After attending recording classes and landing an internship at a local studio in his native Boulder, Colorado,Joe Zook moved to Los Angeles via a stint in Austin, Texas, and has since gone on to mix everything from worldbeat and jazz records to ESPN fishing shows and political ads. Today, as a world-class mixing engineer, Zook has worked with artists such as Alessia Cara, AJR, OneRepublic, Modest Mouse, Katy Perry, Smokey Robinson, and hundreds more. When he recently decided to upgrade his LA studio to Dolby Atmos recording, he turned to KRK V-Series studio monitors and S12.4 subwoofers.

Joe ZookFor the past few years, Zook had used KRK V4s as an auxiliary pair of mixing monitors. In his 7.1.4 Atmos system, he has V6s surrounding him, V4s mounted on the ceiling, and two S12.4 subwoofers under his desk. ‘I’ve gotten very familiar with the KRK sound and really like the audio consistency across the entire V-Series line,’ he says. ‘I simply trust that a good mix will feel right on the KRK V-Series.’

For Zook, a key advantage of the V-Series is that they aren’t overly sensitive to placement in his room. ‘Some speakers sound amazing in one room and terrible in another – I haven’t experienced that with the KRK V-Series,’ he explains. ‘I think that’s a really important quality to have for Atmos mixing as you have so many speakers in a room and not a lot of options on placement. I’ve also noticed that I can relate to the sound of the V-Series more than some speakers that are three times the price.’

Zook also finds KRK’s S12.4 studio subwoofer a cost-effective solution for mixing bass-heavy tracks. ‘With the KRK sub, you really get a bang for your buck,’ he confirms. ‘They have all the controls and connections that I want and can get the job done for about 300 per cent less than the top-shelf subs.’

Recent projects that have involved the new KRK studio set-up include mixing Scott Helman’s ‘Pretty,’ Tassia Zappia’s ‘Like Ooh’ and Alessia Cara’s ‘Somebody Else.’

‘Lately, any project that I’ve mixed in stereo has also required an Atmos version so, I’ve been turning to my KRKs more and more to meet this new demand,’ Zook reports. ‘I’ve also started working on older catalogue albums that I originally mixed. With KRK, I’m able to mix both stereo and Dolby Atmos recordings, and the artists have been thrilled with the results.’

More: www.krkmusic.com

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