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 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,...

Don't let the modest price fool you, the 18Xs MkII is a seriously good single-channel front end. A transformer-coupled, Class-A microphone preamp with up to 65dB of gain, a high-impedance...

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...

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...

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 Auratone 5C is the legendary little mixcube that engineers from Motown onward used to check that a mix translates: full-range, single-driver, brutally honest. If it sounds good on an...

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...

Yes, the name is ridiculous. Get past it, because the Little Phatty is the real deal: a 100% analog, two-oscillator monosynth built around the genuine Moog ladder filter, and the...