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3 band EQ and HPF 75 hz Question.

Discussion in 'Recording' started by vandel212, May 11, 2008.

  1. vandel212

    vandel212 Guest

    I want to record some music in the band I am in, but I want to get as good of a sound out of the recorder as I can. The band consists of 1 singer, 2 guitarists, 1 bassist, and 1 drummer. The recording device I use is an Alesis Multimix 16 USB 2.0. The mixer as a 3 band EQ and does high pass filtering at 75 hz.

    I have a vague idea of how to use the equalizer but I would like to know more. So does anybondy have any tips or maybe a good website that I could go to to find out more information on it?

    The unit has a 75 hz high pass filter on it and I was wondering what would be the best intruments to use it on?

    Thanks.
     
  2. Codemonkey

    Codemonkey Well-Known Member

    With the HPF, IMO ALWAYS enable it on any microphone unless you're pointing that mic at a bass guitar or kick drum.
    You can use it on anything, if it seems too bassy(one guitar I deal with has a real punch to it and the HPF is necessary to keep my ears from imploding).

    In case you didn't know, it just drastically reduces the frequencies below the specified one. With vocal mics it'll minimise a lot of plosives and breath noise.

    Are the mids on the EQ sweepable?
     
  3. Massive Mastering

    Massive Mastering Well-Known Member

    I'm of fan of HPF's, but only when absolutely necessary. If there's that much low end in the core, take care of it at the source.
     
  4. bent

    bent No Bad Vibes! Well-Known Member

    Do not touch the EQ until you've exhausted all your possible mic placement options.

    Make sure each input is hitting unity.

    Move the mic if it doesn't sound right.
     
  5. Codemonkey

    Codemonkey Well-Known Member

    Massive Mastering: No choice with us live.
    Unless I physically encase the mic stands in liquid nitrogen, someone will move them. Literally, I move things and by the time I walk back to the desk, someone is grabbing this and tilting that. It peanuts me off.

    BTW why is this question in the mastering forum?
     
  6. Kev

    Kev Well-Known Member

    we seem to be in the Recording Studio forum ?

    this is more a live sound issue than anything else
    in live sound you have to do what you have to do
    if that means use the HPF ... then use it

    for people that have not survived live sound it can be hard to describe some of the things that cause the most trouble

    Codemonkey has already mentioned turning his back to find that things have been moved

    the stage can be cluncky and this sound travels up ALL mic stands and gets IN everything
    use the HPF

    when you have to use the EQ for room troubles
    yes that is very bad but you have to survive
    try putting the same corrction into as many mics as possible
    SO THAT
    when you get the two track recording back home ... a reversal of the correct might make it sound normal

    this is live band recording using the FOH production desk
    it's not easy and very hit/miss
    Guerrilla Recording
     
  7. Codemonkey

    Codemonkey Well-Known Member

    Uh? I could've sworn the bit below said Mastering Sound when I posted that.

    Our stage is wooden, has rot and when I recorded a choir, the recording was full of someone tapping their foot. So +1 to that.
    Although to get rid of it, I'd've needed to roll off from 200Hz, falling fast. Bit too much IMO.
    When the bombs start falling, it's all about damage limitation - not about stopping the impacts totally.
     
  8. I usually try to make the sound avoiding as much as possible to touch any EQ, working on the mics position. Then in the mixing stage you could use some EQ. But it's really hard to tell how and what to do, it depends by a lots of thing. As on many other things, experience is the best way to learn.
     
  9. Codemonkey

    Codemonkey Well-Known Member

    As I said before, when you can't walk 15m without someone undoing your lovely mic adjustment, and can't get any distance between singer and mic due to the massive ring from the cymbals, you have zero choice but to turn knobs.

    Now, if/when we record a song properly...:twisted: people will quickly get to disliking my new way of working things.
     

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