Nearfield monitoring with real muscle. The 8050B has power in abundance, making it ideally suited to larger spaces and longer listening distances.
8050B Studio Monitor

Active Crossovers

Directivity Control Waveguide (DCW™) Technology

SPL
110 dB

Frequency Response
32 Hz - 25 kHz (-6 dB)

Dimensions
H 452 x W 286 x D 278 mm, with Iso-Pod™ (view in inches)

Detail and transparency
The 8050B represents a class-leading balance of extraordinary SPL output, expansive dynamic range and an intensely detailed, transparent performance. With superb directivity and a wide sweet spot, you're free to move position and still trust what you're hearing.

Mixes that translate
With its neutral performance and ability to adapt to your room via simple rear-panel room compensation switches, the 8050B ensures a flat playback response to help you really analyse the spectral balance of a recording and produce mixes that always translate reliably.
Genelec
8050B Studio Monitor Dark Grey
8050B Studio Monitor White
1 x 8050B monitor
1 x mains cable 1,8 m
1 x operating manual
8050B Studio Monitor
Awards

Genelec 8000 Series was Awarded a MIPA Award 2005 for Best Nearfield Studio Monitors
Genelec Oy: the world leader in active studio monitor speakers, was awarded a prestigious MIPA (Music Industry Press Award) for Best Studio Monitor (Nearfield) for its latest 8000 series of monitors at the Musikmesse, last month.
This award has become the 'Grammy' of the Musical Instrument and Pro Audio industries. Fifty-eight music press magazine from all over the globe cast their vote to make Genelec winner of the category.
Genelec 8000 series studio monitors
The 8000 Series of near-field, two-way systems took two years to develop. It features a new approach to enclosure design, driver technology and active electronics to further reduce distortion and provide an outstanding performance.
All three models in the 8000 series feature die-cast aluminium, minimum diffraction enclosures (MDE™) which have large internal volumes, softly curved edges and outstanding strength to help reduce linear and non-linear distortion. They also incorporate Advanced Directivity Controlled Waveguide (DCW™) to provide extremely accurate control of the speaker's directivity.
8030A studio monitor
The 8030A has a 5 inch bass driver and 3/4 inch tweeter. The free field frequency response is 55Hz to 21kHz, Peak SPL per pair is 108dB driven by a pair of 40 watt amplifiers.
8040A studio monitor
The 8040A has a 6 1/2 inch bass driver and 3/4 inch tweeter. The free field frequency response is 45Hz to 21kHz. Peak SPL per pair is 115dB driven by a pair of 90 watt amplifiers.
8050A studio monitor
The largest model the 8050A features an 8 inch bass driver and 1inch tweeter. The free field frequency response is 35Hz to 21 kHz. Peak SPL is 120dB and bass and treble amplification is 150 and 120 watts respectively.
2005
Technical Specifications

SPL
110 dB

Amplifier Power
150 W Bass (Class AB) + 120 W Treble (Class AB)

Frequency Response
32 Hz - 25 kHz ("-6 dB")

Accuracy of Frequency Response
± 2 dB (38 Hz - 20 kHz)

Driver Dimensions
⌀ 205 mm Bass + ⌀ 25 mm Treble (view in inches)

Dimensions
H 452 x W 286 x D 278 mm, with Iso-Pod™ (view in inches)

Weight
14.4 kg / 31.7 lb

Connections
1 x XLR Analog Input
8050B Studio Monitor
Technical Specifications
System Specifications
Frequency Response
38 Hz - 20 kHz (± 2 dB)
Low cutoff -6dB
32 Hz
High cutoff -6dB
25 kHz

SPL
Peak SPL Maximum peak acoustic output per pair at 1 m distance with music material.
≥120 dB
Short term max SPL Maximum short term sine wave acoustic output on axis in half space, averaged from 100 Hz to 3 kHz at 1 m.
≥110 dB
Long term max SPL Maximum long term RMS acoustic output in same conditions with IEC weighted noise (limited by driver unit protection circuit) at 1 m.
≥101 dB
Self-generated noise
Self-generated noise Self generated noise level in free field at 1m on axis (A-weighted).
≤10 dB
Weight
Weight14.4 kg (31.7 lb)
Dimensions
Height
433 mm
Height with Iso-Pod
452 mm
Width
286 mm
Depth
278 mm

Enclosure
Enclosure material
Die cast aluminium
Enclosure type
Reflex port
Drivers
Driver type
Cone
Magnetically shielded.
Diameter
205 mm
Driver type
Metal dome
Magnetically shielded.
Diameter
25 mm
Directivity

Harmonic distortion
> 100 Hz ≤0.5 %
Amplifier Section
Amplifiers
150 W Class AB
120 W Class AB
Mains voltage
100, 120, 220 or 230VAC 50/60Hz according to region
Power consumption
ISS Active
≤0.5 W
Idle
≤10 W
Full output
170 W
Signal processing section
Connectors
Input Analog signal input connector XLR female, balanced 10 kOhm.
Crossover
Bass/Treble
1800 Hz
For even more technical details please see product operating manual.
Key Technologies

Active Crossovers

Directivity Control Waveguide (DCW™) Technology

Intelligent Signal Sensing (ISS™) Technology

Iso-Pod™ Stand

Minimum Diffraction Enclosure (MDE™) Technology

Optimized Amplifiers

Protection Circuitry

Reflex Port Design

Room Response Compensation

Versatile Mountings
Active crossover operating at low signal levels.
Audio electronic crossovers allow to split the audio signal into separate frequency bands that can be separately routed to individual power amplifiers which then are connected to specific transducers optimized for a particular frequency band.
Active crossovers come in both digital and analogue varieties. Genelec digital active crossovers include additional signal processing, such as driver protection, delay, and equalization.
Genelec analogue active crossover filters contain electronic components that are operated at low signal levels suitable for power amplifier inputs. This is in contrast to passive crossovers that operate at the high signal levels of the power amplifier's outputs, having to handle high currents and in some cases high voltages.
In a typical 2-way system the active crossover needs two power amplifiers — one for the woofer and one for the tweeter.
The active crossover design offers multiple benefits:
- The frequency response becomes independent of any dynamic changes in the driver's electrical characteristics or the drive level.
- There is an increased flexibility and precision to adjust and fine tune each output frequency response for the specific drivers used.
- Each driver has its own signal processing and power amplifier. This isolates each driver from the drive signals handled by the other drivers, reducing inter-modulation distortion and overdriving problems.
- The ability to compensate for sensitivity variations between drivers.
- The possibility to compensate for the frequency and phase response anomalies associated with a driver’s characteristics within the intended pass-band.
- The flat frequency response of a high-quality active loudspeaker is a result of the combined effect of the crossover filter response, power amplifier responses and driver responses in a loudspeaker enclosure.
Using the active approach enables frequency response adjustments and optimization of the full loudspeaker system, placed in various room environments, without expensive external equalizers. The end result is a simpler, more reliable, efficient, consistent and precise active loudspeaker system.
Directivity Control Waveguide (DCW™) for flat on- and off-axis response.
A revolutionary approach was taken by Genelec in 1983 with the development of its Directivity Control Waveguide (DCW™) used at the time in an egg-shaped enclosure. The Genelec DCW technology developed and refined over more than 30 years greatly improves the performance of direct radiating multi-way monitors.
The DCW technology shapes the emitted wavefront in a controlled way, allowing predictable tailoring of the directivity (dispersion) pattern. To make the directivity uniform and smooth, the goal is to limit the radiation angle so that the stray radiation is reduced. It results in excellent flatness of the overall frequency response as well as uniform power response. This advanced DCW technology minimizes early reflections and provides a wide and controlled listening area achieving accurate sound reproduction on- and off-axis.
Minimized early reflections and controlled, constant directivity have another important advantage: the frequency balance of the room reverberation field is essentially the same as the direct field from the monitors. As a consequence, the monitoring system's performance is less dependent on room acoustic characteristics.
Sound image width and depth, critical components in any listening environment, are important not only for on-axis listening, but also off-axis. This accommodates not only the engineer doing his or her job, but also others in the listening field, as is so often the case in large control rooms.
DCW™ Technology key benefits:
- Flat on- and off-axis response for wider usable listening area
- Increased direct-to-reflected sound ratio for reduced control room coloration
- Improved stereo and sound stage imaging
- Increased drive unit sensitivity up to 6 dB
- Increased system maximum sound pressure level capacity
- Decreased drive unit distortion
- Reduced cabinet edge diffraction
- Reduced complete system distortion
Intelligent Signal Sensing (ISS™) for power consumption reduction in stand-by mode.
Introduced early 2013, Genelec’s Intelligent Signal-Sensing technology has been developed to meet with both European Union ErP Directives and the company’s own wider sustainability commitments.
The Intelligent Signal Sensing, ISS™ circuitry tracks the signal input of the loudspeaker and detects if it is in use. If the ISS circuit does not find any audio on the input for a period of time, it sets the loudspeaker to a low-power sleep state and the loudspeaker will consume less than 0.5 watts. When an input signal is detected, the loudspeaker immediately turns itself on. Basically, the loudspeaker system will start saving power as soon as work is interrupted.
Additionally an ‘ISS Disable’ switch is located on each product’s back plate next to the other room response controls. First, when the mains power switch of the loudspeaker is set to “ON”, the ISS™ auto-start function (low-power sleep state on/off) of the loudspeaker is active.
If this function is not desired, the ISS™ function can be disabled by setting the “ISS Disable” switch on the back panel to “ON” position. In this mode, the monitor is only powered on and off using the mains power switch.
Note that the mains power switch will always turn the monitor off completely.
Vibration decoupling Iso-Pod™ stand improves sound image definition.
Although it is advisable to use sturdy and stable floor stands together with free-standing loudspeakers, a very common solution is to place loudspeakers directly on a table or on a console meter bridge.
This causes several detrimental side effects. Aiming of the loudspeaker axis towards the listener is rarely implemented, also, unwanted mechanical vibration do propagate from the loudspeaker to the mounting surface, and first order reflection on the work surface causes comb filtering and hence ripples in the frequency response.
To solve these very common problems Genelec developed an efficient and very practical solution. We designed a loudspeaker stand called Iso-Pod™ - Isolation Positioner/Decoupler that is attached to the aluminium enclosure. It has four shallow feet and it is made from special lossy rubber-like material. It is firmly attached to the enclosure so that it can be slid along the curved bottom or side surface to allow for a ±15° tilt of the loudspeaker.
The loudspeakers’ acoustical axis can then be pointed precisely towards the listener by adjusting the enclosure’s inclination with the Iso-Pod. The vibration isolation and damping properties reduce midrange coloration caused by unwanted vibration transmitted to supporting surfaces.
This innovative solution is an integral part of Genelec loudspeaker design and provides clear benefits in usability and sound quality.
Minimum Diffraction Enclosure (MDE™) for uncoloured sound reproduction.
A common problem with standard free-standing loudspeakers is that the front baffle discontinuities cause diffractions and the loudspeaker sharp corners act as secondary sources through reflections.
In order to improve the flatness of the frequency response and the power response of free standing loudspeaker systems, Genelec have designed a highly innovative enclosure optimized to match the properties of the monitor drivers, featuring rounded edges, and gently curved front and sides. In addition to achieving an unsurpassed flatness of the frequency response, the enclosure having minimum diffractions yields superb sound stage imaging qualities.
To achieve such a smooth and elegantly curved cabinet surface and to reduce the outer dimensions of the enclosure, maximising at the same time the internal volume for improved low frequency efficiency, we designed a cabinet made off die-cast aluminium. Aluminium is lightweight, stiff and very easy to damp to yield a “dead” structure. The cabinet walls can be made fairly thin, providing at the same time good EMC shielding and excellent heat sink for the power amplifiers. Die-casting is made in two parts, front and rear, and they are easy to separate for potential servicing needs.
The DCW waveguide has been integrated in the MDE aluminium enclosure to provide improved control of the loudspeaker’s directivity. Basically, the low frequency limit for constant directivity is determined by the size of the waveguide, so the larger the surface the better the control. With a very controlled off-axis radiation, the listening window becomes consistent, which is of utmost importance with multi-channel audio monitoring. Controlled directivity also reduces possible first order reflections on surfaces near the loudspeaker, helping to provide consistent audio reproduction in different acoustical environments. In fact, the entire front baffle is gently curved and the acoustically transparent grilles are part of the outer cabinet aesthetics, blending perfectly with the various other curved surfaces.
Each transducer is driven by its own optimized amplifier.
Audio electronic crossovers allow to split the audio signal into separate frequency bands that can be separately routed to individual power amplifiers which then are connected to specific transducers optimized for a particular frequency band.
In a typical 2-way loudspeaker system, the active crossover needs two power amplifiers — one for the woofer and one for the tweeter. The power amplifiers are connected directly to the drivers of an active loudspeaker, resulting in the power amplifier’s load becoming much simpler and well known. Each driver-specific power amplifier has only a limited frequency range to amplify (the power amplifier is placed after the active crossover) and this adds to the ease of design.
The active design principle offers multiple benefits:
- The power amplifiers are directly connected to the speaker drivers, maximizing the control exerted by the power amplifier’s damping on the driver’s voice coil, reducing the consequences of dynamic changes in the driver electrical characteristics. This may improve the transient response of the system.
- There is a reduction in the power amplifier output requirement. With no energy lost in the passive crossover filter components, the amplifier power output requirements are reduced considerably (by up to 1/2 in some cases) without any reduction in the acoustic power output of the loudspeaker system. This can reduce costs and increase audio quality and system reliability.
- No loss between amplifier and driver units results in maximum acoustic efficiency
- Active technology can achieve superior sound output vs. size vs. low frequency cut-off performance
- All loudspeakers are delivered as a factory aligned system (amplifiers, crossover electronics and enclosure-driver systems)
Sophisticated drive unit protection circuitry for safe operation.
When working in critical audio production environments it is essential that monitoring systems remain reliable and functional at all times. One of the main reasons behind Genelec’s excellent success in broadcasting environments is the reliability of our products and a key element behind the reliability is the internal protection circuitry found in all products since 1978.
The protection circuitry prevents driver failures by detecting signal levels, and in case of sudden peaks or constantly too high levels, taking the signal level down automatically. Of course this feature does not affect the sound quality in any way when working within the specifications of the loudspeaker, but only prevents inadequate input signals from breaking the loudspeaker.
Protection circuitry features and benefits:
- Reduces the output level when required, (e.g. when driver voice coil temperature reaches the safe limit) which highly improves the system reliability
- Appropriate protection circuitry design in every loudspeaker and subwoofer enables to maximise system output sound level.
Advanced reflex port design for extended low frequency response.
Genelec’s choice for vented, or reflex, enclosures dates back to the S30 model, the first Genelec product from 1978. Port performance has been improved and refined over the years with the aim to increase the woofer’s low frequency extension and sound pressure level capability to provide outstanding bass articulation and definition.
Both driver and vent contribute to the total radiation of a reflex enclosure. Most radiation comes from the driver, but at the vent-enclosure resonant frequency the driver displacement amplitude is small and most of the radiation comes out of the vent.
To minimize the air speed in the tube, the cross sectional area of the vent should be large. This in turn means that the vent tube has to be long which presents quite a design challenge.
The long, curved tube maximizes airflow so deep bass can be reproduced without compression. The reflex tube terminates with a wide flare located on the rear of the enclosure for obvious reasons, minimizing port noises and providing excellent bass articulation.
The curvature of the tube has also been carefully designed to minimize any audible noise, compression or distortion. The inner end of the tube has proper resistive termination to minimize once again audible chuffing noise and air turbulence.
Proper reflex port design allows also to significantly reduce the woofer’s displacement, improving the linear low frequency output capacity.
Precise room response compensation for optimizing in-room performance.
The interaction between room acoustic and loudspeaker radiation is complex. Each room changes somewhat the monitor’s response in a unique way, e.g. reflective vs. damped rooms, or placement against a wall vs. on a stand away from the walls.
All Genelec loudspeaker systems feature room response adjustments to compensate for the room influences and retrieve a flat frequency response at the listening position.
Analogue Systems
Genelec analogue loudspeaker systems provide versatile Room Response Controls. They include (depending on models):
- Bass Roll-Off and Bass Tilt
- Treble Tilt and Treble Roll-Off
- Bass Level
- Midrange Level
- Treble Level
- Desktop Control
At low frequencies two main controls are provided. The Bass Tilt control, which acts as a shelving filter together with the Bass Roll-off control allowing you to optimize the low and very low frequency response of the system in different installations. Bass, midrange and treble level controls are provided in large systems. These controls allow to optimize the relative balance between the various pass bands.
The operating manual and datasheet of each loudspeaker contains a list of preferred room response control settings for different installations. These have been specified out of long practical experience and measurements of various kind of typical acoustic environments.
Smart Active Monitor (SAM™) Systems
Genelec SAM Systems offer a comprehensive, solution-oriented, intelligently networked product range which all feature Genelec Loudspeaker Manager (GLM™) software and its automatic calibration system called AutoCal™.
Genelec AutoCal provides the industry’s first integrated process for complete automated measurement, analysis, and adjustment of every monitor on the GLM control network. The system measures the response in the listening area and applies relevant compensation in the low and low-mid frequencies to minimise the detrimental room acoustic anomalies as well as the differences between various listening positions. AutoCal also aligns relative levels, time-of-flight, as well as adjusts correct crossover phase (called AutoPhase) for all subwoofers on the network.
The Acoustic Response Editor provides accurate graphical display of the measured response, filter compensation and the resulting system response for each monitor, with full manual control of acoustic settings.
Versatile mounting options for all installation needs.
In addition to perfect acoustical design and advanced tailoring options to optimize the loudspeaker’s behaviour to the room environment, Genelec loudspeakers offer a variety of mounting options for easy installation in different applications.
Our wide range of accessories and fixed mounting points on the back of our aluminium enclosure products offer solutions to all common installation situations. M6 support points have been integrated in the die-cast enclosure for wall and ceiling mounts.
Some models also feature a 3/8” thread at the bottom of the enclosure to fit a robust microphone stand. Other larger and heavier models feature M10 fixing points. Special floor stand plates have been designed in order to fit the Iso-Pod stand that is part of our product design.
With these features our loudspeakers have found their way to a variety of applications beyond the professional audio and studio world, for example in commercial and AV installation projects as well as in home environments all around the world.
References
The first time we encountered electronic musician and multimedia artist Dan Samsa back in 2018, he had staged a stunning immersive concert at London’s Albany Theatre, which showcased his Warchestra album and featured a huge array of 29 Genelec speakers complemented by four subwoofers.
To me this was an obvious combination to deliver what I felt to be the ultimate electronic music experience.
Recently, Dan returned to The Albany to once again push the boundaries of multichannel live sound, curating performances from some of his favourite artists. This time, the sound system comprised an eight-speaker array of Genelec 8050s, alongside eight 18” super scoop subwoofers from South East London’s Unit 137 dub sound system –producing what Dan describes as a “bombardment of the aural and physical senses!”
Dan explains the background to the latest project…
“The goal for this night was to bring together some close friends to perform their music on a sound system that wouldn’t just be an enhanced way to listen to music, but would also inspire us to approach the music in a different way. All of our music is full of colour Fand detail but also explores the use of sub bass. For these reasons I decided to combine the clarity and detail of a circular surround sound Genelec system with the sub scoops from local dub sound system Unit 137 – to add some extreme physical bass. To me this was an obvious combination to deliver what I felt to be the ultimate electronic music experience.”
The event was staged with support from nonclassical – a music promoter, record label and events producer presenting the best new classical, experimental and electronic music. As one of nonclassical’s associate composers, Dan was given the opportunity to curate the event, choosing Luke David Harris and Kamikaze Space Programme to perform alongside himself.
Dan continues:
“I created musical patterns, shapes and textures using the 360 microphone recording and editing techniques that I’ve been experimenting with over the last couple of years. I then performed using an improvised bass synth and analogue drum machine, which were sent directly to the Unit 137 subs. This surround sound playback format has been influencing my writing for some time, irrespective of whether the music is eventually experienced in stereo or surround sound. I found from previous experience that sending bass frequencies through the same system as the surround sound material can muddy things up a little – hence the reason for using Unit 137’s system. This not only allowed both sound systems to breathe and do their thing, but it created an extreme physical experience too.”
Kamikaze Space Programme (aka Chris Jarman) performed material from his Dead Skin Cells album, and he reveals that the sound system made him completely rethink how sounds were used:
“To be honest, I didn’t realise the true depth of this unique sound system until I arrived in London for the rehearsals, and my mind was truly blown. It’s not just the overall sound of this PA setup, but how you could focus on individual sounds and move them around a space and change their width. It felt like I was hearing these sounds for the first time again. The separation is like nothing I've ever heard before, and when this is combined with the scoop bins of the Unit 137 sound system it added an extreme physical dimension which reminded me of the late 90s jungle events at clubs such as The End, or St Paul’s Carnival in Bristol.”
Luke David Harris composed material specifically for the performance, using a 360 sound system at his studio:
“Auditioning ideas in real time with a full spatial system influenced the structures and sounds in the creative process. I found myself focusing on material that moved well in the space. There was a distinct difference in the shape and frequencies that I constructed, and how they would develop using their spatial qualities. The most interesting thing for me, I guess it's the combination of both sound systems in one space. The spatial sound system in terms of the ability to be able to put things in different places within the room, and then also having the absolute monster bass sound system which everyone feels in their chests. Putting the two together really makes a lot of sense.”
After the event, Dan was thrilled with the response, describing it as “a new immersive way to experience live electronic music that challenged the focus and behaviour of the audience. It gave the music a true 3D dimension, with ground shaking bass…. that literally made the whole theatre tremble.”
Watch a fascinating behind the scenes video about Dan’s event
B26 in Västerås, Sweden, offers 5000m2 of luxuriously appointed space over seven floors for companies to work, do business, meet and create together. With areas for working together, or apart, meeting rooms, a restaurant plus a vast roof terrace with panoramic views, B26 is Västerås’s first co-working space and it is world class. B26 called on award- winning Swedish AV integration specialists, JML-System AB to design the high quality AV systems throughout the building. JML- System specified Genelec’s new RAW finish 4000 Series installation loudspeakers as the perfect solution for B26’s needs.
WE’VE DELIVERED A FLEXIBLE, EASY-TO-USE SYSTEM THAT SOUNDS GREAT BOTH AT LOW AND HIGH LEVELS.
The building that houses B26 was designed in the 1950s by the renowned Västerås architect Sven Ahlbom and bears traces of the industrialization that saw Västerås develop from a small town to the big city it is today. B26 was keen to retain the industrial feel of the space whilst still creating a modern, welcoming atmosphere. Aesthetics were therefore as much a part of the brief as audio quality. JML-System’s Johnny Franzén explains:
“We needed to think about design and function as well as cutting edge technology. As B26 is a very new concept, the client wanted assurances that we would not only provide the best of what is available today, but that it would also stand the test of time. We worked on the project for a long time before agreeing on the best way forward.”
“Genelec looked like a good solution from the outset, but when it became clear that the RAW finish was available, all the pieces fell into place,” he admits.
“Visually, the RAW models with their ‘unfinished’ natural aluminium casings are a perfect fit for the old factory environment with its exposed bricks and ductwork. The fact that they are environmentally friendly was also a big plus point for B26, as part of their philosophy is to actively reduce their environmental impact.”
THE RAW FINISH LOOKS ABSOLUTELY AMAZING AND IT’S AN EVEN MORE ENVIRONMENTALLY FRIENDLY PRODUCT.
Genelec’s RAW models require no painting and less finishing material for an even more environmentally friendly solution. The speaker enclosures are already made from recycled aluminium, and the RAW option takes full advantage of the natural beauty of the material to give a uniquely nuanced finish for each loudspeaker. All RAW models feature Genelec’s Minimum Diffraction Enclosure (MDE) design, whose curved form delivers incredibly flat frequency response, precise imaging and unparalleled acoustical performance.
Aside from the aesthetics, the technical requirement was for a high quality audio system that would work at low levels during the day but could be turned up after hours to create a club-like, party atmosphere with no loss of quality.
JML-System specified a multi-zone, distributed system based on 42 of the powerful 4040 installation loudspeakers – the largest in the 4000 Series – and 20 of the compact 4020 loudspeakers for the smaller areas. There is also a pair of 8050B nearfield studio loudspeakers that deliver cinema-quality audio for the drop-down projector screen in the main open plan meeting and social space. This space also benefits from a mini- auditorium area complete with a cleverly designed raked seating area.
“We opted for the 4040s in the larger areas as they are sufficiently powerful and develop enough low end that we didn’t need to supplement them with subwoofers,” says Franzén. “This saved on cost, space and also meant that we didn’t have to worry about uneven levels. This can sometimes happen with the use of subwoofers as part of a distributed system in a large space, unless you use a lot of subs, and then you run into the problem of where to put them. However, the 4040s have enough headroom to be used at pretty high levels to generate a real ‘club’ atmosphere after work, and still sound amazing. The smaller 4020s were perfect for the smaller spaces.”
In addition to audio quality, another major consideration for JML-System was the fact that the Genelec 4000 Series loudspeakers are active. “This was important for us as it makes installation a lot simpler,” notes Franzén. “We don’t have to worry about extra cabling or finding room for amplifiers; everything you need is already in the box, and Genelec has a wide range of mounting accessories that are perfectly suited to most situations.”
In keeping with the modern industrial feel of the B26 premises, all of the loudspeaker cables are housed in shiny metal pipework which marries perfectly with the RAW recycled aluminium finish of the loudspeakers. Franzén is delighted with the results. “From an audio perspective, we know we can count on Genelec to deliver the highest quality, and it’s the case for B26. In partnership with our subcontractor One4All AB, we’ve delivered a flexible, easy-to-use system that sounds great both at low and high levels with no hot spots or dead zones. However, I think the real plus for this installation was the RAW finish – it looks absolutely amazing, and it’s an even more environmentally friendly product from a Scandinavian company that already ranks very high on the sustainability scale. This was definitely what tipped the balance for B26 who are absolutely thrilled with the results at every level.”
One of the most recent academies is situated in the vibrant Portuguese capital of Lisbon. Thanks to integration specialists, Garrett Audiovisuais, the L’Oréal Academy, Lisbon, has become the group’s first digital academy, and the first to deploy high quality Genelec loudspeakers throughout their training rooms. Garrett was initially contacted to provide an ambient sound solution for the entrance hall area. However, once the discussions started in earnest, Garrett saw an opportunity to create something unique.
The Lisbon headquarters wanted to be the first digital Academy – and offer a full media experience including 3D goggles for virtual salons, QR codes for product searching and other digital media. It was also an opportunity to install a proper, high quality audio system throughout the venue, not just in the foyer. Garrett recommended Genelec as the best solution for their needs, particularly for the four training rooms.
“Previously L’Oréal used to rent in equipment for all of their events,” explains Garrett’s Carlos Melo who was closely involved in the project. “However, after discussions with us, they decided that it would be better to have their own in-house solution rather than having to rely on external AV companies, as it would be cheaper in the long term and more convenient. They also knew that they could rely on us for support whenever necessary. We recommended Genelec as it delivers everything they required: excellent intelligibility when using microphones, extremely high quality low level ambient sound, and can still blow people away when the DJ comes in!”
There are four rooms in total over two floors which are used largely for training but also for parties and other events. They can operate independently or combined in any configuration. The ground floor and first floor control rooms communicate so that L’Oréal can even host a single event across the two floors if necessary – since all audio and video can be streamed live across all four spaces, making the system extremely flexible.
For the audio system, Garrett specified two Genelec 8050B loudspeakers and one 7070A subwoofer per room. The 8050B was designed as a studio monitoring loudspeaker, thus guaranteeing absolutely pristine audio quality at any playback level and at any listening position in the room. The 7070A subwoofer offers extremely clean and precise low frequency performance, combining both low distortion and impressively high SPL capability. The speakers and subwoofers are all active, making installation very straightforward with no amp racks or long cable runs to worry about. Additionally, a number of AIC25 ceiling speakers have been installed throughout the lobby and other public areas.
According to the Academy supervisor, Sofia Fernandes, the new audio system has made a huge difference, both in operational terms as well as quality. “These rooms are in use every day in a variety of combinations,” she explains. “Set up is now a piece of cake: all I have to do is plug in the microphone and we’re essentially ready to go. On/off and levelcan all be controlled remotely via a tablet, or if we have a DJ in, they just run it all from the desk. The sound is amazing, whether it’s speech or music, at high level or low levels. In fact, now the system is in, I simply never have to worry about it – I just turn it on and it works. Room combining is also very straightforward, so there’s no doubt that it has helped me in my job. We no longer have to deal with the disruption of external AV companies coming in and out – even if they did a good job, it’s still one more thing to deal with. Now we just manage it all ourselves, and probably with even better results. It all looks and feels extremely professional and is perfectly integrated with the rest of our systems. Garrett has done a wonderful job, so yes, we’re very pleased.”
“From an integrator’s point of view, we believe that Genelec offers a number of advantages for projects like these,” reveals Carlos Melo. “Firstly, we know that the sound quality is truly second to none; secondly, because most of their models are active, it’s very easy to install – and the new networked Smart IP models will be easier still – and finally, we know that once they go in, the equipment is so reliable that, unless the client wants to upgrade or change anything, we probably won’t hear from them again for the next twenty years!”
Café Luzia in the busy Kreuzberg district of Berlin has just installed a state-of-the-art Genelec sound system to enhance the music experience of what is a relaxed café by day and trendy lounge bar by night.
Weekend DJ spots provide a distinctly electronic edge to the warm, candlelit atmosphere, attracting a crowd who expect nothing less than excellent audio. The owner decided that the time was right to invest in a studio-quality sound solution in order to keep pace with customer expectations and maintain his reputation as one of Berlin’s coolest café bars. He turned to Studio SPC, an acoustic design studio in the heart of Berlin, who instantly recommended Genelec as the obvious answer to his requirements.
“As soon as the client told me that he specifically wanted studio-grade sound quality in his bar, I recommended Genelec straight away,” said Kenan Jan Ibar, owner and founder of Studio SPC. “I come from a studio background myself and love working with Genelecs, so I’m always pleased when I get an opportunity to take them out of the studio and put them in front of a wider audience.”
Ibar specified five 8050B large format active studio monitors supplemented by a 7071A subwoofer. The 8050s are the largest and most powerful monitors in the classic Genelec studio monitor range and deliver a class-leading balance of extraordinary SPL output, expansive dynamic range and an intensely detailed, transparent performance.
“I decided on Genelec for a number of reasons,” explained Ibar. “Apart from being my personal favourite, they are very easy to operate – this is so important for sound installations in public places where you can pretty much guarantee that the operators will have had little or no audio training. Other than sound quality, my number one priority is plug-and-play operation coupled with reliability. As a long-time Genelec user, I know that Genelecs won’t disappoint over time. They are extremely robust and suitable for many hours of playback, and the automatic standby mode is a real winner for environments like these where operators are constantly forgetting to turn them off when not in use. The fact that they are active is also a big bonus as it eliminates the need for amplifiers and messy and/or complex wiring, so it saves space and avoids confusion for venue owners and operators.”
Ibar also appreciates the number of mounting options available which give him a lot of freedom in installation terms. “Genelec have definitely thought beyond the studio when it comes to mounting options and accessories,” he noted. “It makes the speakers much easier to specify in commercial installations as a result. For example, in my view, one of the most important and effective solutions for PA installations in public places is decoupling the speakers from physical entities such as ceilings or walls. The aim is to minimise transition noise to neighbouring areas and other public areas next door. I always recommend my clients to have a decoupled system. In most cases I modify a Genelec speaker mount using a special spring and sylomer anti-vibration mounting system, which is really effective and looks pretty cool too! Café Luzia is a good example of this.”
Finally, Ibar is a fan of the signature rounded design of modern Genelec monitors. “It works both aesthetically for commercial AV installations as they are very easy on the eye and look great in any environment, as well as acoustically. The Café Luzia installation looks good and sounds wonderful. Everyone is pleased with the results, from the owners to the café manager to the weekend DJs and the regular guests. And that makes me happy!”
"Ask the experts with Alex Theakston: Monitoring sound in the studio" is an article about the 8000 range studio monitors. It was published in the TV-Bay Magazine in November 2012.
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Documentation
Documents
Operating Manual 8050B Quick Setup Guide 8050B Datasheet 8050B Classic Active Monitoring Series Catalogue 2018 Genelec 8040B, 8050B Operating Manual - ChineseDownloads
Line Drawings (PDF) 8050B Line Drawings (DWG) 8050B 8050B - Simulation File (CLF) 8050B - Simulation File (EASE3) 8050B - Simulation File (EASE4)FAQ
Damping Materials Used in Our Monitors
Genelec products use various damping materials such as glass fiber wool, linen fiber wool, and polyester fiber based material (PES). The tables presented below provide a detailed listing of our monitor models and the type of damping material used in each model.
During operation, the air moving in and out of the monitor loudspeaker or subwoofer bass reflex openings does not emit significant amounts of fiber particle dust. The PES wool as material does not emit dust. The linen wool, and glass fiber wool can emit minimum amounts of dust during very high sound level operation. This fiber dust is not hazardous to health.
Studio monitors
SAM™ Studio Monitors | Damping material type |
---|---|
1032C | PES |
8320A | PES |
8330A | PES |
8340A | PES |
8350A | PES |
8130A | PES |
8240A | PES |
8250A | PES |
8331A | PES |
8341A | PES |
8351A | PES |
8351B | PES |
8361A | PES |
S360 | PES |
8260A | Linen wool |
1238CF | Linen wool |
1238DF | Linen wool |
1237A | Linen wool |
1238A | Glass wool |
1238AC | Glass wool |
1234A | Glass wool |
1234AC | Glass wool |
1236A | Glass wool |
SAM™ Studio Subwoofers | Damping material type |
---|---|
7260A | Linen wool |
SE7261A | Linen wool |
7270A | Linen wool |
7271A | Linen wool |
7350A | Linen wool |
7360A | Linen wool |
7370A | Linen wool |
7380A | Linen wool |
7382A | Linen wool |
8000 Series Studio Monitors | Damping material type |
---|---|
8010A | PES |
8020D | PES |
8030B | PES |
8030C | PES |
8040B | PES |
8050B | PES |
1000 Series Studio Monitors | Damping material type |
---|---|
1032B | Linen wool |
1037C | Linen wool |
1038CF | Glass wool |
1038B | Glass wool |
1038BC | Glass wool |
1034B | Glass wool |
1034BC | Glass wool |
1039A | Glass wool |
1035B | Glass wool |
1036A | Glass wool |
M Series Studio Monitors | Damping material type |
---|---|
M030 | PES |
M040 | PES |
7000 Series Studio Subwoofers | Damping material type |
---|---|
7040A | Linen wool |
7050B | None |
7050C | Linen wool |
7060B | Linen wool |
7070A | Linen wool |
7071A | Linen wool |
7073A | Glass wool |
Home Speakers
G Series Active Speakers | Damping material type |
---|---|
G One | PES |
G Two | PES |
G Three | PES |
G Four | PES |
G Five | PES |
F Series Active Subwoofers | Damping material type |
---|---|
F One | None |
F Two | PES |
Home Theater Speaker Series | Damping material type |
---|---|
HT210B | Linen wool |
HT312B | Glass wool |
HT315B | Glass wool |
HT320BC | Glass wool |
HT324A | Glass wool |
HT324AC | Glass wool |
HT330A | Glass wool |
Home Theater Subwoofer Series | Damping material type |
---|---|
HTS3B | None |
HTS4B | None |
HTS6 | Glass wool |
Installation Speakers
4000 Series Installation Speakers | Damping material type |
---|---|
4010A | PES |
4020B | PES |
4020C | PES |
4030B | PES |
4030C | PES |
4040A | PES |
Architectural Speaker Series | Damping material type |
---|---|
AIC25 | PES |
AIW25 | PES |
AIW26 | Linen Wool |
AIW26B | Linen Wool |
AOW312 | Glass wool |
5041A | Linen Wool |
"Ask the experts with Alex Theakston: Monitoring sound in the studio" is an article about the 8000 range studio monitors. It was published in the TV-Bay Magazine in November 2012.
"Ask the experts with Alex Theakston: Monitoring sound in the studio" is an article about the 8000 range studio monitors. It is written by Alex Theakston, and it was published in the TV-Bay Magazine in November 2012.
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