Question to the Pro Mixing Engineers: OH mics with switchable HPF?

[rock soderstrom]

A quick question for the pro mixing engineers (live and studio) here. What do you think, is it advantageous to equip microphones that are planned to be used as overheads with a multiple switchable HPF or do you generally do this on the mixing console or in the DAW?

If so, which low cut frequencies would be useful in addition to a full bandwidth mode?

 

[emrr]

mix

 

[totoxraymond]

I generally don't use HPF on the mic, it's much easier to control on the mic pre / mixing console.

I might be wrong but i don't see any benefit in cutting low frequencies this early in the signal path, it's not as if the mic cable could overload, especially with overheads which should not capture too much low frequency content anyway.

Bests

Thomas

 

[mushy]

I pad and filter at the mic because I am often using my Altec 9470 preamps on the overheads and they have a fixed gain. They definitely saturate differently when unfiltered. Sometimes this is a good thing and sometimes it's a bit much.

 

[StarTrucker]

If you're using overheads as part of the core drum sound I would think HPF would restrict your ability to convey the total drum sound in the mix. Cymbal mics (1 ft) maybe but for overheads probably do it in mix.

Human chest resonates around 60hz, so maybe cut around that and leave 60-80ish and lower for the bass drum and toms. That way you could mix overheads wide for shimmer and put the thump in the middle. That is if you're not going for a realistic drum sound (modern rock instead of orchestra, big band, bluegrass etc.)

Idk about live

 

[rock soderstrom]

Thanks guys for your feedback! This is in line with my experience, I never use HPF on the microphone. The question came up during my new project, a mate said it would be a good feature for a specialised OH mic, but ultimately it's too inflexible and inreversible. It's better to do it in the mix.

 

[jeremynothman]

As Raymond said, it’s helpful when you have pres that saturate differently with or without a high-pass first, or when using old/cheap analogue consoles with limited EQ. I certainly heard that saturation bi-product on old electrodyne preamps, but for live use (with modern digital consoles), or use with most pres, I prefer not to high pass at the mic.

I’ve actually thought of high-passes at the mic as more being so that things can be close mic’d or for vocal use (with no EQ, or only a fixed 100Hz low shelf), and then often a higher, say the 120Hz-200Hz/12dB high pass is better.

 

[rock soderstrom]

I’ve actually thought of high-passes at the mic as more being so that things can be close mic’d or for vocal use (with no EQ, or only a fixed 100Hz low shelf), and then often a higher, say the 120Hz-200Hz/12dB high pass is better.

I think that was the original focus (plus rumble filter). The idea for the OH mics here, however, was to push the operating frequency of the HPF much higher so that frequency ranges that are not needed are not recorded at all.

But as said before it's too inflexible and inreversible. It's better to do it in the mix IMHO.

 

[emrr]

I’m always picking different frequencies and slopes on OH HPF. No single baked in option would do.