Incredible three-way point source monitor with the footprint of a compact two-way. When space and precision is of the essence, nothing even comes close.
8331A SAM™ Studio Monitor

Smart Active Monitor (SAM™) Systems

Minimum Diffraction Coaxial (MDC™) Driver Technology

SPL
104 dB

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

Dimensions
H 305 x W 189 x D 212 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
The smallest in The Ones series, the 8331A is perfect for small rooms or ultra-nearfield applications, and offers an outstanding solution where none existed before. And in conjunction with our GLM calibration software, the 8331A will 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.
Genelec
8331 SAM™ Studio Monitor Dark Grey
8331 SAM™ Studio Monitor White
8331 SAM™ Studio Monitor Black
1 x 8331A monitor
1 x mains cable 1,8 m
1 x RJ45 cable 5 m
1 x user manual
8331A 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 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 monitor series was awarded a Super AV Award 2017 in the category of Outstanding Overall Performance.
Genelecs The Ones monitors were awardede a Beijing International Music & Hi-Fi Show award 2017 in the category of "Most Influential Product".
Genelec's The Ones monitors were awarded a IFTT C&C Award 2017 (International Film and Television Technology Creative & Craft Award).
Genelec's The Ones series monitors were awarded a Resolution Award 2018 in the "Monitoring" category.
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.
Technical Specifications

SPL
104 dB

Amplifier Power
72 W Bass (Class D) + 36 W Midrange (Class D) + 36 W Treble (Class D)

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

Accuracy of Frequency Response
± 1.5 dB (58 Hz - 20 kHz)

Driver Dimensions
2 x H 65 x W 130 mm Bass + ⌀ 90 mm Midrange + ⌀ 19 mm Treble (view in inches)

Dimensions
H 305 x W 189 x D 212 mm, with Iso-Pod™ (view in inches)

Weight
6.7 kg / 14.8 lb

Connections
1 x XLR Analog Input
1 x XLR AES/EBU Input
1 x XLR AES/EBU Output
2 x RJ45 Control
8331A SAM™ Studio Monitor
Technical Specifications
System Specifications
Frequency Response
58 Hz - 20 kHz (± 1.5 dB)
Low cutoff -6dB
45 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.
≥110 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.
≥104 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.
≥99 dB
Self-generated noise
Self-generated noise Self generated noise level in free space at 1 m on axis (A-weighted).
≤0 dB
Weight
Weight6.7 kg (14.8 lb)
Dimensions
Height
285 mm
Height with Iso-Pod
305 mm
Width
189 mm
Depth
212 mm

Enclosure
Enclosure material
Die cast aluminium
Enclosure type
Reflex port
Drivers
Driver type
Racetrack
8331A Bass Driver
Count
2
Width
130 mm
Height
65 mm
Driver type
Coaxial
8331A midrange driver in cone (coaxial)
Diameter
90 mm
Driver type
Coaxial
8331A treble driver in metal dome (coaxial)
Diameter
19 mm
Directivity

Harmonic distortion
> 100 Hz ≤0.5 %
Amplifier Section
Amplifiers
72 W Class D
36 W Class D
36 W Class D
Mains voltage
100-240 VAC 50/60Hz
Power consumption
ISS Active
≤0.5 W
Idle
≤4 W
Full output
60 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

Directivity Control Waveguide (DCW™) Technology

Minimum Diffraction Enclosure (MDE™) Technology

Reflex Port Design

Protection Circuitry

Intelligent Signal Sensing (ISS™) Technology

Optimized Amplifiers

Active Crossovers

Iso-Pod™ Stand

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.
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
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.
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.
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.
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.
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)
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.
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.
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
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.”
Electronic Music Composer Richard Devine Studio Interview | Genelec 8331
One on One with ARET Engineering | Genelec 8331| Interview
Review: Genelec The Ones
We are The Ones
How GLM™ (Genelec Loudspeaker Manager) Software Works
Developing The Ones
Electronic Music Composer Richard Devine Studio Interview | Genelec 8331
Electronic Music Composer Richard Devine tells us why he chose the Genelec 8331s and how he relies on GLM’s auto-phase feature for accurate low end monitoring with a subwoofer in this One on One series exclusive.
One on One with ARET Engineering | Genelec 8331| Interview
Italy’s ARET has created the first OB van in the world to feature the new 8331 point source monitors from ‘The Ones’ series. Find out why ARET’s VP of Sales, Alessandro Asti, describes them as “the perfect choice”.
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.
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.
The test review of amazona.de "TEST: GENELEC 8331 A, AKTIVE DSP STUDIOMONITORE" is written by Raphael Tschernuth and it was published in October 2015. It is in German.
{"fi-FI":"The test [review](https://www.amazona.de/test-genelec-8331-a/ "TEST: GENELEC 8331A, AKTIVE DSP STUDIOMONITORE") of amazona.de "TEST: GENELEC 8331 A, AKTIVE DSP STUDIOMONITORE" is written by Raphael Tschernuth and it was published in October 2015. It is in German.","en-US":"The test [review](https://www.amazona.de/test-genelec-8331-a/ "TEST: GENELEC 8331A, AKTIVE DSP STUDIOMONITORE") of amazona.de "TEST: GENELEC 8331 A, AKTIVE DSP STUDIOMONITORE" is written by Raphael Tschernuth and it was published in October 2015. It is in German."}
Proaudio.de website's online review of Genelec 8331A studio monitor and GLM kit. The review is written in German and it was published in August 2018.
{"fi-FI":"Proaudio.de website's online review of Genelec 8331A studio monitor and GLM kit. The [review](https://www.proaudio.de/de/tests/20420-genelec-8331a-mit-loudspeaker-manager-user-kit.html "Genelec Aktiv-Lautsprecher 8331A mit Loudspeaker Manager User Kit") is written in German by Erol Ergyn, and it was published on 7th August, 2018.","en-US":"Proaudio.de website's online review of Genelec 8331A studio monitor and GLM kit. The [review](https://www.proaudio.de/de/tests/20420-genelec-8331a-mit-loudspeaker-manager-user-kit.html "Genelec Aktiv-Lautsprecher 8331A mit Loudspeaker Manager User Kit") is written in German by Erol Ergyn, and it was published on 7th August, 2018."}
"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.","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."}
Documentation
Reviews
Amazona.de: GENELEC 8331 A, AKTIVE DSP STUDIOMONITORE, October 2018 (DE) proaudio.de: Genelec Aktiv-Lautsprecher 8331A mit Loudspeaker Manager User Kit, August 2018 (DE) Production Expert: Genelec 8331 SAM & 8341 SAM "The Ones" Studio Monitors & GLM™ 3 - Do They Re-Write The Rule Book?, August 2018 (UK) fairaudio: 8331 Review, April 2018 (DE) Bonedo Magazin (online): Genelec 8331A Test - 3-Wege-Koaxial-Studio-Monitor, March 2018 (DE) Recording Magazine (PDF): Genelec 8341 and 8331 Studio Monitors and GLM 3 Software, March 2018 (US) LowBeats Online-HiFi-Magazin: Test Genelec 8331 A – der unbestechliche Nahfeld-Monitor, February 2018 (DE) Stereo Sound: 8331 & 8341 Review, November 2017 (Japan) Sound & Recording Magazine: Double Woofer Coaxial 3 Way Monitor with DSP Correction Function, 2017 (Japan) MusicTech Magazine: Genelec The Ones SAM 8331 & 8341 Review – Raising The Bar, November 2017 (GB) Audio Media International (PDF): Genelec 8331, November 2017 (GB) Sound on Sound Magazine: Genelec The Ones by Hugh Robjohns, July 2017 (UK) Resolution Magazine/Monitoring Supplement: “Creating Ultimate Point Source”, May 2017 (GB)The test review of amazona.de "TEST: GENELEC 8331 A, AKTIVE DSP STUDIOMONITORE" is written by Raphael Tschernuth and it was published in October 2015. It is in German.
The test review of amazona.de "TEST: GENELEC 8331 A, AKTIVE DSP STUDIOMONITORE" is written by Raphael Tschernuth and it was published in October 2015. It is in German.
Proaudio.de website's online review of Genelec 8331A studio monitor and GLM kit. The review is written in German and it was published in August 2018.
Proaudio.de website's online review of Genelec 8331A studio monitor and GLM kit. The review is written in German by Erol Ergyn, and it was published on 7th August, 2018.
"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.
fairaudio HiFi-Magazin's (DE) online review of 8331 SAM™ Studio Monitor. The review is written in German. Published in April 2018.
fairaudio HiFi-Magazin's (DE) online review "Test: Genelec 8331A Aktivlautsprecher - Finnische Bonbons" was published online on 23th April, 2018. It is written by Nick Mavridis.
Read the full review in German: fairaudio: 8331 Review.
"Genelec hat vor kurzem zwei sehr kleine 3-Wege-Coaxial-Monitore ihrer Serie "The Ones" vorgestellt. Mit gleich zwei kleineren Geschwistern zur Genelec 8351 bringen die Finnen die fürs kleinste Gehäuse komplett neu konzipierten Varianten 8341 und 8331 auf den Markt. Lohnt sich die Anschaffung? Im bondeo-Test wird das kleinste Modell, die Genelec 8331A auf den Prüfstand gestellt."
-Patric Louis, the author of the review article
Bonedo Magazin's (DE) online review "Genelec 8331A Test - 3-Wege-Koaxial-Studio-Monitor" of 8331 studio monitor. The review was published in March 2018, and is written by Patric Louis. It is available in German language.
Read the full review here.
"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
LowBeats Online-HiFi-Magazin's (DE) review of 8331 SAM™ Studio Monitor. The review is written in German and it was published in February 2018.
LowBeats Online-HiFi-Magazin's (DE) review of 8331 SAM™ Studio Monitor. The review is written in German and it was published in February 2018.
Read the full review: LowBeats Online-HiFi-Magazin 8331 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
The Sound & Recording magazine's review (JP) "Double Woofer Coaxial 3 Way Monitor with DSP Correction Function" was published in 2017. It is written in Japanese.
The Sound & Recording magazine's review (JP) "Double Woofer Coaxial 3 Way Monitor with DSP Correction Function" was published in 2017. It is written in Japanese.
Read the full review here.
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.
"The 8331s are the smallest in the range of Genelec’s point source monitor range it calls The Ones. Here, Stephen Bennett gives Audio Media International his expert opinon about these small but mighty speakers."
Audio Media International's (GB) review of 8331 SAM™ Studio Monitor. The review was published in November 2017.
Read the full review: Audio Media International 8331 Review
"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
"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