Trinnov Audio: NOVA Speaker/Room Optimization System

We need to talk about the elephant in the room: the room itself. Many of us work in acoustically compromised spaces. From the card table in the corner for a remote session to the spare bedroom project studio, we can all relate. Even if you operate out of a professional facility, a voice in your mind often screams, "This room isn't tuned as well as it could be." And while many room correction software products exist on the market, few do any good. After trying several, I gave up on anything short of a total room rebuild. That was before trying a Trinnov (pronounced "trinn-off") Audio loudspeaker/room optimization processor and measurement mic.

Some historical context is in order. In 2009, Vintage King suggested I try a hardware room correction system by a French company called Trinnov. It was a hard sell, having previously struck out with the three competing software options and declaring them all snake oil. We've all heard their sales pitches. They say something like, "Look at your speakers' response curve. See those peaks and troughs? Using our proprietary algorithms, we'll inject an inverse EQ and give you the flat frequency response you deserve in your control room." At a shallow level, it makes complete sense. The only problem is that's not how any of this works, and even if it did, the analysis and filters to pull it off are well beyond the capacity of cheap software.

Let's consider the limitations of other solutions. I was using a standard mono room measurement mic – one with an EQ correction curve to compensate for its non-flat response. Reflect on this for a moment. You're using an imperfect mic, correcting it with EQ, using it to measure an imperfect room, and then correcting the room with more EQ. It's a cycle of imperfection that only serves to create an illusion of a "better" room for production decisions. This is where Trinnov truly shines.

The Trinnov solution is legit. Founded in 2003, the company's research and hardware efforts are decades ahead in terms of sophistication and method. When I was sent the ST2 PRO processor it included the company's 3D measurement microphone – the thing looked crazy, like a gold version of the Slayers' spaceship from the movie Krull. A single housing with four mic elements that protrude like gold flower stems set in a tetrahedral arrangement, surrounded by a central omnidirectional capsule. The attached multichannel cord terminated with four XLR connectors. This was no off-the-shelf measurement mic. The original ST2 processor was a two-rack space unit housing a PC motherboard, custom power supply, custom DSP, and I/O. It required a computer keyboard, mouse, and monitor to operate.

After completing the room scan, the ST2 calculated corrections and applied them. Although some nodes were lessened, it was good, but not as good as claimed. Specifically, the center image was unfocused. We decided to have a conference phone call with the team in France – this was before video, FaceTime, or other web chat technology. I opened a port on my internet router, permitting them access to the computer (Trinnov will not connect to your device without your express permission). They asked if I had an Ampex ATR-102 tape machine sitting a few feet to my side. I had recently moved it there, hoping it would be out of the way, but they couldn't see that over a phone line. How did they know this? It was kind of creepy. When I questioned what made them think that, they explained they encountered that "ATR reflection" with other mastering rooms. Each speaker was represented by a blue and a green graphic. Blue depicted the ideal location of the cabinet, while the green speaker indicated where they were perceived to be. The blue and green graphics overlapped on the left channel, but the speakers were far apart on the right channel. Trinnov suggested I move the tape machine further away and rescan the room. As they suspected, the ATR was a problem. Reviewing the updated speaker screen confirmed their suspicion – the blue and green graphics overlapped on both sides. After playing reference tracks, I was sold. Not only was there an improvement in the sound field balance and localization, but the center image was also clearer. Vocals floated between the speakers with solid authority. Obviously, I reached for the checkbook.

Fast-forward to the present. My ST2 failed to boot. I contacted Trinnov, and after troubleshooting they suggested I send it in for service. It turns out the power supply failed. They replaced it and charged me for parts, shipping, and a small labor fee. This machine was 13 years old – talk about it being out of warranty. They didn't try to sell me a new model; they fixed it. Trinnov is a company that becomes your partner rather than your supplier.

In the meantime, I had to keep working, so I called Vintage King, and they shipped a Trinnov NOVA bundle. I immediately began the calibration process. There were some changes with this new setup. The updated etherCON 3D measurement mic replaced the multi-XLR snake with a single, well, etherCON cable, which is like Neutrik smashed an Ethernet cable and an XLR connector together. There is no need for a separate keyboard, mouse, and monitor; the NOVA can be controlled via desktop, phone, or tablet app. Trinnov also offers an external 10-inch touchscreen for $379. The processing unit is smaller, requires a single rack space, and saves four inches on the chassis depth. Efficiencies have contributed to the smaller footprint. Inside an original ST2 lived a custom power supply feeding a modified PC motherboard and I/O board. With NOVA, all of that is contained in a single board. Worth mentioning: From the etherCON 3D microphone to the processor, Trinnov manufactures everything. They control their tech components rather than relying on a third-party supplier.

You can get audio to the NOVA in several ways: It can be used as your computer's soundcard, connected via Dante, fed analog from your DAC, or digital signal via AES or ADAT. The mic attaches via a front panel etherCON jack. In the original, you had to swap connections at the rear of the unit every time you used the mic, so this is significantly more user-friendly.

So, what does NOVA do, and how does it do it? I'm not interested in an in-depth acoustical discussion, so I'll keep the conversation simple: Trinnov is more than just equalizing the speakers. Rather, it optimizes a listening position in your room for the most accurate representation. The NOVA focuses on three main areas: Delay, Level, and Acoustics. Delay Alignment virtually places the speakers at an equal distance from the listening position, regardless of their actual location (within reason). Level Alignment alters the gain applied to each speaker to achieve optimal sound pressure at the listening position. Finally, the Acoustic Correction process uses time/frequency filters to reduce peaks and troughs across the monitor's reproduction range.

My explanation of the NOVA's processing may be an oversimplification, but the impact on my work is what's most important. With the Trinnov solution, I can make decisions faster with fewer recalls. Most mastering engineers rely exclusively on one set of speakers, but that's somewhat changed, given the popularity of white earbuds and phone speakers among consumers. I need less back-and-forth auditioning between speakers since deploying the Trinnov. Quickly getting things right means clients are happy; I can work on more projects or – imagine this – go home to my family. I can also provide clients with better feedback when a mix has concerns about stereo, time-based issues, or reverb. I thank the NOVA for that, as well.

While completing this review, I added a subwoofer to my setup. I also asked Trinnov to send a demo unit of La Remote. Here's what I found, starting with bass management. There are two ways to add a subwoofer to the NOVA system: The first option feeds a stereo channel connected to a subwoofer that manages crossover duties. The second method sends the L and R to the mains while adding dedicated channels for each sub. Why would someone want to limit NOVA to two channels? Well, they may have already devoted time to the subwoofer set up. Second, the NOVA ships with only one stereo pair unlocked; opening more channels is a cost option per pair. To be fair, the ST2 PRO shipped with all channels authorized, but many stereo-only users were paying for capacity they didn't need. The new pricing model is fair for both parties. Even with a sub, I don't require three stereo pairs, so I still saved cash over a six-channel setup.

So, what did I learn? Both bass management solutions work, but the results were not close. Using only a stereo out and forcing the subwoofer to handle crossover duties required hours of placement, turnover frequency experiments, and gain balancing. Let me emphasize hours. The results were usable, albeit with several deviations from ideal. With the NOVA handling bass management – wow! The results were impressive. How impressive? In my tests, the optimized response was within +/- 1.1 dB from 26 Hz to 20 kHz. I could not get the sub's built-in crossover to achieve the same performance as Trinnov's bass management did. In retrospect, this is to be expected. In a stereo configuration, the NOVA assumes two speakers are at play. Introducing a subwoofer is physically adding another enclosure to the system. Complicating matters, this new speaker cabinet isn't located where the other ones are. It's a wonder that NOVA can address that situation at all. Delegating bass management to the NOVA unleashes the full power of the Trinnov system. During calibration, you add the subwoofer as a component of the speaker group, sending a dedicated out to each sub. The system expects that the lows will emanate from a dedicated low frequency device set in a different location than the mains. In the end, could you fine-tune the supplement and futz with the crossover on your own? Sure. You can drive with your feet, too – that doesn't mean you should. Put another way, after investing in a complex system, why use it in a manner that hamstrings its ability to do what you bought it to do? That isn't a wise path to take, nor a good-sounding one.

I also tested Trinnov's La Remote controller. Physically, the unit has some weight to it, and with a rubber base coating it won't slide around your desk. At about four by eight inches, the device doesn't require a lot of real estate. A large volume knob has a pronounced movement that is oddly satisfying to adjust. Gain changes come in solid steps, courtesy of magnet technology borrowed from Trinnov's Altitude line. If you spend five minutes just spinning it around, I won't judge. A monochrome 1 x 1.5-inch LED dimmable screen displays status, channel info, and other information depending on the selected control layer. Eight buttons flank the screen; seven are programmable and can change function according to the selected layer.

My workflow required only the top layer, moving to others only when I needed to change configuration parameters. There is also a talkback mic, selection knob, plus dedicated Mute and dim buttons. La Remote connects to the NOVA either by a direct USB cable or, if the hardware is far from the mix position, you can run a USB cable from the remote to a computer running the Trinnov processor control app. I connected to my MacBook instead of running a long USB cable across the studio. Users can accept default settings or customize the buttons based on needs and workflow. Using the drag-and-drop interface in the Trinnov app, choosing options that supported my workflow was straightforward. For example, I configured speaker settings I commonly use, such as mono, sum, difference, mute L, mute R, etc. In deciding to integrate the remote vs. an external device, my advice comes down to simplicity. If the Trinnov is your central speaker hub, adding the La Remote is more economical than a separate monitor controller. If you already have a setup you like, I suggest starting without the La Remote and confirming if your present solution continues to serve you. If you intend to change NOVA settings frequently or want to customize what your monitor controller can do, the La Remote is a good solution.

The whole system should be powered on/off using the front panel. Switching the power via an external sequencer will shorten the unit's life. Although NOVA can accommodate outputs for up to six channels, the base unit is limited to a stereo pair. The remaining channels can be unlocked (in pairs) at additional expense. This will save many users money, but multichannel studios should be aware of the extra cost. NOVA includes one headphone output, which is fed by the unprocessed source. This makes sense since the corrections are based on speaker/room interplay and would not be suitable for headphones. Located on the front panel, the jack lacks a physical volume knob. Controlling the level requires the app or the aforementioned La Remote.

Few of us are fortunate enough to work in a flawless room. My advice is to hold off on buying that fancy new piece of rack gear and instead invest in a monitoring system that you can trust. It starts with speakers and a calibrated monitor controller solution, but the room is a nearly immovable part of the equation. Short of building a new space, we must make recordings with what we have. With the Trinnov NOVA, I'm squeezing that last bit of performance I can from my room. The resulting speed, accuracy, and decision-making mean this unit will pay for itself quickly. Let's see if I keep this one for another 13 years!