Do you use the roll-off for vox on your LDC?

  • Thread starter Thread starter fenix
  • Start date Start date

Do you use the roll-off on your LDC for vox?

  • yes, i engage the roll-off

    Votes: 9 75.0%

  • no, i do not engage the roll off

    Votes: 3 25.0%
  • Total voters
    12
F

fenix

New member
I pretty much always do, but I'm curious what you if you all do the same.
 
On some mics, I've actually opened them up and bypassed the circuit. It's a pretty rare thing for me.
 
Yes - otherwise you just muddy things up... ;)
 
For me I try it first with out the roll off engaged. However, probably 7 out of 10 times it gets switched in.
 
Guys - and I'm just curious here... Do you *really* need it in that much? Is it more of a "play it safe" thing...?

Not that I don't tweak some rolloffs at the mixing stage (usually much lower than your average microphone's cut), but it's really very rare that I employ the rolloff on the mic. Most of them are much too high and much too sharp for my ears.
 
I never do. Well, almost never.
Why not just roll off when mixing. It gives you more options. The only reason I can see for using mic rolloff is if you are recording something that is clipping the preamp in the low freqs.
 
If there is excessive boominess or my recording environment is picking up rumble, then yes. Otherwise no for something like a ballad. If the mix is going to be dense then usually.

When tracking the idea is to capture as much of the sound as you think will be useful.
 
freeztar said:
The only reason I can see for using mic rolloff is if you are recording something that is clipping the preamp in the low freqs.
Click to expand...

Agree with that. If theres no problems in the bass range, I just leave it be until it's time to mix, even though I know I'm gonna cut the bass on it 9 times out of 10 when I mix.

But maybe I wanna do a acapella mix later, where I will want/need the full spectrum of the voice? Doing *anything* in the studio as a rule, is a bad rule IMO.

If there's no problem, there's no need to do something about it.
 
Unless it is a male baritone, I put it on. Nothing down around 80hz that I "need" while mixing on the average vocal.
 
Can't say I've had a problem that makes me want to use it. Not for VOX anyways. I did a couple cello recording where it came in handy. If afterwards I hear a problem, I'll just hit it with a little EQ. My vocal booth is pretty neutral. If it's not in the room, it doesn't make it to the track.
 
Well, there is a big difference between using an actual high pass filter and using an EQ to shave the lows. If your console has a good high pass filter, than it's not necessary at the mic. Also, if you are using nicer mics, the high pass filters tend to sound a little smoother. For me, it's all about the sound. When I choose to use a high pass (my primary vocal mic doesn't even have one) it's only because the signal I am recording sounds better that way. I don't do it just because of plosives. If plosives are a problem, than usually it's just time to try a new mic, new position, or have a tlk with the singer and try and teach them some better mic technique.
 
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