Nu Dimension cover "Mirrors" by Justin Timberlake



Re-arranged and Mixed by Satrio Pratomo

@SPMIxes

Mirrors-Justin Timberlake (Nu Dimension Cover)

Waiting in Vain (Cover Version)

Male Vox: Belly Argo
Female Vox: Echa
Rap: Jovie
Guitar: Rully Sianipar
Bass: Paulus Priyadi

Producer: Satrio Pratomo
Mixed by Satrio Pratomo at Studio 1 SAE Jakarta with Neve Custom Series 75

This project got awarded as "Best Student Project" 2013 at SAE Jakarta

Enjoy

Waiting In Vain (Bob Marley Cover) - Unmastered Version



Rully Sianipar & The Milkshaker's Feat Rhany(Metronome), Randi sc(Speakeasy), and Tuan Tigabelas(Rebel Education Project).

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This Music video Cover is Tribute to King of POP Michael Jackson - Love never felt so good
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Find us :
Soundcloud : @rully-sianipar

Facebook fan page : rully sianipar & Friends : www.facebook.com/New.Summer86?ref=ts&fref=ts

Twitter :
Rully Sianipar : @rullysiianipar
Samuel Samartha : @muelmuel
Gerald Smith : @ge_drum
Paulus Priyadi : @paulupbass
Rhanny : @rhannyy
Tuan Tigabelas : @tuantigabelas
Randi sc : @Randy_Esc
Satrio Pratomo : @SPMixes
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Contact & Booking number : 0813 8825 5036
----------------------------------------­­------------------------------------- Song originally written/composed by : Michael Jackson and Paul Anka
----------------------------------------------------------------------------- Director by : Samuel Samartha
Director of Photography by : Adi Kribo & Samuel Samartha
Edited by : Samuel Samartha
Music Producer by : Rully Sianipar & Satrio Pratomo
Music Arrangement by : Rully Sianipar & The Milkshaker's
Mixed by : Satrio Pratomo at Vortin music
Recorded by : Willy Bernardus at Viky Sianipar music studio & 
 and Satrio Pratomo at Vortin music -------------------------------------------------------------------------------
Rully Sianipar & The Milkshaker's are :
Guitar & Synt : Rully Sianipar
Drum : Gerald Smith
Bass : Paulus Priyadi
Feat
Voc : Rhanny(Metronome)
Voc : Randi sc(Speakeasy)
Rap : Tuan Tigabelas (Rebel Education Project ) -----------------------------------­­-------------------------------------
Thank's to :
God,Family,Samuel Samartha,gerlad smith,Paulus P,Rhanny,Randi sc,Tuan Tigabelas,Satrio Pratomo,Willy Bernardus,Room Image,KamarSam,The Milkshaker's, MPXX Asia,The Lost MC Indonesia,Skib-Skab,BW,Speakeasy, Kelompok Penerbang Rocket,Since MF,Ramayana Soul,Rebel Education Project,Viky Sianipar, VSI record Studio,Vortin Music,Raynhard Pasaribu for take keys and Bima for take saxo,Bayu VSI,Adi kribo ,Herzuginanda,Rendul,
And all the people who support us to make this Cover


Love Never Felt So Good - Michael Jackson (Rully Sianipar & The Milkshakers Cover)

My VoiceOver Demo using AT2035 
Recorded thru Lindell Audio Preamp 6x-500 -> Apogee Duet AD/DA Converter



Voice Over Demo (w/ AT2035)

This track was recorded by My Students (SAE Music Production March '15) during their class as an assignment. Enjoy!

Sugar - Maroon 5 (Acoustic Cover by Romy Syalasa)| SAE Jakarta's Music Production Student Showcase

Recorded in 2013

Vocals: Astrid & Gamal
Piano: Ben Atta

Recorded and Mixed by Satrio Pratomo

Astrid x Gamal (GAC) // Stay (Rihanna Cover) //

Comparison between hardware-processed audio and unprocessed audio

Processed with Lindell Audio 6X-500

Mmmbop-Hanson (Play 7 Acoustic Cover)

Warm On A Cold Night RCA

Warm On A Cold Night SSL 4k E

Warm On A Cold Night

3 dB gain reduction, with slow attack and fast release

WAVES CLA - 76

SLATE FG - 116

IK MULTIMEDIA TR BLACK76

NO COMPRESSION - ORIGINAL AUDIO

OSHI

Gear: Macbook Pro, Apogee Duet 2, Audio Technica ATH M-50 Headphones
DAW: Pro Tools 10

Kick:  
•	Waves API 560: I used this EQ to cut 500 Hz -12 dB and 1kHz  -6 dB to reduce “boxiness” of the kick drum
•	EQ 7-Band: I used 2 EQ on kick track because API has fixed frequency that lacks of flexibility to find the problem. I used HPF at 40 Hz to reduce muddiness from the kick drum, attenuated at 240 Hz to reduce the “hardness” from kick drum, because I wanted the kick sounds natural and warm.
•	CLA 76 Black: to give the snare more punch since the CLA76 is the emulation of FET Compressor that has aggressive character. I used slow attack and medium release to make the kick “breathing” with the song

I made 3 tracks of snare by duplicating the original snare and here’s the treatment

Snare 1
•	This is the original snare, I used an EQ and Compressor
•	I used HPF to get rid of rumble and unwanted noise, and cut around 500 Hz to reduce the honky sound, and LPF at 10 kHz because I did not want the snare and hi-hat sounds too bright and to give an effect that the snare position is behind the singer
•	I used CLA-76 with medium attack and release to make the snare “breathing” with the song
Snare 2
•	For the snare 2, I chose the best-sounding snare hit (transient) from original snare and used the “tab to transient” feature on Pro Tools to copy that “best-sounding snare hit” and paste it below the original snare hits, one by one.
•	I used the LPF to make the snare position as if behind the singer
Snare 3
•	For the snare 3, I duplicated snare 2, which is “edited snare” and used the sound shifter plugin to make the snare lower one octave to give a fatter snare sound

I sent 3 snare tracks to Waves Rverb with short tail/RT60/feedback

Overheads
•	I used the HPF to get rid of rumble and unwanted low frequency. I did an attenuation at 180 Hz to reduce the frequency problem
•	I had an RBass bass enhancer on insert after the EQ to add the low frequency harmonics to enhance the low frequency of tom and floor. I did an automation to activate the plugin only when the tom and floor got hit.
Bass
•	I grouped the bass amp and DI track into one track and compressed them together to make it simple
•	I used HPF from Pro Tools’ 7-Band EQ at 40 Hz, did an attenuation at 120 Hz, 184.7 Hz, and 281.3 Hz to reduce unwanted harmonics
•	I had Waves RComp on bass track with slow attack and medium release to control the dynamic
•	I used Waves RBass to add the harmonics of the bass
Guitar
•	EQ 7-Band: HPF at 100 Hz to get rid of unwanted low frequency/rumble. Attenuated at 1.29 kHz to give a space to vocal. Boosted around 2 kHz to give a “bite” to guitar
•	I panned the guitar to the left side and did not duplicate the guitar track to make the band sounds like in a live session 
•	I sent the guitar track to Waves RVerb and Waves H-Delay, which has a tap function to match the tempo of the song, and I used ½ note delay and panned the guitar delay to the right, which is the opposite side of the guitar, to create the wide effect and fill the empty space.
Vocal
•	7-Band EQ: HPF at 100 Hz to remove unwanted low frequency. Boosted around 4 kHz to add presence of the vocal
•	I had CLA-76 on insert after the EQ to control the dynamic of the vocal. I used medium attack and release. For the vocal I used the blue face compressor, which has different character from the black face. The blue face CLA-76 gives harmonics and drive to the sound source, which is good for rock vocal, and also gives more “chest-voice” to the vocal.
•	I sent the vocals to Waves Rverb with long decay/RT60 setting and to the Waves H-Delay with ¼ note delay and filter the low and high frequency from the delay
Master
•	I had Waves SSL Compressor on first insert to control the dynamic of the song, with 3 dB gain reduction, 2:1 ratio, 10 ms attack, and auto release
•	I had SPL Vitalizer MK2-T on second insert to enhance the low and mid high frequency and also used the stereo expander to widen the stereo image


"Oh Baby" by Liza Colby Band-Satrio_Mix_GearfestPuremixContest

Mixed by Satrio Pratomo
Mastered by Chris Gehringer

Gya - Kau Cinta Matiku (Preview)

Record Producer | Composer & Music Arranger | Mixing & Mastering Engineer | Musician | Audio Lecturer @SAEjakarta  and Institut Musik Indonesia (IMI) | Business Inquiries: str.pratomo@gmail.com

A few of Amazing Artists Satrio has worked with: GIGI, Iwa K, Indra Lesmana, Dwiki Dharmawan, Astrid, Maudy Ayunda, Monita Tahalea, Pee Wee Gaskins, Stereocase, and many more.

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Curious about Audio Engineering, Satrio took a short course with SAE New Zealand alumni after he graduated with a degree in Political Science from Universitas Nasional. After he finished the program, he found that music production and engineering was his passion. He decided to take his audio engineering knowledge to the next level by taking a formal education at SAE Institute, where he was awarded as Most Outstanding Student and two of his projects awarded as Best Student Project. He received his degree in Audio Production from Middlesex University London

Satrio has worked with bands and musicians such as GIGI, Iwa K, Indra Lesmana, Dwiki Dharmawan, Astrid, Maudy Ayunda, Monita Tahalea, Pee Wee Gaskins, Stereocase, Danilla Riyadi, and many more.

Beside teaching at SAE Institute Indonesia, he is currently working as a music arranger & producer at his own production house, producing music/jingle for television & radio commercials, music producing & arranging for many artists, and directing music department at one of big fashion retail companies.

SPMixes

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