Modern Interfaces & Excellent Audio

As a producer & mixer, I naturally lean toward destruction while still being very much in touch with the sonic infrastructure of what is at hand. Goodhertz plug-ins are the dream paint to my any canvas. They drip from everything I create…be it a big fat mess or a tight tidy corner. I just can’t stop reaching for them. every single color quenches my thirst for art. Get them all.

Man. Where do I begin? This stuff allows me to do everything in the box, stuff that used to take four times as long as it needed to, like bouncing my projects through the SP404 or tape machine. Your plugins allow same (or better!) analog veneer without me having to lose control of my mix by forever printing it to tape or recording it as a chunky WAV from a sampler. I couldn’t be more impressed. I’m actually proud to use this stuff.

Probably every single Ableton session that I open up, whether I’m making my own music or enginering something — mastering or mixing for another artist or my own music — I put the Vulf Compressor on, usually the master.

I stopped using bass amps once I got Tupe.

The Vulf Compressor is on every drum bus, many guitars, too many places to mention. It’s a plugin that I use on literally every mix, I love it so so much. Faraday was definitely used on some bass to lock things in place. Trem Control is every panning effect on the album. I love your stuff so much, it’s really a huge part of my sound, and it was definitely a crucial part of this album [Snail Mail’s Lush]!