DarkEco

Members
  • Content count

    56
  • Joined

  • Last visited

  • Days Won

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About DarkEco

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

Profile Information

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

Contact Methods

  • Website URL
    https://www.youtube.com/channel/UCGbDe6JrqPLoUIS9A7UbcMg

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)
    Synthesizer

Converted

  • Steam ID
    DarkEco

Recent Profile Visitors

1,078 profile views
  1. It was more just to keep things tidy and avoid having to install plugins in two locations. Since i don't have my laptop or ext drive yet i can't really test things, but for something like Omnisphere is it easy enough to install the plugin alone on a second PC without having to install the entire library again?
  2. I'm considering putting all my plugins and samples onto an external drive, so i don't need to worry about syncing any changes to presets or samples etc when i move from a laptop to a desktop. I plan to use Backblaze to autobackup whenever it's plugged into the desktop though, so i'm not being careless. Thing i'm wondering is if it's possible for a VST to work that way, or do they need to be installed onto the computer itself? So say i installed Omnisphere onto an external drive and then i plugged that drive into a new computer that has my DAW on it, would it load Omnisphere completely normally provided i set the file search path to the external drive? Or does it need more than just the .dll file?
  3. DAW (Digital Audio Workstation) of choice?

    I've tried a fair few DAWs now and could lump them into three categories. There's Pro Tools, which i would consider the "Engineering DAW", as you can get deep into the nitty gritty but it tends to be far less intuitive and harder to get to grips with. I would never use it for being creative, personally. But if you plan on working in a studio then it's pretty much essental. At face value I'd probably lump Reaper in here too, though I have very little experience with it. Its super cheap though provided you're not releasing commercially. Then for lack of a better term i have the "Creative DAWs, which are Cubase, Logic and Studio One. These are the most well balanced of the three categories, with exceptional workflows and a good range of VST's to use. Of the bunch Logic is easily the best value as it's very cheap for the full version and has some incredible bundled content. But it's only available on Mac. I also know it can export midi to score sheets but I don't know if you can compose in notation. I'm a Studio One user. I find its workflow to be the least hindering to creativity and super smooth. I also use it alongside Notion, which is Presonus' own notation software and it integrates well and triggers your scores on playback with Studio One. I do find it incredibly clunky to use though. I used Cubase for a year at university and didn't find it as intuitive as the other two and it's also more pricey for reasons that must be unknown to me. Finally there's what i call the "Electronic DAWs", which are FL Studio and Ableton Live. I've never used Ableton so i can't comment much however i hear (as the name suggests) it's exceptional for live performance stuff if that's you're goal. FL Studio has a pattern workflow that is tailored more towards electronic music, but not limited to it. The workflow wasn't vibing with me and basic audio recording/editing felt super clunky and lackluster. I did use FL for about 3 years though because it's cheap and they have lifetime free updates so it's also amazing value. It's fun to look at too. It gets a bit of flak because it's seen by pro engineers as a bit of a toy, but I firmly disagree. Hopefully this narrows your search
  4. Listening to this on repeat in slow motion is making me nauseous. If anybody's got a really good ear here would you be willing to transcribe the melody that plays a 0:53secs for me please? I think i managed to get the first eight note arpeggio but my brain just feels like spaghetti now I would also appreciate any pro tips that can make this process easier in the future. EDIT: I may have found a much better method. Creating a similar instrument sound on a synth and transcribing to MIDI. I was originally trying to go straight to guitar. I think the vast difference in timbre was throwing me off! EDIT 2: Smashed it out in 5mins. Feeling like an absolute pleb now.
  5. 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.
  6. @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.
  7. 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!
  8. 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.
  9. OCR03549 - Sonic CD (JP) "The Madness"

    This is more 90's than the 90's!!
  10. OH MY GOD THIS ACTUALLY GOT THROUGH?!
  11. 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.
  12. 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.
  13. 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.
  14. I would highly recommend a multi-tier desk!
  15. That was hard as nails. I haven't even attempted an S Rank and probably never will.