Peabody Conservatory Chooses Genelec 8260A Active Monitors
Thursday, 02 September 2010 21:30
Multi-purpose control room at the world-famous Peabody Conservatory had been plagued by uneven sonic response, but the 8260A’s ability to calibrate itself to accommodate any room design proved to be the perfect solution.
NATICK, MA, August 25, 2010 Johns Hopkins University’s Peabody Conservatory, which has educated some of the world’s finest musicians and whose curriculum also has an extensive professional audio training component, recently purchased and installed an entire new 5.1 surround monitoring system from Genelec, the pioneer in Active Monitoring technology for three decades.
Multi-purpose control room at the world-famous Peabody Conservatory had been plagued by uneven sonic response, but the 8260A’s ability to calibrate itself to accommodate any room design proved to be the perfect solution.
NATICK, MA, August 25, 2010 Johns Hopkins University’s Peabody Conservatory, which has educated some of the world’s finest musicians and whose curriculum also has an extensive professional audio training component, recently purchased and installed an entire new 5.1 surround monitoring system from Genelec, the pioneer in Active Monitoring technology for three decades.
The new system consists of an L-C-R array of three Genelec 8260A Tri-Amplified DSP Monitors, and a rear pair of 8250A Bi-Amplified DSP Monitors. Both models feature Genelec’s proprietary AutoCal™ automated calibration, Genelec Loudspeaker Manager (GLM™) control network, advanced Genelec Directivity Control Waveguide™ (DCW™) and MDE™ (Minimum Diffraction Enclosure™). All five monitors are mounted on stands surrounding the control room’s console. The system is completed with the powerful and precise Genelec 7270A Active DSP Subwoofer. The Conservatory also purchased a Genelec AD9200A , high quality, 192kHz 8-Channel Analog to Digital Converter. The Genelec monitors and converter were sold by Greg Lukens at Washington Professional Systems.
The Peabody Conservatory’s Director of Recording Arts & Sciences, Scott Metcalfe, says he chose the Genelec monitors because they were the best choice to solve a perplexing acoustical problem in one of the school’s four control rooms. “The studio is used for recording, mixing and mastering, as well as recording live concerts from either of two performance halls we’re tie-lined to,” explains Metcalfe, who adds that the school’s studios record over 800 performances a year. “But the control room has problematic acoustical nodes and antinodes that we’ve had to contend with, and we weren’t in a position to do a major overhaul of the room’s design. We looked for a solution that could offer self-calibration and great sound. I explained this to Paul Stewart at Genelec when we met at last year’s AES Show. That’s when I first encountered the 8260A speakers and I was impressed with how they sounded and what they could do.”
Metcalfe says the implementation of the Genelec monitors has raised the overall performance of the control room. “In addition to being able to address the acoustical issues with its self-calibration, the 8260A’s are three-way monitors with concentric tweeters and mids, and we very much like that design,” says Metcalfe, noting that other studios at the Conservatory are also fitted with Genelec 1031A and 8020A monitors. “We’ve been very impressed with Genelec’s performance.”
For more information, please visit www.genelecusa.com.
Photo File 1: Genelec_Peabody_Photo1.JPG
Photo Caption 1: The Peabody Conservatory’s recording/control room, which recently got a sonic upgrade with the addition of Genelec Active Monitors. Pictured is an L-C-R array of three Genelec 8260A Tri-Amplified DSP Monitors, part of a larger 5.1 Genelec system.
Photo File 2: Genelec_Peabody_Photo2.JPG
Photo Caption 2: The Peabody Conservatory’s recording/control room, which recently got a sonic upgrade with the addition of Genelec Active Monitors. Pictured is an L-C-R array of three Genelec 8260A Tri-Amplified DSP Monitors, part of a larger 5.1 Genelec system. Seated is Scott Metcalfe, the Peabody Conservatory’s Director of Recording Arts & Sciences.
Genelec, the pioneer in Active Monitoring technology, is celebrating over 30 years of designing and manufacturing active loudspeakers for true and accurate sound reproduction. Genelec is credited with promoting the concept of active transducer technology, which many manufacturers are just now incorporating into their products. Since its inception in 1978, Genelec has concentrated its efforts and resources into creating active monitors with unparalleled sonic integrity. The result is an active speaker system that has earned global acclaim for its accurate imaging, extremely high acoustic output from small enclosures, true high-fidelity with low distortion, and deep, rich bass.
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Black to the Future
Tuesday, 24 August 2010 20:00
State-of-the-art Rockheim pop and rock experience in Norway makes extensive use of Genelec monitors, finds Dave Robinson in the August issue of Pro Sound News Europe.
The ‘Norwegian Rock and Pop Museum’. I know what you’re thinking: don’t be daft, there’s not enough rock and pop in the country to warrant such a thing. Wouldn’t a waxwork tableau of a-ha, a glass case laden with Röyksopp memorabilia and a picture-board naming and shaming the country’s appalling Eurovision entries (2009’s Alex Rybak excluded) do the trick? Well, no, they wouldn’t. Like most countries, Norway has a rich and colourful history of pop and rock; it’s just that not much of it made it past the fjörds. Norway also has a very dark legacy: the despicable genre of Black Metal, which led to murders, church-burning and worldwide notoriety for the country in the early ’90s. But more on that jolly subject later.
State-of-the-art Rockheim pop and rock experience in Norway makes extensive use of Genelec monitors, finds Dave Robinson in the August issue of Pro Sound News Europe.
The ‘Norwegian Rock and Pop Museum’. I know what you’re thinking: don’t be daft, there’s not enough rock and pop in the country to warrant such a thing. Wouldn’t a waxwork tableau of a-ha, a glass case laden with Röyksopp memorabilia and a picture-board naming and shaming the country’s appalling Eurovision entries (2009’s Alex Rybak excluded) do the trick? Well, no, they wouldn’t. Like most countries, Norway has a rich and colourful history of pop and rock; it’s just that not much of it made it past the fjörds. Norway also has a very dark legacy: the despicable genre of Black Metal, which led to murders, church-burning and worldwide notoriety for the country in the early ’90s. But more on that jolly subject later.
Rockheim, then, is the fabulous new state-of-the-art museum that opened in Trondheim, Norway’s third-largest city, on 5 August. It’s a converted grain warehouse in the harbour, and offers visitors six floors of interactive experiences from 1950s pop to the digital present. PSNE is visiting Rockheim six weeks before it officially opens. “It’s probably the most sophisticated museum in Europe,” says creative director Stacey Spiegel, who is also the Canadian CEO of exhibition/experience design company Parallel World Labs. “Its main focus is user control – where other environments deliver content, here you have to do something to get it, you learn by interacting.” The museum’s budget was around £10 million (€12 million), project director (and former musician/producer) Arvid Esperø reveals to PSNE. This has enabled Spiegel to specify the latest technology throughout: projectors by Norway’s projectiondesign, screens by California’s Stewart Filmscreen, and loudspeakers from Finland’s Genelec. There are over 120 monitors, mainly Genelec 8050s, throughout the exhibition. The servers dishing up the audio are Core i7 Intel machines on a Cat6 network. Entering Rockheim on the ground floor, the visitor emerges into the Main Atrium, featuring a six-storey-high interactive map of Norway. Point a laser pen at a particular town or region and beside it, content will appear in the form of pop videos, photos, artwork and more.
The first ‘experience’ proper is the Tribute Hall/Wall. Choose one of six circles on the floor, from the ’50s to the ’00s, stand in it and move your arms to ‘virtually wipe’ the image from the screen in front of you – cameras above you track the motion. As the image clears, a song by the next act to appear starts to play (PSNE disposed of Bel Canto to reveal – yes! – a-ha). When real visitors visit Rockheim, they will be competing with each other to clear their own section of wall and trigger their choice of track before their peers. “All of the exhibits have a high level of user control, and that’s the big difference between this place and anywhere else.”
The tour proper continues with more traditional ideas about immersion. Suddenly we’re in a 1950s garage, with a panoramic view through the ‘windows’ (video screens). “There are all kind of triggers around the room. By touching different objects you trigger different content.” Sure enough – wave your hand over the workbench and ’50s-style posters turn into video screens. All the audio is delivered by Genelec 8050s. “From a speaker point of view, our goal was to use Genelecs: low levels of sound but at high quality,” explains Spiegel. Other highlights include an Artefact Wall where your laser pen will trigger info about musical instruments, and a ‘tour bus’ experience where the lush Norwegian scenery speeding past becomes artwork or archive NRK material, depending on which part of the ‘virtual music newspaper’ you touch on the desktop in front of your bus seat. The ’80s room is designed like Trondheim’s now defunct Nidaros recording. The sliders on the customized 48-channel SSL desk trigger content related to the artists – images, video and text. The ’90s set is a Tromsø cappuccino bar: a scene of snow falling on the city transforms to video footage as you touch the virtual table-tops. And finally we’re here, the place PSNE has been waiting for: the nasty part. “We actually made a copy of the rehearsal room of the Norwegian Black Metal band, Mayhem,” says Spiegel. “It’s a chicken shed.” Norway’s dark years, at the beginning of the ’90s, when band rivalry and obsession with the occult, death, violence, nature and ancient gods led to suicide, murder and arson attacks. Count Grishnackh, Euronymous, Hellhammer, Blasphemer, Dead. Nice sounding bunch of guys.
“Today, they are kind of accepted,” remarks Espero. And at Rockheim, it is celebrated, almost. Here’s the original couch from the shed, and the original fridge: decorated with black metal band stickers put there by Jørn Stubberud AKA Mayhem’s Necrobutcher, who came to endorse the exhibit. “The sensibility we’re trying to create is quite raw and intense,” says Spiegel. “As you walk around, red lights will point to different areas; stand in the light and you trigger the content.” A much larger 1037 speaker and a big Genelec sub give depth in this room you don’t find elsewhere in Rockheim. The tour ends with a cube room for the 21st century: all mirrors and wall panels, and videos triggered by laser pen. Despite several attempts, PSNE couldn’t locate a Röyksopp video. Esperø is particularly happy with his choice of loudspeakers. “Genelec, I was very familiar with,” he says. “So when we were going to choose which system to use, the Genelecs were one of the choices. It takes care of one big problem and that is: the amplifier is in the speaker. And you can play them loud without your subconscious knowing that it’s loud [because of the low distortion]. “I’m very happy because it does all I hoped for and more. It lifts the project, it lifts the total experience for the public.” As we leave, Esperø tells us the local Hells Angels chapter has been invited at 6pm to trial the exhibition. He’s not fazed by this. But if you’ve lived through Black Metal, you’re ready for anything.
www.rockheim.no
Source: Pro Sound News Europe, August 2010
www.prosoundnewseurope.com
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Bob Katz chooses Genelec 8260A DSP Monitoring System
Monday, 09 August 2010 18:32
— Genelec 8260A’s with AutoCal™ automated calibration system and Genelec Loudspeaker Manager (GLM™) control network give Katz a transparent sound that he describes as “the best Genelecs ever” —
NATICK, MA, August 3, 2010 — Audio mastering engineer, author, teacher, inventor and audiophile Bob Katz’s resume reads like a who’s-who of the music industry. Over the course of his career, Katz has worked with a multitude of artists in literally every genre of music, including country artists Marley's Ghost, jazz clarinetists Eddie Daniels and Allan Vaché, Latin Jazz performers Paquito D'Rivera and Tito Puente, heavy metal bands Necrophagist and Motorpsycho, progressive rock performers Sean Malone and Triggering Myth, indie rock performer Susanna, world music artists The Bombay Dub Orchestra and Sinéad O'Connor, big band Mexican composer Armando Manzanero, salsa performers Rubén Blades and Héctor Lavoe and more. Katz has also recorded and/or mastered three GRAMMY®-winning albums and several other GRAMMY-nominated recordings. When it came time for Katz to re-evaluate his monitors in his Digital Domain studios mix room, as he needed a higher degree of accuracy compared to the “audiophile” speakers he was using, Katz found exactly what he was looking for in the award-winning Genelec 8260A Tri-Amplified DSP Monitoring System.
— Genelec 8260A’s with AutoCal™ automated calibration system and Genelec Loudspeaker Manager (GLM™) control network give Katz a transparent sound that he describes as “the best Genelecs ever” —
NATICK, MA, August 3, 2010 — Audio mastering engineer, author, teacher, inventor and audiophile Bob Katz’s resume reads like a who’s-who of the music industry. Over the course of his career, Katz has worked with a multitude of artists in literally every genre of music, including country artists Marley's Ghost, jazz clarinetists Eddie Daniels and Allan Vaché, Latin Jazz performers Paquito D'Rivera and Tito Puente, heavy metal bands Necrophagist and Motorpsycho, progressive rock performers Sean Malone and Triggering Myth, indie rock performer Susanna, world music artists The Bombay Dub Orchestra and Sinéad O'Connor, big band Mexican composer Armando Manzanero, salsa performers Rubén Blades and Héctor Lavoe and more. Katz has also recorded and/or mastered three GRAMMY®-winning albums and several other GRAMMY-nominated recordings. When it came time for Katz to re-evaluate his monitors in his Digital Domain studios mix room, as he needed a higher degree of accuracy compared to the “audiophile” speakers he was using, Katz found exactly what he was looking for in the award-winning Genelec 8260A Tri-Amplified DSP Monitoring System.
“Since this particular mix room was not completely purpose-built from the ground up, I was looking for a better solution to my previous loudspeakers, which were non-DSP models,” stated Bob Katz. “This is a small mix room, which is treated — it has trapping and has specular reflections corrected — but simply by means of its size, it’s going to have some severe modes that could not possibly be adequately trapped with acoustical corrections. We installed the 8260’s, and after some automatic adjustments using Genelec’s AutoCal™ automated calibration system and Loudspeaker Manager (GLM™) control network, and then some manual adjustments by me, I was totally blown away by the sound of these speakers. They are amazingly transparent, and I think that these are the best-sounding Genelecs that have ever been made. They extend down to 29 Hz at -1 dB, and in the room their response is within, after DSP correction, a couple of dB at the listening position – maybe 3 at the most. And the result is extremely accurate with tight, clear, well-defined bass. It’s now possible to mix in here, and those mixes translate to the real world without having to do mental gymnastics, which is the case with the prior loudspeakers that I had in this room.”
Katz continued, “The 8260's have the lowest distortion, remarkable headroom and significantly higher SPL capability than any of the other 8000-series Genelecs, which lets them play cleanly at any level without listening fatigue. This makes them very desirable for rock and allows us to mix anything from classical to hip-hop without guessing at how the material will sound at the listener's preferred volume. All this without needing a subwoofer!”
One of Digital Domain’s mix engineers, Jarrett Pritchard, echoes Katz’s sentiments. “These speakers throw an amazing center image,” stated Pritchard. “It’s a game changer for me. It’s as if there were another loudspeaker right in the center between these two. The center image is so tight and clearly defined. And the tonality is excellent. I’m sold.”
Both Katz and Pritchard attribute the sonic imaging to the 8260’s breakthrough in coaxial driver design that provides more accurate imaging and improved sound quality both on the acoustical axis as well as off-axis. “It throws such a good center image because of the newly designed coaxial mid-range tweeter combination, together with an excellent diffraction control and the unique cabinet,” stated Katz. “It’s not just a sales point; it really works.”
But the bottom line for Bob Katz is in the mastering process and how those mixes done in the new mix room transfer to the mastering room. “The mixes we are listening to in this room, when I take them down to the mastering room, sound absolutely right,” commented Katz. “I no longer have to send corrections to the mix engineer for anomalies in the bass response, which ultimately makes my life easier and results in better sounding tracks for me to master. I am very happy.”
The compact and powerful 8260A breaks new ground in electro-acoustic design, as mechanical, acoustical and signal-processing designs are linked closely together. The 8260A features major advances in audio driver technology, integrated with a sophisticated enclosure design, and Genelec’s proprietary Minimum Diffraction Coaxial (MDC™) Mid/High driver technology. The 8260A system represents Genelec’s cutting-edge innovations in all technology domains. The sophisticated acoustical design of the 8260A is complemented by Genelec’s DSP Technology and GLM software, providing powerful and practical tools such as AutoCal for accurate alignment, calibration and control of the monitoring system in all situations. The MDC coaxial technology is a real breakthrough solution that makes the 8260A unique in the market.
For more information, please visit www.genelecusa.com.
Photo File: Genelec_BobKatz.JPG
Photo Caption: Renowned mastering engineer Bob Katz, pictured in his Digital Domain studios mix room with his Genelec 8260A Tri-Amplified DSP Monitoring System.
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Cash Money Records selects Genelec Active Monitors
Monday, 02 August 2010 16:00
— Cash Money Records’ mobile recording studio, designed by Vulcan Coach, features Genelec Active Monitors and Subs —
— Vulcan Coach Corporation continues a decades-long tradition of catering to the needs of recording artists in all genres of music, from rock to country to hip-hop, with great tour buses that let artists keep up with their recording schedules even while on the road —
NATICK, MA, July 28, 2010 — Cash Money Records recently took delivery of their new Studio Tour Bus outfitted and designed by Vulcan Coach Corporation, the longest-running luxury coach conversion company in the U.S. Vulcan has been providing entertainers the ability to record while on the road with built-in recording studios as part of custom bus designs for their touring coaches. Clients of the Birmingham, Alabama area-based company range across all mainstream genres of music, from Willie Nelson and ZZ Top, to Garth Brooks and Timbaland. Most recently, Vulcan provided a coach for seminal hip-hop label Cash Money Records, home to best-selling artists including Birdman, Lil Wayne, and Drake. The recent Cash Money Studio Coach conversion features Genelec monitoring – the Prevost H3-45 Luxury Coach employs a pair of Genelec 1038B Tri-amplified Monitors as the main monitoring system, augmented with a pair of 7070A Active Subwoofers. Cash Money’s Studio Coach hit the road mid-June from its home base in Miami.
— Cash Money Records’ mobile recording studio, designed by Vulcan Coach, features Genelec Active Monitors and Subs —
— Vulcan Coach Corporation continues a decades-long tradition of catering to the needs of recording artists in all genres of music, from rock to country to hip-hop, with great tour buses that let artists keep up with their recording schedules even while on the road —
NATICK, MA, July 28, 2010 — Cash Money Records recently took delivery of their new Studio Tour Bus outfitted and designed by Vulcan Coach Corporation, the longest-running luxury coach conversion company in the U.S. Vulcan has been providing entertainers the ability to record while on the road with built-in recording studios as part of custom bus designs for their touring coaches. Clients of the Birmingham, Alabama area-based company range across all mainstream genres of music, from Willie Nelson and ZZ Top, to Garth Brooks and Timbaland. Most recently, Vulcan provided a coach for seminal hip-hop label Cash Money Records, home to best-selling artists including Birdman, Lil Wayne, and Drake. The recent Cash Money Studio Coach conversion features Genelec monitoring – the Prevost H3-45 Luxury Coach employs a pair of Genelec 1038B Tri-amplified Monitors as the main monitoring system, augmented with a pair of 7070A Active Subwoofers. Cash Money’s Studio Coach hit the road mid-June from its home base in Miami.
The new studio has a rear monitoring wall loaded with Genelec 1038B’s, as well as a full Avid Pro Tools rig and Avid C|24 mixing interface. Bruce Basden, owner of Vulcan Coach, worked with Mark Jones of Cash Money to develop the look and feel of this studio, building on the previous successes of Vulcan Studio Coaches. The Studio features massive multiple layers of soundproofing and proprietary acoustical treatments to create the right sonic environment for mastering engineers and producers alike. The design features a classic room-within-a-room approach to ensure complete isolation, equal to the very best land-based studio environments. The vocal booth is itself an additional room within the already heavily isolated studio compartments, with the end result of astounding STC ratings that produce flawless vocal tracks.
The Genelec 1038B’s were chosen for their incredibly accurate mids and highs, and the 7070A’s for their ability to maintain an articulate low end at even extreme volumes, says Anthony Fernandez of Miami based Pro Audio Nerds, the studio consultant for this project. Fernandez recalls that he first experienced Genelec speakers when he was working with Miami’s famous The Hit Factory Studios. “I really came to love how the Genelecs sound,” he says.
Basden says the amount of sound pressure that the studio compartment can contain is enormous – it has to be. “These are not project studios I build on these buses – they are fully equipped, state-of-the-art, serious recording studios that let these artists lay down a vibe whenever it strikes them,” says Basden. Basden says reactions to the Studio Sound with the Genelec Monitors have been “sheer disbelief that what they hear is in a bus. They can’t believe it. It’s always the same: shock, big smile, nod of approval, and then the word ’unbelievable.’ The sound accuracy and pressure levels are incredible. When you close the door, the studio becomes seriously airtight, and you can really feel the bass punch you in the gut. With these buses, the artists will never have to miss a beat.”
For more information, please visit www.genelecusa.com.
Photo Caption: Cash Money Records’ new mobile studio, outfitted and designed by Vulcan Coach Corporation, featuring 1038B Tri-amplified Monitors (pictured, left and right) as the main monitoring system, augmented with a pair of 7070A Active Subwoofers (pictured, lower).
Press Release (doc)
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Cash money records selects Genelec active monitors for high-tech mobile recording studio tour bus
Monday, 02 August 2010 14:31
— Cash Money Records’ mobile recording studio, designed by Vulcan Coach, features Genelec Active Monitors and Subs —
— Vulcan Coach Corporation continues a decades-long tradition of catering to the needs of recording artists in all genres of music, from rock to country to hip-hop, with great tour buses that let artists keep up with their recording schedules even while on the road —
NATICK, MA, July 28, 2010 — Cash Money Records recently took delivery of their new Studio Tour Bus outfitted and designed by Vulcan Coach Corporation, the longest-running luxury coach conversion company in the U.S. Vulcan has been providing entertainers the ability to record while on the road with built-in recording studios as part of custom bus designs for their touring coaches. Clients of the Birmingham, Alabama area-based company range across all mainstream genres of music, from Willie Nelson and ZZ Top, to Garth Brooks and Timbaland. Most recently, Vulcan provided a coach for seminal hip-hop label Cash Money Records, home to best-selling artists including Birdman, Lil Wayne, and Drake. The recent Cash Money Studio Coach conversion features Genelec monitoring – the Prevost H3-45 Luxury Coach employs a pair of Genelec 1038B Tri-amplified Monitors as the main monitoring system, augmented with a pair of 7070A Active Subwoofers. Cash Money’s Studio Coach hit the road mid-June from its home base in Miami.
— Cash Money Records’ mobile recording studio, designed by Vulcan Coach, features Genelec Active Monitors and Subs —
— Vulcan Coach Corporation continues a decades-long tradition of catering to the needs of recording artists in all genres of music, from rock to country to hip-hop, with great tour buses that let artists keep up with their recording schedules even while on the road —
NATICK, MA, July 28, 2010 — Cash Money Records recently took delivery of their new Studio Tour Bus outfitted and designed by Vulcan Coach Corporation, the longest-running luxury coach conversion company in the U.S. Vulcan has been providing entertainers the ability to record while on the road with built-in recording studios as part of custom bus designs for their touring coaches. Clients of the Birmingham, Alabama area-based company range across all mainstream genres of music, from Willie Nelson and ZZ Top, to Garth Brooks and Timbaland. Most recently, Vulcan provided a coach for seminal hip-hop label Cash Money Records, home to best-selling artists including Birdman, Lil Wayne, and Drake. The recent Cash Money Studio Coach conversion features Genelec monitoring – the Prevost H3-45 Luxury Coach employs a pair of Genelec 1038B Tri-amplified Monitors as the main monitoring system, augmented with a pair of 7070A Active Subwoofers. Cash Money’s Studio Coach hit the road mid-June from its home base in Miami.
The new studio has a rear monitoring wall loaded with Genelec 1038B’s, as well as a full Avid Pro Tools rig and Avid C|24 mixing interface. Bruce Basden, owner of Vulcan Coach, worked with Mark Jones of Cash Money to develop the look and feel of this studio, building on the previous successes of Vulcan Studio Coaches. The Studio features massive multiple layers of soundproofing and proprietary acoustical treatments to create the right sonic environment for mastering engineers and producers alike. The design features a classic room-within-a-room approach to ensure complete isolation, equal to the very best land-based studio environments. The vocal booth is itself an additional room within the already heavily isolated studio compartments, with the end result of astounding STC ratings that produce flawless vocal tracks.
The Genelec 1038B’s were chosen for their incredibly accurate mids and highs, and the 7070A’s for their ability to maintain an articulate low end at even extreme volumes, says Anthony Fernandez of Miami based Pro Audio Nerds, the studio consultant for this project. Fernandez recalls that he first experienced Genelec speakers when he was working with Miami’s famous The Hit Factory Studios. “I really came to love how the Genelecs sound,” he says.
Basden says the amount of sound pressure that the studio compartment can contain is enormous – it has to be. “These are not project studios I build on these buses – they are fully equipped, state-of-the-art, serious recording studios that let these artists lay down a vibe whenever it strikes them,” says Basden. Basden says reactions to the Studio Sound with the Genelec Monitors have been “sheer disbelief that what they hear is in a bus. They can’t believe it. It’s always the same: shock, big smile, nod of approval, and then the word ’unbelievable.’ The sound accuracy and pressure levels are incredible. When you close the door, the studio becomes seriously airtight, and you can really feel the bass punch you in the gut. With these buses, the artists will never have to miss a beat.”
For more information, please visit www.genelecusa.com.
Photo Caption: Cash Money Records’ new mobile studio, outfitted and designed by Vulcan Coach Corporation, featuring 1038B Tri-amplified Monitors (pictured, left and right) as the main monitoring system, augmented with a pair of 7070A Active Subwoofers (pictured, lower).
Press Release (doc)
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Genelec
