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Gear / Technical Help => Battery Boxes, Preamps, Mixers, ADCs, and Processors => Topic started by: discopanic1 on January 12, 2008, 08:40:56 PM
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I'm going to run cards on the v3 tonight in a noisy bar area from on stage, what should be expected as compared to running the hypers?
I'm doing this just to test the hpf settings on the v3 since never used on before. I'm setting at 2. any ideas....
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I'm doing this just to test the hpf settings on the v3 since never used on before. I'm setting at 2. any ideas....
don't use the HPF ;)
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I'm going to run cards on the v3 tonight in a noisy bar area from on stage, what should be expected as compared to running the hypers?
I'm doing this just to test the hpf settings on the v3 since never used on before. I'm setting at 2. any ideas....
:lol:
sorry.. edit .. just reminded me of some funny threads from the past..
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I agree, FUCK the HPF. Do it in post if needed. I want all the lowend I can get ;D BTW, what mics are you running into the v3 ??? I wouldnt run the HPF no matter what mics, but Im just curious. If you need to take away any lowend in post, I have been using WaveLab's MultiBand Compressor, which is a VST plugin, meaning it would also work in other software editing programs ;) I think the multiband compressor is the EASIEST and BEST way to add/remove highs/mids/bass. It requires MINIMAL editing, which IMO is a GREAT thing in post-editing software ;) If you need that particular VST plugin, give me a PM ;) Actually, give me a PM regardless. I have something that will DEFINITELY be beneficial to you in the NEAR future ;)
So my suggestion is to use NO HPF. BUT, if your heart is that content on using the V3's HPF, switch the internal jumpers so that yor HPF's are set at 50Hz and 100Hz instead of the 75Hz and the 150Hz that it comes like STOCK when you buy it. Switching the jumpers is CAKE to do, especially compared to an older v2 ;) It will take you a maximum of 5 minutes TOPS. Once the HPF jumpers are switched, youre settings for the HPF will go like this:
HPF #1=100hz
HPF #2=50hz
Stock, it is like this:
HPF#1=150hz
HPF#2=75hz
I dunno why it isnt backwards and your HPF#1 is your lowest cutoff, but for some reason HPF#2 is your lowest cutoff. I switched my internal jumpers to HPF#1=100hz and HPF#2=50hz. I did in fact use the HPF#2=50hz for a Lotus Stage-Lip recording at Mr. Small's and I think it came out FABULOUS. I used AKG 481's into a Grace V3@16/44.1k. Here is the link to it on the LMA if youd like to sample the 50hz setting. I think it cut JUST ENOUGH lowend to make this recording PERFECT, but I could have gotten the SAME results in post.
http://www.archive.org/details/lotus2005-10-15.481
Just remember, once you remove that lowend in a LIVE setting, it never goes back in the way it would have live. Sure, you can add lowend in post to get it just right, but the rule of thumb in post is, its better to remove highs/mids/lows rather than add them in post. If in the future you do ahve to ADD highs/mids/lows in post, WL's MultiBand Compressor also have an option to have a Soft Limit applied directly w/ the MBC plugin so that you dont have to open the VST Dynamics plugin as well to add the Soft Limit to avoid clipping. I like adding the gain and saving, then adding the MultiBand Compressor and using the soft limit to avoid clipping. I dont like the end results as much when I use the MBC plugin FIRST and THEN add the gain and save. Plus, you always will have a saved/burned copy of the set/show with the gain ALREADY added for any future editing/etc.
Give me a PM when you get a minute, I have something for you! Consider it a late Chritsmas gift from me to you ;)
Bean
EDIT: here is another Lotus show in the SAME SPOT@ Mr. Smalls and the same band as the link above w/ out the HPF on on the v3:
http://www.archive.org/details/lotus2006-02-17.481 (http://www.archive.org/details/lotus2006-02-17.481)
And here is the same 2/17 Lotus show w/ my stage-lip 481>v3 recording and my buddy/fellow team pburgher recording the SBD>DigiModua5 for the BEST SOUNDING LOTUIS RECORDING ON THE LMA BARNONE ;) Check this one out simply for the AMAZING QUALITY recording. I did the matrix and it came out better than anyone could have ever hoped. the stars were aligned this night for sure ;)
http://www.archive.org/details/lotus2006-02-17.matrix (http://www.archive.org/details/lotus2006-02-17.matrix)
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Don't worry no hpf used....
the mk4's still probably sucked in the spot, should've used the mk41's but maybe next time
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HPF 2 will do a nice job at reducing wind rumble outside. Otherwise, I may have used it once in many years.
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Hey Jeff you still using HPF ?
:D
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Eugene Park says all Jeff's Panic tapes with HPF sound AWESOME in his truck.
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I've had 50 / 50 results when I use it, and as a rule...typically I dont.
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I used to run 75hz/6db for everything.. of course I'm mainly doing rock stuff.. AKG 460 with either card or hyper..
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I've made some pretty damn good tapes with it on.
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its another tool available to us.
learn when and if to use it.
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rock show = no HPF at all.
techno (sts9 like) FOB = HPF x 5 !!!
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Let me suggest that people who use pressure-gradient microphones--directional microphones, generally--will probably have a different experience of the filter than people who use pressure transducers--single-diaphragm omni microphones.
Maybe this discussion would be clearer if people identified which type of mikes they're using, assuming they're in one camp or the other--which I realize not everyone necessarily is. But even then, if people use both types, they might find their attitude toward the filter depending on which type of mike is up at a given show.
Pressure-gradient transducers generally roll off below 100 Hz; below 50 Hz, much of what they pick up is physical vibrations (solid-borne shock noise) and moving air noise. For such microphones, depending on the environment and the use of windscreens and/or shock mounts, a low-cut filter might be a pretty good idea.
Pressure transducers, on the other hand, can be dead flat down to 20 Hz or even lower, and they are relatively insensitive to solid-borne vibration and moving air. As a result one is free to record with them wide open, if there's anything going on in the bottom octaves that you want to record. To someone who uses spaced omnis, I can imagine that the very idea of rolling off all that wonderful low bass might sound like total sacrilege, and I wouldn't think of suggesting it.
Same thing with wide cardioids, which have some pressure gradient component but are still fairly close to being pure pressure transducers, and can still have splendiferous (that being the DIN standard technical term for it) deep bass response.
--best regards
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Eugene Park says all Jeff's Panic tapes with HPF sound AWESOME in his truck.
Eugene ONLY got charles's tapes! they sounded awesome in the car ;D