The Studio Electronics SE-1 is what happens when boutique builders take the Minimoog blueprint and crank it to eleven. A pure analog monosynth with three discrete oscillators, a fat multi-mode...
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...
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...
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...
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...
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....
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...
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...
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 StudioComm is a purpose-built monitor controller from Studio Technologies: clean, transparent level control, source and speaker switching and talkback, all in a tidy desktop console. The unglamorous-but-essential brain that...
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...
Before digital reverb took over, the MICMIX Master Room was the spring reverb serious studios reached for: a big, lush, three-dimensional spring sound far richer than the tanks built into...
The AKG BX20E is the king of spring reverbs: a torsional transmission-line spring system in its own substantial cabinet, giving long, lush, three-dimensional decays that sit somewhere between a plate...
The Alesis MultiMix 12R folds a full twelve-channel mixer into a rack: mic preamps, EQ, aux sends and a metered master section, all standing upright to save your desk space....
Roland built the Integra-7 as the ultimate SuperNATURAL sound source: a rack-mount brain stacked with thousands of studio-grade acoustic, band and synth tones, drawn from Roland's flagship workstation lineage. Sixteen...
When the synth collection outgrows the desk, the MM-200 is the answer: sixteen channels of line mixing with EQ, effect sends and stereo returns, all in a tidy rack. Built...
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...
Pro monitoring control for your desktop, and a project-studio staple. The PreSonus Monitor Station V2 lets you switch instantly between up to four stereo sources and three sets of monitor...
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...
The Jupiter-Xm is Roland's love letter to its own history, shrunk into a portable, battery-powered box with built-in speakers. Its ZEN-Core engine runs authentic Model Bank recreations of the Jupiter-8,...
The Swissonic ControlKey 88 gives you a full eighty-eight keys of MIDI control, plus assignable faders, knobs, pads and transport for hands-on command of your DAW and soft-synths. A practical,...
