In the late summer of 2012, in an apartment in San Francisco’s Lower Haight district, record executive and performer Vulfmon shook hands with mastering engineer Devin Kerr (DK). Vulfmon had heard from friends that, should your audio fantasies exceed your calculus, you went to see DK. He made dreams come true. After a brief anecdote involving several internet forums and well-known though little-respected digital samplers from the turn of the century, Vulfmon enumerated artists with the fingers of his right hand. “Francis Dhomont, Madlib, Stockhausen, Dilla, Flying Lotus.” The apartment was hushed, and Vulfmon spoke clearly. “One sampler in particular,” he said, “it is the sound — something like you have never heard, yet the sound is very familiar.” The riddle hung in the air for a moment. But then the apartment owner’s phone rang, and the conversation ended abruptly. Later that month, DK received an anonymous package: a digital sampler from the year 2001. He took it into the lab, set it upon a table, and began — with signals & sounds — to coax forth its “Samplergeist” (a word Vulfmon had made up). Over time DK came to understand Vulfmon’s folly. That sampler was only the seed of a great compressor. Goodhertz could build something entirely better in every way; Goodhertz could take what was merely heavy and make it heftig. Now, more than two years later, Goodhertz is proud to announce: what could be, is: Vulf Compressor.
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