![]() ![]() Used to respond extra-precisely to the front end of the audio. Gates are designed for expanding dynamic contrast (though they can be flipped to do the opposite) and compressors are designed for condensing dynamic density (and they can be switched into expander mode to do the opposite, though to a smaller max ratio). How is sidechain gating different than using sidechain compression? Not that different, really, it’s just a matter of how the timing and intensity parameters determine the dynamic gain changes happening, and whether you’re squishing or expanding the dynamics. By setting the parameters carefully, the bass could be made to naturally shorten the ringing decay of the bass to match the kick while still allowing wayward bass notes to stab out unimpeded.Īn example application of sidechain ducking might be for an announcer over background music-any time the announcer speaks, a flipped, fully sidechained gate ducks the music down to carve out some immediate headroom, popping back up as soon as the announcer shuts up. Often, sidechaining is used in conjunction with flip mode to “duck” an audio track, causing it to attenuate when another (more important) signal arrives.Īn example of sidechain blended with the original might be for when gating a bassline that is intended to closely match a kick drum with most-but not all-of its notes. You can make it react only to the external signal, or to a percentage thereof (which is pretty sweet, actually). Kinda like pre-emphasis, but instead of altering the given signal, it reacts to a different signal altogether (which can itself be pre-emphasized if desired). Used to make the gate react according to an external signal, rather than the source signal it’s working on (or a blend between the two). Selecting the cut or shelf filter options can be useful if using a gate for noise reduction for example a microphone at a rambunctious live gig could have a gate with a low-cut pre-emphasis in place to ignore possible thumps if the mic stand is moved while the singer is inactive. Do this if there’s a frequency that you really don’t care to preserve. You could pre-emphasize the dominant frequency of the trouble note, boosting it just enough so that the gate no longer triggers when it sounds.Ĭutting a frequency on the pre-emphasis, on the other hand, is a way to program the gate to be more likely to cut moments when those frequencies are prominent not taking them into account as “valuable audio to be saved”. The frequencies you boost on the pre-emphasis EQ will be heard as louder by the gate (without directly changing the output) therefore the gate is less likely to be triggered by moments in the material which are heavy in those frequencies.įor example, say you have a certain quiet but important note in a recorded keyboard line that is getting triggered by a gate when you don’t want it to, but everything else is reacting perfectly. Used to preserve (or cut) a specific frequency (or frequency range) more than others. With that visualization in mind, let’s proceed. Hold and Release have to do with the portcullis gate moving downwards-closing-dropping-attenuating.Īttack and Return have to do with the portcullis gate moving upwards-opening-letting the sound come back in. Partially closed positions indicate a level reduction. When it’s fully slammed down, it’s completely shut and nothing is coming through. When it’s fully open, it’s “up”, and the full audio stream passes through unimpeded. For the purposes of this article, i recommend visualizing the “gate” like a castle portcullis. ![]()
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