New York, NYâ€“â€“The prestigious Juilliard School recently underwent a significant renovation as part of major upgrade in New Yorkâ€™s Lincoln Center and the Recording Department also benefited from the changes.
As Bob Taibbi, Director of the Recording Department whoâ€™s been at Juilliard for 38 years explains, â€œIn addition to a new orchestra rehearsal room and main control room, they also built a whole new suite of audio and video edit rooms because we needed more space.â€?
Taibbi also clarifies a common misconception about his department in that they are charged with â€œrecording public performances, master classes, and other events for archival use, as well as studio recordings for faculty and students which are used for audition, competition, professional and personal use. So itâ€™s really live recording if you want to be technical. We donâ€™t teach recording here at Juilliard, although the school does offer a course in
computer music editing, software and computers as part of the curriculum.â€?
ADAM Audio monitors are an integral component of Taibbiâ€™s department, with ADAM P11As in the main control room and A7s in each of the edit rooms. Asked why he chose ADAM, Bob recalls his first encounter with the monitors at an AES show: â€œI was interested in their ribbon concept and they sounded great at the show, but you canâ€™t judge anything based on that. So I auditioned a pair because Iâ€™d been using other monitors which were good but I hadnâ€™t found what I needed in Nearfield monitors.
â€œWhen I A/Bâ€™ed the ADAMs with the other monitors,â€? Bob continues, â€œI was immediately able to hear what Iâ€™d been missing in terms of crispness and clarity thatâ€™s in the sound yet still get the overall view of someone whoâ€™s listening to the program material in their living room.
â€œThe ADAM monitors gave me a crisp, clear sound and the background that I wanted. When you record classical music, thereâ€™s a lot going on in terms of nuance and room sound and the timbre of the instruments, all of which is critical to the final sound. I always listen â€˜beyond the music,â€™ to whatâ€™s behind the music.â€?
Going into more detail, Taibbi adds, â€œAnd I when I played the ADAM speakers, because theyâ€™re so accurate, Iâ€™d start to hear things I hadnâ€™t noticed before, some of which werenâ€™t always that great sounding (laughs). Theyâ€™re very uncompromising and if there are problems with the mix or the recording, they will be revealed by the ADAMs. Which allowed me to correct certain things I never realized were there when I was tracking. Theyâ€™re unforgiving to a degree about certain elements, but thatâ€™s what you want. You donâ€™t want to color it. When you want to get critical, you need critical speakers.â€?
In addition to ADAM Audio, Taibbi is using a complement of top line gear including a Soundcraft Ghost console, Millennium preamps, Aphex and Lexicon outboard processing and Neumann, Schoeps, B&K and AKG microphones. The renovation at Juilliard is in its final stages and should be complete by the time school starts in September, but Taibbiâ€™s recording department is already good to go.
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