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Producing Electronic Music with Logic Pro

Lesson 7 of 27

Segment 7 - Subtractive Synthesis: LFO and Noise

Ed Solo

Producing Electronic Music with Logic Pro

Ed Solo

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Lesson Info

7. Segment 7 - Subtractive Synthesis: LFO and Noise

Lesson Info

Segment 7 - Subtractive Synthesis: LFO and Noise

And if o stands for low frequency also later so basically it's another oscillator but you don't hear the oscillator has an effect on something else and it's happening a very low rate so on the move for instance and obviously you can you can make the nfo effects whatever you want to this disco modulation so one thing affected another is it modulated it so just lfo on its own isn't doing anything it has to be modulating something else so for example I could have the the l a fiery modulate the pitch so let me take the report if I turned three f o to pitch the pitch could change the speed of the phone booth and you can change the amount that is doing it by the amount of modulations turning theme or effect is having and again I can changes speed could also put the assigned the f o to the filter instead of the pitch wow! Wow wow ro ro well wait you you again you can change the speed way or you can have it go into the pitch and the filter amount so if I was a different shape so normally you d...

o have a small amount off and if o to pitch to make vibrate see these days it's more fun to scientific filter feel to cut off other things is where we look on on the moon for example you can also assign the n f o to the wave shape as I said earlier on moog, you've got a continuously variable choice off the shape of the wave from triangle to sortie square to post now I couldn't on this particular soon if I can choose the fo to change that amount so effectively let me let me doing that but also you have different way forms of the nfl just like you have a different way form on the oscillators remorse ladies, you have different shapes on the n f o itself so the moment we're just in a triangle which means just going up and down like that. So for example on the pitch put that to a square wave on the jumping up and down a shape of a square you could see the rate by the fashion line also got sort completely show these on the massive you can get that's a look over what exactly is going on so here we go here you can see that's a sign wave that fo um yes, you have different ways of a signing of assigning thing. So on the on the move he choose how much of what the nfl is having on something by turning one of these not so here you're choosing how much the nfo is affecting a cut off with this knob here you're affecting how much is fixing the pitch here? The wave amount on the massive it's a little different the way you do it you don't have a dedicated knob it's a bit more you know a lot more control because you can just drag and drop things so for instance up here is the is the oscillator these ones off so we have enough on I couldn't take it fo fo here click here and I assign it to the picture instance move this office how much it's going to affect it see I can change the shape so with a theme going down like that again I've got right now appears she's how fast square and triangle which is you can hear a sinus is kind of smoothed out more the edges you can see that so again on massive we can assign the fo to fill two instead take that off I can in drag from here two don't let me just make sure that the filter is actually an effect first ah ah ah I selected so low pass there's no filter again I can't take the lfo here driving over here and this is this is a bit easier to see what's going on because as I move this up you can see them lines that's the effect that's the amount of effects that the nfo is having on the field club well well, well well well I think it's more extreme wow wow well well, well, well, well, well, well, well, well, well, well if I change the shape oh oh out out now going down? What are you getting this backwards it wise up instead of go down what one wants want want want want want want war? Yes that's the thing lf owes the next thing I suppose you could do is you khun layer different oslo is together so in the mood for example we've got we've got to us late isn't got one here on one here you can choose the range of the escalator which is what activists played in so ah she plays you know sometimes quite feats as well I don't know why a sixteen feet four feet two feet so you changes shape here and the second was later you can lay went over the top. Now on here we have a mix of section which is that the volume of each of the oscillators so this is volume loss later one way way have the volume loss like two down here as well you can hear they're playing to give up very simple you get up get a funny sound because because for slate is very similar to each other in frequency but they're just slightly out of phase with each other could be tune this second boss layer here second seven seven times higher tha same time controlled the level of both of these wakes up so I won't have to second just like you massive but still it is on the side so slow one two down he turning on on on massive you get with stand and look since you just get a basic ranger way forms which is pretty much a sort of his square triangle sound so far on la digital simply get a lot more different options it's about quick if for instance I have all these different combination of way forms so get things like a multiplex for example let me take a way you can hear some different harmonic stuff going on in there you get all these different kinds of different different a different slate away forms which create more complex sounds in the end look seems you'll get a sub was later which is normally a level slater which is an optical one below your main us later just to give it more more base so for instance he's just my normal oscillator here ah subway threw up. You can hear me now on the move just before as a square wave I believe where is on the on the mini boom you get a choice ah you get a choice suburbs like this here I don't know theo level for the subway on you get a choice of what is one of about two octaves below ah good with the square wave or smile and wave rough rugged on this so as to think well of and look since the way forms and exactly what they say they are so a sign wave might not be exactly a sign waving a square a line will be exact square what they're slightly different shape which is kind of what gives it gives them their kind of character because it's not exact something digital so massively five a square wave your massive is putting much a square wave is pretty much exact I mean you can have certain things that make it more less you know less less precise and digital but these soft harvest on looks into naturally like that they're naturally not very precise in their way shows which given their character in it and they don't and way have a question from um some of the online could you elaborate on the noise knob a little bit from what I know you could make quite cool stuff by turning off the s sees and just use the white noise okay, yeah of course yeah most simpson's we'll have a and noise function which is ah white noise that basically what noises is is all frequencies all the time so most since have a noise function so if I turn the noise up here just as that wind when you combine that with a filter especially for the residents up get some quite cool. Sounds good for sweeps and stuff. Yeah, again. You got one on the way over here. We've got one as well. Three is now well used noise to make a lot of percussive sounds with, if you will soon so you can make kind of like you can make high hats if if you put a high pass filter on noise can get what is effectively a high hat. So most analog drum machines the way they make a high hat says make noise and put in a high pasfield but the high pass food on his that's high pass get rid of all the low frequency on what do I do? The the envelope to shorten it? Wait, you have a high hat? Oh, what noise is used for when you can use in conjunction with a one of the other one of the other are slated as well just to give a sound a bit of a bit of grit. Ah have sounded ah, and they can't be more shop attendant noise outside makes it more more dirty, like I never finger on me on the move everything called hard sink, which is the way to our sleigh is interactive each other so so I just got the one us later here sounding ah next up, he's off to a swell here's the truth in all of us later to hear those to us late is playing at the same time in the second one is being tuned upward turn hard sink on think is happening is the cycle of isolated to being we triggered every time also later one is cycling around so you get this kind of weird what kind of effect on all six have that the mini book doesn't have that a lot of old seventy six have have a hard to sink is quite a classic kind of sound people instead on the mini boot we have a thing called a metal isa on the metal isa is here and that is on the triangle wave ah so it's a similar kind of sounds to the hard sink on the movie does it in a different different way because of that you could get different combinations of sounds on again you can modulate that moving for instance so on on the malibu here they have the lfo section down the bottom here here's the rate which is the speed these what the f o is being sent to so of course I considered to pitch his my shape before before that cfo effecting the pitch also didn't feel ah on this we can do these metalized function we consign the photo booth theo theo is effectively moving this not like this um okay, so what else do we have? Yes so on so the mixer yeah, the mini bar is it looks like these are separate oscillators but on this particular soon there is only one offs later on these levels here changing that the shape of the oscillator so in effect is like having different oscillators because no issues one which is quite unique a unique feature of this uh this particular simply um again in in the yes to for example here instead of having a mixer like on the moon we have we have these knobs to control the level of the different isolate is a slate one off select too suppose later in the noise on the ears to hear we have a little triangle thing here which is the mixer so if it's if this is all the way over here we're just hearing us late one because here we just two minutes later two guys here we just do not like free in the middle you hear in all three of them and you can change the derivative amounts of william so if I get a square wave here with us later one two we can and again because there's a duel soon if we have different way forms so is that I think looking quickly is now there's a way to see there yeah way eyes more interesting no way shape ah and to mix between them instead of having volume knobs have this it's just being here and again you can hear that this this first of all it was a lot of we have the pictures here this is the pitch first later one it's the pitch for slated to pitch boss later free so mix between come down here but that won't happen way straight away with these did you away from you get much more different kind of sounds but the same time it sounds a bit clinical because it's digital so even though on the log since you have just a smaller amount of wave forms you can still get a bit more grit and stuff just from the fact that is a look on again on the something that's digital in a soft seemed to have a lot more control of the modulation because you know the minute tio physical amount of knobs on synth so for example, of the fo here I could just say I have the choice of a sunday and a foe to the pitch the filter amount of the wave a mountain there isn't something like this I went on the minibar could also sign and if I were to the metal isar on something like the yes to for instance are massive you can pretty much a sign anything to anything because I have this whole this whole section along it down here to do this on one of these is obviously take up loads of knobs so that's why a soft include more flexible in that respect so for instance three years too has two filters you're one on this side well on this side you choose what one using by the slider here world is cut off again this president wait a sign on the n f o to the cut off in the years to this that is just having a dedicated knobloch I do on the move you patch it through on this on the thing down here so for instance top play here to target just a figure want to be modulated from the bottom you have the source she's a thing that's doing the modulation I an envelope lfo so for instance so on the move I just want to assign the n f o to the filter I just turn this knob up which is a dedicated knob to sign their photo filter ah man well but on something like this you have to set it up so I choose I want my target to be the cut off cut off to this one and I want my source to the and if I won which is already on of course on a digital see if you can have a lot more and if I was if you want to go this one's got to for example where is the movie only has has one so now nfo controlling cuts off one and then this is the amount cut down way one is is here here's the speed of it well, again this is the amount of student and they've also got things like via so I have the zephyr one affecting the cut off via an envelope for instance so I could say we are on the lip one people people people hee hee hee hee hee hee hee you can get a lot more complicated in a soft pink thing you can hardware simply another cool thing you can do with them turn off if envelopes is you can have one n f o affect the speed of another lfo so for instance here I've got the nfo one affecting the cut off but now in another one of these little things here I could have I want the source to be the lfo one speed which you can find it is ah uh uh second the sourcing first I've heard two here we go. So lfo one rate the rates in the speed is interchangeable it's the same thing. So now I've got the nfo one affecting cut off now I've got the n f o two here affecting this speed of lfo one turn this up hey was n f o two down here what's happening? There is one he's changing the speed of a lover if I just get really wait interesting stuff going on there, so to speak really interesting stuff going on now in everything with that nfo is whether they are re triggered or no each time you press the key well while you out what one one one so the moment is quite key sink so each time I pressed the king won't want to start in the cycle off the f I want well what what what what what what what what what for most kinds of dance music and stuff you want to have that what one one one one one one one one one one one one but you can also have an n f o free one in so it's permanent going in the background so for instance on the usto let me take a step back so again this is has casings each time oppressed the k well starting but I believe on the n f o two if I have any foe to affecting the filter wow well yeah as you can see some oppressed a case if I was permitted running in the background so it's probably going up and down like this I think that's the difference between a free one in fo on what you call a faux restart off sometimes of voters key sink like a sieve for most it's the most purposes you want you want a key sink lfo so each time you press the key piece in time that one that yes to here you only decide that any photo is automatically a free one in fo and if I won is always keesing whereas on things like the movie is the hidden function and you can choose whether whether you can choose whether it's free one in all of its we triggered by the by the key sink in the same on the same on the mini proof is well let's look ahead in function it was it was only questions yeah we have one how do you use how would you use one of these since in your tracks so like we're talking about a whole bunch of different ways to affect the sound do you what's your process and like narrowing that down because the limits are really endless ok I'm going to do in the next section I'm gonna be actually making some some some bass sound so you know the next section of this section is showing you the basic sure parts you know the basic parts that you have and what was comey d'oh ok so one under two and looks imps we also have some distortion type things going on as well so on the on the move and the mini booth mix of section if you turn any of your sleigh is past the midway point then it is distorted into the field test is going to give it a bit more there more of a gritty sound turned up more it's been distorted slightly on the move you also have another distortion which is after the filter which is the multi drive death is the sound of it wear where where where where where where where where where where what what what what what what what what what what what what? Wait, you can hear it the way again you have a similar thing on the on the mini brute over here they call it the brute factor more is that more effect on the mini boot? I think basically what the brute fact is actually doing I think it's actually taken the output of this scene from feeding it back into the field again which is quite a nice sound for getting really gnarly stuff going on and again on the malibu as well. I think if you turn any of these sliders above a certain point three starts here into into the input of the filter which gives a simple quite aggressive sound. So if you want more softer sounds you would you have all these a bit lower but the higher you pushing, the more aggressive the sims going to sound in general, what else do we have? J d wants to know does the mobile have software interface that links to the hardware's and just it does actually hesitant they have software has certain things you can do it is a lot of under foot features on here like I said, for instance, the casing telephone option you can change, you can get to a lot of them by using combinations off. Combinations of buttons on the front panel weigh actually, in the new movie, the sub, the sub thirty seven he's essentially one of these. But all the hidden functions have their own particular switches and knob knobs. Which makes it obviously makes it more expensive. That's, the other thing about hardware since first did you will soon fall asleep. The more knobs that stuff you have, the more money it costs, right where something like that. Did you think it's a piece of software ever see it takes money to develop the thing, but the actual amount of knobs they're starting, you can have different pages, and some of them there's a lot more, you know, a lot more open at the same time. I think you know a limitation from brie. Creativity. A lot more. You know, sometimes the fact that you are limited by certain things means you have to explore have to explore it more. And, you know, try and pull sounds out of it rather than having just all these loads of modulation possibilities and yes, to our massive was something, for example.

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

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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.