High Pass on a mic for guitar cabinets

I find myself using the high pass filter on my mixer when micing a guitar cabinet pretty much 100% of the time.  It starts it's cut at 100 hz.  How does everyone else feel about that.  I figure 100hz and down is bass guitar and kick drum territory.

High pass is a life-saver.

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I was going to mention slope as well. I had been high passing nearly all the time from the preamp at around 100Hz but the hardware fillter is extremely steep and so I started moving down to about 70Hz and, for some things, no filter because there may just be information down there that, even though it resides in the bass region, it might keep things full while the bass is resting. I can control the slope in software later and it adds body so I am moving toward a process of using less hardware filtering. I am liking the results. That said, there are times I high pass up to 250Hz on guitars. Depends on the track.

I don't HP on the way in, though I am not going through my board on the way in either so I really don't have that option.  I do find myself always using a Hp filter in the box on guitars.  Sometimes as low as 80 but more often than not for distorted tracks I am much higher (in the 100-140 range) before I am done & with a Q of about 1.6-1.7 which I believe lands me in that 6db per octave range.  Otherwise here is too much mudd. 
   For me and my distortion tones (tracked with a single 57) I am often finding a similar curve more or less ....  Hp at say 125 Q of 1.6, a bell shaped bump of about 2-3 db around 250, a dip of say -2 db after that, and then a High shelf from around 1000K and up  +2-3 db with a  Q of 2.0  and last but not least a  Lp filter that could be as high as 16k and Q'd to taste until the harsh highs stop pissing me off.  I may have other little cuts or boosts in there to but for the most part that's my eq on half my guitar tracks.   FWIW

Sometimes I think it will depend on the type of bass you want. You can do the scooped out 2nd/3rd octave bass, which is mostly first octave plus midrange in the 400-800 range, and let the guitar low end most along to fall into that 2nd/3rd octave, and scoop it out more to let the bass mid-range through.

Or you can do a low shelved or high passed bass that is not much in the first octave at all and is depending more on the 2nd/3rd octave and push the guitars up above that.

You can low shelf the bass so that it's primarily in the 3rd octave (with often a broad boost in the lower mids) and let the guitars surround it on both sides.

I think I hear all those fairly regularly. Maybe the last one is not so much used today perhaps, but it works really nicely in a lot of cases. Maybe it's done in metal a lot, I dunno, to let the chuggy guitars really do the lows.

A lot of it will depend on where you pick the bass, since how many overtones you are generating kind of influences whether you can depend on the higher octave enough I think. Picking closer to the bridge to create a lot of overtones means that you may not miss the first or even second octave much at all (still there just shelved down a lot.) Or you can do a low-low only bass and pick near the bridge for a pretty pure note that's deep and rich but hardly calls any attention to itself, and would still leave lots of low end room for guitars because of the minimal overtones.

Anyhoo, lot's of options.