I know from my productions that this lets you with a very restricted working range to work on the low-end and i learned to systematically cut off, even if only with a 6db rolloff, all the tracks that present signal under 25-30Hz, which allow me to work on what's between 30 and 100-150 Hz more precisely. Plus, having a lot going on at these very low frequencies, even for sub-bass rich music, is very tricky when it comes to mixing when you don't have a monitoring system that's very precise in the sub range. Basically (depending on the music you make though), most mastering engineers will consider everything below 20Hz as unnecessary clutter and cut if off. I think the sonnox EQ has a very steep (up to 48db i think) LP/HP couple, and it's an EQ you'll use every day anyway.ДЄs for cutting under 7Hz, i don't know wether you're putting your music out on vinyl or CD,but for vinyl, the mastering guy will most likely cut off almost everything below 25-30Hz, and for CD it won't go much lower either. and it's the loss of them that FEEL (rather than sound) like I'm losing too much bass? Or, as I said before, perhaps I just like the subsonics. Maybe I need to look at EQ boosting more in the lows to replace what my filter is cutting on the wrong side of its cutoff. I've tried to make both the kick & sub as sustained as possible whilst still keeping a rhythm & not falling into being a big blur.Д®ssentially, I really very much want to keep the stuff from 20-30Hz, but need to find a way to do that whilst still cutting the stuff below that. On the master channel I've got an EQ that's teasing out a little more weight at 30Hz.ДЄs for plunky or droney. What kind of subby sounds are you using? Are they very plucky, or droney?The notes in my (Sine) bass are sounding in a range of 38.89-55Hz, I've then got a really tubby kick with lots of sub on it. What kind of subby sounds are you using? Are they very plucky, or droney? just like snares that have nothing beneath 130 and still feel like they're really hitting you. I think then it's important for you to compress or somehow control the bass down there, because if it's more punchy, it'll still feel like its hitting deep.

it doesn't sound bassless imo, because everything is working a bit higher and still retains punch.

I feel safer having my low cut as the last plug before everything hits the master compressor & limiter.Your reverbs should definitely have a low pass (almost always built in).ДЄTM I'm working on a track with the lowest low about 50hz. soДЄ.) I want that EQ to have as much meat as possible for it to get its teeth into.Д«.) I want to do my low cut AFTER this low boost.ДЄnother consideration is the potential for stray low frequencies creeping in later- maybe from reverbs or glitches. Tbh, I think in the case of the song I'm currently working on, it's not terribly practical to do as you suggest: I've got some subtle EQ boost around 30Hz on my master buss. Without meaning to sound impertinent, can you tell me why that is a better technique in your opinion?

Photosounder bricked my flash drive