Unlike other gates, Gatey Watey enables you to zero in on precisely the frequency range you want to attenuate without the hit-or-miss tweaking of complicated controls, yielding excellent results regardless of your skill level.
Instead of the wibbly-wobbly, timey-wimey stuff* that traditional gates chatter on about, Gatey Watey lets you select the frequencies you want to attenuate for a smooth and natural sound. If you want to shorten cymbal tails without losing the resonance of the kit, quiet singing toms without choking them, or tame the fizz but keep the fuzz on distorted guitars, Gatey Watey will give you the closure you need to move on and mix. Gatey Watey is a forward-thinking, resource-friendly plug-in that not only eliminates the guesswork typical of complicated gates, but also the steep learning curve as well. Gatey Watey is how a gate should work, especially if you want to breeze through the tedious housekeeping processes of noise cleanup and track preparation and focus on creativity.
Gatey Watey—Cracking the Code:
The reasons for using gates have never gone away: singing toms, too much metal-work on a drum kit, bleed in kick and snare that makes processing troublesome at best, and we haven’t even gotten to guitars. Gating is a key element for increasing dynamic range and bringing out the punch and focus of drums in a dense mix. And yes, gates come standard in all DAWs, but how often do you actually use them? And wouldn’t you prefer a gate that works without all the histrionics (and hysteresis)?
In order to increase appeal, gate plug-ins have some complicated and downright incomprehensible controls, yet they still operate on the same principle as analog gates from the days of yore (with names like Kepex). Some argue that gates are outdated technology in the face of powerful DAW editing. For example, there’s that clip gain trick used in place of gating, which requires you cut regions, say between tom fills, and reduce the gain of the clip by around -14dB to maintain a natural sound. If you don’t have an intern (studio slang for “slave”) to do it for you, you’ll want something that gets the tedium out of the way. The real question is whether you want to focus on mixing, or spend hours cutting spaces between every snare, kick, and tom hit? And what if you have cymbal or hi-hat bleed you want to get rid of? That’s near impossible to edit. Again, wouldn’t you rather have a gate that does all that for you in a fraction of the time? Of course you would.
Transient ischemic attack:
Even gate plug-ins, as fast as they are, have the same problem with transients as their analog ancestors. One clever workaround in DAWs is to copy the track you wish to add gating to, offset it slightly ahead of the track to be processed, and send a sidechain signal from the offset track to the gated track. The offset track opens the gate slightly ahead of the gated track so that transients will pass unmolested. Clever, yes? Well, not really when Gatey Watey will do that for you with its look-ahead feature.
Boz Fun Fact: In the days of recording to tape, gates were used on drums as part of the tracking process. It took a bit of expertise to set the hold and release functions to have the gate close smoothly, but transients were another problem altogether. Since audio signal crossing a threshold opened the gate, a certain amount of transient information was lost, which was further exacerbated by analog tape’s tendency to soften transients. To preserve as much of the attack as possible, some devilishly clever engineers came up with an analog look-ahead scheme, which involved placing two microphones on each drum; one mic close to the drum that opened a gate key input (which wasn’t heard), and a second mic
farther back to capture the sound of the drum. The few-millisecond delay of the transients hitting the second mic after the first one opened the gate allowed the transients to be captured entirely.