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Producing Electronic Music with Logic Pro

Lesson 5 of 27

Segment 5 - Drum Programming with the EXS24: Loops and Breaks

Ed Solo

Producing Electronic Music with Logic Pro

Ed Solo

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Lesson Info

5. Segment 5 - Drum Programming with the EXS24: Loops and Breaks

Lesson Info

Segment 5 - Drum Programming with the EXS24: Loops and Breaks

Just recently as well I started to do instead of doing all my drums as as many parts in sixty four I've started to balance off strips from other tunes so for instance a temporary looping there and I've had a bit of the q a bit of overdrive since they're doing that again I would bounce it off I've started to make myself a little photo here it d be loops so for instance step tampering because being processed and cute and stuff you know, there's a lot of pitch I started to do now is to drop these don't get me into the project I'll pretty much do all my drawing base now at the same tempo one seven five so it's just easier for things like this just to be well fitting with each other I mean, you can convert these two apple loops and in the stretch in time with with the projects but again the more you do that kind of stuff you're compromising quality slightly, you know? So I'd rather have everything as it is. So so you're gonna make a audio track down here I can even do that by copying one up...

here which is making a new one so I think I'm just gonna make a new one again is plus button here yes this this one over here duplicates the current track this one here creating new track from a pick on that I want to be an audio track I want one I want to be in stereo on on the output to be bus one I can do that here are candid afterwards so I could just leave that as it was created and then now go down here and go bust one evil way is every man so you decide that now got a new audio track go back to my find a window but the certain drop this in here and again it's quite quiet so instead of me turning uploads, what might do it much is put gaining on here tonight for being here. Hopper shift by the way I can do this in fine amounts because you've heard them for shifted just does it in random, render them large amounts of other didn't shift and get exactly the same on the three disciples so there's a little bit there's a little bit of confusion about the using overdrive to reduce the game is that what you're doing now that we just think it's like compression so basically let me let me show you something again on the on the snare for instance here so you can hit you can hear I allowed those and you can see on the meter here that's peaking at three point two no if I put over driving it straight away that sounds loud around yeah wass but if you notice what we've been bypassed this without you can hear I allowed it is on watch allowed is here speaking of three point two if I turn it on sounds louder yet the volume is telling me is lower yes because he's been squashed so when it comes to everything going through buses and being on the master it is going to more controlled you know? So yeah basically I'm it's like compression but I've got no I've got no attack of releases that you just just squashing is going it's really nice down to here's a really, really, really good tour I use it on most unless I've got a snare drum I mean it's no job is already pretty compressed anyway but some summer, not some a very open and got spikes the beginning socially really nice way of just controlling it makes it sound better and it makes it more controllable on the level and stuff you know? Yeah that's a big difference. Yeah, some other and it depends on the source and what might be an even bigger difference if the sort sample with debate first few milliseconds really loud peak then you're going to see that on the meter when you put the average I wanted to be a lot less yeah, well, let me label this here quote ten one time in the corner say this right now around this point I probably want to start putting some procession on my my drum bus I have been talking when you it's pretty quite obvious about at the top here is is my my cycle point so this green but here is is the loop basically if you click on it it turns on enough so I'm just going to say this is my drum bus here turn the game down a bit more it's not peaking too much so what I normally do my drum bus I was squashed the whole thing together quite a bit so when normally use is ah, a nice plug in by p s period audio equal vintage warren got be careful cause sometimes makes my computer crashed so before I do it, I save they might crush you might losses here because if it doesn't some saved people were vintage woman and I think it's gonna crash but I know it does this sun's going to hit the open but you haven't is warm it's a nice it's a nice plug in it's got compressed side like a set rate a bill in the nice thing about it as a mixed controls, you can choose the amount of dry signal too too wet signal because my vintage warmer here um so at the moment he's my mixed up here that's fully wet that's pretty joy solvency dry means is it's just the original signal going for funny ways the plug into this thing god driving up here like a saturation typing no more turn out the more the story is also a compressor section or not down the bottom here speed here if I buy passed on by positive here here is quite big difference there but you gotta get you'll be aware of the fact that the air is very used tio becoming normalized to something so he put too much of something on and you listen to it for a little while you perceived as normal so it's easy to overdo something. So again now I'm going to change the mix knob so down here just that was normally and as I turned this up it's gonna makes him or the affected signal so far quite fully affected. A lot of dynamics have been sucked out of it. So as I tell this mix up down you're gonna hear some of dynamics come back into it. I want to get the balance just right between the dryer signal the congressional compromise yesterday we go, so put that on my and generally that's pretty much what I do to my drum bus sometimes I might be but they ve que on there and you can do that before or after the vintage warmer it's probably normally best today before so there's nothing poking out afterwards but in general you know yeah generally I don't have an e q one there because I've got kind of got my balance right anyway, but sometimes you might want to do that or yeah arrange good stuff there on the on the drums I'm gonna pick up with these up again I'm gonna do goes copies which is away and shift now the beginning of the track you might not want all of this stuff in you might you might want to know what a couple of breaks I might not even muted and again straight away now at the top you can see that this is sixteen sometimes I might wanna glued it in a few of these together make you know make make these eight eight violence does so just a kick in the snare, for instance because I might do a little change at the end here with something now because these parts I can go in and say for instance, I wanna I don't lecture but it will be on one of these kicks for instance first one double with something due to these other ones as well, these guys possible I might want to change the kick, you know what kicked I'm using this I could scarpa choose that kick instead of that one is going to change it to willey's now for some new edits and stuff at the end of a little sixteen by section for instance I might want and I want to do it all I'm not gonna count out I'm not with it sure on that how something I'm not this stop the end short as well just in the snare second behind all of these together from that back but you know what? I have that towards the last ones that as well ah crash get crushing it as well questionable so six twenty four studio highlight drum hits hasn't tops what we got empty symbols and normally every sixteen bars I have a crush symbol it's good for you it just makes it sound good it's good for djs when they mix in sticking here every sixteen bars are so you know oh, another thing as well if you put it you know you want it you know using quite a lot but the most common plug in instead of having to click on it and selected you can just double click this window of the top here so I double click this just puts in a queue there for me yeah there you go but no one there second sixteen bringing one of the breaks are bringing great to meet you how about a bit here sometimes on breaks is well, you might have some you might hear some ringing ringing and stuff so good way teo I don't think there is much in here but a good way to get rid of that if you want to is to first boost put the queue really thin and not sweep through the frequencies wavering boosted first to find the frequency I take you out and each of these bands you can bypass about picking up here if there's any ringing no, you can't take that out by doing that it wasn't too much in there, but sometimes I'm certain breaks that might be a bit of a ruling from the snail or something that's a really good way to get rid of it with some fine finding kun and again what the way you make that thing finn is by this vehicle to q, which is how wide how what your security is that's called q he did that by there you've got the amount of gain and you've got the frequency yes kick roll or something at the end of this next sixteen there's a few ways I can do this, I can't even go into this existing part and drawing a little quick ro intensity more recently is actually use a separate not your separate part, so I just one copy this section not that sure now at the moment it's a ghost part, so if I double click it it's going to ask me this isn't also you know, so they would be um, yeah, I wanna cut beauties from the master so I'm gonna go back to the first one here and copy it really, really stuff in the end, isn't it? This is nothing to be aware of and over the moor more nights you have closer together, the louder it appears. So what can we do in this situation is turn these things down a little bit we'll see on these ones to me is that it will be even more I really want to do the same to this is bottom one here as well. Excuse me, can I go grab the master part, do the same thing here as well against him is down slightly and also take as that's happening, but we take some stuff out about people tend to want to put more stuff on the ends of the fields, but a lot of time less is more so just taken out these two breaks. For instance, in this last part here, I have more effect, you know they didn't even in or take out instead or take out one of these breaks oh, and again, because these air different, I'm gonna name these different put cater for kick row k r and also I could change the color of the slightly so just a glance when I'm zooming in and now I can see that that these air slightly different you know uh and then we provide symbol in his well whose is a nice school? It is good to feel out lots of different frequencies you know it's got the break students and mid frequencies this break is doing more of these thank you and then you have a break with more my media type frequencies yes survived seem willing to get wide single winning I've noticed that I was going to my stereo outside when actually put that from my drum bus sometimes you might want to have one of these things not going through the drum brushed social well being compressed you might want to be just go straight to the master out depends how it sounds on the week everything for the drum bust every now and then I might leave something out just might sound a bit better anyone a group of rides in here that I made while going called way talks called lows arrives basically one day I just went through my whole computer those different banks of rights in more than just took the best and put together a theory that work quite well going here normally divides up just on the on the fox of than the aches because I've got along really sort of the way but how long there's no is here what we release up here do as well. When, uh, is kind of stage a drum programming that might not be too sure. What? What? Why'd symbol want to use? So what sometimes do think it was quite nice? You sure? It's what I do, I highlight new them copies up. I'm you? I think you like that one as well. So, I mean, all of these is keeping this a few times. Well, and then what I can do is flip between him. Why? They thought you were the songs playing and decide what I want to use and to highlight the more quickly we just hit the key. So that keep it from you. Keep it on again. E conduce whites plane. So, um, deejay route boy wants no. He says hi, ed. When you're using different samples or samples at a different tempo than the one of your current tuned, you recommend using it and wave or rex to format. You can use rex as well. You have. Rex is better in time because what rex does is effectively is trumping it. The same here's what? I don't know if you already have a rex following that's fine year, but if you just got a father that's, not rex, well, thing kind of what I done earlier is kind of this thing, yeah, technically a rex fall but it is doing the same kind of thing you ok and then the second part of this question also question on the creative side of production when you use vocals with a much lower temp tempo do you asked the artist to re record the vocals or rely on time stretching like in your dog normally normally are times church I mean depends how much you're you're changing it by I mean you got teo you know around for d p m and it's going to be okay yeah on again and off is an experiment and with the different types of types of time stretching in uh so so if you imagine this is a vocal up here factory thailand pitch machine you have a few different algorithms version five any material and a lot of it is just trial and error to be honest I find this version five one to work quite well so I would time stretch it listen to it think ok is a few artifacts undo it do if another one go back and forth until I find find something I like another good tip as well with time stretching vocals is the more the more frequency content in there there is the hard job it has of time stretching it so if you've got a vote when it's got a lot of little bought mendoza or bass and vocals it might be a good idea tio t curia took about the base out about spouts off again and then time stretching a bit results cool. Yeah, it's a good trick. Um, one more question. Josh wants to know if you can explain what the one shot functionality does. Exactly. So in eighty six, twenty four. Yeah. Yes, it basically let me go get the cup, for instance. Yes. So the one shop basically, if it is on one, if one shot is on, how fast are you? Okay, no matter how long the note is in here is going to play the whole sample no matter how long that is. If I got the one shot off, I have control of how how long it plays. I've got a bit of a release on hiss of its own. Sure sure longer living longer places sample and again, I can do it short, but turn is released, you control basically, most most most software and stuff they presume that you just want o and you want the host near to play, but in something like john based on most nights, but to be honest, you want a bit more control, especially something at this speed, you'll get control, how long that sample is and how long the failures so normally I don't deal with one, shorts always turned off

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

bonus material with purchase

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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.