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...
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...
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...
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...
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...
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 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...
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...
The Watkins (WEM) Copicat is the original British tape echo: warm, characterful slapback and repeats from real moving tape, beloved since the late 50s by everyone from rockabilly guitarists to...
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...
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...
Everyone knows Sansui for the silver-faced receivers. Almost nobody knows they spent the early sixties building tube gear, and the MX-10 is the good one: a six-input valve mixing preamp...
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...
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 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...
The Quad 34 is the elegant preamplifier at the heart of Quad's celebrated 1980s system. Compact, beautifully made and famously musical, it offers disc, radio and tape inputs, tilt and...
The CA-1000 II is peak 1970s Yamaha: a Natural Sound integrated amplifier from the golden era of Japanese hi-fi, and the amp half the industry spent the next decade imitating....
The CA-2000 sits at the top of Yamaha's revered CA integrated line, the bigger, brawnier sibling of the CA-1000 and the amp Yamaha built by feeding its B-1/C-1 separate-amp know-how...
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...
Here is a slice of 1970s hi-fi ambition you rarely see: a discrete four-channel integrated amplifier from JVC's Victor line, complete with a built-in quadraphonic decoder and circuitry to handle...
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...
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...
