High Pass Filter question-Overheads

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fris9

New member
I'm new at messing around with the HP filter thing....I'm using ADK SC-2 SDC for overheads, running them through an M-Audio DMP3 which has a Low Cut 75 Hz option. Question: My mics also have HP filters, 75 or 150hz. If I engage the Low cut on the pre-amp should I still use the HP on the mics too?
 
just run a quick mic test with all three possible combinations. I would think they would both do the same thing if they are both at 75
 
fc = frac{1}{2 \pi \tau} = frac{1}{2 \pi R_1 C}



50/50 depending on the source that you are capturing either mic or pre but I wouldn't do both at the same time.
 
fris9 said:
I'm new at messing around with the HP filter thing....I'm using ADK SC-2 SDC for overheads, running them through an M-Audio DMP3 which has a Low Cut 75 Hz option. Question: My mics also have HP filters, 75 or 150hz. If I engage the Low cut on the pre-amp should I still use the HP on the mics too?
Click to expand...

The low frequencies will still be gone either way, but I wouldn't use both. At the most, it'd just be overkill.
 
moresound said:
fc = frac{1}{2 \pi \tau} = frac{1}{2 \pi R_1 C}
.
Click to expand...

:confused:

so you're saying that a grilled cheese sandwich doesn't go with tomato soup? :eek:

BLASPHEMY!




:D

If it were me, I'd cut the lows closer to the source, as in the mics. Not sure tho. Never thought about it. Maybe set em up, record a 30 seconds or so of each and see what you think.

:drunk:
 
Or...don't cut any of the lows, because you can always cut them out later, during the mix (if really needed/wanted).

IMHO, unless the low end is troubling --- overloading things, causing too much rumble from low-end vibrations, etc --- leave it for the mix.

Seems a lot of folks these days like to HPF everything they record. I think it adds to the edgy/mid range vibe of a lot of music (that I don't care for), though I guess if you listen to stuff 99% of the time on iPods and small computer speakers, that's what you are use to hearing.
 
miroslav said:
Or...don't cut any of the lows, because you can always cut them out later, during the mix (if really needed/wanted).

IMHO, unless the low end is troubling --- overloading things, causing too much rumble from low-end vibrations, etc --- leave it for the mix.

Seems a lot of folks these days like to HPF everything they record. I think it adds to the edgy/mid range vibe of a lot of music (that I don't care for), though I guess if you listen to stuff 99% of the time on iPods and small computer speakers, that's what you are use to hearing.
Click to expand...

I do this. Cut them in the mix if necessary. You can always get rid of them but you can never add them back.
 
miroslav said:
Or...don't cut any of the lows, because you can always cut them out later, during the mix (if really needed/wanted).
Click to expand...

I was actually thinking more along these lines too! Better to have it and not need it than need it and not have it! ;)
 
arcadeko said:
just run a quick mic test with all three possible combinations. I would think they would both do the same thing if they are both at 75
Click to expand...


Unless they have exactly the same slope, combining the two HPFs could yield non-linearities at the turnover frequency that wouldn't be present using either one individually

...which could be a cool sound, depending on context. So yeah, give 'em a quick listen w/ all possible combinations.
 
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