This kind of music is very difficult to mix for many reasons but the biggest one for me is because of the speed with which things move in the bottom end. Getting bass and kick to work well together is difficult at the best of times but when they're firing like machine guns the difficulty is multiplied.
The best way even before you get to EQ in this area is to think about attack, sustain and harmonic content. The kick has no real harmonic content so its sustain in this situation (where you need as much space as possible) is unimportant. All the harmonic content is in the bass. With this in mind, all that matters with the kick is its attack. Its gotta punch with the force of Thor and then get the hell out of the way so the bass has got as much space as possible. The bass is a balancing act.
My approach is to insert 1.EQ, 2.compressor 3.compressor or transient designer plugin 4.EQ. The first EQ is to hi pass anything below 30 or 40 hz. The first compressor is to even the longer term dynamics and bring up quieter passages(this may or may not be needed) . The last two plugins (compressor and EQ) are where you take control of how the bass is going to sound. The compressor or transient plug controls how the bass happens in time (i.e. attack, sustain) the last EQ shapes it in the frequency spectrum (i.e. you might cut a couple of dbs at the fundamental kick frequency or boost the high end).
How you set the controls on these basic plugins is, in the end, what's going to make or break a mix like this. It takes a lot of work and practice to get these things to work. And sometimes when you think you're on top of it a mix can come along and everything seems to vanish in a haze and nothing you do seems to work.
PS. I also regularly mix on AKG 701 headphones (great headphones. My monitors are OK. My room; far from perfect). But i'd be lost without my mono single cone speaker. I have the auratone mixcube but there are other brands. Mike writes a lot about this. It really does give you an entirely new perspective on your mixes and reveals a lot of issues.
The best way even before you get to EQ in this area is to think about attack, sustain and harmonic content. The kick has no real harmonic content so its sustain in this situation (where you need as much space as possible) is unimportant. All the harmonic content is in the bass. With this in mind, all that matters with the kick is its attack. Its gotta punch with the force of Thor and then get the hell out of the way so the bass has got as much space as possible. The bass is a balancing act.
My approach is to insert 1.EQ, 2.compressor 3.compressor or transient designer plugin 4.EQ. The first EQ is to hi pass anything below 30 or 40 hz. The first compressor is to even the longer term dynamics and bring up quieter passages(this may or may not be needed) . The last two plugins (compressor and EQ) are where you take control of how the bass is going to sound. The compressor or transient plug controls how the bass happens in time (i.e. attack, sustain) the last EQ shapes it in the frequency spectrum (i.e. you might cut a couple of dbs at the fundamental kick frequency or boost the high end).
How you set the controls on these basic plugins is, in the end, what's going to make or break a mix like this. It takes a lot of work and practice to get these things to work. And sometimes when you think you're on top of it a mix can come along and everything seems to vanish in a haze and nothing you do seems to work.
PS. I also regularly mix on AKG 701 headphones (great headphones. My monitors are OK. My room; far from perfect). But i'd be lost without my mono single cone speaker. I have the auratone mixcube but there are other brands. Mike writes a lot about this. It really does give you an entirely new perspective on your mixes and reveals a lot of issues.