What do you prefer? I've tried different EQ's and just keep going back to the channel EQ in Nuendo. I assume since it's not a plug, it uses less cpu and I can't really hear a difference. I know the cutoff and stuff varies, but in the mix, I can't hear a difference. If I was looking to really equalize something, I don't think I'd go for the Nuendo channel EQ, but for LPF or HPF, I think it's OK?
HPF for cymbals...plugin EQ or channel EQ
- Thread starter nwright
- Start date
botus99
Microphone Assassin
I definately will always use a HPF for overheads. I go up to about 500hz usually and I just use the channel EQ. Just screw around with different plugs and see if you really would rather use those or not.
deanbailey
O.C.D Member
I normally use Q10 HPF at 648 Hz. But now that you mentioned it, dunno why i didn't just save CPU by using the channel EQ.
^ same thinking I had. I know the rolloff isn't as steep using the Nuendo channel EQ (at least according to the EQ graph), but I can't tell a difference in sound. I know some people don't like channel EQ's and prefer their plugin EQ's, but for something rather mundane like HPF'ing in a scenario like this, I see no need to use CPU resources.
CJWall
Member
well, i like using the sonalksis EQ for most of my HP and LP filters, as it has a few different options for how steep you want your filter (i.e. 6db, 12, 18, and so on) which the channel EQ does not offer.
deathtotaliban
Member
i just usually use q1 at 600hz, but now that you mention you don't notice any difference using the channel eq I will have to try it
smy1
Member
It's interesting. I never use just a HPF on Overheads. But maybe my method of mixing the drums is different:
I usually pull down all faders except for OHs. Then I EQ the OHs so that they sound as good as possible on their own. Usually a small boost around 100hz, a deep cut in the 500hz area and then whatever is necessary in the high mids and treble. Maybe more surgical with Q10 or something.
Once I got a sound that sounds "live but good", I will start raising the kick fader, then EQ that so that it fits the overall drumsound I get from the OHs. Same with every other piece of the drumset.
At the end, I usually squash the room mics (if there are any) with a compressor and use the same/similar EQ as on the OH mic and then raise the room fader to make it sound more live/real, depending if it is needed.
Just highpassing the cymbals takes too much life out of the whole drums for me and I artificially have to glue the drums back together with reverb ...
I usually pull down all faders except for OHs. Then I EQ the OHs so that they sound as good as possible on their own. Usually a small boost around 100hz, a deep cut in the 500hz area and then whatever is necessary in the high mids and treble. Maybe more surgical with Q10 or something.
Once I got a sound that sounds "live but good", I will start raising the kick fader, then EQ that so that it fits the overall drumsound I get from the OHs. Same with every other piece of the drumset.
At the end, I usually squash the room mics (if there are any) with a compressor and use the same/similar EQ as on the OH mic and then raise the room fader to make it sound more live/real, depending if it is needed.
Just highpassing the cymbals takes too much life out of the whole drums for me and I artificially have to glue the drums back together with reverb ...
greyskull
Member
- Mar 22, 2006
- 6,072
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Good points, smy1. But, you like a goo dbit of room sound in your drum mix, correct? I don't have a good room to work with, so I lean towards having the drum tracks as dry as can be and then incorporate reverb to glue them together. I'm still learning, but without a good tracking room, this has served me well.
I also use samples to augment the regular tones, so ymmv as well.
I also use samples to augment the regular tones, so ymmv as well.
LSD-Studio
HCAF crusher
The signal path on an audio channel in Nuendo is:
input gain -> insert effect 1-6 -> EQ -> fader -> insert effect 7-8
Important to think about.
really? never thought about that....would never have thought that there are inserts post fader.....
gotta check that tomorrow....
makes sense though (at least the inserts 7+8 post eq do), that way you can use the channel EQ pre comp etc., but it's good to know so you don't setup your comp in insert 7 and then lower the fader and fuck up the entire comp.-setting.....
I dare to say I'm really good in using nuendo/cubase, but that point was new to me....should dig out my manual
thanks for the tip
(I think
input gain -> insert effect 1-6 -> EQ -> insert effect 7-8-> fader
would make more sense though
is that why the 7 and 8 sends are shaded differently in the send window? I always wondered why they weren't highlighted the same way...
Yes, the point I was trying to make is that it may not always be a good idea to do radical eq stuff after you`ve treated the entire signal with dynamic processing such as compressors etc. Many people would prefer to do subtractive eq as early in the chain as possible. The two last insert slots for any channel (audio track, group channel track, master fader, fx channel track, vst instrument channel or rewire channel) or bus are post fader and best suited for insert effects where you don`t want the level to be changed after the effect e.g. dithering, maximizers, limiters.
zmetallica
Member
any mix I did where I HP the overheads around 500hz sounded weird. I suggest a low shelf of about 3-6db at the point where you'd use the HP. also a hi shelf helps bring out the cymbals.
OH first, then kick, snare, toms. thats how i always do it. otherwise it just gets weird. though sometimes what i may do is get a rough mix with everything but OH first and then go back and do OH and bring the rest in. it is really a case in case based decision depending on the rest of the mix. sometimes the toms may sound like crap in comparison to the overhead toms, other times it'll be the opposite. of course I'm not working in a high class studio environment right now, just a small home studio.
OH first, then kick, snare, toms. thats how i always do it. otherwise it just gets weird. though sometimes what i may do is get a rough mix with everything but OH first and then go back and do OH and bring the rest in. it is really a case in case based decision depending on the rest of the mix. sometimes the toms may sound like crap in comparison to the overhead toms, other times it'll be the opposite. of course I'm not working in a high class studio environment right now, just a small home studio.
