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ShrackAttack

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  • Content Count

    131
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About ShrackAttack

  • Rank
    Goomba (+100)

Profile Information

  • Gender
    Not Telling

Contact Methods

  • Website URL
    http://swearmusic.com

Converted

  • Biography
    Graduated with a BA in Music Technology in 2010. Started pursuing professional music and sound production as a career in February 2012.
  • Real Name
    Daniel Swearengin
  • Occupation
    Full time Video Game Composer & Sound Designer

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Reaper
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Drums
  • Instrumental & Vocal Skills (Other)
    Percussion, Mallet Instruments

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  1. I also signed up. LET THE DOWNLOADING BEGIN. Here's what I'm going to try out personally: Hollywood everything Stormdrum 3 Ghostwriter Dark Side Solo Violin Gypsy Silk and the other little odds and ends they have
  2. Subscription based-model for all EW products now. 30$ a month for *gold editions* of everything. http://www.soundsonline.com/composercloud
  3. This is basically what I did when I bought a laptop for sound design/smaller music production while traveling. I got y470p (decent bit older than the 500) with i7/8gb ram for 200$ used on Ebay and it's worked fine so far for a year. Like Neblix said, I would try to get an SSD or at least a 7200rpm drive though.
  4. This. Mitsuda is the master of the feels.
  5. 0:25 - the larger guns could use some low end, maybe add some more mechanical layers as well for the movement of the cannnos. Lowpass a cannon shot and place it a few miliseconds after the initial fire. 0:35 - the mini explosion impacts from the cannons hitting Sin also need something else to them. Sounds too much like a straight pull from a library and doesn't quite fit. 0:43 - add some subtle movement to the swimmers 0:45 - add subtle chocobo sounds 01:24 - the lightning could use some more oomph to it. Maybe just add some low end or something. 1:47 - need more of that explosion All in all
  6. T-Racks sell: Buy 1, Get 4 Free. http://www.ikmultimedia.com/trgb/
  7. Only problem is, this happens with every other field in games as well, so it is not really a fair point. It's not like everyone who does art has certain qualifications. Anyone can download Maya or 3dsMax and start modelling shit. Anyone at any time can start learning pixel art. Anyone can go spend 100$ for a level design class, make some mods, then finally do a little crappy original game and call themselves a professional. Same with programming, sound design, voice over, etc. If you are good at something then you are good at it. The difference here is just supply/demand. If you're aim is to f
  8. I wouldn't set a flat rate across the board either. I would have an idea in your mind about how much a specific genre of music would cost to do in hours and go around that. For example, doing a full orchestral song with a 150 track template can take a lot longer than a dance track or whatever. (Just an example ) So maybe where you're at with orchestral music right now, you feel like it takes you 10 hours to write 1 good minute of music. Let's say you want to make 20$ an hour on such and such game before taxes. 20$ x 10 hours = 200$ per minute. Depending on who you're working for, you can also
  9. I do video game audio freelancing primarily to make money so I'll speak on that, as I don't know that much about licensing music for TV, etc. Usually this involves either me applying to a game I think is cool, or the indie company/game company asks me to work for them through word of mouth. I'll do sound design, music, audio implementation, handle voice acting, or a combination of all four. Especially on smaller games, the developer will likely want you to handle all aspects of audio. Personally I end up doing about 40% Music / 50% Sound Design / 10% Handling VA and editing. Exclusive rights t
  10. Yeah, I'm not sure I would suggest Audition for making music. From what I have heard, it is great for sound design to video/sound design. But I would definitely stick with Reaper for music.
  11. You might want to try layering more as well. Use multiple cello patches to make the sound fuller and adjust volume accordingly. Maybe have a Cello Marcato patch hit on certain parts to give emphasis, etc.
  12. 50% off lexicon PCM Native Reverb Plugin Bundle on jrrshop.com. It's 300$ (600$ normally). Izotope RX 3 is also having a sale if you buy it now you geta free update to RX 4. You can also buy that on jrrshop and get it cheaper than I've seen anywhere yet (around 211$). Pretty much a standard for cleaning up audio.
  13. So I bought Plogue Chipsounds a while back to use for a game and am about to start digging into it. Are there any good chiptunes/chipsounds tutorials out there? I want to use it mostly as supplemental stuff with hybrid orchestra/electronic music. I've been trying to figure out all the different tricks to get different sounds with it. And I'm certainly not looking to mimic "real" chiptunes. I just want it to sound cool and get some different effects with it . The main libraries I'm using for this game are EWQL Gold + Omnisphere + Chipsounds. I also have Komplete which I use sometimes. Thanks
  14. Ahh yeah, I forgot about OrangeTree. Thanks.
  15. So lately I've been looking for some new bass patches as I mainly tend to use the basic stuff that comes with the Kontakt factory library. So what are your favorite bass patches with the most character? Mainly looking for some new fretless bass and upright bass patches, but I'd be glad to hear anything. One of these days I'll just buy a real bass. Also looking for a nice acosutic guitar patch with character. It doesn't have to sound 'real'. I just want it to have some style to it .
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