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Producing Electronic Music with Logic Pro

Lesson 8 of 27

Segment 8 - Subtractive Synthesis Examples & Questions

Ed Solo

Producing Electronic Music with Logic Pro

Ed Solo

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Lesson Info

8. Segment 8 - Subtractive Synthesis Examples & Questions

Lesson Info

Segment 8 - Subtractive Synthesis Examples & Questions

Lauren says like another question a cz well how do you make a sound where you have an envelope or lfo on filter cut up but it changes shape on certain notes and I love that people in the chat room are like typing out the way that the sound sounds because they can't say it right so it swamp swamp what we want okay so there will be a few ways to do that really I mean you could yes I think effectively what they want is something like this way wait so I mean one way you could there's lots of ways to do that in one way you could do that in this instance is to have the have to track running here way right and that would be a more mated it on another way to do it is it would be teo automate the nfo speed for example so with automation you would also by the way I would do it personally is I'll make well in in software are made to instances off the scene and have one but one in fo speeding one another so let me do that like I said there's different ways of doing it you know it depends what you ...

want to do because they're so for instance well well well well well so you put this back on one zero f one affecting the cut off hee hee ae ae one copy too soon for that and what I would do I push this button up here which you completely duplicate my sound onto another track on this other since then turned down the speed that's two different trucks e so I would then I was in your drawing my real fear and certain notes I'll place it on a on the other track so for example we just e contours that I'm also going with notes here by using ah note events note force of lotto go say that sure on that one but first I'm gonna get the speed of that correct I would never think of ufo's as well and a lot of most simpson clued in these you khun clock the rate of the l a phone to your project so instead of it being continuously variable on the speed you can actually choose whether it's you know that quarters I so what have you on here? I'm just going to manually so here for instance, this truck here with this phone booth track on the so he put this part of the next track opening up a different space and what we do could cut I would cut the lost city you could cut that last bar, for instance and have that different trucks that's just one way of doing it I mean, I could also ought to make that call maybe is a little bit fiddly yeah, but germany that that would be the way I would do it would be to be too do a different track on again I could just then make a copy of this track again copy it so then the next time around so I'm going to copy this on the second half now and put on a put out so I'm gonna put it down on this third one I could I could change the change the shape of the n f o for example sounds like e have another variation you know? So you know I've got so be like this e with yes that's the best way obviously you can't I really do that on one of these but what I tend to do my looks imps is I'll sit feeling about making a good sound and then I was just sampling off uh we only have sample each chaos I make my loot master paxar sample each of the keys and then I could I could do to various different speak if there's no if only I could do a different speeds and stuff or sometimes I might actually might actually do it live where I would just uh because it is audio so I'm playing this and I'll be wayne is audio and then chop its and obviously you might make a few mistakes and you can chop out little bits and move about in audio mr millionaire has a question do you have a routine to translate the synth sound vision in your heads forgettable base to a sound in your synth module is there a process like if you have if you wanted to hear that sound and you have that sound in your head the one that you just did do you just start randomly setting stuff up what's your problem I think from that comes of experience really I mean I love you know after a while you just want to know the basics of this stuff is so easy to then you know to progress more and if you hear a certain sound in your head it it becomes easier especially with telephones and stuff it becomes quite easy to think ok so how do you know how I go about this I'm hearing the sound of my head and it's a wobble took for example when a woman is done by an n f o and you know so yes a lot of time it could be reasonably easy to hear a certain sound and then to translate obviously the more you could get some really complicated type sounds as well so you know a lot of the kind of noisy type sounds that use lots of distortions stuff is it could be a lot a lot harder to get from your head down tio to make it on the scene but lobby is practice and experience really just you just need tio you know, just here kind of simple it sounds in your head and try and go about making him think about exactly what's going on behind the, you know, behind the door, I mean, in part in the next part I'm gonna go get more and make it more, more complex sounds to do the math crows and stuff, which is where you have one no control, lots of different things and you can just make that that one knob and stuff, so yeah, so a lot of it is experience, you know, just I know that if I want a base and it goes beyond I'm going after using on the envelope on the field at dawn to bring it down if I want to know what, what what did I know? I'm going to use a lfo except, you know, the more complicated gets that we have to think about that and also a lot of the fun is not knowing exactly where everything does a lot of fun can be no, it just enough to make some mistakes it's turning nobody think you know, I'm not sure exactly what's going on here, but we're seeing some crazy, some crazy sounds coming out, I think a lot of money in the early days, a lot of my my best sounds were made by me knowing just enough to know kind of wondering but then then but in moving a few things and thinking well, especially with what I showed earlier with the one in fo effect in the speed of an average of five and stuff like that it could be a little bit confusing but it can also be a lot of fun because you could just stop tweeting with stuff and all the sudden you're getting some crazy figure quite understand how you got there but you've created called sound from it because they have questions yeah, we have a few more can a flan be inserted at the same time with the current sounds so ok yes a flanges flanders will be affected I didn't afterwards yes so that's what I said have a good point actually but why you're making I mean obviously this is easy to do his software I mean, you could ever hardware friend you and put it across the up of the hard way since way for example in in the in here while making I can put a flag one on here for instance modulation friend your stereo wait that I could actually if I think exactly know what I was doing, it might be wise to put the flag on first and now go in and start playing about with the saints in the city, you know we're going to get more more crazy sounds right then they're fun if I threw in a linear way where I'm making a sound anything quite now wanna put flan julia now a river when it so yeah I mean what we have all you want to do that is you know, there's no rules really you should good thing awesome. Um what are some nice musical intervals? Sounds between our musical intervals between o oh I c one and c two and three that sound cool despite the obvious actives yeah seven fifteen seven things that that a good so yeah, for instance on the five used in big school so that's just one off later it's just like being joining theo theo same difference is the fact that if I got to oscillators and they're playing that they can never play exactly the same pitch right? So if I try and get it exact way slowly out there facing with each other because you could never get quite exactly get very close and we re slowly drifting was with a soft enough you can get exactly is going to sound the same each time you press it so yeah I mean an interval so you know me you get you get up to that guy said teoh d'oh so that's seven seven times by you could be oh well could you see five seven times free five seven seven be aware that if you start doing that then yeah you get involved in harmonies and called and stuff so if you have if you have already got some chords late hour for a tune and you've got some majors and minors in there if we were suddenly start playing things sound over the top some notes minus b be sitting like you know so it's good if if it's quite basic tune and you're just starting out and yeah definitely used fifty seven again just tiny amounts as well slightly out by that you get a kind of withering effect of to us ladies I think you make that kind of sounds you kind of do that with like a sort of way down wait maybe go back to massive yes like a city you can get more interesting way forms and stuff with soft teams get organ sounds of stuff that straight straight off the bat you know you can mix them to give up uh could we cover I also you get a thing called a pulse with modulation which is what you see you have a square wave from the mini book for example ah square wife ah you can change between a square wave and a pulse wave and they called that way ah, another classic type sound pulse modulation and you can kind of do on here in the middle of the movie because you can choose the square wave wave a lot could assign lfo to that ah again it's a very similar sounds to having two oscillating very slightly that at two of each other the same kind of sound is having one of the later but the pope's which is changing and of course you that you could then combined the two as well. So theo theo the our boss later completely different speeds another speeding tio two different combinations of stuff interesting sounds do you ever detain your since like a four thirty two said a four forty no not really now normally everything is a four four year that's the other thing with look symphony or you know we have a fine tune in here too to get in tune with whatever else is going on because normally with a digital cynthia everything's perfectly you know it's perfect that you might have for example in the years to hear you do actually have a few where is it? Uh you do have a thing holds you do have some kind of life and love modes where it kind of slightly de tunes things to make it so here because look at the top here and look for more that does it it's slightly d tunes things to make it sound a little bit more little bit more live bean is at the same time but no generally I have everything sit teo for forty years I have heard some interesting stuff about people detaining music tio forgot what it was now but it's a four hundred forty something instead because it resonates with something or theirs I've heard about that but in jim would like to keep everything from the same and that's number fingers well, you gotta be aware when you are using look if you're if you're good you got some music in your in your projects you know listen very carefully and make sure that you are cheating it correct especially if you're recording in his audio because it's slightly out really listen to popular you've record is some parts in his audio you can't then go and change it easily or you could put a picture of two or something like that then you're gonna start missing about this sound so yes, this is always a good thing teo teo, listen out for that and other things were always is is easier to tune something the higher the higher up the art disease so if I've got you know I've got a piano riff in here. Teo thiss germany easiest attune something the higher up the actives is only the lower down in base you go the harder institute something so again if our man if I'm trying to create a sub baseline for something coach you know I've already made especially if it's just kind of like a sign wave type sound sometimes it might be easy in teo to play along hieratic first because sometimes I might play long play a baseline you might wanna notices action wrong especially down low one that's one with what? You might not notice it but if you put up your way might he'll actually one index was out so yes and have a good tippers were always always check you tune in and always got on activity when you first put baselines in especially if he's quite a sub by someone not too much harmony content another thing I suppose I could talk about a educators this this has one built in the mini boom that could be quite fun especially for you into contracts trance transit type music ah basically what a pleasure it is a place a group of notes so first let me make the sound shorter. Interesting ah so continue later on eyes basically just just moving and know that I can choose so you so just on one activist is repeated and tio up and down free speech can change their time is I could there some eight ths of the moment so I was so in some quarters some change to eight should be double the amount for better you get a funny kind of looping effect on it he's not going up you couldn't have you going down instead thing is and again we've seen like this you could continue to be very good tempo if I had a mini cable or usb connected you can you can sink this to the speed of the to the speed of the your song e t quite interesting results to grind up because it's bending between the notes as well yes, a j is uh any more questions somebody wants you to make a sound why you why you've been them what do you want a boom boom yeah, like I said, I would probably that's a that's a real challenge. Okay, well that are putting me up. What would you do what you want here's one part in the boom boom is another I suppose another thing I could show is is probably that played out now but there's a particular sound it was used about in dub step which is kind of like a robot talk any type sound and yeah there's different ways to do that. I found it by mistake quite on different on different since I do on the move quickly can because the other thing you can do with the n f o is for example if you go really fast when you can get some really interesting results so for instance, wait a while while wild wild, wild, wild, wild when you want to really fast sounds they put that on a square wave yeah, you can't really get it on here, but yeah, sometimes you get a certain sounds I didn't realize it because no media by sending a photo filter really fast but I realize you can it's really simple to do a massive it's actually a it's called modern talking serious because on massive bodies all slaves work you know we have a choice of two you have to us late is in one and you choose what one u controlling by this knob here the wave position so for example uh square saw decide square you can move between them and there's one hickel morgan talking it's kind of like a between the two is and what you can do you can just uh grab that fo sign that to the wave over here kind of you very book talking sound real easy to do a massive but first I I didn't I was hearing that sound quite a lot I didn't realize it's just a really easy thing to do in massive I found out about miss take on different simpson just messing about with them and just coming up and getting a very coast sound to that figure all I've made that that that sound you know going on about free different hardware since andre yeah, and one day I realized it's actually really simple most people weren't spending this time setting up on the simply is actually really easy thing to do to do in a massive how how often do you find yourself? Um trying to replicate other people synth sounds versus just tryingto like breaking ground with your synth sounds yeah yes sometimes I think it's a good even if you're not necessarily going to use them I think it's a good it's a good thing to do just just for your own learning capability even if you might know wanna copied out of a person sound it's a good thing to do it just for your own purpose of you know you're going to learn a lot by doing that even if you don't use the sound you know so I think I think it's a good idea to do that to hear a certain sound and think wow I always try and recreate yeah um how would you go about making a natural drum sound using a cent? Okay, a natural drum sound hard yeah, like I said, the high hat is quite it's quite easy to a higher you should just use noise a kick drum could be reason I've actually made a I've actually made a kick of snow and a half from this simply take it takes a lot of times I did actually get reasonably natural snare I think I think I might even have uh what I made here um it's uh from kids many boot kid yeah, so yes, all these kicks here major this snares as well yeah, yeah she's quite when you hear it. Like it like that, you know? Wow, but it takes it takes a long time. I mean, I think with the snare I clear I think I got that from the internet and other things with the mini boom. It doesn't. It doesn't actually have any precepts on it. So the only way to save a pre sir is that that you take a picture off the panels so that people share presets on the net. Why pictures? So this guy had a snare sound that he made with the mini boot on dh again because it's analog it's light you know it on a digital simple systems, this knob would have a value between one hundred one hundred twenty seven s that effectively every sound's could be exactly the same because it is not a zoo value, but on this is continuously variable. So just a tiny bit would touch he's gonna make a with different. So I got this. I saw the picture of this guy snare drum. I recreated it on here, and it didn't sound anything like it. And I was looking for but through the comments and people saying, oh, you've got really fine tweak this or that, and after, you know, after about half an hour just really find tweaking stoppable really close to what he had done because he also he also posted an audio example obviousness you could hear it so yeah, basically I that's how I got this nature I know I've done a lot of cuban stuff on the desk is we're in a bit more tops and stuff, so yeah that's there so I got the snare drum them be a combination of the noise straight weighs a little bit like a snare drum and then also I didn't probably one of the slate is as well give it a bit of tea. Teo it's a fact, maybe some, you know, just just just sold changing and all these little things here and you can make some quite interesting interesting drum sounds on look since that first always for you know, well, now you don't have a certain sound to it, but actually that you know, it isn't quite nice sounds I think the kid was just done here because a lot of love look since as well, you can play just to fill to itself, so even with all the escalators down, if I turned the residence right up you that's just the field to play in this just feel too plain itself, which is from really high residence, so there's just things like that you could get some interesting, interesting stuff out of it

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.