EQ strategy: coverage vs. accentuating the peak

[He's Dead, Jim]

I have no idea what search terms I could use to see if this has been covered yet, but I don't think it has, at least as far as I know.

In short, let's say you have a kick drum with a peak at 55 hz. What's the preferred method of "uncovering" that territory by making strategic cuts in other instruments?

Do you cut a little on every instrument right at 55 to accentuate the peak of the kick?

Or, alternatively, do you cut at 55 for the bass, at 60 for the guitars, at 65 for the snare (if applicable), etc., to allow the kick to breathe in numerous places, assuming it has some meaningful weight in those areas?

I usually do the former, but I wanted to see what people thought about it. I'd think you could apply this question to the snare as well, though not so much other instruments.

edit: I also use high pass filters on everything else, so I guess I'm really just talking about the kick-bass and guitar-snare interplay, since you can't high-pass beyond a certain point without it sounding empty.

 

[P-E]

I'll high pass whatever doesn't need the 55hz inside to make sure it doesn't clutter up the low-end, and then do a cut in the bass (doing the same in the kick for the bass if needed).

So yeah, pretty much the same thing you're doing.

 

[Fox Mulder]

Pretty much, but I've noticed some interesting results using low-shelves instead, trying to give each low instrument it's own bass level, so to speak. Sometimes a C6, sidechained for slower passages, etc.

 

[ArthurD]

Careful with (digital) hipass, as it reverse the phase of the frequencies below.
Also, a bell boost of 3db on the kick and a 3 db cut on bass will do the trick. If not, just try a resonant hp on the kick =)

 

[HOFX]

...a bell boost of 3db on the kick and a 3 db cut on bass will do the trick. If not, just try a resonant hp on the kick =)

This.

I only try to limit complementary EQ adjustments to between two tracks, too much potential to weave a giant web otherwise.

For example, low-mid boosts in the snare I will complement with adjustments in the guitar, and presence adjustments in the vocals I will complement with cuts in the guitars as well. But I won't go and fiddle with the presence in the snare or drum overhead room mics because I'll get myself in a knot pretty quick.

For me, it's all about the maxim "a place for everything and everything in its place". Once all Low Pass, High Pass and basic volume and pan settings are in place, there should only be two dominant instruments competing for a particular frequency space. If not, then you need to rethink your song composition (eg, you wouldn't sing over the lead solo) or go back and revise your tracking (eg dark bass track with a low tuned kick).