High Pass Filter (HPF) and Low Pass Filter (LPF) Mega Thread

[Stumbo]

v

I use the (Tech 21) Q Strip with both my Stingray and Bongo and with the multitude of tones possible with the Q Strips EQ and with the added plus of the HPF it gives both Basses an added dimension........They sound even more versatile!

I am very happy with this product.

 

[Stumbo]

Do you use a compressor - the 2018 pol​

Compression, compressors, compressing.

What they are, what they do and who's using them.

How are they different than limiters and HPFs?

 

[Stumbo]

Fixing your FOH mix:

v

I'm an always on guy, I've been using a DBX 160a rack mount (compressor), 4:1 with -5 to -8(db).

It's not that noticeable, but it does tighten up the e string with my passive jazz and p basses during a live show.

Any of the pro sound engineers always love the sound of my bass so it must be ok.

When I run sound, I can always get a good sound. Without it, it gets a little muddy.

That and a high pass filter are my secret weapons on getting the bass to sit in the mix where I like.

(Doesn't hurt to HPF the guitars around 100hz as well.)

 

[Wasnex]

Compression, compressors compressing.

What they are, what they do and who's using them.

How are they different than limiters and HPFs?

Do you use a compressor - the 2018 poll

I generally run straight into the amp. My Mesa M9 has one of the best built-in compressors I have come across on a bass amp...also a big fat low end that goes really deep. I find running a fairly high compression ratio with this amp really helps tighten up the lows. I don't like the sound of heavy squish so I run the threshold at a higher level/reduced sensitivity...my normal preference is to pick off the signal at a lower level and use a lower compression ratio.

No idea what the attack is set for on the M9 compressor, but conceptually the idea is for the higher frequencies to pass through before the compressor engages, while lower frequencies get attenuated (compressed).

 

[Al Kraft]

I generally run straight into the amp. My Mesa M9 has one of the best built-in compressors I have come across on a bass amp...also a big fat low end that goes really deep. I find running a fairly high compression ratio with this amp really helps tighten up the lows. I don't like the sound of heavy squish so I run the threshold at a higher level/reduced sensitivity...my normal preference is to pick off the signal at a lower level and use a lower compression ratio.

No idea what the attack is set for on the M9 compressor, but conceptually the idea is for the higher frequencies to pass through before the compressor engages, while lower frequencies get attenuated (compressed).

I'm often a straight to the amp guy as well. Like you I find the M9 compressor to be top drawer and especially so for one included in a head. However, the Carbines are amps that truly benefit from a HPF and I will go so far as to say almost as much so as the early SWR (Steve Rabe days) heads do. I believe there is a sub-low filter in the heads, but I think it's set pretty low, and gets even lower (like around 22HZ) when you do the pull deep thing.

 

[NKBassman]

Do you use a compressor - the 2018 pol​

l​

Compression, compressors, compressing.

What they are, what they do and who's using them.

How are they different than limiters and HPFs?

Compressors and Limiters... very similar, essentially each do the same thing, only the limiter is at the far end of the spectrum. Think of it as extreme compression.

Compressors VS HPF... not in any way related.

 

[ahc]

@Stumbo If you're so inclined, why not do a compression, compressors. compressing thread like this eggggcellent thread? And thanks for this HPF thread!

 

[mesaplayer83]

I'm often a straight to the amp guy as well. Like you I find the M9 compressor to be top drawer and especially so for one included in a head. However, the Carbines are amps that truly benefit from a HPF and I will go so far as to say almost as much so as the early SWR (Steve Rabe days) heads do. I believe there is a sub-low filter in the heads, but I think it's set pretty low, and gets even lower (like around 22HZ) when you do the pull deep thing.

I also think the G-K 700rb-II and 1001rb-II amps could benefit from a HPF - they were the only amps I ever played that I frequently used compression with, otherwise they could be rough on drivers...

 

[kesslari]

Broughton "always on" HPF's are back in stock.

 

[Wisebass]

I'm an always on guy,

Hi Stumbo

You know I love this thread!

HPF!!!! Is not cheating!!!! comp = looser

A lot of young bassplayers who see me playing ask: Do you use a compressor?

I don' t use any pedal!! oops: I have a tuner Korg DT10)

The day I need a compressor…

I will start a thread about tort PGs and how they will be part of….

back to topic HPF!!!!!

greetings

Wise

btw: Stumbo I owe you the story, how I got into HPF

 

[lowplaces]

Just received my Broughton HPF (always on version)

Am I correct to assume it is not a set and forget device ? In other words using the same instrument, rig, etc. it will depend on the room as far as how I dial it in ?

Also if I power it with more than 9 volts, other than increasing Headroom, will it also have any effect on dialing it in ? The reason I asked that is because here in my music room it appears I am setting it at around 90HZ to find my sweet spot. I didn't expect to have to set it that high, but the room is quite boomy.

( I was using the Broughton by itself..... I'll try it with my Keeley Bassist and Radial Dragster after work this evening )

 

[TonH]

In another thread I told about my attempt to create a HPF/LPF.

This is what I did/wrote:

In the attic I found a Behringer CX-2310 crossover that I used for a PA system.

It can work in a mono-mode.

So I hooked it up the effect loop of the Ampeg B2 combo and send the mids back to the amp.

In mono-mode only one input is active.

I connected the effect send of the B2 combo to this input.
In mono-mode you have three outputs:
- sub/low
- mid
- high

In connected the mid output to the effect return of the B2 combo.

I set the x-over freq for mid/high the at 9.3 kHz, but that can be lower if you have noise. For bass this sounds oke.

The x-over freq for low/mid is set at 44Hz (as low as possible) and can be increased to say 50, 60Hz or higher to reduce "boomy"-ness.

Now I have a HPF from 44Hz to 930hz and LPF from 440Hz to 9k3.

I am happy that I can use gear that otherwise is collecting dust.

Another advantage is that I now have a mute switch.

 

[agedhorse]

Compressors are not for losers, they are for players who have different tone goals, and wish to fit differently into a mix. It's just another tool that is available to achieve a specific result.

 

[beans-on-toast]

I don’t understand the aversion to compressors.

Perhaps, many players have not had the opportunity to use a good piece of equipment. More often, people don’t know how to properly use compressors and they can suck the life out of the sound.

Even if you are not using a compressor, your amp may be doing this for you. There’s a sweet region where tube amps naturally compress when they are pushed. Some solid state amps do this as well. Many players use this to their advantage and weave in and out of this form of distortion.

Some of the magic you hear on old recordings is tape saturation and compression. People attempt to get around issues with digital by using devices such as the FATSO (Invalid Link Removed) or the Distressor (Invalid Link Removed). Then there are vintage reissue products such as the UA1176 and Fairchild compressors. Other products are based on this technology.

Instrument strings and electronics are not perfectly balanced, neither are most players. Bass and proper compression go together hand-in-hand.

Compressiors are highly used in the studio at every step of the process, when recording, mixing, and mastering. They help separate sonic components by controlling dynamic range with sidechaining for example. They can be very sophisticated. Multiband compression for instance where the frequency spectrum is divided into bands that can have different compression and attack/release settings. A useful tool as different instrument have different requirements.

 

[Craig4003]

I think compressors get a bad rap sometimes because they can be over-used. I own three (an Xotic SP on my guitar board, an MXR Bass Compressor on my bass board, and a BOSS CS-3 that I don't use because it's awful), but I tend to use them in ways you wouldn't really notice, mostly just to trim transient peaks.

 

[NKBassman]

It's just another tool to get the job done, either use it or don't, makes no difference to me. Same as playing with a pick VS fingers, pedals VS straight in to the amp... I'm always baffled when people pick one over the other and get all high and mighty about it as if somehow it matters at the end of the day. Play what you wanna play, and let others do the same. Life is too short for such petty judgments. If I'm running sound I'll be compressing and EQing your precious clean signal anyway.

 

[Wasnex]

I don’t understand the aversion to compressors.

I wouldn't take it personally. As you mentioned, many amps compress naturally so additional compression may be extremely undesirable. If the player's sound is too compressed they will struggle to hear and tend to overplay. This is exactly what happens too vocalist when too much compression is dialed into their monitor mix...too much compression on vocal monitors is a good recipe for feedback and the vocalist losing their voice.

Something to consider is how compression is used differently for monitoring and mixing. In the examples above, it suggests that lower levels of compression are often/but not always desirable for monitoring purposes. When low levels of compression are used for monitoring, the audio tech may find it desirable to add an additional layer of compression to help an instrument or voice sit in the mix better.

Of course in some instances, instrumentalists may use heavy compression as an effect. As long as they are in control and know what they are doing, this can work very well...although perhaps it would be useful to have a volume pedal.

 

[Al Kraft]

For me a compressor is a voicing tool...I think many see compressors as a crutch for people with poor technique. I may be wrong, but that's been my experience when I hear people talking down compressors. They can also offer a safety rail for folks who are doing very percussive or slap/pop style music, but then again, if your technique sucks, a compressor won't turn you into a funk player.

 

[Kro]

I also think the G-K 700rb-II and 1001rb-II amps could benefit from a HPF - they were the only amps I ever played that I frequently used compression with, otherwise they could be rough on drivers...

They do. In 4-string mode they appear to start to roll off at around 60Hz and in 5-string mode around 30Hz.

Um, so yeah - use 4-string mode if you're not limiting lows elsewhere and aren't using heavy-duty cabs.

 

[Stumbo]

In another thread I told about my attempt to create a HPF/LPF.

This is what I did/wrote:
In the attic I found a Behringer CX-2310 crossover that I used for a PA system.

It can work in a mono-mode.

So I hooked it up the effect loop of the Ampeg B2 combo and send the mids back to the amp.

In mono-mode only one input is active.

I connected the effect send of the B2 combo to this input.
In mono-mode you have three outputs:
- sub/low
- mid
- high

In connected the mid output to the effect return of the B2 combo.

I set the x-over freq for mid/high the at 9.3 kHz, but that can be lower if you have noise. For bass this sounds oke.

The x-over freq for low/mid is set at 44Hz (as low as possible) and can be increased to say 50, 60Hz or higher to reduce "boomy"-ness.

Now I have a HPF from 44Hz to 930hz and LPF from 440Hz to 9k3.

I am happy that I can use gear that otherwise is collecting dust.

Another advantage is that I now have a mute switch.

Thanks for posting here. You probably got others thinking as well!