Producing Electronic Music with Logic Pro

Lesson 14 of 27

Remixing a Drum and Bass Song - Bass Loops

 

Producing Electronic Music with Logic Pro

Lesson 14 of 27

Remixing a Drum and Bass Song - Bass Loops

 

Lesson Info

Remixing a Drum and Bass Song - Bass Loops

Based on again of experiment with different algorithms on the times church so let me make another track here okay all right so now let's get some oh, another thing I do as well because now I've got all these chopped up messi of all these tiny little chops says the thing you can do called folders so what you can do that I can highlight all that and uh yes if I control click these regions can say pack folder and now it's made one need to block everything inside now it's easy for me just to move it around if want to get inside that I just double click it and there we go I can edit doubleclick the background done back out again I could do the same for the piano control click so pack it folder again you can do that's a shortcut was shift command if and if you want to you can actually I have more than one track but in one folder but I'm keeping separate skansen nineties okay so let me put this on one seven five so now you know I think it's on the piano at one seven five but they haven't seen...

time ships only things that equality still maintained ok so let me just get some drums going on this six twenty four stereo junket it's that means my sticky junket thiss this contains kicks and snares by one putting the separate tracks so I'm gonna copy duplicate is trapped by this button up here so the top categories of my kicks me like that kick the next one and again I don't really tend to play in my drums because a lot of drum basis same kind of pattern's really kind of just go to ensure these in make a four box section here double clip to get the piano rolled up okay same office excuse me okay, I want youto I think that one there is on a and again because I haven't been on one short I can choose the limp this name I can have a really short like this ok, so here's my kick his meissner causalities more recently I've been using that mohr loops that I've pre made the audio files who have any programming simple things that hats and stuff that you use quite quite regularly so I'm gonna make a few audio tracks here by cooking this button up here to create some new tracks I want some audio tracks wanting in stereo awhile but by default he always comes up in one o for some reason number of tracks they say there's six for now create and there we go over six audio tracks now I have a folder here premade leaps but I've got one seven five so the first one I'm gonna put in is pat sleep play this quickly drop this in right on the air basically I've bounced these out from other tunes that have already been processed in cuba a little bit it just saves time really it's good to have a large selection of these because what you see start using a ll these same ones and the same tubes and they sound very similar so it's good to pick and choose different ones for different teams no one here copy that course is well it was a good break now this one I think is possibly from a a sample pack and I didn't make this one quite and number one here that I even made myself was from a sample pack and uh another one here hates shop break theo yeah this one I made myself thinking here is very distorted and lots of needs just to fill out that kind of frequency range down here it's going through these parts appears I'm hearing just the drums straightaway as has pretty good because they will be processed nicely copies to over here it's going to clear these to give you as well so all my drums are a bar blocks e pre much name everything ace and if I do any versions that could be or you know a two or something like that just a straight where you can see what's going on marty just having the name of what it is um okay so who I mean my mixer hee hee send these on a single these tio my drum bus possibly make the color the more the same down here as well just so at a glance I can see that all my drums aaron purple so at the moment we're going to the stereo output bus here want to change that and go bus one, which is my job us which you could see at the top here a little bit here is the drum bus where everything's going to yes, I've got gain on they're going to turn it down a little bit so it's not peaking too much and I'm going to stick her finger stick overdrive one who actually have just started I used to use the peers people into warmer but just light it simple things a little bit because the because there will be in pre all their lives have been pre compressed and stuff they're not that needs much processing on the bus but a little bit so distinction I was five quite nicely case it isn't there's my drums um I mean take these what's the beginning of the track driving course copies right now, it's hope here I have my my guitar with my panel course a copy of these as well actually I'm going to send this guitar and piano teo another bus because at some point I want to automate some delays and rather than didn't separately on the two separate tracks what we do on one on one track one bus away so so thus forever here accorded skanks down here so I'm going to send these two trucks a bus for us excuse me so but for the next one that's for on dh case ongoing macon I want that bus to appear in this arrange page so the way I do that it's a little bit of a long way around you can't just you can't just create a bus in here you have to convert something that's already here into a bus is that it's illegal networks so I'm just going to create a new track audio track create now I'm going tio change this by control clicking reassigned track nixa axillary works for us for something now they struck here is both the guitar and the piano to give up through this track here is effectively this year but in the arrange page so now khun automate it so I mean do it quickly that now actually now if I want to put a delay on this guitar and piano instead of doing it separately I could just get on the bus in the range page on this sent here bus dubbed delay by sixteen she's here are not turning up dragging this up so I'll play antennae up and down so you can you can hear it parts to have delay on so the way I do that I percent is in the track plus a full automation and I have an automation strip here by defaults on william so if I want I could automate the volume off this bus but what I want to do want to automate the the sense the bus full delay so I did it by clicking this value peter maine they start I don't I come down uh yes down here send one dubbed delay click on that and now there's two ways I can do this sucker that actually draw it in here will be called it so I think I'll do it I think oh we're record it so if I think hear what says off have a few options I want to put on touch now if I just play the track it's going to be called any movement that I have here and you'll see it come up under here so let me just do that and there you go there's the automation there recorded I would put this on reed now so it's just going to read the automation but yeah I cannot go in here and I think I need this about like an idiot could do you know, just draw instead anyway we'll get back to that later let me community of aspects of the chain so we have a couple questions from our mind god is now a good time t j wants to know I've noticed that mainly mainly uses that yes or the excess twenty four. And yes, to do you ever use logic, ultra beat or sculpture? It was a sculpture, not that often. I mean, did you want to be for a little while? The envelopes are better, not to be more precise, but there was a few things that I find it. I find it quite limited in certain ways. Yeah, exactly what it was. I used it for a while, but I find it kind of kind of limited is better for the envelopes, and I'm going to use the six, twenty four, forty zuse really batteries and have a good one as well used back to me. Sometimes. If I were, you want to get as good envelopes as well. But I just like the way that the sex is just so integrated with logic. It's. Just really easy to call up your sounds of stuff, you know.

Class Description

Learn the basics of producing electronic music from DJ and producer, Ed Solo. Ed has worked with DJ Fresh, Krafty Kuts and FreakNasty, and in this class he’ll show you how to drop the beat using Logic Pro.

Ed will take you through the essential elements of electronic music and show you how to use Logic's EXS24 sampler and a few other virtual instruments. You’ll learn how to work with Logic Pro’s stock sounds and explore the range of options you already have in your DAW. Ed will teach you proper routing and mixing with eq, compression, and effects. Then he’ll show you how to bring the elements together and produce a complete mix. Ed will also discuss what differentiates the electronic music genres, drum 'n' bass, trap, dubstep, and house — and how to create the sound that make them unique. Ed will also show how many of these techniques can be applied to any DAW, not just Logic Pro.

If you want get your start in electronic music production or just pick up some tricks f

Reviews

osu
 

Picked up a lot of good information from this class. Ed is very knowledgeable, and takes us through the technique and the thought process of sound production, composition, mixing, and mastering. Towards the end of the course, at times it felt a little disjointed, as the segments switched between different tracks; but the information provided was good, once I got oriented. Would definitely recommend this course.