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 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...
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...
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....
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...
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...
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 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...
