# High Pass and Orchestra : which instruments to EQ?



## ghandizilla (Jun 19, 2017)

Hello,

I'm currently updating all my templates (I've come to cumulate a lot of them, some are old, it's a way to re-aline everything). They are very simply mixed : independant left/right pans and Q-Bell pinches on all instruments (I also spend a lot of time with the mic positions and included reverbs of the instruments to make them sit in a similar space) ; Altiverb ER + Tail for dry instruments ; a send to a supplemental tail to homogeneize the sound ; a low cut and a limiter on the master. No compressor. But sometimes, it feels a bit muddy, and I've read it's not encouraged to high-pass everything. So my question will be : in an orchestra context, which instruments to hi-pass, which one create more muddiness?

Thanks in advance.

G.


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## ckiraly (Jun 19, 2017)

ghandizilla said:


> Hello,
> 
> I'm currently updating all my templates (I've come to cumulate a lot of them, some are old, it's a way to re-aline everything). They are very simply mixed : independant left/right pans and Q-Bell pinches on all instruments (I also spend a lot of time with the mic positions and included reverbs of the instruments to make them sit in a similar space) ; Altiverb ER + Tail for dry instruments ; a send to a supplemental tail to homogeneize the sound ; a low cut and a limiter on the master. No compressor. But sometimes, it feels a bit muddy, and I've read it's not encouraged to high-pass everything. So my question will be : in an orchestra context, which instruments to hi-pass, which one create more muddiness?
> 
> ...



Not sure if you've seen these yet, but they are very informative:


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## MarcusMaximus (Jun 19, 2017)

I don't think you should get into the habit of high-passing any instruments routinely. Muddiness is so often the result of poor orchestration. Get that right and you can mostly leave all the instruments as they are in terms of EQ. I know there are different views on this but that's how I see it. For what it's worth.


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## Beat Kaufmann (Jul 6, 2017)

*Lowcut in a mix with samples and a lot of instruments *(large orchestra)
I go along with the words of MarcuMaximus specially when you are using a lot of instruments. If you are not able to reach a full volume for the lowest bass region you only can lowcut the instruments in the upper bass range (Cellos, Horns etc.)

Of course it is not wrong to "lowcut" each instrument but if you finally listen once to the orchestra with all the low cuts and once without any lowcut the difference will be very little. If you do not use a very good and neutral EQ for those lowcut-jobs the armada of those common EQs will kill their benefits over all. And another EQ-tip: Keep in mind that most sample suppliers have recorded and treated their samples in a very good quality. Most of the mixes we can here are "completely out of sound"... because of too much EQ-adjustments. Try once only to use an EQ in the final channel - you will be surprised... 

*Lowcut in a mix with samples but with smaller ensembles*
Sometimes libraries are recorded very dry which also means the instruments are recorded relatively close. If you have the case that such an instrument should play solo or in a small ensemble far a way on your virtual stage it will probably sound "too thick" - blowed up so to say. In this case it could be helpfull to use the "low cut function" but also combined with other EQ-filters to get the instrument with a "normal sound" which corresponds with the distance - as it would sound in reality.
Example close recorded
Example placed back with a reverb (no EQ) This is not how the performers would sound far away. Here you should use an EQ. 

*A recorded track by your self*
Cut or delete all the rumble and other noises below the lowest note *in each!* track. You also can do it within a spectrum editor such as iZotope RX or similar programs. It will extremly help for having a more quite and transparent result.

Best
Beat


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## ghandizilla (Jul 6, 2017)

Great post, thanks a lot!


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