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...
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...
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 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...
Tascam took Antares Auto-Tune, the technology that quietly rewired pop music, and bolted it onto a proper channel strip. The TA-1VP is a full vocal chain in a single rack...
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...
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...
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...
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...
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...
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...
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...
Steinberg and Yamaha's UR28M is a do-it-all desktop audio interface that quietly punches above its weight: pristine D-PRE mic preamps, rock-solid drivers, and, crucially, a proper hardware monitor controller with...
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...
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...
Roger Linn's LinnDrum (often miscalled the LM-2) is the sound of an entire decade: the sampled-drum machine that put real kicks, snares and hats into pop, R&B and new wave...
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...
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...
