Remixing a Trap Song - Vocals
Casey look I think I'm vocal somewhere much one putting him and uh cut up maybe on dh so look god of books system I think it's just from a sample pack yeah so that I think is that our whole sounds quite good at it not been for this my sister's up here wait what more yeah and again that's quite loud up here oh another thing you can do up here is quite useful you can change the volume of this is particular piece of ufo here without having to do any destructive eddie into it yeah gto sixty that's quite useful because I might have another one of these later one of something a little smaller part of it and I wanted it to be quite a louder I don't wanna have to automate it or going and destructively it because it's the same part such communities will have in these little gain things here to you have to change it I probably do something in a minute which shows how I would use that in there in a real world situation well first let me put a lot more really eleven stuff long verb a case of sound...
was asking recently about why use my effects on buses and stuff I think in this situation I want quite distinctive distinctive reverb sounds just to this vocal part so in this situation study using my standard revives that I have on the buses are might actually but one direct me on the channel which is specifically for this this sample so you're going to that safe first another thing sometimes when I'm putting stuff on the and plugging on this channel strip I might not do it at the top I might get a few down because they went down the line I might want to put any cue or something before I'm putting this reverb so I'm going go down here instead of doing top weaver space designer I won't quite long we've actually got large spaces rooms halls plates it's what hole and brandon in twice string hole dream home yes a bit different how you control the level of the river when you've got you hasn't even set like this so over here I have to drive a signal and you want to be fully up down here if the amount of the reverb signal where is when I do on the bus you're here in the dry signal anyway wouldn't turn that walks up that's how much we have you have on it was a different way of doing it okay I want to talk a bit of the bass out of the river as well in this river plugging we have a filter here with a high pass mode on it so I can actually do that I believe anyway let me yes I'm cutting the base out of the river but keeping the base in the original sample interesting is expected to do that quite interesting changes in the interesting I was actually expecting to do that but a lot of time the stakes can the good thing in making music e do know as well chocolate spoken up slightly so I want to do take its first it'll be here copy of crossover here being respect its original state they're sure of it again getting exactly isn't very good I think these two to be a little quieter I could just hide out in you know I have content at the moment bill well minus eight on the game but now I can buy that these two ten it down even more again I could just get big prey even maybe just just use these two here putting wait they live on the track is a good habit to get into a some point I want to kind of you know some people might put much make the whole of their team I just leaping around sixteen buzz people kind of start arranging straightaway I'm kind of in between where I get to a certain point and then I kind of started ranging as well so for instance I don't want the base to be in straight away just call this brown for a sec what basis to be brown so one down to two is your the first sixteen bar doesn't want any base to being leaked out uh these drums again here I could go on number sixteen bus before just the basin yeah, maybe I should do that that's a good policy just cooking these over here copies bako again um princeton have this meant isms sound out for the first sixteen and being in for the second sixteen well thief maybe these last few bits here just take the drums out completely collapse in the looseness they carry on the vocal maybe no and you know making this section I'll take out the aarp sound you bring in another sound that was very questions. Yeah, we do have some questions. Um can you talk about the various since that you use are there since that you like fur trapping dub as opposed to dance in house so yeah, trying to use to too many different simpson because there's so many of them these days and it's good to just kind of get you get teeth into something that massive for example is a very versatile you know, you can create simple sounds in a complex sounds so yeah, most people recommend just just getting one saying if this is a good around up and just just learning it inside out you know um yeah I mean, I change every now and then you know, I used to years two loads quite a few years ago that's why we got a bit bored of it it moves into another sin you know he ask it'd to not use too many a time you know yeah basically because I have a question um what the the pm's for each style of music so we've done a few different ones today our case a drum and bass is typically between one seventeen one eighty bpm house music there's a lot of house music now which is actually really slow some house music goes right down two hundred ppm but typically it's around one hundred twenty up to one hundred thirty for the more harder styles dub step in trap is normally between one hundred forty one hundred fifty yes the german bases pretty up there on its own so deejay moi ce it's always been hard for drawing based tio experiment with different styles of music because they're kind of stuck up there was there's lots of different styles of music around the one one thirty brackets if your house you can also makes it a bit greatly or you know you can change styles a lot easier but something that john bases up there is kind of on it so you know I mean it's other styles of music break or stuff like that kind of around that tempo that airlock kind of smaller smaller scenes basically drawn based around one seventy two one eighty house anything for down to one ten to around one thirty one twenty on a trap and up step around one forty on up how's this house is gone and yeah okay I mean something down sometimes you can get you get a bit bored with june quickly or you know sometimes you come back to it and I think it's going okay it's not great but so at what point would you like in your workflow would you decide tio shelve it for your later time to come back and check it out so imagine you're in your shitty right now doing this at what point would you sort of say ok, I'm officially lost inspiration do I push through that or do I put it on pause till later sometimes a good thing it is to go make a cup of tea or a cup of coffee americans ok I'll go to the toilet or something like that do something that well your subconscious minds take over there's a lot of time you khun they can do that I might go make a cup of tea on don't just do it subconsciously and when your winds in that in that state ideas can come well you know go go to the bathroom and always said nothing can actually you know, get a bit of inspiration and think it would be a good sound for that and come back in and get inspired against sometimes that's a good thing to do this and it should just take a five minute break you know, do something like that other times it might be good just to stop and you know, I love a good thing I suggest two I've been coming produces were always don't be too attached to a tune I think there's two types of people when you, when you're starting out as a producer of these people who I've just got pretty much is one tune and I want to get this one tune right when they spend months and months on this tune and they want to get this to my and they're not really learning anything where's the best people won is it's just why a tune? Forget about it, right? And everyone forget about writing each time they're lonely more more, more fuel just got one tune in your hacking away out you're you're limiting yourself tio learning you know you don't think is a good idea for someone just have is one too that they want to get right. You're not gonna learn as much as he's good to just don't be so attached to it. If you're in that situation now home and you're on your, you know one tune you think's going to really good, you know, forget about it maybe come back to the years time, but you start another one that one doesn't work starting over and you're gonna learn so much quicker yeah, I do know okay, and that a good thing that always, uh, try and recreate tunes, you know, I don't. That went out. When I very first started out. I would, you know, just to change, and just we create them from, you know, from the sounds to the movies that they're playing and the arrangement. Just by doing that, you learn a lot, you know, just by the process of doing it and see what they've done and seeing how you engine is, you know, on the screen and stuff. So that's, another good for some of starting out as well, was tio. We create when your favorite change.
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