Jay-J on Tightening the Kick and Bass Relationship

When it comes to getting people on the dance floor, few do it better than Grammy-nominated DJ, producer, and remixer Jay-J. From international club dates to commercial work and running his own label, Shifted Music, Jay-J has his finger on the pulse of dance music. We caught up with him to learn how he gets his tracks sounding so hot.

What is your preferred approach to getting the bottom of a mix cranking in a club?

"I spend most of my time fine-tuning the kick and bass relationship. I want both to be thick, full, and heard as independent yet perfectly blended elements. In other words, I want the kick and bass to be loud and present in club mixes.

First, I listen to the kick to identify any frequencies that might clash with the rest of the mix. Then, I assess the bass tone—whether it’s leaning more towards sub frequencies for that deep, physical feel or focused in the midrange, like a live bass.

Once I determine where the bass wants to sit in the frequency spectrum, I emphasize the kick near that range, but usually just below it. I compress or limit the bass to ensure each note remains upfront and present. Then, I EQ the bass, using shelving to adjust sub-100 Hz frequencies, typically removing some content below 60-80 Hz and pulling back a bit in the 150-225 Hz range. I also evaluate the 225 Hz to 1 kHz range to see what needs adjustment.

Once I determine where the bass wants to sit in the frequency spectrum, I emphasize the kick near that range, but usually just below it.

While EQing the bass, I simultaneously tweak the kick. I often use a high-pass filter around 30 Hz with a 24dB slope to add clarity and tightness to the kick. I sweep frequencies from 30 Hz up, listening for any excessive resonance. I’ll make small dips where necessary to ensure the bass sounds evenly distributed across the low end. I also consider if the kick needs a sharper attack or a softer one, using compression with either a fast attack to smooth it or a slower attack to emphasize the initial impact.

From there, I dip the kick around the 170 Hz - 2 kHz range, sweeping through these frequencies to determine which areas need to be less prominent. I usually boost around 5 kHz to add clarity that translates well even on smaller speaker systems—this helps the bass remain clear without subwoofers."

Do you mix these two elements independently, or as one?

"I work with the kick and bass simultaneously, frequently soloing the kick, then the bass, then the whole track, and back and forth between these permutations, making adjustments as I go.

I’m also vigilant about low-frequency information in other tracks that could muddy the mix. I often use shelving or high-pass filters to cut unnecessary low end from other elements, which helps keep the overall low end defined and clear."

What Sonnox plugins do you use on these tracks to help get the job done?

"I primarily use the  Oxford EQ and Oxford Dynamics on the kick. Since kicks in electronic music often originate from samples with consistent velocity, I don’t usually need heavy compression like I would with a live drum. Instead, I use the Oxford Dynamics compressor to shape the kick’s attack to fit best in the mix.

For the bass, I use the Dynamics plugin to add Warmth Control, which accentuates the low mids and slightly saturates the sound. If the bass or a virtual instrument sounds thin, I add some  Inflator (Sonic Enhancer Plugin) to thicken it up. Then, I use the EQ to fine-tune and sculpt the bass and kick together.

One feature I love about Oxford Dynamics is the internal sidechain circuit. It allows me to pinpoint problematic frequencies or resonant notes in a bass line and apply frequency-dependent sidechain compression. This technique selectively compresses specific frequencies, leaving others untouched, which is more precise than using EQ alone. This method not only works well on bass notes but also on other elements, like keyboards, where low notes can add too much bass and muddy the mix. Sonnox plugins help me control these issues, keeping my mixes tight and clean. They provide the sound I need for club systems with a straightforward workflow and interface, but more importantly, the overall sound quality of these products just rocks!"