3-Step Bass Mix That Works Every Time

If you've ever mixed bass guitar, you know how hard getting it to sit right in the mix can be. There's either too much low end, not enough presence, or it just doesn't sound right.

The good news? You can take complete control of the bass with just three simple steps.

Today, we're going through each of these steps so you never have to waste time getting the bass to sit in the mix again.

Step 1: Split the Bass

The big problem with mixing bass is that it needs to have a solid low end to keep the mix feeling full, while also maintaining note definition so the part doesn't just become a mush of low frequencies.

The trick? Split the bass into two frequency ranges, low and high, then process them separately. This way, you can shape the low end for power and control while enhancing the high end for clarity and presence.

Setup

1. Duplicate the bass track

2. Rename the two tracks something like "Bass-Low" and "Bass-High"

3. Depending on your workflow and DAW, route both to a Bus or Bus Folder, and name it "BASS"

Why use a Bus or Bus Folder? This lets you control the overall bass volume without messing up the balance you're about to create between your Low and High tracks.

IMPORTANT: If you have to edit the bass, either do so before duplicating the tracks or make sure both the Low and High tracks are grouped together so any edits will be performed exactly the same on both tracks. If you do not do this, there will be syncing issues between the two tracks which will cause phase and timing problems.

I recommend using Bus Folders if your DAW supports them*. These allow you to create sub-mixes which can make mixing a lot easier, especially with large sessions.*

Learning the ins and outs of how signals flow through your DAW can unlock so many new mixing possibilities.

Frequency Filters

Now that you've got two identical but independent tracks, it's time to use some EQ to turn them into what they need to be.

You'll need an EQ that has low-pass (high-cut) filter and high-pass (low-cut) filters.

Most parametric EQs will do the job.

Bass-Low

• Add an EQ plugin

• Activate the low-pass filter and sit it to around 100 Hz

Next, solo the Bass-Low track and play it back. Slowly sweep the low-pass filter up and down until the notes start to lose definition. Then, nudge the frequency back up until the definition returns. That’s your sweet spot.

Your goal is to make a well-defined track containing only the essential low-frequency content. Don't worry about getting it just right yet, you can always go back later and adjust it.

Bass-High

• Add an EQ plugin

• Activate the high-pass filter and sit it to around 400 Hz

You don't need to fine-tune the frequency cut-off now, you're going to do that later on.

What about the frequencies between the Low and High tracks? The low-mid frequency range of the bass guitar usually does not sound great. Heavy amounts of EQ are commonly applied to clean up this range of frequencies. The set up above naturally rolls off these problem frequencies.

Step 2: Process

Now it's time to sculpt your Low and High tracks.

Tame & Shape The Low End

Add a compressor to the Bass-Low track after the EQ you already added and set it like this:

• Ratio: 4:1

• Attack: ~100 ms

• Release: ~100 ms

• Threshold: Adjust for ~5 dB gain reduction

• Make-up Gain: Match the bypassed volume

These are just starting points. Once you've got the compressor dialed in, feel free to save it as a preset for future mixes.

Fine Tuning the Compression

Controls to Adjust

Threshold: The level the signal has to reach before activating the compressor

Attack Speed: Controls the amount of definition

Slow = More Definition

Fast = Less Definition

Release Speed: Controls the amount of sustain

Slow = More Sustain

Fast = Less Sustain

Ration: Controls the amount the signal is tamed

Higher = More Tamed

Lower = Less Tamed

You're aiming for consistent bass and sub volume throughout the song.

How much you have to compress depends on the part and how it was played.

Add High-End Presence

Adding high-end presence varies depending on the genre, player, song, and performance. For example, in most rock and metal mixes you'll want to add some distortion to help the bass cut through the guitars. Other genres might just need some EQ to bring out the presence of the bass.

Important: All plugins should be inserted after the high-pass filter EQ, including any distortion, overdrive, or additional EQ plugins*.*

I like to add a cab-sim or IR plugin after distortion or overdrive to smooth out the harshness these plugins introduce.

Dial in the amount of distortion until the track has the amount of presence you want. To further tweak the presence, you can go back to the high-pass filter and adjust the cut-off frequency.

Too much or too little distortion can decrease definition, so play around. You can always go back and adjust if needed.

Step 3: Balance

Time to bring it all together.

• Turn the Bass-High fader all the way down

• Slowly raise it until you get the right amount of clarify and presence

Once things sound good, go back and tweak the filters, compression, and distortion if needed and get the exact sound you're looking for.

Once you're happy with how the bass sounds, listen to it in the context of the entire mix.

I like to turn the volume of the BASS bus folder all the way down and then slowly bring it up while listening to the mix. Once it sits where I want, I go back in and adjust the low and high tracks as needed.

Final Thoughts

Bass can be one of the trickiest elements to get right. It can make your mix feel muddy, clash with the kick, lack definition, disappear completely, or overpower everything.

By following these three simple steps you can take complete control of the bass and shape the sound exactly how you want.

What do you find most challenging when mixing bass? Let me know by leaving a comment below.

If you are struggling with a mix or just looking to improve, book a free call with me by clicking HERE and let’s discuss what you’re stuck on.

-Anthony