A more progressive gating action allows decaying low-level sounds to fade more naturally rather than being cut off abruptly. Alternatively, there are other gates which can automatically adapt these times to the audio being gated. Some gates have attack-time and release-time controls which specify, respectively, how quickly the gate opens and shuts. Because of this, most gates have the facility to make the opening and closing of the gate more gradual.
If a gate could only be on or off, with no transition in between, decaying sounds would be cut off abruptly as soon as they fell below the threshold level. So, in the first part of this short series, I'll be explaining what all these controls do, and why you might need each of them to achieve the gating effect you require. If this was all there was to gating then gates would not need anything more than a threshold control, yet a glance at a few different units will turn up all sorts of other controls, the action of which may not be immediately obvious. However this isn't usually a problem, because low-level noise will normally be masked by your audio signal. Clearly a gate can do nothing about noise that's present at the same time as the wanted audio signal, because then the gate will be open. Its most common use is for combating noise problems by automatically closing down the audio path during periods of very low signal level, when only noise is present. Paul White reveals that there's much more to gating than you might think.Īt its most basic, a gate is a device which mutes a signal whenever its level falls below a threshold set by the user. Drawmer's ever-popular DS201 dual noise gate.
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