Originally posted by Bob Olhsson Something I learned early-on is that shock mounts can make all the difference in the world with condensers on drums. Vibration will travel right up the mike stand from the floor coupling mechanically with the mike.
What about when you have an unsolid floor with a big Ol Neumann and you keep hearing these distant, "thundery" type things come thru your speakers? I had a big rapper once who would shift his weight and make the wobbly old floor in my house/studio make this low low "unh" sound. Going to ADAT that sound would stay audible (or "feelable"). Also, I used to have this great dog Tiger who would lay in the stairwell of our studio, and get up and roll over and plop down. We prolly have a lot of recordings with that intermittent "Plop", along with his jangly collar clinking away. I dont care what anyone says, the Adats had a dynamic range that allowed my dog to be captured on recordings for the first time, in extreme high fidelity. The Analog Studors and Otari's just fall short of capturing vetenary sounds.
Originally posted by Dave Derr VERRRRRY INTERESTING.
Let me ask a question about Highpass (or Lowcut) Filters.
1) If you had to pick 4 -5 low cut frequencies... what would they be?
IE. 40 Hz, 80 Hz, 100 Hz, 160 Hz, 270Hz Low cut
2) Give us one thing you love having Low cut filters for?
No way, very bad idea. Filters MUST be variable from 30hz !!!
Variable roll off rate from 6db/ove-36dB/ove
Additional function on the hi pass. A Gain boosting function locked to the cutoff frequency. This Gain Parameter has should have variable Gain from 1-12dB. This is differnt to using the Q, Res or Emphasis parameters on filters in synths which have a very narrow bandwidth .
When i sweep basses with a hi pass i often still want to retain as much hi freq content as possible so that when closing the filter the frequencies around the cutoff are boosted by a selectable amount but with a much wider bandwidth than the typical narrow bandwidth Q,Res, Emphasis synth filter parameters. Of course this defies the nature of hi pass filtering. In effect i guess the situation makes use of 2 different filters effecting the one signal but in different ways. The first filter the hi pass has a variable cut off freq and roll off rate. The second filter is a shelving nature with variable boost and locked to the same cut off frequency in the first filter.
I simulate this in a synth in the following way.
When assigning cut off frequency of a 24dB/ove roll off rate Hi-Pass (with 50 % resonance) to the modwheel on an EMU sampler, I notice on many sounds the top end gets gritty an raspy when sweeping the cut off while the signal is getting boosting by 4-6 dB of gain also assigned to and controlled by the modwheel.
Id like the EQ/Filter box to be Non transparent sounding.