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...
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 LA-2A is the most famous compressor in the world, and for good reason. This is Universal Audio's faithful reissue of the early-60s Teletronix classic, point-to-point hand-wired in California, using...
The Joemeek SC4 brings the cult British photo-optical compression sound to the stereo bus: smooth, vibey gain reduction that flatters mixes, drums and vocals with character rather than clinical control.The...
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 ART Pro VLA II is the secret-weapon comp for engineers who want LA-style optical squish without the boutique price. Two channels of opto compression with a tube gain stage,...
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...
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...
Ask a roomful of mix engineers about a do-anything stereo compressor and Elysia's Xpressor keeps coming up. This is a discrete Class-A stereo compressor built in Germany to mastering-grade standards,...
If you could own one stereo bus compressor for the rest of your life, a frightening number of top engineers would name the Neve 33609. Derived from the legendary 2254...
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....
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...
Orban built its name on broadcast and studio processing, and the 672A is a workhorse parametric EQ that does precise, musical tone-shaping the cheap stuff cannot touch. Each unit gives...
This is the holy grail of Sherman gear. The Quad Modular Filter takes the cult Filterbank, the snarling, screaming, envelope-following distortion filter that producers worship, and stacks four of them...
A heavyweight from the golden era of Japanese hi-fi. The Yamaha B-4 is a Natural Sound stereo power amplifier from 1978, built as two symmetrical mono amplifiers in one 21kg...
Out of Austin, Texas came a graphic EQ that quietly became the studio standard while flashier rivals grabbed the magazine covers. The White Instruments 4400 skips the fragile faders and...
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...
Tune your system by eye and ear. The Yamaha EQ-630 is a Natural Sound stereo graphic equalizer from 1989, and a properly sophisticated one: ten bands per channel with fully...
The Victor/JVC SEA-80 is one of the prettiest pieces of vintage hi-fi you can put in a rack: a 10-band-per-channel stereo graphic equalizer from 1979 with a built-in, glowing fluorescent...
Roland only sold the RDE-1800 in Japan, which is the main reason so few of these ever left the country. It pairs a digital delay with a real spring reverb...
Hand-built in California by Speck Electronics, the Model ASC is a boutique four-band parametric EQ with a cult following: clean, musical and surgical, yet never thin or harsh. This is...
