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How to Make a Sexy Drill Type Beat in Logic Pro X | Smooth Drill Beat Tutorial

2.8K views· 105 likes· 14:48· Nov 4, 2024

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In this video, I’ll show you how to make a sexy, melodic drill beat in Logic Pro X. We’re diving into the smooth side of drill, combining deep basses, syncopated hi-hats, and soft, atmospheric sounds to create a vibe that’s both tough and sensual. I’ll guide you step-by-step through setting up the beat, adding drum patterns, laying down the bass, and using melodic elements to bring that smooth feel. Whether you’re a fan of artists like Cash Cobain, Central Cee, or you just want to add a new twist to your drill beats, this tutorial has everything you need to get started. Don’t forget to like, comment, and subscribe for more tips and tutorials on making beats! DOWNLOAD THE PROJECT FILES HERE: https://freakquincy.com/collections/free-logic-pro-x-templates/products/how-to-make-a-sexy-drill-type-beat Includes: stems, midi and Logic Project Files for you to import into your own sessions!

About This Video

In this video I’m showing you how I make a sexy, melodic drill type beat in Logic Pro X—and I’m doing it with the least amount of sounds possible. The whole goal is to leave a lot of room for the artist, but still make it feel unique and fire. I start by building a chord sample with Logic’s stock “World Whit” sound, then I use Ripchord as a chord generator (Prisms 3 preset bank) and layer a simple top melody on the same instrument. I’ll quantize only some notes (hit Q) so it stays human, then I route both pianos to a bus and shape the vibe with EQ, RC-20 (magnetic/space/wobble), Lossy for that digital/MP3-ish texture, and Valhalla VintageVerb. After the melody is set, I build the groove with a thin rim, syncopated hats (pattern region makes it easier), and an open hat for bounce. I’m constantly mixing while I create—if something feels too loud in the moment, I fix it right then. For the bass I use Retro Synth and show a common “sexy drill” move: jumping the bass up octaves, then controlling velocity so the higher notes don’t poke out. From there I add a riser before the switch, keep the kicks super sparse and turned down, and create an intro by bouncing the sample, transposing it down 12 semitones, and compensating with EQ + Supermassive. I finish it off with a simple vocal chop sitting in the background and a quick hi-hat breakdown/triplet transition to glue the sections together.

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