I'm trying to get my equipment and mixing to a decent place. My main goal right now is to let everything be heard, bass, guitar, drums, etc...etc...I know it's tough to get the bass guitar and kick drum to play nice and be friends. Any suggestions or tips on how to work the two together? I use Trilian for Bass and AD for my drums.

Here is a snippet of where I'm at with the mix if anyone wants to give it a listen. I know it usually boils down to personal taste but feedback never hurts.

http://profile.ultimate-guitar.com/tehbeatnik/ for the audio
The bass is a bit overpowering, especially in the 150-250hz region. I usually use multiband compression on my bass tracks to tame this region. Alternatively, just make a scoop here.

Getting the kick and bass to play nice usually isn't to difficult; just find where the 'thud' for the particular kick you're using is located, boost that slightly, then go to your bass track and make a wider cut at the same frequency. For most metal I cut all the mids out of the kick, leaving just the thud and the click of the beater (also nice to give this a boost sometimes). That said, your kick isn't cutting through at all, it sounds like a really weak pattering.

So, first thing I'd work on is getting your bass to sit a bit better. Trillian samples are top notch and really easy to process and make sit well, just make sure you're keeping it nice and compressed then handle the resonating frequencies. Once the bass is sitting at a pretty constant volume, bring your kick in and work with these two tracks until you're satisfied with the relationship. After that I usually bring in the snare and OH's followed by guitars and vocals.
Awesome info Odirunn, very much appreciated. I've always kept my focus on the guitar mixing in the past but feel it's time to further my attention to detail. Thanks again for the info, diggin' it.
Yeah, what Odirunn said. Pretty much, the main reason why you get muddiness between the kick and bass is that the frequencies are much harder to distinguish, and when you have too much going on in the lows it just turns everything into mush. As mentioned, the easiest way to get clarity is to give some space in frequency between the kick and bass. Get your kick sounding nice and present, then shape your bass around it (the same can often also go with guitars - especially in metal - you tend to record on fat stacks with massive bass and it confuses the mix even more).

Another important thing is to make sure your bass is evenly balanced in itself. In some parts it sat better than others. You don't want the bass to overpower the mix, just to be there gelling with both the guitars and drums. Bass needs to be very even and controlled in a recording generally, and it is often the most dynamically messed up instrument (distorted guitars tend to compress themselves, but bass is much more susceptible to dynamic issues of the player getting excited and smashing one or two notes way too hard).
Yeah I overcompress my bass usually to compensate for the dynamic range (of course I also usually distort the shit out of it recently), but I find that a lot of people (especially on this site in the original and cover recording forums) struggle more with the guitar and bass frequencies. People like to have the umph on there guitars that just doesn't sound good in recordings (especially true on people micing there guitars).

Kick and bass mixing though is very important too but once you get it down you won't have any issues it that will trouble you to much.

I'd listen to your sample but my internet is to slow currently...
Last edited by FireHawk at Jul 11, 2011,
I've gone ahead and done a few of the suggestions made in this thread and implemented them in my full recording of Enter Sandman. I love the Trilian bass sound so it's hard for me not to show it off but hopefully I've gotten it to flow much better. Feels like I did. *fingers crossed*
Getting better. I think there's a dodgy edit into the first 'sleep with one eye open' bit somewhere.

The bass definitely gels a little better. The 2nd chorus seems a bit empty with the guitar just panned left and nothing else covering it.

One thing I would suggest for your kick sound is that it is a little balloony, which is usually a matter of taking a bunch of stuff out of the low-mids. You'll know the sound when you hear it. It's a rubbery, ringy, 'bong' sound. It's not too bad, but I still pick it up.

Also, it seems your floor tom is a bit overpowering, especially in the intro (I'm assuming that's what it is).

My other main issue is not something you can do too much about. There's just not much feel in the kit you've used (there aren't many that have feel to them). Just remember when you're programming this stuff that Lars (especially then) wasn't the most even player. For the bits that rely on that washy open hat I'd start with full velocity as a default and then work on the vague premise that every second note is going to be between like 10 and 20 velocity points quieter. Play around with hi-hat dynamic rhythms (example with L meaning loud and S meaning soft or less loud - L S L S S L L L L S L L S S L L). Use your ears and make it sound as naturally uneven as you can. Humanising your drums really well is the key to separating a programmed kit that people can't quite tell is real or fake or it being obvious.

The advantage to that is that you can then compress it more and get a beefier sound.