This Logic Pro synthwave project started with a simple idea. What if I built a full synthwave track using mostly the sounds that already come with Logic Pro?
No expensive synth bundle. No massive third-party plugin chain. No “before you can make music, please buy these 14 things” nonsense. Just Logic Pro, a couple of free plugins, some electric guitars, and enough 80s energy to make everything feel slightly more dramatic than necessary.
The project is also available to download, so you can open it, study it, change the sounds, use the MIDI parts, and turn it into something of your own. Just don’t take the actual song and sell it as your own, because that would be a bit weird. Other than that, feel free to use this Logic Pro synthwave project as a starting point for your own music.
A Logic Pro Synthwave Project Built With Stock Sounds
One of the best things about Logic Pro is that it already includes a ridiculous amount of useful sounds. It is easy to forget that, especially when the internet keeps telling us we need one more plugin before we are allowed to finish a song.
For this track, I wanted to keep things simple. Most of the drums, basses, synths, and textures come from Logic Pro’s own stock instruments and presets. Then I added two free plugins to push the atmosphere further: Valhalla Supermassive and iZotope Vinyl.
That combination ended up being more than enough for a full synthwave arrangement. The stock sounds provided the foundation, and the free plugins added space, movement, and that slightly worn retro character.
Starting With Logic Pro’s Neon Drum Kit
I usually like to start with drums, because the drums tell the rest of the song how to behave. Even in synthwave, where the synths are obviously a massive part of the sound, the drums still create the foundation.
For this Logic Pro synthwave project, I used Logic Pro’s Electronic Drum Kit Designer and picked the Neon kit. As the name suggests, it has a very 80s electronic drum sound. It already feels like it belongs in a night-driving montage, which is usually a good sign.
The basic groove is simple. I went through some of the shaker, snare, tambourine, and hand clap options until the beat felt right. Then I added tambourine and hand claps later in the arrangement to make the final repeats feel a little bigger.
To give the drums more punch, I sent them to a parallel compression bus. That bus uses Logic Pro’s Multipressor with the Punch Drums preset. Yes, it is a preset. No, I am not ashamed.
The parallel compression brings the drums forward and adds a bit more weight. It does not completely change the sound, but it gives the beat more energy. I sent a healthy amount of the drums into the compressor and blended it by ear, which is often the most reliable method anyway.
Making the Toms Huge With Valhalla Supermassive
The main Neon kit worked well for the groove, but I wanted the tom fills to sound bigger and more dramatic. The kind of tom fill that makes you feel like something important is about to happen, even if the song is just having fun.
For that part, I used a separate Logic sound called Analog Circuits. It gave me the larger tom sound I wanted. More importantly, keeping the toms on their own track made it easier to treat them differently from the rest of the drums.
That is where Valhalla Supermassive comes in. I sent the toms into Supermassive and used the 80s Space Reverb preset, because of course I did. It makes the fills sound huge.
Without the reverb, the toms are fine. With the reverb, they suddenly sound like they are echoing through a giant retro-futuristic tunnel. That is exactly the kind of thing this track needed.
Usually, I would cut a lot of low end from a reverb like this. Low end in reverb can get messy very quickly. However, the toms are fairly exposed in that part of the song, so I left more of the low end in. It made the fills feel bigger and more dramatic without getting in the way.
Layering Two Bass Sounds
After the drums, I built the bass part with two different Logic Pro bass sounds. The first one is the 80s Pop Bass preset.
By itself, that bass sound has quite a bit of high end. It actually sounds cool when soloed, but it was fighting with the other bright parts in the full mix. Because of that, I cut quite a lot of high end from the bass.
That might feel wrong at first. When you solo the track, the bass can sound less exciting. However, mixing is not about making every track sound amazing on its own. The bass needs to support the song, not win a solo contest against the synths.
The 80s Pop Bass still did not give me quite enough low end, so I added a second layer. For that, I used a Deep Synth Bass preset. This added more weight and a bit of gritty character underneath the first bass sound.
I also adjusted the glide setting on the deeper bass. Glide can be a cool effect, but it did not fit this song when pushed too far. I wanted the note changes to stay sharp, so the bass would follow the guitars and the rest of the arrangement more tightly.
Together, the two bass sounds create a better foundation. One layer gives the synthwave character, while the other fills out the low end.
Building the Synthwave Mood With Logic Pro Synths
Once the drums and bass were working, the track needed the thing that really makes synthwave feel like synthwave: wide, moving synth layers.
The first important synth part is the Moonlight Drive preset. It has a fun arpeggiated movement and a slightly wobbly stereo image. It does not need to be complicated, because its job is to keep the song moving.
Then there is the 80s Wave Synth preset. This is one of the main sounds in the whole Logic Pro synthwave project. It has that wide, dramatic pad feeling that sits perfectly in this style.
At the beginning of the track, I used a simple filter sweep on that sound. I started with some of the high end rolled off and then slowly brought it back in. It is a basic move, but it helps the intro grow into the arrangement.
Later in the song, I added more synth layers, including Midnight Drive and Neon Drive. These parts do not always jump out as separate elements in the full mix. Still, they make the track feel wider and bigger.
That is an important part of arranging. Not every sound needs to scream for attention. Some parts are there because the whole track feels smaller when you remove them.
Near the end, I also added Gritty Bells with an arpeggiator. It follows the same chord sequence, but the arpeggiator makes the notes jump around in a slightly random way. That little movement adds detail and excitement to the final section.
There is also a lead sound using Space Echo Bells. It gives the track a melodic theme and adds more of that dreamy synthwave atmosphere. Again, it is not complicated. It just fits the mood.
Adding Electric Guitar to a Synthwave Arrangement
Even though this is a Logic Pro synthwave project, I also used real electric guitars. Synthwave and guitar can work surprisingly well together, especially when the guitar is used as a texture instead of a traditional rock part.
The guitar parts originally came from another video where I used a few BOSS pedals to create synthwave-style electric guitar sounds. I brought those parts into this project because they added something the synths did not quite have on their own.
There is a repeating guitar pattern that plays through much of the track. Near the end, I changed the pattern slightly to add more excitement. It is a small change, but it helps the last section feel like it is going somewhere.
I also added rhythm guitars to bring in more drive. They are not meant to take over the song. Instead, they push the arrangement forward and add energy under the synths.
Then there is a lead guitar part. It is noisy, a bit messy, and I like it that way. Sometimes a perfectly polished guitar tone is not the most interesting choice. A little roughness can make the track feel more alive.
There is also a chorus riff layer. You might not notice it clearly in the full mix, but it adds width and movement. When all the guitar parts play together, they create a call-and-answer feeling. One part plays something, and another part answers it.
That is a simple songwriting trick, but it works. The arrangement feels more interesting when the parts respond to each other instead of all playing the same role.
Replacing Guitar Parts With MIDI Synths
Because not everyone who downloads this Logic Pro synthwave project plays guitar, I also recreated the guitar parts with synths.
They are not perfect copies of the real guitar tracks. With more tweaking, they could be improved a lot. However, they are close enough to give you the same musical ideas in MIDI form.
That means you can take those parts and use them with your own sounds. You can change the synth patches, edit the notes, or replace them completely. The point is not to force everyone to use the project exactly as I made it.
Instead, the project gives you a starting point. You can open it, break it apart, and build something new from it.
Using iZotope Vinyl for the Final Vibe
One free plugin made a huge difference to the final sound of this track: iZotope Vinyl.
Vinyl simulates the sound of old records. It can add dust, scratches, warp, wear, mechanical noise, electrical noise, and lo-fi character. For this song, it helped create that slightly aged and imperfect synthwave vibe.
When Vinyl is bypassed, the track sounds cleaner. That is not necessarily bad, but it loses some of the atmosphere. With Vinyl turned on, the track feels more worn-in and nostalgic.
I used the dust setting to add small crackles. You can hear them throughout the track, even when the music is playing. It is a tiny detail, but it makes the mix feel less sterile.
I also added a small amount of warp. You have to be careful with that control, because too much warp can make the whole track sound seasick. Used gently, though, it adds a nice bit of movement.
Another fun thing about iZotope Vinyl is that you can automate the controls. You could automate the warp for an intro, add more dust during a transition, or use the spin-down effect at the end of a song.
The spin-down effect is especially fun. It is the kind of thing that can be subtle, silly, or completely over the top depending on how you use it. Naturally, I appreciate all of those options.
Why This Logic Pro Synthwave Project Works
This Logic Pro synthwave project does not work because of one magic plugin. It works because the parts support each other.
The drums create the foundation. The bass fills out the low end. The synths add movement and width. The guitars bring drive and attitude. Valhalla Supermassive adds huge reverb, while iZotope Vinyl gives the track a worn retro texture.
None of those things are extremely complicated on their own. However, when they are layered together, they create a full arrangement.
That is the main lesson here. You do not always need more gear. Sometimes you need a good starting sound, a few practical mix decisions, and an arrangement that grows in the right places.
Logic Pro already includes a lot of useful sounds. Some of them might not seem exciting when you scroll through presets quickly. Still, when you place them in the right context, they can work really well.
Final Thoughts
This Logic Pro synthwave project was a lot of fun to make. It reminded me that Logic Pro’s stock sounds are more useful than I sometimes remember.
With the Neon drum kit, layered synth basses, wide arpeggiators, 80s-style pads, electric guitars, Valhalla Supermassive, and iZotope Vinyl, the track came together without needing expensive extra tools. That is always nice.
If you already have Logic Pro, you already have a lot to work with. Add a couple of free plugins, and you can get into some really fun synthwave territory without spending more money.
So download the project, open it up, change things, replace my parts with your own, and see what happens. And if you end up creating something with it, send it my way. I would genuinely love to hear it.
►►Download this Logic Project
https://www.dropbox.com/sh/yhfkb8jz7c30348/AACgCW9TXkC4GrtUKWAPIPuxa?dl=0
Leave a Reply
You must be logged in to post a comment.