The new CD
The Brill Building
(Tzadik Records 2012)

 

e-mail Kramer

IF YOU ARE INTERESTED IN HAVING KRAMER PRODUCE YOUR RECORDINGS (OR IF YOU ARE INTERESTED IN HAVING KRAMER MIX and/or MASTER RECORDINGS YOU HAVE ALREADY MADE), PLEASE CONTACT HIM DIRECTLY AT:
www.masteredbykramer.com

MANY ARTISTS AND LABELS WHO HAVE WORKED WITH KRAMER OVER THE YEARS ARE AWARE OF HIS SKILLS AS A MASTERING ENGINEER, BUT MOST PEOPLE FAMILIAR WITH HIS EXTENSIVE CAREER AS A PRODUCER/MUSICIAN ARE NOT. DO YOU HAVE MIXES YOU WISH SOUNDED JUST A BIT “BETTER”, OR PERHAPS EVEN WAY BETTER? IF YOU ARE INTERESTED IN HAVING KRAMER MASTER YOUR COMPLETED MIXES AND PREPARE YOUR CD/LP FOR MANUFACTURING, FEEL FREE TO INQUIRE. FEES WILL VARY DEPENDING ON THE NUMBER OF SONGS INVOLVED, BUT KRAMER NEVER CHARGES MORE THAN $500 FOR MASTERING A FULL LENGTH LP/CD. THE SOURCE MATERIAL CAN BE EITHER 1/4 ANALOG TAPE, OR DIGITAL MIXES SUBMITTED ON A DISC, OR VIA THE INTERNET. EP MASTERING IS USUALLY $300 TO $350, AND 7” SINGLES ARE $50 PER SONG. KRAMER WILL MASTER OR RE-MASTER AND PROVIDE YOU WITH 24BIT DATA MASTERS OF EACH INDIVIDUAL SONG, ALONG WITH SEVERAL COPIES OF THE REDBOOK-COMPLIANT CD-R MASTER DISC. KRAMER IS ALSO EXTREMELY ADEPT AT MASTERING FROM OLD CASSETTES AND POORLY RECORDED SOURCE MATERIAL, INCLUDING FIELD RECORDINGS AND OTHER ARCHIVAL ELEMENTS. HE HAS RE-MASTERED ARCHIVAL RECORDINGS BY JUNE PANIC (SECRETLY CANADIAN), TINY TIM, NERVOUS NORVUS, AND OTHERS, TO THE DELIGHT OF ARTISTS AND LABELS WHO THOUGHT THE STUFF WAS FAR TOO POOR SOUNDING TO EVER CONSIDER RELEASING. MIRACLES ARE POSSIBLE. ALL ONE NEEDS, IS EARS. THE MASTERING GEAR AND DIGITAL APPLICATIONS, WHILE VITAL TO THE PROCESS, ARE USELESS IF THE PERSON RUNNING THEM HAS NO EARS. SO DON’T ASK WHAT KIND OF GEAR KRAMER HAS IN HIS MASTERING LAB. IF THAT IS YOUR FIRST QUESTION, HE’D PREFER YOU HAVE THE WORK DONE ELSEWHERE. WHILE HIS MASTERING LAB HAS PLENTY OF ANTIQUE/ANALOG GEAR FILLED WITH PRETTY GLOWING TUBES AND ALL THE OTHER THINGS THE BIG LABS WILL CHARGE YOU THOUSANDS OF DOLLARS FOR, HE DOES NOT HAVE WHAT MASTERDISK HAS. NOISE MIAMI IS NOT A MILLION DOLLAR ROOM, AND IF YOU REALLY DO BELIEVE THAT ALL THAT EXPENSIVE GEAR IS WHAT’S NEEDED TO MAKE YOUR SONGS SOUND GREAT, THEN PLEASE GO TO MASTERDISK. THEY WILL HAPPILY TAKE YOUR MONEY, AND THEY MAY EVEN DO A FINE JOB. BUT, CAN YOU AFFORD IT? AS AN INDEPENDENT ARTIST HIMSELF, KRAMER UNDERSTANDS AND RESPECTS THE NEED FOR INEXPENSIVE, PROFESSIONAL MASTERING THAT OFFERS THE HIGHEST QUALITY RESULTS. FOR $500, YOU WON’T FIND A BETTER PLACE THAN KRAMER’S NOISE MIAMI STUDIO TO MASTER YOUR MUSIC, AND YOU WON’T FIND MORE CONCERNED EARS ANYWHERE, AT ANY COST. IF YOU ALREADY ADMIRE KRAMER’S WORK AS A PRODUCER AND YOU THINK HIS EARS MAY BE THE BEST EARS FOR THE JOB, JUST SEND HIM A BRIEF EMAIL AND HE’LL RESPOND AT HIS EARLIEST CONVENIENCE.

IF YOU HAVE OLD MASTERS ON 1/4" TAPE AND YOU NEED THEM RE-MASTERED, KRAMER HAS A STUDER MACHINE THAT IS STATE-OF-THE-ART FOR ANALOG/TAPE MASTERING, AND THE MOST UP-TO-DATE A/D CONVERTERS MADE BY APOGEE.

IF YOU HAVE OLDER RECORDINGS YOU FEEL ARE TOO SHITTY SOUNDING FOR RELEASE, KRAMER WILL SHOCK YOU WITH HIS MASTERING TECHNIQUES. EVEN OLD CASSETTES CAN BE MASTERED AND MADE TO SOUND STUNNING IN COMPARISON TO YOUR OLD TAPES.

SEND KRAMER AN MP3 SAMPLE, AND HE WILL MAKE A MASTER AND SEND IT BACK TO YOU, FREE! THEN YOU WILL KNOW WHAT IS POSSIBLE, AND WHAT IS MIRACULOUS.

NOTE (12-1-2009) : Please understand that this "free test-master" offer is for artists and/or labels who are in need of mastering, and NOT simply to satisfy your curiosity. This is a professional offer whose specific purpose is to show those seeking a mastering lab what type of results are possible. if you do NOT have an LP or CD that requires mastering (ie; if you are simply curious and have no project in need of mastering), then this offer does NOT apply to you. This offer is for those seeking a mastering lab for work that needs immediate attention. To put it more simply; if you need mastering and you are considering having Kramer do the work for you, send him an mp3. If you do NOT need mastering, please wait until you do.


MASTERING CLIENTS ARE RAVING:

From MARK KELLER (Smiling Handshake Records)

Hi Kramer!

Just wanted to write you and say a big THANK YOU for the excellent mastering of the Boondah "Felonious Bologna" record. I was floored when i heard it. Amazing how you use compression and EQ, compared to others. It sounded kinda like you describe on your website, "The electric guitars sound like they HAVE electricity going through them". Can't quit listening to it. Just a fantastic job sir. We just can't believe it could sound this good.

From THE MYONICS

Kramer,

I got the tracks on Monday but have been circulating them to the other people in the band. Now everybody has OK'd the master.

Let me say I think that it sounds great! And I am very happy with the final product, as is everyone else in the group. There were some things you did I did not expect but the sound is amazing - definitely a thrill to finally hear everything leveled and sounding good after they were generally poorly recorded and sloppily mixed etc. You live up to your claim! We will look forward to working with you again in the future, and thanks for everything.

Love, Jasper

From PORCO ROSSO (France, 2009)

Dear Kramer,

I have received the masters and listened carefully with the other members of the band. Let me tell you we're all very impressed by the work you've done. The clarity and depth of the final master is beyond our expectations. Some sounds, which were buried in the mix, are now fully integrated. The dynamics and overall volume of the CD is just perfectly balanced. And the more important thing for me is that it doesn't sound French at all (the voice on the foreground and everything else was being crushed behind). In sum, this mastering does justice to the work of the engineers and musicians who helped us create this music. We could not have been happier! I hope to work again with you in the (near) future and to see you in Paris when you perform at the MoFo Festival in January!

Lot of love,

Yann Giraud

From INDIGO (Spain):

Hi Kramer!

We are really impressed, deeply moved and excited with the job you did with Indigo. All the members of the band are agree with the mastering, and everybody says that the cd sounds twice as much as before. The songs have a brightness and an intensity, a new strength, that makes our hair stand on end. Thanks, thanks a lot for being so kind working with us. We believe that you are used to doing it and receive congratulations for your job, but for us is very important to tell you because for us it's been an honour and a pleasure to work with you, not only for your contribution, but also have met you. Thanks for your patience with the tracks problems, with our hurries and for everything. Many thanks... and if you visit Spain someday, we'll be pleased to meet you. Here you have some friends!!

Thanks a lot, sincerely

Iván

Mark Robinson of Ponk Media:

I received your package today with the re-mastered recordings of the Tiny Tim album Prisoner Of Love. Once again you have exceeded expectations and your work on these tracks is spectacular! Upon listening to these tracks for the first time after your touch was added, I almost felt like I was back on the soundstage the night(s) we recorded these live more than a decade ago. These recordings have never sounded so rich, crisp and full of life as they do now. I know how proud Tiny was about Prisoner Of Love and your brilliant mastering work elevates these recordings from good to great. Thanks again!

From Emil & SERENA MANEESH (on Kramer's recent remixes):

Resurfacing the swamp of earth, give this (mad)man a laptop or a nice, huge console. Smooth manoeuvres and my songs arrived at the beautiful harbour of kramer flavour. Musical and tasty, and not much of directing... hmm.. doesn´t seem like a typical thing of me to say.. must be a special complement.

Oliver Kersbergen of SLEEPYARD:

Kramer, you did an incredible remix of our song "Hot Radio" featuring Mike Garson on exotic piano. A fullblown psychedelic bonanza. Lovely use of sounds floating around the piano. Top work!

The remix of the track was also a great inspiration on how to explore sounds and approach mixes.

From SAPPHO (Mexico):

thank you so much, Kramer, we're very very very pleased with your job, we find that it really improved the overall sound of the record and it feels much more real and close, we keep noticing things that we forgot that were there because they were kinda buried in the mix...as far as I'm concerned, mastering doesn't get more beautiful than this.

keep in touch, dear K

love,
Pancho

From Secretly Canadian, re; the JUNE PANIC 3-cd box set:

hey kramer,
just wanted to let you know that the June Panic box is in production. we should have it back from the plant any day now...they sound AMAZING!!! thanks for all your hard work on that!

From Tom Rose of Reveal Records (UK) re; POPPY & THE JEZEBELS:

Hey K,
the masters arrived today - thanks very much, they sound brilliant! cant wait to hear your work with Madam!

On the forthcoming GG ALLIN "country" LP, CARNIVAL OF EXCESS:

Hi Kramer,
Hope your weekend was well. Just wanted to send a note to let you know about the response from the "new" mastered version of COE. People are blown fucking away!! Many are telling me it is like hearing a new cd, which it is. You did a great job on it and it is appreciated and very much noticed. - Mark Robinson, Ponk Media

From 21 LOVE HOTEL:

Dear K,
We're so ashamed we didn't write you before to thank you for your excellent mastering work... Great work, hope that soon we can do more together!
All our love, C&F

On the forthcoming GG ALLIN "country" LP, CARNIVAL OF EXCESS:

Hi Kramer,
Hope your weekend was well. Just wanted to send a note to let you know about the response from the "new" mastered version of COE. People are blown fucking away!! Many are telling me it is like hearing a new cd, which it is. You did a great job on it and it is appreciated and very much noticed. - Mark Robinson, Ponk Media

MASTERING is a fine art, but sadly, most mastering labs don't approach it as such.

Sure, they'll claim to, but they just don't.

Most mastering engineers aren't musicians, but they damn well oughtta be. Knowing the difference between one frequency and another isn't all one needs to be a great mastering engineer. One also needs EARS that come from a solid musical background. It's silly to assume that knowing acoustics and audio engineering is all that one needs to address the problems inherent in recorded music.

How can one solve a problem, if one cannot even hear the problem to begin with?

The most expensive mastering lab I ever worked at (at the insistence of a naive record executive who firmly believed that the best mastering lab HAD to be the most expensive one) was little more than a joke. The engineer began the session by loading all of his "standard" settings. He proudly explained that he works "by the book", expecting me to respect that.

Less than 5 minutes later, after a bit of nonsensical "tweaking" of a few knobs and dials, he said, "Sounds good to me."

And I believed him. I have no doubt that it DID sound good, to him.

But it sounded like dogshit to me.

It sounded flat, mundane, and lifeless. Although the CD I was mastering had both acoustic tracks and electric tracks, the acoustic tracks suddenly seemed "processed", and the electric tracks sounded as though no electricity had ever run through the instruments. It wasn't a great painting anymore - it was a forgery.

My heart sank, and the music sank with it.

This experienced, "world-class" mastering engineer had sucked the life out of my mixes, taken the edge off, and reduced pivotal musical events to tiny speedbumps barely noticable in the listening experience. Amazingly, he accomplished this astounding feat in a matter of minutes.

What I had spent 6 months working on to achieve something unique, he had molested and ground into hamburger meat in little more than the blink of an eye. And for this kind of work, he had attained the highest level of respect in his field, luxury homes in London, NYC and Belize, and a shelf full of awards. And so it goes.

Here is the most infuriating part of this ordeal; when I instructed him to reduce the level of compression and let the peaks rise up as they were intended to, what I got in response was indignation and resentment. I then had to remind him whose CD he was mastering, and who was the client. It was not a pleasant experience, and I thought that for all the money the label was spending on mastering this CD, we should perhaps get a little more attention to detail than what I was being offered in this ornately decorated, world renowned mastering suite, surrounded by gold and platinum record awards and fresh-faced teenage interns upon whose faces the future of this lofty industry lay etched.

That was the day I decided that someday, somehow, when professional digital mastering tools became affordable to everyone, I would enter the mastering field myself, and offer artists and independent record labels the opportunity to get what they really want out of the hard work and attention they put into their final mixes.

My small, private mastering lab, comprised of vintage analog tube compressors & EQ's, in conjunction with an ocean of digital programs designed by PEAK, WAVES and other state-of-the-art applications, is now open to select artists and labels via request only.

The lab is located in South Florida, which means that unless the artist (or label executive) is willing to travel to me, I work alone. I have no employees, and no trainees. You will be working directly with me on your masters, and the work is finished when we mutually agree that it is finished. In other words, it's done when the client is happy.

There is no charge for re-mastering a song you think could be done better. The goal is to make you happy enough to come back again, and to forge a relationship in which you feel confident that you have found the best mastering lab, at the best price, bar none.

Whether you are a record label executive, a "working" independent artist, or an amateur looking to finalize your debut release...I don't care who you are. I only care about your music. Each master gets the same attention to detail, whether your name is Neil Young or Neil Finkelstein. Music is music. I don't discriminate.

I determine my fees on a sliding scale, based upon your budget. I do NOT charge by the hour. I charge one fee to complete a master, regardless of how long it takes. Some masters can be finished in a day. Others may take a week. The time it takes to complete your master does NOT affect your fee. The only time my fee may be affected is if a "RUSH JOB" is required, in which case it may be necessary for me to put aside other work on your behalf. Only then might it become necessary to add an additional fee, though this is based entirely upon my workload at the time of such a request.

I also offer Analog-to-Digital archiving and Re-MASTERING, so if you have old cassettes or analog reels you think will never sound good enough to release, or old cd's you wish had sounded better, send me an MP3 of one selection, and I'll prove you wrong within 24 hours by returning a Re-Mastered MP3 to you. This is a courtesy offered to new clients only, at no fee.

Onward & Upward.

Kramer, 03-05-2006 (South Florida)


Selected 2008-2009 Producing / Mixing / Mastering:

LEADER CHEETAH (australia)
BRIDEZILLA (australia)
CUBA IS JAPAN (australia)
THE HUM OF INDUSTRY (australia)
DIRTBIRD (australia)
CATNIP (australia)
BIANCA POITEVIN (australia)
THE ORANGE BEACH (italy)
KA MATE KA ORA (italy)
AMBULANCES (scotland)
MEYATRA (scotland)
WITHERED HAND (scotland)
MARIE FRANCE (france)
JACQUES DUVALL (france)
MIAM MONSTER MIAM (belgium)
22-PISTEPIRKKO (finland)
SERENA MANEESH (norway)
FINDLAY BROWN (england)
CAUCUS (japan)
THE FLYING POSTMAN (japan)
EMILY RODGERS (usa)
KIDS ON TV (canada)
DAN KRISTOFFERSON (norway)
COMITATUS (usa / uk)