

Jim Anderson and Ulrike Schwarz’s combined 60+ years of experience in producing and engineering music has resulted in many nominated and award winning productions.

Anderson Audio NY is the creative partnership of Jim Anderson and Ulrike Schwarz, two of the most respected names in acoustic engineering and production. Between them they carry more than 60 years of experience and over 30 Grammy nominations, with credits spanning jazz, classical, and beyond — from Jane Ira Bloom and Patricia Barber to Gonzalo Rubalcaba’s Grammy-winning Skyline. Schwarz and Anderson move fluidly between producer and engineer roles depending on the project, giving their recordings a versatility that few teams can match, and their high-definition stereo and surround work has been a fixture at the Grammys and on critics’ year-end lists for years.
Impex Records has built its reputation on one uncompromising pursuit: getting as close to the original analog master tape as is humanly possible. Working from legendary rooms like Columbia’s 30th Street Studio, Capitol Studio A in Hollywood, and Abbey Road, Impex specializes in meticulously produced audiophile reissues that recapture the brilliance, immediacy, and emotional charge of the original sessions. Every release — whether DSD, DXD, or Super Audio CD in stereo or 5.1 surround — reflects a partnership with Grammy-winning recording and mastering engineers who share the label’s obsession with detail. The result is sound built for listeners who have invested real time, money, and heart into systems capable of delivering true musical transcendence.
Together, Impex Records and Anderson Audio NY represent the same underlying philosophy expressed from two different angles of the studio: Impex perfecting the art of the reissue, mining classic sessions for every ounce of fidelity the original tape holds; Anderson Audio NY creating that same level of fidelity from scratch, in the room, as the music is being made. Pairing them as NativeDSD’s Labels of the Month puts a spotlight on the people behind the sound as much as the recordings themselves — engineers and producers for whom “close enough” was never good enough, and whose combined body of work spans decades of Grammy-caliber production, whether the tape is fifty years old or freshly cut.
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