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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
    Computational Chemist, Chemistry TA, Mixing/Mastering, Video Production
  • 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

19,032 profile views
  1. Wow, this may be a new favorite of mine from your collection!
  2. This is an incredible demonstration of metal that actually makes you headbang in different rhythms. These guys definitely know how to shred!
  3. timaeus222

    Inspirational OC ReMixers. Ego food donations.

    I think when I first came here, it took me time to come to appreciate the tremendous amount of help you guys give (call it early ignorance), but looking back, I think I was most inspired by @zircon, @WillRock, @Chimpazilla, @Gario, @djpretzel, and of course @Liontamer, who could forget him? zircon is kind of an obvious one --- I learned most of what I know in music from studying his, from watching his streams / remix walkthroughs, etc. It has also been a pleasure and a joy to do sound design and to test Super Audio Cart (SAC) and SAC PC. I've generally found Willrock to be someone who really made an identity for himself; he isn't afraid to express himself, and he makes music that is clearly identifiable as his own. Chimpazilla has been a good influence on me from nearly the start, and inspired me to realize that collaboration opens you up to new ideas and really supports you in areas you still need to work on. Gario is like a super-mod, who is also very empathetic, and eloquent. He inspires me to express my feedback in both clear-cut and respectful ways, and in essence it's great for my character. djpretzel has a great sense of humor and writes excellent ReMix writeups, and does plenty of behind-the-scenes administration, advertisement, and legal stuff for the website, youtube, twitter, etc. while not necessarily getting the thanks he deserves. Without djp, we wouldn't even be here now, talking about... each other. Woah. Liontamer is honest, direct, and pleasantly sarcastic. If he had to, he could probably carry the legacy of OCR on his shoulders, and he really embodies the spirit of OCR, IMO. He's also damn funny. ----- If I forget anyone, it's not a knock on you, by the way.
  4. Lemonectric's been going the more-lofi route lately; I think my first introduction to him was "Essence of Lime", which mixed in more organic flavor, but I can still dig this "new" retro (oxymoron?) palette he has going on here. A nice and full Genesis bass foundation along with the similarly-old-school leads makes for a welcoming presentation with some homey feels.
  5. A few basic tips: Listen to songs that carry out the style you are looking for, and try to make sense of what the structure is. You can even put it into your DAW to try to tempo-match, and then break it down into how many bars until each section is over. Where's the intro? Where's the outtro? Bridge? How are the dynamics changing over the course of the track? Common transitions make use of cymbals and other transition sounds, or perhaps drum fills, but good transitions tend to connect both texture and contour (especially when writing orchestral, which has "only" organic instruments). Not just the density of the elements present, but also, the elements should feel like they're working together. Make yourself write a melodic transition sometime, and with time you'll hopefully develop that (voice-leading) as simply a core skill. You can do a simple melodic transition by writing a melody that sustains through into the next section, but later on, you could improve it by making all the little elements around the lead work together to lead up to that new section. For an example, I tend to share this, since it's what I consider my personal best arrangement. Maybe it'll help. Have your friends listen to what you have and give you advice... including us. That means post a WIP, not just "help me".
  6. Maybe in the early part of the song, the "yeah"s were a bit overused, but this gets better as it goes on, and becomes rather enjoyable in the end!
  7. Yeah, I hear you; I chose FF4's prelude because it had the main melody that I have on the strings here. IIRC, I could have chosen FF1's prelude instead and it would have been basically the same. Thanks all the same! This is one of my personal favorites of mine.
  8. If you are talking about this one, then it should be able to record via USB. No recording function for FL Studio? I'm guessing you don't have the Producer Edition, which should include it. I would try to see if you can upgrade to that sometime, because that should give you that feature (which is very important to recording realistic acoustic parts). Whoops! Yeah, it would be here, and I've also fixed that link: https://app.box.com/s/lr9nxha1zbg5vfcxufqqvuiz9vjnliyu Yeah, exactly. An analogy is to make it sound like all parts were written on the same sheet of music by one person for the performance, rather than written in multiple separate sheets of music on separate days, that are then pasted together to use for the performance. I'm exaggerating, but I think you get the idea. Well, since you're using FL Studio, I figured I'd use its terminology. A pattern is what holds the notes and automation that goes with those notes. It represents a measure in sheet music. They go into the Multitrack (the big canvas where you arrange/place your musical objects) along with audio clips, automation clips, etc. If you left-click the top-left of the pattern in the Multitrack, you can go to "Make Unique", which clones it and leaves the original intact. Then you can add variation to that. I think longer patterns (say, 8 bars instead of 4 bars) should encourage you to do more to differentiate them. What I mean about emulating randomness is that you can manually shift notes a little bit in this new pattern you made from "Make Unique" for variation where the actual notes stay the same but how they line up differs. I think @PRYZM would be able to help you here. He has used CS2 before, I think. CC#7 (volume scaling) and CC#11 (expression) are pretty widely implemented to adjust the same parameters across different libraries, but CC#1 (among others) could differ depending on the library used (for example, it could have been vibrato). You should have the manual as well to look at, which might explain what CC#1 should do for CS2. Yeah, essentially it was like an actual fade-in, like a volume knob was raised on a digital piano, rather than the pianist just playing gradually harder.
  9. MOD REVIEW Hey man, I will give you the heads-up that this is not going to pass right now, and to summarize, the primary reasons are: The instruments are mechanical, because their velocities predominantly have a quantized rhythm (stuck to the grid), and have similar intensities. This is most easily noticeable in the piano starting at 0:24, in cello/bass starting at 1:22. For example, the piano plays chords where all the notes in the chord hit about the same time instead of slightly different times. Something to listen to, to train your ear to hear subtleties like this: Robotic Rhythm Robotic Velocities Robotic Rhythm AND Velocities Humanized The accompanying instruments (particularly cello/bass and snare) fall into the trap of (potentially) being copy/pasted while playing a few similar patterns (generally multiple eighth notes in a row), instead of being written to have a certain phrasing that fits with the current musical section. Because of that, it sounds more like it was written on a computer than something that would have come about from being performed off of sheet music (if that makes sense). Frankly, this is actually pretty enjoyable though, Judges' Panel aside. Some of the good: I can hear most of the instruments pretty well, so there doesn't seem to be much of a balance issue. I might note that for example, the snare and pizzicato at 2:02 - 2:30 or so gets bit buried behind the cello/bass, which seems to have gotten louder. I can definitely hear the source in there, so anyone could recognize it if they heard the original or played the original game. It's slower, but not so slow that you can't tell what it is. It sounds like any casual listener could enjoy this, even if they didn't know the game. It's an uplifting arrangement without being too aggressive. ----- Since this would be a pretty big undertaking to revise and update, here's some advice that hopefully helps for the future: When using FL Studio to write orchestral music, try to make somewhat long patterns, so that you 'force' yourself to adjust them more significantly to differentiate them. Even subtle adjustments to rhythm and note intensities would help emulate the randomness of real players. On long notes, never leave a sustaining orchestral instrument static. If it has MIDI CC, consider CC#7 (volume scaling) and CC#11 (expression/dynamics) and modulating those. Basically, CC#7 controls the range of dynamics you can access, while CC#11 moves within the range allowed by CC#7. If the sample library is designed to use those, it's more realistic than automating generic volume knobs in FL Studio (if you did). Some miscellaneous suggestions that came to mind while listening to this back and forth: That 24-second intro probably doesn't actually have to be there, because it's very bare and somewhat meandering, but leads into a piano that fades in. Because of that, they feel separate. I know it would make the piece sub-3:00, but something to consider. It sounds as if you were automating the volume of the piano while keeping the velocities the same (0:24 and on). I'm not sure what samples/VSTs you are using for it, but instead, try to adjust the velocities (the "note loudness") to create that feel of increasing dynamics. If possible (and I don't know if you have a MIDI keyboard), try to feel it out and play it on there for a more humanized phrasing. END REVIEW
  10. timaeus222

    OCR03789 - Quarth "Block Invaders"

    Oh yeah, I remember when I saw this as an SACPC demo. Perhaps your best chiptune work yet! Flows well, sounds good, enjoyable!
  11. timaeus222

    Do You Still ReMix — Why Or Why Not?

    Well, I still try to ReMix... not as much anymore, but not because I lost interest. I'm in grad school, 3rd year, so by that time I just have a lot on my plate. (Officially became a Ph.D. candidate starting May.) I finished 1 recently, which I think I started in May, combining Chrono Cross and Pokemon Super Mystery Dungeon, and I still found a lot of enjoyment in the process of doing it. I don't have all my supplies with me in WSU, but it forces me to be more particular about harmonic and melodic cooperation instead of production and sound design, and instead I fix up the production on holiday breaks and such. Either way, I still ReMix, it's still as fun as it used to be, and I do so BECAUSE it's fun, not because I feel any obligation to do so.
  12. Solo piano pieces are generally great. I played piano for about 8 years, so I can relate to how hard this is to play.
  13. Thank you, I really appreciate it! That was a tibetan bowl sound from Omnisphere. I think it was "Tibetan Bowls Shaking Doppler".
  14. Whaaaaat? How did I miss this? This is awesome!
  15. @GuJiaXian In case you were curious, it just got approved this morning for a direct-post. Those are by email, so this would not show up in the Judges Decisions page.