More tips:
Don't mess too much with the snare itself. Use it as a base, let it provide the ghost notes and the overall tone of the snare. After that, just add a sample of your choice with the elements that you are missing. If you want more bass, beef and oomph, chose a hefty & beefy sample and introduce it slowly into the mix until it sounds great in combination with the original snare. You probably have to use automation to bring down the volume of the sample in the blast beats so the snare doesn't sound unnatural.
Bass: Already wrote about this, but splitting up the bass track and using a limiter on the "sub and low bass" track is a clean and easy way to create that "wall of sound" you are looking for. You can allow the bass track with the mid and high frequencies some freedom in terms of dynamics, though.
Same goes for guitars: Use a limiter to pin them to a certain volume, like an on/off switch. The rhythm guitars are either "on" and playing at 100%, or off at 0%, with nothing in between.
Check the picture I've added. As you can see, there is some movement on the "Bass High" track, but almost no movement on the Bass low sitting nice and tight at -16, with the guitars "Rhythm L DI" and "Rhythm R DI" tracks sitting mostly at -18. And that's where they sit throughout most of the mix, not moving at all.
Kick and bass: Let the kick decide where you set the focus for kick and bass. Just take a look at the analyzer in the pictures: The kick has it's main peak around 50hz, so that's where I boost it. The bass reigns at 100hz in my mix. So I made a boost at 100 and a cut at 50hz to make room for the kick, and vice versa. That's it.
Don't mess too much with the snare itself. Use it as a base, let it provide the ghost notes and the overall tone of the snare. After that, just add a sample of your choice with the elements that you are missing. If you want more bass, beef and oomph, chose a hefty & beefy sample and introduce it slowly into the mix until it sounds great in combination with the original snare. You probably have to use automation to bring down the volume of the sample in the blast beats so the snare doesn't sound unnatural.
Bass: Already wrote about this, but splitting up the bass track and using a limiter on the "sub and low bass" track is a clean and easy way to create that "wall of sound" you are looking for. You can allow the bass track with the mid and high frequencies some freedom in terms of dynamics, though.
Same goes for guitars: Use a limiter to pin them to a certain volume, like an on/off switch. The rhythm guitars are either "on" and playing at 100%, or off at 0%, with nothing in between.
Check the picture I've added. As you can see, there is some movement on the "Bass High" track, but almost no movement on the Bass low sitting nice and tight at -16, with the guitars "Rhythm L DI" and "Rhythm R DI" tracks sitting mostly at -18. And that's where they sit throughout most of the mix, not moving at all.
Kick and bass: Let the kick decide where you set the focus for kick and bass. Just take a look at the analyzer in the pictures: The kick has it's main peak around 50hz, so that's where I boost it. The bass reigns at 100hz in my mix. So I made a boost at 100 and a cut at 50hz to make room for the kick, and vice versa. That's it.