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You will now hear the bass, as you are not listening to the sidechain anymore: fiddle with teh settings some more if the bass is dipping out too much. You are aiming for a small dip on the dial - don't worry if you can barely hear the dip in the bass audio, you only want a tiny bit anyway. Now your kick will be clearer in the mix!

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...so that the compression only happens for a split second.
Fiddle with the threshold and ratio until the dial is taking off MAX 5 db

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now the compressor on the bass track is listen to and responding to the filtered sidechain - which is (ideally) just the kick

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now the compressor on the bass track is listen to and responding to the filtered sidechain - which is (ideally) just the kick

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...until you can hear only the kick, or at least, as close as you can get it to that

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You will now be hearing the Drums! Because you are 'listening' to the 'sidechain' 'filter'...

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...and, because we are sidechaining o a whole drumkit, click 'listen' on the filter

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And choose the drum track (ideally, the kick track only - but in this example, the drums are bounced as a group)

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The guitar has had the low Hz removed, which tend to make guitar sound wooly or boomy, which makes space for the bass guitar, which has had the equivalent Hz boosted, to fill up the space made by the guitar eq.
The guitar has had the upper mid boosted, which increases punch and sharpness, and the bass has accordingly had this area reduced, to make space for the guitar in this Hz bandwidth.
The vocals have had the low bass ditched, because voices can't do subsonics (!), and had the upper mid pushed - notice, not the same area as the guitar, but stacked above it - which increases bite and clarity. The 'air' (very high Hz) are boosted to help with this, and also to fill in the gap made by the guitar, which had had those high Hz cut.
Be sure to use your ears! The general principle of tis approach applies across the board, but every instrument / voice is different, and you want to find EQ points which make it sound nice, rather than nasty. Use the cheat sheets as starting points but don't necc. stick to them exactly.

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There's a lot of bass in here, but not much treble - so you could ditch the treble to enhance this sound, and make further space in the treble for something else

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Refer to online EQ cheatsheets for a starting point

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Refer to online EQ cheatsheets for a starting point

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Making space for each instrument within each instrument

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Making space for each instrument within each instrument

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Remove the sound that isn't being made - ie, sub frequencies in a voice.
This is because there will be SOME information in there, in this example it might be rumble, which may interact badly with other instruments.

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You should now have a basic quick mix, where all instruments can be heard

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Bring all the other track faders down to zero

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Bring all the other track faders down to zero

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Unmute one by one and bring each fader up until you can 'just' hear the whole instrument above the pink noise

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unmute and bring up the fader until the GREEN number is at around -30 to -20

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unmute and bring up the fader until the GREEN number is at around -30 to -20

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This low level ensures that there is plenty of headroom available to mix in

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***!!! MAKE SURE TRACK IS MUTED !!!***

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Name it Pink Noise
***BE SURE TO MUTE***
AND PULL DOWN THE FADER TO ZERO
!!! potential ear damage if you don't !!!

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Lets say you have several BVs, but they are a little out of time, with staggered starts and ends of words.
Choose the best take.
Put a Noise Gate on the worst take/s.
Set the Gate sidechain to the best take.
Set the threshold so that the gate opens and closes when the sidechain vocal is active.
The best vocal take will now be controlling the start and stop points of the worst take/s - thereby editing them for you automatically!

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A compressor on the Bass is looking at the Kick, sop that when the kick comes in, the Bass volume is reduced a tiny bit, to make the Kick more impactful. Kick and Bass tend to share the same Hz, so you got to make room for the Kick to pop, so it doesn't get lost in the Bass...