To add to what David said...

A high-pass filter is a combination device of capacitors, inductances, and resistors that allow signal components above a specific frequency to pass, while significantly suppressing signal components below that frequency. The high-pass filter only attenuates the frequency components below a given frequency and allows the frequency components above the cutoff frequency to pass. It is sometimes called a low-cut filter.

In less technical terms, a high-pass filter keeps the higher-pitch sounds and removes the lower-pitch sounds.

We do not generally associate the sound of an instrument with a specific frequency.

Knowing the frequency range of the instruments in your song helps you know the effect of removing specific frequencies.

We can start with the bass. Here is a general guideline to understand the effect of specific bass guitar frequencies. You can solo a bass track and experiment with cutting these specific frequencies to hear for yourself what the words used to describe the frequency ranges mean.

Just so you know, the frequency of the low E string on a bass guitar to around 40Hz, and up a couple of octaves is around 200Hz. How we get to 4 kHz is due to harmonics.

Boomy (40 Hz – 90 Hz)
Fat (75 Hz – 150 Hz)
Thin (40 Hz – 180 Hz)
Power (40 Hz – 150 Hz)
Impact (40 Hz – 150 Hz)
Clarity (190 Hz – 800 Hz)
Presence (800 Hz – 6.5 kHz)
Attack (120 Hz – 4.1 kHz)

In a live on-stage situation, the bass player would use the controls and specific effects boxes to help properly put the bass in the mix.
The person running sound would also communicate with the bass player in rehearsal to help the bass player set up things correctly, plus adjust things in real time on the board.

As you can see, a lot is going on with just this one instrument before the necessary mixing between the bass and the kick drum.

To add insult to injury, we have all these arcane terms like "duck the reverb."

David understands all these technical considerations, which is evident in the songs he posts on the user showcase. He is an excellent go-to guy for mixing help.

Don't be afraid to take his advice, reject it, or tell him what "you" want to hear. It is your song. Much of this mixing business is pretty subjective.

Billy

“Amazing! I’ll be working with Jaco Pastorius, Charlie Parker, Art Tatum, and Buddy Rich, and you’re telling me it’s not that great of a gig?
“Well…” Saint Peter, hesitated, “God’s got this girlfriend who thinks she can sing…”