Song: Hero Color

Stage 2:

Building the percussions and FX.

Rise Rising Sweep 1:

  • Using Omni road runner, turned off Churchbells, and replaced A instrument with White noise, then automated cubase EQ sweep HP.
  • Some kick and snare (sidestick)
  • bounced to rough_stage2_bounce


Stage 3:

  • Building another set of kick and snare chorus use.
  • Building hi-speed hihat for R&B style repeats.
    •  Nexus > Arp > play with settings
    • Speed 1/64 or 1/64T
    • Adjust ‘gate’ for length of each repeats
    • And you can select the notes.
  • Sweeps: Omni Danish noiz and White avalanche hit
  • Downlifter Sweep Hit: Omni (Falling modular laser) replace sound with ‘Anguished Cries’ – can use any sound
  • Found a dark hit: Just a friendly reminder in Omni
  • Bounce
  • Unload



Stage 4:

  • Creating the instruments to use the above beats
  • Creating instrument also means we can perform live in the future!
  • Snare, Kick, sidestick, crash1, crash2, hihats, rises, uplifter, downlifter, hit


Stage 5:

  • Consider adding Hello cover effects and sounds.
  • Arrangement upgrade
  • sound effect list find: nexus – drum singles – dr fx 5 – underwater sonar c4
  • sound effect list find: nexus – drum singles – dr fx 6 – heartbeat, lightning, gunshot for cowboy song


Stage 6:

  • Upgrade main drums
  • Added
  • Done.
  • Bounce Addictive drums multi:
    • Turn on all channel outputs on Add Drums from Instruments window list.
    • Output every instrument on the ADD drums interface .. down arrow icon.
    • Bounce and select multiple channel export and select all of them, input PREtitle.


Stage 7:

  • Simple mix and noises


Stage 8 : vocals

  • Recorded, mixed, eqed.
  • recording CHINESE version later, use this project
  • Read and research: rihanna vocal mix  http://www.soundonsound.com/sos/feb07/articles/insidetrack_0207.htm
  • Used Monodelay FX channel, and Ronin Damage on the exported vocal track for our DELAY track



Stage 7: Add inspiration PADs? Panning instruments?



  • Front part, too many empty dead space .. need pad, white noise or  surrounding ambience.
  • Mix bring out high pass .. for all instruments except drums  and vocals a lil.


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Harshness and mix

harshness detect:

To crunch harsh hi’s use a good bitcrusher. D16 Decimort is great.

mixing plugins:
tools like the Melda MAutoEqualiser and Voxengo Curve EQ plug‑ins, or the off‑line Har-Bal software. Whatever any software tells you, though, be very wary if it contradicts the evidence of your own ears.

There are a number of dedicated phase‑adjustment plug‑ins worth investigating, including commercial products such as Audiocation’s Phase, Voxengo’s PHA‑979 or Littlelabs’ IBP Workstation (for the UAD2 platform), as well as freeware such as Betabugs’ Phasebug and Variety Of Sound’s new preFIX.

Be careful when layering several bass parts or low drum sounds within a single arrangement. Allowing such layers to slip in and out of phase with each other is a recipe for frustration, because it’ll cause the combined tone to change sporadically throughout the timeline in a way that’s almost impossible to fix with normal mix processing

Be wary of delay or reverb effects that take ages to decay at the low end, because they can quickly make an unpalatably thick soup of your sonics. In typical pop, rock and electronica work, you can usually afford to high‑pass filter most effect returns well above 100Hz, as well as applying additional LF shelving or peaking cuts in the couple of octaves above that.

Avoid EQ’ing in solo, because most people instinctively try to give every track a ‘forward’ sound if they work like that. It’s what your tracks sound like in the context of the mix that really counts.

It’s standard practice on a professional level to carefully automate lead vocals in order to maximise the intelligibility of the lyrics, so don’t forget to give that process the time it needs. While you’re at it, try fading up the ends of some of the note tails — you’d be surprised how often they contain characterful little bits of hidden phrasing that can really make a performance seem more emotional.

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Bin mastering

Also T-racks CS doesn’t like dealing with MP3s, so I convert them to WAV 24bit 48Khz (taiwan industry standard)

So Ah Bin asked me to help him master his tracks and I got a style I like about him, his voice:

so .. using the custom sweetdreams_master.trs, basically Master #2, turning off the OPTO COMP, since the WAV mix he gave me has been L2’ed , I’ve mastered:

  1. sweet dreams ( nanhaiguniang_master.trs[better] … sweetdreams_master.trs)
  2. good night(  sweetdreams_master.trs)
  3. 太空漫遊 MIX-w L2(1)
  4. 偷偷愛 MIX-w L2
  5. 南海姑娘 MIX STdown-w L2 (nanhaiguniang_master.trs .. uses Gentle Sweetening #2 no compressor as base)
  6. runaway (runaway_master.trs … uses Warm Suite as base.)
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L2 or not before mastering?

My theory is, L2 is a part of the mastering process. It’s up to you to L2 before bouncing the MIX for mastering or not.

Of course it’s not advised to bounce a track with L2, then also run a limiter during Mastering. That would mean limiting/compressing twice!

So for me:

  1. Bounce 2 versions of your mixdown, 1 with L2, and 1 without.
  2. Then run your favourite mastering program/configuration, and for each of the above MIXDOWN, run the same set of mastering / enable or disable the mastering software’s limiter/compressor respectively, so that you do not LIMIT twice. For example, when working on the MIXDOWN with L2, turn off limiter in the Mastering software.
  3. You will end up again with 2 mastered tracks.
  4. Now do an A/B testing, for example, load both tracks into your favourite DAW and load other reference tracks in to compare. Pick you favourite. There isn’t any right or wrong. The only thing theoretically wrong is running Limiters/compressors twice – but then again, in rare cases, that works too.
  5. My own example for Candlelight – I tested the 2 mastered tracks (1 with L2, the other with the mastering software config’s 670 compressor) – and I picked the L2 version!
  6. 1 other thing to consider though.. L2 after mastering?
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