The Warm Audio WA76 is a faithful, fully-discrete take on the legendary 1176 FET compressor, the one that has slammed drums, vocals and bass on countless hit records. Lightning-fast attack,...
The S3000XL's clever sibling: the same beloved 16-bit Akai sampling engine with a CD-ROM drive built into the front, so you drop in a sample disc and load straight off...
The Universal Audio Apollo Twin is the desktop interface that put genuine UAD plug-in processing on every studio desk: gorgeous Unison preamps, pristine AD/DA conversion and the ability to track...
The 1604-VLZ Pro is the mixer that earned Mackie its reputation: sixteen channels of clean, high-headroom analog with the famous XDR mic preamps, flexible four-bus routing, musical 3-band EQ and...
The MOTU 1296 adds twelve channels of high-quality 96kHz, 24-bit analog input and output to MOTU's PCI-424 core system. Clean converters, balanced TRS throughout and rock-solid performance.A useful I/O expander...
The TEAC AN-300 is the noise reduction companion to TEAC's 1970s multitrack system, and this one comes from the same set as our TEAC AX-300 mixers. Built to tame tape...
Yamaha's D1500 is the kind of dependable digital delay that quietly did the work on a thousand 80s records. Clean repeats, a genuinely useful modulation section for chorus and flange,...
The Roland RE-501 Chorus Echo is the final, fullest evolution of the Space Echo line, and if you only ever own one tape echo, the faithful agree this is the...
The MPC4000 is the biggest, most powerful MPC Akai ever built, and the one the heavyweights reached for. Under the hood sits the 24-bit/96kHz Z96 sampling engine borrowed from Akai's...
The MPC60 is where the modern MPC story begins. Designed by Roger Linn, it married 12-bit sampling with the swing and feel that defined boom-bap and built half of hip-hop...
The top of Akai's classic S3000 line: 16-bit/44.1 sampling, that unmistakable Akai filter, and a build that simply keeps running. This one is fully wired on the back, eight individual...
Roger Linn's LinnDrum (often miscalled the LM-2) is the sound of an entire decade: the sampled-drum machine that put real kicks, snares and hats into pop, R&B and new wave...
The LA-2A is the most famous compressor in the world, and for good reason. This is Universal Audio's faithful reissue of the early-60s Teletronix classic, point-to-point hand-wired in California, using...
The EPS 16 Plus is Ensoniq's 1990 sampling workstation and a low-key legend of golden-era hip-hop. It samples at 16-bit with that warm, slightly gritty Ensoniq character, and its killer...
Ask a roomful of engineers to name one compressor they cannot live without and a scary number will say the Distressor. Since 1995, Dave Derr's EL8 has been the go-to...
Before the SPX90 ruled the world, Yamaha's REV7 was the studio's go-to digital reverb: the rackmount sibling of the legendary SPX, with lush, glassy halls and plates that defined the...
If a record sounds good on NS-10s, it sounds good everywhere, which is why these white-coned Yamahas ended up on the meter bridge of nearly every serious studio on earth....
The Roland GAIA SH-01 is the synth that refuses to hide anything from you. Every function gets its own knob or button, three full virtual-analog tone engines stack into one...
Some studio boxes are famous; the Dimension D is famous for being invisible. Roland's SDD-320 does not warble or swirl like an ordinary chorus; it uses two synced bucket-brigade delay...
One of the very few synthesizers ever built on true additive synthesis, and Kawai's top-of-the-line workstation when it landed in 1996. Instead of starting from samples, the K5000W builds every...
Everyone knows Sansui for the silver-faced receivers. Almost nobody knows they spent the early sixties building tube gear, and the MX-10 is the good one: a six-input valve mixing preamp...
If you could own one stereo bus compressor for the rest of your life, a frightening number of top engineers would name the Neve 33609. Derived from the legendary 2254...
When Access dropped the Virus C in 2002, it didn't so much join the synth world as colonise it. This is the desktop module that turned up on countless trance...
The Prime Time (Model 93) was one of the first programmable digital delay processors, and it became an instant studio staple for its lush doubling, chorusing, and that slightly grainy...
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