📼 About the Dungeon Synth Album 📼
over 1 year ago
– Tue, Feb 11, 2025 at 03:11:48 PM
The Dungeon Synth Album
The Inspiration
Today I want to write a bit about the Dungeon Synth record which is going to accompany the Glumdark book release. The record is something I'm calling... Vol. 4.
I've been listening to a ton of Dungeon Synth both while DM'ing and working on other stuff. There are so many cool DS producers out there, and I really wanted to try my hand at the genre. Here's an unfinished demo of one of the upcoming songs to listen to while reading this probably lengthy update:
The Other Music I've Made
In the past, I've typically made music that's really personal to me, where I want to say exactly what I mean and be painstakingly true to myself sonically. Like, say, this record from my past band Bells Rang:
This means that I almost never use sample packs or presets and that I usually build percussion as well as melodic components from analog synthesis. And I try to stick to samples that I've personally recorded, as well as instruments that I have played or my friends have played and I've recorded.
On the Bells Rang record, for example, that meant recording all the drums with a live drummer and then resampling all of them. Because with electronic music, everything works better with the right amount of precision.
This is an incredibly painstaking but rewarding process. It's time-consuming and difficult and usually has me questioning my self-worth and sanity by the end. And of course then I'm always thinking, "hey this song is kind of cool. Does that mean I'm ripping off Radiohead or does it mean I'm ripping off Nine Inch Nails?"
But anyway, more recently, I've been trying my hand at remixes and things that feel lower stakes. Like this one for my friend's band CHEW:
This stuff is just fun to make and doesn't necessitate all the self-worth-questioning that comes with recording more personal music.
Enter The Dungeon
So when I started working on Vol. 4, I wanted to give myself some artistic constraints. I'd never tried to make genre music before (and I probably still haven't successfully done that), but it felt easier to achieve with a pre-defined sonic palette.
So I bought a sample pack of cinematic timpani percussion and grabbed some Kontakt instruments for choirs, hudry gurdy, organ, and orchestral strings. Then I developed a couple of patches for the Arturia Retrologue and a Prophet 5 clone which nailed the gritty 80s synth vibe I wanted. Finally I grabbed my electric guitar and plugged it directly into the sound card.
For now, this was all I needed.
Demos, Demos, Demos
I have found that one of the mistakes I've made consistently in the past when it came to music was falling in love with an idea and chasing it to the ends of the earth. I can think of many times with previous bands where I wanted to keep practicing and hacking at a song that, in retrospect, was never going to be good.
Sorry, Ben.
So for Vol. 4, I decided to generate ~40 different song sketches. These were little pieces of songs, around one to three minutes in length. I'd usually just start with a bass line, add some drums and some melodic synths and then try to write a part B to the tune. Usually I'd start the sketch at night and then "finish" it in the morning.
At the end, I ended up with about 35 of these sketches, and tossed out 13 right off the bat for being terrible. This left me with 22 potential songs for the record. I took these 22 sketches and sent them to our Patreon backers as well as my close friends. I just wanted to know what felt cool and what fell flat.
Based on their feedback, I chose 11 songs to continue working on for the record. I think all of these 11 are going to be released.
Working this way was an absolute joy. When I was making the sketches, I didn't worry about them being any good. And then once I'd selected them, I knew the DNA of them was already good. So I wasn't trying to fix them or get them to work, I was just expanding on what already seemed to be working for me.
I hope to forever work this way in the future.
Reinforcements and an Expanded Sound
Once I had those 11 songs, I was able to send them to some friends of mine who are also musicians to see whether they would want to contribute.
Now, I feel like I might jinx anything by putting into ink what is not already set to tape, but there's a very good chance that this record is going to have some incredible live strings and voices. Stay tuned for future updates where I might discuss these human upgrades.
And of course now I'm running the guitar through stomp-boxes and an amp and using analog synthesis to replace the digital replicas. Because you just can't beat the sound of a Moog.
So, after trying to build this thing from a kit, I'm back to forming it more painstakingly. Go figure. But, regardless, making this record has been a joy. And I hope you like it.
Cheers,
CTRO + Exalted Funeral
PS: If you have any questions about gear or more synth-nerdy stuff, feel free to ask in the comments. I'd love to chat about it.