Low cut in post or on recording device?
- Thread starter STYLZ
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Steve House
Veteran
Biggest advantage to using it on the mic whenever you don't really need an extended bass response is that it prevents thumps and other subsonic handling noises from overloading the mixer or recorder's inputs.
GaryNattrass
Veteran
Always good to use some on location as it prevents the mic amp from overloading if you are having LF rumble or wind problems, an 80hz or 160hz is usually the option.
Some mic's such as the AT875R that I am a big fan of roll off at around 80hz anyway.
Some mic's such as the AT875R that I am a big fan of roll off at around 80hz anyway.
Finn Yarbrough
Well-known member
Based on the recording and preamp quality that I have gotten out of the Zoom, I would put more faith in the Rode low-cut.
Don't stack the two together, who knows what that would do!
In general I like to record without any filters and take care of it in post, but that all depends on how much time you have to spend on that sort of thing. I also agree that it's a good tool if you anticipate handling noise or buffeting winds.
Don't stack the two together, who knows what that would do!
In general I like to record without any filters and take care of it in post, but that all depends on how much time you have to spend on that sort of thing. I also agree that it's a good tool if you anticipate handling noise or buffeting winds.
Rick R
Veteran
I use filters frequently for dialog recording. However the ones in budget gear are not very good, can add noise and is usually placed after the input stage which wouldn't prevent overload. It's best applied directly on the mic itself or in-line. OTOH, top shelf preamps/mixers/recorders have it placed at the front of the input stage prior to the preamp/converters, ect. (where it belongs)
That said, even some (usually cheap) mics' HP filter can add noise. For instance, Oktava's optional 012 low cut module adds noise.
That said, even some (usually cheap) mics' HP filter can add noise. For instance, Oktava's optional 012 low cut module adds noise.
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Noiz2
Sound Ninja
As a general rule I roll off in the field. Yes you can do it in post but depending on what you are doing and how you work it can add a bunch of plugins to do what you could have done in the field. I'm on a doc now and I've got about 30 tracks of production and almost all have a low cut on them to get rid of the low feq junk.
You do have to pay attention to what you are recording, you may want the low end. Also some of the low cuts on cheap gear are way to gradual and they either do almost nothing or you can hear them affect things you don't want. So IF you can be effective and not add problems (like noise) then I would most times do a low cut when recording.
You do have to pay attention to what you are recording, you may want the low end. Also some of the low cuts on cheap gear are way to gradual and they either do almost nothing or you can hear them affect things you don't want. So IF you can be effective and not add problems (like noise) then I would most times do a low cut when recording.
My SD302 mixer has a rolloff I always leave on, switched to the 80hz setting, my AKG blueline mic has a 75 hz rolloff I also I always leave on (haven't had occasion to use the two together yet. . .guess I should switch it off on one device if I ever do since the rolloff slopes are cumulative, right ?).
This is for DIALOGUE/SPEECH applications, where there isn't much if any useful info below that. If using your mixer/mic to record music or something else, may be a different story.
This is for DIALOGUE/SPEECH applications, where there isn't much if any useful info below that. If using your mixer/mic to record music or something else, may be a different story.
Throwback
Well-known member
There's no problem combining the high pass filters on mic and preamp/mixer: often the filter slope can be too gentle. I find a Rycote Tac!t 18db/octave filter with its knee at 60hz to be more useful with some mics/locations compared to the 6db/octave filter, with 80hz knee, on my Sound devices mixer. A good addition to the bag. Cheers, Roland
GaryNattrass
Veteran
Always good to use the one on the mic if you have one as it is in circuit before the mic amp, the -10db pad is also pre the mic amp so will prevent it overloading if you have a high audio source.
GaryNattrass
Veteran
It depends on the filter as you may have a stronger one on the mixer than on the mic.
Generally they tend to be 80 and 160Hz and 160 may be too harsh for certain situations but it all depends how the roll off is calibrated.
Generally they tend to be 80 and 160Hz and 160 may be too harsh for certain situations but it all depends how the roll off is calibrated.
Noiz2
Sound Ninja
A pad will not guarantee you don't clip and it's not much use for surprise loud sounds. It can be useful if the average sound level is really high and you don't have a pad or limiter on your recorder/ mixer that is pre gain. A limiter (that works on the input) is a lot better for surprise loud sounds. Nothing will save you if the sound is louder than the mic capsule will handle except changing to a higher SPL mic.
Noiz2
Sound Ninja
And that is the catch with a pad. It lowers everything so it only really helps in two situations. The first is about the only time I end up using one and that is an inline pad to knock a line level signal down so a mic only input can handle it. The second is when you have a very hot mic and a pre that can't handle it. I know that does come up for some folks but it hasn't for me.
In the case of the plosives it might help but only if you are recording low ( or the weird case of your mic actually being too hot for the input before any trim etc.). If you put the pad in and then set your levels to get a decent recording level then you have used gain in the pre to compensate for the pad and you will still blow out the recording. If you set levels and then switch in the -12 pad your recordings are hovering around -24 and you are going to have to boost them in post. In both cases you have added some noise to all of the recording to protect against a possible momentary distortion. If you mic is in fact too hot for your recorder/ mixer and it doesn't have a trim that is before everything then the pad is really a must because any fairly loud sound is going to hammer you. But that is really a signal level matching function not a overload protection function.
The catch with a limiter is that only the good ones will help you and you don't find those generally on low cost consumer equipment. I have yet to find a consumer or semi pro flash recorder with a really usable limiter and many act more like a AGC and so are worse than not having anything.
And that is why when asked I pretty much always recommend if you are going to be serious about recording that you get a good field mic pre designed for production work. They are not cheap but they will let you go cheaper on the recorder. Something like the MixPre costs about twice what you are going to pay for a Zoom but will get you a MUCH better front end, roll offs that are functional and a great limiter.
Roll offs on the mic are different and I will often use them if they don't add noise. I may also use the roll off on the MixPre. The plus for the roll off on a pre is you can A/B it a lot easier than you can on the mic. Even if it's a switch on the mic if it's in a zeppelin it's a pain to get to. With a low cut on a recorder or mic pre you can switch back and forth to hear what you are losing.
In the case of the plosives it might help but only if you are recording low ( or the weird case of your mic actually being too hot for the input before any trim etc.). If you put the pad in and then set your levels to get a decent recording level then you have used gain in the pre to compensate for the pad and you will still blow out the recording. If you set levels and then switch in the -12 pad your recordings are hovering around -24 and you are going to have to boost them in post. In both cases you have added some noise to all of the recording to protect against a possible momentary distortion. If you mic is in fact too hot for your recorder/ mixer and it doesn't have a trim that is before everything then the pad is really a must because any fairly loud sound is going to hammer you. But that is really a signal level matching function not a overload protection function.
The catch with a limiter is that only the good ones will help you and you don't find those generally on low cost consumer equipment. I have yet to find a consumer or semi pro flash recorder with a really usable limiter and many act more like a AGC and so are worse than not having anything.
And that is why when asked I pretty much always recommend if you are going to be serious about recording that you get a good field mic pre designed for production work. They are not cheap but they will let you go cheaper on the recorder. Something like the MixPre costs about twice what you are going to pay for a Zoom but will get you a MUCH better front end, roll offs that are functional and a great limiter.
Roll offs on the mic are different and I will often use them if they don't add noise. I may also use the roll off on the MixPre. The plus for the roll off on a pre is you can A/B it a lot easier than you can on the mic. Even if it's a switch on the mic if it's in a zeppelin it's a pain to get to. With a low cut on a recorder or mic pre you can switch back and forth to hear what you are losing.