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TOMMY TORRES CREATES MUSIC MAGIC WITH KRK

For Musician, Producer, and Engineer Tommy Torres, music is as much about feeling as it is about sound, and he has spent a lifetime translating inspiration into art. Born and raised in Puerto Rico, Torres learned music by ear and started playing in bands during his high school years, a passion that would ultimately define his life. Later, he pursued dual majors in engineering/producing and arranging at Berklee College of Music, arming himself with the skills to navigate both the technical and artistic sides of the studio.

After graduation, Torres cut his teeth as an assistant at the newly opened Sony Studios in New York. It was a formative experience, where he witnessed legendary recordings, from Nirvana’s MTV Unplugged to sessions with Stone Temple Pilots and Michael Jackson, as well as Mariah Carey’s iconic Christmas album. Over time, Torres’ creative curiosity led him from engineering to producing and songwriting, working with artists such as Ricky Martin, Alejandro Sanz, Alicia Keys, and Jesse & Joy, earning several GRAMMY® and Latin GRAMMY Awards and nominations along the way.

Today, Torres can be found at his Miami studio, a space he describes as both functional and homey. “It’s my creative room,” he says. “I have a piano, guitars lying around, a sofa, even a kitchen next door. It’s acoustically treated, but it feels like a living space. That’s where the real magic happens.”

According to Torres, his KRK ROKIT 8 Generation Five Studio Monitors play a crucial role in creating that magic. “The ROKITs are just honest,” he says. “The heart of their sound is in the midrange, which the speakers bring forward so clearly. I don’t want monitors that flatter the sound; I want them to tell me the truth. With the ROKITs, I hear everything I need to make decisions that translate across all systems. Their balance of clarity, punchy low end, and airy highs allows me to mix at lower volumes without losing excitement in the track.”

Torres’ love for KRK goes back decades. He initially encountered an early generation of the brand’s V-Series V8 Monitors while working alongside legendary mixer Bob Clearmountain and has personally used the smaller V-Series 2 models “for a long time.” He first got a feel for the ROKITs in 2021, during production of his album “El Playlist de Anoche,” which he co-produced with Bad Bunny.  

“When I first heard the ROKITs, I fell in love,” he recalls. “They have this rock-and-roll quality that pleases my ears, and they expose everything in the midrange without hiding anything. Every generation since then, including the new Gen Fives, continues that tradition. The monitors don’t just reproduce sound, they guide me. Whether I’m working on an intimate acoustic track or a layered pop production, I know what I’m hearing is exactly what’s there. That gives me the freedom to focus on the music, not guess about the mix.”

For on-the-go sessions or smaller spaces, Torres turns to his smaller V-Series monitors, which he refers to as his road tools. “They retain the signature KRK sound while offering portability and flexibility,” he continues. “Whenever I need to go somewhere, I just grab some KRKs. It doesn’t matter if it’s the big ROKIT 8s or small ones—KRK monitors give me what I need, every time.”

In addition to the ROKITs, Torres has long relied on KRK KNS Headphones as an essential part of his creative toolkit. “I’m a huge fan of KRK’s headphones,” he says. “They give a very similar feel to the speakers. When you put the headphones on, you know immediately that it’s KRK.”

For Torres, comfort and practicality are just as important as sound quality. “They’re very light and comfortable,” he explains. “They even come with both a short cable and a very long one with a volume control; I wish every headphone had that. These aren’t for audiophiles; they’re for the studio guys. Whoever voiced these headphones really spent years in the trenches.”

By pairing the precise midrange clarity of his ROKITs with the faithful translation of his KRK headphones, Torres can work long hours while preserving both his ears and his artistic vision. For him, it’s not only about hearing sound but experiencing the music exactly as it exists in the mix, whether he’s crafting new songs for himself or polishing productions for some of the world’s biggest artists. “It’s about longevity, too; I want to keep working ‘til I’m 80, so it is crucial that I save my ears in the process.”

From Puerto Rico to Berklee, from Sony Studios to Miami, and from engineering to producing and songwriting, Torres’s journey has been fueled by curiosity, dedication, and a deep love for the craft. Today, surrounded by the sounds of his studio, the warmth of his space, and the precision of his KRK ROKITs, Torres continues to turn inspiration into music that resonates with listeners around the world.

“I can’t see myself doing anything else; music is everything,” Torres reflects. “Being in the room with those phenomenal artists and producers in my early years, I learned there are no rules. Everyone has their own way of creating, and if you get moved by something—a rhythm, a chord progression, anything—you follow it. I learned early on to trust my instincts. Every artist I work with, I try to imagine them on stage and ask myself, ‘What would fans want to hear from this person?’ It’s not about me; it’s about helping them realize their vision. For me, the spark always comes first. Then, it’s about catching it, recording it, and making it sing. KRK helps me do that every step of the way.”

KRK

Malevolence keeps its edge with a decade of ROKIT-powered recording

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.”