Easy Dubstep Making Procedures

Thanks to big names like Skrillex, Benga and Skream, the genre of Dubstep has simply exploded worldwide, especially in the USA. We all appreciate the UK roots of the sound, but it truly has transcended the original local genre. A new program is making production fast and easy; that is “DUBturbo”

Why DUBTURBO For Dubstep

Dubturbo is a standalone digital production platform that is simple enough for anyone to use to produce Dubstep. What was once one of the most complex types of EDM genres to produce, can now be done in simple steps with this new software.

All the hard work as been done for you, as thousands of insane wobble basslines, hardcore drum sounds and samples are included with Dubturbo – all you need to do is put them in place in the simple sequencer.  You can either use your mouse to achieve this or engage your keyboard as a drum machine to trigger the sounds you want, when you want.

Primary reasons to get started with Dubturbo:

  1. Get it now as an instant download from the supplier
  2. There are versions for Windows systems as well as Mac
  3. High quality dubstep drum samples included
  4. High quality, crazy sounding dubstep wobbles included
  5. High quality, dubstep glitches, screaming highs and samples included
  6. Piece the above together for your own original Dubstep tracks


The best way to get started is to see it in action for yourself. Dubturbo have taken Dubstep Maker software to a new level, removing the frustrating learning curve that was once the reason for so many failing producers.



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Dubstep Podcast: RA 309 – Svarte Greiner

Svarte Greiner is the project name created by Erik K Skodvin. He is a Norwegian music producer who current lives in Berlin, and he creates music that he labels as “Acoustic Doom.” He recently put out a podcast on Resident Advisor, where he looks into the dark and cinematic side of ambient mood music, but the patient dubstep fan could definitely pull some inspiration from the tense and brooding textures that he has threaded together for your enjoyment.

It’s always good to listen to as much of a contrast in music as you can, and making your way through this podcast makes you appreciate the thunderous rhythms of your favorite electronic music that much more, while at the same time expanding your mind’s fringes, certainly at least a little bit.

Erik is known to make his music with both field recordings and electronically produced stuff, both through software and hardware, so the variations of sound in his recordings are quite phenomenal. Though occasionally difficult to listen to because of it’s atonality, dissonance, and rhythmic incongruity, it’s easy for the DJ or producer to think of how much fun it would be to sample some of the material in Svarte’s recordings and jam some intensity in something like a dance track.

Erik constantly mentions that horror and mystery films are the inspiration for much of his music, and that makes sense the more you go through his back catalog of productions and mixes. The darkness is ever-present, and those dark textures that he loves may find some recess in the mind of the dubstep fanatic that will trigger some emotional connection that is difficult to be disinterested in. Once again though, patience is the key to making it through some of the subtle passages and interludes, as this podcast is entirely beatless. That makes it a learning experience not just for the dance-oriented listener, but for the listener who is looking for any sort of common ground at all.

In interviews, Erik mentions that some of his early influences are acts like Autechre, Aphex Twin and Boards of Canada. These are all artists who have influenced much of the early darker and more ambient dub and dubstep music. If you are not familiar with them yourself, you should make it a point to check out some of the work and look for familiar rhythmic structures, though you probably aren’t going to find the wobbles and the sawtooths that have become so prevalent. Especially with some of the Aphex Twin material, you’ll run into the hyperkinetic edits that have become a hallmark of offshoot genres.

Erik’s background is solidly in a computer-centric environment, so even though his atmospheric sounds come and go in a psuedo-organic manner, it’s all sequenced and processed in the digital world, which can give hope to composers who use dubstep software that feel like their computer music is always just too dry. The possibilities are out there, and producers like Svarte Greiner can show you the way!


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