Producing Electronic Music with Logic Pro

Lesson 15 of 27

Remixing a Drum and Bass Song - Vocals

 

Producing Electronic Music with Logic Pro

Lesson 15 of 27

Remixing a Drum and Bass Song - Vocals

 

Lesson Info

Remixing a Drum and Bass Song - Vocals

And the making of a truck here quickly audio stereo create earlier I had some horns that time stretched see people find homes one meeting wait goes I'm gonna drag this out on its on its own track you just made it's a little bit quiet but the fate of up quite high already says they're just putting the fate of all the way up its game plugging on it which essentially again punishes it's just another bullion but allows me to keep my fader where I want it so I totally sucked by saying free d these maybe a bit more and also it sounds like he could do that but more tops on it so I'm gonna put you on it would be the quickest way to get any queue up the shocking double quick, quick, zeke, you up here? What maki puts thank you on there for me. All right, so that's thirty two bars of entry there and then I want to come into the coming to the original track it's gonna put the base here, carry over to get star in the piano. And now would you want to put it evoked without time ships earlier, so crea...

te another track audio video creates hee hee again got a color code always make my vocals yellow for some reason I mean, it doesn't really matter it's just it's just good to have a consistent things that at a glance I could easily see what's going on and again, it's always good to label your tracks is, you know, and keep things nice and neat put my drums to give up just saves time when I'm you know, going back for four from stuff it's a good, good habit to get into some listen to this in a way, if you noticed as well got some drums up here from the region, we tracked that point earlier, I don't want to go through the way. I don't know that I would take up too much time, but I've done these in a similar way to the guitar and piano, so basically what I've done, so I just cut up the individual pieces rather than time shifting him system and maintained the quality. I also put these on the bus is here bust seven they went to put the q and a plus, I've got manson control different elements of these drums here wait in the way after this is going to be where the train drops in, pick up my drums here course just before the drop publix and things to stop, to give a bit more impact before it comes in, so, for instance, the base here, we cut her out in the last two bars possibly last one bar b que there and I can't even believe that our mutis I'm just going to mute it person in wait together is a little part of the ended it michael that doesn't need to be there so I'm going to bring that back and again I can use my scissors and chop it so I can just drag the end and put it back wait on again on this guitar and piano I don't want the last one on the last two so and to bring these back no way have you one more here and again I want to have to delay to that very last one so again I can do that by using the bus if I zoom in safe automation down here is my sent to my delay so I'm just going to try to turn it up like that wait wait remember to turn that down again afterwards when it comes in again won't be allowed in anyway actually I might have one less on these actually just having one before that was a little bit well wait so there you've got a little bit of silence and delayed before it drops which always gives it a bit more give me more impact because you got the contrast case let's get a that you're gonna carry on copy in the time piano over as well it's a baseline in here she one thing quickly I'm missing is a it's a crush single so let me get that in real quick just choose the six twenty four trump hit it's absent tops ntc booze cannot put up with us trump us his plus one saying get a pencil okay crush your c one will see it up a little bit quiet here you gotta know me put mine crushed him was at the top of the drums as well you might have this just just what I do color that yellows well ryan afrisam base I got here is a base of previously made in the next twenty four base what did I was used to that my tribe square that when there was but let me just do a quick search find this kid way, way down there this is um this is from you know they called on one tribe is a little it was kind of a lock box and I just basically marty some port but the sound to it ah, so I'm gonna record that in prison are for recalled just give me one bar counting you can change it into preferences to two by one bar on one but actually another good a lot of good thinking logic actually is when it's plain it's actually called in all the time so I just played it's actually called already you just have to retrieve what you've done and I've set up to keep the man's a thinking man's plus and there it is down the bottom. So if you'll just jamming away and you think I actually I really like that it was actually recorded. She's really good little touch in logic. Go inside here, recorded each other again. Here, quantifies it, tendon, release up slightly and make the notes slightly longer as well. Just do this manually and getting help us control while changing them for these. I have a finer find a control over as well. You got to do is manually just to kind of just just how wanted getting a copy on a different bass sound for a little response. Parts only get another truck up. She first let me just labeled as quickly when a tribe here we go and again, I'm just gonna lay with a what's. The next track, get another year, six twenty four up. This time we're gonna using that will let me clear defined here we go base this time I'm going to use something I made on the move recently base this's a simple kind of simple triangle bass sound subtle felt on the envelope on the move and a multi sample you off. So the sample each note and again that's already recorded, I just pushed command plus that might be different depending on your version of logic and again, the only started creating the parts from when I first played, but just to make it me, I'm gonna pull us out to make it the same length going here. Here's what's recorded was quite tight, but I need tio quantifies it quite quite savvy salad on a bit of distortion to that sound. No way I'm going to do that is, um is instead of putting it as an insert, I'm going tio yousa send so I've still got my war sounds. I'm just adding distortion over the top of it instead of changing the sound itself. So if I go to my environment page oh, you have a bus sets up here, it's, an e q guitar pro and someone was killing it she's my distortion of labeled it here w k distinction or to distortion that's on bus eleven so here is my base. Gotta look this part here and I'm gonna go use ascend, click on the scent conducted bus. Choose the one I want, which is bus eleven. Forty distortion. Keep on that you can hear the question is going up in that context.

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.