Lesson Info
31. Noise Gate
Lessons
Introduction and Welcome to this Class
00:52 2Project Organization
09:47 3Faders and Panning
11:13 4Flex Pitch - Vocals
05:18 5Flex Time - Vocals
03:05 6Editing Studio Drums
09:29 7Song Mix Deconstruct - Mixing Drum Kit Designer
08:04 8Mixing Files
01:50Tips to Start a Mix
02:11 10Mixing vs Mastering
02:19 11Introduction to Mixing with Logic Pro's Audio Effects
00:47 12Channel Strip and Routing - Part 1
04:39 13Channel Strip - Part 2
07:00 14Bussed Effects
11:25 15Gain Staging Audio Tracks and Pre Fader Metering
11:44 16Gain Staging Software Tracks
03:45 17Mixing with Channel EQ
19:57 18Mixing Vocals with Compressor - Part 1
08:25 19Mixing Vocals with Compressor - Part 2
06:44 20Compressor Circuit Types
13:07 21Compression - Distortion and Limiting
10:47 22Sidechain Compression
06:37 23Compression - Part 5 (Glue)
02:52 24DeEsser
12:03 25Multipressor - Part 1
09:31 26Multipressor - Part 2 (DeEss)
06:11 27Multipressor - Expander
07:33 28Dynamics Wrap up
09:05 29Compression with Flex Pitch
04:49 30Exciter
05:03 31Noise Gate
04:14 32Noise Gate - AHR
07:16 33Noise Gate - Hysteresis
02:07 34Chorus
06:04 35Introduction to Automation
09:44 36Touch Automation
03:46 37Trim-Touch Automation
05:28 38Relative Touch Automation
04:34 39Automation Curve Tool
04:09 40SilverVerb - Part 1
18:11 41SilverVerb Modulation
02:57 42Sample Delay and HAAS Effect
05:29 43Delay - Echo
09:35 44Stereo Delay - Part 1
14:25 45Stereo Delay - Part 2
04:00 46Stereo Delay - Part 3
08:24 47Tape Delay - Part 1
13:29 48Tape Delay - Part 2
05:07 49Thanks and Bye
00:07Lesson Info
Noise Gate
Hi. In this video, I'm gonna show you how you can use logic pros noise gate to minimize noise in a recording. So taking over this mix on Thomas, I see he's actually got quite a lot of volume automation where he's automated the fader. So it goes down when Peter's not singing to eliminate the noise. But what I'm gonna do is actually bypass that and see if I can get similar or better noise reduction using logic pros noise gate. So I'm gonna bypass the automation. Now, let's have a listen. OK? Now let's try on solo. The wind rushes past my face and through my hair. OK. So there's actually quite a lot of noise back there. I mean, a lot of it gets masked by the mix anyway, but let's try and eliminate that. So in the end of my chain here, I'm gonna go to Dynamics Noise gate. Now, it's likely that you will do this before using compressors and EQS and such, but it really does depend on your workflow. But in this example where Thomas had already done it with the fader and the fader is post is la...
ter in the signal chain than these plugins. Here. Me having a noise gate at the bottom of the chain here is the equivalent of doing that. So let's see how we get on. OK. So you can hear the noise is actually gone, but the gate is opening and closing when random sounds occur. So let's try and refine that and let's actually listen to what it sounds like when he starts singing again and the transition between gate open and gate closed, the wind rushes past my face and through my hair. For the briefest of moments, I feel like I'm flying. Now. Of course, you can hear the noise when he's singing. But the good thing is most of that gets masked in the mix. Anyway, the gate isn't going to really help that at all because the gate is either on or off. It's, it's a binary instrument. Ok? So what I'm gonna do now is adjust the threshold until it's just above the noise floor. So let's pull it down until the noise comes back again. Because the threshold is the level at which like a compressor things start to happen in the context of a gate. When the signal falls below the threshold, it gets turned all the way down. And when it exceeds the threshold, the gate opens again, so we can hear the noise again now. So that tells me that the noise floor is above minus 80 DB. So I'm gonna turn it up. Let's go up to see disappeared there about 60. So minus 59 is probably ideal, the wind rushes past my face and through my hair. However, what is quite noticeable now is the difference between no noise floor and some noise floor. Now, we don't necessarily want 100 decibels of reduction. We only need enough reduction for the noise not to be a problem in the mix. So I'm actually gonna start at like minus DB. So the noise is still there, but it's just much fainter and not so much of a problem. But the problem with the gate opening and closing and the way that sort of behavior is happening is still a bit of an issue, which is why we need to look into attack, hold and release. So that's how we use threshold and reduction in the noise gate. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials