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Question about HPF and dithering - also saturation Equalizer Plugins
Old 2nd September 2011
Question about HPF and dithering - also saturation

I have been doing music for quite some time, and amassing gear to finially start on my dream project, which will be a retro inspired electronic dance EP. I use cubase and always begin each SONG with my master template which i have been fine tuning for some time and I feel it is working really great for me. This post is about some details concerning this template that i always use. I like to mix with pretty much the same overall bus and 2-bus settings on all song because i usually use very similar sounds and am going for the same sonics on each song. I am composing and forming my own personal sound.

I use SSL converters and sum to a dangerous d-box. I have 4 stereo buses setup in Cubase which feed the D-box. This then goes to an SSL G-comp and then (soon) an API 5500. From there I got back into Cubase and run a bit of Sonnox Inflator for some nice overtones. No limiter as I will be getting this professionally mastered.

Question 1: Is this correct and a good idea: For HP filtering on the whole setup I inserted a Sonnox EQ on all 4 busses that send to the D-box with a 20K HPF (-12) ehgaged. Then another as the first insert on the sum return after the hardware on the 2-bus. This is my idea for all things hi-pass. Good? (obviously some individual tracks will get HPF on their own at different freqs, but this is all for the low rumble stuff on buses and master)

Question 2: Should I also be engaging a LPF on any of these areas? I heard that very high frequencies can mess with converters. Yes or no and if so what is a good freq to use that wont ruin air but could help conversion?

Question 3: Could it also be a good idea to always mix through a saturation plugin on all 4 stereo busses (before HPF) going to D-box that i just set and forget? Say, decapitator set to very low drive and perhaps 50% wet for some mojo? Then as needed perhaps bring up the effect a bit on busses that need it? I have tried and it sounds cool, but i am not sure if i would be doing some overall degradation of my sound quality in a bad way since i read something about the decapitator bit-crushing.

Question 4: Dithering. I do everything at 24/96. I will be having this professionally mastered. Should I or should I not use a dither plugin as the last insert on master bus, and if so what settings? Also, weather or not I have a dither plugin engaged...what bit rate should I choose to export at? Cubase has options for 24 and 32 (float)

Old 2nd September 2011
Here for the gear
Congrats on finally being able to start your dream project! I hope one day to save enough money to do my own.

My first thought is why would you like to have the exact same sonics for each song? OF course that is your creative decision, but I would suggest for an electronic dance EP where the individual and the overal sounds play such a huge role in the "feel" of the album, that you should add some dynamics to the overall sound by changing the sonic "feel" of each song. Therefore adding some interest to the listener.

As for the HPF and LPF. I would say no, if you are making a song, and auditioning new sounds. you want to hear the entire frequency spectrum of the sound. than while mixing, apply filtering to taste.

Mixing through a saturation plugin, is all up to you. Just remember to apply it to your mix bus BEFORE you start mixing. and NEVER take it off. Subsequently you make all of your mixing decisions with the saturation on, taking it off wil ruin everything.

And do not dither if you plan on sending to a mastering professional. Just watch your gain structure, and leave headroom for him or her.

This is just my opinion. And of course, at the end of the day, if it sounds good. just do whatever you like, lol
Old 2nd September 2011

I understand that each song should have it's own unique sound. There will be tons of variation and tons of automation, etc. What I am asking here are just setup questions for my ..kinda...."virtual console" which is my template. These are not things that really deal with creativity, merely some OCD details and really a very small portion of the whole project. I did not mean in any way that i want the project to be stagnant. I am merely going for the best possible signature sound.

I am also aware to mix into saturation plugins and have asked about a specific way to do this and if it's a good idea. Decapitator mimics different signal flow characteristics of different gear's insides...stuff you actually CANT change in real life(besides input drive) if you have that particular piece..i was kinda thinking of following the same logic in the virtual world with stagnant setting that i just always leave a moderate way with just the buses being effected for a certain vibe.

Also the HPF at 20 would not change auditioning any's merely for controlling subsonic rumble buildup. I was asking if the way i would implement them on buses would be effective. Also, I mix as I;s kind of one process so i like to mix through a lot of things and not mess with the buses too much and just concentrate on individual tracks.
Old 2nd September 2011
anyone else?
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