HPF and Compressor: how to use them, together - or not?

[jpaulo]

Just started experimenting with a compressor (cheapo kokko) and bumped into HPF posts. How are they usually used, together?

Would it be fair to say that the compressor helps with balancing the string outputs and mids while the HPF tames the lows?

Any suggestion on how to better use or or the other - or both?

Tks,

 

[ProfFrink]

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

I think most people use HPF to tame to sub-audible frequencies that clip our signal-paths, create a "muddy" "congested" feeling in our ears, and needlessly rock our cabs like in the video below.

In this capacity, it is best to put the HPF in front of the compressor, helping it react better to the frequencies that remain which are the ones we want to hear.

You can use an HPF to create an effect similar to lowering the bass-knob on your EQ, but I never found this very useful. I prefer to bump up the mids if lows become too dominant.

YMMV of course

 

[jpaulo]

That made it clear: what a busy, congested loudspeaker w/o the filter!
So, is this micro-thumpinator the easiest choice - but apparently the most expensive?
I have seen the Fdek and the Broughton...
Tks

 

[ProfFrink]

I have a Broughton LPF+HPF that I bought a few years ago. It works well and is extremely clean, but in the last year or so I've become pretty much addicted to my Zoom B3n. The Zoom also has a HPF, which works well enough, but is less impressive.

The thing with HPF is that since it's usually used as an "always on" - it may make sense to put it in a small enclosure under the board, and basically forget about it, saving board real-estate and complexity.

Also note that some amps and pre-amps have some sort of built-in HPF, but I'm no amp expert, so can't tell which.

 

[eriky4003]

Professor Frink, I've seen HPF/LPF on Hartke's (3500/7000) and I've read they are on the new Mesa 800s. Your answer to the original question, I believe, was spot on!

 

[fasterpussycat]

I have the Broughton L+HPF first in line after the tuner. I find it useful to be able to tune the HPF corner frequency depending on the cab/room. If I still had one, I'd run a comp next in line.

 

[lowplaces]

Bass>Radial Dragster>Broughton HPF>Keeley Bassist

That's what works best for me.

 

[BurningSkies]

I prefer the HPF last in my signal chain... that way any effects that you use that might add significant low frequency content independent of what your bass provides still get filtered.

I run my compressor and limiter pedals at the front of my chain.

A vote here for the FDeck HPF-Pre 3.

 

[briandavismurph]

this is exactly what I do with F deck, to Keely bassest to volume pedal, works like a charm

 

[aledeville]

The HPF in front of the compressor makes sense to not trigger it with the very low frequencies.

 

[Jack]

The HPF in front of the compressor makes sense to not trigger it with the very low frequencies.

That does make a lot of sense but I'm another one for having it after the pedals as I don't want any pedals (well, maybe you would with an octave or a meatbox) to create excess low end after the HPF.

 

[Zbysek]

That does make a lot of sense but I'm another one for having it after the pedals as I don't want any pedals (well, maybe you would with an octave or a meatbox) to create excess low end after the HPF.

That's why some of us use two HPFs...

 

[el murdoque]

My setup ends with HPF, then comp, then reverb. I like to have both effects late in the chain. The HPF in front of the comp so the unwanted lows do not trigger compression.

 

[BurningSkies]

That does make a lot of sense but I'm another one for having it after the pedals as I don't want any pedals (well, maybe you would with an octave or a meatbox) to create excess low end after the HPF.

Yep. Synths, envelopes that can trigger downward sweeps and octave pedals can create lows that you'd want to filter before hitting your amp or FOH.

That's why some of us use two HPFs...

Or use a compressor that has a side-chain HPF. That's what I do. I'd also rather have my compression early so that it levels the dynamics that are hitting pedals that have input sensitivity considerations and filter at the last possible moment.

 

[Jack]

Yep. Synths, envelopes that can trigger downward sweeps and octave pedals can create lows that you'd want to filter before hitting your amp or FOH.

Actually I was saying the opposite, if I'm bothering to use an octave pedal or certainly a subsynth then I'd want the lows without the hpf, otherwise there's no point. What I don't want is the kind of unmusical stuff that gets in by accident.

 

[BurningSkies]

Actually I was saying the opposite, if I'm bothering to use an octave pedal or certainly a subsynth then I'd want the lows without the hpf, otherwise there's no point. What I don't want is the kind of unmusical stuff that gets in by accident.

Many of us are using HPFs to tame infrasonics that are damaging to speakers and horrible in live rooms. You can still use all these effects and trim them in the 30's without it feeling like a loss. I have octaves, extreme filters and synths on my board and even with an always on HPF at 35hz absolutely no other players or audience have ever noticed that I'm running it. Part of the trick is that perceived deep lows aren't where people think. They're about boosting in the range that is something like 50-100hz and leaving the really deep stuff out.

 

[el murdoque]

I'd also rather have my compression early so that it levels the dynamics that are hitting pedals that have input sensitivity considerations and filter at the last possible moment.

For the exact same reason, I like my compressor late in the chain. I like to play around with the saturation of touch sensitive dirt pedals.

When I used a homemade synth setup (comp->octave->fuzz->preamp->envelope filter), I needed the comp set quite squishy and first in chain to trigger an even response, especially with an analogue octave pedal.

Many of us are using HPFs to tame infrasonics that are damaging to speakers and horrible in live rooms. You can still use all these effects and trim them in the 30's without it feeling like a loss. I have octaves, extreme filters and synths on my board and even with an always on HPF at 35hz absolutely no other players or audience have ever noticed that I'm running it. Part of the trick is that perceived deep lows aren't where people think. They're about boosting in the range that is something like 50-100hz and leaving the really deep stuff out.

IME, the addition of a HPF set between 30 and 50Hz has always led to a tighter low end with a better response.
Even on a 5 string.
I toyed around with synth pedals and sub octaves that were actually doing their stuff 'down there' but always migrated back to playing those low notes on the B string and simply boosting the bass on the EQ, which felt more natural for me and gave me a better control.
Even though the low B is well below 50Hz, that's where my HPF is at and you can clearly hear the difference. You loose a tiny bit of perceived low end (as long as your amp-game is strong enough) and gain a lot of clarity and articulation on those notes.

On top of that, I feel it is worth mentioning that it is common FOH practice to highpass everything (oftentimes even higher than 50Hz, more like 75-85) but the bassdrum. So unless one is able to influence the way FOH does the filtering, there's not much to loose by filtering the frequencies that will not be on FOH anyway and a lot to gain by cutting off the content that places a lot of stress on speakers and poweramp and leave more resources for the remaining frequencies.

 

[monsterthompson]

Actually I was saying the opposite, if I'm bothering to use an octave pedal or certainly a subsynth then I'd want the lows without the hpf, otherwise there's no point. What I don't want is the kind of unmusical stuff that gets in by accident.

How "sub" are you trying to get? If you're going FOH, then you possibly have a sub system which will handle deep lows. If you go into a cab, you'll see roll-off below 50 Hz, so having a HPF at 50 and a sub synth/oct after that means you'll get down as deep at 25 Hz, which is probably a steep foll-off for most commercial cabs. IME, ~100 Hz sounds deeper than most people think (and isn't as power-demanding for your amp/cab). At 100 Hz a HPF into an sub/oct would still get you down to 50 Hz, which is still pretty big in the lows. I'd say it would be worth experimenting with, but I am not in the camp that cares for much content in that range with a bass guitar.

Overall, I like recording/mixing HPF then Comp in a DAW. I find it keeps the Comp from being "too squishy" but then every rig and setting and goal is different for each player.