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Your favorite HP/ LP Equalizer Plugins
Old 6th July 2018
  #31
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Quote:
Originally Posted by Moon Unit Sound View Post
I have, and it's not my favorite of their offerings, but it's decent enough. I'm not going to slow my project down like that just for the high pass filter. I've already got a few instances of Azure going, and one more of Amber. Already pushing my luck.

Anyway, i'm obviously not a perfectionist when it comes to high-passing, and can't recall any real "ah-hah" moments where I discovered the beauty of a well-implemented high/low-pass filter.

But of all the ones I've worked with, this one just feels right, and is simple to dial in. Continuously variable slope even. Very flexible, totally transparent sounding. Minimal artifacts.

Acon Digital Equalize - Equalizer Plug-in with Unique Features
Fair enough.

They get far more esoteric and interesting in N4 imo... but to each their own of course.

I’m listening to the corner frequency and find it makes a big difference often.

That said: if those are shared with other sounds it may be masked and in those cases, it would much matter what is used.
Old 6th July 2018
  #32
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I have found that certain ones help eliminate DC offset better than others. Not that I've had to deal with DC offset in a long while, but it creeps up now and then.
Old 6th July 2018
  #33
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Linear phase all the way here for the task at hand, particularly for the low end cuts. Once you've identified the sound signature of minimal phase filters (strong phase rotation, wooly/honky bass), you just can't stand them anymore compared to their LP counterparts, except of course if you are specifically after this effect. Of course there is a price to pay both in terms of latency and cpu hit, particularly if the corner frequency is quite low. Some could also rightly complain about the pre-echo due to the symmetrical impulse response. These artifacts do exist and can be heard using test signals with strong transients, but with real life music material I never heard them enough to make me want changing for the MP equivalent.

As far as l'm concerned, the best tool for the job is BMG Equilibrium, LP mode, 262k latency (yes that's 262144 samples latency delay). Don't be cheap : dialing anything below 32k samples will not sound good (for bass).
Old 7th July 2018
  #34
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I personally can't stand the sound of linear phase equalizers. They try too hard not to sound like anything.

And they succeed at it. They don't sound like anything. I have to make 10 dbs worth of cuts before I can tell anything has been cut. And something about it ... just very unmusical to my ears. Like I'm playing with a bunch of placebo knobs or something. No thank you.
Old 7th July 2018
  #35
Lives for gear
 

HPF is unfortunately one of worst uses for LP filters, because of very significant pre-ringing, as you've mentioned.
Of course, it's material dependent, whether that will be apparent or not, it also depends on your monitoring system etc. However I could definitely hear that softening and transient deterioration with certain real world instruments and signals.
It's not nearly as critical with filters with higher corner frequency which and gentler slope, because of less energy and oscillation before the impulse.. in comparison to typical sub 100Hz HPFs.

It's not really surprising, why you likely couldn't find any recommendation to use LP filters for low frequency content manipulation, unless you really have to. Although I see, you just noted is as your subjective preference of course.
Personally I use LP filters very rarely, MP sounds natural to me and the phase shift is simply the part of such adjustment (similarly like with analog or natural acoustic filters).
In most cases, it's used in some situation, where I don't really want to mess with phase coherence of some parallel processing or for certain multi-miked recording. For that is very nice, that some of mentioned EQs (like Pro-Q or DMG EQs, DDMF LP10) has switchable/adjustable phase response, so it's matter of seconds to evaluate, whether it's worth of it or not.

Michal
Old 7th July 2018
  #36
Here for the gear
 

It’s no secret Linear Phase Filters (I’ll use the acronym LPF, not to be mixed with LowPass Filters) are not very popular around here, but I tend to believe it’s mostly because of mis-use.

First of all they are not coloured so If you're after a 'sound' don't use linear phase filters for sure, they're not meant for that. As a reminder the op said : "I've been using sweet one for years but looking to move in to something better and a little more transparent". Just for the record I have nothing against minimal phase filters as such, for instance if I want to fight room or instruments modes, I would definitely use them (bell curves) as they are the right way to fix those acoustical issues.

Typical misuse of linear phase filter is dialing an insufficient impulse response length. When I first tried LP filters (was that with PLPar EQ?) I also found them quite harsh sounding and the first plugs that gave me good results where the (now dead) Algorithmix Red Eq and DMG equilibrium. The former sounds sweet and very musical but at the expense of too much transient softening, whereas the latter with its extensive settings is my preferred tool as of now. In my book Fabfilter LP mode scores average for low cut filtering, probably because it doesn’t allow more than 65k latency which is still not enough for my ears, particularly compared with the higher settings (131k & 262k) allowed in Equilibrium.

Two additional comments:

- Transient softening : there is no free lunch and both filter types will alter transients anayway as the original energy is inevitably spread over time, but with different distributions (symmetrical for LP, asymmetrical for MP). Asymmetry is not bad as such, as it preserves the attack but by construction it strongly blurs the ‘after-attack’ to the point of affecting the next transient hence losing its advantage (not very scientifically explained, but true nonetheless ) much more than its LP counterpart. Add to that the strong phase rotation issue (see Plugin doctor or Christian’s VST Plugin Analyser), this leads to counterintuitive results where the MP filter will actually sound less tight than the LP, which is my personal experience more often than not.
- As for the world instruments example, it looks very much like the kind of signal which could indeed emphasise the preringing, particularly in a naked/minimal music context. In such a case, if I REALLY had to apply a low cut, I would probably try to find a compromise between MP and LP by using a variable phase filter (called free phase mode in Equilibrium), but I know in advance I will be very light on the MP contribution as phase rotation can easily make delicate instruments sound boomy and chemical to my ears. Mind you, a MP 50Hz 12dB/oct low cut gives a whoopy 70 deg phase shift at 100Hz and still reaching 20 deg at 300Hz!

As usual it all boils down to personal preferences as all filters have their pros and cons: your 'harsh and clinical' is my 'tight and focused' dream sound. But in all cases I wouldn’t rule out any tool from my arsenal and urge anyone interested to try the above with the right settings on different audio material. Also when making your final judgement, be careful to have your monitoring system properly setup and tuned: You could well take the wrong decision just because a given filter fixes your own room/speakers deficiencies!

Oh and if you really want to stick to minimal phase, why not trying a low shelf instead of a low cut which has a lighter impact on phase response?

Best,
Thomas
Old 7th July 2018
  #37
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Sweetone
Old 8th July 2018
  #38
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