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About DarkEco

  • Rank
    Eggplant Wizard (+50)
  • Birthday 09/11/1989

Profile Information

  • Gender
  • Location
  • Interests
    Sound design and writing music at a snails pace.

Contact Methods

  • Website URL

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
    Pro Tools
    Studio One
  • Software - Preferred Plugins/Libraries
    Line 6 Helix, Omnisphere, Serum, Hive, SSD4
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Electric Bass
    Electric Guitar: Lead
    Electric Guitar: Rhythm
  • Instrumental & Vocal Skills (Other)


  • Steam ID

Recent Profile Visitors

715 profile views
  1. Well that all looks like a lot of money that I don't have haha. Thanks for the tips though. I think I may try recording and processing some of my own sounds by listening to some if these libraries and trying to recreate some of the samples to the best of my ability. I find it difficult to imagine percussive sounds in my head.
  2. @timaeus222I finally got some free time to listen through this. Absolutely sensational remix! The sound design, clarity and playfulness in the stereo field is like ear candy. Honestly this is the sort of stuff i'd love to be able to write, but with guitar in it haha. It seems tricky though. It's like adding guitar automatically muddies everything up. Anyway back on topic, you're tip on using drums as a signalling tool already fixed a transition i was having trouble with. There's still something missing but it's definitely improved it. Matching the frequency spectra is something i've always naturally felt would be a thing, but implementing it is the tough bit. Using instruments from the next section to lead in is also a good call. Again something that i use now and again, along with reverse crashes. I think overall the disjointed rhythmic transitions were what was holding me back most here. Can i ask, i'm trying to move away from just acoustic drums and start using more obscure electronic sounds as percussion as well. Your percussion in this remix is really interesting. Would you be able to give me some insight into how you went about creating them? Sound library, original recordings, processing etc? @AngelCityOutlawI'm looking into voice leading right now. From what i'm gathering it's simply using chord inversions to create "steps" instead of "leaps" in the music that make in sound less jarring. Does it go deeper than this? A lot of the other things i kinda already do without realising, although i'll need to look into the sentence/period structures your mentioning as i have no idea what that is.
  3. I expected no less from this community. Outstanding feedback all round. I'll definitely be researching a lot of the information here! Thanks for all the answers!
  4. One thing that i notice always becomes a brick wall for me when writing is when it comes to the transitions between say verse to chorus for example. I can write a verse by itself forever and continually build sounds upon a bass hook and have a lot of fun in the process, but when it comes to actually transitioning to a chorus i never know how to go about it and just hit the keyboard until something hooks. It's the main reason i've got 100 pieces on my hardrive that i've managed to get an intro and verse for but are now gathering dust because progressing past that feels like pissing in the wind. I've noticed i'll always lean towards a kind of "cop-out" method where i'll put some odd sound design like a stutter, pitch drop to silence or something to hide the lack of interesting chord progression. It's a habit i really want to break because otherwise my music is going to become way too predictable. Are there any go-to rules for creating effective transitions? Hit me with all the theory! I'd say i've got an intermediate theory knowledge so i should hopefully understand what you're talking about.
  5. This is more 90's than the 90's!!
  7. Well, I think most people would just say the styles that were chosen for each era suit them best. Are you asking what alternative styles could have been used instead of the ones they went with? To me the Megadrive era of of Sonic thrived musically with Sonic 3 & Knuckles. Sonic 3 was very funk based whereas S&K had a more in your face electronic vibe in some cases like Flying Battery and Death Egg, along with more generic thematically appropriate tracks like Sandopolis and Sky Sanctuary. I don't know what I would class Lava Reef as but it's dope either way. So for me Megadrive Sonic would ideally consist of that era mainly. I prefer Sonic 3D Blast's music overall (not the Saturn version). It just has a "moodiness" that I find very absorbing, like a dark analogue sound. In the GC era, while I liked the punk rock styles of Sonic Adventure I think the more heavy electronic/rock style in the Shadow the Hedgehog soundtrack really shone through to me. I found myself listening to it far more than anything else in that era. Shame about the game itself though. It definitely wouldn't work for SA unless it was brightened up a bit though. After that I pretty much lost interest in any Sonic game apart from Generations... SONIC MANIA THO.
  8. The dimensions of the product should always be listed in the specifications. Get a tape measure and make sure before you buy anything. I always do this to avoid immense disappointment later. I've modded my desk along the way to be able to cram as much as i can and leave space for new things in the future. I'm pretty much always thinking about something i can get to fill a space on my desk. In regards to getting an 88 key to put on the desk i would argue that it's excessive in any case. You're desk is also you workspace for pen and paper so you want some space on it! I'd suggest having a keyboard that large on a stand to the side so you can turn your chair to it when you need to. Get a wireless keyboard so you can sit it on top of the piano when you go to use it, set up key shortcuts for record, loop start, track start and undo so if you make a mistake during recording you can undo and try again without any need to move back to your computer screen. The only reason i could see to get an 88key is if you're looking to play a realistic piano or synth performance. It wouldn't really be of any benefit for orchestral arrangement (minus piano), since most instruments have quite a limited octave range, and you certainly won't need it for electronic music. On your desk have a 3 (maybe 4) octave keyboard controller with a bunch of assignable knobs for your soft plugins and leave the 88 key for anything that requires you to play right and left hand simulataneously more than 3/4 octaves apart. You'll find the capable remixers on here (as Timaeus has already shown) don't really need a large keyboard because of the vast possibilties MIDI programming offers.
  9. Haha there was a perfect space on the synth for a coaster and a cup, the water bottle's empty though. I have faith in myself to not ruin my life.
  10. I would highly recommend a multi-tier desk!
  11. That was hard as nails. I haven't even attempted an S Rank and probably never will.
  12. You'll eventually get a fire technique you can melt it with. PM me if you're stuck with anything else. Okami's my favourite game Topic: +1 for the Sonic 3 barrel. I didn't complete that game until I was 23! Getting all the cages in the original Rayman. You can't finish the game with anything other than 100% completion. I did it for the first time about 3 years ago. That pink world you unlock at the end of Super Meat Boy. A steaming pile of nope. Sonic 4 because it was terrible.
  13. You're a god among men.
  14. I can 100% relate on both points. I had a spell recently where i considered dating again but i've come to the conclusion that i really need to learn how to live with and understand myself before i can even consider being with somebody else. A steady income would also be handy. I've dealt with some serious low self esteem most of my life but in the recent years since starting University (again) i've become one of the most confident and knowledgable people in the class who a lot of the younger students look up to for help and advice, which i'm not gonna lie, feels incredible. It's like i finally have something to offer somebody, but i don't think audio engineering advice offers much in terms of a relationship haha. I suppose i could just form a series of themed pickup lines until somebody latches on... "Are you a sidechain compressor? Because you've got my heart pumping!". And i totally get wht you mean about who don't understand or appreciate gtting absorbed into a fantasy world like that. I never know whether or not to embrace it as a part of myself and it does make it far more difficult to find somebody if that's what you're going for. Back on topic: VGM was also the main reason i became interested in music. It was always the music that was the biggest nostalgia trip for me, in fact i think i've always enjoyed listening to VGM more than playing the actual games. OCR got me into audio production and composition after listening to Sixtos 'Wicked Six' Castlevania remix and Zircons 'Antigravity' album. But hell, that was over 5 years ago, and while i've improved immensely since this abomination, i feel i've really wasted the years because my failues were always more abundant than my successes, which put a lot of fear in me and i'd retreat to something that gave me instant achievement and gratification, which in this case were video games. I'm finding instant gratification a problem with a lot of people in this new technology generation. So over the next three video game free years i'm forcing myself to put as much effort as i can into it and suck up the failures instead of being a bitch about it. I've taken on a track for an OCR album, which is terrifying and stressing me out because i still struggle with composition and i don't have full creative freedom since it's for a "client". I think the main problem for me with composition and arrangement is i never know how to approach it, so i'm hoping now that i've started learning about how it's done for orchestra it will apply to all other forms of music i create. Guitar noodling and keyboard battering in the hopes something comes out has too much uncertainty in it for somebody with a mindset like mine.