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About timaeus222

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

Profile Information

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

Contact Methods

  • Website URL
  • Skype


  • 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)
    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
  • Twitter Username

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

15,971 profile views
  1. 4. submitted Duck Tales - The Moon (Psytrance Remix)

    Good luck! We don't get a lot of psytrance, last I recall, so it'll be nice to have some more!
  2. Fundraiser for bLiNd - lost all...

    Not exactly offtopic; so I moved it to Community. @bLiNd has been a significant part of our community. Let's help him get back on his feet!
  3. 4. submitted Duck Tales - The Moon (Psytrance Remix)

    Maybe just a minor gripe, but in the breakdown section you did, I personally found that the supersaw lead you used brought me out of the calm atmosphere that you introduced. How about switching that out for a tamer lead? It would also add variation in the choice of leads, which only helps your case. I don't have much to say otherwise, other than to second @Gario that the source usage isn't totally obvious, even though I know the source pretty well. It's in a minor key most of the time, and is also used in a segmented manner, so I would have to listen to the source side-by-side to be able to compare sometimes.
  4. For another perspective, whenever I collab, I just ask upfront which of us would host things in a primary DAW (if in fact we are comfortable in different DAWs), depending on who feels better about mixing and project organization. That person handles the MIDI and plugin work, and "commits" to less when it comes to set ideas. Also, I find that it would make it easier, at least for one of us, to have an idea of what the big picture of the project is, as it isn't scattered between two DAWs. In terms of what happens in between, typically I openly recommend that we often send rendered WIPs each other's way for feedback before finally sending the newest version of the tracks (rather than sending it because of a lack of inspiration or something and having the other fix it). That way, we minimize fudge factors in mixing, or reworking a performance, etc. because someone found a error in the middle of working on the track that would be frustrating to fix. It also keeps the shared vision as clear as possible so that we can both see what we both want. On the other hand, if we have two people in different DAWs writing something and sending WAVs to each other, eventually it could get confusing whose ideas are newer (say, if one of them decide to work ahead because they felt inspired), so that's why I prefer to have one person doing things on a primary DAW between the collaborators. Furthermore, if it is done that first way (well-defined roles), ideas shouldn't feel as "set", even if you're bouncing WAVs to send to the other person; because one person can write in regular MIDI, and the other person is bouncing WAVs, that other person can tell pretty easily how new their ideas are (although admittedly they might feel they have less control), and can update what they have at any time as long as the primary mixer doesn't mind some slight adjustments based on the updates. ----- You do what works for you, but that's how I tend to do it.
  5. Were you actually looking for a mod review? (If not, just pretend this is regular critique.) ARRANGEMENT I'm not very familiar with these sources, but after listening to this back and forth, it seems to be a fairly conservative arrangement. Not necessarily an issue in and of itself, but in terms of OCR guidelines, a ReMix that sounds too close to the original generally doesn't demonstrate as much interpretation as it could. What I would suggest is deviation in the (i) structure, (ii) rhythm, (iii) harmonies, and so on. I have this feeling that you maybe listened to the original and tried to be faithful to it, and ended up having very similar note sequences on each instrument; from what I can tell, this ended up being not too far from an instrument switch on a nearly exact transcription. A nice analogy is plagiarism (sans the connotation); if you look at someone else's work and just try to reword it, chances are you might not really reword it that much if you really like their wording. But if you don't have that person's work in front of you, and you just try to come up with the same ideas in your own words, you have a much better chance of making a more original work that satisfies the assignment. OVERALL I like the result personally, and I can appreciate the melodic variation you tried later on in the track. The pacing is alright, and I didn't find it all that repetitive. [In terms of "would this be accepted on OCR?" though, probably not.] ----- ADVICE? If I were to have remixed these two sources, my approach would be to listen to each source and try to internalize the melodies over a few days or weeks. From the melody, I would imagine my own harmonies, or perhaps try to hum one melody on top while the other source is playing. When I come up with something neat, then I start writing from scratch with no pre-loaded MIDI. As an easy example, try humming the "chorus" from the Super Mario 64 credits theme on top of the Pokemon GSC Goldenrod City theme. That's one I found recently!
  6. Master Mi - Paradise

    So... you're saying that people's ears got... worse... over time? o_o Even a person like me, who can't really stand pop music, can admit that whoever's doing the production for each pop artist generally does quite a pristine job. Anyways, I get your point that orchestration didn't require EQ for performances to the general public in the past, but we're talking about a digital context here. We can (and do!) use orchestral instruments in a digital setting now, and in that setting, EQ (and volume and panning tweaks) is necessary to even out the orchestral performances, which are necessarily recorded to be produced into a song in the first place. An example that immediately comes to mind is that maybe a contrabass recording picked up too much bass, and would make the mix muddy (bass + reverb = mud!); then it would require some cutting to clear out the low end in the context of the mix.
  7. Master Mi - Paradise

    Or, you could actually try the advice first and make judgment calls afterwards... If you don't want the critique, then don't ask for it. If you never cut frequencies and you boost instead, then I can almost guarantee that your music will sound resonant somewhere in the midrange. If you neither cut nor boost, then you'll likely get midrange clutter that makes your lead compete for attention. I get that you can adjust volumes, velocities, and panning. But those are not the prominent issues here. In fact, even real orchestras need EQ to sound right. It's often not because the instruments were faulty... it's generally because the microphone(s) used were, and EQ is often necessary to even out the frequency pickup of the microphone(s) used.
  8. Master Mi - Paradise

    I always recommend cutting rather than boosting, if possible. Boosting tends to lead to clutter if you don't really know where you actually want to boost and are just spitballing. If a sound becomes too hollow by cutting, slightly undo what you just did (with your mouse, not Ctrl+Z) until you find a balance. The point is to make room for other instruments, in the context of the mix. It doesn't matter what they sound like by themselves, because instruments in a song are generally playing with other instruments. The harp does sound rather dull. I don't think EQ would fix that (unless for some reason you gave it a low pass or a 10 dB cut in the midrange or something... THAT can be undone), though a small dip in the low-midrange (2-4 dB) would help reduce its resonance. Or try a different soundfont. If you can find FluidR3 GM out there, that harp actually comes through mixes quite well.
  9. You would add your external hard drive as another directory for FL to search when you want to install a new plugin. When it finds the plugin, checkmark it and it should show up.
  10. I don't have much to say, actually. Sounds pretty darn good; I would just check the last notes, and make sure they don't end as abruptly, as the whistle stops early.
  11. Starter Headphones...

    If you want the most "honest" sound, try first plugging it in directly. You don't strictly need an audio interface if you know the headphones should be good already. Mainly what those provide is further fine-tunability for the frequency distribution you get, as well as giving you an additional volume control (more precise than your computer gives you, probably). Having an audio interface, however, does give you more flexibility, so it could help. [What I would do if you do want to use an audio interface is to try to match what you get when you plug in the headphones directly with what you get when the interface is in between the headphones and the PC (then adjust from there).]
  12. Starter Headphones...

    I had the 250-ohm version, which did need a headphone amp to get up to normal listening volumes. Lower impedance values means it is easier to get up to normal volumes. So, no, the 32-ohm version won't require an amp.
  13. Mascots Covering User Dropdown

    This is what I mean; after you drag an image file in (where the paper clip is), simply click the image and it'll go into the post.
  14. Mascots Covering User Dropdown

    @Silverpool You can drag images from your computer onto "Drag files here to attach, or choose files..." in the posting box.
  15. Starter Headphones...

    Well, in general, you should check the impedance on the headphones you choose to buy. If it's large, like 250 ohms, then you would need a headphone amp to get the volume to a normal level. As always, I would actually recommend you save up for the Beyerdynamic DT-880, 32-ohm version if possible. I've been using them for about 5 years now (got them on sale for 51% off), and they have been working especially well. They really helped with mixing bass and upper treble with relative ease; they are semi-closed back, so they don't leak too much bass (unlike open-back), but also don't make it too muffled (unlike closed-back). Something that I couldn't mix properly on my previous headphones (Grado SR-60i) in less than 6 hours, I managed to mix on these in 30 minutes. They give an honest stereo field. Some headphones spread things out too wide... They give an honest representation of the amount of reverb that is actually going on. All of the other headphones I have tried previously exaggerate the reverb to some extent. So those are some of the things you could consider. Here's an example of something I've written using those headphones. I haven't tried the Sony MDR-7506 before, but I would suppose that they are alright. Here's a frequency distribution for three headphones to compare: For a cheaper option than the Beyers, I also recommend checking out the Grado SR60i (open-back); those are sadly discontinued, but you may find them on amazon for roughly $80, or the SR-60e edition should also be as good. You can see from the graph that they are definitely fuller than the MDR-7506, particularly below the midrange and in the upper treble region. I still have them today. Note: yeah, they can get kinda itchy, but once I took the time to break them in, they did help with bass and treble mixing. I used them to write this at one point.