Welcome to the forum
I'm actually pretty similar to you musically. While I don't care for trap, my live set right now ranges from downtempo breaks and psybient-infused trip-hop to midtempo glitchy funk. I also chose Logic for production, though I still have to hack my way through Ableton (slowly) for performing. I also use a guitar a lot, too: for my chill sets, mostly on soundscapes dripping with reverb; for, the dancier stuff, it's all about that clean 70s Strat spank.
You've got awesome gear already - top notch albums have been made with far less, so don't let anyone tell you you need this or that flavor-of-the-week. What's your monitoring situation, though? Good monitors are invaluable. They don't have to be ridiculously good, but headphones or stereo speakers are NOT acceptable substitutes in my experience. KRK Rokit 5 (not 8), entry level JBLs, or used Adams or Dynaudios would be my suggestions on a budget.
As for synths, the fact that you have Logic and therefor Alchemy means you already have what was until recently considered a top-tier third-party soft synth rivaling the likes of Omnisphere etc. If you learn Alchemy inside and out, that will serve you forever, and you will always find new ways to use it creatively.
As for what to learn... I'm not sure what your current skill level is, so forgive me if something I say is either too simple or too complicated.
I don't know much about trap percussion, but I think the same rules apply as with any other genre. Mainly, sample selection is king. More often than not, no amount of processing will substitute for a well-picked (or, well-made) sample. Can't polish a turd and all, and it's easy to suck the life out of your sounds if you try. If I could go back and do one thing differently from day 1, I would spend less time polishing turds and more time keeping a better organized, well-curated sample library. 20 kicks that you like and can actually use are worth far more than 3000 unsorted kicks with 100 you might use but never be able to find, endlessly digging through samples while your creativity finds a corner in which to hang itself.
If you're making bass music, you'll want to know the basics of... well, bass. Yes, sidechain compression is a staple of the genre. The now ubiquitous "wobble" or "wub" is a staple, too, and I'm of the opinion that making a good wobble takes a minute to learn and a lifetime to master. I'd learn what a Reese bass is, too, and at least a few methods of making one. Both wobbles and Reeses can be aggressive and heavy or mellow and smooth depending on your execution.
For the psybient stuff... there's a few staple sounds in psytrance/psybient that are worth at least learning, but you don't need to use them everywhere (or at all). The psy-squelch or psy-fart, the trance gated pad or vocal, the sample-and-hold sequence, and more than I can think of are all still used all the time. Time-honored techniques like the dub delay are used in virtually every genre.
If you work with vocals, consider learning a few advanced techniques. Pre-compression, an underused form of side-chain compression, is amazing on vocals (or anything else) and surprisingly easy to do; learning how and when to use pitch correction is also key. Logic has a very useable pitch-correction plugin, great for creative spacey auto-tuned effects.
Logic's compressor is awesome for a built-in plugin. Learn the models - they are very different from one another. I think an oscilloscope is a ridiculously useful tool for learning how different plugins shape a sound, especially if you find that you like to learn visually. It's fantastic for watching how distortion changes a waveform, for example, and how this relates to your headroom.
Learn everything there is to know about Flex Time in Logic. You'll find it's useful everywhere: from creative time stretching, to correcting performances after-the-fact, to chopping up drum loops... it's extremely well programmed, and the algorithms sound great.
Make sure you learn about sends and bussing and using auxiliary channels for reverb and delay. To give you a starting point, I start with 4 different reverb aux channels and 4 differing delay aux channels on any given track, and just send whatever to them as needed.
Don't be afraid to customize your hotkeys in logic. Alt+K opens up the keyboard command list. I have a ton of custom commands that I would never want to be without.
Eh, that's all I can think of at the moment.
Try things out and experiment at LEAST as much as you follow manuals and tutorials. Alchemy alone is so expansive that you could watch every tutorial on earth and there would still be creative ways left to discover.
Twist knobs and have fun.
See my signature.