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position (fully counter-clockwise) and set all other
controls to “12 o’clock” (center) position. Now turn up
your guitar’s volume potentiometer, but do not play.
Then turn up the THRESHOLD knob to the point
where the gate starts dampening you signal.
7 – Damp
This parameter determines how hard the signal should
be attenuated when the signal level falls below the set
Threshold. Now you may think that you should always
go for maximum dampening. However, bear in mind
that you should also strive for a smooth transition from
the “gated/attenuated” stage to the “open” stage. The
more dBs that are released when the Gate opens, the
more obvious the gating effect becomes. This means
that you will have to experiment to fine-tune the Noise
Gate to your sounds – there is no “one-size-fits-all”
setting.
8 – Attack
Attack is the time it takes for the Noise Gate to release
the gain reduction of the signal after the level of the
input signal has exceeded the Threshold. In other
words: With Attack, you determine how fast the gate
should open when you are playing your guitar. For
guitar setups it is very common to use very fast attack
times. Turn ATTACk counter-clockwise for faster attack
times.
9 – Release
Release is the time it takes for the Noise Gate to reach
the attenuation specified by the Damp parameter when
the signal drops below the Threshold point. In other
words: with Release, you determine how fast the gate
should close when you stop playing. Slow release
times are achieved by turning the knob clockwise and
results in a very natural sounding fade out. A faster
release time is achieved by turning the knob counter-
clockwise and is typically used for hard-rock and metal
where the gate needs to close very fast.
12 – Dry Blend function in the Noise Gate
Dry Blend mode of
f (no LEDs):
Select this mode for a full-band Noise Gate.
Dry Blend modes; Min, Mid & Max:
These modes process low, mid and high frequencies
OPERATION