Monitor Focus: Controllers

Genelec is marking the 15th anniversary of its GLM loudspeaker manager software. Now on version version 4.1, which we will be reviewing in Resolution V21.6, it has come a long way in terms of look, feel and operation over that time and is now heavily integrated with the company's Smart Active Monitors and subs. The GLM system utilises a network interface, measurement microphone, and the SAM DSP to optimise speaker response and phase whatever combination of Genelec equipment and/or listening positions the user sees fit to check. The process is operated via a slick software GUI, which had an overhaul for the latest incarnation, and provides a user-friendly front-end for the underlying ‘AutoCal’ process and any other EQ changes you may wish to make.

Different combinations of speakers and listening locations can the be saved as Groups, and recalled when needed from the GLM software and/or stored in the cloud. A single Group can also be saved to the speakers as a default setting to remove the need for software activation.

www.genelec.com

Grace’s latest monitor controller delivers multichannel and immersive audio monitoring in formats up to 24 channels. The system comprises three parts: the Audio Control Unit (ACU) is a 2U rackmount unit handling audio I/O and DSP (which includes bass management and comprehensive EQ options); the RCU remote and a PSU.

The ACU comes with 68 potential digital inputs (AES/EBU, ADAT, USB2 and TOS-LINK), 24 digital outputs (AES/EBU) and 16 channels of balanced analogue outputs. Options allow a further 32 channels of I/O over either Dante, MADI or DigiLink, and up to 16 analogue inputs. Additional rear panel connections are available for word-clock, an external talkback microphone, talkback footswitch and output. In a recent Resolution review (V19.6), Jon Thornton concluded the RCU was “a nicely engineered and tactile piece of kit,” while the audio quality of the system was “astonishingly good.”

Ostensibly an audio interface, the Anubis’ use of so-called ‘Misson’ operation profiles make its potential use case scenarios much more varied — yet simultaneously highly specialised. Recently, its new ‘Music’ Mission has re-cast it as a pro/project studio tool for tracking and headphone monitoring, but when we reviewed the unit in Resolution V21.1 we were considering its then-singular ‘Monitor’ mission, which placed it as an AoIP-savvy monitor controller. In Jon Thornton’s words:

“Describing it simply as ‘an audio interface’ is seriously underselling it… That much is obvious from its colour capacitive touchscreen and large, gorgeously weighted rotary encoder. Dedicated illuminated buttons with icons for speaker and headphone selection, mute and talkback make it obvious that at least one of its capabilities is as a flexible monitor controller — and that it is — up to 22.2 monitoring.”

All this is Ravenna reliant, but if you’re considering utilising AoIP connectivity going forward, this unit deserves a very close look.

www.merging.com

When it’s packed with technology and processing as interesting as Trinnov’s room correction algorithms are, it’s easy to brush over the talents of its D-Mon in its primary role as a monitor controller. However, as Mike Aiton’s exploration of that system on page 24 asserts, with additional features like bass management, simulated dynamic range control, downmixing, headphone cue mixes, an internal routing matrix, the GPIO and Avid Eucon integration (S6, S5, S3, Dock, D-Command and D-Control)... “The world really is your oyster.” With the ability to integrate up to 12 speakers into flexible, optimised (or not, should you wish) ‘mix-and-match’ set-ups using a whole host of I/O — and all operated from a dedicated controller or web interface — there really is a lot of powerful, time-saving, and workflow-changing stuff possible with this 2U unit and its eye-catching calibration mic. It comes at a premium, yes… But there’s a return on that investment.