Rob Spence wrote on Sun, 28 November 2010 18:04 |
I was looking at the sidechain inputs of the LS9 gates the other day thinking to use the SMAART spectrograph to identify the fundamentals of some drums and set up the filters on the gates. Well, it looked like the controls were grayed out on my desk though it let me change the values. Is that normal or is there some "enable" I have to do? |
Mac Kerr wrote on Sun, 28 November 2010 18:32 | ||
I'm not familiar with the LS9, but do you have a key input source selected beside "self". Mac |
Andrew Broughton wrote on Mon, 29 November 2010 13:06 |
You have to have an input channel selected (not an output) and the "ON" button pushed (above and right of the key freq control). |
Rob Spence wrote on Mon, 29 November 2010 17:16 | ||
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Tim Padrick wrote on Thu, 02 December 2010 01:14 |
The sidechain filter changes the gates from chattery crap (much worse than an ACP88) to quite nice (almost as good as a G4). There's no need to use an analyzer - just cue the sidechain listen in the phones and spin the dial. I wish they'd add sidechain EQ to the comps (and put the d'esser in the first dynamic instead of the second). |
Rob Spence wrote on Fri, 10 December 2010 20:22 |
One thing that bothers me is that the Q & Freq knobs still look grayed out even with them on - oh, and there is an ON in SM but not that I can see on the desk itself. Bug? |
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KEY IN FILTER field (GATE and DUCKING only) This field lets you apply a filter to the key-in signal. This field provides a FILTER box that lets you select the filter type, a Q knob (which adjusts the Q of the filter), and a FREQ knob (which adjusts the cutoff frequency or center frequency). To change the filter type, move the cursor to the FILTER BOX and use the dial or the [DEC]/[INC] keys to select either HPF (high-pass filter), BPF (band-pass filter), or LPF (low-pass filter); then press the [ENTER] key. If you select “----” in the FILTER box, no filter will be applied. |
Rob Spence wrote on Sat, 11 December 2010 15:07 |
Oh, and Andy, I really like SOF!!! Nice for standing next to the performer and setting mons levels. |
John H. O'Brien wrote on Wed, 15 December 2010 01:15 |
So, from what I'm reading, using the 'sidechain' feature allows a user to determine which frequency the gate opens for, or does it just tell the gate to open upon hearing that frequency? |
Michael Lewis wrote on Sat, 12 February 2011 14:32 |
1) male / female vocals |
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2) drums (kick, snare, toms, hats).. do you all gate overheads? |
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3) electric guitar amp cabs |
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I also can't quite grasp the concept of the 'range' control for the gates. Can anyone explain to me? Thank you. |
Jordan Wolf wrote on Sun, 13 February 2011 14:32 | ||
I want to preface this by saying that I am approaching this from an analog standpoint, so it's not exactly in line with the question, but I figured I could interject some info.
None...and why? |
Michael Lewis wrote on Sun, 13 February 2011 06:53 | ||||
I work with a lot of smaller stages where the drums or guitar cabs are just within 5-10 meters of the vocal mics. I tend to gate almost everything that I can gate just to clean up the mix as much as I can. Without gates, the mix will be a big mess. Vocals mics are usually what I have trouble with without gates as they pick up almost everything on stage when the stage is very small and there's a full band playing on it. |
Jordan Wolf wrote on Mon, 14 February 2011 12:35 | ||||||
I understand your frustration. The problem I have noticed with gating vocals is that, while the gate does help when no one's singing, when there is singing, all the mess comes back into the mix. Maybe the group's mic technique needs to be improved upon or stage volume needs to be better regulated? |