Welcome to 

Color Red Studio Tokyo

Lee Popa-Producer,Mixer,Remixer

Leonard "Lee" Popa

If you’re looking for a professional to help with your recording needs, you’ve come to the right place. Whatever the vision you have in mind, I am committed to bringing it to life with superior quality and service. I am well known as a record producer and audio engineer, and producer for visionary artists.  

My Productions have included but not limited to: Living Colour, Macy Gray, Cheap Trick, Tool, White Zombie, Bush, Good Charlotte, Korn, Queen, Killing Joke, Ministry, Red Hot Chili Peppers,  Fishbone, Bad Brains, Kmfdm, Outkast, Beyonce, Gnarles Barkley, Modest Mouse, John Legend, Lisa Marie Presley, Wayne Kramer, Brazilian Girls, The Damned, Buddy Guy, Jr. Wells, Otis Rush, Muddy Waters, Aretha Franklin, Hot Tuna, Destiny's Child, Stanley Clarke, Andre Bocelli, Michael McDonald, Jonathan Davis, Phunk Junkeez, Geggy Tah, Phantom Planet, Deftones, Shaquille ONeil, Ebenezer Obey, Hugh Masekela, and maybe you!


What I use to create your music mix

Lee Popa @ Color Red Studio Tokyo provides our clients with the finest mixing equipment available. I am fully equipped for all your production needs. Whether you’re looking for something specific or are seeking advice about what would work best for your recording, contact me today to discuss what you need and lock-down the best deal.


My space

Nothing but the Best

Whatever it is I need to create your best work, we have it here at Lee Popa @ Color Red Studio Tokyo.

Custom-built professional tuned mixing room.

Universal Audio

The UAD library features over 90 plug-ins

Universal Audio's UAD-2 cards take advantage of state-of-the-art DSP technology, adding serious horsepower to your music-production system. Each of the eight SHARC chips onboard boasts 32-bit floating-point architecture, for the ultimate in precision and performance. 

Imac Pro


 It’s packed with powerful graphics and processors, along with the most advanced storage, memory, and I/O — all behind a breathtaking Retina 5K display in a sleek, all-in-one design.


Amphion ONE 18

This muscular monitor workhorse produces unparalleled sonic clarity and sound imaging and the AMP 700 a 700W per channel for excellent control and high resolution across the whole frequency spectrum.


HD omni

I Achieve pristine-quality sound and clarity using a Pro Tools HD system that enables me to capture every detail and nuance of a Mix and capture high-resolution audio through premium mic preamps. all from a compact interface.


SofTube Controllers

Solid State Logic SL 4000 E model plugin

Parametric EQ, compressor, gate, transient shaper, high - and low-pass filter, analog modeled saturation. Mixing and mastering with analog workflow. Compatible with UAD plugins. A great ergonomic user interface for an intuitive workflow.


Universal Plug in list

Top-of-the-Line Tech for your sound.

AKG® BX 20 Spring Reverb 
Ampex® ATR-102 Mastering Tape Recorder
API 2500 Stereo Bus Compressor 
API 550 Parametric EQ 
API 560 Graphic EQ
API Vision Channel Strip 
Avalon VT-737sp Tube 
Bermuda Triangle 
Brigade Chorus Pedal 
Cambridge EQ 
Capitol Chambers
Century Tube Channel Strip 
Cooper® Time Cube Mk II Delay 
CS-1 Channel Strip 
dbx® 160 Compressor / Limiter 
DreamVerb Room Modeler 
Empirical Labs Distressor™ 
Empirical Labs FATSO™ Jr. Tape Sim. & Compressor 
Empirical Labs FATSO™ Sr. Tape Sim. & Compressor -In
EMT® 140 Classic Plate Reverberator 
EMT® 250 Classic Electronic Reverb 
EP-34 Tape Echo 
Fairchild® 660 Compressor 
Fairchild® 670 Compressor 
Fairchild® 670 Legacy Compressor 
Fender® '55 Tweed Deluxe 
Galaxy Tape Echo 
Harrison® 32C Channel EQ 
Harrison® 32C SE Channel EQ 
Helios™ Type 69 Legacy EQ 
Helios™ Type 69 Preamp and EQ 
KORG® SDD-3000 Digital Delay 
Lexicon® 224 Digital Reverb 
Lexicon® 480L Digital Reverb and Effects 
Little Labs® IBP Phase Alignment Tool 
Little Labs® Voice Of God Bass Resonance
Manley® Massive Passive EQ 
Manley® Massive Passive Mastering EQ 
Manley Variable-Mu® Limiter Compressor 
Manley® VOXBOX Channel Strip 
Moog® Multimode Filter 
Moog® Multimode Filter SE 
Moog® Multimode Filter XL 
MXR® Flanger/Doubler 
Neve® 1073 Preamp & 
Neve® 1073 Legacy Classic Console EQ 
Neve® 1073SE Legacy Classic Console EQ 
Neve® 1081 Classic Console EQ 
Neve® 1081SE Classic Console EQ 
Neve® 1084 Preamp and EQ 
Neve® 2254/E Compressor 
Neve® 2254/E Dual Compressor 
Neve® 31102 Classic Console EQ 
Neve® 31102SE Classic Console EQ 
Neve® 33609 C Compressor 
Neve® 33609SE Compressor 
Neve® 88RS Channel Strip 
Neve® 88RS Legacy Channel Strip 
Neve® Preamp 
Ocean Way Studios Dynamic Room Modeling
Oxide Tape Recorder 
Precision Buss Compressor 
Precision Channel Strip 
Precision De-Esser 
Precision Delay Modulation 
Precision Delay Modulation Long 
Precision Enhancer Hz 
Precision Enhancer kHz 
Precision Equalizer 
Precision K-Stereo Ambience Recovery 
Precision Limiter 
Precision Maximizer 
Precision Multiband 
Precision Reflection Engine 
Pultec EQP-1A Passive EQ 
Pultec MEQ-5 Passive EQ 
Pultec HLF-3C Passive EQ 
Pultec EQP-1A Legacy EQ 
Pultec-Pro Legacy EQ 
Pure Plate Reverb 
Raw Distortion 
RealVerb Pro Custom Room Modeler 
SPL® Transient Designer 
SSL® E Series Channel Strip 
SSL® E Series Channel Strip Legacy 
SSL® G Series Bus Compressor 
SSL® G Series Bus Compressor Legacy 
Studer® A800 Multichannel Tape Recorder 
Studio D Chorus 
Teletronix® LA-2A Gray Classic Leveler 
Teletronix® LA-2A Silver Classic Leveler 
Teletronix® LA-2 Classic Leveler 
Teletronix® LA-2A Legacy Leveling Amplifier 
Teletronix® LA-3A Classic Audio Leveler 
Thermionic Culture Vulture® 
Trident® A-Range Classic Console 
TS Overdrive Pedal 
UA 175B Tube Compressor 
UA 176 Tube Compressor 
UA 1176LN Legacy Limiting Amplifier 
UA 1176SE Legacy Limiting Amplifier 
UA 1176 Rev A Classic Limiter 
UA 1176AE Classic Limiter 
UA 1176LN Rev E Classic Limiter 
UA 610-A Preamp & EQ 
UA 610-B Preamp & EQ Plug-In
V76 Preamplifier

E Mixing

Everything you need for me to mix you.

I need audio files from you, Other than Pro Tools, NO DAW sessions – I need audio files from you, All audio files should have the same start point (e.g., bar 1 beat 1, so they re-align easily), the same sample frequency (44.1/48/88.2/96), the same bit depth (16/24) and be of the same format (.WAV, AIFF). You will need to provide multi-tracks consolidated or bounced from your song's start point (bar 1  beat 1 or start time code). All files must be of the same duration, sample rate, and bit depth.

Each track should be explicitly named and contain only one 'sound'i.e., don't have percussion in the verses then BVs in the chorus

Please ensure any bounces of this nature are in tune, in time, and panned to your satisfaction before you bounce. It is your responsibility to ensure the multi-tracks provided are ready for mixing. Please get the tracks as close as possible regarding tuning and timing before sending them to us. Drum editing and vocal tuning are not part of the Online Mixing Service. It is in your best interest to make any adjustments and editing in your time so that I can maximize the time spent mixing your song.

We need the tracks you send to be as 'dry' as possible, removing any dynamics, reverb, delays, etc. However, if you feel a specific effect, processing, or creative element (such as filter sweeps, delays, etc.) is an integral part of the sound, please provide the processed version plus a 'dry safety' version. This will not add to your overall track count. Please label both versions clearly and mention this in the information you provide. 

Print any midi/virtual instruments – we can only accept audio files.

Be sure to leave ample headroom and avoid clipping when preparing your tracks for delivery to us. It's easy to introduce distortion when bouncing tracks, and we won't be able to remove it, so please take great care here.

Could you help us help you? Make your mix better. 

Include some written notes with your upload, plus your rough mix. e we can get a feel for what it is you're aiming for, the easier it is to get it right the first time. 

Please gather as much information as possible about how you'd like your song to sound. So please send us your ideas, i.e., "I'd really like this to sound like a ( band name)song," or "give it a long fade-out," "the vocal needs a slapback echo," etc.

Thanks Lee Popa