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...

In 1976 David Blackmer built the first solid-state VCA compressor and changed recording forever. The 160 is brutally simple, three knobs and a big switchable VU, but it does one...

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...

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 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 160S is dbx founder David Blackmer's high-end reimagining of his own legendary 160 VCA compressor, hand-built in the boutique Blue Series. A true-stereo (or dual-mono) VCA compressor with that...

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...

A lovely standalone TEAC record/playback amplifier from the reel-to-reel golden age: the electronics half of a classic tape setup, with a big glowing VU meter, monitor switching, tape-speed EQ and...

Before Eventide made pitch-shifting respectable and digital FX racks took over studios, MXR quietly unleashed the 129 Pitch Transposer: a gritty, unpredictable, slightly drunk box of pitch-warping chaos. It was...

The Boss BX-600 is a tidy little six-channel stereo mixer from Roland's Boss line: gain, pan, effect send and volume per channel, a built-in effect loop and that dependable 80s...

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...

Before reverb came in a plugin, it came in a heavy rack box that cost as much as a car, and URSA Major built one of the finest of the...

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...

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...

Incredible condition and with remove control- one of the true holy grails of vintage digital. The Publison Infernal Machine 90 is an exceptionally rare French multi-effects processor and sampler from...

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...

Released in the early 1970s, the TEAC AX-300 is a 6:4 analog mixer built for the golden age of home multitrack. Conceived as the mixing companion to TEAC's legendary 4-channel...

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...

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...

Millennia's Origin is what happens when a boutique builder refuses to compromise. One 2U chassis hides two complete signal paths, one all-tube, one all-discrete solid state, switchable at the touch...

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...

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...

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 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,...