The TEAC AN-300 is the noise reduction companion to TEAC's 1970s multitrack system, and this one comes from the same set as our TEAC AX-300 mixers. Built to tame tape...
The Roland RE-501 Chorus Echo is the final, fullest evolution of the Space Echo line, and if you only ever own one tape echo, the faithful agree this is the...
The Joemeek SC4 brings the cult British photo-optical compression sound to the stereo bus: smooth, vibey gain reduction that flatters mixes, drums and vocals with character rather than clinical control.The...
The LA-2A is the most famous compressor in the world, and for good reason. This is Universal Audio's faithful reissue of the early-60s Teletronix classic, point-to-point hand-wired in California, using...
Ask a roomful of mix engineers about a do-anything stereo compressor and Elysia's Xpressor keeps coming up. This is a discrete Class-A stereo compressor built in Germany to mastering-grade standards,...
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...
Ask a roomful of engineers to name one compressor they cannot live without and a scary number will say the Distressor. Since 1995, Dave Derr's EL8 has been the go-to...
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,...
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...
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...
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...
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....
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...
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...
A heavyweight from the golden era of Japanese hi-fi. The Yamaha B-4 is a Natural Sound stereo power amplifier from 1978, built as two symmetrical mono amplifiers in one 21kg...
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...
Hand-built in California by Speck Electronics, the Model ASC is a boutique four-band parametric EQ with a cult following: clean, musical and surgical, yet never thin or harsh. This is...
Don't let the modest price fool you, the 18Xs MkII is a seriously good single-channel front end. A transformer-coupled, Class-A microphone preamp with up to 65dB of gain, a high-impedance...
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...
In 1972, the ARP Odyssey was the duophonic answer to the Minimoog: punkier, weirder, and bristling with sliders where Moog had knobs. Decades later, Korg teamed up with original designer...
