Penthouse West is one of Jungle City’s two larger studio accommodations. Perfectly complimented by Pioneer 1801 Subwoofers powered by our Bryston Amplifiers, the custom speaker system has been refined by some of the industry’s leading engineers like Ann Mincieli, Dave Kutch, Tony Maserati and Dirk Noy of WSDG Physics to create the most accurate listening environment in New York City. The Dual 15″ Augspurger monitors were built specifically for the dimensions of the room and are beautifully set in the control room glass. Whether it’s recording or mixing an album project, 5.1 surround mixing, video shoots, hosting a listening session or just having an event, the 2400 sq foot space is completely private and is well fitted with all the latest technologies. With the perfect blend of analog and digital gear, Jungle City’s Penthouse Studio East can accommodate any project. One of only 20 built for EMI Studios in Europe, the rare EMI Mark III has been totally refurbished and recapped. I gained vast knowledge and experience there, as well as again developed many relationships.Jungle City Studios Penthouse Studio East features a retro futuristic design which includes a cutting edge 48-input SSL Duality Console and a vintage EMI TGI12345 Mark III Console. The engineering, technical, and operational staff at Sony was unmatched. My department gave support to the stage department for numerous live and recorded television broadcasts. Sony Studios had large live orchestral and cast album work. In addition the level of clientele was different. It wasn’t unusual for us to be averaging a million dollars or more per room in a given year. Being a corporately-owned facility also meant managing up: The reporting processes and accounting were at a whole different level than the “mom and pop”-owned that Unique Recording was. The facility was a union shop as well, which presented its own advantages and hurdles. We serviced many of our parent companies’ label needs, but also had quite a large percentage of outside work.īeing such a large facility offered more resources, but also meant more staff to manage. First it was a much larger operation with numerous departments such as mastering, restoration, video, audio post, and stages. Sony presented a whole set of new challenges and learning opportunities. Moving on to Sony Music Studios was just an incredible opportunity. How did those various experiences prepare you to be the studio manager for a world-class NYC tracking and mixing facility? Why is a studio the size of Platinum still essential to recording artists? What are the biggest obstacles for a startup studio? The single biggest evolution in music production that’s made life difficult for big studios? And why does diversity matter in the business plan for studios big and small? Find out forthwith. In this frank and informative interview with SonicScoop, Drootin shares the considerable wisdom he’s gleaned from 31 years in the game. Big Daddy’s shut down in 2015, and after an experimental recording and performance venture in Jersey City was nipped in the bud, Drootin got the call from Jerry Wonda. He simultaneously co-founded Area 51 Recording in 2010 while becoming director of Sean Combs’ Daddy’s House Recording Studios on 44 th Street. He’s taken on diverse roles from there, from managing the massive Sony Music Studios complex on 54 th Street, to the stillborn 17,500 sq. In his 3+ decades navigating New York City’s audio industry, Drootin has been a part of studios giant and small, starting as a receptionist then moving all the way up to manager at Unique Recording Studios. It’s not a path that most new NYC studios are taking, but Drootin can tell you exactly how and why a big facility like Platinum is staying in the game.
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