The MOTU 1296 adds twelve channels of high-quality 96kHz, 24-bit analog input and output to MOTU's PCI-424 core system. Clean converters, balanced TRS throughout and rock-solid performance.A useful I/O expander...
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...
The Universal Audio Apollo Twin is the desktop interface that put genuine UAD plug-in processing on every studio desk: gorgeous Unison preamps, pristine AD/DA conversion and the ability to track...
Sony built consumer hi-fi that obsessed over clean signal paths, then turned the same obsession loose on a studio reverb. The DPS-R7 is a tidy 1U digital reverb from the...
The MPC60 is where the modern MPC story begins. Designed by Roger Linn, it married 12-bit sampling with the swing and feel that defined boom-bap and built half of hip-hop...
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...
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...
Before Eventide made pitch-shifting respectable and digital FX racks took over studios, MXR quietly unleashed the 129 Pitch Transposer: a gritty, unpredictable, slightly drunk box of pitch-warping chaos. 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...
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...
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...
The VP-70 is one of those rare boxes that does something genuinely odd: it takes a voice in, tracks its pitch, and lets you process, harmonise and re-pitch it like...
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 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...
The M5000 was TC's flagship Digital Audio Mainframe, a modular, software-upgradable processing platform that became a studio benchmark for reverb in the 90s and never really left. Engineers still rank...
A genuine rarity. The REVAC NM-88 is a professional 8-channel microphone preamplifier from Japan's pro-audio world, the kind of obscure, well-built workhorse that surfaces only occasionally on Japanese auction sites...
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 Sherman Filterbank is the cult Belgian effect that producers reach for when they want something to sound dangerous. Run drums, synths, vocals, anything through its screaming, self-oscillating multimode filters...
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....
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 Mutronics Mutator is the rare and revered rackmount analog filter: two channels of fat, resonant filtering with envelope followers, LFOs and ring modulation, from subtle movement to full-on mangling.Used...
