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 MU-E041 is Sony's vintage parametric equalizer, giving you sweepable frequency and bandwidth control rather than fixed graphic bands. That means precise tone shaping for a hi-fi system or a...

Tune your system by eye and ear. The Yamaha EQ-630 is a Natural Sound stereo graphic equalizer from 1989, and a properly sophisticated one: ten bands per channel with fully...

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 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 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...

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 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...

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 Planet Phatt is E-MU's love letter to hip-hop, trip-hop and old-school R&B. Built on the same respected sound engine as the Proteus range, it is loaded with fat analog-style...

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 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...

Here is a slice of 1970s hi-fi ambition you rarely see: a discrete four-channel integrated amplifier from JVC's Victor line, complete with a built-in quadraphonic decoder and circuitry to handle...

The Victor/JVC SEA-80 is one of the prettiest pieces of vintage hi-fi you can put in a rack: a 10-band-per-channel stereo graphic equalizer from 1979 with a built-in, glowing fluorescent...

When your MIDI rig sprouts more modules than your desk can handle, the Roland M-240R steps in: twenty-four channels of line mixing in a rack, with the clean, quiet Roland...

The top of Akai's classic S3000 line: 16-bit/44.1 sampling, that unmistakable Akai filter, and a build that simply keeps running. This one is fully wired on the back, eight individual...

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 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...

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 Mo'Phatt is the Planet Phatt's bigger, slicker descendant, built on E-MU's Proteus-2000 platform. It is packed with modern urban, hip-hop and R&B sounds: deep sub basses, crisp kits, synths...

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...

The OSCar, built by the Oxford Synthesiser Company, is one of the most distinctive monosynths ever made: two oscillators with additive waveform shaping, a powerful multimode filter, an onboard sequencer...

The EPS 16 Plus is Ensoniq's 1990 sampling workstation and a low-key legend of golden-era hip-hop. It samples at 16-bit with that warm, slightly gritty Ensoniq character, and its killer...