Jungle City Continues A Recording Tradition

Jungle City Continues A Recording Tradition

Jungle City Continues A Recording Tradition

Studio | 2012

New Studio Harks Back to a Musical Golden Age

Jungle City Studios, a new recording studio perched above the High Line in Chelsea, seems to be a vision out of New York’s glorious musical past. Packed with the kind of gear that makes sound engineers salivate, like an extremely rare 1960s recording console by EMI side-by-side with the latest gleaming digital equipment, it is not the kind of place you would expect for an era of pirated music and GarageBand. And that’s before you notice the Louis Vuitton-patterned fabric on the walls.

“I compare a studio to a hotel, and I want this to be a seven-star studio,” said Ann Mincieli, Jungle City’s founder, who is also Alicia Keys’s longtime engineer and studio right hand.

Designed by John Storyk of the Walters-Storyk Design Group, who got his start working on Jimi Hendrix’s Electric Lady Studios in 1969, Jungle City is described by record executives and other engineers as one of the most impressive new studios in New York in years. It has three recording rooms on the top two floors of an 11-story commercial building, with novel details like speakers floating within the control-room glass. And while most studios tend to be windowless subterranean caves, Jungle City has wide skyline views.

Its existence is also a challenge to the prevailing wisdom that recording studios, particularly in New York City, are going extinct, rendered obsolete by home-recording technology and shrinking budgets. Dozens of rooms in the city that was once the capital of recording — including famous spots like the Hit Factory, the Record Plant and Sony Music Studios — have vanished. Those that remain have had to adjust to a changed marketplace. Many have become leaner, more flexible and yet more deluxe, offering arsenals of up-to-the-minute equipment and personalized service to a clientele that years ago might have booked a studio for three months but that now takes two weeks. Stories like that of Bruce Springsteen laboring at two studios for more than a year on “Born to Run,” or D’Angelo haunting Electric Lady for four years to make “Voodoo” (2000), are almost unheard of now, for budgetary reasons, as well as for the fact that a good deal of the recording could be done with nothing but a laptop.

“There definitely are fewer rooms,” said Craig Kallman, chairman of Atlantic Records. “But I think it’s still vitally important to the recording industry to have enough really appealing destinations for artists here in New York.”

Ms. Keys, who is not an investor in the studio but has been an active supporter of the project, has a more poetic take on the value of recording space in New York. “To know that you have an amazing place to go to right in the heart of the rotten apple,” she said in a telephone interview, “and for it to be blossoming right in the center of it, you will always need that.”

As a woman in the almost entirely male-dominated trenches of studio recording, Ms. Mincieli is a rarity. Well regarded in the industry as an engineer, she is capable of the highest level of gearhead discourse (“When the SSL J9000 came out, I couldn’t wait to learn it,” she gushed — about a 1990s-vintage console — while describing her studio education). But she is also seldom seen without a designer handbag or her diamond-studded Hello Kitty pendant.

“She can be tough as nails,” Ms. Keys said, “and anybody who tries to out-talk her will find immediately that she knows exactly what she’s talking about. At the same time, she’s a feminine lady, and she loves the things that all ladies love.”

Ms. Mincieli, 38, said Jungle City was partly modeled on the Oven, Ms. Keys’s high-tech-yet-still-cozy private studio on Long Island, and she spared no expense decking it out. Her risk is significant. Financed by private investors, Jungle City cost about $3.5 million to build, Ms. Mincieli said, and another $5.2 million to secure the real estate.

With recording budgets often half what they were a decade ago, such an investment would seem difficult to recoup. But many New York studio operators say that with so much of their former competition gone, their rooms have stayed in demand.

And some of those famous places shut down for reasons having nothing to do with lack of business. The Hit Factory on West 54th Street, for example, closed in 2005 after the death of its owner, Ed Germano, and was sold as valuable real estate; it is now the Hit Factory Condominium. Three years ago Mr. Germano’s son, Troy, opened the luxurious — but much smaller — Germano Studios on Lower Broadway, and business there is booming, he said. (In recent months the Black Eyed Peas, Mariah Carey, Keith Richards and Justin Bieber have all been there.)

“Studios are not over; not even close,” Mr. Germano said. “The days of having seven or eight studios in one city, those days are over. But the smaller, more boutique operation is what people are attracted to.”

As Mr. Storyk describes it, the old business model for studios, with big rooms that rely on long-term bookings, is nearly finished. (A few large-scale studios survive, though, like Avatar on West 53rd Street. Madonna’s “Like a Virgin” was recorded there when it was called the Power Station; more recently it has been used by Kings of Leon, Vampire Weekend and the “Glee” cast.)

“The equipment has become smaller, cheaper, more fungible, more democratic,” Mr. Storyk said. “Anyone can have a recording studio now, and everyone has one. Throw all that into a hat and you get a very different model of what a studio is.”

For Ms. Mincieli and Jungle City, that means that a studio must have the highest technical facilities as well as a distinct and inviting atmosphere — the inescapable word for this is “vibe” — that makes musicians feel at home. Too many places, she said, sacrifice one necessity for the other.

“You go into studios that will have a million-dollar console but an Ikea door that’s rattling when the music is playing,” she said. (Jungle City’s 250-pound doors lock into their soundproof position with the help of magnets.)

The studio reflects Ms. Mincieli’s tastes down to the tiniest detail, which she has monitored obsessively. On a recent tour she paused to consult with a contractor for several minutes about two shades of brown on an electrical socket cover. She was in the studio on Christmas Day, testing keys and checking out the latest paint job.

“I always dreamed of owning my own studio,” she said, “but I wanted it to be not just the generic thing you see everywhere: the black couches, the gray rugs. I book places in Spain, in Italy, where you walk out the door and the view is incredible. I want to give the recording community a shot in the arm, and know that there’s something incredible in New York.”

The bookings have already started coming in, she said. Beyoncé has already performed the maiden session this month, and Ms. Keys is coming right up.

“The budgets are there,” Ms. Mincieli said. “They’re not as high as they used to be, but they’re there.”

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Jungle City in Vanity Fair

Jungle City in Vanity Fair

Jungle City in Vanity Fair

Studio | 2012

Temple of Sound

By Basil Walter, Photographs by Randy Harris

Ann Mincieli, the impassioned recording engineer and retro-techno geek, is intent on bringing back the glory days of the recording studio to Manhattan. Her sleek, newly opened Jungle City Studios sits atop a Chelsea loft building, steps from the High Line and at the heart of the city’s art scene. What’s more, Jungle’s architect and acoustician, John Storyk (who, in 1969, designed Jimi Hendrix’s Electric Lady Studios in the Village), has added windows, of all things—giving the space a sweeping skyline view that serves as an inspirational backdrop to this modern antithesis of the old recording cave.

Mincieli’s combination of meticulously restored EMI consoles from the 60s and 70s and cutting-edge digital suites for recording and editing has top artists (Bono with Swizz Beatz, Beyoncé, Alicia Keys) flocking to her door. Think Aretha Franklin’s first recording of “Respect”—in 1967—at the old Atlantic Records hothouse in Midtown and you start to get the idea. Mincieli’s motto seems to be: When everyone else is downsizing, go grand.

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Cover Of Mix Magazine

Cover Of Mix Magazine

Cover Of Mix Magazine

Studio | 2012

On the Cover: Jungle City Studios

By Tom Kenny

We’re taught from a very young age that hard work pays off, that if we practice, put in the hours and hone a skill, we will find success. Parents tell us this almost before we can talk, then teachers, Little League coaches, instructors of private music lessons. Then later we hear it from college professors, who tell us that with good grades we will get a good job, if we do the work and do it well, we will be rewarded.

Well, sometimes our parents are right, and nowhere is that more evident than on this month’s cover, Jungle City Studios, opened in January of this year on West 27th Street in New York City’s up-and-coming High Line district. It’s owned and operated by engineer Ann Mincieli, who for more than 20 years has been a fixture in the local recording community,assisting all around town, engineering big records and earning the respect of her peers across the country. She learned how to take apart an SSL and made modifications on a 9000 J Series when Quad got the first three. She has taken guitar lessons from Carlos Alomar and can deconstruct a fretboard. About a dozen years ago, she began working with Alicia Keys and was instrumental in building out The Oven Studios, where she became enamored of the design process. So she took up physics and acoustics. She’s wanted her own place for a while, and now she has a real jewel.

“This is Annie’s moment,” says John Storyk, principal designer on the project and the head of Walters-Storyk Design Group. “She’s been doing this for 20 years and has world-class clients. She is a consummate professional, and she surrounds herself with real pros. Everywhere you turn, in every aspect of the studio, she has gone the full distance. To borrow a phrase from Buckminster Fuller, this studio is ‘the bare maximum.’ The studio is exactly what’s required—architecturally, acoustically, electrically and creature comfort-wise—for her marketplace. No more, no less. But always just a little bit more.”

“I really wanted to do something incredible for New York,” Mincieli says. “I am from here, I do most of my work here, but I felt like New York had fallen a few notches over the past couple of years. This is where the music industry lives and breathes. This is the center of art and culture. I wanted to give the city a shot in the arm and remind everyone that, ‘Hey, there is still a music community, there are still artists based out of here.’ I believe Troy Germano and his family are a major reason there is a recording community in New York. They pushed us to be better. They were the example and they raised the bar. We want to raise it back up. The work is still there, and I’m getting incredible gigs.”

Since January, Keys has been in, Beyonce and Kelly Clarkson, too. Bono stopped by to take a look and by all accounts loved it. A band flew in from Japan, indicating that New York can become a destination again. It’s a studio with the style and service of what Mincieli calls a seven-star hotel, from the Louis Vitton fabric on the monitor wall in the Euphonix room, to the 2,400 square feet of rooftop space with panoramic views of Manhattan, to real silverware and table service. “I want it to be a Record Plant of the East Coast,” Mincieli says. “You give the artists the service, and it pays off.”


Mincieli has plenty of A-list engineering credits, but it’s her association with Keys, and the build-out of her The Oven Studios in Long Island in 2005, that led to Jungle City. It was the laboratory, the incubator for the design process, Storyk says. Building The Oven taught Mincieli that she, as an engineer, could bring a real perspective to the design as a whole, and not just the sound.

She knew from the beginning that she wanted multiple rooms and a north-south facing layout, with plenty of light. She looked at upward of 50 spaces during the course of two years before signing off on 520 West 27th. It’s a new building in a hot area of Manhattan, with galleries moving in, new restaurants and a luxury hotel set to open right next door. She has the top two floors, 10 and 11, and while the space is not huge, it can fit a full band and it feels much bigger thanks to the floor-to-ceiling windows. Still, at the 11th hour, it almost didn’t happen.

“We had one serious structural issue,” Storyk recalls. “Upon initial investigation, it appeared that the floors couldn’t handle the load required for isolated room construction. Fortunately, WSDG was able to re-engineer the pre-cast concrete planks between the floors, and then completely move a building stack that would have been right in the middle of the control room glass. Once we passed those hurdles, we were able to dig right into the design process.”

The Penthouse Studio, pictured on this month’s cover, is really a study in glass and working with energy. Thirty percent of the studio is glass, with views from the Empire State Building to the East and the Hudson River to the West. The monitor wall looking forward is all-glass, and the back wall of the control room has windows fronted by QRD custom plexiglas diffusors.

“I’m an architect first, so naturally I love glass,” Storyk says. “Annie and I wanted to optimize all the spectacular views, and we viewed glass as an asset, not a liability. Although glass always reflects sound, it doesn’t have to disturb sound. Given the geometry of the room, it was obvious that the east floor-to-ceiling studio wall would do the heavy lifting for the acoustical treatments [see cover image].It looks like a pretty wall with LED lighting, but that wall is a sophisticated acoustical reflector/absorber with RPG microperf panels. Once we had that, we could work with the glass wall, which had to be thick and non-resonating. If you think about it, every designer has to make non-vibrating glass for the control room window, so I just made 10 of them! If you look closely at the detail, they are essentially 12-foot-high control room windows with mullions between them.

“So now we have angled glass to one side, the east wall absorption, wood floors—this is a hip-hop studio at times, so where is the low-frequency energy going to go?” he continues. “Well, there’s only one surface left. Look up. All those little angled features that look decorative? They’re all tuned membrane absorbers, every one slightly different. We needed that room to work for a vocalist, a pianist, trumpet or sax. So it has to have some soul to it, some guts, some reverb. Our experience at Oven dictated that it couldn’t be a dead, dry room. Anybody who has been around high-ceilinged rooms that are reverberant but still need separation will tell you that the trick is not high-frequency absorption. The trick is to get the low-frequency reverb time to roll off. All the great rooms, going back to RCA Studios, have the low-frequency reverb time rolling off. A creative software program aided us in developing the optimum ceiling solution.”

All the best designers steal from themselves. Knowing that Mincieli wanted an open feel, he proposed a glass monitor wall between the Duality-equipped control room and the studio, something he had implemented in two studios previously and perfected at Jungle City. It appears the dual-15 Augspurger mains are floating, not in a box.

“There are a few tricks to get it right,” Storyk explains, without giving away his secrets. “First, you have to get the glass thickness correct. Then you have to figure out how to get power and wires in. And third—and this is what seems so obvious that it eluded me—the glass plane, the flush plane to the speakers, has absolutely nothing to do with the isolation. That’s the trick. And it works.”


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.

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Sonic Scoop

Sonic Scoop

Sonic Scoop

Studio | 2012

Jungle City On Top Of The World

On Top Of The World: Jungle City Studios Shows NYC In A New Light

by Janice Brown

CHELSEA, MANHATTAN: NYC is quite literally the backdrop to Ann Mincieli’s brand-new Jungle City Studios. One step into the top-of-the-world Studio A, with panoramic views uptown along the High Line and west to the Hudson River, and you’re hitting the Alicia Keys chorus of Jay-Z’s “Empire State of Mind;” it’s a cinematic moment.

This is how Mincieli — Keys’ longtime engineer and studio coordinator — conceived of the deluxe studio facility, incorporating the best of everything she’s encountered in studios around the world to her own vision for a top-of-the-line and uniquely “New York” studio experience.

She’s quick to reference Hit Factory Studio 1 as her all-time favorite live room, but also mentions immersive destination studio experiences in France and Germany, as influential in her designs for Jungle City, located on W. 27th Street.

“I wanted to find the ultimate location that really represented New York City with the views, the art and culture,” Mincieli shares. “This is such an up-and-coming neighborhood — you have the art galleries, the High Line, views of the Empire State building and the water. And there’s a luxury hotel [Hotel Americano] opening right next door which benefits us so much because people will stay there and work here.

Looking at the post-Hit Factory/Sony/Chung King/Clinton NYC studio landscape, Mincieli saw a void. “I wanted to bring something back to NYC, to the industry here, give people something they can be excited about. A real experience. Not just to bring back the clients from NYC, but from around the world.

On the day of our visit, in fact, the Japanese pop band Dreams Come True were recording in Studio A with Ed Tuton. Downstairs, Swizz Beatz had been working out of the Euphonix room, and Keys has been in working on a couple projects, including material for her next album. Like Keys’ Long Island recording studio complex, The Oven, Jungle City was devised by Mincieli with superstar artists in mind, and designed with signature features by John Storyk and Walters-Storyk Design Group (WSDG).

Jungle City Style, Sights, Sounds

Situated on the top two floors of a brand-new building, Jungle City’s three studios provide distinctly different environments, though all feature the custom Augspurger mains with Aura subs — an expensive custom system (painted at a car dealership for extra flash) but a necessary expense as Mincieli sees it.

“The Augspurgers sound incredible,” she notes. “They’re loud, the image on them is great. It’s a no-brainer. People come in and it’s psychological — they’re relieved to see them. You have to give the clients what they want.” For that matter, Mincieli sourced what she determined was “the best of everything” for every aspect of this facility — that is three impeccably equipped studios, lounges, kitchens, bathrooms, the works. And though she knows her audience well, she did her homework.

“I co-designed the studio with a lot of research, input from artists, labels and producers on what they felt the industry was missing,” she explains. “I’d ask them, ‘What would you like to see in a studio in NYC?’ ‘We want light. We want it to feel like home.’” From the Louis Vuitton wallpaper and fabrics in the control rooms to the tastefully appointed lounges, to the unique acoustic treatments, the Jungle City interior design — coordinated by WSDG’s Beth Walters — lends that opulence of a high-end hotel, or home.

And then there’s the gear. Knowing what her network of top-tier artists and producer/engineers would expect, Mincieli handpicked all the gear with attention to every last detail for different users and workflows.

“There are so many ways to work now,” she notes. “Different mixers mix in different ways — some have migrated all in the box, some are half-in half-out, some are SSL, some are Euphonix. So I wanted to give people a few different flavors. The two mix/overdub/production rooms are very versatile with both the retro and cutting-edge technologies.”

And each has its own flavor of console: one with an Avid D-Control, and the other a Euphonix Fusion System 5. Both have Pro Tools HD3 rigs loaded up with plug-ins and corresponding iso booths. Along with the 32-input D-Control, the ICON room highlights include “the newest Avid HD IOs, Dangerous summing and the great [Antelope] OCX-V clocks.” Across the way, the Euphonix room offers a whole ‘nother experience.

“The integration between Avid and Euphonix is just incredible,” Mincieli says of the S5 Fusion.

“They’re taking advantage of the EUCON control so the features and plug-in channels that you see in Pro Tools show up on the desk. It’s a dual-purpose desk and control surface. I have 16 channels of Euphonix mic pre’s, and running at 96K, I can still get 64 channels of EQ and compression. And when you want to be all in the box, you can use the EQs, compressors, the bussing, and it’s all digital — it all converts via the new Avid Digi I/Os and Avid also made a new MADI converter specifically for this desk.”

Mincieli adds, “I love the way it sounds: the EQs, compression, the stereo bus. You can pull a compressor up in Pro Tools and control it without having to look at a monitor. And the 7.1 surround and film panning is insane — I can do a 12.2 mix in here. This is the wave of the future.

Upstairs in Studio A, Mincieli went retro-futuristic with the centerpiece 48-input SSL Duality analog console, Pro Tools HD3 and a rare 1968 EMI TGI 12345 Mark 3 console she’s completely restored. The EMI sits to the right of the SSL, side-car-style. “You can use it in a variety of ways,” Mincieli notes. “The EMI console can be used for mic pre’s, for the EQ/compressors, and it’s a fully patchable console.”

And of the sizeable control room, Mincieli shares, “I wanted one big old-school control room so we could accommodate artists who want to have their four guitar heads, or several keyboards in there with them.” With the unique clear glass diffusion panels across the back wall windows, the clients are working inside a North and South facing top-floor studio.

On this, the studio’s ultimate wow factor, John Storyk describes, “To maximize the impact of the studios’ expansive North and South picture windows, we floated the custom Augspurger Dual 15 Vertical main speakers in an outsized glass speaker baffle. This is only the second time we have done this, creating a kind of transparent ‘wall of sound’ between the live and control rooms.

“This provides artists and engineers with the creative advantage of full visual connectivity plus, NYC’s ultimate eye candy, views ranging from The Empire State Building to the Hudson River. The audio sound field is extremely accurate throughout the full frequency range, particularly at the critical low end, necessary for many of Mincieli’s demanding urban music clients.”

Monitoring accuracy is paramount in these environments, as Mincieli points out more than once during our tour. Just prior to opening, in the first week of January, she worked closely with mastering engineer Dave Kutch and WSDG’s Dirk Noy to tune all three Jungle City studios over four days. For an inside look at Jungle City, check out this video documenting that tuning process:

Jungle City’s Studio A live room — with 14’ ceilings, inspiring views and glass-encased iso booth — is tempered by entirely custom acoustic treatments and programmable color LED mood lighting. “Drums sound great in the big room,” Mincieli assures. “And the shades are remote-controllable via the Crestron system. You can close the shades for 40% deadening.”

Clients on both floors can easily access a terrace, and if that’s not enough fresh air, they can hit the 2400-square-foot rooftop deck. Sweet!

Jungle City was an ambitious design/build carried out by an expert team. “Our project manager, Joshua Morris; systems designer Judy Elliot-Brown and studio builder Chris Harmaty of Technical Structures all fully embraced the complexity, and scope of this project,” Storyk notes. “The ultimate goal was to realize Ann’s dream of making Jungle City a significant addition to NY’s recording industry.”

The Future Is Now…

The Jungle City layout provides ample space for the modern artist doubling as producer a la Keys, Kanye West, Jay-Z, in that they can maximize production by running two rooms at once and jumping between projects. And the construction will continue.

When all is said and done, Mincieli reports, Jungle City will encompass five studios, including a second Studio A-style room. Inspired by Jungle City, Keys will build an Oven Manhattan location.

To continually tailor the studios to top-tier clientele, Mincieli draws insight from everyday experience with these artists while always looking ahead. “With a new studio, I’m looking to see what’s next,” she notes.

“What can I do? How can I be out front of everything that’s coming. The record labels didn’t do that, and it hurt everyone. We’re catching up now, but artists [at this level] need to have people in place with that foresight. And the artists and the labels need to be looking to the future.”

In this age of major releases leaking early and often, security is a huge concern, and protocols are in place at Jungle City.  “I don’t have any of my rooms networked together,” Mincieli points out.

“Artists bring in their own drives and I don’t have copies of anything when they leave. I will have the ability to store anything the labels need me to store (in a fireproof safe) but until then, I have these internal SATA drives on the computers. You can’t pull them out so you are forced to copy your stuff onto an external drive and take it with you when you leave. And then we’ll erase SATA drives. You don’t want to be the studio who leaks someone’s album.”

Leak-proof, airtight and on top of the game, Jungle City has arrived. Records are made to be broken, and elite studios are designed to be outdone. Just don’t be surprised if it takes the world a minute to surpass the new standard that’s been set on West 27th Street.

To book Jungle City, visit www.junglecitystudios.com.

And for more on the Walters-Storyk Design Group, visit www.wsdg.com.

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2013 Grammy Awards

2013 Grammy Awards

2013 Grammy Awards

Studio | 2013

It was a night of music, camaraderie and FUN. , as the recording industry’s best and brightest gathered at the 55th Grammy Awards in Los Angeles on Sunday, February 10th for a night of electric performances and prestigious awards. But perhaps the biggest winner of all was Jungle City Studios—New York City’s newest addition to the recording world – which had the honor of recording many of the Grammy winners and nominees honored that evening. FUN. took home two Gramophones for Record of the Year and Best New Artist, while Beyoncé took Best Tarditional R&B Performance, Usher took Best R&B performance for “Climax”, and Miguel took Best R&B Song for “Adorn.” Other Jungle-recorded artists included:
  • Beyonce
  • Kanye West
  • Jay-Z
  • Big Sean
  • Wiz Khalifa
  • Ne-Yo
  • Swedish House Mafia
  • Melanie Fiona
  • Trey Songz
  • Sia
  • Frank Ocean
Since opening their doors in 2011, Jungle City has considered themselves among the luckiest in the music industry to have shared in the creative process of so many talented artists. Watching the performances of Alicia Keys, Jay-Z, and Frank Ocean, were just a few among many rewarding moments for Jungle City at the Grammy’s. Jungle City Studios would like to extend personal congratulations to all of the nominees, winners, and performers that chose the studio to be the birthplace of their new music.