You should also remove any ‘flabbiness’ from both the kick and bass using the envelopes or a transient shaper to tighten up the notes and create space. It’s not uncommon in specific genres to go as high as 30/40/50hz with the kick drum to leave room for the bass. Be diligent with your EQ, being sure to make a low-cut as high as you can go on every instrument and then on every bus channel too. If you’re happy that you’ve got the best possible sounds, the next step is to tidy up what you have. However, keep in kind that offbeat basslines which are too busy or too sparse may not best suit the genre you’re making.Ģ. You can navigate this by a) not having a bassline and making the kick even heavier (common in a lot of techno productions) or b) programming/playing the bass to be in spaces where the kick isn’t. If you have a kick drum that’s got the sub-heavy, low-end characteristics of an 808, then you’re going to struggle to get a coherent, pleasant balance with almost any other kind of bass sound that plays at the same time. It might sound obvious, but choosing the right sounds to begin with is going to make your life a lot easier. It’s a problem that’s been around virtually as long as we’ve been mixing audio: how to get that coherent, pleasant-sounding low-end with a kick and bass that ‘sit’ together nicely.
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