With many years experience working as recording engineers and producers, our review team of George Shilling and Russell Cottier know the good from the bad. In many cases it's a matter of taste, some prefer one EQ over another but we try to provide unbiased and objective reviews of the equipment tested.
Teaching Machines Wellspring
Before digital delay and reverb became commonplace in the early 1980s, reverb on records was created by analogue means.
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AMS RMX16 500
When I started work at Livingston Studios at the end of 1984 there was an AMS RMX-16 in both studios. This was the only source of artificial reverb other than the EMT140 plates.
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Lexicon PCM 90
Lexicon's top of the range 480L and its predecessor the 224X have for over ten years been held in the highest esteem. No high-end studio looks complete without the familiar LARC remote control on top of the mixer.
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