Another Bit in the Wall
May 1, 2003 12:00 PM, By Robert Hanson
So you've written us. You've e-mailed us. Some of you have even figured out how to call us at the office. And you've all had the same questions: “How do I set up my studio?” “What DAW should I buy?” “Should I buy a Mac or a PC?” “Hardware synths or plug-ins?” The list goes on and on. Needless to say, we've been listening, and we're here to help.
Assembled here is a breakdown of three project studios, each one representing a different budget. All of the products we've chosen to spotlight are also geared specifically to electronic and hip-hop production. Also, we've made computer processing and, specifically, software synthesis the anchor of each setup, as they represent powerful and economical ways to produce music. We start things off with a $2,000 entry-level composition setup and then move up to a $5,000 recording rig, saving the $10,000 production suite for the end. With each price point, we've also included numerous options ranging from different computer platforms to numerous hardware and software options. All of the prices listed (with the exception of some of the computer options) are based on ballpark averages. Often, large discrepancies exist between MSRP and actual retail prices; thus, we've opted to keep things simple and clear. (See the sidebars for detailed listings.)
Also, to be fair, we've assembled these theoretical studios from scratch, using only brand-new gear that can be purchased at any retail establishment. Most budget-minded producers also already know that computer-processor and memory upgrades, used gear and clearance sales are often the best way to stretch your dollar. With this in mind, let's get started.
MAESTRO, PLEASE
The first setup on our list is a $2,000 entry-level soft-synth-based composition studio, a bare-bones starting point for someone who is just getting into producing music. The goal of this setup is to provide a dependable means of composing music that offers ease of use and a clear upgrade path.
The most important and obvious component of any studio is the main computer. On the Mac side, we've opted for the $999 eMac, which includes a 700MHz G4 processor in a classic iMac chassis. Although not the obvious choice, the eMac is the most modestly priced G4-based system, and it includes USB, FireWire, 40GB hard drive, CD-RW and integrated speakers. On the PC side, things are quite different. After a quick jaunt to the Dell Website, it is obvious that PCs still maintain a sizable price and upgrade advantage over Macintosh systems. For a meager $699, the Dell Dimension 2350 packs a 2.0GHz Pentium 4, 128 MB of the new DDR-SDRAM and a CD-ROM into a standard tower with a monitor and speakers. (Adding a CD-RW to the second optical bay of a PC is possible for less than $100, and many vendors run specials or rebates that include them for free.) For the musician on the go, any Mac or PC laptop that has specs in the neighborhood of what is listed previously would also be an excellent choice, though you're likely to pay a bit more to get started. Also, whatever machine you choose can remain a part of your studio for years to come as an audio editor or soft-synth/sampler workstation when you're ready to upgrade to a hotter machine.
For this system, three software applications stick out as obvious choices: Arturia Storm 2.0, Cakewalk Project5 and Propellerhead Reason 2.5. These programs have similar feature sets that include an integrated sequencing environment, myriad virtual synths, samplers, drum machines, effects, a virtual mixer and support for all major soundcards, as well as the ReWire standard. All three programs are great at providing a single compositional environment in which users can take their projects from concept to completion. The sound sets of all three can also be expanded with preassembled sample packages. Reason is the most well-known of these products, and it enjoys a much larger user base. The Reason ReFill format has also been embraced by countless third-party developers, making expansion a snap. Storm 2.0 and Project5 are newer products, yet their feature sets are extremely robust.
The beauty of these three products is the unprecedented level of stability boasted by all. The last thing that musicians new to computer-based music want to deal with are software conflicts and constant crashes. All of these programs are rock-solid, and they include the ease of use that is necessary for beginners while maintaining the power and flexibility that pro users require.
Now, you need the ability to actually play something. In keeping with the plug-and-play ethos of this studio, a number of USB keyboard controllers are currently flooding the market. Each of these units connects to the host computer via a single USB connection. For the purposes of this studio, the M-Audio Oxygen 8 and the Edirol PCR-30 are perfect choices. Both list for about $200, and they can be easily tailored to any of the applications listed previously. After loading your software of choice and configuring it with your computer's built-in soundcard, adding a USB keyboard controller is a breeze. With this, you'll have the ability to play, record and edit performances with any of the synths, samplers and drum machines inside any of the aforementioned workstations.
Although not totally essential with either computer mentioned, a decent set of headphones and even some entry-level monitors can go a long way in helping you to produce better-sounding music. With the $2,000 budget in mind, several professional-level headphones will work in both the studio (when you need to keep things quiet) and in the DJ booth. Some great options include the Sennheiser HD-280 Pro, Fostex T50RP and Audio-Technica ATH-M40fs. As far as budget monitors, M-Audio seems to have the market cornered with its SP-5B active monitors.
With this setup, any first-time producer (or seasoned pro in need of a writing rig) will be able to log countless hours creating new tracks, trying out song ideas and auditioning thousands of sounds. The amount of power and flexibility that this new crop of soft-synth workstations affords would have cost tens of thousands of dollars to duplicate with actual hardware. Now, you can have it all and more for a fraction of the cost.
THE MIDDLE SIBLING
With our $5,000 system, we've stepped up the feature set considerably, integrating multitrack audio and MIDI recording, a soft-synth workstation and high-resolution audio hardware. Picking up essentially where the $2,000 installment left off, we've upped the computer requirements a fair amount (see the sidebar “$5,000 Studio”). However, the most important addition on the computer front is a dedicated audio hard drive.
Dedicated hard drives are one of the most misunderstood and often overlooked areas of desktop audio production. Many people new to the game assume that a single 80 or 100GB drive can do it all. The problem is that audio production (and video) requires lightning-fast transfer and recall of huge files. Housing your operating system, host software, plug-ins and audio files on the same hard drive (or even different partitions on the same drive) is often a recipe for disaster. Although there are no clear formulas for determining exactly how much a given drive can handle before it gives up the ghost, a dedicated audio-file hard drive is one of the best investments you can make. Our baseline recommendation is a standard 40GB 7,200 rpm ATA/100. This type of drive can be found for less than $100 at any computer store, and all blue and white Mac G3 (or better) towers, as well as most production PC towers, already include all of the necessary cabling and brackets for adding a second drive. The setup is considerably less daunting than most people think, and first-timers can even be up and running in a few hours. Laptop producers will need to shop for a FireWire/IEEE-1394 hard drive that adheres to the specifications of the their host software (check with the manufacturer first); there are numerous combinations, and space limitations prevent listing them all here.
Now that your basic computer needs are established, shift your sights to the numerous digital audio workstations that beg to be noticed. Truth be told, every product from Emagic Logic to Cakewalk Sonar and Digidesign Pro Tools LE to Steinberg Cubase SX handle the same tasks. They all record, edit and mix audio and MIDI events, as well as support plug-in formats that allow for further signal processing, synthesis and sampling capabilities. Each, however, handles those tasks in different ways. Your chosen computer platform will quickly narrow your options: Logic and Digital Performer are Mac-only affairs, Sonar only supports Windows platforms, and Pro Tools LE and Cubase SX are dual-platform workstations.
For a one-stop, plug-and-play solution, all of Digidesign's Pro Tools LE-based systems (Mbox, Digi 001 and Digi 002) are excellent choices. All are self-contained packages that include software and proprietary hardware. Digi also uses its own plug-in formats: AudioSuite and Real Time AudioSuite (RTAS). The company has also recently adopted the ReWire standard, allowing for the integrated use of products such as Propellerhead Reason and ReBirth. With the LE systems, audio tracks are limited to 24 with the Mbox and 001 and 32 with the 002. The great thing about Digi products, however, is that if your computer meets the company's recommended requirements, its software will work without a hitch.
The other DAW selections are software-only packages that work with a wide array of hardware solutions. Cubase SX, Logic, Sonar and MOTU Digital Performer 3 deliver essentially limitless audio and MIDI tracks and wide implementation of the various plug-in and audio-driver formats. Although all of these platforms can't promise plug-and-play ease, each is highly adaptable to specific working habits and hardware. The best way to pick one over the other is to download a demo and make an educated choice. All of these workstations also have ReWire capabilities, allowing you to meld your soft-synth workstation (Reason, Storm, Project5 and so forth) with your DAW and work in perfect sync.
With the previously mentioned DAWs, the next piece of the chain is a high-resolution audio interface. All of the options outlined in the “$5,000 Studio” sidebar are FireWire or PCI interfaces that include all the connections needed to get started. All include multiple mic preamps (with 48V phantom power) numerous balanced/unbalanced analog I/O, and headphone/monitor outputs and controls. Ideally, you won't need an external mixer with each of these units. You'll be able to make use of the mic preamps for vocals and other live tasks, as well as the various balanced/unbalanced inputs for external synths, samplers, DJ rigs and the like. A small utility mixer, however, is never a bad investment.
The next crucial component is a set of powered monitors. The present is actually a great time for project-studio owners: Prices for powered-monitor packages have fallen to quite attractive levels. Some of our favorites include the Event TR5s, Alesis M1s, M-Audio BX-8s and the Roland DS30As. All of these options are competitively priced. The truth about monitoring is that outside of a purpose-built, controlled studio environment, things are never totally accurate. A decent set of near-field monitors, such as those just mentioned, and some considerations for space, placement and ambient noise (traffic, computer hum, loud neighbors and so on) can go a long way in helping to create a more accurate listening environment.
From here, the last two items are a set of headphones and a MIDI controller. Our recommendations on both fronts aren't too different from those of the $2,000 studio. With the extra budget, however, the MIDI-controller options have been raised to the Edirol PCR-50, the M-Audio Radium or the Evolution MK-361C. Each of these units offers several more octaves than their smaller laptop-ready cousins, as well as a few more knobs and sliders for extra tactile control of your software applications.
WHO NEEDS A COLLEGE FUND?
Finally, our $10,000 production suite ups the ante on all fronts: We've allocated for a more powerful computer, extra DSP, hardware synthesis, specialized software and more. Whereas the other two studios bent toward the one-person-band paradigm, the high-end setup is geared toward more serious producers — people who are either working in professional circles or will be soon. The ethos here is to create a collection of tools that will enable users to turn out the most professional-level material.
For both computer platforms, we have specified top-of-line dual-processor models. Most DAWs now offer a dual-processor mode — inside of Cubase, the option is called AMP, or advanced multiprocessing, for example — that more effectively handles DSP-intensive tasks. Support for multiple processors is still a bit sketchy across the industry, but the OS advancements offered by Mac OS X and Windows XP should soon render these issues moot. Regardless, a multiple-processor machine is still an excellent investment. Processor advances are no longer as extreme as they were, say, five years ago, and the current trend seems to be leaning toward dual- and perhaps even four-processor machines in the near future.
Our DAW choices are now limited to Sonar, Logic, DP3 and Cubase SX. We have only included those platforms that support card-based DSP expansion options (more on this later). The soft-synth workstation choices are a repeat from both of the lesser studios; however, some new software additions include both a stand-alone audio editor and some secondary soft synths and samplers. For intensive editing chores, sample tweaks and DIY mastering, the following programs are excellent choices for their respective platforms: Sonic Foundry Sound Forge 6.0, Steinberg Wavelab 6.0, TC Works Spark XL 2.7 and BIAS Peak 2.0. Again, all are competitively priced and offer similar feature sets. If you already own a hardware sampler, like an Akai or an E-mu, and require sample-import and -export capabilities, you might want to investigate the degree of file compatibility that each program offers.
The addition of some secondary soft synths and samplers may seem redundant because we have already covered many of those bases with Reason, Storm and Project5, but so many high-quality products are on the market right now that it would be criminal to pass them up and not expand our available sound set. A few of our favorites include Native Instruments Absynth 2.0, Arturia Moog Modular V, MOTU Mach5 and IK Multimedia SampleTank. With the computers specified for our high-end studio, it's more than possible to run several instances of any of these plug-ins within an average 24- to 30-track session. Hundreds of VST Instruments range in price from free shareware to several hundred dollars apiece. Many are available for instant download, and the ability to jumpstart a stale session with some fresh sounds is often priceless.
The next linchpin in our computer setup is a high-end signal-processing plug-in bundle. Three of the four options included are DSP-card-based packages. Each of these products — Creamware Pulsar, Universal Audio UAD-1 and TC Works TC PowerCore — include a PCI expansion card and a bundle of purpose-built plug-ins that work on a variety of platforms, including VST, MAS and DirectX. The advantage of these systems is the ability to use a number of high-end, DSP-intensive plug-ins without choking your computer. (The majority of the processing takes place on the card instead of the host CPU.) The advantages of these types of systems is huge, with essentially the same premise (though at a much lower price point) that has made Pro Tools TDM systems so successful. For laptop users or those who aren't sold on the card-based systems, the Waves Native Gold bundle is another fine product that contains enough high-end processing to round out any system. All of the bundles we've listed here include compressor/limiters, numerous EQ options, reverbs, delays, chorus and other effects that give any project a more polished and professional sound.
For our audio I/O hardware, we've tried to create a mixerless studio that can handle a variety of recording sessions, ranging from recording a single vocalist or live instrument to a live drum-kit session or a complicated MIDI-instrument recording. Three products immediately jumped out as front-runners: MOTU 896, Aardvark Direct Pro Q10 and Terratec EWS Mic8 Plus. Each of these products includes eight phantom-powered mic preamps/analog inputs, various digital I/O capabilities and monitor/headphone outputs.
MIDI controller, nearfield monitor and headphone choices have not changed from our $5,000 studio, but an external MIDI I/O is an absolute necessity at this point. For MIDI, USB is quickly becoming the only option. Several DAW manufacturers have also gotten into the business of building their own MIDI interfaces; these devices are built around a proprietary time-stamping protocol that guarantees rock-solid MIDI performance when used with that company's software. That said, the Emagic AMT8, Steinberg Midex 8 and the M-Audio MIDISport 8×8 are all comparably-priced 8×8 MIDI I/Os. The Emagic and Steinberg boxes are, of course, intended to be used with those companies' DAWs. Both, however, will work without incident with any the soft-synth workstations (platform-dependent) detailed previously. The M-Audio MIDISport series is designed to work with any software platform, and the company has a long-standing reputation for producing high-quality MIDI I/Os.
With your software, audio-hardware and MIDI needs taken care of, now shift your focus to some external synthesis and sampling options. It would be difficult to bill this setup as a professional-level production rig without expanding your available sound set with some “meat and potatoes” hardware. With this set of choices before you, the determining factors really boil down to the type of music or project you intend to work on. Hip-hop producers seem to have a special place in their hearts for the Akai MPC2000XL, as well as the Korg Triton series. The MPC has become famous for a number of reasons: Its touch-pad interface is indispensable in producing sample-based music on the fly. The E-mu Proteus has won the hearts of many with a powerful synthesis engine and easy expandability, making it a great all-around choice for house, hip-hop or anything else. For trance, IDM and industrial producers, it's hard to justify not owning one of the fabulous analog-modeling synths by Clavia, Access or Alesis. Those boxes put real knobs under your fingers and deliver hundreds of excellent bass, lead and pad sounds with that unmistakable analog resonance.
The final step in the chain is a DAW control surface. With the DSP-charged, dual-processor workhorse of a computer, the possibility for extreme track counts and complicated mixdowns becomes a distinct reality. The best way to keep your sessions under control is to dump the mouse in favor of one of the many control surfaces that are currently available. Probably the most important thing to look for in a control surface is motorized faders. A number of digital mixers and other products tout DAW integration, but without multiple fader banks and instant-recall abilities, things can get dicey. The ability to quickly scroll through faders and make automation moves in real time will bring a new level of control and musicality to your production process. Again, some of the available options are tailored toward specific applications, and others are designed to work with a wide variety of products.
$2,000 STUDIO
Computer options:
Mac: Apple eMac ($999); PPC G4/700; 128 MB SDRAM; 40GB Ultra ATA drive; DVD-ROM/CD-RW combo drive; integrated monitor and speakers or equivalent
PC: Dell Dimension 2350 ($699); Pentium 4/2.0GHz; 128 MB DDR-SDRAM; 30GB Ultra ATA/100 drive; CD-ROM; monitor and speakers or equivalent
Soft-synth workstation options (approx. $400 each): Arturia Storm 2.0, Cakewalk Project5 1.0 (PC), Propellerhead Reason 2.5
MIDI controller options (approx. $200 each): Edirol PCR-30, M-Audio Oxygen 8
Self-powered monitor options (approx. $300 pair): M-Audio SP-5Bs
Headphone options (approx. $200): Audio-Technica ATH-M40fs, Fostex T50RP, Sennheiser HD-280 Pro
Upgrade path: Audio-recording capabilities can be added easily with a USB- or FireWire-based audio interface, a second hard drive and a DAW (preferably one with ReWire capabilities). Options include Digidesign Mbox w/Pro Tools LE; Edirol UA 5 or M-Audio USB 2496 w/Ableton Live 2.0, Cakewalk Sonar 2.2 (PC), Emagic Logic Audio (Mac), MOTU Digital Performer 3.1 (Mac), Syntrillium Cool Edit Pro 2.0 (PC), Steinberg Cubase SL.
$5,000 STUDIO
Computer options:
Mac: PPC G4/1 GHz ($1,570); 512 MB DDR266-SDRAM; 60GB Ultra ATA drive; DVD/CD-RW combo drive or equivalent
PC: Single- or dual-processor Pentium or Athlon/2.0 GHz or better (approx. $1,200); 512 MB RAM; 40GB Ultra ATA drive; DVD-ROM; CD-RW or equivalent
Items for both computer platforms (approx. $500 total): 17-inch (or larger) flat-panel/standard monitor; second 40GB 7,200 rpm ATA/100 (or better) hard drive for audio recording
DAW options (approx. $600 each): Cakewalk Sonar 2.2 (PC), *Digidesign Pro Tools LE 6.0, Emagic Logic Audio 6 (Mac), MOTU Digital Performer 3.1 (Mac), Steinberg Cubase SX
*Included with Digidesign hardware
Soft-synth workstation options (approx. $300 each): Arturia Storm 2.0, Cakewalk Project5 1.0 (PC), Propellerhead Reason 2.5
Audio I/O hardware options (approx. $750 each): **Digi 001 (or **Digi 002 for approx. $2,000), MOTU 828, PreSonus FireStation
**Pro Tools LE included with purchase
Self-powered monitor options (approx. $500 pair): Alesis M1 Active, Event TR5, M-Audio BX-8, Roland DS30A
MIDI controller options (approx. $250 each): Edirol PCR-50, Evolution MK-361C, M-Audio Radium
Headphone options (approx. $200): Audio-Technica ATH-M40fs, Fostex T50RP, Sennheiser HD-280 Pro
Cables and misc. items (approx. $350)
Upgrade path: DAW control surface (CM Labs MotorMix, Mackie Control, Radikal Technologies SAC-2.2). Third-party plug-ins (Waves Native Bundle, Universal Audio UAD-1, TC Works TC PowerCore). Dedicated audio editor (BIAS Peak, TC Works Spark, Sonic Foundry Sound Forge). Loop-manipulation tools (Sonic Foundry Acid, Propellerhead ReCycle, BitHeadz Phrazer). USB MIDI interface (M-Audio MIDISport or proprietary selections from Emagic, MOTU, Steinberg). Dedicated synth/sampler workstation (Korg Triton LE, Roland Fantom, Akai MPC-2000XL).
$10,000 STUDIO
Computer options:
Mac: PPC G4/dual 1.25 GHz ($2,095); 512 MB DDR333-SDRAM; 80GB Ultra ATA drive; DVD/CD-RW combo drive or equivalent
PC: Pentium or Athlon/single 3.0 GHz or dual 2.0 GHz ($1,500); 512 MB RAM; 40GB Ultra ATA drive; DVD-ROM; CD-RW or equivalent
Items for both computer platforms (all for approx. $500): 17-inch (or larger) flat-panel/standard monitor; second 40GB 7,200 rpm ATA/100 (or better) hard drive for audio recording
DAW options (approx. $600 each): Cakewalk Sonar 2.2 (PC), Emagic Logic 6 (Mac), MOTU DP3 (Mac), Steinberg Cubase SX
Audio-editing options (approx. $500 each): BIAS Peak 2.0 (Mac), Sonic Foundry Sound Forge 6.0 (PC), Steinberg Wavelab 6.0 (PC), TC Works Spark XL 2.7 (Mac)
Soft-synth workstation options (approx. $300 each): Arturia Storm 2.0, Cakewalk Project5 1.0 (PC), Propellerhead Reason 2.5
Signal-processing plug-in options (approx. $1,000):
*Creamware Pulsar XTC (PC; VST), *TC Works TC PowerCore (VST/MAS), *Universal Audio UAD-1 (VST/MAS/DirectX), Waves Native Gold (RTAS/AudioSuite/ VST/MAS/DirectX)
*Includes PCI-based proprietary DSP card
Synth/sampler plug-in options (approx. $300 each): Arturia Moog Modular V (VST/DirectX/MAS/RTAS), IK Multimedia SampleTank (RTAS/VST), MOTU Mach5 (DirectX/MAS/RTAS/VST), Native Instruments Absynth 2.0 (RTAS/VST/DirectX)
Audio hardware options (approx. $1,200 each): Aardvark Direct Pro Q10, MOTU 896, Terratec EWS Mic8 Plus (PC)
MIDI controller options (approx. $250 each): Edirol PCR-50, Evolution MK-361C, M-Audio Radium
MIDI interface options (approx. $350 each): Emagic AMT8, M-Audio MIDISport 8×8, Steinberg Midex 8
External synthesis/sample module options ($800-1,500 each): Access Virus Rack, Akai MPC2000XL, Alesis Ion, Clavia Nord Modular Rack, E-mu Proteus P2500 Rack, Korg Triton LE 61-Key Workstation, Roland XV-5050
Control surface options (approx. $1,000 each): CM Labs MotorMix; Emagic Logic Control; Mackie **Baby HUI, Mackie Control; Radikal Technologies SAC-2.2; Steinberg Houston
**Priced below $800 and includes fewer controls than others listed
Self-powered monitor options (approx. $500 per pair): Alesis M1 Active, Event TR5, M-Audio BX-8
Headphone options (approx. $200): Audio-Technica ATH-M40fs, Fostex T50RP, Sennheiser HD-280 Pro
Cables and misc. items (approx. $500)
Upgrade path: Add additional CPU as dedicated synth/sampler workstation. Higher-end DAW package (Steinberg Nuendo, Apogee Native Tools bundle, Pro Tools HD). Higher-end monitors (selections from Genelec, KRK, Blue Sky and others).
KYLEE SWENSON
Remix Associate Editor
Loquat Studios (with Earl Otsuka)
Location: San Francisco
Computer Hardware
Apple Mac G4/650
Digidesign Digi 001
Selected Software
Digidesign Pro Tools
Propellerhead Reason
Plug-ins galore, including Waves and Bomb Factory
Selected Hardware
Clavia Nord Lead 2 dbx 160x
Event 20/20 BAS monitors
Fender Rhodes 73
Grace 101preamp
Presonus Blue Max
Røde NT2 mic
Roland Juno 106
Yamaha upright
ERIK HAWKINS
Remix contributor
HawkStudio1
Location: Los Angeles
Computer Hardware
AMD Athlon XP 2100+
Apple Mac G4/800 dual processor
Glyph Trip2
Digidesign Pro Tools|24 Mixplus (ADAT Bridge, 1622)
Digidesign Pro Tools|HD (192 I/O, 888|24)
MOTU 828, 896
Selected Software
Digidesign Pro Tools
Emagic Logic Audio, EXS24
MOTU Digital Performer
Propellerhead Reason
Selected Hardware
Access Virus
Akai S2000
Ensoniq ASR10
Mackie HUI, HR24s
Roland MKS-50, R8m
Tascam X-9
TC Electronic FireworX
Technics SL1200s
MARKKUS ROVITO
Remix contributor
Home Studio
Location: San Francisco
Computer Hardware
Apple Mac G4/1.25GHz dual processor
Digidesign Digi 001
Selected Software
Ableton Live
Antares Kantos
Arturia Storm
BitHeadz Phrazer
Digidesign Pro Tools LE
Cycling '74 Pluggo
Propellerhead Reason, ReCycle, ReBirth
Selected Hardware
Access Virus
Behringer V-Amp
M-Audio Oxygen 8
MOTU MIDI Timepiece
Roland SH-101
TC Electronic M One, D Two
Yamaha A4000m, YC-30
ROBERT HANSON
Remix Associate Editor, Technology
Petri Dish Studios
Location: San Francisco
Computer Hardware
Apple Mac G4/450
Emagic EMI 2|6
M-Audio Delta TDIF
Tascam PCI-822
TC Works PowerCore
Universal Audio UAD-1
Selected Software
Antares Kantos
Arturia Moog V
Cycling '74 Pluggo
Emagic Logic Platinum
Propellerhead Reason, ReCycle
PSP Lexicon/Vintage plug-ins
Steinberg Cubase VST/SX
TC Works Spark XL
Selected Hardware
Alesis QS6, QSR
Electrix Filter Queen, EQ Killer
Emagic MT|4
Steinberg Midex 8
Tascam TM-D1000
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