Post by MorEQsThanAnswers on Sept 23, 2019 13:08:23 GMT -6
I bought the one thing I never imagined myself EVER wanting in the modern age... an outboard gate.
This odd piece of gear came up in two different interviews with Matt Weiss (Storyville from GS) and Fabian Marasciullo. They both swear by it and claim that they have tried extensively hard to replace their units with ITB processing to no avail. Luckily, they are incredibly affordable and I was able to pick one up for about 130 bucks from an online sale. While I wait for the delivery man, I wanted to see if anybody can tell me more about what the hell this thing is and why these "hit-maker" engineers might drool over it.
I guess they use the "peak punch" function to sculpt a transient to blend in with their sample drums. There's a "key listen" where you can set the gate to react to the "sweet spot" in the drum. The "peak punch" is a dynamic EQ band that pushes the key'd frequency up to trigger the gate, resulting in extra transient energy. Makes sense if I'm understanding it right, but I don't see how this couldn't be recreated ITB with a Pro Q and Pro G.
Anybody have experience with these? Why would an engineer opt for this method instead of EQ'd parallel compression on Kick/Snare?
Thanks!
This odd piece of gear came up in two different interviews with Matt Weiss (Storyville from GS) and Fabian Marasciullo. They both swear by it and claim that they have tried extensively hard to replace their units with ITB processing to no avail. Luckily, they are incredibly affordable and I was able to pick one up for about 130 bucks from an online sale. While I wait for the delivery man, I wanted to see if anybody can tell me more about what the hell this thing is and why these "hit-maker" engineers might drool over it.
I guess they use the "peak punch" function to sculpt a transient to blend in with their sample drums. There's a "key listen" where you can set the gate to react to the "sweet spot" in the drum. The "peak punch" is a dynamic EQ band that pushes the key'd frequency up to trigger the gate, resulting in extra transient energy. Makes sense if I'm understanding it right, but I don't see how this couldn't be recreated ITB with a Pro Q and Pro G.
Anybody have experience with these? Why would an engineer opt for this method instead of EQ'd parallel compression on Kick/Snare?
Thanks!
