8331A SAM™ Studio Monitor

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!

Can you briefly summarise your professional background for our readers?

I'm an internationally recognised leader in the field of live-sound mixing, systems design and the optimisation of sound reinforcement. For more than 15 years I've established an upward trajectory in my career, collaborating with distinguished national and international artists on various productions.

I've been Mexico's representative for the Soundgirls.org organisation since 2016, and my professional career was highlighted in the 2019 book 'Women In Audio' presented by the Audio Engineering Society in London and written by the renowned sound engineer Leslie Gaston-Bird.

Aside from being the CEO of our studio, Goro Goro Immersive Lab, I've co-founded a company called 3BH with which I develop integration projects for post-production in Latin America.

Can you tell us something about your creative space and where it's located?

Goro Goro Immersive Lab is a boutique studio that's ideally situated in the heart of Mexico City. We're a laboratory formed by engineers and creative artists dedicated to immersive audiovisual experiences that use cutting-edge technology.

Can you give an overview of the key equipment you use in the studio?

Computer system: Apple Mac Pro.

Software: Pro Tools Ultimate 2021, Ableton Live 11, Dolby Atmos Mastering Suite and Dolby Audio Bridge.

Control Surface: AVID PT Dock and 2 AVID S1s. That's 16 Faders connected with EUCON.

Signal chains: DAW > Dolby Audio Bridge > Dolby Atmos Mastering Suite > AVID HD Native interface > Focusrite RED 16Line > Genelec monitors & LFE (sub).

Audinate DANTE system > Cisco network switcher (PoE) > Focusrite AM2/X2P > headphones distribution (binaural & stereo)

What type of work do you do in your studio?

We provide sound design services, we mix in stereo, Dolby Atmos and Ambisonic, and we make pre-mixes for films in 5.1, 7.1 & Dolby Atmos.

Is there a particular immersive format you specialise in?

We specialise in spatial mixing using Dolby ATMOS, and we also create audiovisual immersive experiences for live concerts.

How and when did you become interested in immersive audio?

I've always been curious about trying new technologies and creating new experiences, so I started making binaural mixes in Ambisonics. That led to me mixing in Dolby Atmos and making immersive sound for live performances.

What made you decide to equip your studio for immersive audio work?

In 2018, Daniel Castillo, who's the CEO of 3BH, suggested making our studio ready for Dolby Atmos. We love the sound of Genelec monitors, so we decide to equip our studio with a Dolby Atmos 7.1.4 setup using Genelec Smart Active Monitors. Our studio was designed by both 3BH and Dolby.

What's been different about working with immersive compared to stereo?

Everything is different! I love to mix immersive sound. For me it's very natural and you can be as daring or conservative as you wish. I have mixed a lot of audiovisual content, and all my clients, artists and producers end up amazed by the immersive experience. The creativity is endless, I just love it!

How would you describe your relationship with Genelec loudspeakers and which ones do you own?

I generally love the sound of Genelec loudspeakers, but when I tried The Ones, I loved Genelec even more! The sense of space that those monitors enable is amazing - their frequency response and clarity make immersive mixing much easier.

The system that we have at Goro Goro Immersive Lab is:

L,R,C,Ls,Rs,Lrs,Rrs: 8331A

Ltf,Rtf,Ltr,Rtr: 8320A

LFE: 7370A

Did you use GLM (Genelec Loudspeaker Manager) to calibrate your system, and can you describe what difference it makes?

Yes, we use GLM 4 to calibrate the studio. I have many years of experience calibrating studios for music and post-production, and I've found GLM 4 to be an excellent tool. It's amazing how you can get a very good equalisation, sound pressure level and many other advantages. Having everything in GLM means that we don't need any separate signal-processing for monitoring.

What immersive projects have you worked on recently, and has immersive work boosted your business?

Recently we hosted an event organised by Dolby, 3BH and Apple Music called 'Dolby Days'. During the event we demonstrated Dolby Atmos content to musicians, record labels and producers. I mixed my first song from the merengue genre using Dolby Atmos - El Jaja Jala by Olga Tañón. I've also made several mixes for music videos using the Ambisonics format.

We've pushed immersive technology for years, so we were innovators in this field when it wasn't popular yet. I feel the decision to build an immersive studio was the best decision we could have made, and now we're living in the great future that we used to only imagine.

What does immersive audio mean for the future?

I see it as the new standard in sound.

To find out more about Goro Goro, 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!

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

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

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

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

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

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

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

So says Philip Eriksson, Hazelight’s Lead Sound Designer, and we couldn’t wait to visit Philip and Senior Sound Designer Anne-Sophie Mongeau in Stockholm to film them talking about It Takes Two, Hazelight’s brand new co-op 3D action adventure game ….and their love of Genelec monitors, of course!

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Having started his career as a sound engineer, Philip studied film sound before joining EA Dice and working on their Star Wars Battlefront and Battlefield titles. Two years ago he transitioned to Hazelight to take responsibility for the audio production on It Takes Two.

Originally hailing from Montreal, Anne-Sophie’s experience in the game audio industry is complemented by a Master’s degree in Sound Design from the University of Edinburgh, and her role in It Takes Two has been dedicated to creating and delivering high quality soundscapes and interactive audio.

In our exclusive video, Philip and Anne-Sophie discuss the process of sound design in game audio – revealing how recording underwater with hydrophones, home-made kazoos and the use of slime and compressed air all played a part in their latest project!

With sound being so important in the creation of atmosphere and realism in games, it’s no surprise that Philip and Anne-Sophie rely on Genelec monitoring in their daily work. Philip’s room is equipped with a 5.1 Smart Active Monitoring system comprising 8331s in the LCR positions, 8330s as surrounds and an ‘awesome’ 7360 subwoofer handling the LF duties.

“I need speakers just to be able to sit and make sounds for eight hours a day,” says Philip. “I also need to have that representation of the sound so that I know that it's clear enough, so that I have the depth and I have the width. And then this usually translates pretty well to headphones.”

Anne-Sophie agrees, and adds that “You want something that translates as clearly as possible what's coming out of the game like what you put in, in terms of assets and implemented work, and how that translates to the end user - so you want the best reference you can get.”

The company has recently made their own transition to magnificent new headquarters in Helsinki, designed according to sustainable practices with the aim of achieving optimum efficiency and wellbeing. AV solutions experts 4Business Oy were called in to design and implement all the AV technologies for the new premises, which included a Smart IP audio solution from Genelec.

One of the biggest issues to be addressed from an audio point of view was auditory comfort in Ilmatar’s open workspaces - an integral part of any modern, activity-based office today. However, one of the inherent problems of any open plan workspace is a lack of privacy and disruptive noise coming from elsewhere in the environment. Ilmatar was determined to create the most comfortable and efficient working environment possible in their open plan areas, and so paid great attention to sound behaviour in these spaces.

“The lobby and open work areas, as well as the meeting rooms and offices, are all exceptionally well designed from an acoustic point of view, with excellent reverberation times,” notes Janne Lankinen of 4Business. “There are also absorbing screens between the desks, and the background noise caused by ventilation has been minimized. Nevertheless, while these measures help considerably, they cannot resolve the issue completely. To achieve optimum results, we designed and implemented a custom sound masking system – starting with a high quality audio solution - specifically tailored to Ilmatar’s requirements.”

It met all of the client’s criteria for quality, as well as being the most sustainable audio solution.

Based on detailed coverage simulations, 4Business implemented a comprehensive Genelec audio system; a total of twenty 4420 Smart IP speakers were distributed across two separate open plan spaces. “We selected Genelec’s Smart IP solution as it met all of the client’s criteria for quality – both sonically and materially – as well as being the most sustainable audio solution available,” explains Lankinen. The Smart IP technology platform delivers power, audio and control over a single CAT cable across a digital audio network – in this case, Dante – making them exceptionally easy to install and ensuring that the systems are fully scalable.

“The site-wide loudspeaker system was individually measured with room acoustics analysis software and adjusted using Genelec’s Smart IP Manager software to ensure the most transparent audio reproduction possible,” continues Lankinen. “Technical criteria aside, the fact that Genelec is a native Finnish brand and manufactured in Finland according to sustainable principles was also extremely important for Ilmatar.”

Implementation of the masking signal itself fell to Pyry Survo, sound designer and composer for WSP, global infrastructure experts. Survo designed the signal to be as pleasant and even as possible – an ambient background sound that mimics airflow and is specifically engineered to match the frequencies of human speech and to sound comfortable. The sound is audible but not intrusive and serves to reduce speech intelligibility in the surrounding environment. Nearby conversations or telephone calls are no longer a distraction, ensuring comfort and privacy for all concerned.

“A high quality sound system and careful spatial measurement of the audio signal avoided the ‘whoosh effect’, which is a problem with low quality speakers and the wrong type of audio signal,” explains Lankinen. “The masking system generates a multichannel audio signal to avoid the sound distortion caused by differences in speaker distance that typically occurs with mono sound masking systems.”

In addition to the sound masking, Ilmatar had another objective; to create a unique atmosphere that reflects the company ethos of working with nature in order to preserve it. A generative soundscape emulating a natural marine environment with sounds of the sea, seagulls, and of course, the wind – was created for the entrance lobby and implemented using a WSP multichannel soundscape player and eight Genelec 4430 Smart IP active loudspeakers. Virtual nature is created with algorithms that mimic the mechanisms and the timelines of the natural world so that the soundscape remains as authentic as possible and avoids playlist-like repetition. A soothing four-channel forest soundscape was also created for the café area which is equipped with four Genelec 4430s in white.

We are delighted with the outcome and believe that we have one of the most comfortable offices in Finland.

Mikko Toivanen, VP and co-founder of Ilmatar Windpower Oy is delighted with the results: “Our goal was to create the best office in Finland for our staff; making full use of new innovative technologies in terms of comfort and usability was a major goal. This was achieved by 4Business thanks to their consultative sales methods and technical expertise, ensuring an excellent end result. We are very pleased with the outcome and believe that we have one of the most comfortable offices in Finland.”

Having started DJ-ing at parties as a youngster, he soon started making music himself, which brought him into the orbit of other emerging German rap stars including Farid Bang, Manuellsen, KC Rebell and Summer Cem. 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!’”

Audio research routinely demands a monitoring system with both accuracy and consistency, and flat frequency response, controlled directivity and supremely uncoloured on- and off-axis response are all design attributes that make Genelec the perfect research monitoring tool – offering transparent performance, free from artificial hype and unwanted artefacts.

Additionally, audio research often needs a flexible, scalable solution from mono to high channel count immersive audio, and in these cases the power of our GLM software allows the researcher to create, optimise and control complex arrays of Genelec smart active monitors to offer precise, predictable performance.

In this project, Professor Kang and his team at UCL are conducting research around soundscapes, studying how a human perceives, and is impacted by, the surrounding sonic environment. Having spent the last year gathering recordings from all around the world from multiple different environments, the team needed a studio that would be able to precisely recreate the recorded environment – and thus the immersive listening lab was born.

To read more about the project click here.

To find out more about Genelec solutions for audio research, click here.

Image: HHB

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!”

Combining an ambient music performance with a multi-channel listening experience, both the performers and the live audience were surrounded by a ring array of Genelec loudspeakers, creating a truly unique listening environment. This type of playback system is tailor-made for ambient music, emphasising the sense of space and the abstract nature of the compositions – and creating an incredibly thought-provoking and stimulating live event.

The planning and creation of the show took place over a two month period, using the demonstration space in Modern Sky to evaluate how the sound elements combined, how they moved, and what type of speaker configuration would be best suited to the ambient material. The creative team included electronic musician Wang Lu, also known as L + R, music producer/mixer Shen Lijia and visual artist Tami-musiXgal, and working alongside our colleagues at Genelec China, a system comprising eight S360 high-SPL smart active monitors and a 7382 subwoofer was used to surround the audience, while a smaller smart active array of four 8330 two-ways, four 8331 coaxial three-ways and a 7360 subwoofer was used to envelop the musician and the VJ. Genelec GLM software was then used to analyse the room and optimise the frequency response, distance delay and playback level of each speaker in the system – thereby delivering the best possible listening experience to both performers and audience alike.

In planning the event, the team were seeking a good combination of manual control, programming and random machine triggering, with the pre-programmed foundation of the 8.1 audio mix being handled by Ableton Live, with Cycling 74’s Max allowing communication with external hardware instruments – and plenty of real-time musical improvisation was included too!

Prior to the event, the demand for tickets was so high that it was decided to stage three separate performances, to allow every listener to position themselves comfortably within the speaker array and experience the finest sound quality. And from our own perspective, the whole process of planning and executing the event gave us a much deeper understanding of the shaping of space, the precise positioning of sound and the design of moving trajectories in music.

There’s no doubt to us at Genelec that as the world’s exposure to immersive audio becomes greater, the future of multi-channel live music performances is increasingly looking brighter. There are a whole new generation of music fans who are seeking more and more ‘experiential’ live performances, and Genelec is excited to play its part in the growth of this exciting medium.

The loudspeaker sphere is based around a 3 metre diameter frame, constructed within an anechoic chamber, and utilises a network of thirty-five Genelec 8320 monitors, five 8331 three way coaxial monitors from The Ones series, plus four 7050 subwoofers to create instantly recallable sound fields ranging in format from simple stereo and 5.1 up to 22.2. The result is a one-of-a-kind environment which allows the listener to experience the acoustic conditions specific to a particular concert hall, car interior, living room or other acoustic space.

At the heart of the research project is the understanding and analysis of reverberation – what it is, how sound reacts with reflective surfaces, and how it can benefit - or detract from - the listener’s experience.

“We wanted to bring real life into the lab,” says Dr. Neo Kaplanis, a Tonmeister and lead scientist at B&O. Along with an EU-FP7 consortium, Kaplanis examined whether it is possible to compensate for reverberation effects with the goal of aiding B&O’s R&D department.

“Our acoustic memory is extremely short, and that makes it hard to remember for any length of time exactly what a particular loudspeaker sounds like,” he continues. “And when auditioning loudspeakers in a store, you have no idea what that same model would sound like in your own living room. We knew that the same loudspeakers don’t sound the same in different rooms, we just didn’t know what was different. So the idea of this project was to investigate and record the acoustics inside various spaces so that they could be easily simulated in a controlled environment.”

Kaplanis developed a new type of recording that captures the unique acoustic fingerprint of a space, and then designed a computer program that plays back sounds from those precise locations in the sphere.

The collaboration between Genelec and B&O is long-standing, according to Kaplanis’ adviser, Søren Bech, B&O Director of Research and professor at Aalborg University.

“Genelec is a highly engineering-based company with a similar philosophy to our own. We listened to several models, and decided that their SAM studio monitors would be perfect for what we are doing – recording the sound of a room, and then reproducing it so the listener can switch between either the same loudspeaker in different rooms, or the same room with different loudspeakers.”

Kaplanis adds: “We wanted a loudspeaker that was as transparent as possible – so when we send something to it, we expect it to come out exactly the same. Genelec are without doubt one of the best studio monitors you can get, and their super-controlled, wide-frequency directivity is a significant benefit for the type of work we are doing here. They are also very light and very small, and easy to place in the sphere.”

The integration of SAM monitors with Genelec’s own GLM software was central to the project, he continues: “It’s super convenient because you can update filters, select and mute individual speakers, group them, and control the volume of all of them at the same time. It’s easy to try different set-ups at the click of a button.

“Being able to test the sound of a loudspeaker in different acoustic environments in exacting detail - without physically going there - is of obvious benefit to us because we don’t have the knowledge of an individual listener’s living room conditions – but is now possible to simulate those conditions with a high degree of accuracy thanks to Genelec’s expertise in acoustic design and the precise reproduction of sound,” he concludes.

Genelec’s Senior Technologist Thomas Lund added: “With two world-class sphere facilities now within short driving distance of each other – the other one being at the University of Aalborg – Denmark has really geared up for new research and verification of results within the booming field of immersive audio. Binaural and in-room research both benefit from the point source radiation of The Ones series and GLM calibration, thereby limiting potential confounders.”

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.”

s5studio moved into its current space in Manhattan’s west side last May, but the business, founded by Sonny Carson, goes back almost a decade, to its first iteration in Brooklyn. Zukye Ardella joined the enterprise later, helping the Brooklyn location flourish and helping oversee the move to the Manhattan space. Carson and Ardella serve as business partners, sharing chief engineer titles. The studio now occupies a large space in the Chelsea neighborhood, an area long known as a hub of legendary music recording studios over the decades. This new home of s5studio, once the private facility for the Scissor Sisters (and originally designed by Horacio Malvicino of the Malvicino Design Group), has just opened its own third studio, the Midnight Blue Room, which joins its Crimson Room and the Black Room. What they all have in common is active monitoring from Genelec: a pair of 8331A Smart Active Monitors™ are the near-field solutions for the Crimson Room — the facility’s largest studio — while two 1234A Smart Active Monitors are used for main monitoring there; the Black Room uses the 8320A Smart Active Monitors as near fields; and the newest studio, the Midnight Blue Room, designed primarily by Carson, has a pair of 8331As for close-in listening and a pair of 1238A Smart Active Monitors for mains.

The Crimson Room at s5studio in Manhattan, featuring Genelec 8331A Smart Active Monitors™ as near-fields and two Genelec 1234A Smart Active Monitors as the mains

Notice anything missing here? “We are doing everything at this point without subwoofers in any room, and it’s blowing people’s minds!” states Ardella, a native New Yorker well known and liked in the city’s music-production community and whose engineering and production credits include Ne-Yo, WizKid, A$AP Ferg and Flipp Dinero. “The Genelec speakers all have incredible low-frequency power. The lows are big, even for hip-hop. But what’s really amazing is that those lows are also so clear and clean. Engineers and artists come here and tell us that they can push the bottom but they can still hear lyrics very clearly, which is very important. With Genelec, we can get the full range of sound and hear everything on the track.” Ardella says the acquisition of subs for some of the studios is planned for, but she and her clients have been completely satisfied with the low-frequency response they’ve been getting from this array of Genelec monitors.

Zukye Ardella, s5studio chief engineer

Genelec came with other benefits, too. For instance, all of the speakers utilize Genelec’s proprietary GLM™ and AutoCal™ software, which automatically controls and calibrates the monitors for the room response, level and time of flight and allows for multiple calibration locations as group presets. “The calibration system is very easy to use and very precise in how it tunes the speakers perfectly to each control room,” Ardella explains. “It got us up and running that much faster, and everyone remarks on the accuracy of the sound. Their mixes sound the way they expect them to. It’s why we stand by Genelec. I’m a proud Genelec user.”

Sonny Carson, s5studio founder and chief engineer