8040B

Studiomonitori

Suorituskykyinen 8040B soveltuu moniin käyttötarkoituksiin, kuten audio- ja videotuotantoympäristöihin.

Active Crossovers

Directivity Control Waveguide (DCW™)

SPL

105 dB

Taajuusvaste

41 Hz - 25 kHz (-6 dB)

Mitat

H 365 x W 237 x D 223 mm, Iso-Podin kanssa™ (muunna tuumiksi)

Tinkimätöntä

8040B on erittäin suorituskykyinen tarkkailukaiutin ja soveltuu siten moniin käyttötarkoituksiin, kuten äänitysstudioihin, jälkikäsittelyyn, ulkolähetysautoihin sekä radio- ja tv-lähetystarkkaamoihin.

Tehoa ja tarkkuutta

Genelec 8040B on pienikokoinen tarkkailukaiutin, jossa on suuri maksimiäänenpaine, erittäin tasainen taajuusvaste ja laaja taajuuskaista. 8040B:n perustana ovat laadukkaat kaiutinelementit, optimoidut elementtikohtaiset tehovahvistimet, aktiiviset jakosuotimet ja elementtien suojapiirit. 8040B:ssä on Minimum Diffraction Enclosure (MDE™) -kotelo ja edistynyt Directivity Control Waveguide (DCW™) -suuntain. Kaiutin tuottaa ensiluokkaisen taajuusvasteen ja neutraalin äänikuvan kaikissa tuotantoympäristöissä. 8040B:ssä on Genelecin Intelligent Signal Sensing (ISS™) -toiminto, joka kytkee kaiuttimen automaattisesti valmiustilaan käytön päätyttyä. ISS on ErP 2013 -direktiivin mukainen.

Genelec

8040B Studiomonitori tummanharmaa

8040B Studiomonitori valkoinen

8040B Studiomonitori RAW

MIPA (Musikmesse International Press Award) 2005 - Best Studio Monitor (Nearfield)

Värivaihtoehdot:

Etsi jälleenmyyjäsi

Pakkaus sisältää:

1 x 8040B tarkkailukaiutin
1 x virtajohto 1,8 m
1 x käyttöohje
1 x IsoPod -pöytäjalusta

Värivaihtoehdot:

Genelec

8040B Studiomonitori tummanharmaa

8040B Studiomonitori valkoinen

8040B Studiomonitori RAW

SPL

105 dB

Vahvistimen teho

90 W Basso (AB-luokka) + 90 W Diskantti (AB-luokka)

Taajuusvaste

41 Hz - 25 kHz ("-6 dB")

Taajuusvasteen tarkkuus

± 2 dB (48 Hz - 20 kHz)

Kaiutinelementtien mitat

⌀ 165 mm Basso + ⌀ 19 mm Diskantti (muunna tuumiksi)

Mitat

H 365 x W 237 x D 223 mm, Iso-Podin kanssa™ (muunna tuumiksi)

Paino

9.4 kg / 20.7 lb

Liitännät

1 x XLR Analoginen Sisääntulo

Avaa lisätiedot

Avainteknologiat

Active Crossovers

Directivity Control Waveguide (DCW™)

Intelligent Signal Sensing (ISS™)

Iso-Pod™ Stand

Minimum Diffraction Enclosure (MDE™)

Optimized Amplifiers

Protection Circuitry

Reflex Port Design

Room Response Compensation

Versatile Mountings

Referenssit

Immersive Talk with 8082 Audio Studio

We recently caught up with Jackie Li, Sean Xu and Chocolate Zhu, the three esteemed co-founders of China's influential Genelec-equipped 8082 AUDIO STUDIO, which is particularly known for its work on popular games such as Honor of Kings, Onmyoji and Black Myth: Wu Kong. There, the trio talked about how they've successfully worked together to build a studio that delivers immersive audio productions of the highest quality.

Lue lisää

Genelec Smart Active Monitors™ chosen by Mr. Bronx Audio Post

Known as “Bronx Audio,” this boutique audio post-production facility located in the Flatiron district of New York City has three immersive rooms all outfitted with monitors from Genelec.

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Immersive Talk with Jeff Dittenber

Genelec recently caught up with experienced Sound Designer Jeff Dittenber at Yessian Music and Sound in Detroit, USA, where he opened up about how the studio works with immersive audio and what opportunities that offers them.

Lue lisää

Dubbing Brothers Chief Technology Officer Jérôme Malaize, pictured in Stage 108 of the company’s newly expanded Paris facility.

Dubbing Brothers chooses Genelec for latest Paris expansion

Leading dubbing house equips multiple new immersive rooms with Genelec.

Lue lisää

Immersive Talk with Yoad Nevo

Genelec recently caught up with legendary producer and studio product developer, Yoad Nevo, at his studio in East London. Known for collaborating with artists such as Sia, Bryan Adams, Pet Shop Boys, Giggs, Goldfrapp and Sugababes – to name but a few – Nevo works at the very highest level and was delighted to share a few of his experiences of immersive audio with us.

Lue lisää

Hungarian State Opera selects Genelec monitors for new 5.1 studio

Genelec’s The Ones power new Fricsay Studio.

Lue lisää

Immersive Talk with KMR Studios

We recently caught up with Studio Manager and Producer, Filip Killander, of KMR Studios in Uppsala, Sweden, to chat about his studio's recent upgrade and life as an immersive audio engineer.

Lue lisää

Genelec helps Sound Rush create ‘the best studio in the Hardstyle scene’

Netherlands-based duo choose 1238, 7380 and 8040 models for stunning new room.

Lue lisää

Genelec visits DJ Producer Joel Corry's home studio

The second video in our Pro at Home series sees us visiting the home studio of star DJ Producer Joel Corry to learn more about his career, his inspiration and his creative process.

Lue lisää

Pressure Cooker builds up steam with Genelec

Music and sound design house Pressure Cooker in Cape Town have standardised on Genelec throughout their new facility.

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Genelec 8040B Studio Monitors at the Red Bull Music Academy in Montreal

For their 19th season, The Red Bull Music Academy landed Montreal, Canada. A hired team overtakes a building to transform the environment into a working, collaborative musical jungle.

Lue lisää

Rael Jones: Scoring Harlots

“I’ve actually only ever had one pair of monitors in my life, which may sound odd, but if they work so well, why change them? And that’s my pair of Genelec 8040s"

Lue lisää

Tuotantotalo Director's Cut luottaa Genelecin monitorointiin myös TVOF-tuotannossa!

Genelec Calibration | Room EQ Wizard & DIP switches explained

Tuotantotalo Director's Cut luottaa Genelecin monitorointiin myös TVOF-tuotannossa!

Äänisuunnittelija Tomi Kolistaja toimii äänikäyttömestarina The Voice of Finlandin livetuotannossa. Tomi esitteli meille Director's Cutin ulkotuotantoautoa, josta käsin varmistetaan äänenlaatu lähetyksen aikana. Auton äänitarkkaamo on varustettu Genelecin 8040 ja 8030 studiomonitoreilla, sekä 7060 subwooferilla.

Genelec Calibration | Room EQ Wizard & DIP switches explained

Quickly learn how to calibrate Genelec loudspeakers and monitors using their DIP switches and Room EQ Wizard software.

"There’s a lot of technology at play here, but the net result is a speaker which is easy to set up, reliable, forgiving and true."

Monitoring Sound in the Studio - TV-Bay Magazine (PDF), November 2012 (UK)

Lue lisää

Etsi jälleenmyyjäsi

Kirjoita kenttään sijaintisi ja löydä lähin jälleenmyyjäsi.

Paikanna

Rajausvaihtoehdot

Dokumentit

Datasheet 8040B Käyttöopas 8040B Quick Setup Guide 8040B

Tiedostot

Line Drawings (DWG) 8040B Line Drawings (PDF) 8040B 8040B - Simulation File (CLF) 8040B - Simulation File (EASE3) 8040B - Simulation File (EASE4)

Arviot

Monitoring Sound in the Studio - TV-Bay Magazine (PDF), November 2012 (UK)

UKK

What types of damping materials are used inside Genelec monitor and subwoofer products? Are the materials safe to use?

Damping Materials Used in Our Monitors

Genelec products use various damping materials such as glass fiber wool, linen fiber wool, and polyester fiber based material (PES). The tables presented below provide a detailed listing of our monitor models and the type of damping material used in each model.

During operation, the air moving in and out of the monitor loudspeaker or subwoofer bass reflex openings does not emit significant amounts of fiber particle dust. The PES wool as material does not emit dust. The linen wool, and glass fiber wool can emit minimum amounts of dust during very high sound level operation. This fiber dust is not hazardous to health.

Studio monitors

SAM™ Studio Monitors	Damping material type
1032C	PES
8320A	PES
8330A	PES
8340A	PES
8350A	PES
8130A	PES
8240A	PES
8250A	PES
8331A	PES
8341A	PES
8351A	PES
8351B	PES
8361A	PES
S360	PES
8260A	Linen wool
1238CF	Linen wool
1238DF	Linen wool
1237A	Linen wool
1238A	Glass wool
1238AC	Glass wool
1234A	Glass wool
1234AC	Glass wool
1236A	Glass wool

SAM™ Studio Subwoofers	Damping material type
7260A	Linen wool
SE7261A	Linen wool
7270A	Linen wool
7271A	Linen wool
7350A	Linen wool
7360A	Linen wool
7370A	Linen wool
7380A	Linen wool
7382A	Linen wool

8000 Series Studio Monitors	Damping material type
8010A	PES
8020D	PES
8030B	PES
8030C	PES
8040B	PES
8050B	PES

1000 Series Studio Monitors	Damping material type
1032B	Linen wool
1037C	Linen wool
1038CF	Glass wool
1038B	Glass wool
1038BC	Glass wool
1034B	Glass wool
1034BC	Glass wool
1039A	Glass wool
1035B	Glass wool
1036A	Glass wool

M Series Studio Monitors	Damping material type
M030	PES
M040	PES

7000 Series Studio Subwoofers	Damping material type
7040A	Linen wool
7050B	None
7050C	Linen wool
7060B	Linen wool
7070A	Linen wool
7071A	Linen wool
7073A	Glass wool

Home Speakers

G Series Active Speakers	Damping material type
G One	PES
G Two	PES
G Three	PES
G Four	PES
G Five	PES

F Series Active Subwoofers	Damping material type
F One	None
F Two	PES

Home Theater Speaker Series	Damping material type
HT210B	Linen wool
HT312B	Glass wool
HT315B	Glass wool
HT320BC	Glass wool
HT324A	Glass wool
HT324AC	Glass wool
HT330A	Glass wool

Home Theater Subwoofer Series	Damping material type
HTS3B	None
HTS4B	None
HTS6	Glass wool

Installation Speakers

4000 Series Installation Speakers	Damping material type
4010A	PES
4020B	PES
4020C	PES
4030B	PES
4030C	PES
4040A	PES

Architectural Speaker Series	Damping material type
AIC25	PES
AIW25	PES
AIW26	Linen Wool
AIW26B	Linen Wool
AOW312	Glass wool
5041A	Linen Wool

How does the input sensitivity work on Genelec speakers?

Input sensitivity can be controlled with a combination of a rotary controller and level range switches on the products. The sensitivity on SAM™ (Smart Active Monitoring) products can be set more precisely using the GLM (Genelec Loudspeaker Manager) software and a computer.

The nominal analogue input sensitivity in Genelec studio monitors is -6 dBu which produces 100 dB SPL audio output at 1 meter in an anechoic room.

The nominal digital input sensitivity is set so that a 0 dB FS digital input produces a theoretical 130 dB SPL sound level at 1 meter in an anechoic room.

The actual maximum SPL depends on the product capabilities and may be lower than 130 dB SPL.

How do I acoustically treat my room so that I get the best from my studio monitors?

Acoustic treatment

This is a very broad subject area covering room geometry, reverberation time, sound reflection and refraction, material properties, etc. However, we built a brief checklist to cover the most important features that a listening room should have. Once the room has been acoustically treated the studio monitors can be installed.

A Brief Checklist for Listening Room Setup

Ensure that the reverberation time is low and approximately constant with frequency.
Primary sources of reflection should be treated, so that reflected levels are at least 10 dB down from the direct sound pressure level at least during the first 15 ms after the arrival of the direct sound at the listening location.
The front wall should be hard and smooth if monitors are flush-mounted. The front wall can be absorptive if monitors are free-standing.

Setting Up Studio Monitors

Position the monitors according to the standard orientations (angles) from the listening position.
Position monitors at equal physical distance from the listening position, or use GLM AutoCal to electronically compensate for differences in monitor distances.
Position the monitors so that there are no cancellation effects from the side walls and the wall behind the monitor.
Turn the monitors towards the listening position horizontally and vertically.
Set the room compensation controls as suggested in the Operating Manual/Quick Setup Guide or use GLM AutoCal to compensate for the room acoustics in the case of SAM (Smart Active Monitoring) systems.

How does a rear reflex port opening work? What are the benefits of such design?

The key benefits of a reflex port opening in the rear of the cabinet

The main benefit of a reflex port in an enclosure is that it enables the loudspeaker to produce low frequencies at a very low distortion level, close to the frequencies where the bass reflex has been tuned. This enables very linear low frequency reproduction systems to be designed.

The bass reflex port allows air to move in and out. The reflex is effective if the energy losses of this air movement remain small. Because of this reason the reflex port is designed so that the speed of the air moving in the reflex port remains fairly small while the port is in resonance.

The direction where the bass reflex port is facing does not greatly influence the work of the bass reflex. While it is in resonance the reflex port generates low frequency sound. This sound sums with the low frequency sound output from the woofer at other frequencies. The distance and location of the bass reflex port is designed so that this summation works correctly.

If the reflex port is not sufficiently large, the air motion in the port can become turbulent (non-linear). This will dramatically increase air flow losses in the reflex port. The higher flow losses can cause the bass reflex to stops working. This will change the low frequency characteristics of the loudspeaker. In Genelec designs we take care to dimension the reflex port to have sufficient capacity to support the system up to the maximum sound level output.

Our reflex port design also minimizes the audibility of air flow in the port. That's because the port opening is faced away from the listener. When the air flow in the port generates noise, this noise is typically 10…20 times higher in frequency than the port tuning frequency. The flow noise is therefore rather directional, and by having the port opening in the back, this noise is well attenuated compared to having a port in the front and directing such noises towards the listener.

Summarizing the key benefits

It allows to have a maximized waveguide (DCW) area on the enclosure front
It minimizes acoustic diffraction as the front of the enclosure has no holes, vents or slots. This is especially significant near the tweeter.
The port opening, or flare, can be significantly larger, ensuring laminar flow up to high sound level outputs, high linearity and low system distortion at woofer frequencies.
It minimizes the audibility of air flow in the port.

Tips for a proper studio monitor placement

In several Genelec products the bass reflex port opening is behind the enclosure. When you push the loudspeaker close to a wall, a small gap to the wall is needed to enable the bass reflex to work at full capacity. Our experiences show that a distance of twice (2x) the port diameter from the wall to the enclosure back is a very safe distance.

I have no preamp outputs on my equipment. Can I connect my monitors to the speaker outputs of my power amplifier?

Yes and No. Do not connect the monitors directly to a power amplifier output, as the monitor's input stage will be damaged. Use the simple attenuator design shown below. Be sure to make all of the connections shown to minimize noise interference. The 2-core method is preferred over the 1-core method as it gives increased noise immunity and less signal distortion. It is important that all of the connections are made otherwise there could be a loss of input signal level (e.g. XLR pin 3 left floating) or induced hum (e.g. chassis ground and audio ground connected together) due to ground loops.

Please note: do not connect the XLR chassis to XLR pin 1, as this will compromise the RF immunity of the monitor's electronics.

-connection to power amplifier

Amplifier speaker output (max 100W) to XLR input using 2-core or 1-core + screen microphone cable.

Warning!

Do not use this method on bridged amplifier designs as your amplifier may be damaged.
Speaker wires should be used between the amplifier and the attenuator.
Screened (shielded) wires should be used from the attenuator to the monitor input.
One attenuator is required per monitor channel.