Classic Recording Studio Gear
Vintage Digital
Effects Timeline
Our Vintage Digital and Analogue Effects timeline now includes Audio Recorders and Classic Music Tracks to help place these effects and devices within the history of recorded music. Any errors, please notify us using our contact form.
1951
Pultec EQP-1 Program Equaliser
First introduced in 1951, the Pultec EQP-1 Program Equaliser was the first passive equaliser on the market. Upon its introduction, it changed the recording world forever, offering a new way to manipulate sound. The fact that Pultec equalisers in one form or another are still in use today, is extraordinary.
1957
EMT 140 Plate Reverb
The EMT 140 was the worlds first artificial reverb unit and it changed the recording world by allowing any studio to have "reverb on tap", even smaller studios who did not have physical echo/reverb chambers.
1959
Fairchild 670 Tube Limiter
The Fairchild 670 Tube Limiter was the brainchild of Estonian immigrant to the USA, Rein Narma. Rein licensed the design to Sherman Fairchild and the rest as they say, is history...a legend was born.
1962
Teletronix LA-2A Leveling Amplifier
The Teletronix LA-2A was released in 1962, and along with the Urie 1176, is one of the most iconic compressors ever made, and is still in use today. With Universal Audio having purchased the Teletronix company way back in the mid 1960s, this iconic compressor is available new, made to the exacting specifications.
1964
Studer J 37 Tape Recorder
The Studer J 37 Tape Recorder is a legendary piece of audio equipment that has etched its name in music history. Renowned for its exceptional sound quality and reliability, the J 37 was the tape recorder of choice at the iconic Abbey Road Studios. This masterpiece of engineering played a pivotal role in recording some of the most celebrated albums in history, including The Beatles' groundbreaking work.
1967
Urei 1176 Limiting Amplifier
There are not a lot of limiters designed in the 1960s that are still in production today, but the legendary Urei 1176 is one such beast. While the name Urei has long since vanished from the pro audio world, this limiter can still be purchased brand new from Universal Audio.
1969
Teletronix LA-3A Leveling Amplifier
If you took the gentle optical compression of the Teletronix LA‑2A and fused it with the solid‑state punch and clarity of the Urie 1176, you would have the Teletronix LA-3A. It has become a secret weapon compressor for many engineers, with a unique character capable of moving sounds right to the front of your mix.
1970
Urei 565 Filter Set
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
Eventide Instant Phaser
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
Layla
Derek & The Dominos
Derek & The Dominos had a brief career that lasted from 1970 to 1971. During that time, they recorded the album Layla and Other Assorted Love Songs. This album is widely regarded as Eric Clapton’s greatest achievement, and its hit single, Layla, is undoubtedly his most memorable song. One of the most remarkable things about […]
Engineered by: Ron & Howard Albert
Mixed by: Jay Mark & Steve Rinkoff
1971
EMT 240 Reverb Foil
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
Eventide Omnipressor Compressor
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
Walk on the Wild Side
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
1974
Roland RE-201 Space Echo
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
Eventide Model H910 Harmonizer®
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
Aphex Aural Exciter
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
Eventide Model FL201 Instant Flanger
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.
1976
MXR Model 129 Pitch Transposer
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
MXR Model 113 Digital Delay
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
Ampex ATR-100 Series Professional Audio Recorder
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
EMT 250 Digital Reverb
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
dbx 118 Dynamic Range Enhancer
The dbx 118 Dynamic Range Enhancer, despite being initially targeted at consumers, has earned a solid reputation in professional studio environments.
1976
dbx 119 Dynamic Range Enhancer
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
dbx 160 Compressor/Limiter
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
MXR Model 126 Flanger/Doubler
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
Klark Teknik DN50 Spring Reverb
The Klark Teknik DN50 Spring Reverb was introduced around the mid-seventies, just prior to the launch of digital reverbs.
1976
Urei LA-5 Audio Leveler
Urei introduced the Urei LA-5 Audio Leveler with the specific needs of sound reinforcement professionals in mind.
1977
Roland RE-301 Chorus Echo
The Roland RE-301 Chorus Echo is a vintage tape delay unit known for its warm analogue sound. It features a built-in chorus for added modulation. The unit has straightforward controls for easy manipulation and is suitable for musicians seeking a classic, reliable delay effect with a touch of vintage charm.
1977
Wuthering Heights
Kate Bush
If ever a song deserved a place in the list of Classic Tracks, it is Kate Bush’s Wuthering Heights from 1977. Upon its release here in Australia at least, you could not turn on a radio or TV without hearing this song, an indication of just how huge a hit it was at that time. […]
Engineered by: Jon Kelly
Mixed by: Jon Kelly
1977
Eventide Model H949 Harmonizer®
The Eventide Model H949 Harmonizer is a combination digital delay line, pitch changer, and all-round special effects unit. The TIME REVERSAL feature is entirely new. When used with a variable-speed tape recorder, the Harmonizer is capable of shortening or lengthening a piece of program material to fit a given time slot, without altering the pitch.
1977
dbx 117 Dynamic Range Enhancer
The DBX 117 is a dynamic range modifier. It can compress or expand the dynamic range of any audio program by a constant factor. It will expand previously compressed material or compress material with excessive dynamic range. may be used in any situation where dynamic range must be compressed to meet limitations of recording equipment or listening environment or expanded to rectify the effects of previous compression.
1977
Barracuda
Heart
Barracuda by Heart stands out not only as a highlight from their second album, Little Queen (1977), but also as a defining anthem of 1970s rock music. Its success at the time was immediate, propelling Heart into the spotlight and establishing them as a force in the rock genre. The song’s aggressive guitar riff and […]
Engineered by: Mike Flicker, Buzz Richmond, Winslow Kutz
Mixed by: Chris Wonzer
1977
dbx 3BX 3 Band Dynamic Range Expander
The dbx 3BX is a state-of-the-art dynamic range expander that enhances audio quality by dividing the sound spectrum into three frequency bands. Utilising advanced RMS detectors and voltage-controlled amplifiers, it individually expands bass, midrange, and treble, ensuring pristine sound clarity and preserving musical integrity even in the most complex compositions.
1977
dbx 110 Subharmonic Synthesizer
The dbx 110 is an innovative device that enhances stereo systems by addressing the limitation of reproducing deep bass frequencies below 50 Hz. It samples low-frequency fundamentals, generates these signals an octave lower, and mixes them back in at controllable levels. This results in a rich, deep bass experience, similar to that of a live performance.
1977
Poor Poor Pitiful Me
Linda Ronstadt
As a teenager in the late 1970s, I would often DJ for my parents’ parties and the most requested track was Linda Ronstadt’s Poor Poor Pitiful Me (written by Warren Zevon). The song always got everyone dancing and I still remember those parties whenever I hear it, which must be well over a thousand times […]
Engineered by: Val Garay
Mixed by: Val Garay assisted by Mark Howlett
