
Of the thousands of records I've Produced, Mixed and Mastered, the one EVERYONE has surely heard is the hit single from Quentin Tarantino's PULP FICTION..."Girl, You'll Be A Woman Soon". i am KRAMER, founder of SHIMMY-DISC, producer of DANIEL JOHNSTON, LOW, GALAXIE 500, WILL OLDHAM... I work with indie artists making challenging music.
The MASTERING process BEGINS in the technical realm with all the bells & whistles & meters & graphs & analyzers you've surely heard about, both analog and digital. It has a thousand points of light, and all must be given full attention and due diligence.
The MASTERING process ENDS in one place and one place only; the Heart & Soul of the Listener.
MUSIC isn't something you can touch. Like all other Arts, it's an EXPERIENCE. Only an Artist can hear what elements are hidden (or perhaps even MISSING), and manipulate your mix to more accurately reflect YOUR original intentions.
A technician can make technical alterations to your work, but just as a Record Producer is an Artist who can help you articulate your ideas in the recording studio, a Mastering Engineer should be an Artist who can help you fill in the final colors that make your vision and hard work in the studio COMPLETE.
You're an Artist. When searching for the best choice in Mastering, why focus solely on the technology?
Music is an ART. So is MASTERING.
Sometimes it's my job to conduct major surgery to make your mix is a cohesive whole. But sometimes, my job is to just make it sound BETTER. I know when to dig deep, and I know when to just work subtle changes. If you're already 99% there, I'll gently nudge your music up to 100%. If you have major issues, we'll work together to make things right.
Contact me through the green button above and let's get to work.
Credits
- Butthole Surfers
- Gwar
- King Missile
- BONGWATER
- PENN & TELLER
- ALICE DONUT
- ROYAL TRUX
- HALF JAPANESE
- EMILY RODGERS
- DANIELSON FAMILIE
- ALLEN GINSBERG
- THE FUGS
- R. STEVIE MOORE
- The Jon Spencer Blues Explosion
- Kishi Bashi
- Urge Overkill
- GREGORY CORSO
- MAUREEN TUCKER
- White Zombie
- Jello Biafra
- Luna
- DEAN & BRITTA
- Galaxie 500
- Jad Fair
- LUMBEROB
- PAUL LEARY
- JD PINKUS
- GATES OF LIGHT
- Will Oldham
- Ween
- Low
- Daniel Johnston
- Galaxie 500
- Kramer
- Kramer
- Aerosmith
- Scott Hamilton
- Aldo Zunino
- Alfred Kramer
- Paolo Birro
- Uncivilized
- R. Stevie Moore
- Joey Agresta
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Jad Fair & Kramer
- Emily Rodgers
- Emily Rodgers
- Emily Rodgers
- Emily Rodgers
- Emily Rodgers
- Emily Rodgers
- Gemma Ray
- Colleen Green
- Head Boggle
- Tom Csatari
- Half Japanese
- Half Japanese
- Half Japanese
- Half Japanese
- Half Japanese
- Jacuzzi Boys
- Terry Malts
- Colleen Green
- Kramer
- NOFX
- Napalm Death
- Breathless
- Permanent Collection
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Hasidic New Wave
- Hasidic New Wave
- Hasidic New Wave
- Hasidic New Wave
- Hug
- Jerry Allen and His Trio
- Jo Stafford
- Why Write?
- Why Write?
- Ella Fitzgerald
- Dot Allison
- Dot Allison
- Dot Allison
- The Mabuses
- The Mabuses
- Little Aida
- Little Aida
- Kramer
- Kramer
- Kramer
- Kramer
- June Panic
- Rope, Inc.
- Rope, Inc.
- Rope, Inc.
- Jeffrey Lewis
- Jack Lewis
- Licorice Roots
- Licorice Roots
- Jack Medicine
- Daniel Johnston
- Jack Medicine
- Daniel Johnston
- Jack Medicine
- Daniel Johnston
- Jack Medicine
- Daniel Johnston
- John McCormack
- Wayne Kramer
- The Hyperjinx Tricycle
- The Hyperjinx Tricycle
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- R. Stevie Moore
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- John Zorn
- Wayne Kramer
- The Chordettes
- French Affair
- Luna
- Kramer
- Daved Hild
- Adult Rodeo
- Ladytron
- Blue Whale
- Blue Whale
- Blue Whale
- Milksop Holly
- Milksop Holly
- Milksop Holly
- Milksop Holly
- Milksop Holly
- Milksop Holly
- Milksop Holly
- Milksop Holly
- Milksop Holly
- Lenny Bruce
- Lenny Bruce
- Hasidic New Wave
- Milksop Holly
- Milkysop Holly
- Rotator Cuff
- Rotator Cuff
- Brainville
- Brainville
- Brainville
- Brainville
- Brainville
- Brainville
- Brainville
- Brainville
- Danielson Famile
- Danielson
- Danielson Famile
- Danielson
- Danielson Famile
- Danielson
- Danielson Famile
- Danielson
- Danielson Famile
- Danielson
- John McCormack
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Blue Whale
- Fred Lane
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Captain Howdy
- Captain Howdy
- Captain Howdy
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Glen or Glenda
- Tadpoles
- Tadpoles
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Drazy Hoops
- Drazy Hoops
- Drazy Hoops
- Drazy Hoops
- Drazy Hoops
- Danielson Famile
- Danielson Famile
- Wayne Kramer
- Tadpoles
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Kramer
- Hugh Hopper
- Brian Hopper
- Devils Wielding Scimitars
- Tadpoles
- Tadpoles
- Tadpoles
- Licorice Roots
- Randolph's Grin
- Randolph's Grin
- Honeymoon Killers
- Royal Trux
- Danielson Famile
- Danielson
- Danielson Famile
- Danielson
- Danielson Famile
- Danielson
- Croatan
- John McCormack
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Daevid Allen
- Daevid Allen
- I, Sharko
- X-Perience
- X-Perience
- Bing Crosby
- Mark Kramer
- Mark Kramer
- Captain Howdy
- Lotion
- Semibeings
- Semibeings
- Low
- E-Trance
- Half Japanese
- Half Japanese
- Half Japanese
- Half Japanese
- Half Japanese
- The Chordettes
- Low
- Low
- Low
- Semibeings
- Blueberrie Spy
- Blueberry Spy
- Blueberrie Spy
- Blueberry Spy
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Wayne Kramer
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Kramer
- Hugh Hopper
- Ovarian Trolley
- Bowery Electric
- Bulkhead
- Bulkhead
- Tin Ear
- Tin Ear
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Low
- Trains & Boats & Planes
- Jehova's Waitresses
- The Differents
- Three Car Garage
- Three Car Garage
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Kramer
- Fly Ashtray
- Sherman
- Sherman
- Velvet Cactus Society
- Velvet Cactus Society
- Velvet Cactus Society
- Daniel Johnston
- Daniel Johnston
- Daniel Johnston
- Daniel Johnston
- Daniel Johnston
- Morning Glories
- The Tinklers
- The Tinklers
- False Front
- Egomaniacs
- Egomaniacs
- Egomaniacs
- Egomaniacs
- Egomaniacs
- Deep Jimi & the Zep Creams
- Deep Jimi & the Zep Creams
- Perverted by Desire
- Perverted by Desire
- Perverted by Desire
- Perverted by Desire
- Raymond Listen
- Raymond Listen
- The Mabuses
- The Mabuses
- Alice Donut
- Dogbowl
- Dogbowl
- Roger Manning
- Barnyard Slut
- Barnyard Slut
- Lida Husik
- Lida Husik
- Dogbowl
- Dogbowl
- Grenadine
- King Missile
- King Missile
- Lotion
- John McCormack
- Luna
- Luna
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Damon & Naomi
- Bongwater
- Bongwater
- Bongwater
- Urge Overkill
- Urge Overkill
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Kramer
- Kramer
- Kramer
- Kramer
- The Jon Spencer Blues Explosion
- The Jon Spencer Blues Explosion
- Alice Donut
- Daevid Allen
- Daevid Allen
- Daevid Allen
- Daevid Allen
- Daevid Allen
- Daevid Allen
- Daevid Allen
- Daevid Allen
- Lida Husik
- Lida Husik
- Lida Husik
- Lida Husik
- Rein Sanction
- Rein Sanction
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Donovan
- Paleface
- Jellyfish Kiss
- Jellyfish Kiss
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Bongwater
- Daniel Johnston
- Daniel Johnston
- Daniel Johnston
- Daniel Johnston
- Daniel Johnston
- The Tinklers
- The Tinklers
- The Tinklers
- False Prophets
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- The Chordettes
- King Missile
- King Missile
- King Missile
- King Missile
- Jad Fair & Kramer
- Jad Fair & Kramer
- Jad Fair & Kramer
- Jad Fair & Kramer
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Shockabilly
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Galaxie 500
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Dogbowl
- Bongwater
- Bongwater
- Bongwater
- B.A.L.L.
- B.A.L.L.
- Sonic Youth
- Bongwater
- Bongwater
- Bongwater
- GWAR
- Bongos, Bass & Bob
- Bongos, Bass & Bob
- Bongos, Bass & Bob
- Bongos, Bass & Bob
- Bongos, Bass & Bob
- Bongos, Bass & Bob
- Bongos, Bass & Bob
- Bongos, Bass & Bob
- Bongos, Bass & Bob
- Of Cabbages & Kings
- Jad Fair & Kramer
- Galaxie 500
- Galaxie 500
- Bongwater
- G.G. Allin
- G.G. Allin
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Shockabilly
- Fred Frith
- Shockabilly
- Shockabilly
- Fred Frith
- Kramer
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Kramer
- Daevid Allen
- Daily Grind
- Permahorn
- Permahorn
- Permahorn
- Permahorn
- Red Mouth
- Laconic Zero
- Red Mouth
- Joe Gideon
384 Reviews - 67 Repeat Clients
Endorse MASTERED BY KRAMER- check_circleVerified
Extremely helpful and made my job a learning experience.
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Sounds amazing, crazy fast turn around, and great communication! Would highly recommend.
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Kramer was quick to respond to our need for 14 songs to be mastered. I thought my mixes were ready- they weren't . Kramer was helpful and patient and must of thought we were flakes when we didn't deliver the songs when promised. He stuck with us and provided great masters. We're grateful to him and hope he masters our next record for sure.
- check_circleVerified
Kramer did an excellent job with my masters. A high quality result, at a fair price, delivered in great time!
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Kramer rocks - mastered my track in a way that preserved its vibe while heating it up in all the right ways. Very happy with the end result!!
- check_circleVerified
Kramer did a great job of mastering my track. Understood exactly what I was looking for and served the song well. A great experience all around!
- check_circleVerified
Super speedy, top notch mastering. Kramer was friendly and of course brings decades of experience working with indie artists. Highly recommend.
- check_circleVerified
great to work with, great result
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Clean, Punchy and Wide. Pretty sure thats what you want when you want a master
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Kramer is excellent to work with. The results are killer and he has a collaborative attitude. Would recommend 10/10
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I wish more people were as enthusiastic and efficient as KRAMER!!
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It's always a pleasure to work with Kramer. He provides a professional service and top quality product.
- check_circleVerified
Kramer delivered a dynamite (and dynamic) Master, keeping the vibe of the original mix and adding his own alchemical touch. His Master sounds organic and analog yet still has a modern sheen and shimmer. Great stuff!
- check_circleVerified
Kramer was Ideal to work with yet again. He is my go to guy
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Why only five stars? This guy deserves 10!
Kramer delivered exactly what I wanted and more, on the first go, no revisions needed.
I gave a few instructions and he understood them perfectly.
I will definitely go back for more masters and will recommend his services to everyone I know.
Thanks a lot! - check_circleVerified
Excellent, dynamic master, which is exactly what I asked for. Quick communication too!
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Kramer has done an outstanding work on our first LP. His work revealed many subtleties from a mix we were already happy with, and made it even clearer and more distinct.
Kramer has also been extremely responsive, attentive and understanding to our expectations.
Overall, it has been the best mastering experience we had in 17 years of music!
- check_circleVerified
Very quick and communicative. Has a people-first approach advising me on the mix I had and produced a fantastic master. I will work with again!
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It's a pleasure to work with Kramer. He provides a high quality of work with a professional manner, in a very short time frame.
- check_circleVerified
KRAMER is the best! Easy process, fast turnaround, and perfect sound on the first try. Made our songs sound HUGE. Will definitely use again, and absolutely recommend.
Interview with MASTERED BY KRAMER
Q: Tell us about a project you worked on you are especially proud of and why. What was your role?
A: I'm equally proud of everything i've done that has made the artist 100% happy. It'd be impossible to single out just one.
Q: What are you working on at the moment?
A: I'm working on a film version of my debut solo release; a triple-LP...THE GUILT TRIP. you can see the last chapter on Vimeo: https://vimeo.com/136735299
Q: If you were on a desert island and could take just 5 pieces of gear, what would they be?
A: The original Universal Audio "610" tube mixing console designed by Bill Putnam (think BEACH BOYS "PET SOUNDS"), and 4 Universal Audio LA2's. 1 + 4 = 5.
Q: Is there anyone on SoundBetter you know and would recommend to your clients?
A: If you want to make great recordings, you need great mics. for that, you go to Michael Joly. JOLY ENGINEERING has been the single most significant factor in increasing the quality of my recordings as a producer. For hundreds of dollars, he give you mics worth thousands. No one else comes close, and the cost is shockingly affordable.
Q: Analog or digital and why?
A: This can be a real bait-and-switch issue. Obviously, mastering is finalized in the digital realm. But just as obviously, analog recordings SOUND best, so, in my opinion (and keep in mind that ALL of this is nothing more than "OPINIONS"), analog recordings make the best sounding masters. And any mastering engineer who tells you that one is better than the other is like a fortune teller saying what they think you want to hear. The only PURE ANALOG mastering is when you bring a TAPE to a vinyl cutting lab and your music goes straight from tape to lacquer. Otherwise your music is mastered in & out of the digital realm, and don't believe for a second that the results are dictated by the quality (or COST) of the gear employed in the process. trust me when i tell you that the results you get are just as dependent on the EARS behind the process, and usually more so.
Q: What's your 'promise' to your clients?
A: You'll get what you want. And if you don't really know for certain what that is, I'll help you to find it.
Q: What do you like most about your job?
A: The collaborative similarities between producing, and mastering. When I get on a plane and fly to Corsica to produce an LP at a music museum on top of a mountain (as i did in 2012 with a band called HIFIKLUB), i work side by side with the musicians for days on end, from noon til midnight. Despite the language barrier, I get to know each musician's desires intimately. In mastering, sometimes, even though i never get to meet the artist whose music i'm working on, I can get the same feeling. COLLABORATION, in its numerous forms, is what i like most about my job. in fact, i LOVE it. It's the only reason i'm still doing this.
Q: What questions do customers most commonly ask you? What's your answer?
A: I'm most commonly asked about the difference between CD mastering and VINYL mastering. The answer is simple, but the results can be complex. My feeling is that if your CD sounds completely different from your vinyl, somebody fucked up.
Q: What's the biggest misconception about what you do?
A: Astonishingly, some people actually think that mastering is mixing. I've actually been asked to remove things from the mix, or raise the snare drum +8db, or "kill all the backing vocals". Strange, but true.
Q: What questions do you ask prospective clients?
A: "Do you think it's OK to kiss on the first date, providing that both persons are reasonably mature and..." -Woody Allen
Q: What advice do you have for a customer looking to hire a provider like you?
A: TALK to the people you're considering hiring before you hire them. get them on the phone. if they don't have the time or interest in talking to you about your music and what you're hoping to get out of mastering, they obviously also don't have the time or interest in your music. a mastering engineer should be ANXIOUS to talk to you. If they can't talk to you BEFORE you hire them, how can you expect them to talk to you once you've received your masters and you're not happy? It's YOUR money. The way i see it, you should be comfortable about what you're spending it on BEFORE you spend it.
Q: What was your career path? How long have you been doing this?
A: I started out playing in bands in the 1980's (The Fugs, Shockabilly, Half Japanese, The Butthole Surfers) and 1990's (Ween, Bongwater, etc). I bought my first recording studio NOISE NEW YORK in 1985 and then founded my record label SHIMMY-DISC in 1987. In 1992 I bought a 24track state-of0the-art recording facility, NOISE NEW JERSEY. I've been a producer for 30 years and a mastering engineer since 2003.
Q: How would you describe your style?
A: Impressionistic.
Q: Which artist would you like to work with and why?
A: Brian Wilson. You know why.
Q: Can you share one music production tip?
A: Don't THINK too much. Don't LABOUR over your ideas. They will come all by themselves, if you stop trying to force it. Work in the studio the same way you work when writing a song. It should be easy, and it should also be fun. If it feels too much like WORK, you need to stake a break, and come back some other time. And HONOR YOUR MISTAKES as potentially hidden intentions. The brain works on many levels. The CREATIVE brain works in hidden ways. Don't instantly kill something you think is a "mistake". Listen to it again, and then again. It may not be exactly what you'd intended to play, but it may also be far better than your original intention. Give it a chance. In Art, MISTAKES are where the real treasures are buried.
Q: What type of music do you usually work on?
A: I work with a lot of alt-rock artists but I have also enjoyed mastering urban music, hip-hop, rap, heavy metal, death-rock. Some of my favorite mastering is for solo artists and singer-songwriters whose mixes require the most subtle attention. When almost nothing needs to be done, it must be done with confidence, and a firm hand. There are few things i love more than bringing buried subtleties closer to the front of a mix... things that the artist themselves couldn't even hear. This happens often with "quiet" music. Those little silences are FULL of color. Making those colors more visible (when required) is a big part of what i love to do.
Q: What's your strongest skill?
A: My strongest skill is is BALANCING ALL OF MY SKILLS and not allowing any one skill to get too powerful and negatively affect a master. PRODUCING, if it had to be described in a single word, is "GIVING". MASTERING, if it had to be described in a single word, is "BALANCE".
Q: What do you bring to a song?
A: I bring exactly what the artist brought, but with a little more HEAT under its ass.
Q: What's your typical work process?
A: I listen. then i listen again. then i listen again. then i LISTEN. LISTENING is where it all begins and ends. The technology is secondary, if not tertiary.
Q: Tell us about your studio setup.
A: My studio set-up ALL-TUBE analog gear and Universal Audio Plugins, but without a good pair of ears, a mastering engineer can own a dozen Fairchilds and a hundred Manley boxes and still make shit masters.
Q: What other musicians or music production professionals inspire you?
A: Eno, Joe Meek, Brian Wilson, Bob Johnston, Phil Spector, George Martin, Tom Dowd, Dr. Dre, Kendrick...
Q: Describe the most common type of work you do for your clients.
A: Most of what's brought to me needs serious work. A lot of the artists i work with are "self-produced", and sometimes even "self-mixed" over months or years by the artists themselves, with limited experience in the mixing process. They come to me because they know MY music, and they feel an affinity for what i've done as an artist, and a sneaking suspicion that when i hear THEIR music, i'll know what to do. And they're RIGHT.

I was the PRODUCER, MIX ENGINEER, PIANIST/ARRANGER in this production
- URGE OVERKILL - "Girl, You'll Be A Woman Soon"
- GALAXIE 500 "Blue Thunder"
- WILL OLDHAM "Gulf Shores"
- DANIEL JOHNSTON "Held The Hand"
- Mastering EngineerContact for pricing
- Mixing EngineerContact for pricing
- ProducerContact for pricing
Turn-around time for Mastering an EP/LP is usually just 2 days, but rush/emergency jobs are often easily accommodated at no additional cost. There's no BS, no hidden/surprise fees.
- Galaxie 500
- Low
- Butthole Surfers
- UNIVERSAL AUDIO (Tubes Tubes TUBES!)
- DANGEROUS 2BUS+ (Analog Summing)
- DANGEROUS SOURCE D/A
- UA APOLLO 16mkii
- UAD-2 Plugins
- Waves
- Manley
- Shadow Hills
- etc...
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