On the Cover: Jungle City Studios

Jun 1, 2011 9:00 AM, By Tom Kenny


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The EMI TG12345,
one of only about
20 made, was
refurbished by 
Michael Donahower.

The EMI TG12345, one of only about 20 made, was refurbished by Michael Donahower.

While the 11th-floor Penthouse is garnering the lion’s share of attention, having been featured in the New York Times and Vanity Fair, the 10th-floor studios, North and South, are crucial to the way Mincieli makes records and plans to evolve her business. Each is outfitted with Augspurger mains and 18-inch Aura subwoofers, tuned by Dirk Noy of WSDG, along with Mincieli, Dave Kutch and Tony Maserati. Each has Pro Tools and can be tied into the Penthouse or any of the common areas for recording. Each has Lavry converters and Antelope clocking. There is balanced, three-phase power throughout. Not a cable shows.

“I wanted the rooms to have a lot of depth,” Mincieli says. “In the main room, I have an SSL Duality with a vintage EMI TG12345 console. In the North room, I have a 32-input ICON so you feel like you’re on a console, with a Chandler EMI summing mixer and every plug-in you can think of. Then I have the Euphonix [Fusion S5] room, which I bought at the perfect time, when Avid and Euphonix were merging. The work they did to develop the console from a HUI standpoint, with EuCon control, it was just perfect timing. It’s a very versatile desk. The files are 40-bit floating point. It’s a 96-input desk with the best EQs and compressors. And it can be a glorified controller or a real console. It’s a dope desk. I want to get post work, I want 5.1 work. I want everything.”

The level of detail and care that went into every decision, from the fabrics and décor selected in collaboration with WSDG co-principal/interior designer Beth Walters; to the inestimable contributions of WSDG project manager Joshua Morris and contractor Chris Harmaty of Audio Structures; to the equipment choices and workflow all reflect the retro-futuristic vibe Mincieli hopes to impart. It’s a little bit ’50s, a little bit ’70s, a little bit 2020. You get the feeling that she’s just getting started.

“Oh, definitely, this is just the beginning,” Mincieli says. “We’re going to maximize the Jungle brand. We’ll build one more room, and you’ll see a lot of the music community brought back through Jungle City Records. I want it to be like Motown. Motown reflects Motor City. I chose Jungle City for New York. I reach out to musicians all the time because I’m hiring them all the time! And I always have my ear to the ground. I have a good foundation of artists and people I engineer for, and I’ve always been part of helping them in many facets of the industry. New plug-ins, new samples, a record label, producing—I want to do it all. I want this studio to be about inspiration. I want to help inspire greatness.”

Tom Kenny is the editor of Mix.

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