GLM-ohjelmisto

Can you tell us a little about how you ended up in audio?

The reason I got into engineering is because of my mom. She found out about Full Sail University in the April of 2008 and told me I should go there because I'll love it. I'd never heard of audio engineering until she told me about it, and she didn’t give me a choice if I wanted to go or not, so a month later I was a student there! These days, I mix mainly pop, hip hop and R&B songs at my studio, and I work on a lot of short films.

What kind of studio space do you have and what's the history of the place?

My studio is in the city of Columbia, in a cabin connected to another building where bleacher seating for stadiums is manufactured. The company owned that building for 20 years before they made this cabin for the owner's son. The studio room's size is 15x23x16 ft, 16 in the middle of the room.

What are the key items of equipment in your studio?

My Apogee Symphony MK II interface, Avid Dock, Pro Tools, and Genelec Loudspeaker Manager (GLM).

How did you become interested in immersive audio and start to equip your studio for it?

I first became interested early last year after a random studio tour popped up on YouTube showing a recently finished room - I was considering going 7.1 for films at the time. That studio tour video blew my mind, and when I saw that the music business was moving into immersive audio, I decided to get into it myself. I made a few calls to get some information, but generally people didn't seem to know much about it. I knew the number of speakers I wanted and where they'd be going, so I reached out to Genelec on Instagram, and the next thing I know, I’m on the phone with Paul Stewart (great guy, love him). Paul took me through everything step by step over about a week, and ensured I had everything working. Thanks, Paul.

How does it feel to mix in immersive, are there any new challenges?

When I first started mixing in immersive, it felt weird. I could spread everything out as I didn’t have to make room in the mix anymore. The challenge is that you think you should do something because of the increased possibilities, and that can blind you from doing what the song needs versus what you might want to do for it.

What Genelecs are you using and why did you choose them?

My left and right monitors are 8341s, the center monitor is 8331, LFE is 7350, and the rest are 8330s. When I chose to go immersive, I looked at three big brands including Genelec and since I knew that a lot of film mixers use Genelec, I figured it had to be for a good reason. In my opinion, that reason is GLM. Personally, I don’t have the perfect room, so GLM tightens up my low end nicely, and the delay and level adjustments make a big difference.

What are you working on right now and how's business so far with your new setup?

I’m working on two albums right now, one that's pop and the other R&B. I only finished my room last week, so I'm yet to see how things will turn out for me business-wise in immersive audio. I do believe however, that it was an excellent decision to make the jump. I think immersive audio is here to stay, and in 3 to 5 years it will be the main playback format for music. Of course, stereo will still be relevant.

To find out more about Orpheus Sounds, click here

Do you want to be featured in our ‘Immersive Talk’ series? If so, just post some pictures of your setup on Instagram using the #GenelecImmersive hashtag. We’ll be keeping a look out for the most interesting setups, so who knows? We may be in touch with you!

The recent renovation of JMC Academy’s Sydney campus has seen two of its studios equipped with Genelec Smart Active Monitoring solutions. The new studios needed to give JMC’s students the experience of working with high-end professional equipment while also providing the longevity required by educational institutions.

JMC’s Sydney campus studios were fully redesigned from the ground up by architect Shaun Carter and interior designer Julie Niass, from architectural firm Carter Williamson. The renovation required the multifunction Studio A and the adjacent Studio C to have both surround and stereo monitoring configurations. Acoustic engineer Glenn Leembruggen of Acoustic Directions specified Genelec’s ‘The Ones’ series for the studio redesign and, with the help of Genelec’s Australian distributor Studio Connections, was able to deliver a quality design solution.

being able to automatically calibrate the monitor to sound neutral within any given room is a real benefit.

Having previously relied on a pair of 20-year-old 1034As in Studio A, JMC was aware of Genelec’s longevity. Centring around a 48 channel SSL Duality Console, the design team opted for 8361A monitors to be soffit-mounted into the wall in the LCR positions, with a pair of 8351Bs straddling the console bridge as stereo nearfields. Supporting these are 8340As for the rears and a 7360A for the sub, resulting in a fully independent 5.1 surround system. “For students to work on post-production video mixes or record a full band, Genelec monitors offer an amazing sonic performance,” says Paul Newcomb, Business Development Manager at Studio Connections.

Studio C was ultimately fitted out with a pair of Genelec 8351Bs, also seamlessly soffit-mounted into the wall and reproducing every subtle nuance of the music being heard in incredible detail. “The music seemed to float mid-air like a transparent three-dimensional puzzle,” adds Newcomb. “Robust and durable, they were able to perform at their breath-taking best and sounded fantastic.”

Due to the diversity of mixes and applications in each studio, the design team calibrated the entire installation with Genelec’s GLM loudspeaker management software, fully optimising every monitor for the room and allowing users to switch between monitors and maintain precise control of listening levels in each studio. “GLM always plays a major role in the sound of the monitors,” Newcomb explains. “Each space is different, and being able to automatically calibrate the monitor to sound neutral within any given room is a real benefit. The flexibility to set up and store groups, settings and listening positions is extraordinary – Genelec is definitely in a class of its own with this technology.”

JMC have provided their students with a great opportunity to learn their craft using monitors which tell the truth, sonically.

The final result has impressed the team at JMC as they’re now able to offer a space that audio engineers and producers are happy to work in. The studios boast an inspiring, world-class atmosphere, allowing students to access real-world experiences of audio engineering and production during their training.

“For students, facilities like JMC Academy are often the first time they get to experience a professional recording environment,” Newcomb concludes. “JMC have provided them with a great opportunity to learn their craft using monitors which tell the truth, sonically. We’re confident that their experience will be a positive one and that working with Genelec will become a partnership that they can trust in for many years to come.”

Can you briefly summarise your professional background for our readers?

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

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

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

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

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

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

Computer system: Apple Mac Pro.

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

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

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

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

What type of work do you do in your studio?

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

Is there a particular immersive format you specialise in?

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

How and when did you become interested in immersive audio?

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

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

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

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

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

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

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

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

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

Ltf,Rtf,Ltr,Rtr: 8320A

LFE: 7370A

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

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

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

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

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

What does immersive audio mean for the future?

I see it as the new standard in sound.

To find out more about Goro Goro, click here

Do you want to be featured in our ‘Immersive Talk’ series? If so, just post some pictures of your setup on Instagram using the #GenelecImmersive hashtag. We’ll be keeping a look out for the most interesting setups, so who knows? We may be in touch with you!

Located behind the understated industrial façade of a warehouse in Burleigh Heads, on Queensland’s famous Gold Coast, is a new jewel in the immersive audio crown – Hype Republic. This high-end addition to Australia’s post-production industry is bedecked with stained wood, vintage leather, black steel and up-to-the-minute technology. The new post facility was built to empower filmmakers to create the highest quality work. Helping it achieve this aim is a Genelec 7.1.4 Dolby Atmos monitoring system complemented by Genelec GLM Loudspeaker Manager software.

“Hype Republic contacted us asking for an immersive solution for their new post-production studio,” recalls Paul Newcomb, business development manager at Studio Connections, Genelec’s Australian distribution partner. “They required an audio solution that would complement their film/video cinematography department and was capable of delivering 7.1.4 immersive playback. This studio would be open to many creative specialists and as such, the gear needed to be robust and reliable. The solution was a Genelec 7.1.4 Smart Active Monitoring system consisting of 8340s, 8330s and a 7360 subwoofer.

GLM was the key to bringing this system together. It just works flawlessly and even faster now with GLM 4.1.

“The reason for going with the Genelec Smart Active Monitoring range is that each monitor and subwoofer could be independently calibrated relative to its position in the room,” continues Newcomb. “Installing monitors in the ceiling can present many acoustic obstacles. Not only do they need to be frequency neutral, but their phase needs to be aligned with all the other monitors in the array. GLM calibration software is an invaluable tool in this situation, and Genelec’s unrivalled range of mounting options makes it so easy to install an immersive system in any room.”

Indeed, Genelec’s GLM software is credited as the critical element in ensuring the success of the installation. “GLM was the key to bringing this system together,” states Newcomb. “It just works flawlessly, and even faster now with the latest GLM 4.1 update. I know GLM has been in existence for a long time now, way before immersive audio was a thing, but it somehow seems like it was actually designed specifically with this in mind!”

The benefit that Hype Republic has seen from using Genelec monitors and GLM in its immersive setup is that each of the 11 monitors and the subwoofer is precisely calibrated for their specific position in the room. GLM sends a full frequency audio sweep through each monitor and subwoofer, and analyses the acoustics of the room via the GLM reference microphone and network adaptor. With the response of the room’s acoustics recorded, GLM software aligns the frequency response, playback level, distance delay and subwoofer phase of the entire monitoring setup.

Genelec Smart Active Monitoring provides the confidence that mixes will sound great, everywhere.

“The system was calibrated without a hitch, which is a testament to the simplicity of GLM,” continues Newcomb. “Once guided through the process, the in-house engineer can now easily recalibrate and tweak the system if and when necessary.

“The combination of a well-treated, free floating room-within-a-room that was minimal in design and the capabilities of GLM, meant that there really weren’t any major obstacles to overcome, and everything ran smoothly with the installation. This is reflected in the quality of the end result.

“As with any GLM calibration, the results speak for themselves, and this was no different,” says Newcomb. “The studio sounds amazing. It’s no surprise that when searching for the best studios in the world you will often find the choice has been Genelec. Genelec Smart Active Monitoring systems provide not only the sonic quality, but the confidence that mixes will sound great, everywhere. We believe the client is extremely happy with their system. It fulfils their brief, sounds fantastic and will be providing uncompromised sound quality for many years into the future.”

“Our goal has always been to create the most epic and ground-breaking work with the most creative humans, and enjoy every step of the journey,” reflects Allan Hardy, co-founder of Hype Republic. “Our new Gold Coast post-production studio brings together the most experienced award-winning specialists with the best equipment and a beautiful facility just minutes from the iconic Burleigh Heads. I have no doubt that the new studio and the projects and people it brings to the Gold Coast will nurture countless opportunities for our local creative community and emerging talent.”

Olemme varmasti tottuneet kuulemaan, että Genelecin lippulaivan, SAM (Smart Active Monitor) -sarjan The Ones -aktiivikaiuttimet ovat suosittuja huippuluokan tuotantostudioissa. Tiedämme pitkän luettelon tuottajia ja muusikoita ympäri maailmaa, jotka arvostavat laadukkaiden ja kompaktien kolmitiestudiomonitorien toiston laatua, tarkkuutta ja läpinäkyvyyttä. Ei kuitenkaan ole mitään syytä, miksi kotona ei voisi hyödyntää samaa suorituskykyä kuin ammattistudiossa – ja juuri tämän joensuulainen Jarno Vihonen päätti toteuttaa omaan asuntoonsa.

Audiofiiliksi tunnustautuva Jarno tiesi Genelecin jo entuudestaan, sillä hän on käyttänyt heidän tuotteita olohuoneessaan vuosien ajan parantaakseen elokuvien katselu- ja pelaamiskokemustaan. "Lukuisat luovan alan tekijät muusikoista videopelien äänisuunnittelijoihin luottavat Genelecin kaiuttimiin työvälineinään", hän selittää. "Ennen kaikkea haluan luoda kotiini ääniympäristön, jossa kuulen ammattilaisten työn juuri sellaisena kuin he ovat tarkoittaneet sen kuultavan. Genelecin GLM-kalibrointiohjelmisto korjaa taajuusvasteen pahimmat korostumat ja vaimentumat jotka tämä erikoisen muotoinen kuuntelutila muuten aiheuttaisi."

"Alkuperäinen settini oli 5.1 -järjestelmä, joka toteutettiin kompakteilla 8020B-kaiuttimilla ja 7050B-subwooferilla", hän jatkaa. "Kun tuo olohuoneen setti asennettiin, se oli jo aika edistyksellinen... Mutta kun The Ones:it julkaistiin, ei ollut kysymystäkään siitä, ettenkö investoisi niihin. Hankin ensimmäisen Ones-settini lisäämällä kolme 8351A:ta eturiviin sekä 8340A-parin takariviin. Kokonsa puolesta se toimi täydellisesti olohuoneeni tilaan ja äänentoistonkin kannalta se oli ensiluokkainen. Kuitenkin, kun tapasin Genelecin Pasi Pönkän yhden heidän kalibrointitapahtumansa kautta, hän sai sen kuulostamaan vieläkin paremmalta."

Ennen kaikkea haluan kuulla äänet kotonani täsmälleen niin kuin ne on tarkoitettu kuultavan

Genelec tarjoaa Suomessa säännöllisesti kalibrointikiertueita, joihin asiakkaat voivat rekisteröityä verkossa ja kertoa millainen Genelecin SAM-setti heillä on. Genelecin asiantuntijat järjestävät sen jälkeen ajan vieraillakseen jokaisen asiakkaan luona, jolloin he voivat keskustella kaiuttimien sijoittelusta ja huoneen akustiikasta. Tämän jälkeen kokeneen asiantuntijan on helppo auttaa asiakasta hienosäätämään asetukset täydellisiksi. "Huomasin, että asetuksista keskustelu Pasin ja muiden asiakkaiden kanssa oli erittäin antoisaa", muistelee Jarno. "Hänellä oli selvästi todella paljon kokemusta siitä, kuinka asiakkaita autetaan saamaan paras mahdollinen lopputulos erilaisissa tiloissa, olipa kyseessä The Ones -aktiivikaiuttimia kotonaan käyttävä asiakas tai ammattilaisstudio, jossa äänitetään huippuartisteille."

"Pasin manuaalinen hienosäätö järjestelmän GLM-kalibrointiasetuksiin tuotti vielä parempia tuloksia kuin oma puhtaasti automaattinen kalibrointini. Sain myös vinkkejä siitä, kuinka voisin korjata joitain epäsymmetrisen tilan asettamia haasteita."

"Jarnon epätavallisen muotoinen tila ansaitsi ehdottomasti erityistä huomiota kalibroinnissa", sanoo myös Pasi. ”GLM:n AutoCal, automaattinen kalibrointialgoritmi on loistava työkalu useimmissa tilanteissa, mutta kun on korjattava tiettyjä poikkeavuuksia, kuten tässä tapauksessa, niin pieni manuaalinen säätö voi vaikuttaa todella paljon. On myös tilanteita, että jotkut asiakkaat haluavat kotiympäristössä mieluummin hieman enemmän "ilmaa" tai "maustetta" äänensävyyn, kuin täysin tasaista kalibrointia, jolloin pieni manuaalinen hienosäätö voi auttaa. Uusi GLM 4.1 -päivitys, joka sisältää uuden sukupolven AutoCal 2 -algoritmin, tekee kuitenkin suurimman osan työstä automaattisesti, joten asiakkaiden kannattaa huomioida, että hienosäätöä tarvitaan nykyään paljon vähemmän kuin alkuperäisen AutoCal-kalibroinnin jälkeen.”

GLM:n päivitetty, uuden sukupolven AutoCal 2 -algoritmi on vaikuttanut valtavasti lopputulokseen

Kun Genelec laajensi Ones-valikoimaa uusilla malleilla sekä 8351A:n päivityksellä 8351B:ksi, Jarnoa houkutteli uusia oman settinsä 8351A-kaiuttimet. ”Olin alun perin harkinnut päivittämistä samankokoisiin kaiuttimiin, siirtymällä 8351A:sta 8351B:hen, jotka tarjoaisivat paremman äänenpaineen, laajemman bassotoiston ja monipuolisemmat akustiset säädöt. Lopulta päädyin kuitenkin isompaan ja tehokkaampaan lippulaivatuotteeseen: 8361A:han, joka lupasi ylivoimaisen kuuntelukokemuksen. Tavoitteeni oli myös varmistaa settini tulevaisuuden varalta, jos minulla on joskus mahdollisuus rakentaa räätälöity tila immersiiviselle Dolby Atmos tms. -järjestelmälle.”

Hankkiessaan 8361A:t Jarno päätti pureutua myös joihinkin akustisiin haasteisiin, jotka liittyvät hänen epätavallisen muotoiseen kuuntelutilaansa, jonka korkeus on osassa huonetta kaksinkertainen. Kaikki kaiuttimet sijoiteltiin uudelleen, mukaan lukien äskettäin päivitetyt surround-kaiuttimet (nyt 8341A:t) ja 7380A-subwoofer. Hän asensi laskostetut verhot vaimentamaan äänen heijastumista olohuoneen paljaista pinnoista sekä muutamia taitavasti piilotettuja akustointipaneeleja vaimentamaan kaiuntaa.

Nyt kun uusi kokoonpano on valmis, kiinnostaa tietää, mitä mieltä Jarno on lopputuloksesta? "Ensi silmäyksellä ajattelin, että 8361A:t ovat koomisen suuret, sillä kuvien perusteella on vaikea hahmottaa niiden oikeaa kokoa", hän sanoo hymyillen. "Nyt olen kuitenkin jo tottunut niihin, joten se ei ole enää shokki!”

”Mitä tulee kuuntelukokemukseen, niin nautin siitä todella! Uudet kaiuttimet lisäävät merkittävän kerroksen vivahteita, etenkin alemmilla taajuuksilla. Vertaisin eroa siihen, että 8351A:ta käytetään kalibroimattomana ja kalibroituna – bassotaajuudet olivat aina kuultavissa, mutta kalibroimattomana ne saattoivat kuulostaa tilassani dominoivalta. Luulen, että laitteistopäivityksen lisäksi (samoin kuin kaiuttimien fyysinen koko aiempaan verrattuna), 8361A-mallin laajempi kalibrointisäätimien valikoima ja GLM:n uusi AutoCal 2 -kalibrointialgoritmi ovat vaikuttaneet valtavasti lopputulokseen.

"Vaihdettaessa isompiin kaiuttimiin olen myös huomannut, että subwooferini tekee paljon vähemmän töitä, koska siitä lähtien en ole ohjannut pääkaiuttimien alempia taajuuksia siihen. Näin ollen se voi nyt käsitellä yksinomaan bassoa, kun toistetaan surround-mediaa, kuten elokuvia tai pelejä, mikä tekee myös merkittävän eron. Rakastan todella sitä, mitä olemme saaneet aikaan, se on paljon enemmän kuin olisin osannut toivoa.”

Vaikka Jarno on innoissaan nykyisestä setistään, hänen kunnianhimoiset suunnitelmansa eivät lopu tähän – tavoitteena on laajentaa kokoonpanoa immersiiviseksi lisäämällä siihen yläkaiuttimet. ”Videopelien kehittäjät siirtyvät hitaasti mutta varmasti pois perinteisestä surround-äänestä ja ottavat Dolby Atmosin käyttöön seuraavien sukupolvien peleihin. Se on myös minun tavoitteeni tulevissa päivityksissä – vaikkakin luultavasti joudun lykkämään sitä, kunnes minulla on uusi tila jota työstää!"

“I was doing an album with Roger Daltrey in Metropolis Studios, with mixes done by Michael Brauer, and they had just got the new Genelecs in,” recalled Eringa. “When we got the mix ready and played it on them and turned it up, I said, ‘Oh my goodness, these sound amazing!’ and that’s what started my ‘I’m going to need to do this’ kind of thinking! I thought I knew what to expect but then when I heard them, I thought ‘this is a whole different game – this is brilliant!’ I could hear everything so pinpoint and clear, and the bottom end was just so solid. I was definitely ‘in’ from the first listen.”

While hearing them in Metropolis was a positive first experience, bringing them in to his own Electric Daveyland studio would be a different matter. “I’m lucky enough to be friends with Andy Bensley from Genelec, and he came here and set them up properly for me with the GLM calibration software,” explained Eringa. “He was like ‘let’s see what your old monitors are doing,’ and you could tell he was definitely surprised by how flat they were. I think he thought ‘we’ve got a bit of a challenge here’, but he just blew them out of the water, obviously.

I could hear everything so pinpoint and clear, and the bottom end was just so solid. I was definitely ‘in’ from the first listen.

“Andy seems to think that in this room, these speakers without a sub are flat down to 30 Hz which is pretty wide, and I haven’t got enough good things to say about them,” he continued. “I haven’t moved anything by a millimetre. I first had to move a few things around the room that were creating reflections and such, so I’ve just left everything else as it is, because it sounded so good in the first place.”

Having previously used the same studio monitors for so long, the transition to an entirely new setup has provided a unique challenge. “It was a learning curve for sure,” reflected Eringa. “Having worked on one set of speakers continuously for 20 years, I definitely underestimated how easy it would be to change. But I was in the middle of mixing an album at the time, and once I’d got my head around them a week or so later, I started mixing 50% faster! It was amazing – a real game-changer for me.

The main thing for me is that they’ve made my job exponentially easier.

“I was definitely committed anyway, but it’s like a snooker player changing his cue, it doesn’t happen overnight,” he continued. “But then when it clicked, I ended up taking mixes into the house, into the car, and things were just sounding the same – and you can’t put a price on that. They’re great, I really love them.”

As much as Eringa enjoys the sound of the 8351s, the most important element has been the way it has helped him work. “The main thing for me is that they’ve made my job exponentially easier,” he concluded.

The gaming company, best known for selling over 2 million copies of ‘Human: Fall Flat in China’ within a week of launch, has opted for Genelec Smart Active Monitors in each of these spaces to deliver a pristine audio experience that helps the developers understand the environment that they are creating.

We found that not only does its smart calibration system provide an enormous advantage, the Genelec brand also has a fantastic reputation in the industry.

“In the early stages of the project planning, we decided to go with the Dolby Atmos monitoring system, so that both production and post production could be carried out,” stated Fang Wan, Audio Director of XD Inc. "After conducting extensive research on similar products, we opted for the Genelec system. We found that not only does its smart calibration system provide an enormous advantage, the Genelec brand also has a fantastic reputation in the industry.”

While Suzhou Pineapple Acoustic Engineering Co., Ltd, designed the acoustics for the Dolby Atmos mixing room and editing suites, the system integration and installation was handled by MusicKing (Shanghai) Cultural Development Co., Ltd. All three editing suites are equipped with 8330 nearfield monitors. For the immersive room, the designers chose the three-way coaxial 8351s for the LCR positions, and 8330s for the surround and overhead channels - with a 7360 subwoofer delivering the lower frequencies.

The entire system has been finely calibrated to produce the most accurate sounds for us to be able to create with confidence.

The new audio production spaces have already proven to be advantageous to XD Inc., providing the 20-person team with the space and technology to research and create the right audio for the games they are working on. The facility has received unanimous praise from the entire audio team, with the monitors proving particularly popular.

“The soundfield is immersive and the positioning is accurate,” reflected Fang Wan on the mixing space. “In addition, it has great resolution and sufficient detail. The entire system has been finely calibrated to produce the most accurate sounds for us to be able to create with confidence.”

Throughout his career he has strived for the sound of classic British recording which subsequently led to his enviable collection of analogue gear including a large-format desk and numerous pieces of outboard equipment - and ultimately the creation of his own studio in Kerala. 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.”

Grammy-palkittu Morten Lindberg on todellinen edelläkävijä korkealaatuisten immersiivisten musiikkitallenteiden tuotannossa. Perustettuaan vuonna 1992 oman tuotantoyhtiönsä Lindberg Lyd:n, Lindberg aloitti myös 2L-levy-yhtiönsä. Tarkoitus oli erikoistua korkeatasoisten tallenteiden tuottamiseen kansainvälisestä ohjelmistosta norjalaisten säveltäjien ja muusikoiden kanssa. Äänitteiden laadun parantamiseksi Lindberg on uusinut jälkituotantostudionsa monitorijärjestelmän 7.1.4 -kanavaiseen formaattiin Genelecin SAM (Smart Active Monitor) sarjan kolmitiekaiuttimilla ja bassokaiuttimilla.

Lindberg kertoo: “Kun olet kuullut immersiivistä äänitettä, paluu stereoon on todella vaikeaa. Kun aloitin äänitteiden tuotannon 90-luvun alussa, stereo asetti ne rajat joiden sisällä työtä tehtiin. Ei ollut muutakaan. Sitten 2000-luvun alussa tuli surround ja avasi uuden, laajemman äänikuvan. Kun aloimme kokeilla immersiivistä ääniformaattia, odotimme että korkeusulottuvuuden lisääminen vain parantaisi yksityiskohtien erottumista ja resoluutiota. Instrumenteille, musiikin linjoille ja soinnuille käytettävissä olevan tilan lisääntymistä ja niin edelleen. Mutta ei se mennyt niin. Saimmekin tunteisiin vetoavan ulottuvuuden. Kolmannen ulottuvuuden lisääminen äänikuvaan tuotti kymmenkertaisesti voimakkaamman tunnevaikutuksen.”

Lindbergin uudistettu jälkituotantostudio on suunniteltu immersiivisten äänitteiden muokkaamiseen, miksaamiseen ja masterointiin. Sekä Dolby Atmos-, että Auro-3D -yhteensopiva monitorointijärjestelmä käsittää pääasiassa Genelecin “The Ones” -sarjan aktiivikaiuttimia: seitsemän 8351B koaksiaalista kolmitiekaiutinta ja W371A adaptiivista bassokaiutinta normaalikorkeudella, neljä pienempää 8341A -mallia ylhäällä ja 7380A -subwoofer toistamassa LFE-kanavan. Lisäksi yksi 8320A on sijoitettu subwooferin päälle toistamaan mahdolliset yli 120 hertsin taajuudet LFE-signaalista. Näin voidaan varmistua ettei LFE-kanavan sisällöstä jää mitään kuulematta.

“Huomasin että The Ones -malliston koaksiaalinen rakenne tuottaa ällistyttävän hyvän äänikuvan ei vain surround-kanavissa vaan kokonaisuutena, myös korkeussuunnassa, ja toistaa uskollisesti kaikki äänitteen yksityiskohdat. Kaikki käyttämämme The Ones -sarjan kaiuttimet pystyvät toistamaan koko äänialueen, joten W371A-bassokaiuttimien varsinainen tehtävä on ulottua matalille taajuuksille, tuntoaistin alueelle missä koemme äänen enemmän värähtelynä kuin kuuloaistimuksena.”

Lindberg jatkaa: “Koko kehomme on itse asiassa hyvin pitkälle kehittynyt aistikokonaisuus ja kehon kautta välittyvä musiikkikokemus on paljon laajempi kuin perinteinen käsitys äänestä ja kuuloaistista. W371A tarjoaa useita erilaisia suuntaavuusvaihtoehtoja, joista voi olla hyötyä pienemmissä tai akustisesti hankalissa huoneissa, mutta tällaisessa tilavassa ja akustiikaltaan hyvässä huoneessa totesin W371A:n pääkaiuttimien taajuusvastetta mahdollisimman tasaisesti jatkavan ”complementary”-asetuksen tuottavan avoimimman ja luonnollisimman toiston jatkumisen sille alueelle, jossa ääniaallot alkavat tuntua vatsan pohjassa.”

Lindberg käyttää Genelecin GLM-ohjelmistoa kaiutinjärjestelmän kytkemiseen, kalibrointiin ja hallintaan. “Mittaamalla toiston eri kuuntelupisteissä ja eri paikoissa työalueella pystymme optimoimaan kaiutinjärjestelmän varsin näppärästi tässä huoneessa. Erityisen käyttökelpoiseksi huomasin GLM:n joustavuuden kaiuttimien määrän, sijoituksen ja konfiguroinnin kannalta. Lisäksi GLM hallitsee koko kaiutinjärjestelmää. Sen kautta pääsee käsiksi jokaisen kaiuttimen asetuksiin.”

Vaikka kokemus, ammattitaito ja hienoin teknologia ovat tärkeitä työkaluja Lindbergin luovassa työssä, hän ei ole unohtanut todellista tavoitettaan musiikin alalla: “Meille täydellinen äänite on sellainen, joka voi saada sinut itkemään...tai nauramaan. Herättää tunteita.”

The Berlinbased seven piece band previously used Genelec monitors in hired studios and their own editing bay, leaving them eager to find out what the brand could do for their mix room.

The BossHoss formed in 2004, and the self-proclaimed Country Trash Punk Rockers have released 10 studio albums to date and show no signs of slowing down. When heading into the recording sessions for their slated 2021 release, they turned to German audio supplier SMM for advice on how to improve the sessions.

The stereo image is second to none – really precise, accurate and exactly what we needed.

“When working on a new album, we always like to try out new equipment to drive creativity,” explains BossHoss guitarist, songwriter and producer Sascha Vollmer. “A friend of mine from SMM recommended I give Genelec a try and sure enough, when I was introduced to the 8341s, I was instantly hooked.”

The band are now using a single pair of 8341s in a stereo configuration. “Since we have installed the 8341s, we don’t use our midfield speakers anymore,” Vollmer explains. “The stereo image is second to none – really precise, accurate and exactly what we needed.”

One of the major benefits of this new monitoring system has been the use of GLM (Genelec Loudspeaker Manager) software. Vollmer has been particularly impressed with GLM and the ability to auto-calibrate the 8341 setup to suit the band’s ever-changing recording environment. “Having the freedom to adapt with the GLM application was ideal for us as we are often having to change furniture as well as instruments hanging on the walls,” Vollmer continues. “GLM gave us flexibility as well as quick and easy configuration if we wanted to switch rooms.”

The new album was mixed with the Genelec system and I realised that’s the mix I’m most proud of.

Part of ‘The Ones’ range of three-way coaxial, ultimate point source monitors, the 8341s deliver precision reference performance. The Ones’ design provides extraordinary imaging, extended frequency response, controlled directivity and fatigue-free listening – even on long sessions.

Vollmer also appreciates the heightened level of detail in his mixes: “Sometimes when we’re listening back to each song, we realise that we have to add extra elements. We probably wouldn’t have picked up on that type of detail with any previous monitor. That’s why we want to continue to use Genelec for future recordings and mixing sessions – we don’t want to miss anything else.”

He concludes: “Just recently, I had a long car ride and listened through our last three to four albums. The new album was mixed with the Genelec system and I realised that’s the mix I’m most proud of – it just translated so perfectly. Genelec has become an essential part of our studio.”

The 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!”

“As a young student, my first musical influence was the singer Aska. I was fascinated with his songs, and at that point I started to dream vaguely about a career in music. At middle school I started to listen to TM Network, and I particularly liked the band leader, Tetsuya Komuro - who had been writing for multiple projects, including movie scores. So that inspired me to start focusing more on composition.”

Emerging from music college, the young Hiroyuki started pitching himself for musical projects while absorbing influences from Ryuichi Sakamoto, Joe Hisaishi and Yoko Kanno, as well as international film composers such as Hans Zimmer and Danny Elfman.

Hiroyuki’s close relationship with the world of animation started with the Mobile Suit Gundam Unicorn series, which established his credentials and led to other high profile anime projects including Attack on Titan and Guilty Crown.

Describing his approach to film scoring, Hiroyuki says “Basically, I set up a meeting and have a team to come up with a music menu, then discuss the direction with the director. According to this menu, I start composing in the DTM (Desktop Music) environment, finish up the main song representing the whole soundtrack, and then construct the other parts. In some cases I start by creating rhythm parts or a melody. The main theme or character theme always plays a significant role, so I strengthen that before starting anything else.”

Alongside his film projects, Hiroyuki always fostered a desire to work on vocal music too, so he created the [nZk] project to provide a vehicle for his own unique interpretation of pop.

“It always comes down to the idea that you still pursue what you feel is right with your sound. There were times when I looked at the singles chart and found that my song was not selling well enough, and I thought, ‘Well, I might have to write a J-Pop style song next time’, and got a little anxious. But even if you try, it's not always easy to sell, and I came to think that there's not much meaning to be able to sell in the first place. The most essential thing is whether you like the music I'm producing, and that is the music you have to reach out with, and that is something I ended up with when making the second [nZk] album, called 2V-ALK.”

My ideal speaker is something that excites me when I'm writing songs.

Hiroyuki’s relationship with Genelec began in 2010. Having seen Genelec ‘just about everywhere I worked,’ he invested in his own pair of 8040s for his home studio.

“My ideal speaker is something that excites me when I'm writing songs. I asked my friend for advice and was told, ‘Genelec is the one for you.’ Ever since then, I've loved my 8040s. But at the end of 2019, I switched to the 8341s from ‘The Ones’ series, which are known for their neutral sound. Honestly, I was a bit worried that they might sound flatter, but I found that the 8341s translate really well, with a clearer mid-range, and I like the way their top-end is more extended.”

The design, sound image and sound balance - Genelec meets all my criteria.

The 8341s work closely with the GLM loudspeaker manager software, which Hiroyuki is a big fan of. “I use GLM all the time. There are times when engineers come over to mix in my studio, and they say that the combination of the 8341s with GLM make it easier to produce a correct mix. It’s a very ‘engineer-oriented’ sound!”

Summing up his thoughts on the monitors, Hiroyuki concludes that Genelec provides “a sound that elevates me. The design, sound image and sound balance - Genelec meets all my criteria.”

For more information please visit www.sawanohiroyuki.com and www.sh-nzk.net.

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

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

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

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

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

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

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

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

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

Game sound designer Knuckles (Jianyu) Zhang