I get a lot of use out of the Mammoth filters as well.
There are also some nice filters in the Mastering pack from CDSM.
Occasionally when I want to filter below 300Hz (Mammoth cuts off at 220 I think and the CDSM ones even lower) I use the old BAE1073 HP.
There are also some HP programs in the Mastering pack from CDSM that I use on occasion, but I find myself going to the Mammoth more often because it's one program with a freq adjustment (the Mastering filters are each different programs).
I find that the R2R programs do so much of the filtering for me; it's not like my old pre-Nebula digital mixing at all. In some cases I'll even use one of the older tape machine programs specifically for HP/LP filtering.
ngarjuna wrote: I find that the R2R programs do so much of the filtering for me; it's not like my old pre-Nebula digital mixing at all. In some cases I'll even use one of the older tape machine programs specifically for HP/LP filtering.
scooter wrote:Mammoth "filter preset" has the best filter, IMO.
First let me say there is no such thing as 'best', especially in audio, and especially in these cases.
I tried the Mammoth for general HP/LP on a production on quite a few tracks that needed it a few weeks ago and the build up of coloration wasn't what the mix called for. Since there isn't a clean version I don't want Massive Passive color on every channel with my other pre-amps and programs. Did not sound good the few cases I've used it, now if I'm using Mammoth on the ch, and it calls for it yes its awesome but I'd highly steer away from because the eq itself is not meant or designed to be put on every channel.
Whatever works though!
Don't get me wrong, but the Mammoth is an indespesible tool, but I think the OP wants something more full on for every channel, and has a color that doesn't inhibit the other tools in the chain.
N-TEN AT4 (HP/LP) is one of the most used out of any other program (and I own quite a few). Even without using the clean versions, AND using in conjunction with other eq programs (Mammoth, 115, Nice EQ, Doc Fear) the HP/LP never gets in the way. I even tried my little experiment with the 115 HP/LP on every channel and it simply did not go right, even with the clean programs. The 115 eq is fantastic like the Mammoth BUT again the LP/HP wasn't quite a fit for universally putting it across my mixes like the N-TEN-AT4 was.
I'm sure there are some stellar things in the Producers Pack but since I'm not an owner of that I can't comment to the HP.LP filters.
Though, you can seriously use the N-TEN-AT4 clean or harmonic HP/LP program without any question on every channel on your mix, with various material (film score, dance, electronic, rock, whatever) and it doesn't get in the way, it makes things out of the way.
I agree with what greekpeet mentioned about the Mammoth Filters. He used the term "coloration", I'd simply call it "resonance peak". It's quite audible at the corner frequencies. Back to topic: my absolute favourite for almost 100% clean HP/LP filtering are the StateOfLogic filters - there's nothing comparable IMO. Also from the original library: the "surgical" filters aren't that bad either. Fate EQ's lo cuts can come in handy on the right source as well.
Generally, I don't use any algorithmic plugin filter anymore (I thought I could get some mileage out of the BX Cleansweep, but it doesn't cut it at all,compared to the Nebula filters). To my ears, they are not "musical".
I'm not 'anti-algorithmic' but, I find myself not even using the any of the algo eqs I purchased not to long ago. Maybe just maybe if there is a nasty peak resonance in say a funky percussion loop that is how the instrument tonally stands then use I will most deffo use a razor sharp algo eq. But out of the hundreds of stems I've processed in the past few weeks alone with Nebula I avoid them because they just don't sound musical to me.
Now if the Nebula guys can fix the stability and reliability on OSX/Logic (Because its pretty horrible IMO) then this would be a big game changer and I'd be able to recommend this stuff to friends. No way I'm going to loose face no matter how good the quality is if its something thats flakey, crashy, unstable. 99% of the people don't have the patience, I'm just in that 1%. Its nuts seeing people pay $500 for a algo eq that sounds 'pretty good' compared to Nebula. I've even demoed the Flux plugins and honestly the compressors/eqs don't WOW me at all for the cost compared to what I can get for the R2R, preamps, and some tonal eqing.