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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

17,074 profile views
  1. timaeus222

    FL Studio 20 now released

    I would go for it. I think the workflow enhancements are well worth the upgrade, but you'll want to read through the updates to see roughly what of the new stuff is useful for you. https://www.image-line.com/flstudio/history.php Or the quick version: FL 20 in 4 minutes / in 15 minutes FL 12.5 in a minute / in 21 minutes FL 12.4 in 11 minutes I don't know where you paused, but in particular I found these notable improvements (and this covers pre-FL-20 to some extent): Per-bar time signature change (you know why!) Live preview of recordings, and ability to consolidate MIDI into bounced WAVs with undo Stretch/compress entire groups of notes using right-Shift and click-dragging from the right-hand side. This can be useful for generating polyrhythms. Mini-playlist preview above piano roll, so you know where you are New Fruity Delay 3 VST (you'll love it!) Link a bunch of channels one each to sequential mixer tracks using Ctrl+Shift+L! Really helps when mixing with stems. Ghost notes (maybe new to you?), great for writing complex harmonies. Vectorial interfaces for certain VSTs etc.
  2. Super Audio Cart has replicated SNES sounds (as well as exact samples from Famicom, C64, GB, SMS, 2600, GEN, NES), with an extensive 4-layer synthesis engine, mod matrix, fx rack, etc. Comes with over 1000 presets. May be worth looking at! https://impactsoundworks.com/product/super-audio-cart/
  3. timaeus222

    FL Studio 20 now released

    I'm ecstatic, for literally all of the updates in the video, especially the track bouncing, time sig change, return of the graph editor, and pre-computed effects.
  4. Aw yeah! I just passed my qualifying exams for my Physical Chemistry PhD!

  5. MOD REVIEW Hey, good to see this going again! Alright, let's take a fresh look at this. It looks the judges' main concerns were the lack of clarity in the lead work, the amount of distortion going on, the lack of a justified ending (whether it's a fade-out or not), and the overcompression. I do hear that there is less reverb on the lead and an improved amount of clarity. I might experiment some more by lowering the amount of delay on the lead a bit, as the lead work is still somewhat blurry. Is there something accompanying the lead at 0:23 - 0:45, 0:56 - 1:19, and 2:07 - 2:28? I think I might be hearing something with a similar timbre competing with the lead, but it's hard to tell. For another reference on the amount of reverb and delay for lead accompaniment on a DnB track, perhaps consider this. As a note, I would suggest experimenting at 1:45 with a different and more upfront lead to see what you think. You might want that lead to come out more there because it's relief from the energetic main sections. The previous version had a pretty high amount of distortion, and I think it's more balanced this time around (but I can't be too sure because soundcloud doesn't properly encode high treble on playback). I think at least that the overcompression is decreased, because for example, at 1:07 the crash did pump the track in the previous version. It doesn't do that nearly as much now, but instead some sounds like the crash are more distant. Do be careful and keep watching out for overcompression. I think it's a good idea to work on that ending, because listening through it, there isn't that much of a timbral variety going on; what I hear is mainly saws and other abrasive sounds that have lots of high harmonics. (As a note, whenever I write mixes, the breakdown section and outtro are typically moments where I introduce more diverse sounds in and let them shine.) Regarding the ending, I might have started the outtro at 2:32, with no energetic drums, and perhaps made another iteration of the melody you showed in the breakdown at 1:44, maybe with a piano lead instead (something calm with some body, mainly). If you do that, I might also suggest adjusting the arp surrounding it to support the calm lead and be less energetic. By having the drums keep going at 2:32 so far, the track wants to keep going, but if you remove the drums at 2:32, then you can let it start to cool down. I don't think this is quite ready for submission yet, but it's mainly because (1) you're still working on an ending (which would be quite important), and (2) there could be more clarity between the lead and the accompaniment by toying with the delay and/or reverb on the lead and/or accompaniment. But keep at it! You're almost there.
  6. timaeus222

    OCR03722 - Mega Man X2 & X1 "X's Demise"

    I've usually known pu_freak for his piano arrangements, such as the one wayyy back in The Missingno Tracks. This is a calm + moving rendition that showcases the development in his longer pieces; the tempo changes worked pretty well, I thought, and despite how there are occasional spots where the flow seems to stop, I think it just feels more spontaneous/in-the-moment/live that way.
  7. timaeus222

    OCR03730 - Mega Man X & X4 "Rolling"

    I think Callum put up a particularly solid vocal performance---with good clarity/enunciation, and the mixing by Jorito is overall fairly clean. I also like how the lyrics contain to-be-expected rickrolling references, but not in a forced way. I really dig the intentionally crunchy production, and I appreciate the dedication to fine-tuning this packed soundscape.
  8. (His link was to the HS8.) Point is, different models with the same brand name, and @Master Mi should not mix them up.
  9. Just wanted to point out, @Jorito seemed to be talking about the HS5, and @Neifion was referring to the HS8.
  10. In the future, you could also post the audio file; it would be easier to help if we can hear it, not just inspect the piano roll.
  11. Damn son, where'd you get this? Sick beat, yo!
  12. Thanks, I appreciate it! No word back yet, but I would give it another month before asking; I would check the Judges Decisions page to see where they are.
  13. That's a fantastic deal! Most other suppliers are saying >$400. I actually haven't ever used the A20 amplifier, but it looks good; I like the 0.01% total harmonic distortion, since you'll hear a more accurate playback. I tend to enjoy products made in Germany (NI is centered in Germany), and it will work for up to 600 ohm resistance.
  14. I use mine with a headphone amp, and they ARE the 250 ohm version (btw, I got them for 51% off at Sweetwater iirc). It's nice to have, but I don't think you need the headphone amp for the loudness. I would still suggest getting one sometime though, so that you can re-balance the low-end and high-end to reference tracks (I calibrated my low-end with "Vessel of the Void" by zircon, my high-end with "Go Ninja Go" by bLiNd, and my loudness with "Level Bounce" by zircon on soundcloud). Without an amp, it still feels bass-light.
  15. timaeus222

    Things I've Learned In My Years Of Music

    Here's my perspective (btw, I'm using the latest FL 12, fyi). tldr; I prefer to do certain things to the mix for reasons that I'm aware of. If there's no perceivable difference in the context of the mix, then what's the point? ---- 1. Sure, I've heard @WillRock say it to me before. It makes sense; you should be able to hear roughly the same balance at quiet or loud listening volumes. 2. Yeah, sometimes that helps. But for synths you could simply adjust the ADSR envelope and that would probably be easier. For real instruments, yes, I would consider automating volumes. 3. Yep. 4. Probably placebo... I never use Fruity Limiter anymore (because the default setting overcompresses more easily than other limiters I've used), except for sidechaining (where the effects of overcompression are negligible). I don't just stick it on a mixer track without doing anything with it. 5. But why? What's the purpose? To add brightness? Why do it when you can leave room for brightness on your hi hats, for instance? 6. I really don't hear much difference. I prefer to leave the original stereo image how it is, and use that as a starting point, because I know exactly how it started as the original sound source. 7. Yeah, I also use multiple EQ instances to do small edits. That's normal for me. 8. So the purpose is to slightly blend? Can you hear the difference except by turning on/off on bounced WAVs? If not, then why? 9. I suppose... what you're doing is phase inversion to make the net result sound more mono, so it should feel "smaller" horizontally. Reducing the brightness dulls the sound, which should make it feel "smaller" vertically. 10. That just seems to be boosting the volume... and not doing anything else. Notice how all three bands are bypassed. Couldn't you just NOT do this and then just boost the volume using Fruity Balance? 11. As in 10, does it actually do anything more than raise the volume? I would stick to using Density MKIII, and learning to use it (without relying on presets) if you are trying to do soft knee compression to keep peaks in check. I get that presets are meant to be used, but "set and forget" isn't exactly the best motto. 12. ...Why? I always like to know what's going on in all parts of the mix. This just adds a random factor out of my control, and it doesn't make sense to me. It's just going to get drowned out anyway once you add in all the elements of your mix, so it likely just adds clutter. 13. I suppose you could do that, or you could determine what instrument is capable of doing that within its own UI (such as Serum or Zebra) and add that layer within that plugin. That way, you don't have to write a whole separate pattern and you already would have synchronized ADSR envelopes, i.e. it'd be taken care of already. 14. Uh, I suppose you could, but I just listen to the mix fresh. That to me is the most honest listening perspective, not colored by previous songs. 15. That really applies to everyone, but it depends on what headphones you use. I can go for 2 - 3 hours of writing and mixing at a time and not lose track of what's off, because my headphones (Beyerdynamic DT-880) are comfortable and semi-open, so my ears don't hurt by the time I'm done.