Instruction Manual

10
LO CUT Filtering
A common method for optimizing mixes is to apply low-cut filtering whenever possible. Excessive low frequencies from
microphones and instruments tend to build up in the mix - combining to create sonic "mud" that masks musical
detail, overloads or tires the listeners ears, and sucks energy from power amps and speakers. It isn't uncommon to
notice mix meters dropping down after low-cut filtering is applied - this is a good sign that filtering was necessary.
After low-frequency mud is filtered, there is often more room in the mix to bring up important musical elements
resulting in a win-win situation (less mud + more music). Use the guide below to help ensure unwanted low
frequencies are filtered, and important low frequencies are NOT filtered.
FILTER OUT: vocal "B","P" and other popping sounds; moving-air noise from close-mic'd vocals, drums, guitars and
outdoor weather; instrument body noise from handling guitars, basses, pianos, saxophones, etc; mic-stand
vibrations; studio or stage floor vibrations; air-conditioning; electrical hum; unwanted proximity-effect bass boost.
100 Hz: nearly all vocals down to baritone, 2 G's below middle C (98.0 Hz)
70 Hz: guitar low E (82.4 Hz), guitar dropped D or bass vocals, 2 D's below middle C (73.4 Hz)
30 Hz: 4-string bass low E (41.2 Hz), 5-string bass low B, 4 B's below middle C (30.9 Hz)
MS-STEREO
The MS-STEREO technique uses a high quality cardioid or omnidirectional mono microphone to record in stereo with
the help of a figure-8 mic. MS-STEREO avoids three common problems with XY or spaced-pair stereo methods when
used on critical sources like lead vocals, acoustic guitar, or piano. First, microphones perform best on-axis (pointing
directly at the source). But XY or spaced pairs require pointing mics off-axis (away from the source) to achieve a
stereo image. Second, XY or spaced pairs work best when the characteristics of two mics are precisely matched - a
difficult and expensive proposition when seeking a match for your best vintage studio mic. And finally, when mono
compatibility is required, XY or spaced pair stereo methods are often avoided because when the left and right
channels are summed in the mix, the mono result is often disappointing - the sum of two off-axis mics.
MS-STEREO works by feeding the middle mic (cardioid or omni) to left and right channels in equal amounts, then
mixing the side mic (figure-8 positive) with the left, and mixing the phase-inverted side mic (figure-8 negative) with
the right. Because the side mic is out of phase in left and right channels, it may be completely canceled in the mix by
summing left and right channels. The mono result is middle mic only.