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In most applications, the complete removal of noise is counter-productive, as it draws attention to the processing and becomes a distraction. You can generally get away with higher levels of noise when gating short, percussive sounds than when working on delicate sources, but ultimately you must let your ears decide. The greater the level of background noise or spill, the less natural the result will sound as the gate opens and closes. This all means that gates are only really effective when (a) the level of unwanted noise is fairly low, and (b) the wanted audio masks the noise when the gate is open. Although you might improve the situation using a low‑pass filter, this usually also dulls high‑end details you want to keep. So if the wanted audio is a low‑frequency sound and the noise is a high‑pitched whine, the noise will remain audible. Masking requires the wanted sound to be louder than the noise in the same frequency range, especially in the 500Hz to 5kHz region to which human hearing is most sensitive. Some also offer a 'hold' control, to keep the gate open for a short time after the audio falls back below the threshold and prevent the gate from 'chattering' when the audio features rapid level fluctuations. To avoid clicks due to the gate opening very quickly, and to prevent slow fades being cut off abruptly, most gates have adjustable attack and release times. If the threshold is set just above the noise floor, the gate will close during pauses and open as soon as the wanted audio is detected. The gate opens as the signal rises above a threshold, and closes when it falls below it.
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The humble noise gate (or simply 'gate'), relies on modest levels of noise being masked when the wanted audio is present, and being audible only during pauses.
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Gating & ExpandingĬEDAR Audio's ground‑breaking noise-reduction software has proved so useful that they've been able to release dedicated hardware noise-reduction processors like the DNS1000 pictured here, to speed up 'cleaning' tasks in professional broadcast, restoration and mastering work.
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Audio‑restoration software is quite affordable now, but you still need to know how to get the best from it, so in this article I'll discuss the pros, cons and applications of various noise‑removal tools. Many of us also face challenges from noises such as the hum and hiss of guitar amps, mysterious digital clicks, camera whine, air‑conditioning noise and so on. However, what was once an acceptable amount of noise in a mix (because it could be masked by tape hiss, for example) will now stick out like a sore thumb. Modern recording systems are clean and quiet, so electronic noise in the recording chain is rarely a problem. If hisses, clicks, thumps or hums wreck a great take, don't panic: do something about it!