8040B

Studio Monitor

Upplev det sanna ljudet av din mix du erbjuds av den fantastiska prestandan och mångsidigheten som modell 8040B erbjuder.

Aktiva delningsfilter

Tekniken Directivity Control Waveguide (DCW™)


SPL

105 dB

Frekvensomfång

41 Hz - 25 kHz (-6 dB)

Mått

H 365 x W 237 x D 223 mm, med Iso-Pod™ (vy i tum)

Felfri prestanda

Inspelningstekniker världen över väljer 8040B för dess felfria prestanda med en SPL-nivå på 105 dB och lågfrekvens ner till 41 Hz. Det här är en närfältsmonitor som ger både klart ljud och mycket energi.

Tempo och tydlighet

8040B:s kabinett av återvunnet aluminium kombinerar transparent, ofärgad ljudkvalitet med unik estetik. Du kan jobba snabbt och effektivt och producera mixar som överförs perfekt. När du är klar med din session försätter funktionen Intelligent Signal Sensing (ISS™) automatiskt 8040B i ett strömsparläge som sparar energi.

Genelec

8040B Studio Monitor Dark Grey

8040B Studio Monitor White

8040B Studio Monitor Black

8040B Studio Monitor RAW

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Färgval
Levereras med:

1 x 8040B monitor
1 x strömkabel 1,8 m
1 x användarmanual
1 x IsoPod kit

Färgval

Genelec

8040B Studio Monitor Dark Grey

8040B Studio Monitor White

8040B Studio Monitor Black

8040B Studio Monitor RAW


SPL

105 dB

Förstärkareffekt

90 W Bass (Class AB) + 90 W Treble (Class AB)

Frekvensomfång

41 Hz - 25 kHz ("-6 dB")

Noggrannhet Frekvensomfång

± 2 dB (48 Hz - 20 kHz)

Storlek på högtalarelement

165 mm Bass + 19 mm Treble (vy i tum)

Mått

H 365 x W 237 x D 223 mm, med Iso-Pod™ (vy i tum)

Vikt

9.4 kg / 20.7 lb

Anslutningar

1 x XLR Analog Input


Nyckelteknologier

Aktiva delningsfilter

Tekniken Directivity Control Waveguide (DCW™)

Intelligent Signal Sensing (ISS™)

Iso-Pod™-stativ

Tekniken Minimum Diffraction Enclosure (MDE™)

Optimerade förstärkare

Skyddskretsar

Reflexportdesign

Rumskorrigering

Mångsidiga monteringsalternativ


Referenser

Genelec Calibration | Room EQ Wizard & DIP switches explained


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FAQ

Damping Materials Used in Our Monitors

Genelec products use various damping materials such as glass fiber wool, linen fiber wool, and polyester fiber based material (PES). The tables presented below provide a detailed listing of our monitor models and the type of damping material used in each model.

During operation, the air moving in and out of the monitor loudspeaker or subwoofer bass reflex openings does not emit significant amounts of fiber particle dust. The PES wool as material does not emit dust. The linen wool, and glass fiber wool can emit minimum amounts of dust during very high sound level operation. This fiber dust is not hazardous to health.

Studio monitors
SAM™ Studio MonitorsDamping material type
1032CPES
8320APES
8330APES
8340APES
8350APES
8130APES
8240APES
8250APES
8331APES
8341APES
8351APES
8351BPES
8361APES
S360PES
8260ALinen wool
1238CFLinen wool
1238DFLinen wool
1237ALinen wool
1238AGlass wool
1238ACGlass wool
1234AGlass wool
1234ACGlass wool
1236AGlass wool
SAM™ Studio SubwoofersDamping material type
7260ALinen wool
SE7261ALinen wool
7270ALinen wool
7271ALinen wool
7350ALinen wool
7360ALinen wool
7370ALinen wool
7380ALinen wool
7382ALinen wool
8000 Series Studio MonitorsDamping material type
8010APES
8020DPES
8030BPES
8030CPES
8040BPES
8050BPES
1000 Series Studio MonitorsDamping material type
1032BLinen wool
1037CLinen wool
1038CFGlass wool
1038BGlass wool
1038BCGlass wool
1034BGlass wool
1034BCGlass wool
1039AGlass wool
1035BGlass wool
1036AGlass wool
M Series Studio MonitorsDamping material type
M030PES
M040PES
7000 Series Studio SubwoofersDamping material type
7040ALinen wool
7050BNone
7050CLinen wool
7060BLinen wool
7070ALinen wool
7071ALinen wool
7073AGlass wool
Home Speakers
G Series Active SpeakersDamping material type
G OnePES
G TwoPES
G ThreePES
G FourPES
G FivePES
F Series Active SubwoofersDamping material type
F OneNone
F TwoPES
Home Theater Speaker SeriesDamping material type
HT210BLinen wool
HT312BGlass wool
HT315BGlass wool
HT320BCGlass wool
HT324AGlass wool
HT324ACGlass wool
HT330AGlass wool
Home Theater Subwoofer SeriesDamping material type
HTS3BNone
HTS4BNone
HTS6Glass wool
Installation Speakers
4000 Series Installation SpeakersDamping material type
4010APES
4020BPES
4020CPES
4030BPES
4030CPES
4040APES
Architectural Speaker SeriesDamping material type
AIC25PES
AIW25PES
AIW26Linen Wool
AIW26BLinen Wool
AOW312Glass wool
5041ALinen Wool

Input sensitivity can be controlled with a combination of a rotary controller and level range switches on the products. The sensitivity on SAM™ (Smart Active Monitoring) products can be set more precisely using the GLM (Genelec Loudspeaker Manager) software and a computer.

The nominal analogue input sensitivity in Genelec studio monitors is -6 dBu which produces 100 dB SPL audio output at 1 meter in an anechoic room.

The nominal digital input sensitivity is set so that a 0 dB FS digital input produces a theoretical 130 dB SPL sound level at 1 meter in an anechoic room.

The actual maximum SPL depends on the product capabilities and may be lower than 130 dB SPL.

Acoustic treatment

This is a very broad subject area covering room geometry, reverberation time, sound reflection and refraction, material properties, etc. However, we built a brief checklist to cover the most important features that a listening room should have. Once the room has been acoustically treated the studio monitors can be installed.

A Brief Checklist for Listening Room Setup
  • Ensure that the reverberation time is low and approximately constant with frequency.
  • Primary sources of reflection should be treated, so that reflected levels are at least 10 dB down from the direct sound pressure level at least during the first 15 ms after the arrival of the direct sound at the listening location.
  • The front wall should be hard and smooth if monitors are flush-mounted. The front wall can be absorptive if monitors are free-standing.
Setting Up Studio Monitors
  • Position the monitors according to the standard orientations (angles) from the listening position.
  • Position monitors at equal physical distance from the listening position, or use GLM AutoCal to electronically compensate for differences in monitor distances.
  • Position the monitors so that there are no cancellation effects from the side walls and the wall behind the monitor.
  • Turn the monitors towards the listening position horizontally and vertically.
  • Set the room compensation controls as suggested in the Operating Manual/Quick Setup Guide or use GLM AutoCal to compensate for the room acoustics in the case of SAM (Smart Active Monitoring) systems.
Damping Materials Used in Our Monitors

Genelec products use various damping materials such as glass fiber wool, linen fiber wool, and polyester fiber based material (PES). The tables presented below provide a detailed listing of our monitor models and the type of damping material used in each model.

During operation, the air moving in and out of the monitor loudspeaker or subwoofer bass reflex openings does not emit significant amounts of fiber particle dust. The PES wool as material does not emit dust. The linen wool, and glass fiber wool can emit minimum amounts of dust during very high sound level operation. This fiber dust is not hazardous to health.

Studio monitors
SAM™ Studio MonitorsDamping material type
1032CPES
8320APES
8330APES
8340APES
8350APES
8130APES
8240APES
8250APES
8331APES
8341APES
8351APES
8351BPES
8361APES
S360PES
8260ALinen wool
1238CFLinen wool
1238DFLinen wool
1237ALinen wool
1238AGlass wool
1238ACGlass wool
1234AGlass wool
1234ACGlass wool
1236AGlass wool
SAM™ Studio SubwoofersDamping material type
7260ALinen wool
SE7261ALinen wool
7270ALinen wool
7271ALinen wool
7350ALinen wool
7360ALinen wool
7370ALinen wool
7380ALinen wool
7382ALinen wool
8000 Series Studio MonitorsDamping material type
8010APES
8020DPES
8030BPES
8030CPES
8040BPES
8050BPES
1000 Series Studio MonitorsDamping material type
1032BLinen wool
1037CLinen wool
1038CFGlass wool
1038BGlass wool
1038BCGlass wool
1034BGlass wool
1034BCGlass wool
1039AGlass wool
1035BGlass wool
1036AGlass wool
M Series Studio MonitorsDamping material type
M030PES
M040PES
7000 Series Studio SubwoofersDamping material type
7040ALinen wool
7050BNone
7050CLinen wool
7060BLinen wool
7070ALinen wool
7071ALinen wool
7073AGlass wool
Home Speakers
G Series Active SpeakersDamping material type
G OnePES
G TwoPES
G ThreePES
G FourPES
G FivePES
F Series Active SubwoofersDamping material type
F OneNone
F TwoPES
Home Theater Speaker SeriesDamping material type
HT210BLinen wool
HT312BGlass wool
HT315BGlass wool
HT320BCGlass wool
HT324AGlass wool
HT324ACGlass wool
HT330AGlass wool
Home Theater Subwoofer SeriesDamping material type
HTS3BNone
HTS4BNone
HTS6Glass wool
Installation Speakers
4000 Series Installation SpeakersDamping material type
4010APES
4020BPES
4020CPES
4030BPES
4030CPES
4040APES
Architectural Speaker SeriesDamping material type
AIC25PES
AIW25PES
AIW26Linen Wool
AIW26BLinen Wool
AOW312Glass wool
5041ALinen Wool

Input sensitivity can be controlled with a combination of a rotary controller and level range switches on the products. The sensitivity on SAM™ (Smart Active Monitoring) products can be set more precisely using the GLM (Genelec Loudspeaker Manager) software and a computer.

The nominal analogue input sensitivity in Genelec studio monitors is -6 dBu which produces 100 dB SPL audio output at 1 meter in an anechoic room.

The nominal digital input sensitivity is set so that a 0 dB FS digital input produces a theoretical 130 dB SPL sound level at 1 meter in an anechoic room.

The actual maximum SPL depends on the product capabilities and may be lower than 130 dB SPL.

Acoustic treatment

This is a very broad subject area covering room geometry, reverberation time, sound reflection and refraction, material properties, etc. However, we built a brief checklist to cover the most important features that a listening room should have. Once the room has been acoustically treated the studio monitors can be installed.

A Brief Checklist for Listening Room Setup
  • Ensure that the reverberation time is low and approximately constant with frequency.
  • Primary sources of reflection should be treated, so that reflected levels are at least 10 dB down from the direct sound pressure level at least during the first 15 ms after the arrival of the direct sound at the listening location.
  • The front wall should be hard and smooth if monitors are flush-mounted. The front wall can be absorptive if monitors are free-standing.
Setting Up Studio Monitors
  • Position the monitors according to the standard orientations (angles) from the listening position.
  • Position monitors at equal physical distance from the listening position, or use GLM AutoCal to electronically compensate for differences in monitor distances.
  • Position the monitors so that there are no cancellation effects from the side walls and the wall behind the monitor.
  • Turn the monitors towards the listening position horizontally and vertically.
  • Set the room compensation controls as suggested in the Operating Manual/Quick Setup Guide or use GLM AutoCal to compensate for the room acoustics in the case of SAM (Smart Active Monitoring) systems.
Horizontal or vertical orientation?

Placing monitors on the meter bridge can cause the mixing desk to vibrate. This can affect the sound quality. To reduce mechanical coupling to the mixing desk, several Genelec monitors are equipped with a Genelec Iso-Pod™ rubber foot. However, a better mounting method is to place the monitors on stands behind the mixing desk sufficiently high, so that the bass driver is not obscured. Mounting monitors vertically increases the distance and angle of the off-axis reflection from the console surface. This reduces sound coloration caused by the desk reflection, usually between 1–2 kHz.

nf monitor and console interaction faq

Mounting monitors vertically increases the distance and angle of the off-axis reflection from the console surface

vertical-horizontal mouning freq response faq

Monitor positioned horizontally on the meter bridge of a large mixing desk (red line) shows comb filtering at 1 kHz and extends up to 7 kHz. The monitor was re-measured in vertical orientation (green line). The frequency response is flatter.

horizontal vertical positioning faq

Positioning monitors horizontally causes a notch at the crossover when moving to the side. Positioning the monitor vertically removes this problem.

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.

The key benefits of a reflex port opening in the rear of the cabinet

The main benefit of a reflex port in an enclosure is that it enables the loudspeaker to produce low frequencies at a very low distortion level, close to the frequencies where the bass reflex has been tuned. This enables very linear low frequency reproduction systems to be designed.

The bass reflex port allows air to move in and out. The reflex is effective if the energy losses of this air movement remain small. Because of this reason the reflex port is designed so that the speed of the air moving in the reflex port remains fairly small while the port is in resonance.

The direction where the bass reflex port is facing does not greatly influence the work of the bass reflex. While it is in resonance the reflex port generates low frequency sound. This sound sums with the low frequency sound output from the woofer at other frequencies. The distance and location of the bass reflex port is designed so that this summation works correctly.

If the reflex port is not sufficiently large, the air motion in the port can become turbulent (non-linear). This will dramatically increase air flow losses in the reflex port. The higher flow losses can cause the bass reflex to stops working. This will change the low frequency characteristics of the loudspeaker. In Genelec designs we take care to dimension the reflex port to have sufficient capacity to support the system up to the maximum sound level output.

Our reflex port design also minimizes the audibility of air flow in the port. That's because the port opening is faced away from the listener. When the air flow in the port generates noise, this noise is typically 10…20 times higher in frequency than the port tuning frequency. The flow noise is therefore rather directional, and by having the port opening in the back, this noise is well attenuated compared to having a port in the front and directing such noises towards the listener.

Summarizing the key benefits
  • It allows to have a maximized waveguide (DCW) area on the enclosure front
  • It minimizes acoustic diffraction as the front of the enclosure has no holes, vents or slots. This is especially significant near the tweeter.
  • The port opening, or flare, can be significantly larger, ensuring laminar flow up to high sound level outputs, high linearity and low system distortion at woofer frequencies.
  • It minimizes the audibility of air flow in the port.
Tips for a proper studio monitor placement

In several Genelec products the bass reflex port opening is behind the enclosure. When you push the loudspeaker close to a wall, a small gap to the wall is needed to enable the bass reflex to work at full capacity. Our experiences show that a distance of twice (2x) the port diameter from the wall to the enclosure back is a very safe distance.

How to Control the Volume

There are many ways to control the volume of Genelec analogue speakers. Some of the ways we recommend are listed below.

  • "Monitor" or "main L/R" output buss level control of your mixing desk
  • Monitor volume controllers.
  • Audio work station monitor outputs.
  • Power amplifier output with a passive (resistive) level attenuator.

Yes and No. Do not connect the monitors directly to a power amplifier output, as the monitor's input stage will be damaged. Use the simple attenuator design shown below. Be sure to make all of the connections shown to minimize noise interference. The 2-core method is preferred over the 1-core method as it gives increased noise immunity and less signal distortion. It is important that all of the connections are made otherwise there could be a loss of input signal level (e.g. XLR pin 3 left floating) or induced hum (e.g. chassis ground and audio ground connected together) due to ground loops.

Please note: do not connect the XLR chassis to XLR pin 1, as this will compromise the RF immunity of the monitor's electronics.

-connection to power amplifier

Amplifier speaker output (max 100W) to XLR input using 2-core or 1-core + screen microphone cable.


Warning!

  • Do not use this method on bridged amplifier designs as your amplifier may be damaged.
  • Speaker wires should be used between the amplifier and the attenuator.
  • Screened (shielded) wires should be used from the attenuator to the monitor input.
  • One attenuator is required per monitor channel.

Use the wiring diagram shown below. It is important that all of the connections are made, otherwise there could be a loss of input signal level (e.g. XLR pin 3 left floating) or induced hum (e.g. chassis ground and audio ground connected together) due to ground loops.

Please note: do not connect the XLR chassis to XLR pin 1, as this will compromise the RF immunity of the monitor's electronics.

connection stereo jack to 2x xlr 0

Wiring diagram for TRS Jack output to XLR input using 2-core and screen microphone cable.

It is important that all connections are balanced. Please note: do not connect the XLR chassis to XLR pin 1, as this will compromise the RF immunity of the monitor's electronics. A typical line output can drive up to 10 Genelec monitors and subwoofers. However, this must be checked case-by-case.

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.