LOGIC PRO X - Noise Gates As Transient Designers

[@richieritz5803]

I'm glad that you started your own channel, I love the way you teach, concise, essential and deep at the same time

[@jonobuchananmusic]

Huge thanks Richie!

[@garygimmestad4272]

Who knew? As you say, this creates space and clarity in the mix. Great tip!

[@jonobuchananmusic]

Pleased to hear that it's already proving useful, Gary.

[@FujiFujimoto]

Your videos are always right on time for me. I see how this would really help low strings and brass sound clearer.

[@jonobuchananmusic]

Absolutely, it's useful for all kinds of instrument groups.

[@WOOSHYMUSIC]

awesome video, just discovered you. thank you for that!

[@jonobuchananmusic]

Thank you and welcome! New episodes on this channel every Wednesday and a new Short every Saturday. Delighted to have you with us.

[@fredericdicrasto5826]

Very efficient and instructive !

[@jonobuchananmusic]

Thanks Frédéric. Glad it was helpful.

[@muso346]

Jono thanks so much for all these tutorials, so helpful. Would you combine Noise Gating/Transient designers with side chaining to create extra punchy drums? Thanks

[@jonobuchananmusic]

You're most welcome. You absolutely could do that and it should work beautifully.

[@grrdjf]

Great idea, thanks for pointing this out. 2 questions: Can we similarly shape the front end (attack) of the drum sounds with Noise Gate? And: why no mention of Enveloper? 🤔 Now you’ve got me thinking, I’m going to compare it with this technique.

[@jonobuchananmusic]

Hi Dan. Great questions. 1. You can't directly boost the Attack volume, though if you boost the overall output level of the sound(s) you're gating in this way and attenuate the back end a few dBs more, 'effectively' you've turned up the volume of the Attack (so long as you keep the Attack Time at 0mS or close to it. 2. Enveloper - absolutely worth exploring that option too, as that plug-in is ideal for similar kinds of processing. I was drawn to the idea of re-purposing the Noise Gate for something a little left-field but the Enveloper will get you there too!

[@seijichampollion1757]

Amazing!

[@jonobuchananmusic]

Thanks Seiji!

[@geraldrussell9154]

Which sound banks can be used with voice over in control view with logic pro x

[@jonobuchananmusic]

Hi Gerald. I'm not sure I fully understand your question. Could you give me a little more insight into what you're working on and I'll do my best to answer it. Many thanks.

[@geraldrussell9154]

Blind person can use logic pro x with voice over and use the keyboard to control logic pro x

[@jonobuchananmusic]

@@geraldrussell9154 Thanks for the extra information, Gerald. This isn't an area of expertise for me but let me see what I can find out. I'll get back to you.

[@geraldrussell9154]

Thank you I will be waiting

[@ZaffinMusic]

What you’ve done there is create an expander, not a transient designer. The transients haven’t changed. If you actually want to shape the transients in Logic Pro then use the built-in Enveloper plugin, which is an actual transient designer.

[@jonobuchananmusic]

Hi. You're absolutely right about the Enveloper being a Transient Designer and it's a powerful tool in its own right. I often explore alternative Production Techniques on this channel, using one plug-in to emulate the effect of another as the slight (or extreme) differences between their functions can often yield quite interesting results. The Enveloper plug-in lets you choose a Volume offset for the Attack and Release phases, boosting or cutting how a sound behaves in these two parts. But in real terms, the Noise Gate does too. If you want to smooth the Transient, you can increase the Noise Gate's Attack Time and you want to enhance it, you can simply turn up the Output level of the channel (or use Gain before or after it), before the Hold and Release Times give you a chance to control how you want Volume to behave after the Gate closes (along with whatever Reduction amount you select). So I do think the Noise Gate provides a different way to achieve a potentially extremely similar result to the Enveloper but with all of the extra benefits of how you might choose to Automate the Noise Gate's parameters to vary Dynamics behaviour over time.

[@ZaffinMusic]

@@jonobuchananmusic I see what you’re saying but that’s not really how a true transient designer works. A true transient designer (like Enveloper) can shape the attack of the transient without affecting the tail. An expander will always affect the tail so you’d have to run a compressor after it in series in order to compensate for that if that’s what you wanted to do. What you’re doing and describing there is I’m afraid just expansion. You’re pushing the tail down in volume relative to the attack (I.e. the opposite effect of compression) in order to make room in the track, as you put it. A transient designer would just change the attack portion to either make it softer or harder (but not necessarily louder or quieter) and leave the tail alone.

[@johnviera3884]

you can use this to chop difficult to decipher clipped samples. noise gate the peaks. bounce to audio. align the bounce under the initial track. on the bounce track, tab to transients and click the up arrow to the initial region and split the region

[@jonobuchananmusic]

Thanks John. I can see how that would work effectively, though I'd definitely recommend not working with clipped samples whenever possible!

[@johnviera3884]

@@jonobuchananmusic what I meant was over compressed or hard limited samples.