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Any producer is only as good as the sounds and sights he helps to create. This is what has kept Eddie Kramer in the limelight for a long time. By all standards, Kramer is  rightfully considered as a rock icon. For more than five decades, he has painted the Rock landscape with the help of his aural and visual brush working with some of the biggest brand names in History.  Such as Rolling Stones, David Bowie, Bad Company. Moreover, Kramer is still known for three long term associations; Jimi Hendrix, Led Zeppelin and Kiss. Apart from producing and engineering music tracks for the legendary artists who have continued to influence rock musicians and producers of our time. Kramer has also set standards for today’s rock production making him a true innovator. He  also doubles as a studio designer and a lecturer.

, he worked on both  audio and digital restoration during his time with Jimi Hendrix.

, He mentioned in an interview with the Waves audio that his techniques and ways of working have evolved from the desire to make  Jimi Hendrix sound bigger and better. He now pays a a lot of attention paid to the intricate process of audio and digital restoration. He added that he has always believed in the philosophy of getting  the very best out of both the digital and the analog worlds. He mentions that he works fifty percent in the box and the other fifty percent in his outboard gear alongside his console.

He goes on to explain how it was so hard to deal with an entire analog set up. The performances were live in the studio. The vocal takes accompanied with a bunch of drums and 100- watt Marshall Guitar amp behind them could make the whole process very uncomfortable. He also admitted that the separation was not that good either when he started to use plugins.  Kramer mentions that his producing life was made a lot easier since he could pinpoint certain things and he could perform other actions in the box that he could not do before. He is in a position to fine-tune things and be like a “surgeon”. This means he can pick a vocal part and find all the nuances.

He was able to transfer the original 4, 8 and 16 track tape formats into pro tools. He achieved this using Burl AD/DA converters. consequently , he got a good source for the original tape. He used vintage API console with flying faders and automated some of his own Kramer HLS Channel to achieve most of the audio. The channel is based on the Helios EQ that he originally recorded all of Jimi’s projects with at Olympic Studios in London.