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

11,340 profile views
  1. For non-piano work, I think you'll manage with 49 or 61 keys. I have 37 and I haven't needed more for my music, but for working out intricate parts, 49 may be the minimum I would recommend for semi-limited space.
  2. I have a small controller, so it's just on my pull-out desk.
  3. You have got to be kidding me. *throws hands in the air*
  4. DAMN SON, where'd you get THIS album?
  5. Hey, I remember this. Glad to see this make it on the site! I will say that the drum rhythms are a tad loose, but other than that, quite authentic and my dad would especially love this.
  6. I really liked Laura's feature. When people talk music theory the right way, it actually makes sense.
  7. I agree, Serum's presets are mostly generic; I've always just designed things from scratch on it instead of using its presets. But as a synth purely for sound design purposes... I think it's great for bass. I've almost never tried to forcefully make something that isn't a bass on Serum, though, but that's just because I use Zebra2 so much. In the end, I do find Serum inspiring, but two things are that (i) it takes a while to scroll through wavetables to find what I want to hear for the waveform, and (ii) it really does seem geared towards bass (particularly the sub feature).
  8. I sure hope so. It's directly mentioned in the submission guidelines.... If you read the remainder, you can infer that a ReMix with minimal distortion, clipping, etc. are generally acceptable. There are many ocremixes with great dynamics. Several examples... Orchestral: Atmospheric (shameless plug for mine!) Acoustic: Cinematic: Drum & Bass: That covers many different genres of varying dynamics, each with considerably different mastering considerations. As long as your track reaches normal volumes, and the dynamic range is not really drastic (that your volume has to be adjusted mid-song) or really minimal or pushed (that distortion, clipping, overcompression, etc occurs), it's probably acceptable.
  9. Maybe the swells on the automation were a little too pronounced (0:34 - 0:37, 0:39 - 0:40, 0:42 - 0:44, etc), but that's a small nit to pick. The dynamic range is well-executed, and much mileage was achieved for the samples. Although I can tell these are samples, this easily sounds like an official arrangement. Will there be an Overture #2? I for one don't mind the medleytits. Instant-download for me. P.S.: This sounds like it could be overlaid in a Pokemon movie.
  10. The background strings and foreground violin were fairly detached, but besides the artificial nature of the strings orchestration, I like the soundscape that was accomplished, and the intended semblance of a dream-like state was a solid success.
  11. Yeah, that's definitely much better. Particularly compare at 3:26 between v3 and v4, and you should hear a difference in the reverb tail; in v3 it's pumping from being too loud against the limiter, and in v4, it's just trailing off like normal. Now that the overcompression is lessened, the master track volume (on the master track mixer slider) can be brought back up (by about 3 dB).
  12. This is still overcompressed. What it sounds like is that you simply lowered the master volume and left the overcompression there. What you should do is lower the volume of each individual instrument --- there isn't a shortcut to this. The piano is suffering from the overcompression, so its transients aren't heard.
  13. 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.
  14. 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.
  15. 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.