All right so now for the base here and again this is gonna be former why my look must this sample packs and the bass I chose wass ah vizag base come down to base base to vizag cool so there's a sound which is ah remember where it was made has made some software hardware because I'm only sampled each key the wobble stays the same on each key doesn't speed up and slow down thing but I think I made that b in time of a drawn based in so so what teo the first of every called recording my base I'm going to be using that should do one one note in there so that me going let me go to my screen here so I could see it bigger I think even swinging drums normally on base I keep it straight and you know why I just it just seems to sound better really because it's ah basis only allow frequency the sounders doesn't clashes much with the sweet on the hats and stuff um I'm glad see these as well I think of course I want to do this is pretty much everything to ever change but it could think about the pho...

to of course you can choose different amounts so I'm not one to base to be ducking lots where the seems just a little bit or vice versa I am down here and I felt too tuesday priests album so it's quite you don't really hear when it is on you know when it's not and what I'm going to do now as well is in uh in here e I want to change the speed of that wobble because it's sampled I caught this simply go in and change the speed of another photo what can do e transpose this down is making a fast but obviously when I do that I'm changing the note so what I do for example come down where six anytime's transpose the keyboard back up by six anytime's now mr blackie but if I was I was set again that's a really good little tip you can do my my master bi sounds is by doing that by transposing it up or down and let me show that again so if only to go faster I could turn this up say by five compensate transposed down by five yes the same speed in all of the cases faster tone changes slightly when I do this is we're also really nice it's a good way tio get mohr sounds out the sounds that you have for this I want to go down way too downward to back up by two so I'm just going to repeat that again actually before I do that I think a window changing of the note and logistical slight variations at the moment it's based on it's just copy in the what the senate is doing a couple of notes kind of gives it a bit more be more variation let me copy of course go get together so I have a sixteen bob look so I'm gonna call that a because later on I'm going to a variation of that which could be for this next for the next sixteen bars I want the same sound I'm going to change that fo speed again by doing that transposed we're going to do you copy that sounds so instead of just calling up the six twenty four again of course I can use trustee but up here it's just copies that coming a track is really good with this button first come out logic is useful especially for this kind of music what you're doing variations of certain sounds so now just click that bank of exactly say sound underneath going then change it uh now on this one I think I went up by six so I transposed down by six so now a populous same part to the new track underneath let's hear the difference is it goes into from one to the other just before that part of income actual in the kitchen on another crash symbol there as well yeah there we go I think I've done that the wrong way around actually I think that was supposed to be minus six plus six there let me hear that sick wait I think this one yeah that have only around so that would have been plus two in that minus two you hear the difference between them that is the same sound but by me just transposing changing the pitch I made a nice variation off their bass sound ish keeps the song interesting mother being the same right now on this simply here from the intro this copy is to another track again this is lovely but it up here down to the new truck just created and able that june two down here I'm going to do is another in a photo on it but now I'm gonna get more creative with it instead of just using is the standard four four side changing just say well I've got uh one I made here earlier uh sixteen gate swinging so let me so that you can hear that so before I was like this bypass division one put you on the way both of them together quite nicely effects and also just change it up a bit I think I might raise this up productive and again I can go in here removal of the notes happen not tooth but an easier way to do this is up here where the parts selected I can choose transpose if I click each transposing in one increments if I go to the right here I can choose actives so go up one or two e teo teo I think was good enough for me q. This one a little bit different as well so take it let's hear that in context and again on the end here of this base I might to a variation so I'm going to go inside here in the end I think I might just take all of these and put them up on lto here we go to get tippi most kind of dance music really is here to the end of something pretty up not too kind of you know just kind of rises up also I think I might put a filter on that as well filling up with it so choose my I mean he's a high possible to finish one so it's going to take out the bass frequencies and leave in the higher frequencies let me just so this make sure it's all working ok pass filter and again I do that zoom in on the track press a from automation here this is what's been automated amenities william I want to go to auto floater cut off theo booth also at the end here, get rid of the last couple of notes so again it just gives it more impact when it talks back in again all the drugs stop and you'd be surprised just that just that one time a little bit of gap makes a big difference when everything hits back in again theo is that tiny bit silence makes all the difference for this next part can have another base sounds um instead of creating a new a new thing from scratch just copy the existing tracks of what he got my photo here but something just for neatness I'm going to choose the bass sound that I chose on the last track that I've done my trusty old super eight o eight and also because this part here because that goes up at the end I want tio I'm going to label it different sort so I know that so get my text to out I'm going to call you a e because it had a different ending so now I just from a glance I can tell I was about to copy this here but I don't want to copy that one I want to see this one copy this down here wait shooting this sound here now when I've got a meeting out like this that's quite long I can't just short in the park because the media know inside is still long so in this situation I have much to go inside and actually short in the note itself she's here showing it today here we go again because that's different on the label that different so I'm gonna call that a e catching my eye even sure because a bill a little bit longer and again just to show you again the difference that makes with the drama's being short and defy making long again that much a lot of the impact, you know, even it's, just a tiny amount as a lot of difference, okay? And everything I might tio at this point of my copies, greg, what is probably copy is simply get over here. But now, when to fade in love and just come in straight away, I think in a lot of house music you have more things fading and field win in an hour and stuff rather than just sections. John base, you have a lot of sections and stuff where, you know sixteen buzz light, you have another sound coming in, and if something changes in house music and could be a little more bit more fluid. So, uh so here I'm going to put again the auto filter, but this time I want to use a low pass blow past. You should select their different types here. Paula span past bypass. I'm going to start low and fadi up so pressed for my automation. Select here. Alter filter, cut off style low down here and come opposite goes along. Wait.

Class Materials

bonus material with purchase

Ed Solo - Bass Lab Volume 1 Discount Code.jpg

Ed Solo - Bass Lab Volume 2 Discount Code.jpg

Logic Template

Syllabus

buy this class

$00

Buy Class

Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2000+ more >

79.7K Students

99% Recommend this Class

00 Student Work

0 Video lessons in HD
00h 00m of class content
Exclusive bonus content
Lifetime access, anywhere, anytime
Streaming access on desktop and mobile browsers
Download and offline access with class purchase
Offline sync with our iPhone & iPad apps
100% satisfaction guarantee

Ed Solo

Ed Solo is a production whiz kid who cut his teeth in the world of Drum n Bass, collaborating and working on tracks with the likes of DJ Fresh, Brockie, and the Breakbeat Elite including Krafty Kuts and Deekline. Ed

SEE INSTRUCTOR'S CLASSES

topics covered in this class

Electronic Music Production Logic Pro

Ratings and 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.

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.

user-733073

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!

2,000+ classes ranging from fundamentals to advanced techniques.

Segment 17 - Remixing a House Song - Drums

Segment 17 - Remixing a House Song - Drums

Lesson Info

17. Segment 17 - Remixing a House Song - Drums

Lessons

FreePreview: Setting Up A Session in Logic Pro

Segment 2 - Setting Up a Sidechain in Logic

Segment 3 - Programming Drums with the Logic Pro Midi Editor

Segment 4 - Drum Programming with the EXS24 in Logic Pro

Segment 5 - Drum Programming with the EXS24: Loops and Breaks

Segment 6 - Subtractive Synthesis: Evelopes and Filters

Segment 7 - Subtractive Synthesis: LFO and Noise

Segment 8 - Subtractive Synthesis Examples & Questions

Segment 9 - Bass Synthesis

Segment 10 - Trap Bass Automation

Segment 11 - Reese Bass

Segment 12 - Sub Harmonic Bass Production

Segment 13 - Remixing a Drum and Bass Song - Time Stretching

Segment 14 - Remixing a Drum and Bass Song - Bass Loops

Segment 15 - Remixing a Drum and Bass Song - Vocals

Segment 16 - Remixing a Drum and Bass Song - Pianos and Synths