Average HPF for a 7 strings guitar tuned to B?

Plendakor

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Oct 30, 2010
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Yeah well I would usually go around 120hz for a 6 string guitar but it seems like it sucks the bottom of the 7 string so what is your rule of thumb for a 7 string ?
 
I wouldn't go lower than 80, personally. But it all depends on all the different variables. Here's something I found from awhile back

as far as filtering, I judge it by ear, how tight whoever is playing, what cab etc is being used. I find with my Marshall loaded with Celestion 30's I'm having to cut 10/12k and above because of a fizz that I don't get on the boogie cab. Same with the low end, the boogie is more controlled. I think the trick with lower tuned stuff, is to get a more aggressive mid range, to try and get the note to come through. Also with the bass, try getting the DI, run it through something like amp farm /sans amp and filter everything below 800hz-ish and above 2k-ish and mix it in underneath your main sound, see if it helps bring the bass out, especially on smaller speakers.
 
Rule of thumb should be to treat every mix individually. One song I might have my guitars high passed around 120, another song - maybe with a different tuning - it might be as high as 140-150. I've even seen people high pass guitars as high as 180 due to a huge resonant low end, but it still sounded great.

Generally, guitars are high passed probably anywhere from 85-125 range, on average. Maybe a bit higher for a 7 but just the low B doesnt add that much low end. I have my 7 string in open G# which puts the low B at a (who guessed it) G#, and I high passed it on a my newest song only until 135.

So just trust your ears. do what sounds right, mix with your eyes closed. Don't look at the knobs and numbers! lol
 
pull up the hpf higher than you think is necessary and gradually back it off until it fits. I have been trying the same with lpf too with a little boost at the cutoff point with soem cool results. it's already been said, but each song has it's own personality and thusly it's own filter settings.
 
I guess I process differently. I come from the mindset that if there is boomy or muddy lows present in the recording such that I need to EQ it out in the first place, I fucked up. I HP just under the lowest fundamental in the instrument, and if it isn't tight enough then I botch it and go back and try again. This is of course assuming that you have that option. If you are simply mixing pre-recorded material, then you just have to listen and try to bounce a few test mixes with different HP freqs. This has always worked the best way for me. Conceptually, from a technique building standpoint, I find that HPing out muddy lows doesn't do enough until it does too much. I think the turd polish phrase applies well here...
 
but this is not useful for the mix. the lowest tone should be the first overtone. This is 124Hz.
You're stating opinion as fact. For the record I'm of the school that you start at 20 and sweep it up until it sounds the way you like it and it doesn't really matter where it is. That said everyone who has stated a number is higher than I'd be but it also depends a ton on the slope of your filter. Picking the "first overtone" is pretty arbitrary as that logic only works for one note on the entire guitar.
 
You're stating opinion as fact. For the record I'm of the school that you start at 20 and sweep it up until it sounds the way you like it and it doesn't really matter where it is. That said everyone who has stated a number is higher than I'd be but it also depends a ton on the slope of your filter. Picking the "first overtone" is pretty arbitrary as that logic only works for one note on the entire guitar.

i state nothing as fact^^ because in mixing and in music in general there are no certain rules :)

but guidelines can be very helpful and nothing more i wanted to say with my reply. Fact is that in the most metalmixes, especiallly in those lower tunings, the guitars are very thin when you hear them solo. Its necessary to cut the lower frequencies because the bass, and the kick are much more powerful there. And when you see the data sheet of the most guitar speakers, they dont even go below 70Hz so me saying "The 62Hz frequency in a guitar tone isnt really helpful for the mix" isn't so wrong :)
 
Do what ever sounds good to your ear.I ussual HP at 100 and LP at 9800.But it really depends on the mix,on the bass,on the kick etc.There are no rules
 
when you see the data sheet of the most guitar speakers, they dont even go below 70Hz

but that is just part of the curve within the +/- whatever dB controlled range. I mean the V30 spec says 70-5kHz but there is lots of material above 5k, just try a LP there...
many people here suggest LP around 12k, that would be meaningless with your logic...

found a freq chart for you:
http://www.loudspeaker.co.uk/vintage30.htm
 
I am in the old school way of thinking. I high pass at the lowest fundamental note not as a tone shaper, but to get rid of any subharmonic noise from rumble and RF interference and the like that inaudibly kill headroom. If my bass is too much and I have to reach for the HPF to control the low end, I tracked the guitars with too much low end.

but this is not useful for the mix. the lowest tone should be the first overtone. This is 124Hz.

This is something a lot of people forget about. Most high gain amps like our beloved 5150 has a steep high pass at about 90-100Hz. Everything lower than that is the result of sympathetic resonance of the cabinet, which can be controlled via the resonance/depth power amp control.

it really doesnt matter because the amp, the cab, the mic and the preamp all work as filter too.

This guys knows whats up. Every amp is different too, so you have to keep that in mind. The filtering from mics, cabs, speakers, amps, amp settings, mic preamps, A/D Converters will all add up to a "toneprint" of the relative frequency response.

but that is just part of the curve within the +/- whatever dB controlled range. I mean the V30 spec says 70-5kHz but there is lots of material above 5k, just try a LP there...
many people here suggest LP around 12k, that would be meaningless with your logic...

found a freq chart for you:
http://www.loudspeaker.co.uk/vintage30.htm

Filters don't immediately remove everything above their resonate frequency. Most speakers have a -6db per octave decrease. 6db is only quarter power, that means that with a speaker that has a response of up to 5KHz, its fairly linear, but after 5KHz, there becomes a 3/4 power drop every additional octave. Simply put that means 10KHz will be quarter the volume of 5KHz and 20KHz will be eighth the volume of 5KHz. Frequencies in a guitar speaker can easily be audible up to 16KHz depending on the speaker. 12KHz is popular because it is half the Nyquist frequency of the sampling rate, because everything above 12KHZ on a guitar is pure static white noise, aliasing makes everything above that unmusical.
 
Most speakers have a -6db per octave decrease. 6db is only quarter power, that means that with a speaker that has a response of up to 5KHz, its fairly linear, but after 5KHz, there becomes a 3/4 power drop every additional octave.

I thought this is obvious... so i didnt explain it furthermore. Hope nobody thought, that the frequency response just stops at 70hz and 5k....
 
I think a change in 6dB is equal to half or double power, not a factor of 4. And that something 6dB louder is perceived as twice as loud. I thought you have to go to 12dB decrease to reach one quarter power or 4x power. This came from the assumption that two signals of equal content and equal phase mixed results in a signal 6dB louder. I could be wrong.
 
You're stating opinion as fact. For the record I'm of the school that you start at 20 and sweep it up until it sounds the way you like it and it doesn't really matter where it is. That said everyone who has stated a number is higher than I'd be but it also depends a ton on the slope of your filter. Picking the "first overtone" is pretty arbitrary as that logic only works for one note on the entire guitar.
+1
BTW, I would like to add that the graph on some EQ I feel are not totally accurate so I go for more of what sounds good. F@#k the display HZ numbers. On ReEQ I go as high as 150 HZ regularly depending on the slope.
 
It all depends on the player, the guitar, the pickups, the genre and many other aspects. You cant jst ask 'how do 7 string hp'
E.G. Some players may have quite a meaty palm mute technique, while others may have a very thin, scratchy sounding palm mute technique.
Just use yours ears dude
 
I think a change in 6dB is equal to half or double power, not a factor of 4. And that something 6dB louder is perceived as twice as loud. I thought you have to go to 12dB decrease to reach one quarter power or 4x power. This came from the assumption that two signals of equal content and equal phase mixed results in a signal 6dB louder. I could be wrong.

+0 db = nothing
+3 db = double
+6 db = 2xdouble = 4x

but thats hard to explain because the human ear is working logarithmic not linear.
 
+0 db = nothing
+3 db = double
+6 db = 2xdouble = 4x

but thats hard to explain because the human ear is working logarithmic not linear.
That has nothing to do with human ear though. It's because the decibel is a logarithmic unit.