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543:"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."
540:" 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.
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77:. 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
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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
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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
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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
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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
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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
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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.
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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
253:, 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
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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
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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
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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.
520:. 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."
440:, 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
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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.
201:. 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
491:. 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
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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".
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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.
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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.
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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
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A noise gate without hysteresis can open and close undesirably with a fluctuating signal (top). With hysteresis, the noise gate does not "chatter".
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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
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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
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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
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It is a common production trick to use spurious combinations of side chain inputs to control longer, more sustained sounds. For example, a
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being popped in front of a microphone). The combined voices and crackling created an eerie and quite convincing "talking fire" effect.
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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.
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a threshold, such as loud attacks from the start of musical notes, noise gates attenuate signals that register
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81:. Gates typically feature "attack", "release", and "hold" settings and may feature a "look-ahead" function.
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For vocal applications on stage, an optical microphone switch may be used rather than a noise gate. An
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A common application is with electric guitar to remove hum and hiss noise caused by distortion
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by Jay
Hodgson, common in classical music recordings for years, is often credited to producer
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sensor senses if someone is in front of the microphone and switches on the microphone.
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signal. A good example of this use of the device can be found on the
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Davis, Gary; Jones, Ralph; Yamaha
International Corporation (1989).
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as early as the 1980s, and is now commonly used in audio production
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A good example of time-controlled noise gating is the well-known "
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476:. The album's story required the creation of a number of special
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melodic (or harmonic) signal which is perfectly in time with the
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Cunningham, Mark (January 1995). "The other side of the moon".
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The technique was implemented in real-time electronics in some
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A stompbox-format gate designed for use with electric guitar
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The attack, hold, and release functions of a noise gate
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triggered by other highly amplified sounds onstage.
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that are more distracting than the original static.
221:, noise gating reduces steady noise sources such as
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673:"Drawmer DS201 Dual Noise Gate Operator's Manual"
578:" between the drum mics. This is used to reduce
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388:. Unsourced material may be challenged and
275:the audio signal can yield a very detailed
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452:signal can be used to control a sustained
1199:Music technology (electronic and digital)
765:SOS's Advanced Gating Techniques Part 2/2
760:SOS's Advanced Gating Techniques Part 1/2
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408:Learn how and when to remove this message
41:or software that is used to control the
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528:The invention of a technique, called
139:control is used to set the amount of
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480:that would convey the impression of
386:adding citations to reliable sources
424:" effect heard on the drums on the
283:editing software packages such as
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1040:Recording studio as an instrument
326:sound and another to capture the
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639:The Sound Reinforcement Handbook
432:", created by engineer-producer
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279:of the background noise. Common
147:Advanced gates have an external
516:to the second, but also on the
249:by a collection of overlapping
25:An Alesis Micro Gate noise gate
553:Envelope follower § Audio
536:, whose use on David Bowie's "
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1223:Record production portal
168:Noise gates often implement
1194:Music technology (electric)
662:Hodgson (2010), p. 87.
314:, the noise gating can add
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509:The Dark Side of the Moon
229:, hiss from audio tape,
205:bands that contain only
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93:Controls and parameters
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1111:Ghostwriters in music
736:Understanding Records
734:Hodgson, Jay (2010).
715:Understanding Records
713:Hodgson, Jay (2010).
617:Understanding Records
615:Hodgson, Jay (2010).
592:Dynamic noise limiter
213:Audio noise reduction
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382:improve this section
333:overhead microphones
271:, where software to
1253:Dynamics processing
569:Sound reinforcement
456:sound to produce a
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105:Noise gates have a
1025:Hip hop production
558:Envelope following
530:multi-latch gating
524:Multi-latch gating
466:Godley & Creme
430:In the Air Tonight
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832:Critical distance
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1116:Horn section
999:Reverse echo
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929:Delay effect
879:Punch in/out
874:Ping-ponging
842:Effects unit
837:Effects loop
827:Audio mixing
817:Audio filter
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679:. Retrieved
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500:Alan Parsons
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473:Consequences
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438:milliseconds
434:Hugh Padgham
428:hit single "
426:Phil Collins
422:gated reverb
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380:Please help
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1169:Click track
1153:Vocal coach
1096:Backup band
1076:professions
1050:Turntablism
924:Compression
909:Pitch shift
869:Overdubbing
809:Engineering
597:Audio spill
493:Bubble Wrap
454:synthesized
141:attenuation
79:guitar solo
1237:Categories
1101:Bandleader
1060:Xenochrony
1015:aesthetics
979:Noise gate
939:Distortion
901:processing
864:Microphone
603:References
551:See also:
504:Pink Floyd
442:side chain
398:March 2017
324:snare drum
307:Abbey Road
262:audiophile
227:LP records
179:chattering
170:hysteresis
159:trancegate
51:compressor
33:or simply
31:noise gate
1011:Practices
914:Auto-Tune
889:Tape loop
859:Diffusion
369:does not
328:kick drum
316:artifacts
257:survive.
255:passbands
235:amplifier
217:In audio
203:frequency
150:sidechain
107:threshold
1086:Arranger
1045:Sampling
969:Flanging
847:Talk box
586:See also
576:bleeding
489:bushfire
458:rhythmic
344:infrared
298:Sun King
289:Audacity
285:CoolEdit
277:spectrum
989:Pumping
954:Ducking
899:Signal
681:27 July
390:removed
375:sources
302:Beatles
114:release
1189:Medley
1184:Mashup
994:Reverb
984:Phaser
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538:Heroes
462:hi-hat
450:hi-hat
304:album
243:speech
237:, and
231:static
223:rumble
207:static
122:attack
63:signal
45:of an
43:volume
37:is an
1204:Remix
1162:Other
1072:Roles
1030:Lo-fi
933:STEED
676:(PDF)
225:from
185:Roles
137:range
68:noise
59:below
55:above
740:ISBN
719:ISBN
683:2008
643:ISBN
621:ISBN
373:any
371:cite
287:and
163:gate
135:The
129:hold
127:The
120:The
112:The
35:gate
948:ADT
518:mix
506:'s
384:by
239:hum
1239::
1106:DJ
706:^
484:.
209:.
174:dB
29:A
950:)
946:(
935:)
931:(
793:e
786:t
779:v
746:.
725:.
685:.
653:.
651:.
627:.
574:"
411:)
405:(
400:)
396:(
392:.
378:.
296:"
66:"
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