Maybe my english is too bad, so that i could formulate my point good enough so nobody can pick sth. out of my sentences and corrects me at a point that has nothing to do with the original topic of the thread. Too bad for me.
Average HPF for a 7 strings guitar tuned to B?
- Thread starter Plendakor
- Start date
ashgallows
resonant manipulator
it occurs to me that one could simply have the lpf at 60hz and use a shelf up to around 200 to pull the low end back a bit.
zer0_c00l
Member
- Dec 18, 2006
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My math in this issue is simple, get the fundamental value, in this case 62Hz, now, what I do is double it so, 124 ismy HP freq, make sure the Q is 1 so it won't totally eliminate the freqs till 62Hz.
then I do the so-called c4 sneap trick, wich you just use the 2nd C4 band and set it up between the fundamental and someting like 3 or 4 (or even more) times the fundamental, so in this case, between 62 and 186, 248 or even until 496 (wichever sounds best with the mix) and make it take out no more than 4-6 dBs in the heavy palm mutes, and TADA!!!
then I do the so-called c4 sneap trick, wich you just use the 2nd C4 band and set it up between the fundamental and someting like 3 or 4 (or even more) times the fundamental, so in this case, between 62 and 186, 248 or even until 496 (wichever sounds best with the mix) and make it take out no more than 4-6 dBs in the heavy palm mutes, and TADA!!!
zer0_c00l
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- Dec 18, 2006
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In fact, 10 dB is the average for your ears to perceive the SPL as the double, and 1 dB is the average minimum for your ears to perceive a SPL change.
That 6dB thing it's when you have a track peaking at, for example, -12 dB, if you duplicate he track it wil then peak at -6dB.
hurdy
Sup
^ I think this is probably not good practice.
At which point did you use your ears??
egan.
daylightdies.com
I just completely don't understand the "up an octave from the lowest note" technique. You may end up around there but that has no logical value as a general rule. Where did this even come from?
hurdy
Sup
JakeAC5253
Frozen Sun Audio
- Nov 19, 2010
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+1 right with you
I'm still scratching my head at why using HP to clean up mud is even being discussed as though it were a professional technique. If your recording is muddy before you do ANY processing, then you've failed as an engineer to capture a tone that is mix ready. Go back and try again...
Destructive (audio range) HP/LP can be used effectively as "effects" or for extreme sounds, but if we are talking about meat and potatoes every day rhythm guitar tones, then just get a clear recording. Destructive HP/LP can be a very effective technique for bass guitar if you are choosing to do a tone blending thing with the bass and having different tones for each major frequency range. Guitar, just have nice gear and leave it alone.
Sorry, I'm on edge today
TheWinterSnow
Den Mørke Natt
eh, we where both wrong. Half power and double power will always be increments of 3dB. 6dB as you said is perceived as twice as loud which is where I fucked up on the power equation saying that in order to get an amp perceived twice as loud, you need to quadruple the power.
And now that I looked at it, speakers have a High frequency rolloff of 12dB/octave. My bad.
You where 100% correct my friend. I didn't even notice anything in your English that said you weren't articulating correctly.
+1 right with you
I'm still scratching my head at why using HP to clean up mud is even being discussed as though it were a professional technique. If your recording is muddy before you do ANY processing, then you've failed as an engineer to capture a tone that is mix ready. Go back and try again...
Destructive (audio range) HP/LP can be used effectively as "effects" or for extreme sounds, but if we are talking about meat and potatoes every day rhythm guitar tones, then just get a clear recording. Destructive HP/LP can be a very effective technique for bass guitar if you are choosing to do a tone blending thing with the bass and having different tones for each major frequency range. Guitar, just have nice gear and leave it alone.
Sorry, I'm on edge today
I totally get this, as I have said before get it right before you record, don't use post processing to polish turds.
I am going to rant here a bit, just because my method for guitar tones is much different than others around here. One thing I noticed with guys that high pass to tighten up guitars as high as 150+Hz and then use multiband compression to tame the lows. All you do it kill any dynamic that is left in the guitars. They are almost always thin, scratchy, static undynamic fizz.
One of the things I love about Colin Richardson mixes especially with Trivium is that he is doing everything that Andy Sneap followers say is wrong, he uses dual mics to phase out the guitars, lets the guitars have massive amounts of bass and instead of multiband compressing the low pumping of palm mutes, actually lets the guitars get wideband compressed which exaggerates tube sag so much more. And that is the thing, everyone around here seems to hate tube sag, pull two tubes out of their 5150s because it sounds tighter because it reduces tube sag. In the end it only equates to thin and nasty guitar tones when you try to eliminate all the 3rd Harmonic compression a tube amp naturally has and not only try to eliminate it, but get rid of it even more post processing. That is just wrong.
Get your tones before you record, embrace low end and let guitars breath!
Like I said before I high pass my guitars at 61.8Hz because that is the lowest frequency that is musical coming out of my amp, anything else is noise. If my low end is too strong, I dialed in my amp like shit. So I go back and redo it.
Cool advice but all those "your setting is wrong if you use a HPF" is total bullshit.
LPF/HPF all the time, everywhere.
LPF/HPF all the time, everywhere.
I play 7/8 strings almost exclusively (or downtuned 6s), and typically high pass anywhere from 70 to 110... depends on tone and mix of course. Close your eyes, grab a knob/mouse, and listen to the spot where it gets clarity, but doesn't remove that 'oomph' you want in metal guitars. That's the only bad thing about working ITB, is that it's harder to close our damn eyes and turn a knob until it sounds good.
Genius Gone Insane
http://www.¯\(°_o)/¯.com
The answer to this question is also dependent on how prominent the bass is in the mix. If I want the bass really up front then I'll probably HP high up. Usually this is not the case. I almost always hp around 62, for 6 or 7 strings.
