The Korg SDD-3000 digital delay is one of the few digital delays that is still so sought after, and their second hand prices are a clear reflection of that. If you can find one to buy it will be for nearly double what they originally sold for back in 1982 (US$1,495). The popularity of this delay is so high, Korg have started manufacturing them again, in a pedal format for guitarists. These new SDD-3000 delays sell for about a third of second hand originals, and are superb in their own right, but try telling that to someone hell bent on owning an original. A true classic that is right up there with other historically significant delays like the Lexicon PCM 42 and AMS DMX 15-80.
Harrison deserve to be put at the top of everyone’s list of DAWs to audition. In fact, if your needs are pure mixing, do not waste your time, simply buy it. Mixbus will not disappoint with it’s analogue desk feel and far superior sound quality. If you are still in love with your existing DAW but not happy with the output sound quality, then you owe it to yourself to try Mixbus. If you are willing to forgo the extra buses and the EQ section on each channel strip, then the standard version of Mixbus for less than US$100 is an absolute bargain as it too has that great Harrison sound quality. Highly Recommended!
While everyone has differing needs when it comes to a monitor controller, for anyone looking for a basic monitor controller that does not compromise on sound quality one little bit, then the Drawmer MC1.1 is just the ticket. Yes there are cheaper options out there, many of which are newer models, but few if any of the newer, cheaper options will offer the quality that this Drawmer MC1.1 offers.
If you spend hours a day in front of your studio monitors, and find yourself being fatigued at the end of the day, or your mixes are not translating well, you owe it to yourself to get down to your local dealer and audition these monitors. Just make sure they are well and truly burnt in. Very highly recommended.
I find myself torn between recommending the Focusrite Scarlett 18i20 Gen 3 and telling you to look elsewhere. When you claim as Focsurite does “20 outputs of incredible sound quality” I would assume you are referring to the analogue outputs given that a digital signal is simply being passed through. That is why I never thought their would be compromises with the headphone outputs stealing the line output converters, who would? My use case is not the norm, but I am sure I am not the only one who will in fact make full use of all inputs and outputs, only to find they can not use the headphone outputs as well. This is a major limitation and Focusrite along with all other manufactures should be called out on it. Be more upfront with your customers to avoid customer disappointment. Like I said, I would have spent the money for the higher end interface had I known, instead, I have to now sell this interface at a loss, and buy another interface that does not have this same compromise…it will not be another Focusrite.
No it isn’t cheap, quality never is. I came here looking for a reverb that would offer a great way to access many vintage reverbs without selling the house, but I found so much more than that. The real world spaces available in Altiverb, and there are many of them, are truly spectacular. This is a game changing reverb, and a must own for any mix engineer.
The Sony MU-R201 is a curious beast for sure. Relatively unknown in the western world, a legend in Japanese studios. For me it is the ultimate snare reverb, but works equally well for vocals and brass.