If you like a track and it sounds massive when you’re out, and you really love the sound of that kick drum, you can sample it. That’s what I tend to do! The kick is arranged in a 4/4 pattern on an audio track in Logic, with fades on the end of each sample to ensure that they all sound clean.
Next, the lads audition some house loops to build up a rhythm. Potential goers are loaded onto a new audio track, where Logic’s Enveloper effect is applied to make them sound less roomy. The loops are sliced to create exactly the right rhythm.
With a vibe slowly emerging, those classic House open hi-hats and claps are added next. The clap combines three layered samples to get just the right impact and texture. I used a template for the project with effects sends already set up, and these are used to apply reverb to all three clap channels.
To get that funky deep house feel, I play in some snare samples via Logic’s EXS24 sampler. I trigger this life from a MIDI controller, and the resulting sequence is quantized to Logic’s 16C Swing setting for a shuffly groove.
All the drum channels are routed to a group bus. To create some interest at the end of each 16-bar section, automation is used to increase the level of reverb on the bus. Simultaneously, an automated channel mute is used to take out the last eight kick drum hits. These tricks create a drum fill without actually moving or editing any of the samples. Clever!
To fill out the rhythm further, some TR-808 clap sounds from Logic’s EXS24 library are added. These are recorded via MIDI controller and quantized as before, and this time Logic’s Stereo Delay plugin is applied to create a techno-style synced delay effect.
The bass sound in the track comes courtesy of Logic’s EFM1 synth. I start out with the instrument’s default sound, but to give it a heavier feel, I tweak the envelope parameters, FM level, Stereo Detune amount, and Sub Osc Level. This results in a contemporary-sounding deep house bass tone.
To create a melody, I browsed a pack of Lennar Digital Sylenth1 presets until I find something that I like. I opt for a mellow house-style chord and copy the MIDI part over from the bass track so that I play the same melody as the bassline. The filter Cutoff and the Release times of the synth’s various envelopes I tweaked to get the patch sounding just right.
Listen below to a piece from the final song that I made using the exact techniques explained above.
This is how I proceed and hope these tips can be useful for any Logic Pro producer who want to add some new skills and techniques besides those already used.
You can also read the Logic Pro X Review
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