Genom att leverera hög SPL och utökat LF-återgivning, ger 7380 dig tryck, tydlighet och flexibilitet på samma gång.
7380A SAM™ Studio Subwoofer

Aktiva delningsfilter

Bass Management

SPL
119 dB

Frekvensomfång
16 Hz - 100 Hz (-6 dB)

Mått
H 685 x W 718 x D 492 mm, (vy i tum)

Hög SPL, låg distorsion
Subwoofern 7380A har en prestanda som generellt bara återfinns hos mycket större kabinett. Den erbjuder en hög och kraftfull SPL med utökad LF-återgivning med låg distorsion och flexibla bass-managementsalternativ. Omfattande anslutningsmöjligheter säkerställer att 7380A fungerar lika bra med stereoljud som vid multikanaltillämpningar, vilket gör den perfekt för arbete med musik, postproduktion, film och sändning som kräver kraftfull, tillförlitlig LF-återgivning i en häpnadsväckande kompakt formfaktor.

Konfigurera, kalibrera och kontrollera
7380A integreras med vår programvara GLM som gör det möjligt att konfigurera, kalibrera och styra alla monitorhögtalare och subwoofers i systemet. Med hjälp av avancerad styrning och autokalibrering kan GLM:s kraftfulla rumskorrigeringsfunktioner användas för att optimera 7380A för många olika akustiska miljöer. Programvaran har stöd för både centraliserad och distribuerad bass-management.
Genelec
7380A SAM™ Studio Subwoofer
1 x 7380A subwoofer
1 x strömkabel 1,8 m
1 x RJ45-kabel 5 m
1 x användarmanual
7380A SAM™ Studio Subwoofer
Awards
Tekniska Specifikationer

SPL
119 dB

Förstärkareffekt
800 W Bass (Class D)

Frekvensomfång
16 Hz - 100 Hz ("-6 dB")

Storlek på högtalarelement
⌀ 381 mm Bass (vy i tum)

Mått
H 685 x W 718 x D 492 mm, (vy i tum)

Vikt
69 kg / 152.1 lb

Anslutningar
8 x XLR Analog Input
8 x XLR Analog Output
1 x XLR Analog Input
1 x XLR Analog Output
1 x XLR AES/EBU Input
1 x XLR AES/EBU Output
2 x RJ45 Control
7380A SAM™ Studio Subwoofer
Tekniska Specifikationer
Specifikationer för system
Frekvensomfång
Low cutoff -6 dB
16 Hz
High cutoff -6 dB
100 Hz

SPL
Peak SPL Maximum peak SPL output with random pink noise, measured in half space at 1 meter.
≥123 dB
Short term max SPL Maximum short term sine wave SPL output averaged from 30 to 85 Hz, measured in half space at 1 meter.
≥119 dB
Egenljud
Egenljud Self generated noise at 1 m on axis (A-weighted).
≤5 dB
Vikt
Vikt69 kg (152.1 lb)
Mått
Höjd
685 mm
Bredd
718 mm
Djup
492 mm

Kabinett
Typ av kabinett
Reflex port
Högtalarelement
Typ av element
Cone
Diameter
381 mm
Harmonisk distorsion
Avsnitt Förstärkare
Förstärkare
800 W Class D
Nätspänning
100-240 VAC 50/60Hz
Strömförbrukning
ISS Aktiverat
≤2 W
Inaktiv
≤40 W
Full effekt
600 W
Avsnitt Signalbehandling
Anslutningar
8 x Input 7.1 Analogue XLR input connectors XLR female, balanced 10 kOhm.
8 x Output 7.1 Analogue XLR output connectors XLR male.
Input Link In connector.
Output Link Out connector.
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

Bass Management

Intelligent Signal Sensing (ISS™)

Tekniken Laminar Spiral Enclosure (LSE™)

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.
Bass Management hanterar lågfrekvenserna i multikanalsformat.
Principen för Bass Management är att basen från huvudkanalerna och lågfrekvenskanalen (Low Frequency Effect – LFE) endast riktas och återges av högtalare med kapacitet att hantera dem, oavsett om de är huvudhögtalare eller en eller flera subwoofers.
Vid stereoåtergivning måste signaler från 20 Hz till 20 kHz spelas upp. Stora flervägssystem kan ge en jämn återgivning av en så pass stor bandbredd. Med multikanalsljud måste både professionella system och system för hemmabruk kunna återge ljud mellan 20 Hz och 20 kHz för varje kanal. För att uppnå detta måste huvudhögtalare, subwoofers och delningskretsar samspela.
Ett Bass Management system använder antingen analoga elektriska kretsar eller mjukvarubaserad filtrering som filtrerar lågfrekvenser från huvudkanalerna och förmedlar informationen till en eller flera subwooferströmmar.
Den dedikerade LFE-kanalen kan också styras via subwoofern och adderas till lågfrekvenserna från de andra huvudkanalerna. Bass Management grundläggande och huvudsakliga syfte är därmed att säkerställa att hela bandbredden från alla kanaler kan återges.
Fördelar med Bass Management:
– Subwoofern utökar systemets frekvensgång ner till de lägsta gränserna av spektrumet för hörbart ljud.
– Högtalaren kan ge en högre maximal ljudnivå när den inte återger lågfrekvenser.
– Optimerad lågfrekvensåtergivning med hjälp av korrekt placering av subwoofern. Även monitorhögtalarna kan placeras mer fritt.
– Subwooferns uteffekt är justerad med avseende till nivå och fas med monitorhögtalare som levererar rak och precis återgivning ner till 19 Hz och över delningsfrekvensen.
– LFE-kanalens uteffekt (0 eller +10 dB avseende huvudkanalerna) kan väljas för precis återgivning beroende på typ av källa.
– Möjligheten att förbikoppla subwoofern gör det möjligt att utvärdera dess ljudpåverkan.
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.
Den otroligt effektiva tekniken Laminar Spiral Enclosure (LSE™) ger korrekt återgivning av lågfrekvenser.
Kraven på subwoofers har ökat betydligt de senaste åren, vilket har lett till att traditionella designkoncept inte längre är effektiva. För Genelec innebär detta att vi måste ta djärva initiativ för att uppnå absolut högsta prestanda.
Efter många års forskning och expertis insåg Genelecs ljudtekniker att det fanns nya utmaningar att ta tag i under 2000-talet. Den unika, böjda formen på kabinettet till aktiva subwoofers i LSE™-serien är det revolutionerande, patenterade resultatet av vårt hårda arbete.
Alla subwoofers i LSE™-serien från Genelec har det innovativa basreflexkabinettet Laminar Spiral Enclosure™ (LSE™). Konstruktionen ger ett utomordentligt laminärt flöde med minimalt turbulensljud och optimal placering av ett långt reflexrör i ett litet utrymme.
Principerna från LSE-tekniken används även i utformningen av reflexporten i våra aluminiumkabinett.
Den spiralformade designen ger en otroligt stabil kabinettexteriör samtidigt som den formar subwooferns reflexport. Tack vare den integrerade designen kan luften både in och ut genom kabinettet genom den spiralformade porten flöda helt fritt. Detta ger ett utomordentligt precist och följsamt lågfrekvenssystem med uppmätt nivå av andra och tredje ordningens harmonisk distorsion som vanligtvis är bättre än 30 dB under grundtonen.
I kombination med Genelecs aktiva elektroniska komponenter för bass-management för stereo- eller multikanalsljud ger våra subwoofers i LSE™-serien lågfrekvenslyssning som inte kan fås någon annanstans. Resultatet är en produktserie med överlägsen teknisk prestanda: Genelecs LSE-serie med subwoofers är unik, komplett och ger konsekvent prestanda som inte liknar några andra produkter på marknaden.
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
We’re certainly more accustomed to seeing Genelec’s flagship Smart Active Monitor range, The Ones, gracing high end production studios. The list of accolades from producers and musicians worldwide who appreciate the extraordinary imaging, accuracy and transparency of the world’s most compact three-way studio monitors, is extensive to say the least. However, there is no reason that a private residence cannot benefit from the same levels of performance as a professional studio — and that is exactly what Jarno Vihonen decided for his Joensuu home in eastern Finland.
Jarno — a self-confessed audiophile — is no stranger to Genelec, having used them in his living room for years to enhance his movie-watching and gaming experience.
“A plethora of creators, from musicians to sound designers for video games use Genelec loudspeakers as the tools of their trade,” he explains. “Above all, I want to recreate that sound in my home environment and hear their work exactly as they intended it to sound. Genelec’s GLM calibration software works to correct the worst humps and slopes in frequency response that come with the peculiar shape of my listening space."
“My initial setup was a 5.1 configuration implemented with compact 8020B loudspeakers and a 7050B subwoofer,” he continues. “As living room setups go, that was pretty advanced for its time, although once The Ones were released, there was no question of me not investing — I upgraded to my first Ones setup with the 8351As in the L-C-R positions, plus 8340A two-ways as rears. Size-wise it worked perfectly for my living room space, and in terms of audio reproduction, it was a class above. However, when I met Pasi Pönkkä from Genelec through one of their ‘Calibration Tours’ he made it sound even better.”
I want to recreate sound in my home environment and hear their work exactly as they intended it to sound.
Genelec offers regular Calibration Tours in Finland for which customers can register online and explain their Genelec Smart Active Monitoring setup. A Genelec specialist then arranges a time to visit each customer to discuss loudspeaker placement and the room’s acoustics, before using their deep knowledge and extensive experience to help the customer perform some fine-tuning of their setup. “I found talking to Pasi about my setup, as well as others that he had worked on, very insightful,” recalls Jarno. “He was obviously very experienced in working with clients to get the most out of their systems in a variety of spaces, from home setups using The Ones, to professional studios for top recording artists."
“Pasi’s manual fine-tuning of the system’s GLM calibration settings yielded improved results over my own purely automated calibration, plus I also got some pointers as to how I might tackle some of the challenges that my asymmetric space presented.”
“Jarno’s unusually shaped space definitely warranted some special attention when it came to calibration,” agrees Pasi. “GLM’s AutoCal automatic calibration algorithm has been a fantastic tool for the majority of circumstances but when there are particular anomalies to overcome, as in this instance, a bit of manual tweaking can make a real difference. It also happens that some customers in home environments prefer a bit more ‘air’ or ‘flavour’ in the tone rather than a completely flat calibration — and so some subtle manual fine-tuning can also help in this situation. But, the new GLM 4.1 update — which features the next-generation AutoCal 2 algorithm — does a lot of this work automatically, so customers should find that there is generally much less fine tuning required now after the initial AutoCal calibration.”
GLM’s new, next-generation AUTOCAL 2 algorithm has contributed tremendously to the end result.
After the Calibration Tour, as Genelec expanded The Ones range with new models plus an upgrade to the 8351A, Jarno was tempted again, specifically to upgrade his front row of 8351A loudspeakers. “I had initially thought about upgrading to the same size of speaker, going from the 8351A to the 8351B which offered increased SPL, greater LF extension and additional room compensation controls. But ultimately, I settled on the larger, more powerful flagship 8361A which promised the ultimate listening experience. My aim was also to future-proof my setup in case I have the opportunity to build a bespoke space for an immersive system with Dolby Atmos and the like, in the future.”
In upgrading to the 8361As, Jarno also decided to tackle some of the acoustic challenges inherent in his unusually shaped listening space which features a double height ceiling in certain areas. All the speakers were repositioned, including his recently upgraded surround speakers (now 8341As) and the 7380A subwoofer. He also added pleated curtains to dampen reflected sound from some of the bare spaces in the living room, as well as some cleverly concealed acoustic panels to help with reverberant sound.
So, now that the new setup has ‘bedded in’, how does Jarno feel about the results? “At first glance, I thought the 8361As were comically large — any pictures of them don’t really do the size justice,” he says with a grin. “However, I’m used to it now so it’s less of a shock!"
“When it comes to the listening experience, I’m really enjoying it; the new speakers add a very substantial layer of nuance, especially in the lower frequencies. I’d liken the difference to running the 8351As uncalibrated versus calibrated — the low end was always there, but when uncalibrated it could sound overbearing in my space. I think beyond the upgrade in hardware (as well as the physical size of the speakers over what I had previously), the availability of more nuanced calibration controls on the 8361A model, and GLM’s new AutoCal 2 calibration algorithm, have contributed tremendously to the end result."
“Also, in switching over to the larger speaker, I’ve found my subwoofer doing far less of the heavy lifting, since I’m no longer passing the lower frequencies from the main speakers to it. As such, it’s now free to exclusively handle LF when playing surround media like movies and games, which also makes a considerable difference. I’m really loving what we’ve achieved here, it’s everything I’d ever hoped it would be.”
Thrilled as he is with the current setup, Jarno’s ambitions don’t stop there: his aim is to expand the setup further with overhead speakers for an immersive setup. “Video game developers are slowly but surely moving on from traditional surround sound to adopting Dolby Atmos for their next-generation titles. That’s my goal for future upgrades — although it’s one that I’ll probably put off until I have a new space to work with, though!”
"Marco Guadagno and Laura Ciafaloni wanted to keep this operation secret from the first steps to the last, and incredibly they did it," explains Donato Masci from Studio Sound Service, the acoustic design firm responsible for the design and construction of the facility.
As a company, 3Cycle had a history of using various studio facilities around Rome for dubbing work. But strong growth, combined with client support led to the decision to create a dedicated space of their own. While it was important that the dubbing element was catered to, the team wanted to expand the business further and took the opportunity to create a post-production hub that could offer much more. As a result, 3Cycle features seven ADR dubbing rooms, a pair of 5.1 QC rooms, two 7.1.4 Dolby Atmos Home Entertainment rooms and a Dolby Atmos theatrical room.
Genelec monitors were the right choice for 3Cycle because they are a standard for post-production facilities around the world.
The design work was carried out by Studio Sound Service’s team of designers made up of Donato Masci, Cecilia Torracchi and Giulia Bondielli, with the acoustic consultancy of Andy Munro. “We have designed a lot of studios together and created a sort of standard for post-production and dubbing, which is recognised and appreciated by numerous broadcasters,” says Donato Masci from Studio Sound Service. “3Cycle wanted to reach an international level and therefore we decided to also involve Andy.”
“3Cycle’s studios have been designed and built following the latest R&D in acoustics,” he continues. “In particular, the acoustics of the recording rooms have been given a neutral balance with the reduction of colouration and artifacts that can affect the final mixing of voices in all forms of media. The control rooms and mixing environments have been given a different approach, to match established international standards and Dolby certification requirements.”
Alongside the cutting-edge acoustics, Genelec Smart Active Monitors feature prominently throughout the facility. Each of the seven ADR rooms feature L-R 8330 monitors with an 8340 for the centre channel. The QC rooms are both equipped with 8340 monitors and a 7380 subwoofer for the 5.1 setup. Finally, the two Dolby Atmos Home Entertainment rooms have been installed with flush-mounted L-C-R S360 monitors, 8340s for the surrounds and overheads, and a 7382 subwoofer delivering the low frequencies.
“Genelec monitors were the right choice for 3Cycle because they are a standard for post-production facilities around the world,” states Masci, explaining the reasons behind selecting the studio monitors. “In addition to this, the GLM loudspeaker manager software helps a lot for the fine tuning, even if the rooms already sound really good.”
With this project taking place during the pandemic, there were obvious challenges. The Studio Sound Service team had difficulty travelling from their headquarters in Florence to the site in northern Rome (as Tuscany remained isolated from Rome for months) meaning that the supervision of the construction site was carried out from a distance. “It definetely wasn't a walk in the park,” notes Masci. “The construction was slowed down by numerous inconveniences related to the pandemic, but nevertheless all the collaborators made all the leaps so as not to accumulate large delays.”
Another major challenge came from isolating the facility. However, With Munro’s assistance, the team managed to create perfectly floating rooms that were mechanically decoupled from the structure. “All the recording rooms have been isolated using floated, room-within-room construction with vibration isolation throughout,” explains Masci. “Control rooms have also been given appropriate isolation, to avoid interference and also to allow accurate monitoring of the recordings themselves.”
the GLM loudspeaker manager software helps a lot for the fine tuning, even if the rooms already sound really good.
Reflecting on the overall project, Masci is proud of the end results. “The 3Cycle facility is the largest post-production facility that we’ve designed. It was a challenge but in the end it gave us great satisfaction. 3Cycle’s partners Marco Guadagno and Laura Ciafaloni, and CTO Simone Nobili, believed in us from the beginning and this was very important for us. Of course, during the implementation phases there were difficult moments, especially linked to respecting deadlines which were affected by the pandemic, but the 3Cycle guys have always shown a great and sincere sense of satisfaction.”
This reaction has been mirrored by the local industry, particularly following the secrecy around its creation. “Obviously when the facility opened, it was a big surprise for the city, and talent and producers are still talking positively about the first experiences they had,” says Masci. “It seems they really appreciate the acoustics, but also the general comfort of the rooms that have a particularly refined design.”
Throughout his career he has strived for the sound of classic British recording which subsequently led to his enviable collection of analogue gear including a large-format desk and numerous pieces of outboard equipment - and ultimately the creation of his own studio in Kerala. To ensure he achieved the best possible results with his studio, Krrishna turned to Genelec Smart Active Monitoring for the perfect full range solution.
“I have a sound of my own, so each gear selection is based on that particular sound and workflow,” explains Krrishna, discussing the racks of outboard equipment in the studio. “Investing in all of that advanced gear without a great sounding room would have been a failure, so I got to work. It took more than three years to develop my studio’s console room and recording hall. I designed the rooms in ‘golden ratios’ myself and I’m quite happy about the sound I’m getting there now.”
The 600-sq-ft mixing space required monitors which could excel in both coverage and sound quality. Krrishna trialled 10 to 15 monitor speakers to try and find the correct solution for the space, and as part of this process spoke to the experts at Sound Team – a company from which he has bought a large amount of equipment over the last few years.
It’s punchy, wide sounding, with great translation and offers an unbelievable accuracy in the low end.
“Varun spoke to me around mid-2019 about setting up this new room and we discussed a few Genelec monitor options to consider,” recalls Sound Team’s Shiv Sood. “We finally locked on the 1238DF with the 7380A subwoofer. Varun was looking at a high powered three-way active monitor but didn’t want to flush mount the monitors. The 1238DF was perfect as its cabinet depth is around 10 inches, and coupled with the 7380A makes a perfect full range monitoring solution.”
“I couldn’t be happier about what it delivers,” adds Krrishna. “It’s punchy, wide sounding, with great translation and offers an unbelievable accuracy in the low end.”
Genelec made my mixes much greater by providing hyper-detailed monitoring.
Tuning the space saw Genelec Loudspeaker Manager (GLM) software technology put to use. “I recollect that prior to ordering the system, Varun had questions about calibration, phase alignment, level matching and so on,” notes Sood. “As a solution provider you can so confidently explain to him how GLM effectively helps sort all these issues out, and provides the ability to set up all of this even by himself. I believe the sonic experience customers are getting is because GLM really plays a central part in the loudspeaker performance coming together.” Krrishna agrees, describing the GLM integration as “flawless”.
The new monitor setup is something that Krrishna is clearly very happy with. “Genelec made my mixes much greater by providing hyper-detailed monitoring,” he states. “I thank my friend Shiv from Sound Team, who was a great help in choosing and getting the right Genelec speakers for my room.”
Having embarked on his recording career back in 1992 through his production company Lindberg Lyd, Lindberg set up the 2L record label to specialise in high quality recordings featuring Norwegian composers and performers and an international repertoire. To raise the bar of sonic excellence even further, Lindberg has recently upgraded the monitoring system in his post production studio, deploying Genelec smart active monitors and woofer systems in a 7.1.4 configuration.
Lindberg explains that “Once you've experienced immersive audio, then coming back to stereo is really difficult. When I started doing recordings back in the early 90s, stereo was our perspective to work with, it was what we had. Then came surround sound in the early 2000s, and that opened up a whole new wide image to music reproduction. When we started to experiment with immersive audio, what we expected to gain with adding the height dimension was to simply increase the level of detail and resolution. How much space would be available to the instruments and to the musical lines, the size of the canvas available to the chords, and so on. But, that was not what we got. What we got was an emotional component. By adding the third dimension of the soundscape, the emotional impact to the listener was increased tenfold.”
Lindberg’s newly upgraded post production facility is designed specifically for the editing, mixing and mastering of immersive audio. Compatible with both Dolby Atmos and Auro-3D, the monitoring system is largely based on models from ‘The Ones’ series, starting with seven 8351B coaxial three-way monitors in the bed layer, all complemented by W371A adaptive woofer systems. The height positions are handled by four of the lighter, more compact 8341A models, with a 7380A subwoofer handling the LFE. Additionally, an 8320A compact two-way nearfield monitor sits atop the 7380A, to provide an upwards frequency extension above 120 Hz. This acts as a checkpoint into the true content of the LFE channel before it is distributed.
The intention with the W371A was really to reach down into that tactile, haptic aspect of sound, to reach down into the part of the sound experience which transitions from audio into the vibration range.
“I found that the coaxial design of The Ones gives amazing imaging not only in surround, but it actually adds to the full surround and extends to the height dimension, preserving that precise detail of our source,” he continues. “All The Ones models that we used have full bandwidth capabilities on their own, so the intention with the W371A was really to reach down into that tactile, haptic aspect of sound, to reach down into the part of the sound experience which transitions from audio into the vibration range.”
Lindberg goes on to explain that “Our whole body is actually a very sophisticated sensory system and the body’s experience of music is much broader than our traditional definition of audio. There are different directivity modes you can use on the W371A woofer which might help out if you’re in a smaller or compromised room - but in a room like this, which is spacious and has an overall good sound quality - I found that the basic complementary mode of the W371A sounds to me the most open and natural extension into the tactile area, where it kind of moves your belly.”
What I found most useful about GLM is how ‘elastic’ it is in terms of how many speakers we can connect to the network, and how they are placed and configured.
Lindberg uses Genelec GLM loudspeaker manager software to connect, calibrate and control the monitoring system. “By measuring out our listening positions and our workspace we can do some pretty clever optimising of the speakers to this particular room,” he comments. “What I found most useful about GLM is how ‘elastic’ it is in terms of how many speakers we can connect to the network, and how they are placed and configured. Additionally, GLM can also act as a monitor controller, giving you access to all the speakers.”
But while experience, expertise and the finest technology are obviously essential components in Lindberg’s impressive recording toolbox, it’s also clear that he has never lost sight of his real mission in music. “A perfect recording for us, is if we can make you cry…or laugh. It’s about emotions.”
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:
In the wake of the unmitigated success that is G Livelab Helsinki, the Finnish Musicians’ Union has opened a brand new – and bigger – venue in the vibrant city of Tampere, some 200km north of the Finnish capital. The same team was deployed to realise the Tampere project which is built according to the same ‘music first’ philosophy as Helsinki. The result is an extraordinary live music experience based on quality programming, modern design, and state-of-the-art Genelec audio systems including the ground-breaking new 4430 Smart IP loudspeaker.
Housed in a striking red brick building which was formerly the boiler house of the Frenckell paper mill in the heart of the city, the venue hosts up to 250 people and offers a hugely varied programme including jazz, folk, world music, pop/rock, chamber music, electronic music and more. Akukon Oy designed the acoustics, electroacoustics, lighting, sound, video, communication systems and basic IT structure as well as the rigging systems, as they did for Helsinki, and leading Nordic AV integrator, Bright – another key member of the Helsinki team – brought Akukon’s vision to life.
“Genelec was already a tried and tested solution with the first G Livelab project in Helsinki which has had great reviews,” explains Bright’s Head of Installation, Santtu Sipilä. “People really liked what we achieved in Helsinki, so it was an obvious decision to equip the Tampere club with Genelecs as well.”
The biggest difference between the two venues is the space – Tampere is much bigger with significantly higher ceilings. Although this posed certain challenges in terms of acoustic treatment, it also allowed greater freedom for the audio design.
The second notable difference is the use of Genelec’s 4430 Smart IP loudspeakers which weren’t available at the time of the Helsinki installation.
“We definitely wanted the new 4430s for easier cabling and added control; it’s opened up a world of possibilities for us,” admits Sipilä. “We have a fully networked system running on Dante – this includes the big loudspeakers used for the main PA – and any of the 4430s can take any signal from anywhere. This means that we can use the same loudspeakers for virtual acoustics, surround sound, background music, delays… the possibilities are endless, and it’s enabled us to considerably reduce the total amount of loudspeakers required in order to achieve what we wanted. We are able to make art with loudspeakers and we are not limited in any way in terms of how we can use the system.”
Tapio Ilomäki, the project manager for Akukon, agrees: “Our primary objective was the same as for Helsinki: to deliver a high-quality system with high musicality that serves the performer best. However, the versatility of systems and spaces was a key element of the design; modern venues need to be multi-purpose and they have to be able to facilitate these changes as quickly and easily as possible, for optimum functionality and quick return on investment. The use of the 4430s plays an important role at this level as well as offering extremely musical sound with very low distortion.”
The ability to have everything delivered over just a single cable is every installer’s dream.
Sipilä is also extremely impressed with the PoE (Power over Ethernet) capabilities of the 4430s. “We were really surprised by the SPLs and sound quality from this size of loudspeaker over PoE. We honestly didn’t think it was possible, so yes, we’re very impressed. The ability to have everything delivered over just a single cable is every installer’s dream, so I think that Genelec’s Smart IP range will be figuring in a great many of our future designs!”
In addition to the 4430s, the main PA system comprises a pair of 1236 SAM studio monitors, the flagship of the Genelec range, seventeen S360s for surround and delay, a pair of 1238s as the first delay line, and finally a flown sub array of nine 7380 subwoofers. “We didn’t have either the height or the space to include subs in Helsinki, so this is a welcome addition in Tampere which gives us some extra headroom in the system and helps add body and fullness to the sound,” continues Sipilä.
When you come here to listen to live music, it will most likely sound even better than it did on the record.
Renowned Finnish singer/songwriter, Markus Nordenstreng of Tuomo & Markus and the Latebirds considers G Livelab as his favourite venue for intimate performances. “Some of the best music I have ever heard has been live, but sound quality is often let down by the venue, either through bad acoustic treatment or a sub-par sound system – or both. What you have here at G Livelab is just the opposite end of the scale – for me it’s the ultimate live sound experience. When you come here to listen to live music, it will most likely sound even better than it did on the record – you can hear things you never heard before. It would be a great service to mankind if there was a G Livelab in every city around the world!”
The final word goes to Annamaija Saarela, CEO of G Livelab Tampere: “G Livelab isn’t just about the technology or the programming – it’s about the whole experience of enjoying live music, and I’m proud to say that in bringing together the best of everything and everyone involved, we have achieved a result that is even greater than the sum of the parts. We’ve had nothing but positive feedback since we opened, both from the public and musicians alike.”
Pressure Cooker Studios, a respected music and sound design house specialising in music production for film, television and advertisements, has recently moved into their new purpose-built studio facility in the centre of Cape Town, designed by world-renowned studio designer Martin Pilchner of Pilchner Schoustal International Inc. Genelec is at the heart of this new facility, with its local distributor, TruFi, supplying monitors for all of its recording studio spaces.
From humble beginnings in the basement of a house 10 years ago to a 355 square metre studio space, the new facility is exactly how the Pressure Cooker team had envisioned it from the outset, and features two main control rooms which sandwich a main studio proper, a 7.1 post theatre with adjacent ADR booth, five writing rooms, an independent isolation booth, reception, lounge and common spaces. James Matthes, Co-Founder and CEO of Pressure Cooker Studios notes: “We wanted to make our space as comfortable, but also as technologically advanced as possible – we spend so much time here, so it definitely had to feel lived in, making it a homely but premium space.”
Helping the Pressure Cooker team achieve this feat was Genelec’s GLM software. “The GLM system is fantastic in that it assists with all the relevant calibration of any one of the monitors within the array in terms of EQ and phase alignment,” notes Neil Leachman, Final Mix Engineer at Pressure Cooker. “After the system is aligned and EQ'd I spent a small amount of time just setting up levels for the individual outputs to align properly to the recommended levels for cinema monitoring for surround and R128 compliance. But the GLM system is invaluable in the setup.”
Pressure Cooker has been using Genelec stereo and surround sound monitoring systems since the company was founded, and this trend continues in the new facility. “Every room in the facility has Genelec!,” smiles Matthes “From buying my first pair over nine years ago, I have never looked back – each monitor is fantastic. The sound produced is so clean, natural and unadulterated – nothing colours it, and I just love that.”
Each room in the new facility has utilised Genelec monitors in one way or another; Matthes has a pair of 8040 nearfields in his writing room, there are three 1238A three-ways fulfilling the LCR role behind the screen in the 7.1 theatre, with two 7380A 15-inch subwoofers and 8040s as surrounds - while the smaller rooms all have 8030 nearfields. “We chose a uniform approach with Genelec because we wanted to be able to move from room to room and feel comfortable from the moment we hit play.” Matthes continues.
“For example, if I go from a writing session to the composition suite, or start doing a mix with a client in the theatre – my ears aren’t going to trick me. I find with Genelec, you don’t need any other reference monitor at any point, since they just naturally translate very well.”
The first true test for Pressure Cooker’s new facility was the film ‘This is not a burial, it is a resurrection’ that was premiered at this year’s Venice Film Festival. “This was the first film we mixed using our Genelec system and particularly for the international market, it converted amazingly,” says Matthes. “The film’s producer told us how clear and brilliant the sound was, which makes me very confident in the set-up we have, and confirms that our decision to choose Genelec for the whole facility was the right one.”
The Finnish Music Hall of Fame is Helsinki’s most recent and innovative cultural landmark. Located in the newly redeveloped Pasila district of the Finnish capital, already noted for its vibrant street art, the museum is attracting visitors in droves thanks to the unique concepts that have been deployed to depict the history of Finnish music.
Genelec was approached from the outset to be a part of this exciting project, the design and installation of which was awarded to renowned Nordic AV integration specialists, Bright.
“Genelec is the world leading company in professional audio monitoring,” says Music Hall of Fame board member, Olli Ilmolahti. “We knew that Genelec has been researching and developing products over many decades and already has much experience in this field.
"We wanted to have the best of the best, so Genelec was the perfect choice."
As the Finnish Music Hall of Fame, we were not ready to make any compromises concerning the listening environment and sound quality. We wanted to have the best of the best, so Genelec was the perfect choice to be a part of the story of Finnish music throughout history.”
The new music museum offers a multisensory experience for all music lovers covering genres from three centuries - from symphonies to Finnish rap music to folk and heavy rock plus everything in between - made possible by utilising the newest technologies available. The aim was to provide an interactive museum experience at a whole new level, offering visitors the chance to experience full musical immersion and a dive into the textures of music. Virtual technology enables visitors to embark on spectacular musical journeys whilst modern sound technology permits them to explore the roles that various instruments and voices play in a symphony orchestra, a mixed choir and a military band. Visitors can make their voice heard by performing on Finland’s finest stages, from the Helsinki Music Centre to Olavinlinna Castle on a virtual karaoke tour, and much more besides.
Genelec’s new Smart IP platform was an absolutely key element in making all of this a reality. Genelec worked with Bright and various content creators to establish the optimum audio design for each space and each exhibit. Bright deployed 124 of Genelec’s new 4430A two-way, active installation loudspeakers throughout the museum - the first model to incorporate Genelec’s ground-breaking Smart IP technology. The Smart IP platform enables IP networking via both Dante and AES67, and derives power via both PoE and PoE+ Power-over-Ethernet formats. As well as receiving both power and audio-over-IP, the 4430’s rear panel CAT connector also allows access to Genelec’s Smart IP Manager – a sophisticated downloadable software tool running on Windows 10 that allows installers to configure an almost unlimited number of rooms, zones, speakers and audio channels, and includes device discovery, versatile room equalisation, system organisation and status monitoring. External control via third-party hardware, software or house automation is also possible.
“We were responsible for designing a digital experience system with the possibility to change exhibitions efficiently when required,” says Bright’s Head of Installation, Santtu Sipilä, who worked closely with Genelec throughout the design and installation process. “As this was the Finnish Music Hall of Fame, some extra attention was needed regarding the sound quality. We investigated several other music museums to ensure that our solution would deliver the best sound quality of them all.
The decision to use Genelec was clearly a determining factor in achieving that goal, and the possibility of using the new networked loudspeakers made it even easier. The Smart IP technology enables us to drive each loudspeaker independently, and that opens up a wealth of opportunities for immersive sound experiences.”
In order to ensure the best possible audio experience, particular attention was paid to the acoustics of the museum during the design stage: “Even the best loudspeakers are no good if the acoustics don’t work!” says Santtu with a smile. “We also had to pay careful attention to the network to be able to run perfectly synchronised sound and video at the same time. Again, the Smart IP platform played an important part in making this work successfully.”
The Board members are thrilled with the results, and customer feedback confirms the success of the project. “The Finnish Music Hall of Fame is full of technology - virtual reality and digital technology are used to convey music, video, audio, sound effects and live music. I strongly believe that the sound world and acoustics form the most important and memorable experience at the Music Museum from the customer’s point of view,” says Olli Ilmolahti. “Genelec´s new Smart IP technology was a perfect choice for us, offering a complete solution with the highest quality and flexibility which means savings in working time, maintenance and investment costs. We achieved everything we wanted and more, and the immersive sound world and listening environment in certain areas of the Fame Music Museum - as well as the neutral, transparent sound throughout - is something to be experienced. Customer feedback has been nothing but positive.”
Mikko Vanni, chairman of the board for the museum, agrees wholeheartedly. “We wanted to use the most advanced technology available, and all the technological solutions devised by Genelec and Bright have been successful. We have been able to leverage this by informing the media and our main target groups that we have a very advanced Genelec solution (including an immersive voice system) combined with other sophisticated technology, which has given added value to the content credibility of the museum. We think that the Genelec system is amazing - the vocal reproduction throughout the venue is truly special. We set out to achieve a level above what is already out there, and we’ve done it. We’re delighted with the results.”
Anchored by a 2,200-square-foot, three-studio complex, it offers a main recording space with variable acoustics, a drum room with a removable floor to reveal six Foley pits, four isolation booths, and a machine room enabling interconnectivity through the entire studio complex. What it also has now are monitors from Genelec, the leader in active monitoring technology for four decades, in the two main control rooms, installed there this past spring.
The main control room now has a 5.1 monitoring array comprising Genelec 8351A Smart Active Monitors™ as the L-C-R front array, a pair of 8341A Smart Active Monitors as the rear-surround array — all part of Genelec’s “The Ones” series of products — and a 7380A Smart Active Subwoofer™. The second control room now has a Genelec 8020.LSE Espresso 5.1 monitor system with five 8350A Smart Active Monitors around the room and a 7050B Studio Subwoofer. The systems’ Smart Active Monitor technology allows them to make the most of all modern acoustic environments.
“It was time to update our monitoring, and we wanted a speaker that would be consistent throughout the studio complex,” explains Michael Harvey, Program Director, Audio Technology, Dept. of Performing Arts, at American University. “We wanted the mixes to be able to translate seamlessly between the two main control rooms. But just as importantly, we wanted our mixes and recordings to translate accurately everywhere else, too. We wanted speakers that would let our students become familiar with what leading engineers and producers use every day. That is Genelec.” Harvey says the two Genelec-equipped studios are of different sizes, but the two different Genelec speaker series they bought are both perfectly suited to each room’s dimensions and acoustics, yet also provide the brand and response consistency that they sought, so that as mixes and recordings move from studio to studio, students always hear a familiar tonality.
The company has recently transformed an old red brick factory building into their new Miltton House headquarters in Helsinki. High quality audio visual technology naturally plays a key role in the new venue. Systems integration specialists, Digisähkö Oy, who were charged with designing and installing the AV systems, selected Genelec loudspeakers throughout, for a premium audio experience.
Designed as a physical meeting place and an inspiration hub as well as a workplace for Miltton’s talent and its stakeholders, high quality AV systems were a priority from the start. “The investment in Miltton House represents the next phase in Miltton’s growth story,” explains Camilla Linniemi, Partner & Director at Miltton Group. “The ways of working are under constant change and the best ideas happen when people connect in a meaningful way.” To that end, in the early stages of the project, Miltton engaged top acoustic consultants and AV designers, Akukon Oy, to come up with an initial design, which was then developed and refined by Digisähkö as the project progressed.
They are extremely aesthetic, so they blend well into every environment, and so very easy to install.
“Akukon had specified that the speakers should be ‘separate, high quality active loudspeakers,’ so as far as we were concerned, Genelec was the obvious choice,” relates Digisähkö CEO, Jani Hirvonen. “The brand is synonymous with quality and matched all of Miltton’s criteria concerning sustainability. It was a very easy decision.”
Digisähkö installed a total of 50 loudspeakers from Genelec’s 4000 Series installation range throughout the building. 42 compact 4020 speakers equip Miltton’s wide variety of meeting and conference rooms. Two of the more powerful 4030s grace the company’s airy entrance lobby whilst a pair of the heavy-hitting 4040s are reserved for the demo room. “The 4000 Series loudspeakers make life very easy for us as an integrator,” confirms Hirvonen. “They are extremely aesthetic, so they blend well into every environment; they are active loudspeakers, and so very easy to install; there is a good range of mounting accessories; and of course, they sound fantastic with incredible clarity and detail, even at low levels.”
We asked for a design that would combine flawless audio quality with sufficient power and coverage.
However, there was one area where Miltton had very specific – and high-level – requirements, and that was for their 350m2 event space in the heart of the building, known as Tori. Designed for events of up to 500 people, the space is easily adaptable for the style of the occasion – from cocktail parties to seminars – with seating for up to 300 people. The audio system needed to be similarly versatile with the ability to cater for everything from a DJ or live band to seminar material.
“The requirement was clearly for a high output, high fidelity sound system with connections for a DJ mixer, which is a very different animal from a conference room system,” notes Hirvonen. “We asked Henri Ulmanen at Genelec to come up with a design that would combine flawless audio quality with sufficient power and coverage to fill the space with no hot spots or dead zones.”
Ulmanen decided on a main system of two S360 smart active loudspeakers supported by two powerful 7380 subwoofers for low end reinforcement, supplemented by four 4040 loudspeakers (two per side) as delays/sidefills. “I decided on the S360s because of their excellent, neutral reproduction and a long-throw capability that delivers reference-quality accuracy at listening distances of over 10 metres,” explains Ulmanen. “Combined with the 7380 subs they are an excellent solution for any environment looking for premium quality, high SPL vocal and music reproduction in a compact form factor.
“Another important element was the fact that, as a smart active loudspeaker, we can use our GLM software to configure and optimise the S360s to compensate for any detrimental room influences,” he continues. “The Tori event space has a pretty industrial feel with concrete floors and lots of floor-to-ceiling windows, so this was very helpful in ironing out anomalies, especially when the room is being used at full capacity.”
All of the AV systems and the Helvar Dali lighting throughout the building are controlled by the Control4 automation system, via individual touch screens in each of the meeting rooms and the Tori event space for easy operation. Digisähkö implemented the integration between the systems as well as the installation of all of the AV technology.
“We’re very proud of this installation and Miltton are thrilled with the results,” said Hirvonen. “They wanted a modern, high quality, sustainable AV solution that is versatile, easy to operate, and reflects their values as a company. Genelec ticked all the boxes and integrates perfectly into the total solution. It’s a great success all round.”
The Shanghai Vocational School of Contemporary Music has a noble aim: to cultivate professional talents in modern music production and performance. With the support of the Shanghai Municipal Government, it has set about this undertaking by creating a studio complex that will establish a high-level music training base to cultivate market-oriented students. Ensuring that the students are using the best possible equipment, Genelec Smart Active Monitors have been installed throughout the new facility.
During the early stages of development, Shanghai SunYart Digital Technology Director Alex Wei created a basic layout for the facility and continued to refine the plans alongside Technical Director, Zhang Minggang. Technical Execution was provided by He Weier, alongside world-renowned acoustician, Sam Toyoshima. One of the key factors for the team was creating a facility that would combine acoustics and aesthetics to the best effect. “Mr Toyoshima is an acoustic designer full of design aesthetics,” says Wei. “I wanted this project to meet the acoustic requirements and to have visual impact, to have that ‘wow’ factor, so our ideas fitted well.”
Genelec monitors have gained a good reputation in the industry, and were an inevitable choice for this project.
The design choices fitted well with the more technical decision to select Genelec Smart Active Monitors precisely calibrated with Genelec’s GLM Loudspeaker Manager software throughout the complex, with the monitors’ minimalist design and classic colour scheme complementing Mr Toyoshima’s modern, condensed aesthetic style. “Genelec monitors have gained a good reputation in the industry, and were an inevitable choice for this project,” explains Wei.
Beyond the style of the studio complex, a great deal of technical thought has gone into its creation. Take for example the large 300m2 recording studio with its variable reverberation time. The space features more than 70 rotary columns with different heights and diameters, and different sizes of sound absorption holes - which are used to achieve a reverberation time ranging from 0.8 to 1.2s.
The control room for this space features a pair of 1236 main monitors embedded in the floor-to-ceiling window. The team had a vision of making the monitors look as if they were floating in the glass, but faced challenges with the weight of the monitors and the assembly. Wei worked with Toyoshima’s design, calculated the angle, centre of gravity and friction at the bottom accurately, and compared various construction materials and methods. With this worked out, the two 1236 monitors were installed, remaining consistent with the 6 degree inclination angle of the glass.
I think the high-quality equipment and creative atmosphere provided by the school can train a group of future-oriented sound engineers better and faster.
In addition, three 8351 coaxial nearfield monitors have been placed on retractable stands - which don’t impede the sound from the main monitors when lowered, but can then rise mechanically to provide a 5.1 system for surround mixing. These are accompanied by two 7380 subwoofers. “8351 monitors give a very modern sense of science fantasy,” Wei explains. “When they are combined together with the 7380 subwoofers, it’s as if you are piloting a spaceship in Star Wars!”
A further unique teaching space comes in the form of the ‘staircase classroom’, where students sit on steps rather than traditional seating. On one side of the classroom there is a large floor-to-ceiling window, looking into a studio. When the teacher is working, the students can enter the studio to watch or observe through the glass from the steps outside. Above the mixing console, a high-definition camera displays the teacher in action via a projection screen, while Genelec 1238 three-way monitors relay audio to the class.
The project also created four other recording spaces, including a mastering room on the ground floor fitted with stereo 1238 monitors and a 5.1 system comprising 8351s and a 7370 subwoofer. Additionally, a multifunctional 5.1 teaching studio features 8260 monitors with a 7370 subwoofer, and two small practice studios in the basement are each equipped with a pair of 8351 monitors.
Staff at the school describe the results as going “beyond our expectations” and Wei is clearly proud of the innovative complex that has been created. “What we’ve ended up with here is excellent sound quality, and very accurate sound image positioning,” he comments. “The teachers at the school, the professors at Shanghai Conservatory of Music, and the visiting professors from other schools think that this is the best studio they’ve ever seen.”
For his part, Toyoshima agrees: “I think the high-quality equipment and creative atmosphere provided by the school can train a group of future-oriented sound engineers better and faster.”
How GLM™ (Genelec Loudspeaker Manager) Software Works
What is GLM (Genelec Loudspeaker Manager)? | One Minute Masterclass Season 2 Part 9
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.
LowBeats magazine's online review of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German.
{"fi-FI":"LowBeats magazine's [review](https://www.lowbeats.de/test-aktivmonitore-genelec-1238a-mit-subwoofer-7380a/ "Test Aktivmonitore Genelec 1238A + Subwoofer 7380A \u2013 Trio Grande") of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German, and it is written by Jürgen Schröder. It was published on LowBeats website in September 2018.","ru-RU":"LowBeats magazine's [review](https://www.lowbeats.de/test-aktivmonitore-genelec-1238a-mit-subwoofer-7380a/ "Test Aktivmonitore Genelec 1238A + Subwoofer 7380A \u2013 Trio Grande") of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German, and it is written by Jürgen Schröder. It was published on LowBeats website in September 2018.","de-DE":"LowBeats magazine's [review](https://www.lowbeats.de/test-aktivmonitore-genelec-1238a-mit-subwoofer-7380a/ "Test Aktivmonitore Genelec 1238A + Subwoofer 7380A \u2013 Trio Grande") of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German, and it is written by Jürgen Schröder. It was published on LowBeats website in September 2018.","en-US":"LowBeats magazine's [review](https://www.lowbeats.de/test-aktivmonitore-genelec-1238a-mit-subwoofer-7380a/ "Test Aktivmonitore Genelec 1238A + Subwoofer 7380A \u2013 Trio Grande") of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German, and it is written by Jürgen Schröder. It was published on LowBeats website in September 2018.","sv-SE":"LowBeats magazine's [review](https://www.lowbeats.de/test-aktivmonitore-genelec-1238a-mit-subwoofer-7380a/ "Test Aktivmonitore Genelec 1238A + Subwoofer 7380A \u2013 Trio Grande") of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German, and it is written by Jürgen Schröder. It was published on LowBeats website in September 2018."}
Hitta Din Återförsäljare
Ange din stad för att hitta din närmaste Genelec-återförsäljare

Dokumentation
Dokument
Operating Manual 7380A SAM™ Series Full Line Catalogue Bass Management User Guide Daisy-Chained Subwoofers and LFE Channel Management Immersive Solutions BrochureFAQ
The Classic 8000 Series monitors have an analogue input. The 7200 Series SAM subwoofers have AES/EBU digital outputs only. However, other 7300 Series SAM subwoofers have analogue inputs and outputs and can be used also with analogue monitors.
Which SAM™ Products You Are Going to Mix With the Classic 8000 Series?
Mixing 8000 Series and SAM™ monitors is not recommended
We do not recommend mixing Classic 8000 Series monitors with SAM™ Monitors.
If the analogue input sensitivity of 8000 Series and SAM™ Series monitors are the same, Genelec SAM™ Monitors exhibit a slightly larger latency (< 5 ms) than 8000 Series monitors. Therefore Classic 8000 Series and SAM™ Series monitors should not be mixed in a stereo pair or multichannel setup.
It is alright to mix Classic 8000 Series with SAM™ Subwoofers
However, it is okay to mix the Classic 8000 Series monitors with SAM™ Subwoofers. Any Classic 8000 Series monitors can be used with SAM™ Subwoofers, in any stereo or multichannel setup.
Setting the room response calibration controls
Genelec monitors are calibrated flat in anechoic free field conditions. When the monitor is placed in a room close to walls or other boundaries, the low frequency output of the monitor increases. To achieve a flat low frequency response an adjustment of typically -4 dB on the bass tilt control is used. Genelec also provides a bass roll-off control to compensate for any remaining excessive LF energy around the low cut-off frequency.
Genelec GLM AutoCal can implement a more precise compensation after measuring the acoustic effects produced by the monitor’s installation location.
Differences in room reverberation time and listening distance can lead to changes being required in the treble region so treble tilt is fitted to most of the models in the Genelec range.
In three-way monitors and large main systems there are additional driver controls for the bass level, mid level and treble level which enable very fine adjustment of the frequency response so that the monitors can be placed in many different listening environments, whilst still achieving a consistent and neutral sound reproduction.
The best way to set the room response controls of a Genelec monitor is by taking an acoustical measurement at the listening location, using a measurement system for those products that offer local controls (DIP switches) on the monitor or subwoofer, or by using GLM AutoCal for the SAM™ (Smart Active Monitoring) products.
LowBeats magazine's online review of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German.
LowBeats magazine's review of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German, and it is written by Jürgen Schröder. It was published on LowBeats website in September 2018.
hello
Got Questions?
Search our support portal for articles on frequently asked questions:
You can also submit an enquiry to our customer support team here.