Delivering high SPL and extended LF response, the 7380A offers power, clarity and flexibility in equal measures.
7380A SAM™ Studio Subwoofer

Active Crossovers

Bass Management System

SPL
119 dB

Frequency Response
16 Hz - 100 Hz (-6dB)

Dimensions
H 685 x W 718 x D 492 mm, (view in inches)

High SPL, low distortion
Providing a level of performance normally associated with much larger enclosures, the 7380A subwoofer offers both high power and high SPL, with an extended low-distortion LF response and flexible bass management options. Comprehensive connectivity ensures that the 7380A is equally at home in stereo or multichannel environments, making it perfect for music, post, film or broadcast applications that demand powerful, dependable LF reproduction in a surprisingly compact form factor.

Configure, calibrate and control
The 7380A works closely with our GLM software, which allows all monitors and subwoofers in a system to be configured, calibrated and controlled. Offering access to advanced system auto-calibration and management, GLM’s powerful room compensation features enable the 7380A to be optimised for a wide range of acoustic environments, and permits both centralised and distributed bass management modes to be employed.
Genelec
7380A SAM™ Studio Subwoofer
1 x 7380A subwoofer
1 x mains cable 1,8 m
1 x GLM network cable 5 m
1 x user manual
7380A SAM™ Studio Subwoofer
Awards
Technical Specifications

SPL
119 dB

Amplifier Power
800 W Bass (Class D)

Frequency Response
16 Hz - 100 Hz ("-6 dB")

Driver Dimensions
⌀ 381 mm Bass (view in inches)

Dimensions
H 685 x W 718 x D 492 mm, (view in inches)

Weight
69 kg / 152.1 lb

Connections
8 x XLR Analog Input
8 x XLR Analog Output
1 x XLR Analog Input
1 x XLR Analog Output
1 x XLR AES/EBU Input
1 x XLR AES/EBU Output
2 x RJ45 Control
7380A SAM™ Studio Subwoofer
Technical Specifications
System Specifications
Frequency Response
Low cutoff -6dB
16 Hz
High cutoff -6dB
100 Hz

SPL
Peak SPL Maximum peak SPL output with random pink noise, measured in half space at 1 meter.
≥123 dB
Short term max SPL Maximum short term sine wave SPL output averaged from 30 to 85 Hz, measured in half space at 1 meter.
≥119 dB
Self-generated noise
Self-generated noise Self generated noise at 1 m on axis (A-weighted).
≤5 dB
Weight
Weight69 kg (152.1 lb)
Dimensions
Height
685 mm
Width
718 mm
Depth
492 mm

Enclosure
Enclosure type
Reflex port
Drivers
Driver type
Cone
Diameter
381 mm
Harmonic distortion
Amplifier Section
Amplifiers
800 W Class D
Mains voltage
100-240 VAC 50/60Hz
Power consumption
ISS Active
≤2 W
Idle
≤40 W
Full output
600 W
Signal processing section
Connectors
8 x Input 7.1 Analogue XLR input connectors XLR female, balanced 10 kOhm.
8 x Output 7.1 Analogue XLR output connectors XLR male.
Input Link In connector.
Output Link Out connector.
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.
For even more technical details please see product operating manual.
Key Technologies

Active Crossovers

Bass Management System

Intelligent Signal Sensing (ISS™) Technology

Laminar Spiral Enclosure (LSE™) Technology

Optimized Amplifiers

Protection Circuitry

Smart Active Monitor (SAM™) 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.
Bass Management System handles multichannel low frequency content.
The principle of bass management is that the bass content of the main channels and the Low Frequency Effect (LFE) channel are directed and reproduced only by loudspeakers capable of handling them, whether they are main system loudspeakers or one or more subwoofer(s).
In stereo reproduction, signals from 20 Hz to 20 kHz need to be replayed. Large multi-way monitoring systems will reproduce such a wide bandwidth evenly. With multichannel audio, professional and consumer audio systems must also be able to reproduce audio between 20 Hz and 20 kHz for each channel. To achieve this, main monitors, subwoofers and crossover electronics should work together.
A Bass Management system uses either analogue electronic circuitry or software based filtering which will filter low frequency information from the main channels and route that information to one, or more, subwoofer feed.
The dedicated LFE channel can also be monitored via that subwoofer and added to the low frequencies of the other main channels. Therefore, the Bass Management’s basic and main goal is to ensure that the entire audio bandwidth of all channels can be accurately monitored.
The benefits of the Bass Management System:
- The subwoofer extends the system frequency response down the lower limit of the audible range
- Monitor can produce a higher maximum sound level when not reproducing low frequencies
- Optimized low frequency reproduction by selecting adequate subwoofer location; monitors can also be placed more freely
- Subwoofer’s output are aligned in level and phase with monitors allowing flat and accurate reproduction down to 19 Hz and across the crossover point
- LFE channel output level (0 or +10 dB re. main channels) can be selected for accurate reproduction depending on the source type
- The ability to bypass the subwoofer allows to evaluate the audible impact of the subwoofer
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.
Highly efficient Laminar Spiral Enclosure (LSE™) provides accurate low frequency reproduction.
The demands placed on subwoofers over the last years have increased substantially to the point where traditional design concepts are no longer valid. For Genelec, in order to achieve the absolute best performance possible, bold initiatives must be taken.
Drawing on years of acoustic research and knowledge, Genelec's engineering group accepted the challenges placed upon them in the beginning of the 21st Century. The totally unique, curvilinear shape of the LSE™ Series Active Subwoofer enclosure is the revolutionary patented result of their efforts.
All of the Genelec LSE™ series subwoofers feature this innovative Laminar Spiral Enclosure™ (LSE™) bass reflex cabinet. It provides excellent laminar flow characteristics with minimal turbulence noise and enables an optimal packing of a very long reflex tube into a small space.
The learnings from the LSE Technology are also utilized in the reflex port design of our aluminium enclosure products.
The spiral-shaped design yields an extremely rigid enclosure exterior while also forming the subwoofer's integral port. The fact that one is part of the other means that air flow in and out of the enclosure's interior through the port is totally unrestricted. This results in an extraordinarily accurate and responsive low-frequency system with measured second and third harmonic distortion levels typically better than 30 dB below the fundamental.
When combined with Genelec stereo and multichannel bass management active electronics, the LSE™ Series Subwoofers provide a low-frequency listening experience like no other. The result is a product range with impeccable technical performance: The Genelec LSE subwoofer range is unique, complete, functional, different from any other products on the market, and consistent.
Each transducer is driven by its own optimized amplifier.
Audio electronic crossovers allow to split the audio signal into separate frequency bands that can be separately routed to individual power amplifiers which then are connected to specific transducers optimized for a particular frequency band.
In a typical 2-way loudspeaker system, the active crossover needs two power amplifiers — one for the woofer and one for the tweeter. The power amplifiers are connected directly to the drivers of an active loudspeaker, resulting in the power amplifier’s load becoming much simpler and well known. Each driver-specific power amplifier has only a limited frequency range to amplify (the power amplifier is placed after the active crossover) and this adds to the ease of design.
The active design principle offers multiple benefits:
- The power amplifiers are directly connected to the speaker drivers, maximizing the control exerted by the power amplifier’s damping on the driver’s voice coil, reducing the consequences of dynamic changes in the driver electrical characteristics. This may improve the transient response of the system.
- There is a reduction in the power amplifier output requirement. With no energy lost in the passive crossover filter components, the amplifier power output requirements are reduced considerably (by up to 1/2 in some cases) without any reduction in the acoustic power output of the loudspeaker system. This can reduce costs and increase audio quality and system reliability.
- No loss between amplifier and driver units results in maximum acoustic efficiency
- Active technology can achieve superior sound output vs. size vs. low frequency cut-off performance
- All loudspeakers are delivered as a factory aligned system (amplifiers, crossover electronics and enclosure-driver systems)
Sophisticated drive unit protection circuitry for safe operation.
When working in critical audio production environments it is essential that monitoring systems remain reliable and functional at all times. One of the main reasons behind Genelec’s excellent success in broadcasting environments is the reliability of our products and a key element behind the reliability is the internal protection circuitry found in all products since 1978.
The protection circuitry prevents driver failures by detecting signal levels, and in case of sudden peaks or constantly too high levels, taking the signal level down automatically. Of course this feature does not affect the sound quality in any way when working within the specifications of the loudspeaker, but only prevents inadequate input signals from breaking the loudspeaker.
Protection circuitry features and benefits:
- Reduces the output level when required, (e.g. when driver voice coil temperature reaches the safe limit) which highly improves the system reliability
- Appropriate protection circuitry design in every loudspeaker and subwoofer enables to maximise system output sound level.
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.
References
To ensure he achieved the best possible results with his studio, Krrishna turned to Genelec Smart Active Monitoring for the perfect full range solution.
“I have a sound of my own, so each gear selection is based on that particular sound and workflow,” explains Krrishna, discussing the racks of outboard equipment in the studio. “Investing in all of that advanced gear without a great sounding room would have been a failure, so I got to work. It took more than three years to develop my studio’s console room and recording hall. I designed the rooms in ‘golden ratios’ myself and I’m quite happy about the sound I’m getting there now.”
The 600-sq-ft mixing space required monitors which could excel in both coverage and sound quality. Krrishna trialled 10 to 15 monitor speakers to try and find the correct solution for the space, and as part of this process spoke to the experts at Sound Team – a company from which he has bought a large amount of equipment over the last few years.
It’s punchy, wide sounding, with great translation and offers an unbelievable accuracy in the low end.
“Varun spoke to me around mid-2019 about setting up this new room and we discussed a few Genelec monitor options to consider,” recalls Sound Team’s Shiv Sood. “We finally locked on the 1238DF with the 7380A subwoofer. Varun was looking at a high powered three-way active monitor but didn’t want to flush mount the monitors. The 1238DF was perfect as its cabinet depth is around 10 inches, and coupled with the 7380A makes a perfect full range monitoring solution.”
“I couldn’t be happier about what it delivers,” adds Krrishna. “It’s punchy, wide sounding, with great translation and offers an unbelievable accuracy in the low end.”
Genelec made my mixes much greater by providing hyper-detailed monitoring.
Tuning the space saw Genelec Loudspeaker Manager (GLM) software technology put to use. “I recollect that prior to ordering the system, Varun had questions about calibration, phase alignment, level matching and so on,” notes Sood. “As a solution provider you can so confidently explain to him how GLM effectively helps sort all these issues out, and provides the ability to set up all of this even by himself. I believe the sonic experience customers are getting is because GLM really plays a central part in the loudspeaker performance coming together.” Krrishna agrees, describing the GLM integration as “flawless”.
The new monitor setup is something that Krrishna is clearly very happy with. “Genelec made my mixes much greater by providing hyper-detailed monitoring,” he states. “I thank my friend Shiv from Sound Team, who was a great help in choosing and getting the right Genelec speakers for my room.”
The new solution came about after Guetta identified a problem with the mixes that he was creating with his old system. “In the previous system that I had, the subs were so loud that they were not really realistic,” he explains. “If I would mix with those subs, sometimes I would end up with a record that didn’t have enough bass when played on other systems - because the bass in my room was so huge.”
With the 7380As installed, Guetta’s mixes now translate beautifully from his studio straight to the dancefloors of Ibiza, and the subwoofers have helped improve the overall sound in his room. “By installing the subwoofers, we were able to reposition David’s main monitors to avoid early reflections. Finding the best place for the subwoofers also meant that we had a great frequency response curve all the way from low to high frequencies,” notes Genelec’s Pasi Pönkkä, who travelled to Guetta’s studio to calibrate the system using Genelec’s GLM software. Using GLM, Pönkkä was able to analyse the acoustic environment of Guetta’s studio and then optimise each Genelec monitor and subwoofer accordingly - thereby reducing any negative influences of the room on the sound.
Pönkkä explains that “Each 7380A subwoofer is paired with a single 1234A monitor, so the low frequencies can be better localised. Also, the locations were chosen so that the subwoofer sums aren’t cancelling each other out. The overall result was that we were able to provide David with more bass extension, but with a much smoother and flatter response.”
“This is my reference, and this is my perfect setup.”
A further benefit that Guetta is enjoying is that he can now work for much longer periods without the listening fatigue that he used to experience. “When producing, I’m not really playing too loud, and the Genelec 1234As - even though they are huge - still sound very precise even when they aren’t loud,” he explains. “What I like about the 7380As is that I can work at a low volume so that I’m not too tired after a few hours, and it’s still very precise. But, if I want to blast it loud, it’s powerful enough to feel like it’s in a club.”
Reflecting on his newly upgraded monitoring system, Guetta is certain he made the correct decision. “It gives the feeling of how it’s going to sound in the club, but it’s also realistic,” he states. “This is my reference, and this is my perfect setup.”
Take a closer look at David Guetta’s studio, and find out more about his music and workflow:
In the wake of the unmitigated success that is G Livelab Helsinki, the Finnish Musicians’ Union has opened a brand new – and bigger – venue in the vibrant city of Tampere, some 200km north of the Finnish capital. The same team was deployed to realise the Tampere project which is built according to the same ‘music first’ philosophy as Helsinki. The result is an extraordinary live music experience based on quality programming, modern design, and state-of-the-art Genelec audio systems including the ground-breaking new 4430 Smart IP loudspeaker.
Housed in a striking red brick building which was formerly the boiler house of the Frenckell paper mill in the heart of the city, the venue hosts up to 250 people and offers a hugely varied programme including jazz, folk, world music, pop/rock, chamber music, electronic music and more. Akukon Oy designed the acoustics, electroacoustics, lighting, sound, video, communication systems and basic IT structure as well as the rigging systems, as they did for Helsinki, and leading Nordic AV integrator, Bright – another key member of the Helsinki team – brought Akukon’s vision to life.
“Genelec was already a tried and tested solution with the first G Livelab project in Helsinki which has had great reviews,” explains Bright’s Head of Installation, Santtu Sipilä. “People really liked what we achieved in Helsinki, so it was an obvious decision to equip the Tampere club with Genelecs as well.”
The biggest difference between the two venues is the space – Tampere is much bigger with significantly higher ceilings. Although this posed certain challenges in terms of acoustic treatment, it also allowed greater freedom for the audio design.
The second notable difference is the use of Genelec’s 4430 Smart IP loudspeakers which weren’t available at the time of the Helsinki installation.
“We definitely wanted the new 4430s for easier cabling and added control; it’s opened up a world of possibilities for us,” admits Sipilä. “We have a fully networked system running on Dante – this includes the big loudspeakers used for the main PA – and any of the 4430s can take any signal from anywhere. This means that we can use the same loudspeakers for virtual acoustics, surround sound, background music, delays… the possibilities are endless, and it’s enabled us to considerably reduce the total amount of loudspeakers required in order to achieve what we wanted. We are able to make art with loudspeakers and we are not limited in any way in terms of how we can use the system.”
Tapio Ilomäki, the project manager for Akukon, agrees: “Our primary objective was the same as for Helsinki: to deliver a high-quality system with high musicality that serves the performer best. However, the versatility of systems and spaces was a key element of the design; modern venues need to be multi-purpose and they have to be able to facilitate these changes as quickly and easily as possible, for optimum functionality and quick return on investment. The use of the 4430s plays an important role at this level as well as offering extremely musical sound with very low distortion.”
The ability to have everything delivered over just a single cable is every installer’s dream.
Sipilä is also extremely impressed with the PoE (Power over Ethernet) capabilities of the 4430s. “We were really surprised by the SPLs and sound quality from this size of loudspeaker over PoE. We honestly didn’t think it was possible, so yes, we’re very impressed. The ability to have everything delivered over just a single cable is every installer’s dream, so I think that Genelec’s Smart IP range will be figuring in a great many of our future designs!”
In addition to the 4430s, the main PA system comprises a pair of 1236 SAM studio monitors, the flagship of the Genelec range, seventeen S360s for surround and delay, a pair of 1238s as the first delay line, and finally a flown sub array of nine 7380 subwoofers. “We didn’t have either the height or the space to include subs in Helsinki, so this is a welcome addition in Tampere which gives us some extra headroom in the system and helps add body and fullness to the sound,” continues Sipilä.
When you come here to listen to live music, it will most likely sound even better than it did on the record.
Renowned Finnish singer/songwriter, Markus Nordenstreng of Tuomo & Markus and the Latebirds considers G Livelab as his favourite venue for intimate performances. “Some of the best music I have ever heard has been live, but sound quality is often let down by the venue, either through bad acoustic treatment or a sub-par sound system – or both. What you have here at G Livelab is just the opposite end of the scale – for me it’s the ultimate live sound experience. When you come here to listen to live music, it will most likely sound even better than it did on the record – you can hear things you never heard before. It would be a great service to mankind if there was a G Livelab in every city around the world!”
The final word goes to Annamaija Saarela, CEO of G Livelab Tampere: “G Livelab isn’t just about the technology or the programming – it’s about the whole experience of enjoying live music, and I’m proud to say that in bringing together the best of everything and everyone involved, we have achieved a result that is even greater than the sum of the parts. We’ve had nothing but positive feedback since we opened, both from the public and musicians alike.”
Pressure Cooker Studios, a respected music and sound design house specialising in music production for film, television and advertisements, has recently moved into their new purpose-built studio facility in the centre of Cape Town, designed by world-renowned studio designer Martin Pilchner of Pilchner Schoustal International Inc. Genelec is at the heart of this new facility, with its local distributor, TruFi, supplying monitors for all of its recording studio spaces.
From humble beginnings in the basement of a house 10 years ago to a 355 square metre studio space, the new facility is exactly how the Pressure Cooker team had envisioned it from the outset, and features two main control rooms which sandwich a main studio proper, a 7.1 post theatre with adjacent ADR booth, five writing rooms, an independent isolation booth, reception, lounge and common spaces. James Matthes, Co-Founder and CEO of Pressure Cooker Studios notes: “We wanted to make our space as comfortable, but also as technologically advanced as possible – we spend so much time here, so it definitely had to feel lived in, making it a homely but premium space.”
Helping the Pressure Cooker team achieve this feat was Genelec’s GLM software. “The GLM system is fantastic in that it assists with all the relevant calibration of any one of the monitors within the array in terms of EQ and phase alignment,” notes Neil Leachman, Final Mix Engineer at Pressure Cooker. “After the system is aligned and EQ'd I spent a small amount of time just setting up levels for the individual outputs to align properly to the recommended levels for cinema monitoring for surround and R128 compliance. But the GLM system is invaluable in the setup.”
Pressure Cooker has been using Genelec stereo and surround sound monitoring systems since the company was founded, and this trend continues in the new facility. “Every room in the facility has Genelec!,” smiles Matthes “From buying my first pair over nine years ago, I have never looked back – each monitor is fantastic. The sound produced is so clean, natural and unadulterated – nothing colours it, and I just love that.”
Each room in the new facility has utilised Genelec monitors in one way or another; Matthes has a pair of 8040 nearfields in his writing room, there are three 1238A three-ways fulfilling the LCR role behind the screen in the 7.1 theatre, with two 7380A 15-inch subwoofers and 8040s as surrounds - while the smaller rooms all have 8030 nearfields. “We chose a uniform approach with Genelec because we wanted to be able to move from room to room and feel comfortable from the moment we hit play.” Matthes continues.
“For example, if I go from a writing session to the composition suite, or start doing a mix with a client in the theatre – my ears aren’t going to trick me. I find with Genelec, you don’t need any other reference monitor at any point, since they just naturally translate very well.”
The first true test for Pressure Cooker’s new facility was the film ‘This is not a burial, it is a resurrection’ that was premiered at this year’s Venice Film Festival. “This was the first film we mixed using our Genelec system and particularly for the international market, it converted amazingly,” says Matthes. “The film’s producer told us how clear and brilliant the sound was, which makes me very confident in the set-up we have, and confirms that our decision to choose Genelec for the whole facility was the right one.”
Anchored by a 2,200-square-foot, three-studio complex, it offers a main recording space with variable acoustics, a drum room with a removable floor to reveal six Foley pits, four isolation booths, and a machine room enabling interconnectivity through the entire studio complex. What it also has now are monitors from Genelec, the leader in active monitoring technology for four decades, in the two main control rooms, installed there this past spring.
The main control room now has a 5.1 monitoring array comprising Genelec 8351A Smart Active Monitors™ as the L-C-R front array, a pair of 8341A Smart Active Monitors as the rear-surround array — all part of Genelec’s “The Ones” series of products — and a 7380A Smart Active Subwoofer™. The second control room now has a Genelec 8020.LSE Espresso 5.1 monitor system with five 8350A Smart Active Monitors around the room and a 7050B Studio Subwoofer. The systems’ Smart Active Monitor technology allows them to make the most of all modern acoustic environments.
“It was time to update our monitoring, and we wanted a speaker that would be consistent throughout the studio complex,” explains Michael Harvey, Program Director, Audio Technology, Dept. of Performing Arts, at American University. “We wanted the mixes to be able to translate seamlessly between the two main control rooms. But just as importantly, we wanted our mixes and recordings to translate accurately everywhere else, too. We wanted speakers that would let our students become familiar with what leading engineers and producers use every day. That is Genelec.” Harvey says the two Genelec-equipped studios are of different sizes, but the two different Genelec speaker series they bought are both perfectly suited to each room’s dimensions and acoustics, yet also provide the brand and response consistency that they sought, so that as mixes and recordings move from studio to studio, students always hear a familiar tonality.
The company has recently transformed an old red brick factory building into their new Miltton House headquarters in Helsinki. High quality audio visual technology naturally plays a key role in the new venue. Systems integration specialists, Digisähkö Oy, who were charged with designing and installing the AV systems, selected Genelec loudspeakers throughout, for a premium audio experience.
Designed as a physical meeting place and an inspiration hub as well as a workplace for Miltton’s talent and its stakeholders, high quality AV systems were a priority from the start. “The investment in Miltton House represents the next phase in Miltton’s growth story,” explains Camilla Linniemi, Partner & Director at Miltton Group. “The ways of working are under constant change and the best ideas happen when people connect in a meaningful way.” To that end, in the early stages of the project, Miltton engaged top acoustic consultants and AV designers, Akukon Oy, to come up with an initial design, which was then developed and refined by Digisähkö as the project progressed.
They are extremely aesthetic, so they blend well into every environment, and so very easy to install.
“Akukon had specified that the speakers should be ‘separate, high quality active loudspeakers,’ so as far as we were concerned, Genelec was the obvious choice,” relates Digisähkö CEO, Jani Hirvonen. “The brand is synonymous with quality and matched all of Miltton’s criteria concerning sustainability. It was a very easy decision.”
Digisähkö installed a total of 50 loudspeakers from Genelec’s 4000 Series installation range throughout the building. 42 compact 4020 speakers equip Miltton’s wide variety of meeting and conference rooms. Two of the more powerful 4030s grace the company’s airy entrance lobby whilst a pair of the heavy-hitting 4040s are reserved for the demo room. “The 4000 Series loudspeakers make life very easy for us as an integrator,” confirms Hirvonen. “They are extremely aesthetic, so they blend well into every environment; they are active loudspeakers, and so very easy to install; there is a good range of mounting accessories; and of course, they sound fantastic with incredible clarity and detail, even at low levels.”
We asked for a design that would combine flawless audio quality with sufficient power and coverage.
However, there was one area where Miltton had very specific – and high-level – requirements, and that was for their 350m2 event space in the heart of the building, known as Tori. Designed for events of up to 500 people, the space is easily adaptable for the style of the occasion – from cocktail parties to seminars – with seating for up to 300 people. The audio system needed to be similarly versatile with the ability to cater for everything from a DJ or live band to seminar material.
“The requirement was clearly for a high output, high fidelity sound system with connections for a DJ mixer, which is a very different animal from a conference room system,” notes Hirvonen. “We asked Henri Ulmanen at Genelec to come up with a design that would combine flawless audio quality with sufficient power and coverage to fill the space with no hot spots or dead zones.”
Ulmanen decided on a main system of two S360 smart active loudspeakers supported by two powerful 7380 subwoofers for low end reinforcement, supplemented by four 4040 loudspeakers (two per side) as delays/sidefills. “I decided on the S360s because of their excellent, neutral reproduction and a long-throw capability that delivers reference-quality accuracy at listening distances of over 10 metres,” explains Ulmanen. “Combined with the 7380 subs they are an excellent solution for any environment looking for premium quality, high SPL vocal and music reproduction in a compact form factor.
“Another important element was the fact that, as a smart active loudspeaker, we can use our GLM software to configure and optimise the S360s to compensate for any detrimental room influences,” he continues. “The Tori event space has a pretty industrial feel with concrete floors and lots of floor-to-ceiling windows, so this was very helpful in ironing out anomalies, especially when the room is being used at full capacity.”
All of the AV systems and the Helvar Dali lighting throughout the building are controlled by the Control4 automation system, via individual touch screens in each of the meeting rooms and the Tori event space for easy operation. Digisähkö implemented the integration between the systems as well as the installation of all of the AV technology.
“We’re very proud of this installation and Miltton are thrilled with the results,” said Hirvonen. “They wanted a modern, high quality, sustainable AV solution that is versatile, easy to operate, and reflects their values as a company. Genelec ticked all the boxes and integrates perfectly into the total solution. It’s a great success all round.”
Having embarked on his recording career back in 1992 through his production company Lindberg Lyd, Lindberg set up the 2L record label to specialise in high quality recordings featuring Norwegian composers and performers and an international repertoire. To raise the bar of sonic excellence even further, Lindberg has recently upgraded the monitoring system in his post production studio, deploying Genelec smart active monitors and woofer systems in a 7.1.4 configuration.
Lindberg explains that “Once you've experienced immersive audio, then coming back to stereo is really difficult. When I started doing recordings back in the early 90s, stereo was our perspective to work with, it was what we had. Then came surround sound in the early 2000s, and that opened up a whole new wide image to music reproduction. When we started to experiment with immersive audio, what we expected to gain with adding the height dimension was to simply increase the level of detail and resolution. How much space would be available to the instruments and to the musical lines, the size of the canvas available to the chords, and so on. But, that was not what we got. What we got was an emotional component. By adding the third dimension of the soundscape, the emotional impact to the listener was increased tenfold.”
Lindberg’s newly upgraded post production facility is designed specifically for the editing, mixing and mastering of immersive audio. Compatible with both Dolby Atmos and Auro-3D, the monitoring system is largely based on models from ‘The Ones’ series, starting with seven 8351B coaxial three-way monitors in the bed layer, all complemented by W371A adaptive woofer systems. The height positions are handled by four of the lighter, more compact 8341A models, with a 7380A subwoofer handling the LFE. Additionally, an 8320A compact two-way nearfield monitor sits atop the 7380A, to provide an upwards frequency extension above 120 Hz. This acts as a checkpoint into the true content of the LFE channel before it is distributed.
The intention with the W371A was really to reach down into that tactile, haptic aspect of sound, to reach down into the part of the sound experience which transitions from audio into the vibration range.
“I found that the coaxial design of The Ones gives amazing imaging not only in surround, but it actually adds to the full surround and extends to the height dimension, preserving that precise detail of our source,” he continues. “All The Ones models that we used have full bandwidth capabilities on their own, so the intention with the W371A was really to reach down into that tactile, haptic aspect of sound, to reach down into the part of the sound experience which transitions from audio into the vibration range.”
Lindberg goes on to explain that “Our whole body is actually a very sophisticated sensory system and the body’s experience of music is much broader than our traditional definition of audio. There are different directivity modes you can use on the W371A woofer which might help out if you’re in a smaller or compromised room - but in a room like this, which is spacious and has an overall good sound quality - I found that the basic complementary mode of the W371A sounds to me the most open and natural extension into the tactile area, where it kind of moves your belly.”
What I found most useful about GLM is how ‘elastic’ it is in terms of how many speakers we can connect to the network, and how they are placed and configured.
Lindberg uses Genelec GLM loudspeaker manager software to connect, calibrate and control the monitoring system. “By measuring out our listening positions and our workspace we can do some pretty clever optimising of the speakers to this particular room,” he comments. “What I found most useful about GLM is how ‘elastic’ it is in terms of how many speakers we can connect to the network, and how they are placed and configured. Additionally, GLM can also act as a monitor controller, giving you access to all the speakers.”
But while experience, expertise and the finest technology are obviously essential components in Lindberg’s impressive recording toolbox, it’s also clear that he has never lost sight of his real mission in music. “A perfect recording for us, is if we can make you cry…or laugh. It’s about emotions.”
How GLM™ (Genelec Loudspeaker Manager) Software Works
What is GLM (Genelec Loudspeaker Manager)? | One Minute Masterclass Season 2 Part 9
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.
LowBeats magazine's online review of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German.
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Documentation
Documents
Operating Manual 7380A SAM™ Series Full Line Catalogue Bass Management User Guide Daisy-Chained Subwoofers and LFE Channel Management Immersive Solutions BrochureFAQ
The Classic 8000 Series monitors have an analogue input. The 7200 Series SAM subwoofers have AES/EBU digital outputs only. However, other 7300 Series SAM subwoofers have analogue inputs and outputs and can be used also with analogue monitors.
Which SAM™ Products You Are Going to Mix With the Classic 8000 Series?
Mixing 8000 Series and SAM™ monitors is not recommended
We do not recommend mixing Classic 8000 Series monitors with SAM™ Monitors.
If the analogue input sensitivity of 8000 Series and SAM™ Series monitors are the same, Genelec SAM™ Monitors exhibit a slightly larger latency (< 5 ms) than 8000 Series monitors. Therefore Classic 8000 Series and SAM™ Series monitors should not be mixed in a stereo pair or multichannel setup.
It is alright to mix Classic 8000 Series with SAM™ Subwoofers
However, it is okay to mix the Classic 8000 Series monitors with SAM™ Subwoofers. Any Classic 8000 Series monitors can be used with SAM™ Subwoofers, in any stereo or multichannel setup.
Setting the room response calibration controls
Genelec monitors are calibrated flat in anechoic free field conditions. When the monitor is placed in a room close to walls or other boundaries, the low frequency output of the monitor increases. To achieve a flat low frequency response an adjustment of typically -4 dB on the bass tilt control is used. Genelec also provides a bass roll-off control to compensate for any remaining excessive LF energy around the low cut-off frequency.
Genelec GLM AutoCal can implement a more precise compensation after measuring the acoustic effects produced by the monitor’s installation location.
Differences in room reverberation time and listening distance can lead to changes being required in the treble region so treble tilt is fitted to most of the models in the Genelec range.
In three-way monitors and large main systems there are additional driver controls for the bass level, mid level and treble level which enable very fine adjustment of the frequency response so that the monitors can be placed in many different listening environments, whilst still achieving a consistent and neutral sound reproduction.
The best way to set the room response controls of a Genelec monitor is by taking an acoustical measurement at the listening location, using a measurement system for those products that offer local controls (DIP switches) on the monitor or subwoofer, or by using GLM AutoCal for the SAM™ (Smart Active Monitoring) products.
LowBeats magazine's online review of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German.
LowBeats magazine's review of Genelec 1238A studio monitor and 7380A studio subwoofer. The review is in German, and it is written by Jürgen Schröder. It was published on LowBeats website in September 2018.