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...
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...
The Xtreme Lead-1 (XL-1) is E-MU's dance-music powerhouse, built on the Proteus-2000 platform and stuffed with trance leads, techno stabs, hard basses, arps and kits aimed squarely at the dancefloor....
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...
The E-MU Proteus 2500 is a powerhouse rack sound module and command station: over a thousand ready-to-go sounds, a deep synthesis engine, real-time knobs and an onboard 16-track sequencer. From...
Don't let the cartoon fat man fool you: the HHB Radius 3 is a genuine valve stereo compressor with a glowing VU and a brilliantly simple program-based front end. Pick...
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...
When a studio needed a workhorse that sounded like a Studer but didn't cost like one, it bought a Revox PR-99. Built in Switzerland on the bones of the legendary...
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...
Studer built the tape machines that defined recording, then turned the same Swiss obsession to mixing. The 169 landed in 1978 as a compact broadcast desk for European radio and...
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,...
Built at the peak of the 1970s "receiver wars", the Sansui AU-11000 was the company's no-compromise flagship integrated, and it shows. 110 watts a side, dual fully-independent channels from power...
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...
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...
A complete hardware mixing desk for your DAW, in two pieces. The Softube Console 1 brings the legendary Solid State Logic 4000 E channel strip to your fingertips: four-band EQ,...
If you could own one stereo bus compressor for the rest of your life, a frightening number of top engineers would name the Neve 33609. Derived from the legendary 2254...
The Sony VT-M5 is the kind of gadget you would expect in a Cold War surveillance van or on the set of 2001: A Space Odyssey. Billed as an Audioscope...
The Mutronics Mutator is the rare and revered rackmount analog filter: two channels of fat, resonant filtering with envelope followers, LFOs and ring modulation, from subtle movement to full-on mangling.Used...
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,...
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 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...
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...
If a record sounds good on NS-10s, it sounds good everywhere, which is why these white-coned Yamahas ended up on the meter bridge of nearly every serious studio on earth....
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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