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Which Low Cut Filter do you use?
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GearGeek
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6th December 2005
Old 6th December 2005
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Which Low Cut Filter do you use?

Hey guys. This is kind of a dumb question but here goes. When close micing an instrument or voice, which low cut filter do you use? The one on the mic or the one on the mic pre? Does it matter? I've been using the one on my pre because I can control the frequency. But it got me thinking, is there a difference between the two?
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6th December 2005
Old 6th December 2005
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eeew!

Good one!




My hack vibe on it is....

That if the mic roll-off is not TOO drastic - by that I mean - that I am confident that it is letting through all the bass I am EVER GOING TO NEED on that signal.. then it's a good idea to use it to 'clean up' the signal. (like to eliminate sub bass from foot taps during a tambourine take)

Or on vocals - I may want the singer in on the mic to get the voice warmed up a bit by the proximity effect - but flip on the roll-off to reduce some of sub bass I don't feel I need.. (seems like a contradiction in terms I know but.....)

Like any filter or cut - it can be fun to follow it with a boost..

Cut say 60hz but then crank 100hz..

It all depends for me...

I tend to find the mic pre roll off - to be a secondary thing to reach for. So I try mic roll of first - then, if that is not working, move on to useing the mic pre roll off.

I like the roll off on my hardware Focusrite 215 & my Sony Oxford plug ins

Try it every way and exercise your ears to see which works out best!

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6th December 2005
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i'll roll off on the mic first, then on the pre if i need it. for a recent baritone male vocal, i was rolling off @ 40dB.

for higher-pitched female vox, i'll roll off a bit higher, but not too terribly much. i'll carve it up in the mix, but extreme low-end stuff will eat up the pre's headroom, so i'll get rid of it at the mic.

bright acoustic guitars? i've been known to roll off @ 120. sounds thin solo'd, but leaves room on the bottom end in the mix.

--jon
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6th December 2005
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I agree, filter at the mic. Then work the placement to get tone.

Steve
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6th December 2005
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Thanks for the reply's. I'm also a fan of the cut/boost technique!

Also, I completey agree with rolling off a lot of low end for acoustic guitars. You're right, it sounds thin solo'ed but sounds perfect in the mix. Thanks again.
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Also, on mixing, if you still need to low-cut things, Waves LinEQ Lowband works well.
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6th December 2005
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In order of preference.

1 At the mic
2. At the channel
3. Software- Usually Waves Lowband EQ or McDSP Filterbank.

Often use cut and boost also.
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6th December 2005
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Quote:
Originally Posted by JonCraig
i was rolling off @ 40dB.



--jon

Jon,


This has to be the typo of the year.


Was the guy crying about not hearing himself in the cans?
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7th December 2005
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Quote:
Originally Posted by thethrillfactor
This has to be the typo of the year.
damnation... ya got me...

--jon
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7th December 2005
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I used to use the HPF on the mic pre, but I don't do that anymore. Too many regrets after the fact in the mixing stage.

I close mic my vocalists, proximity effect and all, right into PT, with no input EQ. Then use a 1-band EQ to lo-cut in the mix, to taste, and according to the mix. I'm just finding better flexibility that way.

Remember that if you also use outboard compression post-mic pre...there's a whole can-o'-worms when you cut the lows out before it hits the compressor. Can you say "thin"??

Likewise in the ITB plugin chronology. IE: Where do you put the lo-cut EQ plugin - before, or after the compression plugin?

Lots of options there = lots of different outcomes.

Experiment, experiment, and then, experiment more.
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7th December 2005
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Quote:
Originally Posted by Curve Dominant
I close mic my vocalists, proximity effect and all, right into PT, with no input EQ. Then use a 1-band EQ to lo-cut in the mix, to taste, and according to the mix. I'm just finding better flexibility that way.
Yes, I like to leave all the bass I can, for vocalists that know how to use it. For acoustic instruments, some of my mics, like 4051, can just about blow woofers or headphone drivers out with low frequencies. And of course, can't get a decent balance to tell what kind of placement I need. With HPF on the mics, we can move them around to get the right tone and still have plenty of bass.

Steve
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7th December 2005
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Quote:
Originally Posted by GearGeek
Hey guys. This is kind of a dumb question but here goes. When close micing an instrument or voice, which low cut filter do you use? The one on the mic or the one on the mic pre? Does it matter? I've been using the one on my pre because I can control the frequency. But it got me thinking, is there a difference between the two?
The next question is:
Is there a real sound difference between analog and digital filters? Between active (SSL) and passive (like API or Pultec) ones?

Would be cool to know.
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8th December 2005
Old 8th December 2005
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Most pads (built-into mics) are at pretty low frequencies (50-120Hz); so unless I'm recording an Orchestral Hall, Bass Instruments, etc. I leave it on in order to actually improve the S/N and avoid later processing. yesss!

However.....

NOT ALL CIRCUITS/SIGNAL CHAINS ARE CREATED EQUAL, SO IF IN DOUBT, LEAVE THINGS FLAT.
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8th December 2005
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Quote:
Originally Posted by TheSweetener
The next question is:
Is there a real sound difference between analog and digital filters? Between active (SSL) and passive (like API or Pultec) ones?

Would be cool to know.
What do you think?
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2nd February 2009
Old 2nd February 2009
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Quote:
Originally Posted by Jules View Post
eeew!

Good one!




My hack vibe on it is....

That if the mic roll-off is not TOO drastic -
which is too drastic for you? 80hz with 12db slope?
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