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...
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...
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...
The Roland MCR-8 is a tidy hands-on control surface: eight channel faders, assignable knobs, function buttons and full transport, all sending MIDI to your sequencer, DAW or modules. A simple,...
Out of Austin, Texas came a graphic EQ that quietly became the studio standard while flashier rivals grabbed the magazine covers. The White Instruments 4400 skips the fragile faders and...
Akai's late-90s reinvention of the sampler: a big graphical screen, a computer-style workflow, and that clean 16-bit Akai character. This particular unit is loaded to the gills, RAM maxed at...
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...
The Korg minilogue is the little analog polysynth that reignited the whole craze: four voices of genuine analog warmth, a brilliant oscilloscope display, a proper step sequencer and a hands-on...
