For Mix Engineer Erik Aldrey, sound has never been just a profession; it’s a lifelong passion. From growing up in Venezuela in a family of working-class musicians to becoming one of the first Venezuelan engineers nominated for a GRAMMY^®, Aldrey’s journey has always been defined by the way music makes people feel. Part of creating that feeling, he says, comes from using monitors that translate his mixes into the real world.

“Most people don’t listen on $10,000 speakers; they listen on phones, laptops, Bluetooth speakers, in cars—basically anywhere that’s not a pristine studio environment,” Aldrey explains. “As a result, what we mixers really need are tools that help translate music to all those systems. It’s not about having the most hi-fi setup; it’s about finding monitors that tell the truth. That’s what allows a mix to connect with listeners in the real world, which is ultimately the point of what we do.”

That’s how KRK has now come back into Aldrey’s life. The engineer previously owned the very first generation of ROKITs decades ago, running them alongside other monitors in his early career. At the time, they were reliable workhorses, but he eventually moved on as his studio setups grew larger and more specialized. Yet years later, a surprise package from a friend reintroduced him to KRK, this time through the compact GoAux Mobile Monitoring System.

“When I opened the box, I honestly thought they’d sent me a record or some kind of merch,” Aldrey recalls. “But inside were these tiny speakers, and I remember thinking, ‘Okay, let’s see what these can do.’ I set them up just to test them out and, suddenly, I was mixing full tracks on them without even realizing it. Hours passed, and I was still working on them. That blew my mind because I wasn’t expecting that level of usability and accuracy from something so small and portable.”

The GoAux monitors have since become a secret weapon in Aldrey’s workflow, allowing him to set up quickly, move between spaces, and still trust what he’s hearing. “I’ve mixed entire EPs on them,” he explains. “What really convinced me was when I sent the mixes off to clients who are usually super picky about details. They didn’t send me crazy revision notes like they sometimes do. Instead, the feedback was minimal, and the tracks translated beautifully everywhere. That’s when I knew I could actually trust these little things. They are more than just a travel option; they are real mixing tools.”

What surprised Aldrey most wasn’t the sound in the audiophile sense, but the way the GoAux monitors make him work. “If you ask me if they’re good for mixing, I’ll let you know that they’re great,” he says. “The monitors are not designed to flatter you. They push you to make decisions quickly and with confidence, and force you to address balance, EQ, and dynamics—all the fundamentals. The best part is that those decisions translate perfectly to the outside world. For me, that’s more valuable than having a system that just makes everything sound pretty.”

The portability of the GoAux has also given Aldrey new freedom. “As someone who often travels for projects, the ability to toss a pair of GoAux monitors in my bag means I can transform a hotel room or temporary workspace into a mix environment,” he explains. “I also love switching spaces when I get stuck on a project. It resets my ears and gives me a fresh perspective. With these speakers, I don’t have to compromise just because I’m not in my main studio. I can literally keep working no matter where I am, and I know what I’m hearing will hold up when I get back home or when the music goes out into the world.”

At home in his Hollywood, Florida, studio, the GoAux sit just below his main system. “They are always within reach,” he adds. “Sometimes they serve as the first playback system; other times, they’re the final check before sending a mix out.”

For Aldrey, KRK has come full circle. From his early days experimenting with ROKITs to his modern-day reliance on the GoAux for professional, portable mixing. “They’re small, they’re affordable, and they make me work faster,” he says. “At this point in my career, that’s exactly what I need. The gear that sticks with you isn’t always the biggest or most expensive; it’s the stuff that actually makes your job easier and your results better. That’s why these monitors have earned a permanent spot in my workflow.”

Versatile, Bluetooth-Enabled Reference Monitors Designed for Producers, Podcasters, and Creators

Today, KRK announces a striking new Latte finish for its Kreate Series Studio Monitors, the latest addition to the brand’s wide range of audio offerings. Available in the 5 inch size monitor only, this new Latte finish offers a stylish alternative to KRK’s world-renowned black finish with yellow cones, adding visual flair without compromising performance. Whether for casual playback or professional music and content production, the Kreate Series is designed to perform. Available in three sizes—Kreate 3, 5, and 8 inches—the Kreate 3 models are sold as a pair, while the Kreate 5 and Kreate 8 options are priced individually. The KRK Kreate Series is available worldwide through select dealers and online at www.krkmusic.com.

“The mid-century modern aesthetic with our new Latte finish option makes these look and sound at home anywhere. The KRK Kreate Series is the perfect entry point for emerging artists, producers, podcasters, any content creator really,” says Sterling Doak, Vice President of Marketing for Gibson. “The Kreate Series fills a vital space in our lineup, delivering professional-grade sound, and flexible functionality that empower creators to experience high-quality audio at an accessible price.”

KRK Kreate monitors deliver exceptional value and legendary KRK monitoring quality to emerging musicians, engineers, producers, and content creators. These best-in-class, two-way studio monitors are purpose-built to meet the diverse needs of creatives, providing the tools necessary to reproduce every nuance of a production with astonishing clarity and accuracy.

As the brand’s newest studio monitor line, the KRK Kreate Series represents KRK’s continued commitment to innovation, accessibility, and excellence—supporting a wide range of setups and needs. Ideal for mixing, producing, and content creation, Kreate monitors offer a variety of standout features among others in their class. These include wireless audio streaming capabilities via pairable Bluetooth^® input, alongside balanced and unbalanced analog inputs for flexible connectivity. The monitors are equipped with universal voltage and a switch-mode power supply, ensuring reliable performance across international power standards for seamless use anywhere in the world.

The KRK Kreate Series offers entry-level, active two-way studio reference monitors with wide bandwidth, boundary and tuning EQs, new transducer designs, as well as Class A/B, and Class D amplification. Acoustic boundary correction and tuning EQ combinations help minimize and resolve environmental challenges, allowing users to dial in voicing for specific applications.

Composite woven glass fiber cone woofers deliver impressive dynamics, effective damping, and deeper modal control—resulting in tight, punchy mid and low-frequency response suitable for both casual and professional playback environments. The heat-resistant glass fiber structure features a high strength-to-weight ratio, ensuring sonic accuracy and adaptability.

High-frequency reproduction is handled by a carefully engineered woven-textile dome tweeter with a neodymium motor, extending the frequency range up to 40 kHz in the KRK Kreate 8 and 5 models, and up to 33 kHz in the Kreate 3. These textile dome tweeters provide a smooth, accurate response and a more detailed sound profile.

System-tuning level control, along with low and high-frequency shelving filters, allows for easy adjustment in various acoustic conditions. Hybrid Class D and Class AB amplification delivers power and headroom with excellent dynamic reproduction. High-performance transducers are optimized for improved accuracy, and the amplifiers drive them efficiently at reduced operating temperatures—ensuring audio integrity during extended sessions.

Explore the KRK Kreate Series product line HERE.

With early starts in a spare bedroom with a DIY vocal booth, Malevolence’s recording space has grown into a fully outfitted creative space in a 1,000-square-foot former warehouse. Today, this professional studio allows the band to handle pre-production and jam sessions as they prepare for tours and upcoming albums.

“We started out recording our demos in my spare room; that’s where it all began,” recalls guitarist and vocalist Konan Hall. “Now, our professional studio houses a full live room downstairs and a custom-built vocal booth that gives us a professional space tailored to our creative process. It’s a far cry from those early days when all our demos were made in my house on a basic setup.”

While the creative space may have evolved over time, one thing that has remained consistent is Hall’s use of his tried and trusted KRK ROKIT 8 G2 Studio Monitors. Through cramped bedroom sessions, band debates, and long nights of pre-production, the band’s yellow-coned monitors have been a constant.

“I’ve had them nearly 10 years now, bought them secondhand off some kid,” Hall says. “They’re my personal speakers, but have been in our studio forever. They’ve been hammered with more heavy metal than most speakers should ever be put through, and they’re still fantastic. They’re really true-sounding; flat response, no extra coloration. I also like the little trims that are on the back for adding a little bit of high frequency or taking a little away. It’s also got good volume controls on the back, which is really nice.”

Even now, with a professional space and international recognition, Hall hasn’t felt the urge to replace the monitors. “Every time I think about upgrading, I ask myself, ‘Why?’” he continues. “Sure, I’d love to have a sub or maybe a set we could take on tour, but these old ROKITs; they’ve earned their place. When we track something here and later play it in a million-pound studio, it translates. That’s exactly what you want—no surprises.”

The results of the band’s time with the ROKITs can be heard on their newest album, “Where Only The Truth Is Spoken,” which was released June 20. “This album is the truest representation yet of who we are,” adds Hall. “We’re proud of every record we’ve made, but this one… it feels like a massive step up. The production is polished, but it hasn’t lost the raw edge that makes Malevolence, well, Malevolence.”

Of course, Hall says, credit also goes to their producer, Josh Wilbur, whose resume stretches from hardcore acts like Malevolence to pop megastars like Pink. “He flew over from the U.S. and worked with us right here, which was really important,” Hall continues. “Being in our space, surrounded by our own environment, kept us sounding like us. Josh didn’t come in and try to rewrite what Malevolence should sound like; he just helped elevate it.”

That authenticity is built on years of brotherhood. Bassist Charlie Thorpe and Drummer Wilkie Robinson started the band when they were just 11 years old. Hall and fellow guitarist Josh Baines joined in 2009. The lineup was locked in place in 2010, when vocalist Alex Taylor rounded out the team. From Sheffield gigs to European tours, that subsequently stretched across Asia and Australia, the group has steadily carved out its place on the global metal stage. “We’ve pretty much been everywhere now, except South America,” Hall laments. “That’s still on the bucket list.”