Guess what preamps the famed producer Jack Douglas relies on the most?!
(The Creamer discussion starts at about 2:45. Fast forward to that if you are in a hurry)
We build gear for the demanding audio professionals…
Because that was the cutting edge technology back then, more than 50 years ago. Do you really believe that we haven’t learned anything new in 50 years? And that no new analog components have become available to apply towards a better sound?
We know. Everybody uses XYZ and ABC vintage units or their clones and they sound good. And manufacturers ride this hype and give it to them. Plus, it doesn’t really require much design effort or experimentation: just outsourcing the necessary parts. But we believe we can do better! We don’t stop our design experiments until we’re blown away! And we are not new on the pro audio scene. Read more…
Vintage gear is very expensive and hard to maintain. We only use premium quality, current production components. You don’t need to scour the Ebay to find replacement tubes for our units.
Vintage units are very inconsistent in sound quality, making it necessary to select the good ones and that’s not always possible. Our gear has consistently great sound quality.
Old gear is also very basic when it comes to the functions they offer: Preamps often come with no instrument inputs, and not to mention line inputs they never provide. Also, there’s little one can do to alter their basic sound. The power supply regulation was often insufficient, causing hum and buzz, and requiring costly custom upgrades.
We changed all that.
But the proof is in the pudding. Just test one of our units and you’ll get the point! It could make the difference between a thank-you-note and a Grammy!
The Sonic Farm Difference…
Many established pro-audio manufactures rest on old laurels. Their reputation often allows them to slack on component quality, because the demand is driven by the consumer trust. But if one removes the lid, it is not surprising to find cheap Chinese audio transformers to cut back on production cost…unless they offer a special, “Anniversary edition series”.
We can’t afford such double standards, because our users are not “average Joe” studio engineers and the word would quickly spread around. Another reason we use the highest grade components.
The Pro-Audio community is not immune to many myths a lot of manufacturers use to their advantage. Just check out some of the most common ones:
“All valve design free from solid state additives”
(really? what do solid state components add?? In truth, they have a neutral sound when used properly. We often combine them with tubes when the design benefits from it.)
“My vintage preamp has way bigger transformers!“
(we suggest you move beyond “size matters” reasoning)
“We even outsourced the original color of the wire insulation as used on the original 60’s model“
(please start using your ears to validate audio gear)
“My vintage preamp has 5 tubes per channel!“
(with the old technology, one often needed more tubes to achieve what can be done more elegantly today. By themselves, tubes don’t necessarily add “warmth”. They are less linear than solid state components, and that often yields pleasant harmonics. But one technically needs only one tube for that. The “warmth” comes from other passive components, like transformers and inductors, plus the circuit design used around them.)
The units that we offer make us the premier destination for music professionals who just do not have money to waste on cheap gear. We cater to engineers, producers, mixers and recording artists with golden ears, who want the very best without breaking the bank.
Mucho Mojo for your Moolah!
Our professional audio equipment product range includes several tube and solid state mic/instrument and line preamps. Soon, there will be new products in instrument amplification and signal processing categories.
Our gear is designed to excel in all possible recording situations. For producers, mastering engineers and musicians who can afford only one preamp in the studio, our gear is the ideal solution, yielding a superior performance in all applications.
The recent 2016 TEC Award and PAR magazine 2012 excellence nomination, as well as a variety of other great magazine reviews, speaks volumes about the exceptional products and their best value for the music industry. Plus, all prices are in CA$, making our stuff very attractive for US customers.
Please put our gear to a demanding test in your studio and get ready to be amazed!
Berliner Sound On Sound Magazine May 2016 review. Read it here or pick up the 5/16 SOS issue!
The July 2015 Bass Musician Magazine 2DI4 review! Please read it here or click on the image above.
The Silkworm September 2014 Recording magazine review! Please read it here or click on the image above.
The Silkworm January 2014 PAR magazine review. Please read it here or click on the image above for the online edition.
2DI4 review just out in July 2013 issue of Recording Magazine! Read it here!
The Creamer Plus PAR magazine review is out! Please read it here or click on the image above for the online edition. Page 30.
Silk Road Sound On Sound Magazine July 2016 review. Read it here or pick up the 7/16 SOS issue!
Silkworm March 2016 Mix Magazine review. To read it, click on the image above or go to this Mix Magazine link.
Silkworm Sound On Sound Magazine October 2014 review. Read it here or pick up the 10/14 SOS issue!
2DI4 Bass Gear Magazine April 2014 review. Read it here or click on the image above for the BG’s digital edition!
Creamer Resolution 10/2013 review! Read it here.
Creamliner PAR review just out! (June 2013 issue) Read it here or click on the image above to read it in PAR’s digital edition!
Creamliner II September 2016 AMI review! Please click on the image above or go to this Audio Media International link to read the review.
Berliner Mix Magazine August 2015 review! Please click on the image above or go to this Mix Magazine link to read the review.
2DI4 Bass Player Magazine March 2015 review! Please click on the image above to read the review.