8351B SAM™ Studio Monitor

The recent renovation of JMC Academy’s Sydney campus has seen two of its studios equipped with Genelec Smart Active Monitoring solutions. The new studios needed to give JMC’s students the experience of working with high-end professional equipment while also providing the longevity required by educational institutions.

JMC’s Sydney campus studios were fully redesigned from the ground up by architect Shaun Carter and interior designer Julie Niass, from architectural firm Carter Williamson. The renovation required the multifunction Studio A and the adjacent Studio C to have both surround and stereo monitoring configurations. Acoustic engineer Glenn Leembruggen of Acoustic Directions specified Genelec’s ‘The Ones’ series for the studio redesign and, with the help of Genelec’s Australian distributor Studio Connections, was able to deliver a quality design solution.

being able to automatically calibrate the monitor to sound neutral within any given room is a real benefit.

Having previously relied on a pair of 20-year-old 1034As in Studio A, JMC was aware of Genelec’s longevity. Centring around a 48 channel SSL Duality Console, the design team opted for 8361A monitors to be soffit-mounted into the wall in the LCR positions, with a pair of 8351Bs straddling the console bridge as stereo nearfields. Supporting these are 8340As for the rears and a 7360A for the sub, resulting in a fully independent 5.1 surround system. “For students to work on post-production video mixes or record a full band, Genelec monitors offer an amazing sonic performance,” says Paul Newcomb, Business Development Manager at Studio Connections.

Studio C was ultimately fitted out with a pair of Genelec 8351Bs, also seamlessly soffit-mounted into the wall and reproducing every subtle nuance of the music being heard in incredible detail. “The music seemed to float mid-air like a transparent three-dimensional puzzle,” adds Newcomb. “Robust and durable, they were able to perform at their breath-taking best and sounded fantastic.”

Due to the diversity of mixes and applications in each studio, the design team calibrated the entire installation with Genelec’s GLM loudspeaker management software, fully optimising every monitor for the room and allowing users to switch between monitors and maintain precise control of listening levels in each studio. “GLM always plays a major role in the sound of the monitors,” Newcomb explains. “Each space is different, and being able to automatically calibrate the monitor to sound neutral within any given room is a real benefit. The flexibility to set up and store groups, settings and listening positions is extraordinary – Genelec is definitely in a class of its own with this technology.”

JMC have provided their students with a great opportunity to learn their craft using monitors which tell the truth, sonically.

The final result has impressed the team at JMC as they’re now able to offer a space that audio engineers and producers are happy to work in. The studios boast an inspiring, world-class atmosphere, allowing students to access real-world experiences of audio engineering and production during their training.

“For students, facilities like JMC Academy are often the first time they get to experience a professional recording environment,” Newcomb concludes. “JMC have provided them with a great opportunity to learn their craft using monitors which tell the truth, sonically. We’re confident that their experience will be a positive one and that working with Genelec will become a partnership that they can trust in for many years to come.”

Multiple GRAMMY®-nominated producer engineer Jeff Balding, known for his work with a wide array of artists including Eagles, HARDY, Thomas Rhett, Carrie Underwood, Blake Shelton, Dan+Shay, Taylor Swift, Shania Twain and Megadeth, recently upgraded his studio and installed an all-Genelec 9.1.4 Dolby Atmos® immersive-sound system. Located in the heart of Nashville’s Berry Hill recording community, Balding’s new studio features a wide array of Genelec Active Monitors. Specifically, the horizontal array comprises nine Genelec 8351 Smart Active Monitors™ for L-C-R and surrounds (including two for wide coverage) and four 8331A monitors above the mix position acting as the overhead array, with two 7370A subwoofers handling bass management as well as the LFE.

“My interest in converting the studio to an immersive environment was spurred with Apple announcing that they’re diving into immersive audio, and considering that everyone has access to binaural mixes, immersive audio struck me as something that is here to stay, and it's something I wanted to be a part of,” stated Jeff Balding. “On top of all that, I’ve always tried to make stereo mixes more 3D, so this is a very instinctive format for me. A Dolby Atmos setup is an environment to hear in that perspective, and that was a big interest for me. It was an opportunity that I thought I should seize.”

When it came time to make a decision on what monitors to employ for his new immersive studio, Balding says the decision was easy. “I was looking for a speaker system not only that sounds great, but one that had an ease of getting consistency between speakers. It had to be an amplified speaker with the technology to manage the system. Genelec came to mind immediately, specifically with its GLM software for set-up and control. Ultimately, it delivers ease of use on top of the sound I wanted. I’m very familiar with Genelecs; I’ve been using Genelec 1031s for years, and then when The Ones came out, I stepped up to 8351s and a sub for stereo. So then, when I went immersive, I just expanded that system. I’m extremely comfortable with Genelec and happy with how it translates.”
Balding employed the GLM™ (Genelec Loudspeaker Manager™) software to help in the management of the immersive monitoring. “GLM is an integral part of my setup,” stated Balding. “I’m coming out of my I/O’s AES outputs and feeding the speakers’ AES inputs. So everything stays in the digital realm. The GLM software is key to flexibility and control of the Genelec system.”

As immersive production is a new and evolving realm, Balding checks his work a number of different ways to make sure the final product translates to a wide variety of playback sources. “I check the mixes not only on the Genelecs, but also on different components from Apple AirPod Max headphones to their spatial earbuds to regular headphones. And then, bouncing out an MP4 is currently our way of making a very close check of how the mix will sound when rendered by Apple,” said Balding. “You really have to just cross-reference everything. In a lot of these situations, there’s a stereo mix already out there or being released alongside the immersive mix. So, you have to make sure that you’re translating and conveying what the stereo mix delivers to the consumer, musically and emotionally, to make sure they feel like they're experiencing the same record when they hear the Dolby Atmos mix. It’s a complicated process, as listeners don’t necessarily always know which mix they’re hearing, because it might depend on the device, the software, the headphones, user settings or other factors. But whichever mix they are hearing, the experience must shine through. There’s a lot of QC that goes into immersive production. That’s a big part of the time involved in doing these mixes. It’s a similar process to something we’ve done for decades: doing a mix on a set of really nice studio monitors and then going, ‘Okay, how’s this going to sound in the car and on a boombox and whatever else the consumer plays it on?’ It’s basically the same process, just more intense because there’s a lot more going on when you fold down the immersive mix and compare it to stereo binaural.”

Currently Balding is working on a wide variety of projects with immersive mixes for Blake Shelton, Train, Thomas Rhett and a host of others. When asked if he was having fun mixing in immersive, Balding replied, “Oh man, I love this format, and I love mixing in immersive. I go back to what I said earlier: in my opinion, this is how you really want to experience music. And it’s how I want to create music as well. I look forward to coming in to the studio every day, because I feel like the creative playground is so much larger, and that excites me. In terms of both space and tonality, there is just so much at your fingertips you can do with an immersive project. Some may have a hard time adjusting to the format, but for me it’s a perfect marriage.”

“And I could not be doing what I do without the support from Genelec,” he continues. Genelec’s customer support has been unbelievable through all this. They helped me get up and running quick, right when I needed it. When the lockdowns started to subside, Genelec brought together everything needed to get me in motion quickly; I had immersive projects sitting at the door waiting to get in, and I needed to get to work. Genelec was right there in step with it all, making sure what needed to happen, happened.”

Jeff Balding, pictured in his newly upgraded studio featuring an all-Genelec 9.1.4 Dolby Atmos® immersive-sound system (photo by CJ Hicks)

Outside the gaming world, Yasunori contributes to a diverse range of projects, including music for TV, movies, and anime, whilst providing written material and production expertise for well-known artists, both in Japan and internationally.

Despite the diversity of his work, he’s very willing to share his views about his career highlights, saying that “I feel my work for Square Enix is my best, including Chrono Trigger, Xenogears, and many more of their titles.” He’s also worked with other game companies, gathering credits for more than 60 game soundtracks in his career, comprising of hundreds of songs altogether.

At the core of Yasunori’s whole operation is Procyon Studio, expertly set up with a Genelec Smart Active Monitoring system comprising five 8351B three-way coaxial monitors and two 7370A subwoofers, all calibrated with a GLM kit. Yasunori conceptualised the studio’s wooden environment as a way to feel close to nature and provide a large space with ample options for positioning his equipment. Occasionally, he moves his monitors to his second room, for example when recording orchestral parts in his main room. He feels that GLM calibration software is vital in these moments, telling us that “I can use GLM to listen in my other space with the same feeling I experience in my main room.”

Watch our exclusive video for the rest of Yasunori’s thoughts about optimal studio monitoring.

For more information about Yasunori Mitsuda visit:

PROCYON STUDIO: www.procyon-studio.co.jp Twitter : @YasunoriMitsuda

“I was doing an album with Roger Daltrey in Metropolis Studios, with mixes done by Michael Brauer, and they had just got the new Genelecs in,” recalled Eringa. “When we got the mix ready and played it on them and turned it up, I said, ‘Oh my goodness, these sound amazing!’ and that’s what started my ‘I’m going to need to do this’ kind of thinking! I thought I knew what to expect but then when I heard them, I thought ‘this is a whole different game – this is brilliant!’ I could hear everything so pinpoint and clear, and the bottom end was just so solid. I was definitely ‘in’ from the first listen.”

While hearing them in Metropolis was a positive first experience, bringing them in to his own Electric Daveyland studio would be a different matter. “I’m lucky enough to be friends with Andy Bensley from Genelec, and he came here and set them up properly for me with the GLM calibration software,” explained Eringa. “He was like ‘let’s see what your old monitors are doing,’ and you could tell he was definitely surprised by how flat they were. I think he thought ‘we’ve got a bit of a challenge here’, but he just blew them out of the water, obviously.

I could hear everything so pinpoint and clear, and the bottom end was just so solid. I was definitely ‘in’ from the first listen.

“Andy seems to think that in this room, these speakers without a sub are flat down to 30 Hz which is pretty wide, and I haven’t got enough good things to say about them,” he continued. “I haven’t moved anything by a millimetre. I first had to move a few things around the room that were creating reflections and such, so I’ve just left everything else as it is, because it sounded so good in the first place.”

Having previously used the same studio monitors for so long, the transition to an entirely new setup has provided a unique challenge. “It was a learning curve for sure,” reflected Eringa. “Having worked on one set of speakers continuously for 20 years, I definitely underestimated how easy it would be to change. But I was in the middle of mixing an album at the time, and once I’d got my head around them a week or so later, I started mixing 50% faster! It was amazing – a real game-changer for me.

The main thing for me is that they’ve made my job exponentially easier.

“I was definitely committed anyway, but it’s like a snooker player changing his cue, it doesn’t happen overnight,” he continued. “But then when it clicked, I ended up taking mixes into the house, into the car, and things were just sounding the same – and you can’t put a price on that. They’re great, I really love them.”

As much as Eringa enjoys the sound of the 8351s, the most important element has been the way it has helped him work. “The main thing for me is that they’ve made my job exponentially easier,” he concluded.

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.”

The gaming company, best known for selling over 2 million copies of ‘Human: Fall Flat in China’ within a week of launch, has opted for Genelec Smart Active Monitors in each of these spaces to deliver a pristine audio experience that helps the developers understand the environment that they are creating.

We found that not only does its smart calibration system provide an enormous advantage, the Genelec brand also has a fantastic reputation in the industry.

“In the early stages of the project planning, we decided to go with the Dolby Atmos monitoring system, so that both production and post production could be carried out,” stated Fang Wan, Audio Director of XD Inc. "After conducting extensive research on similar products, we opted for the Genelec system. We found that not only does its smart calibration system provide an enormous advantage, the Genelec brand also has a fantastic reputation in the industry.”

While Suzhou Pineapple Acoustic Engineering Co., Ltd, designed the acoustics for the Dolby Atmos mixing room and editing suites, the system integration and installation was handled by MusicKing (Shanghai) Cultural Development Co., Ltd. All three editing suites are equipped with 8330 nearfield monitors. For the immersive room, the designers chose the three-way coaxial 8351s for the LCR positions, and 8330s for the surround and overhead channels - with a 7360 subwoofer delivering the lower frequencies.

The entire system has been finely calibrated to produce the most accurate sounds for us to be able to create with confidence.

The new audio production spaces have already proven to be advantageous to XD Inc., providing the 20-person team with the space and technology to research and create the right audio for the games they are working on. The facility has received unanimous praise from the entire audio team, with the monitors proving particularly popular.

“The soundfield is immersive and the positioning is accurate,” reflected Fang Wan on the mixing space. “In addition, it has great resolution and sufficient detail. The entire system has been finely calibrated to produce the most accurate sounds for us to be able to create with confidence.”

Joel has spent the last 10 years playing clubs right across the UK and Europe. Growing up during the peak of the UK Garage era, Joel’s early musical influences included iconic figures like Todd Edwards, MJ Cole and DJ EZ, who continue to influence his musical output to this day.

Joel’s Platinum-selling breakthrough single ‘Sorry’ spent 10 weeks in the UK Top 10 in 2019, peaking at #6, and broke Shazam’s all-time daily record in the UK after receiving over 41,000 tags in one 24-hour period. He has since followed it up with further Platinum hit singles ‘Lonely’, which peaked at #4, and ‘Head & Heart’ featuring MNEK, which scored Joel his first ever UK #1 and is officially the longest-running consecutive #1 record of 2020, after spending six weeks at the top spot.

With his newly released single ‘BED’, Joel join forces with RAYE and legendary dance producer, David Guetta, on a track written to capture the feelings of longing experienced by so many during the pandemic.

Music doesn’t influence my life. It IS my life!

Based in London, Joel’s studio at the Tileyard Complex is equipped with Genelec 8351B smart active monitors and a 7370 subwoofer, while a pair of Genelec 8040 monitors in RAW aluminium finish adorn his home studio.

In this exclusive video you’ll see the depth of Joel’s dedication to his craft, and you’ll understand why he asserts that “Music doesn’t influence my life. It IS my life!”

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.”

Castrén & Snellman is one of Helsinki’s premier law firms with an enviable reputation in mergers, acquisitions and other specialised fields of business law. The company is also a pioneer of sustainable business practice in the legal services industry and was the first Finnish law firm to join the UN Global Compact initiative. The company recently carried out an extensive renovation of their client areas and staff workspaces, with the goal of taking the iconic 130-year old law firm to the next level. Castrén & Snellman turned to renowned Finnish AV integrator, 4Business Oy, who specialise in delivering tailored AV and automation systems. The solution integrated a large number of Genelec loudspeakers for flawless audio quality throughout the building.

Genelec products are a perfect match for the customer’s high quality standards.

“Genelec was simply an ideal choice for this project,” states 4Business COO Janne Lankinen. “On top of Genelec’s product quality, visual appearance and neutral sound reproduction, the company’s values and commitment to sustainable development fit beautifully into the original brief. Our aim was to modernise Castrén & Snellman’s activity–based office, including lobby areas, meeting rooms, conference rooms and training facility, with the requirement that the technology solutions would be as reliable and future proof as possible. Genelec products are a perfect match for the customer’s high quality standards, and their product lifecycle is the longest in the industry. Thanks to their sophisticated design and smart in-room calibration capabilities, Genelec products also reproduce the human voice very naturally, which makes them an excellent choice for video conferencing and speech reproduction systems.”

4Business installed a wide variety of Genelec speakers throughout the space depending on function, ranging from a pair of powerful 8351 Smart Active loudspeakers supplemented by two 7360 subwoofers in the 100-capacity event space, to the very compact 4010 and 4020 installation speakers for the wide variety of conference and board rooms.

Castrén & Snellman’s ICT Specialist, Mikko Kurhela, who worked closely with 4Business and Genelec throughout the project, describes the new system in their 100-person event space: “The solution we chose for music, speech and multimedia consists of two carefully tuned 8351 Smart Active loudspeakers, with two 7360 Smart Active subwoofers and an automatic mixer, all integrated into an easy-to-use AV system. The space is rectangular with the direction of presentation from the long wall into the room, so we needed wide angle speakers to ensure that speech is reproduced throughout the space with clarity and intelligibility. We also wanted high quality sound at low frequencies for music and multimedia, which we got by adding the two 7360 subwoofers. The speakers and subwoofers were tuned for the room using Genelec’s GLM calibration software.”

The Paja gym uses four ceiling-mounted 4020 speakers linked to a Sonos Port player for wireless music playback, while the music and speech sound system in the Tori café - which has a company library attached directly to the space - uses four 8430 IP loudspeakers. “Castrén & Snellman uses this multipurpose facility both as separate areas and sometimes as one large venue, for example for monthly company updates,” explains Lankinen. “The main challenge was to provide the flexibility for the customer to realign the layout without compromising reliability and ease-of-use. We solved this by using streamlined mobile screen stands with integrated custom loudspeaker mounts, with embedded AV-over-IP technologies for audio and video distribution combined with 8430 IP loudspeakers with their AES67 streaming capability. The customer can easily move these mobile units into the required position, and everything fires up automatically.”

Kurhela confirms that Genelec was ultimately a natural choice: “The stylish, uniform design language, audio quality, versatility and long lifecycle of the speakers were key values for us. The long lifecycle means that we’ll be able to re-use the speakers in different solutions following future renovations. As a company we are committed to finding sustainable solutions, so Genelec is a perfect fit for us from that point of view. The fact that they are an internationally renowned Finnish speaker manufacturer was also a plus.”

The final word goes to Janne Lankinen, who also appreciates Genelec products from a workflow perspective. “They are very familiar to our technical staff and thus are quick to install. Everything always works out of the box and we receive top notch support from the Genelec factory in Iisalmi. Shipments generally arrive right on time and there are no efficiency losses on site. We are able to deliver high quality, visually aesthetic, reliable solutions that last for years. It’s companies like Genelec who enable us to shine at what we do.”

Since the release of his third album ‘The Corner’ in 2008, Christian has carved his own niche as an in-demand songwriter and producer, working with artists including Tove Styrke, Zara Larsson, Veronica Maggio, Bo Kaspers, Tove Lo, Hov1, Petter, Juliander and Fläskkvarteten. He’s also launched his own independent record label, developing new artists such as Ellen Krauss.

In this exclusive One on One interview, Christian talks about his career, his approach to making records, his production techniques, and his Genelec monitors.

He tells us that “the luxury of working as a producer now, with a project like this, is to produce it – but at the same time stay out of the way!”

Watch the full video here.

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.”

Louis had more #1 singles in 2019 than any other producer or songwriter, including Post Malone’s ‘Wow’ and ‘Sunflower’,” Halsey’s ‘Without Me’, and ‘Sucker’ by the Jonas Brothers’. That same year he produced eight Top 10 hits, staying atop the Hot 100 Producers chart for weeks. And in September, he equalled Taylor Swift’s record for the most production credits –18 – in a single week on the Billboard Hot 100.

So fresh from his recent Grammy nominations for Post Malone’s ‘Hollywood’s Bleeding’ record, and its hit single ‘Circles’, we couldn’t wait to catch up with Louis down at his favourite room in West Hollywood’s Electric Feel Studios, fully loaded with Genelec 1035A and 8351B monitors.

The most important thing to me about my creative process is that I always feel like I'm getting the exact feeling I have in my head out into the world.”

In this exclusive Pro at Home video, Louis talks about the early days recording in his parents’ basement in Boston, and how even now he still relies on the same basic setup of mic, interface, laptop – and monitors! “The most important thing to me about my creative process is that I always feel like I'm getting the exact feeling I have in my head out into the world,” Louis explains.

I had never worked in such a wide open room before, but at least having the Genelecs there gave me some type of starting point and you know, I could kind of work around that.

Having created quite a hit factory in his room at Electric Feel, the latest Post Malone record saw Louis working in an ad-hoc studio space in Post’s home - using the same recording rig that had accompanied him on tour, which features Genelec 8351s. “I had never worked in such a wide open room before, but at least having the Genelecs there gave me some type of starting point and you know, I could kind of work around that.”

It’s clear that Louis’ close collaboration with Post Malone has created a bond that goes way deeper than just a musical relationship:

“He’s family to me. It makes me want to really enjoy every day of my life to the fullest, and find out how I can still play and find things in my life that are going to make me feel like a kid again, and that's what I'm always looking for at the end of the day – whether it's music, or just life in general.”

Genelec’s Smart Active Monitors are helping to make SOUND360 stand out from the crowd in South Korea, with the country’s first 9.1.6 Dolby Atmos studio. The SOUND360 studio is the creation of CEO Jung Hoon Choi, who is already a very well-known figure in the Korean music industry through his Audioguy record label.

“The recording room is designed for Dolby Atmos 3D audio, and immersive sound recording and mixing,” explains Ha Neul Lee, the audio engineer responsible for both stereo and Dolby Atmos mixing at Audioguy. “Reverberation time and acoustic treatment for the studio were also calibrated for 360-degree mixing with the surround monitors.”

The decision to create an immersive recording space was based on the belief that this is the direction that audio recording is moving in, while the 9.1.6 format was selected for its ability to deliver 3D mixes through popular consumer devices. “As you know, before immersive audio we used to have surround sound,” comments Choi. “We used to be able to produce multi-channel surround content, but not many consumers could play that content through a multi-channel playback system. For that reason, surround didn’t become standard.

Genelec monitors deliver consistent sound not only at loud volumes, but also at relatively low volumes so I can easily get the right balance of each instrument in the mix.

“Now that immersive audio is available, Dolby Atmos is one of the various immersive audio formats that SOUND360 currently offers,” Choi adds. “The mixes that are created by the 9.1.6 system here at the studio, can easily be enjoyed using just a simple stereo system like you would find on a typical mobile device. This compatibility is at last making 3D audio more accessible to the public, and it is becoming popular.”

When it came to the choice of monitors for the immersive space, Genelec was the only option. “For audio engineers like me, the importance of monitor speakers cannot be overstated,” says Choi. “One of the biggest reasons I have been using Genelec for a long time is because I tend to set the monitoring level slightly lower than other engineers, typically around 75 dB, and make it louder at certain points. Genelec monitors deliver consistent sound not only at loud volumes, but also at relatively low volumes so I can easily get the right balance of each instrument in the mix.”

Having opted to choose Genelec, SOUND360 worked with local Genelec distributor Sama Sound to create the 9.1.6 setup. The space utilises three-way coaxial monitors from The Ones series, and features three 8351s for the L-C-R channels, twelve 8341s as surrounds and overheads, and three 7370s as subs – with the whole system tuned and calibrated using GLM Loudspeaker Manager software. The all-Genelec solution has been a popular choice with the team of engineers working at SOUND360.

By using Genelec Smart Active Monitors with GLM, we were able to calibrate the monitoring systems for consistent sound from one room to the next.

“Genelec monitors allow users to calibrate and control with ease,” says Lee. “I feel so much gratitude for the 8300 series. If monitors sound different in different rooms, as an audio engineer, it feels like going through hell every day. By using Genelec Smart Active Monitors with GLM, we were able to calibrate the monitoring systems for consistent sound from one room to the next. We were even able to fix acoustical problems while working with the consistent sound. Now we have the room, which is acoustically well set up, and I am 99% satisfied with Genelec. I kept the 1% to spare my pride!”

SOUND360 is also proving to be a popular new facility for Korea’s musicians. “We’ve been working with various young emerging pop artists,” says Choi. “We’ve just finished Atmos mixing and mastering ‘THE SHOW’ live album by Black Pink. We’ve also worked with ITZY, TWICE, AKMU, LISA, STAYC, Beenzino, Treasure, Fisherman, BewhY, Giriboy, Sumin and Guckkasten, plus LEENALCHI Band’s album ‘Sugung-ga’ and ‘Please Don’t Go (Yeobonari)’ were also mixed here in Dolby Atmos.”

As the first recording space in Korea to offer a 9.1.6 setup, SOUND360 is already a pioneer. Through careful planning and the right choice of equipment it has every chance to succeed in its mission to help more people enjoy immersive audio.