In 1974 Sony looked at the Nagra, the Swiss reporter's recorder that cost as much as a small car, and built its own for half the money. The TC-510-2 is...
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 Sherman Filterbank is the cult Belgian effect that producers reach for when they want something to sound dangerous. Run drums, synths, vocals, anything through its screaming, self-oscillating multimode filters...
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 S1100 took the industry-standard S1000 and added onboard effects, SCSI, and a hard-disk option, the sampler that defined pro 16-bit sound at the turn of the 90s. This one...
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...
The E-MU Proteus 2500 is a powerhouse rack sound module and command station: over a thousand ready-to-go sounds, a deep synthesis engine, real-time knobs and an onboard 16-track sequencer. From...
The TEAC/Tascam M-30 is a proper early-80s all-analog 8-channel console, the kind of warm, characterful little mixer people buy precisely to take the cold edge off digital recordings. It was...
The Yamaha Q1131 is a professional 1/3-octave graphic equaliser: thirty-one bands of precise tone control for tuning rooms, taming feedback, or carving a signal exactly how you want it. Built...
Vintage tape at its most beautiful. The Akai M-7 is an early-to-mid 1960s tube reel-to-reel, a four-track, four-speed semi-professional deck with separate valve amplifiers for each channel, twin glowing VU...
The S1100EX is Akai's expansion unit for the legendary S1100 sampler. Linked to the host over MIDI and SCSI, it adds a second full set of voices and outputs, so...
When the S1000 landed in 1988, it did to the studio what the S900 had only hinted at: proper 16-bit, 44.1kHz stereo sampling that instantly became the professional benchmark. For...
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 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 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...
Yamaha's only real assault on the late-80s sampler wars, the TX16W is a 12-bit rack sampler with a character all its own: grainy, punchy, and (whisper it) arguably more pleasant...
The Yamaha MG124C is the workhorse 12-channel analog mixer that turns up everywhere for good reason: clean Yamaha mic preamps, musical 3-band EQ, built-in compression on the mono channels and...
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,...
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...
Roland's 12-bit rack sampler from the late 80s. The S-330 packs the same characterful converters as its keyboard siblings into a tidy 1U box, complete with that gritty, slightly lo-fi...
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...
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...
In the early 1980s Oberheim took aim at the Linn LM-1 and built a drum machine that quietly ended up on more classic records than almost anything else of its...
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