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

17,557 profile views
  1. Awesome, there's a lot of heart that went into the guitar performances! I especially liked the build back up from 3:40. A bit heavy on the bass frequencies, and the kick is pretty light on the punch, but overall the arrangement is super engaging and this is pretty sweet.
  2. Wow, I never expected Bluegrass to sound like this. Really brought a new perspective on the genre, and I thoroughly enjoyed it.
  3. timaeus222

    Fl studio

    The playlist and piano roll actually allow separate time signatures, but they can be matched up by clicking the upper-left triangle on the pattern itself and going to "Use current time signature from > playlist to pattern" to use the playlist time signature for the pattern, or "pattern to playlist to use the pattern time signature for the playlist. I assume it was done this way so you can subdivide measures how you want; for instance, 4/4 then 3/4 pattern time signature within a 7/4 playlist time signature.
  4. Just my 2 cents here, but the "swell" you speak of in the strings is a minor 2nd trill (fast alternating notes a semitone apart), and in terms of notes, what I'm hearing is an ascending scale in a minor key (seems like E relative minor, meaning you start on E and end on E, but use notes in G major, having only F#). Among the textures, what I perceive is a harp glissando on the left, a flute (or perhaps piccolo) playing the scale legato in the middle, and probably some violas playing legato on the right (ending on a perfect fifth below the flute)
  5. Wow. This is one of those mixes that you really shouldn't skip through, not because it has such a wide span of genres, but because you don't want to miss anything. Been a while since I've put something on repeat.
  6. timaeus222

    Things I've Learned In My Years Of Music

    Well, that's true, a melodic focus isn't necessary, but I do think some sort of leading contour could still shape, say, a desert track, using your example. It doesn't have to end up being a melody, but you could hypothetically hum a melody on top a chord progression you try playing, but then not put a melody. It can just guide the chords you write (or help you visualize which chords you could write), knowing that one can write a chord progression to any given melody (in principle). And then, that wouldn't have a strong melodic focus, but it may be easier to construct by using a leading contour as a guide.
  7. timaeus222

    Things I've Learned In My Years Of Music

    As a note, whenever I write a song with a strong melodic focus, it does go case-by-case whether I write the chords first or the melody first. I do get that sometimes the melody can be hard to think of, or to be original with if that's an issue one has. Most recently, I did what @TTT was describing: playing out something rough on keyboard and getting that down to MIDI. Then, I dumbed it down to a more basic chord progression as the intro to an original WIP, with plans to, later in the arrangement, add in the full deal of what I was playing. A few months back though, I also wrote and finished an original where I thought of the melody first, playing chords with my hands and humming the melody on top of it to test it out. Then, I used the melody throughout as a motif, to try to make the listener familiar with it... and perhaps even make it more catchy. This is done, but here's an early WIP example. A few years back, I actually had a burst of inspiration in college and sat down in the library to mouse in raw sheet music for one of my songs, purely because I thought of the melody first (I was humming it on the way home every day for a week), and then the accompaniment came to me while sketching it. Here it is: https://www.noteflight.com/scores/view/3829339a06f1f5fefe6c1978a5ac8a4dd86e0894 And here is an early WIP of the now-finished song. In all three cases, in the DAW itself, I did write the accompaniment first, but I had the melody in mind early on in the second and third cases, and sketched the major bits in the third case outside the DAW.
  8. Menu 1 and Final Destination are two SSB themes that never really get old for me. DaMonz has shown that he can improve upon a classic, and make it his own!
  9. I think even though the ending is the same, the ending works better now, because of the fix on the production in the low end; now you have noticeable high pass automation, which has more contrast than it did originally. Comparing to the judged version again, this is much improved! It has more bass body, less shrill highs, and leads that are more foreground. The track is also at a good loudness now. Perhaps one final thing I might do is let the final delay go on a bit longer, and fade it out a bit more slowly. I didn't think it was too short, and would chalk it up to a nitpick, but each of the judges seemed to think so, and it's an easy fix, I think.
  10. Regarding "Time Traveler", I think the low bass is kinda flooded starting at 1:37, and would do a small cut (1 ~ 2 dB) on those low-drum samples at around 60 - 80 Hz. That may help give headroom for the guitar to breathe, since (and I'm guessing here) perhaps your car has the bass turned up? If you do that, I would suggest you do it in context (meaning, instead of isolating the drums and EQing, EQ the drums without muting all the other tracks). Another reference I like to use for low bass (sub bass, bass drums, gran cassa, etc), for cinematic music, is this.
  11. Are you saying you've only tested listening through the headphones on your own music? If so, you may want some reference tracks that should be clean: General reference (orchestral) Low Bass reference (glitch hop) (yes, it's my own lol) Upper Treble reference (Rock / Drum & Bass) Right now I don't have my good headphones with me at school, so with these temp headphones, I wouldn't be able to give proper feedback on the low bass (which is lacking) or upper treble (which is overly boosted). For example, when I write something on these temp headphones and I think the bass is good, it's too much when I go home and listen on my Beyers, and I spend a few hours fixing it (both partwriting and mixing; if it was just mixing, it would take less than an hour). However, if I am looking for overly weak treble and overly boosted midrange, I can do that.
  12. I would give it a day, listen in the morning, and then see what you think, but if the preset is for a lower impedance, I would think there is overcompensation, since the 250 ohm headphones need more drive than the 32 ohms. I am curious though, whether the effect of Reference 4 can be turned down, so that a parallel correction (some percent of on/off) can be used instead of the full correction.
  13. Took me long enough to hear this, lol! I'd call it a SMASH hit, with some BURNing solos, showing you once again that WILL shall ROCK. Too much?
  14. timaeus222

    NEW ALBUM - COLOURS by PRYZM (Electro Organic Prog)

    It takes a certain mind to proceed with this kind of vision and invest in it; each song has a logical progression to it, in both textural development and arrangement. [For example, "Constellations" is largely atmospheric, and it can be hard to nail proper textural progression while maintaining interest. You got that balance.] There's a large amount of stylistic diversity here, but I can hear the jazz influence (in terms of the chord progressions and time signature modulations) and the attention to detail that I would attribute to you. In terms of mastering, the track flow also makes sense. Great job! I think my favorite track is "Colour of Time".
  15. tldr; you get out what you put in. ----- A good way to verify this is to rip audio using Audacity's "Windows WASAPI" audio host, and then render as WAV; then, encode using WinLAME into an MP3 using VBR1 on the "High" Encoding Quality setting. That should be enough to allow for what should be the highest bit rate based on the current time in the song, rather than providing a flat bitrate for the song (like you would get with CBR). [I do think that youtube is more efficient in its audio compression than soundcloud. I always hear a slight, or sometimes quite noticeable fidelity issue with the upper treble on soundcloud.] ----- Here is an MP3 based on the steps described above, of the first video from 2007 I showed, a raw AVI recorded of a 160 x 144 dimension video: https://app.box.com/s/r750tyd1hxufw6vda13j500qsanbewfw The most prominent bit rate range it has in WinAmp is 112 ~ 160 kbps; it goes no higher than 160 kbps. I think that sounds pretty accurate... it is just an emulation of a GBA game. Here is an MP3 for the second video from 2016 I showed rendered using Adobe After Effects and Sony Vegas on the highest settings possible, with the audio stream before uploading being the original VBR1 MP3 file that would be distributed on OCR: https://app.box.com/s/ytv60g8s766ban58qrx3iehjl3n3xr9c The most prominent bit rate range it has in WinAmp is 192 ~ 320 kbps; it goes no lower than 192 kbps. The actual MP3 I put in, for comparison, can be found here. Based solely on bit rate, these are nearly identical, with a few flashes of 160 kbps in the ripped MP3 above. Based on an explicit A/B comparison, I can tell that the actual MP3 sounds slightly better in the upper treble. But I think youtube did a pretty good job at keeping it sounding good, even if it's not identical. And for good measure, here's a third test with a third video, this time from 2009 processed through Sony Vegas (instead of uploaded as a raw AVI) into 720p HD, but recorded in the same way of a 160 x 144 dimension video. The MP3 that resulted is: https://app.box.com/s/bgq8bnn9as35tzyq7igpulgub5x87eh1 The most prominent bit rate range it has in WinAmp is 128 ~ 160 kbps, occasionally making it to 224 kbps and occasionally flashing 112 kbps; it goes no higher than 224 kbps. This is fairly consistent because the recording input was the same as in the first video, so it makes sense that the bit rate ranges are similar, but the bit rate is slightly better because it was rendered at a higher audio quality ceiling instead of being uploaded as a raw AVI. ----- So yes, the audio quality ceiling that you feed into youtube does "change" what bit rate you get out... because you get out the bit rate that you put in (more or less). I'd say, oh, about 95 ~ 98% of the original quality stays. I'd approve!