TEST: Eve audio SC 408

When a shipment of monitors is delivered by a shipping company, you know as a tester that something special is about to happen before you even hear the first sound. Theoretically, the 30 kilogram bolides could have been shipped as 2 individual packages, but strapped to a Euro pallet, the two Eve audio SC408 monitors look more than just impressive in their massive outer packaging. To what extent the touch of the monstrous is also reflected in the sound of the construction and how a single person manages to maneuver 30 kg onto a high stand without scratching it will be shown in the upcoming test.


The construction of the Eve audio SC408 test

That the Eve audio SC408s are not the usual near-field suspects in terms of sound and performance, one realizes already during the "unboxing" so popular on the Internet. If I had created a video of the process, you could have a good laugh at how I try to free the 30 kg Wämmser from their high-quality, tight-fitting outer packaging by attempting to lift them out. This attempt can be saved, since the foam persistently remains between the monitor and the box, especially since lifting 30 kg is a very manly department in itself. The only variant that works, as long as you don't want to destroy the outer packaging, was to carefully pull the product out from the side. So far, so good.

Already the pure performance data (2 x 250 watt woofer + 250 watt midrange + 50 watt tweeter) together with the dimensions (W x H x D): 710 mm x 330 mm x 440 mm indicate that the target audience of the Eve audio SC408 in this case is not the ambitious home recording studio, but rather one is in the professional field, which is further supported by a retail price of just under 3,000 € per box. Along with that, you should also check your rooms to see if they are at all up to a 1600 watt duo. After all, the Eve audio SC408 is not a nearfield but a midfield monitor. A perfect spatial alignment along with appropriate damping, especially of the low frequencies of the control room, are just as much a basic requirement for the system as a minimum size of the room. Otherwise, there is a risk that the Eve audio SC408 will literally "smash" the acoustics due to its performance. You don't build a Tesla drive into a Mercedes A-Class.

In order to place the monitors optimally in the room, I chose Fame monitor stands this time, which are the only ones in my collection that have a flat, partly foam-covered support surface and place the speakers at a height of about 1 meter. The distance to the monitoring position is 180 cm, the distance to the wall behind it is 200 cm. A Palmer Monicon acts as the master volume control, and all the cabling is from Cordial. The control room is moderately damped with Basotect panels and was covered with a short-pile carpet.

The concept of Eve audio SC408

Interestingly, the Eve audio company was created by Roland Stenz, who used to be the CEO of the Adam Audio company. Although it has only been on the market for a few years, the company already has an extensive catalog, starting with budget nearfield monitors in the 300 euro league, with the tested version being the top dog at the other end of the scale.

The Eve audio SC408 is an active, 4-way midfield monitor that features two 8-inch "Silvertone" fiberglass woofers rated at 250 watts each, a 5-inch midrange driver rated at 250 watts and a 1-inch AMT tweeter rated at 50 watts, and according to the manufacturer, has a frequency response of 30 Hz - 21 kHz. The sound pressure of the system is stated at 118 dB SPL. Considering the installed components, one also takes these values from the manufacturer without hesitation, i.e. an additional subwoofer is not needed. Eve audio calls the system a 4-way system, since 4 different drivers are used. The internal DSPs operate at 192 kHz and control the volume, crossover frequencies and equalizer functions. All speakers are secured with limiters, separating at 250 Hz and 3 kHz. The system was developed in Berlin, where the final acceptance of the system also takes place. The system is built in China.

Front and rear of the Eve audio SC408

On the back, the connection panel welcomes us next to the standard XLR an unexpected RCA input, which I would not have expected here. Via 4 mini switches (one is not assigned) you can lock the DSP functions and select the input level between +7 dBu and +22 dBu. Although in most cases one is well advised with +7 dBu, there are very high levels in some studios, which can then also be compensated in the +22 dBu setting. There is also a ribbed element on the rear panel, which serves to cool the system. It gets warm during operation, but not hot.

Regarding the front, you should first decide whether you want to operate the system horizontally or vertically. From the factory, the system is configured for horizontal operation. However, if you want to position the Eve audio SC408 vertically, you have to rotate the tweeter / midrange array by 90 degrees. This can easily be done in a few minutes. To protect the sensitive tweeter from external influences, you can also attach a protective grille, which adheres magnetically.

The system's control center is located on the top right, as seen from the midrange. Via a push-poti you get to the respective menu, which, if you have enabled editing on the back of the case, edits both the volume and the corresponding filter settings. The control is gridded, i.e. the annoying adjustment of the volume balance between the boxes, which is unfortunately still found especially in the budget class, is fortunately omitted.

In addition to a special desk mode, which defuses the low-mid range, the frequencies can be raised or lowered in 0.5 dB steps via 2 shelving filters (> 300 Hz, < 3 kHz). The optical control is done via a LED ring, which can also be edited in its brightness. If the potentiometer is pressed for longer than 3 seconds, the system goes into standby mode. All settings are automatically saved and automatically loaded at the next activation.

The Eve audio SC408 in practice

While powering on and booting up the system is completely silent, there is a very quiet "discharge pop" when deactivating, but it is so quiet that it is hardly noticed and does not stress the speakers in any way. If you look at the construction of the Eve audio SC408, the two 8-inch woofers naturally catch the eye first, which encourages the expectation of a voluminous bass reproduction. In fact, "what you see is what you get" applies here, meaning that the bass reproduction of the system is beyond criticism.

The bass is tight, well articulated and doesn't tend to be undifferentiated at any volume. Especially at higher volumes, the low frequency range shines, which is not to be neglected, especially in a midfield system. After all, it is important to ensure a clean localization of the signal even at a distance of 4 meters and more, which the Eve audio SC408 succeeds excellently. However, as already mentioned, it is important to pay special attention to the room acoustics and to address the issue of bass traps if necessary. With their massive air movement, the 4 woofers immediately punish any spatial inadequacy with a standing wave, which must be avoided at all costs.

Next, we'll take a look at the high frequency range. All users who have the facial expression of a freshly cut and to be eaten lemon because of the sometimes harsh reproduction can lean back and relax. In contrast to some representatives of the cheaper guild, the trebles in this case almost blend softly, but in any case very restrainedly into the sound picture. There is no trace of harsh or even biting highs, but instead a very fine resolution, which also reproduces the slightest flickering beyond 14 kHz sovereignly.

Now we come to the absolute highlight of the Eve audio SC408, the midrange reproduction. Rarely have I heard a system that generates such a well-structured resolution between 1 - 2 kHz, precisely the range that must be covered by the woofer in a 2-way system. However, this is exactly where the crucial guitar frequencies are, especially when it comes to distorted or high-gain variants. One could even go out on a limb and speak of a system within a system. It is almost frightening what the midrange driver of the Eve audio SC408 reveals in terms of subtleties that are downright swallowed up in comparable systems. Simply outstanding!

In terms of spatial resolution and depth, the Eve audio SC408 also leaves a very good impression, provided you take into account the dimensions of the system. The phantom center is cleanly punctuated, but a minimum distance between the speakers is required for perfect spatial staggering. As already described in detail, we are dealing with a midfield system. It's not that the speakers wouldn't sound adequate at a smaller distance, but you're depriving yourself of a large spatial component that the system generates when perfectly aligned.

The system also has a very good impulse fidelity, whereby the comparatively high weight of the individual speakers certainly has a share in this. Percussive elements or even the quick succession of kick drum beats are easily handled by the system, which manages a clean reproduction even at high to very high volumes. In general, it seems as if the system really "breathes" at a certain volume. This does not mean that the system is not convincing at moderate volumes, but 800 watts per side want to be "tickled" a bit before they can show their full sound.

Conclusion

With the Eve audio SC408, the Berlin company has a product of the absolute top class in the midfield area at the start. Basic sound, processing and concept leave an excellent impression, whereby except for a detaching serial number sticker on the back of the case, not a single minus point could be found.

A special highlight is the midrange reproduction that outshines everything else, which is a clear added value compared to the competition, especially in guitar-heavy productions.

As a rating remains only the highest score, for every professional user, the Eve audio SC408 is a clear enrichment in the studio!

Additional informations:

Eve Audio is a prominent company specializing in the design and manufacturing of high-quality professional studio monitors. Founded in 2011, the company has gained recognition for its commitment to delivering exceptional audio reproduction solutions to the audio industry. This report provides a detailed overview of Eve Audio, covering various aspects such as history, product range, technologies, reputation, and future prospects.

History and Background Eve Audio was established by Roland Stenz, a well-respected audio engineer and speaker designer with extensive experience in the pro audio industry. With a vision to create studio monitors that accurately represent the artist's intentions, Stenz assembled a team of audio professionals and engineers to develop innovative and cutting-edge solutions. Over the years, the company has become synonymous with excellence in speaker design and has earned a reputation for its meticulous attention to detail.

Product Range Eve Audio offers a diverse range of studio monitors tailored to meet the needs of audio professionals, producers, engineers, and musicians. Their product line includes nearfield, midfield, and main studio monitors, as well as subwoofers and accessories. Each monitor is crafted with precision and utilizes advanced technologies to deliver an accurate, transparent, and detailed sound reproduction.

Technologies and Innovation Eve Audio prides itself on employing state-of-the-art technologies in their studio monitors. One of their notable innovations is the Air Motion Transformer (AMT) technology, which is integrated into many of their models. The AMT technology provides a higher sound resolution, extended frequency response, and reduced distortion compared to traditional dome tweeters. This innovation has positioned Eve Audio as a leader in the field of studio monitor design.

Additionally, Eve Audio incorporates other advanced technologies such as proprietary DSP (Digital Signal Processing) algorithms, high-quality woofers, and amplifiers to ensure optimal performance and accuracy across their product range.

Reputation and Industry Recognition Eve Audio has earned an excellent reputation within the audio industry due to the superior quality and performance of their studio monitors. Their products have garnered widespread acclaim from professional audio engineers, producers, and musicians worldwide. Numerous industry experts have praised Eve Audio for their attention to detail, accurate sound reproduction, and exceptional build quality. The company's commitment to customer satisfaction has contributed significantly to their positive reputation.

Customer Support and Warranty Eve Audio places a strong emphasis on customer support and satisfaction. They provide comprehensive technical support to assist users in setting up and optimizing their studio monitor systems. Additionally, the company offers a generous warranty on their products, ensuring that customers receive reliable and long-lasting equipment.
Future Outlook As Eve Audio continues to innovate and refine their studio monitor designs, their future prospects appear promising. The company has shown a commitment to staying at the forefront of audio technology, consistently introducing new models and incorporating the latest advancements into their product range. With a growing customer base and increasing recognition in the industry, Eve Audio is well-positioned to continue its success and expand its presence in the global market.

Conclusion
Eve Audio has established itself as a leading provider of high-quality studio monitors, admired for their commitment to precision, innovation, and customer satisfaction. With a strong history, a diverse product range, cutting-edge technologies, and a solid reputation in the industry, Eve Audio is poised to shape the future of professional audio reproduction.

TEST: KS Digital C-88 Reference

Oha, I thought the DHL delivery included near-field monitors and not the all-tube SVT bass stop part from Ampeg. It is really rare that the parcel carrier pushes 2 boxes with a total of almost 50 kg in the hand and the inscription on the package promises a near-field monitor as content. Be that as it may, KS Digital must have thought of something when manufacturing its KS Digital C88-Reference to equip this monitor with such a high weight.

The setup of the KS Digital C88-Reference test

The first thing to do is to find the right speaker for the right side, as the speakers come in a left and a right version, but this is very easy to figure out. As always when positioning a monitor vertically, place the tweeters to the outside and in this case make sure the KSD logo is placed at the bottom. The speakers are placed on Gravity Stand monitor stands at a height of about 1 meter. The distance to the monitoring position is 150 cm, the distance to the wall behind is 200 cm. A Palmer Monicon acts as the master volume control, and all the cabling is from Cordial. The control room is moderately damped with Basotect panels and was covered with a short-pile carpet.

The concept of the KS Digital C88-Reference

The KS Digital C88-Reference is an active, 3-way nearfield monitor, which features an 8-inch Kevlar woofer with 175-watt Class-D power amp, an 8-inch midrange driver, also made of Kevlar with 175-watt Class-D power amp, and a 1-inch fabric dome tweeter with 80-watt Class-D power amp (all peak values), and according to the manufacturer, has a frequency response of 32 Hz - 22 kHz. The midrange and tweeter are coaxial in design to come as close as possible to the ideal of a point source of sound. The sound pressure of the system is specified at 118 dB SPL. To protect all components against overload, the system was equipped with electronic peak/thermal limiter protection circuits, separately for all drivers.

The weight of the speakers is 22 kg per speaker, which makes the loudspeaker with dimensions of 480 mm x 240 mm x 310 mm one of the real heavyweights, but at the same time minimizes the cabinet bounce. The system is designed for small to medium-sized control rooms, whereby there should be a minimum distance of 50 cm to the speaker in the listening position. The speaker does not have a bass reflex port and can therefore be positioned comparatively close to a wall without having to interfere with the system's sound control.

The actual special feature of the KS Digital C88-Reference is the digital processing of the signal, which is done with Finite Impulse Reponse Technology, or FIRTEC for short. The internal processor constantly checks the system and tries to minimize distortion and ensure maximum phase fidelity. Furthermore, the processor manages six user-defined memory locations, which can be accessed via an optionally available remote control called KSD-RC. A delay correction can also be called up via this. An additional remote control called KSD-VOL, which can also be purchased as an option, allows direct volume control by +/- 6 dB without an additional monitor controller.

Optics and connections of the KS Digital C88-Reference

The first impression of the KS Digital C88-Reference is really very good. All components give a high-quality impression, all screw connections and transitions are clean and professionally executed, as is to be expected in this price range, the cherry wood veneer provides a dignified appearance. If you activate the box, a glowing KSD logo informs you about the status of the system. Unfortunately, the KS Digital C88-Reference does not have an auto-standby function.

The rear panel of the KS Digital C88-Reference is very clearly laid out, although appropriate for its field of application, somewhat unusual in comparison to a home recording speaker. On the one hand, the system does without an additional input jack beyond XLR, since no other format is used in the professional field anyway. Also, the use of an RJ45 jack will probably only be found very rarely in the budget sector, but in this case it only serves to connect the already mentioned remote controls. Behind a small, transparent plastic disk are 3 small thumbscrews, with which the high and low range, both as shelving filters, and a volume control, with which a volume balance can be carried out with unbalanced set-up.

Also worth mentioning is the very tight suspension of the woofers, which in the passive range means either a reduced bass response, or a safeguard for very high volumes. To what extent this suspension should affect the sound characteristics of the system remains to be seen in the practical test.

The KS Digital C88-Reference in practice

Already the first tones from the system provide a real ohhh effect. Without any further sound corrections, the KS Digital C88-Reference already delivers an excellent basic sound that can easily compete in the next higher league from €2,000 per speaker in terms of reproduction.

Starting with a bass reproduction that makes the listener constantly search for a subwoofer without finding it. Quite contrary to the hard suspension of the woofer, the system offers a balanced, neutral and, above all, tight bass foundation even below 100 Hz, which never loses definition at any time or at any volume. In general, the goal of the Saarland company, a neutral reproduction of the source material without "sounding" has been achieved here across the board.

Accompanied by an even midrange reproduction, which even the extremely difficult-to-define high-gain guitars master well up to the treble range, which draws attention neither by an exaggerated silkiness, nor by sharp or harsh scratching. Even after a short time, one notices how relaxing it is to work with the KS Digital C88-Reference speakers. Due to the high resolution, you don't have to explicitly send your hearing in search of the instrument / frequency or similar to be analyzed, it is virtually delivered on a silver platter by the system.

Let's move on to the spatial resolution and depth gradation. Here, too, the system convinces with a convincing performance, from the clean puncturing of the phantom center to a very even staggering of the sound material. Not only is a real band captured very nicely in the stereo image with the appropriate sound material, even outdoor recordings made with high-quality stereo technology leave a very vivid auditory impression. It would be interesting to test the KS Digital C88-Reference in a 5.1 environment, but unfortunately I was not able to do so.

However, the impulse behavior has to be considered the highlight of the system. It is more than just impressive how fast the speakers react to the delivered signal. Which of the installed components is exactly responsible for this, or the final combination of them, I can't say exactly. However, it is a fact that the comparatively hard suspension of the speakers in cooperation with the FIRTEC system enables a very high impulse fidelity.

Hard and fast following signals such as kick drums or even percussive elements from the keyboard faction manage the KS Digital C88-Reference with unprecedented ease even at high volumes. Reference productions such as Peter Gabriel's "So" appeared with their opulent, slightly overloaded eighties clutter in a very transparent sound garment, while many competitors completely go to pieces here in terms of resolution.

Whether the impulse fidelity can also be attributed to the comparatively high weight of the speaker cannot be determined exactly. However, it is certain that with a correspondingly high potential energy, the resonator does not move as fast as a body with a correspondingly lower weight, even with strong impulses.

Conclusion

With the KS Digital C88-Reference, the Saarland-based company has succeeded in creating a real highlight in the near-field monitor sector. The system sounds much higher quality than the price of just under 1,300 euros would suggest.

With a very neutral sound reproduction, a very balanced frequency response, an excellent depth gradation and a phenomenal impulse behavior, the digital system plays in a league that is otherwise only available for 2,000 euros and more per speaker.

The system convinces with a universal suitability for all music genres, whereby especially percussive-heavy productions with great depth staggering benefit from the concept. It's just a pity that the advanced functions, such as saving and calling up the parametric presets and the extended volume control, can only be managed via an optionally available remote control.

Additional informations:

KS Digital is a reputable company in the audio industry, specializing in the design and manufacturing of high-quality studio monitors and related audio equipment. With a strong focus on precision, accuracy, and innovative technologies, KS Digital has earned a solid reputation among professionals in the music production, broadcasting, and post-production sectors. This report provides a detailed overview of KS Digital, covering its history, product line, technological innovations, reputation, and contribution to the audio industry.

History and Background KS Digital was founded in 1992 by Jürgen and Peter Kienast, two audio enthusiasts with a shared passion for creating exceptional audio equipment. Their mission was to develop studio monitors that offered unparalleled accuracy and transparency in sound reproduction. Over the years, KS Digital has become known for its commitment to innovation and its dedication to meeting the evolving needs of audio professionals.

Product Line KS Digital offers a diverse range of studio monitors and audio equipment that cater to the demanding requirements of professional audio production. Their product line includes:

C-Series: The C-Series comprises compact nearfield monitors designed for critical listening and accurate sound reproduction in recording, mixing, and mastering applications. These monitors feature advanced coaxial driver technology, ensuring excellent phase coherence and precise imaging.

b. A-Series: The A-Series consists of active monitors that provide high-resolution audio playback with extended frequency response. These monitors incorporate cutting-edge technologies, such as Acoustic Reality Modeling (ARM), to deliver an exceptionally detailed and immersive listening experience.

c. E-Series: The E-Series offers high-quality passive monitors, subwoofers, and amplifiers suitable for professional applications where external amplification is preferred. These products are designed to work in harmony, allowing for a customizable and scalable audio system.

d. Digital Converters: KS Digital also offers digital-to-analog converters (DACs) and analog-to-digital converters (ADCs) renowned for their exceptional sonic performance and high-resolution audio conversion.

Technological Innovations KS Digital is known for its relentless pursuit of technological advancements to enhance audio quality and user experience. They have developed several innovative technologies that set their products apart:

Coaxial Driver Technology: KS Digital's coaxial driver technology ensures precise alignment of the tweeter and woofer, resulting in accurate time and phase coherence, as well as improved imaging and stereo localization.

b. Acoustic Reality Modeling (ARM): ARM is a proprietary technology developed by KS Digital that simulates the acoustic characteristics of different listening environments. It allows users to optimize the monitor's response to match their specific studio or room acoustics.

c. Advanced DSP and Room Correction: KS Digital integrates advanced digital signal processing (DSP) into their monitors, enabling precise control over frequency response, equalization, and room correction. This feature ensures accurate sound reproduction in diverse acoustic environments.

Reputation and Industry
Recognition KS Digital has earned a strong reputation within the audio industry for its commitment to precision and sonic excellence. Their products have garnered praise from professionals worldwide, and KS Digital has been recognized with numerous industry awards and accolades for their innovative designs and technological advancements. Their monitors are widely used in professional studios, broadcast facilities, and post-production houses.

Contribution to the Audio Industry KS Digital has made significant contributions to the audio industry by consistently delivering high-quality studio monitors that meet the stringent demands of professionals. Their commitment to accuracy, transparency, and innovation has raised the standard of audio reproduction and inspired other manufacturers in the industry. KS Digital's technological advancements and attention to detail have played a crucial role in enabling audio professionals to achieve exceptional sound quality and accuracy in their work.

Customer Support and Service KS Digital is known for its excellent customer support and service. They provide comprehensive technical assistance, product documentation, and troubleshooting resources to ensure customer satisfaction. Additionally, KS Digital offers warranty coverage on their products, further establishing their commitment to customer support.

Conclusion
KS Digital has established itself as a leading manufacturer of high-quality studio monitors and audio equipment. With a rich history, technological innovations, and a strong reputation for precision and accuracy, KS Digital continues to be a trusted choice for audio professionals across various industries. Through their dedication to pushing the boundaries of sonic excellence and providing outstanding customer support, KS Digital has made a significant impact on the audio industry and continues to shape the future of professional audio production.

TEST: KRK V6S4 - V8S4

When it comes to visual trademarks, the speakers of the manufacturer KRK, which now belongs to the Gibson Group, are all at the forefront. In what feels like the third studio in the world, the classic yellow Kevlar woofers shine out at you, setting not only visual but also acoustic trademarks.

The quite successful V-series is now entering its 4th generation and has some very interesting developments behind it in the context of the MK4 introduction. The user has a choice of three speaker sizes (KRK V8S4, KRK V6S4, KRK V4S4) and a KRK 12S subwoofer, with the first number reflecting the size of the woofer in inches, as expected. The VXT series, which was previously considered the third generation, will now continue as an independent series. We have the KRK V8S4 and KRK V6S4 versions for testing. With a retail price of 599 euros for the V6 variant and 799 euros for the V8 variant, KRK addresses the ambitious user, for whom the Rokit series is sonically too much in the budget range.

Construction

The basic construction of the two near-field monitors are quickly listed, but at first glance they do not stand out particularly from the previous KRK catalog. Both systems have electronic crossovers and 2 Class D power amplifiers each with a total of 155 watts (V6S4 - LF 125 watts, HF 30 watts), respectively 230 watts (V8S4 - LF 200 watts, HF 30 watts) and are designed as classic bass reflex boxes with the opening to the front. In terms of dimensions, the V6 version with 35 cm x 29 cm x 23 cm and a weight of 9 kilograms is still quite handy, while the V8 with 43 cm x 35 cm x 28 cm and 14 kilograms combat weight already leaves a quite powerful impression. Except for the points mentioned above, the construction of the two systems is identical.

The fact that, in addition to the woofer, the tweeter driver is now also made of aramid Kevlar, which has a strong sonic impact on the high-mid and high-frequency range, can be considered a major feature. Kevlar shines in the audio field, among other things, due to the fact that it is very light and very torsionally stiff and thus displays very good impulse behavior. Especially in the speed of a resting phase of the speaker, Kevlar is superior to many other materials in terms of inertia, but of course this is accompanied by a different basic sound of the system.

The corners of the cabinets were beveled in favor of phase fidelity in an MDF/aluminum construction on the front, a luminous KRK logo provides information about the operating status of the boxes. The speakers also come with a protective grille, which can be placed in front of the two speakers with a few simple steps if necessary. To protect the speakers from scratching the bottom side, EVA pads are mounted on the bottom side by means of 4 screws, which also allow a slight decoupling to the support surface (speaker stands / tabletop).

At the rear, the systems have a balanced TRS / XLR combo jack, along with ground lift and a selector switch, which can switch the input sensitivity optionally between -10 dB and +4 dB. Also the extensive setting options in terms of room sound adjustment with a total of 49 possibilities show unmistakably which clientele is to be addressed here. The filter settings are based on DSP technology, which can be updated via a micro USB port if necessary.


Practice

In neutral operation without any filter settings, the two KRK representatives quickly show their strengths. In terms of response, the Kevlar woofer truly sets standards, especially when it comes to synthetic sounds. Even with heavy bass thunderstorms, the signal remains very well locatable at high volumes and does not drown in the inertia of the woofer mass. The stereo image is balanced and very stable towards the sides in an optimal sitting position.

Also interesting is the fact how low the reproduction of the KRK V6S4 version already reaches down. The advertising-effective 40 Hz of the product sheet are also only touched here, but the range around 70 Hz is already very well performed here. In cooperation with the 12S woofer, a very adult reproduction should already be possible here. As expected, the KRK V8S4 version puts one more on top. The construction pushes here already very official, so that one can even think about omitting a woofer.

Due to the Kevlar tweeter, the mids are naturally very noticeable sonically. The impulse behavior is no longer quite as blatant as in the bass range with oscillating bellies in this frequency range, but the fast response allows for a clearly "harder" reproduction of the sound material. This is not to be taken as a judgement in this case, but the ear will need some time to become familiar with the Kevlar sound.


Conclusion

With the KRK V6S4 and KRK V8S4, the user gets a lot of quality for the money. An excellent impulse response, combined with a very good bass response allows a balanced work in almost all styles. Whether you like the typical sound of a KRK speaker, of course, everyone must decide for themselves, but if you get used to the sometimes harsh basic sound, you have a very good work tool at hand.


Additional informations:

- KRK Audio is a renowned company in the audio industry, specializing in the design and manufacturing of professional studio monitors and related audio equipment. Established in 1986, KRK has become a trusted brand among music producers, engineers, and artists worldwide. This report aims to provide a detailed overview of KRK Audio, covering its history, products, reputation, and contribution to the audio industry.

History and Background KRK Audio was founded by Keith R. Klawitter, a passionate musician and audio engineer. Recognizing the need for accurate and reliable studio monitors, Klawitter set out to create a company that would deliver superior sound reproduction for professionals in the music industry. Since its inception, KRK Audio has been committed to innovation, incorporating cutting-edge technology into their products.

Product Line KRK Audio offers a comprehensive range of studio monitors that cater to the diverse needs of audio professionals. Their product line includes:

Rokit Series: The Rokit series is one of KRK's most popular and affordable options. It features a range of active studio monitors, including the Rokit 5, Rokit 7, and Rokit 8. These monitors provide accurate frequency response, extended bass, and detailed imaging, making them ideal for recording, mixing, and mastering.

b. V Series 4: The V Series 4 monitors are designed for professionals who demand precision and clarity. With advanced drivers and boundary EQ controls, these monitors deliver transparent and balanced sound across the entire frequency spectrum. They are available in different sizes, including the V4, V6, and V8.

c. Classic Series 5: The Classic Series 5 pays homage to KRK's iconic Expose E8B monitors. These monitors combine modern technology with a vintage design, offering exceptional performance and aesthetics. They are equipped with Kevlar drivers and an onboard DSP engine for optimal sound reproduction.

d. Subwoofers: KRK also offers a range of subwoofers, such as the 8s2, 10s2, and 12s2. These subwoofers enhance the low-frequency response of the studio monitors, providing a more accurate representation of bass-heavy content.

Technological Innovation KRK Audio has been at the forefront of technological innovation in the audio industry. They have developed several proprietary technologies to ensure exceptional sound quality and performance:

Kevlar Drivers: KRK pioneered the use of Kevlar material in their monitor drivers. Kevlar is lightweight, yet rigid, allowing for accurate and detailed sound reproduction across the entire frequency range.

b. Waveguide Design: KRK's monitors feature a unique waveguide design that helps to minimize diffraction and optimize the dispersion of sound. This technology ensures a wide sweet spot and precise imaging.

c. DSP-driven EQ: Many of KRK's monitors are equipped with onboard DSP (Digital Signal Processing) engines that allow users to tailor the frequency response according to their room acoustics and personal preferences. This feature enhances the accuracy and adaptability of the monitors.

Reputation and Industry Recognition KRK Audio has earned a solid reputation within the audio industry for its commitment to quality and innovation. Their products have been widely praised by professionals and are commonly found in professional studios, recording facilities, and home studios alike. KRK has received numerous industry awards and accolades for their monitors, including the prestigious TEC Award.
Contribution to the Audio Industry KRK Audio has made significant contributions to the audio industry by consistently delivering high-quality studio monitors that meet the demanding standards of professionals. Their monitors have played a crucial role in facilitating accurate sound reproduction during recording, mixing, and mastering processes. KRK's commitment to innovation has raised the bar for audio quality and inspired other manufacturers to strive for excellence.

Customer Support and Service KRK Audio is known for its excellent customer support and service. They offer warranty coverage on their products and provide assistance to customers through their dedicated support team. Additionally, KRK's website features a knowledge base, user forums, and resources to help users optimize their audio setup and troubleshoot any issues.

Conclusion:
KRK Audio has established itself as a leading manufacturer of professional studio monitors and audio equipment. With a rich history, innovative technologies, and a strong commitment to quality, KRK continues to be a trusted choice for professionals in the music industry. Through their dedication to accurate sound reproduction and customer satisfaction, KRK Audio has played a vital role in shaping the audio industry.

- Nearfield monitors, also known as studio monitors, are a critical component in professional audio production. These specialized speakers are designed to provide accurate and detailed sound reproduction, making them essential tools for recording, mixing, and mastering engineers. This report aims to provide a comprehensive overview of nearfield monitors, covering their purpose, design, features, benefits, and popular models in the market.

Purpose of Nearfield Monitors Nearfield monitors are specifically designed to be placed close to the listener or operator in a studio environment. Unlike consumer speakers or home theater systems, which are optimized for casual listening, nearfield monitors are engineered to provide an uncolored and precise representation of audio content. Their purpose is to facilitate critical listening and enable professionals to make accurate decisions regarding sound recording, mixing, and mastering.

Design and Features a. Enclosure Design: Nearfield monitors typically feature a compact and sealed enclosure design. This design minimizes resonance and unwanted vibrations, ensuring a more accurate sound reproduction.

b. Driver Technology: Nearfield monitors employ high-quality drivers, including woofers, tweeters, and sometimes midrange drivers. These drivers are carefully selected and matched to provide a balanced and extended frequency response.

c. Frequency Response: Nearfield monitors have a wide frequency response that covers the entire audible spectrum, ranging from around 40 Hz to 20 kHz or even higher. This ensures that the monitors can accurately reproduce both low-frequency bass content and high-frequency details.

d. Amplification: Many nearfield monitors are active, meaning they have built-in amplifiers. Active monitors eliminate the need for external amplification and ensure optimal power distribution to each driver, resulting in better control and accuracy.

e. Connectivity: Nearfield monitors offer various connectivity options, including balanced XLR, TRS, or RCA inputs. Some models also provide additional features such as input sensitivity adjustments and room correction capabilities.

f. Controls and Calibration: Nearfield monitors often include controls for volume adjustment, frequency response shaping (e.g., high and low-frequency adjustments), and sometimes room correction features to compensate for room acoustics.

Benefits of Nearfield Monitors a. Accuracy and Detail: Nearfield monitors are designed to provide a detailed and accurate representation of audio content, allowing professionals to hear subtle nuances, flaws, and imperfections in recordings.

b. Transparent Sound: Nearfield monitors aim to reproduce sound without adding any coloration or distortion. This transparency helps professionals make precise decisions during mixing and mastering processes.

c. Imaging and Spatial Representation: Nearfield monitors excel at creating a focused and well-defined stereo image, enabling professionals to position instruments and sounds accurately in the soundstage.

d. Consistency: Nearfield monitors are designed to have a consistent sound across different models, ensuring that engineers can achieve consistent results regardless of the studio setup.

e. Compatibility with Different Environments: Nearfield monitors are suitable for various studio environments, including small home studios, project studios, and professional recording studios. Their compact size and close listening distance make them adaptable to different room sizes and acoustic conditions.

Popular Nearfield Monitor Models
a. Genelec 8040B: Known for their exceptional accuracy and imaging, Genelec 8040B monitors feature a compact design, advanced driver technology, and versatile connectivity options.

b. KRK Rokit RP5 G4: The KRK Rokit RP5 G4 monitors offer a balanced and detailed sound reproduction, with a built-in DSP engine for room correction and versatile connectivity options.

c. Yamaha HS8: Yamaha HS8 monitors are highly regarded for their precise sound reproduction, wide sweet spot, and reliable performance. They feature a sturdy enclosure design and a room control switch for adapting to different environments.

d. Neumann KH 120 A: Neumann KH 120 A monitors are known for their transparent sound, accurate frequency response, and extended bass performance. They are often favored by professionals for critical listening and precision work.

e. Dynaudio LYD 7: The Dynaudio LYD 7 monitors deliver a balanced and detailed sound reproduction, with adjustable sensitivity, bass extension, and treble tilt controls for room adaptation.

Conclusion:
Nearfield monitors are indispensable tools in professional audio production, providing accurate and detailed sound reproduction for critical listening and decision-making. Their purpose-built design, advanced features, and benefits make them essential equipment for recording, mixing, and mastering engineers. By offering transparency, accuracy, and consistency, nearfield monitors contribute significantly to achieving high-quality audio production results.

TEST: KRK Rokit 8

With the KRK Rokit RP8, the company, which belongs to Stanton Magnetics, launches a product line that should be particularly interesting for small budgets. The product line consisting of three different models (RP5, RP6, RP8), which is manufactured in China, is now already in its second generation and clearly stands out visually from its predecessors. Of course, the optical trademark of the company has remained, the bright yellow woofer made of fiberglass aramid, which is characterized by high strength at very low weight.

With a street price of just under 230 euros per speaker, the company has to face a large number of competitors who also have big names and want to penetrate the monitoring ranks of smaller budget studios with an inexpensive line. For the test we have the most powerful variant Rokit 8 with a, who would have expected it, 8 inch bass speaker.


Construction

A single KRK Rokit 8 speaker comes with a weight of 13.9 kilograms and the dimensions (HxWxD): 381 mm x 265 mm x 330 mm, which can still be handled well in practice, but requires a correspondingly load-bearing construction for wall mounting. In terms of cabinet shape, KRK also follows the general current trend away from fixed cubic basic shapes towards rounded, more stylish cabinets. In the case of the Rokit series, the fashionable adjustment is limited to the front of the housing, which in the form of an attached plastic panel accommodates the tweeter and woofer and forms the slot for the bass reflex port.

The reason for rounded cabinet shapes is not only due to a fashionable trend in the near field monitor sector. Rather, the goal is to minimize so-called edge reflections, which occur primarily in the high-frequency range. Another form of maintaining phase fidelity, an asymmetrical enclosure shape, was not used here.

Although the speakers are magnetically shielded, the KRK Rokit RP8 version is, in my opinion, overdimensioned for a direct placement at a computer workstation near the PC monitor, here the RP6 version, or better yet RP5 would be the better choice. The work surface should already have the standards of a medium control room to be able to use the performance of the speakers accordingly. However, since the bass reflex port radiates to the front, the speakers can be placed somewhat closer to a rear wall than is the case with a rear radiating version. Nevertheless, a small distance to the wall or even a corner placement has to be counteracted with corresponding reductions in the low frequency range.

In terms of speakers, the Prodipe TDC 8 is set up as a 2-way solution, which is expressed in the form of an 8-inch glass-aramid woofer, respectively 1-inch neodymium textile tweeter. According to factory specifications, the tweeter has a load of 20, the woofer over 70 watts, the whole at a frequency response of 45 - 20 kHz. As inputs XLR balanced, TSR balanced and RCA are available, whereby the tweeter range can be varied by -2dB, -1dB, 0dB, +1dB, the low frequency range by -2dB, -1dB, 0dB, +2dB by means of a rotary control. The system can be adjusted between -30 dB to +6 dB via a volume control. Finally, the power or IEC IEC connector and fuse on the back should be mentioned. The power consumption is specified with 160 watts.


Practice

The company KRK, which was founded in 1986 by Keith R. Klawitter, is generally associated with a basic sound standard, which in combination with the characteristic appearance enjoys great popularity in countless studios around the world. Aware of this, the experienced manufacturer will almost certainly not run the risk of jeopardizing its reputation with the Rokit Budget line. And truly, after activating the power switches, the very first sounds leave no doubts about the quality of the signal.

Sonically, the KRK Rokit 8 has an amazingly balanced midrange, which usually sags in the crossover frequency due to the basic construction in 2-way systems. Especially the notorious sound of a distorted guitar, which some competitors like to reproduce rather scratchy, respectively sawing, comes along comparatively balanced with this product. In the bass range, KRK fortunately avoids a too strong reproduction up to about 100 Hertz, with which one likes to try to gain the listener's attention, although due to the radiation of the reflective tunnel to the front, one cannot complain about a too low bass content. On the other hand, the speaker can be placed comparatively close to a reflective wall without falling prey to the notorious reflection boom.

In terms of high-frequency reproduction, the Soft Dome resolves unexpectedly high and displays above-average fine detail. Especially the decent treble range, which lacks any sharpness, pleases with a pleasant basic sound. However, what emerges as immensely important for the KRK Rokit 8 is a scrupulously accurate adherence to the stereo triangle, which is the basis of every good set-up position. Even slight deviations in the listening position result in a massive drop in the depth and resolution in the high frequency range.

Especially if the monitors are placed low, for example on the desktop of the PC, the quality of the vertical dispersion is massively reduced. Thus, if you work in a studio in pairs, you should possibly be prepared to sit behind each other and not next to each other, otherwise at least one, if not both users will approach a dead spot. However, those who don't leave the triangle will be spoiled in return with an unusually good sound in this price range, which is also characterized by a great flexibility in terms of music direction.

What is also very pleasant is the fast response of the system. The low weight of the woofer is immediately noticeable and provides the monitors with a high impulse fidelity even at higher listening volumes.


Conclusion

With the KRK Rokit 8 series, the American manufacturer manages to transport a lot of the sound culture of its forefathers into the budget line. As with the more expensive lines such as Expose, V or RP, the Rokit series also uses a low / midrange construction of lightweight but high-strength composite membranes, in this case aramid, which sustainably shapes the sound through high impulse fidelity and good spatial resolution.

With an affordable price and good detail solutions, the Rokit series is a real recommendation in this price range.

Additional informations:

KRK Audio is a renowned company in the audio industry, specializing in the design and manufacturing of professional studio monitors and related audio equipment. Established in 1986, KRK has become a trusted brand among music producers, engineers, and artists worldwide. This report aims to provide a detailed overview of KRK Audio, covering its history, products, reputation, and contribution to the audio industry.

History and Background
KRK Audio was founded by Keith R. Klawitter, a passionate musician and audio engineer. Recognizing the need for accurate and reliable studio monitors, Klawitter set out to create a company that would deliver superior sound reproduction for professionals in the music industry. Since its inception, KRK Audio has been committed to innovation, incorporating cutting-edge technology into their products.

Product Line KRK Audio offers a comprehensive range of studio monitors that cater to the diverse needs of audio professionals. Their product line includes:

Rokit Series: The Rokit series is one of KRK's most popular and affordable options. It features a range of active studio monitors, including the Rokit 5, Rokit 7, and Rokit 8. These monitors provide accurate frequency response, extended bass, and detailed imaging, making them ideal for recording, mixing, and mastering.

b. V Series 4: The V Series 4 monitors are designed for professionals who demand precision and clarity. With advanced drivers and boundary EQ controls, these monitors deliver transparent and balanced sound across the entire frequency spectrum. They are available in different sizes, including the V4, V6, and V8.

c. Classic Series 5: The Classic Series 5 pays homage to KRK's iconic Expose E8B monitors. These monitors combine modern technology with a vintage design, offering exceptional performance and aesthetics. They are equipped with Kevlar drivers and an onboard DSP engine for optimal sound reproduction.

d. Subwoofers: KRK also offers a range of subwoofers, such as the 8s2, 10s2, and 12s2. These subwoofers enhance the low-frequency response of the studio monitors, providing a more accurate representation of bass-heavy content.

Technological Innovation KRK Audio has been at the forefront of technological innovation in the audio industry. They have developed several proprietary technologies to ensure exceptional sound quality and performance:

Kevlar Drivers: KRK pioneered the use of Kevlar material in their monitor drivers. Kevlar is lightweight, yet rigid, allowing for accurate and detailed sound reproduction across the entire frequency range.

b. Waveguide Design: KRK's monitors feature a unique waveguide design that helps to minimize diffraction and optimize the dispersion of sound. This technology ensures a wide sweet spot and precise imaging.

c. DSP-driven EQ: Many of KRK's monitors are equipped with onboard DSP (Digital Signal Processing) engines that allow users to tailor the frequency response according to their room acoustics and personal preferences. This feature enhances the accuracy and adaptability of the monitors.

Reputation and Industry Recognition KRK Audio has earned a solid reputation within the audio industry for its commitment to quality and innovation. Their products have been widely praised by professionals and are commonly found in professional studios, recording facilities, and home studios alike. KRK has received numerous industry awards and accolades for their monitors, including the prestigious TEC Award.
Contribution to the Audio Industry KRK Audio has made significant contributions to the audio industry by consistently delivering high-quality studio monitors that meet the demanding standards of professionals. Their monitors have played a crucial role in facilitating accurate sound reproduction during recording, mixing, and mastering processes. KRK's commitment to innovation has raised the bar for audio quality and inspired other manufacturers to strive for excellence.

Customer Support and Service KRK Audio is known for its excellent customer support and service. They offer warranty coverage on their products and provide assistance to customers through their dedicated support team. Additionally, KRK's website features a knowledge base, user forums, and resources to help users optimize their audio setup and troubleshoot any issues.

Conclusion:
KRK Audio has established itself as a leading manufacturer of professional studio monitors and audio equipment. With a rich history, innovative technologies, and a strong commitment to quality, KRK continues to be a trusted choice for professionals in the music industry. Through their dedication to accurate sound reproduction and customer satisfaction, KRK Audio has played a vital role in shaping the audio industry.

TEST: KRK GoAux 4

Whether it's coffee, pizza or whatever unusual products, many things are now "To Go", i.e. "to take away". Articles, which are otherwise stationary fed or used, can now also be packed and used where you are. Well then, why not transfer the same to the audio sector, KRK Systems will have asked itself and therefore created a very portable speaker called KRK GoAux 4. Let's see what demands the company, which now belongs to the guitar giant Gibson, will meet with these very special speakers.

The construction of the KRK GoAux 4

"No, what are the cuddly", so or so similar one or the other user will already react to the really very portable near field monitors, similar statements might have already taken owners of Havanese, Chihuahuas or Yorkshire Terriers. In fact, the speakers, which are made of plastic in China, can easily pass for PC speakers with their dimensions of (H x W x D): 205 mm x 136 mm x 140 mm and should also fit on a very small table. In terms of transportability, such dimensions are hard to beat.

But why should you call transportable speakers your own at all, especially since you have a serious competitor in the field of small luggage with high-quality headphones? Well, if we look back to the heyday of recording studio culture, there were not only real "rock stars" on and backstage, but there were also various engineers who had a legendary reputation especially in the mixing field and were hired just like studio musicians for various sessions. Analog recording studios were giants of technology and it was impossible to be able to mix your recordings in every loo as you do today. So it was common for the mixing engineer to get on the next plane and carry in his luggage, besides his most important outgear like compressors, EQs, etc., if possible a couple of portable nearfield monitors to which he was tuned in to better judge the final result.

Since today everyone can set up his home recording studio in any room of his home, this area is reserved only for the Champions League of artists, where studio stays can be deducted as advertising costs and money ultimately does not matter. However, near-field monitors still offer a different listening impression than headphones, even though the physical conditions could not be more diametrically opposed, especially as far as the bass range is concerned.

Already during the unpacking of the KRK GoAux 4, one notices the different weights of the two speakers, which has a very simple reason. The housing of the left speaker contains the entire electronics of the system, the power supply and the power amplifier, which brings out of the 4" woofer (33 watts) and the 1" tweeter (17 watts) nevertheless stately 50 watts per monitor, whereby I am very sure, we are talking about peak power, which probably then depicts between 15 - 20 watts RMS. The right monitor is only supplied with a supplied speaker cable and is basically a passive speaker. Of course, this principle is not completely new, because who does not know the legendary JBL Control One, which was also available in an active version many decades ago and whose principle is identical to the KRK GoAux 4. P.S. Who has the chance to get hold of old Control One, whose membrane has not yet decayed, absolutely buy, the new ones do not even have the same sound quality.

Both speakers of the KRK GoAux 4 are protected against external influences by black grilles, and the cone of the woofer was of course colored in the typical KRK yellow. According to the manufacturer, the KRK GoAux 4 offer a frequency response at -3 dBSPL from 60 - 20,000 Hz and at -10 dBSPL from 55 - 22,000 Hz at a maximum level of 98.5 dB, although especially the specifications in the bass range should be considered with the necessary abstraction. In order to give the small enclosures a bit more bass volume, both speakers have a bass reflex port on the back at the top, which radiates to the rear.


The accessories of the KRK GoAux 4

It's rare enough that nearfield monitors get a separate paragraph in the accessories section, but what KRK includes here is truly remarkable. For one thing, there's the padded, durable carrying case in which the two speakers rest in two separate compartments. The middle section, also padded, is occupied by two speaker stands onto which the monitors can be fixed by means of two supplied screw knobs, and then their angle of inclination can be changed. Two pockets on the side and another in the lid contain a Quick Start Manual in seven languages, a power cord (the transformer is inside the cabinet!), the speaker cable for the right speaker and, as a special feature, a special measuring microphone, which, in conjunction with appropriate control electronics, allows a rudimentary calibration of the monitoring situation in the bass range.

Connections and control options

Except for the master volume knob on the front, all control options are located on the back of the left speaker. In addition to a mini jack AUX In, a USB In and two TRS jacks, the system can also be supplied with signals via Bluetooth. Four small pushbuttons with the corresponding LEDs control Bluetooth pairing, activation of the ARC calibration process and a two-band tone control consisting of treble and bass. Depending on the brightness of the respective LED, the bands offer a 3 dB cut, a flat setting or a 2 dB boost.

Furthermore, the socket for the four-pole speaker cable is located on the back, which can only be removed from the socket with a bit of fiddling once it has sunk into the housing. Well, for an official jack solution it gets a bit tight with the space available on the back of the active box. Otherwise, there is still the On / Off switch and a two-pin power plug socket, since due to the plastic housing the cold device solution is not necessary. As already mentioned, here again an extra point for the internal power supply, I'm sure an external solution would have been cheaper, but also much more annoying.


The KRK GoAux 4 in practice

The first sound impression of the KRK GoAux 4 reminds me of a high-end boombox, which is not surprising due to the dimensions, but with a very high approach to sound quality. KRK has actually managed to transport a large part of the well-known KRK sound with its open, well resolved sound image actually into these tiny speakers. The midrange is very dominant, is nicely transparent and reproduces classic midrange instruments like guitar and vocals well. The high-frequency range also knows how to please, especially when you initiate a decent boost using the push buttons on the back.

Speaking of push buttons, of course you have to make compromises with these cabinet dimensions, so you can still accept the rear access with the "Walk Behind-Push-Walk In Front-Listen-Repeat" workflow. However, the "LED light levels" tone control is a bit confusing and not really easy to read, so you should take your time with the tone control management.

Regarding the bass reproduction, every user will be aware that a 4-inch speaker cannot physically produce deep bass and certainly cannot replace an official studio monitor, which is not the approach of the KRK GoAux 4. I was all the more surprised that at least in the three-digit Hertz range, the bass reproduction was unusually tight and at least the "audible" bass range appeared well perceptible. The bass response improved even more after I had calibrated the speakers via the measuring microphone. By means of two measurement passes, the electronics reduced several booming frequencies of the room and boosted the lower bass ranges, which was reflected in a stable and pleasant bass sound.

In summary, the KRK GoAux 4 offer a much more grown-up sound than the first optical impression would suggest. The concept is coherent, the dimensions tiny, the sound good and the accessories excellent. A well-rounded thing and much more than a toy.

Conclusion

With the KRK GoAux 4, the company carries a tiny but surprisingly good-sounding near-field monitor system in its portfolio. The very transportable speakers offer much more sonically than one would give them credit for at first glance, and even manage to deliver a surprisingly round bass sound considering a 4-inch bass speaker thanks to the included calibration microphone.

Anyone who prefers to do mobile recording or editing work on the road with monitors rather than headphones should definitely give the monitors a try.

Additional informations:

KRK Audio is a renowned company in the audio industry, specializing in the design and manufacturing of professional studio monitors and related audio equipment. Established in 1986, KRK has become a trusted brand among music producers, engineers, and artists worldwide. This report aims to provide a detailed overview of KRK Audio, covering its history, products, reputation, and contribution to the audio industry.

History and Background KRK Audio was founded by Keith R. Klawitter, a passionate musician and audio engineer. Recognizing the need for accurate and reliable studio monitors, Klawitter set out to create a company that would deliver superior sound reproduction for professionals in the music industry. Since its inception, KRK Audio has been committed to innovation, incorporating cutting-edge technology into their products.

Product Line KRK Audio offers a comprehensive range of studio monitors that cater to the diverse needs of audio professionals. Their product line includes:

Rokit Series: The Rokit series is one of KRK's most popular and affordable options. It features a range of active studio monitors, including the Rokit 5, Rokit 7, and Rokit 8. These monitors provide accurate frequency response, extended bass, and detailed imaging, making them ideal for recording, mixing, and mastering.

b. V Series 4: The V Series 4 monitors are designed for professionals who demand precision and clarity. With advanced drivers and boundary EQ controls, these monitors deliver transparent and balanced sound across the entire frequency spectrum. They are available in different sizes, including the V4, V6, and V8.

c. Classic Series 5: The Classic Series 5 pays homage to KRK's iconic Expose E8B monitors. These monitors combine modern technology with a vintage design, offering exceptional performance and aesthetics. They are equipped with Kevlar drivers and an onboard DSP engine for optimal sound reproduction.

d. Subwoofers: KRK also offers a range of subwoofers, such as the 8s2, 10s2, and 12s2. These subwoofers enhance the low-frequency response of the studio monitors, providing a more accurate representation of bass-heavy content.

Technological Innovation KRK Audio has been at the forefront of technological innovation in the audio industry. They have developed several proprietary technologies to ensure exceptional sound quality and performance:

Kevlar Drivers: KRK pioneered the use of Kevlar material in their monitor drivers. Kevlar is lightweight, yet rigid, allowing for accurate and detailed sound reproduction across the entire frequency range.

b. Waveguide Design: KRK's monitors feature a unique waveguide design that helps to minimize diffraction and optimize the dispersion of sound. This technology ensures a wide sweet spot and precise imaging.

c. DSP-driven EQ: Many of KRK's monitors are equipped with onboard DSP (Digital Signal Processing) engines that allow users to tailor the frequency response according to their room acoustics and personal preferences. This feature enhances the accuracy and adaptability of the monitors.

Reputation and Industry Recognition KRK Audio has earned a solid reputation within the audio industry for its commitment to quality and innovation. Their products have been widely praised by professionals and are commonly found in professional studios, recording facilities, and home studios alike. KRK has received numerous industry awards and accolades for their monitors, including the prestigious TEC Award.
Contribution to the Audio Industry KRK Audio has made significant contributions to the audio industry by consistently delivering high-quality studio monitors that meet the demanding standards of professionals. Their monitors have played a crucial role in facilitating accurate sound reproduction during recording, mixing, and mastering processes. KRK's commitment to innovation has raised the bar for audio quality and inspired other manufacturers to strive for excellence.

Customer Support and Service KRK Audio is known for its excellent customer support and service. They offer warranty coverage on their products and provide assistance to customers through their dedicated support team. Additionally, KRK's website features a knowledge base, user forums, and resources to help users optimize their audio setup and troubleshoot any issues.

Conclusion:
KRK Audio has established itself as a leading manufacturer of professional studio monitors and audio equipment. With a rich history, innovative technologies, and a strong commitment to quality, KRK continues to be a trusted choice for professionals in the music industry. Through their dedication to accurate sound reproduction and customer satisfaction, KRK Audio has played a vital role in shaping the audio industry.

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.

TEST: Korg Pandora PX50

When Korg entered the market years ago with the Pandora, they were sure to attract media attention. People have always felt an urge for the "Swiss Army knife", especially when it comes to technical devices. A not insignificant part of the gigantic success of the iPhone is probably the unification of several components in the smallest space. The designers of the Pandora had similar plans and united headphone amplifier, practice amp, effects unit, sampler, amp simulator and metronome in one device.

At that time still divided into four different basic units, the successor, the PX4, merged the instrument groups bass and guitar, which is also continued in the Pandora PX5D that I have for testing. Well then, let's see what the little jack-of-all-trades for the vest pocket has to offer and if you can find your way through the menu navigation, which will be a real challenge with the manifold collection of possibilities in the smallest space.


Design

In principle, the PX5D is a combination multi-effects unit with a combined amp/speaker modeling concept, which in 2010 is also happy to take on more advanced functions such as a USB interface, which one would not have expected from the tiny device at first glance. Despite the production in the low-wage country China, Korg has almost doubled the price of the product, which is now made of aluminum, to almost 300 Euros compared to its plastic predecessor, which can only be justified to the user by a significant increase in practicality. In any case, the flat case already exudes much more esprit visually than its plastic predecessor. With dimensions of 118 x 20 x 75 mm, the product is also very handy.

Powered by two AA batteries, the product is supposed to last seven hours according to factory specifications, which can be called adequate. Unfortunately, a 4.5 volt power supply is not included with the product and must be purchased separately for just under 30 euros (for example, the Korg NT-4). Optionally, the device can also be operated via the USB port in terms of voltage. However, Korg adds other accessories to the Pandora, such as a USB cable for the direct connection to the home PC, an adapter cable with which 2 footswitches can be configured for start/stop and another function, and a CD-ROM containing the recording software Ableton Live Lite 6. However, the product is also recognized by standard recording tools such as Garageband, Cubase and Logic.

With 180 effect and amp models with a storage capacity of 200 programs (100 presets / 100 users), Korg rides a rich program in terms of presets. In addition, the device has 128 rhythm patterns with a total of 744 variations in the various musical styles. Also built in is a phrase trainer, which can store up to 80 seconds of audio material, a tuner with mute function and a transpose function for the sampled audio material.





Practice

So, what does the PX5D do in the life of a strung musician? Quite simply, it makes practicing easier or it supports the creative process! The same constant should always be kept in mind when examining the product. The world is full of contemporaries who, as soon as they hear a technical term, raise their expectations immeasurably and then have to be brought back down to earth by third parties. A multifunctional device is no substitute for a recording process where the interface alone costs well over five times as much.

Even though the product has 18 virtual guitar amp simulations, 10 bass emulations and 6 synth sounds, all of which offer a usable basic sound, professional productions cannot be implemented with the little box (unless you consider the last Metallica record to be a professional production). On the other hand, the handling of the Pandora is pleasantly problem-free after a short training period and quickly brings usable results in terms of songwriting and pre-productions.

Sonically, the factory sounds can hold their own well within their field of application, even if their virtual birth hours are always perceptible for fine ears. As almost always, clean sounds can convince better than their distorted colleagues, which can not be compensated even by the strong use from the effects battery. But hey, I myself resorted to purely virtual sound generation for pre-production during songwriting for the new GRAVE DIGGER album, not without using classic miking for the final guitars, of course.

In terms of connections, the Pandora has standard jack sockets for input and output respectively, mini jack for feeding an audio signal and applying the footswitches. Output also provides the option of connecting headphones. The internal phrase sampler has a good recording quality, but only records the recorded material in mono. You can decide for yourself whether you want to feed an external signal via aux-in or use the internal rhythm guide.

With the help of the included recording software, you can record the played or sampled material on your PC on up to two tracks and edit it further. If a driver is not on the included CD-ROM, it can be downloaded from www.korg.com.


Conclusion

Smaller and smaller, finer and finer. It's remarkable what designers can fit into a very small space these days thanks to microtechnology. With the Pandora PX5D, Korg has a small, thoroughly decent-sounding effects unit with amp/speaker emulation on the market, which delivers good and practical settings in many situations.

If it's a matter of comparatively uncomplicated recording of one's own compositions, quick archiving of a fleeting idea or controlled practicing, the PX5D manages to do justice to its conception in a surprisingly uncomplicated way. Nevertheless, you first have to get used to the somewhat unfamiliar menu navigation of the product, without a users manual nothing works here.

Once you have overcome this hurdle, the PX5D turns out to be a small helper, which provides good services in many situations and finds a place in almost every pocket. It's just a pity that Korg doesn't include a power supply with the product, especially since 4.5 volts is only a common value in the multi-voltage wall wart range, while 90 percent of all power supplies romp around in the 9 volt range. Sometimes I can't get rid of the impression that they simply want to sell an additional power supply over the unusual value….

Additional informations:

- Korg Inc. is a renowned global company that specializes in the design, manufacturing, and distribution of music technology products. Founded in 1962 by Tsutomu Katoh and Tadashi Osanai, Korg has become one of the most influential and innovative companies in the music industry. This report aims to provide a detailed overview of Korg, including its history, product range, technological advancements, market position, and future prospects.
Company History and Evolution: Korg's journey began with the development of electronic rhythm machines and organs. However, it gained significant recognition in the early 1970s when it introduced the Minikorg, the world's first portable synthesizer. This breakthrough innovation established Korg as a pioneer in the synthesizer market. Over the years, Korg continued to innovate, launching iconic products like the MS-20, M1, Triton, and Kronos synthesizers, which have influenced countless musicians and shaped the sound of popular music.

Product Range and Technological Advancements: Korg offers a diverse range of products catering to musicians of all levels and genres. Their product portfolio includes synthesizers, digital pianos, keyboards, workstations, electronic drums, guitar effects processors, tuners, and audio recording equipment. Korg has consistently been at the forefront of music technology, integrating cutting-edge features and advancements into their instruments.

In recent years, Korg has embraced digital technology and software integration, allowing musicians to explore new sonic possibilities. They have developed innovative products such as the Volca series of compact synthesizers, the Prologue and Minilogue analog synthesizers, the Krome and Kross workstations, and the Pa series arranger keyboards. Additionally, Korg's software offerings include synthesizer plugins and mobile apps that provide musicians with versatile tools for music production.

Market Position and Industry Influence: Korg has established a strong market presence and a loyal customer base globally. The company's commitment to quality, reliability, and innovation has earned it a reputation as a trusted brand among musicians, producers, and sound engineers. Korg's products are widely used in various musical genres, including electronic music, rock, jazz, and classical. Their instruments have become staples in studios, live performances, and home setups, reflecting the company's significant impact on the music industry.

Collaborations and Partnerships: Korg has collaborated with renowned musicians and artists to create signature products and expand their product offerings. Notable collaborations include partnerships with artists like Jordan Rudess, Richard D. James (Aphex Twin), and Tony Banks (Genesis). These collaborations have resulted in the development of unique instruments and sound libraries, further solidifying Korg's position as an innovative company.

Sustainability and Corporate Social Responsibility: Korg demonstrates a commitment to sustainability and corporate social responsibility. The company emphasizes eco-friendly manufacturing processes and has implemented measures to reduce its environmental impact. Korg also supports various community initiatives, music education programs, and charitable organizations, fostering a positive social impact within the music community.
Future Prospects: As technology continues to evolve, Korg is well-positioned to capitalize on emerging trends and maintain its industry leadership. The company's focus on digital integration, software development, and expanding its product range ensures that Korg remains relevant and adaptable to changing market demands. With its rich history, commitment to innovation, and dedication to customer satisfaction, Korg is likely to continue shaping the future of music technology.

Conclusion: Korg's extensive history, commitment to innovation, and diverse product range have established it as a prominent player in the music technology industry. The company's contributions have revolutionized music production, and its instruments are beloved by musicians worldwide. With a strong market presence, ongoing technological advancements, and a dedication to sustainability, Korg is poised for continued success in the ever-evolving music industry.

- Audio Multi-Effect Processors (AMEPs) play a crucial role in the world of sound engineering and music production. These powerful devices offer a wide range of effects and processing capabilities to enhance and shape audio signals. This report aims to provide an in-depth overview of AMEPs, including their functionality, types, applications, technological advancements, and their impact on the audio industry.

Functionality and Types: AMEPs are designed to manipulate audio signals by applying multiple effects and processing techniques simultaneously or in a sequential chain. These processors typically consist of various modules that include effects such as reverb, delay, modulation, compression, EQ (equalization), pitch shifting, harmonization, distortion, and more. Users can customize the order and settings of these effects to achieve the desired sound.

There are two primary types of AMEPs: hardware-based and software-based. Hardware AMEPs are physical devices that can be rack-mounted or come in compact pedal formats. They offer tactile controls, dedicated signal routing options, and often feature high-quality analog circuitry for superior sound processing. Software AMEPs, on the other hand, are virtual plugins that run on computers or digital audio workstations (DAWs). They provide the convenience of in-the-box processing, offering a vast array of effects and customizable parameters.

Applications: AMEPs find applications across various domains in the audio industry. In professional music production studios, they are essential tools for shaping the sound of recordings. Sound engineers use AMEPs to add spatial depth, create unique textures, correct imperfections, and achieve artistic effects. AMEPs are also widely used in live sound setups, allowing sound engineers to enhance the audio quality and provide engaging effects during live performances.

Additionally, AMEPs have gained popularity among musicians, both in the studio and on stage. Guitarists, keyboardists, and other instrumentalists use AMEPs to modify their instrument's sound, simulate different amplifiers, and create complex soundscapes. AMEPs have also found their way into the DJ and electronic music scenes, enabling artists to manipulate and modulate audio in real-time.

Technological Advancements: AMEPs have evolved significantly over the years, thanks to advancements in digital signal processing (DSP) technology. Initially, hardware AMEPs were limited by the available processing power and memory, which restricted the number and complexity of effects. However, with the advent of digital technology, processors became more powerful, allowing for a broader range of effects and more sophisticated algorithms.

Software AMEPs have also witnessed substantial advancements, taking advantage of the increasing processing power of modern computers. Real-time processing, low-latency performance, and highly accurate emulations of analog hardware have become key features of software AMEPs. Additionally, many software AMEPs now support plugin formats such as VST, AU, and AAX, making them compatible with a wide range of DAWs.
Impact on the Audio Industry: AMEPs have had a profound impact on the audio industry, revolutionizing the way sound is created, recorded, and performed. These processors have empowered sound engineers, musicians, and producers with a vast palette of sonic possibilities. They have become essential tools in the production process, enabling users to experiment, innovate, and push the boundaries of creativity.

The availability of software AMEPs has democratized access to high-quality effects processing. Musicians and producers no longer need to invest in expensive hardware units, as software AMEPs offer similar capabilities at a fraction of the cost. This accessibility has allowed a broader range of artists to explore sound design and produce professional-quality recordings.

Future Trends: As technology continues to advance, the future of AMEPs looks promising. We can expect further improvements in processing power, allowing for even more complex and realistic effects. Additionally, advancements in artificial intelligence (AI) may lead to intelligent AMEPs that can analyze audio content and suggest appropriate effects and processing settings.

Integration with emerging technologies such as virtual reality (VR) and augmented reality (AR) may also play a role in the evolution of AMEPs. These technologies could provide immersive audio experiences and innovative ways of interacting with sound.

Conclusion: Audio Multi-Effect Processors have become indispensable tools in the audio industry, offering a versatile range of effects and processing capabilities. Whether in hardware or software form, AMEPs have significantly impacted music production, live sound, and the creative process of musicians and sound engineers. With ongoing technological advancements and the potential for future innovations, AMEPs will continue to shape the way we perceive and manipulate sound.