Gear of the Year 2022

Neumann KH 150

When it comes to monitors, Neumann pride themselves on unparalleled transparency, high linearity with exceptionally low distortion and excellent translation. The KH150 bridges the gap between the excellent KH120 nearfield monitors and larger KH310 3-way monitors – arguably the finest 3-way monitors in their price range. The KH150 boasts an all-new 6.5″ woofer, 20 litre bass reflex cabinet, on-board DSP technology and a max SPL of 118db at 1 metre. It offers the same incredible detail and well-defined sounds as the rest of the KH family, while implementing a host of innovative features and technology. A superb monitor that makes us wonder why it didn’t exist sooner!

Neve 88M

When we first heard about the Neve 88M, we’ll be the first to admit we were unsure just how a super compact bus-powered interface could power two Marinair transformer balanced mic pres while simultaneously offering low latency performance, a comprehensive monitoring section and more – all without compromising on headroom and sound quality. But what Neve have delivered with the 88M is nothing short of remarkable. The pres sound every bit as “Neve” as we hoped they would – full and musical (based on the legendary 88 Series console topology) whilst the latency-free monitoring, stereo insert points and high quality headphone amplifier are clearly a cut above those of your typical desktop audio interface. It might look fairly utilitarian, but if you’ve been waiting for a truly portable interface that offers excellent sound quality (and genuine Neve character to boot) then there are few alternatives to what the 88M has to offer.

Soyuz Microphones 1973

We could have included any one of Soyuz’ microphone range, as they are always top sellers and a firm favourite among both us and our clients. The 1973 is the latest member of the Soyuz family, offering the same capsule and FET based circuitry as the ever-popular 023 Bomblet mic. It’s diminutive size and “no frills” cardioid configuration have kept costs low, making it Soyuz’ most affordable microphone ever, allowing Soyuz to focus on delivering typically excellent sound and build-quality. Sonically, it’s bold and well articulated, delivering a somewhat neutral response with subtly warm character, perfect for vocals, acoustic instruments, brass, strings and, well, everything really. Internal construction is of a very high standard, with all parts and components manufactured and assembled in Tula, Russia. In short, the 1973 punches way above its weight, plus it might be the cutest darned mic we’ve ever seen.

FLEA ELA M 251

FLEA Microphones are renowned for their uncompromisingly faithful recreations of classic microphones, having produced some of the best and most authentic sounding “replica” mics we’ve ever heard. Needless to say, we were very excited to hear that the ELA M 251 was next to be added to the already impressive range. The Flea ELA M 251 microphone set is an exact replica of the ELA M 251. As standard, it is equipped with Tim Campbell’s CT12 capsule – a precise recreation of the CK12. The ELA M 251 also features a hand selected 6072 tube, Flea’s own identical clone of the T14/1 transformer, with terminals and connecting parts all gold plated. Furthermore, all internal wiring has been based on the latest upgrade from Andreas Grosser for improved signal-to-noise ratio. All in all, for those not willing to shell out £10k for the real deal, the FleaLAM (as we’re calling it from now on) is about as good as it gets at half the price.

DACS Purity Headphone Amp

Following on from the success of their excellent Clarity Headlite 3+ studio headphone amp, the DACS Audio Purity headphone amplifier has been designed from the ground-up to deliver Class-A mastering-grade performance, with exceptionally low-distortion, high-gain power capable of driving even the hungriest cans without breaking a sweat. We tested a number of headphones through the Purity, from our trusty Sennheiser HD25s to the Neumann NDH30 and then top-of-the-line Audeze LCD-X. Transparency and imaging were nothing short of revelatory. The improvement in source separation was obvious when compared to our previous amp (no slouch, we might add!) whilst remaining well-balanced and not at all hyped or forced. Even our well-worn, humble but excellent HD25’s were reproducing low-end frequencies we’d never heard them produce before. In short, if you’ve invested in a pair of professional-grade headphones and want them driven to their optimum performance, then the Purity should without a doubt be on your radar. Wonderful stereo imaging, a balanced response throughout the spectrum and bucket-loads of transparent gain. Plus it looks lovely and has a huge volume knob. What’s not to love?

APS KLASIK 2020

Back in early 2015, Polish speaker manufacturer APS Audio introduced the KLASIK to the world; a 2-way, rear-ported active monitor that boasted excellent low-end extension, beautifully 3 dimensional stereo-imaging and an overall performance and price-point that blew most of the competition out the water. Fast-forward 5 years and we now have the all-new and improved KLASIK2020. Building upon the same uncompromising principles that made the original such a success, the latest iteration offers even better low-end performance, improved transparency, more power, lower distortion and a whole lot more.

“Very occasionally a speaker comes along that somehow has all its stars aligned and delivers a level of performance way beyond its pay grade and the sum of its parts. The Klasik 2020 is one of those.”
– Phil Ward, Sound On Sound

Pope Audio BAX2020R

The BAX2020R might be incredibly simple in both principle and operation, but strap it across your master bus or run a stem through it and you’ll quickly understand why it received such a positive response upon its initial release. Easily add natural top-end sparkle to a mix or stem, low-end impact to drums and synths, gently roll off unwanted ‘muddiness’ on complex acoustic instruments or drive the input harder for subtle harmonic colouration. The BAX2020R combines an Avedis 1122 input DOA with an Avedis 1122 output DOA also driving the transformer balanced output for subtle analogue character. An additional 20k/40k switch adjusts the “HI” frequency point for a more subtle, ‘airy’ top-end well suited (but not limited) to mastering applications.

Austrian Audio CC8

The Austrian Audio OC818 and OC18 large diaphragm condenser microphones are probably some of the best bang-for-buck microphones on the market. Austrian Audio’s custom ceramic CKR12 capsule delivers a wonderfully natural and transparent sound, while the build quality throughout is second to none. Hand-built in Vienna, the CC8 is Austrian Audio’s small diaphragm model, and employs much of the same sonic characteristics as the larger iterations. At the heart of the CC8 lies the newly-developed OCC7 capsule, based on the legendary CK1 but with a subtly modern voicing. The OCC7 capsule and transformerless output gives the CC8 a remarkably linear frequency response, handling extremely high sound pressure levels (SPL) of up to 156 dB, without distorting. Ideal for acoustic instruments, piano, overheads and more, it’s a fantastic alternative choice for a small-diaphragm microphone at a very attractive price.

MILAB VIP-60 Multi-Pattern Large Diaphragm Condenser Microphone

Thanks to its versatile feature-set and relatively flat frequency response, the original VIP-50 has cemented itself as one of the best vocal mics around – with the likes of Quincey Jones, Ray Charles, Tori Amos and Michael Jackson all having used The VIP-50 on a number of hit records.

Fantastic on acoustic guitar, overheads, piano and vocals in particular, the Swedish company’s propriety rectangular capsule design offers unique acoustical properties, with an extremely natural and clear tone; exhibiting the smoothness of a ribbon with the clarity, detail and sensitivity of a LDC. Whilst the original VIP-50 mic (now 37 years old!) has long been a staple in pro facilities worldwide, the VIP-60 introduces a number of sonic improvements – most notably a significant reduction in self-noise, updated capsule, optimised circuitry and a fancy new Nextel metallic finish.

ATC SCS70

The ATC SCS70 is a 12″ active subwoofer designed to partner the ATC range for enhanced low-end performance. When we first auditioned the SCS70, it was evident that this sub has been specifically designed and tuned to not only “add” low-end, but to compliment the range beautifully. The custom MOSFET Class A/B power amplifier and hand-built high-excursion 12”/300mm SS75-314SC subwoofer driver delivers exceptionally natural sounding low-end that never sounds forced or over-hyped, delivering a full-spectrum image of the mix. Additional features include Stereo balanced inputs & stereo ‘Link’ balanced outputs, Level, Low-Pass Frequency & Phase user controls. If you already own ATC SCM 20 25 or 45 monitors, and your environment (and budget) allows for the extended reach, then adding the SCS70 to your setup makes perfect sense.

Solid State Logic Bus+

Mention the name SSL and the first thing that will likely come to mind is the ubiquitous Bus Compressor. For nearly 40 years since its inception, the SSL Bus compressor has become an invaluable and iconic mix tool, imparting its punchy, glue-like compression across countless hit records. As the name implies, the Bus+ takes the same sonic attributes and circuitry as the original and adds a whole host of features on top, including 4 modes of operation, 3 distinct compression colouration options, sophisticated routing, a Dynamic EQ, Transient Expander and more. Simply put, it’s one of the most versatile and feature-packed dynamics processors on the market, and sounds absolutely fantastic.

Soyuz Microphones Launcher Deluxe

For those looking breath new life into their dynamic and ribbon mics, the original Launcher was the perfect solution. Soyuz’ design philosophy was not to create a transparent in-line mic booster (there’s certainly no shortage of those available) but instead a device that would deliberately impart Soyuz’ unique colour and character to the signal, while simultaneously boosting the signal. The Launcher Deluxe follows on from this, offering two channels of transformer-coupled inputs, each capable of receiving mic (ribbon, dynamic or condenser) or line signal. The Deluxe is capable of adding 26dB of gain and colour to two separate ribbon and dynamic mic sources at the same time, or alternatively bypass the boost and just get a dose of beautiful saturation on any active microphone or line-level signal. Great for mics, sure, but also great for mixes!

Solid State Logic Origin 16

Following on from the success of the larger 32-Channel Origin, the more compact 16-channel variant offers the same features, workflow and sound quality in a smaller footprint. What makes the Origin so appealing is the simplicity of the layout, with its intuitive controls and signal flow married with the typical sound quality you would expect from SSL. A comprehensive centre-section provides the same feature-set as it’s larger sibling, while an empty 19” section allows users to customise the board with DAW controllers such as the UF8, outboard, 500 Series and more. Ideal for smaller studios and production facilities, the Origin 16 is small, efficient well-featured, and sounds great.

Neumann M49V

The Neumann M49V really needs no introduction. First created in 1949 (hence the name), and introduced to the wider public in 1951, the Neumann M49 would become one of the most highly revered mics of all time, imparting its silky, smooth and present sound across countless iconic jazz and soul hit records throughout the 50s and 60s. Its continuously variable, remote-switchable polar pattern was a major breakthrough at the time, allowing engineers to adjust and experiment with the pickup sound without ever needing to leave the control room, and whilst the M49 has had its fair share of clones and reproductions over the years, nothing comes close to an original. This official re-issue from Neumann promises to be the real-deal, with each microphone painstakingly hand-crafted to original spec.

API 3122V

The new 3122V provides 2 channels of API’s signature analog sound and features the same legendary circuit design found in the 3124V and 3124MV, as well as the 312, 512V, and 512c mic preamps. In addition to the familiar combination of 2520 Op Amps and proprietary output transformers that give all API mic preamps that punch and massive headroom, the 3122V also includes front and rear panel XLR and 1/4″ inputs (conveniently selectable on the faceplate), a fixed-frequency HP filter, GAIN and the popular Variable Output Level control, as well as 48V, POL, and PAD.