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Anyone ever used Genelec 1037a’s for filmmix? Effects Pedals, Units & Accessories
Old 1 week ago
  #1
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Anyone ever used Genelec 1037a’s for filmmix?

Just curious :-)
Old 1 week ago
  #2
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minister's Avatar
Georgia Hilton had a set on her stage.
Old 1 week ago
  #3
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I can get an LCR set quite cheap for a 7x5 m new room. Seems like a lot of headroom for the price
Old 1 week ago
  #4
I wouldn't... the 103x line is way too fatiguing in my opinion... after about 4-6 hours you're ears will be very mad at you.

Also I don't feel like they translate very well, but that may just be personal pref.
Old 1 week ago
  #5
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i absolutely would buy them: possibly one of the best sounding speakers i ever got to mix on (i do/did have tad, augspurger, tannoy, genelec, quested, dynaudio, barefoot, k+h, fostex), far above smaller gen 103x imo.

but as with any system, i'd use external analyzer/dsp to correct...
Old 1 week ago
  #6
Quote:
Originally Posted by deedeeyeah View Post
...i do/did have tad, augspurger, tannoy, genelec, quested, dynaudio, barefoot, k+h, fostex...
have you mixed films on all of the above?
Old 1 week ago
  #7
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These are the 3-ways right? I agree about the hard-to-listen-to aspect of the 2 way Gens (just my opinion) but I really like their 3 ways. If you have a sub and some rears that will work with these then this might be a real score.
Old 1 week ago
  #8
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Quote:
Originally Posted by Branko View Post
have you mixed films on all of the above?
no, i'm mostly mixing music (these days). i did mix films on tannoy, genelec, dynaudio and quested to be precise - but frankly, i do NOT think that there are speakers that qualify just for film or music mixing (or just tracking but not mixing - or just one genre of music) although some manufacturers may want us to believe this (or signed/got pushed into some obscure licencing/certification scheme)
Old 1 week ago
  #9
Quote:
Originally Posted by deedeeyeah View Post
i did mix films on tannoy, genelec, dynaudio and quested
Those are very different speakers. Did you work in the same room? Was it a mix for a theatrical release?
Pardon my curiosity, I am very sensitive about monitoring and I'm always interested in finding out how some mixers manage to find their way on setups I can't work on at all.
Old 1 week ago
  #10
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Quote:
Originally Posted by Branko View Post
Those are very different speakers. Did you work in the same room? Was it a mix for a theatrical release?
Pardon my curiosity, I am very sensitive about monitoring and I'm always interested in finding out how some mixers manage to find their way on setups I can't work on at all.
very different speakers indeed! they were/have been used in different rooms at different periods of time (mid nineties until now) - here's my very personal rating on some of them (all systems being 5.1 or larger).

---

the 1037's unfortunately got sold when the studio i got to work for (they did everything from commercials to theatrical releases and ambisonic mixes for art installations) struggeled about 10 years ago; funny enough i get to work at a music mixing/mastering studio on the very same speakers again (in stereo). - the 5.1 room with the 1037's was really impressive! i personally didn't like the sub though (don't remember which genelec sub) so i brought in a meyer sub from our friends of the live sound department.

i own a much smaller set of genelec 1029/1091 speakers; like to double check on this but there's no comparison to larger and/or their newer 3-way speakers - very portable though (and using some dsp does help). throughout the years, i got to buy quite a few of these speakers rather cheap so i'm up to 10 tops and 2 subs right now...

---

dynaudio in my experience didn't shine on anything particularly, but were not bad on anything either - neutral, maybe a bit 'mellow' in sound...

the dynaudio's made me start using external dsp for correction of speaker response (and compensation of sub-par room treatment): yamaha dme 24n in earier years, now mostly lake controllers (or galileo sometimes).

the system (from a friend's studio) got split/sold eventually. speakers are now getting used for music tracking in 2.0 and mixing in 3.1 at a studio across the town.

---

after 25 years, i'm still using the tannoy dmt10's to this day! (with a neumann kh810 sub): like them for both their coaxial design and their horn (like) characteristics: to my ears, they translate best to hornloaded pa systems - which is important to me as the majority of my work these days is live mixing and about 25% of it is in surround/multichannel (anything from 3.1 to high order ambisonic). i need to mention that i drive them actively by lake controllers/lab gruppen amps, so lots of dsp at work here on my 7.1 system.

this system goes VERY loud if needed (never actually, but some producers seem to have fun with it). i never measured but we're talking some serious spl capacities and the throw from the horns is amazing: helps cutting through screens much better than any other tweeters - would i buy anything new with somewhat similar capabilities, i'd probably audition alcons (with ribbon tweeters which go higher than any horn can go by design)!

i like the tannoy's cause i'm so much used to them - something not to be underestimated imo...

---

the quested speakers are quite remarkable for two things: i can mix on these at much lower levels than on any other system and yet mixes translate very well. the other thing is that for whatever reason, wind instruments on these sound different than on any other system i came across - now wheter this is good or bad i still cannot decide, but i need to have a pair of familiar speakers (frombanother manufacturer) to compare.

another friend of mine owns a 6.1 system and does mainly fim mixes for theatrical release. dunno models (possibly out of production by now) yet newer models seem to have somewhat similar characteristics.

---

i'd like to mention i'm draging a b&k/smaart/lake system anywhere i go, most studios are well treated plus i stick to my preferred curves pretty much, so my comparison is not (entirely) based on some random parameters.


hope this may help to put things into perspective a bit...


---

p.s. almost forgot to mention older k+h/newer neumann kh systems: like them a lot and they seem to require less corrections than other systems.

Last edited by deedeeyeah; 1 week ago at 11:21 PM.. Reason: typo and a few details added/edited
Old 1 week ago
  #11
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minister's Avatar
Quote:
Originally Posted by philper View Post
These are the 3-ways right? I agree about the hard-to-listen-to aspect of the 2 way Gens (just my opinion) but I really like their 3 ways.
Seconded.

Quote:
Originally Posted by philper View Post
If you have a sub and some rears that will work with these then this might be a real score.
Perhaps. But personally, having worked on Genelecs for years, I'd go for a different setup. Not crazy about their subs....

Speakers can be like eyeglasses, not all work for everyone.
Old 1 week ago
  #12
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I've been mixing on soffit mounted 1037s in LCR with 1032s for rears since 2006 in a medium size Russ Berger room.

However, I don't mix for theatrical release.

They're not fatiguing like the small 2 ways. Gobs of headroom and uber flat. Fantastic speakers.
Old 1 week ago
  #13
i've mixed on Genelecs for broadcast, video, and theatrical for years... never had a problem with fatigue and lots of great comments from clients... no issues with Genelec what so ever.
Old 1 week ago
  #14
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I have. They are fantastic speakers and as already mentioned have tons of headroom. I did mostly TV but at least 2 films (plus some animated features).

And as much as I loved them I did not like mixing a film on them. They do not sound like loudspeakers (obviously) so it’s quite an adjustment if you go between them and a horn-loaded dub stage. Could be a personal preference. They are certainly flat and trustworthy.

Also at first I did not like mixing on 3-way monitors. I was used to near and mid field 2-ways. So it took me a few mixes to learn to trust what I heard as opposed to compensating like on the smaller Gennies.
Old 1 week ago
  #15
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I can understand that. But the room is too small to do a “proper” filmmix anyway. So either it will be a premix and finish somewhere else, or it’s a “it’s for TV, we don’t have any money, but do want to Premiere it at a theater DCP” kinda thing.

For that last scenario, I’ll take my chances and they really aren’t in a position to complain. I just want the headroom/spl.
Old 1 week ago
  #16
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Quote:
Originally Posted by pethenis View Post
I can understand that. But the room is too small to do a “proper” filmmix anyway. So either it will be a premix and finish somewhere else, or it’s a “it’s for TV, we don’t have any money, but do want to Premiere it at a theater DCP” kinda thing.

For that last scenario, I’ll take my chances and they really aren’t in a position to complain. I just want the headroom/spl.
Then by all means go for it!
Old 1 week ago
  #17
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Quote:
Originally Posted by smurfyou View Post
Then by all means go for it!
Maybe I Will ;-) what would you say was the biggest learning curve in translating from Genelec 3 ways to a dubstage?
Old 1 week ago
  #18
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If you have a friendly dubstage on hand so you can do some back and forthing w/o spending a lot of $ then for sure!
Old 1 week ago
  #19
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yep work well. I had a basic x curve on the ones I used. Did a couple of films on sets of these - translated pretty well
Old 6 days ago
  #20
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Quote:
Originally Posted by pethenis View Post
Maybe I Will ;-) what would you say was the biggest learning curve in translating from Genelec 3 ways to a dubstage?
I'm now questioning myself if they were 1037 or 1038's. For some reason I'm now thinking 1038 because the woofer was enormous. Mix position was probably a good 15' back. If memory serves. Sometimes I thought they sounded too clean. It was most noticeable to me on dialogue. We didn't implement X-curve or anything because we mixed mostly TV or home release.

Bonus - Listening to music on these was a pleasure.
Old 6 days ago
  #21
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I am currently using 8330A's which I have mixed a cinema feature on. Translation in the cinema was great. Have only ever mixed on these and various Tannoy speakers.
Old 5 days ago
  #22
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1037 is pretty big bass driver for cab size. Very powerful. I find you have to tone down the HF otherwise you may end upo with a slightly dull mix in a X Curve equipped theatre - which they all ought to be but seemingly aren't these days
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