Immersive Solutions
3rd edition

Genelec Immersive Solutions
A Perceptive Perspective  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 4Immersive Audio: The Background and The Formats  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 6Research and Experimental Systems  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 8Genelec Immersive Room Solutions  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 10
GLM Software: Configuration, Calibration and Control for Immersive Systems  .  .  . 14
Monitor In-Room Performance  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 15
Our Range of Monitors  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  .  . 17

A Perceptive Perspective
Hearing the world around us is so natural that we often only notice its
importance once the ability is lost. Most of the time, a loss is fortunately
temporary - for instance caused by a cold - but a one-side hearing loss ismore stressful and depressing than we generally tend to believe.
One of the first things a baby does is to localise, quickly and automaticallyturning eyes towards a sound. Growing up, we further learn and refine
localisation using a system under construction. Ear canals and otherstructures of the outer ear, known as pinnae, grow and reshape, constantly
modifying spherical hearing, as we reach out and experience a fascinatingworld in return.
Sound is coloured by the pinnae, depending on its direction of arrival– known as azimuth. Expert listeners constantly use this feature in
combination with head movements; not only when evaluating immersive
content, but also to distinguish direct sound from room reflections.
The ability to position sounds spherically with precision is a key benefit of
immersive audio. Another is the possibility to influence the sense of spacein human listeners. For the latter, the frequency range between 50 and
200 Hz - which constitutes the lowest two octaves of the interaural timedifference (ITD) range - plays an essential role; but is often compromisedby the reproduction system.
A well-aligned loudspeaker system in a great room has the best chanceof translating well to a variety of immersive playback situations, including
headphones. The sound designer is able to make full use of outer ear
features and head movements, and to work for long hours with reduced
listener fatigue and “cybersickness”.

4

SHARPEN YOUR SENSES

Immersive Audio: The
Background and The Formats
An immersive audio experience is created by employing playback withmore loudspeakers than a traditional surround system. In standard terms,
this means going from an ITU-R BS.775 monitoring configuration to ITU-R
BS.2159.
In immersive, loudspeakers are located around the listener at ear level, but
crucially also positioned above or below the listener, so called “layers”.
Layers may or may not be reflected in format names, so the same setup
could be labelled, for example, 11.1 or 7.1.4 depending on manufacturer orcountry. In either case that system would have 11 discrete main channels
and one LFE channel.
The only reliable way to ensure reference-quality immersive monitoring is
to adjust all monitors after placement for level, time-of-flight and frequency
response. This is easy to do with a Genelec system; please see page 14.

Benefits of Genelec Immersive
Monitoring Systems:

6•

Neutral and uncoloured sound, both on and off axis.

•

A wide range of loudspeaker and subwoofer sizes, meaning that we canoffer scalable systems for all room formats, from small OB vans to large
dubbing theatres.

•

All monitors in this brochure tightly integrate with the GLM software(included) to enable precise system calibration. GLM doubles as anintegrated monitor controller.

•

We provide versatile mounting options for easy positioning and aimingof loudspeakers.

•

Rugged build quality, sustainably manufactured with bulletproof reliability.

Dolby Atmos

MPEG-H Audio

22.2

Auro-3D

DTS:X

Launched in 2012, Dolby Atmos is a
widely supported object-based systemwith up to 128 individual tracks and 64
speaker feeds.

Developed by MPEG for broadcast andstreaming applications, the MPEG-H
Audio system brings immersive soundand advanced personalization andaccessibility features.

Developed by Japanese broadcaster
NHK, the three layer channel-based
22.2 system forms the surround soundcomponent of NHK’s ultra HD televisionsystem.

Introduced in 2006, Auro-3D is achannel-based three layer system whichcomes in a variety of formats.

DTS:X was launched in 2015. Like
Dolby Atmos, it is an object-based
system - but without prescribed speakerconfigurations.

• The scalable architecture allows
flexibility in number of channels.
• Audio Objects enable dialog
enhancement and personalization.
• Empowers the creation and delivery• Three layer system for broadcast andhome use.
• Fixed number, fixed channel-positions
for production.
• Full or condensed home reproduction• Two layered system with bothsurrounds and height channels.
• Typically up to 7.1.4 Home
reproduction, but larger speakerlayouts are possible.
• Up to 64 discrete speaker feeds
for Cinema reproduction.

of a high-quality immersive musicexperience.

systems.

• Three layer system with surround,height and VoG channels.
• Typical formats from 7.1.2 to 7.1.6.
• Object-based ‘AuroMax’ extension
for additional channels.

• Two layer system with surroundand height channels.
• Audio rendering based on number
and position of speakers available.
• Supports up to 32 speaker locations
and 7.2.4 channels.

ITU-R and Pure
Research
ITU-R is researching the requirements
for realistic 3D sound for UHDTV.
Pure research is focussed on in-roomand binaural sound with and without
movement.
• At least three vertical layers andone or more subs.
• Typically between 11 and 80 main
channels.
• ITU-R is collaborating with NHK(Japan), SMPTE (USA) and EBU(Europe).

7

Research andExperimental Systems
Around the world, academic institutions and commercial organisations areengaged in extensive immersive audio research; an explosion driven by
new hi-spatial distribution formats, and promises of commercial return for
the first companies to solve the challenges of personal (binaural) delivery,
i.e. to provide a credible, immersive headphone experience.
Satisfactory binaural delivery for film, gaming and VR does not rely only
on presenting sources with azimuth, but also the reflections we always
hear under natural conditions. Direct sound and reflections furthermore
have to be rendered specifically for each individual listener, including realtime head and body movements. The processing burden on a binaural
reproduction system is therefore significant, and the data it is built on must
be as accurate as possible.
A fine immersive experimental system is at the heart of any subjective
test and data gathering. In this respect, Genelec point source monitors,
known as “The Ones”, are in their own category entirely. By avoiding
the colouration of direct sound and reflections, which is not possible
with a conventional monitor design, the most serious obstacle inimmersive research is avoided. Not surprisingly, there has been a surge inmicrophone production and immersive studies based on The Ones.
For research where the requirement for ideal directivity in both planes isless pronounced, the range of Genelec models to choose from is wider.
While a selection of these models appears within this brochure, please
visit www.genelec.com for the full range, and notice how the benefits of
GLM in-situ adjustments are available to all Genelec SAM monitors andsubwoofers.

8
Pictured right: Applied Psychoacoustics Laboratory, University of Huddersfield, UK.
Photo courtesy of Dr. Hyunkook Lee

Genelec Immersive Room Solutions
Compact 5.1.4

Small 7.1.2

Small 7.1.4

Medium 7.1.4

Application: OB truck or
research installation

Application: broadcast orcontinuity studio

Application: broadcast or
post production studio

Application: post production
or film commercial studio

Typical listening distance: 0.7 m

Typical listening distance: 1.2 m

Typical listening distance: 2.0 m

Typical listening distance:
3.0 m front, 1.5 m others

Suggested Genelec System:

Suggested Genelec System:

Suggested Genelec System:

Suggested Genelec System:

Main LCR: 3 x 8330 or 8331
Surround: 2 x 8330 or 8331
Ceiling: 4 x 8330 or 8331
Subwoofer (LFE): 1 x 7360

Main LCR: 3 x 8340 or 8341
Surround: 4 x 8340 or 8341
Ceiling: 2 x 8331 or 8341
Subwoofer (LFE): 1 x 7370

Main LCR: 3 x 8351
Surround: 4 x 8340 or 8341
Ceiling: 4 x 8341
Subwoofer (LFE): 1 x 7380

Main LCR: 3 x 8361 or S360
Surround: 4 x 8341 or 8351
Ceiling: 4 x 8341
Subwoofer (LFE): 2 x 7380

Mounting Accessories:
4 x 8000-420 short wall mount2 x 8000-436 short ceiling mount

Mounting Accessories:
4 x 8000-402 adjustable wall mount2 x 8000-436 short ceiling mount

Mounting Accessories:
4 x 8000-402 adjustable wall mount4 x 8000-436 short ceiling mount

Mounting Accessories:
4 x 8000-402 adjustable wall mount4 x 8000-436 short ceiling mount

Cabling:
Analog or digital, e.g. 10 x AES/EBU
XLR cables

Cabling:
Analog or digital, e.g. 10 x AES/EBU
XLR cables

Cabling:
Analog or digital, e.g. 12 x AES/EBU
XLR cables

Cabling:
Analog or digital, e.g. 13 x AES/EBU
XLR cables

11
Pictured left: Dynamic Mixing Stage, Capcom, Japan. Photo courtesy of Ryo Kawakami

15 Channel

21 Channel

31 Channel

Application: post production
or film commercial studio

Application: film mixing stage

Application: film mixing stage

Typical listening distance: 4.0 m front,
2.0 m others

Typical listening distance: 5.0 m front,
3.0 m surround, 2.5 m ceiling

Typical listening distance: 8.0 m front,
5.0 m surround, 2.5 m ceiling

Suggested Genelec System:

Suggested Genelec System:

Suggested Genelec System:

Main LCR: 3 x 1238A/DF/AC
Surround: 8 x 8361 or S360
Ceiling: 4 x 8341 or 8351
Subwoofer (LFE): 1 x 7382

Main LCR: 3 x 1234A or 1234AC
Surround: 10 x 8361 or S360
Ceiling: 8 x 8351
Subwoofer (LFE): 2 x 7382

Mounting Accessories:
8 x 8000-402 adjustable wall mount8 x S360-424B U-bracket mounting adapter
4 x 8000-436 short ceiling mount

Mounting Accessories:
10 x 8000-402 adjustable wall mount
10 x S360-424B U-bracket mounting adapter
8 x 8000-444 long ceiling mount

Cabling:
Analog or digital, e.g. 16 x AES/EBU XLR cables

Cabling:
Analog or digital, e.g. 23 x AES/EBU XLR cables
Options:
Bass management and subwoofers for side andrear channels, e.g. 2 x 7380. In the case of digitalinterfacing, consider 2 x 9301 interface units

Main LCR: 3 x 1236
Surround: 16 x 8361 or S360
Ceiling: 12 x 8351 or 8361
Subwoofer (LFE): 3 x 7382

Mounting Accessories:
16 x 8000-402 adjustable wall mount
16 x S360-424B U-bracket mounting adapter
12 x 8000-444 long ceiling mount
12 x S360-450B U-bracket mounting adapter
12 x S360-465B ceiling mounting plate
Cabling:
Analog or digital, e.g. 33-35 x AES/EBU XLR cables
Options:
Bass management and subwoofers for side andrear channels, e.g. 4 x 7380. In the case of digitalinterfacing, consider 2 x 9301 units

12
Pictured right: Morten Lindberg, 2L, Norway.

GLM Software: Configuration, Calibration and Control for
Immersive Systems

Monitor In-Room Performance
Listening Distance and Sound Pressure Level

Configuration and Calibration

The distance between you and your monitors is

To ensure reference listening conditions and good translation between

delivered to the listening position. Use the tablerooms or headphones, any monitor in any room needs to be adjusted after

here to compare the SPL capabilities of Genelec

placement. Genelec’s GLM application offers a sophisticated, integrated

SAM monitors.

solution, based on decades of research combined with data fromthousands of listening rooms.

crucial, both in terms of performance and the SPL

GLM Loudspeaker
Management Network

Also consider using the two Dolby Audio Room
Design Tools (DARDT) for Home Entertainment

When setting up an immersive system, calibration after placement isand Theatrical production, including a wide range

paramount. Otherwise, even the same type of monitors will exhibitof Genelec models.

different tonal balance. Monitors may also be at different distances fromthe listener; thereby causing further difficulty with level, delay and phase.

Room volume

During setup, GLM easily compensates for such problems. It allows
further adjustment by the user to accommodate standards (e .g . X-curve),

Room reverbation time (RT60)

listening level or personal preferences, and it scales freely so more

Short-term sound pressure levels
Maximum short-term sine wave sound pressure levelaveraged from 100 Hz to 3 kHz, measured in half-space,on-axis. Peak levels are higher. This number tends tounder-estimate headroom by 4 dB, based on typicalimmersive standards and audio content. For more detailed
information, please contact Genelec.

channels can be added.

Monitor Control
In daily operation, GLM doubles as a comprehensive Mac or PC-based
monitor controller that immediately scales with your setup requirements;
for instance if changing from stereo to 5.1, 7.1.4, 22.2, 64 channels or
higher.
GLM enables you to calibrate your listening level to various loudness
standards, and invoke solo and mutes. You can switch between formats,monitoring systems and primary listening positions, and move entireLong-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).

		 Listening Distances and SPL		The short-term and long-term sound pressure levels (SPL)
listed take into consideration the typical room volume andreverberation time for each monitor (right margin, basedon ITU-R BS.1116). If the reverberation time is longer, it will
mainly affect the long-term SPL that will be higher thanshown.

1235A

118

115

112

108

107

systems in time to retain sync with picture. The list goes on, and in eachcase your integrated GLM monitor controller won’t burden Pro Tools or
any other immersive playback device.
14

		
Not Recommended Distances
When the distance to the monitor is too short, summing ofsound from multiple drivers is not happening as designed.

15

Our Range of Monitors
Direct Sound Dominancea profound influence on how your mixes will sound. The
table shown will help you identify the optimum range oflistening distances for the Genelec SAM range.
Room volume

Room reverbation time (RT60)

		
Not Recommended Distances
When the distance to the monitor is too short, summing of soundfrom multiple drivers is not happening as designed, and thisaffects the flatness of the frequency response. A flatter and morestable frequency response is obtained by a larger distance.

		 Direct Sound Dominates		Within this distance the direct sound from the monitor has ahigher level than the reverberant sound in the room. Placing themonitor within this distance range is advantageous in minimizing
the tendency of the room reverberation to change the characterof the monitored sound colour and affect the precision of stereo
imaging. The level of the direct sound relative to the reverberant
sound progressively reduces as the distance to the monitor
increases.

Critical distance		
The critical distance is the distance where the direct soundfrom the monitor and the reverberant sound in the room haveequal level in midrange frequencies (approximately between
200 Hz and 4 kHz). The critical distance is affected by the room
volume, the room reverberation time (referred to ITU-R BS.1116-1
Recommendation), and the directivity of the monitor.

SAM Monitor Models

Because Genelec offers such a wide range of monitors and subwoofers - each
The balance between direct and reverberant sound has

8320A
8330A
8340A
8350A

with the same consistently precise, neutral characteristics - it means that we canprovide a professional solution for any type of immersive application, witha corresponding range of mounting accessories that is unrivalled in the industry.
From the smallest compact nearfield model via midfield three-ways to the largest
full-size main monitor, whatever your room size, format and SPL requirements you
can rely on a Genelec solution that will deliver exquisite and reliable performance

8331A

day-in, day-out.

8341A

And because great translation between rooms and systems is so critical, it’sreassuring to know that “when you get it right on a Genelec, it’s right everywhere.”

8351B
8361A

To see our complete range, please visit www.genelec.com

1032C
S360A
1237A
1238CF/DF
1238A/AC

Reverberant sound dominates		At these distances the reverberant sound in the room has ahigher level than the direct sound from the monitor. This balance
progressively increases as the distance from the monitor
increases. The monitor can be used in these distances, but
the sound character is strongly affected by the reverberation
characteristics of the room, and this has a progressively
increasing effect on the sound colour and stereo imaging
accuracy.

161234A/AC
1236A
1235A
1236A

17

IMMERSIVE AUDIO IS A RE ALIT Y

Expert Advice for YourNew Immersive StudioStaffed by our team of global experts, the free
Genelec helpdesk is here to guide you through theprinciples and practicalities of dimensioning andinstalling an immersive monitoring system for yourmusic, broadcast, OTT or film production needs.
SIMPLY SEND YOUR QUERY TO
immersive.helpdesk@genelec.com

Factory and Headquarters
Genelec Oy
Olvitie 5
FI-74100 Iisalmi
Finland
T +358 17 83 881
Email genelec@genelec.com

USA
Genelec Inc.
7 Tech Circle
Natick MA 01760
USA
T +1 508 652 0900
Email genelec.usa@genelec.com

SwedenGenelec Sweden
Ellipsvägen 10A
SE-141 75 Kungens Kurva
SwedenT +46 8 449 5220
Email info@genelec.com

China
Beijing Genelec Audio
Room 101, Building B33
Universal Business Park
No.10 Jiuxianqiao Road
Chaoyang District
Beijing 100015
China
T +86 10 5823 2014
T +86 400 700 1978
Email genelec.china@genelec.com

Genelec Document BBAGE186c. Copyright Genelec Oy 01.2021. All data subject to change.
Detailed Data sheets of all Genelec models, Quick Setup Guides and other useful information can be downloaded at www.genelec.com

Japan
Genelec Japan Inc
2-22-21 Akasaka
Minato ku
JP-107-0052 TokyoJapan
T +81 3 6441 0591
Email genelec.japan@genelec.com