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pretty much necessary for shaker type drum patterns as well.

yeah cheers, been playing with taking quantize off recently, looking for swing and for it to sound less computer

DrGatineau wrote:RKM, didn't watch the whole video, only a few minutes, but i think you've got the general idea of how to create a snare from multiple samples. same concept applies for a kick or any other sound.

It's not true when we're talking transients tbh.

But yeah wrote a lot already and maybe it didn't survive translation

You can cut the transient off one sound and add it to the tail of another.

lol, that almost never actually works in my experience unless the sounds are extremely similar in the first place.

If you're gonna go through that much effort for a sample, you should just look for a sample that works better.

NinjaEdit wrote:You can cut the transient off one sound and add it to the tail of another.

No, you mean the attack. The transient is the entire thing going from the highest spot to a low spot.

so does the transient mean the wave form of the sample?

and what is attack? i fiddle about with it a lot but don't fully know why

RKM wrote:so does the transient mean the wave form of the sample?

and what is attack? i fiddle about with it a lot but don't fully know why

it's the pitch of a sound or what frequencies a sound gets to go to before tailing off
but usually used to describe drum sounds or noise... (because the way it snakes about in the frequency spectrum says a lot about how hard or the opposite a percussive sound will hit - - whereas a genuine note like a piano has to maintain it's course to be in tune for a bit longer, despite it having a transient aswell)

it's the whole envelope from attack to decay to release

the attack is the initial bit it hits you with first


but maybe we should just change the way we talk about this stuff, it's all about vibe and ideas anyway

haha innit, but gotta work out what a few more of these buttons actually do yaknow,

so turning up the attack, does that like make the initial hit louder/longer? and does it perform same function in a compressor?

no its different but thats imo the cool way to do it (more natural)

like you would draw on to the wave form (it's called a destructive effect)

a compressor introduces a threshold and squashes parts of it.

Like if you had a balloon and squeezed half of it, the remaining bit would become hard lol


did an edit to the other post btw

the attack is the time taken for the synth to reach maximum amplitude or the length of time taken for the compressor to decrease the gain

but gotta work out what a few more of these buttons actually do yaknow,

yeah, I meant you can just ask anytime. I dont think there's any ideas that can't be done tbh.. but when using the technical language at all we are imo - putting ourselves in little boxes. Idea level > anything else.

xtcvsmistycold wrote:the attack is the time taken for the synth to reach maximum amplitude or the length of time taken for the compressor to decrease the gain

It doesn't have to be the maximum. And tbh the use of compression is too varied a practise or complex in nature to state that as a general.
Not that it's incorrect it's definitely refered that way sometimes.
You can have a soft attack, like with pads or violins or when you set a synth up to have almost a reversed attack - I dunno what to call it but like suction..

hubb wrote:

xtcvsmistycold wrote:the attack is the time taken for the synth to reach maximum amplitude or the length of time taken for the compressor to decrease the gain

It doesn't have to be the maximum. And tbh the use of compression is too varied a practise or complex in nature to state that as a general.
Not that it's incorrect it's definitely refered that way sometimes.
You can have a soft attack, like with pads or violins or when you set a synth up to have almost a reversed attack - I dunno what to call it but like suction..

not sure what you mean about compression though but that's what attack is

this might be useful http://www.uaudio.com/blog/audio-compression-basics/

excelllent graph,

i'm guessing i wouldn't be able to see that clearly in the sample shape in the sampler/simpler, would that be visible in like a spectogram

it's not gonna look exactly like that for every sound. for a pad, the attack and release might be much longer. for a lead, sustain is probably at 100%. for a plucky sound, there's no sustain. most drums/plucks/etc have a short or no attack. sub bass is usually short/no attack or release and 100% sustain for me.

so no you're not really gonna be able to identify each part if you look at a sample.

RKM wrote:excelllent graph,

i'm guessing i wouldn't be able to see that clearly in the sample shape in the sampler/simpler, would that be visible in like a spectogram

I don't think so, idk though i dont really use spectrograms

you can get a pretty good idea of how attack/decay/sustain/release affects the sound by messing about with adsr envelopes in your sampler or synth once you've got that graph in your mind

the fruity loops native synths make it really clear if ur on fl

thats fine for seeing an envelope divided into the bits it consists of but the amblitude bit is just not correct for every sound. . you are talking about attack in the sence of just the synth envelope (or ofcourse an individual adsr enveloper/gate) but it's also used as a term describing the initial part of a transient or the point after the zero crossing on waveform level..

Okay, I’ll bite.

So I’m in a “post midrange wobble brostep massive” faze, just like most people over the age of 16 seem to be these days. I held out longer than some thinking that the sound was stagnant and would either get better, or my ears\taste would change if I stopped listening to it for a while and then came back…. But at last, it didn’t. I didn’t mind not listening to it since I have always been a junglist and had no problem just grooving on that instead. Plus the good “pre-brostep” stuff was still in my playlist (excision- swagga, etc.). I would see people talking about dungeon or dungeonness sound that was emerging in the scene, but didn’t dig into it much and don’t even really know what it really is. I do know that I’m in search of some new dubstep as my ears have changed and I can’t handle most of the brostep, cheesestep, or elevatorstep. I do like some OG deep style dubstep of course, but I’m looking for something heavier.

Anyway, here are my questions I guess.

1) What is the dungeon sound\dungeon dubstep?

2)
Is this Kelly Dean SMOG podcast episode 22 considered dungeon? https://www.google.com/url?sa=t&rct=j&q ... 1339,d.cGU

3) If the mix is not considered dungeon… what would you call the sound (or does it even have a name\description)?

4) I’m really enjoying the sound on the podcast I posted. I’ve heard the same style before in tunes, mixes, and live sets… this podcast happened to be the best example of the style I’m into atm that I had at my fingertips. I’m wondering if someone could give me a basic rundown on how it’s made or the structure behind it. It’s a new sound to me, so I’m trying to pick it apart in my brain but am having trouble breaking it down to a point where I could begin making a song like it. It seems to have bass stabs with long tails on them and morphing reese’s and other gritty spaced out sounds that have a continuous sub under them. Would most people make the sub first, then lay the stabs and mid\midlow rang sounds in after? Would you start by making a bunch of bass sounds and stab samples, then lay them out into the sequencer, group them, then process them together. Adding reverb to get them to gel and blend into one another? Not really sure, just need some tips to start off with. Don’t really know if the style\sound has a name to look up tutorials or artist videos either.


Sorry for saying dungeon so many times, lol.

Yeah I would consider that mix to be 'dungeon'. The namesake refers to the overall "dark" aesthetic of the music.

I think the best way for you to start making it is to just open your DAW and get at it. Everyone writes tunes in different ways, do what's comfortable for you.

Distance has some decent tutorials youtube for this kinda sound.
https://www.youtube.com/user/TheDjDistance/videos

I was looking for that Kryptic Minds masterclass video, couldn't find it, but this came up during my search, seems like it would be helpful to watch:



I would like to urge you to learn from this 'sound' but try to make it your own, don't just try to replicate whats out there. Have fun with it!