Q: I read the Tech Tip from last Friday about panning the kick drum and bass guitar to the center of the mix.I have a similar question: some engineers I’ve talked to say that I shouldn’t put reverb on the kick drum and bass. Is this true? A: In many cases, adding reverb to the kick drum and bass guitar can add muddiness to the mix. That extra low end ambience can smear attacks and reduce.

The kick is providing the thump, while the bass is much thinner, sitting atop the kick without compromising the overall mix. The musical integrity of the part is compromised to a fault, but the good news is that we have found a solution to stop the bottom .

Ducking The Bass. The sense of separation between kick and bass can often be further improved by rigging a 'ducker' on the bass channel — that is, a compressor whose side‑chain is triggered from the kick‑drum track. Whenever the kick hits, the bass dips in level to make more space for it.

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Add a compressor to the bass. Route the kick into the compressor’s sidechain input. Set the attack to fast and release to medium. Pull the threshold down until the compressor triggers when the kick hits. Adjust the ratio, threshold, and makeup gain in tandem until you can hear the kick clearly.

Matt Quinn, known by his stage name Optical, is a British musician, producer and caibaskpeporfindkerretikbupocaptper.xyzinfo is co-founder and owner of Virus Recordings, a widely regarded Drum and Bass record caibaskpeporfindkerretikbupocaptper.xyzinfo is best known as one half of drum and bass duo Ed Rush and Optical (with his long-time musical partner Ed Rush), whose debut album Wormhole has been described as one of the most significant LPs of the drum and bass.