1970s Studio Gear Timeline
The 1970s saw the rise of a new era in studio effects. Analogue processors such as phasers, flangers, and tape delays dominated the early part of the decade, shaping countless classic recordings. By the late 1970s, however, digital technology began to emerge, introducing the first commercially available digital delays and reverbs. This shift marked the beginning of a gradual transition, with analogue and digital effects starting to coexist and redefine the creative possibilities in the studio.
1970
Made In U.S.A.
The Urei 565 Filter Set introduces to the recording studio and motion picture sound department an effective tool for 'saving' problem tracks, and for creating innovative special effects.
1971
Made In U.S.A.
The Eventide Clockworks Instant Phaser was designed specifically to eliminate the costly and tedious job of setting up and implementing the special effect known as phasing or flanging.
1971
Derek & The Dominos
Derek and the Dominos had a short career that lasted barely a year between 1970 and 1971, but in that time they recorded the album Layla and Other Assorted Love Songs. This record is widely regarded as Eric Clapton’s greatest achievement, and its centrepiece, Layla, remains his most iconic song. Released in March 1971, it […]
Engineered by: Ron & Howard Albert
Mixed by: Jay Mark & Steve Rinkoff
Produced by: Tom Dowd
1971
Made In U.S.A.
The ITI MES-430 was the first commercially available parametric equaliser, a design once thought impossible to achieve, created by the brilliant George Massenburg.
1971
Made In Germany
In 1971 after huge success with the EMT 140, EMT delivered the EMT 240 Reverb Foil. The surface of the vibrating 0.02 mm gold foil measured only 30 X 30 cm. The foil was contained in a double enclosure affording very high isolation from airborne and solid-borne disturbances, sufficient to allow placement of the EMT 240 even in mobile units or - at a sound pressure level of 105 dB - next to monitor loudspeakers
1972
Made In U.S.A.
Unleash the sonic magic of the past with the Eventide Omnipressor, a legendary audio processor born in 1972. This timeless piece of gear has been a staple in the music industry for over five decades, and it's not hard to see why.
1972
Lou Reed
Walk on the Wild Side by Lou Reed is a seminal track from his 1972 album Transformer. Co-produced by David Bowie and Mick Ronson, the song is a sultry, subversive tribute to the misfits and outcasts who populated Andy Warhol’s New York City scene in the 1960s. It was initially released as a single and […]
Engineered by: Ken Scott
Mixed by: Ken Scott
Produced by: David Bowie, Mick Ronson
1973
Made In Japan
The Roland RE-200 Space Echo, released in 1973, is an analogue tape delay unit featuring a continuous loop tape system, two playback heads, and a built-in spring reverb. Offering warm, reliable echo and reverb effects, it was an early model in Roland’s Space Echo series and helped establish their reputation for high-quality tape-based effects.
1973
Made In U.S.A.
The 3M 79 Series Multitrack Recorders set a professional benchmark with IsoLoop capstan control, modular electronics, wide format flexibility, and reliable transport. Built for performance and serviceability, they remain a respected part of multitrack recording history.
1974
Made In Japan
The Roland RE-201 when it was released in 1974, was an engineering masterpiece. It featured a sophisticated tape-echo effect and a built-in spring reverb, with different sound variations selectable via 12 different operating modes.
1974
Made In Austria
The AKG BX-20E is a high-end stereo spring reverb unit using AKG’s Torsional Transmission Line system to deliver natural, dense, and uncoloured reverberation. It features independent decay controls, silent remote adjustment, and full acoustic isolation, with no dry signal in the output. Revered for its smooth, realistic ambience and reliable performance, the BX-20E remains a studio classic.
1974
Made In Japan
The Roland RE-101 Space Echo, released in 1974, is an analogue tape delay unit offering the warm, organic echoes of the classic Space Echo line without the spring reverb found in the RE-201. Known for its reliable tape transport, simple controls, and rich, musical delays, the RE-101 became a favourite among dub, reggae, and electronic musicians. Its pure tape echo and durable design have made it a sought-after classic in studios and live setups.
1974
Linda Ronstadt
Linda Ronstadt’s single You’re No Good marked a turning point in her career, cementing her status as one of the leading voices in music during the 1970s. Although she had her first hit single with Different Drum in 1967 as part of The Stone Poneys, and had released a series of solo albums in the early […]
Engineered by: Val Garay
Produced by: Peter Asher
1975
Made In U.S.A.
The MXR Auto Phaser is a professional phasing unit with low distortion, minimal noise, and a wide range of effects. It features easy operation, low power consumption, and a broad supply range, making it suitable for studio, portable mixing, and PA applications. Unlike flanging, its phase-shift response creates non-harmonic notches in the audio spectrum.
1975
Made In U.S.A.
The MXR Auto Flanger is a professional audio delay line designed for true flanging in both portable and custom setups. Its versatile controls ensure ease of use, while its precise time delay creates a musical tonality in percussion, distinguishing it from phasing.
1975
Led Zeppelin
Kashmir is one of Led Zeppelin’s most iconic and ambitious songs, released in 1975 on their sixth studio album, Physical Graffiti. Written by Jimmy Page, Robert Plant, and John Bonham, the track is known for its hypnotic, Eastern-influenced melody and grand, epic feel, standing out as one of the band’s finest achievements. It was never […]
Engineered by: Andy Johns
Mixed by: Eddie Kramer
Produced by: Jimmy Page
1975
Made In U.S.A.
The Eventide Model H910 Harmonizer was developed by Eventide in 1974. It was the world's very first digital effects processor. It combined ‘de-glitched’ pitch change with delay and feedback. It could be controlled by a keyboard remote control to instantly shift pitch in half steps.
1975
Made In U.S.A.
An effects box that provided a very special kind of enhancement to your tracks, that you could not buy, but instead had to rent, really? The Aphex Aural Exciter was something of a mystery box when it was released in 1975, but it provided a solution that was perfectly timed, however is no longer relevant in today's recording world.
1975
Made In U.S.A.
In audio systems, input signal levels can vary significantly. The Altec 1612A is excellent for managing dynamic range, ensuring the overall sound level is more consistent. It operates as a limiter or a line amplifier, equipped with two inputs, a compression/VU meter, a dual range attack/release switch, and a limit/line balance control that prevents limiting from altering the preset output level.
1975
Made In U.S.A.
Flanging may not be a popular effect these days, but back in 1975 when the Eventide Model FL201 Instant Flanger was released, it was. The Eventide Model FL201 Instant Flanger was designed to simulate true tape flanging and offered a much deeper flanging effect than anything previously available, it was widely used on many legendary recordings.
1975
Made In U.S.A.
The Valley People Dyna-Mite compressor was released in 1975. It became well-known for its distinctive sound, which was a combination of compression, limiting, and distortion, and it was highly regarded by engineers and producers for its versatility in both studio and live settings.
1976
Made In U.S.A.
The MXR Model 129 Pitch Transposer is a classic piece of audio equipment that was released in the late 1970s. The unit was designed to allow musicians and audio engineers to transpose the pitch of audio signals up or down by a fixed amount, ranging from one octave below to one octave above the original pitch.
1976
Made In U.S.A.
The MXR Model 113 Digital Delay is a self-contained audio delay line which utilises sophisticated technology to achieve a new standard of professional quality. The culmination of an intensive design program, the MXR Model 113 Digital Delay is unparalleled in versatility, ease of operation, and creative application.
1976
Made In U.S.A.
In the world of two track analogue mastering audio recorders, the Ampex ATR-100 Series recorders are regarded as the finest reel to reel audio mastering recorders ever made. The fact that they are still in use today, more than forty years later is surely testament to that.
1976
Made In Germany
The EMT 250 Digital Reverb is completely electronic, with no moving parts: ruggedly built and insensitive to shock or vibrations...and a studio legend! Extremely versatile with many programming possibilities and adjustment of parameters. The EMT 250 Digital Reverb uses high-value digital words (12 bit, quasi 15 bit) to virtually eliminate intrinsic and quantising noise.
1976
Made In Japan
The TEAC A-2300SX is a 4-track, 2-channel reel-to-reel recorder from the mid-1970s, designed for home and semi-pro use. It features a three-motor transport, three-head design, and supports 7-inch reels at two speeds. With solid build quality and a frequency response up to 28 kHz, it remains a reliable and respected machine.
1976
Made In U.S.A.
The dbx 118 Dynamic Range Enhancer, despite being initially targeted at consumers, has earned a solid reputation in professional studio environments.
1976
Made In U.S.A.
The dbx 119 is remembered for its versatility and advanced features, offering extended compression range, precise threshold-based control, and dual modes for professional and audiophile use. Its ability to enhance dynamic range and provide consistent, high-quality sound made it a valuable tool in studios and public address systems, all at an affordable price.
1976
Made In U.S.A.
The Ampex MM1200 was a professional multitrack analogue recorder available in 8-, 16-, and 24-track formats, using one- or two-inch tape. Designed for demanding studio use, it offered selectable tape speeds, NAB and IEC equalisation, and built-in Sel-Sync for precise overdubbing. With robust construction, modular design, and excellent audio performance, it became a trusted studio standard for high-quality multitrack recording.
1976
Made In U.S.A.
The dbx 160 and 161 are single-channel compressor/limiters combining sophisticated technology and user-oriented features in a compact package. Unique circuit designs, such as true rms level-detection and feed-forward gain reduction, place the 160 and 161 in a completely different class from conventional compressor/limiters.
1976
Made In U.S.A.
The dbx 162 compressor/limiter is one of the most iconic studio compressor/limiters to have ever graced a studio. The dbx 162 compressor/limiter is a stereo device using true rms level detection circuitry tor signal sensing and sophisticated voltage-controlled amplifiers as the gain control elements.
1976
Made In U.S.A.
For more than 30 years now, both engineers and musicians have relied upon the MXR Model 126 Flanger/Doubler as one of best-sounding bucket-brigade* flanging effects ever made. Through its signature flanging, doubling, and delay effects, the MXR Model 126 Flanger/Doubler imprints a very unique sonic signature on guitars, bass, keys, drums, or just about any source needing depth and movement.
1976
Made In U.K.
The Klark Teknik DN50 Spring Reverb was introduced around the mid-seventies, just prior to the launch of digital reverbs.
1976
Made In U.S.A.
Urei introduced the Urei LA-5 Audio Leveler with the specific needs of sound reinforcement professionals in mind.