Noise Gate vs Expander 101: Key Differences & Creative Tips

Noise gates and expanders are two very powerful dynamic processing tools that can completely change how clean, punchy, and professional your mixes sound. 

One cuts unwanted noise with an all-or-nothing approach, while the other shapes dynamics more naturally by controlling volume in a smoother way. 

As producers, knowing all the differences between a noise gate vs expander can seriously level up your mixing skills.

It’ll give you more control over your vocals, drums, synths, and overall mix clarity. 

Plus, mastering both tools will help you successfully clean up noise, enhance transients, balance dynamics, and add movement to your mix without any over-compressing.

That’s why I’m breaking down everything you need to know about a noise gate vs expander,like:

• What a noise gate is and how it works ✓
• The main uses of noise gates ✓
• What an expander is & how it’s different from a compressor ✓
• Downward vs. upward expansion ✓
• The key differences between a noise gate vs expander ✓
• Noise gate/expander: pro tips about each ✓
• How to combine noise gates and expanders for maximum control ✓
• Using multi-band gating and expansion ✓
• How sidechain expansion can add groove and movement to your mix ✓
• Much more about a noise gate vs expander ✓

By knowing all the key differences, uses, and some sick techniques as well, you can clean up recordings, control transients, and enhance clarity like a boss. 

And with the right settings, combinations, and creative tricks, you can shape your mix’s dynamics, remove unwanted noise, and make every element sit perfectly.

This way, your tracks will sound cleaner, hit harder, and feel more polished every single time.

What is a Noise Gate?

A noise gate helps you control an audio signal by eliminating or reducing its volume when the signal falls below a specified threshold. 

It’s mainly used to eliminate background noise without affecting the main performance, like: 

• Headphone bleed
• Mic hiss
• Unwanted room noise and/or reverb

When an audio signal is loud enough to cross the threshold, the gate opens, which lets sound pass through normally. 

But when the signal falls below that level, the gate closes 一 either reducing the volume or muting the signal completely, depending on the settings. 

This makes it perfect for cleaning up vocal recordings, tightening a drum sound, or making sure there’s complete silence between musical phrases.

The threshold setting determines when the gate opens.

For example, setting it at -40 dB ensures that only signals louder than that get through, while everything quieter gets cut off. 

The attack time controls how quickly the gate reacts when the signal exceeds the threshold.

If you’re working with sharp transients, like snare hits or percussive synths, a fast attack (1-5 ms) keeps them crisp. 

The Release stage is just as important…

If it’s too short (50 ms), the audio signal can sound choppy, but a longer release (300 ms) gives a smoother, natural sound without any abrupt cuts.

The hold setting keeps the gate open for a brief moment before entering the release phase, which is key for vocals, drums, and synths to avoid unwanted volume dips in quieter moments. 

Many producers use noise gates in drum processing to control mic bleed.

For instance, setting a threshold level of -35 dB with a fast attack (3 ms) and a release of 150 ms can make each drum sound more isolated and punchy. 

Some gates also feature sidechain capabilities, which lets an external sound trigger the gate (this is great for creating rhythmic gating effects on pads/synths).

NOTE: More advanced plugins, like Neutron’s Gate by iZotope, allow for multi-band noise gating, meaning you can gate specific frequency ranges instead of the entire audio signal. It helps to retain a more natural sound and only affects the desired range.

When dialed in correctly, a noise gate applies gain reduction smoothly, which keeps unwanted noise out while maintaining the clarity of the main performance. 

Used incorrectly, however, it can make a track feel robotic or lifeless. 

That’s why it’s key to fine-tune the signal level, attack, release, and threshold settings to ensure a dynamic range that feels natural and polished.

Don’t worry, we’ll break it all down throughout the article so you get a super solid understanding of everything.

What is an Expander?

An expander works similarly to a noise gate but offers more flexibility by increasing the dynamic range instead of just muting sounds. 

Instead of cutting off an audio signal level entirely, an expander gradually lowers or raises the volume depending on its type (upward or downward expansion).

And, whether the signal exceeds the threshold or falls below it.

A downward expander reduces the volume of signals that fall below a set level.

This makes it great for cleaning up quieter moments in vocal recordings, drum loops, or synth layers without completely removing them. 

An upward expander, on the other hand, increases the volume of signals that exceed the threshold, making transients hit harder while keeping the quieter parts untouched.

A specified threshold determines when the expander kicks in 一 if you set it at -30 dB, everything quieter than that gets reduced, but not fully muted like a noise gate would. 

For vocal processing, a 1.5:1 ratio on a downward expander with a threshold level of -35 dB and a fast attack (5 ms) can reduce room noise and low-level breaths.

When it comes to drum processing, a 2:1 ratio on a downward expander with a threshold level around -40 dB can help clean up overhead mics.

All without removing the natural sound of the drum kit.

Upward expansion is often used to add energy to a sound, making transients stand out.

Try a ratio of 1.5:1, a fast attack of 3-5 ms, and a release of 120-150 ms on a snare to make it hit harder without the same effect as compression. 

On the same note, using an expander on synth leads or pads with a slow release (200-300 ms) can help restore dynamics that were lost due to heavy compression. 

While noise gates and expanders can sometimes achieve the same result, an expander allows for a more natural transition between loud and quiet parts.

It’s the better choice when you don’t want to mute a sound completely.

NOTE: For even more precise control, multi-band expansion lets you expand only specific frequencies, which we’ll talk about a little later.

You should use it to bring out airiness in vocals without boosting muddiness or add more impact to the midrange of a guitar without touching the low end. 

An expander with a sidechain input can also create rhythmic movement, like making a bassline get louder when a kick hits.

It helps you shape grooves more dynamically than sidechain compression alone. 

Bottom line, whether you’re cleaning up background noise, restoring lost dynamics, or adding more impact to transients, an expander is the perfect tool to add to your workflow for a polished, professional mix.

Noise Gate vs. Expander: Key Differences

At first glance, many noise gates and expanders might seem similar since both affect a sound’s volume based on a threshold, but they work in completely different ways. 

PBut, in order to use each properly, you’ve got to know all the key differences between a noise gate vs expander, so let’s get into it.

A noise gate is an all-or-nothing tool like we talked about.

It either allows sound to pass or completely mutes anything below the threshold, making it perfect for removing unwanted background noise.

An expander reduces or boosts volume more gradually, giving you more control over dynamics instead of just cutting off sound completely. 

If you need to completely eliminate sound below a certain level, go with a noise gate, but if you want a more natural reduction, an expander is the better choice.

Noise gates are strict, while expanders are flexible…

If you set a noise gate threshold at -40 dB, everything below that gets muted.

An expander at the same threshold level (with a 2:1 ratio), on the other hand, will only gradually lower the volume of quieter sounds. 

This makes expanders way better for cleaning up noise in vocal tracks without making it obvious, whereas noise gates are ideal for making drum hits punchier.

Again it does this by removing unwanted bleed from mics. 

NOTE: Noise gates work well when you need absolute silence between sounds, but expanders are great for subtly reducing room noise or pulling more energy out of transients without killing the natural tone of the sound.

• When to Noise Gate (Pro Tip)

If you’re working with vocal recordings, a noise gate can cut out breath noise, background hum, and unwanted room sound when the vocalist isn’t singing.

To do so, just set the: 

• Threshold level around -40 dB
• Attack at 5-10 ms
• Release at 100-200 ms
• Hold at 50-100 ms to make sure words aren’t getting chopped off

Noise gates also tighten up drum recordings by eliminating mic bleed, like on a snare track where you only want the snare to come through, not the hi-hats or toms. 

For heavily distorted electric guitars, a noise gate prevents unwanted amp buzz between notes, which is awesome.

Try a threshold of -45 dB, attack at 3 ms, release at 200 ms to keep things tight while preserving sustain. 

Noise gates are also widely used in EDM and hip-hop for rhythmic gating effects, where a pad or synth is chopped rhythmically using a fast attack and release.

• When to use Expanders (Pro Tip)

Expanders are a must-have when working with overly compressed sounds, so if you have a vocal track that sounds too squashed, use an upward expander with a: 

• Ratio of 1.3:1
• Threshold at -25 dB
• Fast attack (5-10 ms)

It will help bring back some of that lost natural movement.

 In drum processing, expanders help add punch to transients without overloading them with compression, especially on kicks and snares.

Try an upward expander with a ratio of 1.5:1, a threshold level around -30 dB, and a release of 100-150 ms for extra snap. 

If you’re mixing live drum overheads, a downward expander with a 2:1 ratio and a threshold level around -40 dB can help reduce excessive room noise while keeping the natural feel of the recording.

NOTE: At the end of the day, noise gates are best for cutting noise completely, while expanders help shape dynamics more naturally. 

Knowing when to use a noise gate vs expander is key to getting clean, professional mixes without making things sound unnatural.

Bonus: Advanced Tips/Techniques

When it comes to noise gate vs expander, knowing the basics is a good starting point, no doubt, but mastering the advanced techniques can completely change how clean and dynamic your mixes sound. So, let’s dive in so you can have MAX control.

• Using Multi-Band Noise Gating and Expansion

Multi-band noise gating and expansion lets you apply dynamic control to specific frequency ranges instead of affecting the entire signal.

For example, if you’re processing a vocal track, a low-frequency gate at -45 dB with a slow release (200-300 ms) can remove rumble without affecting high-end clarity.

A high-frequency expander with a 1.5:1 ratio and a fast attack time (5 ms), on the other hand, can bring back lost air and presence. 

When drum processing, multi-band gating helps isolate kick drum low-end from cymbal bleed, so setting a gate on the 50-150 Hz range with a 3 ms attack time and 150 ms release keeps the kick clean without affecting the snare.

For synth layers, a multi-band expander can help you emphasize certain harmonics.

Try an expander on the mids (500-2k Hz) with a 2:1 ratio and a moderate release (120 ms) to make leads sound more expressive while keeping the lows and highs controlled. 

Sidechain multi-band gating is another creative trick (that I absolutely love), where only specific frequencies are gated based on an external trigger.

For example, a low-mid band on a pad can be gated by a hi-hat 一 making it subtly pulse without affecting the entire sound. 

iZotope Neutron’s Gate is one of the best tools for this because it lets you visually shape each band’s dynamics with precision.

One of the biggest benefits of multi-band expansion is how natural it sounds…

NOTE: If you want vocal takes to sound fully open but not harsh, setting a gentle expander at 10k Hz with a 1.3:1 ratio and 80 ms release can add shimmer without making sibilance too sharp. 

Whether you’re cleaning up messy recordings or enhancing transients, multi-band gating and expansion give you razor-sharp control over dynamics.

All without destroying the natural feel of your sound, which is always what you want regardless of if you’re using a noise gate vs expander.

•  Combining Noise Gates and Expanders for Maximum Control

When used together, noise gates and expanders can give you way more dynamic control than using one alone, especially in complex mixes where precision is key. 

For example, when working with vocals recorded in a noisy room, you can first use a downward expander to gently lower background noise

It should have a 2:1 ratio, -35 dB threshold, fast attack of 5 ms, and release of 150 ms) 

Then follow it with a noise gate (threshold at -40 dB, 10 ms attack, and 200 ms release) to eliminate any remaining room noise when the singer isn’t performing. 

This avoids the unnatural, robotic cuts that sometimes happen when using only a noise gate, which sounds super unprofessional I might add.

For drum processing you can try expanding snare transients with a 1.5:1 upward expander and then using a noise gate (threshold -30 dB, attack 3 ms, release 100 ms) to clean up mic bleed without choking the drum’s natural resonance. 

If you’re an EDM producer, gating and expansion can keep synth stacks from getting muddy.

So, I suggest you use a multi-band expander on the low mids (300-800 Hz) with a 2:1 ratio and slow release (200 ms) to control unwanted buildup.

Then make sure to apply a gate on frequencies below 100 Hz to ensure clarity.

One of the best ways to control bass without over-compressing it is to use an upward expander first to enhance transients (ratio 1.5:1, attack 5 ms, release 120 ms).

Afterwards, apply a gate to remove any unwanted sustain below -50 dB to keep the low end tight and right.

This combination is also perfect for heavy guitar processing, where you can expand midrange frequencies (800 Hz – 2 kHz) to add presence.

Just make sure to use a gate on the high end (above 6 kHz) to kill amp hiss.

In a mix, the noise gate vs expander debate isn’t about choosing one over the other, but knowing when to combine them for maximum control.

NOTE: Keep in mind that noise gates give you sharp separation, while expanders let you shape dynamics more smoothly. 

Whether you’re tightening drums, cleaning up vocals, or adding movement to synths, layering both tools will keep your mix sounding polished and natural all day.

• Sidechain Expansion for Creative Effects

And for this last advanced technique let’s talk about sidechain expansion, which is one of the most underrated but powerful techniques you can use to add: 

• Movement
• Groove
• Space to your mix

Unlike sidechain compression, which lowers the volume of one sound when another plays, sidechain expansion increases volume based on an external trigger.

It makes elements feel more dynamic rather than ducking them. 

A classic trick is to use a kick drum to expand a bassline by setting up a sidechain expander on the bass with a ratio of 1.5:1, a threshold of -35 dB, and a fast attack.

The attack should be around 5 ms, but you can always tweak that slightly.

This way the bass gets louder only when the kick hits, which creates a pulsing rhythm without the “pumping” effect of sidechain compression.

Another creative use is in vocal mixing…

If you want delay or reverb effects to swell naturally, place a sidechain expander on a delay return with a 2:1 ratio and a 150 ms release, triggered by the lead vocal. 

Then the delay stays quiet when the vocal is active but expands when the singer pauses 一 adding space without cluttering the mix. 

You could also sidechain-expand the pad with a snare or hi-hat so that the pad only opens up when the groove needs it (great for ambient pads).

Sidechain expansion can also make percussion loops sound more organic.

Instead of having a static loop, set an expander on the hi-hats with a 1.3:1 ratio and a -40 dB threshold, triggered by a rhythmic element like a clap or percussion hit. 

This makes the hats react dynamically to the groove instead of just playing at a constant volume. 

NOTE: You can also add stereo movement to synths by using an expander on a wide pad (2:1 ratio, 10 ms attack, 200 ms release), triggered by a mono lead to make the pad swell in stereo when the lead melody plays.

Final Thoughts: Noise Gate vs Expander

And there you have it: everything you need to know about a noise gate vs expander. 

With this information, you can successfully clean up recordings, shape transients, and control dynamics like a pro. 

Plus, you now know how to combine both tools for maximum control and use multi-band expansion to target specific frequencies.

As well as create rhythmic movement with sidechain expansion. 

This way, your tracks will always sound polished, professional, and super clean, just like the industry’s best producers and audio engineers.

And, as a special bonus, you’ve got to check out all of these pristine, perfectly processed Free Sample Packs. 

You can find absolutely everything here (including project files that show you any effect or process you can think of). 

From sick basslines to insanely catchy melody loops and everything in between, it’s all right here.

And yes, they were all created by the world’s best producers and sound designers, 100% free & royalty-free, and seriously impressive.

Bottom line, when it comes to understanding and playing around with a noise gate vs expander, it’s about knowing when to cut completely or to shape dynamics naturally. 

You have to fine-tune your threshold settings, mess around with different attack and release times, and layer both a noise gate vs expander for a flawless mix. 

Plus, always remember to trust your ears 一 if something sounds too robotic, tweak your settings until you get that perfect balance. 

This way, everything will sit perfectly in the mix, sound clear, and hit with impact. 

Just stay hustling, learning, growing, and practicing every single day, and if you do that, you’ll never have to worry about a muddy mix or weak dynamics again.

Until next time…