Segment 10 - Trap Bass Automation
So in that place are another thing as well I should mention here a lot people like tio to lay their basis so they would have this some kind of mid base and take the they would take the bottom out and then they were that their own sub layer person I don't do that I liked have just anyone times one bass sound playing which contains the bases well that way any kind of movement is being movement it is moving with the sub is well, you know I mean each to their own people you know you could do that if you want but personally people just assume that I lay all my bases sometimes I lay when being general the sub is part of the sound rather than it being a separate layer that gap there stick some kind of a simple woman would kind of thing in there so so what I would do let me and create a new software instrument create remember to put that to bus free I want all my bases to be going to the same bus it will be inside chain nicely maybe this summer should use the massive I'm going to create quite ...
simple sound hears it didn't really matter what you do in that just for variety and just show you guys I should do it in a different symptoms so gave instruments massive so what we got here what I said by the four envelope for is my volume in the rope I just be forced to that so what must sustain right up police so what we got here a glass ah square wave pours down inactive um I'm gonna feel to it slightly choosing life pass for um I just like to cover here mmm that's a simple when I do that with an n f o so I've got an f o here and again to sign that the l a foe to the filter in massive what you do you click drag here as I click and move this up that's the amount of modulation is having well it's a nice visual way tio skipping about massive is good for learning because you can kind of see a bit better what's actually affecting what speed be a good chance here to show you guys sink if I click sink s I think here now I can choose he uh speedier fo sinks to the tempo by divisions hee hee you have a good thing about massive as well he's the envelope here you catch he chews whereabouts in the cycle it starts movie there is going to start up here which is the high point of course it's going to start in the low point nomi wait that's right wait I'm gonna put what in the middle of their clothes that a sec is you mean a bit yes and we went first we called my based on that, and only we call it with a keyboard, but after that kind of pretty much no one knows what so it's a lot easier for me to just enjoy the snow in robert until he recalled preston erin in quantas yeah, somebody had a question about that earlier, do you? When you're doing this, you mostly draw notes and when the drums and the joint itamar program drums by drawing the with base, I think it's a lot, but it is if you can just do it with the keyboard because you're gonna get different results and a lot of drums is kind of sometimes I'm a little out of a hat or something, I might play it in general trump's always drawn and by signs of pretty much normal played in the first player he's going to get different things come up, you know? I mean, even if I got something in my head that I could draw, I think it's still better to play it, you know, here with base, pretty much I'll play in, but in once it's in there and I did an extra note like this, for instance, is no point in playing this just one note from now, what is all this just quickly from joy? It's another thing when you're in bases like this you kind of a way to make sure that they don't really over that you don't want too much low frequency content overlapping space is quite powerful party order spectrum overlaps bista volume by quite a bit was if you got a high thing or some highlights overlapping doesn't have as much difference in the overall volume off the track so again I'm often come back a little bit longer so then I would have to make this one here a little bit shorter and again I want to do that over peter have a piano do that get over here so I'll go in here and really at the part that sir are thirty eight's and we can see where we often only thing here that back on that board another thing I might do here as well because it's quite a lot of movement to this base I don't need to have as many notes so I might do is get rid of that one an extension oh you can hear more smooth on my enhanced the amount of l a ferry to the volume on this first based on those well by turning this up a touch sometimes they get stuck and again if I wanted to on this sound here I could I could send this sound to that same distortion ast the other sounds tried that it might work it might not be too much yeah, I don't really think you need it. Besides, get turned off. Try this back here and again this whole second section I might just do different sounds if I see me not that you see the notes here talking about it more precisely on that point here think going tio making this part here separate a different sound altogether. So again, I could do that by create a whole new sound or could do a variation in the current one which I might do. So if you remember from before I click on this one up here new track duplicate sayings it's now I think is that copy of the truck above? So the moment is going to exactly the same now I can go in and change this. I could change the aleppo speed I could change the sucker change it completely just slightly I could you know yes, except to me how what particular party I want to change, so maybe just the tone of it in general when the and the speed and on this time instead of the other five affecting the and um I have it affecting the field to instead on dh lawrence about that presence it's just cycle around this part here, mrs moment much use um, see, maybe just not used to set up a tool so any of these modulation parts here I could just bypassed by quicken bypass part in there that's not used again same with this one over here it was quite easy to go just instantly turn off on the modulation about changing the amount try reversing this in a way around it comes up instead it's kind of interesting context interesting yeah okay yes a lot of this is being a me making the bass lines from scratch but to be honest these days what do I make most of my bass lines from scratch on the the hardware since then I called them all off what we sampled in for my late master perks and then used them from itunes now I can uh can you track your six twenty four stereo and go teo base it's those base leapt to and here I have my base have to sample pack and I could just premade ones I skipped through these buttons here go up and down through the the sounds in the covered folder said to go to this next one here I could just push next there hee hee so it might do is just choose a few of these that sound kind of course you get someone's quite cool push the next track button to duplicate closed that open this one e carry on from where I left off that was kind of cool as well choose another one so copy that again. Open it. It's now gordy's different thousands of contracts that will pre made you on again. I want to send a released a bus free so I could do that individual down here to be quicker. His press screen set to hello, I'm here. What were these center bus free? Uh, yes. Now I could just move these tracks up and down for different sounds. So first thing that was good first up here, I think in this one here could bring down you can find some more sound too keen on that one here's this one believed and I was actually made on the mini brut I was going to recreate earlier, but I don't remember how it was made. I actually took a picture of the simple tio remember it base it's on an older computer, I didn't actually bring that. So plus there's a lot of distortion added to this as well. So those made in the mini booth? Yeah, but come over this think this's experiment and sometimes you might have a certain thing in your head that you want to do. In other times you kind of got a rough idea, but it's just you know, I just completely don't be too attached to anything just completely change the sounds of using this sometimes I can't even go in and change get well, notes that plane. So sometimes I hear other people make toons, and you think that they just they just got to that point gradually, by making, by the time, it is hard to know exactly how many things have changed back and forth to get to that final point, you know, rather than it being just a linear process, you change that again.
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 from an experienced Pro, don’t miss Producing Electronic Music with Logic Pro.
Software used: Logic Pro 9