1980s Studio Gear Timeline
The 1980s marked a pivotal decade in the evolution of studio gear. Building on the digital breakthroughs of the late 1970s, the early years saw rapid growth in digital delay, reverb, and modulation units, while traditional analogue processors continued to thrive. Much like the coexistence of analogue and digital tape recorders during this period, the era was defined by a blend of both worlds, with engineers and musicians embracing the strengths of each to shape the sound of the decade.
1980
Made In Japan
The genuine advantage of the Sony PCM-1610 digital audio processor is its enormous potential to deliver drastically improved sound. Whereas analogue recorders are saddled with performance limitations of one form or another, unlimited quality improvement is possible using digital technology.
1980
Made In Japan
The Mitsubishi X-80 Digital Recorder was a pioneering audio recorder that offered significant improvements in fidelity and accuracy over analogue recording technologies upon its release in 1980.
1980
Made In Japan
The Roland SRE-555 Chorus Echo is a rackmount tape delay based on the RE-501, offering chorus, tape echo and reverb effects. Designed for professional studio and live use, it features balanced XLR and 1/4" inputs and outputs, a 77dB signal-to-noise ratio, and delays from 0.55 to 1.8 seconds. Its rack-friendly design and advanced noise reduction made it a reliable choice for engineers seeking classic Roland tape echo in a convenient format.
1980
Made In Japan
The Roland RE-501 Chorus Echo is the final and most advanced tape delay in Roland’s classic series. Combining tape echo, chorus and spring reverb, it features balanced XLR connections, noise reduction circuitry and delays up to 1.8 seconds. Its improved tape transport and sound-on-sound mode made it a studio favourite, delivering warm, analogue effects with reliable performance.
1980
Made In U.S.A.
The Lexicon PCM 41 was a huge success for Lexicon when it was released back in 1980 and even today you will still find them in use in major recording studios everywhere. The Lexicon PCM 41 was eventually replaced by the Lexicon PCM 42 which featured longer delay times but retained the sonic characteristics of the Lexicon PCM 41.
1980
Made In Germany
The EMT 251 Digital Reverberation System, released in 1980 is a rather rare reverb unit, strangely less well known than the legendary EMT 250, which is replaces, regardless of its superior specification and functionality.
1980
Made In Japan
The Sony PCM-10 Digital Audio Processor is a rather elusive piece of audio technology with very little information available.
1980
Made In U.S.A.
Released in 1980, the Aphex Model 602 Aural Exciter was the first version available for purchase, offering studios the renowned harmonic enhancement and spatial clarity previously only accessible by rental. It became a staple for adding presence, detail, and vibrancy to professional recordings.
1980
Made In U.S.A.
The 360 Systems Model 2800 Programmable Equaliser was a fairly unique product at the time of its release in 1980, with its tactile controls and programmability. Using a Z-80 microprocessor and CMOS memory storage, the 360 Systems Model 2800 Programmable Equaliser was able to store up to 28 user created EQ curves.
1980
Made In France
The Publison DHM B2 out of France is a stereo audio computer, which allows dual digital delays and dual pitch shifting effects, it preceded the Publison Infernal Machine.
1980
Made In Japan
The Sony PCM-100 Digital Audio Converter is a rather elusive piece of audio technology.
1980
Made In U.S.A.
The dbx 165 is a professional single channel compressor/limiter that features the new dbx Over Easy compression curve. The dbx Over Easy compression curve permits extremely smooth, almost inaudible compression due to the gradual change of compression ratio around the threshold, instead of the customary sharp threshold.
1980
Made In Germany
The EMT 244 Digital Reverb, released in 1980, was a compact, affordable alternative to the EMT 250. Known for its simple design and high-quality 13-bit digital processing, it became a studio favourite for its natural, detailed reverb. Its legacy endures as a sought-after piece of vintage gear for its reliability and sound.
1981
Made In U.K.
The AMS DM2-20 tape phase simulator is the result of extensive research into the requirements and needs of the recording industry, for accurate simulation of tape phasing. Unlike other units of this kind, which solely mix the delayed signal with the original, the DM2-20 uses two independent delay lines to allow true ‘over the top‘ tape phase simulation.
1981
Phil Collins
In the Air Tonight is one of Phil Collins’ most iconic tracks, famously known for its haunting atmosphere and dramatic drum break. The song’s recording process played a crucial role in its unique sound and subsequent impact on the music industry, particularly in the development of 1980s production techniques. The initial stages of recording In […]
Engineered by: Phil Collins, Hugh Padgham
Mixed by: Hugh Padgham
Produced by: Phil Collins, Hugh Padgham
1981
Kim Carnes
In the early part of 1981, Bette Davis Eyes took the music world by surprise and became a massive hit. It topped the charts in 21 countries and won both the Song of the Year and Record of the Year Grammy Awards, cementing its place in music history. While the exact details of all the […]
Engineered by: Val Garay
Mixed by: Val Garay
Produced by: Val Garay
1981
Made In Japan
Roland's first digital delay, the Roland SDE-2000 was a big hit when it arrived, guitarists took to it like a duck to water, as too did home recording studios. It may have had limited bandwidth with the relatively low sampling rate of 26kHz, but that did not stop the success Roland enjoyed with the SDE-2000, but it did kill off the Space Echo, for a while at least.
1981
Made In U.K.
The AMS DMX15R was designed as a digital reverb add-on for the AMS DMX 15-80S digital delay system. However, it is uncertain if this product was ever mass-produced, and if it was, it remains extremely rare. It is more likely that the AMS DMX15R was eventually developed into a standalone digital reverb unit (AMS RMX 16) that did not depend on the AMS DMX 15-80S to operate.
1981
Made In Japan
The Sony DRE 2000 was Sony's first digital reverb and they headed straight for the heart of Lexicon with a complex and very advanced system, that also proved fragile. These reverbs are hard to find on the used market, partly because those who have them hang onto them, and partly because many of them have died, proving to be too expensive and difficult to fix.
1981
Made In Japan
The TASCAM 44 is a 4-track ¼-inch reel-to-reel recorder designed for professional mastering, editing, and video sync applications. It supports 7½ and 15 ips tape speeds, offers full servo-controlled transport with quartz-referenced motors, and delivers wide frequency response up to 22 kHz, low wow and flutter, and high signal-to-noise ratio.
1981
Made In Germany
The Revox B 710 is a four-motor, quartz-synchronised cassette recorder built to professional standards by Studer Revox. It features a direct-drive dual-capstan transport, microprocessor control, and automatic tape-type detection. With separate Dolby B processors for each channel, a quartz-locked time counter, and fully electronic operation, the B 710 delivers long-term stability, precise tape handling, and high-fidelity performance.
1981
The Go Gos
Our Lips Are Sealed was released on 8 July 1981 as one of the standout singles from The Go-Go’s debut album Beauty and the Beat. Written by guitarist Jane Wiedlin and Terry Hall of The Specials, the song became a breakthrough hit for the all-female band, reaching the top 20 in the United States and […]
Engineered by: Rob Freeman
Mixed by: Rob Freeman
Produced by: Richard Gottehrer
1981
Made In Germany
The Revox PR 99 is a Swiss-engineered professional reel-to-reel recorder designed for broadcast, mastering, and editing use. Based on the Revox B77 but upgraded with balanced XLR I/O, full logic transport, and precise editing features, it offers outstanding tape handling, low noise, and high fidelity. Used widely in studios and radio stations, the PR 99 remains a respected classic for its reliability, precision, and enduring sound quality.
1981
Soft Cell
Soft Cell’s rendition of Tainted Love, originally recorded by Gloria Jones in 1964, is undoubtedly one of the most enduring classics of all time. Released in 1981, the song became an instant sensation, reaching the top spot in 17 countries worldwide. In the United States, it also set a Guinness World Record for the longest […]
Engineered by: Don Wershba and Paul Hardiman
Mixed by: Harvey Goldstein
Produced by: Mike Thorne
1981
Made In U.K.
There have been many digital reverbs over the years, but few are as revered as the AMS RMX 16, which you will still find in studios the world over, some 40 years later. That in itself is enough to indicate just how good this reverb unit is, but it is also the only 'old' digital reverb that is being remade now.
1981
Made In U.S.A.
The MXR Delay System II is a high-quality digital delay unit offering up to 800 milliseconds of delay with a 16 kHz bandwidth. Designed for studio and live use, it provides effects like flanging, chorus, echo, and doubling with clean, noise-free performance. Featuring a four-digit display, LED indicators, and XLR and ¼-inch connectors, it ensures easy integration and precise control.
1981
Made In Japan
The Sony PCM-F1 is a groundbreaking digital audio processor that delivers superior sound quality, versatility, and portability, setting new standards in the digital recording industry.
1981
Made In Japan
Roland's Chorus effect that featured heavily on their JC Series guitar amplifiers was a unique and desirable sound back in the late 1970s and early 1980s. The demand for this new chorus effect was so great, Roland developed the Roland SDD-320 Dimension D to satisfy that market demand, and it is quite possibly the greatest chorus effect processor ever made.
1981
Made In Japan
The dbx Model 224 Type II Noise Reduction System was not a professional noise reduction system, but it did find its way into smaller studios and home studios for noise reduction duties on reel-to-reel recorders of the day.
1982
Made In U.S.A.
The Marshall AR-300 Tape Eliminator was designed for one purpose only; to duplicate the sound of true analogue tape echo. The Marshall AR-300 Tape Eliminator can eliminate the need for a dedicated tape machine, along with overcoming many of the limitations associated with tape and tape transports.
1982
Made In Japan
The Korg SDD-3000 is one of those effects that has retained it's appeal even after decades of newer product coming after it. The Korg SDD-3000 digital delay has remained so popular that Korg themselves have re-introduced it in a guitar pedal form, as it was guitarists that fell in love with this very capable delay.
1982
Made In Japan
The Ibanez AD202 offers a wide range of delay effects, from filtering to long echoes, using advanced switching technology. It includes modes for echo, doubling, chorus, and flanging, with automatic adjustment for ease of use. It has two inputs for microphones or instruments, adjustable levels, and is built with a durable steel cabinet, fitting any EIA standard audio rack, ideal for road use.
1982
Made In U.S.A.
The Lexicon PCM 42 is a real-time delay processor and phrase looper that locks delay times precisely to musical tempo, features infinite repeat and footpedal-controlled mix and recirculation, and displays exact delay values on a numeric read-out.
1982
Made In Germany
The Quantec Room Simulator is a new technical concept that enables emulating the acoustical behaviour common to spaces of any volume or size, so that acoustical impressions ranging from a tin can to a columned cathedral may be synthesised and created at fingertip command.