Latest User Reviews

The TL Audio Original Classic Series C-1 is a super cool dual channel preamp and compressor. It’s got tubes in it that make it sound awesome and warm. You can plug in your guitar or microphone directly into the front panel, and there’s even XLR inputs and outputs in the back. It’s all analog too, which is pretty sweet, and it’ll take up two spaces in your rack. Best part is, each channel has a bunch of options for you to mess around with, like choosing between mic/line/aux inputs and messing with your line input gain. Overall, it’s a rad piece of equipment that’ll definitely make your audio sound sick.

Back in the day, the YAMAHA CDR1000 served as an excellent choice for burning professional-grade CD masters. With the inclusion of the Apogee UV22 Super CD encoding, these masters sounded their absolute best. Even today, the CDR1000 remains a worthwhile purchase, not only for its ability to create high-quality CD masters but also for its superb CD playback system.

During the time when these machines and ADATs were the norm for budget recorders, I frequently suggested the Tascam DA-88 machines as a better alternative to the ADATs. Regrettably, ADATs were more prevalent and to ensure compatibility between studios, I often had to work with them. In my experience, I found that Tascam machines not only sounded superior but also functioned more reliably than ADATs. They synchronized at a faster rate and remained synchronized better once set up.

The DBX 165 compressor is a versatile and reliable tool for anyone looking to achieve the distinctive DBX VCA compression sound. Its slightly cleaner and less aggressive sound may make it a better choice for some users, while its affordability compared to the 160VU makes it an appealing option for those on a budget.

The 1176 compressor is the one I always reach for! It’s one of the best compressors for rock and/or R&B bass, but it also performs exceptionally well on drums, acoustic instruments, and high-transient sources. What’s more, it’s perfect for mixing as it doesn’t alter the sound unless you deliberately adjust the settings. However, it can be pretty aggressive on vocals.

For the past four or five years, I’ve been using the EMT 140 plate reverb whenever possible, and I can confidently say that it has one of the most exceptional reverb sounds I’ve ever heard. The realism it adds to my mixes is truly remarkable. It’s no wonder that the EMT 140 has become a classic piece of gear and is often considered the holy grail of plate reverbs. Although they are quite expensive these days, if you have access to a studio that has them, they are a must-use.

The Empirical Labs Distressor is a fantastic device that brings color and warmth to your sound. It’s an all-around great workhorse that produces exceptional sound quality, making it a joy to use. One of the standout features of this unit is its extremely versatile compression curves, allowing it to handle a broad range of tasks from subtle compression to enhancing the snap and bite of percussion, drums, and vocals in British mode. I highly recommend getting two units and stereo linking them for an even better experience. With high-quality results and excellent value for money, it’s no wonder why I love the Distressor so much.

The Empirical Labs Distressor is a remarkable tool for enhancing the sound of drums and rock guitars. I have been using two of them for years and they are my preferred choice for compressing the kick and snare, as well as for rock guitar. If you’re unfamiliar with the unit, a good starting point is to set all knobs at 5 and then experiment with the ratio buttons to achieve different sounds. The nuke feature is particularly impressive for adding grit to your mix. I highly recommend this compressor to anyone looking to improve their sound. It’s a must-have in any rack setup.

Owned it since new, still use it today. Great reverb.

The only way I can describe the sound is Creamy! The remote was amazing. The one-and-only.

One of my regrets, was selling my Rev1! About 10 years ago. I first saw one being used in SAE London and immediately wanted one. When they came out, they were a fortune over here in the U.K and Yamaha placed it directly into the AMS / Lexicon 480 price bracket.

Unfortunately, the seed was already set and most studios went either for one or two of the others, so consequently these units are quite rare. I eventually bought one on an auction site and I have to say I was surprised now reminiscent the sound was to a Rev 7. I’m told, Yamaha used the same LS I chip inside both units but with more options for the Rev 1.

The remote control looks absolutely fantastic and has pretty much every permutation available to the end user. The display, while intuitive is helpful but not a necessity. These weigh a ton, so if you rack it, be aware!

Feels like there is some weird digital magic in that box!