timaeus222

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About timaeus222

  • Rank
    Pikachu (+5000)
  • Birthday 11/07/1994

Profile Information

  • Gender
    Male
  • Location
    United States
  • Interests
    Music Composition, Chemistry, Math, Computer Programming

Contact Methods

  • Website URL
    http://tproductions.comeze.com/
  • Skype
    timaeus222

Converted

  • Biography
    I love remixing as a side hobby for when I have plenty of free time. Otherwise, I do graphics design, video production, web design and stuff.

    Recently I adopted an ambient, glitch, and complex style, but I have materials for multiple styles. If you need effects processing, drum programming, miscellaneous sound design, or mixing help, feel free to come see me! I'd be happy to help refine the mixing on your song. All I'd ask in return is for you to tell others about me if you liked what I did with you, but only if you want to.

    If you want me to help you with something, I have these resources:
    FL Studio defaults
    Various drum samples & free soundfonts
    NI Kontakt 4 & 5 (I kept both for compatibility)
    EWQL Stormdrum + Ra + Symphonic Orchestra Gold
    Audiobro LA Scoring Strings
    Embertone Friedlander Violin + Blakus Cello
    ISW Shreddage X + II + Bass 1 + Drums
    Gospel Musicians Neo-Soul Keys
    Nick Rodes (sic)
    Evolution Electric Guitar & Acoustic Guitar
    ISW Resonance Emotional Mallets
    ISW Bravura Scoring Brass
    ISW Cinematic Synthetic Drums & Juggernaut
    ISW Curio: Cinematic Toy Piano
    ISW Groove Bias Drums
    ISW Celestia: Heavenly Sound Design
    ISW Rhapsody: Orchestral Percussion
    ISW Plectra Series: Highland Harps, Turkish Oud
    ISW Pearl: Concert Grand
    Heavyocity Damage
    Crypto Cipher Tarangs & Voices Of Ragas Vol 2
    NI Guitar Rig 4 & 5 (I kept both for compatibility)
    u-he Zebra (I make my own patches on it very often)
    u-he FilterscapeVA & Filterscape (FX)
    u-he Uhbik
    Xfer Records Serum
    ArtsAcoustic Reverb
    NI Massive
    NI FM8 & FM8 FX
    4Front TruePianos
    Spectrasonics Trilogy & Trilian
    White Noise Zero Vector
    Cytomic The Glue
    endorphin compressor
    iZotope Stutter Edit
    dBlue Glitch
    VoS Stuff (Density MKIII, TesslaPro MKII, ThrillseekerLA, FerricTDS, NastyDLA MKII)
    TAL-Dub
    TLs-Pocket Limiter
    New Sonic Arts Granite
  • Real Name
    Truong-Son "Timaeus" (Tim-AHY-uhs) Nguyen
  • Occupation
    Independent Tech Services (Mixing/Mastering, Video Production, GFX Design, Web Design)
  • Facebook ID
    100001930961123
  • Twitter Username
    timaeus222

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Software - Preferred Plugins/Libraries
    Zebra2, TruePianos, TLs-Pocket Limiter, dBlue Glitch, ArtsAcoustic Reverb, The Glue, endorphin, Density MKIII, NastyDLA MKII; Juggernaut, Resonance: Emotional Mallets, Damage Drums
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (Other)
    Tenor+Baritone; Nuanced sound design

Recent Profile Visitors

13,628 profile views
  1. Seemed fairly conservative to me at first, but once we got to the 1-minute mark, it got more interpretive. I dig the solo at the 1.5 minute mark!
  2. I think the main thing that is lacking is reverb. I literally don't hear any. This musical style seems kind of 80's, Phoenix Wright-esque. You should compare with the following music, and that may help you to determine how much works for your track. Phoenix Wright: Ace Attorney - 'True Evening' by WillRock (Listen for the general spaciousness the reverb gives) Pokemon Gold Version - 'Slowpoke Shuffle' (Listen for the drum reverb) Some free reverbs that I would recommend are Tal-Reverb 2 and Ambience. You may also want to watch this overview of common reverb features:
  3. More guitar than we may have expected from WillRock (I suppose? I mean, he DoesRock...), but it's a good side trip out of pure 80s synth rock and into a synth-augmented, Rudess/Satriani-styled rockfest. \m/
  4. I actually listened to this on its own merits, rather than for its being Zelda. Sam Dillard is one of those guys who we know has already nailed his orchestral production. To me, it came as no big surprise that he did exceptionally well with this composition, irrespective of the source tunes. He has a careful hand with soft dynamics (the shifts at 2:03 - 2:06 and 2:41 - 2:44, for example) and with writing practical parts for each instrument (3:43 - 4:14 was a particularly seamless interplay between the french horn and violins/violas). What he has brought to the originals was also innovative; I particularly liked the modulation at 2:57 - 3:11, and how the chord progression and new melodic contour at 3:52 - 4:15 cleverly enhanced the "Overworld" melody in a clearly recognizable manner.
  5. Huh?
  6. Well, seeing as how the remix was by Nitro Fun, AND was of a song composed by Porter Robinson, I would try contacting Porter Robinson and Nitro Fun, making sure you: Make it sound like they're worth your time, so to speak, and that you're genuine. I'm only saying this because it's possible they might think it's spam, or they might not be impressed, or some other reason that convinces them they don't have to read the message. Consequently, try to make the message look nicely formatted, so that they can (hopefully) see you put some care into the message. Try to be concise, if that's something you have a hard time with. Shorter emails with fewer big paragraphs are more enticing to read. Do show evidence that you have an actual game going on, so that they're not just giving away permissions for a song to you for no reason That's my take on it, anyway. Hope that helps. I agree, Porter might be hard to contact... he might be your bottleneck, but worth a shot...
  7. Sounds good to me. If I were to nitpick, I would say that the snare used in the middle breakdown (near 1:32) seems unfittingly powerful. Maybe have it be more filtered (maybe band-passed?) and softer to reflect the dynamics of the atmosphere around it. The hi hat transient near 1:32 could also be slightly softer, and the FM lead at 2:45 seems fairly abrasive for the ambient atmosphere you have... (especially at 3:06).
  8. Am I the only one who cracked up when you said, "Threes is the Bees Knees from Threes and submitted by Joseph G's!"?
  9. As a further note, I wouldn't actually necessarily stick with the stock plugins the whole time, and I would be open to adding on or replacing some of them with better external plugins that you get elsewhere. For example, I don't actually think Fruity Reeverb or Reeverb 2 is nearly as flexible as ArtsAcoustic Reverb, and so I don't use them as much as I do ArtsAcoustic, but they are all reverb plugins.
  10. Haha, I have a pretty good excuse for not improving the strings further: FL crashed at least 20 times due to being dangerously close to the 32-bit 4 GB limit, and that may be an understatement. It was to the point where I was cautious about when precisely to save so that I wouldn't have to open the project file again to see that 64-bit bridged Kontakt unloaded itself. That, and the literal 5-day time limit from start to finish. Anyways, you'll still be hearing more stuff from me technically---just not uber-recent stuff. Lots of it is album work (e.g. Shonen Jump, Goemon, Assassin's Creed, SNATCHER, etc), so there'll be bits and remnants of me scattered about in the later years.
  11. FYI, there is both "sfz" and "sforzando". They are different soundfont players, so you should try searching for "sfz" (even though it should be shorthand for the word sforzando) to see if that works better.
  12. Gotta emphasize this.
  13. Yep, this is exactly what I tell the people who ask me to master their ReMix: Take out any instruments you don't need, i.e. those that contribute nothing but mud to the soundscape. Reduce excess reverb until you can't hear a difference (as some headphones have more reverb response than others). In addition to that, I also carefully pick my sound resources so that I have access to the cleanest sounds right out of the box (Omnisphere and Impact Soundworks are great examples). That's why these days, I barely EQ---the most I do are some basic extreme high/low passes, some cuts here and there on the accompaniment to free up the midrange for leads, some small cuts in the low-mids to clean up frequency overlap that is bound to happen so that the bass can punch through, etc. In short, the people whose music sounds good didn't just use some sort of magic EQ tool; cleanly recorded samples take you a long way, and EQ doesn't have to play a major role.
  14. @Chernabogue Kinda curious what you think!
  15. Thanks! The drums are just from the original instrumental. Someone made an instrumental of this already.