In techno, the low-end isn't just important — it's everything. The sub frequencies are what shake the dancefloor, drive the energy, and give your track that visceral impact.
But when the kick and bassline start fighting for space, the result is all too familiar: mud, lack of definition, and a mix that falls flat on club systems. It’s not just about loudness — it’s about clarity and separation, especially in the critical range between 30 and 120 Hz.
In this guide, we’ll break down the low-end into manageable zones, show you how to carve space between kick and bass, and share mixing and sound design tips to help you build a tight, punchy foundation for your techno tracks.
Understanding the Low-End Frequency Range
Not all bass is created equal. Let’s break down what actually happens in the low-end, and where your kick and bassline should live.
30–60 Hz: Sub-Bass – Feel It More Than Hear It
This is the physical zone — the chest-punching low end you feel in a club. Most techno kicks dominate this area, especially the sine-shaped or 808-style ones. Sub-bass synths can live here too, but if both kick and bass are heavy in this range, you’ll quickly run into mud and phase issues.
🎯 Rule of thumb: Let either the kick or the bassline dominate this zone — not both.
60–90 Hz: Low-End Body – Weight and Warmth
This is where the body of the kick starts to overlap with the meat of the bassline. If not handled properly, this is the range that causes boominess or mud. It’s also where you can carve to define who’s in control.
🎧 Use a surgical EQ to gently duck this range on one element while boosting it on the other.
90–120 Hz: Upper Bass – Punch and Groove
This is the transition zone between bass and low mids. Adding energy here helps make your low-end audible even on smaller speakers or earbuds. Basslines with movement or rhythmic interest often sit here.
✅ This is a great spot to push harmonics with saturation or distortion — you get presence without crowding the sub.
Common Low-End Problems in Techno
Even experienced producers run into issues when balancing kick and bass — especially in such a narrow and sensitive frequency range. Let’s look at the most typical problems and why they happen.
Muddy Mixes
This is the most common and most frustrating issue.
When both your kick and bassline are hitting hard in the same low frequency zone — especially between 50 and 80 Hz — their waveforms overlap and stack. The result? A blurred, undefined bottom end that lacks punch and clarity.
Signs of mud:
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Your low-end sounds loud but lacks punch.
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The kick and bass “melt together” instead of hitting clean.
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Your mix collapses on larger systems or club PA.
✅ Fix: Use EQ carving and sidechain (we’ll cover this in the next section) to give each element its own space.
Phase Issues and Cancellation
Sometimes your mix sounds hollow or weak even though the levels are right — this could be due to phase cancellation.
This usually happens when:
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You’re layering multiple kicks or bass samples with overlapping low frequencies.
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The waveforms of kick and bass are misaligned.
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You use stereo effects or delays in the sub range.
In these cases, certain frequencies cancel each other out instead of reinforcing.
✅ Fix: Always check your low-end layers in mono. Use a phase correlation meter and avoid stereo widening plugins below 120 Hz.
Lack of Impact on Club Systems
Your mix might sound fine on headphones or small speakers — but once played in a club, the kick disappears, or the bass overwhelms everything.
This usually means:
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Your kick lacks low-end weight or is masked by the bass.
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You’re missing upper bass harmonics that translate well on big systems.
✅ Fix: Balance sub power with mid-bass clarity. Make sure your kick has a focused impact around 50 Hz, and push bass harmonics above 90 Hz for presence.
Mixing Techniques to Separate Kick and Bass
Getting a clean low-end isn’t about having “more bass” — it’s about giving each element its own space in the frequency spectrum and time domain.
EQ Carving (Subtractive EQ)
Think of your kick and bass as roommates — they need personal space. EQ carving means attenuating (cutting) certain frequencies in one element to let the other breathe.
Example workflow:
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If your kick has its fundamental around 50–60 Hz, apply a gentle cut around that same area on the bassline.
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If your bassline peaks at 90 Hz, cut that frequency slightly on the kick.
🎛 Use narrow bell curves with a Q of 2–4 and start with small cuts (−2 to −4 dB). Always AB test with and without EQ.
Sidechain Compression
This is a staple in techno and electronic music — not just for “pumping” but for clearing space in the low-end.
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Apply a sidechain compressor to the bassline, triggered by the kick.
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Adjust attack and release to let the kick punch through without completely killing the bass.
For more precise control, try:
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LFO Tool
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ShaperBox
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Ableton’s Compressor with sidechain enabled
💡 Pro tip: If your kick has a long tail, shape the sidechain to duck only the first 100–150 ms — enough to let the transient punch through.
Envelope Shaping
Another method to avoid overlap is adjusting the shape of the sounds.
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Use a transient shaper to shorten a long kick tail.
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Tweak the attack and decay of your bass synth so it doesn’t clash with the kick’s transient.
🎯 Goal: Kick hits first, then the bass fills the gap — or vice versa. Never both at once.
Saturation and Harmonic Enhancement
Saturation adds subtle harmonics that help your bassline or kick translate better on smaller speakers — even if they can’t reproduce sub frequencies.
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Use FabFilter Saturn, Decapitator, or Ableton’s Saturator
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Apply it lightly to the upper bass (90–120 Hz) for presence
📈 Bonus: Saturation can also “glue” the low-end elements together, especially in techno where you want drive and energy.
Sound Design Tips for Clean Low-End
Before you even reach for the EQ or compressor, your low-end success often depends on sound selection and design. A well-chosen kick and bass combo will mix itself — here’s how to get there.
Start With Quality Samples or Patches
If your kick is muddy or your bassline is bloated from the start, no amount of EQ will save the mix.
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Use samples designed for techno — focused, punchy, clean.
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At SamplesoundMusic.com, you’ll find curated packs with club-ready kicks and sub basses already optimized for mixing.
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Choose a kick with a clear transient and low-end focus; avoid overlapping tails.
Keep It Simple
Don’t layer five basslines. In techno, less is more. Decide early: will your sub come from the kick or the bassline?
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If the kick carries the sub, design a bassline that’s more mid-focused (80–120 Hz).
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If the bassline handles the sub, use a shorter, punchier kick that stays out of the way.
Tune Your Kick and Bass
Yes, low-end has pitch. If your kick and bass are out of key, they can cause resonance clashes or phase issues.
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Use a tuner to find the fundamental of your kick.
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Tune your bassline (or sub oscillator) to complement or match that note.
🎧 This also helps with musicality — especially if you're using drones or sustained notes in your track.
Mono Matters
Make sure your kick and sub frequencies (< 120 Hz) are in mono.
Stereo imaging in this range can cause problems on club systems and vinyl.
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Use a utility plugin to mono the low end.
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Apply stereo effects only above 150 Hz.
Power Comes From Clarity
In techno, a powerful low-end isn’t just about loud kicks and deep bass — it’s about balance, space, and control.
By understanding how frequencies from 30 to 120 Hz interact, using smart EQ, sidechain, and sound design, you can craft mixes that hit hard without collapsing into mud.
🎧 Want to make your low-end cleaner from the start?
👉 Explore our collection of techno-focused sample packs at SamplesoundMusic.com and start with sounds designed for the club.
