1234A är utformad för att överträffa de allra högsta förväntningarna. Den aktiva studiomonitorn är förstahandsvalet för proffs och har alla egenskaper de kräver.
1234A SAM™ Studio Monitor

Aktiva delningsfilter

Tekniken Directivity Control Waveguide (DCW™)

SPL
125 dB

Frekvensomfång
29 Hz - 21 kHz (-6 dB)

Mått
H 700 x W 890 x D 383 mm, (vy i tum)

Välkommen till ”the sweet spot”
1234A är utformad för att vara förstahandsvalet när det kommer till huvudhögtalare för stora inspelningsstudior, postproduktionslokaler och mastringstillämpningar. Den står högt i kurs när det gäller världens främsta referenslyssningssystem. 1234A kombinerar kraft med precision och erbjuder en neutral, ofärgad referensprestanda med enastående ljudspridning som skapar en bred och stabil ”sweet spot” – även för flera lyssnare på längre avstånd.

Perfekt överföring
Utöver sin verklighetstrogna transparens kan 1234A integreras med programvaran GLM, via vilken den kan konfigureras och kalibreras för din lyssningsmiljö. Detta kompenserar för negativ påverkan från rummet och ger en optimerad monitorlösning – från stereo till immersivt. Detta gör 1234A till det självklara valet för större professionella utrymmen som kräver perfekt överföring av mixar till andra studior och system.
Genelec
1234A SAM™ Studio Monitor
1 x huvudhögtalare 1234A
1 x separat kalibrerad RAM-XL-förstärkarenhet
1 x strömkabel 1,8 m
1 x RJ45-kabel 5 m (16 fot 4")
1 x RJ45-kabel 10 m (32 fot 9")
1 x 10 m (32 fot 9") 4-polig Speakon-kabel
1 x användarmanual
1234A SAM™ Studio Monitor
Awards
Tekniska Specifikationer

SPL
125 dB

Förstärkareffekt
2 X 750 W Bass (Class D) + 400 W Midrange (Class D) + 250 W Treble (Class D)

Frekvensomfång
29 Hz - 21 kHz ("-6 dB")

Noggrannhet Frekvensomfång
± 2 dB (34 Hz - 20 kHz)

Storlek på högtalarelement
2 x ⌀ 305 mm Bass + ⌀ 125 mm Midrange + ⌀ 25 mm Treble (vy i tum)

Mått
H 700 x W 890 x D 383 mm, (vy i tum)

Vikt
73 kg / 160.9 lb

Anslutningar
1 x XLR Analog Input
1 x XLR AES/EBU Input
1 x XLR AES/EBU Output
2 x RJ45 Control
1234A SAM™ Studio Monitor
Tekniska Specifikationer
Specifikationer för system
Frekvensomfång
34 Hz - 20 kHz (± 2 dB)
Low cutoff -6 dB
29 Hz
High cutoff -6 dB
21 kHz

SPL
Peak SPL Maximum peak acoustic output per pair in a listening room with music material at 2 m.
≥130 dB
Short term max SPL Maximum short term sine wave acoustic output on axis in half space, averaged from 100 Hz to 3 kHz at 1 m.
≥125 dB
Long term max SPL Maximum long term RMS acoustic output in the same conditions with IEC weighted noise (limited by driver protection circuit) at 1 m.
≥120 dB
Egenljud
Egenljud Self generated noise level in free space at 2 m on axis (A-weighted).
≤0 dB
Vikt
Vikt73 kg (160.9 lb)
Mått
Höjd
700 mm
Bredd
890 mm
Djup
383 mm

Kabinett
Material för kabinett
MDF
Typ av kabinett
Reflex port
Högtalarelement
Typ av element
Cone
Antal
2
Diameter
305 mm
Typ av element
Cone
Diameter
125 mm
Typ av element
Metal dome
Diameter
25 mm
Direktivitet

Harmonisk distorsion
> 200 Hz ≤0.5 %
Group delay
Latens vid höga frekvenser från ingång till akustisk utgång, mätt vid den analoga ingången:
Utökad faslinjäritet när GLM är OFF
__5.2 ms__
I Genelecs prestandagrafik beskrivs tiden för konvertering från en elektronisk insignal till den akustiska utsignalen i en Genelec-monitor av två faktorer - latens och gruppfördröjning. Gruppfördröjningsfaktorn kan avläsas i grafiken för en specifik frekvens. Den totala frekvensspecifika in-till-utgång-fördröjningen är en summa av latens- och gruppfördröjningsfaktorerna. För att förstå betydelsen av denna totala fördröjning, tänk på att flytta bort en högtalare med 1 meter skapar en ytterligare fördröjning på cirka 3 ms.

Avsnitt Förstärkare
Förstärkare
2 x 750 W Class D
3U rack mounted amplifier.
Höjd
132 mm
Bredd
483 mm
Djup
286 mm
Vikt
11.2 kg
(24.7 lb)
400 W Class D
3U rack mounted amplifier.
Höjd
132 mm
Bredd
483 mm
Djup
286 mm
Vikt
11.2 kg
(24.7 lb)
250 W Class D
3U rack mounted amplifier.
Höjd
132 mm
Bredd
483 mm
Djup
286 mm
Vikt
11.2 kg
(24.7 lb)
Nätspänning
100-240 VAC 50/60Hz
Strömförbrukning
ISS Aktiverat
≤6 W
Inaktiv
≤40 W
Full effekt
2500 W
Avsnitt Signalbehandling
Anslutningar
Input Analog signal input connector XLR female, balanced 10 kOhm.
Input Digital signal input connector XLR female 110 Ohm.
Output Digital signal output / Thru connector XLR male 110 Ohm.
2 x Control Two CAT5 (RJ45) GLM Network connectors for computer control using the Genelec Loudspeaker Manager (GLM) software.
För mer ingående teknisk information vänligen se produktens bruksanvisning
Nyckelteknologier

Aktiva delningsfilter

Tekniken Directivity Control Waveguide (DCW™)

Intelligent Signal Sensing (ISS™)

Optimerade förstärkare

Skyddskretsar

Smart Active Monitor-system (SAM™)
Aktiva delningsfilter vid låga signalnivåer.
Elektroniska delningsfilter gör det möjligt att dela upp ljudsignalen i separata frekvensband som kan dirigeras till enskilda slutsteg, vilka sedan kopplas till specifika givare som är optimerade för ett specifikt frekvensband.
Aktiva delningsfilter finns både i digitala och analoga varianter. Genelecs digitala aktiva delningsfilter har extra funktioner för signalbearbetning, såsom skydd av element, fördröjning och utjämning.
Genelecs analoga aktiva delningsfilter innehåller elektroniska komponenter som används vid låga signalnivåer som är lämpliga för ineffekten till slutstegen. Detta till skillnad från passiva delningsfilter som används vid höga signalnivåer från slutstegets uteffekt, vilket gör att de måste hantera höga strömstyrkor och i vissa fall även hög spänning.
I ett vanligt tvåvägssystem behöver de aktiva delningsfiltren två slutsteg – ett för baselementet och ett för diskantelementet.
Designen med aktiva delningsfilter har flera fördelar:
– Frekvensgången blir oberoende av eventuella dynamiska förändringar i elementets elektriska egenskaper eller nivå.
– Ökad flexibilitet och precision för att finjustera den utgående frekvensgången för de specifika elementen.
– Varje element har ett eget slutsteg och egen signalbearbetning. Detta isolerar varje element från de signaler som hanteras av övriga element, vilket minskar problemen med intermoduleringsdistorsion och förvrängning.
– Möjlighet att kompensera för känslighetsvariationer mellan elementen.
– Möjlighet att kompensera för avvikelser i frekvens- och fasåtergivning som är kopplade till elementets egenskaper inom det avsedda passbandet.
– Den platta frekvensgång som en högkvalitativ aktiv högtalare ger är resultatet av den kombinerande effekten av delningsfilterresponsen, slutstegsresponsen och elementresponsen i ett högtalarkabinett.
Genom att använda en aktiv teknik kan man justera frekvensgången och optimera hela högtalarsystemet i olika miljöer utan att behöva använda dyra externa equalizers. Slutresultatet är ett enklare, mer tillförlitligt, effektivt, konsekvent och precist aktivt högtalarsystem.
Tekniken Directivity Control Waveguide (DCW™) för platt återgivning både on-axis och off-axis.
1983 tog Genelec ett revolutionerande steg med utvecklingen av tekniken Directivity Control Waveguide (DCW™), som på den tiden användes i ett äggformat kabinett. Genelecs DCW-teknik har utvecklats och finjusterats i över 30 år och syftet är att förbättra prestandan för direktstrålande flervägsmonitorer betydligt.
DCW-tekniken formar den utgående vågfronten på ett kontrollerat sätt, vilket möjliggör förutsägbar anpassning av ljudets spridningsmönster. Målet är att begränsa spridningsvinkeln så att ströspridning minskas för att göra spridningen jämn och enhetlig. Det leder till en utomordentligt platt frekvensgång och en enhetlig kraftrespons. Den avancerade DCW-tekniken minimerar tidiga reflektioner och ger ett brett och stabilt lyssningsområde med korrekt ljudåtergivning både on-axis och off-axis.
Minimerade tidiga reflektioner och kontrollerad, konstant direktivitet har ytterligare en viktig fördel: frekvensbalansen i rummets efterklangsfält blir mer eller mindre likadan som det direkta ljudfältet från monitorhögtalarna. Detta leder till att monitorsystemets prestanda blir mindre beroende av rummets akustiska egenskaper.
Ljudbildens djup och bredd är viktiga aspekter i alla lyssningsmiljöer, och de är inte bara viktiga on-axis utan även off-axis. Detta hjälper inte bara ljudteknikern som gör jobbet, utan även andra som befinner sig i lyssningsområdet – och det är ofta många inblandade i större kontrollrum.
Huvudsakliga fördelar med DCW™-tekniken:
– Platt återgivning både on-axis och off-axis för ett större funktionellt lyssningsområde
– Ökat förhållande mellan direkt och reflekterat ljud för minskad färgning
– Förbättrad stereo- och ”soundstage”-ljudbild
– Ökad känslighet för drivenheterna på upp till 6 dB
– Ökad högsta ljudtryckskapacitet
– Minskad distorsion för drivenheterna
– Minskade kantdiffraktioner
– Övergripande minskad distorsion
Intelligent Signal Sensing (ISS™) minskar strömförbrukningen i standby-läge.
Intelligent Signal Sensing lanserades 2013 och uppfyller både EU:s ErP-direktiv och Genelecs egna hållbarhetsåtaganden.
ISS™-kretsen övervakar högtalarens signalingång och fastställer om den används eller inte. Om ISS-kretsen inte känner av någon ljudsignal under en viss tid försätter den automatiskt högtalaren i strömsparläge så att den drar mindre än 0,5 W. När en ingångssignal upptäcks aktiveras högtalaren direkt. Högtalaren kommer att börja spara ström direkt när arbetet pausas.
En ”ISS Disable”-brytare finns på baksidan av alla högtalare, bredvid rumskorrigeringsreglagen. När högtalarens huvudströmbrytare står på ”ON” aktiveras ISS™-funktionen (strömsparläge) automatiskt.
Om du inte vill använda ISS™-funktionen kan du stänga av den genom att sätta ”ISS Disable”-brytaren på den bakre panelen på ”ON”. I det här läget stängs högtalaren av och slås på endast med hjälp av huvudströmbrytaren.
Observera att man alltid kan stänga av högtalaren helt med huvudströmbrytaren.
Varje givare drivs av en egen optimerad förstärkare.
Elektroniska delningsfilter gör det möjligt att dela upp ljudsignalen i separata frekvensband som kan dirigeras till enskilda slutsteg, vilka sedan kopplas till specifika givare som är optimerade för ett specifikt frekvensband.
I ett vanligt tvåvägssystem behöver det aktiva delningsfiltret två slutsteg – ett för baselementet och ett för diskantelementet. Slutstegen är direkt kopplade till den aktiva högtalarens element, vilket gör att slutstegens belastning blir mycket enklare och välkänd. Varje elementspecifikt slutsteg har endast en begränsad frekvens att förstärka (slutsteget är placerat efter det aktiva delningsfiltret), vilket bidrar till att göra designen enkel.
Den aktiva designprincipen har flera fördelar:
– Slutstegen är direkt kopplade till högtalarens element, vilket maximerar kontrollen som utövas av slutstegens dämpning på elementets talspole. Detta reducerar i sin tur följderna av dynamiska förändringar i elementets elektriska egenskaper. Detta kan förbättra systemets transienta svar.
– Minskning av den uteffekt som krävs från slutsteget. Tack vare att ingen energi går förlorad i komponenterna till det passiva delningsfiltret minskas den uteffekt som krävs från slutsteget betydligt (med upp till 50 % i vissa fall), utan någon minskning av den akustiska uteffekten i högtalarsystemet. Detta kan bidra till att sänka kostnader och öka både ljudkvaliteten och systemets tillförlitlighet.
– Ingen förlust mellan förstärkaren och elementenheterna, vilket leder till maximal akustisk effektivitet.
– Den aktiva tekniken kan uppnå överlägsen ljudprestanda vs. storlek vs. lägre frekvensgräns.
– Alla högtalare levereras som ett fabrikskonfigurerat system (förstärkare, delningsfilterkomponenter, kabinett och elementsystem).
Sofistikerade skyddskretsar för drivenheter för säker användning.
När du arbetar med avancerad ljudproduktion är det otroligt viktigt att dina monitorsystem alltid är tillförlitliga och fungerar som de ska. Det främsta skälet till Genelecs framgångar inom sändningstillämpningar är våra produkters tillförlitlighet, och en viktig faktor bakom detta är de interna skyddskretsarna som finns i alla våra produkter – ända sedan 1978.
Skyddskretsarna förebygger fel på elementet genom att analysera signalnivåerna. Vid plötsliga toppar eller för höga nivåer under en längre tid minskas signalnivån automatiskt. Den här funktionen påverkar givetvis inte ljudkvaliteten på något sätt när högtalaren används inom ramen för dess specifikationer. Den hindrar endast avvikande ingångssignaler från att orsaka skada på högtalaren.
Skyddskretsarnas funktioner och fördelar:
– Minskar uteffektnivån vid behov (t.ex. när temperaturen vid elementets talspole uppnår ett gränsvärde), vilket förbättrar systemets tillförlitlighet betydligt
– Lämpliga skyddskretsar i alla högtalare och subwoofers gör det möjligt att maximera systemets utgående ljudnivå.
Uppkopplade Smart Active Monitor-system (SAM™) har funktioner för automatisk kalibrering till omgivningen.
Under det senaste decenniet har mängden globalt mediainnehåll ökat enormt, vilket har lett till stora förändringar i hur uppkopplade företag hanterar den ökade arbetsbördan. En ökad mängd ljudproduktioner görs nu i mindre och mer begränsade arbetsutrymmen. Detta ökar de akustiska problemen och minskar lyssningstillförlitligheten. Samtidigt måste professionella ljudtekniker kunna räkna med ett tillförlitligt och tydligt monitorhögtalarsystem som återger ljudet neutralt och utan distorsion.
Genelecs avancerade SAM-system är baserade på de stabila elektroakustiska grunderna i serierna 1200, 8000 och 7000 och utgör dagens mest avancerade och anpassningsbara monitorlösningar. De är oumbärliga för professionella ljudtekniker tack vare att de automatiskt kan anpassa sig till den akustiska miljön och kompensera för nivåer, fördröjningar och avvikelser i rummet. SAM-system kan styras via Genelecs patenterade, uppkopplade programvara Genelec Loudspeaker Manager (GLM™) som hjälper dig att bygga upp ett flexibelt och tillförlitligt monitorsystem.
Programvaran GLM 3 är ett otroligt intuitivt och kraftfullt styrsystem som hanterar anslutningen till alla SAM-studiomonitorer och -subwoofers i nätverket – upp till 30 stycken. GLM 3 har funktioner för justering av nivåer och avståndsfördröjning samt flexibel rumskorrigeringsutjämning med det robusta och toppmoderna AutoCal™-systemet för automatisk kalibrering. Alla parametrar och inställningar sparas i systemets inställningsfiler eller i varje enskild monitorhögtalare eller subwoofer om GLM-nätverket måste kopplas från.
Dessutom kan SAM-systemets samtliga akustiska egenskaper optimeras för olika tillämpningar eller kundbehov. Även om högtalarna eller projekten måste flyttas mellan olika rum kan du lita på att SAM-tekniken ger bästa möjliga konsekvens vid lyssning, med en neutral ljudbild med låg distorsion.
Genelecs SAM-system erbjuder ett heltäckande, lösningsfokuserat och uppkopplat produktsortiment med stöd för analoga och digitala signaler i mer eller mindre alla arbetsmiljöer.
Referenser
It completely fixes every last detail in the room and is therefore at the heart of our mastering process.
“We had never had this type of combined system in the studio before and at first we were a bit unsure about the idea,” admits Axelsson. “But once it was installed, we were completely blown away! The concept of combining the W371 woofer system with ‘The Ones’ coaxial design of the 8351 allowed a free-standing full range system for us, and we are planning to install that type of hybrid more in the future – it completely fixes every last detail in the room and is therefore at the heart of our mastering process.”
The 8351s in Studio 3.
The combined Genelec system created directivity for Axelsson as well as total freedom from negative room influences. “We originally had the Genelec 1038ACs as mains in the mastering room, and this was a great monitor to use for this. We loved the sound of these three-way centre speakers in a stereo setup and we were really happy with them, but then we had a problem with the bass that we couldn’t really fix,” he explains. “So, we decided to get in the W371s, not really thinking it would be the final solution, but after the second calibration was set up and combined with the back wall reflections, it managed to take care of exactly what we needed it to – we had never seen that type of installation work before. We are not disappointed, we love the system!”
The new mastering setup in Studio 2.
To get the best out of the new setup, Axelsson chose to use GLM loudspeaker manager software for both the studio’s final configuration as well as for its day-to-day operation. “I always use the GLM setup,” he explains. “It’s more than a good speaker calibration system, it’s great for comparing levels while we’re mastering as well as finalising little details. We also use it as a monitor controller, especially with the new GLM 4 version, and we always have the reference mic and GLM connected which creates a nice flow.”
The technology surpasses all of our expectations every time, and we are working with an amazing set up.
This new mastering suite is just one example of where Axelsson’s passion for Genelec can be seen. But away from the mastering suite, Genelec monitoring is also seen everywhere throughout the building. In Studio 1, which is primarily used for EdTech’s e-learning projects, 8341 and 1037 three-way studio monitors combine with a 7071 subwoofer. While in Studio 3, PAMA’s music studios, Axelsson has opted for 8010, 8351 and 1234 monitoring solutions.
The Genelec collection in Studio 3.
“Genelec is the standard that we are happy to work around,” says Axelsson. “It is our reference wherever we go. The technology surpasses all of our expectations every time, and we are working with an amazing set up at the moment which is by far the perfect solution for us.”
Having started DJ-ing at parties as a youngster, he soon started making music himself, which brought him into the orbit of other emerging German rap stars including Farid Bang, Manuellsen, KC Rebell and Summer Cem. With numerous number one records under his belt, Juh-Dee now has the luxury of his own beautifully-equipped home studio in Duisburg, complete with Genelec 1234 and 8331 Smart Active Monitors.
“The first time I made it to #1 with a single was actually in 2020. That was with the song ‘90-60-111’ from Shirin David, and that was a great feeling,” comments Juh-Dee. “Then with Apache, we were 3 weeks at #1, and that song was replaced at #1 by another Apache song that we produced. And the next tune after that also went straight to the top spot!”
But it’s obvious that Juh-Dee sees Germany’s love for rap music as way more than a passing trend. “I don't see this as short-term popularity. That hype has actually been there for a long time, since 2008/2009. It just never reached the masses because at that time the distribution wasn't there. Kids didn’t buy CDs, they just downloaded the songs illegally at that time. But when that started to subside, people bought more CDs again. Now, in the era of smartphones, with streaming and YouTube, that's the reason it won't go away. It’s become the new Pop music.”
You can hear clearly the whole frequency spectrum and the tweeters are really nice!
Juh-Dee’s preference for studio monitoring has always been large, wall-mounted main monitors, so the Genelec 1234s were an obvious choice.
“In a great studio, there has to be speakers in the wall,” he insists. “I did my first mixes here and I was really surprised at how ‘real’ the 1234s sound, even at high volume. Having heard my first mixes, I realised what made the difference. You can hear clearly the whole frequency spectrum and the tweeters are really nice! They don't bite, they are really honest. That was important for me.”
The 1234s are complemented by a 7370 subwoofer for even more LF control and precision. Juh-Dee explains that “I usually use the subwoofer when I'm working on deep 808s, for example, so I can really hear the whole spectrum down to 20 Hz and I can absolutely hear if they sound ok, or if there's any strange frequencies going on.”
But while Juh-Dee loves the high-SPL energy of his main monitoring system, his 8331 coaxial three-way nearfields from ‘The Ones’ series allow him to dial things down when he needs to.
“I use The Ones to double check things at a lower volume, so when I don't need the full blast of the big 1234s, they are really good for details,” explains Juh-Dee. “Also, when I'm mixing for too long with too much volume, I use the 8331s - and I can also easily control them using Genelec’s GLM software. It's super easy to quickly dial in changes, tweak the frequency response, change the volume, and do adjustments.”
Aside from the pure creative joy that his Genelecs are bringing him, Juh-Dee’s monitors are simply very good for business too, as demonstrated by the reaction of artists visiting the studio recently:
“The feedback was awesome, they all wanted to stay here. I think I worked with 3 new artists at that time, and they all called their management and said ‘Hey, you have to book us here for another session, we're not going anywhere else. Please, we need to come back next week!’”
The highlight of TCM’s Genelec monitoring solutions can be found in the flagship recording studio. “The studio is used mainly by students who major in the Fine Art/Film Scoring course within the composition program,” explains TCM lecturer Hideaki Sano. “The course focuses on composition, arrangement and performance, but also studies practical techniques related to pre-production, studio recording, producing, and so on. The studio needed to be capable of recording an entire orchestra, and since we have a concert hall and other large performance spaces on campus, we wanted the studio to make efficient use of these facilities.”
Mr. Hideaki Sano of Tokyo College of Music
With this brief in mind it was clear that the studio would need to be the centrepiece of the new campus. To ensure the best possible results, TCM turned to world-renowned acoustician, Masami “Sam” Toyoshima, to handle the studio’s acoustic design. Meanwhile, the equally important task of studio planning and operation was given to Mixer’s Lab, thanks to its history and track record running its own studios as well as offering engineering and consultancy services.
The technology in the studio is clearly high-end, matching the standards that TCM demands. Nowhere is this clearer than with the studio monitoring. The solution comprises Genelec 1234A, 1238AC and 1238DF smart active main monitors in a 5.1.2 immersive configuration, with 8351A coaxial monitors for stereo nearfield monitoring. For Hideo Takada of Mixer’s Lab, the decision to go with Genelec monitors was an easy one: “I've been using Genelec reference monitors at work for a long time, so I know their sound inside out. They work well with acoustic instruments, pop music, and a wide variety of genres. It’s a studio monitor you can trust.”
Mr. Hideo Takada of Mixer's Lab
If the choice of brand was an easy decision, the configuration of the space was a different matter entirely. “The college originally requested the studio to be at least a 2-channel environment, and be able to conduct high-quality recording,” recalls Takada. “But as the studio planning developed, we considered that it should support surround. I had just experienced Dolby Atmos mixing myself, and realised the importance of it, so we opted for 1234As as L/R, a 1238AC for the centre channel, two 1238DFs for surrounds and two more 1238DFs as height speakers – due to the compact nature of the studio.”
For stereo nearfield work, TCM opted for 8351A three-way point source monitors from The Ones series. “What’s great about coaxial monitors is that you get one coherent sound,” explains Mixer’s Lab’s Tatsuo Umezu. “A certain sound can be perceived from one point as if it's a matter of course, and the centre of the sound doesn't get ‘blurred’. I can tell exactly where the mic was placed, and how far it was from the instrument. I suppose this is exactly what Genelec aimed for.”
A monitor needs to be comfortable to listen to, and Genelec has that quality.
Reflecting on the qualities the Genelec monitoring solutions have brought TCM, Sano is clearly very happy with their performance: “Genelec monitors have the same sound even when the playback volume is low, and that's one of the benefits. And the fact that it has become the industry standard is the key to our choice. Experiencing that industry standard sound is extremely beneficial for our students before they start to work as professionals.
“It's about the balance of the richness and the accuracy of the sound,” he continues. “A monitor needs to be comfortable to listen to, and Genelec has that quality – plus the accuracy to comprehend every detail of the sound whatever the genre. Genelec can precisely playback an orchestra, a violin solo, pop music, EDM, and much more. It’s a monitor we can completely count on.”
Having DJ’d in Ibiza for over 20 years, Guetta’s personal studio on the island has recently been upgraded with a pair of Genelec 7380A subwoofers, which join his existing Genelec 1234A three-way main monitors to create a smart monitoring system that Guetta describes as “my perfect setup.” The new solution came about after Guetta identified a problem with the mixes that he was creating with his old system. “In the previous system that I had, the subs were so loud that they were not really realistic,” he explains. “If I would mix with those subs, sometimes I would end up with a record that didn’t have enough bass when played on other systems - because the bass in my room was so huge.”
With the 7380As installed, Guetta’s mixes now translate beautifully from his studio straight to the dancefloors of Ibiza, and the subwoofers have helped improve the overall sound in his room. “By installing the subwoofers, we were able to reposition David’s main monitors to avoid early reflections. Finding the best place for the subwoofers also meant that we had a great frequency response curve all the way from low to high frequencies,” notes Genelec’s Pasi Pönkkä, who travelled to Guetta’s studio to calibrate the system using Genelec’s GLM software. Using GLM, Pönkkä was able to analyse the acoustic environment of Guetta’s studio and then optimise each Genelec monitor and subwoofer accordingly - thereby reducing any negative influences of the room on the sound.
Pönkkä explains that “Each 7380A subwoofer is paired with a single 1234A monitor, so the low frequencies can be better localised. Also, the locations were chosen so that the subwoofer sums aren’t cancelling each other out. The overall result was that we were able to provide David with more bass extension, but with a much smoother and flatter response.”
“This is my reference, and this is my perfect setup.”
A further benefit that Guetta is enjoying is that he can now work for much longer periods without the listening fatigue that he used to experience. “When producing, I’m not really playing too loud, and the Genelec 1234As - even though they are huge - still sound very precise even when they aren’t loud,” he explains. “What I like about the 7380As is that I can work at a low volume so that I’m not too tired after a few hours, and it’s still very precise. But, if I want to blast it loud, it’s powerful enough to feel like it’s in a club.”
Reflecting on his newly upgraded monitoring system, Guetta is certain he made the correct decision. “It gives the feeling of how it’s going to sound in the club, but it’s also realistic,” he states. “This is my reference, and this is my perfect setup.”
Take a closer look at David Guetta’s studio, and find out more about his music and workflow:
Ozcan has been making music since the age of 14, when his instinctive skill with the flute and keyboard were the first signs of an emerging, prodigious talent. His first single, Chica Good, arrived in 2006 but it was 2011’s Reboot, swiftly followed by 2012’s The Box, that solidified his reputation. In the years since, he has produced not only a string of hit singles but also collaborations with peers including Paul Van Dyk and Tiesto, while continuing to push his own creative limits with the development of soft-synths and soundbanks.
However, most of that work was performed in less-than-ideal listening environments. “The first space that I worked in... I’m not sure I could call it a studio since it was in the attic of my parent’s home,” recalls Ozcan. “I just had two speakers in there – actually just two hi-fi speakers! Then I moved to an apartment and I had a room – so I put some acoustic treatment on the walls, some bass traps, and just two monitors and a sub. I made my music in there for years, but when my friends came to visit I’d tell them to stand in the corner because that’s where they could hear the bass properly! If you took one step to the side then the sound changed completely.”
Ozcan describes his new studio as “everything I’ve dreamed of for the last 15 years – I can’t quite believe that it’s here. This room reflects my energy. It’s an extension of myself and my music. When you close the door, you’re in a different world, it’s amazing.”
The room itself is a blazing celebration of neon, seamlessly shifting between colour schemes to suit the mood of the artist. Sculpted acoustic panels from Artnovion adorn the walls while Morel has even recreated Ozcan’s logo on the ceiling. The Genelec smart active monitoring system which forms the studio’s centrepiece is just as impressive, with two 1234As installed as main monitors, accompanied by a 7382A subwoofer. Adding symmetry, what appears to be a second 7382A is in fact a customised bass trap designed around a Genelec grille. In addition, two of the newly-launched 8351B coaxial point source monitors from The Ones range are installed on Ozcan’s desk for nearfield listening. The DJ describes the sound as “mind blowing”.
Towards the conclusion of the project, Morel and Ozcan shared the process of calibrating the Genelec monitoring system for the room. That work began with Genelec’s GLM calibration software, then was fine-tuned by ear. “We went very deep into the process,” says Morel. Yet ultimately, little tuning was actually required. “You don’t have to do much,” explains Ozcan, “with almost no tweaking it sounds fantastic. You feel it in your chest and it gives you goosebumps because you can hear everything. I can hear things I’ve never heard before!”
For Morel, who has now designed private studios for some of the world’s most celebrated DJ producers, this is one of his proudest achievements. “This ranks as one of the top three studios that I’ve created,” he declares without hesitation. “Certainly for the design, this is number one.”
A wholly-owned R&D subsidiary of G-bits, the company employs enthusiastic games fans with one simple mission - to produce ‘unique and great games’. As a result of Leiting’s dedication to creating all-round immersive experiences for its users, the company recently commissioned a 5.1.4 game audio studio based around Genelec Smart Active Monitors.
"For a games company like ours, an audio studio is a must," commented composer and game sound designer Knuckles (Jianyu) Zhang, who led the studio project. "Our requirements are quite special, though. What we want is not just a recording studio, nor a standard mixing studio or a reviewing studio. To be precise, what we want is a ‘Game Sound Lab’ to assist us in the conceptual design of games.”
Originally conceived as a surround sound studio, the acoustic design and construction of the project was handled by Qiao Zhenyu of Huanyu Acoustics, who persuaded Knuckles to go fully immersive. “I knew that many games had already used the 5.1 format to produce sound. But Qiao suggested that since it was already 5.1, why not make it 5.1.4 by adding the 4 height channels? I realised then that immersive audio technology is no longer a new thing, and we as creators surely have to learn to master this format."
The studio then engaged the system integrator DMT to install a pair of Genelec 1234As as its main stereo monitoring system, with a 5.1.4 immersive system comprising eleven 8330A nearfield two-way monitors in all positions - complemented by a 7370A subwoofer. All the monitors were supplied in a stunning Polar White finish, and the entire system was configured and calibrated by DMT using GLM loudspeaker manager software.
Genelec's sound is very reliable. You can trust what you’re hearing.
Knuckles’ choice of Genelec monitoring was arrived at after many years of experience of working with other monitors - and actually avoiding Genelec in his earlier years, believing them to be too flat! “I used various monitors to evaluate my work in different rooms. Sometimes, it would sound fine on my own monitors in my own room, but the results would often vary when I’d listen to material in other spaces. So I’d start to doubt what I was hearing.”
He goes on to say “It was then that I realised that I needed a genuinely truthful monitoring system to do my work. Genelec's sound is very reliable. You can trust what you’re hearing, and you can be certain about what you create using them. When I use the 1234s to listen to material, I can immediately evaluate the quality of mixing.”
Knuckles is convinced that immersive audio is the format of the future for games developers. “In recent years, the domestic games industry has attached greater importance to the sound experience. As we look to the international market, we’re finding that more and more games with big-budget production are using immersive audio to create the sound experience. Because sometimes, we just want to step into another world and forget about real life, or even ourselves, for a while.”
He concludes by saying “While others here are still at the learning and building phase with immersive rooms, we already have the experience and a place to create immersive audio. Now we’re one step ahead, we’re ready to take the lead!"
Game sound designer Knuckles (Jianyu) Zhang
s5studio moved into its current space in Manhattan’s west side last May, but the business, founded by Sonny Carson, goes back almost a decade, to its first iteration in Brooklyn. Zukye Ardella joined the enterprise later, helping the Brooklyn location flourish and helping oversee the move to the Manhattan space. Carson and Ardella serve as business partners, sharing chief engineer titles. The studio now occupies a large space in the Chelsea neighborhood, an area long known as a hub of legendary music recording studios over the decades. This new home of s5studio, once the private facility for the Scissor Sisters (and originally designed by Horacio Malvicino of the Malvicino Design Group), has just opened its own third studio, the Midnight Blue Room, which joins its Crimson Room and the Black Room. What they all have in common is active monitoring from Genelec: a pair of 8331A Smart Active Monitors™ are the near-field solutions for the Crimson Room — the facility’s largest studio — while two 1234A Smart Active Monitors are used for main monitoring there; the Black Room uses the 8320A Smart Active Monitors as near fields; and the newest studio, the Midnight Blue Room, designed primarily by Carson, has a pair of 8331As for close-in listening and a pair of 1238A Smart Active Monitors for mains.
The Crimson Room at s5studio in Manhattan, featuring Genelec 8331A Smart Active Monitors™ as near-fields and two Genelec 1234A Smart Active Monitors as the mains
Notice anything missing here? “We are doing everything at this point without subwoofers in any room, and it’s blowing people’s minds!” states Ardella, a native New Yorker well known and liked in the city’s music-production community and whose engineering and production credits include Ne-Yo, WizKid, A$AP Ferg and Flipp Dinero. “The Genelec speakers all have incredible low-frequency power. The lows are big, even for hip-hop. But what’s really amazing is that those lows are also so clear and clean. Engineers and artists come here and tell us that they can push the bottom but they can still hear lyrics very clearly, which is very important. With Genelec, we can get the full range of sound and hear everything on the track.” Ardella says the acquisition of subs for some of the studios is planned for, but she and her clients have been completely satisfied with the low-frequency response they’ve been getting from this array of Genelec monitors.
Zukye Ardella, s5studio chief engineer
Genelec came with other benefits, too. For instance, all of the speakers utilize Genelec’s proprietary GLM™ and AutoCal™ software, which automatically controls and calibrates the monitors for the room response, level and time of flight and allows for multiple calibration locations as group presets. “The calibration system is very easy to use and very precise in how it tunes the speakers perfectly to each control room,” Ardella explains. “It got us up and running that much faster, and everyone remarks on the accuracy of the sound. Their mixes sound the way they expect them to. It’s why we stand by Genelec. I’m a proud Genelec user.”
Sonny Carson, s5studio founder and chief engineer
How GLM™ (Genelec Loudspeaker Manager) Software Works
How GLM™ (Genelec Loudspeaker Manager) Software Works
Frustrated that your material doesn’t sound so great on other systems? In this video we show you how to calibrate the Genelec SAM™ monitors with the Genelec Loudspeaker Manager (GLM™) Software to get the most out of your room and ensuring that your mixes translate perfectly.
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