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DarkEco

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Everything posted by DarkEco

  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
  16. 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
  17. What a valuable post! Thanks for sharing, @Patrick Burns!
  18. 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.
  19. 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
  20. 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 th
  21. 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
  22. 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
  23. 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!"
  24. 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 harde
  25. 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?
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