hi and low filter question

[066959]

Just wondering, when eq'ing, do you put the hi-pass filter on before starting the eq process? Right now, it's the first thing I do to get rid of the ultra lows. However, I'm more concerned with the low pass filter. Do you put it on before or after cutting?

Thanks in advance

 

[andrushkiwt]

Just wondering, when eq'ing, do you put the hi-pass filter on before starting the eq process? Right now, it's the first thing I do to get rid of the ultra lows. However, I'm more concerned with the low pass filter. Do you put it on before or after cutting?

Thanks in advance

hmm...ok

what do the filters do? they remove frequencies. What does cutting do? It removes frequencies. So, you're asking "which frequencies do i remove first?", as if there is some recipe or step-by-step process for removing them. If they need to be removed for some reason, then just remove them. Use your ears. Be careful of any advice that starts with "always", unless the rest of it is "...capture good sounds".

 

[066959]

Makes sense! Thank you!

 

[jkuehlin]

Just wondering, when eq'ing, do you put the hi-pass filter on before starting the eq process? Right now, it's the first thing I do to get rid of the ultra lows. However, I'm more concerned with the low pass filter. Do you put it on before or after cutting?

Thanks in advance

Don't be afraid to use multiple EQ units at multiple stage of the i/o chain. Use a single band EQ unit to roll off your lows (assuming your mic or preamp didn't have and adequate one). Compress, EQ again, compress again, then bus it somewhere else. This way, each EQ unit is doing a different job at a different stage. I'll give you an example of a how I might use EQ on a single vocal track.

Channel 1 - EQ (hipass at 90) - Api 2500 or 1176 (to control initial transients) - Schoeps or Neve EQ to start sculpting the sound (now that the transients are controlled), an LA-2A, or a Shadow Hills, or a Manley to really add some serious character or flavor. Now send it to a bus.
Bus 1 Delay (from channel 1) - EQ (hi-pass at 500 because we only want the delay to react to the mids and highs) - Waves H Delay (25%wet, right cancelled) - EQ (low pass at 7K) because we don't want any of the sibilance to escape.
Bus 2 Delay (from channel 1) - EQ (hi pass same as first) - Waves H Delay (35% wet - left cancelled) - EQ (low pass at 7K) for the same reason.
...and then you would send to a doubler or imager or pitch shifter for taste, the you might send to a reverb then blend the reverbs with delays. Then bend the whole thing back with the initial vocal.

My point is that I'm making incremental cuts along all signal path to allow certain elements to escape, and certain elements to be appear exaggerated.

 

[Robus]

If you know you're going to filter, for example a high pass, then it makes sense to do it early in the chain. There's no point in having sub-audible rumble triggering your compressors or muddying up your FX sends. I put an HF filter first.

 

[illsoulprod]

When the time to eq arrives I high pass and low pass first to remove low frequencies and smooth harsh ones. Then I eq it as normal. Don't over think it and push your eq to get the sound your looking for. Use as many as it takes but get there then gain match and see if you did more good or harm.