usually just diligence in tuning, filtering and then leveling works best for me on the rytm + a4
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You could do that, nice and simple but might lose too much body of the bass, better to raise width of bass filter when kick hits if you find they clash, better yet is to pick a kick that compliments rather than competes with the bass. This way you can get a nice cohesive bottom end that is satisfying to hear. All as always, IMHO.
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A guitar trough an octaver might not provide a stable or “nice” enough lowend someone wants to be that huge in the mix. So I’d still vote for some kind of high pass filter.
Of course with going into a DAW, one can do tons of stuff, like Trackspacer | Create space in your mix | Audio plugin (and the more traditional approaches to this method which for sure are already mentioned 
)
Edit: I missed the two characters “OT” from OP’s OT post
Side chain! Send an extra kick line to a cheap Alesis 3630 compressor and have it duck your bass, dial in filter speed to taste! Also done in a DAW very simply when not in a live situation. I recall someone setting this up inside a OT or RYTM as well? Maybe EZBot has a solution?
I’m going to counter that and say no it isnt. 
(Kinda depends on the effect you’re going for)
Decades of playing bands, making electronic stuff, listening to records and live music has taught me the opposite.
Especially for live bass guitar, you want that to be preserve all its range. You can cut the lows off a bass drum around 100hz and it will still ‘kick’.
Anyway, I digress.
All of the above is possible in OT. P locks where ever the kicks are, mixing into a compressor, good old fashioned mixing, plus lots of other solutions. Experiment, find a way that works for you.
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Thanks a lot for all these ideas, lots of great stuff to experiment with.
I was asking to stay in the box, the OT that is.
thought I was losing my mind trying to fiddle with the microtiming of my kick and bass, glad i’m not the only one who’s this finicky 
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Usually band pass on both kick and bass. That you have a good idea of which frequencies your dealing with. Also, I usually have a pretty long attack on the bass, as a lot of the time it’s an issue of their transients clashing.
Probably already mentioned in other posts, but arrangement is one of the most important things for managing this (and really a mix in general). If stuff is clashing the first thing to check is whether you actually need all of it.
Obviously you need bass and kick (except when you don’t), but do you need them playing simultaneously? And if they aren’t simultaneous but they still interfere, do they need to sustain as much? If the bass is providing a lot of low end, maybe the kick only needs to be a snappy attack with a little upper-mid thump in it and a very short decay. If you have kick that has a lot of low end and rings out, maybe the bass can be highpassed aggressively so that you barely hear the fundamental at all, or transposed up an octave.
i dedicate LFO 3 to my filter base on multiple channels.
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combined with parallel compression on my drum bus to pump up the jam!
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