Segment 4 - Drum Programming with the EXS24 in Logic Pro
Segment 4 - Drum Programming with the EXS24 in Logic Pro
4. Segment 4 - Drum Programming with the EXS24 in Logic Pro
FreePreview: Setting Up A Session in Logic Pro35:55 2
Segment 2 - Setting Up a Sidechain in Logic44:01 3
Segment 3 - Programming Drums with the Logic Pro Midi Editor22:18 4
Segment 4 - Drum Programming with the EXS24 in Logic Pro31:59 5
Segment 5 - Drum Programming with the EXS24: Loops and Breaks29:22 6
Segment 6 - Subtractive Synthesis: Evelopes and Filters15:17 7
Segment 7 - Subtractive Synthesis: LFO and Noise33:00
Segment 8 - Subtractive Synthesis Examples & Questions31:05 9
Segment 9 - Bass Synthesis19:09 10
Segment 10 - Trap Bass Automation19:14 11
Segment 11 - Reese Bass20:34 12
Segment 12 - Sub Harmonic Bass Production18:04 13
Segment 13 - Remixing a Drum and Bass Song - Time Stretching16:23 14
Segment 14 - Remixing a Drum and Bass Song - Bass Loops16:49 15
Segment 15 - Remixing a Drum and Bass Song - Vocals16:05 16
Segment 16 - Remixing a Drum and Bass Song - Pianos and Synths40:41 17
Segment 17 - Remixing a House Song - Drums20:08 18
Segment 18 - Remixing a House Song - Bass16:37 19
Segment 19 - Remixing a House Song - Vocals and Effects32:08 20
Segment 20 - Remixing a Trap Song - Drums23:31 21
Segment 21 - Remix Trap Song - Synth28:25 22
Segment 22 - Remixing a Trap Song - Vocals17:08 23
Segment 23 - Mixing EDM Overview11:06 24
Segment 24 - Mixing EDM - Compression18:51 25
Segment 25 - Mixing EDM - EQ08:39 26
Segment 26 - Mastering EDM14:43 27
Segment 27 - Mixdown Questions25:16
Segment 4 - Drum Programming with the EXS24 in Logic Pro
Now when I play this hat now is going tio every every other one is gone allowed on quieter and sometimes going to control the difference of the levees and quietness now the way you normally do that is to be going in here and the problem is once I've kicked off of that I don't have to re select every other one to change that so good tip I can do now is to go back into your six twenty four not in control how quiet everyone is by the slider here so now I don't have to go back into any of these parts hey divisions have control of the move you know every other one any point in the song you know, down the line I've got more breaks and stuff and I couldn't just simply just go back to my six twenty four just changed the velocity off that every level like that would be really nice yes so we got a tip that one let me bring up backing again as you start later and more more drums in the overall output get louder and louder so a good thing to do is to highlight them or excuse me for shift just turn...
ing down touch of a free tb or so isn't that too much? So what I want to do on a send off my drums to my my bus one so do that mean I can just go down here bus one that's next one basic sexual etcetera but quicker way to do this is to go to the mix of page it's to highlight them or choose it here bus one so I didn't work because that one's already on bus one excuse me plus one and their organ center bus one straight away defied you know ten of these it's a lot quicker to do it now drums one here still still tio but instead of turning them all down here which would make you have less resolution because the volume is quite low what you can do is put a gain plugging which is utility gain when you turn it down here by others say four d b or so now that isn't being distorted you might think that because when this was off it's still in here it's not because I think it's a quick floating point so within that it's not being distorted you know about that anyway but you contend the turn is down here I've got their level here same time my faith is still reason to fire because the thing is the low down here you go this resolution you have yes a again on that so that all my drums have been sent to bus one I've got control to commute more so that they're moving track sound so full um let me get another you let me label these properly so called kick snow hats to cut it out with the same but next time I want some kind of a break in there or something so you make a year sixty four studio I can't remember to send mr buss one so much was going to bust one going here on the brakes I'm going to choose she used when she saw scott you break down here so these air so he's a different too individual kicks the snares this's a break it has been cut up so back in the day of john basil most drums were made like this where you had hee hee yeah so you can see that that was originally a whole drum but it's been carved into it into its separate parts in a minute I'm going to go food doing that with another break as well from scratch for the time being let me just put this one in because normally are layer you know quite a few of these together maybe you know to free for twenty two many depends on the contract you doom so again now I might win a solo this sucking here on its own kipp found here there's kicked on their way up thanks for the hat snare another hat little shuffle shuffle one of these two could be sure because they're after limp kick copy that remembers alternate to copy thie end I might want to do that variation so what might do it take these away like that so and then also I can change the envelopes in here as well so I can have him or more title for one so because you don't know what envelopes are it's basically changing the volume over time so by default we only have the attack indicate down staying up released down as I turned the attack up the beginning will get we'll get softer oh I can tell you sustain down and you won't hear anything well it's like click attended the k up it's me changing the time it takes we're gonna continue to stand up to a half way so you could still hear a bit in the background after the cake comes down again to sustain is all the way up and that the k has no effect because this is the amount of time it takes to get to sustain it sustains all the way up in the relevant obviously the more this goes down the more than two k has an effect again we will break that there's something so tune it minus two sounds good I mean this is just uses the preference will really have it whatever wherever sounds good to you I don't tend tio layer kicks too much you might wanna lower another snow on top of this one of a cap or something but it's not a good generally a good idea to layer to me kicks can get facing problems in the and the bass khun become less to do with the letter a kick then layer one just one is made in top content so for example I'm gonna go later another kick I'm going to duplicate this thiss track what prison is about him copy this choose another kick that one for instance but we're going to do put e q on it I'm gonna take out all of the bottom end of it sort of sick you can go you can hear the just image from it on now when they're both playing together but I have to worry about the the base coming out face uh yeah I learned that the hard way basically a quite a few many years ago to drum brakes playing at the same time when they were both plane the base just seem to disappear and I couldn't I couldn't figure out why I play just one of the breaks and bases there just to have one the bases there says that since I had him both in they just disappeared I later found out is to do phases as one as one break was going in the other one was coming is going out uh yes it basically I'm just going to use this one for the meat turn up you can hear more in the midst of it comfort I can even make you that a bit more if I want to bring up I'm with the with prison here with snakes it doesn't matter it's too much too much about the lady in because there's less low frequency content in them let me get another sneer when there is what was another layer plus copies down not with these live in this order nevermore you know what let me get let me just let me get a clap instead because cops tend to be longer want something like that were longer tower over the top what's going here changes to uh snares and claps halo e it's quite nice long tell it it needs to be he speaks of course to that more thinking I want to use the more the high frequency content of this so tio bc tops take out the bottom here well I never really good thing to do one snares is the overdrive which is under distortion distortion overdrive also you can see it's slightly right heavy so I'm just gonna bounce the out even now with the overdrive it basically just just squash his stuff in a really nice way so as you can see with the off you can see how loud it looks way off bypassed it's quite loud on the meter but quite to the ear we're not turning on they said she louder to the ear actually quieter on the meter on this because it zq washing the very first peek of it which again helps the overall levels of your song again, I think you the midst of it another thing, there's not much there of information in this song that I'm one of this is, well, just some not having any problems with the left and right, so to do that, pick your utility gain it's no click on one oh, there don't have to worry about the left and right being louder and against it by possibilities I just tonight pick one aboutthe okay, well, let's, go get a putting up a break in here but let's let's do it from scratch. So so I've got something a folder on. A good thing to do also is always save. So you say this project save as, uh because these quote it, see how d and b say that this moon you always remember to say there's, nothing worse than a creative thatyou flowing, getting all the way down the line and it will just go in it's against the happy of saving does logic have auto say future? I'm not too sure actually I think it might have, but then I prefer to keep it off because sometimes I might do something want to go back to the previously I've gone too far when something and go back where you do have a you do have a backup folders well with the last ten or so same diversions in their thiss cop a break can stick that in their student from a question for you guys that have to do that. So if I a hide logic I got to see o philes breaks what we got this land must this one yes, so that for instance I want to chop that up into its constitute parts so I'm going to do I've got all your track up here tracked one kind of drug then she just drag this into the president to see me zoom the track is track soon so here is my trump break here this is a different tempo so there's a real quick way of making the project the same tempo is this now as I know, this is ah a bar long uh why dio highlighted bar at the top here it's a bar and I believe the short cut is I think it's command t yeah there we go change ten power project globally or create tempo change so globally. So basically what he's doing is going to change the tempo after project to the tempo of this bar got here so I do that and the tempo is one hundred one point eight nine, nine fires and now this project so what I want to do want to cut this up into bits and put it into the next twenty four so what do I get my scissors out but right clicking or as I said before a quick way to d'oh it's up here choose the scissors so now every time a press command that this might not be exactly what I'm going to do double click it comes up at the bottom so wherever I click on up here it shows me a boy is at the bottom now as you can see on this second er if I highlight the bond but here the space bar should play it but as you can see isn't bang on time so I want to bring these back like that well, not the next spits now she starts a bit early so I'm gonna bring this back here that there I will never figure out I think by default as well this might not click right on what that is is because there's a thing here called where is it? Zero questions snap edits to zero questions there if that's on sometimes it doesn't it doesn't always clicked away wait too so you make sure that off where was that I said it and you got complete control where you want that to be you can hear like kicking you in the end it is I mean if you want to jump straight to the end instead in school of course school of course I don't just press right it's trump straight to the end preston left eric e trade to begin that's quite a nice little shortcut there as you can see that it's like quick there's and have been that back the next bit let's find the next one you see that shuffle ball so you shop was a little bit later and we'll bring that across a little bit next one this space there it was a bit late snare see that started late is what we're gonna get reasonably is actually did it right there you know again the end you don't want to be quick ideas to put that back here in the back of that I mean you can get logic to do this manually automatically for you a group detection thing but I don't find it always to be that exact to be honest with you the soc it's nice just to be able to go in and I know exactly what you're what you're doing all right so now I have all these trumped up here I want to put this into a near six twenty four so I've got each hit laid out on the keys so frankly is a real quick way of doing this in logic I think it's from logic a almost beforehand is to take it would take quite a while but now we have to do is highlight for the parts I got to think it's region and it's where you know I think it's audio actually here we go so high like the parts click on audio atop once ago convert regions to new sampling track convert regions to new sandwich right click on that it's going to ask me when it's from regions or transient markers wanted from regions asked me to name name the break so he named what the audio file business that's fine with me trigger note form c one c one I click ok and ban the ego is made for me a sample a track that already cup has already put it laid out there for me in a region as well but of course that wasn't quantifies exactly so I'm going to hard I stick on sixteen a quantum pastor limps or slightly different so you khun make the limps all the same I think by its functions no events there we go year function and events no force the grotto there will be exactly the same level of course this is still a the the tempo what the break is which is one hundred one something I want to be able to pitch this up teoh one seven five which is the beacon on working out wait to be the same pattern so I cannot go in and change into these notes and so for example I don't want to kick the beginning excuse me, I want to say I want to be a high hat, so going and she's a hat again, I don't want any real low frequency is going on here because I just want my main kick drum to be the main thing with a low frequency. So is now facing problems, so I'm gonna go put e q one I'm going to filter out everything but around one hundred fifty now put this across here and again, I want everything to be need, so I'm going to get this track and I'm gonna put it underneath here for much of drums. A group together that's a one by a long at the moment. So I'm gonna copy this copy again cooking again. Go with these together. So I'm gonna highlight them or get my glue told out oakley together again just the neatness color this the same no way changed the envelopes here and again the snare jumpstart quite a lot. So I mean I could go in here and turn to snow down a bit. But why rather do don't put over driving it very powerful. Told you I would have a very simple but it's, very nice normally the mountain turning up by, you know we want to turn it down by on the output by the same amount roughly wait a little bit more crunched the same time even though it sounds a bit louder you can't you see on the meters they actually is lower so again you over what everything can be a lot louder bypassed peaking up there again I'm going to my screen set to which makes a page changed some volumes of stuff you can see things haven't labeled properly down here now for some reason this to kind of track name's even though for instance that says then kicks there it just his instrument twenty six years to change that you just go in and rename it kick to know they should both kick to snare a spy in snowmen collapse that one hasn't done it son just called a clap my hat's my hat too it's my scotty break just renew that scotty again way off screen in the barn this is my slam break yes because the screen to mix up and that was all labeled down here the colors are a bit random so I'm just gonna hide out over these alternate si cover more the same uh drums is any questions and you know we have a couple questions can you stretch a drum regions to slow down the tempo stretch a drum region to slow down the tempo? I think you could do that but it would be time attrition and in your affecting the quality and stuff so yeah teo cut things young we have had another question kind of about resolution like audio resolution lorant wanted to know what do you mean by resolution when so it was when you were pulling the fader down I think is when this document what do you mean by resolution and why is it better to use gain plug in than to just turn down the favor okay yes so you're basically a volume is um zlata rhythmic is nonlinear so the further you go down the bottom the is it the less of them or effect it's having basically so yes if you're if you're down here the amount the amount that you move it he's having a bigger change didn't if I'm up here so for instance, if I've got a I've got a sound say this snare for instance let's say imagine the snare was very loud in general what was an audio part let me just quickly go quickly put a again on here and made this really loud now imagine this the track just happens to be that loud now to get the volume I want tio I'll have to turn it downloads but it went down when I'm down here I have less you know, less fine control yes fine control so in that situation rather than just having the faded down here what I would do I would just put a game plugging in, turn it down uh you can do that vice versa as well. I mean, if something's really quiet didn't have a fight about really loud, I would put a game plugging on it and get it so it's roughly around, you know, nobody be, you've got more, more control. Yes, you have more control when the fate is up, up around the north d b point. I mean, you can't even see it as I move up. It's, no point, one point to your point free it's almost before we've gone down the bottom, I'm on sixteen point no and straightaway on fifteen point eight, you know, yes, that's, what that's, what I mean, not quite resolution.
Ratings and Reviews
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!
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.
Electronic Music Production