Broadcast News
29/05/2026
KRK Monitors Underpin Three Decades Of Trust For Industry Veteran Tom Gordon
KRK, a mainstay in professional studio monitoring, continues to command the confidence of leading engineers, including Tom Gordon, Co-Founder and Chief Engineer at Reno's Imirage SoundLab. Gordon's relationship with the company spans nearly three decades, during which KRK's V-Series monitors have provided a consistent reference for both high-profile projects and the training of emerging audio talent.
Alongside his work as Chief Engineer for Whitesnake's 'Hook City Studio' and long-time collaboration with David Coverdale, Gordon manages Imirage SoundLab, regarded as Nevada's longest-running commercial recording facility. His credits range from Ozzy Osbourne, Dr. Dre, Boyz II Men, The Beach Boys, Willie Nelson and Merle Haggard to Collective Soul, Creedence, Bruce Dickinson and Milli Vanilli's comeback album. He previously served as Chief Engineer at Granny's House Recording Studios.
Gordon first encountered KRK in the era of its passive loudspeakers and moved to the V-Series in the early 2000s. Today, he works with multiple generations of V-Series monitors, complemented by KRK subwoofers, to power both stereo and custom 5.1 surround configurations at Imirage SoundLab.
"I've been a KRK user for almost 30 years," says Gordon. "The first time I heard the 9000b's on Collective Soul at Granny's House, I immediately connected with what they were doing. Over the years, every new generation of the V-Series has improved, but the core thing has remained the same. I trust what I hear. That translatability is everything. Even across different spaces, I know what I'm hearing. That consistency is critical, especially when you're moving between studios or working on projects that demand accuracy across multiple formats."
That dependability has carried through to his Whitesnake projects, where V-Series monitors have been central to mixing commercially released material. "We've mixed multiple Whitesnake box sets on V-Series monitors," he says. "These are major releases, and the results speak for themselves."
Beyond the control room, Gordon teaches recording arts at the University of Nevada, Reno. He helped plan and equip a state-of-the-art music facility that opened in 2019, specifying KRK V-Series models — including V8 and V6 — across primary studios and recital spaces to ensure students work on tools they will encounter in professional environments.
"The decision to bring KRK into the university was an easy one," says Gordon. "I've relied on them professionally for decades, and I wanted students to learn on monitors they're likely to encounter in real-world studios. They offer a level of accuracy and reliability that's essential for developing critical listening skills."
Gordon adds that KRK's mix of precision and musicality suits long sessions and educational use alike. "They're not painfully clinical, and they're not overly hyped either," he explains. "You can work on them for long periods without fatigue, but you still have to put in the work to get a great mix. That's exactly what you want, especially when you're teaching students how to make informed decisions."
Students often discover new detail in familiar tracks when hearing them on the university's KRK systems. "It's a real eye-opener," adds Gordon. "They start to hear what's actually in a mix, good or bad, and that helps them understand how to improve their own work. It gives them a foundation to make intentional choices, rather than guessing."
Service has also reinforced Gordon's loyalty. "In the rare case that we've had an issue, KRK has been there," says Gordon. "That kind of support matters, especially in professional and educational environments where downtime isn't an option."
With KRK poised to debut the next iteration of its V-Series later this year, Gordon expects further refinement. "Every time I've heard a new version, it's been a step forward," he says. "At this point, KRK just feels like home because I know what I'm getting."
From platinum releases to classroom instruction, Gordon's enduring use of KRK highlights the accuracy, consistency and innovation that define the V-Series — qualities he expects to continue as the line enters its next chapter.
www.krkmusic.com/
Alongside his work as Chief Engineer for Whitesnake's 'Hook City Studio' and long-time collaboration with David Coverdale, Gordon manages Imirage SoundLab, regarded as Nevada's longest-running commercial recording facility. His credits range from Ozzy Osbourne, Dr. Dre, Boyz II Men, The Beach Boys, Willie Nelson and Merle Haggard to Collective Soul, Creedence, Bruce Dickinson and Milli Vanilli's comeback album. He previously served as Chief Engineer at Granny's House Recording Studios.
Gordon first encountered KRK in the era of its passive loudspeakers and moved to the V-Series in the early 2000s. Today, he works with multiple generations of V-Series monitors, complemented by KRK subwoofers, to power both stereo and custom 5.1 surround configurations at Imirage SoundLab.
"I've been a KRK user for almost 30 years," says Gordon. "The first time I heard the 9000b's on Collective Soul at Granny's House, I immediately connected with what they were doing. Over the years, every new generation of the V-Series has improved, but the core thing has remained the same. I trust what I hear. That translatability is everything. Even across different spaces, I know what I'm hearing. That consistency is critical, especially when you're moving between studios or working on projects that demand accuracy across multiple formats."
That dependability has carried through to his Whitesnake projects, where V-Series monitors have been central to mixing commercially released material. "We've mixed multiple Whitesnake box sets on V-Series monitors," he says. "These are major releases, and the results speak for themselves."
Beyond the control room, Gordon teaches recording arts at the University of Nevada, Reno. He helped plan and equip a state-of-the-art music facility that opened in 2019, specifying KRK V-Series models — including V8 and V6 — across primary studios and recital spaces to ensure students work on tools they will encounter in professional environments.
"The decision to bring KRK into the university was an easy one," says Gordon. "I've relied on them professionally for decades, and I wanted students to learn on monitors they're likely to encounter in real-world studios. They offer a level of accuracy and reliability that's essential for developing critical listening skills."
Gordon adds that KRK's mix of precision and musicality suits long sessions and educational use alike. "They're not painfully clinical, and they're not overly hyped either," he explains. "You can work on them for long periods without fatigue, but you still have to put in the work to get a great mix. That's exactly what you want, especially when you're teaching students how to make informed decisions."
Students often discover new detail in familiar tracks when hearing them on the university's KRK systems. "It's a real eye-opener," adds Gordon. "They start to hear what's actually in a mix, good or bad, and that helps them understand how to improve their own work. It gives them a foundation to make intentional choices, rather than guessing."
Service has also reinforced Gordon's loyalty. "In the rare case that we've had an issue, KRK has been there," says Gordon. "That kind of support matters, especially in professional and educational environments where downtime isn't an option."
With KRK poised to debut the next iteration of its V-Series later this year, Gordon expects further refinement. "Every time I've heard a new version, it's been a step forward," he says. "At this point, KRK just feels like home because I know what I'm getting."
From platinum releases to classroom instruction, Gordon's enduring use of KRK highlights the accuracy, consistency and innovation that define the V-Series — qualities he expects to continue as the line enters its next chapter.
www.krkmusic.com/
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