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Producing Electronic Music with Logic Pro

Lesson 21 of 27

Segment 21 - Remix Trap Song - Synth

Ed Solo

Producing Electronic Music with Logic Pro

Ed Solo

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Lesson Info

21. Segment 21 - Remix Trap Song - Synth

Lesson Info

Segment 21 - Remix Trap Song - Synth

Just do that any way to know it's up for william and I think I do that by functions transform fixed velocity just elected operating afterward about what's going on in there now they're all the same velocity tend them all up there's a glide on there possibly overlook that does not sound like there was the timing of this one's funny ok, can I might have to these here instead a funny place I think this one here might have just one note robin into there's a little sneer older and I know it's kind of getting away way no, I said we say this command s get some kind of cynthy element in a maybe um so I just recently got the native instruments complete she's a great bundle contacts five I mean that you get lots of different and contact is a sampler lots of people make make sounds for it on the left here is all the stuff you get your complete uh uh involved I believe it is it's got some interesting stuff in it. Doubleclick one of these these are the sounds we've been evolve interesting a quick o...

f course here you should go through these different presets kind of interesting also play about with some of stuff is going on here down the bottom here we're here, you'll tell us I believe these little sliders here change what the field was doing at any particular moment interesting back to how it was actually something going back and forward again because us because that's a whole secrets and I wanna play I'm just going to draw it in so get exacts way to kill someone revenge in the moment and as I said the other day most bass heavy music shouldn't really make your song in the key of c because it's either you see what kind of the basis either to lower to hire that reason kilobits quiet higher for a base if I go down here too even dia's well really so around a g g a b good notes to base a so if you're starting from scratch is something to bury minds not to have your key your platoon in the key of c so I mean gene again I want to follow the military of the base as earlier here said last he bugs I've got to a sharp and in a you can take out any kind of very grumbly food frequencies it down the bottom there I don't want anyone want anything interfering with the ok any questions? Um you know we have a question about group hey ed, can you talk about grooved you use swing in logic or time adjust for the single track or something like that? And if you do this for which tracks on ly drums or something else yeah then if he saw the last segment but you went over some of that if I'm if I'm doing house music cardinal me put swing on the drums okay? And again I did up here so if it's on sixteen a swing essential s in those swing uh as you go up these letters the more the notes of swung with drum and bass I pretty much know swing it all on and trap I don't really put anything on there eva might have some people do or not that is pretty much just sixteen's so yeah, maybe just house music by you swing okay mr millionaire has a question this question got three votes um hey, do you have a routine for searching for sounds? Do you sit down thirty minutes a day for example on listen sift through libraries or do you look for stuff like right when you need it? I know you're sort of in that process right now in this project you're like finding different sounds. Is there a way that you yeah, I mentioned before if I get some sample packs of stuff for every nineteen I spend sometime when I'm not writing music to source themselves to give us if I just sample pack of some kicks and snares instead of pointing with them snares into into into sex only sift through first and created safe I've got a photo of first he snares, for instance I'll go through and maybe color code ready ten of them put them in a folder maybe go to another sample pack ten of them so I've only got one of the best of the best and then so then when I'm in this situation now for instance have been this kick all these keep jobs have been pre selected to be put to use so even though in this tune I I went from him and chose this particular kick I'm choosing it from an already smaller selection that I've already made, you know, it's just the same time so rather than me just going through some of these kicks, which I'm never actually going to use, I'm going to use most of these in some instances you know, we have another question from the same guy hey, do you ever use the fat or over sampling button on the excess? Um thank you, thanks courses great all caps three exclamation points yeah, that only really works when you when you when you use in the field to really other often use the future in the air sex with drums on with based sometimes I do, but in general with drums are pretty much treat their sexes as a sample player, you know, obviously I'll play about with the sometimes with the tune in with the envelopes been jim with the sounds of already kind of you know, a certain quality and I don't really used to feel too much in the six twenty four now you mentioned that I didn't actually realize you could actually turn the fatima about if you were being on so you don't something new every day they go well, I didn't get couple of the sounds in here is calling this I think going to get some kind of short kind of sound that you happens every now and then we've sent allowed it, I think here this is a classic sound from old emboldened juno since, uh what people remember from the people? Enough of the nineties there's a chink dominate it that used it. Ah, great. Sounds like he's gonna use it sparsely. First you take from the bottom up, so you know, I didn't record it recorded it anyway. So what to do? Command and plus and again, that's going to be different in your version of logic. I think you have to assign that thing to be able to capture your last recording. If people are interested in that press. All taking k gets my key commands up in this box up here. I think it's called capture last takers we called if I just go capture t a p t r yeah, there we go. Global commands capture as recording and I've assigned it to command plus because by default I don't think that is actually assigned to anything as the finger lucky there was a lot off a lot of key commands in there and there's a lot of them they're not even assigned to anything I mean that is just hundreds stuff in there so you can just decide certainly things to speed up your work flow it's just it's insane yes again to get your key commands alternating k on that particular featured I use his capture takers recording so like just now I wasn't actually calling I was just playing the track I hit them hopeful yeah I like that chris come on plus on dhere is in here pretty quiet d'oh in the six twenty four as well wait here that's gotta start to it on it bends down but I'm not gonna jump for being in the sample I said the way I would do that is ah forty kliks up here but we do it again to show you guys destination sample start source just have as a maximum raises fate of up it's gonna start point of example slightly later by useful feature maybe somewhere around there on because it's taking time to get to that low and no it sounds like it's a bit out of tune because it's only playing the first part of the network's a bit higher than pitch so I'm like coming in tinker with the tune of that just to get city in city much union wise and again in the year six twenty four you find shooting is here of course tune up here thank you wait theo shop down more maybe I might play about the envelope is well sustained dirty up a bit as well try the distortion institutional has a filter here on that to be completely open stop this more gets louder and louder so the more this thought you wanted to turn the output down to compensate well do a few more over here have been following the the changing notes because there were changes notes on this thing this last part here so I believe it was thinking as well yes another in cuba after distortion as well. Because if you if you start getting voted distortions and stuff key before and afterwards have they reacts differently if I change the key before it's going to sound different if I put one and afterwards because it away the distortion works so if I get another e q afterwards take out some more base were up to the mids cool it is safe. You start getting to some arrangement people's stuff a few times james james has a question how long does that usually take you to finish a track? He says if he seems to work really fast very well I mean sometimes sometimes like you know, a day or two the majority it can come other times it could take ages you know months but I think generally the the best ones come quick prism a lot of time yeah that often music is simple on a cz well when you hear music in a kabul wherever you listen tio me only hearing it for the duration of the song right which is that four minutes or so for for five minutes and even if you just make a song in an hour which is quick there's still a long time compared to the time it takes to make so sometimes a lot of people could make it make a track on it could be pretty much done but because they're hearing it over and over again tendencies just to add more stuff and more stuff because that he becomes used to what you've already got and you could just end up ruining a track by trying too much stuff in there is I think the best tracks are ones that just just just happened really quickly just a quite simple you know when but when do you feel like you know that it's done well I often I mean any kind of r e done when you stopped right? I mean there's no finishing and I remember seeing once on tv and I saw I saw the time lapse of some great painting and it was but most paintings and a lot of time you listen to music you presume they started they just built up slowly you forget that sometimes they might you know, I might want all of this and actually changing roads delete low change and this guy was painting he was almost done that in rubbed load stuff out paints amore rubbed alone the stuff out and change this big change that bit and you see the import tax on it it's just like, well, music is about that, you know, you can it's just you could have went on doing that for ages and ages and any point you could've stopped and it could have been a finished product, you know? So is any overseas need to arrange it as well, but yeah, I mean songs only finished really when but when you decide it is and you know when you stop well while we're still on kind of this like philosophical stuff there's one more question mr millionaire wants to know he said thank you for taking all of our questions. How often do you actually sit down to write and produce stuff? Is it do you make a daily thing or is it you schedule certain days of the week that you work on this or how does that make it a little bit harder nowadays? Because I have a daughter that makes it a little bit harder. You have been quite a few days a week I'll get in the studio, but, uh, before I would just I could just, you know, not too much in the studio just muck about inspiration might suddenly strike, and I just people would ask me just suddenly what track you know, so it can be a little bit harder when you have to designate time and say, right, I'm in the studio for the next few hours. I've got a right track, they always say we remixes office, it is a bit easier because you've already got some kind of started talking you and time I have an idea of what I want to do with something, so in the case of remixes, is it's a lot easier, and I couldn't yeah, I could do it in a few days or so, getting most most of it done when your wife from scratch it can be, it could take more time, it could go back and forth from that like it and, you know, one one more question. What makes you choose logic pro as your dog instead of like pro tools are studio one or any of the other ones? Well, originally I used to use key base on on a notorious t I think protocols is mohr there's more for recording audio so I mean, I haven't really used it, but from what I'm aware of, the media side of things isn't as good so you know that the sample is and we're this software simpson stuff I don't think I was good in pro tools, but I think probably called in traditional bands and stuff I think pro tools is better and over the editing ludo editing is probably slightly better in pro tools, eh? So you're pro tools is more of a recording thing for bands and stuff, whereas I think things that logic a mountain in q base arm or for I mean, obviously you can called rock bands of sucking logic as well, but I think key base able to logic, a big guys for making, making dance music here and and back when I did switch tio logic back in the early nineties, I thought people were jumping from cuba's to logic, so yeah, I made that jump, it took a while, but I think nowadays is a preference thing I think you bases will be just as good as logic has some advantages the logic doesn't and vice versa and again a lot of people now use unable to because they're able to it works in a quite different way I think it's more get your ideas and quicker stuff I find it with philly able to northern over. But I know a lot of people who used to use logic slowly move over table to certain things. And now we just use an able to exclusively so I mean, at the end of the day, it's, the ideas you have in your head. You know, I remember a long time ago reading we did not call about how liam howlett from the apology made his music, and he used this, uh, this keyboard that a sample bill into it thinks of roland w for you or something. I think after that the price of these second impressive, these hebrews went up loads were really most these people would be much better with a sample on notorious and notorious tears, their secrets about backpacking in times, but because he used this, they think, oh, if I use that, I'm going to be as good as him, but good not to do that. It's got to do the ideas in your head over and the end of the day, these things are tools for what? For what? Your you know what you need to do? Yeah, yeah.

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



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.