High pass filters are one of the most overused tools due to the obvious and immediate effect they have on a sound. Use high pass filters with caution (or not at all)
Geoff Manchester expertly shows off how to use a high pass filter in Follow Mode in the following video, about six minutes in:Ħ. This allows for the natural character and space of a recording to come through without it becoming overwhelming.Ī dynamic cut can come in handy with just about all instruments and especially vocals. It will let in some less desirable frequencies so you can feel a lower-range presence, but clamp down as soon as they become too active.
This is particularly helpful when working with signals that, no matter where you set the cutoff, sound either too thin or too muddy.Ī dynamic EQ cut offers the perfect middle ground. While most filter cuts are static, in that they don’t change according to the incoming signal, dynamic EQs are able to ‘track’ signal content, and change cutoff points to better shape sounds as they change throughout a mix. Vocals, basslines, and percussion change over the course of a song, sometimes very quickly, and the high pass filter you set should be able to reflect and follow that movement.Ī dynamic EQ allows for just that. I can demonstrate this in Ozone by turning on the secondary curve option, which shows the time shift:Īcross most of these examples, the types of audio mentioned are dynamic in nature. The changes are subtle, but depending on the material, they can be noticeable and/or harmful, creating a feeling of blurriness and smeariness. They can alter the timing of the affected information. High pass filters can introduce unwanted phase shifting in transient material. The second reason brings us to an issue worth highlighting: Reining in conflicting frequencies from less important elements will greatly help. Instead, try shaping individual instruments with subtle cuts to make space for the kick and bass, as these two instruments have arguably the most important role in the low mids, and as such, should be heard with clarity.
Pro Tip: It might be tempting to apply a drastic global filter on an entire submix to keep unwanted frequencies from afflicting the low mids-but this approach carries two huge problems.įirst, doing so takes away too much energy in too blunt a manner-like hammering a screw into a wall instead of using a drill. It's one of the more problematic areas in a mix, since the higher harmonics of kicks and lower harmonics of synths, guitars, and much more all converge here, which leaves you with a mix that sounds bloated and tired. This issue often appears in the low mid range, between 150–350 Hz, which is what gives music its heft and power. If the kick and bass elements in your mix sound good on their own but struggle to make an impact in the context of the mix, this can be a sign you need to take away the lows present in other instruments. Shape the low end using a high pass filter-with care