#1
|
||||
|
||||
Hi pass in the mic or the mix?
My shiny new sound absorption panels fall off in their Noise Reduction Coefficient below about 125 Hz. Should I switch on the 80 Hz hi pass (low cut) filter on my sE8 SDC mics when tracking acoustic guitar, or leave them wide open and subtract frequencies near there when mixing?
So far, my instinct has chosen the latter, thinking that the DAW’s EQ is more precise.
__________________
1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass |
#2
|
|||
|
|||
Personally, I feel 80Hz is too high for a HPF. Because of that, I tend to rely on either the preamp HPF, or a plugin.
Remember, a HPF introduces phase shift (technically most EQs introduce phase shift), but the filters can often be the most noticeable.
__________________
-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#3
|
||||
|
||||
Yes. With low E at 82 Hz, I also feel like that’s cutting it close.
Phase shift from EQ is news to me, though. It looks like I’ve dodged that bit of knowledge so far. I’ll need to look into that. I have one very brief phrase in my song where the phase meter’s correlation (is that the word?) pops into the left side. I gather that means something is out of phase. I’ve tried but I can’t hear it. One more question for the mastering engineer.
__________________
1952 Martin 0-18 1977 Gurian S3R3H with Nashville strings 2018 Martin HD-28E, Fishman Aura VT Enhance 2019 Martin D-18, LR Baggs Element VTC 2021 Gibson 50s J-45 Original, LR Baggs Element VTC ___________ 1981 Ovation Magnum III bass 2012 Höfner Ignition violin ("Beatle") bass |
#4
|
|||
|
|||
I high pass after recording, and I high pass to taste by listening. I dont ever limit myself to rule of, dont ever high pass above a certain frequency.
If there are two guitars, I only let one occupy the lowest frequencies and high pass the other above this. It gives clarity, separation, and gets rid off bass build up. At the same time, usually playing in different positions to separate the two. Incidentally, when mixing, I only ever let one instrument occupy the lowest frequencies With that said, make a couple recordings and try the mic filter vs the DAW EQ and see which one you like better Im typically using Reapers stock EQ but also I like the Oeksound soothe plug in on acoustic guitar, and use it after my EQ to smooth things out. It can really tighten up the bass on an acoustic guitar. Oeksound smooth is subtle, but effective Last edited by Eastbound; 05-07-2024 at 06:46 AM. |
#5
|
||||
|
||||
I tend to leave the mic's unfiltered and uncut and use the DAW HP filter.
I usually set the HP at about 65 - 75 Hz and fairly steep roll off like 12 or even 18 db per octave
__________________
Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2024.3 Sonoma 14.4 |
#6
|
||||
|
||||
I don't use any mic's eq features. Everything I do is after recording.
__________________
Barry Aria: Celtic YouTube playlist Nylon YouTube playlist My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional |
#7
|
|||
|
|||
Quote:
Re: the correlation meter...beware of relying on metering too much, what you could be seeing is the lack of direct correlation in the mix (e.g. something happens in one speaker but not the other, such as a hard panned instrument). That is perfectly fine. The best way to check for phase issues is to listen in mono & see if balance & sound changes drastically. That's the dead simple litmus test for phase issues.
__________________
-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#8
|
||||
|
||||
Nevuh say nevuh.
There are times when I know there is just nothing that I want going on down in the low end and I use either the mic's high pass switch or the variable high pass on a preamp on the way to "tape." Just read my signature to see why. Bob
__________________
"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#9
|
||||
|
||||
I personally would do it in the DAW, and these days more likely just use a low shelf, reserving high-passing for when I'm after a problem like maybe an accidental foot stomp or something.
|
#10
|
||||
|
||||
To me, the main thing I try to keep in mind with issues like this is that I never want to lock myself into something I can't undo. If you're in a pro studio with a sound engineer on the other side of the glass listening, they may be able to make good decisions at tracking time - EQ, compression, etc. But when you're home recording, wearing all hats - performer, engineer, producer, janitor, etc, it's really tough to make the right call during tracking - you want to delay as many decisions as possible until you're wearing your mixing or mastering engineer hat, when you can focus on those things instead of on your performance.
Mic choice and placement along with levels are the main things you can't avoid locking in during tracking, and that's more than enough things to go wrong without adding any more things that could be set wrong along the way. So, no, I wouldn't use a high pass on a mic. If needed (it often is), I'd use a high pass when mixing. But on a separate note, I don't think the absorption coefficient frequencies of your panels are going to have much to do with this - you can't really EQ out room acoustics issues. That coeficient isn't really about reducing "noise" in the sense of extraneous sounds. In this use, it's about what frequencies are absorbed, preventing room modes and resonances.
__________________
Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar |
#11
|
|||
|
|||
As a general rule, I think it's better to do as little on the way in as you can and leave decisions on things like roll-off for post-production. That way you can choose what frequency the roll-off begins rather than letting the mic choose.
Other than slight compression in situations where it's really necessary, I don't do much else of anything while tracking. The reason? If you make a mistake while tracking, you don't have a way to reverse that in post.
__________________
Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#12
|
|||
|
|||
I will high pass at the preamp or mic if I know for sure I won't be using the stuff below the filter.
Examples of where I high pass when tracking Acoustic guitar in a mix with drums and bass Female vocals Mandolin Electric guitar (depends) Examples of where I don't high pass when tracking: Solo fingerstyle acoustic guitar Bass male vocals Electric guitar (depends) Acoustic piano in a classical setting
__________________
Alvarez: DY61 Huss and Dalton: DS Crossroads, 00-SP Kenny Hill: Heritage, Performance Larrivee: CS09 Matt Thomas Limited Taylor: 314ce, 356e, Baritone 8 Timberline: T60HGc |
#13
|
||||
|
||||
Quote:
__________________
McNally Custom Dread Adi/Hog, McNally Custom OM Cedar/Walnut 000-28 Lowden S32J Guild F-512e (Spruce/Rosewood) |
#14
|
|||
|
|||
Quote:
|