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...
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...
A lovely standalone TEAC record/playback amplifier from the reel-to-reel golden age: the electronics half of a classic tape setup, with a big glowing VU meter, monitor switching, tape-speed EQ and...
When you need to track a whole band at once without remortgaging, the Tascam US-1641 is the quiet hero: sixteen inputs in, four out, eight mic preamps with phantom, all...
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...
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...
When the S1000 landed in 1988, it did to the studio what the S900 had only hinted at: proper 16-bit, 44.1kHz stereo sampling that instantly became the professional benchmark. For...
Before everyone had a thousand soft-samplers in a laptop, you had a rack, a floppy disk, and twelve glorious bits. The Akai S950 is the box that chopped the breaks...
The Yamaha MG124C is the workhorse 12-channel analog mixer that turns up everywhere for good reason: clean Yamaha mic preamps, musical 3-band EQ, built-in compression on the mono channels and...
The Roland JSQ-60 is a slice of early-80s sequencing history: a digital keyboard recorder that captures your performances and plays them back to compatible Roland synths via DCB and MIDI....
The Endless Analog CLASP system bridges analog tape and the modern DAW: record through a real tape machine with zero monitoring latency, capturing genuine tape compression and warmth while keeping...
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...
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 Sound Technology 1500A is proper pro-audio test gear, built to measure and align tape machines back when tape was king. Wow and flutter, speed, distortion, frequency response, it does...
In 2011, Teenage Engineering looked at the bloated, menu-diving world of digital workstations and built the exact opposite: a slab of aluminium the size of a TV remote that somehow...
Millennia's Origin is what happens when a boutique builder refuses to compromise. One 2U chassis hides two complete signal paths, one all-tube, one all-discrete solid state, switchable at the touch...
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 TEAC Model 3 is the compact analog console from Tascam's golden era, back when home studios were beige, knobs were plentiful, and everything sounded a little warmer than it...
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 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...
