Clavia's original Nord Drum, the little red box that builds drum sounds from pure synthesis instead of samples. Four channels of resonant, subtractive percussion, each with click, noise and tone...
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...
The Oberheim Matrix-6R is the rackmount heart of one of the 1980s great analog polysynths, and this one comes paired with the Access Matrix Programmer, the dedicated hardware controller that...
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...
Orban built its name on broadcast and studio processing, and the 672A is a workhorse parametric EQ that does precise, musical tone-shaping the cheap stuff cannot touch. Each unit gives...
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...
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...
Before Dave Smith gave the world MIDI itself, Sequential's first drum machine landed in 1984 with a sound all its own. The DrumTraks packs thirteen crunchy 8-bit sampled voices (bass,...
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...
The Ensoniq SD-1 is the workstation that perfected the VFX-SD formula: gorgeous transwave synthesis, a built-in sequencer and that unmistakable lush, slightly dreamy Ensoniq character beloved by 90s producers and...
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...
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...
Victor (JVC's home-market brand) made some of the prettiest hi-fi gear of the era, and the SEA-60 is exhibit A: a stereo graphic equaliser with a mesmerising blue spectrum-analyser display...
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,...
The Monster 2 is exactly what it sounds like: a boutique Polish dual-channel beast that bolts a fast FET compressor to a NOS-tube saturation stage and a parallel mix knob,...
Clavia's Nord Drum 2 is what happens when Swedish synth wizards aim their talents at percussion. No samples, no presets pretending to be a kit, just six channels of pure...
Korg's Volca Keys proves you don't need a mortgage to own a real analog synth. Three genuine analog voices, a squelchy resonant filter, and a delay that smears everything into...
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...
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 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...
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...
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...
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...
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...
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