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...
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...
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 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...
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...
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....
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 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...
Before everyone could afford a rack of delays, the SDE-1000 was how you got real Roland digital echo without remortgaging the studio. It has that smooth, musical Roland repeat that...
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 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...
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 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 Yamaha MV802 is a compact rackmount line mixer, perfect for folding extra synths, modules or effects returns into your setup without burning channels on the big desk. Simple, clean...
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 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...
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...
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 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 S3000XL's clever sibling: the same beloved 16-bit Akai sampling engine with a CD-ROM drive built into the front, so you drop in a sample disc and load straight off...
The Roland GAIA SH-01 is the synth that refuses to hide anything from you. Every function gets its own knob or button, three full virtual-analog tone engines stack into one...
