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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

12,831 profile views
  1. 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).
  2. Am I the only one who cracked up when you said, "Threes is the Bees Knees from Threes and submitted by Joseph G's!"?
  3. 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.
  4. 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.
  5. 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.
  6. Gotta emphasize this.
  7. 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.
  8. @Chernabogue Kinda curious what you think!
  9. Thanks! The drums are just from the original instrumental. Someone made an instrumental of this already.
  10. You made it sound like a boss battle in the beginning... A new, more aggressive side of Will!
  11. Take this advice with a grain of salt, as I am using a mono speaker due to not having the proper listening equipment with me right now. But I can say these things: I can actually hear what the lead is supposed to be, but it's only because I know what the melody is supposed to be. The key to writing particularly atmospheric drum & bass is control over your reverb. Try lowering the wet mix in the reverb a bit on your lead and surrounding arps, and raising the low cut within the reverb plugin for both as well (to above 200 Hz). That should clean up some of the mud caused by reverberating low frequencies. I agree with APZX that the drums don't have enough impact. The kick lacks some low end punch, but the snare is not that bad (tonally I think it works). You could probably add some waveshaping on the kick to help that, and boost the snare near 240 Hz to increase its punch. I've written a track similar in style, perhaps, and it may help you to reference it for mixing the kick drum and snare. When I first listened to this, I did feel the treble was too present; even though the speaker I'm using is not for mixing at all, my ears always tighten whenever there is too much treble. And I know this is long, but if you get 2-3 hours of free time, it would really help you to watch this, in order to improve your production in general:
  12. @HoboKa Not sure if you ever got a MIDI keyboard yet, but if not, that'd be something to look forward to.
  13. I knew this was familiar... Glad to see this on the site! As always, your chord progressions are great!
  14. I actually rather like the build you made for the intro up to 1:39. The arp was kept consistent while the textural fullness around it was creating the variation---you really make the most of that arp sequence. The transition at 2:24 was also particularly welcome and well-placed, IMO. Great way to raise the energy and differentiate between the earlier part where your lead guitar was more exposed. The solo thus came at an appropriate time. The melody itself was handled pretty conservatively, but I think the subtler arrangement choices (e.g. the drum fills in the intro, the tempo slowdown after the intro, the shifts in dynamics, etc) made up the difference. Well done!
  15. Well, for what it's worth, none of my music is 100% live or is 100% recorded instruments. Tends to be 95-100% sampled, sometimes including electric guitar and lead violin, usually including piano. It's great if you can record live instruments (in a good room environment; dry acoustics, full sound), but it's not a strict requirement to write good music or get music onto OCR. In fact, it might actually hinder you somewhat if you can't mix well enough to save a poor recording, but once you get that handled, it's always a nice addition to sampled material, if not part of a 100% recorded ReMix. So usually, live instruments = plus, but not required per se. As for what MindWanderer said, yeah, lead violin and electric guitar are two of the most difficult instruments to sequence, needing at least a theoretical understanding of how to play them, so if you can simply record those, go for it.