What is your way to go so Bass and Kick don’t overeat each other on the OT?
EQ? DJ EQ? Filter? Envelop? Compressor? Mix of everything?
I’d like to get a consistent workflow of a kind as i find myself always tweaking randomly on a new track.
Pick the right sounds, sequence them in such a way that they take turns where necessary (you can even do this is a practically non-perceptible way with microtiming), use EQ/filtering to mitigate problems.
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Leftfield idea, for fun mainly: Don’t use kicks, only use bass lines.
Give your bass tone a sharp attack. Or give it a sharp attack only on certain beats, via p-locks.
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If they have to be on indepent tracks use the eq to notch out some space on both. Use one band and make some space and get rid of the boxy sound.
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Doesn’t seem unreasonable to me, TBH.
But another idea is to pick a few sounds you really like (like two bass tones, and two kicks) and commit to finishing X number of tracks just using those. Before you start composing in earnest, decide which sets of kick+bass occupy which bands of the spectrum; eq to fit/accentuate the decision.
This will give the collection a consistency.
NOTE: not tried this in earnest
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I didn’t rewatch the video but if I remember right this one works well but only for four on the floor type kick patterns.
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I should have mentioned that i’m now working on a project where the drums are sequenced but i’m playing bassline with a guitar through an octaver.
The OP is mainly about leaving space in the frequencies i guess.
I’m really limited to tweak the sound Pre-recording on the guitar side.
On a general aspect, do you prefer to leave the lowest frequency range for the bass or for the kick? Or it just depends on the sounds you’re using?
That’s the advantage of monophonic synths with patch flip/soundpool: You can’t have kick and bass on the same step 
Or you have to have something that is both bass and kick. For example, a bass with a kick-like pitch envelope.
Just read your second post.
Lowest frequency is usually the kick, and the bass above that.
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So i guess i could just use a Filter width adjustment on the recorded bass.
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For me, the genre, or mood, or sonic effect I’m aiming at dictates this. If I want room shaking sub-bass “melodies”, the kick should sit more in the higher bass band. If I want repeated punch (or “kicks”) I’d have the bassline in the higher bass band.
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That’s actually what i’m planning to do. Just using 2, 3 kicks/hi hats max all over the whole set.
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Depends on the genre. For 4*4 stuff, sure. For anything with breaks and bass lines (including acoustic) the bass can often have a lower fundamental than the kick.
Also @Blasted_pingin something to bear in mind is what note your bass is playing. You can tune your kick so the fundamental is harmonic with your root note, or you could even adjust what key you play in to reduce the likelihood of them clashing.
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Sometimes cutting the lows on the kick just when it plays with the bass.
Like others have said, if I run into this problem, sometimes I decide to pick a different kick that complements instead of competing.
I’ve done this a lot on Digitakt and it works surprisingly well! Either microtime the sample, or somehow push the starting phase of the bass oscillation into the right place. Tweak until the bass sits right.
Most straightforward technique though: avoid having kick and bass shout at the same time.
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Words to live by!
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Sometimes the sound of a kick with the bass is wonderful.
It can give a specific umph creating a feeling that only happens in that scenario.
I think about this a lot when I listed to music that’s not electronic.
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Another cool trick you can use when the kicks occasionally do line up with the bass, is to use ghost notes to give the impression of the kick without the full thunk of it in the mix. I usually achieve this by cutting out the transient at the top but leaving the tails, or by inverting the kick and trimming the decay. Ghost notes are dope.
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