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[QUOTE="Davedog, post: 301100, member: 4495"]
Kinda what I'm thinking. 
 
One thing to keep in mind.....when you are micing things up its good to have somewhat of an idea what your goal is going to be at the end. If you are looking to gate something, then mic placement around this source you are gating is going to be a critical decision. If I knew I was going to gate the snare either in the capture or as a mixing device, I would not place a mic on a hi-hat and would pay strict attention to the placement of that snare mic so its gating is restricted to it as best as possible. This is the hard part of using gates......the bleed from other sources will negate the effective use of such a device.  If you are gating 'after-the-fact' as a repair, then you are going to have to decide on what to keep, what to replace, and what will work with the addition of this gate.
  
I would look to the overheads for my hi-hat sound and completely turn that track off since its getting in the way of the snare gate. Perhaps when you do this, the snare will settle down and you'll find no need to gate.

Perhaps the mic-in-the-fireplace is simply far enough away from the kit as to be out of time slightly. You may have to nudge this track up a smidge and get it in time with the initial hits to make it an effective piece of your puzzle.
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