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DarkEco

Contributors
  • Content Count

    81
  • Joined

  • Last visited

  • Days Won

    6

About DarkEco

  • Rank
    Dan Hibiki (+75)

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

2,849 profile views
  1. No worries! I can't promise i'll be quick with it, so if somebody else wants to do it before i've shown you any kind of WiP then just give it to them
  2. Hey, how's this all shaping up? I'd like to stick a reserve on Demon Seed for the Creature if there's still plenty of time left!
  3. From the looks of it i'd say the area is almost certainly based on the UK.
  4. @Jorito I'm interested in hearing more about this technique. I recently experimented with setting up 3 reverbs of the same type to handle near, mid and far (far having the longest decay) and sending the instruments to their appropriate reverb depending on where i wanted them spacially. I'm not really sure it worked as intended and i ended up scrapping the idea earlier this evening, but it sounds like your technique is much the same thing except using completely different reverbs on each bus? So do you send your instruments to only some of the reverbs or are your busses intended to act as a lay
  5. EDIT : Strangely enough, i was searching articles and found one by said person i'm working for on this exact topic! He's echoing a lot of what i've already told you, including the value of networking, but he's saying it with over a decade of experience under his belt, so i'd read this and see if you find it helpful. http://www.gamecareerguide.com/features/1402/getting_a_job_creating_sound_and_.php --------------------------------------------------------------------------------------- OP : I think aiming to go straight to an in-house position is the wrong way to approach things. Fr
  6. I find that thinking about my creative endeavours often fills me with anxiety, to the point where I'm compelled to avoid them at all costs. Things like knowing I have no ideas, or being afraid to return to a half finished piece of music because I don't know how to improve it further. I often read when looking for anxiety management tips that channeling your anxious thoughts into something creative can be a great outlet, but when it's your creative outlet that is causing the problem how do you learn to reprogram your mindset? Any help is much appreciated.
  7. Your teacher sounds amazing! Names of the scale degrees. I prefer to just say numbers like a normal human being. I'll often use the term Tonic and Dominant as you tend to hear them a lot more, but between that its just second degree, third degree etc. I call the 7th degree the Leading Tone because it has so much pull towards the Tonic. You don't really land on a 7th unless you want to go to the 1st afterwards, so the name makes a lot of sense. I never actively learned this, i just stumbled upon it one day, probably when i was supposed to be doing something more important.
  8. I won't pretend to have any valuable experience to offer in your situation, but if i was to advise something, it would be not to establish your self limitations too early. It takes a while for ANYBODY to naturally start asking those questions. Just being able to isolate and analyse a single sound out of an ensemble with only your ear is a skill in itself. I'm a few years in and it's only now that i'm really thinking about music, because frankly if i had been too analytical too early then the passion would have worn out (in fact it did for a while). Years ago, I bought a theory book and began w
  9. My life. I'm starting to find that having more of a "leap before you look" approach to things helps. Come up with a project idea and then try to fulfill it to its full potential. You will naturally do all the learning you need along the way because your curiosities will guide you. Theory books do nothing for me unless i need them for a specific purpose. Reading through a few consecutive chapters about chords, scales, modes, cadences, circle of fifths etc just overwhelms me, because i can't possibly apply all that to the next thing i write and still have a natural flow of ideas or a
  10. Great feedback as always, Greg, and i agree with it all. Originally i actually had the entire piece simply as filler, void of melodies because i had created a randomised playback system since the game plays as one long level that gradually increases in difficulty over time, and i didn't want the music to get too repetitive. It was all working, but the client said there's much more value in a melody that never gets old, and that i should start practicing writing said melodies now. So i stripped the whole piece apart and built it again from the ground up with new melodic content and old rhythm a
  11. This is my first game audio project (also a student project) and the client is pitching to a well known publisher at GDC this month. Now i think i've got it in a good place overall, but the anxiety bells are ringing a fair bit so i could do with some solid feedback on things. The game is being pitched in a prototype state so i wanted to get a 3-4min loop that demonstrates the overall vibe of things. The genre is a tropical themed, competitive multiplayer, collect-a-thon, brawler type thing. Music inspiration came from games like DKC: Returns, Move or Die, Jazz Jackrabbit 2, Spyro, Crash,
  12. I can't absorb myself in long gaming sessions anymore because I start to feel guilty and anxious about not doing other things. Even if I've sat at my desk and worked for 12 hours I find it really hard to relax in the evenings. Part of me thinks it's because I don't actually want to play games as much in my free time, but i'm so used to seeing it as the only option that I feel obligated to do it out of habit. Heck, if i'm honest they feel like work now in a lot of ways. I've been wanting to get back into Terraria for months but every time I open it I feel overwhelmed about the amount of work it
  13. 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 to
  14. 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
  15. 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 compute
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