I'd have to say the rule is "don't overlap." Always EQ your kick around 60hz, and the bass at 120hz (these, of course are variable depending on song type and style). EQ cuts should also be considered to reduce excessive bass build-up, if needed. Cut the kick above 200, and the bass below 80hz, to further clean up your low-end.

Your mileage may very...

When recording no EQ.
When mixing similar as posted here above.

I think making use of compression is more important for drums when recording. No need for EQ if the drums sound good. Try to focus more on good mike placement, and avoid using EQ.

Hano, the Q was regarding EQ, so I assumed (you never should!), that Dabs was talking about during mixdown.

Dabmeister: Hano's point is valid. When tracking, you should always try to get the best possible sound "flat" by experimenting with mic placement. I don't agree with the long-proclaimed suggestion of "no EQ when recording" - it sounds great, but nobody adhere's to it (at least not in commercial studios!). Do what you have to do to get good sound going in. Also, remember that boosting highs after the track is laid will increase noise levels, tracking with EQ rarely does.

Originally posted by wf studios:
Cut the kick above 200...

whoa... if you lose above 200 you'll have no 'click' in the bass drum. depending on what kind of music yer doing you may need that... at least i do.

After you get past the don't overlap part, the rest is not so cut and dried. Much of what you do from there is style (and taste) dependant.

Listening to a variety of commercial CD's will show that most of the time either the Bass or the Kick will be pumping the low end, but not both. If the Kick has a lot of deep low frequencies, than the bass will have most of its energy above 100 Hz. But if the bass is given control of the deep lows, then it is the kick that will reside mostly in the low mids. This is an extension of the "don't overlap" premise, but the trick will be deciding which one will live where.

As stated before, you don't usually want to roll off all the upper frequencies on either one, because that's what gives the instrument it's attack and articulation.

You might consider if the bass guitar is being played percusive or melodic, this will determine "where" it should sit in the mix.

Treena :h:

Cut the kick above 200...
--------------------------------------------------------------------------------

"whoa... if you lose above 200 you'll have no 'click' in the bass drum. depending on what kind of music yer doing you may need that... at least i do."

I apologize - I meant to say "notch" the kick at 200hz. This will prevent a "boomy" bass buildup and allow you to retain clarity in the bass region. I would leave all the "top" on the kick track - and in fact, often boost at 4k to improve the batter attack (if you are going for that type of sound).

Sorry for the confusion...

There are no fixed receipts, but try to taste :
Just a simple example, oka?
Kick Drum:
hi shelf = +3db at F=5.3kHz
hi mid = -4dB at F=1.3kHz Q=2.5
low mid = +3dB at F= 60 Hz

Bass Guitar:
hi shelf = +3 db at F=4kHz
Hi mid = +2 db at F=1kHz Q=1.2
Low mid = +2 db at F=100
HPF = 60 Hz

This is based around a nice instrument, properly tuned kick, aiming a pop rock tone with an Sm91.
The bass guitar is an active 5 string with medium to light string gauge.

Hope it helps
:)
:p