Oct 21, 2004 2:43 PM, By Arthur Bloom

MONITORS AND SUBWOOFER SYSTEM

With a full line of powered monitors, industry recognition, a couple of TEC Awards and growing worldwide sales, Genelec has earned more than a few laurels. But with increased competition, improvements in speaker technology and dropping prices, Genelec’s bi-amplified, active near-field 1029A monitor system with optional active 1091A subwoofer demonstrates that resting on laurels is not part of the company’s strategy.

Genelec designed the 1029A/1091A system with an emphasis on cost containment. The 1029A’s lightweight, rigid and ported enclosure—which measures only 9.75x6x7 inches (HxWxD)—is economically manufactured from molded aluminum. Its 3/4-inch metal-dome tweeter is the same as is used in the 1030As, and the 1091A’s 8-inch driver is a variation of the one used in the 1092A subwoofer. All drivers in the 1029A/1091A system are powered by the same 40-watt amps with two bridged to supply 70W of mono output to the subwoofer. Also keeping costs in check are 100-percent surface-mounted electronics.

The 1029A/1091A system shares more than parts with its larger, costlier brethren. With Genelec’s characteristic belly-button DCW (Directivity Control Waveguide) surrounding the tweeter, imaging is superb. The tweeter delivers the same crystalline high end that the 1030As are known for. Also reminiscent of Genelec’s larger near-fields, the 1029As sound bigger than they look and “disappear” into the soundstage; at times, you would swear there was a center speaker. Frankly, I was amazed at how big these small speakers can sound.

Free-field frequency response of the 1029As without the sub is 70 to 18k Hz, ±2.5 dB. On their own, however, the 1029As’ bass swamps out. Adding the 1091A not only lowers the frequency range to 38 Hz (±2.5 dB), but also improves low-frequency definition as the combination allows the user to engage the 1029A’s bass roll-off of -6 dB at 85 Hz. Selecting the roll-off helps the 1029A’s diminutive woofer operate more efficiently, as it hands off the low end to the 1091A, which, with its larger driver in a ported enclosure measuring roughly 20x10x9 inches HxWxD, is more qualified to handle it.

With six 40W amps per system, the drivers show up with a full tank of gas. Maximum peak output is rated at 110 dB SPL @ 1 m, with maximum long-term RMS output rated at 100 dB SPL @ 1 m and limited by driver unit protection circuitry. The treble/bass crossover frequency in the 1029As is at 3.3 kHz, while the crossover between the sub and the satellites coincides with the 1029A’s bass roll-off at 85 Hz.

Each speaker has a female XLR and TRS jack. First, I connected a balanced source into the 1029A’s XLR jacks marked input. As the subwoofer features the same XLR/TRS jack configuration as the satellites, each 1029A required a different cable to connect it to the 1091A (TRS-to-XLR and TRS-to-TRS). Thankfully, both cables are included.

If connections for balanced operation are a little curious, then connecting the system to an unbalanced source is even more curious and led to a delightful discovery. Using mono cables, I connected an unbalanced source into the TRS jacks, which I had previously used as sub outs. Next, I used the XLR jacks marked input as outputs, connecting the 1029As to the 1091A with one XLR (male) to TRS, and one XLR (male) to XLR (male). Although not stated in the manual, all inputs work as outputs and vice versa. With a double-male XLR cable connecting one of the 1029As to the 1091A, this was one of those times when I was glad my cable collection has more genders then RuPaul.

The front of the 1029A is simple and elegant, featuring an on/off switch and volume knob. The back contains additional, albeit less user-friendly, controls. Tiny, recessed DIP switches not only adjust bass tilt from none to -6 dB at 150 Hz in -2dB steps, but also engage the bass roll-off if the 1029As are to be used with the subwoofer. A single -2dB step of treble tilt at 15 kHz is also available.

The 1091A has an on/off switch and its own set of DIP switches for signal attenuation. The amount of attenuation, from 0 to -8 dB in -2dB steps, is best established in the room and will be affected by the sub’s distance from walls.

While I felt comfortable working with the 1029A/1091A system for extended sessions, particularly at low volumes, I would not rely on it for critical monitoring. The strength with which the 1029As reproduce high frequencies dwindles at lower frequencies. In the mids to low mids, the 1029As begin to sound a bit thin and brassy, the monitors’ physical limitations taking their toll. Combining the satellites with the sub left a hole in the middle that neither could fill.

In comparing the 1029A/1091A system with a pair of 1030As (which list for $2,198), I preferred the 1030As for basic monitoring and mixing. The 1030As had greater midrange detail and overall balance. However, with a pair of 1029As listing for $1,070 and the 1091A listing for $680, the entire 1029A/1091A system costs $450 less than a pair of 1030As and marks a new level of Genelec affordability. Furthermore, the key to the 1029A/1091A system is understanding the particular forward-looking applications Genelec apparently had in mind when designing it.

First, the magnetically shielded 1029As are perfectly suited to flank a computer monitor. As the line between console and computer continues to blur, with hardware being transformed into software on a regular basis, the 1029As verge on a new category: computer speaker “near-near-fields.” As computer speakers, the 1029As are well suited for use with DAWs or as a complement to “main near-fields.”

Around my computer monitor, I found that the 1029As sounded better when elevated. While omnimount fixings are included in the 1029A’s enclosure, I preferred to place them on round-based tabletop mic stands connected to the threaded holes in the base of the units. The holes are the 3/8-inch European-style, requiring adapters for use with American-style stands. Propped up on stands at ear level, the 1029As formed a 2-foot equilateral triangle with my head.

Second, the 1029As and the 1091A are naturals for surround sound. While the 1029As could be used as surrounds in an LCRS installation, combining two pairs of 1029As with the 1091A creates a reasonably priced, not-quite-5.1 system (for true 5.1, one need merely add a center speaker). Indeed, a large Hollywood film/sound studio recently bought a number of 1029A/1091A systems for dialog editing and sound effects creation in 5.1.

Third, the 1029A/1091A system is well suited for monitoring house and techno music in a project studio. Between the 1029As’ crisp high end and the 1091A’s authoritative low bass, the strengths of the system coincide with the emphases of house and techno reproduction. While I would not feel comfortable relying on the 1029A/1091A for mixing classical music, this may be just the system for the techno/house producer who does not have the budget or larger room to accommodate a more elaborate system like Genelec’s 1031A/1092A or the MM8/ELF Infrasub combo from Bag End.

Fourth, while the 1029A/1091A is a professional tool, the system has a crossover appeal to the consumer market, as well. As computers merge with home entertainment systems, and surround sound comes of age, high-fidelity computer and surround sound speakers are equally at home in the home as in the studio. The savvy folks at Genelec are undoubtedly nibbling at a new market.

Thus, while the 1029As and 1091A do not equal Genelec’s other models for precision stereo mixing, anyone looking for compact Genelec-quality speakers or a reasonably priced monitoring system for surround sound, dance-oriented music or a small project studio should give them a serious listen.

The 1029As are available in either black or titanium gray; the 1091A comes in black.

Genelec, www.Genelec.com.