It depends on the tune! usually no matter what genre… everything that doesn’t need to be felt from the floor should be cut at 240Hz. As anything that hasn’t been given a cut in this range will create mud in the mix later. Nothing should ever be recorded or processed down with said filtering, but applied during a mix session. Not all sources also should have a hard Q. Sometimes a moderate adjustment to the width of a signal will work more than a tight notch or rolloff. Imo
As far as my mixes go:
Anything that is meant to rumble, or create a buzz on a television set stays in the 65Hz to 150hz range. If there is a extreme low end impact, then it gets cut at 30Hz.
All other signals get a Hp once the structure of the piece has been established of 240Hz. This is a instance when a harder Q cut would be used on a lot of signals.
In-House MFG (Manufacturing and Training Videos):
If there’s a V/O artist: I cut them around 300-400Hz, and all other elements that aren’t bass, kick, snare drums, or things that emulate sounds that usually sit in those instruments frequency get a 240hz Hp.
House: Anything that’s not a impact, sub or artificial kick (808, 909) gets a nice 240Hp at mix stage. Cut kick and Sd at 80Hz with about a .51 q-slope, at about 12-18dB
Bass…everything that’s not the bottom of the snare, kicks inside (or synthetic impulse), bass groups 60 hz channel stays, others get mixed to taste. All other signals (unless impact, boom, or low end centered) gets a 240Hz HP cut.
Rock: cut low end with mid eq of 100Hz, the a side cut at 200Hz. All other sources get a moderate q cut at about 240Hz.
Similar to rock, but with more focus on brass depending on if the players have deeper resonating sources.
Anyway… point being is I always attempt to gauge what sources might create mud well before I start worrying about mixing. Treat those lightly, and then at the mix stage attempt to mix fader levels to focus on the feel of the songs low end first. Then mix other signals that counter it to get the low end to sit in the mix.
One other really good technique to try to get a really clean sub is:
Copy your direct bass pattern onto your sub patch/instrument/or copy paste a version of your bass.
Solo it. Apply a light bit of tube distortion.
Now Split the bass into a multi band patch. something like:
1: channel low: 30Hz Q of 1.00 . 300Hz Lp 1.00 Q.
2: channel Mid: 301hz-2000Hz same Q’s
3:channel Hi: a Hp Cut at 2000Hz
Group these into one channel.
Add a Hp eq to taste above 80-100Hz. If you want your sub to have a lot o definition, set the HP to around 300-400Hz.
Now send 2 signals (sub, and bass group) to another channel, and apply a light compressor to taste. Take all faders down low, and mix the low end first.
Could do something similar to the sub if you want it heavier and apply distortion to a noise channel which would be the mid, but relabel it noise and not mid.
Hope my babbling helps