Designed in collaboration with legendary Producer Scott Storch whose work has been featured on eight GRAMMY-winning albums, the KRK eight-inch studio monitors offer all the features that have cemented the CLASSIC 8 monitors as Storch’s speaker of choice. Limited to only 500 pairs, each CLASSIC 8ss–aka Scott Storch model–offers a distinctive gold chrome electroplated front baffle, as well as Storch’s logo and signature, making it a unique solution for any professional engineer, mixer, and/or Scott Storch fan.

Scott Storch is a renowned music producer and songwriter whose breakthrough came in the late 1990s when he co-wrote and produced hits such as “Still D.R.E.” for Dr. Dre and “Just a Lil Bit” for 50 Cent. He has since cemented his status as a go-to producer in the hip-hop genre with production work on songs like Beyoncé’s “Naughty Girl” and “Me, Myself and I.”

“For years, the KRK CLASSIC 8 monitors have been essential to my artistic music-making process,” says Scott Storch. “To now have personalised versions of my favourite studio monitors is an exciting venture for me. Designing these monitors has been such a cool experience–one that you don’t often see happen. I’m honoured that KRK chose me for its first-ever artist collaboration. I can’t wait to see everyone rocking the Scott Storch CLASSIC 8ss monitors.”

“We are excited to launch our first artist signature series model and with none other than Scott Storch, an innovator in production, and a legend in the music industry,” says Sterling Doak, Senior Director of Marketing for Gibson Brands. “Scott has consistently been supportive of KRK, between his initial adoption of the original CLASSIC 8 models in his studio, and serving as a mentor for the KRK Kreator Classic, Scott’s partnership with the Gibson family has been a significant one. Now, the KRK Scott Storch CLASSIC 8ss allow us to showcase Scott as a marquee artist. This signature model was designed with Scott to emphasize the eccentric, unique flair that brought him to the level of notoriety he has today.”

With a shimmering gold chrome faceplate replacing the black on the monitor’s front baffle, Storch’s personal style shines throughout the CLASSIC 8ss. Storch’s signature sits in the top right corner of the front panel, while the rear panel features a Scott Storch logo—complete with his iconic sunglasses–along with his signature, making it a truly unique sound solution, for any studio or space looking to elevate the vibe and aesthetic.

While these iconic monitors differ from the original CLASSIC 8 models in a purely visual way, they include all the features that have made this model Storch’s personal monitor. Built on KRK’s legacy of sonic accuracy and performance, the CLASSIC series incorporates over 30 years of innovation, borrowing concepts from the brand’s previous lines.

The new CLASSIC 8ss is an active (self-powered) two-way studio monitor that utilizes a one-inch textile soft dome tweeter paired with an 8″ Glass Aramid Woofer. The built-in power amplifiers provide a total of 100 watts of power, with a 75-watt amp driving the woofer and a 25-watt amp for the tweeter. The CLASSIC 8ss defaults to a new flat frequency solution for more critical listening and more accurate mixes. With the optional ability to engage the +2 dB KRK Bass Boost, this new solution provides the enhanced bass response and sound that music creators have loved for years.

The new KRK Scott Storch CLASSIC 8ss Studio Monitors are available now as a limited run of 500 pairs, and retail at $299 per speaker. Please visit an authorized KRK dealer or www.krkmusic.com for more information.

Explore the new KRK Scott Storch CLASSIC 8ss here and the full KRK CLASSIC Collection here

Photo credit (Scott Storch): Felipe Cuevas for KRK

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With so many different studio monitor options on the market, choosing the right ones can be a daunting task. In this end user focus, we feature the products of six companies and hear from top professionals about the product they like to use and why…

Dynaudio LYD 48

Goldie: “My Dynaudios sit 120cm apart at the perfect angle. And I sit in that perfect place and I listen. It’s the perfect place to be”

According to Dynaudio, the LYD range of monitors was designed to be used without needing a manual because, getting “started in your engineering or producing career…is daunting enough without needing to decipher another complicated set of switches and dials”. Good point.

There are four speakers in the range: LYD 5 (with a 5” woofer), LYD 7 (7” woofer), LYD 8 (8” woofer) and LYD 48 (a three-way fully active speaker with a 4” midrange driver and an 8” woofer). They all use the same lightweight aluminium voice-coils as the company’s high-end hi-fi speakers, paired with Class-D amplification as well as a 24-bit/96kHz signal path with advanced DSP. Artist and producer Goldie uses the monitors in his studio in Thailand.

Unity Audio Rock MKII

David Wrench: “The low mid is excellent and that’s an area where I find a lot of smaller speakers tend to struggle” 

Unity Audio’s Rock MKII is described as “a small and stylish speaker”, designed for a wide range of applications including tracking, mixing and critical mastering.

It is equally at home sat atop a large-format mixing console, in a home studio or a mastering facility. The Rock is equipped with two 180-watt Class D amplifiers and the Tim de Paravicini designed input/crossover. The Rock uses a 50KHz folded ribbon tweeter and the 180mm woofer features a 0.2mm aluminium foil. The combination of drivers delivers a frequency response of 37Hz-38kHz +/- 3dbB and provides a microscopic view of any programme system, incorporated to eliminate cabinet flexing.

David Wrench has two Rock MKII’s in his studio. “I’m a huge Rocks fan and bought my first pair a while ago,” he says. “They’re different to any of my existing monitors. I usually use three different sets of monitor in order to get a good contrast.

“The Rocks low mid is excellent and that’s an area where I find a lot of smaller speakers tend to struggle.”

PMC IB2S XBD-A

Gareth Johnson: “Tracking with them is really exciting” 

PMC’s IB2S XBD-A loudspeakers offer all the benefits of the company’s large ATL reference active monitors but in a more compact form. The three-way IB2S-A master cabinet is paired with a single-driver XBD bass cabinet that adds an extra 3 dB of low frequency headroom to create the IB2S XBD-A system. These Class-D powered cabinets are DSP-controlled and incorporate PMC’s ATL (Advanced Transmission Line) bass-loading technology. The bass units in both cabinets are identical and feature 10-inch carbon-fibre/Nomex piston drivers.

Producer, mix engineer and multi-instrumentalist composer Gareth Johnson uses the speakers in his studio at Metropolis Studios, London.

“When I was designing this place, I wanted the largest monitors PMC made that would work in here,” he says. “That’s why I got the IB2 Actives with the XBD bass unit. Tracking with them is really exciting and they’re brilliant for checking that you’ve got the bottom end right.”

Focal SM9

Steve Aoki: “I wanted to make sure both studios had Focal because I’m very confident with the sound, I really can trust the speakers” 

According to Focal, the idea for the SM9 was to “create the most sonically transparent monitoring system ever built”. The SM9 offers two monitoring speakers in one cabinet: a two-way monitor (Beryllium tweeter, 6.5” ‘W’ woofer, which offers a frequency response from 90Hz to 40kHz and a three-way monitor featuring a Beryllium tweeter, 6.5” ‘W’ woofer, 8” ‘W’ subwoofer and an 11” passive radiator. This monitor offers a frequency response from 30Hz to 40kHz.

DJ and producer Steve Aoki uses the speakers in both of his studios: “I wanted to make sure both studios had Focal because I’m very confident with the sound, I really can trust the speakers,” he says.

Genelec ‘The Ones’ 8331

Andy Barlow: “The definition is second to none”

Billed as “the world’s smallest three-way studio monitors”, the smallest in ‘The Ones’ range allow for longer, fatigue-free working hours than traditional loudspeakers, because according to the company, unnatural imaging – a main contributor to listener fatigue – is minimised.

Genelec refers to them as being in “an elite league of their own”. Dispersion is controlled over an unusually wide frequency range thanks to the large integrated waveguide (DCW) with hidden dual woofers; and orientation may be either horizontal or vertical. The monitors integrate with the Genelec GLM calibration software, allowing the listener to compensate for detrimental room influence and delay, regardless of whether they work in mono, stereo or immersive formats. “The definition is second to none,” says Andy Barlow who produced U2’s Songs Of Experience.

“The room is far from perfect with little in the way of acoustic treatment, but with GLM weaving its magic, the 8331s fill the room in an amazing way. Also, for such a small speaker with no sub, the bottom end is physics defying. The top end is refined and smooth, and the stereo sweet spot seems much bigger than any other speaker I’ve used.”

Adam Audio S3H

Opher Yisraeli: “I’d been researching various three-way speakers for months and tested a number of models. What I found was that the Adams performed equal to or better than monitors that cost almost twice as much”

The S3H builds on the successes of Adam Audio’s most popular studio monitors, the S3A and S3X-H, and, like its predecessors, sets new standards in terms of technical innovation and design.

Adam Audio’s newly developed DCH, a 4” hybrid dome/cone mid-range driver, is powered by a 300 W Class D amplifier and handles audio above 250 Hz and below 3 kHz, its hybrid design offering the sonic advantages of both cone and soft-dome drivers in a single, one-piece unit.

Frequencies above 3 kHz are routed to the innovative combination of the S-ART treble driver (each handmade at ADAM Audio’s Berlin factory), the new precision HPS waveguide, and a 50 W Class A/B amplifier.

The post 6 of the best studio monitors appeared first on Audio Media International.

Pressure Cooker Studios, a respected music and sound design house specialising in music production for film, television and advertisements, has recently moved into a new purpose-built studio facility in the centre of Cape Town, designed by studio designer Martin Pilchner of Pilchner Schoustal International.

Genelec is at the heart of this new facility, with its local distributor, TruFi, supplying monitors for all of its recording studio spaces. From humble beginnings in the basement of a house 10 years ago to a 355 square metre studio space, the new facility is exactly how the Pressure Cooker team had envisioned it from the outset, and features two main control rooms which sandwich a main studio proper, a 7.1 post theatre with adjacent ADR booth, five writing rooms, an independent isolation booth, reception, lounge and common spaces.

James Matthes, co-founder and CEO of Pressure Cooker Studios noted: “We wanted to make our space as comfortable, but also as technologically advanced as possible – we spend so much time here, so it definitely had to feel lived in, making it a homely but premium space.”

Helping the Pressure Cooker team achieve this feat was Genelec’s GLM software. “The GLM system is fantastic in that it assists with all the relevant calibration of any one of the monitors within the array in terms of EQ and phase alignment,” said Neil Leachman, final mix engineer at Pressure Cooker. “After the system is aligned and EQ’d I spent a small amount of time just setting up levels for the individual outputs to align properly to the recommended levels for cinema monitoring for surround and R128 compliance. But the GLM system is invaluable in the setup.”

Each room in the new facility has utilised Genelec monitors in one way or another; Matthes has a pair of 8040 nearfields in his writing room, there are three 1238A three-ways fulfilling the LCR role behind the screen in the 7.1 theatre, with two 7380A 15-inch subwoofers and 8040s as surrounds – while the smaller rooms all have 8030 nearfields.

“We chose a uniform approach with Genelec because we wanted to be able to move from room to room and feel comfortable from the moment we hit play,” Matthes added. “For example, if I go from a writing session to the composition suite, or start doing a mix with a client in the theatre – my ears aren’t going to trick me. I find with Genelec, you don’t need any other reference monitor at any point, since they just naturally translate very well.”

The first true test for Pressure Cooker’s new facility was the film ‘This is not a burial, it is a resurrection’ that was premiered at this year’s Venice Film Festival. “This was the first film we mixed using our Genelec system and particularly for the international market, it converted amazingly,” said Matthes. “The film’s producer told us how clear and brilliant the sound was, which makes me very confident in the set-up we have, and confirms that our decision to choose Genelec for the whole facility was the right one.”

www.pressurecookerstudios.co.za

www.genelec.com

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Alistair McGhee gets his hands on the latest model in Quested’s V-Series range of active powered monitors…

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The Quested V2104 monitor is the result of a builder’s cock up. It seems that the builder delivering a multi room complex mis-measured and the resulting monitor space was too small for the planned installation of the desired Quested S6R monitors. Undaunted, Roger Quested – reaching for his monitor shrink ray – came up with the V2104.

It is a small monitor, petite even, bijou maybe. If you buy the red finish they come with a carry-case option – these are portable monitors! The last digit (or two digits) in a Quested monitor’s moniker give you the diameter of the bass driver. So that would be four inches or a hundred mm. Like I said, bijou, and of course not going to shake your windows with boombastic 50Hz bass.

Both drive units are new to Quested and each V2104 is powered by a class D amp, keeping size under control. For reasons I’ve never really been able to fathom, Quested never crossed my path in BBC world. Plenty of old school Rogers and Spendor and Harbeth, PMC and ATC. Even latterly Genelec, but no Quested, which is a shame really because what drives their monitors is very much the traditional BBC virtues of accuracy through painstaking engineering. Quested have a very focused lineup of monitors. The S Series is the entry point, the V Series the top shelf and the passive H Series for all of us who can’t face retiring our power amps.

When Stuart Down from Quested brought the box over the threshold, I thought it was a one box per speaker gig. Not at all! Did I mention they are small? Just over ten inches high, five inches wide and six inches deep. So small in fact the mains input is on a cloverleaf cable (supplied) to save space on the back panel over a standard IEC connector. Also on the back panel is a level trim and a combi jack/XLR for the input. And that’s it – no digital input, no USB input, no DSP. Which, at the risk of sounding like a luddite, I’m fine with. At this price point I want all my money spent on the basic building blocks.

The V2104 powers up on the front panel which is cool, as is the low key blue ring mounted LED around the brand identifying Q emblazoned on the power button. Blue turns to red 2dB before you clip the amp. The V2104 is front ported and has protective filters with minus three dB points at 45Hz and 30kHz. And just in case you are taking notes, the crossover point is at about 1700Hz.

So to the experience and first what you don’t get. You don’t get low bass. The V2104 is minus two dB at a hundred hertz and minus six at 88. That’s just the laws of physics applied to the size of the driver. However look again at the specs, a hundred hertz to 19kHz plus or minus two dB – these are monitors not toys. The V2104, which is not that much bigger than the ubiquitous Fostex 6301, delivers monitor quality above a hundred hertz. And like all good monitors you need to be careful what you feed them. The V2104 has proper monitor ruthlessness when it comes to revealing shortcomings in your source.

Badly recorded, ham-fistedly mixed or overcompressed material sounds just as bad as you would expect and indeed demand from a monitor who’s first duty is always honesty. If I’m doing it wrong I need the monitor to tell me. And the Questeds, despite their diminutive dimensions, are monitors – well recorded material shines. The top end in particular has an easy naturalness that is never tiring. The mid range is full of detail allowing you to dig into your mix when you need to perform audio surgery. The V2104s sing.

Actually the comparison with the Fostex 6301 – a single drive unit (four inch) classic – is instructive. The 6301 is active, bullet proof, much loved and found in broadcast vehicles and studios everywhere. The Fostex is an excellent problem solving talkback or check loudspeaker, but unlike the Quested it’s not a monitor speaker – you don’t want to make subtle mix decisions on the 6301. And for small boxes the Questeds go surprisingly loud; I was almost flat out on the DAC to light that red ring and the air was moving.

So what about the bottom octave or two? Well Quested have a couple of sub solutions and you’ll need them if you’re diving below the 100Hz line. The V2104s are not going to give you epic scale, but I tell you this: above a hundred hertz they won’t hang you out to dry, and you can mix with confidence. If you need to pack your monitors with you, if you ever carry your gear, if you record in back rooms, under stages, in vehicles or if you just want bijou monitoring, check out the V2104s and prepare to be pleasantly surprised. And raise a glass to incompetent builders everywhere.

www.quested.com

Key Features

> Ultra compact class D monitor

> Accurate nearfield for use in all studio applications

> Can be configured as part of a multi-channel system

> Option to add LF extension/sub with additional products

RRP: £1,089

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The Reviewer:

Alistair McGhee began audio life in Hi-Fi before joining the BBC as an audio engineer. After 10 years in radio and TV, he moved to production. When BBC Choice started, he pioneered personal digital production in television.

The post Review: Quested V2104 appeared first on Audio Media International.

Genelec has opened a Genelec Experience Centre in central Berlin – a brand new demonstration facility designed to provide visitors with a high quality critical listening environment from stereo to immersive, and allows the Finnish manufacturer to showcase its wide range of studio monitors and AV and Home Audio loudspeakers.

The new Berlin location joins existing Experience Centre facilities in Europe and Asia, all of which allow both end users and resellers to learn more about Genelec technologies and audition a broad selection of models.

Located in Alexanderplatz, in the heart of central Berlin’s creative district, the Experience Centre is the result of a close collaboration between Genelec and kost.design, a company jointly owned by architect and studio designer Benjamin Koziczinski and acoustic designer Karlheinz Stegmaier. Kost.design was responsible for overseeing the extensive refurbishment and acoustic treatment of the entire building, resulting in premium quality listening spaces designed specifically around Genelec loudspeaker systems.

At the heart of the Centre is a 27 sq.m listening room equipped with a Genelec 7.1.4 immersive audio system featuring The Ones coaxial point source studio monitors – with the new flagship 8361A in the LCR positions, the 8341A as surrounds, the 8331A in the height locations plus a pair of 7370A subwoofers handling the low frequency content. Genelec’s own GLM software was then used to configure and fine tune the calibration of each monitor within the space for optimal in-room performance.

The listening room allows all of Genelec’s models to be auditioned on request, with the system supporting a wide range of playback formats including Pro Tools, Blu-ray, Apple TV, Netflix and major streaming providers including Spotify and Tidal. Other spaces within the Experience Centre are designed to showcase Genelec Home Audio and AV models, including a 5.1 conference room system built around special RAL-coloured 4030C installation speakers, a kitchen area utilising AIW25 in-wall architectural models, and office and bathroom spaces fitted with various 8300 series two-way smart active speakers.

The Berlin Experience Centre was officially opened at the beginning of October. Those wishing to find out more, or book a demonstration, should contact berlin.showroom@genelec.com

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Dynaudio is adding two new models to its Core reference series, which was first introduced at the 2019 NAMM show.

Core 47 is a compact three-way monitor with a 7in woofer, a dedicated 4in midrange driver and the new 28mm Esotar Pro tweeter. Core Sub is a powered subwoofer with four 9in long-throw woofers and 2x 500W of power.

“Core 47 fills the gap between the Core 7 and Core 59 models,” said Dynaudio Pro product manager Rune Jacobsen. “Its footprint is comparable to Core 7, but it’s a three-way design with a dedicated midrange driver for the absolute highest degree of detail when reproducing sound in this critical frequency area – where, for instance, vocals are located.

“It features the same ingenious DSP options as the rest of the Core monitors and packs power to deliver SPL that will meet the needs of any producer or sound engineer,” Jaconbsen continued. “Core Sub is tailored to be the ideal low-frequency partner to any Core-based set-up. With four long-throw woofers and 1000W of power it delivers powerful and reliable low-frequency reproduction regardless of whether it’s part of a master stack, or a surround sound or immersive speaker setup with height and overhead channels.”

Core 47 and Core Sub have digital inputs (AES3) and support up to 24-bit/192 kHz signals, and the internal DSP operates at the same high level when using the analogue inputs. The series is also designed for extremely flexible positioning. Core has four indentations on each side and a set of special pads to fit them. Dynaudio has also designed a bracket for Core 47 for wall or ceiling installation. With the appropriate adapter it can also double as a desk-stand.

The post Dynaudio expands Core studio monitor range appeared first on Audio Media International.

Genelec has expanded its ‘The Ones’ series of point source monitors with the addition of the new 8351B and 8361A coaxial three-way monitors alongside the complementary W371A Adaptive Woofer System.

The new 8361A three-way coaxial monitor offers what the company describes as the most advanced acoustic performance of any studio monitor currently available – with high dynamic range, superior directivity and imaging and a short term SPL of 118 dB with peak levels even higher.

The 8361A features two newly-designed Acoustically Concealed Woofers – designed to generate high SPL output with extremely low distortion – and brand new MDC coaxial midrange and tweeter drivers which provide smooth directivity, low distortion, high SPL and extended frequency response up to 40 kHz. Like all models in The Ones range, the 8361A’s Minimum Diffraction Enclosure eliminates colouration and its entire front baffle acts as a Directivity Control Waveguide. Efficient proprietary Class D amplification is complemented by advanced DSP processing, including delay equalisation and 20 precision EQs for room compensation.

Meanwhile, the newly upgraded 8351B shares much of the technology of its other Ones siblings, drawing inspiration from the electronic design of the 8341A and the driver technology of the 8361A. It has been designed to improve on the performance of its predecessor by offering increased SPL, additional room compensation EQs, equalised delay and enhanced HF response.

The W371A Adaptive Woofer System on the other hand is designed specifically to complement 8341, 8351 and 8361 monitors, and in conjunction with these models is designed to create a series of full-range monitoring solutions with unrivalled neutrality and levels of control over directivity and the effects of room acoustics. Standing at 1100 mm (43 1/4 inches) high and featuring dual high performance woofers, one forward-facing and one rear-facing, the W371A introduces a palette of novel ways to custom tailor system performance carefully to the room over the critical lowest four octaves.

Augmenting the dual woofers of The Ones coaxial models with a complementary W371A yields four woofers in total per channel, and these are combined using advanced acoustic measurement to reduce destructive cancellation and standing wave artefacts – through a host of tools including crossover frequencies, polar response and directivity.

As part of Genelec’s Smart Active Monitoring family, all models in The Ones range integrate with Genelec’s GLM software application, which can configure, calibrate and control entire Genelec smart monitoring systems.

Commenting on the launch, Genelec managing director Siamak Naghian said: “No other family of studio monitors can offer this level of coherency, control, neutrality and sheer ability to adapt to any acoustic environment. From the ultra-nearfield precision of the 8331A to a full-range system comprising the 8361A and W371A, our point source technology is now fully scalable, broadening its appeal still further and maintaining The Ones’ position as the industry’s benchmark for truthful reference monitoring.”

The post Genelec introduces newly expanded ‘The Ones’ family members appeared first on Audio Media International.

Sennheiser and Neumann will show a range of its solutions at IBC next month (stand 8 D.50).

Highlights include: Sennheiser’s entry-level 2.4GHz XS Wireless Digital systems for DSLR/DSLM audio; the professional SK 6212 UHF mini-bodypack transmitter and EK 6042 camera receiver for location and studio work; and the Neumann KH 750 DSP subwoofer and Neumann NDH 20 studio headphones for critical monitoring applications.

Wireless microphone systems on the stand include the XSW-D, AVX, evolution wireless, and Digital 6000 and Digital 9000 systems. Wired on-camera microphones on show include the Sennheiser MKE series and Sennheiser’s industry-standard MKH 8060 and MKH 416 shotgun microphones as well as Neumann KMR 81 i and KMR 82 i.

Neumann’s debut NDH 20 headphones are joined by Sennheiser’s classic HD 25 as well as the HD/HMD 300 series headphones and headsets for the production studio and ENG work.

Neumann’s studio monitors on the other hand can be experienced in a stereo set-up in two configurations: two KH 80 DSP monitoring loudspeakers with a KH 750 DSP subwoofer, and two KH 310 monitoring speakers with a KH 750 DSP. Visitors can see both set-ups controlled by the Neumann.Control software. Neumann studio microphones on show include the BCM 104, KM 184, TLM 103 and the U 67.

In the AMBEO immersive audio area, two full end-to-end workflows for multi-channel and Ambisonics productions will be displayed. A particular highlight of this setup is the opportunity for visitors to create an audio mix for both workflows in VR – all via the immersive interface of dearVR SPATIAL CONNECT from Dear Reality.

Also on display is the prototype of the AMBEO Sports Microphone Array for capturing 360° audio.

Within the framework of the AMBEO for VR partnership program, Solid State Logic will show what a live immersive television mix recorded with the Sennheiser AMBEO VR Mic and various spot microphones can look like. Live workflow demos include decoding and mixing and will take place at the SSL stand (Hall 8, D.83) at 4pm every day.

Visit Sennheiser and Neumann at IBC, Hall 8, Stand D.50.

The post IBC 2019: Sennheiser and Neumann to showcase mic and monitoring solutions appeared first on Audio Media International.

The Audio Technology Program at American University in Washington, D.C. is making use of the new Genelec monitors in its two main control rooms after they were installed there in the spring.

Anchored by a 2,200-square-foot, three-studio complex, the facility offers a main recording space with variable acoustics, a drum room with a removable floor to reveal six Foley pits, four isolation booths, and a machine room enabling interconnectivity through the entire studio complex.  

The main control room now has a 5.1 monitoring array comprising Genelec 8351A Smart Active Monitors as the L-C-R front array, a pair of 8341A Smart Active Monitors as the rear-surround array — all part of Genelec’s “The Ones” series of products — and a 7380A Smart Active Subwoofer. The second control room now has a Genelec 8020.LSE Espresso 5.1 monitor system with five 8350A Smart Active Monitors around the room and a 7050B Studio Subwoofer. The systems’ Smart Active Monitor technology allows them to make the most of all modern acoustic environments.

“It was time to update our monitoring, and we wanted a speaker that would be consistent throughout the studio complex,” explained Michael Harvey, program director, Audio Technology, Dept. of Performing Arts, at American University. “We wanted the mixes to be able to translate seamlessly between the two main control rooms. But just as importantly, we wanted our mixes and recordings to translate accurately everywhere else, too. We wanted speakers that would let our students become familiar with what leading engineers and producers use everyday. That is Genelec.”

Harvey said the two Genelec-equipped studios are of different sizes, but the two different Genelec speaker series they bought are both perfectly suited to each room’s dimensions and acoustics, yet also provide the brand and response consistency that they sought, so that as mixes and recordings move from studio to studio, students always hear a familiar tonality.   

“We have one professor who adjuncts here when he’s not working with artists like Florence + The Machine and Shakira,” he added. “He teaches a master-level class here and recommended the Genelecs, saying that these are speakers he encounters when he’s working in professional studios. We made the right choice. The Genelecs hit all the right notes, room to room, facility to facility.” 

www.genelecusa.com/

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The Focusrite Group, which comprises the Focusrite, Focusrite Pro, Novation and Ampify Music brands, has acquired leading studio monitor company, ADAM Audio GmbH of Berlin, Germany.

It marks the first acquisition for The Focusrite Group since going public in 2014.

“I am delighted that we have an important new addition to our family of brands. For the Focusrite Gro­­­up, the creation and recording of music is everything,” said Focusrite founder and chairman Phil Dudderidge. “With a vision to create the most holistic creative experience for recording professionals and musicians alike, choosing the right high-precision studio monitor brand is key. Together with ADAM Audio we can achieve so much more, removing the technical barriers that frustrate artists seeking to record and reveal their true sound.”

Tim Carroll, CEO of the Focusrite Group, added: “ADAM Audio is undeniably a leader in the field of electroacoustics. The A7Xs and S3s have become standards in recording spaces across the globe. Even so, I know the team have no interest in resting on their laurels. We need to ensure they receive all the support they require to continue raising the sonic bar.

“That our two companies are so aligned from a cultural perspective reassures me that, as we increasingly work together, great things will happen. With so much expertise between us in acoustics, sound reproduction, DSP, Audio-over-IP and control, the opportunities are abundant to refine recording and production workflows together.”

ADAM Audio will continue to operate out of their main offices in Berlin, Germany, under the leadership of Christian Hellinger, who commented:

“What a perfect beginning for the next chapter of our great company’s story. I’m so proud of what the ADAM Audio team has achieved over the past 20 years, and can’t wait to see what we’ll achieve together with the Focusrite Group in our 3rd decade of creating future-oriented innovative professional monitoring and loudspeaker technologies.”

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