The Movement Festival is a special time of year in Detroit. Every Memorial Day weekend, the city celebrates the unofficial start of summer the best way it knows how: with pounding electronic music, non-stop dancing, and thousands of people coming together in the heart of downtown. It’s a chance to shake off the long winter, soak in the sunshine, and lose yourself in the rhythm and camaraderie of friends, strangers, and fellow music lovers from all over the world. For one weekend, Detroit feels completely alive with the pulsating sounds and rhythms of electronic music.

Detroit is the perfect home for a festival like Movement because the city quite literally invented techno. In the early 1980s, three pioneers from nearby Belleville, Kevin Saunderson, Derrick May, and Juan Atkins, transformed the mechanical sounds of the Motor City into something futuristic and soulful. Inspired by the rhythmic hum of factory assembly lines and artists like Kraftwerk, Parliament Funkadelic, and Yellow Magic Orchestra, they used drum machines and synthesizers to create a style of dance music that was uniquely Detroit. As Detroit techno met with the house music sounds of Chicago and New York, it spread across underground clubs and festival stages around the world, laying the foundation for today’s thriving electronic music and EDM culture.

Movement started in the early 2000s as the free weekend Detroit Electronic Music Festival. The festival was initially successful on a local and regional level, and continued to grow over the years. A series of name changes and sponsorships helped grow the national and international recognition of the festival, and it eventually became the Movement festival that we know and love today. It attracts artists and DJs from all over the world, while always staying true to its Detroit roots and continually showcasing local talent.

Movement itself is more than just a festival; it’s a vibe, and the location is a huge part of that experience. Set in Hart Plaza among the towering skyscrapers of downtown Detroit, right along the busy Detroit River where an occasional freighter will coast by, and with Canada visible just across the water, the festival feels uniquely urban and futuristic. The mid-century concrete and almost brutalist architecture, massive steel fountain, industrial skyline, and pulsating stage lights combine to create an atmosphere that seems almost neo-Blade Runner-esque. It’s hard to imagine a more fitting place to experience techno music than in the city where it was born.

This year’s Movement began with weather that was anything but summery. Foggy, drizzly, and cold, it was classic Rust Belt weather that felt straight out of a gritty, noir Elmore Leonard novel. But if there’s one thing true about people who party in Detroit, it’s that bad weather never kills their vibe. Ponchos, raincoats, and soaked hoodies became the day's uniform as crowds danced through the rain without hesitation. The low clouds and rolling fog only added to the atmosphere, giving the pulsing electronic music pouring out of Hart Plaza an almost otherworldly feeling. Early on, I made sure to catch legendary Detroit icon DJ Godfather, whose set was packed with ghetto-tech and electro classics, immediately brought the crowd to life, and set the tone for the rest of the weekend.

The rain kept coming on and off, and as the skies slowly cleared over the following days, the energy of the festival only grew stronger. People danced harder, stayed out later, and fully settled into the hypnotic rhythm that defines Movement. Some standout sets included the razor-sharp tech house grooves of Carl Craig b2b Cashmere, the frantic, shuddering amen breaks of X-Altera, and the deep, pulsating Detroit techno of Kevin Saunderson. Sheefy McFly delivered rapid-fire electro that rattled the Detroit stage, and DJ Harvey brought deep, sultry disco grooves that felt warm and euphoric against the cool evening air. Dopplereffekt’s atmospheric, sci-fi feeling set created moments of pure electronic bliss. Meanwhile, the underground stage captured the raw spirit of old-school rave culture, with its dark, echoing atmosphere perfectly complementing the relentless, high-speed techno of artists like DJ Stingray and DJ Bone. The cavernous room and pulsating lights made you feel for a moment that you were at some long-lost old school warehouse party in a defunct auto factory. True Detroit techno vibes.

The crowd is part of what makes Movement so special. A vast swatch of dance music lovers from all over the world. From full-costumed ravers, dark techno aficionados donning all black, break dancers with their urban fashion sensibilities, to the house heads, goths, dance punks, and everyone else of all ages in between, united by their love of all things house, techno, drum and bass, and EDM. There is something very genuine about the Movement crowd as well, something hard to put your finger on, unabashed honesty in partying that can be lacking from other techno festivals. Maybe it's indicative of the roll-up-your-sleeves attitude of the Midwest city that hosts it, but Movement is a little more down-to-earth and real. Techno in Detroit is for the people.

Once the festival winds down at midnight, the real partying just begins. The dance music spreads to dozens of after parties, flung far into clubs, bars, art galleries, rooftops, and other venues across the city, keeping the dancing going on into the next morning. For three days, Detroit is a place where the beat never stops, the night never truly ends, and the dance floor is always open. This is Techno Christmas, and you're celebrating with thousands of members of your dance family.

Throughout the weekend, Movement once again proved why Detroit remains one of the true spiritual homes of electronic music. The crowd, the vibe, the beats, it all just fits this city perfectly. I can’t think of a better way to start summer than a homecoming into the place that invented techno, and a celebration with some of the best people on earth.

 

Even before all the plug-ins, pedals, plates, and springs we enjoy today, reverb has always been the secret sauce that makes music sound better. From ancient amphitheaters to Renaissance cathedrals and modern concert halls, acoustical reflections have shaped the way we enjoy music for millennia.

But about 100 years ago, something changed. Right around the time that optical and magnetic recording were invented, engineers began experimenting with ways to generate artificial reverb to enhance recordings. Reverb technology evolved slowly at first, starting with simple electro-mechanical devices, then advanced rapidly alongside technological breakthroughs like integrated circuits, computers, and spatial audio. 

Today, we’re exploring the history of music’s most popular effect, from the earliest reverb prototypes to classic vintage units and innovative new plug-ins.

Early Reflections

The earliest attempts to generate non-acoustical reverb involved transmitting audio signals through metal springs with transducers at both ends. Beginning in the 1930s and continuing to this day, what started as industrial research would turn out to become a defining sound of music.

1930s

Bell Labs creates an experimental spring reverberator

The first documented artificial reverb device dates back to Bell Labs’ research on telephone line transmission delay. Bell engineers used metal springs as a small-scale testbed to study the way waves traveled through long telephone lines, using oil to dampen reflections as waves traveled through the springs.

1935

Hammond Organ Company introduces the first reverb effect for music

Laurens Hammond, inventor of the tonewheel organ popularized by jazz, gospel, and rock music, took advantage of Bell’s research and implemented spring reverberators in his early home organ products. These early Hammond reverbs featured two long springs suspended vertically in oil-filled tubes, whose decay time could be adjusted by varying the oil level. Later models would incorporate a more practical “necklace” reverb featuring springs of varying lengths suspended in a U-shape similar to a necklace.

1942

General Electric patents the first echo chamber prototype

A patent credited to GE Engineer William D. Phelps describes a primitive version of what we would now call an echo chamber: a wooden box with a speaker mounted on one side and a microphone on the other. Signals fed into the speaker reverberated around the enclosure, introducing reflections and altering the tone, and the resulting sound was picked up by the microphone to be recorded.

1947

Bill Putnam becomes the first to use an echo chamber in recorded music

The first time the world heard an echo chamber was on the song “Peg o’ My Heart” by the Harmonicats, produced by Bill Putnam of Universal Recording. Putnam re-amped and recorded tracks in a bathroom at his Chicago studio, marking the first use of artificial reverb on a record.

1950s

Echo chambers become a staple of recording studios

After Bill Putnam introduced the world to the magic of echo chambers, all the big studios began rushing to build their own. Capitol Records hired Les Paul to help design the trapezoid-shaped chambers in the building’s foundation, Sunset Sound built similar chambers in the studio originally designed for recording Disney soundtracks, Gold Star Studios built a chamber that would later be used by Phil Spector to create his trademark “Wall of Sound,” and even the attic at Motown’s Hitsville USA was used as a chamber.

Plates and More Springs

The following decades saw many advancements in reverb technology, including EMT’s famous plate reverbs, Fender’s iconic reverb amps, and the legendary Roland Space Echo delay/reverb units. This golden age of reverb gave us some of the “wettest” music ever made, including surf rock, dub, and psychedelia.

1957

EMT introduces Model 140 plate reverb

The next major reverb innovation arrived when German company Elektromesstechnik (EMT) developed the EMT 140: the world’s first plate reverb. Instead of sending vibrations through a spring, the EMT 140 featured a magnetic coil driver attached to a nearly eight-foot sheet of steel suspended so it could resonate freely. Another transducer (or two, on the stereo version) picked up the reverberated signal in stereo, and an adjustable damper altered the decay time up to a maximum of about four and a half seconds. The EMT 140 made reverb accessible to studios without chambers, and this classic effect is still coveted by vintage aficionados and replicated in countless plug-ins.

1961

Ampeg introduces the first guitar amp with built-in reverb 

Launched in May of 1961, the Ampeg R‑12‑R Reverberocket was the first combo amp to include an onboard spring reverb tank, giving guitarists easy access to reverb for the first time.

Fender introduces standalone spring reverb unit

The uninspiringly named Fender Reverb Unit housed a dual-spring tank with Dwell, Tone, and Mixer controls and a tube amplification stage. Though not as convenient as the Reverberocket, the Fender Reverb Unit had the flexibility advantage, as it could be used with amps, PA systems, or as an insert effect in the studio.

1963

Fender introduces Vibroverb and Twin Reverb combo amps

Fender quickly followed up with its own reverb amps: first the Vibroverb and then the Twin Reverb. The Fender Twin Reverb became especially popular, being used by artists as diverse as Stevie Ray Vaughan and Radiohead.

1970

AKG introduces BX20 dual spring reverb

Featuring two fully independent spring reverb tanks suspended in one enclosure, the AKG BX20 remains one of the most unique electromechanical reverb devices ever made. Tank A was voiced slightly warmer and Tank B slightly brighter, and they could be used in series or parallel, giving engineers more options than ever. Some models even included a remote control unit for adjusting reverb from the console.

1973

Roland combines echo and reverb in the RE-200

Before it evolved into the iconic Space Echo, the original Roland RE-200 was the first tape delay unit to include built-in reverb, taking the already psychedelic sound of tape echo to new heights of trippiness.

Reverb Goes Digital

Analog reverb will always have a special sound, but as soon as digital audio emerged, someone was destined to make a digital reverb. While the earliest units sounded pretty rough around the edges compared to their analog counterparts, the technology matured quickly and delivered sounds that no hardware reverb could produce.

1976

EMT introduces the first digital reverb

The revolutionary EMT 250 was the first reverb device to generate artificial reflections using only ones and zeroes. Powered by a 12-bit/24 kHz processor, the EMT offered not only reverb but also delay, phaser, chorus, echo, and “space” effects. Parameters were adjusted by physical levers, including reverb decay times ranging from 0.6 to 4.5 seconds.

1978

Lexicon 224 introduced 

Not long after EMT introduced the world to digital reverb, the company behind the first digital delay (the Lexicon Gotham Delta T-101 from 1971) developed its own. Announced at the 1978 AES convention and officially released in 1979, the Lexicon 224 offered a more refined sound, eight preset algorithms to choose from, and a handy remote controller with six sliders for detailed parameter tweaking. Lexicon continued to improve its algorithms with the 224X and 224XL, convincing the music industry that digital reverb could sound just as lush as analog and even more realistic.

1979-1980

Peter Gabriel becomes the first artist to use gated reverb

Everyone knows gated reverb as the sound of the ‘80s, and it all started in a 1979 session for Peter Gabriel’s third solo album. While recording Phil Collins on the drums, engineer Hugh Padgham noticed that the SSL console’s Listen Mic Compressor would open after a snare hit but clamp down on the signal before the tail finished ringing out. Ever the innovator, Gabriel decided to recreate the effect for the song “Intruder,” released in 1980. Soon after that, Collins would use the same effect on “In The Air Tonight,” the song most people associate with over-the-top ‘80s drum sounds.

1981

AMS introduces the RMX16 programmable digital reverb

Another early innovator in digital reverb was Advanced Music Systems (AMS), a British company that would later be merged with Neve to create AMS Neve. The iconic AMS RMX16 evolved from the DMX15R, an add-on to the AMS DMX 15-80S digital delay and the first digital reverb to use microprocessor technology. In 2020, AMS Neve brought this classic back in 500 Series format with all the original ‘80s algorithms and more (including Non-Lin 2, the digital version of the Peter Gabriel/Phil Collins gated reverb).

1982

Eventide introduces the SP2016 modular digital reverb

In 1982, Eventide upped the ante again with the SP2016, a unique digital reverb processor featuring interchangeable ROM chips. Technically qualifying as the world’s first reverb plug-ins, these chips could be physically swapped out to load the unit with different algorithms.

1985

Alesis makes digital reverb affordable

Alesis is widely known for making studio effects accessible for home recording with products like the 3630 compressor, famously used by Daft Punk, but it all started with reverb. With the original Alesis XT Reverb, and later the Midiverb, Microverb, and Quadraverb lines, Alesis brought reverb to the masses, artifacts and all.

1987

BOSS introduces the first reverb guitar pedal

By the late ‘80s, DSP chips had finally gotten small enough that a reverb effect could be put into stompbox form. The BOSS RV-2 Digital Reverb featured six algorithms with adjustable decay time, wet/dry blend, pre-EQ, and stereo outputs, giving guitarists a palette of sounds that would have been unimaginable just a decade before.

1998

TC Electronic introduces M3000 digital reverb with VSS

Multi-effects powerhouse TC Electronic had a major hit with the M3000, a standalone stereo reverb featuring Virtual Space Simulation (VSS) technology. VSS algorithms excelled at simulating realistic early reflections, making the M3000 a popular choice for post-production studios.

Reverb in the Modern Era

As digital audio began to take over the music industry, reverb technology became exponentially more advanced in a short period. Convolution reverb made it possible to turn any space into a virtual echo chamber, DSP modeling made legendary hardware accessible in plug-in form, and spatial audio technology gave rise to mind-blowing immersive reverb.

1999

Sony introduces the first convolution reverb

The Sony DRE S777 Sampling Reverb introduced the concept of convolution reverb: the ability to sample the acoustics of a physical space and turn it into a digital reverb algorithm. The 2U rack unit featured a CD-ROM drive for loading samples, a memory card slot for saving and loading patches, and a faux wood front panel with chrome accents that screams late ‘90s.

2001

Audio Ease introduces Altiverb convolution reverb plug-in

Altiverb brought convolution processing to the DAW world, becoming a favorite tool of post-production studios. With a variety of pre-loaded impulse responses and the ability to load your own, Altiverb made it easier than ever to reamp any sound through any room or speaker, all without taking your hand off the mouse.

2005

Universal Audio introduces analog reverb modeling

Almost 50 years after Bill Putnam made reverb history with his bathroom echo chamber, his company released the UAD Plate 140, a highly authentic plug-in modeled from three vintage EMT 140s at The Plant Studios. Two years later, UAD released the first officially licensed analog reverb model, the UAD EMT 250.

2009

ValhallaDSP founded

Founded by husband/wife duo Sean and Kristin Costello, ValhallaDSP changed the game by focusing on simple, high-quality plug-ins and straightforward pricing. Popular products like Valhalla Room, Valhalla Plate, Valhalla Vintage Verb, and Valhalla Supermassive are all available for a flat $50 with no bundles, no sales, and no upgrade fees.

2012

Exponential Audio founded

Founded by former Lexicon algorithm designer Michael Carnes, Exponential Audio introduced advanced algorithmic reverbs that rivaled the realism of convolution while providing greater flexibility. Plug-ins such as PhoenixVerb, R2, and Stratus became so popular for post-production that Exponential Audio was eventually acquired by iZotope, which was in turn acquired by Native Instruments.

Immersive Audio, AI, and the Future of Reverb

The latest advances in reverb include immersive plug-ins like Eventide Blackhole Immersive, iZotope Aurora, FabFilter Pro‑R 2, and Inspirata. Compatible with immersive formats like Dolby Atmos and Ambisonics, this new class of reverb offers a true spatial experience with potential for greater realism and creative options than ever.

Looking to the future, artificial intelligence is poised to become the next big innovation in reverb technology. Products like iZotope Neoverb are already using AI to generate completely custom reverb algorithms, and the same technology makes it possible to remove reverb from recordings with remarkably few artifacts. We can only guess at what comes next, but one thing’s for sure: even after a century of innovation, reverb never gets old.

Warmth, character, and balance. Three things that are vital to the recording studio, and just as essential to the perfect cup of coffee. And we should know, for over 30 years, Vintage King has been sipping on java while outfitting studios, testing gear, shipping boxes, and restoring vintage classics.

For us, great gear and coffee go hand in hand. With that in mind, we are introducing Vintage King’s Sonic Brew, four coffee blends inspired by the studio gear that is part of our daily lives. We have taken coffee to new heights with innovative roasting methods and processing tools created with period-accurate components.

Learn more about Vintage King's Sonic Brew blends, including Discrete, Warm, Punchy, and NOS below.

Vintage King Sonic Brew Discrete Blend
Style: Breakfast Blend
Flavor Notes: Caramel | Hazelnut | Citrus

Slow-roasted in a drum with St. Ives input stage and Marinair output stage transformers, our Discrete blend offers rich, detailed flavor notes providing clarity and headroom in every sip.

 

Vintage King Sonic Brew Warm Blend
Style: House Blend
Flavor Notes: Cocoa | Charred Walnut | Cherry

The leather armrest on a vintage console after an eight-hour mix session has nothing on our Warm blend. This medium-bodied roast has a comforting richness and saturation that whispers, “Pure analog.”

 

Vintage King Sonic Brew Punchy Blend
Style: Dark Roast
Flavor Notes: Dark Cacao, Spiced Walnut, Tobacco

Crafted with a 50/50 blend of natural and compressed beans using our signature parallel compression process, this coffee delivers flavor with a kick. Make your day stand out in the mix with just one cup!

 

Vintage King Sonic Brew NOS Blend
Style: Barrel-Aged
Flavor Notes: Chocolate | Charred Walnut | Cherry

Selected in the 1960s by studio masters and preserved in cryogenic NOS Telefunken VF14m tubes, these beans have been perfected in 24-karat-plated roasters. The result: the most accurate, period-correct flavor available.

Last weekend at the Dolby Theatre in Los Angeles, F1 took home the Oscar for Best Sound at the 98th Academy Awards. Here’s a look at the sound team that brought the high-octane sound of Formula 1 racing to the big screen, plus the equally talented sound teams behind the other nominees. 

WINNER: F1 (Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo, and Juan Peralta)

Formula One racing has exploded in popularity in recent years, and Joseph Kosinski’s F1 delivers fan service in high gear. Because the sport has a very distinctive sound that fans are deeply familiar with, Supervising Sound Editors Gwendolyn Yates Whittle and Al Nelson had to make sure every little detail was authentic while still delivering the larger-than-life sound audiences expect.

Vital to the effort was Production Sound Mixer Gareth John, who oversaw the recording of real F1 cars on real tracks using both onboard and external mics to capture the nuances of different manufacturers’ engines, tire formulations, specific gear shifts, and even the roar of the crowd. Re-Recording Mixers Gary Rizzo and Juan Peralta took the soundtrack to the finish line, maintaining the authenticity of the sport while making it feel dynamic and immersive. 

NOMINEE: Frankenstein (Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke, and Brad Zoern)

Guillermo del Toro’s Frankenstein brought modern-day spectacle and style to Mary Shelley’s 1818 novel, and sound was a huge part of that. From the cavernous abandoned tower where Victor Frankenstein sets up his lab to the lightning that surges through massive capacitors to bring his creation to life, Supervising Sound Editors Nathan Robitaille and Nelson Ferreira successfully matched the eye-popping set pieces with incredible sound design. 

Of course, none of it would have happened without Production Sound Mixer Greg Chapman capturing incredible performances on set and Re-Recording Mixers Christian Cooke and Brad Zoern stitching it all together on the mix stage. Like the title character, Frankenstein’s sound team infused an old story with new life and created 2025’s best monster movie.

NOMINEE: One Battle After Another (José Antonio García, Christopher Scarabosio, Tony Villaflor)

Best Picture winner One Battle After Another feels like just that. In the first half of its 160-minute runtime alone, there’s a prison break mission of sorts, a bank robbery, a car chase, multiple police raids, a harrowing escape, and a full-on riot scene. But the din of Heat-style gunshots, helicopters, explosions, and sirens is punctuated by quieter scenes, including some deeply sinister moments where subtle Foley is used to great effect. 

Even the music editing plays a part, often providing an emotional counterpoint to the visuals and elevating the film from typical action movie fare to something totally unique. F1 may have taken the crown for Best Sound this year, but the work of Supervising Sound Editor Christopher Scarabosio, Production Sound Mixer José Antonio García, and Re‑Recording Mixer Tony Villaflor surely set a new bar for theatrical epic sound design.

NOMINEE: Sinners (Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor, and Steve Boeddeker)

Ryan Coogler’s Sinners made history this year with 16 total nominations, and although it didn’t end up winning Best Sound, it’s still a masterclass in musical storytelling. Many of the songs were recorded live on set by Production Sound Mixer Chris Welcker, including a full-band performance with blues legend Buddy Guy and a challenging shoot featuring guitar and vocals recorded inside a moving car.

Music Editor Felipe Pacheco artfully wove these performances into the soundtrack along with Ludwig Göransson’s score, creating a collection of works ranging from sorrowful blues tunes to energetic juke-joint numbers and haunting folk songs. Supervising Sound Editor Benjamin A. Burtt (son of Star Wars sound designer Ben Burtt) contributed sound design for the supernatural elements along with Steve Boeddeker, who also mixed the film with fellow Re-Recording Mixer Brandon Proctor.

NOMINEE: Sirāt (Amanda Villavieja, Laia Casanovas, and Yasmina Praderas)

Set in the wilderness of the Moroccan desert, Sirāt takes audiences on quite a sonic journey. Supervising Sound Editor/Sound Designer Laia Casanovas, Production Sound Mixer Amanda Villavieja, and Re‑Recording Mixer Yasmina Praderas pulled out all the stops for this one, using creative techniques to give the film a unique sonic identity.

To recreate the intensity and character of the massive DIY sound system, the rave music was re-amped through hand-built speakers after plug-ins proved inadequate and studio monitors too clean. Crowd sounds were built from stealth recordings of the crew arriving on location, and many hours of Foley work went into creating the Mad-Max-style sound of vintage vans rattling across the treacherous desert. Even the background sounds are crucial to the story, especially the brutal desert wind, some of which was deliberately recorded without wind protection or by blowing directly into a microphone.

Love is in the air, and this year, it sounds better than ever. Vintage King is back with our fourth annual collection of custom, hand-drawn Valentine's Day cards, and we think this might be our best one yet. 

Each card in this year's collection features a hand-drawn illustration of a classic piece of studio gear, capturing the look, feel, and timeless character that audio lovers know and admire. 

Whether you're sending one to your favorite engineer, a producer friend, or the gear lover in your life, these cards are made to be shared. Download the full set of Vintage King’s 2026 Valentine’s Day cards and spread the love! 

Happy Valentine’s Day from all of us at Vintage King.

Want more VK Valentines? Check out our collections from 2025, 2024, and 2023.

As the annual Grammy Awards continue to emphasize elaborate performances and celebrity hosts, more and more awards are being left out of the prime-time broadcast, including most of the production-related awards. To recognize the talent behind the faders, here’s our roundup of the people and albums that took home awards for production, engineering, and immersive audio. 

Gaga Collaborator Cirkut Takes Home Producer of The Year

The biggest and flashiest production award (and the only one to be included in the General Field) went to Canadian producer and songwriter Henry Russell Walter, better known as Cirkut. That’s no surprise, given his credits on Lady Gaga’s Mayhem (Best Pop Vocal Album), “Abracadabra” (Best Dance Pop Recording), and “Disease” (nominated for Best Pop Solo Performance). Walter’s other qualifying productions include “AEOMG” by Coco Jones, “APT.” by ROSÉ and Bruno Mars, “Big Sleep” by The Weeknd featuring Giorgio Moroder, “IT girl” by JADE, “A Little More” by Ed Sheeran, and “Red Terror” by The Weeknd. Beating out Dan Auerbach, Dijon, Blake Mills, and Sounwave, Walter thanked his co-producers, songwriters, and the artists he worked for, saying, “You trusted me with your vision. You could have worked with anyone, but you chose me.”

Elaine Martone Wins Classical Producer of the Year for the Third Time Straight

In the Classical category, Producer of the Year went to Elaine Martone for the third time in a row, bringing her total count to seven Grammys (plus one Latin Grammy in 2006). Martone produced a whopping nine albums last year, including well-known classical works by Mozart, Rachmaninoff, and Berlioz in addition to modern compositions like Dear Mrs. Kennedy, The Poet & The Prodigy, and Songs of Orpheus. Martone, who suffered a heart attack last year, thanked her and her husband’s caregivers, along with recording engineer Gintas Norvila and others.

Pino Palladino and Blake Mills' Experimental Jazz Wins Best Engineered Album

This year’s Best Engineered Album went to That Wasn’t A Dream, a mostly instrumental jazz record by renowned session bassist Pino Palladino and producer/guitarist Blake Mills. Ranging from Brazilian-tinged acoustic jazz to tight, funky numbers and a meandering 13-minute free jazz excursion, That Wasn’t A Dream masterfully blends pristine sonics with unusual production choices like double-tracked bass and distorted synth processing, delivering 37 minutes of pure ear candy. Mills and his longtime collaborator Joseph Lorge co-engineered the record in Studio A at Sound City, which has been Mills’ home base since 2018. The record was mastered by Patricia Sullivan of Bernie Grundman Mastering, “Who has mastered everything we’ve ever worked on,” according to Mills.

Best Classical Engineering Goes to Avante-Garde Prepared Piano and Percussion Album

Engineer Mike Tierney and mastering engineer Alan Silverman received the Best Engineered Album, Classical award for Cerrone: Don't Look Down by Sandbox Percussion. “Classical” in name only, the album features works by composer Christoper Cerrone for prepared piano, vibraphone, marimba, glockenspiel, crotales, various drums and shakers, and vocals from mezzo-soprano Elspeth Davis. Tierney’s engineering emphasizes the crisp punch of the drums and crystalline overtones of the mallet instruments, while Silverman’s mastering gives the whole affair a decidedly modern sound compared to the clinical nature of most classical recordings. Even Tierney’s studio assistant, Casio the dog, got a shoutout!

Justin Gray’s Instrumental Epic Wins Best Immersive Album

This year’s award for Best Immersive Audio Album went to Immersed by Justin Gray, an exploratory instrumental album that falls somewhere between jazz, world music, and progressive rock (also honored were co-producers Drew Jurecka and Morten Lindberg, as well as mastering engineer Michael Romanowski). Notably, Immersed was written, engineered, produced, and partly performed by Gray, one of several immersive-focused artist/producers who are combining their artistic and technical skills to create music specifically for immersive formats. Sharing that distinction is fellow nominee Hans-Martin Buff, who wrote, sang, recorded, and mixed his debut album Tearjerkers (and also took home the Immersive Grammy for mixing Peter Gabriel’s i/o last year). In his speech, Gray congratulated his fellow nominees, saying, “Your work reflects the immense creative possibilities of immersive audio.”

Best Remixed Recording Goes to Gesaffelstein’s Take on “Abracadabra”

The Grammy Award for Best Remixed Recording went to French DJ Gesaffelstein (Mike Lévy), who elevated Lady Gaga’s “Abracadabra” with chopped vocals, pounding kicks, and clubby synths, somehow managing to make the supernaturally catchy hit even weirder and more danceable. Lévy, who also co-produced three tracks on the Mayhem album, has collaborated with the likes of Daft Punk, The Weeknd, Lil Nas X, Charli XCX, and Pharrell Williams, in addition to putting out three albums of his own. In an apparent nod to Daft Punk, Lévy accepted the award silently, from behind the unsettling visage of a pitch-black mask.

The end of the year is a magical time when the world slows down just enough to catch your breath, and maybe sneak in an extra nap or two. Between the food, good cheer, and sleep, there’s often a little time to catch up on what you’ve missed. That’s why we’re continuing our annual tradition of sharing the best music documentaries to watch over the holidays.

2025 delivered a standout slate of music docs, especially for fans of classic rock and iconic moments in pop culture history. We explored Sly Stone’s genius, traced the ascent of Led Zeppelin and Billy Joel, discovered new Beatles and John Lennon footage, and celebrated the women who shaped Lilith Fair. Together, these films reveal the creative risks, technical artistry, and personal stories behind the music that continues to influence us today.

Music Documentaries To Watch Over The Holidays

Sly Lives! aka The Burden of Black Genius

Director Questlove set out to give Sly Stone his flowers in the incredible Sly Lives! aka The Burden of Black Genius, and he achieved just that. The documentary delves deeply into the backstory of one of music's greatest songwriters, showcasing his groundbreaking artistry and social conscious message, as well as the personal struggles and societal pressures he faced. Through rare footage, interviews, and insightful commentary from folks like André 3000 and the late D'Angelo, it paints a vivid portrait of a visionary whose influence shaped funk, rock, soul, and the world at large.

The Beatles Anthology (2025)

Just when you thought you’d seen it all, Disney+ delivers a refreshed version of The Beatles Anthology 30 years after the original. With the helpful restoration work of Peter Jackson, Geoff Emerick, Giles Martin, and others, everything looks and sounds stunning, and a ninth episode has been added in the style of the original eight. The new episode is packed with incredible archival footage, from Paul rehearsing “Helter Skelter” and “Blackbird” in 1968 to an extended look at Paul, George, and Ringo in the studio with George Martin listening to “Tomorrow Never Knows” in the 1990s.

Lilith Fair: Building a Mystery - The Untold Story

The massive success of Lilith Fair proved the naysayers wrong, with the traveling festival grossing $16 million in its 1997 run alone. Yet its lasting cultural impact is even more significant. Artists like festival founder Sarah McLachlan, along with Paula Cole, Tracy Chapman, Bonnie Raitt, and Erykah Badu, have inspired a new generation of singer-songwriters around the world.

Billy Joel: And So It Goes

Billy Joel: And So It Goes chronicles the life story of the beloved "Piano Man" from Long Island, New York. The two-part HBO series hits the familiar highs and lows of his career, but it’s the candid look at his toughest moments alongside his most memorable musical achievements that sets it apart from other music docs. Pro Tip: Watch Billy on the Old Grey Whistle Test from 1978 for some MiniMoog Model D action on "The Entertainer."

Becoming Led Zeppelin

For a band as legendary as Zeppelin, it’s surprising that Becoming Led Zeppelin is the first official documentary to chronicle their story. The film takes viewers behind the scenes, tracing the band’s rise from their earliest days to global rock superstardom, exploring the music, personalities, and impact that cemented their place as rock gods. Robert Plant, Jimmy Page, and John Paul Jones are interviewed in the present day, weaving the band’s story together alongside archival interviews with the late John Bonham.

One To One: John & Yoko

A few years ago, Get Back highlighted the deep love between John Lennon and Yoko Ono during The Beatles’ final days. One To One: John & Yoko takes that story further, exploring the lives of these two extraordinary artists and revolutionaries as they live and work in Greenwich Village. Centered on remastered footage from the One to One benefit concert, the documentary offers a compelling look at John, Yoko, and life in New York in the early 1970s.

From the first specialized loudspeakers designed for full-range sound reproduction to the latest and greatest active monitors with DSP and automatic calibration, the humble studio monitor has undergone many evolutions over the decades. While the core technology of loudspeakers has always been based on magnets moving air, studio monitors are specifically engineered to deliver the clearest, most accurate sound possible. 

In pursuit of reference-quality sound, loudspeaker manufacturers have been locked in a constant arms race for more than a century to develop ever more advanced products to meet the demands of modern studios. This healthy competition in the market has spawned a golden age where professional-quality monitoring is more accessible than ever, and great mixes can be made even in a home studio. This is the story of how we got here.

Early Innovations

Before studio monitors existed as a distinct category, engineers strove to improve the frequency range, volume, and dispersion characteristics of loudspeakers for public address, radio, and cinema applications. Over the first half of the 20th century, early innovations like compression horns, coaxial drivers, and ported cabinets led up to the first class of speakers designed specifically for studio monitoring.

1898

Oliver Lodge patents the first moving-coil loudspeaker

While Ernst Siemens had theorized the moving-coil transducer in 1874, British physicist Oliver Lodge built the first functional experimental loudspeaker using the principle. Lodge’s design featured a voice coil suspended in a magnetic field, a critical advancement that would later define modern dynamic speakers.

1915

Magnavox introduces the first practical moving-coil loudspeaker

Building on Lodge’s design, engineers Peter L. Jensen and Edwin Pridham developed the first viable loudspeaker, which featured a moving-coil transducer amplified by an acoustic horn. They called their product “Magnavox” (Latin for “great voice”) and founded the Magnavox Company in 1917.

1925

General Electric patents an improved dynamic speaker design

G.E. engineers Chester W. Rice and Edward W. Kellogg improved upon earlier loudspeaker designs by replacing the horn with a paper cone attached to the driver and mounting the whole thing in a cabinet with a flat front baffle. This design improved dynamic range and frequency response characteristics while reducing sound coloration from resonance and distortion, forming the basis for most studio monitors we use today.

1931

Western Electric introduces the first 3-way loudspeaker system

Western Electric’s “Wide Range” cinema sound systems were the first to feature dedicated drivers for the low, midrange, and high frequencies, providing true full-range sound and improved frequency response compared to two-way speakers. Featuring four 18-inch woofers, two 15-foot midrange horns, and two bugle-shaped tweeters, the system was too massive for studio use, but nevertheless inspired later three-way monitor designs.

1943

Altec Lansing introduces the first commercial loudspeaker with coaxial drivers

The Altec Lansing 604 Duplex was the first commercial loudspeaker design to feature a coaxial driver arrangement. By mounting a high-frequency compression horn in the center of a larger low-frequency woofer, the 604 Duplex provided point-source sound with a more linear phase response than previous designs, making it an early favorite of recording and broadcast studios.

1947

Tannoy introduces the Dual Concentric 15 coaxial loudspeaker

The Tannoy Dual Concentric 15 looks like one giant woofer in a big wooden box, but it’s actually a two-way coaxial system with the high-frequency compression driver cleverly hidden behind the dome in the center of the speaker cone. Like the Altec Lansing 604, it featured bass porting to extend the low-end response and onboard EQ to fine-tune the tonal balance, making it another early entry into the emerging class of studio monitors.

The Heyday of Passive Monitors

As recording technology developed at a rapid pace throughout the 1950s, ‘60s, and ‘70s, loudspeakers started to become more and more specialized for studio monitoring. Improved driver technology, sophisticated crossovers, and increased headroom provided the linear frequency response and low distortion required to make mixes that translated accurately to consumer speakers. This era also saw the first active studio monitors emerge, although they would not replace passive designs until much later.

1955

Lansing Sound becomes JBL

James B. Lansing split from Altec Lansing in 1946 to form Lansing Sound, but it wasn’t until 1955 that he officially rebranded the company under the JBL moniker, creating one of the most legendary studio monitor brands in history.

1958

Altec Lansing disappoints studios with the 605A

Intended to be a more affordable successor to the popular 604 Duplex, The Altec Lansing 605A was actually just a slightly upgraded version of the budget 605 loudspeaker. With less robust drivers and electronics than the beloved 604, the 605A sacrificed low-end extension, high-end clarity, and overall output sensitivity, leading many studios to abandon Altec Lansing and switch to JBL.

1962

JBL debuts its first studio monitor, the C100

After initially focusing on loudspeaker drivers, JBL officially entered the studio monitor market with the JBL C100 (originally known as the C50SM). Filling the gap left by Altec Lansing’s fading glory, JBL monitors quickly became a mainstay of studios across the United States.

1967

Klein & Hummel introduce the first active studio monitor

Before 1967, studios exclusively used passive monitors with dedicated amplifiers. The Klein & Hummel OY was the first studio monitor with built-in amplification, a revolutionary innovation that was more than a little ahead of its time. The K&H OY was a tri-amplified monitor with an active crossover, onboard EQ, system protection, and a power supply, all built into the cabinet.

Tannoy introduces Gold Series monitors

Tannoy’s Gold Series monitors improved upon the famous Dual Concentric design, adding various upgrades including 12-inch and 15-inch woofer options, 8Ω and 15Ω variants, and multiple cabinet styles. According to Tannoy’s official history, Abbey Road Studios replaced the old Altecs in Studio 2 with Tannoy Monitor Golds in Lancaster cabinets, which were used during the recording of The Dark Side of the Moon.

1972

Allen Sides begins building Ocean Way custom monitors

Long before Ocean Way Audio existed as a real company, engineer Allen Sides was building custom boutique monitors out of a garage on Ocean Way in Santa Monica, California. Initially built for in-house use at Sides’ own studios (including Ocean Way Recording, United Western Recorders, and Ocean Way Nashville), Ocean Way monitors generated such a buzz that Sides eventually began taking commissions from high-end studios.

1973

JBL introduces the first four-way studio monitors

The JBL 4343 and 4350 far-field studio monitors were the first to feature a four-way crossover system and dedicated drivers for each frequency band. Featuring dual large-format woofers, dedicated mid- and high-midrange drivers, and a horn-loaded ultra-high-frequency tweeter, the 4340 and 4350 offered class-leading frequency range, accuracy, and output for their time.

Auratone introduces the 5C Super Sound Cube reference monitor

Featuring a single 4.5-inch driver in a sealed cabinet, the Auratone 5C was the first studio monitor designed specifically to simulate the sound of consumer speakers. Meant to be used as a reference alongside full-sized monitors, the Super Sound Cube allowed engineers to check how their mixes translated to smaller speakers with limited frequency response. In 2022, Auratone released a modern version of the 5C, including an active version.

1978

Yamaha introduces the NS-10M passive bookshelf speaker

The legendary NS-10M was originally marketed as a bookshelf speaker for consumer hi-fi systems, but it quickly found use in the studio, thanks in part to mixing engineer Bob Clearmountain. With its poor low-frequency output and unflattering midrange bump, the NS-10 revealed mix flaws that higher-quality monitors didn’t, leading many engineers to believe that a mix that sounded good on NS-10s would sound good on any other speaker. The closest thing available today is the Avantone CLA-10.

Genelec is founded and introduces its first active studio monitor

Founded in 1978 to supply loudspeakers for the Finnish Broadcasting Corporation, Genelec Oy made its debut with the S30: a compact, three-way active monitor with a ribbon tweeter and ported cabinet available in horizontal and vertical configurations. The Genelec S30’s impressive sound quality, precision engineering, and small footprint helped spur the beginning of the transition from passive far-field monitors to active near-field monitors.

The Rise of Active and Near-Field Monitors

Prior to the 1980s, most studios still relied on large passive monitors, usually mounted in the wall behind the console to cover the entire control room. But thanks to the popularity of the Auratone Super Sound Cube and Yamaha NS-10M, more studios—especially home studios—began to use nearfield monitors. Around the same time, miniaturized solid-state amplification made active monitors more compact, affordable, and powerful than ever.

1981

Westlake Audio introduces BBSM Series monitors

Although active monitors were becoming increasingly popular, high-end studios continued to trust passive monitors such as the Westlake BBSM (Big Box Studio Monitors) Series. Designed for high-SPL, far-field monitoring in large studios, the BBSM-15 offered tight, punchy, reference-quality sound with excellent headroom and an ultra-wide “sweet spot” thanks to its semicircular horn-loaded tweeter. Later models such as the BBSM-10, -12, -6F, and -4 offered similar high-end sound in smaller enclosures.

1988

ATC introduces SCM25A three-way active monitor

While it wasn’t the first three-way active monitor on the market, the ATC SCM25A came along at a time when studios were finally starting to take active monitors seriously. Delivering extremely accurate sound, extended low-end response, and reliable performance in a remarkably compact footprint, the SCM25A set a new standard for professional nearfield monitors and is still in production today (as the SCM25A Pro).

1991

PMC introduces the first studio monitors based on transmission-line loading

PMC (which stands for Professional Monitor Company) was founded in 1990 by ex-BBC engineers Peter Thomas and Adrien Loader. The company’s first product, the PMC BB5-A, was based around a modern take on the old concept of transmission-line bass loading. PMC’s Advanced Transmission Line (ATL) technology used precision-tuned damping foams, resonance-absorption chambers, and special anti-turbulence porting to achieve greater low-end extension than previously possible in a (relatively) compact enclosure.

1996

Dynaudio introduces the BM6A, a benchmark active near-field monitor

The Dynaudio BM6A is a classic not because it introduced any radical new technologies or design concepts, but because it perfected the two-way, active near-field design in almost every way. With its artisanal Danish engineering and construction, high-performance MOSFET amplifiers, linear-phase crossover, and transparent full-range sound, the BM6A became a favorite among European studios and is still sold today.

1997

Mackie introduces its first studio monitor, the HR824 

As more and more home and project studios began to pop up, the Mackie HR824 offered an affordable option for studio-quality monitoring. An 8.75-inch woofer and passive bass radiator gave the HR824 impressive low-end extension and SPL handling for its price range, while onboard room compensation EQ made it easier to achieve a neutral response in less-than-ideal acoustical environments. Still sold today as the HR824 MkII, this budget powerhouse helped establish Mackie as a go-to brand for home studios.

1998

KRK introduces Rokit active monitors

Along with Mackie, KRK was one of the first brands to design studio monitors specifically for the home and project studio market. With a trapezoidal cabinet and dual triangular bass ports, the original KRK Rokit looked nothing like the modern incarnations, but it nonetheless became a hit and spawned one of the most popular lines of budget studio monitors.

1999

Genelec introduces the first digital studio monitor

While consumer speakers with digital converters had already been available for a while, many studios still didn’t trust the sound quality over good old analog—that is, until Genelec came out with its first digital studio monitor. The Genelec 2029A was a desktop-friendly 5-inch monitor with an S/PDIF input and a converter capable of sample rates between 25 - 55 kHz at 16 or 24 bits.

Modern Monitors and The Dawn of DSP

By the year 2000, active monitors had almost completely replaced passives in most studios, and Digital Signal Processing (DSP) technology began to present new possibilities. Combined with industry changes like the home recording revolution and the introduction of Dolby Atmos, the market gradually shifted toward smaller, more accurate monitors with advanced features like automatic calibration and audio networking. New players such as Neumann, Kali Audio, and IK Multimedia also began to enter the space, bringing a wealth of options to the market and creating a new golden age of studio monitors.

2002

Focal Professional introduces SM6 Series monitors

Hi-Fi brand Focal established its Professional division in 2002 to focus on studio monitors, leading to the development of the Focal SM6 line, including the Solo6 Be in 2003 and the Trio6 Be in 2015. 

2003

ADAM Audio introduces Accelerated Ribbon Technology (ART) monitors

Ribbon tweeters were a rare feature until ADAM Audio introduced the S1A with Accelerated Ribbon Technology (ART). ADAM’s proprietary pleated‐diaphragm ribbon tweeters provided enhanced transient detail with the minor tradeoff of uneven horizontal and vertical dispersion, and the company has since developed improved X-ART and S-ART tweeters.

2006

Genelec introduces Smart Active Monitors (SAM) with DSP

Genelec’s revolutionary Smart Active Monitors were one of the first to leverage built-in Digital Signal Processing (DSP). SHARC DSP chips, combined with Genelec Loudspeaker Manager software, provided advanced features like automatic room calibration and remote control. The SAM ecosystem made it easier than ever for studios to achieve reference-quality sound, and the product line continues to this day with dozens of SAM models available.

Barefoot Sound introduces MicroMain27 with Dual-Force Technology subwoofers

The MicroMain27’s sealed cabinet design, dual opposing subwoofers, and a DSP-based crossover were revolutionary, bringing a whole new level of low-end extension and SPL for its size and price point.

2007

Allen Sides formally incorporates Ocean Way Monitors

After decades of building custom monitor systems for his own studios, Allen Sides formally created Ocean Way Monitors to bring his products to a larger market. The company was later rebranded in 2012, becoming the Ocean Way Audio we know today.

2010

Neumann enters the studio monitor market with the KH 120 A

Famous mainly for its microphones, Neumann purchased Klein + Hummel (makers of the very first active monitors) in 2005. This acquisition culminated in the first Neumann-branded studio monitor, the compact KH 120 A. Combining Klein + Hummel’s experience in loudspeaker design with Neumann’s precision engineering, the KH 120 A quickly became a hit with recording, post-production, and broadcast studios, and the KH line continues to this day (including the KH 120 II).

2012

Dolby Atmos makes its debut, influencing the studio monitor market

Disney’s Brave was the first film to be mixed in Dolby Atmos, the object-based spatial audio format that brought a paradigm shift to post-production audio. In the following decade, Dolby Atmos became the standard format for big-budget films and saw gradual adoption as a music format, resulting in increased demand for smaller, lighter monitors with full-range sound and features like point-source imaging and network capability.

2014

Genelec debuts “The Ones” coaxial point-source monitors

The Genelec 8351A was an innovative studio monitor that combined coaxial mid- and high-frequency drivers with Acoustically Concealed Woofer technology and a floating front baffle/waveguide engineered to produce phase-accurate, point-source sound across the entire frequency spectrum. This product kicked off “The Ones” range, which continues to be a popular option for surround and immersive mixing.

2015

Kii Audio introduces THREE monitors with cardioid dispersion technology

Kii Audio was founded in 2009, but it took six years to develop the Kii THREE. This compact hi-fi speaker/studio monitor uses four bass drivers to create cardioid dispersion across the frequency range—a feat only possible with Kii Audio’s proprietary DSP and Kii CONTROL software.

2016

IK Multimedia introduces iLoud Micro Monitors

A relative newcomer to the studio monitor scene, IK Multimedia made a splash with the iLoud Micro Monitor, an extremely compact desktop monitor that wowed professionals and consumers with surprisingly deep and accurate sound from a 3-inch woofer. This product would later inspire the award-winning iLoud MTM, which became a top choice for Dolby Atmos studios due to its combination of performance, automatic calibration, and ease of overhead mounting at a low cost.

2018

Kali Audio is founded and releases first studio monitors

Founded by former employees of JBL Professional, Kali Audio leveraged deep industry experience and engineering know-how to produce studio monitors with top-tier specs at a price within reach for smaller studios and bedroom producers. Kali Audio’s first products were the Lone Pine LP-6 and LP-8.

2022

Focal introduces updated ST6 Series studio monitors

At NAMM 2022, Focal introduced the brand’s new ST6 line of studio monitors, including the Solo6 Be, Twin6 Be, and Trio6. The new ST6 Series features innovative beryllium tweeters for extended high-frequency response, alongside Focal’s signature W-cone woofers made from two layers of woven glass fiber surrounding a foam core.

2023

Ex Machina Soundworks introduces TITAN monitors for Dolby Atmos 

Founded in 2018, Ex Machina Soundworks had already shaken up the studio monitor market with the innovative Pulsar and Ganymede models, but it was the TITAN system that really broke the mold. One of the first studio monitor products designed from the ground up for Dolby Atmos studios, TITAN consists of ultra-compact passive coaxial speakers sold in sets of four with a specialized DSP-driven amplifier.

2025

Focal introduces Utopia Main large-format active monitors

While active monitors continue to get smaller and more advanced, Focal went in the opposite direction with its Utopia Main Series. Designed for soffit mounting in far-field monitoring applications, the Utopia Main 212 and 112 may be based on an old-school format, but their development was made possible by modern technologies, including advanced 3D modeling, spatial acoustic measurement, and an innovative Class-H external amplifier.

Learn more about studio monitors on our blog: 

• The Best Studio Monitors For Any Budget In 2025
• Studio Monitor Guide
• Buyer’s Guide: Studio Monitors
• Buyer’s Guide: Nearfield Studio Monitors
• The Best Speakers for Immersive Mixing
• The Benefits Of Mixing With Passive Monitors
• Why Do Studios Use Multiple Sets Of Monitors?

Equalization (or EQ, as anyone reading this probably knows it) is the single most common type of audio effect. It’s in our DAW software, our outboard racks, our consoles, our synthesizers, our guitar pedals—even your phone probably has a built-in EQ. 

Simply by adjusting the balance of frequencies in an audio signal, equalizers help us tweak tones, correct problems, and create unique effects. It’s often the first tool we reach for in the recording studio and one of the final touches we add in mastering. Equalizers come in many flavors, each with its own strengths and sonic character: there are passive EQs, parametric EQs, graphic EQs, dynamic EQs, and even intelligent EQs.

In this article, we’ll explore the history of equalization, from its origins in telecommunications and radio to its adoption as a creative tool in the studio and the modern innovations that keep this century-old technology moving forward today.

The First Equalizers

Long before EQ became a studio staple, it was invented for use in telecommunications and radio. In fact, the name “equalization” comes from its original use: as telephone signals traveled through miles of copper wire, the sound tended to lose clarity in the high frequencies, so the sound had to be “equalized” by selectively boosting the lost frequencies. Soon after recording technology was invented, engineers began to use EQ in the studio, and the rest is history.

1915

George Ashley Campbell patents the Electric Wave-Filter

Combining inductors and capacitors, AT&T engineer George Ashley Campbell devised a bandpass filter circuit that allowed telephone signals to be multiplexed and sent over long-distance telephone lines with acceptable intelligibility. Campbell’s “Electric Wave-Filter” laid the groundwork for the earliest inductor-based equalizers, which would later be used to correct high-frequency degradation over telephone lines.

1931

RCA introduces 8B equalizer

Little information exists about the RCA 8B, but multiple sources cite this unit as one of the earliest equalizers with user-adjustable controls (rather than fixed filters). According to articles by Waves and Black Rooster Audio, the “8B” denoted the unit’s eight bands of equalization.

1948

Les Paul becomes the first to use extreme EQ as a creative effect

On his 1948 track “Lover”, multitrack recording pioneer Les Paul made use of an extremely narrow high-mid peak EQ to create a chime-like guitar tone. This recording marked the first verifiable use of extreme EQ as a creative effect, rather than a strictly corrective tool or a subtle tone-shaping effect. More than 75 years later, the “Lover” effect still makes a striking impression.

1951

Pulse Techniques develops the Pultec EQP-1

Originally prototyped in 1951 and distributed commercially in 1956, the Pultec EQP-1 Passive Program Equalizer is perhaps the most famous EQ in history (along with its successor, the EQP-1A). Due to its simple inductor-based design, beefy sound, and unique tonal possibilities, this classic unit has been imitated, recreated, reissued, and reimagined probably more than any other. 

The EQP-1’s unique set of controls includes a low-frequency band with simultaneous gain and attenuation at four selectable frequencies, creating the potential for complex boost/cut curves (now known as the “Pultec trick”). The high-frequency section provides Boost and Bandwidth controls with seven high-mid frequency options, plus a separate Attenuation control with 5, 10, and 15 kHz options. Although classified as a passive EQ, the EQP-1 includes a fixed 16 dB tube amplification stage, which contributes to its characteristic warmth and musical response.

Abbey Road/EMI develops the RS56 “Curve Bender” mastering EQ

Designed by EMI engineer Mike Batchelor at Abbey Road Studios, the RS56 Universal Tone Control (nicknamed the “Curve Bender”) was a three-band mastering EQ meant for correcting frequency imbalances when cutting master disks. Each band (Bass, Treble, and “Top”) could boost or cut by 10 dB at four selectable frequencies, with one of six selectable curves: Low End, Blunt, Medium Blunt, Medium Sharp, Sharp, and High End. 

Initially, Abbey Road’s strict protocols limited recording engineers to using the EQs available in their consoles, but younger engineers began taking the Curve Bender into the studio to take advantage of its sonic flexibility. A later version of the Curve Bender implemented stereo linking via a mechanical cog system that physically linked the knobs on the left and right channels when engaged. For Abbey Road’s 75th anniversary, Chandler Limited took inspiration from this classic piece of hardware and created the Chandler EMI TG12345 Curve Bender EQ.

EQ Becomes a Studio Staple

By the 1960s, the equalizer had become an indispensable tool in the studio. The next few decades saw a rapid evolution of EQ technology, including many iconic outboard and console EQs from the likes of Neve, Trident, SSL, and API. This period also saw the introduction of new innovations such as graphic and parametric EQs.

1961

Pulse Techniques introduces Pultec EQP-1A

In 1961, Pultec followed up the original EQP-1 with the new and improved EQP-1A, which offered expanded frequency options. The new EQP-1A featured an additional low-frequency option at 20 Hz, two new high-frequency options at 4 kHz and 16 kHz, and added a selector switch on the high-frequency shelf attunator with options at 5, 10, and 20 kHz. These additions made the EQP-1A even more versatile than its predecessor, and this particular model became practically synonymous with the name “Pultec.”

1967

Langevin introduces the first graphic EQ

The Langevin EQ251A Program Equalizer was the first EQ to feature linear potentiometers (instead of knobs) for boosting and cutting at multiple frequencies. This design became known as “graphic” EQ because the side-by-side layout of the potentiometers provided a visual representation of the EQ curve being applied.

1970

Neve introduces 1073 preamp/EQ module

The Neve 1073 preamp module featured in the Neve A88 console included a three-band EQ circuit with a high-pass filter—a basic feature set that would soon set the standard for console EQs. Thanks to its superb circuit design, premium components, and frequency options carefully selected by Rupert Neve for their musical usefulness, the 1073 has become a cornerstone of the British sound.

1971

Trident Studios builds A-Range consoles

Malcolm Toft’s Trident A-Range consoles were initially developed for in-house use at Trident Studios, but once word got out about their characteristically bold tone, Trident eventually began building consoles for other studios.

The A-Range EQ section featured four bands of EQ, each with four selectable frequencies, plus three-position high and low-pass filters. Used on landmark records, including David Bowie’s The Rise and Fall of Ziggy Stardust and Queen’s Sheer Heart Attack, Trident EQs gained a reputation for enhancing the sound of rock music in particular. The Trident A-Range EQ is now available in a 500 Series unit.

API 550A and 560 EQ modules introduced

Shortly after API invented the modular 500 Series format, they released the iconic 1604 console, which included the interchangeable 550A and 560 EQ modules. Both of these classic modules remain extremely popular and can still be found in modern API consoles and outboard 500 Series racks.

Typically installed on the input channels, the API 550A is a three-band EQ module featuring a unique 50-15,000 Hz bandpass filter for cleaning up the low and high end simultaneously. The API 560 is a 10-band graphic EQ in a vertical format that was often inserted on the aux returns and mix bus channels.

1972

George Massenburg invents parametric EQ

At the 42nd Audio Engineering Society (AES) convention, recording engineer and inventor George Massenburg presented a technical paper laying out a new type of “parametric” equalization. Providing discrete control of the all-important frequency, gain, and bandwidth parameters, parametric EQ offered engineers unheard-of flexibility for precise tone-shaping.

1975

Harrison 32C console implements semi-parametric EQ

The Harrison 32C was one of the first consoles to implement a form of parametric EQ. While not fully parametric, the 32C’s four-band EQ section offered “automatic bandwidth adjustment,” changing the Q value depending on the amount of gain or attenuation applied. While not as well-known as classic Neve, SSL, or API consoles, the Harrison 32C nonetheless gained a dedicated following and was used on notable records, including Michael Jackson’s Thriller. In 2023, Harrison released an updated version of the 32C console called the 32Classic.

1979

SSL introduces E Series console EQ

SSL consoles were already well-known for their musical sound and high-quality channel EQs, but the SSL 4000 E Series introduced a redesigned EQ circuit that would become the stuff of legend. The E Series EQ featured four bands: a high shelf, a low shelf, and two parametric midrange bands.

SSL E Series consoles can be found with two different EQ circuits. Earlier units featured the original “brown knob” design, known for delivering bold tone and imparting subtle coloration even with the controls at zero. Later E Series consoles featured the revised “black knob” EQ with a slightly more transparent sound and fully bypassable filters. The SSL E Series MK2 EQ allows you to switch between both types.

1981

Neve DSP-1 becomes the first console with digital EQ

The Neve DSP-1 was the first all-digital console, and thus the first to feature digital EQ. Its 24-bit DSP engine provided four bands of parametric EQ, including high and low shelves and two midrange peak bands, as well as digital high- and low-pass filters.

1982

George Massenburg Labs introduces GML 8200 stereo parametric EQ

A decade after George Massenburg introduced the world to the concept of parametric EQ, he founded George Massenburg Labs (GML) and created the GML 8200 stereo parametric EQ. Sporting five overlapping frequency bands, generous gain and Q ranges, and bold primary-colored knobs, this iconic unit quickly became a mainstay of professional mastering studios.

1987

SSL introduces G Series console EQ

The SSL 4000 G Series consoles featured yet another revision to the channel EQ circuit: “Proportional Q.” This feature automatically adjusts the bandwidth to produce broad frequency bumps or scoops at low gain/attenuation settings and sharper curves at higher settings. However, the two parametric midrange bands still feature Q controls for fine-tuning the bandwidth.

Yamaha DEQ7 becomes the first standalone digital equalizer

As the first fully DSP-based EQ unit, the Yamaha DEQ7 represented a big step forward in equalizer technology. Although primitive-looking today, it offered an immense amount of flexibility for its time. The Yamaha DEQ7 provided full parametric control, MIDI compatibility, and the ability to store 30 presets, although its clunky user interface limited its use in the studio.

EQ in the Modern Era

The humble equalizer has undergone significant evolution in the past few decades. The rise of DAWs in the 1990s brought us EQ plug-ins, which rapidly grew more and more sophisticated, leading to lifelike analog emulations and next-generation “intelligent” EQ. Meanwhile, hardware EQs remained popular due to their inherent sonic character, and many iconic vintage units have been reissued or cloned. 

1992

Waves Q10 becomes the first third-party EQ plug-in

Even the earliest DAWs featured built-in EQ, but these stock plug-ins were often quite limited in functionality. That all changed when Waves launched its first product, the Q10 “paragraphic” EQ plug-in. This 10-band EQ featured full parametric control and six selectable shapes per band, giving engineers an unprecedented level of precision.

1993

Nightpro introduces NTI EQ3 with “Air Band”

The famous Mäag “Air Band” originated in the NTI EQ3: a dual-channel, six-band mastering EQ created by Cliff Mäag. All six bands operate at fixed frequencies with adjustable Q controls, but the Air Band—a special type of high-frequency shelf—only allows boosting. The Air Band’s unique way of “opening up” a mix made it a favorite tool of mastering engineers, and later NTI/Mäag EQs added additional frequency options for more versatility.

1996

Maselec introduces MEA-2 Precision Stereo Equalizer

The Maselec MEA-2 is a dual-channel, four-band parametric EQ that has become almost legendary among mastering engineers due to its extreme precision and minimal phase shift. Featuring stepped controls in very small increments, the MEA-2 offers the precise recallability necessary for mastering while delivering almost as much flexibility as continuously variable EQs.

1998

Manley Labs introduces Massive Passive®  tube EQ

Described as a “Pultec on steroids,” the Manley Massive Passive® expanded on the proven format of the Pultec EQP-1A by adding more bands, more frequency options, and versatile filters. Manley also revamped the circuit design with modern, high-performance components including three tube stages per channel and a set of custom inductors and output transformers designed in-house.

Since the Massive Passive®’s debut, Manley has made several tweaks to the unit, such as upgrading the power supply and adding features without changing the essential design or the iconic “super Pultec” sound. There’s even a mastering version with higher and lower filter settings.

"Massive Passive®" is a trademark belonging to Manley Laboratories, Inc.

2006

AMS Neve introduces 8803 stereo EQ with software recall

The Neve 8803 is a mastering-grade, dual-channel EQ derived from the Neve 88RS console, which itself featured EQ circuitry derived from the famous Neve 8108. Aside from delivering iconic Neve tone and precise control, the 8803 was one of the first hardware EQs to support software-based recall. When connected to a computer via USB, the 8803 allowed users to save their knob positions and then reset them later with the aid of Neve’s recall software.

2009

FabFilter Pro-Q plug-in introduced

FabFilter’s original Pro-Q plug-in wasn’t the insanely versatile dynamic EQ it is today, but it did represent a leap forward in plug-in EQ quality. Featuring a linear phase mode, zero-latency option, and an extremely clean user interface, Pro-Q offered a much higher-quality and more user-friendly alternative to stock DAW EQs.

iZotope introduces Ozone 4 with Match EQ

iZotope Ozone 4 introduced Match EQ, a groundbreaking new feature that made it possible to analyze the frequency profile of an audio file and apply a matching EQ curve to another audio file. Match EQ made it easy for amateur mastering engineers to replicate the overall sound of a reference track, and iZotope continued to improve the technology in later versions of Ozone and RX.

Mäag Audio is founded and introduces Mäag EQ4

In 2009, Cliff Mäag founded Mäag Audio (the successor company to Nightpro/NTI) with his two sons. Shortly afterward, the company introduced the Mäag EQ4: a single-channel, 500 Series version of the famous NTI EQ3. The EQ4 enhanced the Air Band with five frequency options ranging from 2.5 kHz all the way to an ultrasonic 40 kHz setting. In 2016, Mäag issued the EQ4M, a stereo mastering version with increased headroom, input attenuation controls, detented knobs, and an additional 15 kHz Air Band setting.

2012

Bettermaker introduces EQ230P and EQ232P digitally-controlled analog EQs

The Bettermaker EQ230P was an innovative digitally-controlled EQ with a fully analog signal path that allowed users to save and recall presets instantly. The Bettermaker EQ232P, released the same year, raised the ante by adding remote control via a DAW plug-in. Today, Bettermaker offers the new and improved Bettermaker Mastering Equalizer.

Universal Audio introduces Apollo interfaces with real-time analog EQ emulations

Universal Audio’s Apollo interfaces featured advanced DSP chips capable of running high-quality analog modeling plug-ins natively, without the latency of DAW-based plug-ins. For the first time ever, users could insert a stunningly accurate emulation of a Pultec or other vintage EQ directly into their recording chain and make creative decisions while recording without expensive hardware.

2015

Warm Audio EQP-WA recreates the Pultec sound for less

Although not the first or the last company to attempt a recreation of the famous Pultec EQP-1A, Warm Audio won a lot of fans with its EQP-WA. By sticking closely to the original circuit design while using modern components and manufacturing processes, Warm Audio managed to create a viable imitation of the legendary EQ at a far lower price. As a result, the EQP-WA remains one of the most popular Pultec-style EQs.

2016

Oeksound introduces Soothe dynamic resonance suppressor plug-in

Billed as a “dynamic resonance suppressor,” Soothe introduced a whole new way of using EQ. Using real-time analysis to identify and tame harsh frequencies, Soothe excelled at treating stubborn problems such as sibilance, unwanted distortion, and aggressive cymbals. Soothe’s uncanny effectiveness, transparent sound, and ease of use quickly made it a favorite tool of mixing, mastering, and post-production engineers. In 2019, Oeksound released Soothe2 to widespread acclaim.

2018

FabFilter Pro-Q 3 adds dynamic EQ

It wasn’t until the third iteration that Pro-Q became the A-list dynamic EQ we know today. Among other improvements, Pro-Q 3 allowed users to make any band dynamic instead of static, increasing its usefulness and cementing its status as a go-to mixing tool.

2023

Undertone Audio introduces UTEQ500 “Super-Parametric” EQ

The Undertone Audio UTEQ500 is one of the most innovative hardware EQs of the modern era. Designed to recreate the signature curves of almost any equalizer ever made, this three-band 500 Series module can blend between peak and shelf curves, eliminate resonance with a 50 dB notch setting, and even features a variable phase mode.

For decades, engineers have faced an impossible choice: do I reach for a dynamic, a condenser, or a ribbon mic? Each has its strengths, each its weaknesses—but what if you didn’t have to choose? What if you could have all three in a single microphone?

Introducing the VK 25 Switchable Dynamic/Condenser/Ribbon microphone—the first mic in history to house three fully independent analog circuits in one body. No modeling, no digital trickery—just pure, unadulterated transducer technology pushed to its absolute limit. 

VK 25: The Ultimate Sonic Swiss Army Knife

The VK 25 doesn’t just emulate different mic types—it is all of them. With a revolutionary tri-circuit design, you can switch between:

• Dynamic Mode – An ultra-linear moving coil design based on a legendary dynamic broadcast microphone, delivering punchy mids with plenty of bite.
• Condenser Mode – A silky-smooth condenser circuit inspired by vintage German mics, powered by a rare NOS EF806S tube. 
• Ribbon Mode – A proprietary nano-flux aluminum ribbon, precision-tensioned for “analog warmth” with none of the fragility of traditional designs.

And for those who refuse to compromise? Engage ALL IN Mode, where all three circuits capture your source simultaneously, blending their textures into a singular, unholy tonal masterpiece.

Want the grit of a dynamic, the air of a condenser, and the depth of a ribbon on your lead vocal? Done. Need to A/B mic types on a guitar amp without moving a stand? Too easy. The VK 25 isn’t just a microphone—it’s an entire mic locker in your hand.

Order The VK 25 Today

We’d love to tell you the VK 25 is available for purchase. But alas, science hasn’t quite kept up with the imaginations of audio nerds. 

Happy April Fools’ Day from Vintage King! 

(But if you do want an incredible dynamic, condenser, or ribbon microphone, we’ve got plenty of those.)

Love is in the air—and so is the sound of classic studio gear! This Valentine’s Day, Vintage King is back with our third annual collection of custom, hand-drawn cards inspired by legendary recording equipment.

These aren’t just any valentines. Each card pays tribute to a classic piece of studio gear, celebrating its timeless design and unmistakable sound. Whether you’re a longtime audio professional or a passionate gear enthusiast, you’ll appreciate the artistry and nostalgia behind each illustration. Looking for the perfect way to share your love for music and sound? Download our 2025 Valentine’s Day cards and send them to your favorite producer, engineer, or gear-loving sweetheart. Spread the love. Share the gear. Happy Valentine’s Day from Vintage King! Want more VK Valentines? Check out our 2024 and 2023 collections.

One of our longest-running traditions on the Vintage King blog is that when the calendar nears the end of the year, we compile a list of new music documentaries to watch over the holidays. This year's list marks the 11th edition of our annual roundup, dating all the way back to 2014! Check out our previous lists here.

2024 was an incredible year for music documentaries, especially for those of us who love the magic of the recording studio. This year’s list takes us through epic one-night sessions with superstars, deep dives into legendary studios, and intimate stories of music legends. From classic moments to emotional tales of overcoming adversity, these documentaries offer an inside look at the artistry and struggles that define the songs and albums we love.

Music Documentaries To Watch Over The Holidays

Electric Lady Studios: A Jimi Hendrix Vision

Electric Lady Studios: A Jimi Hendrix Vision is a documentary that delves into the creation and legacy of one of the most iconic recording studios in music history. Founded by Jimi Hendrix in 1970, Electric Lady Studios in New York City was not just a place to record music; it was a bold expression of Hendrix's artistic vision. The documentary explores how the studio was designed to meet Hendrix's unique sonic needs, blending cutting-edge technology with a creative atmosphere that reflected his innovative approach to music. If you're looking for a doc with lots of shots of gear, this is the place to start.

Check out our recent interview with Electric Lady studio designer John Storyk here.

 

Yacht Rock: A Documentary

There’s a reason Steely Dan’s Aja and Toto’s IV are still used to test monitors decades later. The meticulously crafted, exquisitely recorded hits that define yacht rock are so enduring and sonically flawless that they remain virtually impervious to the passage of time. Yacht Rock: A Documentary traces the lineage of the genre, highlighting how its key players formed around the world of the Dan (though don’t ask Donald Fagen about the genre), creating an intricate web of bands that stamped their mark on smooth and easy sounds. Plus, you get bonus points if you had "Christopher Cross discusses selling weed to finance his early demos" on your 2024 bingo card.

 

The Greatest Night in Pop

How did Quincy Jones wrangle all of those music legends in one night? The Greatest Night in Pop answers that question, offering behind-the-scenes footage and anecdotes. The documentary takes viewers through the unforgettable recording session, during which Jones brought together an astonishing lineup that included everyone from Stevie Wonder and Lionel Richie to Tina Turner and Bob Dylan. It explores the meticulous planning and incredible chemistry that made the night possible, highlighting how Jones’ vision and charisma united these musical titans for a truly historic event.

 

ABBA: Against All Odds

Just as yacht rock has rightfully been reclaimed, so has ABBA. ABBA: Against All Odds offers a fresh look at the Swedish pop icons, delving into their rise to global superstardom and their enduring legacy. The documentary captures the band's infectious energy, spotlighting their creative process, cultural impact, and the unique blend of artistry and commercial success that made them a force in pop music. It also examines their fascinating personal dynamics, revealing how their relationships both fueled and shaped their iconic sound.

 

Elton John: Never Too Late

Elton John: Never Too Late follows the legendary artist as he reflects on his remarkable 50-year career in an emotionally charged, intimate, and uplifting full-circle journey. As he prepares for his final concert in North America at Dodger Stadium, Elton looks back on the extraordinary highs and heartbreaking lows of his early years. The documentary offers a candid exploration of his struggles with adversity and addiction, showing how he overcame these challenges to become the cultural icon he is today. With personal insights and powerful storytelling, Never Too Late paints a portrait of resilience, reinvention, and the enduring power of music.

 

Road Diary: Bruce Springsteen and The E Street Band

Is it just us, or does listening to Bruce Springsteen talk feel like having a conversation with your dad—in the best way possible? Bruce's Road Diary documentary offers a behind-the-scenes look at The E Street Band preparing for their latest tour, but it's the personal moments from the band's history that truly shine, often bringing both laughter and tears. Their stories of the glory days (heh) in the band's motorhome and heartfelt tributes to fallen members are nothing short of fantastic, offering a deeper, more emotional connection to the music and the bond they share.

 

The Beach Boys

There’s so much Beach Boys history to explore that it’s tough to capture it all in one documentary, but this Disney+ feature centers on their sun-drenched early years. From their rise as California’s hottest export to the groundbreaking creation of Pet Sounds, it tells the classic story of a family band becoming pop purveyors in the highest form. While many of these stories have been told before, any footage of Brian Wilson in the studio offers a rare glimpse into the mind behind their iconic sound.

 

Beatles '64

The incredible Get Back documentary from a few years ago gave us the story of The Beatles breaking up, but Beatles '64 takes us back to one of the band's most successful years. This film documents the cultural impact of the Beatles on the United States following their historic first visit in February of 1964, when they appeared on The Ed Sullivan Show for the first time. Through archival footage from the Beatlemania era, it explores the frenzy surrounding their arrival and the transformative effect they had on American pop culture.

 

Stax: Soulsville U.S.A.

Stax: Soulsville USA is a captivating TV documentary series that dives deep into the history of Stax Records, the legendary label that defined the sound of Southern soul. The series chronicles the rise of Stax in Memphis, showcasing its impact on music and culture, from the groundbreaking hits of artists like Otis Redding, Booker T. & the MG’s, and Isaac Hayes to its role in the civil rights movement. Through rare footage, interviews, and archival material, Soulsville U.S.A. paints a vivid picture of the label's unique blend of musical innovation and social consciousness. Stax was truly where the soul of Memphis met the soul of the world.

Halloween is fast approaching, and at Vintage King, we’re thrilled to introduce a chillingly creative collection of custom Halloween cards.

We've combined our love for legendary studio gear and classic horror films into a set of cards that offer a perfect mix of eerie and entertaining. These limited-edition designs pay tribute to both the equipment that shaped music history and the spine-tingling movies that have become cult favorites.

Each card features an original hand-drawn illustration of iconic studio equipment blended with elements from beloved horror flicks. Forget about standard Halloween greetings—send something that’s as distinctive as your sound. Share the fun with friends, family, and fellow gearheads with these special Halloween cards, perfect for showing off your passion for audio while embracing the spooky season.

Join us in celebrating Halloween at Vintage King by grabbing your set of custom cards today. Get ready to send out some frightfully fun greetings that are bound to leave a lasting impression. Happy Halloween from the team at Vintage King!

Want even more spooky studio cards? Check out our 2023 Halloween cards below!

Although digital technology has evolved rapidly since the invention of transistors and integrated circuits in the mid-20th century, digital sound recording took quite a bit longer to develop. Capturing the complexities of sound waves requires encoding thousands of samples per second—each with enough bits of data to recreate the dynamic range accurately—and it took decades to develop systems with enough quality to rival good old magnetic tape. 

So, how did we get from the earliest low-res digital formats to the ultra-high sample rates and nearly unlimited dynamic range we enjoy today? Step into the past and join us for a journey through the fascinating history of digital recording!

The Beginning

The foundations of digital audio were laid in the early 20th century when techniques like time-division multiplexing (TDM) and pulse code modulation (PCM) were invented for telegraph and telephone transmission. These early systems showed that information could be broken down into small pieces, encoded as data, and reconstructed on the other end; but it wasn’t until the 1960s that digital technology became advanced enough to convey audio signals with acceptable quality.

1967

NHK develops the first PCM recorder

The Japanese public media corporation NHK is credited with developing the first true digital audio recording system: a 12-bit device that recorded 30 samples per second (30 kHz) onto video tape and featured a compander circuit that reduced the noise floor and increased the usable dynamic range. In 1969, the system was upgraded to record 13-bit, 32 kHz audio on two channels.

1971

Denon produces the first commercial digital recordings

Using NHK’s stereo PCM system, engineers at Denon made the first digital recordings to be commercially released (albeit in consumer analog formats). The first to be recorded was the experimental percussion record The World of Stomu Yamash'ta, while the first to be released was Something by Steve Marcus with Jiro Inagaki and Soul Media.

1972

The BBC develops its own digital recording and broadcast systems

Although the Japanese were the first out of the gate in the digital audio race, the British Broadcasting Corporation followed shortly after with their own two-channel PCM recording system. They ultimately applied this technology to their television broadcast network, using a 13-channel PCM system for remote transmission until the early 1980s. The BBC then licensed some of the technology to 3M, who would later use it as the basis for the first digital multitrack system.

1974

Sony introduces its first PCM recorder

Co-developed by the former head of NHK’s Technical Research Laboratories, the Sony X-12DTC utilized stationary heads like an analog tape deck rather than the rotating (helical) heads of previous digital recorders. The large and bulky unit, which required two-inch tape and 56 channels of data, was used to make a series of classical test recordings and exhibited at Japan’s 1974 Audio Fair. However, it never went into commercial production.

1976

Soundstream produces the first 16-bit PCM recording

Thomas Stockham founded Soundstream in 1975 to sell and lease his own digital recording systems, starting with a prototype 16-bit, 37 kHz stereo mode that was first deployed in 1976 at the Santa Fe Opera. The recording was demonstrated at that year’s AES convention, but the record label ultimately opted to use its own analog recording due to complaints about the digital sound quality. Later, Soundstream developed a 50 kHz system with superior sound quality.

1978

3M develops the first digital multitrack recorders

Using technology borrowed from the BBC’s early experiments, leading tape manufacturer 3M developed the revolutionary Digital Audio Mastering System. The system, priced at $115,000 at the time, consisted of two 16-bit, 50 kHz recorders: a 32-track machine using one-inch tape and a four-track machine using half-inch tape. 

Soundstream develops first-of-its-kind Digital Editing System

About a decade before the first Digital Audio Workstations (DAWs), Soundstream developed the Digital Editing System: a computer-based system that recorded to a 14-inch hard disk and featured an oscilloscope-style display for primitive waveform editing and simple crossfades. The system was first used to produce a series of classical recordings for Telarc in 1978.

1979

Ry Cooder records the first all-digital album using a multitrack system

Although NHK claimed the very first digital recordings, Ry Cooder’s Bop Till You Drop was the first album of popular music to be recorded 100% digitally using 3M’s multitrack system. Around the same time, British label Decca released the first European digital recording (the Vienna Philharmonic's New Year's Day concert).

Digital Goes Mainstream

Driven by huge leaps in computing power and microchip manufacturing, the 1980s was a time of rapid growth and innovation in the tech industry that led to once-futuristic tech like personal computers and digital synthesizers becoming more and more common. This decade also saw major advancements in digital recording technology, including the introduction of the Compact Disc (CD), Digital Audio Tape (DAT), and the first Digital Audio Workstation (DAW) software.

1980

Mitsubishi introduces X-80 digital tape recorder

Advanced for its time but soon surpassed, Mitsubishi’s X-80 was a two-track, quarter-inch recorder that used an unusual sample rate of 50.4 kHz. Engineers lauded its sound quality but complained of unreliability, and only 200 units were made (including the portable X-80A).

1982

Sony and Philips co-develop the Compact Disc

Based on the LaserDisc video format developed by Philips and MCA in 1978, the Compact Disc (CD) used optical technology to encode digital audio on a thin disc which could be read by a laser and converted back to analog during playback. The “Red Book” CD specification provided up to 74 minutes of 16-bit audio at 44.1 kHz: just enough data to capture the full audible spectrum with an acceptable amount of dynamic range.

Sony introduces DASH digital audio tape format

Sony’s Digital Audio Stationary Head (DASH) format crammed up to 48 tracks of 16-bit audio onto half-inch magnetic tape—an incredible improvement over 3M’s earlier format. The machine’s accuracy and error correction were so robust that DASH tapes could be cut and spliced just like analog tape, which appealed to analog-minded engineers. Studer and TASCAM produced a range of 2-, 24-, and 48-track DASH machines.

Mitsubishi introduces ProDigi format

To compete with DASH, Mitsubishi quickly developed a successor to the X-80 called the X-800, along with a new format called ProDigi. The 32-track X-800 used one-inch tape, but half-inch 16-track and quarter-inch two-track models followed, including the X-86HS (which was capable of 88.2 and 96 kHz recording) and the X-86C (which could play back 50.4 kHz tapes made on the original X-80). But despite their brief success, Mitsubishi ultimately stopped making digital recorders in 1988.

1984

SPARS codes developed to identify digital recordings

As digital audio continued to creep into the music production process, the Society of Professional Audio Recording Services (SPARS) developed a three-letter code to inform consumers. SPARS codes printed on records classified the recording, mixing, and mastering stages with an A for analog or a D for digital. Under this system, “AAD” denoted a digital remaster of an analog album, “ADD” indicated an album recorded on tape but mixed and mastered digitally, and “DDD” specified an all-digital production (such as Dire Straits’ Brothers in Arms).

1987

Sony develops Digital Audio Tape (DAT) format 

Compared to previous digital tape formats, Sony’s DAT offered convenience and flexibility that appealed to consumers and home recordists alike. Using small cassettes instead of open-reel tapes, DAT recorders featured three 16-bit modes (48, 44.1, or 32 kHz) as well as a 12-bit, 32 kHz mode which provided up to six hours of recording time. DAT machines initially came in two varieties: S-DAT, which used stationary heads; and R-DAT, which used rotating heads. In the end, R-DAT became the standard due to its capability for four-track recording.

1989

Digidesign introduces Sound Tools, the precursor to Pro Tools

While Sony, Mitsubishi, and others battled for supremacy in the digital tape market, a company called Digidesign (now Avid) was busy developing a revolutionary hard disk-based recording system based on their Sound Designer visual editor for the Emulator II sampler. Combined with proprietary A/D and D/A converters, Sound Tools provided two-channel, 16-bit recording and editing at the newly standardized sample rates of 44.1 and 48 kHz.

The Home Recording Revolution

Slow to trust new technologies and heavily invested in analog equipment, many studios still relied on multitrack tape throughout the 1980s. Meanwhile, many home recordists relied on affordable cassette-based systems such as the TASCAM Portastudio line. But in the 1990s, all of that began to change. As new digital formats emerged, sound quality and affordability increased, and DAWs became commonplace, a paradigm shift was underway.

1991

Alesis introduces ADAT format

At the 1991 NAMM Show, Alesis debuted a new format that improved upon the earlier DAT format. Alesis Digital Audio Tape (ADAT) could fit eight tracks of 16-bit audio onto a standard S-VHS videotape, making it popular among home recordists and home studios. Up to 16 ADAT machines could be connected for 128-track recording, but this functionality proved unreliable and ADAT was eventually overshadowed by hard disk-based systems.

Digidesign introduces Pro Tools software

The first version of Pro Tools combined Digidesign’s ProEdit software with ProDeck, a four-track DAW developed by OSC that features automation, MIDI sequencing, and DSP effects such as EQ, delay, and chorus. At the time, Digidesign was still offering Sound Designer II for two-track editing, and Sound Tools II came out the following year.

1993

RADAR becomes the first 24-track disk-based recording system

After about three years of development, Barry Henderson of Creation Studios debuted the Random Access Digital Audio Recorder (RADAR) at the 1993 AES convention. Initially marketed under the Otari brand, RADAR was the first hard drive-based system capable of recording 24 tracks of 16-bit, 48 kHz audio. With its tape machine-like user interface, the RADAR system gained a small but loyal following among older engineers, and the company later produced several more models, including the DAW-compatible RADAR Studio.

TASCAM introduces DA-88 digital audio tape format

Similar to an ADAT machine with increased reliability, the TASCAM DA-88 provided eight tracks of 16-bit audio with the capability to sync multiple machines for higher track counts. Later models offered higher sample rates and the DA-88 eventually won an Emmy award for technical excellence.

1994

Digidesign introduces Pro Tools II TDM and is acquired by Avid

Pro Tools II TDM (also known as Pro Tools 2.5) utilized Time Division Multiplexing (TDM) technology to route audio between multiple DSP cards. This not only made it possible to link four NuBus cards to create a 16-track system but also allowed the user to run multiple real-time plugins. Later that year, Digidesign was acquired by Avid, makers of the popular Media Composer video editing software.

1997

Avid introduces Pro Tools | 24

Thanks to new PCI cards, Pro Tools | 24 (also known as Pro Tools 4.1) offered 24-bit recording on up to 64 simultaneous tracks. The increased track count and greatly improved dynamic range finally made Pro Tools a direct competitor to tape and RADAR systems.

1999

“Livin’ la Vida Loca” becomes the first #1 single to be fully produced in a DAW

At the end of the 20th century, digital recording hit a milestone that heralded a new era for the industry: Ricky Martin’s 1999 hit “Livin’ la Vida Loca” became the first chart-topping single to be recorded, edited, and mixed entirely within Pro Tools. While the merits of digital and analog audio were still hot topics of debate, this event certainly tipped the scales.

Digital Recording in the 21st Century

By the year 2000, digital recording had finally gained widespread acceptance in the industry. After decades of evolution and numerous technological breakthroughs, DAW-based recording made digital tape obsolete and eventually supplanted analog tape as the default in all but the most old-school studios.

In the 21st century, DAWs have continued to evolve at a rapid pace, high-quality converters have become more affordable, and innovations like 32-bit floating point recording have made digital audio practically indistinguishable from real life—but that’s a story for another time.

Harrison Audio may not get as much buzz as some of the other classic console brands, but they’ve been a major player in the industry for about half a century. By developing innovative technologies, adapting to industry changes, and diversifying the brand's product line; Dave Harrison and company have established themselves as a top choice for music and post-production studios while maintaining a presence in the live and broadcast sectors and even breaking into the software market with the brand's Mixbus DAW and plug-ins.

Explore Harrison Audio’s history, starting from its beginnings in the golden age of analog recording, through the rapid evolution of digital audio, and into the present day.

The Early Years

Founder Dave Harrison started off as a saxophonist and recording engineer in the Cincinnati, Ohio area before working his way up to Manager at King Records, an iconic Cincinnati studio used by A-list entertainers including James Brown, John Lee Hooker, and The Platters. Eventually, Harrison moved to Nashville, Tennessee and started Studio Supply, a recording studio building and outfitting company. 

Studio Supply was a reseller for MCI, one of the most prominent manufacturers of cutting-edge multitrack recorders at the time. In the early 1970s, Harrison approached MCI founder Jeep Harned with an idea for a new “in-line” console design that would seamlessly integrate the recording and mixing workflows.

This collaboration resulted in the MCI JH-400, the first commercially produced in-line console. Harrison also had ideas for remote-controlled gain and switching systems, but MCI was not interested at the time, so he founded his own company to bring his products to market.

Over the years to come, Harrison consoles would be used to make some of the most iconic records ever made, from Michael Jackson's Thriller to Nirvana's Nevermind and beyond.

1975

Harrison Audio makes its debut with 32-Series in-line consoles

Dave Harrison’s first original console, the Harrison 3232, perfected his version of the in-line design, which combined the previously separate recording and monitoring signal paths into each channel strip. Compared to existing consoles that required twice the amount of channels to record and monitor simultaneously, the 3232 streamlined the mixing process while saving precious space in the control room.

After the smashing success of the Harrison 32-Series, other manufacturers followed suit and the in-line design became the de facto standard for multitrack recording consoles. 

Deep Purple release Come Taste The Band, produced by Reinhold Mack on a Harrison 32-Series console at Musicland Studios in Munich, Germany

The Rolling Stones release Black and Blue, produced by Reinhold Mack on a Harrison 32-Series console at Musicland Studios in Munich, Germany

1976

Led Zeppelin release Presence, recorded on a Harrison 32-Series console at ABBA's Polar Studios in Stockholm, Sweden

Kansas release Leftoverture, recorded on a Harrison 32-Series console at Studio in the Country in Bogalusa, Louisiana

1977

Steely Dan release Aja, on which Roger 'The Immortal' Nichols used a Harrison Console 3232 for overdubs

Iggy Pop releases The Idiot, recorded on a Harrison 32-Series console at Musicland Studios in Munich, Germany

1979

Harrison Audio branches out with the PP-1 film console

Not content just to revolutionize studio console design, Harrison broke into the post-production industry at the end of the 1970s with the innovative PP-1 console. The PP-1 featured some of the earliest computer-driven automation and other features catered to post-production workflows, making it popular with film studios.

Donna Summer releases Bad Girls, recorded on a Harrison 32-Series console at Rusk Sound Studios in Hollywood, California

Elton John releases Victim of Love, recorded on a Harrison 32-Series console at Musicland Studios in Munich, Germany, and Rusk Sound Studios in Hollywood, California

Led Zeppelin release In Through The Out Door, recorded on a Harrison 32-Series console at ABBA's Polar Studios in Stockholm, Sweden

1980

Harrison Audio expands and diversifies its product line

Unlike other well-known brands that specialize in consoles for studio, live, broadcast, or post-production applications, Harrison has a long history of success in all of these areas. Throughout the 1980s, Harrison produced several ranges of specialized consoles including the MR-Series and Raven music consoles, TV- and Air-Series broadcast consoles, and the HM- and SM-Series live consoles. 

Queen release The Game, recorded on a Harrison 32-Series console at Musicland Studios in Munich, Germany

Electric Light Orchestra release Xanadu, recorded on a Harrison 32-Series console at Musicland Studios in Munich, Germany

ABBA release Super Trouper, recorded on a Harrison 32-Series console at the band’s Polar Studios in Stockholm, Sweden

Genesis release Duke, recorded on a Harrison 32-Series console at ABBA’s Polar Studios in Stockholm, Sweden

1982

Michael Jackson releases Thriller, recorded and mixed by Bruce Swedien on a Harrison 32C Console at Westlake Recording Studios in Los Angeles, CA.

1985

Harrison SeriesTen becomes the world’s first fully automated console

Harrison’s next groundbreaking design, the SeriesTen, utilized hundreds of digitally controlled attenuators to govern each channel’s level, EQ, panning, and dynamics processing without failure-prone analog knobs and faders. The user could access all of the console’s functions using only five digital encoders per channel, and complex mix sessions could be easily saved and recalled, dramatically speeding up workflows for busy studios.

Harrison SM5 consoles used at Live Aid

Harrison consoles saw widespread use in the live sound sector, including a high-profile gig mixing front of house and monitors for the U.S. portion of Live Aid. During the event, the sounds of A-list acts like Black Sabbath, Led Zeppelin, Neil Young, Joan Baez, and Run-D.M.C. (as well as audio feeds from the White House and the Space Shuttle) flowed through a Harrison SM5 console before reaching the crowd of nearly 90,000 and countless viewers around the world.

Sade releases Promise, recorded on a Harrison Console at Power Plant Studios in London 

1987

Michael Jackson releases Bad, recorded and mixed by Bruce Swedien on a Harrison 32C Console at Westlake Recording Studios in Los Angeles, CA.

1988

Iron Maiden release Seventh Son of a Seventh Son, recorded on a Harrison 32-Series console at Musicland Studios in Munich, Germany

1989 

Harrison Audio introduces SeriesTenB console

While the Harrison SeriesTen represented a substantial step forward in console technology, the novel and complex digital system wasn’t without issues. The SeriesTenB worked out those kinks to create a much more stable platform with a new and improved automation system and groundbreaking interactive video graphics. 

Janet Jackson releases Rhythm Nation, mixed by Steve Hodge on a Harrison Harrison SeriesTen Console at Flyte Tyme Studios

Innovating in a Changing Industry

As digital audio advanced by leaps and bounds, the 1990s and early 2000s brought significant changes to the music and post-production industries. Analog audio formats moved toward obsolescence, home recording technology became more and more affordable, and the bottom fell out of the music industry, causing many studios and record labels to fold. But Harrison Audio continued to thrive, releasing some of the brand's most celebrated consoles during this time, winning prestigious industry awards for the brand's innovation, and eventually stepping into the software market with a custom DAW.

1991

Harrison SeriesTenB wins TEC Award

In 1991, Harrison Audio was honored with the Mix Foundation’s Technical Excellence & Creativity (TEC) Award for Outstanding Technical Achievement in Console Technology. Around this time, company President Gary Thielman began consulting with prominent SeriesTenB users as part of the research and development process for the SeriesTwelve.

The Smashing Pumpkins release Gish, recorded and mixed by Butch Vig on a Harrison 3232 Console at Smart Studios in Maddison, Wisconson

Nirvana release Nevermind, recorded by Butch Vig on a Harrison 3232 Console at Smart Studios in Maddison, Wisconson

1992

First Harrison Motion Picture Console installed at Sony Pictures

On Valentine’s Day 1992, Sony Pictures installed the first Harrison Motion Picture Console (MPC), kicking off a legacy that continues to this day with the Harrison MPC5. Designed in close collaboration with post-production experts including Sony Pictures Chief Engineer Jeff Taylor, the massive MPC was built for multi-user mixing workflows and featured motorized joysticks for automated surround panning.

1994 

Harrison introduces SeriesTwelve console

Five years after the SeriesTenB became a studio favorite, Harrison followed up with the next-generation SeriesTwelve. This model completely separated the all-digital control surface from the analog processing racks, drastically reducing the console’s footprint.

The modular control surface allowed up to four “layers” of channels to be assigned across the desk, making it endlessly reconfigurable for complex music, film, or broadcast workflows. Powered by an Apple NuBus computer system, the SeriesTwelve featured a touchscreen interface and shared central panel that allowed the user to process any channel without moving out of the “sweet spot.”

1999

Harrison Live Performance Console honored with TEC award

Harrison capped off the millennium with another TEC Award, this time recognizing the brand's Outstanding Technical Achievement in Sound Reinforcement Console Technology with the Live Performance Console (LPC). Jointly developed with tour sound company ShowCo, The LPC brought Harrison’s digitally-controlled analog technology to the live sound market in 1998.

The console featured stage-mounted audio processing racks that drastically reduced cable runs and a new IKIS automation system with instantly recallable “scenes.” ShowCo continued to use LPC consoles for the next two decades, including tours with high-profile acts such as Madonna and U2.

2004

Harrison Audio develops new Xrange audio processing system

Over a three-year research and development period, Harrison engineers created Xrange: a Linux-based, 64-bit audio processing system to power the brand's new generation of consoles and provide a futureproof platform for future upgrades. Xrange technology was first deployed in the Harrison Air24 broadcast console.

2005

Universal Studios installs Harrison MPC4-D film console

As post-production demands for major studio films grew increasingly complex, Harrison adapted with the MPC4-D: a massive, 30-foot console designed for three simultaneous users (typically a dialogue mixer, a sound effects mixer, and a music mixer). The Xrange-powered system featured a total of 384 channels—each with two inputs, an eight-band EQ, dynamics processing, and Harrison Digital Tools DSP effects.

Harrison Audio introduces Trion digital console

The Harrison Trion followed in the footsteps of the reconfigurable SeriesTwelve consoles, taking advantage of modern manufacturing techniques to offer maximum flexibility at a reduced cost. The Trion’s hardware and software could be reconfigured to suit the needs of recording and mixing studios, live and broadcast applications, post-production studios, and more.

2009

Harrison Audio launches Mixbus DAW

As digital recording technology flourished in the new millennium, Harrison seized the opportunity to enter the market with a custom digital audio workstation (DAW) software. Based on the open-source Ardour DAW, Mixbus provides all of the standard recording, editing, and mixing features with a Harrison-style mixer interface featuring the brand's signature EQ, compressors, limiters, analog saturation characteristics, and even meters based on real Harrison consoles.

Recent History

After successfully navigating the most tumultuous period in the music industry, Harrison continued to remain relevant throughout the 2010s by releasing the brand's most advanced film console to date and ramping up plug-in development.

The 2020s brought change to all corners of the audio industry, including major disruptions from a global pandemic, supply chain complications, and economic instability. To remain competitive, Harrison joined forces with Solid State Logic (SSL) under the Audiotonix Group in 2023, allowing the brand to release its first new console in a decade and launch a line of 500 Series modules.

2013

Harrison Audio introduces MPC5 film console and Sony Pictures becomes an early adopter

The latest Harrison Motion Picture Console introduced object-based mixing capabilities compatible with cutting-edge immersive audio formats such as Dolby Atmos and Auro3D. The MPC5 also featured a new Trion-based control surface with touch-sensitive knobs and improved motorized joysticks for surround panning.

2018

Harrison Audio introduces AVA plug-ins

Branching further into the software market, Harrison created the AVA plug-in range to make its most popular audio processing tools available to engineers working in any DAW. The first offering was the AVA LegacyQ (now Legacy EQ), which emulated Harrison’s famous digitally-controlled analog console EQs. Today, AVA is just one of Harrison’s four plug-in collections, including the Studio, Post, and XT lines.

2019

Harrison Audio introduces MPC Channel Strip plug-in 

With channel strip plug-ins becoming a popular all-purpose tool for in-the-box mixing, Harrison decided to recreate the beloved Motion Picture Console in plug-in form. The MPC Channel Strip combines six essential processors for post-production work in a reconfigurable window with custom layouts for popular control surfaces.

2022

Solid State Logic acquires Harrison Audio

Legendary British console brand Solid State Logic (SSL) formally acquired Harrison Audio in 2022, bringing the company under the umbrella of the Audiotonix Group alongside Allen & Heath, CalRec, DiGiCo, KLANG Technologies, Sound Devices, and Slate Digital. The merger provided Harrison with increased resources for product development and made select Harrison plug-ins available as part of the SSL Complete subscription service.

2023

Harrison Audio introduces 32Classic console

With the backing of SSL and Audiotonix, Harrison Audio launched its first new console in a decade: the Harrison 32Classic. A spiritual successor to the legendary 1970s 32-Series consoles, the 32Classic emphasizes analog character while providing hybrid flexibility and DAW control for modern workflows.

2024

Harrison introduces 500 Series modules

Making a bold debut in the crowded 500 Series market, Harrison simultaneously announced three modules at the 2024 Winter NAMM Show. The 32Cpre+ microphone preamp features a Jensen transformer and signature Harrison filters, the MR3eq is a flexible three-band parametric equalizer, and Comp is a classic feed-forward VCA compressor with program-dependent attack.

iCon Pro Audio and Harrison introduce 32Ci audio interface

Also in 2024, iCon Pro Audio released the Harrison/iCon 32Ci, a 12-in/12-out USB-C audio interface with premium preamps and analog filters derived from Harrison’s legendary 32-Series consoles.

Harrison Today

Between the success of the 32Classic console, the new 500 Series modules, and the latest Mixbus 10 DAW, Harrison Audio continues to remain relevant in the ever-changing pro audio industry. And the Harrison legacy certainly hasn’t been forgotten—in fact, the classic Harrison SeriesTen console was recently inducted into the NAMM TEC Awards TECnology Hall of Fame.

Are you tired of spending all day sitting at a desk? Is this really what you had in mind when you signed up to be an audio professional? Do you dream of mixing free from the burdens of your padded prison, the dreaded office chair? Well, hold onto your headphones, because we've got the ultimate solution for you!

Introducing the Vintage King ERGO12345 Standing Console, the world's first ergonomic standing recording and mixing console! It's the multitasking marvel you never knew you needed until now!

The ERGO12345 Standing Console is ergonomically designed to keep you comfortable and productive for hours on end. With the ERGO12345 Standing Console, you can reach every fader, knob, and control while standing upright. No more having to bend over the console to adjust hard-to-reach preamps, or roll across the room to adjust channel 32. Say goodbye to those pesky backaches and hello to creativity flowing like never before!

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Compression is one the most fundamental and widely used tools in music production and audio engineering in general. Compressors and limiters are used at every stage of the process, from pedalboards and vocal chains to mixing, mastering, and broadcast studios. They keep our mixes from clipping, smooth uneven dynamics, thicken vocal and instrument tones, and even provide creative effects when pushed to their limits.

Over nearly a century of history, the humble compressor has evolved from a technical necessity to a valuable creative tool and—more recently—an object of worship among gear nerds. Vintage compressors and limiters still sell for tens of thousands of dollars, while modern reissues, clones, and plug-in emulations abound.

This timeline charts the evolution of dynamics processors from their origins in the mid-1930s to the state-of-the-art models available today. While we can’t list every compressor and limiter ever made, this timeline will cover the most innovative and popular units throughout music history.

The First Compressors

The concept of an automatic dynamics processor was originally developed for the broadcast industry. Early radio stations encoded broadcasts using Amplitude Modulation (AM), wherein the amplitude of a carrier frequency is modulated by the broadcast signal. Peaks in the program audio could cause the radio signal to become over-modulated, distorting the broadcast. To ensure a quality broadcast, stations needed some way of keeping audio levels in check.

Enter the “limiting amplifier”: a clever device that reduces signal peaks to a manageable level and then boosts the output, increasing usable headroom and allowing radio stations to broadcast a clearer, stronger signal that could reach more listeners with better quality. 

1936

Telefunken U3 Variable Transconductance Compressor

While not originally designed for use in recording studios, Telefunken's U3 dynamic compressor was originally used on the public address system at the Olympics Studio in 1936. The U3 would later become the basis for the U13 in the 1940s, which was the first diode bridge compressor ever made.

In 1953, Rhode and Schwarz developed the U23, which became popular with recording studios in the 1950s. For a modern take on the classic U3 design, check out the Vacuvox U23m.

1937

Western Electric introduces 110A Program Amplifier

Commonly cited as the first automatic dynamics processor to enter use, the Western Electric 110A was capable of increasing signal level by three whole decibels—a huge accomplishment for the time. Behind this capability was an innovative new type of “variable-mu” vacuum tube capable of adjusting its gain level in response to a bias signal. Relatively simple by today’s standards, the 110A’s minimal controls included knobs for Input and Output Gain and a Time Constant switch controlling attack and release.

1938

RCA introduces Model 96-A Compressor Limiter

Six months after Western Electric released the innovative but rather ugly 110A, their competitors at RCA upped the ante with the Model 96-A. While it utilized the same variable-mu concept and featured similar controls, the 96-A was decidedly sleeker-looking, with a bold black faceplate and metal grilles like an automobile. It was also probably the first audio device to officially be called a compressor.

1947

Langevin introduces PROGAR 119A Amplifier

While Western Electric and RCA’s early limiters represented a leap forward in audio processing, a San Francisco radio engineer named Al Towne found an even more sophisticated solution. Over more than a decade (possibly starting as far back as 1935), Towne developed a unit he called the “Program Guardian” that combined automatic gain control and peak limiting. He then sold his patented design to Langevin, who brought it to market as the PROGAR 119A.

Western Electric introduces BA-5-A “lookahead” limiter

Ten years after the 110A, Western Electric made another breakthrough in dynamics processing technology with the BA-5-A Limiter. This large, utilitarian-looking device incorporated a delay line to allow the detection circuit to “catch up” with the input signal, giving it more time to react to changes in level. The result was a more effective limiter capable of catching ultra-fast transients, similar to the “lookahead” function on some compressor plug-ins.

1956

Gates introduces Sta-Level compressor

Although not as groundbreaking as the first wave of variable-mu compressors, the Gates Sta-Level saw widespread adoption among popular radio stations into the 1960s. Attack and release were controlled by the “Recovery Time” switch, which had only two positions: Single and Double. The unit has since been updated and reissued by Retro Instruments with a new “Triple” setting and fine adjustment knob.

1958

Teletronix introduces LA-1 optical compressor

The next major breakthrough in compressor technology arrived in the form of the Teletronix LA-1. This device featured a unique detection circuit that converted the input signal into light using a luminescent panel coupled to a photocell which detected the changing brightness and triggered the compression circuit. Despite being controlled by light, this new optical compressor reacted slightly slower than previous designs, producing a smooth, neutral-sounding effect meant to smooth uneven levels rather than control fast peaks. Teletronix only produced around 100 LA-1 units, making this one of the rarest specimens in compressor history.

The Classics

By the late 1950s and early ‘60s, the compressor had already become a must-have tool for state-of-the-art studios. As recording technology advanced, and the music industry along with it, compressor manufacturers began developing ever more sophisticated designs, producing some of the most celebrated models during the golden age of analog recording.

1959

Fairchild Recording Equipment Corporation introduces 660 and 670 Compressor/Limiters

The single-channel Fairchild 660 and dual-channel Fairchild 670 are two of the most famous variable-mu compressors in music history. Originally developed for vinyl mastering, Fairchild compressors quickly became a studio favorite due to their extremely fast attack characteristics and automatic release settings, which provided effective peak limiting and smooth leveling. In 2023, Telefunken CEO Toni Fishman announced the formation of Fairchild Recording Equipment, LLC, and the launch of its first product, a reissue of the Fairchild 670.

Check out more modern Fairchild reproductions on our blog!

1961

Universal Audio introduces 175B and 176 Limiting Amplifiers

To kick off the 1960s, studio innovator Bill Putnam, Sr. introduced the first compression devices explicitly designed for studio recording and mixing: the Universal Audio 175B and 176. Overall similar to each other except for their Ratio settings and a few other details, these units were the first to feature independent controls for Attack and Release. Their horizontal rackmount design and control layout would later become the blueprint for future studio compressors.

Vintage King offers an exclusive recreation of the legendary 175B compressor, made in collaboration with Retro Instruments. Additionally, Retro Instruments offers an authentic recreation of the 176 compressor.

1965

Teletronix introduces LA-2A optical compressor

The Teletronix LA-2A improved upon the design of its predecessor with a refined circuit built around the now-famous T4 electro-optical detector. Several iterations were made, including the original LA-2 and the “silverface” version built by UREI, which featured faster transient performance. To this day, the LA-2A remains one of the most coveted compressors ever made, and many imitators have attempted to recreate its characteristically smooth, warm sound.

Check out more modern LA-2A reproductions on our blog!

1967

UREI introduces 1176 FET compressor

Using the recently invented field-effect transistor (FET), Bill Putnam, Sr. developed the first solid-state microphone preamp (the UREI 1108) and compressor (the UREI 1176) in 1967. Utilizing a “feedback” design the 1176 routes the input signal to the detector circuit after the compression circuit (as opposed to the traditional “feed-forward” design). This gave the unit a very transparent sound under optimal conditions, although studio engineers would soon discover that all four Ratio buttons could be engaged at once for extremely aggressive compression.

1968

EMI introduces TG12413 channel compressors

EMI’s custom-built TG12345 console was the first mixing desk to feature built-in compressors on every channel strip. The TG12413 compressor circuit can be heard on some of the most famous records made at Abbey Road Studios, and it has even been reissued as a standalone unit.

1969

Shure introduces M62V “Level-Loc” Audio Level Controller

More of an automatic gain controller than a true compressor, the Shure M62V was initially designed to achieve consistent speech levels in public address applications. Decades later, creative engineers like Dave Fridman (The Flaming Lips, Mercury Rev) and Tchad Blake (Peter Gabriel, Fiona Apple) began to exploit its rather aggressive sound to mangle and distort drum tracks, instruments, and vocals.

Neve introduces 2254 mono compressor/limiter

Although mainly known for his console and EQ designs, Rupert Neve’s engineering prowess extended to compressors, as well. The Neve 2254 was a single-channel unit that included both a limiter and a compression stage, making it an excellent all-purpose tool for recording and mixing.

1973

Dorrough introduces Model 310 DAP multiband limiter

Although the origins of multiband dynamics processors are hard to trace, Dorrough’s Model 310 DAP (Discriminate Audio Processor) stands out as the earliest model to enter widespread use. Based on a previous experimental eight-band limiter that Mike Dorrough called the “Behemoth,” the Model 310 reduced the number of bands to three and implemented gentler crossovers for a smoother sound.

1974

Eventide Omnipressor 2830

Originally billed as a "special effects unit," the Omnipressor offered a wide range of innovative dynamic effects including "infinite compression" and "dynamic reversal." The Omnipressor was also one of the first to introduce a dedicated side-chain filter, which was used as an early form of lookahead compression that Eventide dubbed "predictive compression." In honor of the Omnnipressor's 50th anniversary, Eventide released the updated Omnipressor 2830AU in 2023.

1976

dbx introduces 160 VCA compressor

Derived from the pioneering dbx 202 Voltage-Controlled Amplifier (VCA), the dbx 160 was the first compressor to utilize VCA technology. Similar in principle to a variable-mu tube, the VCA in the detector circuit offered more refined control over the attack, release, threshold, and knee parameters—at a fraction of the cost. Capable of everything from smooth leveling to peak limiting and aggressive “pumping” effects, the dbx 160’s sonic versatility and low price made it an instant favorite among recording and mixing engineers. Today, the spirit of the 160A lives on in dbx's 560A 500 Series compressor. 

1979

Solid State Logic introduces Master Bus Compressor

The SL 4000E console included the first iteration of SSL’s famous Master Bus Compressor, a built-in VCA compressor designed to enhance and pump up the dynamics of any mix. Combined with the 4000 E’s built-in channel compressors, the Master Bus Compressor helped usher in the trend of loud, punchy mixes. The coveted bus compressor has been reimagined several times over the years but is currently available as the G-Comp 500 Series compressor. 

The Modernization of Compressors

The 1980s marked a huge shift in the music industry, both stylistically and technologically. One of the major factors was the rapid advancement of integrated circuits (ICs): small, prefabricated chips containing an entire electronic circuit that can easily be integrated into audio equipment.

The advances in ICs had two major impacts on compressor development. First and foremost, it made hardware more affordable, leading to a wave of budget-friendly units that were accessible to home recordists. On the technological side, ICs allowed compression to be controlled digitally, unlocking new possibilities for “smart” compressors.

But analog never dies, and many manufacturers continued to iterate on traditional compressor designs, improving on time-tested circuits and embracing the tonal coloration of tubes and transformers. For the first time, the audio arms race wasn’t just about transparency and technical perfection—vintage sounds were coming back in style.

1985

Neve introduces 33609 stereo bus compressor/limiter

Based on the design of the classic Neve 2254 compressor, the 33609 is a two-channel unit with separate limiting and compression circuits on each channel. In addition to its signature Neve sound quality, features like program-dependent release and stepped controls made the 33609 a favorite for mix bus processing. Several revisions followed, including the 33609/C, /J, /JD, and /N.

1987

Solid State Logic introduces G Series Master Bus Compressor

The SL 4000 G console included an updated bus compressor design with an optimized VCA chip that provided slightly cleaner sound and better responsiveness than the previous iteration. The new compression circuit, along with revamped EQ circuitry and other tweaks, earned the G-series desks a place in the console hall of fame.

Tube-Tech introduces CL-1A optical compressor

At a time when solid-state VCA compressors were stealing the spotlight, Tube-Tech went against the grain and released the CL-1A: an all-tube optical compressor with old-school, point-to-point hand-wiring. 

1989

Alesis introduces 3630 dual-channel compressor/gate

The Alesis 3630 is famous not so much for its sound quality as its abundance. This relatively inexpensive unit offered two linkable channels of compression, including peak and RMS modes, hard and soft knees, and a gate on each channel—a sheer amount of utility that was hard to pass up for home recordists on a budget. The 3630 sold so many units that Alesis claims it as the “most popular dynamics processor ever made” (thanks in part to Daft Punk).

1991

Tube-Tech introduces CL-1B optical compressor

The CL-1B (the follow-up to the CL-1A) replaced the point-to-point hand wiring with modern circuit boards to reduce costs and increase consistency. The result was a modern classic that has been in production (and demand) ever since. In 2007, Tube-Tech partnered with Softube to develop an official CL1-B plug-in.

1994

Manley introduces Stereo Variable-Mu Limiter Compressor

Based on an old Danish broadcast limiter made by DISA, Manley’s Stereo Variable Mu® Limiter Compressor exemplified what people loved about vintage compression. Packed with tubes and transformers and sporting attractive analog VU meters, the Manley Variable Mu provided classic-sounding compression and modern reliability. Over the years, Manley made several modifications to the design including different types of tubes, a high-pass filter in the detection circuit, linked stereo and mid/side processing, and even a dedicated mastering version with stepped controls for precise recall.

"Variable Mu®" is a trademark belonging to Manley Laboratories, Inc.

1996

Empirical Labs introduces Distressor digitally-controlled VCA compressor

Empirical Labs’ Distressor was the first hardware compressor to combine digital and analog technology in the service of great sound. Thanks to advanced ICs and clever programming, the Distressor provides eight “compression curves” with different ratios and sonic characters, including a 1:1 mode that emulates the tone of a bypassed analog unit, an LA-2A-inspired “opto” setting, a brickwall-style “Nuke” mode, and a “British” setting that replicates an 1176 with all buttons engaged. With extra bells and whistles including two distortion modes and a high-passed sidechain, the Distressor quickly cemented its reputation as a modern classic.

2000

Universal Audio introduces 1176LN reissue

After reforming their father’s company in 1999, James Putnam and Bill Putnam, Jr. gave the people what they had long craved: an official reissue of the legendary 1176 compressor. Using Bill Sr.’s original design notes, they combined the best aspects of the C, D, and E revisions, including a recreation of the original output transformer.

FMR Audio introduces Really Nice Compressor

FMR Audio’s first product, the RNC1773, made digitally-controlled compression available to the masses in a relatively inexpensive and compact package. Doing away with fancy meters and sleek aesthetics, the RNC simply delivered great-sounding compression and limiting with versatile controls and a “Super Nice” mode for extra transparent sound—all in a one-third rack space format.

Avalon introduces 2044 Opto-Compressor

The Avalon 2044 went back to the original goals of compressors: transparent level control, pure sound, and subtle musicality. Its discrete, Class-A circuitry offered ultra-low-noise performance with plenty of headroom and the slightest hint of tonal character.

2002

API introduces 2500 stereo bus compressor

Another brand known more for consoles and EQs than compressors, API nonetheless holds a spot on the "legendary compressors list" with their renowned 2500 bus compressor. This unit was one of the first to offer creative tone controls, including the patented “Thrust” setting, which offered three options for frequency-dependent sidechain control.

The State of Compressors Today

The last 20 years have seen countless new compressors and limiters hit the market, from mastering-focused multiband units like the Maselec MLA-3 to affordable “prosumer” options like the ART Pro VLA II. Legendary classic models have been reissued and reimagined, 500 Series compressors have exploded in popularity, and compressor plug-ins have made huge leaps in quality thanks to analog emulation.

Only a few modern products have been truly innovative, but they don’t need to be. Compressors are like guitars: their fundamental design hasn’t changed much in the last few decades, but there will always be endless variations and sounds to explore. Long live the compressor!

This Valentine's Day, Vintage King is releasing another custom set of hand-drawn cards inspired by classic studio gear!

These one-of-a-kind valentines are a testament to the enduring beauty of classic studio gear, and a celebration of our passion for music and sound.

Download our full collection of 2024 Valentine's Day cards below and share them with the audio lovers in your life—or check out last year's collection here.

In Part 1 of this series, we covered the evolution of studio recording consoles from their conception in the mid-1950s through a golden era of analog consoles and the introduction of automation and early digital systems. We left off in 1979, just as another golden age was about to begin. 

A New Era In Console Design

By the 1980s, digital technology was beginning to mature, presenting new possibilities for console designers to take advantage of. From automation to recall and even onboard signal processing, computerized consoles had begun to eliminate the most tedious aspects of music production. But analog wasn’t about to go anywhere—in fact, some of the most celebrated analog consoles arrived in this decade, as well.

1983 

Trident introduces the Series 80B console

Prized for its robust preamps and musical-sounding parametric EQ circuits, the Trident Series 80B would soon cement its place as one of the most popular consoles for rock music. With expertly engineered analog signal paths, warmly lit VU meters, and plenty of woodgrain, the Series 80B kept the essence of golden-age analog consoles alive in the nascent digital age.

1985

Harrison introduces the first fully automatable console

A decade after designing the world’s first in-line console, Dave Harrison would push the envelope even further with the Harrison SeriesTen. This console featured an analog signal path controlled by digital encoders instead of analog potentiometers, making it possible to save and recall mixes with perfect accuracy. By eliminating analog knobs from the signal path, this design also significantly cut down on maintenance needs.

API introduces the Lunchbox 500 Series outboard rack

The portable API Lunchbox made it possible for engineers to bring their favorite 500 Series outboard processors on the go and easily patch them into any studio they visited. The Lunchbox concept proved extremely popular, launching a wave of self-contained 500 Series racks (from API and other companies) that continues to this day.

Rupert and Evelyn Neve create Focusrite Ltd. 

After selling his company in 1975 and waiting out a 10-year non-compete agreement, Rupert Neve was finally able to start his next venture, Focusrite Ltd., with his wife Evelyn. The company initially focused on outboard processors but later began accepting orders for digitally-controlled analog consoles. The digital aspects, outside of Rupert’s expertise, ran into delays and ultimately caused the company to liquidate several years later.

SSL begins digital audio R&D

Already a major player in the analog console market, Solid State Logic spent the mid-eighties exploring the possibilities of incorporating digital systems into their consoles.

1987 

SSL introduces the SL 4000 G console

At the 1987 AES Convention in New York, SSL debuted what would become one of their most well-known consoles. This console featured the new and improved G Series Master Bus Compressor (also known as the “glue” compressor), a VCA-type compressor capable of providing smooth, transparent leveling or delivering maximum punch for rock mixes.

1989

Phil Dudderidge acquires Focusrite assets and creates Focusrite Audio Engineering

When Focusrite Ltd. was forced to liquidate, the company’s assets were bought by Soundcraft co-founder Phil Dudderidge, who reinvented the company under a new name. Although the new company acquired Neve’s designs from 1985-1988, Rupert was never involved in designing any further Focusrite products.

Rupert Neve begins consulting for Amek

Neve’s next career move involved working with Amek to design the next great console. This collaboration would eventually lead to the celebrated Amek 9098i and System 9098 rackmount modules.

The Heyday Of Large-Format Consoles

Perhaps the last decade of true console dominance, the 1990s saw a melding of the best aspects of analog and digital designs. While home recording technology was moving forward, it was still very much in the “prosumer” stage, so console-equipped studios continued to reign supreme. And with the music industry booming, studios could afford to shell out the cash for top-of-the-line consoles with all the bells and whistles. 

1991

API introduces Legacy consoles and first touchscreen console

After a quiet decade, API burst back onto the large-format console scene with their new Legacy console line. With their overbuilt wood frame and padded armrests, these desks oozed with vintage charm (not to mention sound). But API wasn’t stuck in the past—the same year, they manufactured their first console to feature “touch-screen computer assignment for complete switch reset”. 

1994

SSL introduces SL 9000 J console with SuperAnalogue technology

Riding high on the success of their G and E Series consoles, SSL made another huge leap forward in console development with the introduction of their proprietary SuperAnalogue technology in the SL 9000 J. Thanks to its DC-coupled circuit design, the 9000 J completely eliminated capacitors from the signal path, vastly increasing signal bandwidth and lowering distortion. The extra-clean sound of SuperAnalogue consoles paired well with the increasingly crisp and polished aesthetic of ‘90s pop and rock. In fact, Billboard Magazine reported in 1996 that 83% of that year’s number one singles had been produced using SSL consoles.

Trident introduces Ventura consoles

In a radical departure from their classic designs, Trident’s Ventura range featured dull gray knobs, segmented LED meters, and a very ‘90s Jazz-like logo. Needless to say, it didn’t catch on like the Series 80B.

1997

David Dearden and Gareth Davies found Audient

Engineers David Dearden and Gareth Davies met while working for Soundcraft in the ‘70s, founded DDA together in 1980, and subsequently had a hand in designing Midas sound reinforcement consoles. In 1997, the pair founded Audient to bring their expertise into the studio realm. The following year, they introduced the first Audient console, the ASP8024.

1999 

Bill Putnam’s sons revive Universal Audio

Just before the turn of the millennium, James Putnam and Bill Putnam Jr. founded the new iteration of Universal Audio with the twin goals of faithfully reproducing their father’s analog designs and creating new digital tools “with the sound and spirit of vintage technology.” By embracing analog and digital technologies in equal measure, Universal Audio set themselves up for major success over the next few decades.

ATI Group acquires API

In yet another industry shakeup, Larry Droppa of Audio Toys, Inc.—who previously specialized in live sound consoles—acquired API at an auction. Recognizing the value of the API brand, Droppa decided to stay true to Saul Walker’s original designs.

Amek introduces 9098i console

The pinnacle of Amek’s collaboration with Rupert Neve, the 9098i, was a massive 48-bus inline console with Neve-designed signal paths, digitally controlled Virtual Dynamics processing, and 5.1 mixing capability. The spaceship-like center section was equipped with an onboard DoS computer system, built-in keyboard, trackball, and multiple displays.

Consoles of The New Millenium

As digital audio continued to evolve, the landscape of the music industry as a whole began to change. While major labels and artists took a massive revenue hit from digital music piracy, home recording tools and digital distribution made it possible for independent artists to create and self-release professional-sounding tracks. As a result, many audio brands pivoted to focus on small-format mixers and interfaces for home recording. However, established console makers continued to innovate with forward-thinking hybrid desks that integrated analog channels with advanced DAW control.

2001

Toft Audio Designs is established

PMI Audio Group hired Malcolm Toft as a consultant and began creating new Toft-designed products under the Toft Audio Designs brand. 

2003 

API introduces Vision surround sound consoles

Always dedicated to analog excellence but looking toward the future, API introduced the first analog console “designed from the ground up for surround work.” API Vision desks featured a dedicated 5.1 mix bus, simultaneous surround and stereo mixing, bass management functionality, and Vision Automation with motorized faders.

2004

SSL introduces hybrid AWS console/control surface

The Analog Workstation System (AWS) combined some of SSL’s greatest hits—including SuperAnalogue circuitry, E/G series EQs, and a G Series master bus compressor—with the most advanced DAW control features of the time. This forward-thinking console laid the groundwork for the next generation of hybrid desks.

2005

Rupert Neve Designs is founded

Rupert and Evelyn Neve, along with General Manager Joshua Thomas, founded Rupert Neve Designs (RND) to “preserve the revered elements of [Rupert’s] most prized vintage designs, while thoughtfully advancing and refining their feature sets to meet the needs of the modern recording engineer.” RND’s first offerings were the Portico series of 500 modules.

Harrison introduces Trion digital console

Expanding on the reconfigurable nature of its predecessor the SeriesTwelve, the Harrison Trion was a highly flexible digital console that could be configured for studio recording and mixing, live and broadcast applications, film post-production, and more.

2006 

SSL introduces Duality console

Continuing to advance the hybrid concept introduced by the AWS, SSL again combined top-notch analog design with integrated DAW control—this time, on a much bigger scale. Every parameter of the SSL Duality’s feature-packed channel strips could be saved by the onboard computer and Total Recall automation system, making it possible to recall not just a mix but an entire session setup. A row of color LCD screens acted as a futuristic meter bridge and multifunction display.

API establishes VPR Alliance standards for 500 Series modules

The VPR Alliance standardized physical and electrical specifications for third-party 500 Series modules, opening the door for a wave of audio companies to produce their own modules compatible with API consoles, Lunchboxes, and other 500 Series systems.

2008

Rupert Neve Designs introduces 5088 console

Doubling down on the appeal of analog in an increasingly digital era, the RND 5088 incorporated and improved upon many of the legendary circuits from the original Neve 80 series consoles. Discrete, high-voltage amplification and bespoke transformers on each input and output gave the 5088 massive headroom, even as the loudness war reached its peak.

API introduces 1608 console

API blended the best of the old and the new by revamping their legendary 1604 console with modern updates like a 5.1-capable center section, P-Mix automation System, motorized faders, and DAW control via the Mackie HUI protocol.

PMI introduces Toft ATB consoles and acquires Trident brand

Designed by the architect of the famous Trident Series 80B, the Toft ATB line aimed to bring some of that iconic British sound to a smaller format accessible to home and project studios (fun fact: even the name is a reference to the 80B—say “ATB” fast enough and you’ll hear it). Later that year, PMI Audio Group formally acquired Trident Audio Development’s assets, and Malcolm Toft set about designing the first new Trident consoles in 15 years.

2009

Harrison introduces Mixbus console-style DAW

By 2009, DAWs like Pro Tools, Logic, Nuendo, Cubase, and Reaper were already several versions into development, but none of them attempted to replicate the sound and workflow of a console. Enter Harrison Mixbus, based on the open-source Ardour DAW but enhanced with analog-emulating channel strips, digital VU meters, and limited mix busses.

Consoles in the Modern Age

With the music industry beginning to climb out of its historic slump, many studios and home recordists began to see the value in consoles once again. The past few decades proved that digital recording was here to stay, but the popularity of real analog circuitry never waned. The 2010s saw many fantastic analog and hybrid consoles introduced by established brands as well as new players in the space.

2012

Malcolm Toft founds Ocean Audio

After 12 years of consulting for PMI, Malcolm Toft finally founded his very own company with Bruno Wynants. Over the next three years, Ocean Audio released a line of outboard processors as well as The Ark, a fully modular console with two 500 Series slots per channel and eight more for the Group section.

Universal Audio introduces Apollo audio interfaces

Although the company has drifted from Bill Putnam’s pioneering console designs, they’ve been a major innovator in analog emulation technology. UA’s Apollo interfaces were the first to feature onboard DSP powerful and fast enough to host real-time hardware emulation plugins on the front end. This allowed engineers to track through classic analog preamps, EQs, and processors (rather than mixing with plugins), bringing a bit of the console workflow to the digital world.

2013

API introduces compact THE BOX console

Geared toward boutique home and project studios with limited tracking needs, THE BOX provides just four input channels: two with integrated 550A EQs and two with empty modular 500 Series slots for flexibility. A 16-channel summing mixer, stereo bus compressor, monitor control, and talkback functionality make THE BOX a surprisingly flexible console for its size.

2015

Malcolm Toft retires and Ocean Audio becomes Interphase Audio

Just three years into Ocean Audio’s existence, Malcolm Toft decided to (semi) retire, so his partner Bruno Wynants reinvented the company as Interphase Audio. Today, interphase sells redesigned Ark consoles and a line of boutique EQ modules.

Trident introduces Trident 88 console

The Trident 88 stays true to the company’s classic analog designs but adds a multitude of configurable options to fit the needs of any modern studio. The Trident 88 is available in eight- to 48-channel chassis sizes with or without Lundahl transformers, classic VU meters or segmented LEDs, and an optional TriMix automation system.

SSL introduces δelta-Control console automation system

Continuing to push the boundaries of the hybrid console concept, SSL devised δelta-Control, a plugin-based interface that directly controls SSL AWS and Duality consoles directly from a DAW session.

Neve introduces BCM10/2 small-format console

The original Neve BCM10 became a staple of broadcast studios because of its small footprint, top-notch preamps, and streamlined layout. Many recording studios used it as a “sidecar” console as well, but it wasn’t quite flexible enough to be the main console in even a small studio. The revamped BCM10/2 Mk2 solves this problem with additional cue sends, 5.1 monitoring, and classic Neve Class-A sound with reliable modern components.

2016 

API introduces Legacy AXS console

Going in the opposite direction of THE BOX, API updated their beloved Legacy line with the Legacy AXS, a traditional large-format console with an integrated patch bay and modern features like 5.1 surround mixing and motorized faders.

2017

Solid State Logic is acquired by Audiotonix Group

In yet another audio industry merger, SSL joined Allen & Heath, Sound Devices, Slate Digital, Calrec, and others (including Harrison as of 2023) under the umbrella of Audiotonix Group.

Trident introduces 78 console

Catering to the growing market of home and project studios, the Trident 78 offers the analog excellence of the 88 with reduced channel count, streamlined channel strips, and LED meters.

2018 

API introduces the 1608-II and 2448 Consoles

In the same year, API released two top-notch mid-sized consoles. The 1608-II updates the popular 1608 with a revamped center section, more aux returns, and optional Final Touch automation. The API 2448 bridges the gap between the 1608-II and the larger AXS consoles, providing the perfect option for medium-sized studios.

2019

SSL introduces ORIGIN 32 console

Inspired by the beloved 4000 Series consoles (but on a much smaller scale), SSL’s Origin 32 caters to small and mid-sized studios who want a decent amount of analog channels and an in-line layout that integrates seamlessly with DAWs. For added flexibility, SSL included 4u of rack space for integrating additional processors and control surfaces.

API introduces THE BOX 2 console

Returning to the home and project studio market, API launched an upgraded version of their popular small-format BOX console. THE BOX 2 provides eight input channels—each with a modular 500 Series slot—plus a few extra conveniences like front-mounted instrument inputs.

The State of Studio Consoles Today

While large-format consoles are no longer a must-have for studios, many facilities still maintain decades-old vintage desks in working order. Meanwhile, newer console designs seem to have found a sweet spot in the 16- to 48-channel range favored by modern studios who want a desk that can handle all of their needs without breaking the bank.

Analog is alive and well, but digital and hybrid consoles are now more advanced than ever, featuring digitally controlled analog circuits, extensive DAW integration, and network connectivity. Analog emulation has advanced as well, exemplified by Universal Audio’s Luna DAW, which models console-style summing, tape saturation, and more.

If you’re in the market for a console, contact Vintage King or stop into one of our world-class showrooms to find the perfect match for your studio, from the latest models to used and vintage specimens. Not in Los Angeles or Nashville? No problem—you can virtually demo our massive selection of consoles from anywhere in the world. Vintage King also specializes in console restoration to restore your beloved desk to tip-top shape, and even brokers sales for those looking to give their console a new home. To stay up on the latest console releases, stay tuned to the Vintage King blog.

In 2023, the world was treated to a spectacular array of music documentaries that delved deep into the diverse and dynamic landscape of the music industry. Per tradition around these parts, Vintage King has put together some of our favorites from the past 365 days and is giving you the ultimate list of music documentaries to watch over the holidays.

If you feel that you need more than the eight new docs on our list below, don't worry! Check out our blogs from previous years here (2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, and 2022), and you'll find enough watching fodder to cover you for a few months.

Music Documentaries To Watch Over The Holidays

American Symphony

At a mere 37 years old, Jon Batiste boasts an iconic resume. From collaborating with legends like Stevie Wonder, Prince, and Willie Nelson to leading The Late Show with Stephen Colbert's band and being the music director of The Atlantic, he's already left his mark on the industry. As the film American Symphony showcases, Jon has added symphonic composer to his list of accolades. The documentary is a stunning showcase of Jon's talent and a window into his personal life as he helps his wife, Suleika Jaouad, through her bout with Leukemia.

 

Squaring the Circle (The Story of Hipgnosis)

You know the artwork, but do you know the name? Hipgnosis was a design group responsible for creating game-changing album covers for Pink Floyd, T. Rex, Black Sabbath, Led Zeppelin, and countless others. In Squaring the Circle (The Story of Hipgnosis), filmmaker Anton Corbijn details the story of Storm Thorgerson and Aubrey Powell (and later Peter Christopherson), and how they changed the way we look at album artwork forever.

 

The Return of Tanya Tucker

Everyone loves a comeback story, and The Return of Tanya Tucker features several. The country singer had her first hit at 13 and maintained momentum for over a decade until things stalled out in the early 1980s. While she never went totally quiet (see her 1990s resurgence), this new documentary follows the recording process of Tanya's first record in 15 years, Sweet Western Sound. There's a lot of fantastic footage of the singer in the studio with collaborators and producers Brandi Carlile and Shooter Jennings.  

 

Stop Making Sense

Over the years, critics have spilled lots of ink discussing Stop Making Sense, but the 2023 4K edition from A24 deserves a mention on our list of music documentaries to watch over the holidays. The Talking Heads were captured in peak form (with help from musicians Steve Scales, Bernie Worrell, Lynn Mabry, Edna Holt, and Alex Weir) over four shows at the Pantages Theatre in Los Angeles in 1983. Even if you didn't catch it in IMAX earlier this year, don't miss out on the pristine restoration work of this concert documentary.

 

Love to Love You, Donna Summer

While she earned the nickname "Queen of Disco," Donna Summer is so much more than just that label. Love To Love You, Donna Summer provides deep insight into the singer's rise to fame and the behind-the-scenes struggles that resulted from it. Kudos to Donna's daughter Brooklyn Sudano, who acted as co-director of the documentary, for providing an extremely well-balanced view of her mother and not avoiding controversial topics. 

 

Johnny Cash: The Redemption of an American Icon

There's a line in the trailer for Johnny Cash: The Redemption of an American Icon where Marty Stuart says, "He was my hero for all the right reasons and all the wrong reasons." There may be no better summation of the life led by the "Man in Black." Johnny had two sides to him, even until the end, but this documentary showcases how he fought past his demons and came out on the other side.

 

Little Richard: I Am Everything

I Am Everything is a fitting subtitle for a documentary on Little Richard. Richard Wayne Penniman stands at the forefront of it all as the originator, trailblazer, and architect of rock 'n' roll. Beyond his musical legend, Little Richard emerged as a powerful advocate for the African American and queer communities. The documentary delves into Richard's struggles with the latter but shows how he created a world where others could be comfortable with their true selves.

 

Personality Crisis: One Night Only

At the 1988 Grammys, Little Richard and David Johansen (aka Buster Poindexter) met on stage to present the award for Best New Artist. Little Richard made a crack about David ripping off his hairstyle, and he was right, but as Personality Crisis: One Night Only documents, it was always in tribute to one of his biggest idols. This Scorcese-directed concert film/documentary shows a modern version of David doing songs from throughout his career while exploring the impact of early rock 'n' roll on the Staten Island native.

For decades, the console was the heart of every studio—and for many, it still is. In a console-based studio, everything that’s recorded goes through the same set of preamps, equalizers, and output circuitry, all of which are painstakingly engineered to impart a flattering sound. If the recordings are mixed on the same console, everything goes through that same circuitry again, leaving a distinct sonic fingerprint. Some consoles add an extra touch of high-end sparkle, others reinforce the body and bass, and many impart a tinge of harmonic distortion. Each brand and model has its own signature sound, and manufacturers such as Neve, SSL, and API have become legendary in the music world.

Although many studios have eschewed traditional consoles in favor of digital workflows, boutique facilities that value the character and musicality of that sonic fingerprint continue to track and mix through analog desks, both vintage and modern. Even studios without consoles typically use a mixture of outboard preamps, EQs, and channel strips derived from classic desks. Even if you’ve never seen one up close, it's undeniable that consoles have shaped the landscape of music production.

While there can be much debate over what constitutes a console, we’re going to keep it simple and define it as a desk-style analog or hybrid interface that facilitates multitrack sound recording and/or mixing. This article will cover studio consoles specifically (rather than sound reinforcement or broadcast consoles), charting their evolution from early technical innovations through the golden age of analog.

The First Consoles

The evolution of the console as we know it began in the mid-to-late 1950s, spurred by the advent of stereo and multitrack recording. After perfecting the art of sound-on-sound recording with single-track tape machines, guitarist and engineer Les Paul (AKA the “Wizard of Waukesha”) synchronized eight tape decks to create the first true multitrack recording system for his home studio in Waukesha, Wisconsin. “The Octopus,” as he called it, provided more flexibility and control over the recording process than ever before, but it also presented the need for an equally flexible mixing and monitoring solution. Enter the console.

1956

Les Paul commissions a custom eight-channel console

Shortly after creating The Octopus, Paul engaged Rein Narma Audio Engineering to build a custom console that could provide individual control and mixing capabilities for all eight of The Octopus’ channels. While an impressive feat of engineering, the completely custom-made console only served Paul’s specific needs. The concept of the studio console was burgeoning, but it needed some improvements in order to gain widespread use.

1957

EMI designs REDD.17 console for Abbey Road Studios

Across the pond, EMI’s Record Engineering Development Department (REDD) was simultaneously working on its own console for in-house use at the famous Abbey Road Studios. Building on the early REDD.1 system (which doesn’t quite qualify as a console), the REDD.17 allowed recording engineers to balance and pan eight microphone inputs while recording directly to a two-track stereo tape machine. The faders were cleverly arranged in two banks of four, allowing one operator to control the levels of all eight inputs simultaneously.

1958

Bill Putnam founds Universal Audio and designs the UA 610 console. 

Bill Putnam, engineer to 50s stars like Duke Ellington, Count Basie, Frank Sinatra, and Bing Crosby, started Universal Audio after relocating from Chicago to Los Angeles. His now-legendary 610 console was the first design to feature modular channel strips that could be removed for maintenance and upgrades—a standard feature today. The 610 featured eight channels with switchable mic/line inputs, a two-band EQ capable of boosting or cutting at 100 Hz and 10,000 Hz, an integrated echo return system, and doorknob-style rotary faders for mixing. The left-center-right panning was later upgraded to include “middle-left” and “middle-right” settings.

EMI introduces REDD.37 console

During the same year that the REDD.17 went into service, EMI updated their own design with four-channel recording capability. The REDD.37 featured a total of 14 faders to control the eight microphone inputs, four tape outputs, and two auxiliary channels.

The Console Boom

Spurred by growing consumer interest in stereo records, as well as new developments in multitrack recording, console technology began to evolve and proliferate rapidly during the 1960s. It was at this time that a British electrical engineer named Rupert Neve entered the industry, building two custom consoles for Recorded Sound Ltd. before becoming a major player in the commercial market. Soon thereafter, other manufacturers entered the console game, including brands like API and Allen & Heath, which are still making consoles today.

1964

Rupert Neve builds the first commercial solid-state console

Neve’s innovations in transistor circuitry made it possible to replace the often finicky tube-based designs of earlier consoles with a more reliable and consistent alternative. He built his first solid-state console (with built-in equalizers) for Phillips Records Ltd.

EMI installs REDD .51 at Abbey Road Studios

The third and final model in the REDD series, the REDD.51, featured higher-headroom preamps and other design tweaks to increase fidelity. This console is famous for its role in the making of several Beatles albums, including "Rubber Soul," "Revolver," "Sgt. Pepper’s Lonely Hearts Club Band," and parts of the double album known as the “White Album.”

1967

Trident Studios is founded 

Norman and Barry Sheffield originally founded Trident Studios as the in-house studio for the Centredisc label. The Soho, London studio’s first hit was “My Name is Jack” by Manfred Mann, which was followed by The Beatles’ “Hey Jude” and additional sessions for the White Album.

API co-founder sells first console

Saul Walker, co-founder of the company that would later become Automated Processes, Inc. (API) sold its first commissioned console to Apostolic Studios in New York City.

1968

EMI installs TG12345 in Abbey Road Studio 2

To keep up with advances in multitrack recording, EMI commissioned a new console with 24 mic inputs, eight tape outputs, more advanced EQ, and various other new features. A major design departure from the REDD series consoles, the TG12345 MK.I was the first EMI console to feature modular channel strips.

An EMI TG12345 MK.II console on display.

1969

API introduces 500 Series modules

Taking Bill Putnam’s idea of a modular console one step further, API designed its 500 Series modules in a standardized format, increasing the flexibility of their consoles and reducing downtime due to maintenance or reconfiguration. Additionally, API showed its first commercial console at AES in the fall of 1969 and sold the first model to Sound Ideas.

Solid State Logic is founded 

Founded by Colin Sanders, Solid State Logic (SSL) originally sold switching systems for pipe organ consoles. But it wasn’t long before Sanders, who also owned Acorn Studios, applied his technologies to the studio, designing two prototype consoles with rudimentary electronic switching between recording, tracking, and mixing configurations.

Allen & Heath is founded 

Now known for its modern-styled studio and live consoles, the British company originated in London’s nascent progressive rock scene, hand-building mixers for heavy hitters like Pink Floyd, Genesis, and The Who.

Helios Electronics is founded 

Contracted to equip the new Island Records studios in London, Dick Swettenham established Helios Electronics Ltd. in 1969. Word quickly spread about Helios’ highly customized solutions, and orders started coming in from high-profile clients like The Beatles’ Apple Studios, the Rolling Stones’ mobile recording truck, and Richard Branson’s Virgin Records studios.

The Golden Age of Analog

As multitrack tape machines progressed from eight-track formats to 16- and 24-track capability, musicians and recording engineers found themselves with more flexibility than ever. In the rush to keep up, the numerous console manufacturers that emerged during the 1960s proceeded to one-up each other with increasingly sophisticated designs throughout the 1970s. This decade saw many brands rise and fall, producing legendary consoles before folding to market pressures.

1970

Trident Studios builds first in-house console

The in-house engineers at Trident Studios built a small, custom six-channel console for the facility’s tape copying room, planting the seeds for later designs that would become some of rock’s most famous consoles.

1971 

EMI Introduces TG12345 MK.IV

The fourth iteration of the beloved TG12345 console kept Abbey Road Studios up to date for multitrack masterpieces like The Dark Side of the Moon. Its legendary EQ circuit is now licensed and sold by Chandler Limited as a 500 Series module.

Trident Studios pioneers the split console design

Shortly after installing that first six-channel desk, Trident Studios tasked its engineers with building a compact 16-channel recording console that could be upgraded to 24-track capability in the future. These “A-Range” consoles were the first to feature a split design with completely separate signal paths for recording and monitoring, which made switching between tracking and mixing workflows more fluid. Designer Barry Porter and his team selected the electronic components largely by ear, swapping out different options until they were satisfied with the sound.

1972 

Trident Audio Developments introduces B-Range consoles

Before the first A-Range console had even been installed, Trident started receiving requests to build consoles for external customers. After the first two orders, the studio established Trident Audio Developments to manufacture and distribute its new B-Range consoles.

MCI introduces the first in-line console

Previously specializing in multitrack machines, MCI received a request from audio engineer and pro audio dealer Dave Harrison to create a console capable of easily switching between recording and mixing workflows. The result was the MCI JH-400, the first console with an “in-line” configuration integrating both the recording and tape return paths on each channel strip.

1973

Sound City installs custom Neve 8028

Immortalized in the 2013 documentary "Sound City," this iconic Neve 8028 console has shaped the sound of countless hits. Its tonal character is especially favored for rock records, including classics by Fleetwood Mac, Cheap Trick, and Tom Petty, as well as heavier material from Metallica, System of a Down, and Queens of the Stone Age. The console is still in use at the Foo Fighters’ Studio 606.

API introduces the first computer-controlled automation system 

Kicking off what would eventually become known as Total Recall, API developed the first computerized systems for controlling fader levels in 1973. The next year, they introduced the first true computerized console with automation capabilities for EQ, sends, panning, and faders.

Although Rupert Neve sold his company in 1975, many vintage Neves are still in use today.

1975

Rupert Neve sells Neve Electronics

When Rupert Neve finally sold his successful business, he signed a 10-year noncompete agreement, effectively taking him out of the console industry until the mid-1980s. Neve’s designs lived on, but Rupert himself has never created any original designs for the company now known as AMS Neve.

Dave Harrison founds Harrison Audio Consoles

The man who inspired the in-line console design founded his own company only a few years later. Harrison’s first product line, the 32-series consoles, were an instant success, and their signature sound can be heard clearly in the intro of “Carry on Wayward Son” by Kansas. Harrison consoles later saw widespread adoption in film and broadcast studios.

1976

SSL debuts 4000 Series consoles

After building two large-format SL 4000 A consoles, the company followed up with the advanced SL 4000 B, which featured a computer-controlled fader automation and tape transport system. These consoles laid the groundwork for the 4000 Series to become one of the most successful product lines in console history.

1979

Helios Electronics shuts down

After a ten-year run of designing legendary consoles, Dick Swettenham closed down Helios due to market pressures. Leaving what he saw as a “knobs-per-dollar” game, Swettenham focused instead on studio design and acoustical consulting. Licensed Helios modules are now sold by H2 Audio.

SSL introduces the SSL 4000 E Series

It featured an innovative Total Recall system that allowed users to save a snapshot of their settings to a floppy disk. The console was the first to feature a compressor and gate on every channel, as well as an early version of the famous SSL Master Bus Compressor. Other improvements include increased routing flexibility and a four-band “black-knob” EQ section developed with George Martin.

Conclusion

By the end of the 1970s, studio console technology had advanced by leaps and bounds compared to its humble origins just a couple of decades earlier. In this golden age of analog recording, sophisticated console designs and 24-track tape made new sounds possible, forever changing the musical landscape.

But the landscape was about to change again, as a new era brought new technologies and new ways of making music. In Part 2, we’ll pick up in the 1980s and follow the evolution of consoles through the digital revolution and into the present day. In the meantime, check out our blog to learn more about the history of companies like Neve and Universal Audio, and take a look at some of the vintage desks that have come through the Vintage King tech shop.

Halloween is just around the corner, and at Vintage King, we're getting into the spooky spirit with a brand-new collection of custom Halloween cards that will send shivers down your spine. Our love for all things audio meets our passion for the macabre in these one-of-a-kind cards that pay homage to classic studio gear and iconic horror movies.

We've merged the world of classic studio gear with timeless horror films to create a collection that's as haunting as it is harmonious. Each card in our Halloween collection combines a carefully hand-drawn depiction of a classic piece of studio equipment with a beloved horror film. 

This Halloween, don't settle for the same old, store-bought greeting cards. Surprise your friends, family, and fellow audiophiles with something truly special and unique. Whether you're a fan of vintage studio gear, a horror movie buff, or both, these cards are the perfect way to celebrate Halloween.

This Halloween, join Vintage King in embracing the dark and delightful union of classic studio gear and classic horror movies. Download our Halloween cards and get ready to send some spooktacular greetings that will be remembered for years to come. Happy Halloween!

 

 

 

One could argue that the walls of recording studios really do talk. Acoustically speaking they do, and so much of the sound of a record can be shaped by the spaces and places that they are recorded in. The consoles, the equipment, instruments, and the engineers and producers at the helm all combine together to form an alchemy necessary for making music, and if you’re lucky music history. Around the world, there are many legendary recording studios that were home to great artists, engineers, and producers, iconic technical developments, and cultural shifts. Here are a few studios whose walls could certainly fill volumes with music and stories.

Abbey Road

Iconic with its now famous zebra crossing, Abbey Road is one of the world’s first purpose-built recording studios, which was originally intended for use for recording full symphony orchestras. A former nine-bedroom home, purchased in 1929 by the Gramophone Company, Abbey Road underwent two years of construction before opening its doors. During that time, Gramophone Company merged with Columbia and became what is known today as EMI. All three original rooms are still intact today, with recent additions known as the Penthouse, the Gatehouse, and the Front Room.

Abbey Road is more than just a space where records are made; it's where much of modern recording technology was developed. The development and implementation of stereo (then known as binaural) was explored when the studio opened, but not thoroughly put to use until 20 years later or so. Innovators like Alan Blumlein, Len Page, and Ken Townsend were pioneers at the forefront of developing recording techniques and technology, including the first recording consoles. In addition to its famed rooms for recording, many records have also been mastered at Abbey Road. Making it a full-scale laboratory of recording and audio engineering. 

Notable gear started with the EMI REDD.37 valve console circa late-1950s from EMI Central Research Laboratories, which was later updated to the REDD.51 (circa mid-1960s). Many of the microphones in the collection today date all the way back to the 1930s, including the RCA 44BX ribbon, which is still in use. Other microphones spanning decades of use by some of the world's most renowned musicians are AKG D20, Neumann U47/ U48, and more. Incredible outboard gear included UREI 1176 Compressor, Pultec EQP1-A, Fairchild 660 Limiter (1960s), and more. And let's not forget their signature Plate and Chamber reverbs patchable from all studios in the complex.

Today, the consoles or desks that can be found, perhaps at a few other studios in the world are REDD.17, TG12345 MKII Desk, TG12345 MKIII Desk (which lives in Studio Three). There are world-famous pianos, keyboards (some of the first Moogs and Mellotrons!), and tape machines. No doubt there are entire books related to all of the treasures that Abbey Road houses. 

Over the years, many incredible engineers and producers worked at Abbey Road or were at the helm as part of an artists’ team. Here is a handful of them: Alan Parsons (who started his career at Abbey Road at the age of 18 as a tape op on the Beatles’ "Get Back" sessions), Chris Parker (known for his transparent and accurate recordings classical recordings), Ken Scott (Pink Floyd, David Bowie, Elton John, the Beatles), Geoff Emerick (the Beatles, Wings, Elvis Costello, Manfred Mann, Judy Garland), and George Martin aka "the 5th Beatle" (the Beatles, Jeff Beck, Gerry and the Pacemakers, Cilla Black, Yoko Ono, Michael Jackson, Celine Dion, Kenny Rogers, John Williams, Cheap Trick), just to name a few. 

Last but not least, the lineage of music that has been made at Abbey Road is truly astounding and carries on today, making it impossible to list them all. A few familiar names: Pink Floyd, James Horner, John Williams, the Beatles, Wings, the Hollies, Alan Parsons Project, Cliff Richard, the Buzzcocks, XTC, The London Symphony Orchestra, Ella Fitzgerald, Kate Bush, Oasis, Radiohead, Sam Smith, Florence + The Machine, Ed Sheeran, Kanye West, Lady Gaga, Amy Winehouse, Adele, Ravi Shankar, Blur, Massive Attack, The Spice Girls, Take That, and Nick Cave. 

Ocean Way Recording (LA) 

Originally built in 1952 and called United Western, (which was part of a complex on Sunset Boulevard, in Hollywood), Ocean Way came into being in 1988 when Allen Sides purchased the studio. United Western Studios was one of the most successful studios of the 1960s. The studio was actually two buildings, and United had the larger Studio A (where Michael Jackson would eventually record many hits in the 1980s with Bruce Swindon), and a B room which was slightly smaller. Western, which was a second building, copied United and had similar-sized rooms. They also both incorporated smaller rooms for things like overdubbing and mastering.

Bill Putnam, who got his start in Chicago and then relocated to LA, was the owner from 1961-84. Known for his UREI recording equipment and custom Universal Audio consoles, Putnam teamed up with Bing Crosby and Frank Sinatra to found the United Recording Corp. studio complex. Later, Putnam and Sides connected and Sides started renting a room in the studio in 1982, and it was during that time period that his custom speaker designs were implemented throughout the facility.

It's estimated that more than 1,000 albums were made at Ocean Way by Sides alone. The studio is named after Sides’ original studio space, which he started in a three-and-a-half car garage in Santa Monica, CA—mostly so that he could showcase his tri-amplified loudspeaker designs. He started out renting one room at the then Western Studios, and by 1988 owned and operated it until 1999 when it was sold, partitioned, and changed names. It was Cello Studios for a while, then EastWest Studios, and then in 2015 it became United Recording Studios, and at the time of this writing is listed as defunct. (Sides did go on to fund other locations, one of which (the Nashville location) is still in operation, but is owned by Belmont University.) 

Sides was so successful in these ventures that he also created Ocean Way Audio, which includes the aforementioned high-end monitors, a microphone (Sterling Audio ST6050), plug-ins, and more. Between the two founders Putnam and Sides, there has been a lot of iconic gear created, adding to the immense legacy of this studio. Putnam himself founded Universal Audio and invited the 1176 compressor.

The studio was known for its acoustics as well as its electrical engineering, innovations in recording equipment, and the foresight to create what was arguably an empire of sound. The studio has around 40 API 550a modules, an outboard collection of some seriously rare ITI ME230 parametric EQs, Electrodyne limiters, Pultec and Lang EQs, and a mic locker that may be worth a few kidneys. (At the time of Side’s ownership, it was noted for having a substantial collection of vintage valve and ribbon mics.)

Studio A houses a Focusrite console with 72 inputs, which is known for being one of the few ever built. Studio A is impressive in its size, and one of the largest rooms on the West Coast, if not all of the US. Studio B was slightly smaller and housed a Dalcon console, which was later sold to Nigel Godrich, and was replaced by Neve 8068/8088. Studio D has an 84 input Neve 88R. 

The lineage of incredible producers and engineers is equally impressive, as one would expect. Between Putnam and Sides alone is enough, but producers like Jack Joseph Puig, Ricky Minor, Bruce Swindon, and Quincy Jones have also worked there, just to name a few. The studio was renewed for always having good staff, many of whom went on to be great producers there as well. This included people like Bones Howe, Charles Brtiz, and Wally Heider. 

Everyone from Frank Sinatra to Green Day has recorded at this landmark studio. Counting backward, starting with the United Western Recorders era, there was Bing Crosby, Brian Wilson (Pet Sounds), and Elvis—even The Flinstones recorded there! Plus Nat King Cole, Ray Charles, Fleetwoods, Sam Cooke, and the Mamas & the Papas. As Ocean Way artists continued to keep the studio in constant use, sometimes booked out and reserved with waiting lists five places deep. Before closing its doors, Michael Jackson, Joni Mitchell, John Williams, Jerry Goldsmith, Frank Zappa, Eric Clapton, Count Basie, Duke Ellington, Phil Collins, and Alanis Morissette all recorded at Ocean Way LA.

Electric Lady 

Founded in 1970 by Jimi Hendrix, with Jimi passing just a month after opening, he only ever got to spend ten weeks there before his passing. The year prior, the studio was a club called The Generation. The idea was to have a place for Jimi to jam. Eddie Kramer, a recording engineer who worked with Jimi nearly from the start of his career, suggested that they make it a recording studio instead since he was estimated to have been spending about $150,00 a year on recording at the time. The studio fell into disrepair during the 2000s but was eventually taken over and by 2010 was back in use by major artists. Lee Foster has been a true champion and steward of re-electrifying NYC’s Electric Lady. 

Its acoustic design was crafted by John Storyk, with many delays due to permits and flooding. The studio sits atop an underground river, and as such sump pumps had to be installed, and then soundproofed. A lot of care was given to ambient lighting, specifically for Jimi, who requested that the room have a lot of round curves and windows. Today, Studio A’s live room is still circular.

Aesthetically, not much has changed since Jimi commissioned the space, and today you can still see the space murals he had artist Lance Jost paint on the wall in Studio A. Today the studio has several bespoke guitars and a Wurlitzer that was purchased from Muscle Shoals Sound. Studio B has a custom purple SSL 9080—the only one in existence. Studio C has Tom Elmhirst’s Neve VR Console, along with ATC SCM50 monitors. Studio D is a new addition to the studio and houses Dan Aurbach’s Altec 9200 console, which is comprised of 16 Altec channels and eight Spectrasonic channels, with a Norman Druce Audio monitoring setup. 

Amongst some of the legendary producers and engineers who have worked at the studio or called it home are Eddie Kramer, Nile Rodgers, Mark Ronson, Michael Bauer, and Tom Elmhirst. Over the years, artists like BB King, Chuck Berry, Sly & the Family Stone, Led Zeppelin, Stevie Wonder, and David Bowie have all made records at Electric Lady.

For most of the 1970s, Stevie Wonder spent copious amounts of time recording there, seeking to divorce himself from his prior Motown sound, and “get as weird as possible”. Lou Reed, Hall & Oats, the Rolling Stones, Blondie, Gene Sim mons/Kiss, John Lennon & David Bowie recorded Fame there, and Patti Smith recorded Horses there. Later still, Chic and Nile Rodgers had sessions for ‘Le Freak’ sessions. During the 80s and 90s, artists like AC/DC, the Clash, Billy Idol, the Cars, Weezer, and Santana.

This period was later followed by what some refer to as the Soulquarian period and saw artists like D’Angelo, Questlove, Erykah Badu, and more. The studio hasn’t slowed its pace since its renovation, drawing artists like Kanye West, Adele, Jay-Z, Kei th Richards, Daft Punk, U2, Taylor Swift, Interpol, Lana Del Ray, Rod Stewart, the Black Keys, Lady Gaga, and more. 

Want to learn more about Electric Lady Studios? Check out our blog on installing Studio B's Neve 8078 console. 

Hitsville/Motown Studio 

Founded in 1959 by Berry Gordy in Detroit, Michigan, Hitsville USA started as a house that Gordy purchased and converted for use as a record label admin building and recording studio. By 1966, the studio had a gross income of $20 million and created jobs for over 450 people. In 1968, Gordy purchased the Donovan building and moved the Detroit offices there. (These were demolished in 2006.)

By 1972, Gordy expanded his business to Los Angeles and Esther Gordy Edwards stayed on to run what was left of Motown’s Detroit Hitsville location. She and her secretary were responsible for preserving the studio building and Studio A. In 1985, it was converted into a museum where today the museum is maintained and operated by Edward’s granddaughter Robin Terry.

Motown was more than just a recording studio and label, and played a key role in racial integration, as young people enjoyed the music together, and danced together, at a time when the US was still segregated. Motown had subsidiary labels and also was instrumental in creating and releasing soul music that appealed to a wider audience because of its pop sensibilities. In 2021, after many changes of hands, the label returned to being its own standalone label. 

Over the years, the Motown sound became iconic and produced many hits topping the carts, with hit after consecutive hit. Gordy is said to have had his inspiration for making a factory of hits from watching cars be made on the Lincoln Mercury factory line. All aspects of production and business were done in-house: songwriting, management, grooming/styling/poise, arranging, recording, mastering, and more. 

Many of the instruments at the studio were responsible for the in-house style. This ranged from the house drum kit to the famous Steinway Grand (built in 1877, a model D grand) used by the Funk Brothers (and later restored by Paul McCartney in 2012 and is still in use today), Studio A was a simple rectangular room and earned the name “The Snakepit." The control room, barely acoustically treated was known to be small and cramped, utilizing a two-track set-up—moving to three-track in 1961, and then later eight-track.

There are rumors of a Motown EQ, crafted by the studio’s head of engineering, Mike McLean. He was known for modifying gear and even crafted a Motown DI. Motown had its own echo chamber, which is said to have been permanently ready to go. Through this many of the engineers working there at the time, would basically re-amp elements through this and blend them into the mix to create a sense of space. Other key pieces of gear that were part of the Motown sound were: Neumann U67 and KM84, both RCA 77 and 77-DX, AKG C12VR microphones, EMT 140 plate reverb, and an Echoplex tape delay. 

Over the years the list of incredible engineers and producers grew to be very impressive, starting with Gordy and McLean, but also included Russ Terrana (who started at the studio at the age of 23), William “Mickey” Stevenson, Brian Holland, La mont Dozier, Norman Whitfield, Bob Olhsson (mixing and mastering). 

Who could forget the incredible polished acts and chart-topping songs from this studio as well? The likes of Diana Ross/The Supremes, Marvin Gaye, the Funk Brothers, Smokey Robinson & the Miracles (“You Better Shop Around”), Marv Johnson, Harvey Fuqua/The Ink Spots, Marble John, Eddie Holland and Mary Wells, The Marvelettes (“Please Mr. Postman”), The Four Tops, The Jackson 5, Stevie Wonder, The Temptations, the Contours, Edwin Starr, Martha and the Vandellas, The Velvelettes, the Spinners, the Monitors, Chris Clark, Gladys Knight & the Pips, Earl Washington, and the Eponymous Band, just to name a few! 

Trident Studios 

Built in 1967 by drummer Norman Sheffield of the group The Hunters, and his brother Barry. Trident Studios was located in London’s SoHo district until 1981, when it was sold to senior engineer Stephen Short and three other investors. By 1983, Short had bought out the other investors and re-imagined the studio as Trident 2. Over the years, the studio changed names and ownership multiple times, but the original building is still in place and the studio is still in operation today, focused on audio post for TV and Film.

Trident has a special part to play in rock and roll history, as it was a studio where artists could really experiment and let their hair down (and there was a lot of hair back then). The Beatles recorded their “White Album” there, and Queen in particular has a special story with this studio. The Sheffield brothers discovered Queen and formed a production company to sign the band just so they could get their music released. The band had no management or publishing at the time. Once the album was finished, it was difficult to find a label to sign the band, so the Sheffield brothers funded the album’s release themselves… and the rest as they say is history! 

Trident wasn't only known for recording great music, but also as a key innovator in audio engineering. It all began with the Trident A Range consoles, which were originally built and designed by Malcolm Toft. The A Range was known, though limited in its production run, for its EQ section. Artists like David Bowie, Rod Stewart, and Fran Sinatra made records with these consoles, prized for their sound and high-quality circuitry.

Trident Studios also were ahead of the curve in their use of Dolby Noise reduction and were also pioneering with their Ampex eight-track machine. The piano at Trident Studios, a unique handmade C. Bechstein, was also an important part of the sound of records made there. (It was sadly auctioned off in 2011—and the figure for which, and to whom have never been publicly released.) It can be heard on the Beatles, “Hey Jude” and Elton John’s “Your Song”. It is also said that their Tannoy monitors were also an important component of the Trident Studios sound. 

Amongst some of the legendary engineers and producers to have worked at Trident are The Sheffield brothers/Neptune Productions, Malcolm Toft, Stephen Short, Adam Mosley, Flood, Alan Molder, Mark ‘Spike’ Stent, Ken Scott, Roy Thomas Baker, and Robin Cable. 

There’s an incredible treasure trove of music to come out of Trident Studios across the decades. A few of them are: Manfred Mann’s “My Name is Jack”, David Bowie’s, “The Rise and Fall of Ziggy Stardust and the Spiders From Mars”, Lou Reed’s “Transformer, Kiss, Peter Gabriel, Soft Cell, The Rolling Stones. Rush, Thin Lizzy, Tina Turner, T.Rex, Yes, Bee Gees, Frank Zappa, Genesis, Queen’s “Queen”, “Queen II”, and “Sheer Heart Attack”, The Cure, Depeche Mode, Visage, Yazoo, and Erasure. 

Hansa Tonstudio 

Located in Berlin, once adjacent to the Berlin Wall and its guard towers, Hansa Tonstudio was originally built in 1913 as a guild hall, briefly serving as a chamber concert hall, and was even a cultural hub during the Weimar period. In 1962, it officially became a recording studio. Often referred to as “Hansa, By The Wall,” the large live room has become famous for its sound, along with one very special stairwell that possesses a coveted reverb. The large live room is 270 meters, with 7-meter-high ceilings. (Making it a similar size to Abbey Road Studio 2.)

The studio notably had no line of sight between the live room and control room, and so in many cases, artists and engineers relied on video camera systems and room mic for communication. There is a separate drum room, constructed of marble, with no adjacent surfaces, which is also still in use today. It is often used for other types of recording, not just drums, as it is prized for its unique bright quality due to the marble surface. Today the studio has expanded to include an upstairs studio, complete with modern recording facilities, a control room, and more. The original control room is now a bar in the building, but the studio and its spacious original live room are still in operation today. 

Unique to the studio is its custom-built SSL 4056E Console in blue. It has 64 channels and is still in use and maintained today. The studio also houses a collection of incredible outboard gear including some UREI 545 4-Band Parametric EQs, Manley Enhanced Pultec EQs, UREI 1176, 1178, and an LA-22, countless Lexicon Reverbs, AKG BX15, and 20 spring reverbs, a mic list that would make one weep (and Studer Tape machines, all still in use in Studio 1’s control room.) 

Some of the world's biggest names in music production have produced and engineered at Hansa, including Eduard Meyer, Tony Visconti, Gareth Jones, Flood, Mick Harvey, Use Nettelbeck, Michael Blakey, Peter Schmidt, Alex Wende, Alex Silva, Her bert Grönemeyer, Peter Wagner & Jack White, and Michael Illbert. 

Countless classic records have been made here, influenced by the space and also by being so close to The Wall (before its fall). Bowie’s “Low,” “Heroes,” and “Lodger” were all recorded at Hansa, and "Hereo’s" references and was inspired by the view from the studio overlooking the Berlin Wall. Iggy Pop’s “Lust for Life” and “The Idiot” were both recorded there during a similar period. U2’s “Achtung Baby” was captured there, as well as Depeche Mode’s “Construction Time Again”, “Some Great Reward”, and “Black Celebration”. Also recorded at Hansa were such artists as the Wire, the Birthday Party, Einsturzende Neubauten (who made great use of the legendary stairwell, and space), Nick Cave, and the Bad Seeds, (“Your Funeral, My Trial” and “The Firstborn is Dead”), REM’s “Collapse Into Now”, Supergrass, The Hives, Snow Patrol, Siouxsie, and the Banshees “Tinder box”, Killing Joke, Marillion, Brian Eno, and Green Day. 

Neumann has been a household name in the pro audio industry pretty much since there’s been an industry. Today, the German company (founded by Georg Neumann in 1928) is known primarily for high-end condenser microphones like the U 47, U 67, and U 87; but they’re also responsible for several technical innovations that have advanced the industry by leaps and bounds. 

The company’s Neumann Originals campaign celebrates that long tradition by highlighting landmark inventions like 48 volt phantom power, showcasing celebrated mics like those mentioned above, and shining a light on their rigorous R&D efforts and strict quality control. In a uniquely German fashion, the campaign invites us to marvel at Neumann’s accomplishments without giving any secrets away. It may seem boastful, but it’s easy to take for granted some of the advancements they brought to the industry, many of which have directly led to the development of technologies you use in your studio every day. 

So don your lab coat, step into the clean room, and travel with us back to 1928, when it all began.

1928 | Dawn of the Condenser Microphone

In 1928, Georg Neumann GmbH introduced its very first product: the CMV 3. Known colloquially as the “Neumann Bottle” due to its bulky form factor, this landmark design employed a completely different method of capturing sound than existing designs which utilized carbon granules, metal ribbons, or magnetic coils. Instead, it used a thin moving diaphragm and a fixed backplate to turn sound waves into an electrical signal based on the change in capacitance between the two elements.

Another distinguishing feature of the CMV 3 was its interchangeable capsule system, which provided different directional patterns for use in different situations. Although unorthodox for its time, this design proved both versatile and economical. In fact, the Neumann Bottle was so successful that nearly 70 years later it would influence a more modern take on the “bottle” concept by another manufacturer.

1936 | Advances in Electroacoustic Measurement

Before the U 47 and the rest of Neumann’s legendary microphones came an innovation that made all the rest possible: the level recorder. Georg Neumann knew that in order to develop audio equipment with consistent, accurate performance, he first needed a reliable way to measure signal levels. If he could develop a machine to record audio signals as mathematical data, he could use that data to calibrate equipment to achieve repeatable results. 

Neumann’s level recorder was an electro-mechanical device similar to a seismograph that transcribed input signals as a continuous graph on a long roll of paper. The device used a logarithmic scale to measure amplitude levels in an easy-to-read format, a standard that is still used to measure decibels today. The level recorder took the guesswork out of electroacoustic measurement, paving the way for Neumann’s company to design high-performance microphones and disc-cutting lathes.

1949 | The U 47 Introduces Switchable Polar Patterns

First introduced nearly 75 years ago, the Neumann U 47 remains one of the most popular microphones in history. Distributed internationally under the Telefunken brand, the U 47 has lent its legendary tone to greats like Nat King Cole, Frank Sinatra, The Beatles, Aretha Franklin, Miles Davis, and countless others. 

This model improved on the CMV 3 in many ways; most notably with its built-in switchable polar patterns. Rather than utilizing interchangeable capsules, the U 47 combined two condenser diaphragms facing opposite directions. With only one turned on, the mic exhibits an omnidirectional pickup pattern. When the rear element is engaged, everything it picks up is subtracted from the front signal, effectively reducing the mic’s rear sensitivity and creating a cardioid (heart-shaped) pattern.

In addition to its switchable polar patterns, the U 47’s refined electronics and other design improvements helped cement its place in music history. The now-legendary VF 14 vacuum tube produced by Telefunken reduced the size of the microphone and provided an impressive signal-to-noise ratio that would not be matched for many years. With an almost ruler-flat frequency response except for two gentle bumps around 3 and 10 kHz, the U 47’s crisp, musical tone makes any vocal or instrument seem to come alive and jump out of the speakers.

1951 | The M 49 Offers a Continuously Variable Polar Pattern

Although the U 47 still remains a technological marvel, Neumann quickly one-upped themselves with the M 49, the first microphone to offer a continuously variable polar pattern. This functionality allowed engineers to dial in the perfect balance between omnidirectional, cardioid, and bidirectional patterns, making it easier than ever to control the amount of room ambience in the signal. 

Better yet, the M 49 could be remotely controlled from the power supply unit, which allowed the operators to adjust the sound from the control room while listening to the result in real time. This made it a natural choice for orchestral recording sessions where mics were often suspended high above the players. The M 49 remains a highly sought-after vintage collector’s item to this day, although Neumann recently reissued it as the M 49 V. 

1956 | Further Advancements in Measurement

Always seeking to improve consistency and accuracy in the design and manufacturing process, the Neumann company developed the pistonphone in 1956. This humble little device employs a mechanical piston driven at a specific cyclic rate to generate sound pressure at a consistent frequency and amplitude. Using this reliable, known factor, Neumann’s engineers could calibrate microphones with a tolerance of just one-tenth of a decibel from 20 to 800 Hz.

1960 | The U 67 Becomes the New Studio Workhorse

Constantly aiming to improve upon perfection, Neumann upped the ante again in 1960 with the U 67. This model featured an updated K 67 capsule that allowed for more precise tuning and has since become one of the most replicated capsule designs of all time. Additionally, the U 67 offered all three popular polar pattern options of the U 47 and U 48 (cardioid, omni, and bidirectional), making it more versatile than its predecessors. For extra flexibility, Neumann also added a switchable 100 Hz high-pass filter and -10 dB pad. These utility features made the mic suitable for recording everything from orchestras and vocals to rock and roll drums and guitar amps—a true workhorse of the studio. In 2018, Neumann reissued the legendary U 67 with great success.  

1967 | The Phantom of the Studio

In the 1960s, when transistor-based condenser microphones began to replace tube-powered designs, it finally became feasible to power them from a common source without dedicated power supplies for each mic. However, without a universal standard for power distribution, many studios had to come up with their own custom solutions. While this worked as a stopgap measure, the lack of standardization meant that plugging in the wrong microphone could damage it severely. As usual, Neumann saw an opportunity to come up with a fix.

Inspired by a concept used in some telephone systems of the time, Georg Neumann developed a consistent way to distribute direct current to microphones over the same wires used to transmit audio signals, settling on 48 volts as the standard. Because the same voltage is applied to the positive and negative conductors, there is no potential difference between the two signals, and the power becomes effectively “invisible”—hence the name “phantom power.” Next time you flip that little switch on your interface or mixer, thank Neumann.

1967 | The U 87 Becomes the New Studio Standard

After ceasing production of the U 47 in 1965 due to the critical VF 14 vacuum tube being discontinued, Neumann needed a new flagship studio microphone. In 1967, leveraging recent advances in solid-state electronics, the company designed the U 87 around a field effect transistor (FET) circuit. This allowed the U 87 to deliver the same standard of high-fidelity sound and extremely low noise without the weight, complexity, and warm-up time of a tube microphone.

Just like the U 67, the U 87 includes cardioid, omni, and bidirectional polar pattern options as well as a switchable high-pass filter and pad. And, thanks to the advent of phantom power, a studio could conceivably use a U 87 on every track in a session (as many often did). With its legendary tonal profile, robust quality, and useful features, the U 87 has become an enduring studio favorite for all types of instruments, vocals, and even voiceover. Neumann has since reissued it as the U 87 Ai.

Neumann’s “Dummy Head” microphones were the first to capture true binaural sound.  Photo by Georg Neumann GmbH.

1973 | The KU 80 Makes Binaural Audio a Reality

Although it didn’t truly catch on in the music industry until recent years, spatial audio saw rapid development back in the 1970s. While British researchers were developing Ambisonics, other individuals were experimenting with bespoke systems for creating three-dimensional soundfields. However, they all relied on complex multichannel decoding and playback methods that simply weren’t practical for everyday use. Only a stereo solution had a chance of actually being adopted by engineers and audiences.

Building on concepts like the ORTF technique and the Jecklin Disk, which attempted to capture sound the way our ears hear it in the real world, Neumann developed the KU 80 “Dummy Head” in 1973. Consisting of an anatomically accurate model of the human head with microphones mounted in the ear canals, the KU 80 was the first system to accurately reproduce the head-related transfer function (HRTF) that allows us to perceive three-dimensional sound with our ears.

Neumann would continue to improve on this system with the KU 81 in 1982 and the KU 100 in 1992. With its ability to capture lifelike binaural audio that plays back accurately on headphones and loudspeakers, the KU 100 has become somewhat famous in audio engineering circles due to its popularization by engineer Tchad Blake. To hear the KU 100 in action, throw on your best headphones or in-ears and listen to From the Caves of the Iron Mountain, an experimental excursion by Tony Levin, Jerry Marotta, and Steve Gorn which was recorded by Blake in an abandoned mine.

The Tradition Continues

Over the years, Neumann continued to innovate, refining their processes and compiling a vast archive of technical documents dating back to the company’s founding. Using this wealth of experience and technical know-how, Neumann has gifted the world with many more “originals,” including the U 47 FET, TLM 103, and KM 184, to name just a few.

Today, the company has branched out into other studio products with their KH Series monitors, NDH Series studio headphones, and the new MT 48 audio interface. We don’t know what they’ll come up with next, but you can bet it will be original.

The Roland TR-808 drum machine needs no introduction. Used on countless classic songs, spanning multiple genres and decades, it’s no surprise that this iconic instrument has earned its own holiday. Each year on 808 Day (August 8th), musicians, producers, and engineers all around the world celebrate the legacy of the TR-808 and the impact it’s had on our culture over the past 40-plus years. 

It’s tough to say when 808 Day was first truly established, but in the last decade, it’s led to a full-fledged documentary, limited edition streetwear, and a variety of 808 Day events hosted annually. To celebrate, we’re taking a look back at the history of the legendary TR-808. Continue reading to learn more about how this iconic drum machine came to be, its initial mixed reception, and how it grew to become one of the most well-known instruments of our time. 

Inventing The Roland TR-808

Faulty transistors and robotic tones don’t sound like a recipe for success in a rhythm machine. But nothing sounds quite like the TR-808 by Roland, and that was both its limitation and the reason for its ultimate success.

In 1980, artificial drums diverged onto two different paths. On one course, there was the Linn LM-1 and Oberheim DMX, using digital samples of real drum sounds. On the other, was the TR-808, which used analog synthesis to produce a simulation of drum sounds. The cost of computer memory storage was high in those early days, and the $5,000 price tag on the LM-1 reflected that. 

To keep costs down on the TR-808, one of Roland’s chief engineers, Tadao Kikumoto, suggested foregoing the sampling approach and using analog synthesis. This created a much more affordable unit; the 808 was less than a quarter of the price of the LM-1, at $1,200.

The head of Roland, Mr. Ikutaro Kakehashi, intended to make a device that could be used to help create rhythms without the use of expensive studio time and drummers, hence the name TR-808 Rhythm Composer, (the TR stood for Transistor Rhythm, the model number perhaps from the year of its release, 1980). 

Kakehashi hoped that the 808 would be a great tool for making demo recordings. He could never have dreamed how it would become an instrument in its own right, surpassing the demo stage to emerge as a key component in the finished tracks of artists in many genres

Kakehashi was a long-time tinkerer and repaired clocks, radios, and organs in the 1940s and 50s. He started the Ace Tone company in 1960, and by 1967, the FR-1 Rhythm Ace rhythm generator was being used in Hammond electric organs to provide accompaniment. 

After he started the Roland Corporation in 1972, several rhythm devices and synthesizers were produced by the company, and in 1978 the CompuRhythm 78, or CR-78, debuted. This was a big advance, being a much more sophisticated rhythm device that included programmable and storable drum patterns for the first time (Phil Collins used it to great effect on “In the Air Tonight”). The innovation of being programmable led to the next big step, the TR-808.

Pushing Boundaries

Artists often thrive within limitations (Sgt. Pepper’s was recorded on a four-track machine), and the TR-808 definitely had its limitations. The programmable sequences were limited to 32 steps, the drum sounds were limited to 16 types, and Kakehashi hadn’t invented MIDI yet, so it could only ‘talk’ to other devices through a DIN port. 

But there were also many ways of manipulating those limitations. The user could store up to 32 different patterns and connect a total of 12 tracks with 64 measures each for a maximum of 768 measures. Each drum sound had its own level and accent control, as well as individual outputs so that tones could be routed to other processing devices to further shape the sound. It could also be used as a trigger for other machines and synthesizers. The tempo could be altered with both a basic and fine control knob, allowing the user to get precisely the beat they were after. 

This interaction was a character of the machine as a whole. It wasn’t simply a matter of setting some parameters and letting the machine talk; there was an interface of human and machine that made the 808 an authentic instrument. This led to it being used at gigs by DJs like Juan Atkins as a supplement to spinning tracks. 

Being an analog device, no two units sound exactly alike. Temperature and humidity can affect the tonality, as can the age of the components. And it was not only the brilliant circuit design that made the 808 so intuitive and useful; it was also the humble transistor. 

Transistor Rhythm

Part of the design of the 808 used transistors that were out of spec, and would have normally been discarded by the manufacturers. Roland had tested these and realized that they added a unique sonic signature to the machine, what some like to call the ‘sizzle’, and so they were deliberately incorporated into the design. 

It’s not that the transistors were faulty; they certainly worked, but they worked in a way that gave the 808 a very unique sound. It was so important that it gave its name to the model – TR for Transistor Rhythm. Yet, it was this very character that brought the eventual demise of the 808. 

As manufacturers got better at making transistors, eventually there weren’t enough discarded ones to keep making the 808, and so it was discontinued in 1982. Much like the Neumann U 47 was stopped when the VF14 tubes were no longer available, the very thing that helped create the 808 also made it impossible to keep producing them.

Commercial Failure Or Cult Classic?

It is often said that the TR-808 was a commercial failure, but in context, it really wasn’t. Selling about 12,000 units in two years is not exactly a failure; by comparison, the Linn LM-1 only sold about 525 units, and the LM-2 about 5,000 units; neither of these is usually called a commercial failure. 

The “failure” of the 808 was in not making authentic drum sounds, which is exactly why it was eventually successful: its unique tone was prized by young artists who found the units at a cheap price on the used market in the early 80s. Technology was moving fast back then, as it always does in the music business, and newer and “better” machines were coming on the market. But the affordability of used 808s brought them into the hands of musicians and producers who were eager to utilize the machine to create new sonic textures and beats. 

TR-808 In Popular Music

The earliest use of the TR-808 was by the Yellow Magic Orchestra out of Tokyo, who had employed them in live concerts soon after their release in 1980, and on their fourth album BGM in 1981 - the first use of the 808 on a record. A year later, Marvin Gaye brought the 808 tone to the masses on his smash hit “Sexual Healing”. Meanwhile, the same year saw the release of “Planet Rock” by Afrikaa Bambaataa and Soulsonic Force, a highly influential single that was one of the earliest Electro tracks, lifting inspiration (and sequences) from the German group Kraftwerk. 

From that point on, the use of the 808 only increased, as Electro, Detroit Techno, Chicago House, Miami Bass, New Orleans Bounce, UK Acid House, and other genres began to develop and then explode across the musical landscape. Even after the 808 faded from the New York hip-hop scene, it was still heavily used in Southern rap and krunk, primarily for its explosive bass drum sound (whose expandable decay had been employed to great effect by Rick Rubin). The number of genres that employ the 808 is almost as large as the number of hits created with it. 

From Pop to R&B and all manifestations of Rap and Hip-hop, the sound of the 808 is inescapable. The records made with it are far too numerous to list. Some of the biggest and most influential are: Whitney Houston “I Wanna Dance with Somebody”, Talking Heads “Psycho Killer”, the Beastie Boys “Paul Revere”, Strafe “Set It Off”, Cybotron “Clear”, Tupac “Changes”, Justin Timberlake “SexyBack”, Aphex Twin “Xtal”, Outkast “The Way You Move”, and Kanye West “Love Lockdown”, from the appropriately titled “808s and Heartbreak” album. 

There are countless others from bands both huge and unheard-of. It would be easier to name who didn’t use the 808 than who did. And they all tap into the seemingly endless potential of a seemingly simple device, the TR-808.

Future Iterations

Roland incorporated some aspects of the 808 in their follow-up machine, the TR-909, which upgraded the cymbals to digital samples but kept everything else analog. More recently, Roland issued the TR-08 in 2017, a miniaturized version of the original, followed by software emulations in 2018. And in 2020, they received the ultimate accolade, the TR-808 was inducted into the NAMM TECnology Hall of Fame.

The TR-808 has a distinctive bass drum tone that is often likened to a heartbeat. One could expand the analogy and say that the 808 itself is the heartbeat of Hip-hop. Like the Strat or Les Paul in Rock music, the multitude of genres of Electronica and Hip-hop would sound vastly different without the 808. It has become the signature of an entire musical landscape. 

Pretty impressive for a machine that was supposed to be a simple compositional tool. But that’s like saying the six strings of a guitar are just for playing notes and chords in a certain sequence to write a song. The 808 is about far more than simply creating a demo. It’s about creating a whole new musical world.

With the popularity of podcasting, the Shure SM7 (currently available as the SM7B) has become one of the world's most recognizable microphones. But, as most audio engineers know, the SM7 has been around way longer than the general public might realize. The dynamic microphone is actually celebrating its 50th anniversary in 2023.

A Brief History of the Shure SM7

The story of the SM7 starts with the SM5 broadcast mic. It features a form factor similar to the modern SM7 with a unidirectional dynamic design, but Shure made the microphone specifically for use in television and film studios. During the late 1960s, the team at Shure began developing a new microphone for recording studios, radio stations, and voiceover facilities. Utilizing the Unidyne III SM57 element as the basis for its design, the SM7 microphone was born in 1973.

While it would take a few decades for the SM7 to catch on in studios, the microphone saw a boost in popularity when Bruce Swedien used it to record Michael Jackson's vocals for Thriller. In the time since, the mic has appeared on countless hit records, including releases from Iron Maiden, The White Stripes, Maroon 5, Childish Gambino, and many more.

Over the years, the SM7 underwent two significant performance-based improvements. In 1999, Shure engineers developed the SM7A, incorporating a humbucking coil into the microphone's design. Later, in 2001, Shure introduced the current version, the SM7B, which featured an enlarged windscreen for further enhancement.

Enter To Win A Shure SM7B Custom VK Edition

Shure and Vintage King thought there was no better way to celebrate this momentous occasion than to give away a custom VK Edition Shure SM7B to one lucky winner. This version of the microphone features a one-of-a-kind colorway with Vintage King's signature red.

So, are you ready to enter? It's easy. Fill out the giveaway form on this page, follow us on Instagram, like the post with the giveaway graphic, and you'll be entered to win. You have until 11:59 pm on August 22nd to enter, and then we will randomly select our grand prize winner. Read our official rules before entering, and just a reminder that our giveaway is only open to those living in the United States. Good luck!

Congratulations to our winner, Jason Duval Bedford, New Hampshire!

Founded in 1982, Make Music Day is an international music festival that takes place in more than 1,000 cities in 120 countries around the world. Each year on June 21st, musicians of all genres come together to perform, create, and celebrate music. Best of all, anyone can participate! All of the shows are entirely free and open to the public.

Continue reading to learn how Make Music Day started, how it’s grown over the years, and how you can participate in your city.

What Is Make Music Day?

During his tenure as the head of the Ministry of Culture (a branch of the French government dedicated to promoting the arts), Jack Lang started a free music festival simply called ​​Fête De La Musique. (In French, the name means both “festival of music” and “make music”.)

But unlike traditional music festivals where massive crowds of people flock to open fields to watch the biggest names in music perform, Fête De La Musique would invite everyone in the country to play music together. 

Over the years, Fête De La Musique has turned into a national holiday. Each year on the summer solstice, the country shuts down to celebrate the joy of making and listening to music. And it’s not just France that’s in on the fun, either. In the 40+ years since Fête De La Musique was founded, Make Music Day has caught on in more than 120 countries.

Make Music Day In Your City

Although Fête De La Musique has been celebrated around the world for more than fraud decades, it’s still relatively new here in the US. Just 15 years ago, Make Music Day made its debut in the US with Make Music New York. Since then, Make Music Day has swept the country, with more than 100 cities across the country hosting free events on June 21st.

If you’re in the Los Angeles or Nashville areas, we encourage you to check out some of the great Make Music Day events around the city, but the Vintage King Showrooms will also be open for demos. Stop by and check out our world-class selection of microphones, synths, pedals, and recording gear.

Check out the Make Music Day website for more information on events in your city. And visit the Vintage King Los Angeles and Nashville Showroom pages to schedule a demo session today!

Looking for some creative inspiration for Make Music Day this year? Check out our list of Best Gear Under $500: Making Music On The Go!

This Father’s Day, Vintage King is honoring the forefathers of our favorite gear with a custom set of holiday cards. From vintage preamps and tube mics to classic compressors and guitar pedals, we’re celebrating the classic designs that inspired our favorite modern gear.

Each card features a modern piece of studio gear, alongside the original vintage design that inspired it. These hand-drawn cards pay homage to studio gear that has withstood the test of time, with some designs dating back more than 50 years!

Whether you’re planning on going fishing, playing a few holes of golf, or just having a catch in the yard this Father’s Day, these cards are perfect for showing the audio lover in your life how you feel.

So ditch the new tie and get your dad something truly unique and thoughtful this Father’s Day. Download our vintage-inspired Father’s Day cards and share them with your friends and family!

 

A few months back, Warm Audio unveiled the WA-MPX and WA-2MPX. These two 19" rackmount units offer up Warm's take on the legendary preamp from the Ampex 351 tape machine. This vintage tube preamp, revered during the golden era of tape recording, contributed its unmistakable signature sound to timeless recordings by legendary artists such as Elvis Presley, Les Paul, and Bing Crosby.

All that sounds pretty great, right? Who wouldn't want some vintage preamp and tape saturation in their studio? Well, if you agree, we've got some amazing news for you! Vintage King is teaming up with Warm Audio to give away a WA-MPX to one lucky winner. All you need to do is enter to win!

If you're ready to bring home the WA-MPX, here's how you can do it. Fill out the form on this page, follow us on Instagram, like the post with the giveaway graphic, and you'll be entered to win. You have until 11:59 pm on June 6th to enter, and then we will select a random entry and announce the winner here on the blog. Please note that the giveaway is limited to individuals residing within the United States. Read our official rules here and good luck!

Thank you to everyone who entered our giveaway. The winner of our Warm Audio WA-MPX is Andrew Stone of New York, New York. Want to hear what the Warm Audio WA-MPX can do? Watch our First Listen video below:

Known for creating the world’s first voltage-controlled modular synthesizer, and often credited with revolutionizing the world of electronic music, you could call Moog the mother of modern synthesizers. With a wide selection of innovative modular and semi-modular analog synthesizers, Moog continues to innovate and push the boundaries of what's possible with analog synthesis even today.

To celebrate Mother’s Day, we teamed up with world-renowned synthesist and Moog expert Lisa Bella Donna to create a collection of custom synth patches for the Mother-32, Grandmother, and Matriarch, available exclusively at Vintage King.

About Moog Synths

If you're not familiar with the Moog Mother 32, Grandmother, and Matriarch synthesizers, let us give you a quick rundown. These semi-modular analog synthesizers are designed to be versatile, intuitive, and inspiring. Each synthesizer has its own unique character and set of features, but they all share Moog's signature sound quality and craftsmanship.

Mother-32

The Moog Mother-32 is a compact and powerful synthesizer that can be used standalone or as part of a larger modular system. It features a fully analog signal path, a 32-step sequencer, a voltage-controlled mixer, and a wide range of modulation options. With its semi-modular design, you can easily patch and re-patch different modules to create complex and evolving sounds.

Grandmother

The Moog Grandmother, on the other hand, is a more traditional synthesizer with a retro-inspired design and a modern twist. It has a full-sized keyboard, a classic ladder filter, a built-in arpeggiator, and a wide range of connectivity options. It also features a spring reverb tank, which adds a lush and organic quality to your sounds.

Matriarch

Finally, the Moog Matriarch is a flagship synthesizer that combines the best of both worlds. It has four analog oscillators, a stereo ladder filter, a sequencer, an arpeggiator, and a built-in stereo analog delay. It also has a patchable modulation matrix, which allows you to create complex and dynamic soundscapes. The Matriarch is a true masterpiece of analog synthesis, and it has already become a favorite among synth enthusiasts and professionals alike.

Custom Patches By Lisa Bella Donna

With Lisa's custom patches, you can explore a wide range of sounds and textures that showcase the unique capabilities of Moog’s powerful synthesizers. From fat basses to soaring leads, from shimmering pads to glitchy effects, these patches will inspire you to experiment and create new sonic landscapes.

Continue reading to download images of each of the patches and dial in Lisa’s unique sounds for yourself. Whether you're a seasoned synth veteran or a curious newcomer, these patches are sure to add a new dimension to your music-making. We hope you enjoy them as much as we do!

Mother’s Drone: Matriarch

Jupiter’s Child: Mother-32

The Dream: Grandmother