Originally Posted by noah katz
Seriously, 50 Hz?
Sounds like inadequate gear if it can't deal with musical fundamentals, i.e. bass and bass guitar ~40 Hz, lowest piano note 27.5 Hz.
As I already wrote, if you had been doing this by yourself you would know, that the people doing this professional have a completely different point of view and these low frequencies are better avoided. That what you experience as bass is in higher frequencies than 50 Hz. It is more between 60 and 100 Hz more broad speaking. If you look at the tables shown before a signal this low consumes a lot of energy and this is the reason why a subwoofer needs a lot of Watts to make a good subwoofer. And aren't you cutting off the surrounds and LCR usually at around 80 Hz or even higher.
Analyze music and you will see, there is not very much going on this low under 50 Hz. This is definitely not inadequate gear, this is it maybe from the POV of an audiophile but not from the POV of a sound engineer. We are talking about studio equipment here and these low frequencies are considered 'rumble' and should be avoided at all cost. Ask filmmixer if you like. You see this from a different point of view, which has nothing to do with reality of music production.
This does not apply to the LFE where these low frequencies are wanted. Don't misunderstand me here please.
Also, hearing full dynamics is the exception. All channels are sent through limters and compressors today. Sounds presumably better, but not my style. I love full dynamics. Using this kind of gear is the absolute exception for me but everybody likes them today. Also, mixes are compared from the studio with thousands, sometimes millions of dollars of equipment to the car stereo to mobile phones. This is a requirement from those people paying the money, to sound everywhere good. Personally, I don't like this approach.
I want to do the best mix and don't care about kitchen radios or car stereos. But again, I am the absolute exception in this sense.
Just to tell you some bit of background information, what is done and what are the constraints of mixes and why the result is sometimes not exactly according the academic and audiophiles believe and much different from people from the outside and non-professionals see this.
Just for your information.