High headroom three-way with unbelievable imaging. The 8341A is the point source monitor with the perfect blend of size and performance.
8341A SAM™ Studio Monitor

Smart Active Monitor (SAM™) Systems

Minimum Diffraction Coaxial (MDC™) Driver Technology

SPL
110 dB

Frequency Response
38 Hz - 37 kHz (-6 dB)

Dimensions
H 370 x W 237 x D 243 mm, with Iso-Pod™ (view in inches)

Work faster, for longer
For applications calling for extraordinary imaging, extended frequency response, short to medium listening distance or long, fatigue-free working hours, The Ones are in an elite league of their own. They promote faster and more consistent decision making, and they also extend listening time, because unnatural imaging - a main contributor to listener fatigue - is minimised.

Mixes that translate
As bigger brother to the super-compact 8331A, the 8341A offers increased LF extension and a higher SPL capability, so is ideally suited to slightly longer listening distances. In conjunction with our GLM calibration software, the 8341A will also compensate for detrimental room acoustics and distance delay, regardless of whether you work in mono, stereo or immersive formats. So now you can deliver mixes that translate beautifully - every time.
Access your Aural ID
Longing for your mixes to translate beautifully between monitors and headphones? Check out The Ones + Aural ID offer.
Read more ›
Genelec
8341A SAM™ Studio Monitor White
8341A SAM™ Studio Monitor Dark Grey
8341A SAM™ Studio Monitor Black
8341A SAM™ Studio Monitor RAW
1 x 8341A monitor
1 x mains cable 1,8 m
1 x RJ45 cable 5 m
1 x operating manual
1 x The Ones brochure
8341A SAM™ Studio Monitor
Awards

Genelec's The Ones monitors were awarded a "Producto del Año 2017" award by Hispasonic.

Genelec SAM™ Coaxial Studio Monitors 8331, 8341 and 8351, also known as "The Ones", were awarded with the MusicTech Gear of the Year 2017 award in "Product of the Year" -category.
Genelec's The Ones monitor series was awarded a Super AV Award 2017 in the category of Outstanding Overall Performance.

Genelec SAM™ Coaxial Studio Monitors 8331, 8341 and 8351, also known as "The Ones", were awarded with the MusicTech Gear of the Year 2017 award in "The Best Monitors" -category.
Genelec's The Ones monitors were awarded a IFTT C&C Award 2017 (International Film and Television Technology Creative & Craft Award).
Genelecs The Ones monitors were awardede a Beijing International Music & Hi-Fi Show award 2017 in the category of "Most Influential Product".
Genelec SAM™ Coaxial Studio Monitors 8331, 8341 and 8351, also known as "The Ones", were awarded a SOS Global Readers Award 2018 in "Highly Commended" -category.
Genelec 8331 and 8341 Compact Coaxial Monitors were awarded a TEC (Technical Excellence and Creativity) Award 2018 in the category of Studio Monitor Technology.
Genelec's The Ones series monitors were awarded a Resolution Award 2018 in the "Monitoring" category.
Technical Specifications

SPL
110 dB

Amplifier Power
250 W Bass (Class D) + 150 W Midrange (Class D) + 150 W Treble (Class D)

Frequency Response
38 Hz - 37 kHz ("-6 dB")

Accuracy of Frequency Response
± 1.5 dB (45 Hz - 20 kHz)

Driver Dimensions
2 x H 90 x W 170 mm Bass + ⌀ 90 mm Midrange + ⌀ 19 mm Treble (view in inches)

Dimensions
H 370 x W 237 x D 243 mm, with Iso-Pod™ (view in inches)

Weight
9.8 kg / 21.6 lb

Connections
1 x XLR Analog Input
1 x XLR AES/EBU Input
1 x XLR AES/EBU Output
2 x RJ45 Control
8341A SAM™ Studio Monitor
Technical Specifications
System Specifications
Frequency Response
45 Hz - 20 kHz (± 1.5 dB)
Low cutoff -6dB
38 Hz
High cutoff -6dB
37 kHz

SPL
Peak SPL Maximum peak acoustic output per pair in a listening room with music material at 1 m.
≥118 dB
Short term max SPL Maximum short term sine wave acoustic output on axis in half space, averaged from 100 Hz to 3 kHz at 1 m.
≥110 dB
Long term max SPL Maximum long term RMS acoustic output in the same conditions with IEC weighted noise (limited by driver protection circuit) at 1 m.
≥101 dB
Self-generated noise
Self-generated noise Self generated noise level in free space at 1 m on axis (A-weighted).
≤3 dB
Weight
Weight9.8 kg (21.6 lb)
Dimensions
Height
351 mm
Height with Iso-Pod
370 mm
Width
237 mm
Depth
243 mm

Enclosure
Enclosure material
Die cast aluminium
Enclosure type
Reflex port
Drivers
Driver type
Racetrack
8341A bass driver
Count
2
Width
170 mm
Height
90 mm
Driver type
Coaxial
8341A midrange driver cone (coaxial)
Diameter
90 mm
Driver type
Coaxial
8341A treble driver metal dome (coaxial)
Diameter
19 mm
Directivity


Harmonic distortion
> 100 Hz ≤0.5 %
Group delay
The latency at high frequencies from the input to the acoustic output, measured in the analog input:
Extended Phase Linearity in GLM set to OFF (top graph)
3.3 ms
Extended Phase Linearity in GLM set to ON (bottom graph)
7.0 ms
In Genelec performance graphics, the time of converting the from an electronic input signal to the acoustic output in a Genelec monitor is described by two factors – latency and group delay. The group delay factor can be read in the graphics for a specific frequency. The total frequency-specific input-to-output delay is a sum of the latency and group delay factors. To understand the significance of this total delay, consider that moving a loudspeaker away by 1 meter creates an additional delay of about 3 ms.


Amplifier Section
Amplifiers
250 W Class D
150 W Class D
150 W Class D
Mains voltage
100-240 VAC 50/60Hz
Power consumption
ISS Active
≤0.5 W
Idle
≤16 W
Full output
250 W
Signal processing section
Connectors
Input Analog signal input connector XLR female, balanced 10 kOhm.
Input Digital signal input connector XLR female 110 Ohm.
Output Digital signal output / Thru connector XLR male 110 Ohm.
2 x Control Two CAT5 (RJ45) GLM Network connectors for computer control using the Genelec Loudspeaker Manager (GLM) software.
Crossover
Bass/Mid
500 Hz
Mid/Treble
3000 Hz
For even more technical details please see product operating manual.
Key Technologies

Smart Active Monitor (SAM™) Systems

Minimum Diffraction Coaxial (MDC™) Driver Technology

Acoustically Concealed Woofers (ACW™) Technology

Active Crossovers

Directivity Control Waveguide (DCW™) Technology

Intelligent Signal Sensing (ISS™) Technology

Iso-Pod™ Stand

Minimum Diffraction Enclosure (MDE™) Technology

Optimized Amplifiers

Protection Circuitry

Reflex Port Design

Versatile Mountings
Networked Smart Active Monitor (SAM™) Systems feature automatic calibration to the environment.
The last decade has experienced a rapid increase in global media content creation, resulting in significant changes in the way network facilities deal with increased workload. Now, more than ever, a growing number of audio productions are done in tighter, more confined working environments. This increases acoustic problems and lowers the reliability of monitoring. At the same time, a professional audio engineer needs to have high confidence in a reliable and precise monitoring system that reproduces sound neutrally and without distortion.
Built upon the solid electro-acoustic foundations of the 1200, 8000 and 7000 Series products, Genelec advanced SAM Systems are today’s most advanced and flexible monitoring solutions. They are an indispensable tool for audio professionals, as they are capable to automatically adapt to the acoustic environments and correct for levels, delays and room anomalies. SAM Systems can be controlled via Genelec proprietary Loudspeaker Manager (GLM™) network and software, enabling you to build a highly flexible and reliable monitoring system.
The GLM 3 software is a highly intuitive and powerful monitor control networking system that manages connectivity to all SAM studio monitors and subwoofers on the network – up to 30. The GLM 3 software features adjustment of levels, distance delays and flexible room response compensation equalization with the state-of-the-art and robust AutoCal™ automated calibration system. All parameters and settings are stored in system setup files or saved in each individual monitor or subwoofer if the GLM network needs to be disconnected.
Also, all acoustical features of SAM Systems can be optimised for different working styles or client demands. Additionally, even if the monitors or the production projects move between rooms, you can expect SAM technology to achieve the highest consistency in monitoring, providing a neutral sound stage imaging with low distortion.
Genelec SAM Systems offers a comprehensive, solution-oriented, intelligently networked product range supporting analogue and digital signals in virtually any working environment.
Minimum Diffraction Coaxial (MDC™) transducer reproduces outstanding sound image.
Typical to all current coaxial designs is somewhat ragged frequency response due to inherent diffraction problems. However, crossover issues due to non-coincident location of sources are solved with a coaxial configuration. Here lay the seeds of Genelec’s Minimum Diffraction Coaxial (MDC™) solution: while it benefits from typical coaxial design advantages, it now overcomes their serious shortages as well.
The first step is to minimize the cone displacement, in other words to limit the low frequency bandwidth of the driver. Next, is to avoid all sources of diffractions. The main structure of the MDC design consists of an integrated MF diaphragm-suspension- tweeter construction. The visible part of the coaxial driver is formed by the curved flexible skin with the dome tweeter assembly in its centre. The inner section joins the cone to the tweeter without any acoustical discontinuity, and the outer one does the same between the cone and the driver chassis.
As there are no acoustically observable discontinuities between the tweeter and the cone, just a smooth surface, there is no diffraction either. The cone profile is very carefully optimized to form an integrated directivity control waveguide for the tweeter radiation. The driver outer edge is terminated to a normal Genelec DCW in order to control the dispersion of midrange radiation as well. The response is very smooth both on and off-axis and free from any anomalies and directivity is well controlled.
This breakthrough in coaxial design provides improved imaging and overall sound quality on- and off-axis, extremely smooth frequency response leading to outstanding clarity and definition of the inner details of the music.
The main novelties of Genelec combined DCW™ and MDC™ designs:
- Diffraction-free joint between tweeter and midrange diaphragm
- Diffraction-free joint between midrange diaphragm and DCW™ waveguide
- A proprietary midrange diaphragm technology – laminate structure combining a rigid cone and elastic, lossy materials including the suspension itself
- A midrange diaphragm-suspension pair which cancels all possible non-linearity
Advantages:
- Smoother frequency response
- Ensures the drivers to couple coherently over their full operating bandwidth
- Significantly improves the directivity control in the critical frequency range
- Provides balanced suspension dynamics to minimize acoustic distortion
- Optimizes the use of the front baffle area while maintaining the 8000 series appearance and benefits
Acoustically Concealed Woofers (ACW™) for controlled directivity down to low frequencies.
The 8351 Acoustically Coaxial Three-way system features our novel Acoustically Concealed Woofer (ACW™) technology. The Acoustically Concealed Woofers radiate through slots located on both ends of the enclosure.
The 8351 features two woofers and the positions of the two woofers have been chosen to extend the coaxial acoustical radiation concept towards low frequencies. In terms of low frequency directivity, when two woofers are used, separated by a distance, the system of two woofers behaves acoustically like one giant woofer spanning the distance between the two woofers. Also, such a dual woofer design extends the control of the directivity to low frequencies along the largest front baffle dimension.
The ACW technology makes the woofer openings and the woofer drivers acoustically invisible to the acoustical radiation from the minimum diffraction coaxial (MDC™) driver responsible for the midrange and tweeter frequencies. The radiation openings are optimized for size and curvature to minimize any acoustic diffractions.
The ACW solution also allows us to use the whole front baffle surface of the 8351 as one giant Directivity Control Waveguide (DCW™) that is part and built into a Minimum Diffraction Enclosure (MDE™).
The 8351 ACW arrangement creates a monitor that has a physically compact size yet behaves like a much larger system in terms of low frequency directivity.
Such controlled low frequency directivity translates to improved quality of monitoring and smaller low frequencies interaction between the monitor and the room.
Active crossover operating at low signal levels.
Audio electronic crossovers allow to split the audio signal into separate frequency bands that can be separately routed to individual power amplifiers which then are connected to specific transducers optimized for a particular frequency band.
Active crossovers come in both digital and analogue varieties. Genelec digital active crossovers include additional signal processing, such as driver protection, delay, and equalization.
Genelec analogue active crossover filters contain electronic components that are operated at low signal levels suitable for power amplifier inputs. This is in contrast to passive crossovers that operate at the high signal levels of the power amplifier's outputs, having to handle high currents and in some cases high voltages.
In a typical 2-way system the active crossover needs two power amplifiers — one for the woofer and one for the tweeter.
The active crossover design offers multiple benefits:
- The frequency response becomes independent of any dynamic changes in the driver's electrical characteristics or the drive level.
- There is an increased flexibility and precision to adjust and fine tune each output frequency response for the specific drivers used.
- Each driver has its own signal processing and power amplifier. This isolates each driver from the drive signals handled by the other drivers, reducing inter-modulation distortion and overdriving problems.
- The ability to compensate for sensitivity variations between drivers.
- The possibility to compensate for the frequency and phase response anomalies associated with a driver’s characteristics within the intended pass-band.
- The flat frequency response of a high-quality active loudspeaker is a result of the combined effect of the crossover filter response, power amplifier responses and driver responses in a loudspeaker enclosure.
Using the active approach enables frequency response adjustments and optimization of the full loudspeaker system, placed in various room environments, without expensive external equalizers. The end result is a simpler, more reliable, efficient, consistent and precise active loudspeaker system.
Directivity Control Waveguide (DCW™) for flat on- and off-axis response.
A revolutionary approach was taken by Genelec in 1983 with the development of its Directivity Control Waveguide (DCW™) used at the time in an egg-shaped enclosure. The Genelec DCW technology developed and refined over more than 30 years greatly improves the performance of direct radiating multi-way monitors.
The DCW technology shapes the emitted wavefront in a controlled way, allowing predictable tailoring of the directivity (dispersion) pattern. To make the directivity uniform and smooth, the goal is to limit the radiation angle so that the stray radiation is reduced. It results in excellent flatness of the overall frequency response as well as uniform power response. This advanced DCW technology minimizes early reflections and provides a wide and controlled listening area achieving accurate sound reproduction on- and off-axis.
Minimized early reflections and controlled, constant directivity have another important advantage: the frequency balance of the room reverberation field is essentially the same as the direct field from the monitors. As a consequence, the monitoring system's performance is less dependent on room acoustic characteristics.
Sound image width and depth, critical components in any listening environment, are important not only for on-axis listening, but also off-axis. This accommodates not only the engineer doing his or her job, but also others in the listening field, as is so often the case in large control rooms.
DCW™ Technology key benefits:
- Flat on- and off-axis response for wider usable listening area
- Increased direct-to-reflected sound ratio for reduced control room coloration
- Improved stereo and sound stage imaging
- Increased drive unit sensitivity up to 6 dB
- Increased system maximum sound pressure level capacity
- Decreased drive unit distortion
- Reduced cabinet edge diffraction
- Reduced complete system distortion
Intelligent Signal Sensing (ISS™) for power consumption reduction in stand-by mode.
Introduced early 2013, Genelec’s Intelligent Signal-Sensing technology has been developed to meet with both European Union ErP Directives and the company’s own wider sustainability commitments.
The Intelligent Signal Sensing, ISS™ circuitry tracks the signal input of the loudspeaker and detects if it is in use. If the ISS circuit does not find any audio on the input for a period of time, it sets the loudspeaker to a low-power sleep state and the loudspeaker will consume less than 0.5 watts. When an input signal is detected, the loudspeaker immediately turns itself on. Basically, the loudspeaker system will start saving power as soon as work is interrupted.
Additionally an ‘ISS Disable’ switch is located on each product’s back plate next to the other room response controls. First, when the mains power switch of the loudspeaker is set to “ON”, the ISS™ auto-start function (low-power sleep state on/off) of the loudspeaker is active.
If this function is not desired, the ISS™ function can be disabled by setting the “ISS Disable” switch on the back panel to “ON” position. In this mode, the monitor is only powered on and off using the mains power switch.
Note that the mains power switch will always turn the monitor off completely.
Vibration decoupling Iso-Pod™ stand improves sound image definition.
Although it is advisable to use sturdy and stable floor stands together with free-standing loudspeakers, a very common solution is to place loudspeakers directly on a table or on a console meter bridge.
This causes several detrimental side effects. Aiming of the loudspeaker axis towards the listener is rarely implemented, also, unwanted mechanical vibration do propagate from the loudspeaker to the mounting surface, and first order reflection on the work surface causes comb filtering and hence ripples in the frequency response.
To solve these very common problems Genelec developed an efficient and very practical solution. We designed a loudspeaker stand called Iso-Pod™ - Isolation Positioner/Decoupler that is attached to the aluminium enclosure. It has four shallow feet and it is made from special lossy rubber-like material. It is firmly attached to the enclosure so that it can be slid along the curved bottom or side surface to allow for a ±15° tilt of the loudspeaker.
The loudspeakers’ acoustical axis can then be pointed precisely towards the listener by adjusting the enclosure’s inclination with the Iso-Pod. The vibration isolation and damping properties reduce midrange coloration caused by unwanted vibration transmitted to supporting surfaces.
This innovative solution is an integral part of Genelec loudspeaker design and provides clear benefits in usability and sound quality.
Minimum Diffraction Enclosure (MDE™) for uncoloured sound reproduction.
A common problem with standard free-standing loudspeakers is that the front baffle discontinuities cause diffractions and the loudspeaker sharp corners act as secondary sources through reflections.
In order to improve the flatness of the frequency response and the power response of free standing loudspeaker systems, Genelec have designed a highly innovative enclosure optimized to match the properties of the monitor drivers, featuring rounded edges, and gently curved front and sides. In addition to achieving an unsurpassed flatness of the frequency response, the enclosure having minimum diffractions yields superb sound stage imaging qualities.
To achieve such a smooth and elegantly curved cabinet surface and to reduce the outer dimensions of the enclosure, maximising at the same time the internal volume for improved low frequency efficiency, we designed a cabinet made off die-cast aluminium. Aluminium is lightweight, stiff and very easy to damp to yield a “dead” structure. The cabinet walls can be made fairly thin, providing at the same time good EMC shielding and excellent heat sink for the power amplifiers. Die-casting is made in two parts, front and rear, and they are easy to separate for potential servicing needs.
The DCW waveguide has been integrated in the MDE aluminium enclosure to provide improved control of the loudspeaker’s directivity. Basically, the low frequency limit for constant directivity is determined by the size of the waveguide, so the larger the surface the better the control. With a very controlled off-axis radiation, the listening window becomes consistent, which is of utmost importance with multi-channel audio monitoring. Controlled directivity also reduces possible first order reflections on surfaces near the loudspeaker, helping to provide consistent audio reproduction in different acoustical environments. In fact, the entire front baffle is gently curved and the acoustically transparent grilles are part of the outer cabinet aesthetics, blending perfectly with the various other curved surfaces.
Each transducer is driven by its own optimized amplifier.
Audio electronic crossovers allow to split the audio signal into separate frequency bands that can be separately routed to individual power amplifiers which then are connected to specific transducers optimized for a particular frequency band.
In a typical 2-way loudspeaker system, the active crossover needs two power amplifiers — one for the woofer and one for the tweeter. The power amplifiers are connected directly to the drivers of an active loudspeaker, resulting in the power amplifier’s load becoming much simpler and well known. Each driver-specific power amplifier has only a limited frequency range to amplify (the power amplifier is placed after the active crossover) and this adds to the ease of design.
The active design principle offers multiple benefits:
- The power amplifiers are directly connected to the speaker drivers, maximizing the control exerted by the power amplifier’s damping on the driver’s voice coil, reducing the consequences of dynamic changes in the driver electrical characteristics. This may improve the transient response of the system.
- There is a reduction in the power amplifier output requirement. With no energy lost in the passive crossover filter components, the amplifier power output requirements are reduced considerably (by up to 1/2 in some cases) without any reduction in the acoustic power output of the loudspeaker system. This can reduce costs and increase audio quality and system reliability.
- No loss between amplifier and driver units results in maximum acoustic efficiency
- Active technology can achieve superior sound output vs. size vs. low frequency cut-off performance
- All loudspeakers are delivered as a factory aligned system (amplifiers, crossover electronics and enclosure-driver systems)
Sophisticated drive unit protection circuitry for safe operation.
When working in critical audio production environments it is essential that monitoring systems remain reliable and functional at all times. One of the main reasons behind Genelec’s excellent success in broadcasting environments is the reliability of our products and a key element behind the reliability is the internal protection circuitry found in all products since 1978.
The protection circuitry prevents driver failures by detecting signal levels, and in case of sudden peaks or constantly too high levels, taking the signal level down automatically. Of course this feature does not affect the sound quality in any way when working within the specifications of the loudspeaker, but only prevents inadequate input signals from breaking the loudspeaker.
Protection circuitry features and benefits:
- Reduces the output level when required, (e.g. when driver voice coil temperature reaches the safe limit) which highly improves the system reliability
- Appropriate protection circuitry design in every loudspeaker and subwoofer enables to maximise system output sound level.
Advanced reflex port design for extended low frequency response.
Genelec’s choice for vented, or reflex, enclosures dates back to the S30 model, the first Genelec product from 1978. Port performance has been improved and refined over the years with the aim to increase the woofer’s low frequency extension and sound pressure level capability to provide outstanding bass articulation and definition.
Both driver and vent contribute to the total radiation of a reflex enclosure. Most radiation comes from the driver, but at the vent-enclosure resonant frequency the driver displacement amplitude is small and most of the radiation comes out of the vent.
To minimize the air speed in the tube, the cross sectional area of the vent should be large. This in turn means that the vent tube has to be long which presents quite a design challenge.
The long, curved tube maximizes airflow so deep bass can be reproduced without compression. The reflex tube terminates with a wide flare located on the rear of the enclosure for obvious reasons, minimizing port noises and providing excellent bass articulation.
The curvature of the tube has also been carefully designed to minimize any audible noise, compression or distortion. The inner end of the tube has proper resistive termination to minimize once again audible chuffing noise and air turbulence.
Proper reflex port design allows also to significantly reduce the woofer’s displacement, improving the linear low frequency output capacity.
Versatile mounting options for all installation needs.
In addition to perfect acoustical design and advanced tailoring options to optimize the loudspeaker’s behaviour to the room environment, Genelec loudspeakers offer a variety of mounting options for easy installation in different applications.
Our wide range of accessories and fixed mounting points on the back of our aluminium enclosure products offer solutions to all common installation situations. M6 support points have been integrated in the die-cast enclosure for wall and ceiling mounts.
Some models also feature a 3/8” thread at the bottom of the enclosure to fit a robust microphone stand. Other larger and heavier models feature M10 fixing points. Special floor stand plates have been designed in order to fit the Iso-Pod stand that is part of our product design.
With these features our loudspeakers have found their way to a variety of applications beyond the professional audio and studio world, for example in commercial and AV installation projects as well as in home environments all around the world.
References
Tenderdyn Arts is a facility where technology and content are interwoven. Located in the Denver suburb of Castle Rock, Tenderdyn Arts’ recording studio has made itself home to recordings and performances by world-renowned artists such as Akademia Music Award Jazz Artist of the Year Louis Colaiannia, and pianist Lara Downes (Classical Woman of the Year for 2022), while its InStudioNow series creates videos of interviews with those talented and committed artists for release with their music for a multi-media audience. In August 2020, the studio made the leap into immersive sound, and it chose Genelec as the foundation for its monitoring. After outfitting its video post-production and media studio with a small prototypical 7.1.4 speaker arrangement as proof of concept, Tenderdyn Arts founder and owner Tad Wheeler moved to upgrade the main studio’s control room to a full Dolby Atmos®-compatible system. Three Genelec 8341A speakers comprise the L-C-R array; four Genelec 8330A speakers are used for left and right rear and side surrounds and four more for the overhead array. A pair of Genelec 7360A subwoofers using the same LFE feed complete the monitoring array.
“I talked extensively with other studio owners in Los Angeles, New York, Nashville and elsewhere about implementing immersive sound, and it seemed like the way to go, especially for the work that we specialize in,” Wheeler explains. In fact, within months Tenderdyn Arts had developed a reputation as an immersive go-to destination. In October of that year, the first immersive recording and mix done there, Mark D’Ambrosio’s Bird of Paradise LP, was released. Tenderdyn Arts has continued to work in immersive music and video since then including working with Jorge Elbrecht on the immersive release of Japanese Breakfast’s Jubilee LP – nominated at this year’s GRAMMY® Awards. Most recently, Gerry "The Gov" Brown and Bobby Campbell have been working on John Legend's back catalog at Tenderdyn Arts and are excited to bring in more artists/projects moving forward.
Jorge Elbrecht remarked, "The acoustics at Tenderdyn Arts were so balanced, and the facility dialed in so well that the resulting mixes needed very little revising to get absolutely perfect--a seamless and enjoyable transition into Dolby Atmos mixing for me.”
Bobby Campbell noted, “Mixing in Dolby Atmos at Tenderdyn has been a great learning experience as well as proving to translate in other Dolby listening environments all the way down to the Binaural headphone rendering. Thanks to Tad's rock-solid room design, paired with the speaker calibration, we are able to have an enjoyable mixing process with extremely professional results.”
Wheeler credits Genelec Inc. Senior Technical Sales Manager Paul Stewart for helping refine the layout of his immersive monitoring array, using Genelec’s GLM loudspeaker calibration software. The new Genelec monitoring has been both effective and accurate. “I’ve been able to help other engineers in the area learn about immersive sound as a result of the having the Genelec system here, and Bobby Campbell, who is mixing the John Legend tracks, commented on how well they translated here,” he says. “Genelec speakers are amazing under any circumstances, but for immersive music they are unsurpassed.”
Wheeler is currently assisting Bobby Campbell in the creation of a new facility, an 1,800 square-foot studio in the Denver Tech Center that will house two Atmos-equipped studios modeled on his current control room’s dimensions, and which will also be used to train engineers and producers in the immersive arts. Wheeler says he’s looking forward to having Genelec monitoring in that facility as well, when it opens as planned later this year. “Putting the Genelecs in the current studio has already changed everything, and the reaction to them has been fantastic,” he says. “Artists come in to work, they hear it, and then they threaten not to leave!”
Can you tell us a little about how you ended up in audio?
The reason I got into engineering is because of my mom. She found out about Full Sail University in the April of 2008 and told me I should go there because I'll love it. I'd never heard of audio engineering until she told me about it, and she didn’t give me a choice if I wanted to go or not, so a month later I was a student there! These days, I mix mainly pop, hip hop and R&B songs at my studio, and I work on a lot of short films.
What kind of studio space do you have and what's the history of the place?
My studio is in the city of Columbia, in a cabin connected to another building where bleacher seating for stadiums is manufactured. The company owned that building for 20 years before they made this cabin for the owner's son. The studio room's size is 15x23x16 ft, 16 in the middle of the room.
What are the key items of equipment in your studio?
My Apogee Symphony MK II interface, Avid Dock, Pro Tools, and Genelec Loudspeaker Manager (GLM).
How did you become interested in immersive audio and start to equip your studio for it?
I first became interested early last year after a random studio tour popped up on YouTube showing a recently finished room - I was considering going 7.1 for films at the time. That studio tour video blew my mind, and when I saw that the music business was moving into immersive audio, I decided to get into it myself. I made a few calls to get some information, but generally people didn't seem to know much about it. I knew the number of speakers I wanted and where they'd be going, so I reached out to Genelec on Instagram, and the next thing I know, I’m on the phone with Paul Stewart (great guy, love him). Paul took me through everything step by step over about a week, and ensured I had everything working. Thanks, Paul.
How does it feel to mix in immersive, are there any new challenges?
When I first started mixing in immersive, it felt weird. I could spread everything out as I didn’t have to make room in the mix anymore. The challenge is that you think you should do something because of the increased possibilities, and that can blind you from doing what the song needs versus what you might want to do for it.
What Genelecs are you using and why did you choose them?
My left and right monitors are 8341s, the center monitor is 8331, LFE is 7350, and the rest are 8330s. When I chose to go immersive, I looked at three big brands including Genelec and since I knew that a lot of film mixers use Genelec, I figured it had to be for a good reason. In my opinion, that reason is GLM. Personally, I don’t have the perfect room, so GLM tightens up my low end nicely, and the delay and level adjustments make a big difference.
What are you working on right now and how's business so far with your new setup?
I’m working on two albums right now, one that's pop and the other R&B. I only finished my room last week, so I'm yet to see how things will turn out for me business-wise in immersive audio. I do believe however, that it was an excellent decision to make the jump. I think immersive audio is here to stay, and in 3 to 5 years it will be the main playback format for music. Of course, stereo will still be relevant.
To find out more about Orpheus Sounds, click here
Do you want to be featured in our ‘Immersive Talk’ series? If so, just post some pictures of your setup on Instagram using the #GenelecImmersive hashtag. We’ll be keeping a look out for the most interesting setups, so who knows? We may be in touch with you!
We’re certainly more accustomed to seeing Genelec’s flagship Smart Active Monitor range, The Ones, gracing high end production studios. The list of accolades from producers and musicians worldwide who appreciate the extraordinary imaging, accuracy and transparency of the world’s most compact three-way studio monitors, is extensive to say the least. However, there is no reason that a private residence cannot benefit from the same levels of performance as a professional studio — and that is exactly what Jarno Vihonen decided for his Joensuu home in eastern Finland.
Jarno — a self-confessed audiophile — is no stranger to Genelec, having used them in his living room for years to enhance his movie-watching and gaming experience.
“A plethora of creators, from musicians to sound designers for video games use Genelec loudspeakers as the tools of their trade,” he explains. “Above all, I want to recreate that sound in my home environment and hear their work exactly as they intended it to sound. Genelec’s GLM calibration software works to correct the worst humps and slopes in frequency response that come with the peculiar shape of my listening space."
“My initial setup was a 5.1 configuration implemented with compact 8020B loudspeakers and a 7050B subwoofer,” he continues. “As living room setups go, that was pretty advanced for its time, although once The Ones were released, there was no question of me not investing — I upgraded to my first Ones setup with the 8351As in the L-C-R positions, plus 8340A two-ways as rears. Size-wise it worked perfectly for my living room space, and in terms of audio reproduction, it was a class above. However, when I met Pasi Pönkkä from Genelec through one of their ‘Calibration Tours’ he made it sound even better.”
I want to recreate sound in my home environment and hear their work exactly as they intended it to sound.
Genelec offers regular Calibration Tours in Finland for which customers can register online and explain their Genelec Smart Active Monitoring setup. A Genelec specialist then arranges a time to visit each customer to discuss loudspeaker placement and the room’s acoustics, before using their deep knowledge and extensive experience to help the customer perform some fine-tuning of their setup. “I found talking to Pasi about my setup, as well as others that he had worked on, very insightful,” recalls Jarno. “He was obviously very experienced in working with clients to get the most out of their systems in a variety of spaces, from home setups using The Ones, to professional studios for top recording artists."
“Pasi’s manual fine-tuning of the system’s GLM calibration settings yielded improved results over my own purely automated calibration, plus I also got some pointers as to how I might tackle some of the challenges that my asymmetric space presented.”
“Jarno’s unusually shaped space definitely warranted some special attention when it came to calibration,” agrees Pasi. “GLM’s AutoCal automatic calibration algorithm has been a fantastic tool for the majority of circumstances but when there are particular anomalies to overcome, as in this instance, a bit of manual tweaking can make a real difference. It also happens that some customers in home environments prefer a bit more ‘air’ or ‘flavour’ in the tone rather than a completely flat calibration — and so some subtle manual fine-tuning can also help in this situation. But, the new GLM 4.1 update — which features the next-generation AutoCal 2 algorithm — does a lot of this work automatically, so customers should find that there is generally much less fine tuning required now after the initial AutoCal calibration.”
GLM’s new, next-generation AUTOCAL 2 algorithm has contributed tremendously to the end result.
After the Calibration Tour, as Genelec expanded The Ones range with new models plus an upgrade to the 8351A, Jarno was tempted again, specifically to upgrade his front row of 8351A loudspeakers. “I had initially thought about upgrading to the same size of speaker, going from the 8351A to the 8351B which offered increased SPL, greater LF extension and additional room compensation controls. But ultimately, I settled on the larger, more powerful flagship 8361A which promised the ultimate listening experience. My aim was also to future-proof my setup in case I have the opportunity to build a bespoke space for an immersive system with Dolby Atmos and the like, in the future.”
In upgrading to the 8361As, Jarno also decided to tackle some of the acoustic challenges inherent in his unusually shaped listening space which features a double height ceiling in certain areas. All the speakers were repositioned, including his recently upgraded surround speakers (now 8341As) and the 7380A subwoofer. He also added pleated curtains to dampen reflected sound from some of the bare spaces in the living room, as well as some cleverly concealed acoustic panels to help with reverberant sound.
So, now that the new setup has ‘bedded in’, how does Jarno feel about the results? “At first glance, I thought the 8361As were comically large — any pictures of them don’t really do the size justice,” he says with a grin. “However, I’m used to it now so it’s less of a shock!"
“When it comes to the listening experience, I’m really enjoying it; the new speakers add a very substantial layer of nuance, especially in the lower frequencies. I’d liken the difference to running the 8351As uncalibrated versus calibrated — the low end was always there, but when uncalibrated it could sound overbearing in my space. I think beyond the upgrade in hardware (as well as the physical size of the speakers over what I had previously), the availability of more nuanced calibration controls on the 8361A model, and GLM’s new AutoCal 2 calibration algorithm, have contributed tremendously to the end result."
“Also, in switching over to the larger speaker, I’ve found my subwoofer doing far less of the heavy lifting, since I’m no longer passing the lower frequencies from the main speakers to it. As such, it’s now free to exclusively handle LF when playing surround media like movies and games, which also makes a considerable difference. I’m really loving what we’ve achieved here, it’s everything I’d ever hoped it would be.”
Thrilled as he is with the current setup, Jarno’s ambitions don’t stop there: his aim is to expand the setup further with overhead speakers for an immersive setup. “Video game developers are slowly but surely moving on from traditional surround sound to adopting Dolby Atmos for their next-generation titles. That’s my goal for future upgrades — although it’s one that I’ll probably put off until I have a new space to work with, though!”
It completely fixes every last detail in the room and is therefore at the heart of our mastering process.
“We had never had this type of combined system in the studio before and at first we were a bit unsure about the idea,” admits Axelsson. “But once it was installed, we were completely blown away! The concept of combining the W371 woofer system with ‘The Ones’ coaxial design of the 8351 allowed a free-standing full range system for us, and we are planning to install that type of hybrid more in the future – it completely fixes every last detail in the room and is therefore at the heart of our mastering process.”
The 8351s in Studio 3.
The combined Genelec system created directivity for Axelsson as well as total freedom from negative room influences. “We originally had the Genelec 1038ACs as mains in the mastering room, and this was a great monitor to use for this. We loved the sound of these three-way centre speakers in a stereo setup and we were really happy with them, but then we had a problem with the bass that we couldn’t really fix,” he explains. “So, we decided to get in the W371s, not really thinking it would be the final solution, but after the second calibration was set up and combined with the back wall reflections, it managed to take care of exactly what we needed it to – we had never seen that type of installation work before. We are not disappointed, we love the system!”
The new mastering setup in Studio 2.
To get the best out of the new setup, Axelsson chose to use GLM loudspeaker manager software for both the studio’s final configuration as well as for its day-to-day operation. “I always use the GLM setup,” he explains. “It’s more than a good speaker calibration system, it’s great for comparing levels while we’re mastering as well as finalising little details. We also use it as a monitor controller, especially with the new GLM 4 version, and we always have the reference mic and GLM connected which creates a nice flow.”
The technology surpasses all of our expectations every time, and we are working with an amazing set up.
This new mastering suite is just one example of where Axelsson’s passion for Genelec can be seen. But away from the mastering suite, Genelec monitoring is also seen everywhere throughout the building. In Studio 1, which is primarily used for EdTech’s e-learning projects, 8341 and 1037 three-way studio monitors combine with a 7071 subwoofer. While in Studio 3, PAMA’s music studios, Axelsson has opted for 8010, 8351 and 1234 monitoring solutions.
The Genelec collection in Studio 3.
“Genelec is the standard that we are happy to work around,” says Axelsson. “It is our reference wherever we go. The technology surpasses all of our expectations every time, and we are working with an amazing set up at the moment which is by far the perfect solution for us.”
Having 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.”
The Berlinbased seven piece band previously used Genelec monitors in hired studios and their own editing bay, leaving them eager to find out what the brand could do for their mix room.
The BossHoss formed in 2004, and the self-proclaimed Country Trash Punk Rockers have released 10 studio albums to date and show no signs of slowing down. When heading into the recording sessions for their slated 2021 release, they turned to German audio supplier SMM for advice on how to improve the sessions.
The stereo image is second to none – really precise, accurate and exactly what we needed.
“When working on a new album, we always like to try out new equipment to drive creativity,” explains BossHoss guitarist, songwriter and producer Sascha Vollmer. “A friend of mine from SMM recommended I give Genelec a try and sure enough, when I was introduced to the 8341s, I was instantly hooked.”
The band are now using a single pair of 8341s in a stereo configuration. “Since we have installed the 8341s, we don’t use our midfield speakers anymore,” Vollmer explains. “The stereo image is second to none – really precise, accurate and exactly what we needed.”
One of the major benefits of this new monitoring system has been the use of GLM (Genelec Loudspeaker Manager) software. Vollmer has been particularly impressed with GLM and the ability to auto-calibrate the 8341 setup to suit the band’s ever-changing recording environment. “Having the freedom to adapt with the GLM application was ideal for us as we are often having to change furniture as well as instruments hanging on the walls,” Vollmer continues. “GLM gave us flexibility as well as quick and easy configuration if we wanted to switch rooms.”
The new album was mixed with the Genelec system and I realised that’s the mix I’m most proud of.
Part of ‘The Ones’ range of three-way coaxial, ultimate point source monitors, the 8341s deliver precision reference performance. The Ones’ design provides extraordinary imaging, extended frequency response, controlled directivity and fatigue-free listening – even on long sessions.
Vollmer also appreciates the heightened level of detail in his mixes: “Sometimes when we’re listening back to each song, we realise that we have to add extra elements. We probably wouldn’t have picked up on that type of detail with any previous monitor. That’s why we want to continue to use Genelec for future recordings and mixing sessions – we don’t want to miss anything else.”
He concludes: “Just recently, I had a long car ride and listened through our last three to four albums. The new album was mixed with the Genelec system and I realised that’s the mix I’m most proud of – it just translated so perfectly. Genelec has become an essential part of our studio.”
The multi-room project - which includes both immersive and 5.1 surround studios as well as a host of video edit suites - was handled by SES-Audio, and all 15 rooms feature Genelec Smart Active Monitoring.
Studio 1 - which has been awarded Dolby Atmos HE certification – features a 7.1.4 system based entirely on the 8341 coaxial monitors from The Ones series. Eleven 8341s handle the LCR, surround and height positions, complemented by a 7380 subwoofer.
Studio 2 is also a 7.1.4 immersive room, again with 8341s in all positions supported by two 7360 subwoofers, and has complete compatibility with Studio 1 for maximum flexibility in optimising workflows.
Studio 3 is a 5.1 space powered by five 8320 nearfield two-way monitors and a 7350 subwoofer, while a separate Quality Control room has been equipped with eleven 8330 two-way nearfield models and a 7360 subwoofer. This room is designed to guarantee sound quality throughout the post-production chain, to meet the highest standards required by cinema and OTT platforms, and is capable of playing back content in all formats.
Finally, there are a total of 11 video editing rooms, each one equipped with 8330 monitors.
Charly Schmukler, head of Drago's Sound Post Production department, comments that “The Dolby Atmos certification allows us to adapt to the latest trends in the audiovisual industry with the certainty that we are working in an environment that meets the highest quality. This in turn guarantees a perfect transcription of our work to the domestic environment.”
Sebastian recently acquired the award-winning point source nearfield monitors from Genelec’s Australian distribution partner, Studio Connections, and they now take pride of place alongside his existing pair of 1034B main monitors.
Sebastian first came to prominence in 2003 as the first winner of Australian Idol. Since then, his career has gone from strength-to-strength with platinum records in the US and Australia, and sell-out tours around the world. This success has enabled him to create a purpose-built recording space in his new home, giving him the ability to work on new projects as soon as inspiration strikes.
The architectural design for the studio was handled by acoustic designer John Sayers, with Sebastian taking responsibility for the interior. “This house is like a concrete bunker,” explains Sebastian. “It’s concrete and black steel and really tough, so I wanted the studio to have a bit more of a modern sort of vibe. I wanted to keep it pretty monochrome, and really minimal and clean looking.”
With Sebastian being a self-confessed gear-junkie, owning a vintage mic collection that would be the envy of anyone, the studio is filled with some of the finest historic recording equipment including a fully restored Siemens Sitral console. Juxtaposing all this classic equipment are the pair of distinctly modern white Genelec 8341As.
“They are beautiful,” says Sebastian, who also took advantage of Genelec’s GLM calibration software to help tune the speakers to the space. “It was great to be able to use the Genelec GLM technology to get them tuned perfectly. It didn’t do a lot to the monitors, just a few little frequency fixes, but it was good.”
By contrast, Sebastian’s 1034B main monitors were acquired a number of years ago. “I’ve had them for a while from Los Angeles, and they were sitting in storage while this place was getting built,” he explains. “They cause me to not crank the speakers. When you are listening to big monitors, unless you’re listening loud it’s hard to get the punch. These are super-punchy and still clear, even at low levels.”
Reflecting on the decision to create the space, Sebastian is clearly satisfied with the results. “The studio was an investment for me, but it’s sort of already paid off in the amount of time I’ve spent here and the amount I’ve used it on the road and in my recordings,” he explains. “I’m the Musical Director in my band, so I’ll put all the tracks together and other elements for live. I do a lot of pre-production in the studio and I rehearse in here because everything is where you need it.”
The decision he has made with regards to his monitoring solution equally appears to have paid off. “You need good monitors – and it doesn’t get better than Genelec!” he concludes.
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 Lennon Bus, which is a state-of-the-art mobile audio and HD video recording and production facility, regularly provides free digital media production workshops to schools across the US and Canada - enabling students to learn how to write, record, and produce original songs, music videos, documentaries, and live multi-camera video productions. To ensure that students experience the best possible audio quality, the monitoring systems in the Bus’s two onboard studios have recently been upgraded to Genelec’s ‘The Ones’ coaxial three-way point source models.
“We go to a lot of under-served schools and a lot of communities that are under-resourced, so bringing something that really represents the best of the industry is eye-opening and can be life-changing for kids and communities,” explains Brian Rothschild, Co-Founder and Executive Director of the Lennon Bus. “Having the new studio monitors onboard continues that trajectory for us.”
Genelec has been a long-term sponsor of the Lennon Bus with the two-way 8240A Smart Active Monitors and 7260A subwoofer having originally been installed in each of the Bus’s 5.1 studios. “When we installed those Genelecs, the difference in the sound was just readily apparent and really impressive, and we thought that it had to be as good as it could get,” recalls Jeff Sobel, Creative Technology Director for the Lennon Bus. “Then when The Ones came out and we had the opportunity to use the 8341s, we thought we would give it a try. I think we were all expecting there to be a subtle difference in the sound, and we didn’t really see how it could be too much better. But it was remarkable. The first time that we played some music through them after installing them, it was really eye-opening how much clearer they sounded and how much better the imaging was.”
The upgrade has seen the US Lennon Bus move to the same technical setup as its European counterpart, with all 10 of the original 8240As having been directly replaced by 8341A coaxial studio monitors, with the 7260A subwoofers being retained.
Genelec’s Smart Active Monitoring technology has been particularly important for this project, since this has enabled the Lennon Bus’s technical team to create specific calibration presets for different configurations of the Bus, using Genelec’s GLM software. “The ability to tune the speakers to the room and the fact that it is a really simple, easy process is fantastic,” says Sobel. “The Bus is a configurable space. It has sliding glass doors that can partition off the rooms from each other and that changes the acoustics of the space as well. Using the Genelec Smart Active Monitoring technology, we can have different calibration presets for ‘doors open’ and ‘doors closed’, to suit various ways we work. Our Bus is designed to be as flexible as possible and the Genelec monitors are perfectly suited to that.”
With the new monitoring system in place, the Bus is ideally positioned to keep inspiring the next generation of recording musicians. “What we really like to do on the Lennon Bus is to demonstrate industry-standard, professional quality systems,” explains Sobel. “When students or artists come in, they are impressed. It’s the same things that they’ll find in the best recording studios in the world. It just has that credentialled atmosphere to it, which puts people in the ‘We can do anything here’ mindset.”
“For me it’s also about the self-esteem that the Lennon Bus is often responsible for with the visitors,” adds Rothschild. “The fact that folks care enough to actually bring something that represents the top of what the industry has to offer, and to bring it to under-served communities makes a big impact. The Bus is a living legacy of John and Yoko’s work and everything we do is ultimately to set the conditions and encourage people to imagine, work for and spread peace.”
The recordings, which relied heavily on Genelec monitors throughout, were debuted at the recent Inter BEE show in Japan and will form a key part of Genelec’s critical listening sessions at global shows and events in the future.
Sibelius Hall in Lahti, Finland.
Sawaguchi recalls how the project came about thanks to conversations that took place at last year’s AES spatial audio conference in Tokyo. “I gave a lecture about immersive music recording and demonstrated various recordings from the UNAMAS label in the Genelec demo room. At the event I had discussions with Genelec’s MD Siamäk Naghian about working together on an immersive recording that could become a reference disc for the company.”
A year later and the project had developed further with professional double bassist and Genelec brand artist, Juho Martikainen, working closely with Sawaguchi on the concept. The pair worked to select the music for the recording and the classical musicians for the performance.
“It was a very natural process and there was a lot of freedom for me to decide with whom I would like to play and which type of repertoire we would record,” says Martikainen. “Mick really loves the sound of the double bass and wanted classical performances, because he felt this type of music really suits the immersive audio format.
“I went through many options when choosing the pieces but decided to play it safe and go with Franz Schubert’s Trout Quintet for the first piece as it is an all-time favourite for me,” continues Martikainen. “We then chose Jean-Baptiste Barriere’s Sonate No:10 which is a Baroque piece, originally composed for two cellos, but we played an arrangement for a double bass and cello instead. And then of course I had to play one piece composed by Giovanni Bottesini as I think he was a true master of the instrument. So I chose maybe his most famous piece, Elegy.”
“We wanted to use the latest equipment but keep the mic’ing as simple as possible,” adds Sawaguchi. “We opted for a spider tree setup with the artists placed around the main mic, with other microphones placed to capture the rich sound of the hall. This is what I call ‘Subjective Immersive’, as we are using microphones as tools to capture the art.”
L-R Mick Sawaguchi and Juho Martikainen.
The monitoring solution comprised a pair of Genelec’s 8341 coaxial point source monitors located within a lobby space of Lahti’s Sibelius Hall, which operated as a monitoring room for the immersive recording before the final mix by Sawaguchi at his recording studio back in Japan. In this type of adhoc monitoring environment, Genelec’s GLM calibration software was invaluable in optimising the 8341s for the space and minimising any unwanted acoustic influences.
“With this kind of on-location recording, monitoring situations can be challenging - very rarely do you find a recording location where there is a dedicated monitor room with good acoustics,” observes Martikainen. “But the 8341s were the perfect solution as we were all able to hear what we had played, and how it really sounded – which is ideal for musicians.
L-R Mick Sawaguchi and Juho Martikainen.
“I think in general nowadays, many recordings are too polished and end up losing the vibe and the atmosphere of the actual moment,” reflects Martikainen. “For us at Genelec, it’s all about the music and this is the point we were trying to make. It’s about the creativity and to be there to help inspire the best possible level of musical ability. I was very happy when I heard the tracks and I think the system has captured this vibe brilliantly!”
After its first very successful public performance at Inter BEE, the recordings will be used to help showcase Genelec immersive systems at events globally, and Genelec is also researching what other type of platforms it can use for immersive material. “I think there’s been a big rise in the popularity of immersive music and I’m certain it will be the new format that customers will use and enjoy,” states Martikainen.
L-R Juho Martikainen and Mick Sawaguchi at Inter BEE.
Looking back fondly on the experience, Martikainen concludes: “Working with Mick Sawaguchi on this project was a once in a lifetime opportunity. As a musician, it was a great thing to be a part of, and I feel incredibly lucky to have played with great colleagues in a great hall with great equipment - it doesn’t get any better than that!”
Anchored by a 2,200-square-foot, three-studio complex, it offers a main recording space with variable acoustics, a drum room with a removable floor to reveal six Foley pits, four isolation booths, and a machine room enabling interconnectivity through the entire studio complex. What it also has now are monitors from Genelec, the leader in active monitoring technology for four decades, in the two main control rooms, installed there this past spring.
The main control room now has a 5.1 monitoring array comprising Genelec 8351A Smart Active Monitors™ as the L-C-R front array, a pair of 8341A Smart Active Monitors as the rear-surround array — all part of Genelec’s “The Ones” series of products — and a 7380A Smart Active Subwoofer™. The second control room now has a Genelec 8020.LSE Espresso 5.1 monitor system with five 8350A Smart Active Monitors around the room and a 7050B Studio Subwoofer. The systems’ Smart Active Monitor technology allows them to make the most of all modern acoustic environments.
“It was time to update our monitoring, and we wanted a speaker that would be consistent throughout the studio complex,” explains Michael Harvey, Program Director, Audio Technology, Dept. of Performing Arts, at American University. “We wanted the mixes to be able to translate seamlessly between the two main control rooms. But just as importantly, we wanted our mixes and recordings to translate accurately everywhere else, too. We wanted speakers that would let our students become familiar with what leading engineers and producers use every day. That is Genelec.” Harvey says the two Genelec-equipped studios are of different sizes, but the two different Genelec speaker series they bought are both perfectly suited to each room’s dimensions and acoustics, yet also provide the brand and response consistency that they sought, so that as mixes and recordings move from studio to studio, students always hear a familiar tonality.
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.”
“As a young student, my first musical influence was the singer Aska. I was fascinated with his songs, and at that point I started to dream vaguely about a career in music. At middle school I started to listen to TM Network, and I particularly liked the band leader, Tetsuya Komuro - who had been writing for multiple projects, including movie scores. So that inspired me to start focusing more on composition.”
Emerging from music college, the young Hiroyuki started pitching himself for musical projects while absorbing influences from Ryuichi Sakamoto, Joe Hisaishi and Yoko Kanno, as well as international film composers such as Hans Zimmer and Danny Elfman.
Hiroyuki’s close relationship with the world of animation started with the Mobile Suit Gundam Unicorn series, which established his credentials and led to other high profile anime projects including Attack on Titan and Guilty Crown.
Describing his approach to film scoring, Hiroyuki says “Basically, I set up a meeting and have a team to come up with a music menu, then discuss the direction with the director. According to this menu, I start composing in the DTM (Desktop Music) environment, finish up the main song representing the whole soundtrack, and then construct the other parts. In some cases I start by creating rhythm parts or a melody. The main theme or character theme always plays a significant role, so I strengthen that before starting anything else.”
Alongside his film projects, Hiroyuki always fostered a desire to work on vocal music too, so he created the [nZk] project to provide a vehicle for his own unique interpretation of pop.
“It always comes down to the idea that you still pursue what you feel is right with your sound. There were times when I looked at the singles chart and found that my song was not selling well enough, and I thought, ‘Well, I might have to write a J-Pop style song next time’, and got a little anxious. But even if you try, it's not always easy to sell, and I came to think that there's not much meaning to be able to sell in the first place. The most essential thing is whether you like the music I'm producing, and that is the music you have to reach out with, and that is something I ended up with when making the second [nZk] album, called 2V-ALK.”
My ideal speaker is something that excites me when I'm writing songs.
Hiroyuki’s relationship with Genelec began in 2010. Having seen Genelec ‘just about everywhere I worked,’ he invested in his own pair of 8040s for his home studio.
“My ideal speaker is something that excites me when I'm writing songs. I asked my friend for advice and was told, ‘Genelec is the one for you.’ Ever since then, I've loved my 8040s. But at the end of 2019, I switched to the 8341s from ‘The Ones’ series, which are known for their neutral sound. Honestly, I was a bit worried that they might sound flatter, but I found that the 8341s translate really well, with a clearer mid-range, and I like the way their top-end is more extended.”
The design, sound image and sound balance - Genelec meets all my criteria.
The 8341s work closely with the GLM loudspeaker manager software, which Hiroyuki is a big fan of. “I use GLM all the time. There are times when engineers come over to mix in my studio, and they say that the combination of the 8341s with GLM make it easier to produce a correct mix. It’s a very ‘engineer-oriented’ sound!”
Summing up his thoughts on the monitors, Hiroyuki concludes that Genelec provides “a sound that elevates me. The design, sound image and sound balance - Genelec meets all my criteria.”
For more information please visit www.sawanohiroyuki.com and www.sh-nzk.net.
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.
Genelec Visits Morten Lindberg’s Stunning Immersive Audio Studio
One on One with Eicca Toppinen, Apocalyptica | Genelec 8341 | Interview
One on One Interview | Engineer Richard Chycki reflects on Genelec The Ones and GLM software
Review: Genelec The Ones
We are The Ones
Developing The Ones
How GLM™ (Genelec Loudspeaker Manager) Software Works
Genelec Visits Morten Lindberg’s Stunning Immersive Audio Studio
In the world of immersive music recording, no-one has done more than Grammy-winning sound engineer and music producer Morten Lindberg to set the gold standard for what can be achieved in this field.
We visited Morten at his incredible studio in Oslo, Norway to talk about his approach to immersive recording, and how his new 7.1.4 Genelec monitoring system has become an essential part of his workflow.
Welcome to a fascinating insight into the world of a true immersive audio pioneer.
One on One with Eicca Toppinen, Apocalyptica | Genelec 8341 | Interview
Eicca Toppinen, multi-instrumentalist, and co-founder of cello metal band Apocalyptica, says he doesn’t have a formula for writing music but is inspired by the sound of different instruments.
One on One Interview | Engineer Richard Chycki reflects on Genelec The Ones and GLM software
“I haven’t experienced this before, where I could take speakers to any studio and they always sound 100% consistent.”
We are The Ones
Iisalmi, Finland. 19th October 2012. Our journey begins with inspiration from our users around the world. That inspiration found its way to Ilpo Martikainen’s notebook, and now we’re finally here. We wanted The Ones to point the way to the future of audio monitoring.
Developing The Ones
In this video we find out what the motivation was for creating Ultimate Point Source monitors, what benefits they offer, and what sets The Ones apart from every other studio loudspeaker that has gone before.
How GLM™ (Genelec Loudspeaker Manager) Software Works
Frustrated that your material doesn’t sound so great on other systems? In this video we show you how to calibrate the Genelec SAM™ monitors with the Genelec Loudspeaker Manager (GLM™) Software to get the most out of your room and ensuring that your mixes translate perfectly.
"These studio monitors pack a serious amount of technology into a very compact package. Can all this tech combat the issues associated with powerful rear ported designs and can the GLM™ 3 system cope with a truly dreadful set of listening circumstances?"
{"fi-FI":"The Production Expert's comprehensive [review](https://www.pro-tools-expert.com/production-expert-1/2018/7/12/genelec-8331-sam-8341-sam-the-ones-studio-monitors-re-writing-the-rule-book "Review of Production Expert - 8331, 8341 and GLM 3") "Genelec 8331 SAM & 8341 SAM "The Ones" Studio Monitors & GLM™ 3 - Do They Re-Write The Rule Book?" does not only list the pros and cons, but also describes the user experience of the products.\n\nThe review was published in August 2018.","ru-RU":"The Production Expert's comprehensive [review](https://www.pro-tools-expert.com/production-expert-1/2018/7/12/genelec-8331-sam-8341-sam-the-ones-studio-monitors-re-writing-the-rule-book "Review of Production Expert - 8331, 8341 and GLM 3") "Genelec 8331 SAM & 8341 SAM "The Ones" Studio Monitors & GLM™ 3 - Do They Re-Write The Rule Book?" does not only list the pros and cons, but also describes the user experience of the products.\n\nThe review was published in August 2018.","de-DE":"The Production Expert's comprehensive [review](https://www.pro-tools-expert.com/production-expert-1/2018/7/12/genelec-8331-sam-8341-sam-the-ones-studio-monitors-re-writing-the-rule-book "Review of Production Expert - 8331, 8341 and GLM 3") "Genelec 8331 SAM & 8341 SAM "The Ones" Studio Monitors & GLM™ 3 - Do They Re-Write The Rule Book?" does not only list the pros and cons, but also describes the user experience of the products.\n\nThe review was published in August 2018.","en-US":"The Production Expert's comprehensive [review](https://www.pro-tools-expert.com/production-expert-1/2018/7/12/genelec-8331-sam-8341-sam-the-ones-studio-monitors-re-writing-the-rule-book "Review of Production Expert - 8331, 8341 and GLM 3") "Genelec 8331 SAM & 8341 SAM "The Ones" Studio Monitors & GLM™ 3 - Do They Re-Write The Rule Book?" does not only list the pros and cons, but also describes the user experience of the products.\n\nThe review was published in August 2018.","sv-SE":"The Production Expert's comprehensive [review](https://www.pro-tools-expert.com/production-expert-1/2018/7/12/genelec-8331-sam-8341-sam-the-ones-studio-monitors-re-writing-the-rule-book "Review of Production Expert - 8331, 8341 and GLM 3") "Genelec 8331 SAM & 8341 SAM "The Ones" Studio Monitors & GLM™ 3 - Do They Re-Write The Rule Book?" does not only list the pros and cons, but also describes the user experience of the products.\n\nThe review was published in August 2018."}
"The culmination of years of R&D, these revolutionary new speakers offer performance way beyond what you’d expect from their size."
-Hugh Robjohns, the author of the review article
{"fi-FI":"Sound on Sound Magazine's (UK) review of 8331, 8341 and 8351 SAM™ Studio Monitor. Written by Hugh Robjohns. Published July 2017.\n\nRead the full review: [Sound on Sound 8331, 8341 and 8351 Review](https://www.soundonsound.com/reviews/genelec-ones "Sound on Sound 8331, 8341 and 8351 Review")","ru-RU":"Sound on Sound Magazine's (UK) review of 8331, 8341 and 8351 SAM™ Studio Monitor. Written by Hugh Robjohns. Published July 2017.\n\nRead the full review: [Sound on Sound 8331, 8341 and 8351 Review](https://www.soundonsound.com/reviews/genelec-ones "Sound on Sound 8331, 8341 and 8351 Review")","de-DE":"Sound on Sound Magazine's (UK) review of 8331, 8341 and 8351 SAM™ Studio Monitor. Written by Hugh Robjohns. Published July 2017.\n\nRead the full review: [Sound on Sound 8331, 8341 and 8351 Review](https://www.soundonsound.com/reviews/genelec-ones "Sound on Sound 8331, 8341 and 8351 Review")","en-US":"Sound on Sound Magazine's (UK) review of 8331, 8341 and 8351 SAM™ Studio Monitor. Written by Hugh Robjohns. Published July 2017.\n\nRead the full review: [Sound on Sound 8331, 8341 and 8351 Review](https://www.soundonsound.com/reviews/genelec-ones "Sound on Sound 8331, 8341 and 8351 Review")","sv-SE":"Sound on Sound Magazine's (UK) review of 8331, 8341 and 8351 SAM™ Studio Monitor. Written by Hugh Robjohns. Published July 2017.\n\nRead the full review: [Sound on Sound 8331, 8341 and 8351 Review](https://www.soundonsound.com/reviews/genelec-ones "Sound on Sound 8331, 8341 and 8351 Review")"}
Documentation
Documents
Operating Manual 8341A Brochure The Ones The Ones 产品手册 Immersive Solutions Brochure GENELEC真力-8341a-用户操作手册Downloads
8341A - Simulation File (CLF) Line Drawings (PDF) 8341A Line Drawings (DWG) 8341A The Acoustic Design of Minimum Diffraction Coaxial Loudspeakers with Integrated Waveguides 8341A - Simulation File (GLL)Reviews
Tape Op Review: 8341A SAM Monitors & GLM User Kit Production Expert: Genelec 8331 SAM & 8341 SAM "The Ones" Studio Monitors & GLM™ 3 - Do They Re-Write The Rule Book?, August 2018 (UK) Sound on Sound Magazine: Genelec The Ones by Hugh Robjohns, July 2017 (UK) MusicTech Magazine: Genelec The Ones SAM 8331 & 8341 Review – Raising The Bar, November 2017 (GB) Recording Magazine (PDF): Genelec 8341 and 8331 Studio Monitors and GLM 3 Software, March 2018 (US) Stereo Sound: 8331 & 8341 Review, November 2017 (Japan) Resolution Magazine/Monitoring Supplement: “Creating Ultimate Point Source”, May 2017 (GB)"These studio monitors pack a serious amount of technology into a very compact package. Can all this tech combat the issues associated with powerful rear ported designs and can the GLM™ 3 system cope with a truly dreadful set of listening circumstances?"
The Production Expert's comprehensive review "Genelec 8331 SAM & 8341 SAM "The Ones" Studio Monitors & GLM™ 3 - Do They Re-Write The Rule Book?" does not only list the pros and cons, but also describes the user experience of the products.
The review was published in August 2018.
"The culmination of years of R&D, these revolutionary new speakers offer performance way beyond what you’d expect from their size."
-Hugh Robjohns, the author of the review article
Sound on Sound Magazine's (UK) review of 8331, 8341 and 8351 SAM™ Studio Monitor. Written by Hugh Robjohns. Published July 2017.
Read the full review: Sound on Sound 8331, 8341 and 8351 Review
MusicTech Magazine's (GB) review of 8331 and 8341 SAM™ Studio Monitor. Published in November 2017.
MusicTech magazine's review of Genelec 8331 and 8341 studio monitors. The review is written by Andy Jones and it was published on MusicTech's website in November 2017.
"Two new 3-way coaxial monitors to fit any room—and software to ease the process."
Recording Magazine's (US) review of Genelec 8341 and 8331 studio monitors and GLM 3 software written by Paul Vnuk Jr. and Mike Metlay. The review was published in March 2018.
Read the full review: Recording Magazine 8331, 8341, and GLM 3™ Review
Stereo Sound Online Magazine's (JP) review of 8331 and 8341 SAM™ Studio Monitor. The review is written in Japanese and it was published in November 2017.
Stereo Sound Online Magazine's (JP) review of 8331 and 8341 SAM™ Studio Monitor. The review is written in Japanese and it was published in November 2017.
Read the full review: Stereo Sound 8331 & 8341 Review
"Collectively, the three monitors make up The Ones, a range combining the best of coaxial and point source to create what Genelec is calling Ultimate Point Source. Resolution speaks to Aki Mäkivirta to find out more."
Resolution Magazine Monitoring Supplement's (GB) review of The Ones. Published May 2017.
Read the full review: Resolution Magazine/Monitoring Supplement The Ones Review
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