Shopping Cart -

Your cart is currently empty.
Continue Shopping
This website use cookies and similar technologies to improve the site and to provide customised content and advertising. By using this site, you agree to this use. To learn more, including how to change your cookie settings, please view our Cookie Policy
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the United Kingdom version of the site.
Would you like to switch to your local site?
Digital Subscriptions > MusicTech > Apr-16 > Programming Beats in Logic X

Programming Beats in Logic X

There’s more than one way to skin a cat, as the saying goes, and the same is true of programming drums in Logic – Alex Holmes looks at three very different approaches for writing hip hop, house and drum ’n’ bass beats...

Technique Programming Beats in Logic X

Powered by POINT BLANK


Logic has a raft of tools that can be brought into play to help produce drums in your tracks. It can be important to select the right ones for the job in hand, though, as this will improve your workflow no end. Looking to write a natural-sounding drum fill? Try using Drummer. Want to layer some tight-sounding electronic beats? Load up Drum Machine Designer so you can fine-tune the sounds to fit your track. That said, don’t be afraid to mix-and-match ideas, such as taking the MIDI from a Drummer track and using it to play more electronic or unusual sounds from a different instrument.

In this workshop, we’re going to look at using three different approaches to write a hip-hop beat, a house beat and a drum ’n’ bass beat. Although Logic’s built-in library is pretty extensive and continues to grow, it’s important to start compiling your own collection of sounds through sample packs, sampling and even synthesis, as this will help you start to develop your own sound as an artist. Over time, you’ll realise you’re gravitating towards particular styles of kicks, snares, claps and other hits, and this will play a massive part in defining your sound.

In dance music in particular, these sound choices can have a big impact on how your music is perceived and which DJs are likely to play it. If your favourite producer mostly uses big, house-style hand claps and live-sounding hats, and you choose to use a crunchy, dubstep snare, and harsh electronic sounds, then even if the rest of the track fits their style, they’re unlikely to play it, as it will sound out of place in the mix. That’s not to say you can’t be experimental with the sounds that you use; but just be aware that what’s considered cool in the dance-music landscape is constantly changing, and as a community, they can be a notoriously picky bunch!

Purchase options below
Find the complete article and many more in this issue of MusicTech - Apr-16
If you own the issue, Login to read the full article now.
Single Issue - Apr-16
Or 299 points
Annual Digital Subscription
Only £ 2.33 per issue
Or 2799 points
Monthly Digital Subscription
Only £ 2.99 per issue
Or 299 points

View Issues

About MusicTech

The new issue of MusicTech is on sale Thursday, March 17th and this month we’re bringing you a 'Big Beats Special!'; we gathered together as many tutorials (for all levels) to help you provide that all-important backbone to your music productions. Or if you are some kind of ambient maestro, you’ll be pleased with a certain level of synthesis achieved over our 6 Of The Best, DIY Eurorack, Sound Design and Yamaha Montage features. As ever, enjoy the issue and send us some of the resulting beats. We like to Show Off Your Studios and we’ll soon be Showing Off Your Sounds, too, so keep it all coming.