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timaeus222

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Profile Information

  • Real Name
    Truong-Son "Timaeus" (Tim-AHY-uhs) Nguyen
  • Location
    United States
  • Occupation
    Computational Chemist, Chemistry TA, Mixing/Mastering, Video Production
  • Interests
    Music Composition, Chemistry, Math, Computer Programming

Contact

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 (List)
    Cello
    Drums
    Electric Bass
    Electric Guitar: Lead
    Electric Guitar: Rhythm
    Harp
    Piano
    Violin
  • Instrumental & Vocal Skills (Other)
    Tenor+Baritone

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timaeus222's Achievements

  1. That seems like a good thing to me. :-)
  2. That does it, this is going in my Middle-Eastern playlist.
  3. Man, I miss Dave already, but Larry did a great job on the writeup too! This is a ReMix I feel I can share with anyone and they would find something to like about it! So chill...
  4. Nice and evocative! Surprised this hasn't gotten more comments.
  5. Good stuff! Actually simultaneously reminiscent of the original and transformative. The 1:30 mark was pretty innovative and I liked the guitar noodling.
  6. Hello! I did have a lot of non-digital music experience, mainly playing piano and singing in choirs, but surprisingly I didn't have a great ear when it came to writing or listening to music, and I was a complete newbie in mixing/mastering. OCR definitely contributed a ton to developing that in only 2 years. You can find me in discord or twitter anytime! @JoshWiniberg
  7. The way I do it is fairly simple. I have a MIDI keyboard in front of me, which I recommend to anyone trying to figure out notes. I hum to figure out the melody and play it back to check, then try to put it to memory and play it out on keyboard. Humming it is easiest and is what I would recommend to figure out what is going on. If there was harmony in what you listened to, I would track and hum the bass line, then that will give me a clearer picture of what the chords might be.
  8. Hey Here's my take on this with a fresh listen, just so you have someone else on this as well. In a short summary: Robotic intensities and rhythm going on in the leads (important!) Add transitions to smooth out connecting sections (important!) EQ the pads midrange down a bit to make room for the leads to be heard after you lower their volume too, so that the overcompression is lessened. (not crucial but would be nice to fix) --- ARRANGEMENT / SEQUENCING As a general time, when you write parts for instruments that are seen in the real world, you'll want them to have velocities (playing intensities) that vary, so that they resemble human playing. Currently: The bells at 0:03 (probably the same ones at 0:33) are noticeably rigid because the intensities are the same all the way through The bell-like lead at 0:27, 1:13, etc is also the same way. It's especially noticeable at 1:13 because there's pretty much nothing hiding it. The plucky synth at 1:24, same thing with that one. Also, since it's a lead, it would help spatially, as a rule of thumb, to make it mono instead of stereo. It will give room for the bells and pads to breathe. So what you should do is imagine yourself playing the part on a piano, and vary the intensities (velocities) accordingly. Or, if you don't know how to play piano, then some rules of thumb to make it more human are that ascending and descending sequences tend to get louder, and every other note tends to be slightly quieter than the note to its immediate left. To give you something for ear training, here are 3 ways NOT to write the following piano snippet: https://app.box.com/s/pmwybgad4who5679p9xvuxdnnmqshas5 - Robotic rhythm and intensities https://app.box.com/s/lr9nxha1zbg5vfcxufqqvuiz9vjnliyu - Robotic rhythm only, with human intensities https://app.box.com/s/ndt9vz26mjhdul6sreqgkvf6eqlp2qfy - Robotic intensities only, with human rhythm This is the ideal result you want to get: https://app.box.com/s/jjapuupib9zfypwoew1ecr31nlq8siw4 - Fully humanized This feedback applies to other instruments in the remix as well, not just those bells, but those are what I picked for examples. One other note is to add transitions, or smooth any out, between major sections to smooth out the structure. An example is at 0:56, there could be a reverse cymbal with reverb to connect you to the lower-dynamic section after. Another example is 1:23, which you could argue has a transition, but it's clunky and I would suggest something smoother like a reverse noise fall or something of that sort, while keeping the descending bass line there. Yet another example is 2:09, which sounds like it should come close to the ending, hence a reverse cymbal there would more-clearly indicate it. PRODUCTION / MIXING At 2:09 and on, the leads can be more tame, to go with the bass drone. As it stands, they stick out, especially the trance synth at 2:12 which is... not calm. It would help if the pads have the midrange frequencies EQed down (maybe 2-3 dB), and that will give you the freedom to lower the volume of the lead sounds a bit. That will then decrease the overcompression that is going on right now. Other than those bits, I think the production, albeit fairly rough, is not that bad. There isn't much low midrange muddiness going on which is nice, and I can hear everything I need to hear. --- Hope that helps!
  9. Bit of a tough listen at first because of the thinness of the PWM bass until 0:45. Then it's pretty sick bass work paired with the TB303-like kick.
  10. Ayo, good to see this see the light of day! I had so much fun discovering Zebra2.5's new distortion module when I added to this. That came up around the 1:05 mark for example with the dancing FM bass.
  11. This is the first time I've heard this. I hear sparks of his first moments of genius here. So many fun riffs.
  12. Hey, this was a nice gem to hear. It sounds like something beyond 2010. Sometimes the cymbals get too loud/upfront, but for the most part this is surprisingly good.
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