Producing Electronic Music with Logic Pro

Lesson 6 of 27

Subtractive Synthesis: Evelopes and Filters

 

Producing Electronic Music with Logic Pro

Lesson 6 of 27

Subtractive Synthesis: Evelopes and Filters

 

Lesson Info

Subtractive Synthesis: Evelopes and Filters

Hi guys so I just want to go over some basics of have synthesis works basically starting we've also late is envelopes filters I'm going to show you in soft sand on hardware too so yeah just so you can see the differences and essentially is the same thing so here are a mini boots troy this is an honor looks over here another looks in which is ah books of fatty on dh in logic come publicly using logics yes to maybe ninety instruments massive as well ah places to start off a basic part of any sympathy is the oscillator which is the part that actually makes the sound on the north side and only makes as different way forms so in the mini bar here for example we have ah square wave way also have a triangle wave way have ah sorted same over on the movie on the movie is a bit different because you can continuously change the waves rather than just choosing one or the other you can choose from a from a triangle square a pulse wave is like a square wave but it gives it more on the on the s two h...

ere you have free different oscillators here's we choose the way form so wait ah po ce sign way you know it's the hardware since don't happen to have a slime way if they have but they do have a a triangle which is this is quite similar next I suppose she talk about envelopes so we we went over that briefly on the last section with drums and stuff but I think it's easy to explain envelope to simpson so what we need from the mini brooke for instance we have the envelope section over here she's done we've sliders uh it's done with knobs on the moon stomp of sliders on the on the two on the computer on gone the a massive can't you see it be easier because you see it you can see it like this can't you see the shape of what's going on so on the mini boot for example I've got a tactic a sustained and release so the attack is the time it takes to get to the next point in your envelope so up slightly you can hear it takes a longer time to get teo next point on the hay one massive you can't she see here at the beginning to decay ah you can see that rising up so you get more visual representation of how that works next we have to sustain indicate which which work in relation to each other so if the sustain is all the way up you have any effect if you turn a sustained down three decay is how long it takes to get to sustain being down so on massive turn sustained down and moved in the k you can see it takes a longer time get to the next point again on the move sustained last of all we have to release which is how long the sounds carries on after you let go of the note so here's a look at the moment sounds stop straight away as I turn to release up slightly over here we go next main thing on the simple supposes the filter now the basis of most subjective services they call it subjective synthesis because the war slay isn't only have a lot of harmony content and use a field tartus subtract or take away some of the frequencies to make it more to sculpt the sound so so eh a square wave is quite buzzy sound that has a lot of harmonic content so as I turned to filter down on takes away if I had a triangle wave there's not that many high frequencies to start with so it's going to make as much difference there's different types of yours is the most common top of filters ah low pass filter which is what we what we have here on on the same on the sub betty here ah ah you know you have other types of filters as well high pass and low pass actually, before we get to that we have another finkel resonance which is a thing that boosts that the point that the cut off we can see the president's boost the point of which the cop freaks he's acting so with no resonance that in the business the kind of mouth like kind of a sound to it the more you turn up the more theo theo point of the cult is being boosted what kind of show you what that's doing in a uh e q actually let me do that on the computer for you mmm mmm mmm mmm mmm so we've got you have a filter here ah taking away twelve decibels proactive that's as steep the filter is there was a call that polls so I could make their steep about make it twenty four poll on and the residents would be as if I was tio boost that as you can see it but the point of the cut off increases slightly more more ok so I was talking about different types of filter so things for example we also have a high pass filter so low possible to is letting the low pixie pasts and taking away the higher frequencies ah hi pascual qatar is doing the opposite theory something way take away the lower frequencies and leaving the heart theo doesn't have a high pass they only has a low pass uh some seems only have low parties but others have quiet low and band passes well and a band passes it's like an in between so it is just boost in in the middle it's a little bit like both at the same time says I go lower you take away the higher frequencies aside go higher taking away the lower frequencies right? So other things you can do is you can you can assign the filter to an envelope so the envelopes have been discussing so far bean in relation to the volume. So when I, uh the attack is the volume that is taking time to go up, you can also sign another envelope c on the mood here. The bottom one is that amplify envelope which is for the volume the top on is the filter envelope. So this is the amount that the filter is going to the envelope. So if I turn this up, andi now the field has been controlled by this envelope. So if I turn to sustain down through going down quickly with the envelope turned up so effectively that is like me moving this not about that they said of me doing it it's the enveloped in it over the course of time. Wait, I can't do that with the attack. Well, well, well, well, well, now, now, now, dave, you have a question online debate wants to know is that the way the attack works at the compressor as well? Is that the same sort of thing um is similar year meat's do it is to do a time so it's this is a time things is it's how long something takes to get to the next point is similar here yeah um same over here have to envelopes this's the amplifier of low pitched for the volume you also have the field from the right you have to choose the amount that the field to envelope is having an effect on the filter with this knob in the middle is having no effect on him a turn this up so let me put it back on low pass ah ah ah you like this have an effect on the field you can also do that in the negative so that I could turn the envelope amount the opposite way ah ah and it's that make is backwards basically is making the envelope work the opposite way around ah, I know if I should point out is normally when you when you're using a filter envelope you should uh you might need to change the cut off frequency in relation to what you're doing if the filter is fully open then anymore isn't gonna do anything so I need to turn it filtered down cut off down an envelope come out up on then you have the effect if it was any more questions yeah mountain stream wants to know can I use the attack fader knob to slide the notes to slide the notes, no, the slide, the note says, something else called a portmanteau or delight on then on these two soups, it's called glide on dh, you know, it's, a separate thing. I can understand where we were before that, but basically the glide is instead of if I play one, notes. Ah, he jumps tio to the next note, however, apart in the glide up, it's gonna it's gonna bend from one note to the next, more turning up, the longer it takes, get to the next. Yes, that's called glide or portmanteau, says it doesn't have anything to do with the attack site over here. Excuse me. Yeah, the same thing. You have a glide here for you. On some sense, it might be comportment over effectively, thie, same thing.

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 f

Reviews

osu
 

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.