Deep Progressive House arranging and Mixing Logic Pro X Template:

For Episode 135 our host Mikas is arranging and mix a song that was previously composed in episode 109. For this session we will create a DJ or club mix since the audience we are looking to reach is DJ,s to get the music out to the public. We will do this by creating motion through automations and editing the parts. We will also create a main drop or breakdown that will feature the main riff of the song.

Learn how to arrange and mix deep progressive house music by watching our free live tutorial and study the Logic Pro X Template from the session to practice what you have learned. The Live Electronic Music Tutorials give everyone the opportunity to learn music production at their own pace anytime anywhere. Unlock the secrets of electronic music now.

0:00 Intro – Mixing and Arranging tips
0:10 Bug in the lens moment!
2:45 Song Preview
4:33 Arranging the introduction
7:20 Automating the low cut filter for the drums
13:25 Automating elements to create movement into the bridge
15:45 Arranging the bridge elements
20:56 Editing and arranging the main verse
28:12 Editing and arranging the breakdown
35:25 Creating a outro
36:40 Final Thoughts

hello everyone mikas here for the live electronic music tutorials episode 1035 and we keep on making music uncut unedited so you can really get a grasp of what is the music creation process at least for me i think there’s a bug in the lens now i hope it’s gonna go anyway guys so yes the the live electronic music tutorials are about making music in real time it’s very important for me to show the whole process however in this episode we’re going to step it up a little bit we’re going to go in the next phase so usually we create music in real time and this is it i compose i do things and now for the special episode i will arrange mix and engineer the track so i use the episode 109 deep progressive track i really i’m really fond of this track there’s a really nice riff there is everything that i believe in there to make a reasonable track it’s it’s full of really good energy and good vibes so instead of composing today we’re gonna arrange and mix what i mean by arranging mixing is simple it’s like there’s different phases of music production and of course composition is the main one one let’s not deny this some people compose on piano electronic musician compose on their computer and then there’s a whole lot more work to be done for the track to be ready to be released commercially so mixing is definitely a very important part of it that is putting the sound together but arranging is also very very important it has really great significance as an example if you listen to pop music on the radio you have some short punchy radio mix and then there’s going to be a 12 inch version and then it might be a version with another singer and stuff and there’s actually some people that are specialized into arranging tracks so arranging tracks is actually an art to be able to really take the parts and put it together in different ways anyway guys for this episode i will make like a dj mix because we do electronic music we are just mainly djs we want djs to play our music so this is going to be a dj mix and of course i want to remind everyone that every episode that we do for the live electronic music tutorial is available as a template so i will do some arrangement with you guys maybe not the final final because that will really literally take a couple hours but i will do the the you know what i can tell you some mixing and some arranging and engineering and then i will put some more work into it and this one will be available as a premium template finish track i will most likely release this track because like i said i really like it so let’s get started guys and if you get a second punch like that video a little bit maybe sometime so i will play you guys the track i know it personally i’m gonna switch to headphones here because i was just listening to it so i’m gonna play you good part of the track so you can get an idea the progressive 120 bpm only logic plugins used actually i will first turn off all of the mastering rack super nice riff here with a super long slow delay as going in the back nice smooth percussions

nice hits there

as you can hear in the background the dalet is building up to make a cool effect

so that’s right guys i’m gonna close the notes as we don’t need it because this is not what we’re about in this episode it’s interesting to have notes so if you actually purchase any of the episodes you’re going to see in the notes i always use the reference episode that are in the similar genre so i can guide you guys to more of the stuff you like and of course onto my beatport page which i have a lot of releases guys it’s been 20 years i produce music so okay so you know we have a two minute track we have to make a six minute track for sure and i mean this type of music are really really like the the start and we have to make it so control command replicate to replicate what is within the locator so we have three i’m gonna make it four so i’m gonna start even more more mellow than than the than the original part here so to really really arrange a track you really the first thing like i said earlier you have to think about your audience who is it going to i mean if you make i said that before guys in other episodes but if you make music for djs you have to think about them don’t think about that oh this is a cool track on the intro to be this way you have to think okay the dj need at least 16 bars to mix the truck properly with the other track if not might not be so smooth if there’s too much melodic element in the first part again it’s gonna make things complicated for him so it’s all thing to think about so i’m going to give myself a bit more volume because i like some mowing

and then the shakers are good i think some thumbs somewhere here we can do it out

and of course i will cut most of the melodic part like i said here with the base that’s opening i think this is a cool intro i don’t think we need to repeat it every bar i think we can play with other and then we have of course the pad that is building up here that’s gonna create a perfect transition into the next part where we’re gonna maybe add a little bit more

and we just add the thumbs here actually in the great tradition of electric music if that really exists uh sometimes it’s cool to cut the kick for the first part and i’m wondering if i will do so let’s give it a try

that that that does work very well so a really good way to automate that guys if you’re mixing in drum machine designer you go here i was actually already here and then you go into effect you have your low cut filter here so what i’m going to do is i’m going to do a touch i’m going to go for it and then i will put up the low cut filter so i will not cut only the kit the the kick but it will cut every drum that is in there the low pass and bring it maybe at about 100 maybe 100 is even too low 150. and then you could also do some tricks like play with it to accentuate you know

as as the pad is rising the filter is also rising so we get really much more high frequency and then we’re gonna drop it

actually here let’s synchronize it so this is really arranging a track and making the most out of what we got here

make sure you’re not distorting too much here

i’m tempted to give a bit more of this rumble here

and as i said at first i turn off all the mastering rack because you don’t want to be mixing and arranging a track that’s got a lot of limiting on it this is a big mistake that a lot of people still do please don’t do it makes your track as flat as possible let the work to be done to the mastering engineer he knows what he’s doing he’s going to be able to do a much better job if there’s not already compression on the track

so i like that however it’s not the time yet i think to bring everything in so the question is where’s i think i think i would bring the base in here

is this the base

i guess it is somehow

the base we just need

here at 17 just 30 seconds it’s a bit early but i think it’s good but for this track to bring the beat right here so one two three four and because we bring the beat i’m gonna play with the and i did like this little i think it’s a high pass filter i’m going to play with this a bit more too and then cut it again as we build another part here

i’m tempted by bringing this base here already to get people excited however not with the chord progression so only the first part of the base here is gonna come people are excited the track is starting melodic elements are there

i think we should continue with this base blooming base here so this here should come right here so we’re still teasing let’s call them our customers this is the people on the dance floor

and now that everything is there i think we need a bit more so we’re going down a little bit

a nice bad rise here to push the track a little bit i think i will cut the pad completely and then we’re gonna need i’m definitely gonna need something else here

i think we still need a bit of a background pad very little very much in the background perfect let’s save this

so one two three four i think it would be good to get now into the melodic part so we are only at a minute i just like this really quick rise of the filter here that just happened you could hear it here

i would like to answer it so we have this here

let’s put it again one two three a little bit more length to this here i’m going into detailing guys because i i go with the flow as you can see so

then i would like a third element into this little

little madness that we’re creating now


hmm think we’re good i think less less is more let’s give it another one here a bit of the same trick first this filter open

what if i leave it open i go here and i give it all

this is very nice because the the the base rumble here is falling and then the pad is going up at the same time and then boom

i’m going in the same element and actually i was looking for something else i have something else right here which is some some little hits which i could might be able to use here that didn’t work quite well oh not all of this but just that another time here that was getting quite serious i would


so we’re not gonna go straight into this break here we’re gonna continue of course with the tracks four parts of this i might have to record more elements or to to to to make it a little bit more dense because you know to me at least when i’m arranging a song ideas come you know it’s rich i have parts but there’s always something that’s come up that i’d like oh yeah maybe i could have this

there’s somehow an open track here so let’s see what does it sound like


um i can get anything that i would like to keep here though

not quite i’ll give it a try i think it’s not the time for that then we will continue

so a nice progression

however we have to make it a lot more interesting for our listener for


this is good to hear i think here i would drop the drums pretty much for a whole two bars and let the track work its magic a little bit hopefully or maybe i would introduce the blooming base here

this is this is unnecessary for this part because we’re cutting not adding

so what i like to do when i arrange a track as you see as i do segment this is a very good tip for you guys so you do a segment another segment another segment and then after that when i go and really finish the final mix i would go and join those segments together that means like really perfect the transition like really detail what is happening in between those segments that i’m working on here i will obviously cut a little bit of the kick pop pop and then i think i think we have some melodic or some melodic we have some melodic i think i will go here into like i wouldn’t call it a pure beat section but i will i’m gonna do a little bit of changes into the pad not here but here so instead of having full length pad i want just to have some hits here open the filter just make it very spacey so again i will go into the next section select it here like this

i’m gonna remove this these hits so as much as i like this blooming base there’s something bugging me a little bit about it i think you need yeah it needs some compression guys it doesn’t sound like it is very it’s not contained it’s a bit muddy you know so i’m gonna go straight into the instrument here pick up the kick sidechain it ratio four two one i like a quick attack and quick release i don’t know about you guys this is a preference thing when you use sidechain

so stretching is good you can tell i raised the volume a little bit but it’s not enough so then after my side chaining i will add another compressor to really give some character to it so an opto

quick release

and then i think it will go in alchemy do a little bit of sound design somehow i would like maybe a bit more decay or even release

just a little bit because it was too plucky let’s open it with a toast just for fun not so good

better better into the mix chop the volume a bit more i want it to sit in the back i mean this is not like a big banger track so it’s a really deep progressive smooth track so the bass doesn’t have to be so much in your face let’s look at the time guys


so i did on purpose bring those up because i want them to be more of the rhythm but not so loud and i think we have a little bit too much percussion here so i’m going to keep some for later

this is the cool part where if i would have a singer that would be good to add some melodies on there this little part here not so fun of it here yet i’m going to keep it for a little bit later again

the base they’re not super necessary

you can play here to build an effect

what we need here is some intro to what is coming so this

must be some automations now so i will do it just with the volume for this time i could use some filters some other things but no just i think the volume is good

okay now we’re gonna go into a breakdown part which i will enlarge definitely

one two three so we have this melody which is a primary the primary ability for this song which we can keep for now at least

so i think start even lower

and probably add some more drums or some effects here so look what i got i can go here and into noise

that’s a noise it’s a weird noise

oh there’s a kid there i didn’t expect a kit i thought it’s gonna be so this is the old drum machine designer that’s still set up there so it’s going to make things come together so we’ll skip this part go straight into arranging this here

this is good with this if i would have a singer definitely a great moment to have some vocals in there

this little patty here is great but i think it has to somehow close

do not here go this far

i’m going to move on a bit further here

i don’t think it’s yet the time for that that definitely should go away

so let’s leave all the room here for our lead

and then boom bring some bass make it richer

i think we have a bit of an issue with the

issue so there’s a cut-off decoy that is you can still hear that little bit of crunch there which i do not enjoy very much so we will eliminate it at least a good part of it here

so we’re continuing here into our breakdown

and i think my lead is somehow a bit too high passed all right i think it’s the sound that is like that so i need more volume i really need to have it prominent like in in the at the center of the track

come on hello here i think the people in the crowd have waited long enough and there’s a need for a little bit of stimulant here so we’re gonna go for it here

well here’s the lower base pad did go away and guys for this type of music i will i would recommend to go a lot more musical in the sense that not to drop a bunch of risers and effects like this this is for this genre for me i’m not there to really push it to impress people to do well for people to freak out because it’s now it has to be emotional has to be deep it has to be progressive so here instead of pushing it up we can push you can pull a little bit with the kick you know do something like

that and then boom here and then here course we have our base coming back here and if we have the base then the base pad shouldn’t be so heavy because they work well together but not always so well so i’m gonna cut this here

i’m gonna enlarge the project a little bit here if logic want me to hello oh it doesn’t want me so i take the top part here no it doesn’t want me to do this here either okay hello sometime technical problem arise okay so for whatever breakdown of the main part with a good intro with some beats for me the outro i mean i wouldn’t call it the exact reverse of the intro but i would still really call it something very similar monotone not too much complication you know nothing too fancy because you know you don’t want you want the dj to be able to mix

and then as you see it’s i just took the intro and turn it into an outro of course there’s some work to do on the mix like changing the patterns you know that i think should be there like this one

put there yeah it’s definitely there so we can continue a little bit more strength of course than the intro and then we can do some subtractive production i like this word so you subtract you know really literally as you move along until you bring it down to almost only a kick and that’s it guys this is gonna be it for episode 35 of the live electronic music tutorials guys i hope you guys enjoyed this so give it a like if you like the music give it a like if you like electronic music really and if you like this type of music i produce it i make it a lot check out my beatport paid guide i get beatport page i get remixes by martin roth i work with a lot of people like manuel de la mare i post six albums so check it out guys music is really my passion in life and of course the most important thing may the sounds be with you guys


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