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Genelec 8361A Review (Powered Monitor)

Rate this speaker:

  • 1. Poor (headless panther)

    Votes: 6 0.9%
  • 2. Not terrible (postman panther)

    Votes: 4 0.6%
  • 3. Fine (happy panther)

    Votes: 29 4.3%
  • 4. Great (golfing panther)

    Votes: 639 94.2%

  • Total voters
    678

Spocko

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Currently I'm using a pair of ATC SCM25a and, whilst the 8361s are clearly superior, there is something about their presentation that some may not find agreeable. As Amir mentioned the image created is limited in size (particularly compared to other (floorstanding) speakers) and, I felt, somehow feels fired at you through a narrow opening.
Given the 8361's controlled directivity and dispersion pattern up to 45 degrees in contrast to the SCM25a which has a 5dB dip in the 2kHz region at 45 degrees with noticeable time smearing in the upper bass and lower midrange (see the measurements in this review), my speculation is that you may be perceiving these time domain artifacts as pleasant reverb and a larger image? So it may not be necessarily true to the source, nobody can argue that a little reverb is always welcomed for easy l istening!
 

Pdxwayne

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I recently had the 8361's on a home demo.

Currently I'm using a pair of ATC SCM25a and, whilst the 8361s are clearly superior, there is something about their presentation that some may not find agreeable. As Amir mentioned the image created is limited in size (particularly compared to other (floorstanding) speakers) and, I felt, somehow feels fired at you through a narrow opening.

Don't get me wrong, I loved the 8361s (and I suspect I will be ordering some) but once my demo was over and I switched back to my ATCs, I was struck but the (comparatively) open soundstage. Given that the speakers are a similar size I was puzzled by this.

This got me wondering, what creates a sense of 'openness' in a speaker? Is it that many simply spray their sound all over the place?

Doug
Both you and Amir mentioned soundstage difference. I wonder how to see that in the measurements.
 

audio2920

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I do hear this opinion being expressed now and again; why do you prefer it that way? Or, if you already have elsewhere, could you point me toward the previous post(s)?

One idea I've heard, I believe on the SVS forums, is "why waste your speakers' bass [...]
Good question! I have talked (vented, some my say...) at length about bass management and high channel counts, but not so specifically about why I don't currently bass manage my own LCRs in my *listening* rooms, so:

(a) I believe bass has "stereo" properties. While it may be difficult (impossible?) to localise at very low frequency, you can prove that a sine wave completely out of phase between the L/R will be basically silent on a mono'd bass management system but wide stereo when summing in room with "full range" There's something nice about it.

(b) in one of my asymmetrical rooms it happens that the bass summing of my L(C)R evens out some of the room cancellations. Unusually for me outside of work, I've measured it, and it seems real enough. A bit like multi-sub. I guess if you're running multisub optimisation, or just have a very well behaved room, this isn't relevant and/or may not be so lucky in other setups.

(c) This one kinda circles around my previous thread.... But in simple terms of what it means to me as a listener, I find the bass variance between different content more forgiving without BM. I've never felt the need to tweak anything for a particular viewing like I sometimes did when I ran with BM on all channels.

None of this is anything I feel particularly strongly about, nor is it based on some sort of conceptual ideal it's just where I've landed for now!
 

Eetu

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Dr. Toole has said that for stereo setups, early reflections are incredibly important to this sense of space/soundstage and suggest not absorbing first reflections at all.
I don't think he ever said all first reflections were beneficial but side wall reflections arriving from ~60 degrees were the most preferred in increasing spaciousness whereas reflections arriving straight from the front or behind were the most distracting/superfluous.
 

phoenixdogfan

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The directivity angle partially explains this. The other is sheer size of the speaker spread over nearly 6 foot in the case of my Revel.
The next question would be whether there is a trade off on imaging. Is it the case that one is a more pinpoint imager with a smaller soundstage while the other has a larger soundstage but with more diffuse images within it ?
 

pozz

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Have you been to a live concert hall?
It’s good to re-acquaint oneself with life un-amplified music.
Most concert halls have hidden and very well integrated reinforcement systems. Sometimes for direct sound, other times for reverb. Outside of that concert halls are totally artificial environments. It's not a "natural" experience when you take into account all the work to shape the hall as well.
The next question would be whether there is a trade off on imaging. Is it the case that one is a more pinpoint imager with a smaller soundstage while the other has a larger soundstage but with more diffuse images within it ?
That's likely exactly it. Although soundstage is a wobbly concept. You're still going to get images limited to appearing between the speakers, so the "stage" for the images to play on is the same, but what will change is its tightness, the overall sense of envelopment.
 

tuga

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Most concert halls have hidden and very well integrated reinforcement systems. Sometimes for direct sound, other times for reverb.

Lucky me, I've never had the misfortune of attending a single amplified classical music concert.
 

pozz

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Lucky me, I've never had the misfortune of attending a single amplified classical music concert.
Are you certain? Can you name some of the halls you've attended?

Also, would you consider all of the shaping architectural techniques used in halls to redistribute sound to be that different from hidden mics and speakers?

Anyway, if there's any reference for music, I'd argue that it's not anchored to some particular event or experience.
 

sarumbear

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Lucky me, I've never had the misfortune of attending a single amplified classical music concert.
You wouldn’t have known. Check the venue’s information. Almost every major concert hall have some sort of amplification.
 

Karu

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What’s your pick for music enjoyment 8351+W371 as stereo or 3x8361+2x8351 in a multichannel setup?
 

sarumbear

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What’s your pick for music enjoyment 8351+W371 as stereo or 3x8361+2x8351 in a multichannel setup?
neither, just 2x 8361
 

pozz

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3 headless panthers? You gotta be shittin me. What drugs you 3 stooges on? Gimme some of that good shit.
:p Better it happens in a poll than derailing a thread with 30 pages of discussion. Real clear format for everyone to express themselves.
 

Xyrium

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Post a headphone review, get 3k views, post a Genelec review, get over 35k views in a few days.

I hope the guys running the show over at Genelec don't leave or change their view on progress. This is an amazing achievement. If I had a recording studio, these would kick out at least two pairs of other speakers, especially if you're one of those guys hanging onto an NS10, just because.
 
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