7370A SAM™ Studio Subwoofer

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!”

With numerous number one records under his belt, Juh-Dee now has the luxury of his own beautifully-equipped home studio in Duisburg, complete with Genelec 1234 and 8331 Smart Active Monitors.

“The first time I made it to #1 with a single was actually in 2020. That was with the song ‘90-60-111’ from Shirin David, and that was a great feeling,” comments Juh-Dee. “Then with Apache, we were 3 weeks at #1, and that song was replaced at #1 by another Apache song that we produced. And the next tune after that also went straight to the top spot!”

But it’s obvious that Juh-Dee sees Germany’s love for rap music as way more than a passing trend. “I don't see this as short-term popularity. That hype has actually been there for a long time, since 2008/2009. It just never reached the masses because at that time the distribution wasn't there. Kids didn’t buy CDs, they just downloaded the songs illegally at that time. But when that started to subside, people bought more CDs again. Now, in the era of smartphones, with streaming and YouTube, that's the reason it won't go away. It’s become the new Pop music.”

You can hear clearly the whole frequency spectrum and the tweeters are really nice!

Juh-Dee’s preference for studio monitoring has always been large, wall-mounted main monitors, so the Genelec 1234s were an obvious choice.

“In a great studio, there has to be speakers in the wall,” he insists. “I did my first mixes here and I was really surprised at how ‘real’ the 1234s sound, even at high volume. Having heard my first mixes, I realised what made the difference. You can hear clearly the whole frequency spectrum and the tweeters are really nice! They don't bite, they are really honest. That was important for me.”

The 1234s are complemented by a 7370 subwoofer for even more LF control and precision. Juh-Dee explains that “I usually use the subwoofer when I'm working on deep 808s, for example, so I can really hear the whole spectrum down to 20 Hz and I can absolutely hear if they sound ok, or if there's any strange frequencies going on.”

But while Juh-Dee loves the high-SPL energy of his main monitoring system, his 8331 coaxial three-way nearfields from ‘The Ones’ series allow him to dial things down when he needs to.

“I use The Ones to double check things at a lower volume, so when I don't need the full blast of the big 1234s, they are really good for details,” explains Juh-Dee. “Also, when I'm mixing for too long with too much volume, I use the 8331s - and I can also easily control them using Genelec’s GLM software. It's super easy to quickly dial in changes, tweak the frequency response, change the volume, and do adjustments.”

Aside from the pure creative joy that his Genelecs are bringing him, Juh-Dee’s monitors are simply very good for business too, as demonstrated by the reaction of artists visiting the studio recently:

“The feedback was awesome, they all wanted to stay here. I think I worked with 3 new artists at that time, and they all called their management and said ‘Hey, you have to book us here for another session, we're not going anywhere else. Please, we need to come back next week!’”

Since their beginnings in 2009, the company has opened seven more restaurants and a cocktail bar in the Finnish capital of Helsinki and employs around 200 people. Farang, their flagship venue, has recently relocated to stunning new premises spread over two floors offering both public and private dining facilities plus a large bar. A key part of the overall experience is the soundscape, delivered by a comprehensive 4000 Series Genelec sound system, designed and installed by renowned Finnish AV integration specialists, 4Business Oy.

“The brief from Matti was very clear,” explains 4Business’s Janne Lankinen: “With the new premises, Farang is set to make even more of an impact on the Helsinki restaurant scene, so sound quality - along with everything else - had to be absolutely top notch. Genelec was an obvious choice for us as it matched all of the quality and reliability criteria – and Matti was already familiar with the brand as he’d used Genelec almost exclusively for his other restaurant projects.

“The layout and the surfaces of Farang were a bit of a challenge from an audio perspective,” Lankinen describes. “The feel is quite industrial with lots of exposed concrete and metalwork. There are no convenient - and sound-absorbing - false ceilings or wall panels to hide behind, so we had to make sure that all cabling, mountings and installation were done properly as everything was visible. It also meant we had to be very careful with our system design in order to minimise unwanted reflections and reverberations. The restaurant is situated in a building which also houses newly renovated offices, so we also had to ensure that there was no sound conduction through the structure to the other premises in the building, especially for the low frequencies. Finally, the restaurant is spread over two floors with a very large opening between them; not only did we need to design a system that would cover the whole area evenly with no dead spots or hotspots, but we were inevitably confronted with problems of sound leakage between the two floors.”

Lankinen and his team conducted exhaustive simulations to determine coverage before specifying a system comprising a total of 54 active Genelec loudspeakers and subwoofers. “We decided on the analogue 4000 Series loudspeakers - with Symetrix Prism DSP processors equipped with Dante I/O expanders for matrixing, EQ and delay - as it was a useful approach to optimise the overall cost,” notes Lankinen. “Our aim was to ensure that when you move around the space, the audio experience remains similar throughout, and that the sound pressure would not drop at any point in a way that you’d feel that the music was disappearing.

“We used a mixture of 4020s, 4030s and the powerful 4040s depending on required throw and maximum SPL. Every single speaker was meticulously aligned and DSP was adjusted individually for the best possible results. That, together with acoustic treatment to minimise leakage between floors has enabled us to achieve a system that works beautifully at low sound pressure levels throughout the restaurant, and still has enough power in reserve to be turned up when required for a real party atmosphere.”

For the 7300 Series smart active subwoofers that are mounted in the ceiling, 4Business designed a custom mounting solution that is mechanically isolated from the structure. This ensures that any vibrations are conducted into Sylomer absorbers rather than the hollow core slab which might cause unwanted disturbance elsewhere in the building. When it came to calibrating the subwoofers, 4Business used Genelec’s GLM software with AutoCal to speed up the final adjustment process and ensure that every element of the system was sounding its best.

Responsibility and sustainability are key principles for Farang, and Genelec supports and communicates these values.

“I’m delighted with the results,” reports Lankinen. “The audio system supports the Farang brand as a top-class, place-to-be venue in Helsinki. What’s more, responsibility and sustainability are key principles for Farang and BW Restaurants, and Genelec supports and communicates these values consistently, making them a perfect match. The atmosphere in the restaurant is social and relaxed thanks to carefully thought-out playlists and high quality sound support.”

We have crystal clear audio throughout that sounds amazing, yet doesn’t get in the way of conversation.

Matti Wikberg echoes Lankinen’s sentiments entirely. “All my goals have been achieved, and frankly, exceeded,” he admits. “Janne and his team identified the challenges from the outset and solved them beautifully. We have crystal clear audio throughout that sounds amazing, yet doesn’t get in the way of conversation, whether you’re two or ten people at the table. The right atmosphere enhances the experience immeasurably, and that’s what we’ve achieved here.”

One such post production house is Aurom Post Sound, who have deepened their commitment to immersive audio with the addition of a second 7.1.4 room, powered by Genelec Smart Active Monitors.

“With customers impressed with the kind of performance we were getting from our first immersive studio, we decided to upgrade our original 5.1 room to a 7.1.4 configuration,” explains Aurom’s owner Akhilesh Acharya – who is a sound designer and mix engineer in his own right. “That would mean we would have two rooms with Genelec 7.1.4 monitoring that can both offer multi-format post production.”

(L-R) Ajaykumar PB, Abhilasha Gautama and Aishwarya Acharya.

We all know as mixing engineers that if you want to get the right sound and translation, Genelec is the only option.

The project saw Genelec’s Indian distribution partner, Sound Team, work closely with acoustic consultant Ajay Kumar PB and the local team from Dolby to ensure that the room would offer the translation between the studio and the movie theatre that Aurom required, as well as meeting Dolby’s exacting standards in a challenging space. The facility’s first Atmos studio used 8240A monitors and a 7270A subwoofer for the 7.1.4 configuration, but due to the size of the second room a different solution was found for the new space.

“We all know as mixing engineers that if you want to get the right sound and translation, Genelec is the only option available,” says Acharya. “For the new room we are using 8340As as LCR, with 8330As for surrounds and overheads plus a 7370A subwoofer and 9301A Multichannel AES/EBU interface,” he adds. “These monitors were suggested by both Dolby and Sound Team in accordance with the room size, so that we can work on both theatre mixes and OTT platforms. We are absolutely happy with our monitoring chain.”

We were impressed with the way GLM’s Auto Calibration works, and gets you very accurate results.

With the solution designed, installation was a smooth process, taking five days from cabling to commissioning. One of the reasons for this was Genelec’s GLM calibration software.

“We were impressed with the way GLM’s Auto Calibration works, and gets you very accurate results,” says Acharya. “The ability to then manually tweak after the AutoCal stage really gives a lot of flexibility to the person calibrating the room. We have also made different setups in GLM so that we can switch at any time between presets for a 5.1 film mix, theatrical Atmos, OTT Atmos and stereo too.”

Reflecting on the overall project, Acharya is clearly satisfied with the choices that Aurom has made. “For a mix room everything is results oriented,” he reasons. “It’s all about translation. We have not lost a single client in the past 5 years. The main reason is, they have heard more or less the same mix in the theatres or at home. Customers are happy and we have been getting regular work. We have found a high-performance product with very good reliability, and we are extremely happy with our purchase of Genelec monitors.”

Now, Florence-based acoustic design specialist Studio Sound Service has dramatically transformed De Robertis’ personal studio, assisted by a Genelec monitoring system which the composer describes as “simply perfect”.

Perhaps best-known for his long-term, award-winning collaboration with celebrated filmmaker Gabriele Salvatore, De Robertis began working in his current studio space after relocating to the countryside near the Italian town of Lucca.

His twin passions of cinema and music come together within the studio, where he works with Fede e gli Infedeli, the eclectic group of musicians with whom he collaborates for film scores, and the Underground Supporters, a collective of young and talented DJs and electronic music producers from Lucca, who also organize the afterparty for the famous Notte Bianca all-night summer festival.

Until recently, however, the studio was extremely humble. In fact, it was so small, cramped and acoustically challenging that the composer nicknamed it ‘Loculo’ – literally, ‘the crypt’. However, Studio Sound Service’s complete reinvention of the interior was so dramatic that De Robertis has now renamed the studio Aldilà – meaning ‘Afterlife’.

“The control room was in a very narrow area with skylights and a low ceiling,” recalls Studio Sound Service’s Donato Masci, who worked to bring De Robertis’ vision to life. “These three factors presented critical problems that needed to be solved. The room was also very complicated to treat – we couldn’t add any treatment to the ceiling because Federico needed to retain the natural light. Finally, all of the walls were concrete, which created a significant booming effect.”

Having previously been described by Masci as possessing a “grey and gloomy look”, the space is now unrecognisable with an inviting palette of soft colours chosen by De Robertis.

Most importantly, the room’s acoustic problems have been solved. “We designed a full acoustic treatment, starting with a new concrete and masonry front wall where we flush-mounted two Genelec 1237 smart active main monitors,” explains Masci. “The front wall and the floor are the only solid surfaces, since the rest of the room is constructed with absorbent materials. We also used some diffuser panels to improve low frequency absorption and diffusion.”

Complementing the 1237 stereo setup is a 5.1 smart active monitoring system comprising five 8240 two-way nearfield monitors and a single 7370 subwoofer. Finally, Masci used Genelec’s GLM software to configure and calibrate the system. “GLM is critical when monitors are flush-mounted in a solid wall – in this case the low frequencies were raised by as much as 12 dB – but GLM controls the effect perfectly,” he says. “In an environment such as Aldilà, with so many compromises, GLM is of great help for fine-tuning.”

“I love my Genelec system,” declares De Robertis. “At the beginning it did change my work a little bit – my ears had to adapt to having perfect acoustics and perfect sounding speakers. But the transition was easy. The definition and quality of the sound remains unchanged right across the entire frequency range. My Genelecs are the jewels of my studio.”

Audio Lisbon had been working in 5.1 for a long time, so the ability to handle fully immersive content was a natural progression. “Being a new facility designed from scratch, it seemed logical to plan and install this format early, to avoid making changes in the future,” explains Pedro Carvalho, Partner at Audio Lisbon. “It is also a way for us to be able to offer other solutions to regular customers, as well as attracting new clients from other markets.”

Having made this decision, the next challenge was to find the right tools to enhance the studio’s workflow. “We considered several brands and systems for immersive audio monitoring,” recalls Carvalho. “We wanted auto-calibrated nearfield active monitors with an SPL that suited the room volume, and had AES/EBU connectivity so as to integrate with our Avid MTRX interface. Of course, they also had to sound good.”

It was at this point that Genelec’s local distribution partner Garrett Audiovisuais became involved in the project. “Ever since Genelec launched The Ones series of coaxial three–way monitors, we had been curious to hear what they could do,” says Carvalho. “After a visit to hear the 8351s at Garrett’s listening room, which happens to be nearby, all of our doubts were dispelled.”

It is a huge advantage to have a system that corrects minor anomalies in room acoustics.

Working with Marcelo Tavares from Audiodesigner for the acoustic design and Paulo Mendes for the technical design and installation, Audio Lisbon ultimately opted for an all–Genelec 7.1.4 Smart Active Monitoring solution. 8341A coaxial monitors have been installed in the LCR positions, while 8340A two-way monitors have been used for side and rear surrounds, and 8330A two-way monitors handle the ceiling channels. Two subwoofers have also been employed, to handle the LF content and provide bass management for the system. A 7370A subwoofer is coupled with the front and surround monitors, while the more compact 7360A model was chosen to partner the ceiling monitors.

Following the installation of the system, Carvalho describes the fine tuning possible with the GLM calibration software as “the icing on the cake”. “Although I had absolute confidence in Marcelo's work acoustically, it is a huge advantage to have a system that corrects minor anomalies in room acoustics, and makes it possible to store different calibration settings from 2.0 to 7.1.4 in a practical and effective way,” he reflects.

I'm a fan of these coaxial models. The quality and sound detail is impressive and the size/power ratio is amazing.

With the new post facility now fully operational, Carvalho is certainly happy with the results it has achieved and the new monitors in particular. “I'm a fan of these coaxial models. The quality and sound detail is impressive and the size/power ratio is amazing. Even though we have chosen a mixture of coaxial and conventional two–way models for our system, the balance obtained is really good. They also have a good dynamic range and good transient response. This investment represents an opportunity for expansion into other markets at both national and international level.”

The main recording space at Audioguy differs from others in the country since it consists of one large room which accommodates multiple artists together – rather than a series of isolated recording booths. By adopting this approach, the studio has been able to take advantage of the unique acoustic qualities of its recording room. “Typically, studios make the reverberation time as short as possible in order to record mostly the direct sound from the source, whereas Audioguy has a longer reverberation time of 2.7 seconds, more like a concert hall,” explains Jung-Hoon Choi, founder of Audioguy Studios. “We are able to record not only the direct sound from the source to the mic, but also a lot of reflected sound from the walls, ceiling and the floor. Our intention here is to produce music with a unique and colourful sound.”

This kind of environment has made recording in 7.1.4 an interesting process. “With the very long reverberation time, our recordings can emphasise the full benefits of 7.1.4 immersive audio by capturing all the resonances and the reverberation of the room,” says Choi. “We can record using an ambisonic microphone to capture the immersive atmosphere, and spot mics to capture the individual instruments. However, the ambisonic and spot mics tend not to blend well together, so we have tried to separate the two different microphone configurations by using the ambisonic mic to cover the .4 channel content, as well as the rear channel source. The front and side sources are then covered by the additional spot mics next to the instruments in order to capture the unique and atmospheric feel of the content.”

The results of this process are monitored and mixed using Genelec coaxial Smart Active Monitors, supplied by Genelec’s local Korean distribution partner Sama Sound. The system comprises three 8351As as LCR, eight 8331A monitors as surrounds and overheads – with a 7370A subwoofer handling LF duties, and the entire system configured, calibrated and controlled using Genelec GLM software.

“When you need to mix 7.1.4 immersive audio properly in a limited space, accurate monitoring is essential. The Ones’ point source quality is a must, and I would be very confused when making mix decisions without the standardised in-situ corrections of frequency response, level and delay offered by Genelec’s GLM software,” reflects Choi. “Using this system, the 11 individual monitors sound exactly as they should - which is very much focused. So, we can mix in the most precise and accurate way, and when the mixing is done, GLM makes it very convenient and easy to switch between 3D, binaural and stereo formats and analyse the differences.”

Having supplied the system, Sama Sound have themselves been able to deploy the studios as the perfect location for listening sessions and seminars, such is the extremely high quality of the monitoring environment. Looking to the future, Choi is also determined to get the best out of the new setup at Audioguy Studios. “As we now have this beautiful 7.1.4 immersive audio system, we will be actively recording, mixing and mastering more immersive audio content,” he states. “Aside from their extraordinary accuracy, it’s actually very interesting and fun to work with Genelec monitors!”

The New Children’s Hospital (HUS) in Helsinki is one of a kind. Over a million Finns contributed funds to build the new €170M state-ofthe-art facility which welcomed its first patients in late 2018. Focused on demanding, specialised health care for children, the new facility is a case study in patient-centric design that uses art and play – both recognised as key elements for a ‘healing environment’ - combined with the latest digital technology to provide the highest quality medical care in a safe, reassuring environment for the children and their families.

Part of the hospital’s innovative approach included the development of a buildingwide soundscape to create a soothing sonic environment for patients and staff. Genelec is proud to have contributed to this unique endeavour with the provision of nearly 100 loudspeakers, including 39 Genelec 8430A IP SAM™ loudspeakers which serve the soundscape project and were donated outright. Indeed, the soundscape design was recently awarded the Grand Prix in the soundscapes and ambient sound category of the 2019 International Sound Awards (ISA) in Hamburg.

The project was led by paediatrics specialist, Pekka Lahdenne, head of digital and innovations services at HUS who engaged Miikka Peltomaa, an ENT (Ear, Nose & Throat) specialist and keen musician. Dr Peltomaa’s brief was to create the best possible sound experience in one of the world’s most modern children’s hospitals. “My role was kind of CEO of the project,” he says with a smile. “I chose the professionals and collaborators for the venture, for which we had no budget, begged for donations (which was fun and easy) and looked after the project as it developed.

The project steering group consisted of me and Dr Outi Ampuja. Outi is an adjunct professor at the university of Helsinki and a recognised expert in noise analysis and the effects of noise, sound and silence on the human body. Her input was invaluable.”

The idea was to create a soundscape based on the visual theme of each of the hospital’s eight floors, starting in the underground car park. Inspiration was drawn mostly from the natural world as well as the much-loved Finnish Moomin stories; the ocean theme for the underground carpark gives way to the shore at ground level, through valleys, forests and mountains all the way up the stars on level eight. Dr Peltomaa recruited Antti Ikonen, Head of Sound in New Media at Aalto university and ten of his MA students for the mammoth task of developing the content.

“Firstly, the sound is generative, not looping, to avoid stress and ear fatigue,” explains Antti. “All the audio material is hosted in a single computer which generates and renders the soundscapes before feeding them out to each floor and location via the hospital’s IP network. Each soundscape contains ingredients from real sound environments like the ocean, the forest, the jungle, blended with all sorts of other elements that we either created or recorded ourselves or sourced from sound libraries. It was a huge undertaking.”

“The design and planning started before the building even existed,” he continues. “We discussed with the architects, doctors, electrical engineers, IT people, and Genelec how to implement this holistic technological system. The idea was not to fill the building with background music but to create a discreet, lowlevel ambience that is pleasurable and soothing for the kids but won’t disturb nurses or other staff.” A crucial element of the design was speaker placement, which was determined at the very outset of the project and effectively designed into the building to facilitate cabling and infrastructure. The soundscape is delivered via 39 Genelec 8430A IP SAM loudspeakers and ten AIC25 in-ceiling loudspeakers distributed throughout the hospital’s lobbies and corridors from the underground car park all the way up to the top floor. They are specifically not located in proximity to the nurses’ workstations so as not to disturb hospital staff, and neither are they found in patients’ rooms, operating theatres, meeting rooms or any other space that has a specific function.

“The huge advantage of using IP networked loudspeakers is that there’s no need for traditional audio cables when connecting the loudspeakers to the sound source (in this case an Apple Mac Pro computer running the audio engine). Without IP audio, the sound system would have required hundreds of metres of audio cable and would have been vulnerable to many kinds of interference,” explains Antti.

“In an IP audio network, the signal is conveyed as data via the ethernet cables of the computer network. In other words, the sound system is utilising a network which exists anyway. This, of course, is a huge cost saving. And last but not least, there’s no loss in the signal chain and the audio is reproduced perfectly in full quality.”

Jon-Patrik Kuhlefelt, sound technician and digital audio specialist from the Sibelius Academy at Helsinki’s University of the Arts, also played an important role in the technical system design and content planning for the soundscape. “The heart of the system is the Mac Pro running a Max/MSP patch,” he confirms. “A Focusrite REDNET PCIeR audio interface in the Mac Pro feeds Dante streams to a BSS BLU-806DA DSP processor, that is used mainly for muting all the loudspeakers in case of a fire alarm. From there, the outputs are fed to the Genelec 8430A IP SAM loudspeakers via AES67. Finally, we have a Focusrite REDNET AM2 feeding the AIC25s.”

“All system tuning and individual loudspeaker configuration is done directly in the Max patch rather than in the loudspeakers themselves, for the simple reason that if ever we need to exchange a loudspeaker for any reason, all we have to do is swap it out, configure the IP address and select the correct input stream – the new loudspeaker is automatically configured as the old one was, so there is much less risk of altering the sonics of the system by accident. Finally, since the Mac Pro is connected to the hospital’s existing IT infrastructure, we can easily control the system from anywhere in the hospital via VNC (remote desktop) using the hospital’s Wi-Fi. That’s a big help when working with a large distributed system like this.”

Another point worth mentioning is that because all of the Genelec speakers are active, there is no need to worry about finding room for amplifier racks. “There are nearly 100 Genelec loudspeakers throughout the building in total – in addition to those used for the soundscape project, there are over fifty 4000 Series loudspeakers (mainly the compact 4020Cs) found in meeting rooms and conference areas throughout the hospital – that would have been a lot of amplifiers to house!” says Miikka Peltomaa.

The final word goes to Antti Ikonen: “Genelec was an ideal partner for such an ambitious and challenging project as the New Children’s Hospital soundscape. In addition to providing the loudspeakers, Genelec helped the sound design team to resolve the technical issues which were inevitable in such pioneering work. We’re all very proud of what we’ve achieved here and hope it will be the blueprint for many projects to come.”

Over the years, Dutch studio designer and acoustician Jan Morel has formed an extremely successful partnership with superstar DJ producer Hardwell - having created two studios already, with a third planned for later this year. At the heart of this relationship are Genelec studio monitors - which help to give Hardwell the sound quality and low end control he requires.

Voted the world’s number one DJ in both 2013 and 2014 by DJ Mag and ranked at number three in the title’s top 100 DJs poll in 2018, Hardwell has developed a reputation as one of the most in-demand performers in the world. Having taken a break from touring, Hardwell’s recent musical focus has been back in the studios that Morel has created for him.

The most recently completed project saw Morel turn a bedroom in Hardwell’s lakeside home in the Dutch town of Breda into a top-of-the-line production facility. “Hardwell wanted to have an environment where he was able to work 24 hours without any signs of fatigue,” recalled Morel. “It was a special project because it was a challenge to create the best possible producer’s studio for a number one DJ in a bedroom!

“We needed to start from a large bedroom situation, which had a lowered concrete ceiling on one side,” Morel continues. “It was not easy to create a design where we would end up with the right acoustic balance, so as a solution for this we integrated the lowered ceiling into the acoustic shape and mirrored it on the opposite side of the room. After that we could build up the heavy stone front wall for the Genelec main system to complete the whole acoustic room shape.”

The system in question comprises a pair of 1034B main studio monitors with a 7073A subwoofer. “This is the perfect main monitor system for getting the best out of this room,” explains Morel, adding “I am still overwhelmed by the beauty and harmony of the room: the ambiance is amazing and the sound is brilliant. This certainly is a room where you can work for a full day without getting tired.”

Hardwell himself comments that “The whole room is one giant sweet spot - no matter where you are in the room, the sound doesn’t change.”

Moving on from this, the next collaboration will see Morel create a holiday studio for Hardwell on the Caribbean island of Curacao. Following the success of his home studio in Breda, Genelec will once again be at the heart of this new facility, with 1237A smart active studio monitors being specified along with a pair of 7370A subwoofers. “For me, when it comes to main monitoring systems there are no other alternatives now to the Genelec 1200 series,” he states. “They have all the qualities that you look for, such as high definition right across the frequency range and full dynamics at every level.”

With construction of this third facility underway (and we’ll bring you more news as soon as the project is completed), the relationship between Morel, Hardwell and Genelec looks to be going from strength to strength. “We will always work to deliver a final result that is beyond expectation and matches his number one status,” concludes Morel.

Founded in 1995, Sixième Son strategically reinforces brand recognition and enhances the customer experience specifically through sound, music and voice. With a team of highly talented composers and sound designers, the company has tailor-made audio identities for over 400 clients, including global brands such as Krug, Samsung, Renault and Coca Cola.

Sixième Son has a deep relationship with Genelec, both as a long-term user and also the company behind Genelec’s own sonic identity. As such, when the agency decided to update its studio monitors, there was only one choice. “Although our equipment was high quality, we had some very technical requests which required state-of-the-art monitors,” recalls Ella Duda, International Strategy Director at Sixième Son. “We had been using older Genelec models, which have served us incredibly well, so it was only natural that we sought out new monitors from the same brand. Like Genelec, we’re always looking for the finest sound quality so there wasn't any doubt which brand we would go with.”

Their speaker technology is compact without compromising the sound.

The studio decided to make the move from a 2.1 solution to a 5.1 setup comprised of three 8341A coaxial three-way monitors as LCR, a pair of the more compact 8331A coaxial models for the surrounds, and a 7370A subwoofer handling the low frequencies. “The need for a state-of-the-art system was accelerated mainly by the increase in demand for broadcast mixing for films,” explains Studio Manager Romain Morlat. “As such, we naturally gravitated to Genelec products due to their technical excellence, as demonstrated in ‘The Ones’ coaxial models that we’ve chosen. Additionally, their technology is compact without compromising the sound, so we could easily integrate their monitors into our space.”

The project looked to be moving ahead at speed until it came up against the same challenges that just about every project has faced in 2020. The new monitors arrived in France just as the country went into a national lockdown. Morlat received special permission to test the new equipment to ensure everything was in order, but public safety came first and the installation itself had to wait until France emerged from its lockdown.

The GLM software was essential to the proper set up and calibration of the system.

As soon as the country began to get back on its feet, Morlat set to work with the installation and commissioning of the new system, with Genelec’s GLM calibration software playing an important role. “We found that GLM was essential to the proper set up and calibration of the system, both in stereo and multichannel formats,” states Morlat. “We're very confident that everything is optimised.”

With the new solution installed and people returning to a safe working environment, the team at Sixième Son are quickly getting to grips with their new monitoring setup. “It has been an instant hit,” says Duda. “The precision that the solution gives us in terms of frequency and depth, is incredible.”

“Now that we have our Genelec setup, we can improve the way we work on complex projects – like a VR apartment tour which we recently completed – and be more creative at the same time,” adds Morlat. “As a bonus, the experiences that we give our customers at the studio are more immersive than ever. Now, since we can do absolutely everything in house, there’s no need to outsource for surround mixes. It’s a great feeling and a milestone for us.”

Reflecting on the project as a whole, the entire team is clearly delighted to have the 5.1 setup and believes it will serve Sixième Son well through its continued growth. “We are beyond happy and so grateful to have the new monitors in our studios,” Duda concludes. “We always strive to have good, quality materials, of course, but our new Genelec monitors take us to the next level.”

A wholly-owned R&D subsidiary of G-bits, the company employs enthusiastic games fans with one simple mission - to produce ‘unique and great games’. As a result of Leiting’s dedication to creating all-round immersive experiences for its users, the company recently commissioned a 5.1.4 game audio studio based around Genelec Smart Active Monitors.

"For a games company like ours, an audio studio is a must," commented composer and game sound designer Knuckles (Jianyu) Zhang, who led the studio project. "Our requirements are quite special, though. What we want is not just a recording studio, nor a standard mixing studio or a reviewing studio. To be precise, what we want is a ‘Game Sound Lab’ to assist us in the conceptual design of games.”

Originally conceived as a surround sound studio, the acoustic design and construction of the project was handled by Qiao Zhenyu of Huanyu Acoustics, who persuaded Knuckles to go fully immersive. “I knew that many games had already used the 5.1 format to produce sound. But Qiao suggested that since it was already 5.1, why not make it 5.1.4 by adding the 4 height channels? I realised then that immersive audio technology is no longer a new thing, and we as creators surely have to learn to master this format."

The studio then engaged the system integrator DMT to install a pair of Genelec 1234As as its main stereo monitoring system, with a 5.1.4 immersive system comprising eleven 8330A nearfield two-way monitors in all positions - complemented by a 7370A subwoofer. All the monitors were supplied in a stunning Polar White finish, and the entire system was configured and calibrated by DMT using GLM loudspeaker manager software.

Genelec's sound is very reliable. You can trust what you’re hearing.

Knuckles’ choice of Genelec monitoring was arrived at after many years of experience of working with other monitors - and actually avoiding Genelec in his earlier years, believing them to be too flat! “I used various monitors to evaluate my work in different rooms. Sometimes, it would sound fine on my own monitors in my own room, but the results would often vary when I’d listen to material in other spaces. So I’d start to doubt what I was hearing.”

He goes on to say “It was then that I realised that I needed a genuinely truthful monitoring system to do my work. Genelec's sound is very reliable. You can trust what you’re hearing, and you can be certain about what you create using them. When I use the 1234s to listen to material, I can immediately evaluate the quality of mixing.”

Knuckles is convinced that immersive audio is the format of the future for games developers. “In recent years, the domestic games industry has attached greater importance to the sound experience. As we look to the international market, we’re finding that more and more games with big-budget production are using immersive audio to create the sound experience. Because sometimes, we just want to step into another world and forget about real life, or even ourselves, for a while.”

He concludes by saying “While others here are still at the learning and building phase with immersive rooms, we already have the experience and a place to create immersive audio. Now we’re one step ahead, we’re ready to take the lead!"

Game sound designer Knuckles (Jianyu) Zhang