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So how did Sonic Farm gear work for you?
If you are a Sonic Farm user, please leave feedback on this page.
Even better, send us some audio files recorded through our gear!

  • 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!