Every studio eventually has too many signals and not enough faders. The Fostex 2016 is the fix: a compact rack line mixer that quietly sums your stray synths, drum machines...
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...
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...
Pro monitoring control for your desktop, and a project-studio staple. The PreSonus Monitor Station V2 lets you switch instantly between up to four stereo sources and three sets of monitor...
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 PEQ6 is Akai's MIDI-controllable programmable equalizer from the late 80s, designed to sit alongside the S900/S950 samplers and the rest of the Akai rack. Six bands of EQ with...
When you need to track a whole band at once without remortgaging, the Tascam US-1641 is the quiet hero: sixteen inputs in, four out, eight mic preamps with phantom, all...
FATSO stands for Full Analog Tape Simulator and Optimizer, which is a lot of acronym for a box whose actual job is making digital recordings sound like they went through...
The Focusrite Liquid Channel is what happens when a British console legend decides to bottle every classic preamp and compressor ever made and pour them into one 2U box. Using...
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...
Roland only sold the RDE-1800 in Japan, which is the main reason so few of these ever left the country. It pairs a digital delay with a real spring reverb...
The Sound Technology 1500A is proper pro-audio test gear, built to measure and align tape machines back when tape was king. Wow and flutter, speed, distortion, frequency response, it does...
Ask a roomful of mix engineers about a do-anything stereo compressor and Elysia's Xpressor keeps coming up. This is a discrete Class-A stereo compressor built in Germany to mastering-grade standards,...
The TEAC Model 3 is the compact analog console from Tascam's golden era, back when home studios were beige, knobs were plentiful, and everything sounded a little warmer than it...
A genuine rarity. The REVAC NM-88 is a professional 8-channel microphone preamplifier from Japan's pro-audio world, the kind of obscure, well-built workhorse that surfaces only occasionally on Japanese auction sites...
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...
Roland's SRV-2000 is a 1U slice of mid-80s digital reverb that has aged into a proper character box. It pairs early digital reverb algorithms with a built-in 3-band parametric EQ,...
Otari built the MX-5050 for radio stations and studios that needed a tape machine to just work, every day, for decades, and that is exactly what it did. Balanced XLR...
Hand-built in England by Thermionic Culture, The Phoenix is a pure-valve stereo compressor beloved for the way it glues a mix together with warmth and weight rather than squashing it....
The Joemeek SC4 brings the cult British photo-optical compression sound to the stereo bus: smooth, vibey gain reduction that flatters mixes, drums and vocals with character rather than clinical control.The...
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...
Before every laptop shipped with a reverb plugin that sounded fine, Lexicon was building the boxes that defined what expensive sounded like. The LXP-15 is the half-rack sibling that snuck...
The ART Pro VLA II is the secret-weapon comp for engineers who want LA-style optical squish without the boutique price. Two channels of opto compression with a tube gain stage,...
The Endless Analog CLASP system bridges analog tape and the modern DAW: record through a real tape machine with zero monitoring latency, capturing genuine tape compression and warmth while keeping...
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