• Content count

  • Joined

  • Last visited

  • Days Won



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

9,527 profile views
  1. 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.
  2. 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.
  3. 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.
  4. It's a fun listen. I would say though that the instruments in general sound rather mechanical. There is definitely some velocity magnitude variation going on, but some instruments feel rather exposed and/or small, like the cello (?) at 1:03, which seems to be a solo version of the instrument rather than an ensemble version (so the texture doesn't feel as thick), and your brass instruments. It could additionally be because there isn't enough reverb for cohesion/uniformity. Also, the longer notes in the piece as a whole don't have significant expression automation, so the dynamics kind of leap from low to high to low, rather than being gradual at transition points. I like it, but I think you should try to layer your instruments more so that there is more of a "wall of sound", and work on the CC11 automation to increase the dynamic range of what's going on. Here's an example of something orchestral that did pass the OCR bar:
  5. Yeah, I think I mentioned that I was only inspired by it, and I seem to recall that Larry said simply having the word "Memory" spoken a few times didn't really count towards its source usage. @djpretzel what do you think?
  6. I think this is one of the fullest soundscapes you've managed to put together. Clearly it's crucial to nail the atmosphere here, due to the repetitive nature of how the sources are compositionally used, which you did. The reverb is spectacular, and despite spots that have minimal percussion, there is an appropriate amount of syncopation groove going on to keep the piece from getting too stagnant. The structure is not immediately apparent, but wherever it takes me, it's rather inviting. It's mixes like these that make me jealous how long some people's remixes can be.
  7. 1. work-in-progress

    Haha, well, I appreciate your open mind to it! It's a good trait to have. Yeah, the trumpet placement in the stereo field is kinda hard for me to describe. It feels "small", having less reverb than the elements around it, and as if someone took a stereo enhancer and used it to sum the left and right channels. It's not a huge deal, but I guess @Smooth4lyfe1987 might have thought that was a sequencing quirk. I'm not sure what's currently in the mixer for it, but you might be able to help it by adding some subtle ping-pong delay at a low feedback time (less than 15 ms) to widen it (that would echo it to the left and right, and 15 ms is the limit for the human being to be able to hear left/right channels distinctly from each other). The critiques I had earlier were just for improvement though; I did enjoy this overall, and it's a neat style I don't hear often.
  8. 1. work-in-progress

    I don't hear realism issues with the trumpet. Actually, it's more an issue that its stereo placement is oddly narrow. I thought the section at 1:46 with the lush pads was a much needed breakdown. I do think that the drums sound fine, though the bass seems a bit too heavy (I would make sure the kick is sidechained with the bass). Maybe the overhead drums (cymbals + ride + hi hat) get overly phase-y and a bit abrasive, like at 0:55, but they're clearly, well, present. Especially at 4:20 though, there is overcompression in the loud parts. Btw, the video has 38 seconds of silence at the end.
  9. Happy New Year everybody! To celebrate, I'm releasing a brand new ReMix of the Naruto main theme: I will give a heads-up that this contains significant elements of DUBSTEP, but definitely not anything like dubstep you are probably familiar with. Whatever your tastes are, it's the new year, so let's try to keep an open mind to any and all music! As a background, I wrote a Naruto ReMix before, in 2012: I look back on it, and I really do still like what I did in 2012. The production wasn't particularly impactful, and the dubstep execution was only half-decent, but the composition was surprisingly good on the guitar. However, I realized that I could do *much* better today on the general production polish, as well as on the execution of dubstep. So, I wrote this while in my first semester of grad school, in three months, using mainly u-he Zebra2, Xfer Records Serum, 4Front TruePianos, Impact Soundworks' Juggernaut and Resonance libraries, and various commercial drum samples. This combines cinematic and dubstep aesthetics to create a nuanced, tasteful feel on the low-energy sections, and an aggressive, all-out soundscape on the drops. There was particularly special attention to detail on the dynamics, the "size" of the sound design, and just trying to get every aspect of this mix to be as polished as possible. As usual, I accept any and all opinions, but please keep them civil.
  10. Possible titles: Indivisible Drop the Facade Push Your Limits ----- Hilarious vocals as usual! Yeah, it's pretty conservative (the melodies are almost note-for-note, except for some parts humans can't sing fast enough to do), but I do hear some differences. Your 1:00 - 1:13 is definitely not in the original, but it sounds like the original, so I'd count that as a plus. The solo break at 2:13 - 3:18 was a great addition, and makes up 25% of the track. This follows the source notes pretty closely, while adding semi-original transitions and an original solo section. Hard to say, but I think this is a bit over the fence? It's a mix of fairly conservative and fairly original, rather than all evenly interpreted. Small nitpicks: I think 3:15 - 3:18 was kinda out of place, and I think that 3:15 and 3:18 would still connect with that piano bit taken out. Or, what if you let the guitar note ring out at 3:15 - 3:18? I would also go back through and check your pitch, such as at 0:30 - 0:32 (pretty noticeable) and 0:41 ("set", very slight). The production's a bit raw but even in the guitars, and oddly clean (un-punchy) in the drums. I think the kick is acceptably audible, but the snare could be stronger; the rest of the drums work for me. I wonder if the bass guitar could be EQed to get a bit heavier? I might use this as a reference. Clutch ending though.
  11. Agreed with previous posters. To improve in your musical writing ability, you *can* look to others for inspiration. But, a good artist knows the limits of his/her resources, and needs to learn how to expand those limits, whether it's the VSTs owned, or one's ability to use them, or the headphones, or one's ability to construct a good composition, or whatever else. If someone else's piece makes you feel inferior, it's probably not something you should try to exactly emulate. If you still want to try to make something similar, try it, but don't treat it as, "oh, it's not the same so clearly I failed". Treat it as, "mine doesn't sound as big or tight, but I think otherwise I'm kind of getting the idea." Track down what it is that differentiates the original from your try. Is it more compressed? Is there more reverb? Is the stereo field more spacious? Are the sounds more layered? Is there filter motion I don't have? etc. These are the types of questions you should ask, not "how do I make this, but not crappy?".
  12. I have to say, I appreciated the personalized contour on the e. piano partwriting. It takes good effort to take a well-known source and use your own chord progressions. For me, the soundscape could have been a bit more filled, but aside from that, this certainly stands out in a good way.
  13. 1. work-in-progress

    Usually, muddiness occurs near the low-mids (~300 Hz or so), and most instruments are going to overlap there. So generally, I would suggest that you high pass your leads around there, and check which instruments don't need that frequency range heard. In a way, it's kind of like sculpting the sound. Using a MIDI is fine for practice, but sometimes note velocities, which usually correspond to their loudness, can affect the way the sound's frequencies are distributed, if your sounds have "velocity layers" (different samples for different intensities of playing). That's why I tend to simply try to write by ear so that I have a better idea of how what I write is supposed to sound.
  14. 1. work-in-progress

    Not bad. Actually, I think the one spot where you happened upon some cohesive and apt sound design was the breakdown at 1:05 - 1:26, in particular the transition sweep and the choir pad. However, I would say the "hey!" cheer sounds were overused, to the point where this feels like a joke track - as in, it sounds as if it's supposed to be a parody. It's nice if you're aiming to make fun of trap music, but in treating it as a serious effort to write a VGM remix, I think it's pretty rough right now, since the lead and bass synths are rather simply designed, and the soundscape may feel somewhat bare on some systems.
  15. Man, this has some amazing dynamics! It's definitely giving a peaceful, natural feel. If VGM is still coming off as blips and bloops, well... show the people this!