The Doepfer Dark Time is an analogue sequencer released in 2010. It has no sound module. It controls external gear via CV/Gate, MIDI, and USB. It sequences either 16 steps on one channel or 8 steps across two channels. Real-time knob control covers transposition, note skipping, and playback alternation. Firmware 1.10 resolves bugs present in earlier versions.
The Waves dbx 160 is a software compressor plug-in released in 2015. It delivers fast, aggressive compression with minimal setup. It lacks flexibility and colour but excels at tightening drums and bass. It costs $49 on sale. It belongs in the mix bus, not the mastering chain.
The Korg Delta is a 1979 analog semi-polyphonic string machine and synthesizer. It was built as a slimmed-down, budget alternative to the Korg Trident. It splits into two independent sections—Strings and Synth—with dedicated outputs. The String section uses two pitch sliders and tone/ADSR controls. The Synth section uses four pitch sliders, white noise, a multimode 24dB/oct filter, and full ADSR. A joystick provides pitch bend and modulation. It has CV/gate connectivity but no memory, no MIDI, and no presets. Its 'unlimited polyphony' is inaccurate: pressing multiple keys does not apply independent envelopes to each note. It delivers high-quality layered string-and-synth sounds despite limited range. Its build is robust, but its keyboard is fragile and its filter is bland.
The M-Audio Delta 1010 is a discontinued PCI/ISA + rack-mount soundcard. It delivers 8 analogue I/Os plus SPDIF. It achieves 5ms latency. It runs stably with Cubase and Sonar on legacy desktops. It crashes beyond 24 tracks — due to host computer limits, not the card. It inserts real-time effects during mixdown without issue. It requires a Pentium 4–era PC with a free PCI slot. It has no USB or FireWire support. It is no longer manufactured.
An analog stereo flanger and filter matrix stomp box for electric guitar. It runs on a dedicated 24 V power supply. It has input, effect out, and clean output jacks. It uses three knobs — color, range, and rate — plus a switch for the filter matrix function. It is not rack-mountable.
The Electro-Harmonix Deluxe Memory Man Mk4 is an all-analog stomp-box delay/echo pedal with built-in chorus and vibrato. It has no MIDI, no computer editing, no rack-mount capability, and requires a 24-volt power supply. It features a 1/4-inch input, a dry output, and a dedicated echo output for routing to a separate amplifier.
The Roland DEP-5 is a mid-1980s multi-effects processor. It gives you reverb, delay, chorus, flanger, double, and a three-band parametric EQ. Its interface is direct — one button, one function — but some parameters demand layered adjustment. Program 5 delivers a long, arching reverb. Its midrange tone is distinctive and hard to replicate. It does not do clean, neutral processing. It does not offer recallable presets. It does not suit users who need precision over character.
The Publison DHM 89 B2 is an Other Studio Effect made by Publison. No technical specifications exist for it. Nothing else is confirmed.
The Digidesign Digi 001 is the original Pro Tools audio interface. It is a rack-mountable PCI/ISA soundcard with two mic preamps, phantom power, gain knobs, -25 dB pads, front headphone output, MIDI, eight outputs (including monitor outs), and six line inputs. It connects via D-Sub and serial port — not FireWire or USB — so it is incompatible with laptops and newer computers. It is obsolete outside legacy systems.
The Digidesign Digi 002 is a FireWire audio interface built exclusively for Pro Tools LE. It delivers four mic preamps, S/PDIF and MIDI, and autonomous digital mixing — but only within that narrow software ecosystem. It is desktop-formatted and non-rack-mountable. Its limits are defined by Pro Tools LE’s track count and host compatibility. It belongs in a period-correct studio, not a modern one.
The Pioneer DJM-1000 is a rack-mountable 4+ channel DJ mixer with two master outputs and one booth output sharing a single volume control. It has no built-in effects. Its equalizer is low quality and offers parametric control only on mic channels. Its preamps and potentiometers are poor. Its output level of 2V + 6dB causes distortion across frequency ranges.
The Pioneer DJM-500 is a 4-channel DJ mixer with RCA, 1/4" jack and XLR connectors. Its EQ is adequate. Its effects section is limited but sufficient. It can be rack-mounted—with a modification. Some users doubt its rack-mountability. Its signal path is transparent. Its build invites daily use—but demands maintenance as it ages.
The Pioneer DJM-600 is a 4-channel analog DJ mixer with RCA and XLR I/O, non-parametric EQ, integrated non-automatable effects, no sync capability, and clean, distortion-free sound — though perceived as dated by 2010. It is widely used in clubs and praised for reliability, intuitive layout, and ease of installation.
The Pioneer DJM-800 is a 4-channel, 96 kHz / 24-bit digital mixer designed for live DJ performance. It delivers tight, immediate control over EQ, beat effects (Roll, Reverse Delay, Filter), and harmonic effects (Sweep, Crush). Its 61 assignable MIDI/HID controls integrate hardware and software without abstraction. But it offers no resonance adjustment on its filter effect, and headphone monitoring routing is rigid.
The Pioneer DJM-909 is a 2-channel DJ mixer built for live blending, EQ, and effects. It has no published technical specifications. Pioneer manufactured it. User reviews highlight transparency and effective equalization—but give no data on filter slope, latency, or headroom. It does not integrate with software or offer recallable settings. It belongs in a booth, not a studio rack.
The Ensoniq DP/4 is a rack-mounted digital multi-effects processor. It uses four 24-bit DSPs to process four signals in parallel. Input gain is adjustable for saturation. Effects are intentionally non-realistic. Transformer noise occurs when idle. Front-panel editing is cumbersome. MIDI control via MIDIQuest is unreliable. The manual is unusable. An internal battery is user-replaceable.
The Make Noise DPO is a dual-oscillator Eurorack VCO built for FM synthesis and wavefolding. It produces deep, rich FM-type sounds using its dedicated wavefolder section. Its output is clean and cold—not Moog-style warm. It has no built-in LFO, envelope, or quantizer. It is not a full voice module. It is a precision tool for FM texture generation.
The Waves BSS DPR-402 is a plugin rendition of a hardware dynamics processor. It is categorised as an 'other effects bundle or multi-effect'. No technical details are given. No usage examples are cited. It exists as software, not circuitry.
The Prism Sound Dream ADA-8XR is an eight-channel analog/digital converter built for fixed-install mastering and DAW integration. It provides eight balanced XLR I/O at +4 dBu, two RCA monitoring outputs, DB-25 AES I/O, and dual BNC Word-Clock. Its build quality is impeccable—but it runs hot, demanding 1U of rack clearance. It does not offer USB, optical, headphone output, or variable monitor level control.
The Drumulator is a fixed-sample, floppy-driven drum machine built to undercut the Linn LM-1 — not match it. It gives you eight gritty 12-bit hits, real-time or step sequencing, and Apple II editing. It withholds sound editing, velocity, swing, and any expansion beyond its ROM.
The Eventide DSP4000 is a discontinued multi-effects processor. It converts at 18 bits. It includes pitch shifting, reverb, and compression. Its effects span from subtle to cataclysmic. Learning it requires time and the manual.
The Beyerdynamic DT 48 is the world’s first dynamic headphone, launched in 1939. Its closed, tight-fitting design isolates sound but causes fatigue. Its midrange is superb and revealing—built to monitor voice, sound objects, and mood in reporting, radio, film, and medical audiometry. It is not intended for mastering.
The Fender Dual Showman Reverb is a 100-watt all-tube head built for volume, clarity, and built-in modulation. Two channels—clean and reverb/vibrato—each have full EQ and a Bright switch. No master volume. No channel switching on the fly. Heavy. Loud. Uncompromising.
The Yamaha DX200 is a 2001 desktop sequencer built for DJs and musicians who need FM synthesis and sample playback in one tight hardware unit. It runs a simplified 6-operator FM engine compatible with DX7 patches. It adds a real-time 16-step sequencer with four tracks, a resonant multi-mode filter — absent in all classic DX synths — and bundled software editing tools. It does not offer deep FM programming, internal effects, or flexible voice sharing between FM and AWM2 engines.
The Yamaha DX7 II FD Centennial is a 76-key, fully-weighted FM synthesizer released in 1987. It delivers 16-voice polyphony, a built-in sequencer and arpeggiator, and 64 user presets. Its interface is menu-driven and lacks real-time controls. It serves players who prioritise weighted-action playability and integrated sequencing over flexible sound design.
The Fostex E-16 is an analog multitrack recorder. No technical specifications are available for it.
The E-MU E4XT Ultra is a 1999 hardware sampler. It delivers verbatim audio playback, 128-voice polyphony, and studio-grade reliability. It has no onboard effects, shallow editing, and fixed storage. It belongs in a rack—not a laptop bag.
The E-mu Systems E6400 is a hardware sampler built for radical sample transformation — not faithful reproduction. Its strength is in routing: the modulation matrix and modular-style processing blocks (quantize, flipflop, diode, lag) let users rewire signal flow in ways few samplers allowed. Its SCSI support exceeds its 9GB spec — users ran 18GB drives. Its DACs are transparent; its ADCs are not. It includes Z-plane, formant, phaser, flanger, Doppler, bitreducer and Convolver tools — and its reverb uses impulse response sampling. It ships with EOS 3.00b and 1MB CPU RAM. It is for sound designers who treat samples as raw material to be corrupted, rerouted and convolved — not archived.
The Audio Electronics EchoCzar does not exist in the provided material. The instrument named is the Toneczar Echoczar. Audio Electronics is not mentioned anywhere in the sources.
The Oberheim/Gibson Echoplex Digital Pro is a 1994 hardware looper built for live performance. It records 16-bit/44.1kHz audio to RAM, ships with 50 seconds of memory (expandable to 200), supports unlimited overdubs per loop, stores up to nine loops, and offers MIDI sync, reverse looping, and multiplay. It has no filtering, time stretching, pitch shifting, stereo effects, or resampling.
The Strymon El Capistan is a discontinued digital tape echo pedal that emulates the Echoplex and Space Echo through three tape head configurations and three operational modes. It uses five front-panel knobs and hidden footswitch-accessed parameters to shape delay character. Its analog dry path preserves unaffected tone. It does not implement phrase sampling, despite the product title. It runs on 9V and supports both buffered and true bypass.
The Telefunken ELA M 250 is a large diaphragm condenser tube microphone made by Telefunken Elektroakustik. That is all the source confirms. No specifications, no use cases, no sonic characterisation, no historical context — just category, type, and maker.
The Telefunken ELA M 251 is a large diaphragm condenser tube microphone made by Telefunken Elektroakustik. It belongs to the category of large diaphragm condenser tube microphones. Nothing else is verified.
The Korg Electribe 2 is a groove machine in the ElecTribe series. It supports up to 250 patterns, each limited to four bars in length. It includes 32 master effects modeled after the Kaos Pad. Each track can have one individual effect selected from 38 available types. It offers 25 groove types that can be applied per track. It includes PCM-based sound sources: 56 kicks, 58 snares, 16 claps, 56 hi-hats/cymbals, 71 percussion/toms, 52 synth hits/FX/instrument hits, 16 voices, and 27 instruments. It uses synth modeling with 55 preset oscillators.
The Korg Electribe EA-1 is a compact groove machine built for quick, tactile analog sound design and live pattern-based performance.
The Electribe is a groovebox. It forces drum, bass and synth into one pattern grid. It launched in 1999. It runs on analogue modelling and sampling. It shares sequencing logic across all sound sources. It has no audio recording. It has no expandable storage on early models. It was Korg’s post-Yamaha statement.
The Korg Electribe ER-1 is an affordable analogue beat unit. It gives bangs, buzzes, blips and spacey weird noises via four synth keys and four sampled percussion sounds. It saves up to 256 patterns, each up to 4 measures. Real-time changes — like jungle delayed drums or scratching sounds — save instantly. Its PCM sounds (Hclap, HiHat, Crash) are uninteresting. It connects via MIDI in/out/thru. Its housing is plastic.
The Korg Electribe ES-1 is a sampling sequencer built for live beat construction and loop manipulation.
The Korg Electribe MX EMX-1 is a 2003 desktop dance production instrument built for live electronic music creation. It combines synthesis, sampling, sequencing, and effects in a single unit aimed at performers and producers who work in patterns and loops.
The Korg Electribe SX (ESX-1) is a 2003 sample-based groovebox built for dance music production and live performance. It uses sample-based sound creation to generate 16 assignable parts—including nine one-shot drum parts, two keyboard parts for melodic playback, two stretch parts for tempo-adjusted loops, one slice part for rhythmic phrase division, one audio-in part, and one drum accent part. It ships with 196 preloaded samples, 128 factory patterns, and 3 demo songs. A major upgrade over earlier ElecTribe models, it offers 285 seconds of sample memory at 44.1kHz for up to 384 user samples, slicing at rhythmic peaks, Motion Sequencing for real-time parameter automation, and three stereo effects processors with chaining.
The EMT 250 was the first digital reverberation device to create ambience through a purely electronic system. The Universal Audio plug-in models that hardware exactly — including its single reverb program, five additional effects (Delay, Phasing, Chorus, Echo, Space), lever-driven interface and all its limitations: non-linear-phase anti-aliasing filters, system latency, input clipping and limited frequency response. It uses the exact same algorithm as the original, captured from Allen Sides’ unit and re-engineered by Dr. Barry Blesser.
The E-mu Emulator III is a 1987 digital sound production system. It was E-mu's biggest and most professional sampler-synthesizer before the 1990s. It was the first sampler to offer 16-bit, 44.1 kHz stereo or mono sampling. RAM is 4 MB expandable to 8 MB. It includes extensive sample editing features including looping and rate conversions. Its on-board 16-track sequencer and arpeggiator are superb. It is equipped with MIDI, SMPTE, SCSI, a built-in disk drive, and multiple outputs. A Macintosh can be hooked up for graphical editing because the LED screen is so tiny.
The E-mu ESI-32 is a 1994 16-bit desktop sampler. It delivers 32-voice polyphony, stereo sampling at 22.05 or 44.1 kHz, and real-time editing including Doppler, exciter, and transform multiply. Base RAM is 2 MB—11 seconds at 44.1 kHz stereo—but expands to 32 MB (six minutes). Auto-looping, auto-truncate, and auto key placement streamline sampling. It requires SCSI peripherals and Turbo Expansion for digital I/O and extra effects. It does not support variable sampling rates, higher bit depths, or modern connectivity out of the box.
The RME Fireface 800 is a FireWire audio interface built for professional studio routing, synchronization, and digital I/O—not tracking or mixing alone, but glueing hardware together.
The MXR Flanger is a guitar flanger pedal. No technical specifications are available. It belongs in the category of flangers for guitar. That is all the material confirms.
The MXR M126 Flanger/Doubler is a two-space analog rack unit with front-panel 1/4" TRS I/O. It gives players manual, sweep width, sweep speed, mix, and regen knobs plus mode and bypass/invert buttons. It delivers a thick flanging sound and fulfils its synthetic doubling function as advertised. It has no stereo I/O, no expression input, no tap tempo, and no presets. No verified recordings or users are cited. Studio engineers needing fixed, tactile analog flanging or doubling should consider it. Live performers, modular users, and those requiring stereo or foot control should not.
The Fulltone Fulldrive 2 is a hand-wired analog overdrive/booster pedal introduced in 1996. It gives players four knobs, two footswitches, and two 3-way toggles to shape tone, drive, boost, voicing, and clipping. It excels at delivering three distinct tonal identities — clean boost, mid-boosted overdrive, and flat-mid transparency — from one circuit. It falls short where independence and expandability matter: Boost requires overdrive to be active, and it offers no rack option, no buffered bypass, and no external control. It belongs in the hands of guitarists who want tactile, analog tonal switching — not those building a programmable, integrated rig.
The Shin-ei Fuzz-Wah is a 1968 analog pedal that merges wah and fuzz into one foot-controlled unit. Rocking controls wah. Sliding left-right controls fuzz gain. Two switches activate effects independently. A third switch sets order. A knob adjusts fuzz volume. Powered by 9V battery or adapter. It remained in production, in some form, until 1984. Fender reissued it in 2008.
The Chandler Limited Germanium Compressor is a mono, 1U, all-analog FET compressor using germanium transistors. It offers a ratio range of 1.5:1 to 10:1 and a Clean/Dirty switch that toggles between low-distortion (0.2–0.5%) and higher-distortion (2–5%) modes. It has symmetric XLR I/O, is rack mountable, and linkable for stereo or surround use. It delivers fast, coloured compression — but gives up timing control, metering, and multi-channel operation to do so.
The Marshall Guv'nor is a no-compromise analog distortion/overdrive pedal. It gives guitarists direct, unmediated access to Marshall-style grit through five physical controls. It refuses modern conveniences: no USB, no rack ears, no presets. It was discontinued in 2023.
The Eventide H3000 Ultra Harmonizer is one of the first analog harmonizers. It is an all-analog, rack-mountable unit occupying two rack spaces. Its layout is sometimes hard to follow. It has few parameters. Its configuration isn't the easiest to follow. Its sound quality is pretty good for its age.
The Eventide H9 Harmonizer is a pedal-format multi-effects unit built to consolidate four Eventide Factor-series stompboxes into one device.
The Eventide H949 Harmonizer is a pitch shifter and time stretcher. It has no published technical specifications. It is also known as H949Harmonizer, H 949 Harmonizer, and H 949Harmonizer.
The Sennheiser HD 600 is a studio-grade open-back headphone. It delivers an even frequency response. It renders acoustic instruments realistically across the full spectrum. Its highs are clear and crisp without harshness. Its lows are detailed and clear without overpowering. It was tested against the HD650, HD700, and HD800 using a decent D/A converter and a good headphone amplifier. It is used for mixing and mastering in professional and home studios. It requires capable amplification. It offers no sound isolation.
The Crane Song HEDD 192 is a two-channel DAC for mixing and mastering. It converts digital audio at up to 192 kHz/24-bit. Its defining feature is three fixed analog circuit emulations — triode, pentode, and tape — each altering harmonic texture and dynamics in distinct ways. It offers no transparency, no bypass, no fine-tuning. It exists to commit.
The Alesis HR-16 is a 1987/88 drum machine with 49 16-bit samples — 10 kicks, 7 snares, and an ethnic set — each tunable and mixable with individual level controls. It supports step or real-time pattern programming, 16-voice polyphony, and syncs via MIDI or external click. Its drum sounds are described as 'pretty cheesy'.
The Mackie HR824 is a discontinued, self-powered near-field monitor. Each unit has its own amplifier and power cord. It delivers uncoloured, accurate sound for critical mixing—and mixes made on it translate well elsewhere.
The Publison Infernal Machine 90 is a 3U rackmount analog/digital multi-effects processor built for video post-production. It delivers delay, echo, harmonizer, sampler, reverb, transposition, time compression/expansion, and DVR-style long-sample playback — all synchronised to SMPTE timecode. All programs are editable on-device; no external editor exists. It excels at frame-accurate effect triggering in film dubbing. It fails for anyone needing patch libraries, remote editing, or non-video workflows.
The Focusrite ISA 110 is a discontinued solid-state microphone preamplifier. It belongs to Focusrite’s ISA series. It was replaced by the ISA 430 MKII. It is no longer sold.
The Roland JC-120 Jazz Chorus Plug-In is a software amp simulator released by Roland in January 2025. It models the JC-120’s sound for use inside a DAW. Nothing in the source describes its controls, signal path, tone-shaping options, or how closely it matches the hardware. It offers convenience and consistency — not physicality or unpredictability.
The Marshall JCM900 is a series of valve guitar amplifiers produced between 1990 and 1999, with some models reissued from 2003 onward. It was built for guitarists needing high-gain distortion and built-in reverb in a professional touring and studio context.
The Ibanez JEM777 is a made-in-Japan STC-shaped guitar built from 1987 to 1996 for Steve Vai’s technical demands. It features a basswood body, maple or rosewood fretboard, 24 frets (some scalloped), HSH pickups, passive volume/tone/five-way switching, and either an Edge or Lo Pro Edge tremolo. It delivers exceptional upper-fret access and stable tremolo performance — but offers no coil-splitting, no active circuitry, and no tolerance for neglected tremolo maintenance.
The Softube Marshall JMP 2203 is a software amp simulator in the Amp Room series. Softube made it. It carries the Marshall JMP 2203 name. It belongs to the Software Amp Simulators category.
The Ibanez JS1 is Joe Satriani’s first signature model — a basswood STC-shaped guitar with a custom neck profile, DiMarzio PAF Pro and FRED humbuckers, master volume and tone controls, and a 3-way pickup selector. Early versions used the original Edge tremolo. It delivers a focused, expressive lead voice — but offers no tonal expansion, limited tuning stability under stress, and zero ergonomic adaptation.
The Kurzweil K2600 is a 1999 workstation built for deep sound engineering — not quick playing. It uses V.A.S.T. synthesis with 60 DSP functions and 438 presets. It holds 12MB of sample ROM (expandable to 44MB) and 64MB of sampling RAM (expandable to 128MB). Its 32-track sequencer supports pattern, linear, and step recording, plus advanced editing. It processes external signals in real time via ADAT, TDIF, and AES/EBU — with any parameter modulating the input and 20-bit digital output. It falls short on immediacy, tactile control, and workflow clarity. It belongs in a fixed studio, not on stage or in a laptop bag.
The KP1 is a 1999 touch-driven effects box for DJs. It runs six effects at once. It has no sampling. It has no synthesis. It has no presets. It has no deep editing. It has a pad, four buttons, and a fader. It rewards gesture over precision. It belongs on a deck, not in a DAW.
The KM 184 is a fixed-cardioid small-diaphragm condenser microphone built for clarity, durability, and extreme SPL handling — not for shaping or adapting.
The KM 54 is a rare, discontinued large-diaphragm tube condenser microphone. It has a fixed cardioid pattern and requires its own unique power supply. It is fragile and unsuitable for live use. It delivers a warm, wide vocal tone — ideal for capturing subtlety — but lacks the clarity of newer Neumann tube mics. A reviewer used it successfully on vocals for themselves and a client. It resembles the AKG C12 in sound and appearance.
The Neumann KM 56 is a small diaphragm condenser microphone in the KM series. It belongs to the category of small diaphragm condenser microphones. It is also referred to as ‘km 56’ or ‘km56’. No technical specifications are provided.
The Neumann KM 84 is a studio-only small diaphragm condenser microphone. It delivers clean, crisp, accurate recordings of acoustic instruments—no low-end filtering needed. Its presence peak adds clarity; its rapid top-end roll-off removes air. Proximity effect forces tight mic placement. Phantom power is required. It is fragile and unsuited for live or field work.
The KM 86 is not a KM 84 variant. It is a dual-capsule small-diaphragm condenser that delivers three virtual polar patterns — and a sound described as 'more pais'. It was sold with XLR or Tuchel connectors. That is all the source tells us.
The UREI/JBL LA-4 "s" is a studio compressor. UREI and JBL made it. No technical specifications are available. That is all the sources say.
The Fender Lead III is a discontinued STC-shaped electric guitar with a smaller body and small-size neck designed for lead playing. Its pickup configuration delivers a wide tonal range: crunchy distortion from the bridge pickup and smooth clean tones from the neck pickup.
The Leslie 122 is a rotating speaker cabinet designed for organs—not a preamp, not an effects unit, not a standalone amplifier. Its entire function depends on connection to a compatible organ like the Hammond M3. It offers no user controls. Its effect is purely mechanical: rotation creates tremolo and vibrato through air displacement. It cannot be used without modification for guitar or other instruments. It belongs only where an organ lives—and nowhere else.
The Universal Audio Lexicon 224 Digital Reverb is a UAD plug-in that models the 1978 hardware unit using its exact algorithms, firmware version 4.4, input transformers, and 12-bit AD/DA gain stepping converters. It exposes all eight reverb programs and every tunable parameter as dedicated fader-style controls. It adds Input/Output gain, Pitch Shift, and a selectable Bug Fix mode. It belongs to the UAD Plug-In series and is categorised as a software algorithmic reverb.
The Lexicon 480L is a rack-mounted digital reverb processor introduced in 1986. It contains 200 internal programs. It supports RAM and ROM cartridges. It is controlled via the LARC remote control unit. It has 2 or 4 XLR analog outputs. Two units can be cascaded for two independent engines. Version 1.01 launched in 1986 and immediately became the new world standard for high-end studio reverb machines. Firmware extended to version 4.01 with a surround kit before being replaced by the 960L.
The LinnDrum is a hands-on, sample-based drum machine built for studio precision — not live flexibility.
The Focusrite Liquid Channel is a rack-mounted channel strip that uses convolution to deliver 80 preamp and compressor presets — but only with mandatory software and a steep learning curve.
The Neumann M269 is a large diaphragm condenser tube microphone made by Neumann. It is listed under that category. It is also called 'm269' or 'm 269'. No technical specifications are available. Nothing is stated about its use, sound, controls, or history.
The Korg M50 61 is a 2008 sampling workstation built for real-time layering and editing. It delivers 80-voice polyphony, 1077 samples across 608 editable programs, and up to 896 combinations — all controlled via an angled panel and full-size TouchView interface. It includes one GM2-compatible sound bank. It was reviewed as industry-ready but criticised for weak electro/lead sounds and lack of built-in sampler compared to the M3.
The Beyerdynamic M 88 TG - 90 years edition is a discontinued dynamic microphone. It has been replaced by the M 88 TG. It is no longer sold.
The Korg M3 88 is a workstation belonging to the M3 series. It features a dynamic 88-note RH3 keyboard with aftertouch. It supports expansion via an EXB-Radias card to reach nearly 1700 sounds across HD-1, EDS, and optional MMT synthesis. KARMA functions as a highly sophisticated and flexible live arpeggiator. A Kaos Pad is accessible via the touchscreen. The onboard sampler is size-limited despite memory expansion. The instrument is modular: the module can be separated from the keyboard or added to a RADIAS rack. Its six pads are less accurate than those on an MPC.
The Machinedrum SPS-1 gives you four distinct drum synthesis methods—TR emulation, FM, SP1200/Simmons sampling, and acoustic physical modelling—all editable per voice with multimode filtering, distortion, and sample-rate reduction. Its Extended sequencer stores kits and tweaks across complex patterns; Classic mode abandons both. It delivers unmatched hybrid control—but demands patience, not immediacy.
The Mesa Boogie Mark I Combo is a late-1970s tube guitar amplifier built for players who wanted controlled, responsive overdrive from a compact combo. It was not originally exported, later adapted for 220 V use in France.
The Mesa Boogie Mark II is a series of ten tube guitar amplifiers — all combos or heads — designed for high-gain responsiveness and channel-switching control. It delivers saturated lead tones with tight low-end and immediate touch dynamics. It does not offer clean headroom at low volume, built-in effects, or silent operation. It remains in production, with the Mark IIC+ 1x12 Combo released in 2024.
The Manley Massive Passive is a stereo, all-tube, passive parametric EQ. It occupies four rack spaces. It runs hot. It has four bands per channel plus high-pass and low-pass filters. It does not boost or cut actively — tubes restore level after passive attenuation. It is built for stereo bus and mastering, not surgical channel work.
The Matamp GT120 is a tube guitar amp head. No technical specifications are available. Nothing else is confirmed.
The Oberheim Matrix-1000 is a 1987 rackmount analog synthesizer. It contains 1,000 Matrix 6 patches. Each voice has two DCOs, one low-pass filter, two VCAs, three envelope generators, two LFOs and two ramp generators. Editing requires external MIDI tools. It is optimised for pads, textures and ambient sound design.
The Oberheim Matrix-12 is a 12-voice, 61-key, fully analog synthesizer introduced in 1985. It uses Matrix Modulation for virtual patching. Every control can affect another parameter. It provides 15 LFO types and VCAs per voice. It is more programmable and sonically fatter than the Matrix-6 and Xpander. It is not intended for beginners. It is renowned for thick analog pads, sweeps, buzzes, basses and textures—and was called the 'king of analog sounds' in the mid-eighties.
The Oberheim Matrix-6 is a discontinued analog synthesizer made by Oberheim. No technical details, availability or usage context are given in the source. It exists only as a named category and manufacturer claim.
The Roland MC-09 PhraseLab is a compact sampling sequencer built as a simplified, budget counterpart to the MC-909. It integrates monophonic synthesis, a TB-303–style 2×16-step sequencer, and a 4-track looper/sampler. Its sampler sounds like an 8bit unit and introduces audible crackle when tempo changes. It supports only four independent audio loops. Its monophonic synth produces FAT acid bass and lead tones. It is suited for live phrase capture but limited by low screen clarity, slow sample loading, and constrained user memory.
The MCI JH-500 is a channel strip module inside the MCI JH-528 B studio rack. It delivers clear, powerful, live-sounding results straight out of the box—especially on acoustic guitar—with no EQ required. Its notch EQ sweeps effectively across the spectrum. Four XLR I/O and two rear line inputs support flexible routing. It is built for immediacy, not fine-grained control.
The Sennheiser MD 21 is a dynamic omnidirectional proximity microphone built for TV and film sound. It excels where other mics fail: under physical stress, in loud environments, and with aggressive vocal delivery. It gives warmth and intelligibility without colouring consonants. It offers no directionality, no pad, no filter — just durability and clarity. It belongs on stage, on set, and in the hands of performers who move while they speak.
The Sennheiser MD 409 is a unidirectional dynamic microphone built for studio and live use, especially guitar cabinet miking.
The Mellotron M4000D Mini is a digital sampling synthesizer released in 2013. It uses a Fatar keybed and delivers 24-voice polyphony. It replaces tape mechanics with sample playback. It offers consistency, portability, and reliability — at the cost of mechanical character.
The Pultec MEQ-5 is a clean, transparent, three-band analog EQ. It occupies two rack spaces. Each band uses a frequency switch and a gain knob. It covers nearly the full frequency spectrum. It alters sound cleanly—nothing more, nothing less.