TEST: KRK 852

Nearfield monitors without subwoofers are a tricky subject. Only a few systems are really able to generate a balanced sound, especially below 80 Hz, and if this should be the case, you are almost in the midfield range with corresponding 10-inch woofers. Since in the course of music production development only a few professional studios still have correspondingly large control rooms, subwoofers belong to the basic equipment of every studio, especially in the budget and home recording area. In order to provide even the ambitious newcomer with a controlled bass range for little money, the KRK company has launched an S-series of three different woofers, of which the smallest version, the KRK 8S2, is available for us to test.

The construction of the KRK 8S2

The KRK 8S2 is a further development of the KRK S-series, which should be located in particular in the improved frequency response. Already the first impression of the KRK 8S2 lets an association to the KRK sales hit Rokit arise, caused by the housing design and the yellow colored 8" glass-aramid fabric woofer. With dimensions (H x W x D) 362 mm x 339 mm x 294 mm and a weight of 11.8 kg, there are by all means even smaller representatives in the 8-inch and less range, such as the Eve Audio TS 107 ( https://www.amazona.de/test-eve-audio-ts107-subwoofer/ ), but the outer presentation lends itself especially to control rooms with severely limited dimensions.

While the big brothers 12S2 (12-inch woofer) come along with 220 watts, or 10S2 (10-inch woofer) with 160 watts "continuous load", the KRK 8S2 must be content with a power of 109 watts from a Class D power amplifier. This should be quite sufficient for small control rooms, especially since the woofer was not designed to acoustically illuminate a larger control room accordingly impulsive. The frequency response of the woofer, on the other hand, arouses curiosity, especially since the KRK 8S2 covers a range of 35 - 133 Hz according to the manufacturer. For an 8-incher just over 100 watts, this is a very ambitious undertaking; even a clean low end of 40 Hz would represent a decent performance. The maximum level is stated at 112.8 dB.

The Chinese-made cabinet is made from a combination of plastic in the front and MDF panels in the middle, and is impeccably finished. The appearance is visually appealing and fits in with the various KRK product lines. Like many other products, which have also been provided with a smooth and matte surface, the KRK 8S2 tends to accumulate fingerprints, so if the woofer, which can be seen more or less as a cube, is moved more often, always keep cleaning cloth within reach. The speaker is protected from external influences by a very massive front grille, whereby the bass reflex port is located below the grille, which radiates to the front. As we know, however, this point plays a rather subordinate role, since the bass radiates circularly from the speaker into the room anyway. The case sits on a continuous rubber plate, which was glued to the bottom of the case.

If you turn to the back of the case, you'll find all the control and adjustment elements there. Already at first sight one recognizes that the KRK 8S2 has an extensive arsenal of control and input possibilities for a product of its price class. First of all, it should be noted that in addition to the balanced XLR and TRS connectors, the product also has the unbalanced RCA connector pair, which is important for the consumer sector, and this both as input and output.

Below the 12 sockets in total, there is a connection socket that can be used to deactivate the subwoofer by means of a jack foot switch. The right area of the rear panel is rounded off by an operation LED, the On / Off switch and the power plug socket. On the left side, we are greeted by 2 controls and 6 switches, which have the following functions from top to bottom:

Volume control: controls the overall volume of the woofer
Crossover: lets you choose between 4 different frequencies (70 Hz, 80 Hz, 90 Hz, 100 Hz)
Input Sensitivity: input sensitivity of the woofer, can be selected between Normal and High (recommended for home electronics)
Polarity: Phase switch, to counteract any counter-phase cancellations that may occur
Standby: switches the woofer into standby mode after 30 minutes of inactivity for power saving reasons
Ground Lift: prevents ground hum loops

The KRK 8S2's volume control is also finely dialed, making it easy to fine-tune the woofer. A 0 dB or similar. One looks in vain, here it is only the woofer between "Min." and "Max." to add by ear. On the other hand, you have to use a lot of force when selecting the crossover frequency to get it to switch, but the resistance is reduced after turning the knob a few times.

The KRK 8S2 in practice

If we switch on the woofer, the two-color LED on the back shows us an orange signal, which changes to green when the level is applied. On the front, a white LED shows us the activation of the system. As test material I have taken various reference recordings, reference mixes, various individual instruments and some productions, which I have created myself, to get as comprehensive a sound impression as possible.

First of all, it is necessary to find the optimal crossover frequency depending on the satellites, which turned out to be not so easy. In my studio 2 are 2 pcs Eve Audio SC 204, which are normally protected with an Eve Audio TS 107 downwards. To the same the KRK 8S2 was connected to take over the function of the TS 107. In order to take over the sound material below the comparatively small 4-inch "woofers" of the Eve Audio satellites as comprehensively as possible, the 100 Hz setting left the best impression, but the woofer tended to boom quite quickly in this setting. Even changing the placement, or activating the phase inversion could not prevent this.

This changed immediately when I set the crossover frequency to 90 Hz, better yet to 80 Hz. Here the woofer rounded off very nicely downwards, but left a frequency hole in the area of the just mentioned bass range. This could be compensated by taking the satellites a bit more into the "bass duty", which could be implemented very well with the Eve Audio. The result was an all-around satisfactory frequency coverage down to the low bass range.

Sonically, the KRK 8S2 is comparatively soft. The speaker never seemed overpowered, even though I only used moderate volumes, as is usually the case in a Studio 2. What gives me a little food for thought is the tendency to boom in small rooms. The woofer does its job flawlessly, but there is a certain point in volume where the KRK 8S2, depending on the room dimensions and its geometry, starts to give in to a subtle drone. Skillful positioning can push this effect back, but who in a small control room has the opportunity to experiment spatially with the placement of a woofer.

As expected, the system does not like placement close to a wall or below the desk, both of which only lead to the aforementioned undifferentiated reproduction. If, on the other hand, the KRK 8S2 is placed freely in the room and the corresponding acoustic construction has been carried out, the system is convincing all the way, especially if the retail price is taken into consideration. The eight-incher also holds its own very bravely as far as the "real" low bass range is concerned. Even if the construction can't move the corresponding amount of air of a 10 or 12 inch speaker, the speaker manages in cooperation with the cabinet to convey a good acoustic overview of everything that's going on in the bass range and possibly spoils the clean bass reproduction over a large monitor or in the live area.

In summary, the KRK 8S2 can be given a good report card. The subwoofer does what it is supposed to do and will also be a favorable addition, especially with inexpensive satellites, to prevent bass-heavy mixes.

Conclusion

With the KRK 8S2, the manufacturer offers an inexpensive subwoofer that offers a lot of quality for the money. The setting options are extensive, the basic sound is good, and the workmanship is impeccable. If you are looking for a budget and home recording supplement for your near-field monitors for better control in the bass range for little money, you should definitely test the woofer.

Additional informations:


Nearfield monitors are critical tools in professional audio production environments, designed to provide accurate and detailed sound reproduction. These specialized speakers, also known as studio monitors, are optimized for close-range listening and are widely used in recording studios, mixing rooms, and post-production facilities. This report aims to provide an in-depth overview of nearfield monitors, including their purpose, design characteristics, technological advancements, and their significance in professional audio monitoring.

Purpose and Design Characteristics: The primary purpose of nearfield monitors is to provide an accurate representation of audio content. They are specifically designed for nearfield listening, where the listener sits in close proximity to the speakers, typically within a few feet. Unlike consumer-grade speakers, nearfield monitors prioritize precision and transparency over coloration and exaggerated bass response.

Nearfield monitors are typically active speakers, meaning they have built-in amplification, allowing for better control and integration of the speaker components. They often feature a two-way or three-way design, comprising a woofer for low-frequency reproduction and a tweeter for high-frequency reproduction. Some models also incorporate a dedicated mid-range driver for enhanced clarity in the critical mid-frequency range.

To minimize unwanted resonances and improve accuracy, nearfield monitors employ a variety of design elements, such as acoustic damping materials, optimized cabinet shapes, and precision-tuned crossovers. These features contribute to a more linear frequency response, reduced phase distortion, and improved imaging capabilities.

Technological Advancements: Nearfield monitors have benefited from technological advancements, allowing for enhanced performance and accuracy. Some notable advancements include:

Driver Technology: Manufacturers have developed specialized drivers using advanced materials and designs. This includes using lightweight yet rigid materials for the diaphragms to reduce distortion and improve transient response.

b) Amplification and DSP: Built-in amplification has become increasingly sophisticated, with manufacturers incorporating digital signal processing (DSP) capabilities. This allows for precise control over the speaker's frequency response, equalization, and room correction, resulting in more accurate sound reproduction.

c) Waveguide and Directivity Control: Advanced waveguide designs and directivity control technologies help optimize the dispersion of sound, resulting in improved stereo imaging and a more consistent listening experience within the sweet spot.

d) Room Calibration: Some nearfield monitors now offer room calibration features, either through dedicated hardware or software. This enables users to compensate for room anomalies and achieve more accurate monitoring, regardless of the acoustic characteristics of the listening environment.

Significance in Professional Audio Monitoring: Nearfield monitors play a crucial role in professional audio monitoring, offering several key benefits:

Accuracy and Transparency: Nearfield monitors are designed to provide a faithful representation of the audio content, allowing engineers and producers to make precise judgments regarding the mix, tonal balance, and spatial placement of elements within the soundstage.

b) Critical Listening Environment: Nearfield monitoring setups create an optimized listening environment where the sound arrives directly without significant reflections or room coloration. This helps engineers detect subtle details, stereo imaging, and transient responses accurately.

c) Consistency: Nearfield monitors are designed to produce consistent and reliable results across different listening environments. This allows engineers to create mixes that translate well to various playback systems, such as consumer speakers, headphones, and car audio systems.

d) Workflow Efficiency: The detailed and accurate sound reproduction of nearfield monitors speeds up the mixing and mastering process. Engineers can make informed decisions quickly, leading to efficient workflows and high-quality results.

Considerations and Best Practices: To maximize the effectiveness of nearfield monitors, certain considerations and best practices should be followed:

Room Acoustics: Ensuring a well-treated and acoustically controlled listening environment minimizes the impact of room resonances and reflections, optimizing the accuracy of monitoring.

b) Speaker Placement: Positioning the nearfield monitors at an appropriate height and angle, along with proper listener positioning, creates an optimal listening triangle and improves stereo imaging.

c) Calibration and Positioning: Utilizing room correction systems or manual calibration tools can further refine the frequency response and compensate for room anomalies.

d) Reference Listening: Regularly referencing mixes on other audio systems, such as headphones or secondary monitors, helps ensure the mix translates well across different playback environments.

Conclusion:
Nearfield monitors are essential tools in professional audio production, providing accurate and detailed sound reproduction in critical listening environments. With advancements in driver technology, amplification, DSP, and room calibration features, nearfield monitors continue to evolve, enabling engineers and producers to create high-quality mixes that translate well across various playback systems. By prioritizing accuracy and transparency, nearfield monitors have become indispensable for professionals seeking precise control over their audio productions.