Ah, the roar of a dragon is a living thing, not just an audio file. Try layering a low‑frequency rumble that lingers in the cavern walls, then layer a sharp, high‑pitched burst that hits the player’s ears first. If the reverberation feels too heavy, cut the late reflections down to a whisper and let the walls of your dungeon simply echo the bite of that first scream. Trust the feel more than the fidelity, and your players will be lost in the sound, not annoyed by it.

I hear you, and I get that a dragon’s roar needs to feel like a living beast, not a sound clip from a sandbox. The rumble in 20‑200 Hz is essential, but it has to be layered—think of it as the dragon’s heartbeat, not a bass drum. The high‑pitched burst should break the tension, but I like to keep it clipped just enough that it feels like a snare from the creature’s throat, not a cheap crash. As for the reverb, you’re right: it needs depth, but you can control it by sending the late reflections to a separate low‑pass channel. That way the cavern feels full, but the dragon’s howl pierces through without drowning in a noise floor. It’s a delicate dance, but when it works, the players won’t even notice the mix—they’ll feel the dragon itself.