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[Mixing] So CLA (almost) NEVER uses High Pass Filters? Can confirm/explain?
Old 2 weeks ago
  #1
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[Mixing] So CLA (almost) NEVER uses High Pass Filters? Can confirm/explain?

I have watched two CLA's ITB session videos with two different songs.
One by Slate Audio Legends and another here by Waves.

In both occasions I checked his EQ moves and he NEVER reached for HPF on the tracks - except for the vocals:
no hpf on kick - no hpf on snares - no hpf on OHs - no hpf on Room - no hpf on bass - no hpf on guitars, and so on.

Now I am a bit confused since I read many times from different producers to try to use hpf on as many tracks as possible.

#####
Example #1 Warren Huart source put it as the first common "mistake".
Quote:

In this episode, we’re going to talk about the five most common mixing mistakes.

Those of you that follow me will know some of these already.
1. Not High Passing

I talk about this all the time, just because we can’t hear the low end on individual instruments or even in our mix doesn’t mean it’s not there.

The reality is most of us are mixing on 6 or 8-inch drivers even smaller some times, most people don’t mix with a sub I highly recommend it if you can get one but the reality is that you’re probably in a smaller environment with small speakers and you’re sitting there with your laptop or your small home system and you’re mixing.

The other day on electric guitar I created a high pass filter and put a compressor afterward and we were compressing up to 3-4 and sometimes 5 DB of gain reduction.

I took the high pass and as I moved it closer and closer to 100 Hz it suddenly stopped compressing all of this low end that was down there, because even though it was barely noticeable it was adding so much volume to the guitar.

Suddenly I had a cleaner, more focused guitar sound but I got rid of everything below 100Hz using a nice gentle sounding slope. – The reality is the low end was just all mud.

Richard Furch the great mixer I’m sure you know, he’s worked with Usher and Prince, as an engineer and mixer, he is super talented. He told me he goes down on dance kick and high passes at 20Hz. He says that the super low-end just muddies up and takes so much energy in his mix his master bus compression is going 2 or 3 DB more then it needs to be.

Then suddenly he’s cleaning up the low end, I’m not talking about taking it up 200 or 300Hz Just tighten up the low end on individual instruments, this can give you so much more focus and clarity.

Remember when you have a lot of instruments with low end it’s not just the rumble and mud it’s the clarity you’ll get more bottom end if you have a focus of a bass guitar, a bass synth, or a kick drum sitting there super fat, compared to having synths overlapping down there.

Think about having a big low frequency coming out of an instrument, and then another big low frequency slightly offset, with that you’ll get phase or polarity cancellation.

So you don’t get more low end, you actually get less low end, it turns into absolute mud and there is no focus.

Remember high pass, I know I talk about it all the time and it’s become a standing joke with those who watch my channel but I talk about it because It’s still a problem I get, I get sent mixes, stick them on the speakers here, I crank them up to listen to them and there’s no definition in the low end.

It’s not because they’re not boosting the low-end, it’s because it’s just a big bleeding mess of instruments all fighting for the same low end. – Create clarity down there and high pass.

Also, low pass, don’t be afraid to do some low-passing if you have an electric guitar that’s got some really nice bite at about 5-7K try low-passing it to about the 7K area with a nice gentle 60b slope.

You might find it doesn’t change the nature of the electric guitar in the track but it gets ride f a lot of sizzle and painful high end that you don’t want to hear. That will suddenly disappear and the vocal will start to breathe 7-10K suddenly the air and the vocals are back.

The cymbals come alive, maybe some sizzle on the acoustic guitars, you can do some much with low and high passing, it’s the number 1 thing that I hear in mixes that I want to help people do – So don’t forget or be afraid to high and course low pass.
#####
Example #2 Graham Cochrane source

So now I am a bit confused and would need some clarification, if possible.
Thank you in advance
Old 2 weeks ago
  #2
Quote:
n both occasions I checked his EQ moves and he NEVER reached for HPF on the tracks - except for the vocals:
no hpf on kick - no hpf on snares - no hpf on OHs - no hpf on Room - no hpf on bass - no hpf on guitars, and so on.

Now I am a bit confused since I read many times from different producers to try to use hpf on as many tracks as possible.
Each original instrument track and each instrument track that is in a mix will be treated differently, depending on:
1. The original sounds of each instrument
2. How well they get along with the other instrument tracks in the mix
3. The sound you are going for, as far as the mix sounds
4. Personnel preferences

So that just means that the people mixing those mixes didn't feel the need to use high pass on everything.

There are no set rules saying you need to do this and that. So do not get caught up in all that BS. Just do what you feel is right for each song. Follow your ears, your instinct and how you want it to sound
Old 2 weeks ago
  #3
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There's always the possibility that he already did that with the mic or the preamp while recording it.
Old 2 weeks ago
  #4
There's also a likelihood his assistant cleared obvious mud in prep. I saw him use HPF, but usually rather low. He will more likely use the LF shelf to attenuate low end on acoustic guitars and similar stuff.
Old 2 weeks ago
  #5
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Quote:
Originally Posted by JSchlomo View Post
There's also a likelihood his assistant cleared obvious mud in prep. I saw him use HPF, but usually rather low. He will more likely use the LF shelf to attenuate low end on acoustic guitars and similar stuff.
That's would be my guess, too. There are numerous other areas in which his assistant preps things - comping, clip gaining, etc - and I'd kind of assume this would be something where the assisant just know that CLA likes his kick HPF at 30, his guitars at 80, his hats at 200 - or whatever. (Just like Andrew Schepps suggested in one of his videos that he very much had a go-to HPF on his snares when using Neve EQs.)
Old 2 weeks ago
  #6
Quote:
Originally Posted by Owen L T View Post
That's would be my guess, too. There are numerous other areas in which his assistant preps things - comping, clip gaining, etc - and I'd kind of assume this would be something where the assisant just know that CLA likes his kick HPF at 30, his guitars at 80, his hats at 200 - or whatever. (Just like Andrew Schepps suggested in one of his videos that he very much had a go-to HPF on his snares when using Neve EQs.)
Well, some of CLA's former assistants are on GS, too. So if the OP is really interested, he should ask them and see if they are still active around here.
Could also be the way CLA's console rolls off low end that negates a HPF many times.
Also, if the OP has Waves SSL, he can check the CLA presets which he copied from the console. Years ago, sure, but he didn't change his style.
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