We are the best of the best recording studios in Chicago. Our family of audio engineers exist solely to help you achieve your goals, whatever they may be. We are here to help spread your light, your love, your story. Read more about Jungle AE recording studio and our movement to change the industry.
Chicago recording studio Jungle AE welcomes you!
Welcome to the official website of Jungle Audio Engineering. We are one of the best recording studios in Chicago, and we are very proud of it. We do not just help independent artists record music. We help each and every artist, across all genres, catapult their careers. We have a diverse staff of musicians, producers, and engineers that can help you achieve optimum sound, but we also aim to help you succeed. Chicago is a rich music city and there are many Chicago recording studios. However, Jungle AE is not just a recording studio within Chicago, Jungle Audio Engineering is a movement that has a mission of re-establishing the Chicago music industry through genuine and quality productions. We combine major label quality with a creative and comforting atmosphere! Our family of engineers exists to help spread your light, your love, and tell your story.
Make your mix pop through moments that contrast is a simple way to make your mixes sound exciting that doesn’t involve too much technical skill.
Make your mix pop through Recording Revolution video tutorial on how to do it through contrast. Pretty much they have a song with simple chords and the melodies in the verse and hooks don’t differ too much. This makes the song dull. I’m sure you have been given a song or are working on your own song and you say to yourself, everything sounds clean but it just isn’t that exciting. If you can’t fix it by re-recording then there is a simple way to fix in the mix and that’s by creating contrast. In the video, they simply add an auto-tune type effect with delay to contrast the clean vocals on the chorus. Adding this dynamic to the song creates a contrast that makes your brain move with the song, which means your attention is being kept. You don’t have to always do an auto-tune with delay to create contrast. We are just focused on the principle.
There a several different ways to create contrast in a song through a mix. A popular way to create energy and excitement in a song is by simply raising the overall volume chorus by .5 db- 1.5 db. If I’m dealing with rap, I’ll add a very light tap delay (that you can’t hear, but only feel) on the verse, and then on the hook I’ll add a little more reverb. You could also try the “chorus” trick by duplicating the hook vocal twice, and panning one left and the other right. Delay both duplicates at different rates (under 30ms for both, with the left being a faster delay), and then slowly mix those two in. Another simple way to create contrast is by the ever so famous “Drake Effect”. All that really is, is automating a lo-pass filter by cutting out hi’s like One Knob Filter or using a plug-in that cuts sample rates like Avid’s Lo-Fi. Check out our engineer, Ksenia’s, tutorial called Pro Tools Beat Drops Used On Drake’s “Hotline Bling”. Drops will definitely help create a contrast between the verse and hook. Recording Revolution offers up a great video explaining the principles of how to make your mix pop through moments that contrast, click play!
Jay-Z mixing engineer Young Guru shares his experiences in the music industry with Dave Pensado in this awesome interview! Interview starts at 13:40 mark!
Jay-Z mixing engineer Young Guru is more popular than you think. If you’re a fan of hip-hop, then odds are you’ve heard plenty of music from Jay Z; one of the world’s biggest music icons. The man behind 12 of Jay-Z’s last 13 studio produced albums is no other than mixing engineer Young Guru. Because Jay-Z has become one of hip-hops biggest influences all time, so its safe to say that mixing engineer Young Guru has helped shape the sound of mainstream hip-hop over the last 15 years. In 2013, Young Guru sat down with Dave Pensado and Herb Dean to explain some of his techniques and philosophies when it comes to making and mixing music.
Dave Pensado and Herb Dean sat down with Jay-Z mixing engineer Young Guru to pick his mind on how he begins to craft a mix. First and foremost when it comes to crafting a mix , I share the same sentiment as Young Guru, which is to listen to a song and take the general feel or emotion and improve upon that while relying on your personal taste. This means if a song sounds upbeat, bright and happy then think, what can you do as an engineer to build on that ‘happy’ concept. During the interview Young Guru explained that while mixing the song “Empire State of Mind” featuring Jay-Z and Alicia Keys, that in order to make sure Key’s vocal shined and broke through the mid range of the piano, he would EQ and boost her vocals around 2k-3k. This made sure her vocals sat in the right place and didn’t have to sonically compete with the piano. Guru also went on to explain that when he didn’t have a fully tracked out beat and was only working with a two track instrumental, he would duplicates the track and eq each one separately and essentially simulate a tracked out instrumental. This is a technique I find myself using typically at the end of every session as I prepare a rough mix for the client. This can be anything from taking all the high to mid range out of a track and leaving the lows to beef up the bass of a song; then taking another duplicated track, removing the low end and slightly boosting high-mid range to bring out whats maybe lacking from the original track. Jay-Z mixing engineer Young Guru has been instrumental in the rapper’s career as most engineers are for their clients.
If you mix bass that cuts, then you will surely have songs that sound good not only in cars with subs but also on laptops and smartphone speakers.
To mix bass that cuts is something that separates a skilled mix engineer from an amateur. If done correctly, it will make a world of difference for the listener. In today’s music world, there are too many average mixes that cannot carry bass through laptop computer speakers, earbuds, or cell phones. Even on high quality speakers, bass that sits only in the low frequency range can be hard for listeners to hear. In order to make sure you are mixing bass that cuts, you must create or enhance mid and high frequency content that will be easier for the ear of the listener to distinguish. Often at around 1-2k hertz, the bass will essentially disappear from the mix. There is no audio content at or above this frequency. In my experience, I often have to work with a synth bass that has already been low passed in the producer’s initial sound design. We must create these top end frequencies using our DAW and plugins. The first step is to duplicate the bass track. If you are using plugins on your original bass track you can keep them on your duplicate. Mute your original bass track. Next, create a band pass filter on your duplicate track from around 500 Hertz to 11k Hertz. Add a plugin that can create harmonic content to the duplicated track, such as a tape emulator or a mild distortion. Dave Pensado also recommends using the Waves MaxxBass plugin to create more harmonics. Most of the harmonics will not yet be audible – they will have to be EQ’d out. Use a high frequency enhancer such as the UAD Precision Enhancer or AIR Enhancer (comes stuck with Pro Tools) to really bring out the harmonics. You should hear a lot of high frequency content at this point. If you recorded a live bass track, you will hear string and finger noise as well as the distorted musical content. Next, bring back in your original bass track and begin mixing it with the duplicate track. To mix bass that cuts will require a precision balance of these two tracks, giving just the right amount of high frequency content to your original track.