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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

10,063 profile views
  1. To be honest, I can't hear the difference between 0.6.6 and 0.65. I think it's less overcompressed, but it more or less sounds the same on these temp headhones I'm borrowing. But 0.5 going to 0.6.6 is a huge improvement in clarity and fullness.
  2. Hm, I'm now hearing some overcompression coming in after you had raised the volume. How about instead, you try lowering the volume back to how it was, and then use master track parallel compression to raise the volume? (parallel just means half the signal goes to the compressor and half doesn't.) That way, the limiter doesn't overly compress the mixdown, and you have more control over how that works out. I think it's the part that incorporates the orchestra + choir that feels more overcompressed than the pure metal parts. Alternatively, I could just mix it myself, if you want.
  3. Nope, there's not too much bass. Besides that, just a few things: It seems to me like the lead guitars might be sharply low-passed at around 7000 Hz? Or maybe it's just how it was recorded. If it wasn't due to the recording, you may be able to ease up on that low pass to brighten up the leads. This is noticable at 3:18, for example, when the leads are exposed. The whole mix never reaches below 50 Hz; not sure if it's because you high passed it yourself or if it's due to the recording(s). The hawk at 3:19, for what it's worth, didn't really sound like a hawk to me... it sounded like an EDM sweep because it was so resonant at 4800 Hz; may want to tone down the EQ at that frequency maybe 2-4 dB so that it's not so jarring, at least to me. I think if you cut the transition sound at 4:43 at 30 Hz by about 2 dB, you can bear to raise the volume of the entire ReMix by about 3 dB (at which point I think it's at a loudness that more closely matches other modern metal tracks). At 5:38 - 5:57, there seems to be a bit of clipping. Do you have a limiter on the master track? I love the composition though. What I said above was just mixing advice, not huge issues (though I would still try to raise the volume of the mix by about 3 dB if possible, and I would check the clipping). I think what you may get dinged most on is actually the non-metal portion, where you have the strings, choir, and brass exposed. For example, the brass noticeably has a very similar volume envelope on each note, which can be varied by your own CC11 (or at least, volume) automation. The choir also feels a bit flat in terms of dynamics in this section, and can be more "phrased", if you know what I mean.
  4. Nice, I like the double-time feel of this. I would prefer that the bass part be more interesting before 0:43; the octave jumps are rather simple. The vibraphone feels like a soundfont (particularly with the phase resets and sample skips on the fast runs at 2:22 - 2:55). It just feels kinda thin and dry and could use more reverb to fit in the mix; there's also a sample glitch at 2:06 on the vibraphone. I would definitely try to find a better vibraphone VST. I also think that this has gotten rather long. The drum patterns start to feel same-y by the 3-minute mark, so the dynamics just all blend together a little too well, and I just get lost in determining where the piece is actually going. i.e. it feels repetitive in the sense that I can't tell when the dynamics are changing and the arrangement just feels directionless/meandering. The raw composition though is excellent. I think the main issue is really in the vibraphone sample, and the dynamics could use more variation to provide more obvious contrasts. You may want to shorten the arrangement as well, to focus it more into a proper direction.
  5. The FluidR3 soundfont has a great sleigh bell sound. Add some reverb on it and it's great for atmospheric tracks. It also contains my favorite harp (I use it more than the one in EWQL Symphonic Orchestra...).
  6. I would actually recommend the SR-60i rather than the SR-80e, as it's even flatter: http://graphs.headphone.com/index.php?graphID[0]=393&graphID[1]=353&graphID[2]=&graphID[3]=&scale=30&graphType=0&buttonSelection=Update+Graph but yes, Grados is great for sub-$100 headphones. The SR-60i was kinda itchy for about a month, but after I broke it in, it worked great.
  7. The dissonant, proggy progressions really take the cake... and bake it until it's golden brown. I don't even know if that makes sense but let's go with it.
  8. It's incredible how much interpretation DDRKirby could squeeze out of the iconic mario motif. Gonna be an OCR classic, I know it!
  9. Not sure how that happened with you, but I have a temp Windows 10 laptop and it runs plenty of VSTs just fine. TruePianos, Zebra2, Serum, Kontakt Player, etc.
  10. I see what you did there.
  11. I like that it was changed to 6/4 instead of 4/4. I do think however that this is a pretty simple arrangement. The notes are followed from the original pretty closely, and there are really only two or three textures: the drums, a bass, and a lead. Usually, a full-enough soundscape also involves a chordal instrument. Also, the arrangement is fairly repetitive. Six notes are repeated many times after the first 12 seconds. This is a tough source to remix, as it basically asks you to incorporate your own original motifs to break apart the repetition. Here's an example of a remix of this track: See if you can focus on the notes that are not the Underground BGM and see how they interact with the source.
  12. You should use both mic positions and reverb. Mic positions for presence/"dry mix", and reverb for perceived depth. Generally, you want mostly close mics for the flexibility of using reverb, but having some percentage of stage mics enabled helps creates natural width. As for reverb, this video may help you to remember (?) what each reverb parameter does. I would use reverb instances on collections of instruments, namely a separate instance for each woodwind ensemble, strings ensemble, brass ensemble, etc (i.e. in a Send). You've seen this image; maybe go back to it and see what you now can get from it (remember that the times are decay times). Here are some posts I remember that may help.
  13. I really like NastyDLA MKII as a delay plugin. The graphics are quite nice, and the output is rather clean. s(m)exoscope is a useful waveform display plugin that has helped me check whether something was too loud.
  14. Pretty much what @Skrypnyk said. Automation is a convenient way to turn knobs and move sliders in a pre-programmed fashion. The great thing about automation is that you can pull off tricks you can't do in a real studio (unless you had like 5 people working your mixer at the same time), making production on a DAW that much more powerful. For instance... You could automate the EQ bands in an EQ plugin so that the mids are scooped for a certain section of your song with particularly thick textures, but only for that section, for your chosen instrument(s). You could extend the range of LFOs (a tool that basically wiggles a knob or slider back and forth at a certain rate and slope) within a synth. Some (most?) synths have a limit to how slow the LFO can be. Sometimes you may want to assign an LFO but make it last like 20 seconds for half a cycle. Well, with automation, you could just construct an envelope that imitates a really slow LFO, in your DAW, by assigning the automation to the parameter of your choice in the synth. You could gate your sounds manually, if you don't have an algorithmic way of doing it (simply automate the mixer track slider down to 0 and back up to how it was). All of the above at once? and so on. This video may be a good exposure to production talk: The blue, purple, and yellow playlist elements are examples of automation clips.
  15. You should compare with your previous version; it seems that simply changing to an ensemble version for your cello has made the sound smaller, likely because there is more natural reverb in the ensemble recording than in the solo instrument. Also, the dynamics in your percussion matched the previous version more closely (look at 1:36 - 1:40, for example, of when the percussion is too loud compared to the surrounding instruments), so consider adjusting those velocities further, especially for the snare and the low end percussion. It's up to you whether you want to lower the velocities on the percussion or raise the CC11 on the surrounding instruments, although I would recommend the adjustment to primarily the surrounding instruments. I do think the dynamic range has shifted downwards, leaving it room to be more pronounced; now it could just be more pronounced. I like the new incorporation of the french horn leads at 1:42 - 1:46, though. A nice trick to make your quiet sections sound less like loud playing turned down and more like actual quiet playing is to use CC7 (volume) to turn up the volume temporarily on the quiet sections, adjust the CC11 accordingly, and then bring CC7 down again (on those same sections), as CC11 is the percent of the volume set by CC7, and isn't measured in absolute, but relative numbers.