When mastering, where should i cut off in the low end?

[oblioblioblio]

About filter resonance. I'm not an expert at all, but I don't think that a 48db per octave filter necessarily has lots of resonance. 48db just means the number of stages of filtering it goes through, which I think is the same concept both in analogue and in DSP. None of these stages add resonance.

I wouldn't have thought any filters designed for mastering have this affect. It's definitely not a necessary design limitation and no user would specifically want it unless they could dial it in as necessary. So I politely call bullshit on that.

[steevio]

I guess in short, monitoring accuracy gives you a basis for a correct action.

or in-depth referencing.

i can safely say ive never had monitoring accuracy in any of my numerous project studio spaces over the years, but it only takes hearing a couple of your own releases in a few clubs to be able to tell if you've got sub bass issues in your studio.
after using a studio space for a short time, i can work out what to expect and relate what i'm hearing to what is actually going to end up on a record.
i have a few trusty beatboxes that show up the bass issues immedeately, and i always double check every mix on them, but usually i dont have to, because i know my studio.

its something that doesnt get mentioned enough. its not that difficult to compensate for problems. its very unlikely that anyone would keep on releasing tracks with bass issues because their monitoring is bad. it took one track for me, it nearly blew up a Martin rig,

[lem]

Interesting this comes up, as i had quite a heated debate about this topic with an sound guy here. He was basically saying that a high-pass or lo-cut, is basically a filter with an infinite slope. However, I remember reading somewhere, that the higher the slope of the filter the higher the resonance at the cutoff point. I've been trying to find it back, but no luck yet. So if someone could shed some light on this topic, i'd be very thankfull

All filter designs have individual strengths and weaknesses. If you wanted a steep cutoff, say 48dB/oct then you wouldn't use a passive design as this would attenuate your pass band too much.. You would certainly make it active. Active filters maintain the level of your pass band but also cause artifacts. These range from wobbly frequency responses, phase shifts and peaks around the cutoff point.

This could be the cause of the resonant peaks at the cutoff. But I am not too sure how large those peaks would be. Its been a long time since I was taught filter design. We looked at everything at such a level that it could be .1 of a dB or it could be 12db... I really don't remember.