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Decide whether you want the kick to occupy the lowest frequencies, or the sub bass. Different genres tend to do it either way around. Having made that decision, eq so that they complement each other, or at least don't get in the way of each other.
yeah its pretty much as Kiwi said you have little solutions. You could either sidechain or depending on which genre you are in you can eq accordingly. Or you could just set up the composition so that when the bass line comes you drop the 808s altogether since no one would be hearing both anyway, if the composition allows that is. Can't imagine you having both of them playing at the same time though.
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If the kick is going to occupy the sub frequencies, focus on or create some harmonics in the bass. Dip the sub frequencies in the bass track. Some type of distortion would probably be appropiate. Listen on small speakers and make sure you can hear the bass on them. Many beatmakers, who call themselves producers, are doing this all too often and want to know why the bass isn't as loud as it is in their runoff
a sound treated room/decent monitoring situation are indispensable for jobs like this.
use reference tracks - mix at moderate levels - keep an eye on dc offset levels
-time squeeze the 808 so it it's short in length or shorten the decay/tail.
-mult the 808 into 3 layers with seperate eq rolloff ranges 30-90hz, 90-1500 or so, and
1500 -15k. check for phase issues. use light compression with slow attack on individual
channels only if necesary. don't smash the attack out of it.
-make another duplicate as a parallel comp channel with hard fast attack compression
and/or some distortion to bring out harmonics of 808 and eq rolloffs to clarify midrange
-run all 808 channels to a bus with eq - filter off anything below 20hz
-try to write simple basslines that don't land at the same time as the 808
-compress and use subtractive eq on bassline so all the notes' lowend are similar volumes.
no huge notes out-weighing the others. nice and smooth.
- if needed - create a parallel comp channel with comp/saturation/distortion and eq to bring
out harmonics and top end of bassline. it can be a good idea to rolloff under 120-150 on parallel
channels to avoid crowding the lowend.
i often duck the bassline with a sidechain running off a duplicate of the 30-90hz mult of the 808.
you can always run the side chain off a duplicate of the 808 with minor eqing as well.
experiment with running the high end parallel channel of the bassline through the sidechain -
sometimes it sounds good sometimes not so much
this should give you a more layered approach to mixng 808 and sub-bass... or at least some ideas
first tune the kick to the song. A 808 with a long base trail on a C# will not jive with a base in C.
Separate with EQ duck/sidechain comp etc (mentioned above)
If the kick and base has the same fundamental content just choose which one is most important and that shave away that freq from the other. if the base is a sort of sine wave type thing you'll need to create harmonics. You can use exciters/enhancers, dists or if you have outboard just run the signal hot through whatever makes it sound "more".
If you cut the fundamental frequency from a guitar playing the E sting the human brain can still figure out what key it is due to its harmonics the same principle works here. Be careful with simple wave forms though so it doesn't sound off pitch.
heavy trap bassline without distortion "speaker rattles"
i was wondering how all these trap artist.. have a heavy bassline. that doesnt "rattle or shake" your speakers...i try and compare my bassline to artist such as baauer, or chromatic.. these guys have massive basslines that dont "rattle" yet sound clean and loud... any help would be great i cant seem to get it right.. my bassline is compressed has a dynamic tube saturation, a low pass filter and its has eqs of course.. any help would be great