Segment 9 - Bass Synthesis
So I think for this section I might just kind of get down more and just kind of makes and bass sounds distant drums and maybe maybe a bit less talking about I still could convicts explain what I'm doing to certain extent they're b'more me just doing it rather than just explaining basics to people yeah I think the best thing to do is just have a combination of different simpson I think maybe the best thing to do is uh is to create some kind of melody first um well look a simple a simple sound I mean yes I'm wait sometimes create based on first inning create more sounds around you know sometimes I create a sound first and then create amenity around that yes so maybe if we called out and change the sounds of coolio several look go inside here quick something kwan title this way ugo and in do the note limps which is functions and note events and no force grotto um I don't think that we should be there the velocity is to be four it is a quick way doing this which I learnt the other day I sh...
ould be using it really thank you highlighted function no events uh you know what I don't actually remember fixed velocity I'm sure that's what it is uh selecting a break here we go now they're all the same velocity I like them all actually let me just copy this first half all right straight away I think all of these basins are gonna be using I want to put to the base bus so they're all maybe bean side chains so straight from the off I'm going to get that kind of get that vibe of it being compressed a little bit and ducking with the kick so straight away you're gonna get more of a vibe as you're working so this bus free the base bus let's make sure this ah kick to actually use the high kick I'm gonna send that to my side chain bus which here is actually bust twenty turn a bit about that amount there we go you can see that ducking a bit on the kick I'm going a little bit of that is near a cz well it's a bus twenty uh surely is not so another thing with bases well people make mistakes especially with sub base is ah even if you want your envelopes to be pretty bang on you should always have a slight bit of attack on release of why'd you get get clicks clicking where the way form isn't is it starting from the middle point away from what be slightly higher in its face so that's why you hear the click she should always have a likely will be a little bit of release e what will you do now on a different track just lay with a final uh this's the years too uh well, come on, start from scratch here so what do we owe the turn off these here? Just put that in the center's it's having no effect uh this is the thing up here called oscillator starts stick down hard so basically what that does is each of us lay is start at the same time five the some soft or free time of press the key this time is going to slightly different and I don't want that stick that hard first I want to get a rough kind of sounds going on and then I'll give you some movement and modulating afterwards to put out there bus free so I might start changing some of these waves for instance okay says a thing here called fm stuck a filter always gives some kind of interesting sounds good? Well, I don't have a big movement to this. I could do that with an n f o or an envelope I think I might trying envelope so my target I wantto target a cut off on my source to be enveloped too let's just change the attacks slightly. First part of something and I'm also giving a little and over here so basically any of these slots could be used for modulation purposes so it is about what one I choose it's just yeah so target did a cough we could see again cut off to um and she let me target the volume instead and modulate the volume off the sounds certified choose uh, what do you hear? Uh, level and I will be the level and I won't use that info one now that's. Much in the volumes. So where's before of modulates the pitch, the field this is just modulating the volume of sound. Quite simple thing to do that it could be very effective. Another thing I've got here is well on the sfo is a delay so that the nfl takes a while before it kicks in. The moment is happening straight away. Turn this up a bit. Comes in a little bit afterwards. Do you hear that more? If I turn this, uh, this despicable first essay whelehan, you can hear if I put down the straightaway, wait before it starts warbling. So I want to do that because I've got this envelop effect in the first part. Sounds so as it's going you I want to wait before it starts warbling so that's what this relation does he ana again, I might put him plug ins over. This may be so meek, you and stuff and scoop up submits form a bit ok, that could put this friend you're not familiar, try some kind of distortion distortions senator lee, the sound is a bit too loud because of that is overloading the distortion. Plus, I've got my my fadeaway down right down the bottom here, so I'm going to do instead of putting again when I can't you just turn this the output simply down here. And what do you turn that down a bit now? Did william with my failure around not thiss where can put some plug ins on about this storm? The input of the plane? Yeah, it is distortions of too much. Try overdrive instead. Course that is one way to use distortions to put directly on the inserts and every way you can do it is as a send a cz well so I can have my original signal and however it being sent to a distortion on top of the sound. So I think I have one that he's already set up on my template someone screen set free here in my environment, as we can see here bus nineteen distortion I have ah, guitar probe self. So if I could hear bus nineteen a distortion now I can turn this up on the only when I hear my original sound at all, said the ad in distortion, if I want a consoler just a distortion, so might go just safe, safe we go into this guitar in pro again, this is just a plug in that comes of logic, which is pretty it's quite nice says quite a lot different distortion type of fixes menus what has made many guitar type sounds? Well, it works where the most sounds really look for some of these presets again, these two buttons here you can cycle through the presets I can change some of the basement trouble, and normally in this situation I would always put e q after distortion and take out any of the apartment so don't want any interference with the actual sub of it. So I'm just using the demands on the tops of this sudden taking out all of my bottom here, so again, that's just that's just the distortion on here and there and now I can see if I change this there were here is going to change the character of it because it's the mountain there's going into it so one go doing an unsettled this bring this volume down, I guess only bring this up and again, this is the first back to what song was saying earlier it can here could be good tio puts of effects on and still pay about the suit because now play about with the actual roar sounds I'm going to get morrell extreme results because I've already got a distortion on this sounds yeah, so there it goes astray, where's going to different effects just because there's already distortion on top of this sounds, um, now I really want to come. So this here well, make a gap there. Different sounds at the moment. I've just got one sound and one unity, which is a little bit boring. I want to be more cut up.
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