KVG Laboratories

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WHO WE ARE

KVG Laboratories is a dedicated group of musicians and audio engineers whose passion is to create the finest music instruments, loudspeakers, audio equipment and sound recordings that are technologically possible. Everything we build, by hand, is the result of our experience that mass produced products require compromise, something we're not willing to do.

KVG Laboratories is an outgrowth of its founder, Kermit Gray’s, commitment not to rush new products onto the market each year just to have a new product. He and his team take whatever time is needed to get the product right because they will not be not satisfied until it’s right.
PHILOSOPHY

The distinctive sound of our products is defined by our underlying design philosophy that audio equipment must not rob the music of life. This is not just empty words. Think about it: a live musical performance has an energy that touches each member of the audience, involving them in that same energy, sharing the same emotions evoked by the music.

Music can move an audience into action, otherwise music would not be a part of almost every human experience from marriages to celebrations to political movements and even wars. Audio equipment affects more than the sound of recorded music, it can rob the music of the life it had when performed live. It is that unbelievably elusive balance everyone seeks that, once found, changes recordings into live performances appearing magically before the listener. Every nuance, every detail of the music must be let through unaltered, otherwise the delicate balance is lost.

KVG Laboratories demands that its designs allow the listener to experience that rare experience of losing themselves into the music, forgetting that they are listening to a recording, only to be jarred back to reality with a pang of sudden loss when the recording ends.

Our underlying philosophies are:
• Good enough isn’t good enough. Without high quality, nothing else matters.
• We first identify a common problem of music instruments, audio equipment or technique, or a desire expressed by many musician, listeners or operators, then solve the problem or satisfy the desire.
• Our objective is to give the musician, listener, the audiophile, or the sound professional a level of quality, a range of musical expression, or a listening experience, that is otherwise unobtainable, unaffordable or impractical; and a capability that is otherwise not available to them. It’s our passion to create things that enable everyone to discover new artistic expressions, create new sounds and tones, record with low noise and wide dynamic range for unprecedented fidelity and musicality, enhance any sound for richness, definition and clarity; and create new sounds or highly modify existing sounds in ways you might not have thought possible.

Vacuum tube amplifiers are a good example of our passion. The big electronics companies quit researching tube electronics since tubes were pronounced “dead” around 1965 but KVG Laboratories never stopped its research. We have been able to advance the design of vacuum tube audio, overcoming many of the adverse perceptions about tube sound and solving many of the limitations of transistorized audio equipment.

The distinctive sound of both our tube designs and our transistorized designs ensures that they do not rob the music of life, of emotion.

This is not just empty verbiage.

Think about it: a live musical performance has an energy that touches each member of the audience, involving them in that same energy, sharing the same emotions evoked by the music. Music can move an audience into action, otherwise music would not be a part of almost every human experience from marriages to celebrations to political movements and even wars.

Audio equipment affects more than the sound of recorded music, it can rob the music of the life if had when performed live.

It is that unbelievably elusive balance everyone seeks that, once found, changes recordings into live performances appearing magically before the listener.

Every nuance, every detail of the music must be let through unaltered, otherwise the balance is lost. KVG Laboratories demands that its designs allow the listener to experience that rare experience of losing themselves into the music, forgetting that they are listening to a recording, only to be jarred back to reality with a pang of sudden loss when the recording ends.

Finally, we strive to strike a balance between the efficiency of mass-production and the uncompromising quality of hand made. So, you’ll find that we make only one-off unique products, bespoke products, and limited-run “almost mass produced” products. This lets us give you the highest possible quality at the most feasibly-low cost.

That means you won’t see cheap mass-market products coming from us. They’re not our competition anyway. Those of you who want better than the same-old same-old mass market, big box store products are our customers. We look forward to serving you.
AREAS OF RESEARCH

KVG Laboratories actively conducts a broad program of both primary and applied research, with subsequent development, engineering, testing, evaluation, and assessment into the fields of:
  • psychoacoustics
  • design and operation of sound recording apparatus (microphones, recorders, equalizers, compressors, amplifiers, monitors, et cetera).
  • design and operation of sound reproduction apparatus (loudspeakers, amplifiers, preamplifiers, phono pickups, turntables, media players, et cetera).
  • audio signal conditioning and processing
  • sound recording techniques
  • room acoustics (and acoustic devices) for music reproduction, live performance and sound recording recording
  • music instrument design
  • music instrument amplification
  • music instrument effects processing

To support our research efforts, we maintain one of the largest privately-held research libraries in North America, containing reference books, articles, white papers and specification sheets. The results of our research efforts are then developed into new products, training programs, and reference works that are made available to consumers, industry and original equipment manufacturers.

A Few Of Our Research Projects have been…

  • The big electronics companies quit researching tube electronics since tubes were pronounced dead around 1965, but KVG Labs never stopped its research. We have been able to advance the design of vacuum tube audio, overcoming many of the adverse perceptions about tube sound and solving many of the limitations of transistorized audio equipment.
  • Many companies advertise that their products bring you to an emotional experience by listening to their products. Is this merely marketing hype, or is it possible. if so, how? We looked into the issue, and the answers surprised us.
  • Does the wood used in a solid body guitar actually affect its tone? We worked to discover the answers.
  • Many companies advertise that their products can give you the same experience as a live concert. True or false? We found out that it can be true, and how to do it.
  • Does it really matter what wire or magnet is used in a guitar pickup? Our research says yes, and we found out why.
MANUFACTURING ISSUES

Controversy has persisted over whether hand-made is simply an affectation and not to the same quality as automated mass-production techniques. We spent a decade experimenting to determine the best way to make our products — mass production or hand made?

The answer wasn’t so cut-and-dried.

Some things must be mass produced to be affordable yet high quality, such as semiconductors, electronic components, fasteners, mechanical parts, and most materials. Think about it: screws are cheap and yet quality because they’re mass produced.

However, at a certain point mass production demands uniformity, and uniformity requires compromise. Here’s where hand-made has the edge. Whenever you deal with one of the human senses, you’re dealing, ultimately, with perceptions and opinions. Ask a hundred people what the best tasting ice cream is, you'll get a hundred different answers. It’s the same with sound. Everyone has a different perception of what is “the best sound.” Mass produced audio equipment has to make assumptions and then cater to broad generalities. The “average listener” concept is flawed. What’s an average listener?

In contrast, hand made audio equipment or music instruments can be made to satisfy a specific listener’s tastes.

Here’s a good analogy. It’s the difference between off-the-rack clothes and custom-tailored. Both use mass-produced fabrics, threads, buttons and zippers, but off-the-rack clothes are made in a few sizes based on manufacturer’s assumptions — and which may not fit you well — but custom tailored clothes will fit you perfectly.

We strive to strike a balance between the efficiency of mass-production and the uncompromising quality of hand made. So, you’ll find that we make only one-off unique products, bespoke products, and limited-run “almost mass produced” products. This lets us give you the highest possible quality at the most feasibly-low cost.
FOUNDER’S BIO
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Hello!

Let me introduce myself, I'm Kermit V. Gray .

I'm an audio engineer who has been designing audio equipment since the 1970s, relying on a combination of original research, proven classic design methodology and a tacit refusal to compromise my work to achieve success. I learned electronics during the 1970s in the then-traditional methodology and philosophy. It’s not uncommon to see one of my products still working after more than thirty years of daily use.

Since the 1970s, I’ve been many things: sitter-in-libraries, airline passenger, traveler, student, teacher, friend, artist, photographer, failed world conqueror, audio engineer, recording engineer, and audio equipment designer known for “artistic engineering” of custom recording equipment, sound systems, loudspeakers, electric guitars and basses, music instrument effects and amplifiers. Nowadays, I don’t run marathons but I do run an electroacoustics and psychoacoustics research laboratory; recording studio, record label and a book publishing company. Joining is fun too.

In 2003, I was honored to be allowed to join the National Academy of Recording Arts and Sciences, a.k.a, “The Recording Academy” — you know, they put on those Grammy Awards shows on TV you don’t watch each year.

When I was a teenager in the 1970s, like so many others, I wanted to be a star musician. One seemingly-insurmountable detail prevented the realization of that dream: I lacked the dexterity needed to play an instrument. Oops. Fortunately, I did have a knack for “the other end of the microphone”: making the recordings, running the sound system, building music instruments, taking the publicity photographs and making little bits of furniture and knick-knacks.

My quest became not to make my fame and fortune through the medium of audio, but to emphasize the “artness” of audio, not the cold technology. Great artistic decision, bad business decision. No complaints, though. Thus began my behind-the-scenes career in the music industry.

It’s a great life, making things that add beauty to others’ lives, and creating the means for others to express their creativity and artistry.
My friends and colleagues describe my approach as "artistic engineering" because for me the equipment isn't just a piece of equipment, it's an artwork that just happens to make sound or music. Music and all the things that go into making and recording music have been a lifelong passion.

As I noted earlier, I am the head of a research laboratory which involves undertaking many unique and often odd experiments into every aspect of music, music recording and music reproduction. Over the past thirty-some years, I've been content to quietly work behind the scenes, in my never-ending quest to improve recording technology, recording techniques, playback equipment and music instruments themselves, including:
  • The use of equalization in the studio.
  • Electronic reverberation.
  • Guitar speaker cabinets.
  • Vocal recording.
  • Guitar recording.
  • Spatial imaging in recordings and loudspeaker systems.
  • Quality losses in sound recording and reproduction equipment.
  • Resonance and its influence on tone.
  • Music instruments, and loudspeaker quality.
  • The influence of acoustics on intelligibility and clarity of speech and music recording and reproduction.
  • The influence of amplifier bias, circuitry operating points and distortion on amplifier tone.
  • The influence of microphone characteristics and preamplifier tonality on the sound of a recording.

My background in professional audio is extensive. I received my degree in Communication Science from the University of Missouri, Kansas City; as well as other formal training from the Institute Of High Fidelity and CBS Laboratories. Nearby my home was a United States Patent Depository, and for a few years I would spend the weekends combing through patents, white papers and a variety of reference works for inspiration and to validate my own primary research. I received much of my electronics training from retired Western Electric engineers, and apprenticed under several recording and audio engineers. Finally, I had the privilege to attend lectures, workshops and demonstrations given by many of the legends of audio and music.

For more than forty years, I have:
  • Created many original audio equipment and music instrument designs, some of which are patented.
  • Researched audio electronics, acoustics, psychoacoustics and music-related phenomena in his quest for ever-better sound.
  • Written numerous white papers on audio and photography.
  • Contributed an article which was published in The Encyclopedia Of Sound.
  • Given public presentations to numerous organizations.
  • Been published nationally in several publications and reference works.
  • Presented an experimental loudpeaker before the Boston Audio Society in 1999.
  • Reviewed other manufacturer's prototypes and products, most recently Monster Cable's "Monster Turbines" In-Ear Speakers.
  • Made numerous professional recordings, one of which had the honor to be submitted for the 53rd Grammy Award for Best Engineered Classical Album.
  • Produced several record albums, including The Inner Voices: "And So It Goes", Earworm: "City Woman", Twangdillo & Kitch: "Confess!" and many others.
  • Designed archival re-mastering systems.
  • Assisted in the design of the original re-mastering studio of the Marr Sound Archive working alongside Robert L. "Mac" McDonald, Gaylord Marr, Charles Haddix and Steve Smolian.
  • Engineered live concerts and events, studio music recordings, television and radio broadcast audio, motion picture sound, sound effects and dialog/spoken word recordings for a many different musicians, including Ray Hildebrand, Paul Land and Stephanie Boosada.
  • Mastered numerous professional recordings for clients as diverse as Ray Hildebrand, Diversity Records, Fidelis Records, Suzanne Brown, SRA Studios and many others.
  • Consulted on venue acoustics and acoustic design; my clients have included recording studios and clients as diverse as The Kansas City Symphony.
  • Provided audio equipment design and repair services.
  • Provided music instrument design and repair services.
  • Taught professional audio, sound recording techniques and sound re-enforcement system operation.

My approach to both loudspeaker design and professional sound recording is known for a vividly realistic "reach-out-and-touch-it" feel. Experience has given me an intuitive approach to amplifier and music instrument design, and I've developed to ability to sit down, grab parts off the shelf and assemble an amplifier while a guitarist is playing, then fine-tune the amplifier's sound until the guitarist says it's perfect.

I don't use computer simulations to design equipment. After all, do you hear like a computer? I didn't think so.

Instead, I rely on my practical experience, classic electronic and acoustical formulae, which I calculate by hand then verify through extensive testing and listening sessions. To stay fresh creatively, I enjoy photography, and have become well known as an artistic photographer whose work has garnered awards. I prefer the discipline of film cameras as my preferred photography medium.

As you can see, sound is my all-consuming passion, driving me to research its every aspect, from psychoacoustics to the underlying physics.
Be sure to visit the National Academy of the Recording Arts & Sciences, also known as The Recording Academy (the folks who bring you the Grammy Awards). By the way, I'm a member of The Recording Academy, so I can assure you that a visit to their hallowed halls is well worth your time if you're interested in the music scene.

Sound isn't my only area of experience. I have been privileged to receive invaluable instruction from some of the luminaries of photography, including Kjell Sandved, Fred Picker, Warren Sward and Lester Couch. Were it not for their insight, I'd still be using a cheap box camera taking badly composed snapshots. I will be forever grateful for their unique insights and (sometimes scathing) critiques. It bore fruit: besides a successful career in professional photography, I managed to win a few awards, mainly for my botanical photography.

Without some business savvy, no amount of artistic or engineering creativity will lead to success. My father, Robert D. Gray, retired as a very successful hospital CEO. I'm blessed to have grown up under his tutelage. Also, I have to thank William McVey for his invaluable training into value proposition marketing and Deming's Fourteen Points. Dr. McVey was a disciple of W. Edwards Deming.

Finally, I feel everyone should serve the fine citizens of our country, whether through military service, as a first responder, or volunteering with faith-based and philanthropic organizations to render welfare and humanitarian aid to those of need in our communities. So, I served for twenty years with Selective Service on my local Board of Adjudication.

Additionally, I've lent of my technical expertise pro bono to teach skills to those who haven't had the opportunity to learn a trade. Subsequently, most of those I mentored went on to get good jobs, lifting them out of their poverty, giving them the dignity of being expert in their field. I've been known to provide my professional services freely to charities and faith-based organizations, along with equipment.
FOUNDER’S C. V.
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Owner, Designer, KVG Laboratories, LLC: 
May 1977 – Present, (Lee's Summit, Missouri; Raytown Missouri; currently Bonner Springs, Kansas)
Manufacturer of audio equipment and music instruments, also operates a music and voice-over recording studio, independent record label, photographic studio, online television production house, and electroacoustics research laboratory. Provides acoustics design and consultation, OEM equipment design services, including turnkey production; talent representation for voice-over talent, guitarists and vocalists. Member of The National Academy of the Recording Arts and Sciences, a.k.a The Recording Academy. Recording studio has had two recordings submitted for a Grammy Award, and counting.

Managing Editor, Woods & Waters Press:
January 1995 – Present, Raytown Missouri and Bonner Springs, Kansas.
Specialty publisher of business and technical nonfiction titles.

Vice President, Gainsharing Corporation of America:
June 1987 – February 2010, Raytown, Missouri
Management consulting, specializing in gainsharing motivation programs for business.

System Operator, The Topical Paradise BBS:
April 1989 – October 1996, Raytown, MO
Designed, installed and operated computer BBS (bulletin board systems) accessed via dial-up telephone line.

Editor, Parkway Press:
March 1984 – June 1993, Kansas City, Missouri
College textbook publisher

Designer, Applied Force Dynamics:
June 1990 – November 1992, Kansas City, MO
Development, testing and applications engineering of ballistic, aerodynamic and acoustic apparatus.

Board Member, Selective Service System, Local Board of Adjudication:
September 1979 – July 1999, Raytown, MO
Review and adjudicate cases of requests for deferment or exemption from military service.

Freelance Photographer, Coincident Recording Photography:
December 1979 – September 1987, Kansas City, Missouri Area
Construction process, small product, botanical, documentary, photo-ethnography, event, aerial and general commercial photography; custom photofinishing services.

Audio Electronics Designer, The Amplification Nation:
May 1977 – October 1984, Lee’s Summit, MO; Raytown, MO; June 2020 to present.
Regional manufacturer of professional audio amplifiers, loudspeakers and modifications for studio recorders. Provided tech support, service and modification for Ampex, Studer-Revox, Scully, Ampro, Pioneer, Teac Tascam, Dual, Shure, Ortofon, Nakamichi, AKG, ElectroVoice, Altec, JBL, Dual, Pioneer, TEAC, TASCAM, B*I*C, Kenwood, Marantz, Technics, Onkyo, Gately, Ward Beck, Voice of Music, Magnecorder, Telex, Pentron, Berlant-Concertone, Wollensak, Accuphase, Phase Linear, SAE, ESS, Martel-Uher, DBX, RG Electronics, SAE, Luxman, Micro-Seiki, Mitsubishi, Audio Empire, Audio Dynamics Corporation, Sonotone, EV Game, Pfahnstiehl, Dokorder, Optonica, Sharp, (ADC), Shure, Ortofon, BSR, Elac-Miracord, Garrard, McGohan, Arkay, Studiocraft, Geneva, Gibson Girl, Bibb, Discwasher, Niles, MonsterCable, Switchcraft, ITC Cannon, Henry Engineering, Brociner, Masco, Bogen, Challenger, Winegard, Nortronics, Micro-Acoustics, H. H. Scott, Newcomb, Calectro, Calrad, Beyerdynamics, Stanton Magnetics, Gray Research, Russco, Gates, QRK, Rek-O-Kut, ITC, Audax (tonearms), RCA, Polydax, McCurdy, McMartin, Langevin, Collins and Westrex. Application Engineering services for Calectro, Calrad, Altec, JBL, ElectroVoice, AKG, CTS, Calectro, Audax/Polydax, Peerless, SEAS Denmark, Creedence Loudspeakers, Siare, Foster, Pioneer OEM, Nortronics, Motorola Semiconductor, Signetics, Switchcraft, ITC Cannon, Amphenol, Cutler-Hammer, Allen-Bradley, Harris Semiconductor, RCA Electron Tube Division, Sylvania Vacuum Tube Division, and Eimac.

Master Engineer, Specialized Recording and Audio:
July 1976 – October 1984, Lee’s Summit, MO; June 2020 to present.
Recording engineer. Company specialized in location recording and live sound production. Affiliated with Columbia Records from 1978 to 1981.

Audio Engineer, Berean Baptist Church Radio Productions: 
October 1976 – July 1983, Kansas City, MO
Recording engineer, live sound engineering. Organization produced a weekly radio show for a local church.

Associate Sales, CMC Stereo:  
May 1977 – October 1977, Raytown, MO
Stereo equipment and accessories sales.
DELIVERY TIMES, SHIPPING, TERMS, CONDITIONS, PRIVACY POLICY, AND LEGAL DECLARATIONS
Delivery Times
Delivery times depend on the availability of the parts we need for your design, the length of time it may take to find a rare part or to have a custom-made part delivered, and the complexity of the design itself. Because each product is made by hand to the customer's individual requirements we cannot simply pull an item off the shelf and deliver it to you, so you will be advised of a projected delivery time when we discuss your order with you.
Shipping
We will ship your order to you using only one of the following approved carriers to ensure the safe arrival of your order:
  1. United States Postal Service (USPS).
  2. United Parcel Service (UPS). UPS is our recommended and preferred carrier.
  3. Federal Express (FedEx).
  4. DHL.

Please do not ask us to ship your order using any carrier other than our approved carriers. Shipments by a non-approved carrier would mean that you would have no insurance, no recourse of recovery if your order was lost or damaged in shipment, and no warranty coverage whatsoever.

Before we ship to you, you will need to verify that the recipient ("ship to") address is correct along with a working telephone number at that address. We recommend you include an email address as well.

Note that you will be asked to sign for all orders having a value greater than $200.00 USD; this is merely an additional layer of protection against loss for you.

Should you have other questions or concerns about these shipping policies, please contact us.
Terms & Conditions
Some items have a Buy It Now button that will take you to our checkout system. For all other items, we will email you an invoice for payment by the Paypal payment system.

We want you to be completely happy with your product from KVG Laboratories. If you are not satisfied with any product, you may return it for a refund of the purchase price (minus a 20% restocking fee), an in-house credit, or exchange for another product within 30 days of the date of invoice.

All returns or replacements require that you have a Return Material Authorization number, or RMA. To request an RMA, please contact us. You must include your order number when contacting us.

Returns must be in the complete and original packaging with all accessories and complete documentation (Owner's Manual, warranty card, quick start guides etc.), and show no signs of wear or use and include the Return Materials Authorization number we issued to you on the outside of the shipping box. Special Orders, discontinued products, close-outs, and blems are not returnable.

Raw loudspeakers, transformers, and guitar or music instrument pickups are not returnable once you have installed them in your project.

Tubes are warranted for 30 days and cannot be refunded thereafter. All tubes come with a 30 day warranty against manufacturing defects. If you plan to shelve or store tubes for an extended period of time without using them, we suggest you test them upon receipt. Matched tube pairs or sets are tested and matched and considered in working order when they leave our warehouse.

No sales outside North America, the European Union, Australia, New Zealand or the Philippines.
Privacy Policy
Your privacy is important to us. To better protect your privacy we provide this notice explaining our online information practices and the choices you can make about the way your information is collected and used. To make this notice easy to find, we make it available on our homepage and at every point where personally identifiable information may be requested.

This notice applies to all information collected or submitted on the [company name] website. On some pages, you can order products, make requests, and register to receive materials. The types of personal information collected at these pages are: Name, Address, Email address, Telephone number, Facsimile Number, TTY Number, TWX Number, Credit or Debit Card Information. On some pages, you can submit information about other people. If you order a gift online and want it sent directly to the recipient, you will need to submit the recipient's address. In this circumstance, the types of personal information collected are: Name, Address, Phone Number, etc.

We use the information you provide:
  • about yourself, when placing an order only to complete that order. We do not share this information with outside parties except to the extent necessary to complete that order.
  • about someone else when placing an order only to ship the product and to confirm delivery. We do not share this information with outside parties except to the extent necessary to complete that order. Gift-cards are offered by which you can personalize a product you order for another person. Information you provide to us to create a gift-card is only used for that purpose, and such information is disclosed only to the person receiving the gift.
We use return email addresses to answer the email we receive and such addresses are not used for any other purpose and are not shared with outside parties. You can register with our website if you would like to receive our catalog as well as updates on our new products and services. Information you submit on our website will not be used for this purpose unless you fill out the registration form. We use non-specific identifying and aggregation information to improve the design of our website and to share with advertisers.

Finally, we never use or share the personally identifiable information provided to us online in ways unrelated to the ones described above without also providing you an opportunity to opt-out or otherwise prohibit such unrelated uses.

We are committed to data security and work to prevent unauthorized access, maintain data accuracy, and ensure the correct use of information, we have put in place appropriate physical, electronic, and managerial procedures to safeguard and secure the information we collect online.

We are committed to Children's Privacy and work to protect the privacy of the very young, so we never collect or maintain information at our website from those we actually know are under 13, and no part of our website is structured to attract anyone under 13.

Should you have other questions or concerns about these privacy policies, please contact us.
Legal Declarations
All material herein Copyright 2020 by KVG Laboratories, LLC and Kermit V. Gray. All rights reserved. The “KVG Laboratories” KVG Laboratories and Kermit Victor Gray;. logos, colophons, and all variations are Registered Service Marks of KVG Laboratories to denote its design services, loudspeakers, audio equipment, music instruments, acoustic products and derived ancillary products. All information contained herein is believed to be accurate insofar as possible. We cannot be held responsible for any consequences arising from inadvertent errors in content or from typographical or HTML coding errors, or from any use made of this web site or the information contained herein.

Individually Custom-Engineered (ICE), VariVox, Counterpoise, Varipoise, White Satin, Little Mayhem, Total Mayhem, Complete Mayhem, Utter Mayhem, and NeoCer are trademarks of KVG Laboratories.

We reserve the right to effect improvements and changes to any and all products and services without prior notice. The presence of any product or information represented by or connected herein as a HTML "link" does not constitute an endorsement of that information, company, individual, product, good, or service; or can be interpreted as a statement or guarantee of any of the same by the staff or management of KVG Laboratories.

The information presented within this web site is offered solely for informational and publicity purposes; no statement of, nor implied warranty of its suitability for any purposes other than that for which it is intended is made. Please note that our solicitations for bands or music should not be interpreted as an assurance that all Works submitted to KVG Laboratories will be accepted.

We reserve the right to refuse service to anyone, or to answer or to not answer electronic mail, telephone calls, letters, parcels, telegrams, or other transmittals at our discretion. All products described herein are subject to prior sale. Not responsible for lost personal belongings.

Not responsible for typographical errors or other errors. Although we strive to ensure all information herein is correct, we are not responsible for the consequence of your use, misuse or interpretation of any or all information herein.

KVG Laboratories donates a portion of all sales to MusiCares, which provides a safety net for music people in times of need.