Genelec celebrates truthful sound and the passion that powers it.
Genelec – the global leader in professional loudspeaker systems – is marking its 45th anniversary this year by launching the Genelec 45 World Tour, which celebrates the truthful sound and the passion that powers it. The extensive tour combines demonstrations of Genelec studio monitors with a program of premium learning and listening experiences, complemented by a major global music collaboration. The Genelec 45 World Tour provides audio professionals, sonic creators, and audiophiles with a unique opportunity to experience the beauty and power of truthful sound wherever they might be located.
Central to the tour is the Genelec | Experience series of premium events, which includes face-to-face listening sessions at Genelec’s growing international network of Experience Centres, complemented by hybrid and virtual events, regional partner events, and traditional trade shows. The Genelec | Experience will not only provide an opportunity for customers to audition Genelec’s state-of-the-art studio monitors but will also allow customers to learn about and experience a wide range of Genelec stereo and immersive loudspeaker systems in a controlled, critical listening environment.
For those that can’t attend the Genelec | Experience in person, Genelec will also be making full use of its digital channels throughout 2023 to deliver a program of online masterclasses, tutorials, webinars, and informal knowledge-sharing sessions, while the new Genelec Virtual Showroom allows customers across the Professional Audio Monitoring, AV Installation and Home Audio segments to instantly access valuable Genelec information and resources in a unique and visually engaging interactive VR environment. Additionally, the Create With Genelec loan campaign will be run in selected territories to allow audio professionals, creatives and music educators to experience Genelec technology in the comfort of their own environment.
The final element of the tour is the Genelec | Harmony Tracks global music collaboration, which encourages even greater end user engagement in Genelec’s 45th celebrations. Genelec | Harmony Tracks invites participants to submit a piece of music using their own unique style, sound and local culture to create a new, powerful, and unifying patchwork of international musical harmony. The contest winner will receive a pair of Genelec 8330A studio monitors as a prize, and for every song entry submitted, Genelec will donate money to the charity Music Fund, which collects musical instruments, repairs them and gives them a second life by donating them to music schools and socio-artistic projects in Europe, developing countries and conflict zones around the world. Genelec will also be encouraging regional partners to get involved – with the goal of collecting and re-distributing 45 different types of instruments globally in a celebration of the world’s wonderfully diverse musical cultures.
“Over the last 45 years we’ve created quite a company legacy, but none of this would be possible without our customers,” comments Genelec Managing Director Siamäk Naghian. “So we want to use this anniversary year to look forward to the future, and empower and celebrate the people that create and love sound and music. Our passion for perfecting sound is shared by all the professionals and creatives who rely on Genelec technology every day. By inspiring each other, we’re consistently driving the industry forward – and that’s something truly worth celebrating!”
FOH Engineer Kenny Kaiser and Monitor Engineer Marty Beath rely on DPA’s Live Sound Solutions
Always on the lookout for the newest audio solutions for the rock band, The Killers, FOH Engineer Kenny Kaiser and Monitor Engineer Marty Beath were immediately intrigued by DPA’s new 4055 Kick Drum Mic. Among the first to get their hands on the mic, the duo put it to the test at production rehearsals before heading out on the band’s “The Killing the Mirage” tour. After receiving universally positive feedback, the decision was made: DPA’s 4055 Kick Drum Mic was joining The Killers’ touring gear line-up alongside the group’s existing DPA solutions, such as the 4099 CORE Instrument Mics, 4011 Cardioid Condenser Mics and d:facto™ 4018 Vocal Microphone.
Before solidifying their kick drum mic of choice, Kaiser and Beath tested out three variations of a mic setup. “We had a plate mic, a ribbon mic and then the new DPA,” explains Beath, “and we were swapping between them, listening to what we could get out of each combination. Because the DPA is linear, you have to shape it, but that’s great because that’s what you want—to have control and not be dictated by the voicing of the mic. So, I think it’s fantastic for this drum, but it will also translate across multiple drum kits.”
Beath continues, saying, “It can handle the SPL, no problem whatsoever, and we’ve pretty much maintained our normal placement. We’ll probably experiment as we go along and get more comfortable with it, but so far, it’s mind-blowing.” Kaiser also notes that the mic’s voicing is one of the key standouts for the pair. “The overall design of this [mic] answers that famous line of optimize or compromise,” Kaiser explains. “The compromise for us is we have a very loud stage, so being able to design everything around that is huge.”
On the rest of the drum set, the pair utilizes DPA’s 4099 CORE Instrument Mics for tom toms and under the cymbals, along with 4011 Cardioid Condenser Mics on snare top and bottom, as well as on the hi-hat. “I’ve used the DPA CORE technology on lots of other acts and thought that it would be the greatest solution for [’The Killers’] kit because it is so small,” explains Beath. “We try to under-mic the cymbals because of the spill from the wedges, so we get a lot more isolation…and can control the stereo image more.”
The duo also notes that the 4011s provide the transient attack that people love without having to manage it too hard. “The previous mics we had, you had to do more finessing to get the tonality we wanted and lost a lot of that [transient sound],” explains Kaiser. The pair also loves the simplicity and subtlety of the DPA solutions, which allow for less mic stands and a neater stage presence without compromising on sound quality.
Also on stage are the d:facto 4018 Vocal Microphones, which Kaiser and Beath rely on for backing vocals. Working front of house, Kaiser’s main concern was loudness and trying to manage that volume. “I’m typically about 75 feet off from front of house,” he explains, “and I’m at 96 dB(A) with the PA off with just the wedges―it’s loud.” The d:facto makes this task a breeze, with Beath adding, “it’s simple to prove the rejection from a d:facto. You turn it 90 degrees, 180 degrees, and there’s nothing. You scream into the back and there’s nothing. It’s tightened everything up, and there’s no bleed―it’s amazing.”
The Killers closed out the U.S. leg of their tour on October 12. The band is now making stops throughout South America, New Zealand, and Australia to wrap up 2022.
ApexPro is the recognized distributor of DPA Microphones in Africa. Reach out to us to find out if DPA is the right solution for your installation or touring needs.
Q Up Arts Founder and Composer Douglas Morton Relies on Brand for Immersive Aquarium Exhibit
A journey into the depths of the ocean is out of grasp for most, but Q Up Arts Founder and Composer Douglas Morton has helped bring the sounds of the Earth’s waters to shore for a new immersive aquarium experience that takes visitors through galleries filled with deep sea animals, original music and ocean video footage. To craft compositions that transport and inspire listeners, Morton needed microphones that could keep his recordings as authentic and natural as possible and selected DPA Microphones’ 2011C Compact Twin Diaphragm Cardioid Microphones.
“I choose mics based on what type of instrument or sound I’m going for. What’s great about the 2011s is the amount of detail that they pick up without coloring the sound. It’s like capturing a hi-res photo, you get all the little details and trails of sound. I used a couple of tongue drums for the score. I was just barely hitting those drums, but with the 2011s you can hear the full attack of the mallet. I even played them with my hands a little bit and you can hear right when my fingers hit the drums. The mics captured all the delicate nuances of the instrument.”
– Douglas Morton
Visitors can hear Morton’s compositions throughout the exhibit, transitioning seamlessly between songs and rooms. “As people travel through each gallery, it’s as if they’re on a journey descending down through the water to the ocean floor,” he continues.
“One room, designed to place guests in the middle of the ocean rather than the surface or floor, features a wall of 4K monitors displaying bright bioluminescent sea creatures. Wanting to take advantage of this massive visual aspect, we decided to add a Dolby Atmos mix within the room. Speakers to the front, overhead, sides and rear of the guests combine with psychedelic imagery to create an out-of-body immersive underwater experience.”
– Douglas Morton
When Morton began writing the score, he “tried to imagine what the water felt like and what we wanted people to feel as they traveled through the exhibit. A huge part of the compositional journey was just choosing sounds. It’s different than scoring a movie or TV show, we don’t want the music to be too stylized. If a guest is listening to the music instead of looking at the visuals, then I’m not doing my job. I ended up creating a beautiful, deep, dark, sonic landscape. The 2011s work well for this kind of recording because they’re so transparent and clear. They capture the delicate attack and sustain of the instruments.”
Besides traditional instruments, Morton was also able to utilize the sounds of real aquatic animals for his compositions. Underwater recordings of Monterey Canyon featured animals like blue whales, sperm whales, and dolphins, but also natural phenomena, like underwater landslides. Morton added samples of the blue whales to his composition for an expansive, ominous portion of the gallery that replicates the sea floor and the life cycle of a whale.
As President and Founder of sampling and music production company Q Up Arts, Morton has utilized DPA’s mics for a variety of projects through the years. “I’ve tried different microphones before,” adds Morton, “but I always come back to DPA. They’re my go-to mics. Ultra-transparent, super clear, and a small sonic footprint, so they’re not going to color the sound. If I’m recording, what I’m hearing in the room is what the DPAs are going to sound like. That’s one of the biggest benefits of DPA mics, they’re so beautifully transparent. I’m a huge fan; they’re the number one microphones in my collection.”
Award winners will be announced Saturday, April 13, 2023, at The NAMM Show in Anaheim, California.
Genelec, the leader in active monitoring technology for over four decades, is proud to announce that it has been nominated for two Technical Excellence & Creativity (TEC) Awards. Genelec’s GLM 4.2 GRADE™ (Genelec Room Acoustic Data Evaluation) has been nominated for Outstanding Technical Achievement in the Production Essentials category, and the 6040R Smart Active Loudspeaker has been nominated for Outstanding Technical Achievement in the Studio Monitors category. The 38th annual TEC Awards will be held Saturday, April 13, 2023, at The NAMM Show in Anaheim, California. For invited members, voting in each category will begin on December 21 and end on March 1, 2023. Finalists from the 22 categories will be selected by industry professionals across major music, sound, and game audio associations, along with pro audio-focused media groups.
“It is a tremendous honor that our GLM 4.2 GRADE technology and our 6040R loudspeakers have been nominated by industry professionals for outstanding technical achievement. It is great to be recognized by our peers for the Genelec organization’s hard work, dedication and innovation, resulting in these tools being brought to the marketplace.”
Will Eggleston, Genelec Inc. Marketing Director
Presented annually by NAMM during The NAMM Show, The NAMM TEC Awards recognize the individuals, companies, and technical innovations behind the sound of recordings, live performances, films, television, video games, and other media in Technical and Creative Achievement Categories. The Les Paul Award is given at the event in tribute to musical artists and others whose work has exemplified the creative application of audio technology. Through its Hall of Fame, The TEC Awards also honors the pioneers of audio technology and the music industry’s most accomplished producers and audio technicians. The NAMM Foundation’s TECnology Hall of Fame celebrates innovations and groundbreaking technical achievements of the past. For more information, visit www.tecawards.org
About Genelec GLM GRADE™:
GRADE™ (Genelec Room Acoustic Data Evaluation) is a powerful new reporting tool in GLM that creates a full analysis of room and monitoring system performance, revealing the information needed to effectively fine-tune acoustic treatment, adjust monitor and listener positioning, and optimize bass management.
About the Genelec 6040R Smart Active Loudspeaker:
Genelec’s two-way 6040R Smart Active Loudspeaker was introduced as the first model in its Signature Series. 20 years after the launch of the original 6040A, the newly re-imagined 6040R now features professional-grade LF drivers, proprietary Class D power amplifiers, and tight integration with our GLM calibration software. This allows the 6040R to deliver clean performance, a consistently smooth frequency response, precise imaging and low distortion – even in challenging acoustic environments. Created in conjunction with celebrated Finnish industrial designer Harri Koskinen, the floor-standing 6040R fuses the very best of Finnish technology and design, bringing exceptional performance and beautiful aesthetics to all lovers of high-quality audio.
ApexPro is the sole distributor of Genelec Professional products in Southern Africa.
Photo: Olivia BastonePhoto: Olivia BastonePhoto: Olivia Bastone(L-R) Josh Osmond, FOH Engineer; Ryan Cornelius, Systems Engineer/Crew Chief. Photo: Olivia BastonePhoto: Olivia BastonePhoto: Olivia Bastone(L-R) Ryan Cornelius, Systems Engineer/Crew Chief; Josh Osmond, FOH Engineer; Tyler Harris, PA Tech; Kevin Hu, Monitor Tech; Tucker Arbuthnot, PA Tech; Francois Pare, Monitor Engineer. Photo: Olivia BastonePhoto: Olivia BastonePhoto: Olivia BastonePhoto: Olivia Bastone
Cementing their status as one of this year’s premier concert draws, The Lumineers zigzagged across the continent this summer on the North American leg of their “Brightside World Tour.” Playing a mixture of sheds and arenas along with the occasional baseball stadium, the band delivered their trademark blend of alt-folk and Americana through a Meyer Sound LEO Family reinforcement system supplied by Escondido, California-based Sound Image.
Production Manager Sara Full, a pivotal player on The Lumineers’ team since 2013, emphasizes the key role of audio reinforcement in maintaining the band’s popularity. “The Lumineers’ music transitions between stripped-back moments and momentous builds, and capturing those dynamics in a way that translates uniformly — from the first fan in the pits to the last in the upper 300s — is essential to fulfilling expectations and making sure fans will come back for more. Our collective desire, band and crew, is to produce amplified sound in an arena that is comparable in quality and clarity to what the audience would hear acoustically. Simply put, the Meyer Sound system reproduces what the band is doing with purity but translates it to a large audience.”
Full also gave a tip of the hat to Sound Image for their role. “Jesse Adamson, our Sound Image representative, has been working with us since 2016 and has been diligent in making sure we have the best technicians with the proper training and skill. Sound Image also has done a great job of supporting us overseas, helping to ensure that we have access to the same Meyer Sound boxes worldwide.”
The Lumineers’ live mix benefits from the experience and practiced ears of veteran FOH Engineer Josh Osmond, who has also been with the band since 2013.
“The most important factor for me is consistency,” says Osmond. “The mix itself is subjective, and once the band and I are on the same page as to what the show should sound like, then it’s up to me to make that sound as consistent as possible, night in and night out. That’s where using the Meyer Sound systems has really paid off. With the linear phase response of the LEO Family and the flexibility available through Compass control software, Meyer has given me all the tools necessary to achieve this goal.”
Osmond is also a fan of Meyer Sound’s inherent self-powered architecture. “Self-powering has a number of benefits, including requiring less truck and floor space. It also eliminates long speaker cable runs from the amplifier on the ground to the speakers in the air. As a result, there is a transient response that other boxes don’t have.”
As configured for most shows, The Lumineers’ touring rig comprises left and right main hangs of, per side, 12 LEO line array loudspeakers over six LYON-M line array loudspeakers. Side arrays are 16 LYON each (eight LYON-M and eight LYON-W), the 270 hangs each deploy 14 LEOPARD compact line array loudspeakers, and six LEOPARD loudspeakers form the center array. Nine 1100‑LFC low-frequency control elements are flown per side as steerable cardioid arrays.
Locally sourced delays were added for most baseball stadium shows, though the final show at Chicago’s Wrigley Field posed a particular problem as venue management would not permit delay towers, only limited ground-stacked systems on roll-in carts.
“Those delay stacks had limited uptilt to reach the steep upper levels, so the main system had to do more work to cover those seats,” says Osmond. “I received several comments from band management and friends who listened from these areas, and they said it sounded as if they were down at front of house. The LEO Family is known for doing a fantastic job in long-throw situations, and it really proved itself on this show.”
For optimization and signal distribution, the system utilized eight Galileo GALAXY Network Platform processors, all linked on an AVB network running the Milan protocol. The fully redundant network, implemented on a quad-core fiber link, has a primary network with AVB only and a secondary network carrying AVB, RMS system monitoring, and Compass control. The quad-core link allows connection of both the stage right and stage left racks to the FOH master processor with no additional switch hops.
“The biggest advantage of AVB over analog or AES3 is having fewer connections,” says Ryan Cornelius, the tour’s systems engineer. “I can route our entire drive signal flow over two cables. It’s also more flexible, as I can reroute or add inputs to the GALAXY processors with a couple of mouse clicks, rather than digging through the back of the rack for tie lines.”
Other key members of the audio crew are Monitor Engineer Francois Pare, Monitor Tech Kevin Hu, and PA Techs Tyler Harris and Tucker Arbuthnot.
Though with early roots in New Jersey, founding band members Wesley Schultz and Jeremiah Fraites relocated to Denver before breaking through with their chart-topping single “Ho Hey” in 2012. The 2022 tour, supporting the band’s fourth studio album, Brightside, launched with a European leg in late winter. The North American leg, spanning a total of 52 shows in 49 cities, kicked off in Jacksonville on May 17 and wrapped at Wrigley Field in Chicago on September 3. “Brightside World Tour” placed consistently among Pollstar’s top 10 tours throughout the summer.
This multi-sport games gathered around 3,600 athletes from over 100 countries. The World Games was originally planned for 2021 but postponed to 2022 due to the COVID-19 pandemic.
The production company ISB produced the television signal and were also in charge for selling the worldwide broadcasting rights. Close cooperation with the Olympic Channel also ensured that stories of the Games were transmitted to all parts of the world.
ISB deployed AEQ’s AoIP CrossNet Intercom System for the technical coordination and for the Commentary Audio a combination of the AEQ Olympia 3 AoIP Commentary Units and portable IP AudioCodecs Phoenix ALIO were used. Additionally the Olympic Channel in Madrid were using the AEQ VENUS 3 IP Codecs with local AoIP for the commentary program audio and coordination with commentators in Birmingham.
On the other hand, there were federations with their own technical equipment such as the World Flying Disc Federation opted for the new AEQ TALENT ultracompact IP audiocodec for their Commentary and production coordination.
AEQ Olympia 3 represents a breakthrough in Commentary Systems, providing greater flexibility and adaptability to different event sizes. This way, Olympia 3 has been designed to suit large events with hundreds of commentary positions at the same venue, as well as more modest installations where it may operate as a stand-alone unit or in an OB Van linked to an AoIP Intercom System.
AEQ Crossnet is a compact, intercom matrix with IP connectivity, based on Dante technology, compatible with the new AES 67 standard, carrying high quality audio suitable for broadcast. It also has high quality balanced analogue audio inputs and outputs and includes support for Kroma’s legacy IP panels and interfaces with compressed audio, and for Kroma panels with digital audio link.
AEQ Phoenix ALIO is a dual stereo channel portable IP audio codec. It has been specifically designed for sports broadcasts. Its design, compact, and resistant to pressure, shock, and even liquids, is optimized for use outdoors where treatment cannot always be sufficiently careful. This portable mixer consists of four microphone inputs with switchable phantom power, two line inputs and outputs, two headphone outputs, volume control and TX/RX mix, individual bass and treble control adjustment for each input channel, plus full duplex communication, with one stereo channel back and forth.
