Be cautious with low-shelving boosts if your monitoring system (including your room as well as your speakers) struggles to convey information below 40-50Hz. Lots of rubbish like traffic rumble and mechanical thuds can be lurking at the spectrum's low extremes, and you don't want to boost this. If you must apply a shelving boost, also use a 20-30Hz high-pass filter for safety. LF shelving filters also continue acting, to some degree well beyond their specified frequency, so if you find you've collected excess low mid-range baggage while trying to boost the true low end, a compensatory peaking cut at 200-400Hz may be in order.
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Mixing Bassequency of most acoustic/electric bass notes, and maybe a harmonic or two besides for the most seismic of synths. Studio monitoring has a lot to answer for here (see the 'Bass Under Pressure' box), but it's also a question of EQ technique.
<span>Be cautious with low-shelving boosts if your monitoring system (including your room as well as your speakers) struggles to convey information below 40-50Hz. Lots of rubbish like traffic rumble and mechanical thuds can be lurking at the spectrum's low extremes, and you don't want to boost this. If you must apply a shelving boost, also use a 20-30Hz high-pass filter for safety. LF shelving filters also continue acting, to some degree well beyond their specified frequency, so if you find you've collected excess low mid-range baggage while trying to boost the true low end, a compensatory peaking cut at 200-400Hz may be in order.
Beyond broad-brush decisions, the most common job is compensating for unhelpful resonances. Acoustic bass tracks always seem to feature one or too fundamentals that boom out awkwardly, b Summary
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