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Post by terryrocks on May 4, 2016 11:45:54 GMT -6
I've seen posters that show that same freq graphic.
I want one to hang in my control room
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Post by Randge on May 6, 2016 18:18:23 GMT -6
The RTZ 1549 has 4 bands and a roll off that goes down to 25.
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Post by gouge on May 8, 2016 4:00:13 GMT -6
I was lucky enough to grab matt's chop shop module he had for sale on the site. he really looked after me!!!
my music partner told me yesterday he got in touch with Brad Mc and has one coming his way. Brad says hi realgear people.....
now I have 2 to use. kick and snare look out.
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Post by iamasound on May 9, 2016 0:40:57 GMT -6
With that guardian angel filter on the little Daking MP1, rumblization and it's dark cronies will no longer be invited to the party. I pray a fast and swifty postal delivery within the next couple of days.
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Post by Pueblo Audio on May 9, 2016 14:13:24 GMT -6
looking for a kick filter.
something I can dial down to 15-20hz and get more headroom into my mixes. the capi missing link looks to be the solution. wondering if there are any eq's out there that fit the bill.
Consider the physical dimensions. Kick drums should not produce a fundamental at or below 20hz. If you have modulation down there, it is not music. It is mechanical vibration or wind. The better solution is shock mount or mic placement and/or wind screen. HPF should be avoided where ever possible to avoid smeary phase shifts. A 20hz filter will misalign signals up to 200hz; yuck-a-fy-ing the meat of your kick, de-punch-a-fire. Tech talk white paper vocabulary. |
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ericn
Temp
Balance Engineer
Posts: 14,953 
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Post by ericn on May 9, 2016 16:43:37 GMT -6
looking for a kick filter.
something I can dial down to 15-20hz and get more headroom into my mixes. the capi missing link looks to be the solution. wondering if there are any eq's out there that fit the bill.
Consider the physical dimensions. Kick drums should not produce a fundamental at or below 20hz. If you have modulation down there, it is not music. It is mechanical vibration or wind. The better solution is shock mount or mic placement and/or wind screen. HPF should be avoided where ever possible to avoid smeary phase shifts. A 20hz filter will misalign signals up to 200hz; yuck-a-fy-ing the meat of your kick, de-punch-a-fire. Tech talk white paper vocabulary. Awe man all those big confusing scientific words ! Now you have me all confused !  |
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Post by wiz on May 9, 2016 17:07:50 GMT -6
Damn, and I just built 16 sweepable HPFs and put em in my console...
8)
Cheers
Wiz
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Post by tonycamphd on May 9, 2016 19:07:09 GMT -6
looking for a kick filter.
something I can dial down to 15-20hz and get more headroom into my mixes. the capi missing link looks to be the solution. wondering if there are any eq's out there that fit the bill.
Consider the physical dimensions. Kick drums should not produce a fundamental at or below 20hz. If you have modulation down there, it is not music. It is mechanical vibration or wind. The better solution is shock mount or mic placement and/or wind screen. HPF should be avoided where ever possible to avoid smeary phase shifts. A 20hz filter will misalign signals up to 200hz; yuck-a-fy-ing the meat of your kick, de-punch-a-fire. Tech talk white paper vocabulary. no offense, but you are seriously out of your mind! haha, filters are THEE SHIT mon! I use them on every single channel, and the "smear" the good ones create, if used effectively, is a pure music maker. I agree that a filter down at 20hz is a waste of time, nothing that won't be filtered off with a higher center freq, having that low of a center could be useful..., maybe...., just maybe to movie surround mixing for explosions and such? |
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Post by tonycamphd on May 9, 2016 19:09:24 GMT -6
Damn, and I just built 16 sweepable HPFs and put em in my console... 8) Cheers Wiz sssshhhhhhh! don't let everyone know the secret to good mixing! |
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Post by gouge on May 9, 2016 20:26:52 GMT -6
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Post by rowmat on May 9, 2016 22:28:45 GMT -6
I recently started using a windscreen on kick drum mics.
Even though many kick drums mics appear to have decent blast filtering the strength of the air blast emanating from the hole in the front skin of a kick drum can be huge.
A lot of the low end mud in a kick drum track is not due to the kick itself but air turbulence caused by the air pressure pulse hitting the mic like an air cannon.
The most intense zone is of course right at hole in the front skin.
It is less inside closer to the beater.
Even from two feet out it is possible to feel the pressure pulse just by putting your hand in line with the hole in the front skin.
If using a single kick mic I prefer to pull it back with the capsule closer to the hole than the beater (for more low end) so the pressure is higher than closer to the beater.
Try your internal kick mic with and without a windscreen (a decent foam one will work) and compare the spectral frequency results in a waveform editor.
A shotgun style foam screen that protrudes a couple of inches from the head of the mic will provide more blast protection than a snug fitting windscreen.
Additionally a pop filter in front of the foam windscreen will help even more.
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Post by Pueblo Audio on May 10, 2016 12:12:29 GMT -6
It takes a 64 foot pipe on an organ to produce 8Hz. A bass trap for a smallish control room which has any hope of controlling resonance and decay times <20Hz requires 1000-2000 cubic ft. The lowest note on a 32" timpani is C2 (two octaves below middle C) which is about 65Hz. The typical kick drum is 18-24"... extrapolate. If there is energy below 20Hz (16Hz, 8Hz, 1Hz?) with enough energy to eat up headroom, then it would not be part of the kick's proper sound. More likely a mechanical and/or electronic contributer which is not part of the instrument's DNA. Below 20Hz is a slow, slow front. Wind, floor coupling, signal path DC offset, etc. would be my initial suspicions, not drum resonance. |
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Post by tonycamphd on May 10, 2016 14:57:59 GMT -6
yes right, but the fundamental of a 26" kick drum is never going to be anywhere near that, filtering off any lower that than just below the fundamental is detrimental to a mix, due to low freq hash left below the fundamental, and above the filter cutoff point, it will have your speakers working in futility compromising everything else they're attempting to represent, having a filter centered around 20hz will lower your upper freq cutoff(generally), which will make it less useful for HP everything else, which is the primary reason it makes no sense to me, consider everything below the cutoff point is rolled by whatever the filter order is, per octave anyway. The linked video has no audible info below 30hz in the mix, and that's on a high rez file I have here, the kick drum in this mix is uuuge!! I might add that Dave Moulton knows a whole bunch of stuff, I have some of his books, but his example of "ducking" bass and kick in that link is an incorrect representation of how to do it effectively. |
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Post by gouge on May 10, 2016 16:26:28 GMT -6
@pueblo,
I agree it's rumble down below 20hz. Still, it's there due to many reasons which are most likely due to kick drum moving, stand etc and foam in mic getting blown off during session
I'm recording hard rock, the kick moves about a foot during the session across a day. Even with constant mic checks.
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Post by gouge on May 10, 2016 16:27:24 GMT -6
rowmatMIC is undergoing a foam replacement.
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Post by gouge on May 10, 2016 16:29:54 GMT -6
tony, Below 20 it is not that audible. However the compressor hear below 20. Using a digital eq 17-20 was where things sounded better. Then there is the synth parts......
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Post by gouge on May 10, 2016 16:32:43 GMT -6
Sub bass mics for kick anyone?
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Post by rowmat on May 10, 2016 16:45:07 GMT -6
If you wear a set of headphones and move the kick drum mic around in front of the front head as soon as you align it directly with the hole in the head you will easily be able to tell when the air pressure pulse hits the mic.
It's bit like the muddy low end woof you get when placing a mic close in and directly at the sound hole of an acoustic guitar but about 100 times more powerful and lower in frequency.
Even up to 3 feet out from the front head you should still be able to detect when the air pulse hits the mic.
It's the air pulse hitting the mic that's the main culprit for causing the excessive sub frequencies and the woofers in your monitors to flap about without producing anything relevant apart from chewing up headroom and increasing distortion.
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