excellent explanation, it is also useful for an electric double bass like the one I have, the stagg edb200, to achieve a sound more similar to acoustic. Investigating how to equalize it to achieve that, I discovered that what you explain is essential for that. Thank you very much for the video
Thanks a lot for this video. Helped me really understand an issue that I'd been looking to fix and had been doing it post recording. Excited about the possibilties of using filters.
That would be a 1x8 speaker built by Mike Arnopol Soundworks. I love his cabs. I know he's dialed back his production back quite a bit, but he's pretty easy to get in touch with via email or social media.
Great video. Indeed, even for commercial recordings it is kind of standard to cut off everything below 70Hz, except that the bass players aren't told, or it might lead to arguments or rebellions; but it makes total sense to get rid of all that low end rumble. Not only does it make amps clip and speakers to lose their cones, but even the human ear suffers, and is less able to appreciate the music, with excessive low frequency material torturing the eardrum. I think I'm going to go design my own rumble filter right now. I happen to be an electrical engineer, and I don't trust most commercial products. I think this rumble filter should be based on a Bessel filter, which add the least phasing artifacts to the signal. I just need to find out how to design a parametric Bessel. Probably using multiple feedback, as opposed to a Sallen Key topology... UPDATE: I was wrong, it HAD to be a Sallen Key topology to have harmonized resistors (to be able to use a multi-gang pot to control cut-off frequency); the multiple feedback topology harmonizes the capacitors, rather. Schematic is done, and tested on the simulator. Next is designing a PCB, but I'm going to expand this project to include other things I wanted to build, so as to put it all into one PCB and get a good price.
Hey Paul Im already an Fdeck convert, but for those uninitiated players out there this has been the best most practicla demonstartion I have come across. Nice playing at the intro BTW.
Really well done. The best explanation of HPF for bass on UA-cam. I watched them all. Question: where I put the Fdesk in my signal chain. Mine is bass > tech21 fly rig (I use mostly only preamp and compression) > Quilter bb800 > Barefaced cab. Would the Fdesk go before or after the Tech 21?
Dave, this is the million dollar question. Opinion: There's not a "technically correct" place, but there is a place that works "best for you" depending on what your ears tell you. If you run the HPF before the Tech21, you're going to be filtering some of that sub bass out which will impact your preamp gain and subsequent compression settings (less low end = less energy hitting the compressor if all other factors are equal). If you run it after the Tech21, you'll be high passing the signal after the preamp and compression... totally up to you, and what you feel gives the best results. Personal preference: If you're using the compression to subtly smooth out your dynamics, I'd run the HPF before it so you can use even less compressor (it won't trigger as much with less low end) and get the same results. If you're hitting the compressor hard and using it as more of a slam/squish effect like Tony Levin, I'd run the HPF after it. On the whole, I find myself almost always going bass > HPF > everything else for live gigs. To my ears and hands, it just makes the low end feel "cleaner." I'm sure you could ask 10 other people and get 10 other equally valid opinions.
This is the site - sites.google.com/site/hpftechllc/home - I have the series 2 (in the original plastic case) - amazingly useful tool all the way around.
George, the bass started as a carved maple Eastman, but just about everything has been swapped or changed through the years (neck, fingerboard, bridge, tailpiece, etc). The HPF specifically in this video is an FDeck Series III. I also have a Broughton HPF on my pedalboard. Both are great.
Of course, but in general, the “bass” knob on most amps is a shelving EQ which affects the lows differently than what a variable high pass filter does. The bass knob on most amps is also at a set/fixed frequency vs. a variable HPF where you can fine tune the filtering frequency depending on the room, rig, etc.
Thanks. This clears up a lot, not only in my tine, but in my thinking of EQ.
Great vid
Broughton HPF range is 25Hz to 190Hz
Has LPF and 20dB clean boost
Great tool
Makes absolute sense to do this at source, as engineer likely to do that later on anyway. Thanks for great vid.
What a great and useful explanation! Thanks.
I've been wondering about HPFs for years and have never heard it explained this well. Thank you, Pat.
Excellent insight.
This was very helpful to my understanding. Thanks!
What a great explanation of something I was completely unaware of all these decades.
Really great video.
That's great man, I've been wanting to build an adjustable filter to do exactly what you just displayed! I guess I don't need to build one!
excellent explanation, it is also useful for an electric double bass like the one I have, the stagg edb200, to achieve a sound more similar to acoustic. Investigating how to equalize it to achieve that, I discovered that what you explain is essential for that. Thank you very much for the video
Thanks a lot for this video. Helped me really understand an issue that I'd been looking to fix and had been doing it post recording. Excited about the possibilties of using filters.
Great advice and makes a lot of sense, I use an Aguilar tonehammer 350 and the high pass starts at 40Hz :(
Thank you for this! I'm new to urp and this was extremely informative.🙏
Great video, Pat!
Hi Pat...great video and explanation of a HPF. Can I ask you what brand and model speaker cabinet(s) you are using in the video?
That would be a 1x8 speaker built by Mike Arnopol Soundworks. I love his cabs. I know he's dialed back his production back quite a bit, but he's pretty easy to get in touch with via email or social media.
Great video. Indeed, even for commercial recordings it is kind of standard to cut off everything below 70Hz, except that the bass players aren't told, or it might lead to arguments or rebellions; but it makes total sense to get rid of all that low end rumble. Not only does it make amps clip and speakers to lose their cones, but even the human ear suffers, and is less able to appreciate the music, with excessive low frequency material torturing the eardrum.
I think I'm going to go design my own rumble filter right now. I happen to be an electrical engineer, and I don't trust most commercial products. I think this rumble filter should be based on a Bessel filter, which add the least phasing artifacts to the signal. I just need to find out how to design a parametric Bessel. Probably using multiple feedback, as opposed to a Sallen Key topology...
UPDATE: I was wrong, it HAD to be a Sallen Key topology to have harmonized resistors (to be able to use a multi-gang pot to control cut-off frequency); the multiple feedback topology harmonizes the capacitors, rather. Schematic is done, and tested on the simulator. Next is designing a PCB, but I'm going to expand this project to include other things I wanted to build, so as to put it all into one PCB and get a good price.
Hey Paul Im already an Fdeck convert, but for those uninitiated players out there this has been the best most practicla demonstartion I have come across. Nice playing at the intro BTW.
Really well done. The best explanation of HPF for bass on UA-cam. I watched them all. Question: where I put the Fdesk in my signal chain. Mine is bass > tech21 fly rig (I use mostly only preamp and compression) > Quilter bb800 > Barefaced cab. Would the Fdesk go before or after the Tech 21?
Dave, this is the million dollar question. Opinion: There's not a "technically correct" place, but there is a place that works "best for you" depending on what your ears tell you. If you run the HPF before the Tech21, you're going to be filtering some of that sub bass out which will impact your preamp gain and subsequent compression settings (less low end = less energy hitting the compressor if all other factors are equal). If you run it after the Tech21, you'll be high passing the signal after the preamp and compression... totally up to you, and what you feel gives the best results.
Personal preference:
If you're using the compression to subtly smooth out your dynamics, I'd run the HPF before it so you can use even less compressor (it won't trigger as much with less low end) and get the same results. If you're hitting the compressor hard and using it as more of a slam/squish effect like Tony Levin, I'd run the HPF after it. On the whole, I find myself almost always going bass > HPF > everything else for live gigs. To my ears and hands, it just makes the low end feel "cleaner." I'm sure you could ask 10 other people and get 10 other equally valid opinions.
I just bought a GOTZ bass, is that what you're playing here? Also, did you say the Hp filter was made by FX?
George
This is the site - sites.google.com/site/hpftechllc/home - I have the series 2 (in the original plastic case) - amazingly useful tool all the way around.
George, the bass started as a carved maple Eastman, but just about everything has been swapped or changed through the years (neck, fingerboard, bridge, tailpiece, etc).
The HPF specifically in this video is an FDeck Series III. I also have a Broughton HPF on my pedalboard. Both are great.
Can't you just adjust ur low end on your eq?
Of course, but in general, the “bass” knob on most amps is a shelving EQ which affects the lows differently than what a variable high pass filter does.
The bass knob on most amps is also at a set/fixed frequency vs. a variable HPF where you can fine tune the filtering frequency depending on the room, rig, etc.