Segment 11 - Reese Bass
You mentioned how the glatter works as well actually so in this sound for instance in the year six twenty four at the moment is some polyphonic mode which means I could play for pay those notes at the same time I don't want to do that I want only play one note time she could do that by clicking on one so now you yeah yeah yeah one that plays a time thank you and if I was to put the glide on which is here this is what I was talking to earlier about drew about the the big light now yeah yeah you can have pending for one another but if I put it on the lotto now you're gonna bend if I over that the notes if I press one note in the other yeah there's no bitterness glide but now if I press this one keep my finger and impress the next one thing you could hear it bend up your e choice off and plus it also know only that it doesn't look like one triggering hee hee hee hee hee what might do is put a lot of higher on this same sound over here you should miss a bit but make sure overlaps slightly ...
maybe it's never quite if one um that's kind of cool and awesome so that was to be sure there one way the sooners overlaps that's good because now I can control however, note benz or it doesn't just by whether this overlaps or not, you know, so they have to go in automate anything or you may come here have come back down again and you and I think the next night starts there but don't overlap here that's one way it's just nice to have all that variation just by a slightly overlapping a note or not so I do that a lot my basis is and again that spire choosing in the lotto up there on but a combination of the glide yes, just to go over that we've yet we were to glide up on the gotta one only ben's eyes over that yeah, he's on one oh, there's always could spend with its overlaps or not pilot polly e u want teoh got and again through the amount of glad is the time it takes to bend if you do it too much it's gonna take I used to go up sweet spot is around here depending on the speed of the track and, you know, various other factors. Ok, so me cut, uh, get my city is up. Any questions but way have a couple great question. Can we see a reese base so a couple of people have asked about reese, okay, about that, um and then somebody else wants to see your reggae style cords okay we probably did I just let you go on this stuff because it's so interesting and people are totally engaged okay, cool. This is awesome to see you work like this I don't want to interrupt your work okay? Yeah avery space I mean you can kind of makes him or you get there's loads of sampled ones out there you could more have been processed and stuff but I could maybe make one maybe for this section down here get rid of this if I copy of this for this instance I'm not going to use ghost parts because I'm gonna be going in and changing these I'm just gonna copy these normally personal tonight copy and maybe the second time around this section either have a some kind of re space instead of what it's doing here just for variation this part here and where it will make a re space instead and each additional re space is a very kind of I mean I've got a never looking find also a good thing in the year six twenty four is if you know the name of the sound you can actually click on find take on the find button there type in what you're looking for and then you've got a filter traveling to stop that matches that name so nothing matters that maybe I spoke with an s instead the say no, maybe I haven't got any recent interesting and so I did have cleared a second clear finding riese base e this is the original space which is ah named I think after kevin reese order sending one of his tunes but most people, when they say every spaces today they mean and more distorted version of this which has a lot more distortion harmonics and so let me let me make both really mean, I think the way this was made was just it was just to sort to side itunes and fill it down so start with that then we can make more not a distorted version. So what should I make in a massive media? Um and they've instruments massive remember to put that on where based bus us free you've got me free also is here I believe it's a sword to so look square and saw and this means that the square is on the left hand side that's not been the swords on the right two clicks select square saw movies, of course should be a source uh let's get my envelope term I sustain up so solid sounds okay, now I want to do the same in the second us later down here tonight don active as well a select square saw now swords plane exactly the same time is each other no, it doesn't. You can't really hear any difference because it's a digital synth fuel to do that in the logs and you'd hear change a bit, so I'm going to do it just de tune this slightly uh sorry I haven't got this. This is the william to the oscillator is here. So if this was just says I turned this just get louder also a massive got a thing in here last section way start via gate. I want this ticked here. So basically what this is each time I pressed the key, the oscillator was we started from exactly the same place. So you saw the press. That key is exactly the same that can also by moving these things here change the phase of the oscillations in relation to each other and you have one for slate one two free and the modulation or slater here as well. Smooth facing for this someone in both the same point was going on right now one of the slightly the more attitude it faster that you're going to hear the different ways to teaching in this one down and one of teaching this one up, I'm just determined this one down, and if that one in the middle with the whole sound would be slightly chained down that's what I want put this one up slightly and this one down slightly so I'm still going to have to tuning of the whole sound correct so we see the mortar too needs to faster that that wavering appears wait around there somewhere now if I put a filter on this pass for a case it is two filters in massive you got one here from one here and on the acela as you choose whether your slate was going to feel to one or four to two by the slider here so I won't nobody's going to feel toe one so I'm gonna turn this side up this or slate is going to fall to one same here source they feel to one because this car office down you can't hear anything as I turn this up turn it down traditional way but obviously for more more than raise you want a bit more bit more non distortion to it so it's different ways you can do that you can start I think those of distortion or about the future of it straight away is a bit more so the good thing about massive is you have a lot of effects and stuff built into the synth so down here for instance, you got two slots for effects fix one and all these an observer of fix one and you've gotta fix to not be a comfort fixed too so I wanna go to fix one down here you got a choice of these different effects so try a tell youtube for instance, if you have a dry wet not here william down distorting try different booth stray away you've got a bit more kind of harshness on the upper mid that's it completely it's completely wet the driver is the amount of fifty is having uh que I could also have a fixed to one as well another I mean I could put some kind of phase one there possibly here so these days every space is any kind of base that has a long just a straight turn to it with some subtle modulation that's kind of day a song that put any kind of and if I were balls or anything on the field envelope this is technically a reese just a matter of different types of distortion mohr you know I saw your screens cup a bit here but you got mohr inserts down here is all for extra effects if I wanted to talk about a third of slavery even um uh trust to soar again it happens a sensor could let me try and change the way from uh just randomly pick something maybe let's put it back down yes, I was pretty cool. Let me just uh put cuing or seven the keys you haven't analyzed here I concede I have some sub base content way to bring out again is what is the distortions stuff a guy I could add more on here if I wanted to and again I probably want to put some pretty one puts um some glide on this sound to resource that sounds quite good. Beeson glide on a massive I do that by think it's invoicing uh, voicing here is here light and again I went on one of four nick and I went on a regatta that's quite extreme. Glad time they're going that much. I think any time you're gonna do when the notes so there we go just to squash you up a bit more it's put overdrive on there may be a good friend the over joining when you first opening I think you get filled two in here as well. Normally I have away hoping open I think when you first get logic when you first open open overjoyed that down. So again it's not doing too much to the sounds, but you can see on the need to kind of compression up the volume a bit more stable let's, bring it down here that's not been replaced by one that over that this bit here just ben probably would be just one. I see that in context another thing as well. People have a tendency tio sit for hours, just looping one tiny section going over it. And then they might, you know, an hour. They hear the whole thing in context, and we'll have some things that sound that grace it's always good to keep her, I on the big picture and, you know, listen to your whole block, quite often, way space for the people in the chat box there.
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
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