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Electric_Head wrote:I think legend4ry posted a very good bass tutorial re: the growling lead/bass.

Legend4ry's Youtube Tutorials. Updates! (18th/10/11)

I do think it's a good tutorial, but it doesn't explain how to make the GROWL.
It's pretty useful though, but not the growl I'm, and probably a lot of others here, am searching for.

I've had some succes with 2 sawtooth osc's detuned 1 cent from each other, putting over a lot distortion and a bandpass being controlled by an enveloppe so it sweeps at the exact moment were the sawtooth's are at the right distance from each other. Detune that to like C0 and you've got a pretty nice high growl thing

90% of the sounds are just reese re-processing with filter envelopes.

I have gotten countless variations of the "dungeon bass" from just using harmonic/analogue basic waveforms, making them slightly detuned and messing with the filter envo.

Dyssomnia wrote:

Electric_Head wrote:I think legend4ry posted a very good bass tutorial re: the growling lead/bass.

Legend4ry's Youtube Tutorials. Updates! (18th/10/11)

I do think it's a good tutorial, but it doesn't explain how to make the GROWL.
It's pretty useful though, but not the growl I'm, and probably a lot of others here, am searching for.

I've had some succes with 2 sawtooth osc's detuned 1 cent from each other, putting over a lot distortion and a bandpass being controlled by an enveloppe so it sweeps at the exact moment were the sawtooth's are at the right distance from each other. Detune that to like C0 and you've got a pretty nice high growl thing

I agree that it`s not going to give you the growl but it`s a good starting point.

Haven't heard the growl you're trying to replicate, but have you tried resonant low pass driving a or a chain of distortion units?

A filter driving a distortion unit?
I don't really get it, mind to explain a bit?

Just a fancy word for "put the filter before the dist", but by cranking the resonance you get some pretty screaming distortion, coupled with some filtermovement. I think the theory behind a good growl is low bass with little mid but plenty top, but Ive never done a propper growl so dont take my word for it.

anyone know good drumkits to use when making dungeon sound on logic or possibly a free sample kit with nice drum samples in? would help alot

cheers

My brain is overwhelmed with the amount of knowledge gained from this thread! Thank ya

kingfbz wrote:anyone know good drumkits to use when making dungeon sound on logic or possibly a free sample kit with nice drum samples in? would help alot

cheers

anything just add shit loads of reverb

its amazing how a long reverb ona bus can transfer the mood of a tune completely

Gutcha wrote: anything just add shit loads of reverb

its amazing how a long reverb ona bus can transfer the mood of a tune completely

So you put a long reverb with presumably low dry/wet on the entire drum bus, or just on specific parts (hats, snares)?
I've always felt that my drum seemed a little bit dry and basic compared to other producers drums, this might be the solution

I wouldn't put it on the whole drum bus, I'd just put reverb on a send with the wet 100% and control the mix from the bus knob. send your hats/shakers/snares to it individually. you might want more reverb on something and a little less on another.

Dyssomnia wrote:

Gutcha wrote: anything just add shit loads of reverb

its amazing how a long reverb ona bus can transfer the mood of a tune completely

So you put a long reverb with presumably low dry/wet on the entire drum bus, or just on specific parts (hats, snares)?
I've always felt that my drum seemed a little bit dry and basic compared to other producers drums, this might be the solution

Like what huts said,

for each drum track create a send to a 100% wet reverb with a nice long length (i find 4.35 seconds seems to be the magic number, and have the low freq level down really low so it doesnt get muddy) i also have another reverb send which is abit shorter and less intense.
Claps, HH's, shakers, congos, reversed shit etc all sounds good with a long a reverb.
punchy snares (200hz) get abit too muddy with a reverb of 4.35secs so the shorter one works best layered with a clap which has loads.
as for kicks i like them punchy so i keep them mono and very very little reverb.

Gutcha wrote: Like what huts said,

for each drum track create a send to a 100% wet reverb with a nice long length (i find 4.35 seconds seems to be the magic number, and have the low freq level down really low so it doesnt get muddy) i also have another reverb send which is abit shorter and less intense.
Claps, HH's, shakers, congos, reversed shit etc all sounds good with a long a reverb.
punchy snares (200hz) get abit too muddy with a reverb of 4.35secs so the shorter one works best layered with a clap which has loads.
as for kicks i like them punchy so i keep them mono and very very little reverb.

Alright, thanks a lot! I really think this will help, but if you've got any other drum related tips that can sound it more as a whole, they're welcome

thanks guys time to start a track if anyone has some more nice tips for making dungeonstep via Logic let me know

Another cool reverbthing I've tried and liked is making a reverb-bus that you send all your other reverbs to, just to add a bigger room around the existing ones. Say you've got a small bright "room"-reverb for snares and such, and the darker 4.35sec hall reverb, and then you have another reverb (fairly big) coupled perhaps with some tripplet-delays (with slight stereowidening? Simply having slightly off timings on the right and left channel should do the trick. Simple Delay in Ableton can do this, its the %-bar under the timing-buttons) that you send the two first reverb to. Add a gain-stage to this so that its audible (since a reverbed reverb is going to be quiieet) and you should be wobbling out in a deep dungeon already!

...
Why the neutral face?
Don't wanna offend you in any way, but it'd be more appreciated if you shared some tips (not full tutorials) on how you go about producing stuff. (not just bass)

Dyssomnia wrote:...
Why the neutral face?
Don't wanna offend you in any way, but it'd be more appreciated if you shared some tips (not full tutorials) on how you go about producing stuff. (not just bass)

no offence taken

just slightly concerned with some of the tips on reverb ive read. its hard to properly criticise though, theres no rules about this sort of thing (reverb buses are the one too btw)
its just really easy to swamp tunes with reverb. if you listen to more established producers and pay careful attention to the individual sounds i think you will probably find that its just one or two hits with reverb on. for the most part they are fairly dry (no reverb) unless the original sample has reverb on but when the sample ends so does the reverb tail. personally, i would be concerned with sending *every* hi hat into a reverb cos you'll lose definition in the hits.

at the end of the day though it depends on what you are trying to achieve i guess. just my 2p

district wrote: no offence taken

just slightly concerned with some of the tips on reverb ive read. its hard to properly criticise though, theres no rules about this sort of thing (reverb buses are the one too btw)
its just really easy to swamp tunes with reverb. if you listen to more established producers and pay careful attention to the individual sounds i think you will probably find that its just one or two hits with reverb on. for the most part they are fairly dry (no reverb) unless the original sample has reverb on but when the sample ends so does the reverb tail. personally, i would be concerned with sending *every* hi hat into a reverb cos you'll lose definition in the hits.

at the end of the day though it depends on what you are trying to achieve i guess. just my 2p

Well said, although I (and others probably as well) don't take these numbers as rules you should follow, just as hints where you're sure that they've worked out at at least one producer.
From there on, you can experiment by yourself so you can find your own way of going around stuff.

Totally off topic, but could you please clarify your bassline tutorial a bit (just 2 lines or so).
I'm thinking of buying a new VST, but when I tried your tutorial at a friend, it didn't really work out. Didn't even come close lol.
I wanna make sure Massive satisfies my needs

i work differently to how i used to (as detailed in that original tutorial) if i remember correctly though the dungeon style mids came from it though.

i still use massive and shortcircuit (pretty much exclusively) if that helps. im keeping schtum on what i've learned this year for the time being though.