It would be an advantage to me cos I really would like to know what you guys do when mixing Bass or drums or even synthy sounding instruments.
 
And what you are looking for
 
Everyone sees differently, so let us know what you do!

HPF everything.

+ 1. 

Don't be afraid of using LPF

TUNE UP.

HP kick at 20-30. Depending on sound or sample +4 to +12 on kick with narrow Q at 50Hz, then cut 90 to 150 centered around 110 anywhere from -4 to -10 with moderate Q. (If its live drums a LP Filter may be in order to remove room and cymbals)

At the same time HP bass at 40 then wide cut from 90 down to 50Hz centered around 70 from -4 to -10 and bump 100 to 110Hz +4 to +6.

Use the kick for sidechain control of the bass compressor for some added fun.

I gave ranges because all is highly dependent on what you start with. This is a framework of where to begin, not an end all solution.

For the synths it depends on their role in the mix. Are they embellishment in the background (HPass) or are they driving the low end (similar to the bass guitar role)

Different genres of music require different approaches. Batsbrew's tune up recommendation is critical before each click of the record button. Recording is a lot of mundane work to capture an inspired moment. Practice the inspired moment a lot so that playing mechanics are muscle memory and you can concentrate on the passion. Better yet, let someone else control the record button while you focus on the inspired moment.

As a side comment on the HPF/LPF thing, also accept that the world will not end if you have a mic more than 1 millimeter from a guitar amp, and various other things. Back the mics off and you'll naturally get reduced low-lows and presence highs, and be closer to where you want to be without processing, possibly all the way there if you also are diligent about mixing with your fingers. This was a completely standard procedure back when, but it somehow seems to have gotten lost for a lot of people, or so it seems sometimes from reading comments.

Yeh, most of us homies don't have great sounding rooms, but if you experiment you can probably find places in a reasonably treated room where you can get back from the mic and not have problems that overwhelm the benefits I think. And you also just naturally get a more 'pushed back' sound without needing so much ambience to create it artificially. Not that so many people are into distance or depth in recordings these days I guess. But, if you are, try getting it naturally and you might be successful and avoid yet still more processing. Once you've learned the tricks that work in your room, it won't be an ongoing time burden probably.

droddey


As a side comment on the HPF/LPF thing, also accept that the world will not end if you have a mic more than 1 millimeter from a guitar amp, and various other things. Back the mics off and you'll naturally get reduced low-lows and presence highs, and be closer to where you want to be without processing, possibly all the way there if you also are diligent about mixing with your fingers. This was a completely standard procedure back when, but it somehow seems to have gotten lost for a lot of people, or so it seems sometimes from reading comments.

Yeh, most of us homies don't have great sounding rooms, but if you experiment you can probably find places in a reasonably treated room where you can get back from the mic and not have problems that overwhelm the benefits I think. And you also just naturally get a more 'pushed back' sound without needing so much ambience to create it artificially. Not that so many people are into distance or depth in recordings these days I guess. But, if you are, try getting it naturally and you might be successful and avoid yet still more processing. Once you've learned the tricks that work in your room, it won't be an ongoing time burden probably.

Yes, there's nothing wrong with having a little room in the the mic as long as you are not recording it in the bathroom :)

HPF Bass at 79Hz (learned this tip from Danny).  I've been using a Q of 1-ish.

HPF Kick at also: oft as high as 50Hz:  Q-slopes are different (by ear).

Keep low energies 'contained' to allow massive mean and peak volume increases in the mids and highs, IMHO.

Manually comp both the kick and bass tracks ... every spike with a unique compression ... to 'fit with the mids and highs ... to command your mix.

Allow kick and bass to rule the non-vox sections and be louder there.

If affordable, try different limiters/maximizers ... especially if you are a self-masterer.

If you are concerned with song-maximization for ultimate dance-loudness (aka hip hop or loud metal) ... consider the Slate Fg-x Comp/Limiter (used judiciously of course) ... either alone or after another top-quality buss limiter. 

But if bass and kick tracks are to be more artsy than loud ... forget the Slate for those sections; I'd use other quality maximizers to get a scratchy idea of the master.

Applying tape emulations may help for bass and/or kick ... but I'm not fully convinced.

Kick drums always require fx help to enhance the subs in my mixes ... and to discern it from the snare.  A tinny kick is not my friend.

Personally, I prefer the kick to sound like a heart-beat: That always involves enhancing the lows with a quality sub-equalizer or sub-fx.  That holds true for most of my attempted genres.

The kick usually succeeds (for me) as the lowest EQ of everything.  I've tried making bass lower in many mixes (and sections) ... and I've failed oft. 

While kick rumble may have forgiveness ... bass rumble is my sworn enemy.

I've got to ask... What is so special about exactly 79Hz....?

Does it have something to do with the E2 being 82Hz and the D# being 78Hz? If so, this would really only apply to songs written in E, would it not?