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So how did Sonic Farm gear work for you?
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  • Kevin Dietz

    I’ve been using the Sonic Farm Creamer+ for over a year now. The preamps are second to none! I work mostly in Neve-equipped studios, but I prefer the C+ as my preamps for any stereo source (drum overheads, acoustic guitar, double-micing guitar cabinets, grand piano…) It’s a fantastic piece of gear with a lot of tonal options. The sonic quality of the Creamer+ is apparent the minute you hear audio through it.

    The Creamer+ is a permanent part of my mixing rig as well (Pro Tools > Dangerous summing box > SSL X-Rack bus comp > Creamer+). It equally excels on the mix bus, especially in the case of ITB/Hybrid mixing. It imparts an rich hifi sound, again with all the unit’s great tonal options. It’s a must have in my signal chain.

    I’ve also had the opportunity to use Sonic Farm’s DI (almost exclusively on bass) – bass players hear an immediate difference! I’m fortunate to get to work with a lot of amazing session musicians, and more often than not they say, “…that red DI you used sounds amazing!”

    Last point – hand built in Canada by two extremely knowledgable, experienced, and awesome guys, Boris and Zoran!

  • mike plotnikoff

    Not only is the Creamer+ a great mic pre amp… It is my go to across the mix bus. I love taking my pro tools mix bus out and running it through the Creamer+

    The natural compression it gives the mix is amazing. I love the way it glues everything together. It also gives me the option of going between solid state and tube. If i want my mix to be tighter, i’ll switch the Creamer+ to solid state if I’m looking for a warmer rounder mix I’ll switch to tube. Thanks Boris!!!

  • Simon

    have been using my creamliner for 2 months now, I don’t have as much
    work as you do but I tried it on different projetcs (mostly mastering)
    and I haven’t bypass it since then.

    My version is a Creamliner V2 so the PT/TR choice, the OT/SS and bypass
    are stereo. I also have stepped pot and a 6dB attenuation switch with
    compensate level to drive the tube in a different way.

    Actually I use this feature pretty much all the time, it’s kinda great to know if i should drive the tube more (or less)

    Like most of the people here, i use it mostly in pentode mode, but the few time I prefered the triode, it sounded awesome

    But Pentode is my favorite, it even saves the vocal on a jazz record (with Air 1).

    This is my first tube gear, before I used plugin simulation (like ozone
    multibande exciter) and I still use it sometimes because the creamliner
    makes the plug sound way better.

    The high shelf is used a lot and I don’t use the low shelf that much,
    maybe I should try tocalibrate it differently, like just half a dB or so
    to just get the feeling (400 and 600 seems a bit too high to me) but
    again the couple of time I used it, it sounded great.

  • Domagoj

    Hi there!!

    I have been using Creamer for a couple of years now and I am always excited and impressed with the sound that I get out of it.
    Quite versatile with a nice color coming out of it.
    Beautiful backing vocals with Neumann SM69 with a little compression. No need for additional EQ.

    Excellent for acoustic guitars. Beautiful and round sound without having to EQ or use heavy compression.
    If there is a possibility to have a Distressor in the chain, the sound is as good as it gets.
    When it comes to bass… Creamer is one of the best / if not the best pre to have for recording bass.
    Creamer always gives a nice sounding instrument and if you are looking for a pre, Creamer is the way to go.

    Keep up the good work guys!!

  • Claude Laforest

    Hey Everyone!
    I’m very excited to be receiving my new Berliner shortly. I’m a long time user of the Creamer Plus and Boris was kind enough to lend me the Berliner to try and let’s just say I love the results I was getting. In fact one producer who is returning to record in September specifically asked if I could have the Berliner. I’ve used the Berliner primarily for vocals with an Advanced Audio CM-47 and my vintage 1176 and the sounds have been spectacular.
    So I highly recommend this unit.
    Also want to tell you about my recent experience using the Silkworm. Again I was able to borrow a few units and put them to the test during an orchestra scoring session. They were used on the Decca tree and surrounds and sounded great! Another one of Sonic Farms products that’s going on my wish list! If you’re looking for high quality products and a very reasonable price you owe it to yourself to check out the Sonic Farm product line
    Maximus Sound

  • John Tennant

    I just posted a detailed review of the Beamer on the gearslutz forum:


    All good things from this incredibly versatile box.

  • Eugenius (Caveman) Chong

    I’ve been afraid of writing a review of the Sonic Farm products that Boris had let me try and the ones that I currently own for fear that I may rant for days so I will try to keep this short.

    When I first contacted Boris to buy a pair of Silkworms, he only had one more left. Sonic Farm products are always in high demand and do not stay in stock for very long. They are often sold literally within weeks or even days after production. It is not uncommon to have Sonic Farm units on backorder or having to reserve/pre-order them weeks in advance.

    They’re that good. =)

    Along with the Silkworm, Boris encouraged me to bring a 2DI4 back to the studio with me as well.

    Oh my lord, where do I even begin…the 2DI4 was pulling sub sonic frequencies out of my subs that I’ve never heard before in my years of using it. The 2DI4 was also adding a dimension so deep and lush that my monitors sounded like they were much larger than they looked.

    Testing between Triode and Pentode mode…a few things were clear (no pun intended). There is so much low end clarity, definition, and punch with no cloudiness. The lower mids commanded a density and heft that could move mountains. Remembering that this is a mono unit, the upper midrange somehow sounded “wider”(?) and more lush/creamy with no haziness.

    Convinced that all the ravings about this unit is true, I decided to go against convention and improperly re-amp kick drum and snare stems by sending line outs from my Symphony I/O into the unit…HOLY COW. The amount of force this DI adds to my kick and snare samples could almost dislodge my speaker cones from their cabinets.

    Needless to say, I sold my much more expensive competitor’s tube lunchbox that week.

    On to the Silkworms, we recorded acoustic guitar and vocals with an extremely soft singer/guitar player. This female artist pretty much performs at whisper-quiet levels. Two mics…spaced several feet away from the artist and both Silkworms gains were cranked to max.

    Feel free to quote me on this….ZERO noise floor. The only noise floor I was picking up was the room. I confirmed this by unplugging the mics and leaving the units cranked. There is absolutely no way anyone would ever need this amount of gain.

    The Silkworms captured everything. Every minute transient from the texture of her soft nails plucking the steel strings to the subtle noises coming from the back of her throat. The highs were articulate, clear, and warm. The mids bloomed and opened up in such a natural and organic way, it’s the audio equivalent of your ears finally popping clear after a long flight. The lows were tight and there were no signs of muddiness. Engaging the transformers narrowed the stereo image a tad but added so much heft and juicy thickness, much like an original Neve preamp would….minus the noise floor.

    Pulling tones from these units was so effortless that I almost felt like I was cheating. Switch between the 3 modes and then choose if you want a more open “faster” sound or add density juice by engaging the transformer switch.

    When i finally received my second Silkworm, I was running my mixes through the pair. I didn’t care if this was the “incorrect” way to use the Silkies…regardless of what situation I put these units in, the results were always consistent: wider, juicy mojo for days, tremendous analog muscle and tone, three dimensional sound that lifts the blanket off any speaker.

    My fingers are cramping from writing so much…I will have to write my Creamer+ review another day.

    Eugenius (Caveman) Chong

  • matt thiessen

    2di4 is simply awesome. Having separate line and mic outs is awesome. Low frequency fatness in either mode with complexity, midrange punch, hf presence is awesome. It’s awesome live or in the studio. Etc., etc., etc.


  • Alexander Sakhnov

    I bought Creamer plus a couple months ago and haven’t found a source it wouldn’t sound great on! Thank you for this amazing preamp Boris!

  • Dirk

    Well, I’ve gotten the chance to use the Creamer Plus in many different ways. It’s so great! I love it…….

    One of the main uses I wanted it for was as make-up gain for mixing after a passive summing box. I was comparing it to a vintage Collins 50s tube preamp rig that a friend of mine made. I loved the warmth of mixing through the Collins. Putting the mix through the Creamer Plus, and tweaking it a bit, I was able to get a very similar sound, better in many ways, with so many options to shape the sound in addition to just the great central quality. So, I can definitely use it very happily in this application and will probably mix everything through it.

    I have recorded all the vocals I’ve done recently through it and they sound great. I have many other choices of older tube pres and very neutral pres and highly regarded Neve-style pres……. but none of them sound as good to me for what I’m doing vocally, with a wide variety of mics.

    I’ve recorded stereo acoustic guitar tracks and loved them. It’s hard to describe how great the combination of the core sound with the different options is……. really versatile without ever losing the color that you’d want it for.

    The DI sounds great too. Bass through it was just huge and right on with very little tweaking. While in most modes I was using Pentode, for the DI I found myself using Triode and it suited more in that application to me.

    Anyway, I am very happy with it and have found myself hesitant to use much else when tracking mono or stereo sources since I got it….. and it’s been perfect to mix through as well.

  • ralf happe

    Frankfurt, Germany

    Ich nutze den CREAMLINER 2 jetzt seit
    etwa 4 Monaten und er ist in über 80% aller Masters in der Analogen

    Der Klang vom Creamliner ist nicht
    spektakulär, es sind viele feine Farben, die bei Bedarf dem Master –
    Griffigkeit , Körper, Wärme, oder auch eine gewisse Aggressivität
    zufügen können.

    Er ist nie vordergründig, er wird
    aktiviert, eingestellt und nicht mehr wahrgenommen, bis er… wieder
    abgeschaltet wird, genau dann fehlt dem Gesamtklang des Masters eine
    entscheidende Facette…alles wirkt flacher und konturloser.

    Am Anfang ist mir öfter folgendes
    passiert…….Analoge Kette eingeschaltet,…..ich bin irritiert,
    irgendetwas ist nicht so, wie am Tag vorher ………………….

    ….. Ach, klar, der CREAMLINER startet
    immer im Bypass Mode, einmal den Bypass Button gedrückt und alles
    ist wieder wie gewollt.

    Die klanglichen Unterschiede sind sehr
    subtil, nur deshalb eignet er sich ja auch zum Mastern, definitiv
    kein Zerrer .

    Auch das Nebengeräuschverhalten ist
    Top, alle Umschaltungen geschehen Geräuschfrei, die Umschaltung von
    Triode zu Pentode erzeugt einen kurzen , gewollten mute, kein knacken
    oder krachen.

    Triode, sehr ausgeglichen, Pentode
    leicht aggressiv, OT ( Ausgangsübertrager ) ich nutze den mit
    weniger Farbe, rundet oben und unten ganz leicht ab, SS Solid State,
    extrem klar und fest.

    Ich hatte mich für den weniger
    färbenden Übertrager entschieden ( NI / FE ) und bin damit völlig
    zufrieden, ich nutze ihn viel häufiger, als die Solid State

    Würde ich auch im Recording oder
    Mixing Bereich arbeiten, hätte ich den PURE STEEL Übertrager gleich
    mit geordert, der Austausch ist im Gerät mittels Stecker einfach
    selbst durchzuführen.

    Die Entwickler sind unglaublich
    kompetente, kreative und freundliche Leute, wegen Modifikationen
    einfach nachfragen, die Reduzierung des Regelhubs der Shelfs wurde
    ohne Zusatzkosten ausgeführt. Mit BORIS halte ich auch weiter

    Ich Liebe das kleine rote Teil !

  • Jason Cook

    I was able to test out the 2DI4 on a bass session last week and was thoroughly impressed. On one side was a great player and great guitar. Going in we had the DI going right into Pro Tools (didn’t even need a preamp) and a great amp/mic chain. The amp of course sounded incredible, but what blew me away about the DI was how complete a sound it was on its own. Obviously they were different sources, but the DI had just as much (if not more) character, warmth and dimension as the amp. Another thing I loved about the unit were the well thought out and useable options. The various EQ options were indispensable and felt very musical. The different outputs and amp out circuit open up a world of possibilities.

    I can honestly say that in my humble opinion the 2DI4 is the best sounding DI I’ve ever heard.

    Thanks for a great box Boris!

  • Jerry Streeter

    Used the Beamer at Bear Creek Studio in Seattle, thanks to Boris! The Berliner side sounded great with our U67 for vocals and cello. The Creamer side had tons of clean gain and great tone for our ribbon mics. Thanks!

  • Adam Fulton

    As a self professed gear-elitist, I am rarely more excited to try a new preamp that comes so well regarded by industry peers, media and professionals worldwide. On several sessions in the past I have used the Creamer and DI box with great success when doing a shoot out with many famous and formidable devices. I have always loved the clarity, focus and versatility of these devices. Recently I was excited to try (then buy) a few silkworm 500 series preamps. In the words of the great Keanu ‘whoa!’. They are clean, with enough personality to rival my Neve, API and Avedis MA5’s, with an unmatched variety of sounds. Boris is a first rate inventor, innovator and personality, and can forsee that bright red paint donning the racks of many, many more studios (including mine).

    Adam Fulton

  • Brodie Smith

    I’ve been using my Silkworm for 9 months now. It handles everything that I have thrown at it: Snare, Room Mic, Guitar Amps, Acoustic guitar. The DI plug in is great for Bass. But where it really excels is as vocal mic preamp, paired with my Advanced Audio CM12 tube mic. The VIBE eq toggle switch is fantastic for taming or emphasizing sibilance.
    I’ve got 12 different types of 500 series preamps. The Silkworm is the one that gets the most use. If you only had a budget for one preamp, this would be the one to get.

  • Andrew Conroy

    I’ve been using the Sonic Farm Creamer Dual Pentode Preamps for about a month now. My only complaint is that I didn’t purchase sooner!

    The warmth of these preamps cannot be overstated. The Creamer really does stay true to its name. Very rich and thick tones come through. I have been using the Creamer a lot for vocals, as well as acoustic guitar.

    I work primarily for independent film, and I generally let the client pick their favourite mix. I recently started running my mixes back through the Creamer to get that nice warm tube tone acting as a final glue on my mixes. So far, the Creamer mix has won over every client I’ve had. This shows that even to the untrained ear, the Creamer makes a difference in sound.

    Again, I cannot rave enough about these preamps. If you’re on the fence, just go for it. You won’t be disappointed.

  • rbailey

    I just had the pleasure of spending a weekend with the new Tantra Bass Preamp, and I must say that I’m pretty blown away. It is without a doubt the single most versatile bass pre I’ve ever used. The ability to custom tailor overdrive and then blend it into the original signal being processed by that wonder pentode tube DI signal is unique, and indispensable. The surgical, yet musical 5 band EQ gives enough control to dial in any instrument in any room in a live situation. The builtin compressor is very very useful, and even thought there is only one know for control, when you get it dialled in, it’s awesome. A very interesting addition is the second and fourth harmonic controls, as they allow you to custom sculpt a “loudness” effect without adding any extra woof, reminiscent of the MaxBass plugin from days of yore. I’m dying to try out the version with the optional 1000 watt power module. I’m thinking that will form the foundation of my dream bass rig. I already own several Sonic Farm units (Creamer Plus and Silkworms), and this will definitely be my next purchase, as soon as someone answers the Craigslist ad for my firstborn child…

  • Johnny Jones

    Just picked up 2 silkworm S500’s and these worked great for drum OH and they have tons of gain for an old 50’s GEC ribbon mic I use for vocal. They are crazy good. Thanks Boris for spending the time explaining all the possibilities.

  • Dave Sikula

    Thanks to Boris Drazic at Sonic farm, I just had the pleasure of experiencing a cross section of Sonic Farm’s preamps on a jazz session last weekend involving drums, bass, and piano. On drums, I had their Silk Road preamp on the bass drum and snare. This unit performed beautifully, delivering a tight, dense, true representation of each instrument with very little noticeable ‘colour’ but at the same time very musical in it’s transient response, and far from ‘antiseptic’ in aesthetic. Upon listening back, the sound is clear, devoid of any ‘veil’ or obscured detail in the midrange and low mid range of the instrument, and along with this clarity comes not so much a ‘colour’, but a smoothness, or silky quality that perhaps would account for the name. (I should mention that in all cases I had the preamps set on the ‘P’ setting, without any of the filter options engaged – this seemed to serve most sources the best as in most cases as I was looking for relatively transparent reproduction of sounds. In past experience, the ‘S’ setting has come in handy as well on certain sources that may be a little brittle or edgy). On bass drum and snare I found that the ‘OT’ (output transformer) option the most pleasing to my ear, adding just a touch of ‘weight’ to the sound. On rack and floor toms I used the 500 series Silk Worm preamp (essentially the same preamp as the Silk Road but minus some filter options and running off of a +/- 16 voltage rail inherent to the 500 series format as opposed to the custom internal +/- 24 volt psu on the Silk Road). Again, clear and representative of the drums with no overwhelming colour, yet a pleasing silky tone. On toms, I chose the ‘SS’ (solid state) output option as that seemed to produce the most lifelike, clear result. Drum overhead mics were two LDC mics in ORTF running into SF’s sublime Berliner preamp. Listening to these two mics solo’d provided a smooth, nuanced, convincing image of the kit with not only the cymbals coming through in all of their character but also snare and toms and even bass drum. Rather than utilizing the pad on the Berliner I ended up rolling way back on the output which produced a remarkably smooth, high fidelity representation of the kit yet with a almost a slight tape-like quality revealing the nuances of the cymbals but very musically rolling off some of the ‘edge’. To choose only one piece of Sonic Farm gear, one would hard pressed to decide which one product to purchase as each piece seems to excel in so many roles. After this and two other recent experiences with the Berliner on drum overheads, I can say that I most certainly have my sights on a Berliner to add to my personal collection of outboard preamps! I am now very curious to hear how it performs in ‘line mode’ on the mix buss. On the double bass, I had two mics – a tube condenser off of the bridge and another up high off of the fingerboard. I ran each of these into a 500 series Silk Worm preamp on ‘P’ setting, again resulting in a clear, natural, realistic and spectrally complete image of the bass that also dynamically sits in the mix effortlessly. In this case I once again selected the ‘OT’ option on each after auditioning both output options. I should mention – the “L – M – H” sensitivity switches on the Silk Road and Silk Worm units provide a quick solution to setting the gain on a specific source. Depending on the source, a quick flip through the three options reveals the most appropriate setting without much fuss, and eliminates the need to ‘pad’ the signal. Out of curiosity, and perhaps as a ‘safety measure’, I ran the bassist’s pickup into Sonic Farm’s “To DI For” DI box in pentode mode, and while I didn’t have any intention of using it in the mix, just a touch of it in the blend seems to add a little density to the sound. While I’ve never been a fan of the ‘double bass direct’, the result here is surprisingly musical and most notably less nasal than any other direct option I have ever tried or witnessed. On the piano, a stereo active ribbon mic was run into Sonic Farm’s flagship two-channel preamp in Pentode mode. Again, very even, sonically and dynamically true to the sound of the instrument and player with a flattering harmonic richness that helped bring out the finer points of a fine instrument that, if anything, was a little on the ‘dark’ side of the spectrum.

    I must thank Boris of Sonic Farm once again for this opportunity to sample this variety of products. I would definitely like to note that, having recorded many similar setups to this one using a variety of other high end console and outboard preamp options, the results here are markedly superior to my ear. On occasion Boris has opened up a piece of equipment for me to reveal the immaculate workmanship inherent to each product. I have marvelled at the lengths that Zoran Todorovic and Boris Drazic go to obtain military-grade components and hand build these units to such tidy and exacting standards. With a noise floor that is so low it seems second to none, and well thought out circuits and feature implementation in every product, the results, particularly when multiple units are used across a session, seem notably more phase-coherent and, for lack of better words, simply more ‘finished’ sounding – even in a completely un-mixed state. Musicians on these sessions have definitely remarked on the sound as well, stating that what they hear sounds “like them”. As far as I’m concerned, in this style of music as much or perhaps more than any, this is really the goal. In my experience, Sonic Farm’s equipment feels like a major step forward in getting the artist’s intention across to the listener, in the process enhancing the listening experience without ever getting in the way.