The MOTU 1296 adds twelve channels of high-quality 96kHz, 24-bit analog input and output to MOTU's PCI-424 core system. Clean converters, balanced TRS throughout and rock-solid performance.A useful I/O expander...
A genuinely rare piece of British studio history. The Chilton M10/2 Mk6 was the final and most refined version of Chilton's celebrated Quiet Mixer series, a 10-input, 2-output portable console...
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...
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...
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...
The MU-R201 is Sony's twin-engine answer to the pro reverb market: two independent reverb processors in one box, so you can run two spaces at once or chain them for...
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 MPC60 is where the modern MPC story begins. Designed by Roger Linn, it married 12-bit sampling with the swing and feel that defined boom-bap and built half of hip-hop...
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...
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...
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...
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...
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...
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 VP-70 is one of those rare boxes that does something genuinely odd: it takes a voice in, tracks its pitch, and lets you process, harmonise and re-pitch it like...
In 1974 Sony looked at the Nagra, the Swiss reporter's recorder that cost as much as a small car, and built its own for half the money. The TC-510-2 is...
The Sony SRA-3 is the all-valve recording amplifier that quietly became one of the most hunted secret weapons in modern psych. Built in the 1960s to ride alongside Sony's reel-to-reel...
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 Yamaha MV802 is a compact rackmount line mixer, perfect for folding extra synths, modules or effects returns into your setup without burning channels on the big desk. Simple, clean...
The 1176 is the other most-famous compressor in the world (the FET one), and this is Universal Audio's hand-built reissue of the blackface 1176LN, true to Bill Putnam's D/E-rev design....
The Sherman Filterbank is the cult Belgian effect that producers reach for when they want something to sound dangerous. Run drums, synths, vocals, anything through its screaming, self-oscillating multimode filters...
