There are different kinds of low pass filter, I personally use Butterworth filters in Adobe Audition order 66. Most commercial master recordings apply a low pass filter at around 16500Hz (this is done in the EQ stage of the mastering process). However, it is not popular to use a low pass filter in mixing process.
HIGH SHELF FILTER
Definition: A high shelf filter will cut or boost signals of frequencies ABOVE “fc”. Below the cutoff frequency, the input signal is unaffected. This operates opposite to a low shelf filter. Below is the response output of a high shelf filter used in cutting signals above “fc”.
high shelf filter used in cutting
A common implementation of high shelf filter reduction is similar to a low pass filter such as noise filtering. Unlike a low pass filter which is designed only for “attenuation” or “cutting signals”. A high shelf filter can also be used to boost signals above the cut off frequency, such as below:
A typical example is boosting high frequencies. For example in a digital audio music mastering process, the engineer might noticed that there is a significant lack of high end frequency response. To solve this problem, the mastering engineer can use a high shelf filter to slowly boost the high end frequencies.
The Audio Low Pass Filter passes low frequencies of an AudioSource or all sound reaching an AudioListener while removing frequencies higher than the Cutoff Frequency. Most people can’t hear much below 100Hz, so producers often set a high-pass filter there without changing the listening experience. Set a low-pass filter for the same reason, but avoid setting it below 4000Hz and cutting some clarity from people’s voices. Learn more about editing audio in Audition.
HIGH PASS FILTER
Definition: A high pass filter will pass signals of frequencies above the cutoff frequency unaltered and drastically attenuate signals of frequencies below that value. Just like low pass filter, a high pass filter is only used for the attenuation of signals or cutting. It is not designed for boosting. Below is a typical response output of a high pass filter:
High pass filter response example
As you have noticed, high pass filter operates similarly to the “cutting” mode of a low shelf filter. But high pass filter drastically reduces the signals below the cutoff as compared to a low shelf filter.A common implementation is when mixing bass guitar vs kick drums. In rock music, bass guitar commonly occupies the bottom subwoofer frequencies while the kick drum is above the bass guitar. The mixing engineer can use a high pass filter on kick drums to cut its lower bass spectrum in favor of the bass guitar.
I commonly use this filter during mixing but not so much in the mastering process. HPF can be applied to vocals, guitars and other string instruments to avoid mud with the bass guitar or bass frequencies.
One important distinction of high pass and low pass filters with the rest of the filters (like parametric equalizers) is the absence of Q in the settings. So if you are going to use high pass/low pass filters, you need to set one important value and that is just be the “cut off frequency”. Although in some scientific filters you need to set the “order”, which is the measure of steepness of the frequency attenuation
1.) A low shelf filter operates similarly with a high pass filter in cutting mode.
2.) A high shelf filter operates similarly with a low pass filter in cutting mode.
3.) A high pass filter is not the same as the low shelf filter because low shelf filters can be used in boosting signals while a high pass filter is limited only to attenuation.
4.) A low pass filter is not the same as a high shelf filter because low pass filter cannot be used to boost signals unlike a high shelf filter.
For best results, you might want to cut not more than -12dB on shelving filters. More than that, it is recommended to look into re-recording the affected track as over-EQ could introduce some artifacts. The maximum boost recommended would be around +3dB on high shelf boosting mode. You would also consider re-recording the track if you find to boost more than this amount. For example you find the cymbals and hi-hats sound lacking in treble definition, instead over-boosting it in mixing, it might be good that it would be re-recorded using proper microphone and placement.
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Content last updated on June 14, 2012
Low Pass Filter Audition Software
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Low Pass Filter Auditions
Note: This excerpt does not include the lesson files. The lesson files are available with purchase of the book.
Use signal processors to “sweeten” the audio in multiple ways: fix tonal balance, alter dynamics, add ambience or special effects, and much more. Draw from the extensive collection of effects included in Audition, or use third-party, plug-in processors.
Effects, also called signal processors, can “sweeten” audio as well as fix problems (such as too much treble or bass). They are the audio equivalent of video effects, like contrast, sharpen, color balance, light rays, pixelate, and so on. In fact, sometimes audio engineers even use similar terms, like “brightness,” to describe increased treble.
Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor. There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors:
Low Pass Filter Audition Chart
- The Effects Rack allows you to create a chain of up to 16 effects, which you can enable or disable independently. You can add, delete, replace, or reorder effects. The Effects Rack is the most flexible way of working with effects.
- The Effects menu allows you to select an individual effect from the Effects menu bar and apply it to whatever audio is selected. When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack. Some effects available in the Effects menu are not available in the Effects Rack.
- The Favorites menu provides a very quick way to work with effects. If you come up with a particularly useful effects setting, you can save it as a Favorite preset. The preset is then added to a list of Favorites, which you can access with the Favorites menu or the more flexible Favorites panel (as described in Chapter 2, “The Audition Environment”). Selecting a Favorite applies that preset instantly to whatever audio is selected. Note that you cannot change any parameter values before applying the effect, but you can use the Preview Editor to see how the waveform will be altered by the effect prior to applying it.
Low Pass Filter Audio
This chapter initially covers using the Effects Rack, which introduces the majority of effects. The second section covers the Effects menu and discusses the remaining effects that are available only via the Effects menu. The final section describes how to work with presets, including Favorites.