Finger noise on the strings

  • I can’t see how a noise gate is a suitable tool to remove finger noise. Most noise gates (like the stomp effect gates) are either open or shut. When the input sound is above a threshold level they open and let everything through (including string noise). When the signal drops below the threshold they let nothing through. The Kemper’s input noise gate is more sophisticated and has a frequency conscious element which targets specific frequencies most notably 50hz and 60hz hum and other forms electrical interference from pickups. It might catch some string noise too but that is a lucky accident and has side effects on your tone so is likely to be an inefficient solution.

    EQ and Definition are more likely to be suitable if used appropriately but even then it is still a sticking plaster solution to treat the symptoms not the disease.

    In the old days with an analog pedal board running 4CM to a Mesa Triaxis I had horrific ground loop hum. The accepted wisdom was to use an ISP decimator noise gate. I got the rack mount decimator and tried but I found out the hard way that all it did was stop the hum when I wasn’t playing. As soon as I played the noise was still audible. Of course it was less noticeable because the actual guitar signal partially covered it but the noise was still there and still noticeable. The only solution was to bite the bullet and systematically check every single cable in the system then all the grounds etc. eventually I had to use an isolation transformer on the send or return and suddenly there was zero hum even without the noise gate. Long winded way of saying although it’s not what we want to hear the solution is alway to treat the cause rather than the symptoms.

    I know you don’t want to hear this (I wouldn’t either) but the only worthwhile solution is to spend a bit of time improving your technique to eliminate finger noise at source. I don’t say this to be a smart arse or suggest that I am any better than you or anyone else. I say it because its true and although the truth sometimes hurts the good news is it is much easier than you probably think to improve this aspect of technique with a little focused effort. I would be surprised if you can’t reduce the finger noise to a manageable level in less than a month of practice as long as you apply discipline and actively focus on eliminating the noise. The even better news is that once you have done this it will become habitual and you won’t need to worry about sticking plaster work arounds in future. It’s worth the effort and short term pain for the long term gain. I wish you good luck with it 🤞

  • A recording of what you’re referring to would help.

    As was said above, my definition of finger noise wouldn’t be resolved by a noise gate. Once the gate is open…..everything comes through.


    *Some* noise is normal. Nearly all of which is hidden in even the most basic of mixes.

    Without hearing what you’re referring to, and based on a gate seeming to work, it’s hard to know what you truly mean.

  • And now something completly different:

    Flat wound strings are totally noiseless about fingers sliding. I do love D'Addario Chrome (11/50 on electric, and 12/52 on acoustic). Widely used by jazz and rockabilly players.

    Yes, they are somewhat darker than roundwound strings. BTW, they keep their tone much much longer.

  • Hehe yeah. They keep the tone they never had :)

    Kemper PowerRack |Kemper Stage| Rivera 4x12 V30 cab | Yamaha DXR10 pair | UA Apollo Twin Duo | Adam A7X | Cubase DAW
    Fender Telecaster 62 re-issue chambered mahogany | Kramer! (1988 or so...) | Gibson Les Paul R7 | Fender Stratocaster HBS-1 Classic Relic Custom Shop | LTD EC-1000 Evertune | 1988 Desert Yellow JEM

  • I've found some Rigs to be inherently noisy for annoying string noises. Even intonation being off can sound really whacked out compared to amps I've had.

    IMHO, technique improvement is always near the tops of any guitar playing shortlist for me. That said, I think it's relative, meaning there will always be too much string noise no matter how good I get. Just less of it. I've basically got sausages for fingers, so it's something I'm always working on. It's not just technique, though. It's often set up issues for me. That's been a recurring thought as I read through the thread again.

    Guitar setup matters to me nearly as much as technique. It all matters. Nut slot depth, string height at the 12th, neck relief, level frets and intonation. A well set up guitar can make or break a situation. My acoustics are all set perfectly. I'm not there with my electrics yet, but I will soon be. I'm dragging my feet on the nut filing front.

  • Please pardon the interruption. I will add a thought to the conversation at hand, but I was hoping you'd be willing to share which isolation transformer you used. Thanks!

    Palmer PLI-01 Line Isolation Box for just a straight ahead high quality mono source. However, the ART DTI dual transformer/isolator is also a great tool to have as it allows stereo/dual mono and switching connection types 1/4", XLR or RCA on both channels.