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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
    Computational Chemist, Chemistry TA, Mixing/Mastering, Video Production
  • 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

16,653 profile views
  1. What genre of music fits each style of Sonic best?

    It's a good thing we did an album on it then... http://soniccd.ocremix.org/
  2. I listened to the clyp version, which said "new version". I really don't hear that much vibrato (if any) in the sustains, particularly at 1:29 - 1:41 and 1:56 - 2:07. Are you sure it's there? Did you solo the track and check? Vibrato CAN be added via pitch bending, and that tends to be more noticeable, but... I hardly hear any in those time stamps I mentioned. Note that I am not talking about the pinch squeals.
  3. OCR03704 - Lunar Pool "Looser Tool"

    Really smart partwriting. Engaging every step of the way.
  4. Just from a quick listen, I thought the drums stayed fairly static... It just stays with the same kind of half-time rhythm, with relatively few fills. Try using toms sometime, to make the pacing more engaging. The lead guitars can have more attention to detail for added realism. It seems like you may be using Shreddage? Some of the sustains are lacking life, especially at 1:56 - 2:07 with those straight eighth notes and limited vibrato. Putting pitch bends would help (i.e. bending up, or bending up/down for vibrato; but always bend up first, not down first), as well as visualizing when the guitarist would slide his hand on the neck and pick extra hard, etc. Zircon has a great tips video on that for Shreddage here, if it helps at least in principle: Another example is here, where pitch bends really bring the guitar to life, depending on what you want to write:
  5. Hey guys, it's been a long time, but here's an atmospheric Final Fantasy mashup of FF4's Prelude and FF6's Terra with dubstep and light glitch elements! This has been submitted to OCR on March 18, 2018. This was inspired by Stephen Anderson (stephen-anderson on soundcloud); it primarily uses bell and pad textures from Spectrasonics' Omnisphere 2; a Chapman Stick from Trilian; 4Front's TruePianos; and various FM sounds from my Zebra2 soundbank "FM Variations". Glitching was via Illformed's Glitch 2, and some of the remaining stuff was from LA Scoring Strings, Rhapsody Orchestral Percussion, and Serum. The solo violin was Embertone's Friedlander, highly recommend it!
  6. 82 - Harpsona

    I think it's awesome that Alexander Brandon and The Wingless both submitted playlist tracks! Also, I enjoyed getting to know more about the harp. Like many other instruments, there are various makes and models, but never really got exposed to them before.
  7. I dunno, I think the balance was fine, but instead I had a hard time understanding the vocals... I think the surrounding instrumentation was solid though.
  8. Starts out pretty conservative, but eh, I never really get tired of Dire Dire Docks remixes. There are plenty that I think you might also want to hear to get inspired; here are a few: http://ocremix.org/remix/OCR00952 http://ocremix.org/remix/OCR02909 http://ocremix.org/remix/OCR03183 What I think you could still work on, if you still like your arrangement as it is, is the humanization. Each note you have sounds like it's quantized (rigid, robotic, computer-perfect rhythm), and very similar (if not identical) velocities/intensities. Try to imagine how it would be played on the piano, and emulate that by manually varying the velocities and rhythm (even slight adjustments on rhythm help). In a syncopated 4/4 time signature like this one, you probably want to emphasize the "1", the "and" of "2", and the "and" of "3", followed by the "1" and the "and" of "2", of the main arpeggio, while the rest of the notes can be quieter in comparison, to create a typical phrasing. As an example, compare these to see the difference. https://app.box.com/s/pmwybgad4who5679p9xvuxdnnmqshas5 - Completely quantized and identical velocities https://app.box.com/s/lr9nxha1zbg5vfcxufqqvuiz9vjnliyu - Quantized, but not identical velocities https://app.box.com/s/jjapuupib9zfypwoew1ecr31nlq8siw4 - Humanized
  9. 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!
  10. 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!
  11. 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.
  12. 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.
  13. 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!
  14. 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.
  15. 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.