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Cr2 Records are proud to unleash our brand new
present Dark Tech House by Sample Tools by
From the producer that bought you Deep
Analogue House, this pack is packed with deep
rolling bass loops, sublime chord hits and swells,
carefully crafted punchy drum loops and one
shots and huge cavernous FX sounds. Weve
included songstarter construction kits - 45 second
ideas bounced out into stems to enable you to
get ideas flowing quickly and easily, along with
over 50 presets for Massive and Sylenth.
We are always dedicated to helping you develop
as producers so with Dark Tech House, we
include Logic Pro X and Ableton Live 9 templates
and 3 Prod-Cast video tutorials covering Tech
House bass production, creative use of samplers
and special feedback techniques.
We also include a video from psychology of
music production guru Mike Monday where he
introduces his technique for getting you
producing 4 times more music.

Cr2 Records are a world-renowned dance music
record label based in London, established in
2004 by Mark Brown (MYNC). Many of dance
music's biggest names have featured on Cr2
including artists such as Hardwell, Nicky Romero,
David Guetta, Avicii, Eric Prydz, Chuckie, Fedde
Le Grand, Steve Angello, Nic Fanciulli, Thomas
Gold, Deadmau5, Carl Cox, John Dahlback and
many more!

For prod tips, freebies, comps & news
NEW!! Mastering & Feedback Service
Submit your demo to Cr2 Records

About the pack...

506 x WAV Audio Loops & One-Shots
80 x Bass Hits & Loops
90 x Claps, Hats, Snares & Kicks
20 x Percussion
25 x Drum Loops (as stem variants)
30 FX & Fills
40 x Synth Loops
107 x MIDI files
26 x Massive Presets
25 x Sylenth Presets
8 x Songstarter Construction Kits (containing
121 audio files)
1 x Ableton Template & 1 x Logic Template
3 x Prod-Cast video tutorials
1 x Productivity video with Mike Monday
Logic Pro X
NI Massive
Korg - M1
Logics Retro Synth
Focusrite - 2i2
Samson - carbon 61 key
Dynaudio BM15s

Our commitment to helping develop you as a
producer means that bundled with each pack will
be a collection of FREE Prod-Cast video tutorials
explaining the techniques behind many of these
expertly crafted sounds plus a tutorial from
psychology of music production guru Mike
Monday, helping you to achieve the most from
your production sessions.
You can find out more here:

From the producer....

(33 DTH Synth Loop 123 C) Very interesting
rhythms can be created with the melody parts by
using the sidechain function on the autofilter of
Logic (or any filter with a sidechain function). Try
different rhythms as sidechain source and play
with the cutoff, resonance and threshold settings.
The outcome is some really amazing grooves that
will work miracles with the existing rhythm parts.
Small tip: when you find the desired rhythm which
acts as the source, add it to another channel, set
it to no output and loop it all the way through the
track (ghost sidechain source). Otherwise when
the rhythm part stops throughout the track the
affected element will change drastically and lose
the effect.
(23 TH Synth Loop 123 G) When you apply
'enhance' the stereo width of a sound (stereo
spread plugin of Logic, S1 Waves or any other
widening plugin), you are actually putting the L &
R signals out of phase which creates the feel of a
wider sound. It can be an amazing effect,
however, you must be cautious as phase
cancellation issues might occur. When you apply
widening to a sound always check with a
correlation meter for cancelation and compare in

(In The Woods Songstarter Vocal 2) Sometimes
some sounds don't really work in the track or you
might want to create variations with your existing
sounds. Stretching audio is one of my
maintechniques to achieve this. It can work
miracles with vocals, synths, effects, almost
anything. Even if it seems that by stretching audio
to a incredibly high amount, the result will be
terrible. You will be surprised as you can end up
with some extremely interesting and psychedelic
(28 DTH Synth Loop 123 C) A very effective way
to create movement and width to your sounds
using ES2 (or any other synth) is by setting the
fine tune (cents) of an oscillator as destination
and an LFO as a source. Depending on the
waveform of the Osc and the LFO, and of course
the amount of modulation and speed of LFO you
can get some amazing results on your sounds.
Using in small amount can give a very slick unison
feel to the sound which is quite unique and
makes it sound more "expensive".

From the producer....

(07 DTH Bass Loop 123 C#) In Massive to create a
percussive attack to your bassline, one can assign
an envelope (source) to the pitch of one or more
of the oscillators (destination) and set the amount
to 24 or 36 (2 or 3 octaves up). Get the sustain to
0, release to 0 and decay to very low setting
(almost 0). Play with the attack setting until the
desired result is obtained.
(One Of Us Songstarter Bass) This is a technique
that can work really well for that kick drum/bass
relationship, when you feel sidechain of the
bassline is needed for the kick to cut through but
you still want your bassline to maintain its punch
at the mid high frequencies. Copy your bassline
to a new channel and apply EQ to both basslines.
In the first channel keep only the bottom end
(apply high cut till 90-110hz) and at the second
one keep only the mid high end (apply low cut till
90-110 respectively to the first channel). Then
add a sidechain compressor to the track which
holds only the bottom end and have the kick
cutting through without sacrificing the punch of
your bassline.

(One Of Us Fill) A very underestimated weapon of
Logic Pro X is the Drummer. Sometimes it is very
hard to program the MIDI of a real drummer as it
is difficult to get realistic velocities and note
positioning. By experimenting on the drummer
with the fills and exporting the MIDI once you are
happy, you can use that with your own drums and
get extremely realistic MIDI patterns. Plus you
can try many variations of fills with the drummer
in no time, thing that would be almost impossible
to be achieved so quickly if you were recording
and editing the fills or drawing them. You can
always fine tune the midi patterns afterwards to
get exactly the result you are after.
(17 DTH Drum Loop 123 perc) After putting down
the MIDI of this percussion I felt it still lacks swing
and the algorithms of Logic or manually moving
the notes was not achieving the result I was after.
I went through my library of some old funk bands
and cut some drum loops that I felt they have the
swing I want on my pattern. Using flex time and
setting the markers exactly right, I created my
own groove template from the drum loop and
applied to my percussion region. Fine tuning with
the quantise strength got me exactly the result I
wanted .

From the producer....

(33 DTH Synth Loop 123 C) To create this dub
effect on this part I used the Logic tape delay.
Take sync off and set the delay to a really small
value like 30ms. Set the feedback quite high
(around 53) and adjust the tape delay equaliser
until you get the effect. This can work amazing on
drums as well and assures the automation of the
groove parameter, as it can create some amazing
(23 DTH Drum Loop 123 full) In Dark Tech House
I find it is very beneficial to the drums to apply a
parallel distortion to them. After designing this
drum loop I created an auxiliary channel where I
added two distortion II units (in series) and a
compressor at the end of the signal with very
quick attack and long release. By sending the
drums to the bus and adjusting the send level
and the auxiliary channel level you can get some
really interesting harmonics added to your main
drums that will make your drums sound dirtier
and more "analog" which is a desired result in
this genre.

We really hope you find the pack and the

information in this booklet useful. Welcome to
Sample Tools by Cr2!

Mark Brown
Director | Cr2 Records/Sample Tools by Cr2