Make sure that the average volume of the kick and bass are the same (RMS = Root-Mean-Square) instead of focusing on the peak level of each (but obviously avoid clipping/any overs plus it is usually wise to leave some headroom which you might need to take advantage of later on or someone that you are having mix down from stems and master/give the tracks a spit and polish will be very happy to receive material with room left for them to work with ).
So yeah from what No Avenger said filtersweep is that the advice is really that simple, Focus on maintaining the average levels of your kicks and bass lines giving out the same via some firm but not too heavy amount of dynamic range reduction, Something like Cytomic's the glue would be a good choice or another few greats IM extremely humble HO when it comes to kicks, bass and snares, dbx 160, Valley-people dynamite and I also get good millage from a few Joe Meek optical compressors too, The Aphex Aural Exciter with the Big Bottom circuit for the low-end is another very useful piece of kit I find, I utilize the exciter to enhance the crack of a snare, the attack or 'click' of a kick, The clangy area shared by a bass guitar and a snare drum and also the ding-aling-ling sort of almost pianoesque tonal area of a bass guitars upper register. Another great piece of kit is a dedicated subharmonic synthesizer such as the dbx 120a, Used sparingly it can add almighty weight and with a relatively short decay the sort of punch which rattles the chest, However the Aphex systems Aural Exciter with optical Big Bottom and the sub-harmonic synthesizer are easy to get a bit too liberal with, So restraining one's self with such tools always pays off.
There are plenty decent plug-ins nowadays which can pretty much cover all pieces of kit that I've mentioned.

dbx 120a style sub-harmonic synth:

https://www.refusesoftware.com/lowender
Waves LoAir although not based on anything specific is very capable of pulling off the same thing plus they have their now classic
Maxx Bass and renaissance bass tools, All have/offer plenty to work with.

dbx 160a alike: http://www.stillwellaudio.com/plugins/major-tom-program-dependent-compressor/
Waves do an officially licensed dbx 160

Valley People Dyna-mite, I'm only aware of Softube's version and it is good. It convinced me to buy a license so that I could use more than the one instance of the real thing I've got racked up: https://www.softube.com/index.php?id=dmite

Joe Meek Opto style compressors:

https://www.plugin-alliance.com/en/products/bx_opto.html
IK Multimedia's T-RackS Opto Compressor gets in to the ballpark

These are Variable-Mu based which is a different topology from typical optical compressors but still really damned great and stunning results can be achieved with these:

https://klanghelm.com/contents/products/MJUCjr/MJUCjr.php
https://klanghelm.com/contents/products/MJUC/MJUC.php

Heck all Klanghelm free and commercial plugins are well worth the asking price.
I am a massive advocate and lover of Fabien and Vlad of Tokyo Dawn Records/Tokyo Dawn Labs, Their plugins are essential to me personally, They are pretty much as perfect as anyone could want and hope for in ITB processors, They are precision tools too.
them, I never shill anything and only recommend things that I genuinely use/love.

For imparting the characteristics of certain mic preamplifiers, Nebula is the best route to take for results, The release of specific plugins is a really good thing as it has made what is available so much more friendly to use, However it has had an impact one version 3 users whom we're/are very accomplished user's that do not require a nice GUI and have access to a ton of captured pieces of gear that would cost a person literally millions of pounds/dollars/euros to even attempt to buy, A good many are so rare and even one of pieces that they are just not for sale but you can get a piece of them via Nebula.
As mentioned Neve/AMS Neve preamps are favored by many for the bloom and richness which the transformers impart on the signal, The low-end being an area they are praised for, A 1073 will do anything justice though, They are just timeless designs and as long as we are using microphones, line inputs the demand for them will never dissapear.
API's 500 series 512 microphone preamplifier is another absolute classic, It is different to anything designed by Rupert Neve but in the best possible way, Again a 512 will do anything justice.
Solid State Logic, The Chandler/Abbey Road designs are all usually excellent and offer more colours for anyone to work with, Trident also I'd put into that category, I also think the Tonelux stuff is very nice (MP1 and MP5a in terms of mic preamps), It is very well designed stuff in general in a modern sense which can obviously work really well if you are looking for the opposite of colourful and character laden, Focusrite's ISA are also really nice and easier on the wallet than most in that department.
I personally tend to use Audient and Focusrite preamps for most things, Then i have a few of the Universal Audio twin finity mic preamps which can be as clean as you like to very much coloured, satured along with a blend of everything in between.
I also have a 1073 which gets used on every track, Often vocals but also a kit piece and bass DI, It's not to much hassle running signals already recorded back out and through it at line level driving the transformer balanced output stage to get the mojo on any signal.
I suppose that it is similar to re-amping in concept and it definitely works with the cumulative effect building as each source signal is passed through then captured, It saves a heck of a lot of money having one or two, Then using high-quality, fairly clean and neutral mic pres to capture most stuff then doing the re-mic amping. YYMV and perhaps that this is something you might wish to start trying out at a latter date but once I've started talking shop, I try to be as thorough in describing how I do things or explain the concepts behind something that is used in the studio by engineers that sounds more complex than it really is after one has done it a few times, I could be more concise but then I would likely have to remove all nuance which is usual a big part of relaying information human being to human being.

I won't rattle on further, if it is TL:DR essentially all you need focus on is keeping the average volume of the kick(s) and the bass line(s) the same which is what an RMS (root-mean-square) meter displays, Not focus on the peaks. This way the clashes will stand out like a sore thumb and it is certainly worth giving a go, You will probably improve your equalization cutting skills with this method, That is always well worth keeping sharp and refining

All the best fellla's, I'll try to have a mixed down example of a few instrumentals I've worked on which I have used the bass guitar as the leading role a lot which was a great challenge as a player and engineering, It'd be cool to hear some feedback in any form, It is programmed drums, electric guitars and bass guitar, No synths involved as I was working on that specific aim of trying to utilize the bass as the leading role opposed to guitar and vocals which I typically do.

Catch all soon, Cheers

Dean

 

Sure, no prob. To balance the percieved volume of bass and bass drum just set them at the same rms level. You can measure that with VU meter (digital emulation or true analog) like they showed in the video, or with a digital level meter (the one with the bar graphs) which shows rms level, too. For instance:
http://musisi.org/wp-content/upload...da-IXL-Multimeter-dengan-skala-logaritmik.png

Edit: Ups, just saw Death Thash Doom's explanation, which is much more detailed and extensive (didn't know he is that chatty ).

 

When I think that I can genuinely help or it is an area which I am familiar with I genuinely enjoy talking shop and also hearing/reading how others operate, As it is in practice bar being in person with someone, The best way I have picked up tips, variations on a theme that I might not have looked at from my own perspective yet so very glad that I did as it opened new avenues. If it's an area I'm not so sure of and feel is a weak part of my game, Then I'll usually hang back and listen/absorb what I can to try out No Avenger.
I really enjoy that aspect of this forum and the range of characters that are knowledgeable but not aloof and full of themselves.
I basically stopped bothering using the two major forums as they became overran with such people that sucked all the energy, enjoyment and just that spark of enthusiasm out of pretty much everything. So many people I'd known for years decided to do the same also, That left even less reasons slowly but surely to stick around.
The only benefit that those places offered after the rise of the proper up thine own arsehole brigades was straight up being able to freely talk with developers on any thread which was really useful in a way to have fun but also when needed offer feedback, Raise things that you'd like to see implemented if possible along with having input on what some might develop if there is some level of demand, However that got rinsed as you can imagine and probably have seen yourself, The wave of morons that had no manners, no respect or any tact pretty much took all but the most dedicated developers that are usually just like many other forum members, A love for music and a passion for audio plus they happen to have mastered the dark arts that is coding greatness, Something I am not capable of, I can throw some bits together in Puredata, Max/MSP, SynthEdit, SynthMaker and most recent the jesusonic platform but really nothing special and nothing that isn't already available and done far better hehe, Still it is always fun to set a little challenge for ourselves to stay sharp. Cheers and all the best, Hope to catch you again on a thread/it's a pleasure to meet you

Dean