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.
Mixing bass using filters can bring life to the low end in your mix!
Mixing bass using filters can add a lot of character to your mix. While filters might seem like simple, everyday tools for the mix engineer, they are actually quite complex. Understanding their subtleties can help you use them to your advantage. The first thing to keep in mind when mixing bass using filters is the math of what is going on behind a filter. Lets use the example of a high pass filter set at 100Hz. Remember that in music, octaves are found by either doubling or halving a frequency. Up one octave from 100Hz is 200Hz; down an octave would be 50Hz. If your filter is set to -18 db/octave, the decibel level will go down 18 at 50Hz, down 36 at 25 Hz, and so on. When talking about analog filters, there are also other concepts to keep in mind. Resistors and capacitors, the tiny gizmos that move electricity inside analog gear, are not perfect. The way they charge and discharge can create ripples in the filter, small waves that will become visually perceptible when looked at close enough. They can also create an overshoot, or a little boost at the point the filter is set. These characteristics are what give analog filters unique sounds. Many engineers including myself enjoying working with analogue gear for this very reason. Digital filters typically do not have any overshoot at the cutoff point. This is to give the mix engineer better control. If we want our filters to have that sought after analog sound, we should add a peak at the cutoff point. A great plug-in for this is the F202 that is part of the McDSP Filterbank v6 bundle. This is a technique Dave Pensado uses to help his digital filters achieve more character. Increase the Q or peak value and adjust slowly until you have achieved the desired effect on your track. A high pass filter set at around 40Hz with a substantial peak will add a richness to your bass that might not have been their before. A low pass filter around 2k Hz with another peak will add precision that will help the bass cut through the mix. Mixing bass using filters can help you achieve a unique, high quality bass track.
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!