Trinnov Nova

Photo: Funky Junk Italia

Room‑correction pioneers Trinnov were already a step ahead of the competition. Now they’ve taken things further.

When reviewing Trinnov’s ST2 Pro monitor and room optimisation hardware in SOS July 2019, I initially felt a little overwhelmed by its combination of extraordinary technical capabilities, somewhat complex configuration and opaque user interface. Despite that, I described it as possibly the “last word” in monitor correction. But time moves on and, in 2023 at the NAMM Show, Trinnov launched a replacement product called the Nova. We didn’t review it at the time but it recently benefited from a significant software update, and this latest iteration is the subject of this review.

The Nova takes Trinnov’s immensely powerful room and monitor analysis and optimisation technology, builds it into a compact 1U case (the ST2 Pro was a deep 2U), and adds a Windows/Mac control and configuration desktop application (and iOS app) blessed with a far more accessible and friendly way in. As well as being more compact and approachable than the ST2 Pro, it’s significantly less expensive, and while it costs more than entry‑level systems such as Sonarworks SoundID Reference and IK Multimedia’s ARC, it aims to do rather more than them.

Hardware & Licences

The Nova’s shrinkage wasn’t achieved by stripping out features or connectivity, but by moving all the processing (from, effectively, a complete Linux PC with separate I/O boards) to an Arm chip on a newly designed, integrated motherboard. Though far more intensive and demanding in terms of R&D and manufacture, this approach is significantly more cost effective and space efficient.

The front panel carries a power switch, a USB socket for connection of the optional La Remote desktop controller (see box), a socket for Trinnov’s updated 3D microphone and a headphone socket, which is fed an unprocessed stereo signal. Around the back, the analogue audio connectivity comprises six line‑level inputs (two on XLR sockets and four on TRS jacks) and six XLR outputs. Digital audio connectivity comprises S/PDIF and ADAT inputs and an AES3 output. Finally, a couple of RJ45 sockets cater for network connection and, potentially, Dante AoIP (Audio over IP).

The 1U form factor is much more compact than that of the Nova’s predecessors, thanks to a complete reworking inside — the older units used a traditional Linux‑based PC, whereas the Nova was completely reworked to run on an Arm processor.

The presence of Dante among the Nova’s audio inputs and outputs means that, along with its primary role of optimisation and control, a Nova could be used as an audio interface, rather than ‘just’ a monitor controller and optimiser. With ‘full‑fat’ (amplitude and phase) optimisation engaged, the latency is said to be typically around 25ms, but with monitor and room optimisation disabled the latency will be defined primarily by the Dante system — typically well into single figures or even less. For some users, this could be hugely significant. In mastering or mix studios where the need for inputs is modest, it could make a conventional interface superfluous, and the prospect of trading in an interface and monitor controller could make the Nova significantly more affordable.

There’s some complexity to explain regarding how the six outputs are employed and treated in terms of Trinnov optimisation licences, as they can be employed flexibly to suit different installations. Their use as three independent stereo pairs (for example for main monitors, nearfields, and a pair of NS10s), a combined 5.1 system, or for two monitor and subwoofer systems, is all perfectly feasible. With only six outputs, a Nova can’t do Atmos, and that seems to have disappointed some folk, but Trinnov do have Atmos solutions further up the product range.

With regard to subwoofers, it’s fine to use just one stereo output to optimise a downstream composite system of stereo monitors and subwoofer, but that will mean the Trinnov optimisation is applied globally, with the subwoofer integration managed conventionally. Using a separate Nova output for the subwoofer (or two for stereo subwoofers) with the Nova’s bass management engaged is likely to result in significantly better results, because the optimisation algorithm will then be aware that the subwoofer is a separate device with a discrete location in the room.

Enveloping all of this talk of Nova outputs is the fact that Trinnov offer optimisation licences in pairs. By default, a Nova comes with one licence for one pair of outputs; the other outputs can pass audio, but they can’t simultaneously have optimisation applied. To apply optimisation to 3, 4, 5 or 6 outputs simultaneously, you must buy more licences. (These licences are perpetual: once you buy one, the hardware is permanently ‘unlocked’). It would be possible to create an optimisation profile for different monitor pairs and switch a single stereo licence and profile between them, at the same time as switching outputs, but such shenanigans might soon become tiresome and nudge one towards the purchase of more licences. The stereo‑plus‑sub case would definitely benefit from an extra licence.

3D Mic

The ST2 Pro’s 3D mic required an internal battery and connected to the hardware using four XLRs, but the Nova mic is phantom powered and connects using a far more user‑friendly multi‑channel locking etherCON socket. The mic also now has its calibration data embedded: the Nova automatically identifies the specific mic and handles the calibration (the mic serial number data had to be manually uploaded to the ST2 Pro).

The 3D mic, which makes it possible for Trinnov’s room‑optimisation system to outperform others, has been updated, and connection to the hardware is now much more convenient.Photo: Funky Junk Italia

The 3D mic looks unlike any conventional room optimisation measurement device, and appears to have rather more in common with a first‑order ambisonic mic. This is because it sets out to do rather more than simply measure frequency response. It presents four capsules arranged in a spaced tetrahedral array and, as well as measuring frequency response, is able to triangulate horizontally and vertically the location of the monitors in the room by enabling analysis of signal arrival times at each capsule. But it’s not just the monitor positions that the Trinnov mic can locate: it can also distinguish discrete early reflections from the direct sound, which means Trinnov’s analysis software has the data it needs to be able to correct monitor phase as well as frequency. It’s genuinely clever technology and, to my mind, is what really sets Trinnov apart.

A further element that distinguishes Trinnov from alternative room optimisation systems is that, rather than capturing data using a swept sine wave, it employs an MLS (Maximum Length Sequence) stimulus. Though it sounds much like pink noise, MLS is actually a non‑random, periodic wide‑band signal with a correlated (ie. time‑stamped) input and output. Along with the 3D mic, the non‑random and correlated nature of the MLS stimulus enables the Trinnov analysis and optimisation technology to function in both the time and frequency domains.

Monitor Control

I’ve concentrated mostly on the Nova’s room and monitor compensation abilities, but the Nova is also a fully featured monitor controller that offers all the capabilities you’d expect of such a device (especially so when La Remote is used). For example, switching between each pair or trio of outputs can be achieved easily from the desktop or iOS apps, or from La Remote, and reference levels or EQ preferences can be set for each. Mute, solo and dim options are also easily available, as are mono, difference and channel‑selective mute. A talkback mic is also included in La Remote and that can be routed, as required, to monitor or headphone outputs. Switching between inputs, regardless of their format or connection, is similarly simple, and as the Nova is fully Avid EuCon compatible, it can be integrated with Pro Tools workflows and practices.

In Use

Installing and using a Nova is easier than I remember being the case with the ST2 Pro. Installation is a case of connecting mains power, inputs and outputs, providing the Nova with wired network access, and connecting the mic. If present, the La Remote desktop remote control connects to the Nova via its front‑panel USB socket, or to a computer running the Trinnov control app.

Connecting the input and outputs raises the fundamental question of what use the Nova will be put to. If it’s to work downstream from an interface, effectively as a monitor controller, it’s probably sensible if possible to use the ADAT input, keeping audio in the digital domain and ensuring that the signal path doesn’t pass through two volume control stages (the interface and the Nova volume control). That requires an interface with an ADAT output, of course. Some (eg. my Audient ORIA) don’t have one, and in that scenario, the Nova’s analogue inputs can work perfectly well — though this is perhaps another nudge in the direction of using the Nova as a Dante‑connected AoIP interface.

With the Nova connected and fired up for the first time, the desktop app’s configuration wizard walks you through the input/output signal routing, level setting and 3D mic setup stages that are required before you can undertake the first monitor/room analysis and optimisation. Setup is comprehensive, and then some, but there are other options and information available once a Nova is configured and an optimisation profile has been saved.

Once I’d first used the Nova and 3D mic to analyse and optimise my Neumann KH150 speakers in my room (a process that took just a couple of minutes), I made some in‑room 12th‑octave smoothed frequency response measurements using FuzzMeasure and a conventional measuring mic, as shown in diagrams 1, 2 and 3, to provide a comparison measurement for the Nova. For these measurements, I carried out optimisation for only one listening position, but the Nova enables multiple optimisation locations to be specified and for profiles to be created for each. It’s then simple to specify different locations on the fly while listening — the typical ‘client sofa’ location can be accommodated easily!

Diagram 1: The listening‑position frequency response of the right‑channel speaker in the author’s studio.

Returning to the FuzzMeasure data, Diagram 1 displays the listening position frequency response of the right‑channel KH150 in my studio. The red curve is unoptimised, and the green one shows the result of using Neumann’s MA1 room optimisation system. MA1 appears to do a pretty good job of fixing the major response flaws, and that tallies with my subjective experience. Diagram 2 shows the same right‑channel KH150 listening position frequency response optimised using the Nova. This appears to take the optimisation a stage further than the MA1, in particular filling the ‘holes’ at around 120 and 500 Hz that the MA1 leaves untouched.

Diagram 2: The same right‑channel KH150 listening‑position frequency response optimised using the Nova.

Finally, Diagram 3 makes the Nova’s ability to linearise phase clearly apparent: the red curve is unoptimised, the green curve MA1‑optimised, and the blue curve Nova‑optimised.

Diagram 3: Here, the Nova’s ability to linearise phase is apparent: the red curve is unoptimised, the green curve Neumann MA1‑optimised, and the blue curve Nova‑optimised.

Screen 1 shows the home page of the Nova desktop app in which, for example, volume can be adjusted, optimisation can be enabled or disabled, and outputs can be selected.

Screen 1: The Nova desktop app’s home screen.

Screen 2 shows, for the listening position, the before and after frequency response curves of the left and right channels and, despite the default heavy smoothing applied to the curves, their features tie‑in pretty well with my FuzzMeasure data. Frequency response before and after optimisation is one of many display options that the app provides, and a further one, phase before and after optimisation, is shown in Screen 3.

Screen 2: The author’s Neumann KH150 monitors’ frequency response before and after optimisation.

Screen 3: The same Neumann KH150 monitors’ phase response before and after optimisation.

Finally, Screens 4 and 5 show the Nova app’s post‑optimisation EQ options (just in case you don’t want a dead flat frequency response), and the limits that can be applied to the levels of boost and cut demanded by the optimisation process. I could have provided many more screenshots displaying the Nova app options, but I suspect you’ve got the picture: the Nova and its app are immensely capable, and there’s really not much that can’t be investigated or configured.

Screen 4: The EQ screen.

Screen 5: The optimisation limits screen.

Subjective Impressions

So, how does all this actually sound? In a word, excellent. Both my KH150s and room perform extremely well to my ears when optimised using Neumann’s MA1 system — next to, for example, the Kii Seven speakers that I reviewed recently, the KH150s with MA1 correction didn’t leave me wanting for much in terms of subjective or objective performance. But the Nova delivered a definite step up in performance. The great sense of detail and accuracy that’s already present with my KH150s and MA1 correction system was significantly enhanced, and the stereo image focus tightened still further. There was even a point during my early moments with the Nova when I had to check by feel that my Atmos centre channel monitor wasn’t somehow accidentally routed into the outputs, so tight was the central image focus from the stereo KH150s.

It’s as if a layer of audio uncertainty has been removed.

The way I hear it, there are two elements to the changes that the Nova system brings. Firstly, there’s the purely tonal accuracy that comes from flattening the listening position frequency response. As well as being subjectively satisfying, this potentially takes all of the uncertainty out of translation. But the Nova does something else too: a slightly harder‑to‑grasp sense that everything has become more explicit. Mix elements inhabit their place tonally, dynamically and within the stereo image, just with much more precision. It’s as if a layer of audio uncertainty has been removed. It’s hugely valuable professionally, because hearing more clearly what’s going on can only make the listening job easier.

Today’s professional audio products are typically stuffed to the gills with incredibly clever and advanced technology, but I think we can all agree that it doesn’t always pay off. That’s absolutely not the case with Trinnov and the Nova: the results are equally as remarkable as the technology.