FEATURE STUDIO PROFILE
Out There Sound
Jungle
The cinema studio hosts a 24-fader console
Jake Young takes a look around the restructured London premises and finds that six months makes a big difference.
IN APRIL, Soho-based The Jungle Group announced a £500,000 refurbishment that would bring its Marmalade, Zoo, and Jungle audio facilities under one roof. More than half a year later, the ‘new’ Jungle is nearing completion bringing together sound design and music for commercials, promos, comedy series, drama, documentaries, and short films across TV, radio, cinema, online, apps, and corporate. “Well, Zoo started in this building,” explains Graham Ebbs, managing director, Jungle, speaking from the facility’s relaunched Wardour Street, London studios. “Then we went over to Dean Street and then we got the building next door from the top floor downwards. So we ended up with four studios here, four studios there, and four studios over the road. We had three separate bookings desks, three separate kitchens, three separate transfers, and 18 or 20 engineers spread across three sites.” After 15 years in its Dean
Street location, the team received notice from their landlord explaining that the building was destined to
30 November 2013
become flats and their lease would not be renewed. Although Jungle had just finished rebuilding virtually every studio across its three sites a plan was formulated to start again involving knocking down a wall and joining the two Wardour Street buildings together. This meant upgrading some of the rooms that existed, building new ones, and rebuilding Jungle’s 7.1 Dolby Digital cinema studio, taking the total studio number to 10. Oakwood carried out the studio building work and interior design was by Guy Wilson at AKA Design. Monitor speakers in the cinema studio have been upgraded from an Apogee system to a Genelec active system with 7071 sub, while 5.1 mixing is now available in four of the rooms, currently with a combination of Quested, Genelec, and M&K monitoring. “I’m rolling out Genelecs everywhere to try and make all the rooms sound a bit more similar,” says Patrick James, Jungle’s technical manager. “I’ve just started from the top of the building putting in 8050s.” All studios run identical
setups of Fairlight custom 3.3-bay and 5-bay EVO consoles with integrated Xynergi DAW and central controller. Plug-ins include the Waves Fairlight suite, Native Instruments Komplete collection, iZotope RX restoration, and real-time loudness metering handled by the Nugen VisLM-H. All the computers in the building are fully networked and every sound Jungle has pulled together in the past 19 years (plus every studio library) is on an SFX database with real-time audition and paste.
CINEMA STUDIO The cinema studio hosts a 24-fader console with all other studios running 12-fader; Fairlight’s Mixer Set technology provides instantly updatable fader sets. “We switch between cinema and TV quite a lot,” says Chris Turner, senior sound designer/co-studio manager, Jungle. “Having this great space for doing surround is lovely and it’s laid out because of that. But actually we find it just as easy to do TV/radio promos in here really.”
In terms of how much cinema Jungle does, Turner
The relaunched Wardour Street facility
says the volume is massive. “In the time that we didn’t have this room between moving from there to here, which was roughly speaking four/five weeks, I took 34 different jobs out of house to other facilities, and each of those jobs were between one hour and a day and a half. They’re all good friends in the industry but they were quite shocked by how much cinema work we got as opposed to them. And I think the big difference is that we do a hell of a lot of
cinema for global, so we mix in every language for every territory around the world.” Jungle continues to provide audio services for the company’s former VFX and production arms, however they are no longer under the Jungle umbrella but instead operate in their own right. Dan Neale, previously head of music at RKCR/Y&R, has joined as creative director of Jungle’s new in-house music supervision company, Native.
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“We switch between cinema and TV quite a lot. Having this great space for doing surround is lovely and it’s laid out because of that.” Chris Turner
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