The KRK Rokit 6's have what's rapidly becoming an iconic design in the DJ / producer world.
KRK speakers seem to be everywhere, don’t they? Maybe it’s the distinctive yellow cones, or the rounded fronts, but when you see them you definitely notice them – and you seem to see them in more than their fair share of “here’s my DJ set-up” photos on Facebook and forums.
Today we’ve got the KRK Systems RP6 G2 (popularly and hereafter known as the “Rokit 6″) powered monitors to review, which are the middle model in a series that includes the Rokit 5 and Rokit 8 – differentiated by the size of the woofer in inches.
First impressions and setting up
They are heavy, and even for a 6″ woofered speaker, quite big. However, they’re also somehow not over-imposing, which is probably due to the fact that they taper quite aggressively on all front corners, to give an almost pebble-shaped appearance. Coupled with the aforementioned yellow cone and the cute little go-faster logo, they look great.
They come with large squares of thin adhesive-backed foam rubber for the bottoms, which not only means they have more grip on whatever surface you choose to put them on, but also that they’ll be more isolated, which should give an improved better sound.
They taper quite aggressively on all front corners, to give an almost pebble-shaped appearance.
The speakers are front ported; that means that there is a slit in the front of them to fire the bass.
Ported speakers are common, but there is debate over whether it’s better to have the bass port on the front or the back; KRK reckon that having it on the front results in a truer bass reproduction.
These are powered monitors, which means they have amplifiers built into them. They’re also “standalone”, in that unlike audiophile computer speakers or a traditional amp-plus-two-speakers set-up, you don’t have one or both speakers taking their signal from an amp outside of them; every Rockit 6 has its own amp built-in.
In fact they are “bi-amped”, which means they have separate circuitry for the bass and treble response; again, this is a higher-end technique designed to provide truer response.
In practise, what the above means is that you need a separate, mono lead from your equipment to each of the left and the right speakers.
A range of input options mean these are more practical for the home studio than purist studio monitors might be.
Each speaker therefore has its own power supply, a thick, kettle-type cable. There’s a big on/off switch, and a fuse behind a screw-down see-through plastic cover.
KRK has included three separate inputs – two balanced (XLR and 1/4″ TRS) and an unbalanced (RCA), which should cover all your bases and means you can leave several sources permanently plugged in to them.
Each unit has a volume control, and there’s also an “HF level adjust” (HF standing for “high frequency”). Sounds like a treble control, right? Well it is, but a subtle one – KRK reckons that the single thing that varies across any range of listening rooms the most is how treble is perceived to the listener, so you get a kind of “fine adjust” over the treble response, with three settings to choose from.
In use
We replaced our current speakers with the KRKs for two weeks prior to producing this review, and as we were in the middle of an office move, we got to try them in two different rooms too.
Our old workshop was a small, shallow room with lots of acoustic padding (mainly product boxes piled ceiling high!) and we had the speakers really close-field. Jammed out of necessity against a 27″ iMac, there was extremely low-level but nonetheless just noticeable interference from the computer circuitry – but it was no worse than any other speakers we’ve tried, and an unfair test of any monitor – they’re not designed to sit next to 27″ iMacs, it seems, even though they boast “video shielding”.
Most noticeable was the bass – deep, stomach rumbling bass, but punchy and taut…
However, the music reproduction from all sources was excellent. Most noticeable was the bass – deep, stomach rumbling bass, but punchy and taut, with a lot of definition. There was no hint of harshness in the highs, and overall they sounded rounded and compelling.
Subjectively the best way to describe the sound is that on many an occasion, I found myself turning the volume right up, sitting back and closing my eyes, forgetting whatever else I was doing and just enjoying a minute or two of whatever bassline had just been dropped! Can’t really say more than that – top marks.
Our new workshop has completely different properties. Large and currently relatively empty, it has a separate equipment testing area with dedicated raised speaker platforms. L-shaped, the room is for the first time in years completely devoid of clutter (hurray!), but that also means that acoustically it’s very harsh – in oither words, it echoes a lot.
I'm not sure whether it's the front porting, but the bass is noticeable punchy and certainly makes you want to hit the volume control ready for the end of those long breaks!
Here, the speakers are set up a foot or two from a DJ laptop rather than a big iMac, and this time there’s absolutely no interference, even with no music on and the speakers turned up to full power. This is a fairer test of how well shielded they are, and they pass.
Within their optimum listening field, (ie in front of the speakers, both speakers pointing roughly at you, pretty close to them) they again sounded great. Well away from them, the bass was pretty hopelessly boomy – a product of them room they are in, and a big fat “to do” on our list: Damp our workshop down a bit so those not stood in the “sweet spot” can enjoy the music more as well!
The “turn them up and close your eyes” factor was still there; Maceo Plex’s “Under the Sheets” sounding particularly amazing as the bassline kicked in at the end of the break.
By the way, the spec says 18w treble, 50w bass output per speaker; trust us, they’re loud enough. You wouldn’t want to play a party with them (you should never play parties with your studio monitors anyway), but for their intended use, they’ve got volume to spare.
Conclusion
These speakers are sold as studio monitors: That means they attempt to provide “flat” (ie non-altered) reproduction of whatever music you throw at them. For producers this is vital as they want to hear the “truth” about what they’re working on – how it actually sounds, not some speaker designer’s idea of what sounds good.
If you’re ready to move up from domestic speakers, want great sound, yet still need something that allows you to plug in a range of inputs, you should consider a pair of KRKs.
However, at this price point (they’re low to mid-range in spec and price), and with their styling and branding, they are for me a speaker for DJ/producers – people who need good and trustworthy sound response, who probably do indeed have production aspirations, who already produce their own mixtapes, mashups and so on, but who share their home “studio” with maybe a computer, some DJ gear and even a family.
While being aimed at this target market, they nonetheless lack the high level of control of the otherwise similar Pioneer S-DJ range of speakers (see our Pioneer S-DJ08 review), which come with a clever and attractive wired desktop remote control for quick muting, input switching and volume changes.
Also, the Pioneers have switchable EQ for a “best of both worlds” approach (bypass the EQ for hardcore production work, flick it on for rocking out in DJ practice when you just want to slam the bass up!) – but then again the KRKs don’t have anything like the Pioneers’ price tag, and you’re getting similar high sound quality.
The KRK Rokit range: the speakers reviewed here are the middle model.
Overall, they’re a winner. The combination of quality build, great sound, lots of inputs and “tweakable” treble mean that for all but truly serious DJ/producers, they’ve not only hit a sweet spot when it comes to sound quality, but also the price / practicality balance too.
If you’re a serious producer, you probably baulk at the price and spec (not high / good enough!), the tweakable treble and the range of inputs on offer (you’re only interested in one – from your studio mixer). But if you’re ready to move up from domestic speakers, want great sound, yet still need something that allows you to plug in a range of inputs, you should consider a pair of KRKs. We’ve yet to test the 5s and 8s, but if the 6s are anything to go by, it is a range of winners.
Summary
We like:
- Great sound quality
- Practical thanks to lots of inputs
- Look the part
We don’t like:
- Have to reach round the back for on/off and volume
- No remote control
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Product details:
Size & weight: 12.7 x 8.9 x 10.5″(321 x 225 x 266mm); 19.6 lb (8.9kg)
Price (per speaker): US$199
Buy from: amazon.com
What do you think?
Do you own a pair of KRKs? What is your opinion of them? what monitors do you use – and what monitors do you wish you had? LEt us know your thoughts in the comments.
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Review: Reloop ADM-5 Active DJ Monitor Speakers
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Tags: active monitors, dj monitors, krk, krk rokit, krk rokit 6, studio monitors
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I love my KRK Rokit 5′s. If I had to find something to nitpick about, I believe they lack in the low end a tiny bit and may eventually upgrade to the KRK SUB (but it is expensive)
[ link ]I find these monitors hella good, but I chose the Yamaha HS 80 M, because there is a wider range of frequency compared to these KRK speakers, which I find also not so flat and natural as they should be. The bass is quite pushy for a monitor, maybe that’s why djs prefer them, I would not know. I mix different kinds of music so I preferred the Yamaha that also have a better quality/price ratio. The KRK are good anyways, whoever will choose them, will not regret it!
[ link ]Tried them. You can literally throw a party in a living room or a small flat with those (but nothing bigger, you’d damage them).
It’s true that they’re everywhere; honestly they rock. ’nuff said
[ link ]Thanks for the review. I was back then also in between of the KRK and the Yamaha speaker. Reason I went with the Yamaha was that I found the Rokit a bit to bassy and the Yamaha offer a bit more flexibility when it comes to room adjustments on the device. But both speakers are great for producing and DJing. I DJed off of the Yamahas for about a year and even took them to a house party once and used them as main speakers. Was absolutely sufficient I have to say and you dont have to be scared that you blow them through…
[ link ]I have seen these everywhere as well wow! ….Post some pictures of the new workshop Phil!
[ link ]great review! i’m glad to see that you are giving the topic “room acoustics” the space it deserves. tbh, i strongly believe that the quality of your speakers and the acoustics of your room matter sooooo much more for music reproduction than everything else. Actually, when I browse DJ forums, people always seem to discuss the sound quality of audio interfaces, mixers, DJ software, and audio formats (e.g., MP3 vs WAV). i always find that a bit discouraging.
but i digress, i have a quick question. you state that “KRK has included three separate inputs [...] which [...] means you can leave several sources permanently plugged in to them.”
iirc, there is no way to switch between these inputs. so if i have multiple sources hooked up, does one take precedence over the other(s)? in others words, how does this work, what would happen, say, if i–accidentally–feed it with signals on more than one input?
[ link ]I haven’t tried that, I assume it will do the same as other speakers of this type, and just mix the sources.
[ link ]I totally agree! Room acoustics are crucial to proper sound reproduction and a point that many people ignore when looking for good studio monitors. For example I just moved into a fairly small room and am being plagued by resonant frequencies and dropouts, despite the excellent audio chain (interface/monitors/etc). Digitaldjtips should do a piece on DIY acoustic treatment to complement the studio monitor reviews
[ link ]Also I blew my AV40s by feeding more than one sound into/out of the amp. Mind you it was also a house party situation so it was a schoolboy error on my part to even think of using those monitors to play it.
lesson learned: NEVER USE STUDIO MONITORS TO PLAY A GIG!
LOL your bit in capitals is our #1 piece of speaker advice!
[ link ]Without the sub, I find the high and mid frequencies get too dominant, using these monitors. Got the 10s just a month ago for this reason, and for me, the cost was definitely justifiable.
My main use is mostly at-home DJ’ing, though. For production use, you can use an assortment of foot-pedals to bypass the sub. Google the manual ; )
[ link ]I won a pair of these for free in a mix contest stanton hosted.
[ link ]I like them alot, nice bass, great quality, really loud. The only thing I don’t like is that sometimes when you first turn them on they make a loud POP, and if you aren’t expecting it it scares the shit out of you. Over all nice speakers I would have never paid this much for studio monitors/speakers but they where free so.
I won a pair of these for free in a mix contest stanton hosted.
[ link ]I like them alot, nice bass, great quality, really loud. The only thing I don’t like is that sometimes when you first turn them on they make a loud POP, and if you aren’t expecting it it scares the shit out of you. Over all nice speakers I would have never paid this much for studio monitors/speakers but they where free so.
I can’t wait for the reviews of the 5 and the 8…
I haven’t actually heard these speakers, I’ve only read about them, but 6 inch woofers sounds like… quite small. I could be wrong; I likely am. But I’m still very curious as to how the different speakers from the range compare, in sound.
[ link ]I’v read lots of reviews on the different size cones and the 6″ is normally the preferred one.
The 5″ lacks a bit of bass and the 8″ is only better in a bigger room. I picked up my 6″s a few month ago and love them, I don’t think they can be beaten for the price, just need to add the 10″ sub when I move house soon
[ link ]KRK’s lack mid range.
[ link ]I have the 1st generation RP6s. There is better on the market, but at the price (and I paid them 275 euro, 5 years ago) they are one of my best investments.
Funny how you see on different forums that people are cutting the budget for monitors/speakers in general while spending tons on mixers/cd players. Speakers last for ages once you bought a decent pair … while the others get replaced every 2-3 year with new bigger, better models.
[ link ]i have these. simply put, they are AMAZING. I use them in close field situations, and midrange as well when I’m’ not in my dorm room (back at home). great response of all frequencies
also- the caption for the picture of all 3 KRK models says the reviewed model is in the middle, when it is in fact to the left. just a small correction to the article
[ link ]I have a pair of Roland DS-5 Bi-amp Monitors. When I went to the music store buy my first speakers ever I got the suggestion of buying the Rokit 5 but I simply couldn’t find at any store. The last store I was looking for I found only one Rokit 5, and I was introduced to these Roland speakers, which has been doing very well his job! Have you put your hand on one of these Phil?
[ link ]No, but I’ll try to
[ link ]thanks for the awesome review.. I’ve been contemplating on what studio monitors I’ll get, this suits me very well
[ link ]Phil, I bought a pair on the strength of your review and am very pleased with them. I do wonder if everyone really understands what near field monitors are for, so in summary you have them quite close to you and sit in the sweet spot, the idea being you get great detail across the range without having to crank up the volume. I have added remote control plugs so I can turn them on and off with ease.
[ link ]I own these, and love them. They are perfect for having a mix in your bedroom/home studio, and quite good for production work too. Bass and percussion sounds great, mid range needs bit more but you get bang for your buck at the end of the day.
[ link ]Awesome review, definetily getting a pair!
Just a quick question to the author/any others – Since english isn’t my normal language, I didn’t quite get the line “In practise, what the above means is that you need a separate, mono lead from your equipment to each of the left and the right speakers”. First of all, I don’t know what a mono lead is – I guess what I’m trying to say is that if I wan’t to hook these to my computer, both for just normal music-listening but also perhaps a bit of production (just Fruity Loops and stuff, nothing big) do I then need anything besides the speakers?
[ link ]No, just two single-channel leads.
[ link ]okay, and what are those?
[ link ]