KRK Speaker System VXT Series User Manual

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KRK VXT SERIES  
BI-AMPLIFIED  
STUDIO MONITOR  
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Introduction  
Congratulations on your KRK purchase! And welcome to the growing family of KRK  
owners.  
KRK’s VXT Series of powered studio monitors are precision speakers designed to  
forever change the way you handle your most demanding audio jobs. VXT means truth in  
French and that’s just what these monitors are all about - they reveal the truth in your audio  
material.  
The VXT monitors feature key design elements that continue to make the KRK sound a  
“studio standard”. The series was created using stringent design philosophies similar to  
KRK’s flagship close-field monitor, the Exposé.  
The VXT Series includes new custom made woofers and tweeters, a curved front panel for  
improved imaging, a new cabinet design that provides improved structural integrity and  
extended low end and slotted ports that greatly reduce port turbulence. What’s more, we’ve  
provided valuable and practical features like an improved speaker protection circuit for  
added confidence and new drivers for extended frequency response.  
The result is a studio reference monitor that you can trust, delivering defined low end,  
articulate midrange, and precise, natural highs.  
Whether you are making critical mixing decisions or need to capture the subtle nuances of  
a unique sound, you’ll quickly discover that the VXT Series is as precise about your work  
as you are.  
This manual is intended to inform you of the many features of your new VXT monitors and  
their operation. We encourage you to take a few minutes to familiarize yourself with this  
manual. Thank you for choosing KRK!  
IMPORTANT NOTE: Your VXT monitor was originally packaged in a specially  
designed carton. Please save these items. They should be used when transporting  
or shipping your monitors.  
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Design Philosophy  
A studio monitor is a tool used to aurally “measure” the changes in an audio path. Ask any  
seasoned recording professional what they think makes a great studio monitor and you’ll  
get basically the same answers: “Accuracy, transparency, flat response, and the truth.”  
Simply put, recording engineers want the electrical signal entering their monitor to be  
reproduced mechanically by the transducers and they want this to occur without any  
deviation or compromise to the original signal. Professionals depend upon their monitors to  
deliver their artistic vision in a way that will translate as accurately as possible to a  
variety of audio mediums. Technically, this is accomplished by designing a monitor that  
addresses three critically important criteria: Spectral Balance, Distortion Management, and  
Resonance Management.  
1. Spectral Balance (Timbre)  
Research confirms that proper spectral balance is important for a studio monitor.  
Spectral balance is defined by:  
• Smooth on-axis response  
• Smooth octave to octave response  
• Smooth off-axis response  
From years of listening to feedback from some of the top engineers and producers, KRK  
engineers have come to understand how a properly tuned monitor can become a valuable  
recording tool.  
The VXT monitors have been designed to be as flat as possible so that what you hear  
represents the true nature of the audio material without coloration or enhancement. You  
can be confident in the fact that your mixes will be accurate and phase coherent.  
2. Distortion Management  
Any loss or addition to the audio signal is a distortion and this can occur in the speakers  
themselves. The VXT series has very low speaker distortion which, of course translates into  
improved reproduction accuracy.  
Various amplifier distortions have been eliminated as well; the most common being  
intermodulation, transient intermodulation, and harmonic distortion.  
Distortion can also occur when the waveform is impacted by physical conditions such as  
port turbulence and diffraction. KRK engineers have implemented design concepts that  
eliminate or minimize these damaging conditions.  
3. Resonance Management  
Resonance is the tendency of something to vibrate at a particular frequency after the  
source of energy is removed.  
Resonances also play a major role in impacting the performance of a speaker. KRK design  
elements minimize driver and enclosure resonance.  
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Design Elements  
New Custom Made Tweeter and Woofer Designs – KRK is renowned for designing high  
performance studio monitor drivers. Your VXT monitors are no exception. A woven Kevlar® low  
frequency driver was custom-designed specifically for each model. Kevlar® is one of the  
strongest, lightest, most rigid materials that can be used in modern speaker cone construction.  
Kevlar’s unique physical properties minimize axial or conical break up modes. Both tweeters and  
woofer provide faster attack times. The new tweeters provide enhanced high frequency  
extension with improved distortion characteristics.  
Resonant Free Extended Low Frequency Enclosure Design - The cabinetry of your VXT  
monitor is constructed from ABS Structural Foam which provides stronger structural  
integrity compared to cabinets made from standard ABS solid materials. Because of the  
increased strength of this process, the cabinet walls can be thinner than would be from using  
MDF, increasing the interior volume of the cabinet which equates to extended low  
frequency response. Structural foam also provides enhanced dampening characteristics which  
greatly reduces cabinet resonance.  
New cabinet design provides many benefits – Due to the radical design of the cabinet, your VXT  
monitors are manufactured using ABS Structural Foam. The Cabinet has inner and outer walls  
with a lightweight foam filling. ABS Structural Foam has many advantages over the  
standard ABS enclosure. One advantage is the Cabinet can be made with thicker walls. Having  
the foam between the inner and outer hard shells acts as a damper and reduces the potential of  
resonances. Another advantage is that the walls can be thinner than they would be in MDF. This  
allows for more internal volume allowing the system to extend its lower frequency capability. The  
third advantage is that there are no parallel internal walls. This eliminates standing waves and  
or nodes which are extremely detrimental to the internal and external acoustical response of an  
enclosure. These characteristics aid in eliminating the cabinet from potentially coloring the  
sound of the speaker system.  
Active Filter Crossovers - The VXT series power amplifiers contains three active filters.  
(Subsonic, low-pass and high-pass filter) These three filters work together to provide a  
seamless integration of the driver components ensuring a smooth spectral balance.  
Bi-amplifier Design– KRK’s amplifier consists of audiophile grade components and a  
simple audio path for transparency. Output power is balanced to match LF and HF driver  
sensitivities and power handling. Your VXT monitors use a toroidal power transformer for low  
hum and minimum noise.  
Contoured Faceplate – Like the KRK flagship close-field monitor, the Exposé, all cabinet edges  
and port openings are heavily contoured to reduce diffraction resulting in better detail and stereo  
imaging. The curved faceplate offers improved off axis dispersion aiding in off axis imaging  
Slotted Ports – Slotted ports reduce the port turbulence and distortion commonly found in  
poorly designed round ports.  
Defeatable Limiter - The monitors contain a limiter circuit which provides improved  
protection. The Default setting for this switch will be in the OFF position. The limiter is designed  
to mitigate the negative effects of over driving the amplifier and or the speaker’s drivers. The lim-  
iter, when engaged, can greatly reduce the risk of harming a driver. It can however be defeated  
using the “Clip Indicator/Limiter Switch” on the rear panel. This is only recommended if you are  
using your monitors well within their limitations. Use the indicator on the front baffle to help  
determine the optimum level without audible distortion.  
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Back Panel Features  
(A) SYSTEM LEVEL ADJUST  
Input sensitivity is adjusted (counterclock-  
wise reduces sensitivity) through a rear  
panel mounted trim control. Adjustment  
range is from -30dB to +6dB. Factory preset  
gain is +6dB, which should suffice for most  
conditions. Normally adjustments would  
only be made if you’re using your VXT  
monitors in a surround system and you need  
to balance levels or if your monitor-source is  
too hot and not adjustable.  
(B) HF ADJUSTMENT (VXT 6 and VXT 8 ONLY)  
High Frequency Adjustment is through a rear panel mounted 3-position toggle switch.  
Range of control is +1dB, Flat, or -1dB shelving above 2 kHz. Factory setting is flat  
(toggle switch is in middle position). Room acoustics may dictate which type of adjustment  
you need to make to retain the proper frequency response from the monitor.  
(B) LF ADJUSTMENT (VXT 6 and VXT 8 ONLY)  
This 3-way switch adjusts the low-frequency response of the monitors. Proximity to walls  
can add undesirable low frequency content. Adjust the LF Adjustment switch to  
compensate for exaggerated low frequency response. Room acoustics may dictate which  
type of adjustment you need to make to retain the proper frequency response from the  
monitor.  
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The three-way toggle switch provides the ability to adjust the low frequency when the monitors are  
effected by by room boundaries such as walls and corner locations. The setting labeled WHOLE  
refers to the term "Whole Space" and is used to provide the most bass response. QUARTER refers  
to quarter space and rolls off the most low frequencies. HALF refers to "Half Space" and provides a  
setting in between no roll off and QUARTER space roll off. Your monitors come from the factory set  
to WHOLE space. Read further in this document for more advice on set up.  
(C) Clip Indicator/Limiter Switch  
The Clip Indicator/Limiter switch allows you to choose between three options.  
1. In the On position the clip led (RED) is active and the limiter is bypassed. At the onset  
of the red LED illuminating, the amplifier is close to clipping. When the red LED blinks  
occasionally and lightly no damage is occurring to your monitor. If the red LED is lit for  
extended periods of time please turn down the input signal to your monitors to avoid  
damage! The clip indicator can be a preferred setting while tracking or mixing at louder  
volumes to indicate the potential for excessive volumes that can damage your monitors.  
2. In the “Off” position the clip LED is inactive and the limiter is bypassed.  
3. In the “Limit” position the signal is routed through the Limiter circuit and the signal is  
limited when a predetermined threshold is passed. When the limiter is activated by  
overdriving the amplifier, the led will illuminate. The duration and intensity of the green LED  
will increase as limiting increases. It is not recommended to mix with the limiter activated  
as the limiting of the audio signal will change the characteristics of the audio. If you are  
finding that you need to activate the limiter for mixing, then it is recommended to instead  
turn your system down to limit overdriving the audio signal.  
Connecting Your System  
POWERING ON  
All connections should be made, all faders and controls should be set at their minimum  
levels, and all other equipment should be powered on prior to powering on your V8  
monitors.The power On/Off switch is located on the rear pane. The KRK Logo on the front  
baffle illuminates when the power is applied.  
Audio Mute Switch  
Placing this switch in the ON position activates a timing circuit whereby the High Voltage  
Power Supply is shut off after approximately 20 minutes if no audio signal is detected. The  
Low Voltage Power supply is still drawing current. The monitor will unmute when signal is  
detected.If you are working with very low level or intermittent material such as audio for  
games or surround mixing, it is recommended to leave the auto mute switch off.  
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NEUTRIK® COMBO CONNECTOR  
The Neutrik® Combo connector accommodates  
XLR, 1/4” TRS and 1/4” phone plugs. Please note  
that PIN 2 is hot!  
If you are using an  
unbalanced connection make sure to wire Sleeve  
and Ring together at the source end. This can be  
accomplished by using the appropriate cable or  
adapter.  
Installing Your Monitors  
The close-field monitor, by definition, reduces room interaction. This can be compared to  
the conventional stereo configuration or the large monitor arrangement in a recording  
studio where sounds emanating from the monitor or reflecting off ceilings, walls, and floors  
greatly affect the sound quality. By shortening the path to the ear, the close-field monitor  
offers a tremendous amount of flexibility, allowing the sound to become less susceptible to  
differing room conditions. The ability to adjust the high and low frequency characteristics is  
equally important to help compensate for room irregularities and achieve the highest sound  
accuracy. (See HF Adjustments and LF Adjustments sections in this manual. Note- These  
adjustments are only available on the VXT 6 and VXT 8 .)  
A room that is heavily dampened would typically require a high frequency boost. Likewise,  
reducing the high frequencies can alter a reverberant room. The low frequency can be  
adjusted to compensate for the first reflection (bounce) off the woofer, whether it comes  
from the floor, as in the typical stereo setup, or from the surface of the mixing board (when  
the monitor is placed atop the meter bridge).  
Placing the monitor close to a rear wall, sidewall, or a corner will reinforce the low  
frequencies. Generally speaking, if you move them two to three feet away from walls and  
corners, you'll hear less low frequency interaction (excluding any interaction with the  
mixing console). But when ideal positioning isn't practical, low frequency control is the  
solution. Lets say you have two different studios in your facility; in one room the monitors  
are close to the wall, in the other they're further away from the wall. Simply adjust the low  
frequency on each monitor and you'll have the same sound in each room. This comes in  
handy if you're tracking in room A and mixing down in room B.  
Positioning Your Monitors  
Positioning the monitors correctly in the studio is critical to their performance. Basically,  
they should be placed in such a way that the listening position is fully “covered” with all  
speakers resting on the same horizontal plane. A good way to test the monitor for its  
imaging capability is to play back a CD that you are very familiar with. You can adjust the  
angle of each speaker by listening for dead spots—where you'll notice an immediate  
decrease in high frequency content.  
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2-CHANNEL SET-UP  
Close-Field Configuration - In a control room situation, the monitors are often times placed  
on the meter bridge or in a close-field listening position. Initial placement starts by  
measuring out a simple equilateral triangle (all three sides equal in length) with the apex at  
the center of the listening position (as shown in Figure 1) as an "overlay" for the stereo  
installation. In this configuration, the Left and Right monitors are each placed at a 60º angle  
equidistant from the listening position.  
Figure 1  
Listening Position  
Mid-Field Configuration – This configuration is basically the same as the Close-Field  
set-up. (see Figure 2) It is normally used with larger monitors or when the monitors are  
too large or heavy for the meter bridge. This set-up has the potential for a larger sweet spot  
and better spatial imaging. Make sure that the height of the woofer is above height of the  
console’s meter bridge.  
Figure 2  
Subwoofer Setup  
Begin by determining the best location for your subwoofer. If possible, the optimum set-up  
would look like the set-up in Figure 3; however, this setup may not be practical or possible  
in your room. Once you have set up your monitors, listen to some program material that  
you know contains low frequency information. If your subwoofer has a phase switch, adjust  
the subwoofer to provide the highest frequency setting possible. Flip the switch back and  
forth to find the loudest setting. Then adjust the sub's low pass filter so that it works in  
conjunction with the satellite's high pass frequencies, the readjust the level of the sub.  
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Figure 3  
5.1 Channel Surround Sound Setup  
Begin by placing the Left and Right front channels 30 degrees from the Center channel and  
equidistant to the listening position (Figure 4). The Left Surround (rear) and Right Surround  
(rear) channels should be placed 110 degrees from the Center channel. Their location  
should also be equidistant from the listening position. The subwoofer (Low Frequency  
Effects) channel is most effective when situated directly below the Center channel (as  
shown in Figure 4). If this is not possible, place the subwoofer just to the right or left side  
and below the Center channel. Ensure that the woofers are above the height of the  
console.  
Figure 4  
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7.1 Channel Surround Sound Setup  
The 7.1 channel surround sound setup adds two speakers to the sides of the mix position  
and is most similar to the actual surround sound configuration of cinema—with the  
difference being that cinemas commonly add additional side surrounds to compensate for  
the length of the theater.  
The front Left and Right speakers typically form a wider triangulation (in relation to the mix  
position) than that of a 5.1 setup so as to more accurately replicate the fact that in cinema,  
the front speakers are not angled toward the center, but rather face straight out into the  
theater—as is also the case for the mix stage in film sound mixing. The Center channel  
loudspeaker is positioned directly in the center as is the case in a 5.1 surround setup.  
Similarly, the subwoofer is most effective when situated directly below the center channel.  
If this is not possible place the subwoofer just to the right or left side and below the Center  
channel.  
Like the three front speakers, the Left and Right surround speakers are positioned at  
equidistance from the mix position directly to the sides. Finally, the Left and Right rear  
surround speakers are placed behind the mix position at equidistance to the mix position.  
The 7.1 channel surround sound environment is one of total immersion, and is the best  
choice for mix environments where sound needs to be detectable side to side, along with  
front to rear.  
Once the monitors have been placed, you’ll need to adjust the System Gain pots for each  
monitor so that all channels have exactly the same SPL output at the listening position.  
Although this can be done simply by listening to each channel one at a time and adjusting  
for relative levels, we recommend using an SPL meter and filtered noise (pink noise) to test  
each channel independently. Simply take a reading from each monitor, and then adjust all  
the monitors to match your lowest SPL reading. Your system levels should now be  
balanced for multi-channel surround.  
Figure 4  
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Troubleshooting  
Problem: If there is no power, check to see if...  
• The power cord is plugged into both the IEC socket on the rear panel of the unit  
and into the AC mains  
• The AC mains voltage is matched to the operating voltage requirements (See  
Changing Voltage in the Connecting the System section on page 3). If the AC  
mains voltage is higher than your monitor’s selected voltage it is possible that the fuse  
needs to be replaced. (See Changing Fuses in the Connecting the System section on  
page 3).  
• The KRK logo on the front panel will be illuminated when the monitor is on. If logo is not  
illuminated, turn the powe switch OFF and check the A/C mains fuse(s). NEVER USE A  
LARGER AMPERAGE FUSE THAN IS SPECIFIED! Turn the power switch back on. The  
power light should illuminate.  
•If a fuse change was needed and upon powering the monitor back up the fuse(s)  
blow(s) again, the monitor needs to be returned to the dealer you purchased it from  
or to KRK for servicing.  
Problem: If you can't hear any sound...  
• Repeat steps in the previous troubleshooting section above before continuing to the next  
steps.  
•Check to see if all other audio devices using the same AC outlet are still operating.  
•Make sure that:  
• The audio source cable is plugged into both the source output and the monitor input.  
• The System Gain pot is turned up fully clockwise (+ 6 dB).  
• The signal source (E.g. mixing console, work station, CD player, etc.) is  
turned up to a level that can properly send a signal to the monitors.  
• If one of the monitors is working. Exchange the audio input cable from the non-  
working monitor to the working unit. This will determine whether it's really the  
monitor, a faulty cable, or some other glitch in the audio chain.  
• If the monitor is still not responding, it should be returned to the dealer that you  
purchased it from or to KRK for servicing.  
Problem: If the monitor suddenly stops working...  
• Turn the monitor down or off.  
• Repeat steps in the troubleshooting sections above before continuing to the next  
steps.  
• Carefully check to see if the amplifier's back plate is hot! If the monitor has been  
running at it’s highest power output for an extended period of time, it could be that  
the unit has become overheated and the protection circuitry has shut the system  
down momentarily. Your KRK monitor provides maximum circuitry protection against AC  
power surges, amplifier overdrive, and overheating of the amplifiers. Turn the monitor off  
then wait 30 minutes to allow the back plate to cool down. Turn the power switch back  
on.  
• Increase the volume to check for normal operation.  
• If the monitor is still not responding, it should be returned to the dealer that you purchased  
it from or to KRK for servicing.  
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Problem: The sound quality changes...  
• Repeat steps in the previous troubleshooting section above before continuing to  
the next steps.  
• Disconnect the signal cable at the input of the monitor. With power on, place your  
ear close to each driver (tweeter/woofer) and listen for noise (i.e., a slight hiss or  
hum). If there's absolutely no sound whatsoever, it could be that one or more of  
the drivers (woofer or tweeter or both) is at fault. It's also possible that the problem lies  
some where in the electronics.  
• Play some non-distorted source material at a low volume. Carefully cover the  
tweeter (to block the sound) without touching the diaphragm. Is the woofer producing a  
clean sound? If there is not a clear tonal quality or any sound at all  
then the woofer probably needs to be replaced.  
• Cover the woofer so you can hear mostly the tweeter. Is the tweeter producing a  
clear sound? If there is not a clear tonal quality or any sound at all then the  
tweeter probably needs to be replaced.  
• Once you have a better idea of what may be at fault then call us and speak with  
someone in the service department. They will help you determine the best solu  
tion to correct your monitors. The service department can be reached at 954 316-1580.  
Problem: The monitor hisses, hums or makes other loud noises...  
Here are some suggestions that will help you eliminate these undesirables from your  
system:  
• Make sure that the power cord is plugged snugly into the IEC socket on the rear  
of the monitor.  
• Check the connections between the signal source and the monitor. The  
Neutrik® Combo connector is a completely balanced system. If you're connecting  
an unbalanced output to the monitor, be sure that you're using PIN 2 for signal  
and have PIN 1 and PIN 3 tied together at the source end. This can be done by using the  
appropriate cable or adapter.  
• All audio equipment should use the same ground point. Check all other devices  
using the same AC output in the building like dimmers, neon signs, TV screens,  
and computer monitors. These devices should not be using the same circuit.  
KRKCustomer Support can be reached at: 954-316-1580.  
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Please retain and read the warranty card information that was included in the shipping  
carton of your monito. Before shipping your unit back to KRK for service you must acquire  
an “RMA” from KRK. Your unit will not be received by the company, nor will any work be  
done on your unit without this very important number. Please call KRK at 954-316.1580.  
Shipping Instructions  
•For the safest possible return to KRK, please use the shipping carton and packaging that  
your KRKmonitor originally shipped in.  
•KRK cannot be responsible for any damages incurred during the shipping process due to  
poor packing. Make sure to insure your shipment.  
•If your monitor is out of warranty and you would like a quotation prior to servicing your  
product, please call for an “RMA” number. No service will be performed on  
your unit without this number.  
•Replacement carton and packaging can be purchased from KRK Systems, LLC. for $26.50  
each.  
•For replacement part quotes call 954-316-1580  
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Specifications  
Model  
VXT 4  
VXT 6  
VXT 8  
Tweeter  
Woofer  
1" Silk Dome NEO  
1" Silk Dome Ferrite  
1" Silk Dome Ferrite  
4" Woven Kevlar  
6" Woven Kevlar  
8" Woven Kevlar  
XLR-1/4" TRS Combo  
10k Ohm Blanced  
Pin 1 + Sleeve = Ground  
Pin 2 + Tip = (+) High  
Pin 3 + Ring = (-) Low  
XLR-1/4" TRS Combo  
10k Ohm Blanced  
Pin 1 + Sleeve = Ground  
Pin 2 + Tip = (+) High  
Pin 3 + Ring = (-) Low  
XLR-1/4" TRS Combo  
10k Ohm Blanced  
Pin 1 + Sleeve = Ground  
Pin 2 + Tip = (+) High  
Pin 3 + Ring = (-) Low  
Input Type  
System Level Adjust  
System Level Adjust  
System Level Adjust  
+6dB to -30dB Variable  
+6dB to -30dB Variable  
+6dB to -30dB Variable  
Ground Lift  
Ground Lift  
Ground Lift  
LFT (On) or GND (Off)  
LFT (On) or GND (Off)  
LFT (On) or GND (Off)  
Clip Indicator  
Clip Indicator  
Clip Indicator  
On, Off or Limit  
On, Off or Limit  
On, Off or Limit  
Controls  
Auto Mute  
On or Off  
Auto Mute  
On or Off  
Auto Mute  
On or Off  
HF Adjust - N/A  
LF Adjust - N/A  
HF Adjust  
+1dB, Flat, -1dB  
HF Adjust  
+1dB, Flat, -1dB  
LF Adjust  
LF Adjust  
Whole Space (-3dB 40Hz)  
Half Space (-3dB 48 Hz)  
Quarter Space (-3dB 62Hz)  
Whole Space (-3dB 52Hz)  
Half Space (-3dB 60 Hz)  
Quarter Space (-3dB 75Hz)  
HF: 15 Watts  
HF: 30 Watts  
HF: 60 Watts  
LF: 30 Watts  
LF: 60 Watts  
LF: 120 Watts  
Amp & Fusing  
2.0A 100VAC 50HZ  
2.0A 110-120VAC 50/60Hz  
1.0A 220-240VAC 50/60Hz  
3.15A 100VAC 50Hz  
3.15A 110-120VAC 50/60Hz  
1.6A 220-240VAC 50/60Hz  
4.0A 100VAC 50Hz  
4.0A 110-120VAC 50/60Hz  
2.0A 220-240VAC 50/60Hz  
Freq Response  
Max SPL  
56Hz - 22kHz +/- 2dB  
49Hz - 22kHz +/-1.5dB  
37Hz - 22kHz +/-1.5dB  
Music: 104dB  
Peak: 107dB  
Music: 108dB  
Peak: 111dB  
Music: 111dB  
Peak: 114dB  
10 1/16" H x7 1/3" W x 7 " D  
25.6cm H x 18.6cm W x 17.7cm 36.8cm H x 26.3cm W x 24.6cm D 43.8cm H x 31.8cm W x 30.0cmD  
14 1/2" H x 10 1/3" W x 9 5/8" D  
17 1/4" H x 12 1/2" W x 11 7/8" D  
Dimensions  
Shipping Weight 14 lbs  
27 lbs  
41 lbs  
Omni Mount Part 20.5 WBX  
30.0 WBX  
60.0 WBX  
Screw Type  
M6  
M6  
M8  
Screw Length  
12.5mm Min. - 17.5mm Max.  
13.5mm Min. - 20.0mm Max.  
17.75mm Min. - 26.0mm Max.  
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