*Jake Ludwig*

Audio Engineer/Producer/Musician
Digital Portfolio

Present & Past Clients:

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Audio Wellness :

CALM: Assembled raw dialogue to script. Removed extraneous noise in Izotope rX. Cleaned dialogue in Izotope rX. Added sound design in Pro Tools using Soundly to sample from a personal library. Automated the sound design to dialogue in Pro Tools. Mixed dialogue with sound design in protools using personal dialogue plug-in chain. Mastered to loudness & frequency specification.

AAPTIV: Recorded audio remotely using Source Connect. Removed extraneous noise in Pro Tools. Edited & Mixed raw audio to the music so it sat on the beat & added a side chain so that the dialogue remained audible with the music turned loudly. Mastered to loudness & frequency specification.

CALM: Assembled hour of raw dialogue to script in Pro Tools. Reduced extraneous noise in Izotope rX. Cleaned dialogue in Izotope rX. Mixed clean dialogue with personal dialogue plugin chain. Added room tone. Mastered to loudness & frequency specification.

FULLFILL: Recorded audio remotely using Source Connect. Removed extraneous noise in Pro Tools. Edited & Mixed raw audio to the music so it sat on the beat & added a side chain so that the dialogue remained audible with the music turned loudly. Mastered to loudness & frequency specification.

Sound to Picture:

*Foley to Feature*

Audio work from the smallest edits and restoration to feature film sound design and mastering

ESTUARIES: On this indie film I created all of the ambiences and sound effects as well as the dialogue edit. Upon receiving the scene there was no sound aside from the human voices. The microphones were a bit messy and the dialogue was cleaned in Rx before adding any of the room tone and ambience back in. The additional effects were built around this base.

Screened at: Frameline & Outfest

THE PATCH: Performed the full dialogue edit for this budget pilot along with all sound design (ambiences and effects). Pilot had 17 speaking parts and 12 locations requiring unique ambiences. Some scenes only had 1 workable mic so there is both ADR and sound design used to mask where the ADR couldn’t be recorded.

TRUST EXERCISES: For this short I was delivered the film along with organized audio and extensive notes. Sarah knew exactly what she wanted sonically and I was able to achieve it by using the existing audio more heavily than foley. I still created stereo ambiences to help every scene sit in the mix and added extra effects to accentuate the small body movements throughout the film. This was fun because the director allowed some room for experimenting and making sounds intentionally loud and in your face at times.

Screened at: New York Film Fest, Currents

Podcast:

THE DAILY JAY (CALM): Performed all audio clean-up. Removed mouth clicks, snats, thumps, cloth sounds, plosives, sibilants and breaths from the audio in Izotope Rx. Mixed and mastered the audio & room tone in Pro Tools

A.I. FOR ANYONE: This was engineered without me. This was recorded on a cheap home microphone It initially had a rather loud noise floor as well as some clipping throughout. Because there was no music I had to remove a significant amount of noise from the background of the speaker. Then to mask the spaces that sounded too dead a short room reverb was added.

Music:

write/produce/mix

MOUNTAIN SHALLOWS: These songs were recorded, mixed, and mastered by me in my home studio in Brooklyn NY. I wrote and performed every instrument and vocal aside from the drums and trumpet which I scored and hired musicians for.

AMBLER: A musical group that I was a member of for 4 years as both a writer and guitar player. On the record this recording is from I was the lead guitarist and background vocalist.

Session Guitar Work:

Writing/Tracking/Performing

Ben reached out asking for a hooky guitar line for the climactic outro of his new song. After sending him a few ideas he settled on the riff that was used in the master of the single. Once it was decided I recorded doubles of the DI signal here in my home studio to Ben’s specifications.

Ursae requested some session guitar on their forthcoming record. I tracked an idea I had for one of their songs called shores. Ursae elected not to use the part in the existing song but loved the guitar so much that they built an entire song around the jangly idea. The guitar was recorded DI through my pedal board at my home studio in Brooklyn.

For this song, the bulk of the production was already done. Kelly wanted a twangy guitar solo before the bridge of the song. I sent her a few ideas and the one she selected made it to the final cut. I recorded the guitar as a clean DI in my home studio in Brooklyn.

Ursae wanted a supporting electric guitar part for a song they had written on acoustic guitar. I wrote a part in open tuning to fill out the space in the chord progression from the second verse on. The same part is used as the solo guitar accompaniment in the outro of the song. The guitar was recorded DI through my pedalboard in my home studio in Brooklyn.