True to the Music
®
Radial Engineering Ltd.
JDV-Pre
™
500 Module
7
mode) which can amplify certain frequencies causing resonant feedback. By inverting the
phase, you basically move the hot spot thus solving the problem.
Using the high-pass fi lter
The JDV-Pre is equipped with a high-pass (low cut) fi lter that is designed to reduce resonance
and excessive low frequency build up from instruments. In fact, it is always on. You just can’t
hear it. This is because it begins to take effect at 5Hz which of course is well below the human
hearing threshold. As you turn it up (clockwise) it slowly rises to gently remove unwanted low
frequencies.
Using the high-pass fi lter with acoustic instruments will change your world for the better.
Acoustic instruments are resonating devices with all kinds of harmonics emanating from
the body, top, sound hole and neck. When recording, these resonances many not even be
immediately audible but depending on the playback system, they can turn what could be a
wonderful mix into a low frequency mud fest. The ‘Nashville Trick’ is eliminating the problem
before it hits the recording system. All you do is dial in the high-pass fi lter until the bottom end
cleans up. Once you have found what you think is the cut-off frequency, take the time to play
a little longer so that you get use to the effect, and then add some bass back in by dialling
backwards. You will be amazed at how well this can work! Not just on acoustics, but also on
voice and just about any other musical source.
Using The JDV-Pre in the studio
Most of the applications detailed above apply to using the JDV-Pre in the studio and on
a live stage. But for those that are new at recording, we felt it would be good to discuss a
standard recording setup. Generally speaking, if you are recording an acoustic instrument,
the instrument is connected to the JDV-Pre and the output will be sent directly to the recording
system. Playback for monitoring is normally done via headphones.
When recording electric instruments like a guitar, the process tends to be a little different as
the guitar signal will have to feed the effects pedals and amp before it is mic’d. Today, most
top studio engineers will record a ‘dry’ track at the same time as they record the ‘wet’ guitar
signal. This enables them to Reamp the track later to better fi t the fi nal mix.
Reamping in the studio
Once you have recorded a dry track, send the output to a Reamper like the Radial X-Amp.
From the X-Amp, you can then drive the signal through various pedals and amplifi ers and
move the mics around the room to capture the ultimate tone. Best of all, Reamping lets you
do the work without the artist having to perform.
The JDV-Pre on a live stage
The advent of in-ear monitors and line arrays has spawned a demand for better sounding
instrument interfaces. In the past, we lived with what we got. Today, artists can truly hear what
their instruments sound like and often, they are under-whelmed. The JDV-Pre is perfectly
suited for live stages, particularly when coupled with the Radial Workhorse.
Because the JDV-Pre is so clean and void of distortion, it is less susceptible to feedback.
This means that instead of having to fi ght problem frequencies with a radical notch fi lter, you
can quickly dial out the resonance using the high-pass fi lter and enjoy the natural tone of
the instrument. The Radial JDV-Pre is an exceptionally well rounded device that will surprise
you with respect to the natural sound it can produce and the effi ciency that it brings to your
production.
