When do you use low-pass-filter in Mixing?
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- KVRAF
- 4357 posts since 30 Aug, 2012 from Sweden
On electric guitars if it's too much treble. I use low-pass even more when I make dark ambient on sounds that need to be darker even though the sounds them self are not too much treble on.
- KVRian
- 643 posts since 17 Aug, 2015 from Finland
Basically whenever I feel like it's needed. Which is to cut out the treble on tracks that don't necessarily need it.
My solo projects:
Hekkräiser (experimental) | MFG38 (electronic/soundtrack) | The Santtu Pesonen Project (metal/prog)
Hekkräiser (experimental) | MFG38 (electronic/soundtrack) | The Santtu Pesonen Project (metal/prog)
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- KVRAF
- 1666 posts since 28 Jun, 2007 from Amazon rain forest
Some scenarios:
1 - automating a low-pass before a break section. Used a lot in classic Trance and House.
2 - low-pass drums before different song sections as a transition element.
3 - low-pass the entire track somewhere between 16-17 Khz so it results in better mp3 encoding.
1 - automating a low-pass before a break section. Used a lot in classic Trance and House.
2 - low-pass drums before different song sections as a transition element.
3 - low-pass the entire track somewhere between 16-17 Khz so it results in better mp3 encoding.
Last edited by dark_virus on Mon Aug 21, 2017 9:49 pm, edited 1 time in total.
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- KVRAF
- 2625 posts since 2 Jun, 2016
I end up low passing most hihat samples as they are usually too acutely hissy for my hearing. Perhaps weirdly, I don't find most cymbal samples suffering from the same issue.
Also low pass kick drums just above the 'click'.
Also low pass kick drums just above the 'click'.
- KVRAF
- 1802 posts since 23 Sep, 2004 from Kocmoc
Lowpass.. rarely. Shelves ftw.
Mainly if fex. bass is made from two or three parts, I lowpass the sub.
Mainly if fex. bass is made from two or three parts, I lowpass the sub.
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https://www.youtube.com/@softknees/videos Music & Demoscene
- KVRAF
- 2110 posts since 5 Oct, 2015 from Swedish / Living in Hong Kong
I seldom use LP filter but occasionally I add it on HiHats, claps and other sounds that are too powerful at the very high end.
Win 10 -64bit, CPU i7-7700K, 32Gb, Focusrite 2i2, FL-studio 20, Studio One 4, Reason 10
- KVRAF
- 4590 posts since 7 Jun, 2012 from Warsaw
Rarely lowpass. usually ony heavily distorted sounds that get too noisy and unnatural.
Sometime ago I started using gentle lowpass around 17-20 kHz to ensure nothing goes into supersonic area. At teh same time try to always get prominent high-end as long as it's listenable and not just the hiss.
Sometime ago I started using gentle lowpass around 17-20 kHz to ensure nothing goes into supersonic area. At teh same time try to always get prominent high-end as long as it's listenable and not just the hiss.
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Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
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- KVRAF
- 2908 posts since 26 Oct, 2007 from Kent, UK
I use low pass filters all the time. A bright, brittle mix is a hallmark of inexperienced producers. The only things that need high end presence are the things that will produce the excitement in a mix so don't be afraid to be brutal with getting rid of highs on things don't need to be in your face. It's also a great way to push something back in the mix. Think of RL.. the closer you are to something the more high frequencies you will hear - the further away you go the less you will hear. Just by removing highs you can create depth in a mix..
- KVRAF
- 15274 posts since 8 Mar, 2005 from Utrecht, Holland
I usually prefer a shelve filter instead of high-pass. That's what on the channel strips of all the analog mixing consoles.
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- KVRAF
- 7402 posts since 17 Feb, 2005
A "trick" I use is to set a lowpass to hear the main fundamental tones, then add peaking bands to boost stuff in the lowpass' cut range. I guess it's useful because it makes it easier to control the volume of the harmonics.
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- KVRAF
- 2565 posts since 2 Jul, 2010
That's an interesting approach, thanks for sharing. Sometimes with SlickEQ GE I start with the linear tilt filter to get the overall "distance" right and then adjust with bands from there. This is similar but different; should experiment more with shallow filters...camsr wrote:A "trick" I use is to set a lowpass to hear the main fundamental tones, then add peaking bands to boost stuff in the lowpass' cut range. I guess it's useful because it makes it easier to control the volume of the harmonics.
I generally stick a steep-ish lowpass after any aggressive distortion or bitcrusher treatments to reduce the amount of high-frequency nonsense they are throwing out.
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- KVRist
- 156 posts since 4 Mar, 2014
Sometimes I get some peaks at 20khz or higher, placing a decent lp filter around that area with resonance all the way down will trim it off.
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- KVRAF
- 4711 posts since 26 Nov, 2015 from Way Downunder
I prefer shelves - and the objective is to reduce high end on certain elements to: 1) push them back in the mix to add depth, and 2) leave plenty of space in the top end for the elements that need it , eg: vox, snare, lead synth, hihats - so they're not competing with less worthy things like pads for clarity.