Guitar Gear Forum

Seems like this is standard classic recording technique . Most of the classic and modern recording boards have a hi-pass on the pre's and many highend pre's have a high pass on the input . And most engineers use them on all guitars and bass while going in . Who knew ?

The discovery of the high pass is but one step on any wanna-be recording engineer's journey.

Having a hardware high pass on my good mic pre is great. It saves a lot of tweaking with multi-band compressors and the like trying to lose the flubby resonance problems I have in my main recording room.

yeah and a comp is going to try and control those sub 50hz sounds you can hardly hear anyway so trimming that off allows your gear to work better . I know this is standard 101 recording engineer school stuff but I didn't go to that school

Me neither. Learned it all the hard way.

I just scored a Ocean Audio Pre One which is a Trident type pre with a variable high pass from 30hz to 350hz , can't fucking wait !

Congrats. Too rich for my blood.

Yeah, I just noticed in Logic Pro, in the track ED there is a preset for Hi-Pass - Enhance Guitar and Lo Pass-Enhance Bass.

nightflameauto wrote:Congrats. Too rich for my blood.

actually not bad for a 500 pre about 400 . most are way beyond that

JerEvil wrote:Yeah, I just noticed in Logic Pro, in the track ED there is a preset for Hi-Pass - Enhance Guitar and Lo Pass-Enhance Bass.

try it out and report back

I've found Logic's defaults for hi and low passes and EQs for guitars and bass sound really shit for anything beyond poppy rock. It thins everything out and makes it friendly for heavy, HEAVY compression. YMMV.

fretless wrote:I just scored a Ocean Audio Pre One which is a Trident type pre with a variable high pass from 30hz to 350hz , can't fucking wait !

Incoming little box o' magic day!

This all started when I got the Trident style EQ last week with the 50hz high pass . \m/

Sexy EQ is sexy!

Have to say I've never really bothered with High pass filteres while recording - in a live environment they're really useful for getting rid of rumble and low frequency feedback. In the the studio, I'd only really use it on the way in if subsonic information was affecting something downstream like making a compressor grab onto pointless rumble.

In the mix, I'll use it if I have to - often I'll clear up the low end say below 100hz from room mics and overheads just to avoid phase smearing the kick and tom fundamentals - that keeps them nice and fat sounding.

High passing guitar is almost religeon now among internet recording discussions but I'd prefer to avoid it unless it's a particularly rumbly cab. But even then if it's a resonance problem a bell curve at the problem frequency is my preferred option, then maybe a low shelf filter to tame the low end - I like it to be there, even if attenuated, rather than gone.