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

18,121 profile views
  1. 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.
  2. Solo piano pieces are generally great. I played piano for about 8 years, so I can relate to how hard this is to play.
  3. Thank you, I really appreciate it! That was a tibetan bowl sound from Omnisphere. I think it was "Tibetan Bowls Shaking Doppler".
  4. Whaaaaat? How did I miss this? This is awesome!
  5. @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.
  6. [This is an automatically generated message] I've reviewed your remix and have returned it to Work-in-Progress status, indicating that I think there are some things you still need to work on. After you work on your track and feel that you'd like some more feedback, please change the prefix back to Ready for Review and I'll review it again! Good luck!
  7. Hey man, sorry for the wait! ----- MOD REVIEW Phew, this sounds like a rather ambitious piece. Also, a mod review is generally for when you want to submit to OCR, just fyi. Summary The main things that I would keep in mind are: Each note in each instrument feels like a similar intensity, so the instruments feel robotic. Try to keep instruments playing their usual role, at least in this context. In this context, my suggestion is that, e.g. a bass should play bass, not "baritone", orchestral drums should play as orchestral drums, not rock drums, etc. Perhaps consider cutting out some parts of the arrangement, so that it flows better. I know you may be attached to some of it, but sometimes you gotta be more objective about it. There are some good things in this though: Props for writing something this long. It's hard to even think up something of this length. You have a pretty good structure, and nothing too much feels that out of place, besides the parts I mentioned. You do have drum variation, which distinguishes sections from each other. Arrangement Whenever I see a long piece like this, I consider whether the ideas still flow into each other, whether there are sufficient transitions, whether there is a dynamic progression, etc. Because I like to be able to figure out how a piece progresses, here's how my mind is trying to structure this based on what I hear. Maybe it'll help you decide what you may want to cut out, because this is quite long, with many ideas packed in, and can be condensed down. 0:00 - 0:35 = Intro 0:35 - 1:00 = Buildup/Verse (maybe?) 1:00 - 1:26 = Chorus? 1:26 - 1:46 = Slow Bridge 1:46 - 2:14 = Chorus 2 + Solo? Leads into breakdown 2:14 - 2:27 = Breakdown 2:27 - 2:41 = Big verse? 2:41 - 2:49 = ??? This doesn't feel like it fits here, because it's out of the key and sudden. 2:49 - 3:15 = Chorus 2 3:15 - 3:41 = Continuation, suggests winding down again. 3:41 - 4:15 = Dissonant proggy section? Perhaps try cutting this out to see what you think, as it seems to connect just fine without this in here, and it feels a bit out of place. 4:15 - 5:07 = Big verse again + drum variation 5:07 - 5:20 = Breakdown + more drums 5:20 - 5:34 = Chorus 2, meant to sound bigger 5:34 - 6:17 = Continuation to ending Production You seem to be fairly new at this, so it may be better if we focus on arrangement primarily. Nevertheless, I would say that most of the production weirdness is actually in the choice of sounds (in terms of what roles they are apparently playing, or doubling up on), and how robotic their note intensities are. Regarding the note intensities, they feel like they're mostly the same; an analogy is plunking on a piano with your fingers for the entire performance. They need humanization. A typical pianist would have phrasing, and in that phrasing, the note intensities have variation (randomness), and an arc (a flow or shape to it). This is hard to learn without learning an instrument in real life, but perhaps it will help to listen to how these differ: https://app.box.com/s/ndt9vz26mjhdul6sreqgkvf6eqlp2qfy (Robotic intensities) https://app.box.com/s/lr9nxha1zbg5vfcxufqqvuiz9vjnliyu (Robotic rhythm) https://app.box.com/s/pmwybgad4who5679p9xvuxdnnmqshas5 (Both) https://app.box.com/s/jjapuupib9zfypwoew1ecr31nlq8siw4 (Humanized) This probably fits better as an arrangement critique, but... it influences how you would produce it, so here are some examples of how certain instruments seem to be not playing their usual role, or seem to be playing in an uncomfortable range. 2:49 - 3:14 --- the bass seems to be playing pretty high, so it's not providing the low foundation that it typically would. 0:48 - 1:00 --- the lead there is pretty piercing, since it's playing fairly high notes, above its usual range. 1:00 - 1:24 --- the drums you are using (snare, timpani, ...) are made for orchestral music, but here they are playing the role of the double-time 1-2 kick/snare rock pattern. It is because of things like these that there is a lot of frequency clashing, particularly in the low-midrange (250 - 500 Hz or so). The range above the bass hits here, the range of the left-hand piano would hit here, rhythm guitars would hit here, etc. Lots of ways to clash, and you'd want to avoid that. Whenever the timpani plays as if it were a kick drum in a rock drum kit (0:35 - 1:26 is an example), that adds to the muddiness of the production. Besides the clutter due to instrument roles, also consider the clutter due to instrument count. I know it can be fun to keep adding and adding, but sometimes you gotta take out an instrument to leave room for another (call this competing for attention), and you gotta let the lead shine. An example of too much is 2:49 - 3:15, where everything competes for attention. ----- Conclusion Overall, unfortunately I would not believe this is going to pass the panel, if that was your plan. But it's a good starting point for improving. Good luck!
  8. timaeus222

    How Significant Is Forum Feedback In Improvement?

    I think @Gario pretty much shares brains with me at this point. Yes, all this. Having a mentor is good and if you find someone who can help like that, go for it. But don't let that be your only avenue for learning. Public feedback can be useful too, because It potentially could provide a greater number of fresh ears. In principle it is probably easier to obtain (if the mentor would be hard to contact, which he/she probably will be because he/she is only one person who has a life). It opens you to potentially inexperienced perspectives that you should digest, which likely provide for you a realistic experience on how your music may sound to a general audience. The main problem with public feedback is of course that sometimes, you have to filter it and figure out who is actually saying what, because more experienced people might either speak with jargon, or less experienced people might say what they think they mean without actually projecting what they meant. That's the chance you take, and I am quite glad I took that chance for 2+ years... Fortunately, when I got public feedback, the people who came in (Flexstyle, Gario, Phonetic Hero, Chimpazilla, DaMonz, . . . ) knew enough, and I will fully admit that at the time it was I who needed to learn more! And it was because I took that chance and met those people, that I had extra motivation to keep coming back! So, for me personally, public feedback (forum feedback) was more important than mentor feedback. I don't think I had a real mentor (besides the Judges), more like I had some friendly collaborators...
  9. timaeus222

    How Significant Is Forum Feedback In Improvement?

    I think we've gotten to a difference of choice, which gets rather confusing... You're considering "feedback" as opening to public critique with no particular expectations, while I'm considering it in a more general sense, where any interaction involving critique about your stuff, public or not, is feedback. Also, you have basically stated (using your definition of feedback) that mentorship does not require the public to give critique. That's true, it doesn't, but why do that? I wouldn't value the mentor's feedback (my definition) any more or any less than public feedback (your definition); everyone's feedback (my definition) should be taken into account, even if the poster is proficient (whether they do or not is another story). That is why I am saying that mentorship necessarily requires feedback (my definition), but also that feedback does not require a designated mentor to obtain (i.e. can be from untrained critic in public or in private), whereas you are apparently saying that feedback (your definition) is not required within a mentorship. See the confusion it makes? What it looks like is that we agree about general feedback, but not about public feedback.
  10. timaeus222

    How Significant Is Forum Feedback In Improvement?

    Is an assessment not feedback? In assessing, you are responding to an incoming interaction to provide your thoughts, which, whether opinionated or not, is feedback, no? I don't think feedback is disconnected from mentorship, especially since it should involve communication. @AngelCityOutlaw So, what @Phonetic Hero seems to be referring to is that the mentor is like a teaching assistant, while you seem to be referring to the mentor being like an actual teacher/professor.
  11. timaeus222

    How Significant Is Forum Feedback In Improvement?

    I think it depends on how long you've been writing music in the first place. I like to think of it in a few somewhat general stages (fyi, I just came up with these now): Early on / Barely started something -----> Definitely ask for feedback Somewhat proficient / usually appreciates feedback -----> Definitely ask for feedback Quite proficient / sometimes needs feedback -----> doesn't hurt, ask for it! Extremely proficient / occasionally asks for feedback for a reality check -----> Nice to have, but not absolutely necessary to ask for feedback Back when I personally found the feedback worthwhile (enough to come back and work with the poster to continually improve the same WIP), it was when, e.g. I did not have good headphones, or did not pass any or recently passed only 1 or 2 tracks on OCR already. (I try to take all feedback into account, though, and give it a chance first. As another note, whenever I share after I submit, I usually just forget to share before I submit, sorry!) I definitely attribute OCR to helping me get to where I am now, though, not even from any obligation. Without OCR forum feedback, I would not have good headphones, nor good arrangement skills (in practice). I would say it was the headphones that helped the most with production skills, but OCR with arrangement skills. Mainly, what I can only learn in practice is what I found most helpful from OCR. And so, what I mean by that is if you don't know what questions to ask, or you don't know how you could proceed, then ask for feedback. You'll learn about topics you haven't thought about, and it'll give you a better sense of what path you could take.
  12. Cool arrangement. I like the ideas here so far. If you need a resource for writing your own Shreddage lead, zircon did a pretty good job here. See the 12:51 mark.
  13. timaeus222

    What is the ideal length of a musical album to you?

    You're not the only one! I generally like an 8-10 song album, if it's going to be one I enjoy in the long run (and probably play in the car, if it's not super elaborate dynamics), but I don't mind getting a 5-8 song album if I just find it astounding. Usually I like it if the album happens to be 30 minutes long (5-8 songs) or 40 minutes long (8-10 songs), but I'm open.
  14. No, it either means it was direct-posted, or it is not there and approved yet. If it was of this caliber and also rejected (meaning, if it was not so terrible that it was rejected without judging), then it would be there.
  15. It's right at the bottom of the main page: https://ocremix.org/community/forum/4-commentsreviews/