This should stop most of the "chopping" except at the ends of musical phrases with very long decay durations. 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 bushfire. But it can also be used more purposefully to create specific effects. No Spam. This is typically done with an effects pedal or a racked piece of hardware. So depending on what kind of plug-in or processor you’re working with, if your plug-in, if your gate doesn’t have hysteresis, that’s not a problem. You tend to want the attack set fast so the full audio comes through immediately when passing the threshold, but if it's too abrupt you can slow the attack down to make it smoother. If the signal falls below the threshold, no signal is allowed to pass (or the signal is substantially attenuated): the gate is "closed". You have to change the settings every time to get a tasteful sound. Noise gates play an important role in drum mic'ing in heavy metal shows. A longer hold time also helps to avoid chattering, as described above. You can think of it like a traffic light that at times doesn't restrict the flow of traffic at all and at times stops it entirely. Now you want to increase the hold until you're no longer activating the gate between notes of your instrument. If the volume of the audio signal dips below the volume as set by the threshold, the gate is closed and the audio is muted (or sometimes reduced, as mentioned below). To keep things simple, let's say that the noise floor of your audio signal generated from the electricity, 60 Hz hum in the cable, rumbling of the mic stand, the self-generated noise of the microphone itself, the air conditioner's sounds, and the whispering of the audience adds up to around a constant 10 dB of volume. The technique was implemented in real-time electronics in some audiophile record players as early as the 1980s, and is now commonly used in audio production post-processing, where software to Fourier transform the audio signal can yield a very detailed spectrum of the background noise. Combine this image, if you can, with actually changing these controls while listening to audio and it'll make far more sense. It's barely any more complicated than that. Noise gates often implement hysteresis, that is, they have two thresholds: one to open the gate and another, set a few dB below, to close the gate. It … 6) Set an Appropriate Hold - You still have a fast release chopping off the ends of your signal. To state that in more basic terms, it either does nothing to your audio or it mutes it, with nothing in between. 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. You can use a slow attack setting to shape the sound of a "fast attack" instrument like a drum, where it increases in volume quickly. This may still be slightly but abruptly cutting off the decay tails of your signal. If you get this right, it'll save you tons of time splicing tracks or automating the volume parameter. Noise is already fairly quiet, so turning it down by maybe 15 dB can be better than muting. An extremely fast release is like not having one and this rarely works out in your favor, so don't ignore this setting. You won't use this in live settings, which is why it's rare to see on pedals. Just put in the effort to learn the setup real quick. Another option is called the Lookahead. The attack should not be noticeable since it's set to be so fast. A noise gate is an electronic device that attenuates the volume of an audio signal by either allowing the signal to pass through unaltered or by closing off the possibility for the signal to pass through entirely. I use a noise gate when dealing with an instrument such as a kick drum that has a clear ending to the notes. The same goes for mixing on a multitrack where you can drop in plugins. It's literally a gate that's either open or closed. The best way to explain this is to understand that it's very similar to a compressor in the same way that a limiter is. As soon as you start singing vocals or playing guitar again, audio is allowed through the gate. With a hold, the gate will wait for the time duration you set to begin muting the audio again. A sidechain is an additional input used to trigger the gate based on a different audio signal than the one you want the gate to act upon. article if you're interested. Comparable to a compressor, which attenuates signals above a threshold, such as loud attacks from the start of musical notes, noise gates attenuate signals that register below the threshold. The reason for this is you want to get rid of the noise before you do any other processing. For big sound reinforcement systems like dozens of speakers in a gigantic stadium, the slightest amount of noise would be extremely loud. Gates are absolutely used in these situations, inline on each individual signal and at the end of the entire signal path right before the amplifier. Mixing engineers spend most of their time cleaning up recorded tracks rather than really mixing, and this tool shaves off a ton of that time by cleaning up the supposedly silent regions. The second threshold is set around 3 to 5 dB quieter and it closes the gate. Of course the main use is to stop ambient background noise, electrical hiss, radio static, audience sounds, etc.