Low Cut on Mic or Pre?

[BigEZ]

I'm using a c414 xlii and an la-610se. Should I low cut on the mic or the pre or both?

Thanks,

 

[Bobbsy]

At the risk of being totally unhelpful, it could be "either or neither". Since the filter frequency, the steepness of the filter and the quality of the filter can vary, it's worth just trying one then the other to see if it makes any difference to what you hear. If not, then just use what's most convenient and don't sweat it.

However, the third option is "don't use the low cut at all while tracking". I'm much more prone to use on-mic filters when working live to cut LF rumble, handling noise, etc. This can also make your live sound system more efficient by keeping unnecessary frequencies out of the speakers. Unless there's a genuine problem when recording, I'm more prone to not adding any filters at the tracking stage and deciding on ALL my EQ (incluing high pass/low cut) during the mix.

...but that's just how I work. There aren't hard and fast rules for this--it's just "what works for you".

 

[Steenamaroo]

I never use a hardware low cut in the studio just because every mic and preamp seems to be slightly different.
I leave it all in and trim back what I want ITB.

As Bobbsy says, live is a different story though. I guess you'd just need to try each way and see if there's a noticeable difference.

 

[mixsit]

I'm really liking the selectable freq low cuts on the Chameleon for tracking -or the eq for that mater. Wish it was on some of the other pres like that.
Along with 'get it as close as you can up front', sometimes where I think the mic's filter might be too much I wouldn't hesitate to dial in 50hz cut on the pre for example.

 

[miroslav]

What others have said...I prefer to cut it when I mix, unless I'm really having a problem with a signal during tracking or want to do something specific with the signal...but I don't automatically HPF everything.

 

[BigEZ]

What if I want to take the room out a bit? I've heard cutting at 70 on the 610 might be a good idea?

 

[aaronmcoleman]

Also, what are you recording?

I like to low cut on the SM7B for vocals. But that's the only time I'll low cut going in, the rest is in the mix.

As with so many of these questions, the answer is (drum roll...) try them both, and try neither and see what you like.

 

[mixsit]

What if I want to take the room out a bit? I've heard cutting at 70 on the 610 might be a good idea?

Specifically? Cutting there or at the mic, later, affects the source and the room. They pretty much ride together.
On thing that does come up with where to eq can be how (or if) it affects your compressors.

 

[grimtraveller]

Should I low cut on the mic or the pre or both?

That's like asking whether your windscreen wipers should be on fast or slow wipe. How in Jupiter's dimension can anyone know ?

 

[lewisprosound]

I think low cut buttons rarely work perfectly.

if low cut is needed, using an eq with an adjustable cut so you can dial in the perfect amount of low end reduction is the way to go.

Think about it, You gotta delicately listen to find the right point to cut the low end. how in the world could a button be perfectly set to that perfect frequency

 

[BigEZ]

As always nothing in music production is black and white

My room is not the best, therefore I heard cutting around 70 takes some of the room out. I think I will cut on the channel strip, seems more musical to me.

Thanks,

 

[Jeff Ling]

Because most all directional microphones exhibit proximity effect ( increased bass response at close range ), bass rolloff switches are included to counteract this effect. If the microphone's designers were paying attention, the cutoff frequency and slope should flatten the mics response nicely at close range. The low cut filter on the mic pre however, probably has a much steeper slope and is better suited to reducing room noise and plosives.

 

[ecktronic]

I would say low cut on one of them, it doesn't matter which one as long as the low cuts are both at the same frequency. Or maybe no low cut, you might not need it?

G

 

[cherokeeman]

Low cut depends when you are playing outside or inside, I prefere Low cut 75hz inside on all microphones, exept Bassdrum and {Bassguitar with D.I}

On stage outside I don`t use low cut on vocals the vois can never go lower then 60hz Or your name is Lemmy

Greetsszzz Cherokeeman

 

[mixsit]

... on stage outside I don`t use low cut on vocals the vois can never go lower then 60hz Or your name is Lemmy

Don’t know how far you’re into live sound (just part timer here), but I’d disagree. Voc pops’/thumps rumble’ alone don’t follow that ‘60Hz cutoff.
I’ve been reading up on adding some subs for my little pa. Came across one of the points made for aux fed subs- beyond just using your HPFiltering, improvements/gains keeping those mid/higher sources out of the subs all together.

 

[elbandito]

I almost always use an HPF on vox (and on OH, when they're used) when I'm doing live sound. Between the kick, bass amp, feet stomping and singers "eating" the mic, there's a heck of a lot of low frequencies coming thru those vocal mics and I find that engaging the HPF really helps keep things clear-sounding.

In a recording situation, I only ever use HPF on cymbal mics. Everything else should be fairly easily manageable with mic placement and ppl knowing how to use a microphone.

*EDIT: Actually, I sometimes will use the HPF when I'm miking the batter side of a kick drum, just to get the attack, while the reso-side mic captures the actual bass portion of the sound.

 

[CTB]

I never use the High Pass filter on my Apex for vocals. I always use the entire range and EQ later.
However, if I use the same Mic for the Kick drum or other percussive instrument I DO enable it. Cleans the Kick up and gives me more space before it clips my pre.

 

[TimOBrien]

Do it in the computer where you can control (and see) it yourself....

 

[TheParty007]

i would go for low cutting in the mix

 

[RecordingMaster]

I'll usually use the low cut on my mic if tracking vocals only (or flute or something). Then I have the pre at around 45 hz cut, just in case the mic switch is still letting in some super sub freqs or just floor/mic/stand/room vibrations, etc. Then since the low end has already been rolled off, I'll go in after and roll off in my soft eq as well, just in case anything else is still in there down below 60. Can't hurt. I guess I'm just overly cautious!