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About DarkEco

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

1,484 profile views
  1. I've been offered an opportunity to collaborate with a fellow student on some game music. This isn't something I've ever tried before, even with basic songwriting, and I was wondering what people's workflow would be for something like this? We'd both be using different DAWs for one thing, so we couldn't easily share the project back and forth or anything. I'm so used to working with and keeping midi tracks, but obviously I'd need to print audio to send it over, which feels like committing to ideas way sooner than I'm used to. It all feels quite alien and uncomfortable. I don't want to waste too much time tripping over each other at the start, so any pro tips to help get a running start would be much appreciated.
  2. Too many projects in general

    This pretty much resonates with what i was saying about hearing underdeveloped sections too many times and not being able to imagine them any other way. @Mazedude definitely has the right idea and it's been working for me as well. I'll wake up at 6am, get the usual morning habits done and by 7am i'm at my desk for a dedicated 2 hour period where i will concentrate on music production. Than when 9am hits i'll start to work on my more essential things like University work. That way i know i got two hours done and even if the progress i made was little, i know that i still made progress and i'm being consistent. I find i have a lot less anxiety by starting work in the morning since i've still got the whole day ahead of me, which free's my mind a lot because i'm not feeling pressure from the hours in the day running out. I hate doing anything that requires deep thought in the evening and would rather just read or watch Netflix. Now i don't feel guilty about having chill evenings. Actually getting up at 6am is horrible though.
  3. Too many projects in general

    I definitely understand the struggle pushing past the 8-16bar "this sounds cool" phase. I'll often sit down to continue writing something and then realise that 3 hours have gone by and i've listened to the "cool loop" so many times i can't imagine it sounding any different. Usually within that time i'll have accidentally come up with a new 8-16 bar section for a completely different project, and so the cycle continues... I will say though, the only thing that has worked for me, even if i don't 100% have a direction or know what i'm doing in general, is to just plonk my arse at the computer at 8am and absorb myself in it for the next 12 hours. Something eventually clicks within that timeframe that makes me say "Yes! I know what i want to do next!". I find that listening to similar music as a reference often makes new ideas pop up.
  4. I need to know if this is normal...

    Haha, I get what you're saying, however, this is my second time in uni (I'm 28). I did the straight to uni out of high school thing when I was 17 and ended up in a course I hated and left after a year , it wasn't audio related though. I guess I feel I wasted a lot of time in the past 10 years so the pressure to do well faster is always in the back of my head now
  5. I need to know if this is normal...

    What a valuable post! Thanks for sharing, @Patrick Burns!
  6. Ok thanks for clarifying! I'll be sure to try out some odder time signatures too. The fact it seemed somewhat "tame" was one of the reasons I wasn't sure if it would be considered polyrhythmic.
  7. I'm having a difficult time getting a solid answer on this from Google (or i'm just not understanding it). I'm trying to find out if something i've written falls into either category. From what i've gathered: - Polyrhythms are triplets over duplets organised in a way that both rhythms will always land on beat 1. - Cross-rhythms are just two independent rhythms that can be duplets or triplets and don't really have any rules. The things is, i'm finding conflictions in various sources and i'm just confused now. Is this rhythm i've made an example of either a cross or polyrhythm? Audio file included. https://soundcloud.com/darkeco/rhythm-example/s-V5Lkc
  8. I need to know if this is normal...

    Really sorry to semi-necro this thread, but i can't not reply to this and hate that i didn't see it sooner... @Sixto, the first OCR i ever heard was "Wicked Six". I was a huge fan of instrumental guitarists such as Satriani, Vai, John 5 etc, so it went straight to my heart. Before i heard that remix, i had never heard of a DAW and i had zero ambition in life. I had no clue what i wanted to strive to be. Listening to YOUR work turned a page in my life where i knew i wanted to become a part of this community and be involved in sound in some way as a career. I was absolutely BLOWN AWAY by the talent i heard from youself and others, and damn do i wish i could shred like you. Well. here i am, finally about to submit my own Castlevania remix (which i believe to be my most impressive work so far) and i was using YOUR track as reference along the way. On top of that i'm close to getting a University degree in an audio field, something that i never thought i'd be intelligent or ambitous enough to obtain. Believe me, your music (yes YOUR music) is making a difference to people, a huge difference! I'd listen to your version of "I'll Go" any day over the original because to me your vision is significantly better overall. It's one of my most played YouTube videos. I even modded it into Smash Bros Brawl haha. And i've never even played Tales of Symphonia, so your version stands on its own without any nostalgia goggles propping it up! Keep rocking, bro! @Phonetic Hero, i've finally got round to watching the 8bit Music Theory channel recommended! Holy shit! This guy's amazing! One of the biggest problems i've had with theory was not being able to truly understand it's application in writing. I'm supporting this guy! First channel i've ever supported!
  9. I need to know if this is normal...

    That was a great comment, man! Thanks so much for that! It's made me feel more human and less broken. I always feel guilty if i'm not working on something, and i always assume that it's because i'm lacking passion/it's not for me. But there are just some days where i really don't want to sit in my box room for hours. That YT channel looks like something that could be very helpful too, so i'll be sure to check it out. What you said about adding a dummy wave to test things in your projects, that's something i'm going to really have to wrap my head around. See, i've being studying in more of a sound design focused field, so i've always put the sound itself over the composition. I find it hard to imagine how a musical passage could eventually sound if i was to make it enitrely out of pianos or simple waveforms. Is a triangle wave enough to let you know that it will sound good no matter what suitable instrumentation or synth patch is used in the end?
  10. I need to know if this is normal...

    University is, between the essay writing. The approach I have right now is pretty much just starting a project and learning things along the way as the project requirements become more apparent. I'm completely incapable of sitting and saying "Today, i'm going to learn (x)", because I've no idea what I should be learning. "Get better at writing music" is pretty much all I can say to myself. It feels a bit easier with sound design. "Today, i'm going to learn how to make monsters/guns/room tones etc". Also i'll tend to start with a piece of footage for this, so it's obvious what sounds need to be made.
  11. I need to know if this is normal...

    Damn, man. This is the closest I've ever been to getting a quote tattooed. That was some helpful insight. My output is definitely improving every time, no question. It's just the instability of the process that gives me anxiety I guess. Y'know, that's actually a pretty solid idea. Even though they're not overly descriptive, just looking back at something like that when i'm feeling lost could be enough for me to go "Hey, I remember that thing!"
  12. I'm studying game audio at university (3rd year). I've just come out of my final presentation for this semester, where my game team and I demonstrated our work so far on the project and our aims for the next semester. Our group was the 4th last to present and I was told that my audio presentation was stellar and the best they had seen this year. They had no complaints whatsoever. I've never felt more undeserving of anything in my life. I feel like everything I've created has been a complete fluke. All the ideas I somehow managed to fabricate couldn't be replicated if I tried my hardest. I have no recollection of how anything really happened apart from a bit of genre and instrumentation research in the first few weeks. I first started learning audio production in my spare time about 6 years ago. 6 fucking years. Yet I still feel like I can't truly write music, my mixes are substandard, and if I showed any work to an audio professional I would be laughed at. I'm objectively worse at writing music than about 80% of this community, i'm sure of it. I've felt the exact same at the end of every project. This isn't just for music composition, but also sound design. I've learned a fair bit of theory that I've been able to creep into my creation process when needed, but never actually been able to write something from theory if that makes sense. I understand that plenty of great music is written with zero theory knowledge, but I need a structure, something that will make me know that i'm learning and not just generating happy accidents. I need certainty that if i'm given a brief, I will be able to write music for it. I feel like i'm working excessive hours to come up with something a professional composer could write in minutes. I just have no idea where to begin with this. Theory and composition feels so horizontal, rather than a vertical progression. I need a foolproof process that will make me a better composer. I want to be able to feel like compliments are deserved, instead of feeling like i'm somehow drowning.
  13. 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?
  14. 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?
  15. 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