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Post by Ward on Oct 5, 2019 17:28:24 GMT -6
Where does everyone cut them off these days?
For me it's 30hz and 16.1K generally
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Post by wiz on Oct 5, 2019 18:42:15 GMT -6
dB per octave?
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Post by jamiesego on Oct 5, 2019 20:01:04 GMT -6
I’ll frequently do a 30 or 35 hz HPF on the mid and 70hz-ish HPF on the sides. I don’t usually do a LPF on the whole mix.
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Post by stormymondays on Oct 6, 2019 3:10:57 GMT -6
I’ll highpass as high as 42Hz frequently. I only lowpass live recordings, 15k usually does no harm. I work on rock/Americana/folk rock mostly.
This is something I’m interested in and working on getting better at. I used to filter individual tracks by default until I realized is better to keep the phase relationships intact for multi-mic’d instruments.
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Post by Chad on Oct 6, 2019 8:23:05 GMT -6
Where does everyone cut them off these days? For me it's 30hz and 16.1K generally Hi, Ward, Are you talking about individual tracks (kick drum, snare drum, bass guitar, acoustic, vocals, etc.), or are you talking about the mixbus? I’m really curious about your methodology.[ When I’ve used LPF, it’s usually on some select tracks that I want to remove some piercing frequencies from, such as overheads/hat, and electric guitars. Chad
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Post by Ward on Oct 6, 2019 11:20:47 GMT -6
HPFs usually set around 24 db/8va. They can curve the low end nicely and create a feel of better low end punch. After all, the kick drum really give a lot of whallop around 60hz and a bass guitar, thought he principal frequency of an open $ might be 41hz, HPF at 35hz does little to lessen its impact, and a lot of the warmth is around 80-100hz. pages.mtu.edu/~suits/notefreqs.htmlSO I tend to HPF kicks at around 29hx, basses at 33hz and the entire 2 buss around 30hz. 20-30 uses up a LOT of sonic real estate and contributes little to nothing to music. This isn't film work!
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Post by Deleted on Oct 7, 2019 9:46:48 GMT -6
I've only recently started experimenting with filters on the whole mix (silver bullet on loan). I dig it. I think it's 20hz on that thing. For individual track clean up stuff I usually will scan the low end with a narrow boost and find where the fundamental is, then I'll set the HPF just below, or at that frequency and maybe give it a little resonant bump there too. I don't use LPF's nearly as much, but I just listen for when the crap I didn't even realize was there disappears.
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Post by svart on Oct 7, 2019 9:57:17 GMT -6
I don't do the whole mix. I only do individual channels. Here's the range I typically end up around for LPF and HPF:
Bass: 50-100hz and 4K-8K Kick: 30-50Hz and none Guitar: 60-500Hz and 2K-8K HH/OH: 100-800Hz and none-7K Vocals: 60-200Hz and none everything else: Cut til I hear it and then back off for both HPF and LPF.
I try to be as aggressive as possible without killing the tone.
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Post by EmRR on Oct 7, 2019 10:39:00 GMT -6
I high pass individual sources, never the whole mix. Extremely rare I low pass anything, maybe bass DI most frequently. Mostly just junk well below anything musical, thumps and bumps. I leave everything pretty full range if possible. Headphones and spectragraph visuals for the job, don't trust speakers.
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Post by MorEQsThanAnswers on Oct 7, 2019 10:45:51 GMT -6
This subtle comment just blew my mind. Never thought about it that way!
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Post by trakworxmastering on Oct 7, 2019 10:58:44 GMT -6
IMO HPFs are vastly overused. People are using them even when they don't have accurate full range monitoring, so they can't even hear what they're doing sometimes. I hear so many mixes with needlessly "confined" sounding bottom end and lack of warmth and girth. Well recorded and EQ'd tracks can work together just fine with lows intact. I do it all the time. HPFs are like using a guillotine when a scalpel would do. The bottom end can be addressed better with surgery than with amputation. IMO. Cheers,
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Post by svart on Oct 7, 2019 11:29:15 GMT -6
IMO HPFs are vastly overused. People are using them even when they don't have accurate full range monitoring, so they can't even hear what they're doing sometimes. I hear so many mixes with needlessly "confined" sounding bottom end and lack of warmth and girth. Well recorded and EQ'd tracks can work together just fine with lows intact. I do it all the time. HPFs are like using a guillotine when a scalpel would do. The bottom end can be addressed better with surgery than with amputation. IMO. Cheers, True, but the opposite is also true a lot as well. I've been sent so many files that are nothing but low end since the tracking guy (usually a bandmember) is tracking while listening to little desktop monitors that have no real low end so they overcompensate. You have to fit the proximity effect and the fact that most preamps in cheap interfaces are very frequency tilted in favor of the low end due to their frequency response and aggressive A/D aliasing filters. More often than not a guillotine is exactly what the doctor ordered.
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Post by Ward on Oct 7, 2019 12:17:47 GMT -6
IMO HPFs are vastly overused. People are using them even when they don't have accurate full range monitoring, so they can't even hear what they're doing sometimes. I hear so many mixes with needlessly "confined" sounding bottom end and lack of warmth and girth. Well recorded and EQ'd tracks can work together just fine with lows intact. I do it all the time. HPFs are like using a guillotine when a scalpel would do. The bottom end can be addressed better with surgery than with amputation. IMO. Cheers, True, but the opposite is also true a lot as well. I've been sent so many files that are nothing but low end since the tracking guy (usually a bandmember) is tracking while listening to little desktop monitors that have no real low end so they overcompensate. You have to fit the proximity effect and the fact that most preamps in cheap interfaces are very frequency tilted in favor of the low end due to their frequency response and aggressive A/D aliasing filters. More often than not a guillotine is exactly what the doctor ordered. I see @trackworxmastering 's point but am more in alignment with the way svart thinks and operates, obviously I guess . . .
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Post by brenta on Oct 7, 2019 12:19:48 GMT -6
I agree with Justin that HPF and LPF are overused on mixes these days. I think some of this comes from there being a consensus on youtube tutorials that this is what "all of the mastering engineers always do". But the mastering engineers I have worked with don't just automatically put a LPF and HPF on everything.
I often use a pultec style eq to boost and cut at 20hz or 30hz on my mixes setting them to either 1 or 2 to tighten up the sub bass a bit. The only time I use a LPF on a mix is if I know it's going to be converted to MP3 or another lossy compression format.
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Post by Deleted on Oct 7, 2019 12:35:09 GMT -6
True, but the opposite is also true a lot as well. I've been sent so many files that are nothing but low end since the tracking guy (usually a bandmember) is tracking while listening to little desktop monitors that have no real low end so they overcompensate. You have to fit the proximity effect and the fact that most preamps in cheap interfaces are very frequency tilted in favor of the low end due to their frequency response and aggressive A/D aliasing filters. More often than not a guillotine is exactly what the doctor ordered. I see @trackworxmastering 's point but am more in alignment with the way svart thinks and operates, obviously I guess . . . There are definitely times when I pull back the frequency point on it, or shut 'em off altogether once I realize I've neutered things too much. Sometimes it makes all the difference in the world though. With heavy music, I'm more liberal since everything in the mix has to be as loud as everything in the mix.
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Post by trakworxmastering on Oct 7, 2019 15:03:04 GMT -6
A low shelf or bell curve cut can often do what's needed with better results than a HPF. Give it a try. Let those lows live and breathe!
Same goes for highs BTW.
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Post by mcirish on Oct 7, 2019 15:37:17 GMT -6
I do HPF and LPF only on individual channels. Some general guidelines for me: kick: 30hz (i usually get the kick working mostly around 50-60hz, cut highs around 6k toms: 80hz-100hz (depending on how they are tuned) bass: gentle 6dB starting around 60hz, cut highs around 4k Guitars: depends, but usually around 90-100hz cut the high end around 8k Vocals: 90-100hz HPF, LPF might be around 15k if at all. I try to limit the elements that can have stuff under 100hz. That's where mostly kick and bass live in my mixes. I tend to cut the highs based on what it is. Most of the time my HPF is 6 or 12dB /octave. LPF is almost always 6dB/octave.
I just look to gently remove what isn't necessary, so I can focus the sound better.
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Post by wiz on Oct 7, 2019 16:28:16 GMT -6
I modded my Soundcraft Delta and got rid off one of the Aux's and made the HPF variable..... So everything gets something
Its room dependent I reckon, if you are mic ing live instruments, I have to HPF, you may not.... just because of the room
On mixes ITB 20hz - 20Khz 12db 8ve. ....... ish......
Cheers
Wiz
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Post by trakworxmastering on Oct 7, 2019 18:02:26 GMT -6
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Post by adamjbrass on Oct 8, 2019 4:23:20 GMT -6
Always sweeping and listening
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Post by drsax on Oct 8, 2019 7:04:56 GMT -6
It’s all mix dependent here. Sometimes a HPF on the mixbuss between 20-35Hz... using ProQ2 or 3 - sometimes not. Only LPF I’ve ever used on a mix is the Silver Bullet Vintage Filter - that thing is something special.
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Post by Johnkenn on Oct 8, 2019 8:01:39 GMT -6
I don’t do it unless I hear an issue. Then if it’s a low end issue, I usually just try and deal with it within the individual track.
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Post by soundintheround on Oct 8, 2019 8:10:27 GMT -6
Not doing it on every mix with some specific plugin per-se, (unless happen to be using a UAD Chandler or BAX and think about it)
But typically just sending it through some colorful mixbus transformers/tubes/tape gives natural low and high cutoff.
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Post by Deleted on Oct 8, 2019 9:25:06 GMT -6
Finishing up a mix last night, I was A/B'ing with the Silver Bullet's vintage filter. I printed a mix with and without to judge later, but I felt having it on brought a focus to the whole thing. Tighter, seemed to push the vocal closer to my ears. We'll see how I feel after a fresh listen today, but I wasn't expecting it to have that dramatic of an effect. Simple, but powerful.
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Post by johneppstein on Oct 8, 2019 19:27:07 GMT -6
Where does everyone cut them off these days? For me it's 30hz and 16.1K generally Never, unless there's a serious problem.
Hopefully if there's something really wrong I catch it in tracking. On ONE CHANNEL. No reason to whack everything off if it isn't needed.
I don't understand why anyone would need to LPF anything.
EDIT: HPFs and LPFs are NOT intended to be EQ, they are remedial filters to remove noise content. They should not be used for EQ purposes - that'as why we have EQs, which are generally far more versatile and musical for tonal purposes.
Why would anybopdy routinely LPF when using a high fidelity system with response to 30-50 kHz? It makes no sense.
If you're still recording at 44.1, then maybe, if your system is ancient, want to LPF to avoid aliasing. Otherwise, use your EQ for tone control purposes (that's what it's for) and leave the remedial filters alone.
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