Building on KRK's legacy of sonic accuracy and performance, the brand announces the expansion of its CLASSIC line of studio monitors with the addition of 7- and 8-inch models.
Incorporating over 30 years of innovation from the world's leading studio monitor manufacturer, KRK's CLASSIC product range was designed using concepts from the brand's previous ROKIT lines to deliver the same high-quality mixes that customers have come to expect from KRK at a lower price-point.
"We are thrilled to welcome two new solutions to KRK's family of professional-grade studio monitor offerings," says Sterling Doak, Director of Marketing for Gibson. "Joining KRK's CLASSIC 5, the new CLASSIC 7 and CLASSIC 8 provide the enhanced bass response and sound that music creators around the world have trusted for years. Perfect for all genres of music, KRK CLASSIC monitors provide artists, producers, and engineers with the renowned KRK sound, without breaking the bank. Plus, with three sizes to choose from, there's now a CLASSIC monitor for everyone."
True to their name, KRK's CLASSIC active two-way studio monitors are packed with a multitude of time-tested features, including innovative bi-amped Class A/B amplifiers with a built-in automatic limiter and a low-resonance enclosure for minimized distortion and colorization. With the optional ability to engage the +2 dB KRK Bass Boost, the CLASSIC line of studio monitors can hold true to the acclaimed KRK sound that music creators desire.
Like the CLASSIC 5, the new CLASSIC 7 and CLASSIC 8 utilize a 1-inch textile, soft-dome tweeter paired with either a 7-, or 8-inch glass aramid woofer, depending on the size monitor selected, delivering a clear midrange and tighter bass. KRK CLASSIC monitors feature a front-slotted bass port, which reduces boundary coupling and allows for flexible positioning within a room. It also is designed with a preinstalled hi-density foam pad to decouple the speaker enclosure from the surface, helping with clarity and accurate frequency response.
With high- and low-frequency controls, users can adjust the monitors' sound to their environment and preference, adding versatility and improved accuracy for mixes that translate in any production environment. Additionally, multiple input connections (XLR, Ā¼-inch, RCA) allow for universal connectivity, making it seamless to integrate CLASSIC monitors into any studio setup.
Learn more:
krkmusic.com
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Grammy-nominated session guitarist, producer, mixer, and engineer Paul Moak stays busy on multiple fronts. Over the years heās written, played, produced and more for TV sessions (Pretty Little Liars, One Tree Hill) and artists including Third Day, Leeland, and the Blind Boys of Alabama. But most recently heās worked with Heart and Ann Wilson and Tripsitter.
Time Traveler
Moak is most loyal to a 1963 Stratocaster body thatās mated to a 1980s-vintage, 3-bolt, maple, bullet-truss-rod, 1969-style Fender Japan neck. The bridge has been swapped as many as four times and the bridge and neck pickups are Lindy Fralins.
Cool Cat
If thereās one guitar Moak would grab in a fire, itās the Jaguar heās had since age 20 and used in his band DC Talk. When Moak bought the guitar at Music Go Round in Minneapolis, the olympic white finish was almost perfect. He remains impressed with the breadth of tones. He likes the low-output single-coils for use with more expansive reverb effects.
Mystery Message Les Paul
Moakās 1970 L.P. Custom has a number of 1969 parts. It was traded to Moak by the band Feel. Interestingly, the back is carved with the words ācheatā and āliar,ā telling a tale we can only speculate about.
Dad Rocker
Almost equally near and dear to Moakās heart is this 1968 Vox Folk Twelve that belonged to his father. It has the original magnetic pickup at the neck as well as a piezo installed by Moak.
Flexi Plexis
This rare and precious trio of plexis can be routed in mix-and-match fashion to any of Moakās extensive selection of cabsāall of which are miked and ready to roll.
Vintage Voices
Moakās amps skew British, but ā60s Fender tone is here in plentitude courtesy of a blonde-and-oxblood Bassman and 1965 Bandmaster as well as a 2x6L6 Slivertone 1484 Twin Twelve.
Guess What?
The H-Zog, which is the second version of Canadian amp builder Garnetās Herzog tube-driven overdrive, can work as an overdrive or an amp head, but itās probably most famous for Randy Bachmanās fuzzy-as-heck āAmerican Womanā tone.
Stomp Staff
While the Eventide H90 that helps anchor Moakās pedalboard can handle the job of many pedals, he may have more amp heads on hand than stompboxes. But essentials include a JHS Pulp āNā Peel compressor/preamp, a DigiTech Whammy II, DigiTech FreqOut natural feedback generator, a Pete Cornish SS-3 drive, Klon Centaur, and Electro-Harmonix Deluxe Memory Man.
Reverend Descent W Baritone Electric Guitar - Transparent White
