Lauro creates unforgettable collaborations with brand’s ROKIT studio monitors and subwoofer
MIAMI, APRIL 15, 2025 ― Renowned Miami-based producer and songwriter Laureano “Lauro” Pardo is making waves in the music industry with his stellar portfolio, which boasts collaborations with some of the biggest names in Latin music, including Arcangel, Myke Towers, Fer Vazquez, and Flor Alvarez. With multiple nominations for GRAMMY® and Latin GRAMMY® Awards and accolades featuring two-time RIAA Gold and 10-time RIAA Platinum certifications, Lauro’s contributions to music are evident.
Lauro is a passionate creator who has cultivated his unique sound. From the early days of experimenting with music, Lauro’s journey began by collaborating with local bands, which allowed him to hone his craft. “Over time, one of those artists achieved great success, earning awards both nationally and internationally,” he shares. “Thanks to that experience, I managed to come to the United States and fully immerse myself in the music industry.” Lauro’s career, now flourishing, is rooted in a love for sound that he believes has been amplified by his choice of gear.
Equipped with KRK ROKIT 5 Generation 4 Studio Monitors paired with a powerful 10-inch KRK Subwoofer, Lauro explains, “As my studio is not very large, I am very satisfied with the sound I have achieved using my KRK gear. Despite the size, the KRK system fits perfectly in my space and makes me happy. What I like most about the KRK system is that it sounds clean and provides the right amount of sub-bass I need,” he says. “It’s a sound I’m familiar with because it’s the same one I started my career with, so I feel very comfortable.”
This familiarity dates back to Lauro’s formative years. “When I started producing, I watched many tutorials on YouTube and noticed they used KRK monitors,” he says. “One day, at a local music outlet, I came across a pair of KRK monitors and tested them for myself. That was my first experience with the brand, and I have never stopped using it.”
With a reputation for delivering high-quality sound regardless of the environment, KRK monitors and subwoofers have become indispensable to Lauro’s production toolkit. “I always use KRK with all the projects I produce in my studio,” he adds. “Every time I’m asked for a backline for a session, I choose KRK because I know the brand consistently delivers reliable results. The gear has been a great solution for me. The monitors and subwoofers sound good anywhere, and I always trust that the audio will be consistent and true to what I need.”
Looking ahead, Lauro is eager to explore new possibilities with KRK. “My plan now is to try the GoAux Portable Monitors for spontaneous sessions; I want to always have them in the car, ready and prepared for any opportunity that arises,” he shares. Lauro firmly believes that KRK is more than just a brand. “KRK is part of the global musical legacy that has shaped the industry. If you are a producer seeking powerful sound and well-defined bass, there is no better option than KRK. There is no comparison.”
Lauro is an acclaimed Miami-based music producer and songwriter known for his innovative sound and collaborations with top artists in the industry. With a commitment to excellence and a passion for music, he continues to define the sound of contemporary Latin music.
American Idol Top-10 finalist Dennis Lorenzo offers insight on influence and a list of artists who helped sculpt him into a diverse music creator.
ROCK
On the other side of the spectrum, which I happen to be most known for, we also listened to the likes of Donny Hathaway, Jill Scott, Boyz II Men, The Temptations, and Whitney Houston among many other great soul artists of my time and before. Actually, the first time my Mom found out I could “really sing” (as she puts it), was when I sang the high note at the end of “Love” by Music Soulchild in the backseat of her car when I was 10—and I didn’t think she was listening. Soul and RnB music was surely the default in my household growing up.
Future, Migos, Mike Will Made It, Rae Sremmurd, Rich Homie Quan, Young Thug, I mean the list goes on. Trap wasn’t just a genre of music in Atlanta, it was a lifestyle. I’ll never forget the first time I heard the “S**t” by Future. I was like “What the hell is this?” It was different from NY, Philly or Jersey’s style of Hip Hop, there were no boundaries, and the 808’s were booming! The song “Versace” by Migos and Drake pretty much shaped a new sound for hip hop, along with artists like Lil Wayne. And the Migos are from ATL. It’s almost like Atlanta trap became the new Pop music. I was immersed in the culture. So much that I taught myself how produce trap music! It became my favorite thing of all time. A common joke among my brothers and I was how they’d hear/see me late at night, breathing heavily, slamming keyboard keys, and being blinded by my MacBook light, with my headphones blaring (I’m laughing as I write this thinking back). By the end of 2015 however, I came to a realization that I didn’t want to fully accept: my time in Atlanta had reached its peak, I had to make a move that would take me to the next of my artistry, and not just as a producer, so I moved to LA.
About 2 and half years after I moved to LA, I got my first “big break” on American Idol. The most important part of that journey was when I sang “In My Blood” by Shawn Mendes. When I finished, Lionel Richie brought himself to his feet and said to me “I just want to congratulate you because there is a time in every performer’s life, when you actually break through the ceiling, and you’re introduced to your new self. You have just taken that next step my friend. I am very proud of you!” After that Katy Perry said that I’m “Alternative” and that I remind her of Chris Cornell, another one of my biggest influences.
Jimmy from KRK here, and I wanted to share my experience of building my own sound panels for a home studio. I built wall panels, corner traps, and an overhead-cloud which will be shared on three separate articles—this article is strictly about building wall panels. KRK pioneered the home recording revolution and it is no secret that many recent hit songs have been either partially or completely recorded and mixed in a home or project studio. Whether you are in a basement, a bedroom, or a living room, acoustic treatment will go a long way for your final production results. Many overlook the importance of sound treatment after spending a lot of money on high-end recording gear. Quality recording gear such as a pair of KRK Monitors is certainly important, but it is also important to keep in mind that good gear magnifies the sonic environment for better or for worse. Sound treatment panels help shape these scenarios for more professional results.
For truly professional results, it is essential to have a controlled environment for tracking, mixing and mastering. For those on a budget and space-constraints, it is difficult to create a perfect listening environment unless you are building a room from scratch (floating room, sound proofing inside the walls, etc.,) but it is possible to greatly improve your surroundings for successful professional results. A smart way to look at it is to figure out what it is you are trying to accomplish before you purchase or build anything. Some of the important questions to ask are:
STAPLE IN THE FABRIC: After the frame dried, I turned it upside down and stapled in the fabric. It is important to note that the fabric is being stapled to the underneath-overlay of the exterior frame. The best way to do this is to start in one corner and work your way down the long side laying in staples about every 5 inches or so. The corners are the most 
Using the same screws to assemble the frames, I drove in a screw in the back of each corner so that there was 1.5-inches from the head of the screw to the frame. Once hung, this created the “air-gap” between the panel and the wall that I was talking about earlier in this article.
On the wall, I made a mark roughly where the speaker cone hits and then I made two more marks roughly where the top and bottom of the panel would be centered vertically considering the cone height. Referencing by eye, I then drove a long 6-inch screw into the wall so that roughly 3-inches were exposed. I then simply hung the panel on that screw and the 1.5-inch screws rest against the wall to create the gap. In my case, nothing brushes up against these panels, but you may want to come up with a more secure installation method if there will be a lot of activity around the panels.
Not too long ago, we released the new generation 4 (G4) of the ROKIT professional studio monitors. Over the years many monitors have come and gone, but the ROKIT legacy is unlike any other studio monitor and surely you have seen the iconic yellow cones everywhere. Some have even contended that the ROKIT monitors are to home recording, to what the old NS-10s were to professional studios back in the day.
Fast-forward to 2020, and it’s no secret that most of those big-player recording studios have closed due to the fact that musicians and songwriters can record professionally on their own. There will always be a need for large-scale/hi-end awesome studios such as The Hit Factory in New York City (who utilize ROKIT G4 7” monitors for reference speakers among others), but even most productions out of those studios have some tracks recorded at home.
First and foremost, the ROKIT G4 monitors are new from the ground up. These monitors were not “built on” a previous monitor line, and have all new components. Behind those components are painstaking years of research and development in order to make an affordable monitor that can compete with others way beyond their price range. For example, the drivers are made with a top-quality rigid aramid fiber found in monitors far beyond the ROKIT G4 price tag. This material is used in both the woofer and the tweeter so that the frequency reproduction is accurate and balanced throughout the whole frequency range.
Also, the custom cabinet itself was designed at our lab in the USA in a way so that all the parts on the inside work together in harmony to reproduce the most accurate sound. This is important because every small part to a monitor can make it sound different—we used science to make sure the physical parts and location-layout all worked together to correctly aid the voicing of the monitors.
OKIT G4 is the only monitor in its class with an LCD display which helps the user understand the chosen EQ and frequency response. There are also other preferences and options that can easily be utilized on the LCD making it a super user-friendly experience. The tactile selection knob dials through the presets and options and has a “push to select” feature which makes it simple to navigate. This LCD directly ties into the next feature of built-in room acclimation and tuning.
This EQ Recommendation tool is really what separates the ROKIT G4 from any other monitor on the market. Simply stated, the KRK Audio Tools app sends pink noise through the monitors and analyzes it along with the rooms physical environment. After this cycle, the app will recommend the best EQ preset on the ROKIT G4 getting the user to a “flatter” working environment. Why is this important? Because when you are “mixing” music you want the most accurate representation from the monitors so that you can make precise mixing decisions.
One more advantage on having the built-in EQ is the option of diversity between “creating” and “mixing.” Sometimes when we create music in different genres, we want to feel more energy from our environment. The older ROKIT generations where known for this “vibe” and really gave the creator some thump on the low and low-mid frequencies. That “thump” can still be obtained with the ROKIT G4 by adjusting the EQ settings to your taste, so you have the best of both worlds between music creation and music mixing.
ROKIT G4 monitors have high-density isolation pads on the bottom which help decouple them from the surface they are on. This helps with frequency definition and a more focused sweet-spot. They also have an on-board limiter working with the power amp in an unobtrusive manor which kicks in only when the system has hit its limit. This has two benefits: to protect the system from damaging the drivers, and to also give you clear consistent sound reproduction at very high volumes (SPL). In testing KRK ROKIT G4 with other monitors in its price class you will find the competitors either greatly distorting or even shutting down altogether with possible damage.
No other monitors in the ROKIT price class offer an option for protection. You put a lot of time and effort into your music, and KRK ROKIT G4 Studio Monitors are an investment into that dedication. Fortunately, you can protect them with the new stylish ROKIT G4 Grille Covers made specifically for RP5G4 (5”), RP7G4 (7”) and RP8G4 (8”). These grilles are made with premium components and built to spec insuring a seamless integration into the monitor’s cabinetry system itself. The form factor of these stylish monitor accessories have been tested not only for solid protection against all elements, but also to ensure that no frequencies are hindered by their use. Durably crafted perforated steel is the defense mechanism in place from anything getting between the monitor’s drivers and your environment. Whether you’re a producer on the move creating tracks in different places, a touring DJ, or in need of protection against whatever alien-intruders you fight off in your studio, ROKIT G4 Grille Covers will have you protected.
Just like KRK Systems, ROKIT G4 user Gabe Simon is Behind Great Music as an all-in-one songwriter/producer/musician. He began his career while in college, writing for and fronting the indie-rock band Kopecky which had great and widespread critical acclaim and Alternative Radio success for the 2012 release of “Kids Raising Kids” via ATO Records and the 2015 sophomore release of “Drug For The Modern Age.” Since then, Gabe has been busy producing and writing songs for numerous projects including Dua Lipa, Wilder Woods, Jai Wolf, American Authors, Adam Lambert, Coin, and Fever 333 to name a few. Gabe is currently working with Grandson, MXMTOON, Miya Follick, Whethan, Lovely the Band, and Grizfolk.
I think people have trouble getting into co-writing because they think it’s scary to work out great/shitty/weird ideas in front of people. Or they think it reflects on their creativity in some negative light. But music is collaborative by nature. Playing guitar in your room is just playing guitar, but bring a friend over on drums and it becomes music. A great idea can happen in a split-second flash and if you’re not paying close attention, the moment will slip by without anyone noticing.
I find co-writing is all about scene changes. The idea that sparked the excitement might come from a guitar and vocal, but the concept for verse two starts with an 808 or Mellotron line, so I want to be ready to run. I understand this isn’t feasible for everybody, but the more you can streamline your set up, the better. It helps you get out of the way and allows the music to happen.
But it all comes back to the moment when the universe aligns, all existence is at peace, and the greatest song idea ever is born. That moment usually happens when you’re dropping the kids off at school, or cowering in a coffee shop, or out of breath on a treadmill, but the co-writing session begins before the co-writing session. It doesn’t matter what the style is: trap, hip hop, rock, alt, pop, bedroom, electronic, or just plain old piano vocal – but come into the room prepared with something.
Some of my best ideas come from this process. I have over 10,000 voice memos on my phone and only around 20 are worth a replay. Or at least that’s what I think… Sometimes I send one of those other 9,980 ideas to my manager or publisher who say, “You know, this song ‘New Recording 5938’ is kinda dope”. That’s the best and worst part about managers and publishers; they make you question everything. Sometimes you send what you think is the best idea ever – I mean “Let It Be” on MDMA – and get a… “Meh”.
My publishers (Pulse) are badasses. Not only do they make sure songs are registered properly with ASCAP (or whichever Performing Rights Organization you like), they do all the yucky split stuff. It’s usually easy: 3 people in the room, let’s split three ways. But sometimes, you got a dude who has a dude, and they brought in their mom, and her sister adds a snare on the last verse, and the artist wants 25%. Suddenly, you’re only getting 5%… so you need a publisher and a manager who fight for every piece.
Getting back into the studio, I sat down to listen to what they’d recorded and as soon as my bro Aaron pressed play, my phone began to vibrate. I excused myself once more to take the call and it was my friend Ranae, her tone was excited but serious. She got straight to the point, “Hey Dennis, so this is urgent! I have a friend who is a producer at American Idol and he’s looking for talent. He asked me if I knew anyone and I immediately thought of you! This is no joke—super serious!” Before I could spit out my response, she said, “If you’re down, please send me a video of you singing and playing guitar, ASAP!” Of course, I said, “Well hell yeah I’m down—I’ll send it right over!” To that she responded, “I’m so excited for you! I’ll forward it to him when I get it, and he’ll call you today or tomorrow, so glue your phone to your hand or something!” He called me that same day and well, the rest is history…
Later that week I found myself standing in line with thousands of other musicians, each of us about to take on the opportunity of a lifetime. I stood in front of Lionel Richie, Katy Perry and Luke Bryan. I grew up listening to a lot of rock and artists like Lionel, and not many people knew how big of a KP fan I was. Sometime after I had first moved to LA, I went to Runyon Canyon. Me and my bro Will overheard a tour guide from the bus yelling “And THIS is Katy Perry’s house!” That was a big deal because again, I loved Katy Perry. I said to myself “One day, I’m gonna meet her out here.” What were the odds that the American Idol show would be revived, I’d get a call to audition, and that KP would be one of the judges? – good enough apparently!
There’s also one final thing I want to share with you! If you’re an artist and you’re reading this because you’re a fan of mine, or because you just want to read what some guy who almost won American Idol has to say, get a home studio setup! To those who already have one, and I know there are many, you’d be surprised how many artists don’t take that leap. So, here’s what you’ll actually need:
Here’s a list of what I use: MacBook Pro, Logic and Ableton Live, Apogee Hype Mic, a pair of KRK Rokit 7 G4s (these are really great speakers for a home studio!), Yamaha Portable Grand, Stage Stands mic stand, Audeze LCD-1 headphones, KRK KNS800 Headphones (for mix reference), Apogee Duet, and some random studio chair I found a few blocks from my house.
One final, final thing to note: I know how this business can be, so getting help as you navigate through is a must. With that, I hope this article was of some help to you, until next time, rock on!
Behind Great Music 