise gate, triggered by the sound of multitracked voices, that created the "voice" of a raging
72:
the threshold. However, noise gates attenuate signals by a fixed amount, known as the range. In its simplest form, a noise gate allows a main
471:
melodic (or harmonic) signal which is perfectly in time with the hi-hat signal. A good example of this use of the device can be found on the
208:
The basic function of a noise gate is to eliminate sounds below a given threshold. Noise gates are commonly used in the recording studio and
164:. This is an additional input that allows the gate to be triggered by another audio signal. A variation of a sidechained noise gate used in
459:
It is a common production trick to use spurious combinations of side chain inputs to control longer, more sustained sounds. For example, a
798:
502:
being popped in front of a microphone). The combined voices and crackling created an eerie and quite convincing "talking fire" effect.
128:
too short, a click can be heard when the gate re-opens. Release is the second-most common control to find on a gate, after threshold.
1205:
915:
322:
479:
750:
729:
631:
135:
control is used to define the length of time the gate takes to change from closed to fully open. It is the fade-in duration.
544:
17:
1046:
653:
418:
400:
81:". The threshold is set above the level of the "noise", and so when there is no main "signal", the gate is closed.
160:
791:
396:
68:
a threshold, such as loud attacks from the start of musical notes, noise gates attenuate signals that register
1180:
833:
524:
92:. Gates typically feature "attack", "release", and "hold" settings and may feature a "look-ahead" function.
1259:
1200:
392:
200:
771:
353:
For vocal applications on stage, an optical microphone switch may be used rather than a noise gate. An
954:
939:
930:
784:
515:
61:
120:
control to set the level at which the gate will open. More advanced noise gates have more features.
1254:
1229:
381:
447:, in which the powerful reverberation added to the drums is cut off by the noise gate after a few
252:
from a power system, without greatly affecting the source sound. An audio signal such as music or
905:
385:
299:
1249:
1041:
279:
229:
84:
A common application is with electric guitar to remove hum and hiss noise caused by distortion
766:
539:
by Jay
Hodgson, common in classical music recordings for years, is often credited to producer
865:
598:
505:"One thing I did that I think gave the album a certain sound was I Kepexed everything," said
965:
935:
559:
520:
8:
880:
343:
209:
679:
1031:
945:
452:
440:
357:
sensor senses if someone is in front of the microphone and switches on the microphone.
838:
828:
746:
725:
649:
627:
519:. "Kepexes were very early noise gates, and we Kepexed not only going from the first
488:
472:
283:
237:
49:
1142:
1051:
970:
261:
165:
1132:
995:
990:
950:
890:
807:
464:
308:
183:, that is, they have two thresholds: one to open the gate and another, set a few
95:
1195:
1190:
1137:
1117:
1097:
815:
586:
326:
233:
1243:
1147:
1061:
1000:
980:
925:
858:
582:
540:
484:
475:
291:
275:
1185:
1152:
1127:
1122:
1005:
885:
848:
843:
823:
506:
448:
444:
436:
432:
346:, which can act as a general "audio glue" for all the other gated sources.
85:
57:
643:
1175:
1159:
1102:
1092:
1056:
1036:
875:
603:
499:
249:
241:
217:
192:. A longer hold time also helps to avoid chattering, as described above.
189:
151:
89:
32:
108:
1107:
1066:
870:
510:
334:
317:
272:
180:
920:
895:
338:
245:
213:
53:
644:
Davis, Gary; Jones, Ralph; Yamaha
International Corporation (1989).
370:
278:
as early as the 1980s, and is now commonly used in audio production
975:
853:
776:
495:
354:
295:
287:
265:
257:
431:
A good example of time-controlled noise gating is the well-known "
960:
483:. The album's story required the creation of a number of special
312:
184:
703:
Cunningham, Mark (January 1995). "The other side of the moon".
468:
460:
271:
The technique was implemented in real-time electronics in some
253:
73:
1210:
78:
204:
A stompbox-format gate designed for use with electric guitar
1112:
99:
The attack, hold, and release functions of a noise gate
321:) or is weak compared to the noise (as in very faint
589:
triggered by other highly amplified sounds onstage.
329:
that are more distracting than the original static.
232:, noise gating reduces steady noise sources such as
680:"Drawmer DS201 Dual Noise Gate Operator's Manual"
1241:
585:" between the drum mics. This is used to reduce
792:
399:. Unsourced material may be challenged and
286:the audio signal can yield a very detailed
799:
785:
702:
463:signal can be used to control a sustained
103:
1206:Music technology (electronic and digital)
772:SOS's Advanced Gating Techniques Part 2/2
767:SOS's Advanced Gating Techniques Part 1/2
716:
714:
419:Learn how and when to remove this message
223:
199:
107:
94:
52:or software that is used to control the
31:
14:
1242:
711:
575:
780:
535:The invention of a technique, called
530:
150:control is used to set the amount of
806:
487:that would convey the impression of
397:adding citations to reliable sources
364:
435:" effect heard on the drums on the
360:
24:
294:editing software packages such as
25:
1271:
1047:Recording studio as an instrument
760:
337:sound and another to capture the
1223:
646:The Sound Reinforcement Handbook
553:
443:", created by engineer-producer
369:
290:of the background noise. Common
158:Advanced gates have an external
523:to the second, but also on the
260:by a collection of overlapping
36:An Alesis Micro Gate noise gate
735:
696:
672:
663:
637:
616:
560:Envelope follower § Audio
543:, whose use on David Bowie's "
13:
1:
609:
1230:Record production portal
179:Noise gates often implement
7:
1201:Music technology (electric)
669:Hodgson (2010), p. 87.
592:
325:, the noise gating can add
64:, which attenuates signals
10:
1276:
557:
1219:
1168:
1075:
1014:
904:
814:
516:The Dark Side of the Moon
240:, hiss from audio tape,
216:bands that contain only
195:
333:be used to capture the
256:is broken up into many
104:Controls and parameters
27:Audio processing device
205:
113:
100:
37:
1118:Ghostwriters in music
743:Understanding Records
741:Hodgson, Jay (2010).
722:Understanding Records
720:Hodgson, Jay (2010).
624:Understanding Records
622:Hodgson, Jay (2010).
599:Dynamic noise limiter
224:Audio noise reduction
203:
111:
98:
35:
393:improve this section
344:overhead microphones
282:, where software to
1260:Dynamics processing
576:Sound reinforcement
467:sound to produce a
210:sound reinforcement
116:Noise gates have a
1032:Hip hop production
565:Envelope following
537:multi-latch gating
531:Multi-latch gating
473:Godley & Creme
441:In the Air Tonight
206:
114:
101:
60:. Comparable to a
38:
18:Envelope following
1237:
1236:
839:Critical distance
751:978-1-4411-5607-5
745:, p. 90–92.
730:978-1-4411-5607-5
632:978-1-4411-5607-5
489:natural disasters
429:
428:
421:
284:Fourier transform
262:band-pass filters
50:electronic device
16:(Redirected from
1267:
1228:
1227:
1226:
1143:Session musician
808:Music production
801:
794:
787:
778:
777:
754:
739:
733:
718:
709:
708:
700:
694:
693:
691:
689:
684:
676:
670:
667:
661:
659:
641:
635:
620:
424:
417:
413:
410:
404:
373:
365:
361:Recording usages
244:from a radio or
168:production is a
166:electronic music
21:
1275:
1274:
1270:
1269:
1268:
1266:
1265:
1264:
1255:Noise reduction
1240:
1239:
1238:
1233:
1224:
1222:
1215:
1164:
1133:Record producer
1086:
1082:
1071:
1025:
1021:
1010:
951:Double tracking
907:
900:
891:Sound recording
829:Audio mastering
810:
805:
763:
758:
757:
740:
736:
719:
712:
701:
697:
687:
685:
682:
678:
677:
673:
668:
664:
656:
648:. Hal Leonard.
642:
638:
621:
617:
612:
595:
578:
562:
556:
533:
425:
414:
408:
405:
390:
374:
363:
323:tape recordings
311:" track on the
280:post-processing
258:frequency bands
230:post-processing
226:
198:
172:or just simply
106:
28:
23:
22:
15:
12:
11:
5:
1273:
1263:
1262:
1257:
1252:
1235:
1234:
1220:
1217:
1216:
1214:
1213:
1208:
1203:
1198:
1193:
1188:
1183:
1178:
1172:
1170:
1166:
1165:
1163:
1162:
1157:
1156:
1155:
1145:
1140:
1138:Rhythm section
1135:
1130:
1125:
1120:
1115:
1110:
1105:
1100:
1098:Audio engineer
1095:
1089:
1087:
1085:
1084:
1080:
1076:
1073:
1072:
1070:
1069:
1064:
1059:
1054:
1049:
1044:
1042:Overproduction
1039:
1034:
1028:
1026:
1024:
1023:
1019:
1015:
1012:
1011:
1009:
1008:
1003:
998:
993:
988:
983:
978:
973:
971:Exciter effect
968:
963:
958:
948:
943:
933:
928:
923:
918:
912:
910:
902:
901:
899:
898:
893:
888:
883:
878:
873:
868:
863:
862:
861:
856:
846:
841:
836:
831:
826:
820:
818:
812:
811:
804:
803:
796:
789:
781:
775:
774:
769:
762:
761:External links
759:
756:
755:
734:
724:, p. 89.
710:
695:
671:
662:
654:
636:
626:, p. 86.
614:
613:
611:
608:
607:
606:
601:
594:
591:
587:audio feedback
577:
574:
555:
552:
532:
529:
509:, engineer on
427:
426:
377:
375:
368:
362:
359:
276:record players
225:
222:
197:
194:
105:
102:
26:
9:
6:
4:
3:
2:
1272:
1261:
1258:
1256:
1253:
1251:
1250:Audio effects
1248:
1247:
1245:
1232:
1231:
1218:
1212:
1209:
1207:
1204:
1202:
1199:
1197:
1194:
1192:
1189:
1187:
1184:
1182:
1181:Interpolation
1179:
1177:
1174:
1173:
1171:
1167:
1161:
1158:
1154:
1151:
1150:
1149:
1148:Backup singer
1146:
1144:
1141:
1139:
1136:
1134:
1131:
1129:
1126:
1124:
1121:
1119:
1116:
1114:
1111:
1109:
1106:
1104:
1101:
1099:
1096:
1094:
1091:
1090:
1088:
1081:
1078:
1077:
1074:
1068:
1065:
1063:
1062:Wall of Sound
1060:
1058:
1055:
1053:
1050:
1048:
1045:
1043:
1040:
1038:
1035:
1033:
1030:
1029:
1027:
1020:
1017:
1016:
1013:
1007:
1004:
1002:
999:
997:
994:
992:
989:
987:
984:
982:
981:Octave effect
979:
977:
974:
972:
969:
967:
964:
962:
959:
956:
952:
949:
947:
944:
941:
937:
934:
932:
929:
927:
926:Chorus effect
924:
922:
919:
917:
914:
913:
911:
909:
903:
897:
894:
892:
889:
887:
884:
882:
879:
877:
874:
872:
869:
867:
864:
860:
859:Wah-wah pedal
857:
855:
852:
851:
850:
847:
845:
842:
840:
837:
835:
832:
830:
827:
825:
822:
821:
819:
817:
813:
809:
802:
797:
795:
790:
788:
783:
782:
779:
773:
770:
768:
765:
764:
752:
748:
744:
738:
731:
727:
723:
717:
715:
707:. p. 19.
706:
699:
681:
675:
666:
657:
655:0-88188-900-8
651:
647:
640:
633:
629:
625:
619:
615:
605:
602:
600:
597:
596:
590:
588:
584:
573:
570:
569:trance gating
567:(also called
566:
561:
554:Trance gating
551:
548:
546:
542:
541:Tony Visconti
538:
528:
526:
522:
521:sixteen-track
518:
517:
512:
508:
503:
501:
497:
492:
490:
486:
485:sound effects
482:
481:
477:
476:concept album
474:
470:
466:
462:
457:
454:
450:
446:
442:
438:
434:
423:
420:
412:
402:
398:
394:
388:
387:
383:
378:This section
376:
372:
367:
366:
358:
356:
351:
347:
345:
340:
336:
330:
328:
324:
320:
319:
314:
310:
304:
301:
297:
293:
292:digital audio
289:
285:
281:
277:
274:
269:
267:
263:
259:
255:
251:
247:
243:
239:
235:
231:
221:
219:
215:
211:
202:
193:
191:
186:
182:
177:
175:
171:
167:
163:
162:
156:
153:
149:
144:
141:
136:
134:
129:
126:
121:
119:
110:
97:
93:
91:
87:
86:effects units
82:
80:
75:
71:
67:
63:
59:
55:
51:
47:
43:
34:
30:
19:
1221:
1186:Loudness war
1153:Ghost singer
1128:Orchestrator
1123:Horn section
1006:Reverse echo
985:
966:Equalization
936:Delay effect
886:Punch in/out
881:Ping-ponging
849:Effects unit
844:Effects loop
834:Audio mixing
824:Audio filter
742:
737:
721:
705:Making Music
704:
698:
686:. Retrieved
674:
665:
645:
639:
623:
618:
579:
568:
564:
563:
549:
536:
534:
514:
507:Alan Parsons
504:
493:
480:Consequences
478:
458:
449:milliseconds
445:Hugh Padgham
439:hit single "
437:Phil Collins
433:gated reverb
430:
415:
406:
391:Please help
379:
352:
348:
331:
316:
305:
270:
227:
207:
178:
173:
169:
159:
157:
147:
145:
139:
137:
132:
130:
124:
122:
117:
115:
83:
69:
65:
58:audio signal
45:
41:
39:
29:
1176:Click track
1160:Vocal coach
1103:Backup band
1083:professions
1057:Turntablism
931:Compression
916:Pitch shift
876:Overdubbing
816:Engineering
604:Audio spill
500:Bubble Wrap
465:synthesized
152:attenuation
90:guitar solo
1244:Categories
1108:Bandleader
1067:Xenochrony
1022:aesthetics
986:Noise gate
946:Distortion
908:processing
871:Microphone
610:References
558:See also:
511:Pink Floyd
453:side chain
409:March 2017
335:snare drum
318:Abbey Road
273:audiophile
238:LP records
190:chattering
181:hysteresis
170:trancegate
62:compressor
44:or simply
42:noise gate
1018:Practices
921:Auto-Tune
896:Tape loop
866:Diffusion
380:does not
339:kick drum
327:artifacts
268:survive.
266:passbands
246:amplifier
228:In audio
214:frequency
161:sidechain
118:threshold
1093:Arranger
1052:Sampling
976:Flanging
854:Talk box
593:See also
583:bleeding
496:bushfire
469:rhythmic
355:infrared
309:Sun King
300:Audacity
296:CoolEdit
288:spectrum
996:Pumping
961:Ducking
906:Signal
688:27 July
401:removed
386:sources
313:Beatles
125:release
1196:Medley
1191:Mashup
1001:Reverb
991:Phaser
749:
728:
652:
630:
545:Heroes
461:hi-hat
315:album
254:speech
248:, and
242:static
234:rumble
218:static
133:attack
74:signal
56:of an
54:volume
48:is an
1211:Remix
1169:Other
1079:Roles
1037:Lo-fi
940:STEED
683:(PDF)
236:from
196:Roles
148:range
79:noise
70:below
66:above
747:ISBN
726:ISBN
690:2008
650:ISBN
628:ISBN
384:any
382:cite
298:and
174:gate
146:The
140:hold
138:The
131:The
123:The
46:gate
955:ADT
525:mix
513:'s
395:by
250:hum
1246::
1113:DJ
713:^
491:.
220:.
185:dB
40:A
957:)
953:(
942:)
938:(
800:e
793:t
786:v
753:.
732:.
692:.
660:.
658:.
634:.
581:"
422:)
416:(
411:)
407:(
403:.
389:.
307:"
77:"
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
