For those demanding a compact subwoofer with extended LF performance, generous SPL and professional bass management, the 7050C is the natural choice.
The perfect partner for any nearfield monitor, particularly our own 8010, 8020 and 8030 models, the 7050C boasts a number of improvements over its A and B predecessors, including onboard bass management, lower distortion, a universal switched-mode power supply, and an increased maximum SPL of 103 dB.
Stereo or multichannel
With five input and output channels with 85 Hz filtering - plus a 120 Hz LFE input - the 7050C is equally suited to stereo or multichannel work, and its laminar spiral enclosure provides extended LF response down to 24 Hz with impressively low distortion. Rear panel DIP switches control subwoofer phase and LF roll-off, engage the +10 dB LFE level, and also activate and control the sensitivity of the 7050C’s ISS power-saving mode.
Bass Management System
Laminar Spiral Enclosure (LSE™) Technology
Room Response Compensation
Active crossover operating at low signal levels.
Audio electronic crossovers allow to split the audio signal into separate frequency bands that can be separately routed to individual power amplifiers which then are connected to specific transducers optimized for a particular frequency band.
Active crossovers come in both digital and analogue varieties. Genelec digital active crossovers include additional signal processing, such as driver protection, delay, and equalization.
Genelec analogue active crossover filters contain electronic components that are operated at low signal levels suitable for power amplifier inputs. This is in contrast to passive crossovers that operate at the high signal levels of the power amplifier's outputs, having to handle high currents and in some cases high voltages.
In a typical 2-way system the active crossover needs two power amplifiers — one for the woofer and one for the tweeter.
The active crossover design offers multiple benefits:
- The frequency response becomes independent of any dynamic changes in the driver's electrical characteristics or the drive level.
- There is an increased flexibility and precision to adjust and fine tune each output frequency response for the specific drivers used.
- Each driver has its own signal processing and power amplifier. This isolates each driver from the drive signals handled by the other drivers, reducing inter-modulation distortion and overdriving problems.
- The ability to compensate for sensitivity variations between drivers.
- The possibility to compensate for the frequency and phase response anomalies associated with a driver’s characteristics within the intended pass-band.
- The flat frequency response of a high-quality active loudspeaker is a result of the combined effect of the crossover filter response, power amplifier responses and driver responses in a loudspeaker enclosure.
Using the active approach enables frequency response adjustments and optimization of the full loudspeaker system, placed in various room environments, without expensive external equalizers. The end result is a simpler, more reliable, efficient, consistent and precise active loudspeaker system.
Bass Management System handles multichannel low frequency content.
The principle of bass management is that the bass content of the main channels and the Low Frequency Effect (LFE) channel are directed and reproduced only by loudspeakers capable of handling them, whether they are main system loudspeakers or one or more subwoofer(s).
In stereo reproduction, signals from 20 Hz to 20 kHz need to be replayed. Large multi-way monitoring systems will reproduce such a wide bandwidth evenly. With multichannel audio, professional and consumer audio systems must also be able to reproduce audio between 20 Hz and 20 kHz for each channel. To achieve this, main monitors, subwoofers and crossover electronics should work together.
A Bass Management system uses either analogue electronic circuitry or software based filtering which will filter low frequency information from the main channels and route that information to one, or more, subwoofer feed.
The dedicated LFE channel can also be monitored via that subwoofer and added to the low frequencies of the other main channels. Therefore, the Bass Management’s basic and main goal is to ensure that the entire audio bandwidth of all channels can be accurately monitored.
The benefits of the Bass Management System:
- The subwoofer extends the system frequency response down the lower limit of the audible range
- Monitor can produce a higher maximum sound level when not reproducing low frequencies
- Optimized low frequency reproduction by selecting adequate subwoofer location; monitors can also be placed more freely
- Subwoofer’s output are aligned in level and phase with monitors allowing flat and accurate reproduction down to 19 Hz and across the crossover point
- LFE channel output level (0 or +10 dB re. main channels) can be selected for accurate reproduction depending on the source type
- The ability to bypass the subwoofer allows to evaluate the audible impact of the subwoofer
Highly efficient Laminar Spiral Enclosure (LSE™) provides accurate low frequency reproduction.
The demands placed on subwoofers over the last years have increased substantially to the point where traditional design concepts are no longer valid. For Genelec, in order to achieve the absolute best performance possible, bold initiatives must be taken.
Drawing on years of acoustic research and knowledge, Genelec's engineering group accepted the challenges placed upon them in the beginning of the 21st Century. The totally unique, curvilinear shape of the LSE™ Series Active Subwoofer enclosure is the revolutionary patented result of their efforts.
All of the Genelec LSE™ series subwoofers feature this innovative Laminar Spiral Enclosure™ (LSE™) bass reflex cabinet. It provides excellent laminar flow characteristics with minimal turbulence noise and enables an optimal packing of a very long reflex tube into a small space.
The learnings from the LSE Technology are also utilized in the reflex port design of our aluminium enclosure products.
The spiral-shaped design yields an extremely rigid enclosure exterior while also forming the subwoofer's integral port. The fact that one is part of the other means that air flow in and out of the enclosure's interior through the port is totally unrestricted. This results in an extraordinarily accurate and responsive low-frequency system with measured second and third harmonic distortion levels typically better than 30 dB below the fundamental.
When combined with Genelec stereo and multichannel bass management active electronics, the LSE™ Series Subwoofers provide a low-frequency listening experience like no other. The result is a product range with impeccable technical performance: The Genelec LSE subwoofer range is unique, complete, functional, different from any other products on the market, and consistent.
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.
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)
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.
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.
7050C Studio Subwoofer
Low cutoff -6dB
High cutoff -6dB
Short term max SPL Maximum short term sine wave SPL output averaged from 30 to 85 Hz, measured in half space at 1 meter.
Maximum short term sine wave SPL output averaged from 30 to 85 Hz, measured in half space at 1 meter.
Self-generated noise Self generated noise level in half space at 1 m on axis (A-weighted).
Self generated noise level in half space at 1 m on axis (A-weighted).
17.3 kg (38.1 lb)
Magnetically shielded driver.
130 W Class D
100-240 VAC 50/60Hz
Signal Processing Section
6 x Input 5 x input connectors XLR female, 10 kOhm balanced.
1 x LFE IN connector.
5 x input connectors XLR female, 10 kOhm balanced.
5 x Output XLR male output connectors.
XLR male output connectors.
For even more technical details, please see product operating manual.
Genelec brings a taste of Italy to central Lisbon
Genelec’s high class audio experience embellishes grand Italian restaurant.
Genelec spices up audio quality at The Mill in Malmö
The Quality Hotel, The Mill, in central Malmö, has recently reopened after a full-scale, top-to-bottom renovation. Part of the successful Nordic Choice chain, in addition to its 244 rooms, The Mill boasts ten conference rooms of varying sizes and a highly spec’d gym to cater for all the needs of the business traveller. All of the conference rooms plus the gym are equipped with high quality Genelec sound systems complete with Crestron control for a flawless audio experience.
Bang & Olufsen Chooses Genelec for Its Virtual Reality Laboratory
Danish electronics pioneer Bang & Olufsen has chosen Genelec SAM monitors to equip its new laboratory, which allows researchers at B&O’s Struer headquarters to create hyper-accurate simulations of how loudspeakers will sound in any given environment.
Located on the bustling boulevard of the Avenida de República in the Saldanha district of the Portuguese capital, Mercantina Bistro 37 is the third Mercantina restaurant to open in Lisbon. The elegant building was formerly home to Café Cubana, the favourite watering hole of a coterie of Portugal’s most famous surrealist artists. Seven decades later, the interior with its striking murals and rich colours designed by architect Tiago Silva Dias, offers echoes of the building’s surrealist past. Leading Portuguese distribution and AV integration specialists, Garrett Audiovisuais, designed and installed a sophisticated zoned audio and control system across all areas of the bar and restaurant, based on Genelec 4000 Series installation loudspeakers.
According to Garrett’s Alain Pierre who managed the project, Mercantina’s owners were frequent clients at JNcQUOI – a prestigious Lisbon restaurant already equipped by Garrett using Genelec loudspeakers – and were very impressed with the audio system. “We were approached by José Bartolomé Duarte, one of the founding partners of the Mercantina brand, who asked if we could deliver a similar experience to JNcQUOI in their own new, high class Italian restaurant,” explains Pierre. “We responded to the tender with a Genelec solution which convinced the client to award us the AV contract.”
The brief was to create a multi-room, zoned solution to deliver high quality ambient sound throughout the various spaces of the restaurant, as well as the glamourous cocktail bar. The owners also wanted the possibility to create more of a ‘club’ atmosphere when required, either for Friday and Saturday nights or private parties.
The 4030s sound amazing at low levels and great when you turn it up for more of a party atmosphere.
Four zones were designated in all: firstly, the bar which is served by four powerful 4030 loudspeakers supplemented by a 7050 subwoofer. Garrett also supplied a pair of stereo audio inputs that could be fed from the DJ booth. “The 4030s sound amazing at low levels for the daytime and early evening crowd, but they are powerful enough and have sufficient low end that they sound great when you turn it up for more of a party atmosphere,” says Pierre. “When you add the sub into the mix, the whole place starts jumping!”
Garrett opted for six compact 4020 loudspeakers in the main dining area, plus a further 7050 sub for low-end extension when handling DJ performances or other sources. Single 4020 speakers have also been supplied for both Mercantina’s semi-private dining area and the private VIP room. A Xilica Neutrino A0816 audio matrix was deployed to define the zones, and level is controlled from a Xilica 7-SM touchscreen. All the other parameters have been pre-defined and locked out to ensure that neither the matrix nor the speaker system will ever be overloaded or overdriven.
“Our biggest issue was dealing with the challenging acoustics, as the restaurant occupies a beautiful old building with high ceilings – it looks good, but it’s quite hard to make it sound good!” recalls Pierre. “Ceiling height was definitely an issue, especially in the semi-private area, so we made some EQ adjustments within the audio matrix to correct the acoustic defects in the room. Combined with the room compensation controls situated on the rear panel of each loudspeaker, and of course the exceptional sound quality inherent in all Genelec loudspeakers, we have achieved excellent results.”
We have a reliable audio system that complements the aesthetics of the space.
Mercantina founding partner, José Bartolomé Duarte, confirms that the results are indeed all that he’d hoped for. “We loved what Garrett had achieved at JNcQUOI. The whole installation just oozes quality – both aesthetically and from an audio perspective. I wanted the same thing for our new Mercantina restaurant which is aimed at a similar clientele, and I’m pleased to say that Garrett has done a great job. We have a reliable audio system that complements the aesthetics of the space, sounds excellent, and is flexible and easy to use. The results are exactly what we’d hoped for.”
Nordic Choice turned to leading Swedish integrator, Informationsteknik, to design, supply and install the AV systems throughout the hotel. With offices in Stockholm and Malmö, Informationsteknik is one of Sweden’s leading suppliers of customised solutions of audio, lighting, and video technology for meeting and conference spaces. Informationsteknik had no hesitation in specifying Genelec throughout to meet the hotel’s exacting quality and aesthetic requirements.
The conference rooms are all named after the various spices that are sold at the famous Möllevångstorget market nearby. As a result, each room benefits from its own rich colour scheme according to the spice after which it is named. Cocoa, saffron and cinnamon are just some of the names that have inspired the décor.
“We deliberately chose to invest a little extra in technology in our meeting rooms as we wanted the best possible experience for our guests”
Gustav Rue from Informationsteknik’s installation sales department explains that of all the requirements specified in the brief, the need to match the technology with the décor was perhaps the most challenging. “When we were asked to find a comprehensive solution of very high quality, it emerged relatively early on that a decisive factor would be how the technology could be colour-matched to match the interior,” notes Rue. “Genelec proved to be the perfect solution, both in terms of quality and aesthetics.”
“We selected a variety of models from the 4000 Series of installation speakers depending on the size of the room,” he continues. “As far as quality is concerned, their clarity and vocal intelligibility is second to none. They are also incredibly reliable, which is important for a busy hotel conference environment. However, what really made the difference for this project was the fact that we could custom paint the speakers in absolutely any shade to precisely match the colour palette of each space. As you move from room to room, the feeling is completely seamless.”
Hotel manager Burim Sumiq is thrilled with the results. “We deliberately chose to invest a little extra in technology in our meeting rooms as we wanted the best possible experience for our guests,” he reveals. “We’re right in the centre of Malmö and only 30 minutes from Copenhagen so we’re ideally placed as a business hub.”
“We wanted to focus on sound and speaker experience, but with a special proviso: our conference rooms are really something quite special, each with a unique and carefully designed colour scheme, so it seemed important to us to find a company that could deliver a solution that could match the interior without compromising on sound quality. Our local integration partner, Informationsteknik, recommended Genelec, which I already knew to be a brand that stood for quality and fantastic sound. However, once the speakers were installed and we heard them for the first time, I was literally blown away. The sound was quite simply amazing. Best of all, it didn’t need to be excessively loud, the clarity and intelligibility at low volumes are superb, and that is really important for our guests – they don’t need to hike up the volume in order to have a great sound experience.”
Gustav Rue is delighted to have a happy client. “It’s always satisfying when the customer is happy, and in this instance it’s not just about the technology – which, in any case, is of top quality – it’s about the whole aesthetic experience, and Genelec really came through for us at every level. They are a great partner to work with – always helpful and engaged in our customer’s project, and of course, they make great-sounding loudspeakers!”
The loudspeaker sphere is based around a 3 metre diameter frame, constructed within an anechoic chamber, and utilises a network of thirty-five Genelec 8320 monitors, five 8331 three way coaxial monitors from The Ones series, plus four 7050 subwoofers to create instantly recallable sound fields ranging in format from simple stereo and 5.1 up to 22.2. The result is a one-of-a-kind environment which allows the listener to experience the acoustic conditions specific to a particular concert hall, car interior, living room or other acoustic space.
At the heart of the research project is the understanding and analysis of reverberation – what it is, how sound reacts with reflective surfaces, and how it can benefit - or detract from - the listener’s experience.
“We wanted to bring real life into the lab,” says Dr. Neo Kaplanis, a Tonmeister and lead scientist at B&O. Along with an EU-FP7 consortium, Kaplanis examined whether it is possible to compensate for reverberation effects with the goal of aiding B&O’s R&D department.
“Our acoustic memory is extremely short, and that makes it hard to remember for any length of time exactly what a particular loudspeaker sounds like,” he continues. “And when auditioning loudspeakers in a store, you have no idea what that same model would sound like in your own living room. We knew that the same loudspeakers don’t sound the same in different rooms, we just didn’t know what was different. So the idea of this project was to investigate and record the acoustics inside various spaces so that they could be easily simulated in a controlled environment.”
Kaplanis developed a new type of recording that captures the unique acoustic fingerprint of a space, and then designed a computer program that plays back sounds from those precise locations in the sphere.
The collaboration between Genelec and B&O is long-standing, according to Kaplanis’ adviser, Søren Bech, B&O Director of Research and professor at Aalborg University.
“Genelec is a highly engineering-based company with a similar philosophy to our own. We listened to several models, and decided that their SAM studio monitors would be perfect for what we are doing – recording the sound of a room, and then reproducing it so the listener can switch between either the same loudspeaker in different rooms, or the same room with different loudspeakers.”
Kaplanis adds: “We wanted a loudspeaker that was as transparent as possible – so when we send something to it, we expect it to come out exactly the same. Genelec are without doubt one of the best studio monitors you can get, and their super-controlled, wide-frequency directivity is a significant benefit for the type of work we are doing here. They are also very light and very small, and easy to place in the sphere.”
The integration of SAM monitors with Genelec’s own GLM software was central to the project, he continues: “It’s super convenient because you can update filters, select and mute individual speakers, group them, and control the volume of all of them at the same time. It’s easy to try different set-ups at the click of a button.
“Being able to test the sound of a loudspeaker in different acoustic environments in exacting detail - without physically going there - is of obvious benefit to us because we don’t have the knowledge of an individual listener’s living room conditions – but is now possible to simulate those conditions with a high degree of accuracy thanks to Genelec’s expertise in acoustic design and the precise reproduction of sound,” he concludes.
Genelec’s Senior Technologist Thomas Lund added: “With two world-class sphere facilities now within short driving distance of each other – the other one being at the University of Aalborg – Denmark has really geared up for new research and verification of results within the booming field of immersive audio. Binaural and in-room research both benefit from the point source radiation of The Ones series and GLM calibration, thereby limiting potential confounders.”
As Denmark’s oldest town and home to Maren Spliid, the country’s most famous witch, the setting is ideal for a museum that aims to tell the stories of these witches - who they were, why they were so feared, and the myths and superstitions that surrounded them. In order to create the best possible visitor experience, HEX! turned to the exhibition designers and museum technology experts - led by Johan Ahrenfeldt - at the famed Moesgaard Museum. Having recently used Genelec’s Smart IP technology with great success on one of their own recent exhibitions, Ahrenfeldt had no hesitation in recommending it for HEX!
“We wanted to create a complex soundscape for the various stories being told in each of the nine exhibition rooms,” explains Ahrenfeldt. “However, the building itself posed a few challenges as it’s an old listed building in the centre of Ribe. While this definitely adds to the atmosphere, it’s not ideal for audio-visual installations! Many of the rooms are quite small with low ceilings, so it was important that the technology remained as unobtrusive as possible, whilst nevertheless delivering a high quality experience. Genelec’s Smart IP loudspeakers were therefore an obvious choice.
Smart IP technology is a godsend to those of us who work in architecturally sensitive environments.
“Smart IP technology provides power, audio and control all over a single network cable, and is a godsend to those of us who work in architecturally sensitive environments - HEX! is a case in point,” he continues. “Furthermore, we know that Genelec is a guarantee of superlative audio quality, even at low levels, which was a requirement in this instance due to the intimacy of the environment and the proximity of the loudspeakers to the audience. Our aim was to provide linear and detailed sound reproduction that allows visitors to lose themselves in the experience without feeling overwhelmed.”
The sound design was created by the composer Søren Bendixen of Audiotect, who specialises in creating soundscapes for exhibitions. The design was prepared in the studio but mixed on-site in an iterative process. The onsite use of the Spat Revolution software engine in the mixing process made it possible to map the sound designs and adapt and benefit from the specific speaker placement in the exhibition rooms - independently of standard audio formats. Ahrenfeldt utilised a total of thirty-six 4420 Smart IP loudspeakers across the exhibition rooms supplemented by six 4020 and four 4010 installation loudspeakers and a compact 7050 active subwoofer.
“Each of the nine rooms is set up as a separate zone,” explains Ahrenfeldt. “The zones are managed and controlled via the Smart IP Manager software, which has proved both easy and efficient. We’re using QLab software and a Dante-compatible RME Digiface interface to control the 47 discrete channels and feed them to the Dante network. The playback by QLab is triggered by the main show control.
“As the rooms are all adjacent to each other with open doors, the audio separation between the zones is very poor. We needed to turn this obstacle into an opportunity. By considering the overall sound design as a composition of nine separate yet interconnected designs, the result is an auditive experience that both facilitates the mood in each individual room as well as providing a more holistic listening experience throughout the museum as a whole.”
Sonically, their superb definition and crystalline intelligibility offer a truly immersive experience.
Ahrenfeldt believes that the best audio in this type of visitor attraction is the audio that registers almost subliminally. “The last thing you want is for the soundtrack to start playing and people’s attention being instantly drawn to the source. Ideally, we don’t want people to even notice that there are loudspeakers in the room at all. Genelec’s Smart IP loudspeakers help us achieve that thanks to the minimal cabling infrastructure which reduces cost and makes for quicker, tidier and more flexible installation. Also, Smart IP’s harmonious design enables them to blend into any environment, with the useful ability to dim the on/off LED indicator on the front of the loudspeaker. Sonically, their superb definition and crystalline intelligibility enable us to create audio designs that offer a truly immersive experience and bring the exhibition to life. For HEX!, the Smart IP series was an obvious choice that helped us overcome a number of obstacles and deliver a world-class audio experience.”
DocumentsOperating Manual 7050C Quick Setup Guide 7050C Brochure 7050C Classic Active Monitoring Series Catalogue 2018
Connecting the 7050B Subwoofer
The 7050B subwoofer has balanced XLR IN/OUT connector pairs for five main channels and a dedicated LFE input connector for the LFE channel. Connect the signal cables from your source to the female XLR "IN" connectors on the lower connector row. Next connect XLR cables from the corresponding "OUT" male XLR connectors on the upper row to the input connectors of each 8020C monitor.
Turn the volume control knob on all 8020C’s monitors fully clockwise and switch the "Bass Roll-off" dip switch (switch 2) on all 8020C’s to "ON". This switch actuates an 85 Hz high-pass filter on the 8020C’s matching them to the main channel low-pass filter of the 7050B.
Alternatively you can connect to the 7050B a stereo pair of 8020C monitors by routing the signal cables from the source to the input connectors of the main monitors and an another pair of cables from the main monitors' output connectors to the "IN" connectors on the 7050B. In this configuration the volume controls on the main monitors affect the playback level of the 7050B too. The "Bass Roll-off" switch on the main monitors must also be switched to "ON" (switch 2).
Why to Align a Multichannel System?
The main goal in the alignment of a multichannel system is to set the subwoofer output level the same as the sound output level of the main monitor system. The LFE output of the mixing desk or decoder should be connected to the LFE input on the subwoofer.
For the 7050B, 7060B, 7070A, 7071A, 7073A products:
The LFE input has the same sensitivity as all other signal inputs unless the ‘LFE +10 dB’ DIP switch is ON. The switch is used when there is no +10 dB gain in the LFE channel output. The switch is set to 0 dB when there is already a +10 dB additional gain in the LFE channel output.
What reference level to use?
To ensure repeatable results in the finished product, the SMPTE (Society of Motion Pictures and Television) has set standard monitoring levels for cinema post-production work. The SMPTE reference level at the listening position is 85 dB SPL, on C weighted/slow scale. The input signal to the monitors is -20 dB FS (rms) full bandwidth pink noise. The SMPTE RP200 uses an electrical reference level of -18 dB FS.
For music mixes, there are no standardized levels. The level that the engineer chooses is arbitrary and based on personal taste, as is the level chosen by the end user. The level is typically 75 dB SPL for television audio work and 75-95 dB SPL for music production work.
Manual calibration of the level and frequency response
Monitors are first calibrated to have flat response at the listening position. This is achieved by doing the following:
Calibrate the monitor frequency responses using an acoustical measuring system with the subwoofer bypassed or disconnected. Then connect the Genelec subwoofer and adjust the subwoofer level, bass roll-off and phase so that the measured combined frequency response of the subwoofer and the monitor extends flat to the LF cut-off of the subwoofer, paying special attention to the subwoofer to monitor crossover point.
Alternative level calibration methods
If acoustic measurement system is not available for aligning the system, then follow the guidelines that can be found in the operating manual for adjusting the frequency response:
Level calibration using a ⅓ octave real time analyzer, broadband pink noise and an SPL meter
Connect the Genelec 5.1 system and play broadband pink noise signal (20 Hz – 20 kHz) through the subwoofer and one of the monitors, for example the centre channel monitor. Adjust the acoustic settings in the subwoofer and monitors so that the level in each band on the RTA analyser reads the same value. Then, set the output level of each channel to give the same acoustical level at the listening position.
Level calibration using filtered pink noise and an SPL Meter
You need to have filtered pink noise to calibrate the levels of the subwoofer and the main channels. You can use a copy of the TMH Corporation 'Multichannel Studio Test Tape' that includes the various test signals required.
Pink noise filtered to a passband 500 Hz to 2 kHz is used for adjusting the monitor levels, and between the frequency range 20 Hz to 80 Hz is used for calibrating the subwoofer level. Please note: If the standard recorded level of filtered pink noises is -18 dBFSrms for SMPTE RP200's (-20 dBFSrms for SMPTE) and then the absolute level calibration can be made so that the sound level meter reads a level 2 dB lower than specified for broadband pink noise. This is because there is less energy due to band limiting of the band-pass noise.
- Connect to monitors and play the 500 Hz to 2 kHz filtered pink noise. Set the SPL Meter to C-weighting and slow reading. Adjust each main channel individually to have the same SPL level at the listening position.
- Play 20 to 80 Hz filtered pink noise through the subwoofer. The correct adjustment gives a reading 3dB lower than the one for the monitors because the C weighting lowers the reading in the SPL meter at those frequencies. If there is no HP filter in the SPL meter then the reading should be the same as for the monitors.