You can get more from the kick by using "time" to "uncrowd" that monent of bass and drum hit by separating them in time.
You delay the bass guitar a few milliseconds but not enough to be discernable.........but enough such that the peak of the bass guitar hit and bass drum hit can each be louder and still fit within the dynamic range of the recording........because the peaks aren't together. Great for studio but tough to get a human in on that timing in a live setting.
True, and every sound engineer has different approaches to the same result.
Personally, I would put more effort and time in dealing with proper balance to flow on its own first. IMO, his lack of getting that right is when you start using masking techniques.
Back in the peak of my days we were still analog snd didn’t have nearly as many simulation toys.
I don’t get the problem in the first place. They both should hit at the same time. But again, changing time or compression he lost the punch.
45 yrs, too many concerts, never ran into what he thinks the problem is. For me, I’ve never used comps on a bass, maybe a gate. But when you compress the bass too much, you losing dynamics.
I’m about mixing according to live power, some mix to make as compressed as the album. This mental war has gone on a long time.
Imo, get your mix tight before implementing anything else. 200 plug-ins for a country band? Absurd in my book. He don’t know how to mix. If I took all that away from him, he’d be lost.
Just my opinion, ask 5 engineers whats right, you’ll get 5 different answers. <shrug>
