Sound presents on small monitors

[Timeline]

I realized recently I can get in real trouble remixing on my main monitors which are 2.5s with a sub 12.
I have a pair of small monitors which were cheap bi-amped desk computer speakers I bought some time ago. To make them tolerable I doubled them up for more volume placing the hf unit's next to each other below my Adams.

The problem is, Mixes I hear from the internet in some cases sound incredible on the small monitors and I can't get that pure bass tone from DP in the box. This is making me think somethings wonkier than expected on my Adams. When i mix on the Adams it sounds even but still without presents. I have tried to mix directly to the small speakers trying different eqs, plugs and limiters and the instrument presents just doesn't reveal itself. If i could just get kick/bass and snare to punch through like some of the tracks i hear, I would be thrilled. But alas, I have tried every patch in BFD3 and even live drums without luck. I'm beginning to think studios with transformer coupled audio paths, "consoles" are winning out. Digital is just disgusting me recently. Should I fire up the 16 track?
Comments:

[Gravity Jim]

What kind of EQ are you applying to the kick/bass?

I get fat bass tones that are still audible on an iPhone speaker (have to,, writing tunes for video games) by rolling off everything under 40Hz, doing a slight dip at around 300, and a slight narrow boost at 1K.

[Timeline]

Its not eq Jim. its like there a phase trick plug or something i think is being used. I cn eq all day and the bass doesn't pop like this.

[mikehalloran]

Most subs have a phase (polarity) reversal switch for this reason. Minor differences in placement will determine which position is best. Since the crossover is generally between 80–120 Hz, I'll play something in the 100 Hz range such as A-110, then flip the switch to whichever position is louder.

Here's my most un-scientific method for calibrating the balance between the sub and satellites:

Play some Steely Dan (anything from Asia or Gaucho is fine—heck, play both albums). Tweak till you get nice, clear definition of the bass and kits and the transition between the speakers is seamless. Again, it really doesn't much matter that there are different players, basses and kits since they all went through Roger Nichols's ears. It will sound great but you'll notice that there's no one, precise adjustment where it's perfect–the sweet spot is pretty wide.

Now, play some Beatles. My go-to for this is Get Back off the Let It Be album (I prefer the 2009 Remaster for this). If Paul's bass is also perfectly balanced, you're better at this than I am. It's generally barely audible to me. I will bring up the sub, and check against Steely Dan. There will be one spot where Sir Paul will be audible yet Steely Dan will not be overpowering. I can trust that sound and hasn't failed me yet.

[Timeline]

OK but your saying this effect is created in some mixes and not others? Its clear to me that on theatrical they are doing something and certainly on todays pop. It does not pull on the ears like completely out of phase would but somewhere in-between. What plug exists to accomplish this or is this a mastering secret?

[HCMarkus]

My son in law mixes a lot of pop and loves MaxxBass by Waves.

[Timeline]

My son in law mixes a lot of pop and loves MaxxBass by Waves.

I'll try a demo
thnx