The kick’s tail, the bass hit and the ducking curve all occupy the same time. Work on them together.
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Make a simple loop.
Use a quarter-note kick and a repeating bass, as in the first-pattern guide. Start with Duck enabled (the default). Listen to both voices together throughout.
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Find the end of the kick.
With the bass playing, adjust the kick’s Amp curve and Length. Listen to how its body leads into the bass: a shorter kick leaves a different space from a long one. Solo briefly if you need to hear a detail, then check it with the bass again. Shape the bass in the same context.
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Dial it in.
Open the bass’s Duck tab. It is already making room for the kick; now adjust how that return feels. Try a curve that begins low and rises to full level, with Amt at 100%. With a 1/4 kick, try a Duck Rate of 1/4 so the curve has one beat to finish.
Move the rise earlier for a quick return; move it later for more space around the kick. Then bend the segment to change how the return feels. Get a pumping groove by fading the duck envelope back down towards the end.
For a softer return, raise Smooth beside Duck Rate: any sudden jump in the curve becomes a ramp.
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Check the bass’s own length.
Listen to which bass hits fall inside the duck and which fall after it. If kick and bass trigger together at the same rate, a short bass hit can end before the duck lets it through. In that case, check that the MIDI note is held long enough as well as trying a longer bass Length or an earlier return. With a faster bass rate and a held or legato MIDI note, later hits can sound after the duck has recovered; listen to their balance against the first hit.
Lower Duck Amt if you want some bass to remain under the kick. At 0%, the ducking shape has no effect; at 100%, it controls the full dip.