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Producing Electronic Music with Logic Pro

Lesson 20 of 27

Segment 20 - Remixing a Trap Song - Drums

Ed Solo

Producing Electronic Music with Logic Pro

Ed Solo

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Lesson Info

20. Segment 20 - Remixing a Trap Song - Drums

Lesson Info

Segment 20 - Remixing a Trap Song - Drums

Okay for this segment I think I'm going tio create a a trap style track thiss time it's going to be completely from scratch on recreating anything I've done previously I haven't done much truck before don't quite a dub step in the past is kind of similar in some ways that trump is a lot more bearer less noisy similar kind of tempo maybe a bit faster so yeah I mean this ah let's jump straight in them I think that's imposing three hundred forty eight maybe any dub step is traditionally one forty but from trump's air faster she's got a temper down here one hundred forty eight of course snare jobs load up here, chap caps and snares uh it's going create apart by using my pencil to join a region the three this one hit quite nice. So yeah. So the snares normally on the free like reggae uber gay music rather than the two in the four that's if you didn't have this temper, of course some people tio half speed ziff is one for weed odious seventy instead but most people do at the double speed it's...

a nice snare there I'm going to add a little bit of ah but maybe in there to get a bit more punch two hundred hertz joyce I got a little reverb on here as well um it's a long one because a lot of this music is more spacious on john base germany can put longer reeve herbs and stuff on sounds because there's a space for him to be there because if I put a vehicle like this on a drone basin area it must be a bit too much uh oh I'm never going back up this crap snare sound of another never high pitch one along the way the bottom amid frequencies and I just want the tops and they're suffering I'm going to put any cue on here and again you can get get to nick you really quick just by double clicking up here you know food throughout all these bottom frequencies just solo this sounds something here what I'm doing that's possibly a bit too long still so so I'm going to confuse the envelope in here sounds goes goes tio goes down the volume quicker as you can see this in the short term this up go on is we're gonna put some long we've upon this so that's something here the other snow as well just get some happy today a lot of chaps stuff is done with eight o eight sounds uh for those who don't know ate away is a classic drum machine from the eighties uh which has a big resurgence really recently because of trump star music song these and until it hats because I don't remember exactly where they are going to use these find feature in the year sixty four type eight o eight drums and percussion charge on kids here six eight away and I believe this one is actually part of of logic itself it's the classic ninety nine it would show kabil I actually think the highs just raise more syncopated so I'm actually turn my metro moment which is down here on the bottom right that's at the moment I'm not actually called in and I'm just going round but like I said before there's a really cool feature where you can just capture your last your last two look point from what you were doing so I could get it going for ages playing away different patterns and I think what that was it stop it and captured the last last take down so I'm going to do that now that's enough of this command and plus now it's gonna recorded a lot of them I didn't actually want to do that this is the ship in the lost the contours of this I don't want any swing on this my pick off now it's a little bit two million okay I'm kicking here sometimes I think in trap music they don't necessarily have a kick the base itself is a kick sometimes it was a simple kicking the bases over laid I think I'm gonna put my kicking as well as a base find here hey it's kicks and snooze is she is my and then kicks are like now because there's gonna be quite heavy base over the top of that I want to kick to be too low in frequency and again come on and plus catches that last thing volume is well by and it's one of my having a quiet I cannot put e q on this kick so my analyzer one here shows me the frequencies as you can see initially hits around here on one hundred fifty hertz and goes down and getting rid of some of them low frequencies here still got a bit of popular base there but not too much stuff going on e and with that little snared out I'm not going put viva about it because it's going to be kind of short and sharp they're quite close together come on copy just the second half of this into a variation my movies over sixteen and again I can do that but chris and alternate in my keys my arrow keys across again that's quite a loud sound I've got my favorite right then the bottom here's what I'm going to do well can you put gaining appeared to turn it down or I could just go inside the year six itself intend the master will you down a bit content is back up bucking the same body and but now I have more control my poor baby but he stopped short weaver buddy what is opposed to a long one? Sure okay so that's in basic drums it's one of these in the same jump straight to some some basis poses most trapped bass lines are I ate away type based sounds different ways I mean traditionally on the nato drum machine itself it was just that one pitch the kick drum so we play as a baseline most people would be sampley in spending across the keyboard or you can make it yourself or have a sample for me I mean in a way kick drum is quite basic thing really is pretty much to stay a sign wave that had a bit of an attack to it just fades down in in volume so yeah I guess we should be oh maybe make one I mean making pretty much any simple really is quite simple sounds um let's try massive massive a lot of people would know that okay so here we go for attorneys to slater's bob twenty four I'm on the a square wave I was sayin wave so if I choose down here a sign it square that means if I turn this here on the sign there is a square soccer mix between the two in case the first thing you want to do it he's in the loop envelope down here sixty four is the volume like in massive so if I turned to k up it's going to last longer on the sound normally you play this sound probably active lover that depends on what you guys are listening, and you might not be able to hear that so as I'm making this sound or probably do it up here allowed, and that probably just makes a bit of a square wave in seeking here I'm doing as well, so the moment I'm just getting the length of it, but changing into k give it a bit releases wells when I let go of the kid just carries on slightly it's another finger, even eight to eight kick is only the very attack as a bit of a bit of a punch with victor. One way to do that is to assign an envelope to the pitch of the samples at the very start off. The sample is hiring pitch, so we'll do that choose another envelope, as I said in black four by default is connected to the volume, but these free envelopes here are free to do whatever I want with them. So you're taking that one what I'm going to two there's a sign this to the pitch, but why do that massive tio? Grab this little thing here over here, which is the pitch and turn up that's how much is affecting the pitch chicken here? Theo envelope is bringing that down uh my turn off the amounts that the envelope is going to pitch to highlight the pitcher be initially and I don't want the I want to be short up with very tiniest start to be up so if I tend to came right down low, you can hear the few milliseconds it beginning kind of hit it off makes it more kick sounds que up you can you exactly what that's doing over a longer amount of time? It's extremely mountainous student by being here a space along with drums for sec. Another thing as well I wanted to be a model for nick club polyphonic sifton those overlap they want more than one, they're playing at a time, especially base. So I do that by thinking invoicing one of funding anyone that time complaint I think it's a little bit of the case here it is all on the same note up for to give it a bit of melody and very denotes a bit more you can have the base hit and only when the kick it's to reinforce it or you can d'oh and you're different times I mean that's a preference really so much actually double delivery for this these drums so I keep on the same night for longer than any of the end might change I think that mr at the very first one let me go in there and just call me one of course qantas is all this I want all these to be the same love nous. Depending on how this sitting in the massive, that might not make a difference.

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 from an experienced Pro, don’t miss Producing Electronic Music with Logic Pro.

Software used: Logic Pro 9

Class Materials

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Ratings and Reviews

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Fantastic course. Hands on details from an experienced producer, showing us tons of useful, time saving tips to get real results. I can't get enough of this style of teaching. Thanks Creative Live and Ed Solo!

DJ RootBwoy

This is a great course which covers basics as well as more advanced techniques, and the insight into Ed's workflow is very useful.


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.