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Noise Gate

Lesson 31 from: Music Production in Logic Pro X: Vocal Mixing Essentials

Tomas George

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Lesson Info

31. Noise Gate

<b>In this lesson, you will learn about how you can use Logic Pro's Noise Gate to control noise in a recording.</b>
Next Lesson: Noise Gate - AHR


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Introduction and Welcome to this Class


Project Organization


Faders and Panning


Flex Pitch - Vocals


Flex Time - Vocals


Editing Studio Drums


Song Mix Deconstruct - Mixing Drum Kit Designer


Mixing Files


Lesson 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.

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