Akai's late-90s reinvention of the sampler: a big graphical screen, a computer-style workflow, and that clean 16-bit Akai character. This particular unit is loaded to the gills, RAM maxed at...

The Yamaha MV802 is a compact rackmount line mixer, perfect for folding extra synths, modules or effects returns into your setup without burning channels on the big desk. Simple, clean...

Before everyone could afford a rack of delays, the SDE-1000 was how you got real Roland digital echo without remortgaging the studio. It has that smooth, musical Roland repeat that...

Roland built the Integra-7 as the ultimate SuperNATURAL sound source: a rack-mount brain stacked with thousands of studio-grade acoustic, band and synth tones, drawn from Roland's flagship workstation lineage. Sixteen...

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...

The Studio Electronics SE-1 is what happens when boutique builders take the Minimoog blueprint and crank it to eleven. A pure analog monosynth with three discrete oscillators, a fat multi-mode...

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...

Do not let the 25 keys fool you. The Subsequent 25 packs the full-fat Moog ladder filter, three oscillators and a re-tuned multidrive circuit into Moog's most compact keyboard synth,...

A tidy slice of Sony hi-fi history, the MU-E151 is a graphic equalizer built to fine-tune a home system. Per-channel sliders let you carve the response to taste, and it...

The Sony SRA-3 is the all-valve recording amplifier that quietly became one of the most hunted secret weapons in modern psych. Built in the 1960s to ride alongside Sony's reel-to-reel...

When the synth collection outgrows the desk, the MM-200 is the answer: sixteen channels of line mixing with EQ, effect sends and stereo returns, all in a tidy rack. Built...

Out of Austin, Texas came a graphic EQ that quietly became the studio standard while flashier rivals grabbed the magazine covers. The White Instruments 4400 skips the fragile faders and...

Studer built the tape machines that defined recording, then turned the same Swiss obsession to mixing. The 169 landed in 1978 as a compact broadcast desk for European radio and...

The CS6R packs the entire engine of Yamaha's CS6x performance synth into a 1U rack: lush AWM2 sample-based sounds, a full FM synthesis system, multitimbral parts, and a bank of...

Before digital reverb took over, the MICMIX Master Room was the spring reverb serious studios reached for: a big, lush, three-dimensional spring sound far richer than the tanks built into...

Sony built consumer hi-fi that obsessed over clean signal paths, then turned the same obsession loose on a studio reverb. The DPS-R7 is a tidy 1U digital reverb from the...

The M5000 was TC's flagship Digital Audio Mainframe, a modular, software-upgradable processing platform that became a studio benchmark for reverb in the 90s and never really left. Engineers still rank...

The Komplete Kontrol keyboard puts Native Instruments' huge sound world at your fingertips: touch-sensitive knobs, light-guided key zones and tight integration with Komplete and your DAW. A compact, clever controller...

The AKG BX20E is the king of spring reverbs: a torsional transmission-line spring system in its own substantial cabinet, giving long, lush, three-dimensional decays that sit somewhere between a plate...

The Jupiter-Xm is Roland's love letter to its own history, shrunk into a portable, battery-powered box with built-in speakers. Its ZEN-Core engine runs authentic Model Bank recreations of the Jupiter-8,...

Behringer's CRAVE took one look at the price of a vintage mono synth and lopped off a couple of zeros. Under the hood: a proper analog 3340 oscillator, a creamy...

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...

When a studio needed a workhorse that sounded like a Studer but didn't cost like one, it bought a Revox PR-99. Built in Switzerland on the bones of the legendary...

In 1972, the ARP Odyssey was the duophonic answer to the Minimoog: punkier, weirder, and bristling with sliders where Moog had knobs. Decades later, Korg teamed up with original designer...