Rolling off the lowest bass frequencies in mastering can paradoxically make a vinyl record sound heavier

Jason Goz (Transition Studios engineer) and Mala both describe discovering that bass doesn’t translate to vinyl the way it sounds in a studio monitor mix. Certain low frequencies ‘just won’t translate on vinyl — and if you roll off, roll off, and roll off the bottom end, it actually gets heavier.’ This is because vinyl cutting has physical limits on groove width for deep bass; extreme low end causes groove overlap. By rolling off the very lowest content, the remaining bass frequencies can be cut more aggressively, and the playback system reproduces them louder relative to the overall level. This principle runs counter to the intuition that ‘more bass = more bass’ and is fundamental to mastering records intended for soundsystems.

Examples

Mala’s ‘Anti War Dub’ — Jason said ‘I don’t need to do anything to this’ after Mala had already applied this principle. The resulting record at DMZ physically shook the building’s foundations.

Assessment

Explain why rolling off extreme low-end bass frequencies can make a vinyl record’s bass sound heavier when played on a soundsystem, and describe what would happen if you didn’t roll off.