Monitor Setup Guide
The right monitors.
The correct setup.
Proper sound.

Table of contents

2

Genelec Key Technologies

3

What is a monitor?

4

What is a reference monitor?

4

Selecting the correct monitors

4

Identifying your listening area

5

Monitor and listening location placement in a room

8

Back wall cancellation

9

Calibration

13

Acoustic treatments

16

Room acoustics improvements

18

Listening distance and Sound Pressure Level

20

Direct Sound Dominance21

Product performance

22

Sound basics

22

Sound radiation

23

Radiation space

24

Cancellation because of a wall behind the monitor

25

Genelec G • Stencil tool

26

Test signals

27

Genelec Key Technologies
For over 35 years Genelec has been guided by a single idea – to make perfectactive monitors that deliver neutral and accurate sound in every kind of acousticalenvironment. In our quest to improve all aspects of monitoring quality wecontinuously develop innovative solutions in driver technologies, electronic
circuitry, signal processing, enclosure designs, and materials. Learn more about
our key technologies on our website at www.genelec.com.

Active Crossover

LSE™ Laminar Spiral
Enclosure™

Dedicated Amplifiers

Versatile Mounting

Protection CircuitryBass Management

Room Response

ISS™ Intelligent Signal
Sensing™

DCW™
Directivity Control
Waveguide™

MDC™ Minimum Diffraction
Coaxial™

MDE™ Minimum
Diffraction
Enclosure™

SAM™ Smart Active
Monitors™

Iso-Pod™ Stand

LIP™ Laminar Integrated
Port™

Reflex Port

NCE™ Natural Composite
Enclosure™

Monitor setup guide3

What is a monitor?
A monitor, by definition, observes, checks, controls, warns or keeps
continuous record of something. An audio monitor is more than a goodsounding loudspeaker. It is a device used in the process of recording, mixing or
broadcasting audio in any environment where accurate listening is needed.
A monitor is a professional tool.

What is a reference monitor?
A reference monitor shall reveal the truth about the program being monitored. It
shall not add anything to nor remove or mask anything contained in the program.
Such a monitor should be set up in an optimal position in the room with minimized
influences from its environment. What we hear is the combination of our listening
ability, the monitor’s performance and the room acoustic.

Selecting the correct monitors
Genelec recommends monitors based on typical listening distances and soundpressure levels. A matching subwoofer exists for every monitor. Refer to our online
selection tools or ask your local dealer or distributor for detailed advice. Here aresome tips to define your listening distance and identify your optimal listening area.

4

Identifying your listening area
Divide your room into three equal-sized areas; front, centre and rear.
For music productions place your listening setup in the front area. The angle
between the left and right monitors should be 60° degrees. Each monitor should
be aimed towards the listening position. For film production, place your listening
setup in the rear area.

L

R

Screen

60°
C
R

L

60°

110°
-10°
LS

RS

+10°

Room resonances between room surfaces are called standing waves or roommodes. In the case of resonances, sound pressure maxima occur on the surface.
Place the listening position at least one metre from the walls to avoid the zone ofthe pressure maximum.
L

R

60°

›1 m

Monitor setup guide5Find the left-right symmetry axis of your room. Place the listening setup
symmetrically in the left-right direction.
L

R

60°

For typical two-way systems, the recommended height of the monitor acousticalaxis is at the ear level, usually between 1.2 and 1.4 metres from the floor. Placing
the monitors higher with a slight tilt will minimise floor reflections. For standard
stereo and multichannel reproduction, do not lift the monitors so high that morethan 15 degrees of tilt is required. Monitors should always be aimed towards
the listening position. The higher the monitor is from the floor, the lower is thereflection induced frequency response irregularities. However, half room heightplacement should be avoided, as at low frequencies the ceiling is typically also areflective surface.

‹15°

‹15°

1.2-1.4 m

Monitor height (ITU-R BS.775-2 Recommendation)

6

Iso-Pod tilting

Placement suggestions for a 5.1 monitoring setup in two different basic
room layouts:
C
L

R

60°

110°
-10°
LS

RS

+10°

C
L

R

60°

110°
-10°
LS

+10°

Monitor setup guide7Monitor and listening location placement
in a room
Sound is reflected by the walls, ceiling and floor. The sound level at the listenerincreases when reflected sound is in phase with the direct sound. The sound level
decreases when the reflected sound is out of phase with the direct sound.
If the room surfaces have not been designed to diffract the sound energy, most of
the reflected sound energy leaves the reflecting wall in the same angle as it arrived
to the wall. Avoid placing the monitors so that the immediate side wall, ceiling,
and floor reflections travel towards the listening position.

Angle

Direction of soundarriving at the wall

Direction
normal to
the wallAngle

Direction of soundleaving the wall, missing
the listening position

When room dimensions agree with the sound wavelength, sound energy
accumulates to form resonances. This resonance sound forms standing waves in
the room, with sound pressure maximums and minimums at certain locations in
the room depending on the resonance frequency.
Location of the monitor in the room affects how much the room mode resonancescollect energy and how audible they become. Moving the monitor locations mayhelp to reduce the levels of problematic room mode resonances.
The listening location may be unfavourably situated relative to the room mode
resonances. If the listening location is at the location of a null for some mode
resonances, the level of those resonances frequencies becomes very low and8these frequencies appear to be missing. Moving the listening location can solve
the problem. Typically the listening location is moved forward or backward.
The most accurate stereo imaging can be achieved when the reflections are
similar for the left and the right monitor in a stereo pair. This can be achieved bymaintaining the same distance to the nearest side wall and the wall behind themonitor, placing the left and right monitors to the same height in the room, andplacing the listening location symmetrically in the room in the left-right direction.

Back wall cancellation
Monitor placement
To avoid cancellation of audio because of the sound reflecting back from the wallbehind the monitor, follow the placement guideline below. This reflection happensat relative low woofer frequencies only. Avoiding the cancellation is importantbecause the reflected sound can reduce the woofer output causing the monitor
low frequency output to appear to be too low. To avoid the cancellation, push themonitor close enough to the wall. Typically the distance of the monitor front to thewall should be less than 0.6 meters. This ensures that the low frequency output
is not reduced. The monitor needs a minimum clearance of 0.05 m to the wall toensure full output from the rear bass reflex port.

LVO
NO

LEC

GENE

Min
5 cm

Monitor setup guide

Max
60 cm

Avo
> 60 cidm

9Distance > 0.6 m can reduce
the level of these frequencies

20

40

80 100 150

Maximum
0.6 m

200

400 (Hz)

Placement of monitors and subwoofer
At low frequencies, it is crucial that the most fundamental room modes are equally
excited. Using a single subwoofer, a placement along the front wall, slightly
off-centre from the room middle axis could be recommended. Using two or four
subwoofers around the room may be a good solution to even out room mode
excitations.
C

possible
subwoofer
placement

LS

10

L

R

possible
subwoofer
placement

RSPlacing a subwoofer at a wall or in a corner produces the highest low frequency
output. At low frequencies, the flattest response can be achieved when the roommode resonances are equally excited. A single subwoofer is usually placed along
the front wall, slightly off-centre from the room’s middle axis. Two subwoofers
may be a good solution to produce and even flatter response. Note that duringlevel calibration, the subwoofer output level is set at the same level than the main
monitor system.
Genelec active 7000 series subwoofers have a crossover filter set to 85 Hz. The
subwoofer reproduces the frequencies lower than 85 Hz. Higher frequencies are
reproduced by the monitors.
Genelec Smart Active Monitoring (SAM) subwoofers enable selection of thecrossover frequency between 50 and 100 Hz. Set the subwoofer crossover to afrequency where both the monitors and the subwoofer output sound.
Adjust the subwoofer phase at the crossover. Reduction of sound level may occur
at the crossover frequency if the phase is not aligned. The phase alignment is
described in the subwoofer operating manual.
SPL
subwoofer

monitor

85 Hz

frequency

The cut-off frequency for the low frequency effect (LFE) channel can be selected
separately as 85 Hz or 120 Hz. In certain subwoofers, the LFE content above
85 Hz may be redirected to the centre monitor, allowing full range LFE channel
monitoring.
Typical recommended distances from the wall behind monitors and subwoofer are
shown in the picture overleaf.

Monitor setup guide11

Avoidm

Min 5 c

Max
60 cm

> 1.1

m

Avoid

Post-production facility applications
In certain applications, such as large
post-production studios, subwoofer
placement along the front wall is
not recommended as this places
the subwoofer very far from thelistening position, and the subwoofer
frequency response will not be flat.
In these cases, we recommended
locating the subwoofer close to themain monitor setup along the sidewalls. Using two subwoofers, one
along each side wall, may provide an
improved low frequency flatness.

Screen

C
R

L

60°

110°
-10°
LS

RS

+10°

12

Calibration
The acoustic environment has a major influence on the sound quality. Walls,
ceiling, and floor as well as large objects like mixing consoles, tables, equipment
racks, and furniture cause reflections. Acoustic calibration minimizes room
influences and retrieves flat and neutral frequency response.
Example of compromised listening condition: excessive bass level in themonitoring room may result in a lack of bass in the final mix.

dB

Monitoring with excessive bass level

0

dB

Hz
Results in a lack of bass in the mix

0Hz

All Genelec active monitoring systems have room response adjustments tocompensate for room influences and retrieve a flat frequency response at thelistening position. Analogue systems feature DIP switch tone controls while
Smart Active Monitor (SAM) systems with digital signal processing can calibrate
automatically with Genelec AutoCal.

ON
OFF
1

2

3

4

Monitor setup guide13First set the measurement microphone at the ear height in the listening position(typical height: 1.2 to 1.4 m). Ensure that monitors are at correct distances andheights. Take a frequency response measurement. Analyse the measurement
results and adjust tone control DIP switches to retrieve a flat and balanced
frequency response for each monitor.
For level calibration, first set the rotary input sensitivity control on all monitors fully
clockwise. Then, adjust each level control so that all monitors produce the same
sound level at the listening position.
SENSITIVITY FOR
100 dB SPL @ 1 m

+3

0
-3

+6
-4
+12 -6dBu

BASS SPECTRUM

MIDRANGE SPECTRUM

TREBLE SPECTRUM

dB

Hz

LEVEL CONTROLS
dB
0
-1
-2
-3
-4
-5
-6

BASS

MIDRANGEBASS TILTTREBLETREBLE TILT@~ 300 Hz
0dB@~ 8 kHz

-2dB

-2 dB

-6dB

-4 dB

-8dB

-6 dB

BASS ROLL-OFF@~ 100 Hz
0dB
-2dB
-4dB
-6dB
-8dB

14

+2 dB
0 dB

-4dB

In the example below, the bass tilt control has been used to compensate for a low
frequency boost caused by a monitor close to a large wall.
8030 Bass Tilt -6 dB

80

70

60

50

40

30

20

50

100

300

600

1k

To achieve optimal sound reproduction we recommend to place two-way monitors
vertically. When a two-way monitor is placed horizontally, difference in thetweeter and woofer distances will cause reduction of sound level at the crossover
frequency when the listener moves sideways from the acoustical axis.
Verticalpositioning0°

Horizontal
positioning
0° on-axis

0° on-axis

off-axis

off-axis

off-axis 0°

off-axis

notch

dB

4 dB @ 160 / 200 Hz

frequency

Monitor setup guide

Large table or mixing console in front of themonitors may cause a boost around 160200 Hz. Some Genelec monitors have adesktop control DIP switch compensating
for this boost. SAM systems’ AutoCal willcompensate for this effect automatically.

15

Acoustic treatments
Monitor calibration alone helps but may not be sufficient to resolve room acoustic
problems.
Audio production rooms are designed for monitoring and should receive
adequate acoustic treatments to allow quality monitoring. Several room acoustic
improvements are suggested here. However, using services of a professional
consultant is highly recommended.
Wall surfaces, ceilings and floors can be reflective, diffusive or absorptive.
Combinations of these are often used.
Hard surfaces such as glass, concrete,
dry wall or MDF reflect sound.

Soft materials such as rock/mineral wool,
sofas, heavy curtains or thick carpets
absorb sound energy. Thick layer ofporous materials are needed to absorb
lower frequencies.
Irregular surfaces scatter sound waves.
Spreading angle depends on the diffusor
design. Diffusion is usually not effective at
low frequencies.

A combination of diffusive and absorptive
surfaces can be very effective in reducing
the audibility of reflections.

16

First order reflections can have high level while subsequent reflections become
smaller. Control room design minimizes the first order reflection level reaching
the listening area. Reflections arriving very soon after the direct sound from themonitor are called early reflections. One aim of control room design is to reduceor eliminate early reflections, having mainly the direct sound from the monitors
reaching the listening area.

Flutter echo

060

Reflection-free zone around thelistening area

Monitor setup guide17Room acoustics improvements
Several acoustic improvements can be made in a typical rectangular room wherean audio monitoring setup is installed. Here are a few suggestions.

A

A

B

B

C
D

E

18

A
Cut the room front corners at 30 degree angle using high-mass materials(concrete, bricks, multi layered gypsum board, etc). In case building materials
have medium mass, be sure to fill the empty space behind these walls withmineral wool.
B
Use a combination of absorption and diffusion on the side wall surfaces. Note thatthin layers of porous absorbers only reduce HF reflections.
C
If the room is large enough, use diffusive and absorbing element(s) on the backwall.
DControl low frequency room resonances using a large amount of absorption
material for example in the back of the room and in the ceiling. Carefully designed
and located panel resonator absorbers can also be used.
E
Use a combination of absorption and diffusion above the listening area to reduce
acoustic reflections from the ceiling.

Monitor setup guide19Listening distance and Sound Pressure Level
The distance between you and your monitors is crucial, both in terms of performanceand the SPL delivered to the listening position. Use the table here to compare the
SPL capabilities of Genelec monitors.

1235A

Room volume
		Room reverbation time (RT60)
		
Short-term sound pressure levels
Maximum short-term sine wave sound pressurelevel averaged from 100 Hz to 3 kHz, measured inhalf-space, on-axis. Peak levels are higher. This
number tends to under-estimate headroom by 4 dB,
based on typical immersive standards and audio
content. For more detailed information, please 		contact Genelec.
Long-term sound pressure levels
Maximum long-term RMS sound pressure level,measured in half-space, on-axis, with simulated
programme signal according to IEC 60268-5(limited by driver unit protection circuit).

20

Listening Distances and SPL
The short-term and long-term soundpressure levels (SPL) listed take into
consideration the typical room volume andreverberation time for each monitor (rightmargin, based on ITU-R BS.1116). If thereverberation time is longer, it will mainly
affect the long-term SPL that will be higher
than shown.
Not Recommended Distances
When the distance to the monitor is too
short, summing of sound from multiple
drivers is not happening as designed.

Direct Sound Dominance

SAM Monitor Models

The balance between direct and reverberant sound has a profound influence on how
your mixes will sound. The table shown will help you identify the optimum range oflistening distances for the Genelec range.

8320A
8330A
8340A
8350A
8331A
8341A
8351B
8361A
1032C
S360A
1237A

1238CF/DF
1238A/AC
1234A/AC
1235A
1236A

Room volume
		Room reverbation time (RT60)
		
Not Recommended Distances
		 When the distance to the monitor is too short,summing of sound from multiple drivers is not
happening as designed, and this affects the flatnessof the frequency response. A flatter and more stablefrequency response is obtained by a larger distance.

				
Direct Sound Dominates
Within this distance the direct sound from themonitor has a higher level than the reverberant soundin the room. Placing the monitor within this distance
range is advantageous in minimizing the tendencyof the room reverberation to change the character ofthe monitored sound colour and affect the precisionof stereo imaging. The level of the direct soundrelative to the reverberant sound progressively
reduces as the distance to the monitor increases.

Monitor setup guide

Critical distanceThe critical distance is the distance where
the direct sound from the monitor and thereverberant sound in the room have equallevel in midrange frequencies (approximately
between 200 Hz and 4 kHz). The criticaldistance is affected by the room volume,
the room reverberation time (referred to
ITU-R BS.1116-1 Recommendation), and the
directivity of the monitor.
Reverberant sound dominates
At these distances the reverberant soundin the room has a higher level than the
direct sound from the monitor. This balance
progressively increases as the distancefrom the monitor increases. The monitor
can be used in these distances, but thesound character is strongly affected by thereverberation characteristics of the room,and this has a progressively increasing effecton the sound colour and stereo imaging
accuracy.

21

Product performance
Monitors-6 dB
LF Extension

Maximum SPL
at 1 m (1)Room volume
up toSubwoofers for
2 channels

Subwoofers for>5-channel Immersive

8010

67 Hz

96 dB

55 m

7040

7050

8020 / 8320

56 / 55 Hz

100 dB

65 m37050 / 7350

7350

8030 / 8330

50 / 45 Hz

104 dB

375 m7050 / 7350

7360

8040 / 8340

41 / 38 Hz

105 / 110 dB

85 m3

7360 / 7370

7370

8050 / 8350

32 / 33 Hz

110 / 112 dB

95 m3

7370

7380

8331

45 Hz

104 dB

75 m3

7360

7370

8341

38 Hz

110 dB

85 m3

7370

7370

8351

32 Hz

113 dB

95 m3

7370

7380

8361

30 Hz

118 dB

110 m37380

2x 7380

1032

33 Hz

114 dB

110 m31-2 x 7380 (2)2-3 x 7380 (2)

S360

36 Hz

118 dB

125 m32 x 7380 (2)3 x 7380 or 1 x 7382 (2)

3

1237

32 Hz

118 dB

125 m32 x 7380 (2)3 x 7380 or 1 x 7382 (2)1238DF

50 Hz

117 dB

120 m32 x 7380 (2)3 x 7380 or 1 x 7382 (2)1238 / AC

30 Hz

121 dB

170 m33 x 7380 or 1 x 7382 (2)1-2 x 7382 (2)1234 / AC

29 Hz

125 dB

200 m37382 (2)2 x 7382 (2)

1236

17 Hz

130 dB

400 m32 x 7382 (3)2-3 x 7382 (3)(1) Maximum short term sine wave acoustic output on axis in half space, averaged from 100 Hz to 3 kHz at 1 m distance.
(2) Additional subwoofers of the same type may be required in a larger room with bass heavy program material.
(3) Subwoofers are not necessarily required for a 1236 installation as these monitors are already full range. For immersive systems, subwoofers can beused to reproduce the LFE channel.
Subwoofers-6 dB
LF extension

Maximum SPL
at 1 m *Room volume
up to

7040

30 Hz

100 dB

65 m3

7050

24 Hz

103 dB

75 m3

7350

22 Hz

104 dB

75 m3

7360

19 Hz

109 dB

85 m3

7370

19 Hz

113 dB

110 m3

7380

16 Hz

119 dB

130 m3

7382

15 Hz

129 dB

400 m3*) Maximum short-term sine wave acoustic output on axis in half space, averaged from 30 Hz to 85 Hz at 1 m distance.

Sound basics
Sound travels approximately 344 m/s (1130 ft/s). It takes 3 ms for sound to travel
1 meter (3,3 ft).
In free-field conditions (no walls, floor, or ceiling) the sound volume drops 6 dB
when the distance doubles.
1m

100 dB

0 dB

2m

94 dB

-6 dB

4m

88 dB

-12 dBSound level increases by 3 dB when the amplifier power doubles.
100 W

85 dB

0 dB

200 W

88 dB

+3 dB

400 W

91 dB

+6 dB

The industry standard reference sound pressure level (SPL) for cinema and TV
sound production work is between 82 and 85 dB at the listening position.

22

Frequency spectrum
The audible frequency spectrum covers 10 octaves (up to 40 Hz, 80, 160, 320,
640, 1’280, 2’560, 5’120, 10’240, 20’480 Hz) which can conveniently divide thespectrum as follows.
Subsonic bass frequencies

below 16 Hz

Not audible for humans.

Very low frequencies

16 Hz – 40 Hz

Lowest audible octave for humans.

40 Hz – 80 Hz

Music low frequencies, kick drums, bass instruments

80 Hz – 160 Hz

Low register of a grand piano.

160 Hz – 320 Hz

Middle C of a piano.

Midrange frequencies

320 Hz – 1’280 Hz

Music midrange frequencies

Upper midrange frequencies

1’280 Hz – 2’560 Hz

Low-order harmonics of most instruments.

2’560 Hz – 5’120 Hz

The ear is the most sensitive in this range.

High frequencies

5’120 Hz – 10’240 Hz

Brightness and harmonics

Extremely high frequencies

10’240 Hz – 20’480 Hz

Highest harmonics. Inaudible to humans above 20 kHz

Low frequencies

Sound radiation
At low frequencies, typically below 200 Hz, monitors radiate omnidirectionally.
This means that the same sound pressure is created in any direction aroundthe monitor. At higher frequencies, the radiation becomes directional: midrange
frequencies radiate in a hemispherical pattern and very high frequencies canradiate in a beam- or ray-like pattern. Genelec designs monitors with controlled
directivity and this minimizes the changes in the directivity across frequencies.
Soundwave propagation in various frequency ranges

Soundwave spread patterns for various frequency ranges

Freq ≈ 20 – 400 Hz
Spread ≈ 360°

Freq ≈ 400 Hz – 2,5 kHz
Spread ≈ 120°

Monitor setup guide

Freq ≈ 2,5 – 10 kHz
Spread ≈ 40°

Freq ≈ 10 – 20 kHz
Spread ≈ 10°23

Radiation space
The radiation space is the volume into which a monitor is radiating sound. The
sound level increases when the sound radiation is limited by walls. Every halvingof the radiation space by a wall close to the monitor doubles the sound pressurelevel.
A monitor with a flat frequency response in free space produces up to 6 dB higher
sound level against a solid wall. In a corner (two walls) this gain can be 12 dB.
With three boundaries (corner close to ceiling) the gain can be +18 dB. This canbe particularly seen at low frequencies.

SPL
SPL
+6 dB

frequency

SPL+18 dB+12 dB

SPL

frequency

24

frequency

frequency

Cancellation because of a wall behind themonitor
When there is some distance between the monitor and the wall, at the frequency
where this distance is equal to one quarter of the sound wavelength, the wall
reflection is out of phase with the monitor, and the reflected audio cancels the audio
from the monitor. At this frequency, the sound level is reduced. How much reduction
occurs depends on the distance and on how much sound the wall reflects.
1
wavelengthWall
1/4
wavelength

Listening
PositionSound
SourceDirectsound

Reflected
sound
Sum=0

Wall reflections generate a set of cancellations at different frequencies (this is also
called comb filtering). The first cancellation notch can be between 6 dB and 20
dB deep. Equalization of the monitor output level does not help, as the same levelchange applies also to the reflected sound.
dB
Cancellation dips
+6

0

f1

f2

f3

Frequency (Hz)Monitor setup guide25

A first solution is to flush mount the monitors in a hard wall (creating a very large
baffle) eliminating the rear wall reflections and therefore cancellations.
Another possibility is to place the monitor very close to the wall. This raises thelowest cancellation frequency so high that the monitor has become forwarddirecting, and the cancellation no longer occurs. Remember that the low
frequency boost should be compensated for when the monitor is mounted close
to the wall (up to +6 dB gain).
Alternatively, one could move the monitor considerably far away from the wall:the cancellation frequency moves below the low frequency cut-off of the monitor.
When the monitor moves away from the walls, it also moves close to the listener.
This increases the direct sound level and reduces the reflected sound level, andthis also improves sound quality.
A different solution is to modify the wall and make it very absorptive so that theamplitude of the reflected energy is small and does not cancel the direct sound.
When a subwoofer is used to reproduce low frequencies the monitors can beplaced more freely. The subwoofer should be placed close to the wall(s). The
monitors may be placed at distances where low frequency notches do not occur
in their pass-band.

Genelec G • Stencil tool
How to draw correct monitor angles with the G • Stencil?
Use an architectural plan of your room. Place the centre of the G • Stencil on
the plan in the selected listening position on an even surface. Attach a pin to
the centre of the stencil to hold it. Draw the reference centreline along the room
symmetry axis. Then draw all other lines at the appropriate angles corresponding
to your monitoring setup.
http://www.youtube.com/watch?v=ZDGhPvpfmoY
The G • Stencil is available at the Genelec Webshop. Order code MAI-0132.

26

10°

G•Stencil

20°

R

ITU-R BS 775-1
ITU-R BS 1116-1

14

right

0°

13

20°

L

C

10°

40

3

90°

Pin down to listening position

5

4

3

2

1

1

2

3

4

5

11
10

6

90°

6

7

1

80°

80°

Plac

2

70°

9

4

°
60

°

70°

60

e pe
n he
re a
nd s
pin
to

°

50

2

8

5

°

45
°

a cir

°

45

1

50
°

12

°

cle

6

30

draw

0 Inchesleft

How to use:
• Place G•stencil on the plot of your room
• Pin down exact center of G-stencil toexact center of your listening spot
• Point 0° towards front wall on thesymmetry axis line
• Use grooves to draw listening angles 30°
of desired monitor system• Place pen in hole of°desired distance, spin40
to draw a circle

100°

100°

1

6

3
°
110

110
°

5

2

20
°

0
12

°

1

4

3

0°

13

0°

13

13

2

13

5°

5

5°

3

4

14

0°

0°

14
6

15

0°

15

160

°

170°

°

180°

170°

160

Order code MAI-0132

Metric cm/mm
0
1

0°

5

Color coding:
Stereo+ 5.1 Surround+ 6.1 Surround+ 7.1 Surround

Test signals
Various useful test signals can be downloaded from the Genelec website.

Monitor setup guide27Genelec Document BBAGE126g. Copyright Genelec Oy 3.2021. All data subjected to change without prior notice.

genelec@genelec.com
www.genelec.com

T +358 17 83 881

Genelec OY
Olvitie 5
FI-74100 Iisalmi
Finland