ProAudio Review - April 2008 - (Page 30)

STUDIO | KRK Continued From Page 28 REVIEW off; the amount of definition in the low end was astounding, allowing detailed mix decisions (i.e. kick drum vs. bass guitar vs. floor tom) with confidence. In particular, I don't think I've heard 200 to 400 Hz with such pleasantness and honesty (outside of mastering). I worked on a huge variety of projects over the next month, including classical piano, bluegrass, rock, and pop, and the E8Bs always seemed comfortable. As I carefully mastered a bluegrass project — one that had employed far too many cheap condensers and an inconsistent upright bass — lesser monitors would have smeared the top end and blurred the bass notes. Not these KRKs — I applied surgical EQ and meticulous multiband compression to tame the sonic inaccuracies. Detailed changes of less than .5 dB were clearly audible, allowing me to fix problems that would have normally vexed me or been overlooked. | SUMMARY The bottom line is that the Exposé E8B is the best sounding nearfield monitor I've ever heard. They rank right up there with mastering monitors for accuracy, imaging and trustworthiness. The switching Class A/AB design is brilliant and will be helpful to those who value truth at low listening levels. Those who value sheer butt-kicking volume will not be disappointed either — in the words of my client (whom I proudly thrust into the sweet spot), “Wow, I can feel the pressure and everything is so there and so real … I've never heard anything like this!” The E8B's simply have it all: precise imaging, frequency response, accuracy, dynamics, and power. There were only two negatives for me, and they are not performance related: such a leap?” (Sob. Sniffle.) But I digress. The VXT8, for me, has become an indispensable rock and roll monitor; it’s great for all kinds of tracking, critical listening, and most mixing purposes. But over time — and most clearly illustrated in direct comparison with the E8B — the VXT8 has shown some limitations in imaging. The E8B’s razor-edge sharp imaging allows the listener to literally reach out anywhere in the space around and between their two ears so as to precisely tap every random transient square in its tiny, hard little belly. Another way to put it is that my eyesight isn’t bad enough to require full-time corrective lenses, but switching between the E8B a lack of room diagnostics and a hefty price. However, those who are now used to ‘intelligent’ monitors and still desire analysis and corrective room EQ can look to out-of-themonitor solutions for such features. And, as good as the E8Bs are, their MSRP may prohibit many potential users. That’s such a shame because — as one finds truthful monitoring, resulting in effortlessly translatable but completely unobtrusive; no distortion or shrillness was present as I envisioned long hours of work without fatigue. Overall, I was looking for a little more sheen when I noticed the rear panel high frequency controls are not flat at the ‘midnight’ position, but actually at -.5 dB. I adjusted these controls to flat and got all that I asked for. Many of my clients like an occasional blast of high SPL, so I slowly pushed the E8Bs. At PRODUCTPOINTS • Sonic excellence in imaging, clarity, dynamics, and frequency response • Ample headroom and power • Non-fatiguing and translatable • Relatively high price • Too heavy for meter bridges SCORE The E8B has it all: precise imaging, frequency response, accuracy, dynamics, and power … and a relatively high price. lower levels the bottom end detail and overall balance was impressive and these qualities continued as I slowly cranked the control room volume pot. I'm sure I gave up before max output, but the point is nearly academic as I was at 105 dB; it was all I could stand! The E8B's delivered quantity and punch in the bottom end that was surprising, but not hyped. Apparently, the measures taken by KRK to reduce cabinet resonances have paid | KRK VXT8 VS. KRK E8B Sure, it’s an absolutely unfair fight — a $799 list powered monitor next to a $3,250 list powered monitor — but my recent monthlong audition of the Exposé E8B next to my own VXT8 pair was, to me, a worthwhile lesson in product line quality and placement. In KRK land, there is no optional price point between these two models: respectively, their top-of-the-line and ‘mid-level’ powered nearfields, both with eight-inch woofers. Just as there’s a whole lot of performance in between these two monitors, there’s also a huge leap in price. Yes, the E8B justifies this jump, but the budget-conscious pro audio customer in me must ask, “Does it have to be mixes — informed listening will inevitably become priority number one. In use, the Exposé E8B will have you feeling very informed, indeed. Rob Tavaglione owns Catalyst Recording in Charlotte NC and is calling for a cease-fire in the volume wars. Join him at www.myspace.com/catalystrecording. | REVIEW SETUP Soundcraft Ghost console; Digital Performer 5.12 DAW; Apple Mac Pro quad-core computer. and VXT8 is like peering through, then over, a pair of rarely worn glasses; the difference is transcendent. You get the drift. Most importantly, everything that comes out of an E8B pair sounds absolutely exquisite and organically huge. Here, it’s the difference in performance that is empirically worth the money. Thus, I would recommend the E8B to the professional tracking/mixing engineer who is shopping as if they are buying their lastever powered nearfield monitor. After all, if you folks don’t buy an Exposé-level monitoring system now, you’ll just want one later. -Strother Bullins 30 | ProAudio Review | April 2008 Subscribe to the Digital Edition of Pro Audio Review http://www.myparmag.com www.proaudioreview.com http://myspace.com/catalystrecording http://www.proaudioreview.com http://www.myparmag.com

Table of Contents Feed for the Digital Edition of ProAudio Review - April 2008

ProAudio Review - April 2008 Contents A Little More Recognition Please Studio News and New Products API 1608 16-Channel Analog Console TASCAM X-48 Digital Audio Workstation SSL Matrix Super Analogue Console Toft Audio Design Series ATB Analog Console KRK Systems Exposé E8B Powered Monitor Broadcast News and New Products ZOOM H2 Portable Digital Recorder Producing Surround Sound at 50th Grammy Awards JBL LSR4312SP Linear Spatial Reference Powered Subwoofer Audio Production For Gaming Euphonix S5 Fusion Digital Post Production Console NAB Hot Gear Soundcraft Vi6 Digital Live Production Console Go To A Show! Contracting News and New Products Studio Consoles Studio Wireless Microphones Alicia Keys “Superwoman”

ProAudio Review - April 2008

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