
Bryan’s abstract representation of low-end compression.
Here’s a quick guide on how to compress your kick drum and bass guitar in a way that will help you make the most of the bottom in your mixes.
Keeping a Low Profile
Is it just me? It seems like every time I listen to new music (especially indie, alt-rock, hip-hop, and pop), one thing I can always expect is a massive and unwelcome deviation of the low end from artist to artist—even within the same genre! Some songs have a wonderfully inspired low end that invites the listener to turn it up and get inside the mix, while others are so far off the low-end chart that I need to get out my Richter scale to measure single-digit bass frequencies while driving to AutoZone to replace every nut, bolt, and washer that rattled off my car during the song. Those mixes feel less like a song and more like an assault by a renegade 808-tuned sub-bass. Personally, I think low-end information should be long enough to cover the subject, but short enough to keep it interesting.
With that in mind, let me offer some ways that you can tighten up your bottom end and glue your mix together so everything is in balance instead of a “lead kick drum” mix. The Dojo is now open.
So Happy Together
Because the kick drum and bass guitar are such critical components of the rhythm section, compressing the kick drum and bass guitar together on a dedicated bus is a common and effective technique in audio production that substantially contributes to a tighter and more cohesive low-end foundation in a mix. You’ll know from reading my past articles that nothing triggers compression like low frequencies, so it makes perfect sense to explore and route low-end elements into one compressor and spare the other instruments in your song from having their dynamic range suffer because the compressor is reacting to the bass frequencies. When applied to both the kick drum and bass guitar, compression helps to even out the fluctuations in volume, ensuring a more consistent and controlled low end. This is particularly beneficial in genres like rock, pop, hip-hop, R&B, and electronic music, where a steady and powerful low end is often desired.
Picking a Foundation
What is important for you to decide is which one of the two will be on the bottom and serve as a foundation for the other. That ranges by genre, and you should be aware of how you want to approach that relationship. For example, is the fundamental frequency of the kick drum lower than the lowest bass note played in the song, or vice versa? Adjust accordingly. Remember that the kick drum and bass guitar often share similar frequency ranges, and their frequencies will likely clash or compete for space in the mix until you make this decision. If the kick drum “role” in your song is fixed (like an acoustic kick drum) and has a stable fundamental low-end frequency, carve a little bit of that same frequency out of your bass instruments to reduce “masking”—and they’ll both have more clarity.
Mutually Beneficial
One benefit of using a shared compressor is that it’ll ensure that the low frequencies will remain controllable, and reduce any sudden jumps between different sections of a song, such as verses and choruses.
“I think low-end information should be long enough to cover the subject, but short enough to keep it interesting.”
Another plus is that compressing the kick and the bass instruments together can emphasize the transient characteristics of both. By adjusting the attack and release settings on the compressor, you can enhance the initial attack of the kick drum and the pluck or pick attack of the bass guitar. This results in a more pronounced and impactful low end, adding punch and definition. And by bringing these two elements together, you allow them to work in tandem rather than independently.
In genres like dance music and hip-hop, where a consistent and powerful low-end energy is crucial, compressing the kick and bass together will maintain a steady foundation throughout the track. In addition to this, remember that you can also side-chain the output of the kick drum to a key-inserted compressor on the bass track for some good old bass pumping.
Simplify the Process
Compressing the kick and bass guitar together will help you streamline your mixing process and reduce the need for individual processing of each element. Sure, you’ll still want some individual instrument processing and fine-tuning (EQ, etc.), but compressing them together later will give you a solid starting point for mixing the rest of the instruments in the song.
Until next time, namaste.
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Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.