low pass filters

[mousey]

I'm cutting at 85hz and 85khz. I've gone from around 100hz to 15khz and everything in between those but I read somewhere awhile back about Cliff mentioning 85hz and 85khz and that his been good middle ground for my ears at gig volume. Bass isn't woofy and the highs are just right. Not too bright but not dull either. Also, took me awhile to find the right IR. I finally found one that I thought sounded great right out the gate at gig volume and just added the low and high cuts in the cab block.

85Khz? The freq doesn't go past 20khz, You mean 850hz?

 

[mousey]

In the cab block my go to values are. Low cut 110 hz High cut 5000.
I use FRFR and / or in-ears.

Why am I not surprised with this? I have also found myself bumping up the low cut over 100hz and bumping down the hi cut to similar ranges as yours.

 

[mousey]

I know that you asked about low pass, but high pass is also being discussed. I thought you might be surprised to know that I've seen HPFs set as high as 200Hz in live tones used by bands like Metallica.

The more the merrier! so I appreciate any feedback. I am not surprised at these comments. The slope makes a big difference to how frequencies around the cutoff are treated so an actual figure of 200hz may seem unusual to some, but with a gentle slope of 6db/oct used it may not be as drastic one auditioned.

 

[Pwrmac7600]

85Khz? The freq doesn't go past 20khz, You mean 850hz?

I think he may mean 8500khz

 

[lwknives]

All the typos!!!! Hahaha

 

[acidfrost]

IMO, if you have to cut so low, the problem is in your amp block. You should go back to tweaking it. You will lose a lot of clarity and definition. I'm usually in the 8k-10k. I mostly do studio though.

 

[bishop5150]

85Khz? The freq doesn't go past 20khz, You mean 850hz?

My bad, forgot the decimal point. I meant 8.5khz.

 

[Admin M@]

True indeed. We should not be talking about cutoff frequency without talking about slope/Q/etc.

At the same time, we should probably have just left it at, "LPF and HPF are good. Use them as you see fit." ;-)

 

[bradlake]

True indeed. We should not be talking about cutoff frequency without talking about slope/Q/etc.

At the same time, we should probably have just left it at, "LPF and HPF are good. Use them as you see fit." ;-)

is there a succinct explanation for the concept and use of 'q' as it applies in our blocks? i still havent really grokked it yet

 

[bradlake]

....and if you havent read Heinlein's Stranger in a Strange Land, do so, for the explanation of Grok, and much more....

 

[philipacamaniac]

is there a succinct explanation for the concept and use of 'q' as it applies in our blocks? i still havent really grokked it yet

When dealing with cutoffs, the Q affects the transition of the specified frequency into the slope. High Q values will result in a resonant peak (a boost) at the frequency before the downward slope begins. Low Q values smooth the transition. With guitar and traditional mixing uses of HPF and LPF, I always use a low Q. With synths, the LPF Q helps shape the desired sound and I sometimes crank it.

When dealing with parametric EQ, the Q is the "width" of adjustment - how many surrounding frequencies will be affected in addition to the specified frequency. High Q will create sharp peaks and valleys, useful for notching out problem frequencies. Low Q will create wide adjustments, useful for smoother, more musical boosts and cuts.

 

[bradlake]

When dealing with cutoffs, the Q affects the transition of the specified frequency into the slope. High Q values will result in a resonant peak (a boost) at the frequency before the downward slope begins. Low Q values smooth the transition. With guitar and traditional mixing uses of HPF and LPF, I always use a low Q. With synths, the LPF Q helps shape the desired sound and I sometimes crank it.

When dealing with parametric EQ, the Q is the "width" of adjustment - how many surrounding frequencies will be affected in addition to the specified frequency. High Q will create sharp peaks and valleys, useful for notching out problem frequencies. Low Q will create wide adjustments, useful for smoother, more musical boosts and cuts.

Exactly I what I was lookin for, thanks!

 

[mr_fender]

Low Pass filter with different slopes (1st order = 6 dB/oct, 2nd order = 12 dB/oct, 3rd order = 18 dB/oct,...)

Low Pass filters with same slope but different Q settings:

 

[B:ASSMASTER]

FWIW, I like 12 dB high-pass and 6 or 12 dB low-pass.

 

[MaVo]

I'm adjusting my presets at home via FRFR (DB Flexsys 12 active wedge) with high volume. I ususally set the corner frequency between 80 - 100 Hz. I'm using it as my personal guitar monitor on stage and send the FOH signal via XLR.

What I do on most of my presets is setting to Mic type to "Null" with proximity parameters ranging from 2 to 5 to get this proximity effect as with real miced cabs. The is adds definition to the sounds but the drawback is, that you get a massive bass response.

How do you deal with the sound guy, when you don't like the overall guitar mix of the FOH mix? Unfortunately the sound guys we get from our PA and light supplier aren't musicians themselves and are just roadies, who got trained by the bean counter boss, to save money.

Sometimes if I don't like the overall result, I just tell them to set a flat PEQ peak around 150-300 Hz and one between 2 kHz and 3 kHz, if it doesn't help. From my experience you instantly hear the difference, when a skilled and educated sound engineer does the FOH mixing and not some quickly trained roadies.