StormEagle Sound Productions presents:
Capstone Prisoner Remix
Prisoner by DaimenB (StormEagle Remix)
In this gritty trap-metal remix, Rain StormEagle blends raw guitar samples, booming 808s, and vibrant vocals to craft a powerful and modern sound. The remix fuses edge and energy, transforming the track into a bold, genre-defying experience.
Vocals
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Using the vocals from the verses of Prisoner, I decided to give them an almost robotic tone. Along with using reverb and delay to help sit it in the mix.
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These vocals are highly compressed and have saturation to allow it to cut through the mix. I wanted to make the whispering vocals feel upfront in the mix due to it having such a brief moment.
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These are, of course, the screaming vocals from Prisoner. These vocals are the main star of the song. I preserved more of the humanity in the tone, but allowed them to still shred when they need to.
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To add a more stable foundation to the vocals, I duplicated the screams in various sections of the songs. This adds a monstrous thickening during the main chorus and ending of the song.
Drums
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The Kick and Snare are comprised of stacks of the original songs samples and hip-hop samples, along with drum loops.
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These drum loops came from Splice, they help add a lofi ambience to the drums.
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These are also a combination of the original track’s cymbal hits & Splice samples. They are mixed to have a very airy sound to pop above the mix.
Guitars
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The guitar samples I used from Prisoner are the wails that play on off-beats and are mixed in and out of the song.
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Heavy metal guitars are samples I used and mixed to be the main backbone of the mix.
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The guitar ambience is made of another guitar loop that I heavily filtered to fill in the low-mids and adding weight to certain sections.
Mastering Highlights
Ozone has various effects for tonal & dynamic effects, as well as processing for saturation and stereo imaging.
Stereo Image
The stereo imaging plugin helped to seat various frequency ranges in the stereo field. This plugin allows you to set the crossover points for each band. This feature is found in most of the other Ozone plugins as well. In this case, I set the four bands to shape the low-end to the center channels, and the low & high-mids take more of the side channels.
Multiband Processing
I used multiband compression to further shape the final sound. The low band was set from 20Hz to 280Hz; the low-mid band was set from 280Hz to 2.8kHz; the high-mid band was set from 2.8kHz to 5kHz; the high band was set from 5kHz to 20kHz. Using gentle compression settings, I shaped various parts of the mix.
Dynamic & Matching EQ
The dynamic EQ plugin helped to clean up parts of the mix that became more muddy. There also is a high shelf boost at 8kHz, and a boost at 80Hz. The EQ Match plugin was paired with my reference track, Hydrochloride by Ghostemane, and the chorus of my remix. This plugin is built to shape a track based on a reference track, and is set to ~10% in the mix.
Saturation
The saturation plugin is able to separately process different bands like the multiband compressor shown above. I set this one in a similar configuration. The low band was set from 20Hz to 130Hz; the low-mid band was set from 130Hz to 2.8kHz; the high-mid band was set from 2.8kHz to 8kHz; the high band was set from 8kHz to 20kHz.
Limiting
The limiting on the final master was comprised of the Ozone Maximizer, and their Vintage Limiter. This song ended up very dense, but also has various elements such as the vocals and bass to prioritize as is normal in a hip-hop style track. Due to this, I ensured the limiter and maximizer were both pushing the mix up significantly. I varied the mix of parallel compression as well to solidify the density and lower volume tracks.
808 Processing
The Neutron 5 instance help the most in dynamics. It allows the 808 to hit hard, while also sustaining a managable volume to hear the other tracks. Sans Amp and a Sidechain compressor are also used to cut space for the kick and add some mid energy.
Guitar Bus Mix
The guitar mix is dense, and shaping it to fit in the mix was challenging. The use of aggressive EQ and multiband compression is really what makes these guitars pop out of the speakers. They have basic EQ on each sample track that goes into the guitar bus.
Parallel Mastering
The final song uses some parallel compression. I used sends in ProTools to go to the “SubMast“ aux track. I used Maxim to squash the mix down, then slowly brought it up in the mix. This helped bring out some of the ambient effects and add more general punch to the mix
