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Post by Deleted on Oct 15, 2023 16:56:11 GMT -6
I’m doing drums right now. Gonna demo this along with the Oxford. I really loved the Slate gate, probably the best I’ve heard. But I’m not subscribing and not paying lol $150 for the gate. I don't think I have any more dollars for Slate. The Oxford works well and is far more tweakable, and Silencer seems to do the best job at destroying all trace of cymbals, particularly heavy rock hihats. But with my snare tracks un-soloed, I don't detect enough of a difference either way. The Oxford Drum Gate is good at shoving down the cymbals just enough on kick and snare. But you have to tag the hits you want and what you don't want. It usually works without that time wasting on kicks and snare but it sucks for toms, where I prefer the old school Oxford Dynamics keyed if the hits are jumping out of the recorded tracks or drastic filtering and manual editing to get them out of cymbal wash.
All of the post Sony Sonnox plugs aren't as good as the old Sony six pack made by Paul Frindle: the eq, dynamics, transmod, limiter, reverb, and inflator. The drum gate is the only one worth buying after that for kick and snare. The restore bundle blows chunks, the de-esser is precise but makes your vocals wimpy, and a lot of newer plugins are half assed for amateur producers. Including the ones that look good like Dynamic EQ which is like a crappier more expensive Nova GE with a simpler gui, Claro with it's really stupid two tabs to encourage boosting instead of just getting rid of your problems by cutting, and the Envolution that isn't as powerful as the original Transmod, which is unique in its ability to get hits and punch out of nothing, and Voca which encourages serial overcompression on vocals where the original Dynamics is pretty much made to nail down a vocal with only one vca.
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Post by ragan on Oct 15, 2023 21:25:11 GMT -6
Oh heheh, is the Oxford $229? That is comedy. I’ll stick with the stock Pro Tools gate. You can definitely get it way cheaper if you wait around, as recommended above. That said, if you're in a big hurry, I'll sell you my copy for $25 + ilok fee (which last I checked is $25). Haven't been using it much the last couple years because of its lack of sidechain input, which is a bit of a dealbreaker in my workflow. Thanks bgrotto. I didn’t realize it didn’t have sidechain. That’s actually a deal breaker for me too. Prob gonna grab this Silencer. |
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Post by ragan on Oct 15, 2023 21:26:41 GMT -6
Anyone ever use FabFilter Pro-G? I guess if I’m thinking of spending money on a gate, as a longtime FF fan, I should demo it.
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Post by lee on Oct 15, 2023 22:41:14 GMT -6
Anyone ever use FabFilter Pro-G? I guess if I’m thinking of spending money on a gate, as a longtime FF fan, I should demo it. It was my personal favorite until Oxford Drum Gate, then Silencer. It works really well but not really brilliant at isolating and removing cymbal bleed during the hit. Maybe it does and I suck at it, but I never saw any features that advertised it. |
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Post by ragan on Oct 15, 2023 23:11:41 GMT -6
Tried the FF Pro-G. It’s good. Like a better version of the stock PT gate. The Silencer is doing other stuff though, in a way that I think is really brilliant for drums. It opens up a lot of cool possibilities, like sending just a kit mic in into a room reverb, but only keyed off of all the shells, with tons of cymbal wash removed. It has a way of leaving the life and tone of the close mic intact while removing an impressive amount of everything else. Gonna buy it.
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Post by lee on Oct 15, 2023 23:37:48 GMT -6
I don't think I have any more dollars for Slate. The Oxford works well and is far more tweakable, and Silencer seems to do the best job at destroying all trace of cymbals, particularly heavy rock hihats. But with my snare tracks un-soloed, I don't detect enough of a difference either way. The Oxford Drum Gate is good at shoving down the cymbals just enough on kick and snare. But you have to tag the hits you want and what you don't want. It usually works without that time wasting on kicks and snare but it sucks for toms, where I prefer the old school Oxford Dynamics keyed if the hits are jumping out of the recorded tracks or drastic filtering and manual editing to get them out of cymbal wash.
All of the post Sony Sonnox plugs aren't as good as the old Sony six pack made by Paul Frindle: the eq, dynamics, transmod, limiter, reverb, and inflator. The drum gate is the only one worth buying after that for kick and snare. The restore bundle blows chunks, the de-esser is precise but makes your vocals wimpy, and a lot of newer plugins are half assed for amateur producers. Including the ones that look good like Dynamic EQ which is like a crappier more expensive Nova GE with a simpler gui, Claro with it's really stupid two tabs to encourage boosting instead of just getting rid of your problems by cutting, and the Envolution that isn't as powerful as the original Transmod, which is unique in its ability to get hits and punch out of nothing, and Voca which encourages serial overcompression on vocals where the original Dynamics is pretty much made to nail down a vocal with only one vca.
Was Transmod his Transient Designer type of thing? I never bought it but saw it being used. It was damn fine. |
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Post by lee on Oct 15, 2023 23:45:06 GMT -6
Tried the FF Pro-G. It’s good. Like a better version of the stock PT gate. The Silencer is doing other stuff though, in a way that I think is really brilliant for drums. It opens up a lot of cool possibilities, like sending just a kit mic in into a room reverb, but only keyed off of all the shells, with tons of cymbal wash removed. It has a way of leaving the life and tone of the close mic intact while removing an impressive amount of everything else. Gonna buy it. This is exactly my feeling. The thing with heavy bleed is that if your gate does nothing to attenuate the cymbal, it sounds worse hearing bleed in short, rhythmic bursts. You’re almost better off in bypass. That made me happy to move off Pro-G for drums. |
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Post by recordingengineer on Oct 16, 2023 10:17:25 GMT -6
The thing with heavy bleed is that if your gate does nothing to attenuate the cymbal, it sounds worse hearing bleed in short, rhythmic bursts. You’re almost better off in bypass. That made me happy to move off Pro-G for drums. When I need to reduce cymbal bleed on a drum track, I duplicate it, heavily gate, and mix it into the original where the rhythmic bursts aren’t noticed in the mix; essentially a wet/dry feature. PT Gate is fine-enough for that. As mentioned, my only real massive problem though is tom ring while tracking. |
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Post by Johnkenn on Oct 16, 2023 10:37:01 GMT -6
Honestly never really use gates for Toms…I just cut them up…but having something work for hat bleed on snare is cool
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Post by recordingengineer on Oct 16, 2023 11:32:57 GMT -6
Honestly never really use gates for Toms…I just cut them up…but having something work for hat bleed on snare is cool Same here. I use the above on snare when mixing and cut toms as a group when none of them are being played. Still, tom ring while tracking is my biggest annoyance. I’ll quickly gate them on the console if it’s extra bad, but that’s annoying in itself too. |
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Post by ragan on Oct 16, 2023 11:58:39 GMT -6
I am liking using Silencer to just be more in charge of where overall kit ambience is coming from. Sometimes I want a crotch/kit mic wide open, sometimes I mostly just want the sound of the shells through it. Sometimes I like the snare bleed in the kick mics, sometimes not. Silencer seems to greatly reduce the burst-y sound of typical gating.
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Post by lee on Oct 16, 2023 12:49:36 GMT -6
The thing with heavy bleed is that if your gate does nothing to attenuate the cymbal, it sounds worse hearing bleed in short, rhythmic bursts. You’re almost better off in bypass. That made me happy to move off Pro-G for drums. When I need to reduce cymbal bleed on a drum track, I duplicate it, heavily gate, and mix it into the original where the rhythmic bursts aren’t noticed in the mix; essentially a wet/dry feature. PT Gate is fine-enough for that. As mentioned, my only real massive problem though is tom ring while tracking. I learn something every day. Kind of an "add more of the stuff you want to the stuff you don't want" thing. |
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Post by frans on Nov 14, 2023 2:52:05 GMT -6
Having used the silencer for a while i like it. Not for every job - didn't get usable results on toms, but kick is pretty good, snare can be fine on the right tracks. Between Silencer, Drumatom and DeBleeder from Wilkinsonaudio i get everything done.
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Post by kcatthedog on Nov 14, 2023 2:58:30 GMT -6
“Where cymbals go to die!”, they had me at that!
They should also sell T’s with that !
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Post by mcirish on Nov 14, 2023 7:05:11 GMT -6
I've used Silencer on the last six mixes that I was hired to do. Pretty happy with it. It does the best job of any gate I've used. Well worth the money. Simple to dial in and the CPU hit isn't bad, especially compared to drum gate. The Sonnox is more feature laden but the results are really no better. I go for Silencer the most now .
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Post by bgrotto on Nov 14, 2023 7:50:39 GMT -6
I continue to love Silencer, but I wish there was an 'advanced' version that offered access to some 'under the hood' features for more experienced users. Even an overall wet/dry control would be helpful, but beyond that I'd love to be able to tune the filters and time constants of the 'de bleed' section, get a bit more control over the shape of the 'regular' gate, and in general, just get a little more psychotically control freakish.
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Post by christophert on Nov 14, 2023 15:16:38 GMT -6
It makes the sound of snares and kicks a little odd - I can only use it with not too much reduction.
Usually combine it with a gate.
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Post by ragan on Nov 14, 2023 15:19:02 GMT -6
I’m just waiting for BF sales to grab this and their clipper.
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Post by ragan on Nov 26, 2023 11:46:10 GMT -6
Man, this thing is so good.
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Post by frans on Jan 17, 2024 6:35:25 GMT -6
I treated some tracks with the Silencer in Reaper on my laptop as i was away and when i re-imported them in Logic i noticed that the first five seconds or so were a little off with their timing. After that, everything solid and in phase. This was with a few tracks from the same song and it showed exactly the same on all tracks. I'm not that fluent in Reaper and wonder if it's Reaper ... or me... or.. the Silencer? Duh.
Edit: in another song, the kick is off in the first 5 seconds (by a fixed margin), the snare is off in the first 8 seconds... and not the same ammount for most of the snare hits in these 8 seconds.
I don't mean it's just the onset of notes which might look different after treatment - it's clearly off by a few cycles of the fundamental frequency of the snare some forward, some back in time.
I have to explain it goes like this: my version of Logic and the system OS is too old for opening Silencer directly in the song. So i export the file i need, open it in Reaper on my (more current OS) laptop and render it with Silencer. This isn't comfortable but i don't use it on any project anyway, just where it's needed.
I checked the tempo in the Reaper file if i accidentally have a changing tempo in the file where i do this, no it's constant. I also checked the files i exported in Logic - they are identical to what is on the track and there is no time offset.
I don't want to update my whole workhorse/OS, this whole thing isn't important enough to jump through all the hoops and i get by with my "old" tools fine. I will try to export a file in Logice with 10 or 20 seconds silence at the start and see if the same behaviour is there when the snare hits start long enough after the file went on empty. And i will i set up a completely new Reaper file from scratch as well.
I also opened an older song from november that had tracks treated like that ... and no problems there, all solid timing and phase. No tempo map in the source file either, just running like a tape machine, no click.
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Post by jampa on Jan 17, 2024 18:53:10 GMT -6
I bought this and recently shot it out with the other contenders
I found that the attack changes based on the bleed knob - I checked with REAPER's delta function, which plays the difference between the dry and the processed signal
Having additional controls would make it much more useful, such as bleed sensitivity, and attack and/or lookahead
It will remain a useful tool in the bag, along with Gatey Watey, DeBleeder, and a send to a peak limited phase-reversed signal (cancels out the bleed only, let's the limited signal through)
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Post by bubblejackets on Jan 19, 2024 0:47:43 GMT -6
I just got Silencer too and compared it to the plugin API 235L gate/expander in UAD Vision. Kinda agree that it’d be nice to have more controls. Maybe I’m just used to navigating the 235L and like its options. Agree with jampa on the debleed control affecting transients by attack time. I can’t totally tell if it’s manipulating frequencies too like the manual says. I liked the ghost note option, but it did require readjusting the threshold. All in all I liked it if going for a more isolated and less roomy sounding kit. I forced myself to use it for all its drum options and liked the separation it gave. If going for a more nuanced and bleed-ey vibe I found the 235L more useful. I tried with the Silencer but ended up having to do more region gain moves to make it work. |
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Post by svart on Jan 19, 2024 14:31:03 GMT -6
Looks like BSA is having another sale
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Post by nicksteinborn on Jan 20, 2024 21:39:56 GMT -6
Loving this plugin. I tend to turn the reduction and debleed lower so it doesn't sound completely choked/weird. I snip up my tom tracks, but also tossing this on there to kill that last bit of cymbal bleed. Also wouldn't hate an advanced mode at times.
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hoot
Junior Member
Posts: 68
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Post by hoot on Mar 24, 2024 18:29:21 GMT -6
Just played for a few minutes...but I couldn't get it to lose hats on snare...and keep the ghost notes. In fact, even with the GN thing on or off, I couldn't get it to take the hats out. That being said - I didn't read any instructions... It wants to do a lot under the hood, so when it's not doing "the thing" immediately, easing into it with an expander can help. I just broke a hip-hop drum break into its components using a combo of this and drum leveler. Craziest thing, it's non-destructive enough that I was able to get the hats with some simple phase reversing of the kick/snare and some minor editing |
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