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  • http://flamencocoast.com Rod Malkin

    Fantastic Pre!!!!… I bought 4 channels of Creamer for recording primarily, acoustic Flamenco and Jazz following a test conducted at my studio….

    The major test was for flamenco guitar, my instrument. I tested the Creamer against my other 6 pres and a few more borrowed units … The test included BAE 1073, Millenia STT, Forssell, Gordon, Avalon 737, LA610, Portico 5032, Lafont, Aphex 1100. The signal chain was: Ramirez flamenco guitar, km184, pre, Apogee 16x converters, Logic, Genelecs 1032’s. The Creamer was astonishing and best!… an amazing combination of clarity, depth, quickness, agility with complex staccato, exquisitely detailed character, warmth, delicate or passionate expression, etc. etc. while staying big and present!!! Actually, when I first compared it with my previous favourite pre, I thought something was wrong with the equipment to make the previous favourite sound not quite right… The creamer sounded so natural and big, the way all pres should sound… And not coloured, I don’t know why you guys call it “Creamer” which implies a colouring ,rather than what the Creamer gives, just what the mind hears… Bravo!!

    Also, tried with bass, and never heard anything that musical and ‘right’ Wow… On voice, it was the same, but I’m not sure I would necessarily call it ‘best’ as all the pres give something different depending on what the singer/producer needs/wants… The Creamer is there, again, as described above, natural, big, detailed, warm beautiful … Wow!!

    Ole to Sonic Farm!!

    Rod Malkin

  • http://Pacificav.com Ken Burke

    Hello,

    If you are going to only use one pre-amp, this would be the one to own.

    It sounds simply fantastic. It is very versatile. You can have colour, or not depending on the settings. It also gets along well with my vintage microphones. I have used this now on string sections, drummers, guitar players (lots of headroom), vocals, and Hammond. It outperforms all of my classic and other boutique pre amps. I think the price point is actually very fair, condsidering the QUALITY parts and workmanship involved. Oh, I almost forgot, I have started to run mixes through this thing. That was revealing for me. I urge you to try it out.

    Great work guys and thanks for the personal service.

    Ken Burke
    Multi gold and platinum recording engineer.

  • http://maximussound.com Claude Laforest

    When I purchase a piece of outboard gear, or plug-in for that matter, I’m looking for
    an investment to have an impact, to make a difference in the recordings I do.

    So when I acquired the SONIC FARM Creamer Plus on trial I was looking for the impact that this mic pre would have on the recordings here at MAXIMUS SOUND. I am working with a client on a variety of acoustic rock songs as we compile a collection for an album to be released mid-June. His favorite mic pre (cause he owns it), and one of mine too is the UA 6176. We have used this and a variety of other mic-pres and other gear from my collection so we were happy to try the CREAMER PLUS.

    The first tracks recorded through the CREAMER PLUS was a Larivee acoustic. The signal chain was an ADVANCED AUDIO CM-12 to the CREAMER PLUS to my vintage 1176 to PT HD. In addition to the miked track we also had the opportunity to send the DI path through the SONIC FARM JE-DI . Let me just say that the DI track is exceptional and that piece of gear is going on my list of must have items for the studio.

    The track sounded clean, warm with a sonic clarity that was well balanced that impressed all of us at the session. We added another acoustic guitar track using my Martin ™ Koa which has a bit more bottom end. Using the AIR filters and the HPF created and exceptional sound that worked very well with the Larivee tracks.

    We then moved onto recording mandolin. Two different sounds were recorded, one was a lazy strum to accompany the acoustic guitars and a second track of a picking sound. In both situations tracks were wonderfully rounded, warm and sat very well in the mix without extensive manipulation. The signal path was the same as the acoustic guitars with the exception of the picking mandolin which a Advanced Audio CM 414 was used instead of the CM-12.

    Onto Bass guitar, a Hofner Beatle Bass. The DI on the CREAMER PLUS was put to use for this track . The FAT EQ switch was engaged and provided all the necessary warmth and clarity we needed to support the tracks. Again with little need to alter the sound provided by the SONIC FARM CREAMER PLUS we were able to achieve the desired sound for the song.

    We then moved on to the final “test” for the CREAMER PLUS. VOCALS, again using the AA CM-12. The initial test was done by recording the first verse of the song just to see if we’d be happy with the sound or need to move to another mic pre on the next session.
    WOW, seems totally inadequate to describe the result. Again the track just sat perfectly in the mix and confirmed that we wouldn’t need to change a thing for the upcoming vocal sessions.

    Essentially the whole song was produced using the CREAMER PLUS . I wouldn’t be surprised if there’s a bit of CREAMER added to everything on this album. Boris and Zoran have a real winner on their hands and I recommend their products to anyone who is serious about creating rich flavorful music. BTW The CREAMER Plus has been added to the Maximus Sound collection.
    THANK YOU SONIC FARM!

    Claude Laforest, Owner of MAXIMUS SOUND

  • Tarek Eineweihi

    The Creamer Plus is simply an amazing sounding pre. I was impressed with the sound from the get-go. What I quickly discovered though is that the sound I first heard was just one of many possible sounds that this unit is capable of. The unit is in fact not just one pair of pres, but is actually more like having at least 4 different sounding pairs of pres in one box…possibly more. Each channel gives you the option of switching between solid state transformer-less output and going through the output transformer (in my case I ordered a unit with iron transformers). Additionally, being a tube amp, one has the option of switching between triode and pentode mode. The differences in tone were not subtle. It was literally as though each setting gave me a completely different sounding pre.
    The impedance switch allows one to switch between low, medium and high impedances. It also has an “air” switch with two options for adding that sweet top end to your sound, as well as a “fat” switch which again has two different options for adding low frequency and girth. Again, every time I switched between any of these options, I got a very different sound. Not subtle at all.

    I was looking for a pre that would rival my BAE 1073MP in tone as well as offer other tonal options. This is exactly what I got with the Creamer Plus. I tested it against the BAE and against my APIs. While each has it’s own character, I found that I could come quite close to the sound of the other two pres by adjusting settings on the Creamer Plus. In fact, shortly after doing those tests I put my BAE up for sale. Not that the BAE is in any way a lacking pre, in fact I’d say just the opposite, but I simply didn’t need it any more since the Creamer plus was able to come close enough to the tonal characteristics I learned to love in the BAE. And, in some applications where I would normally be looking for that “Neve-like” sound, I felt that the Creamer actually out-shined the BAE.

    Because of the myriad of different tones available with the Creamer, it is hard to give an overall description of its sound. However, I can say that consistently, no matter what setting I use, the Creamer sounds very “big” and “open” in comparison to other classic pres, and it has a very balanced frequency spectrum (which of course can be adjusted with the different settings). In “transformer mode” I am able to get the “vintage pre” tone that I love in so many of the classic pres, and when I switch to solid state mode I am able to achieve the transparency that I sometimes desire, particularly when recording acoustic instruments.

    The Creamer shines on vocals and acoustic guitars for sure. In fact, it is now my go to pre for those applications. Another great thing about it is that it is set up nicely to run software-generated tracks through it to add some warmth and size, and running mixes through it also produces great results. I am not usually in the practice of running mixes through pres, but the results I got from the Creamer may just end up steering me in that direction.

    Because I primarily track overdubs and mix, the Creamer is a perfect tool for me. With the purchase of one unit I was able to get the equivalent of 4 pairs of different sounding pres, and save my money and rack-space for other things such as outboard compressors and EQs.

    Lastly, I have to mention that the support that I have received from Zoran and Boris, the creators of the Creamer Plus, has been absolutely amazing. Both guys are great to deal with, and happy to take the time to explain the concepts behind the design of this pre, as well as suggest settings and different applications for the unit.

    In sum, I am very excited about my new purchase. I thought I’d share my excitement with others because for those of you out there who have similar studio setups, I think that you’ll find that the Creamer Plus will definitely be an asset, and may actually save you money in the long run.

    Tarek Eineweihi, Crippled Sound, Vancouver

  • http://www.liquidtensionmusic.com/ Liquid Tension Music

    Our U87 never sounded so good on vocals until we put it through the Creamer Plus (C+). We are so impressed by its big and open sound, extremely large headroom and the versatility in tone adjustments. C+ does exactly a truly great pre should do – capturing the sound as your ears hear it. Running mixes or stems through the line input to add warmth also produces excellent result. We are also grateful for the support and instruction given by Zoran and Boris during the test session. They love what they do and stand behind their belief. As excellent musicians and engineers themselves, they know what sounds great and how to deliver the result with their product.

    Junshuo Hou and Jiefu Wang

    Liquid Tension Music

  • Tarek Eineweihi

    The Creamer Plus is simply an amazing sounding pre. I was impressed with the sound from the get-go. What I quickly discovered though is that the sound I first heard was just one of many possible sounds that this unit is capable of. The unit is in fact not just one pair of pres, but is actually more like having at least 4 different sounding pairs of pres in one box…possibly more. 

    Each channel gives you the option of switching between solid state transformer-less output and going through the output transformer (in my case I ordered a unit with iron transformers). Additionally, being a tube amp, one has the option of switching between triode and pentode mode. The differences in tone were not subtle. It was literally as though each setting gave me a completely different sounding pre.

    The impedance switch allows one to switch between low, medium and high impedances. It also has an “air” switch with two options for adding that sweet top end to your sound, as well as a “fat” switch which again has two different options for adding low frequency and girth. Again, every time I switched between any of these options, I got a very different sound. Not subtle at all.

    I was looking for a pre that would rival my BAE 1073MP in tone as well as offer other tonal options. This is exactly what I got with the Creamer Plus. I tested it against the BAE and against my APIs. While each has it’s own character, I found that I could come quite close to the sound of the other two pres by adjusting settings on the Creamer Plus. In fact, shortly after doing those tests I put my BAE up for sale. Not that the BAE is in any way a lacking pre, in fact I’d say just the opposite, but I simply didn’t need it any more since the Creamer plus was able to come close enough to the tonal characteristics I learned to love in the BAE. And, in some applications where I would normally be looking for that “Neve-like” sound, I felt that the Creamer actually out-shined the BAE.

    Because of the myriad of different tones available with the Creamer, it is hard to give an overall description of its sound. However, I can say that consistently, no matter what setting I use, the Creamer sounds very “big” and “open” in comparison to other classic pres, and it has a very balanced frequency spectrum (which of course can be adjusted with the different settings). In “transformer mode” I am able to get the “vintage pre” tone that I love in so many of the classic pres, and when I switch to solid state mode I am able to achieve the transparency that I sometimes desire, particularly when recording acoustic instruments.

    The Creamer shines on vocals and acoustic guitars for sure. In fact, it is now my go to pre for those applications. Another great thing about it is that it is set up nicely to run software-generated tracks through it to add some warmth and size, and running mixes through it also produces great results. I am not usually in the practice of running mixes through pres, but the results I got from the Creamer may just end up steering me in that direction.

    Because I primarily track overdubs and mix, the Creamer is a perfect tool for me. With the purchase of one unit I was able to get the equivalent of 4 pairs of different sounding pres, and save my money and rack-space for other things such as outboard compressors and EQs.

    Lastly, I have to mention that the support that I have received from Zoran and Boris, the creators of the Creamer Plus, has been absolutely amazing. Both guys are great to deal with, and happy to take the time to explain the concepts behind the design of this pre, as well as suggest settings and different applications for the unit.

    In sum, I am very excited about my new purchase. I thought I’d share my excitement with others because for those of you out there who have similar studio setups, I think that you’ll find that the Creamer Plus will definitely be an asset, and may actually save you money in the long run.

  • Ben Huntus

    Here is my review on the Creamer Plus:

    I only used four mics and never gotten bigger drum sound. I use the Glyn Johns OVH set up with M-160s, a 57 on the snare, and fet47 on the kick and That’s all I needed, will ever need.
    Please hear for yourself:
    http://youtu.be/t-PTa5fuMB0

    Ben Huntus

  • Bubba

    Your equipment sux