TEST: KRK S10G4

 KRK loudspeakers have been a constant companion in the audio segment since they were founded in 1986, and in recent years they have also been able to establish themselves very successfully in the budget sector from their early days, which were almost exclusively aimed at pro users. The Rokit series in particular has appealed to many newcomers to the field of near-field monitors due to its comparatively good quality for little money, enabling them to take their first steps in the audio sector. In keeping with this, but not exclusively aimed at the same series, the company, which now belongs to the Gibson Group, now also offers the fourth generation of subwoofers called the KRK S10G4, the middle representative of the three variations called the KRK S8G4, KRK S10G4 and KRK S12G4 .

The construction of the KRK S10G4

The KRK S10G4 is a subwoofer for budget-class project studios. With dimensions (W x H x D): 479 mm x 341 mm x 310 mm and a weight of 15.88 kg, it is easy to handle and does not take up too much space. The stated power of 160 watts Class D may seem moderate at first glance, but the maximum level of 117.2 dB makes you sit up and take notice, as this value is significantly higher than what is normally offered in this class.

Of course, KRK's optical trademark was once again installed in the KRK S10G4, the yellow membrane, although it is interesting that the 8- and 10-inch subwoofer membranes are made of glass-aramid composite, while the 12-inch subwoofers Version is made of Kevlar. The crossover frequency approach compared to satellites takes some getting used to. Active subwoofers always have a built-in crossover, which helps reduce the burden of low frequencies on the main monitors and ensures a good balance between the two elements. I found it interesting that in addition to the crossover frequencies of 60, 70 and 80 Hz, the S10G4's crossover has a maximum high frequency limit of 90 Hz, which compares to equivalent subwoofers from other brands that can go up to 120 Hz or even higher , is not particularly high.

What does this mean in practice? To get the most out of it, pair the S10G4 with main monitors that can comfortably go down to 90Hz without breaking a sweat, which usually means larger monitors. Users with very small monitors should instead choose the S8G4, which has a maximum crossover point of 100 Hz and in this case relieves the satellites better. Overall, the subwoofer has a frequency range of 30 - 110 Hz.

In terms of feel, the KRK S10G4 leaves an extremely massive impression. The workmanship of the product, which was built in China, is impeccable and its appearance means it can be tastefully integrated into most studio setups thanks to its rounded corners. However, the KRK S10G4 does not have any feet or other support points, which is why the product comes with a rubber mat, which is intended to prevent the underside from being scratched and to decouple the woofer a little from the floor. However, as most readers will know, the correct placement of the woofer in the room and the perfect balance to the satellites are significantly more important in terms of a well-rounded sound than a resonant decoupling from the floor. More on that later.


The connections of the KRK S10G4

As expected, all of the KRK S10G4's connections are located on the back of the case. You can see at first glance that KRK doesn't save money when it comes to connection options. We have XLR symmetrical in / out, we have TRS symmetrical in / out and for the consumer sector we also have RCA unbalanced in / out, a variety that I have only very rarely encountered before.

The system also has a jack connection for a foot switch, which not only deactivates the subwoofer, but also removes the frequency separation from the satellites. A very good thing if you want to quickly switch between an extended bass range and regular satellite playback. Should you work in a rental or condominium that is probably not acoustically decoupled. In case of doubt, this circuit also makes it possible to reduce the annoyance with the neighbors, so that you can only switch on the subwoofer sound at certain times, as it works its way through the walls comparatively quickly due to the long waves. There is a small LED next to it that provides information about the operating status and whether the standby circuit has activated. Once again we also come across a multi-voltage power supply that enables operation from 100 to 240 volts, so that use abroad is no problem worldwide.

Using 4 small mini switches, the KRK S10G4 enables the following control options:

Input Sensitivity: a comparison between balanced and unbalanced signals with regard to input sensitivity.

Polarity: A phase reversal in case there are standing waves or phase cancellations within the setup.

Stand By: Deactivates the circuit that puts the woofer into standby mode after 30 minutes.

Ground Lift: To help with ground loops or ground problems in general.

Finally, we have the cold device socket and a fine fuse that is accessible from the outside. The KRK S10G4 can be operated upright or lying on its side; its bass reflex opening is on the front of the housing.


The KRK S10G4 in practice


As we all know, the correct placement of a subwoofer in the room, especially when it comes to smaller rooms, is a tricky matter. Especially with regard to the distance to walls, possibly also slopes or ceilings, it must be taken into account that bass frequencies, with their circular radiation behavior, behave completely differently than radiation-directed mids and highs. Another point is the perfect balance in terms of frequency distribution and radiation behavior between the satellites and the woofer. Therefore, you need to pay a lot of attention to the correct placement of the subwoofer.

Even if there is a persistent assumption in some circles that everything below 300 Hertz can be placed anywhere in space since there is no longer any spatial positioning, the aim is still to place the woofer in the middle between the two satellites, if possible . In a typical budget studio setup, this usually results in the woofer being used below the worktop in the foot area. In general there is nothing wrong with this placement, but in most cases it is only a matter of time before one of your feet kicks the speaker or perhaps even damages it. To avoid this, you can purchase a suitable speaker grille, which counteracts this problem. Personally, I would definitely include this product in my budget planning, especially since the price of €22 is very moderate.

As is well known, using a subwoofer is not a panacea for spatial inadequacies or low-bass near-field monitors. If the room is unsuitable for music reproduction due to its symmetry, its arrangement or its radiation characteristics, even the best subwoofer cannot prevent the end result from being anything but satisfactory. In addition, there are still different opinions as to whether the bass range is better reproduced with powerful satellite woofers or whether a separate woofer is used, which of course significantly reduces the load on the satellites, but also has a different sound behavior. Everyone has to decide for themselves what is the best solution for them.

To put it bluntly, for a price of under 400 euros, the KRK S10G4 offers a lot for the money. The sound pressure of the system is indeed exceptional for this price and from the first tones you are literally surprised by the large volume of the product.

However, this also leads to the problem that the woofer quickly has to struggle with standing waves in a rather moderate control room, which can only be gotten under control after intensive testing of the installation position. For example, in my Studio 2, where the control room is only about 15 square meters, it turned out to be a good placement
wasn't that easy, as the walls repeatedly led to an increase in the low bass range. Nevertheless, you quickly feel very comfortable with the woofer, as its large volume gives off the classic feeling of the woofer.

However, the radiation behavior of the woofer itself is relatively indifferent and, depending on the music material, can quickly lead to booming. Particular attention should be paid to which satellites the KRK S10G4 is operated with. All in all, you have to give the product a good rating because it brings a lot of the attitude of the pro range into the budget range and ensures a good feeling.

Conclusion

With the KRK S10G4, the protagonist of the yellow membrane has a subwoofer in his portfolio that has a very good price/performance ratio. The workmanship and connection peripherals are well above the norm in this price segment, and the system also impresses with its exceptionally high sound pressure. When placed correctly, the KRK S10G4 is a useful addition to weak near-field monitors, which may lack deep bass.

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Additional Informations:

Introduction:
In the realm of professional audio monitoring, few names evoke as much reverence and acclaim as KRK Systems. Renowned for their precision, clarity, and reliability, KRK monitors have become indispensable tools for producers, engineers, and musicians around the world. But the story of KRK Audio is not just one of technological innovation; it's a testament to the entrepreneurial spirit, unwavering dedication to quality, and a deep understanding of the needs of audio professionals. In this comprehensive exploration, we embark on a journey through the rich history of KRK Audio, tracing its humble beginnings, pivotal milestones, and enduring legacy in the world of studio monitoring.

Founding Years:
The origins of KRK Audio can be traced back to the late 1970s when Keith Klawitter, an audio engineer and musician, founded the company in the small town of Chatsworth, California. Dissatisfied with the available studio monitors of the time, Klawitter set out to create speakers that would provide accurate, transparent sound reproduction, essential for critical audio tasks such as mixing and mastering. Armed with a passion for audio engineering and a vision for uncompromising quality, Klawitter began designing and building his own monitors in a garage workshop.

Pioneering Technology:
At the heart of KRK's early success was Klawitter's innovative use of unconventional materials and design principles. One of the company's breakthroughs was the development of the Expose Monitor, introduced in the early 1980s. The Expose series incorporated proprietary technologies such as Kevlar drivers and front-firing port designs, setting a new standard for accuracy, transient response, and low-frequency extension in studio monitors. These innovations garnered attention from audio professionals and established KRK as a leading force in the world of studio monitoring.

Expansion and Acclaim:
Throughout the 1980s and 1990s, KRK Audio continued to expand its product lineup and refine its monitor designs. The company's commitment to quality and innovation earned it widespread acclaim among recording engineers, producers, and artists. The introduction of the iconic V Series monitors in the late 1990s further solidified KRK's reputation for delivering superior sound quality and reliability. With their distinctive yellow cones and transparent sound signature, the V Series monitors became a fixture in recording studios and production facilities worldwide, cementing KRK's position as an industry leader.

Acquisition and Global Reach:
In 2003, KRK Audio underwent a significant transformation when it was acquired by the Stanton Group, a leading manufacturer of professional audio equipment. Under new ownership, KRK continued to thrive, leveraging the resources and expertise of the Stanton Group to further expand its product offerings and reach new markets. The acquisition also facilitated KRK's global expansion, allowing the company to establish a strong presence in key markets across North America, Europe, Asia, and beyond.

Innovation in the Digital Age:
As the audio industry transitioned into the digital age, KRK remained at the forefront of innovation, embracing emerging technologies to enhance the performance and functionality of its monitors. The introduction of the Rokit series in the early 2000s marked a significant milestone for KRK, bringing professional-grade monitoring capabilities to a broader audience of home studio enthusiasts and aspiring producers. The Rokit series quickly gained popularity for its affordability, versatility, and studio-quality sound, earning accolades from industry professionals and amateurs alike.

Continued Excellence and Evolution:
In the years since its founding, KRK Audio has continued to evolve and adapt to the changing needs of the audio industry. The company's commitment to excellence and innovation remains unwavering, as evidenced by the introduction of the latest generation of studio monitors, including the Rokit G4 series. Equipped with advanced DSP-driven room tuning capabilities, Class D amplification, and a host of connectivity options, the Rokit G4 monitors represent the pinnacle of KRK's technological prowess and dedication to providing audio professionals with the tools they need to achieve sonic perfection.

Legacy and Influence:
As we reflect on the remarkable journey of KRK Audio, it's clear that the company's impact extends far beyond the realm of studio monitoring. From its humble beginnings in a garage workshop to its status as a global leader in professional audio technology, KRK has inspired generations of musicians, producers, and engineers with its unwavering commitment to sonic excellence. With each new innovation and technological advancement, KRK reaffirms its position as a driving force in the evolution of studio monitoring, ensuring that the next chapter of its storied history will be as illustrious and influential as those that came before.