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 use Vulf Compressor on pretty much every song I make. I love it for bass, drums, guitar, and keys in particular. It brings out a particular warmness that I have not found in any other compression. It makes everything so much more buttery and old-school without diminishing the quality of sound. I love to use the Lohi plugin on backup vocals. I use the “tiney” setting often to create a distant and whispery atmosphere. I also use Lohi on drums, sometimes for a more muted and understated drum sound, which I like for certain ambient-style tracks. Goodhertz makes some of my favorite plugins! They truly elevate the sounds to the next level.

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]!

OK, this stuff is scary… like someone’s been inside my brain hearing my aural fantasies… and then made them real. I’ll be figuring out things to do with all these plugins for years.

You’ve created something really great here. I’m really a geek when it comes to certain things, like music, but not when it comes to technical stuff, even if I produce a lot of music. There must be a lot of engineering hours behind everything Goodhertz, but the result for a tech failure such as myself is something that feels musical. I’ve tried most of the plugins now, and they really inspire me in the same way an old worn out guitar or bashed out drums does. I can make music with them, rather than make mixes, and that is how I like to work with this sort of stuff.