Owens uses the UAD LA-2A compressor to balance the bass guitar's dynamics, engaging the "Emphasis" control to introduce a high-pass filter in the compressor's sidechain circuit.
This technique selectively reduces sensitivity to lower frequencies, concentrating compression on the midrange to smooth out the instrument's tonal imbalances.
Following compression, Owens applies the FabFilter Pro-Q 3 for more presence and refined low-end clarity. He is rolling off frequencies below 70Hz to ensure the kick drum's low-end remains distinct.
Owens emphasizes the strategic importance of deciding on a clear hierarchy in the low-end frequencies between the kick and bass, often preferring to prioritize one over the other to minimize frequency masking. He illustrates this concept with the Beatles' "Taxman," noting how the song achieves a clear low-end by featuring a pronounced bass guitar while keeping the kick drum thin and punchy, demonstrating effective frequency separation and minimal masking when both elements are combined.