Featured KRK User Supa Dups
Dwayne Chinn-Quee, better known as super-producer Supa Dups, expertly navigates the musical worlds of reggae, dancehall, pop, hip-hop and R&B. He has produced albums and released and remixed some of the hottest singles of the past ten years. Major artists he has worked with include Beenie Man, Sean Paul, Rihanna, John Legend, Mary J. Blige, Eminem, Bruno Mars, Drake, Akon, Chris Brown and Damian Marley. Along with producing, Supa Dups is a writer, a DJ, a member of the Black Chiney Sound System and half of the duo D.A. & the Supa Dups. In 2011 he won a Grammy for his production on "W.T.P." from Eminem's Recovery album. He was nominated for his second Grammy, in 2012, this time for 'album of the year' for his work on the Bruno Mars album Doo-Wops & Hooligans.
Supa Dups is now based in Miami, but was born in Jamaica. His father is a second- generation Chinese/American and his mother is of Chinese, German and African descent. Coming from this diverse background makes bridging so many cultures and genres easy for Supa Dups. Regardless of musical style or genre, Supa Dups needs monitors that help him find just the right groove for a remix or single, yet also play for long periods of time when he's working on an album. Often, he also has to listen to tracks recorded in many different studios when he is working on one of the many compilation albums he produces. KRK monitors are up to the task, providing sonic clarity and consistency.
"I have always used KRK," says Supa Dups. "I began using KRK products about 11 or 12 years ago. The original KRK ROKIT monitors actually were shaped almost like a triangle and looked like a rocket."
Today, Supa Dups uses the ROKIT RP10-3 monitors. "I use the RP10-3s when I am making beats," says Supa Dups. "The reason is because I like the full richness of the sound. It's the best ROKIT I have ever heard and it sounds like it should cost more than it actually does. Whether I am making beats with it or if I am mixing my own solo projects, the RP10-3 is my choice as a reference monitor. For my near-field listening, I have Expose E8Bs and the VXT4s."
The different sonic characters of the KRK monitors allow Supa Dups to hear his projects in a variety of ways. "I use three different monitors to get three different perspectives —even though they are all KRK." says Supa Dups. "The VXT4s I use more to hear the detail of the music because they are not too boomy. I can hear more of the other instruments, not just the bass."
The RP10-3s are the real go-to monitor for Supa Dups. "The bottom-end is just a very full monitor; nothing is lacking and all the frequencies are there," he says. "Thanks to the great highs, mids and lows, the monitors are not just for reggae and rap music. They can be used for any genre. When it comes time for me to check the overall balance of my recordings, I turn on the RP10-3s."
Supa Dups summed up the many fruitful years of experience he has had working with KRK monitors. "The KRK monitors have punch," he says. "They have attitude, yet they are light. I can drive the heck out of them and they can take it; they take every punch I give them."