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Mic rolloff question - how does it differ than doing it in..

Forum Audio : Pro Audio - Mic rolloff question - how does it differ than doing it in..

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DaveDaveDave   06-19-2005 at 05:48:54 PM

Archived from groups: rec.audio.pro (More info?)

 

Hi y'all - realtive n00b here.

I've only been tracking in my home studio (Cubase SX, Yamaha mlan gear)
for about a year and a half, and I've only been using 2 different mics
- a Nady TCM-1050 and a Rode NT-1.

Neither one have bass rolloff controls, as I always figured I could
achieve the same effect in the mix with a little EQ. I understand the
need to have the best sound hit the converters possible in the first
place, but what affect/artifacts does a rolloff switch do to a mic's
signal, aside from the obvious? Conversely, what does a low shelf
with a Q factor do differently?

Thanks!

Dave

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john   06-19-2005 at 08:38:21 PM
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Archived from groups: rec.audio.pro (More info?)

 

Hey Dave,
I only ever use the roll-off on the mic to prevent preamp overload -
like when I've got a 'windy' vocal or extreme 'woof' on a kick drum.

If you've 'got it' clean - there's really no need to 'roll it off'
unless it's got too much below 20 hz. It also depends on what
instrument it is. A vocal doesn't need much below 100...but I still
don't usually 'roll it off' because it introduces phase distortion -
again, unless we have a rumble problem.

good luck!

John H. Brandt

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Anonymous   06-20-2005 at 02:06:39 AM
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In article <1119206934.070117.215160@g14g2000cwa.googlegroups.com> DaveSheremata@yahoo.com writes:

> for about a year and a half, and I've only been using 2 different mics
> - a Nady TCM-1050 and a Rode NT-1.
>
> Neither one have bass rolloff controls, as I always figured I could
> achieve the same effect in the mix with a little EQ. I understand the
> need to have the best sound hit the converters possible in the first
> place, but what affect/artifacts does a rolloff switch do to a mic's
> signal, aside from the obvious?

Often the bass rolloff filter on a mic is designed with a slope that
roughly corrects for that mic's proximity effect. So it might have a
different slope and start rolling off at a different frequency than
the low-cut filter or low frequency EQ on your mixer or software
equalization.

One consideration with using a low cut right at the mic (if you need
it) is that it keeps the low frequency energy from, say, a plosive or
wind blast, out of the preamp. Often there's a whole lot of energy in
this sort of low frequency noise, and while the preamp might be
running well below clipping for what you want to record, a blast with
a lot of LF energy might drive it into clipping. Then, you won't just
have a low frequency noise to deal with using EQ, you'll have a set of
harmonics due to the clipping that will get in the way.

> Conversely, what does a low shelf with a Q factor do differently?

Generally we don't talk about Q when talking about shelving EQ, we
talk about slope. Q applies to the steepness of the peak or dip of a
filter whose frequency response curve eventually comes "back to zero."


--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo

Reply to Anonymous
Anonymous   06-20-2005 at 04:54:15 AM
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Archived from groups: rec.audio.pro (More info?)

 

DaveDaveDave wrote:
> I've only been tracking in my home studio (Cubase SX, Yamaha mlan gear)
> for about a year and a half, and I've only been using 2 different mics
> - a Nady TCM-1050 and a Rode NT-1.
>
> Neither one have bass rolloff controls, as I always figured I could
> achieve the same effect in the mix with a little EQ. I understand the
> need to have the best sound hit the converters possible in the first
> place, but what affect/artifacts does a rolloff switch do to a mic's
> signal, aside from the obvious?

Well like I mentioned in another thread, sometimes the low end
stuff you cannot hear will trigger your compressor or limiter when you
don't want it to. A lot of studio mics intended for vocals that
haven't a roll off switch have a substantial roll off built in though,
so with a good pop filter that shouldn't be a problem, at least not for
vocals...

Conversely, what does a low shelf
> with a Q factor do differently?

Generally the "Q" setting on an EQ does not function when you have
the shelving option selected. But I could be wrong in your case, of
course...

Will Miho
NY Music and TV Audio Guy
Staff Audio/Fox News/M-AES
"The large print giveth and the small print taketh away..." Will Miho

Reply to Anonymous
DaveDaveDave   06-22-2005 at 04:58:03 PM
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Archived from groups: rec.audio.pro (More info?)

 

Hey - thanks for all the responses guys.... my education continues :)

Reply to DaveDaveDave
Anonymous   06-23-2005 at 10:45:04 AM
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Archived from groups: rec.audio.pro (More info?)

 

DaveDaveDave wrote:

> Neither one have bass rolloff controls, as I always figured I could
> achieve the same effect in the mix with a little EQ. I understand the
> need to have the best sound hit the converters possible in the first
> place, but what affect/artifacts does a rolloff switch do to a mic's
> signal, aside from the obvious? Conversely, what does a low shelf
> with a Q factor do differently?

IMO the more effective/useful low filters are those that:
A - have a higher order (steeper slope) at least 12dB/octave.
B - start at a lower frequency so that it effects the
intended audible range as little as possible.

Some mics have a low filter that starts at
250 or 500cps and slopes at 6dB per octave.
Not what I consider ideal.

Out of band stuff needs to be taken out
before you hit the converters (if you can't
reduce or get rid of it to begin with),
and low shelf EQ may only attenuate 15 or
so dB. Not enough to clean up garbage
you may not even know is there till it's
too late.

> Thanks!
>
> Dave

good luck
rd

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