How To Mix Kick and Bass

One of the most important factors in achieving a great balance in the low end is to have a good monitoring system that can produce bass.

Ensure that you are using good speakers that can produce bass so that you can make good judgment decisions when mixing the low end.

When purchasing speakers, check that they have a frequency response that starts from 20Hz or at least 35Hz; then, you should be able to hear the bass frequencies much more clearly.

If your room has good acoustics, then you can get a subwoofer to increase your chances of success when you mix kick and bass.

The subwoofer is a good addition to your monitoring system, but it is not a necessity.

Using sounds that complement each other is another crucial aspect of mixing kick and bass, as this will simplify the mixing process considerably.

It is essential to ensure that the correct sound is obtained directly from the source.

Therefore, if the bass is boomy (in a musical way), it is important to avoid selecting a kick that is also boomy.

If the kick is boomy, ensure that the bass sound has fewer sub frequencies (and vice versa).

When working with a client and not mixing your own music, inquire whether they can re-record or change the bass sound if they are using VSTs.

The most skilled engineers consistently achieve excellent low-end sound because they work with sounds that already complement each other.

They don’t attempt to force incompatible instruments to sound amazing.

So, ensure that the recording or sound design is appropriate before attempting to mix kick and bass.

When mixing low-end frequencies, there is considerable debate over whether the kick and bass should be mono or stereo.

While many engineers work successfully with stereo low end and achieve excellent translation across various sound systems, it is frequently recommended to keep low end in mono.

This is because mono is the safest way to ensure that low-end will sound good on all playback systems.

Achieving consistent results with a stereo bass or kick can be challenging, as many speakers can easily produce a mono signal but may struggle with stereo.

Experienced engineers may choose to use a stereo low end, but they ensure that the bottom end does not disappear or lose impact when the mix is played in mono.

One instrument should always be dominant.

This means that the kick and bass cannot occupy the same space in the frequency spectrum.

It should always be decided which instrument will dominate the subs and which will manage the upper bass frequencies.

With experience, this can be determined simply by listening to the song; for beginners, a frequency analyzer will make this process much easier.

Each song is unique, so avoid using the same technique for every mix.

A good way to train your ears is to listen to your favorite mixes and try to identify which frequencies each sound dominates.

In some genres, such as dance music, the kick will dominate the sub frequencies 90% of the time.

In hip-hop, the bass or 808 drum will usually dominate the sub frequencies, while the kick often dominates 80 Hz and above.

If there is any uncertainty, use a frequency analyzer on both the kick and bass to find a good pocket for both sounds.

One of the least optimal ways to EQ kick and bass is shown in the image below:



If one chooses sounds that complement each other, then one does not need to create suboptimal EQ settings, as shown in the image above.

The problem with equalizing bass in that manner is that because the bass or 808 is usually dynamic, the notes are constantly changing.

So, cutting frequencies like that can negatively affect the performance of the bass since only those few notes will be low in volume, while other notes are loud.

The same principle applies if you boost the bass at 100 Hz; you can make a few notes louder but often negatively affect the bass performance.

Therefore, since the bass is dynamic, one must avoid making narrow cuts or boosts.

Here are key frequencies that can make the bass cut through a mix:

Around 700 Hz: This is considered the body of the bass.

Around 1.5 kHz: This frequency range increases the presence of the bass.

Around 4 kHz: This is where one will find the snap and string sound and make the notes audible.

You don’t have to increase all these frequencies at the same time. These should only be increased when mixing a bass that lacks these frequencies.

I normally never cut any frequencies for the bass because I’m regularly working with sounds that complement each other.

Here are key frequencies for the kick:

400Hz-500Hz: This is the muddy area, and most of the time I will create a cut to make space for midrange sounds.

3kHz-5kHz: This is where you can find the snap and attack.

800Hz – 1.5kHz: This area should only be boosted if the kick lacks midrange, but one must be careful because this frequency range can make the kick sound boxy.

250Hz-300Hz: Sometimes cutting this area can make space for other sounds in the mix.

It is important to remember that these are just guidelines; one must always do what works best for the mix that one is currently working on.

However, these guidelines should provide a good starting point and help one avoid getting stuck.

A frequent challenge for beginners is understanding the necessity of compression when mixing kick and bass (or any sound).

The common reason for this failure is a lack of understanding of the compressor’s purpose.

Often, beginners simply insert a compressor because they saw it done in a tutorial.

When processing sounds in a mix, it is crucial to envision the desired outcome before using plugins or hardware.

To compress effectively, one must first comprehend the reasons and timing for its use.

Many beginners struggle with this conceptual understanding, not the technical application.

Once the purpose is understood, the “how-to” becomes significantly easier.

Here are the reasons and appropriate times to use compression:

Reducing Loud Peaks: A compressor can control loud peaks in a recording, which may occur when a musician plays some notes too loudly.

Shaping Sounds: Compression can modify a sound’s envelope by emphasizing or diminishing the attack or decay.

Transparent Compression: This technique is used to balance overall performance dynamics and is meant to be felt, not heard.

Pump Effect: By adjusting the release to musical values (1/4, 1/8, or 1/16 note), rhythmic movement can be accentuated.

Solidifying Compression: This style of compression enhances density and clarity. A compressor with multistage release characteristics is necessary for this technique.

Glue: This compression technique unifies a group of instruments or elements in a mix, as opposed to compressing individual tracks.

Compression can also be used as an effect or for other purposes, but these are the most common reasons for compressing any sound in a mix.

When working with kick and bass, ensure that these two sounds are not excessively dynamic.

This can negatively impact their translation on small speakers (phones, laptops, earbuds, Bluetooth speakers, etc.).

When mixing low-end frequencies, referencing professionally produced mixes can reduce the guesswork from the process.

It is imperative to use multiple reference tracks to ensure informed decision-making.

Listening to a single reference track may result in poor mixing choices.

It is important to avoid attempting to perfectly replicate the reference track(s).