You could find a lot of these answers by googling them...

how works limiter included in cubase for egzample,  there is only input, output and release,  so there is no threshold so how it works?

If it doesn't say, the threshold is probably 0dB.

What's the difference beetween limiter and brickwall limiter (is there any difference?)

It's a limiter used to "brickwall" the audio (ie make the waveform look like a brick wall; everything close to 0dB)

is it good (worthy)  to put limiter on Master Channel

Only while you're mastering it, and even then it's questionable whether you even need it. Some people put a limiter on the master and crank the gain because they don't know any other way to make it loud. Don't be like that.

^ My favorite scale to jam on the guitar. I blame Yngwie Malmsteen.

Ohhhhhhyes, metal guitarists love that scale.
So, True Colors goes like this:
D C/E F F E Eb
I'd call it D minor with some borrowed chords. Dm C/E F is a pretty common progression; it has that rising bassline, but with the inversion, it stays in key. They changed the first chord from minor to major. From there, it's just major chords going down chromatically.

One thing I did do however, was purchase Serum to replace Massive.  The sounds that come out of Serum are sooo much higher in quality than massive.  So hopefully that could help me some as well.

A saw is a saw. Ultimately, equipment doesn't make the mix as much as the mind and, more importantly, ears, operating it.

Summer of the Occult (and Tyven) use a scale called phrygian major (or phrygian dominant). It's identical to a normal minor scale, but with a minor second and a major third. That opens up a lot of progressions that aren't usually heard in popular music, and you can always borrow chords from natural minor to make it feel more natural. I'm actually working on a track in A phrygian major right now, and I've used it a few times already.
The biggest thing that makes it stand out is that most of the chords are common to minor, but the root is major. Technically it's a major scale (because of the third), but it sounds eerie and out of place.

I think he just takes a bunch of stuff playing, and modulates the volume with an LFO (changing the speed). He bounces all his tracks before mixing them, that makes effects like that a lot easier.

All this makes me want to make more tutorials so people don't have to deal with bullshit like this. The sample pack industry isn't doing much to change my opinion of them.

You sound soooo excited to be producing music, there's no way you could possibly just be an obvious advertising account!

Time to try my new Celtic horrorcore fusion, then throw a fit when it doesn't make the finals.