Jungle Book Sound Effects

[Adam Makin]

We captured the unique character of the jungles, rivers, and rainforests of Central and South America in our recordings. This 3D Surround library is a must-have for any audio professional who requires top quality tropical jungle sounds and the original nature ambiences in their work.

Rich recordings of cloud forests high in Central America and remote locations deep in the Amazon, captured in detail and complexity, delivered with the utmost authenticity, are what make this library so special.

High-quality nature ambiences are crucial for setting the immersive sense for any tropical outdoor scene, level, or location. TROPICAL JUNGLE makes it easy and satisfying: Simply select from a wide range of carefully organized ambiences.

Included are a wide range of sounds with various levels of activity and space, with which you can create the exact, luscious soundscape you need for your project. This immersive 3D audio format is designed to provide an engaging experience while still being compatible with older systems.

BOOM Library sound FX come as WAV files. This means you can import and work with them in any software that can handle this file type. Here are the most common audio and video editing software tools that work perfectly with our sound FX

Our 3D Surround libraries are recorded with the highly-acclaimed SCHOEPS ORTF-3D setup, a cuboid 8ch level/time difference ambience setup. The main benefit is an additional height layer compared to regular surround recording setups. It consists of 8 supercardioid microphones.

The height layer offers a much wider range of spatial sound effects and a more realistic three-dimensional reproduction. Therefore, it provides a clearer representation of spatial depth, a more natural surround impression, improved envelopment, and an authentic feel.

We differentiate between sound FX and sound file. Each sound file can contain multiple variations of a sound (up to 6 variations based on the product).
That way, we assure to provide you with different styles of a single sound in one file instead of multiple files, keeping your database nice and clear and speeding up your workflow as you have multiple variations available by dragging only one file to your audio host software.

BIRDS, JUNGLE - AFTERNOON JUNGLE BIRDS CALLING, ANIMALLibraryHanna-Barbera Sound Effects LibraryCreated1934First AppearanceTarzan and the Green Goddess (a Tarzan film)CategoryAnimalsThis sound effect can be found on the Hanna-Barbera Sound Effects Library, which was made by Sound Ideas. It features a laughing kookaburra making its distinctive call.

It was originally a Tarzan sound effect, but then, Warner Bros started using it in their cartoons. Then in the 1950s, Hanna-Barbera acquired this sound effect. In 1993, Sound Ideas added it to the Hanna-Barbera Sound Effects Library, and it is commonly heard in more than hundreds of media. A high pitched copy of this effect also found its way into the Major Records library in 1968, erroneously labelled "Valentino Single Cockatoo Trills & Caws". It should be noted that there are parts to this not available on any commercial SFX library. Those can be heard in the Looney Tune "Dough for the Do-Do", the Pink Panther cartoon "It's Pink But Is It Mink?", as well as in the documentary Attack! Battle of New Britain (1944) The cleanest sample of the full version can be found on a YouTube video called "Disneyland Jungle Cruise - Jungle Sounds".

The sound effect is often used in movies, TV shows or video games when a scene takes place in a jungle. However, most of the time when the sound effect is used along with other sound effects of the bird, it is often used in the wrong place for a jungle that is native to either Africa or South America. The kookaburra is actually native to Australia, but it was probably mistaken for the vocalizations of monkeys, which may explain its misuse.

I originally had a Sound Blaster AWE32 card with which Hocus Pocus ran just fine in both Windows 98 SE and MS-DOS, but I kept having weird sound issues where Jill of the Jungle would randomly produce garbled sound (though the shareware version's audio would sometimes work only on the first run) and where audio levels would arbitrarily be low when running certain games (for some games only in MS-DOS and with other MS-DOS games only in Windows 98 SE depending on the game).

I tried to troubleshoot this best I could with various audio tools and configurations, but ultimately I chalked it up to AWE32 doing a lot of magic related to MIDI playback that I assumed some games had issues with, so I decided to buy a Sound Blaster 16 card instead in order to have a more predictable sound card setup that I assumed more games would accept and be able to handle.

I installed the Sound Blaster 16 card the other day, but strangely enough Hocus Pocus now spits out the error "Could not detect FM chip" while running in MS-DOS mode. It works just fine in Windows 98 SE, but in MS-DOS it somehow has issues with the sound card. Meanwhile other MS-DOS games work just fine in both Windows 98 SE and MS-DOS.

With Jill of the Jungle I'm still having issues. The full version of the game won't recognize the sound card at all, while the shareware version recognizes the sound card just fine for both music and digital sound but for some reason won't play any digital sound effects.

Hocus Pocus checks the BLASTER environment variable when the Sound Blaster driver is selected in the setup program, the way it reads it is somewhat picky. For DOS, try creating a batch file that temporarily changes the environment variable by removing the P value. Like this:

I don't think it's a Sound Blaster configuration issue. Everything's configured correctly, and I've also tried several other configurations (including the ones recommended for Hocus Pocus). However after switching out the motherboard to another one of the same kind, the Sound Blaster card was recognized as a PnP card and suddenly it started working.

As for Jill of the Jungle it turns out that it communicates with the sound card in a way that later Sound Blaster versions aren't compatible with, so in order to fix the problem I patched Jill to version 1.2d using the following solution: Re: Jill of the Jungle Sound Effects

Obviously, the silent Tarzan films were not going to contain an inappropriate kookaburra sound, so I excluded them from the research. There are seven silent Tarzan films that appeared between 1918 and 1928.

The interesting thing about the MGM franchise is that they seemed to be making an honest effort to portray Africa. Yeah, the lions and elephants were appearing in a jungle instead of a savannah, and some of the apes were actors in suits, but this particular film used a lot of on-location stock footage (originally created for Trader Horn (1931)). It was also clear that the crew was using Indian elephants onset, but the elephants were dressed in fake ears and tusks to make them look like African elephants. The sort of people who make an effort to put fake ears on an elephant are not the sort of people who arbitrarily use an Australian bird call as background noise.

When I learned that there were radio serials running during the early years of the Tarzan sound franchises, I knew I also had to dig into them. It was entirely possible that the kookaburra call could have been used as a sound effect on the radio first, before it moved to a film version of Tarzan.

When MGM came out with their Johnny Weissmuller films, producer Sol Lesser also obtained the film rights to Tarzan, and he started cranking out this competing film serial. The serial itself is now a lost film; however, the first four episodes were edited into a feature-length film for redistribution, and this is what survives.

This film is a 70-minute feature film edit of the four-hour serial described in the previous section. The sound from the original footage from the serial was mostly wiped out and replaced by dialogue by British actors and dubbed-in sound effects. Curiously enough, the film opens with an apology about the quality of the sound, which blames the trials of shooting on location, even though the original on-location soundtrack of the serial is almost completely replaced here.

There are no kookaburras in the film as it exists today. There is no way of knowing if kookaburras existed on an intermediate dub of the film, if one existed. (There is, however, a completely inappropriate peacock cry at 30 minutes, 50 seconds into the film.)

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The original version of the Jungle Cruise track I created for version 1 of this project was, I felt, one of the more successful in the project, so the main goal in version 2 was simply to expand the material into a fuller version of the ride. The Jungle Cruise has operated at Magic Kingdom for over 40 years now and so is characteristic of the park. It is also an interesting example of ambient sound design, and so shares some similarities with the Rivers of America and Tom Sawyer Island areas, in that their main effect is not a musical one. This track attempts to faithfully rebuild a WED-era soundscape.

The Jungle Cruise is a spiel attraction and although I needed my track to reflect that, I did not want to be wedded to experiencing the attraction the way guests do when they are riding it. Boats pass by occasionally, but this track does not ride along. I wanted to represent the attraction without the omnipresent engine hum we are familiar with while riding. Ironically, despite my efforts to do without it, the sound of the engine proved impossible to capture live without background interference, so I was required to manufacture it for the occasional boat pass-by. The sound of the boat heard in this track was mixed from a live recording of a natural gas two-cylinder marine engine, similar to the ones used in the attraction, with some engine hum from another model. Project Graphic Designer Brice Croskey, who worked at the Disneyland Jungle Cruise, makes a cameo as one of the skippers heard in passing.

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