The Creative Power of Gates

"The gate might seem like one of the most boring effects in your plugin folder, but it's seriously underrated when it comes to creative sound design. I'll show you how to use gates to shape reverb tails into unique textures, give static keys and synths an organic, evolving groove, add character to drums, and build glitchy, rhythmic percussion loops.

If you’ve only used gates for noise control, you’re missing out on a ton of creative potential, so let's dive in."

Credit: @Poldoore

Introduction

• Key idea: Overview of gates as a creative tool beyond basic noise control; outline of fundamentals followed by applications.
• Process / settings: Explore core controls (threshold, floor, attack, hold, release) before creative demos; compare with a compressor.
• Result: Sets context for using gates musically.
• Notes: (non précisé).

Start 00:00 → 00:15

What is a gate?

• Key idea: A gate reduces or mutes signal below a threshold—the opposite of compression, which reduces levels above the threshold.
• Process / settings: Set threshold; choose floor (to -∞ for full cut); tune attack, hold, release; use look ahead for fast transients; flip to audition what’s removed; return (open/close offset) to reduce choppiness.
• Result: Cleaner tracks and controlled ambience; typical uses include silencing breaths/noise in vocals and reducing drum mic bleed.
• Notes: (non précisé).

Start 00:15 → 03:22

Bouncy pad

• Key idea: Side‑chain a gate to rhythmic transients to make a static pad groove.
• Process / settings:
  • Add two parallel instances of Sound Toy Crystallizer (one +1 oct, one +2 oct) and pan L/R for width.
  • Insert a gate on the pad; activate side chain; feed a drum break (use preserve settings to shorten sustain and emphasize transients).
  • Adjust threshold (controls which hits trigger), lengthen release for smoothness, raise floor to retain body.
  • Side‑chain to the kick for pumping; automate release; or map an LFO to release (non‑integer rate, fine‑tune depth/offset).
  • Rearrange the break to reshape feel; add sustained bass; use a visual EQ check for octave; shift via MIDI pigeon device.
  • Low‑end focus with Auto Filter MS2 type (Corg MS‑20‑inspired) and drive; copy the modulated gate and the kick side‑chain compressor to the bass; EQ some bass from the pad if muddy.
• Result: Pad and bass adopt the drum groove with evolving movement and width.
• Notes: Keep LFO adjustments tiny—depth/offset changes have large impact.

Start 03:22 → 12:06

Stuttering synth

• Key idea: Use a programmed side‑chain trigger (e.g., hi‑hats) to create robotic, sequenced gate rhythms.
• Process / settings:
  • Chords: basic melt patch with EQ and chorus; side‑chained to kick. Bass: Ableton 808 Drifter, ducked by kick.
  • Gate the chord channel; route hi‑hats into the side chain.
  • Duplicate hats as a muted gate trigger; set gate side‑chain to it; generate a pattern with Live’s MIDI generative tools.
  • Tweak steps, density, pattern to taste.
  • Example: choppy bassline in track home by gating the bass high‑end to a 1/16 hi‑hat loop.
  • Consider Gate Lab by Audio Modern for presets and stereo options.
• Result: Tight, mechanical stutters that lock to a designed pattern.
• Notes: (non précisé).

Start 12:06 → 15:10

Textured drums

• Key idea: Combine gates and reverbs to glue textures to hits and shape evolving ambience.
• Process / settings:
  • Build a dreamy lo‑fi loop from the golden sample pack (for Zenheiser) found on Splice 2; layer a field recording of crackle for airy top end.
  • Side‑chain gates from kick, then snare, then hi‑hats to make the crackle follow the groove. Use parallel chains (audio effect track) when using multiple gates; shorten hold/release for small hat samples.
  • Add Sound Toy Superplay reverb to snare on a parallel channel (dry + 100% reverb).
  • Clean the reverb with EQ: cut around 200 Hz; dip a few dB between 1–5 kHz.
  • Place a gate before the reverb; push settings for the shortest click; modulate release with an LFO (waveform random) for evolving character.
  • Try Arttoria's spring reverb plugin; set width: stereo, blend: 100%; shorter clicks yield more rubbery/boinky springs.
• Result: Crackly textures locked to hits; dynamic, characterful reverb that varies over time.
• Notes: Don’t stack gates in series when targeting different drum hits—use parallel chains or later gates may never open.

Start 15:10 → 22:43

Classic 80's gated reverb

• Key idea: Place a gate after reverb to chop the tail for that tight 80s snap.
• Process / settings:
  • Disco‑inspired loop; add lexicon reverb to the clap on every second snare; narrow the reverb using utility tools with control.
  • Engage the gate after reverb; tune hold and release to sculpt tail shape/length.
• Result: Abrupt, claustrophobic reverb cutoff.
• Notes: (non précisé).

Start 22:43 → 23:45

Bursts of reverb

• Key idea: Gate before a parallel reverb so only loud hits trigger short bursts.
• Process / settings:
  • Source loop recorded on an Eminem 310 organ and run through a chase bliss delay pedal.
  • Add a parallel reverb to the synth loop; place the gate before it so only the loudest synth hits open the reverb.
• Result: Rhythmic reverb accents instead of a wash over the whole loop.
• Notes: (non précisé).

Start 23:45 → 24:58

Glitchy drum fills

• Key idea: Layer a gated break with programmed drums to add gritty, shuffly fills.
• Process / settings:
  • Vibe: halftime drum loop + guitar, an acid‑type modular sequence, and a fluttery synth loop from a Moog Matriarch.
  • Bring in a drum break pitched down to project tempo; gate it with kick in the side chain; duplicate and gate another for snare.
  • Add a third channel with the same break at double tempo; isolate shuffling in‑betweens and gate to focus on transients (no side chain here).
  • Bring back programmed drums; the gated layer auto‑adapts to MIDI changes (kick/snare) vs manual chopping.
• Result: Organic, glitchy percussive texture that complements the main groove.
• Notes: (non précisé).

Start 24:58