Drawing upon the design characteristics of their Expose E8B, the new VXT Series of monitors consists of 3 models -- the VXT4, VXT6, and VXT8. With a visually striking enclosure design that is equally functional -- providing low resonance, improved structural integrity and extended low-end, slotted ports for reduced port turbulence, plus a sleek curvature that provides excellent imaging characteristics and a wider "sweet spot" -- the VXT monitors achieve a new level of precision.
The domed tweeter (comprised of true silk for fast transient response) and the new woofer design (with its stiffer, lighter cone that provides low distortion and extended low-end) both have vented formers to remove heat and reduce the effects of power compression -- enabling these monitors to maintain their sonic signature.
With uncompromising attention to detail that includes tamper resistant switch covers, integrated Omni Mount support and more, the VXT Series is an outstanding choice for a broad range of monitoring applications.
KRK's VXT Powered Studio Monitors
KRK's focus has always been to make the most accurate studio monitors available at any price. So when you use a VXT powered monitor, you can be confident that you get the most accurate reproduction of your mix. VXT's diffraction-limiting curved surfaces, silk-domed tweeter, seamless crossover, and KRK's trademark yellow Kevlar woofer bring superior audio imaging, outstanding transient response, and amazing detail. For over 20 years, KRK has mastered the art of recording monitors, and the VXT is the culmination of this art. Listen for yourself, and believe!
zZounds is an authorized dealer of
KRK products.
Woofer: 4 in. Woven Kevlar
Tweeter: 1 in. Silk Dome NEO
Input: XLR-1/4 in. TRS Combo 10k Ohm Blanced Pin 1 + Sleeve = Ground Pin 2 + Tip = (+) High Pin 3 + Ring = (-) Low
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This review has been selected by our experts as particularly helpful.
"A necessary upgrade"
Sound:
Did some extensive research for about 2 weeks and ended up choosing between RP5s, RP6s and Yamaha HS50s. Luckily for me, my local dealer happened to provide all of these, plus VXT4s as well as a selection of Genelecs. I made two separate trips to pre-listen and compare to the selection. After going through all of them I quickly discovered that VXT4s excelled not only in top clarity, but also in sub sound quality. Compared to VXT4 the RP6 sounded "muddy" and although it (RP6) provides the "oomph" -experience one may or may not want, the VXT4 offered somthing different. The bass has a unique clarity that enables the listener to pick out different tones of bass sounds that were lost in the RP-series. Again, some may like this and some may not but I tell you, there's a quality difference here. Point of interest: when comparing the VXT4s to Genelec's 8020BPMs (which I previously owned but had to give up for other reasons), the Genelecs had a noticable dip in mid freqs. The VXT4's sound was even, thus exceeding the 8020s in transparency. The bass sound is, as mentioned, clear and transparent. For that added punch, however, you may want to consider a larger set of VXTs (6 or 8), or a KRK 10S sub to kick things up.
Feature:
The VXT4s do not provide the controls for LF and HF adjustments that are featured in the VXT6 and VXT8 models, which is a bummer. Not necessary something that you can't "tune" through 3rd party softwares. It is a lack, however, and therefore points are deducted. It does, however, offer other controllers (also featured in larger models), but those will not be discussed.
Ease of Use:
The VXT4s provide inputs for both plugs and XLR wires, which greatly increases versatility, especially in mobile / changing enviroments. This may or may not be a critical factor, but at least it will make things easier for "spontaneous monitoring" on the road etc. (if such a thing exists). Also, no real setting up is required (save from the preparation of the listening space, which should never be ignored).
Quality:
It's a solid build with a massive body, at least when compared to Genelecs. Out of all KRKs these would propably suit "the road" or a bedroom studio the most. If, however, you are looking for a set of monitors for serious portability, explore other brands.
Value:
The quality of the monitors convinced me to spend an extra 150€ on these instead or RP5s. Plus, as I mentioned, they exceed Genelec's 8020BPMs in Quality vs Price (around 650€ / pair for 8020s). So yeah, it definitely worth the buck.
Manufacturer Support:
Well... uh... no need for customer support yet. Freq charts are not provided (if they even exist).
The Wow Factor:
Well, after seeing (and hearing) the VXTs the RP-series seemed a bit cheapish, sort of big and clumsy. Getting RPs would've felt like hiring a pro wrestler to do clocksmithing; the basic structure just isn't meant for something delicate.
Overall:
As a conclution, if you plan to do recording / mixing on your monitors, go ahead and invest that extra 100 - 150€ on those monitors and get VXTs instead of RPs.
If this quite doesn't convince you yet, get this. The second time I went to listen to the selection of monitors (and buy a pair of VXT4s), I took my bandmate along, who is an educated and certified audio technician (and the owner of a studio). By the time we were done, he was so impressed he ordered a pair for himself, even though he initially came along solely as a "neutral evaluator" to present me with his opinion. He'll get his pair next week, so we'll see how he'll feel about the VXTs after a while.
Style of Music: Metal, rock, acoustic
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"Perhaps the most useful, affordable small monitors on the planet"
Sound:
Clear, detailed mids and highs, subjectively not overly aggressive (though somewhat "forward" and modern in their tonal balance), reasonable low frequency representation (given their diminutive size), stereo spectrum is very distinct and is better than run-of-the-mill in presenting the illusion of 3 dimensionality and the positioning of instruments and voices in the mix, excellent lack of that "boxy" sound that is typical of small and/or poorly designed speakers. Things sound more natural than "reproduced" when used in the nearfield position. The amplifier output is low but they are plenty loud when used at realistic mix volumes in the nearfield position.
Feature:
Has a limiter circuit and clip indicator light that can independently be toggled on/off and used simultaneously if desired. Both are useful features. I use the limiter when tracking with inexperienced people near the controls. I mix with it off, but with the clip indicator light on. The toggle switches are blocked by a plastic shield to keep accidental adjustments from happening. There is also an auto mute feature that can be toggled on/off that supposedly cuts power to the speakers when they aren't in use after a certain amount of time. I have never felt the need to use that feature. Including the volume adjustment knobs the available controls are very useful and exactly what I deem necessary for a professional speaker.
Ease of Use:
These are plug and play so long as you understand that they are self powered. They are very easy to use.
Quality:
I have found the build quality to be quite respectable. They are dense and consequently heavy for their size. They feel sturdy. The controls feel sturdy. The XLR jacks are the locking type w/release buttons and cables attach snugly. I've had no issues with build quality at all and my pair is at least 2 years old.
There are reported issues with low level RF interference audible when the monitors are in certain locations, but I haven't experienced any problems with that myself. Those reports are the reason I haven't given the highest marks possible in this category.
Value:
A monitor used for recording is a tool to tell the engineer how things actually sound, while no monitor does this perfectly, in balancing the trade offs between affordability, size and power, while still remaining useful, the KRK vxt series (and the vxt 4 specifically) is an excellent value. Mixes translate to a wide variety of playback systems when done on these, with a relatively gentle learning curve. They are among my absolute favorite small nearfields. They might actually be the most practically and usefully designed small, affordable nearfield monitors in existence.
Manufacturer Support:
I haven't needed support for this product.
The Wow Factor:
I think the combination of usefulness and affordability made this a "must have" item for me. I really needed something small and portable but useful enough to trust tracking and mixing duties with. These really fit the criteria well.
What might be a turn off for some with these are their size, power and bass output. They just can't compete in terms of sheer sound pressure levels and low frequency output because of the restrictions of the laws of physics. But as small nearfields go, as far as I'm concerned it's no contest. They are superior to almost all other competition. The only way I see getting a better comparably small, active nearfield is to pay much more money.
Overall:
Overall I don't expect to get rid of these in the near future. They are such a good small monitor set that unless I'm in the mood for working with a larger, more powerful system I wouldn't stop using them. Mixes have translated very well, even when I was working in listening spaces that were less than ideal. I don't think there is any competition of comparable performance, size and power that has such an affordable price. I'd definitely buy them again if they were damaged, lost or stolen.
The only thing I think I'd ask for from the manufacturer would be plugs specifically designed to close the ports in case the user wished to integrate these into a 2.1 or 5.1 system. When I use them in 2.1 I plug the ports up to improve time coherence. I find it helps a lot, though the sound does get noticeably brighter as a result of the reduced bass output when I do that, which I enjoy, though other users might not. Detail, clarity and stereo imaging subtly improve as well when the ports are plugged, as is the case with almost all ported speakers.
Style of Music: rock, hip hop
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