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What do you EQ lower? Bass or Kick Equalisers (HW)
Old 6th August 2014
  #1
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JonMiller's Avatar
What do you EQ lower? Bass or Kick

The title says it. When mixing do you EQ the bass lower then the kick drum or the kick drum lower then the bass?
Old 6th August 2014
  #2
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hasbeen's Avatar
Depends on the song/material.
Old 6th August 2014
  #3
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It depends the genre but more often you'll find the kick below. stay creative
Old 6th August 2014
  #4
for rock and metal mixes. I put the kick lower, for non rock sounding country music. I put the bass lower. but in the end, its what the client thinks is best. I feel strongly either way....
Old 6th August 2014
  #5
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skythemusic's Avatar
Generally to me music sounds best with more mid range from the bass and more depth from the kick.
Old 6th August 2014
  #6
Quote:
Originally Posted by hasbeen View Post
Depends on the song/material.
This ^

Serve the song. Always.
Old 6th August 2014
  #7
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Quote:
Originally Posted by JonMiller View Post
The title says it. When mixing do you EQ the bass lower then the kick drum or the kick drum lower then the bass?
If you used quality instruments into quality mics and pres, you really shouldn't have to eq anything, sub bass should just automatically be there and usually the fair amount of it. If it is hiphop or certain metal, you could boost 40hz-60ish depending.

In the low mids I usually carve out the kick drum cardboard in the 300-400 area. Sometimes depending on musical style I will boost the bass guitar there.

Also you want to high pass pretty much everything around 80hz+ except kick, bass and maybe floor tom. This way your bass/subass will tighten up nicely.

it all depends though, there really is no textbook since it's all situational.

You need a nice sub though, that's a must.
Old 6th August 2014
  #8
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takka360's Avatar
 

On most of my mixes its 40 hz kick and 60-85 bass.works for me mostly
Old 6th August 2014
  #9
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I guess I'm the weirder one in here, I find that kicks can like somewhere in 75-90Hz. If that's where it sounds good, that's where it goes and the bass is underneath/around it.

See what works for your particular style of music, if you want the kick to rumble stuff or if it gets sloppy (metal) so it should just punch through quickly hitting your chest.
Old 7th August 2014
  #10
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takka360's Avatar
 

Its not un common. I have heard people hp kicks at 100 plus in metal ,I heard that from Mr Slate
Old 7th August 2014
  #11
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mike-661's Avatar
There can be so many frequencies coming from both. It's not always as simple "EQ higher or lower", but more of a puzzle based on musical style/preference.

Often, the timing has much to do with how well the two mesh together. For instance, the kick may come slightly before the bass (attack and sustain concept)

This is why tracking it well to begin with has SO MUCH to do with what you do in the mix (both tonally and performance-wise)...

All the more reasons why proper monitoring environments are important

YMMV
Old 7th August 2014
  #12
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you eq them in relation to eachother. it's not so simple...you are taking notches out and boosting others in both spectrums...it's more like you have two eqs...they both end up looking like puzzle pieces that fit together, its not two eqs one hi and one low...its not simple like that.
Old 7th August 2014
  #13
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JonMiller's Avatar
Cool! Thanks for all the responses. I agree with the whole "it depends".

I typically go with the kick lower then the bass. It's more instictutional for me. I was wondering what everyone else was doing.
Old 7th August 2014
  #14
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matucha's Avatar
Quote:
Originally Posted by mike-661 View Post
There can be so many frequencies coming from both. It's not always as simple "EQ higher or lower", but more of a puzzle based on musical style/preference.

Often, the timing has much to do with how well the two mesh together. For instance, the kick may come slightly before the bass (attack and sustain concept)

This is why tracking it well to begin with has SO MUCH to do with what you do in the mix (both tonally and performance-wise)...

All the more reasons why proper monitoring environments are important

YMMV
This, plus add some sidechaining to the top.

In electronic music it's good to tune some of the kicks a bit up or down to get away from the bass. Though sometimes it's intentional to have them on top of each another working together, othe times it's mess.

What helped me a lot in decyfering the lowend is filtering the monitoring (ie master buss). Filtering out everything above 200hz with not very steep slope helps you to concentrate just on the lowend issues and takes away all the definition that midrange and highs give you, while making issues in the lowend less clear. You might realize that your kick was defined only with it's click but the bass part is swallowed by the bass.
You can listen to some nice references this way too, analyzing furthermore what is it that make them work so well and where you are in comparison. The same goes to midrange and highs. It's easier to sort out some (local) issues when you don't hear other parts of the spectrum (so loudly). But be carefull not to lose in it, the big picture is the king.
Old 7th August 2014
  #15
if it's real drums I typically use an in the kick channel and an out. The in gives the attack and punch, the out gives the weight and low bass. So how big the bass drum is I determine with the blend of the 2. My eq approach is to not do much with the in the kick, mic but the out gets eq'd a bit more, usually a hpf at 40, although I'm usually adding a little 50 cutting some mid bass and upper mid bass,and then there's a thing with the Amek 9098 eq where you can add a little top and lpf below where you're adding that is kinda cool. The blend between the 2 really determines the sound. One other thing, on the in the kick mic I patch in a compressor before whatever minor eq I do on that channel, but the out of the kick channels gets the compressor after the eq. The bass usually sits a bit above eq wise given what I have going on with the kick, although again the blend determines that more. This is all assuming I tracked the drums
Old 7th August 2014
  #16
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Simple if bass is lower, kick is higher. If kick is lower, bass is higher. This way they blend well and can be heard separately as well.

Ultimately the style of the song dictates what you do
Old 7th August 2014
  #17
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Simple if bass is lower, kick is higher. If kick is lower, bass is higher. This way they blend well and can be heard separately as well.

Ultimately the style of the song dictates what you do
Old 7th August 2014
  #18
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Quote:
Originally Posted by shanabit View Post
Simple if bass is lower, kick is higher. If kick is lower, bass is higher. This way they blend well and can be heard separately as well.

Ultimately the style of the song dictates what you do
My basic starting point.

I've even had mixes of the same band, same recording session where the parts just pushed me one way on one song and another on the next.

I've also often EQd the kick around the bass, i.e. Cut some of the kick around 200-500Hz and boost it around 1 to 2k while having the bass poke thru a little more around 200-500 (and cut guitars etc. some there).
Old 7th August 2014
  #19
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rogernotroger's Avatar
 

Quote:
Originally Posted by shanabit View Post
Simple if bass is lower, kick is higher. If kick is lower, bass is higher. This way they blend well and can be heard separately as well.

Ultimately the style of the song dictates what you do
Yes this is how I think about it also.

To be more specific:

Bass has more melodic content, or punch, then I would cut below 100 Hz, boost at 100 or above; kick therefore has less punch, more "heft", trouser wobble, moves air, whatever, so I cut at 100Hz for example, and maybe boost at 60Hz or anywhere else below 100 that sounds nice and woofty.

Other way round, bass has less melodic info, more sub kind of texture, cut around 100Hz and maybe boost 30-60Hz etc. Kick needs to cut through, cut below 100Hz and boost at 100 or thereabouts.

Obviously frequencies are just examples, and there is still the question of the higher freqs, but that's how I think about low end at the moment. I'm not an expert, though.
Old 10th August 2014
  #20
I often find that the two signals are different enough that I don't need to notch out one for the other using E.Q. The high freqs w/ the kick's attack, followed by it's extra low tail are the signatures of that waveform, which also die out rather quickly (like a consonant). The bass is more like a vowel, holding on to a particular set of frequencies that are not as spectrally dense as a kick. As long as I can hear them both, I treat them more like one instrument. If I need more definition, the first thing I do is supress the bass with a sidechain compressor from the kick, to ensure the bass doesn't walk on to of the kick's transient freqs. Every once in a while, I'll play around with notching frequencies, either for the bass or kick - but more for flavor than out of need to distinguish them apart. Most of the time, I don't even touch the E.Q. for these guys. Now compression - that's a different story!
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