This year's NAMM show in Anaheim, California was one of the strongest we've seen in a long time. Here's our pick of the best new gear to look forward to in 2025...

 

Black Box Analog Design’s much anticipated HG-Q Equalizer/Saturator was finally unveiled at this year’s NAMM. 

HG-Q offers six fully independent and interactive equalizer bands combined with Black Box’s renowned tube saturation for additional harmonic richness without sacrificing the integrity of the source material. Add to this the ability to switch between series and parallel configurations, and users can achieve wildly complex EQ curves unattainable with conventional equalizers. The results are very impressive!

A “2X” mode further expands the EQ’s range, providing up to +/- 16dB of gain with additional saturation to bring out additional harmonic nuance. The result is a more cohesive, balanced, and musically engaging sound, even at aggressive settings.

Black Box have seamlessly linked the hardware processor with a gorgeous-looking plug-in counterpart that not only acts as a remote software controller, but is also a meticulously modelled recreation of the hardware that can be used for remote projects or when dragging around the 3U hardware isn’t an option.

This is a very clever processor that offers the best of both worlds – top-notch analogue processing with comprehensive digital control.

UK pricing £5995 inc VAT, first shipment due later this Spring.

Cranborne Audio like to do things differently and, following from last year’s groundbreaking Carnaby HE2 Harmonic Equalizer, they are now aiming to similarly shake up dynamics processing with the new BRICK LANE modal compressor.

Based on Cranborne’s analogue Modal PWM Compression technology, BRICK LANE offers unlimited shaping of compression envelopes and styles for a completely fresh approach to dynamics. This is no ordinary compressor - it’s more like having an entire arsenal of six compressors contained in one 500-Series module, each with its own distinct personality:

• VELVET - vintage Vari-Mu style with smooth, tonal warmth and character
• FLOAT - Opto-inspired dynamics with moderate transparency
• SMASH - FET style with aggressive dynamic reduction and explosive punch
• TAME - precision transient management with ultra-fast, transparent control
• GLUE - gentle bus-style compression that glues mix elements together
  
• POLISH - mastering-style clean, fast limiting using Cranborne’s “Analogue-Lookahead” technology 

A 'Stress' control radically changes its harmonic character and saturation profile depending on the selected mode. For example, what adds subtle tube warmth in VELVET becomes a transient-destroying beast in SMASH mode. It's a very powerful feature that turns BRICK LANE into a sonic shapeshifter, offering a radically new way of implementing compression as a creative sound design and mixing tool. Exciting stuff!

UK price @£599 inc VAT, due in March.

After Solid State Logic launched their entry-level SSL2 and SSL2+ desktop interfaces back in 2020, it was only a matter of time before they came out with a more serious multichannel interface. SSL have clearly looked at the competition in the highly contested mid-range price bracket and packed their new SSL 18 USB-C audio interface with features that put it at the front of the pack. 

SSL 18 offers 32-bit/192kHz conversion with an impressive 120dB dynamic range across all mic, line and instrument inputs. 16 channels of ADAT I/O, S/PDIF I/O and word clock output enable digital connectivity and analogue expansion via, for example, an ADAT-equipped multi-preamp.

Eight ultra-low noise SSL-designed mic/line preamps have switchable “Legacy 4K Enhancement” to introduce some of the magic of the classic SSL 4000 Series consoles. Ten balanced line outputs are provided with outputs 1-4 having configurable output levels of +9db - +24dB for compatibility with both modern monitors and more vintage equipment. 

A comprehensive monitor section offers alternate speaker switching and talkback – the talkback input being switchable to line mode allowing creative use of SSL’s inbuilt Listen Mic Compressor. Two independent headphone outputs can be set to “standard”, “high sensitivity” or “high impedance” for universal headphone compatibility, or used as additional line level outputs. 

The whole thing is powered by SSL 360° mixer software with an attractive GUI for comprehensive management of all inputs and outputs, metering, monitor setups etc. As a further sweetener, SSL provide their Production Pack bundle at no extra cost including plug-ins from Celemony, IK Multimedia, Ableton, Native Instruments, Autotune and more.

With a UK price of £899 inc VAT, this is a very compelling package for project and home studios. Stock due mid-February.

There’s plenty of choice when it comes to summing mixers (including great products from Rupert Neve Designs, AMS Neve and Burl Audio) but, since the discontinuation of their 8200A, you’ve been out of luck if you wanted something from API – a shame if you’re a fan of the distinctive tones of their 2510/2520 op-amps.

Based on the summing section of API’s The Box console, the API ASM164 is a 16-channel summing mixer with inserts on every channel and dual stereo program buses – mixes being assignable to Mix A,  Mix B or both. Inputs and inserts are on rear-mounted DB25 connectors - perfect for hooking up to today’s DB25-equipped patch bays. Each channel has continuously variable pan with a centre detent.

API released this product after feedback from customers who wanted their high-quality analogue summing but without the need (or space) for a fully featured console.

API ASM164 is available now to order or demo, priced @£3195 inc VAT.

John Peluso’s latest creation is a tribute to the 1959 vintage AKG C24 – highly regarded as one of the sweetest, most natural sounding microphones for recording classical music.

P-24 is a stereo valve mic incorporating two complete LDC valve microphone systems in a single body. The two capsules are positioned directly on top of each other with the top capsule capable of being rotated by 180 degrees, allowing the fast configuration of X-Y, Mid-Side and Blumlein setups. Both capsules have 9 independent polar patterns, selected at the remote PSU. The two signal chains run independently through individual high impedance circuit boards and isolated custom transformers, both powered by a single vintage 6072AM glass triode vacuum tube. All in all, it’s quite a beast!

As with all mics, much of the secret sauce lies in the capsule. Peluso have seen hundreds of vintage CK12 capsules come through their workshop and they put the very best performing of these aside.  It was one of these that they used to completely redesign the P-CK-12 capsule used in the P-24. Peluso explains, “The CK12 has the most unique back plates ever made with a series of internal chambers of precise volumes connected by a labyrinth of drilled holes offset in unique patterns. Minute changes to these precise tolerances have a distinct impact on the response of the capsule. Modern manufacturing techniques allow for great precision which has enabled us to perfect this capsule.” 

P-24 represents Peluso’s most impressive engineering achievement to date and they’re justifiably very proud of it!

UK price @£3999 inc VAT, expected early February.

In the highly competitive monitor market, while most manufacturers are releasing smaller cabinet sizes for project studios, French manufacturer Focal have come out all guns blazing with their new flagship UTOPIA MAIN range of monitors.

Focal have been working on UTOPIA MAIN since 2017 and they are the company’s greatest technological achievement – the culmination of 20 years of studio monitor development and 40 years of driver R&D. The range comprises the 3-way UM112 and larger 3.5-way UM212 pictured above. 

UTOPIA MAIN can be thought of as a modular active speaker – they use external amplifiers but the crossovers are built into the amps themselves. UM212 uses a 1.5” beryllium tweeter, new dual 5” midrange drivers and dual 13” bass drivers. The unique midrange driver uses an “M” profile with perfect pistonic movement, resulting in exceptional transient reproduction with minimal listening fatigue. 

Power is supplied by patented external Class H Current Mode amplifiers, which Focal claim is the most natural and transparent way to amplify a driver, achieving the lowest THD levels ever measured over an impressive frequency range of 28Hz-40kHz.  

The amplifier also offers plenty of features to fine-tune the monitor after installation including two PEQs, volume trims for each driver, low-shelf, high-shelf, soffit compensation filter and port compensation filter ("sealed" or "ported").

With a maximum SPL of 123dB, 119.5kg cabinet weight and nominal power consumption of 1kW these are true heavyweight monitors in every sense of the word, aimed squarely at the professional studio market. And they sound phenomenal – of course! 

UM 112 is priced @£30,000 inc VAT, with the larger UM 212 @£50,000 inc VAT.

It was a nice surprise to see Black Lion Audio’s recreation of the LEVEL-LOC, developed in close collaboration with original creators Shure.  LEVEL-LOC was one of the earliest FET compressors, first introduced in 1967 and famous for its sledgehammer compression and saturated sonics. 

At the heart of LEVEL-LOC’s much-loved sound is its attack and release characteristics. The more you drive it, the more it will start to break up, eventually reaching heavily distorted sounds. 

Ironically, LEVEL-LOC's original purpose was to minimize distortion and artifacts - not for smashing drums and the other sources it’s often applied to nowadays. Used creatively, however, LEVEL-LOC is now much better known for its ability to achieve the complete opposite of this. After being discontinued in 1977, interest revived after GRAMMY-winning engineer Tchad Blake revealed it was a secret weapon used on many of his greatest recordings - including Tom Waits “Bone Machine”.

The new Black Lion recreation includes additional features not found on the original for modern engineers, including TRS input and output, +48V phantom power for condenser mics, mix control, line-level TRS output, 50 dB pad, and an additional fixed release time option.

Although there are several software versions of Level-Loc available, the only other hardware version we’re aware of is Standard Audio’s Level-Or for 500 Series. Black Lion have done a great job with their re-issue – retaining all the character of the original while addressing the shortcomings of its predecessor. Looks set to be a winner.

First shipment is due in April, priced @£529 inc VAT.

Although possibly not as much of a household name as Neve or SSL, Harrison Audio’s classic 32C console was right up there with the best – being used on huge recordings including Michael Jackson’s “Thriller”, Fleetwood Mac’s “Rumours” and AC/DC’s “Highway To Hell”. Harrison Audio have now taken a channel strip from this top-flight console and packaged it into their new 32CLASSIC MS 19-inch rack.

The input stage includes a Jensen transformer-based preamp with independent gain controls for mic and line inputs. The mic input has a hefty 70dB of gain to comfortably handle any difficult source including gain-hungry ribbon mics. Harrison describe their preamp as offering a “full low-end, open mid-range, and super-smooth natural highs.“

A fully featured EQ section includes a 4-band EQ with LOW (40-600Hz), MID 1 (200-3100Hz), MID 2 (400-6000Hz) and HIGH (900-13,000Hz) bands, all with +/-10dB gain.  There are also High Pass (25-3150Hz) and Low Pass (160-20,000Hz) filters, both with characterful 3dB resonant peaks. When used in conjunction with the four main EQ bands, these filters tighten the low end and “bloom” the top end without ever sounding harsh or brittle.

An integrated mixbus allows four channel strips to be combined to form a Harrison 32C “sidecar” – ideal for processing drum and instrument buses.

It’s great to see Harrison create a product that allows engineers to add another high-quality console flavour to their racks.

Our first shipment is due mid-February with pricing @£1799 inc VAT.

A good monitor controller can really improve your day. It’s the kind of utility product that, although not directly contributing to your audio productions, quickly becomes an integral part of your daily workflow. 

With LIEUTENANT, Gainlab Audio have created another thoughtfully designed product with features that separate it from the competition. Audio connections are made to a 1U 19-inch rack housing hooked up to a very attractive desktop remote. Users can select from four input sources (2x balanced analogue stereo, SPDIF and Bluetooth) which can be routed to three stereo monitor outputs. Output levels are trimmable so your alternative monitor setups can be matched to your preference. 

Standard PAD, MUTE and MONO functions are included alongside a useful FOCUS function that allows users to isolate specific frequency ranges (low, mid or high) – very useful for identifying problems with your mixes, or indeed possible issues with the monitors themselves.

A large relay-switched volume control and master headphone output are included. Artist communication is facilitated by a separate Cue loop with headphone output, complete with a talkback system. 

The inclusion of a power sequencer is a welcome feature, allowing users to manage the studio’s power supply across three segments which can be powered up manually or automatically. So, for example, the first segment would typically power up your DAW rig, followed by your outboard racks and finally your monitor setup. All of this is user configurable.

Gainlab Audio, as gear designers and manufacturers, grew out of a working studio (Gainlab Studios in Budapest) - and it shows. All their products include genuinely useful engineer-friendly features with a twist of originality. Another great product from them.

Due end of March, priced @£2599 inc VAT.

A new Neve product is always going to get plenty of attention, so it was great to see the new 88C dual VCA compressor in the flesh at this year’s show. 88C takes the dynamics section from the legendary Neve 88R console and packages it up in a compact desktop format to match their recently released 88M audio interface. Like 88M, 88C is also USB powered and used together, the two units form a high quality, portable recording solution. 

Neve VCA compressors were first installed in the early 1970s in their 50-Series consoles, designed to offer a more refined and flexible compression than the earlier coloured Neve Diode Bridge designs. The 88R dynamics section is renowned for its distinctive smooth and musical compression.

It's a simple unit to use with the usual threshold, attack, release and makeup gain controls, alongside Autorelease and a dual mono/stereo link switch. Other features include anti-breathe technology, selectable sidechain filters (80, 125 and 300Hz) and comprehensive metering. 

Available to pre-order now, price @£1073 inc VAT.

In another great-looking mid-priced interface release, Audient were showing their new iD48 – a USB-C interface offering eight Audient Console mic preamps, advanced 32-bit ESS converter technology, switchable analogue insert routing, ADAT expandability, monitor controls and a robust all-metal housing. When all I/O is taken into account, the interface supports 24 simultaneous inputs and 32 outputs over USB.

The all-analogue mic pres are taken from Audient’s flagship ASP4028 Heritage Console providing 68dB gain, ultra-low noise and low distortion. Users can select between the mic preamp or DAW as sources to feed the ADC. A nice feature is the eight fully balanced switchable inserts, allowing users to hook up their favourite outboard.

For an interface at this price point, Audient have included a very comprehensive monitor section with main and alternative speaker outputs, two independent headphone amps (124dB dynamic range) and an integrated talkback system using either a USB mic or the DAW’s built-in mic so you don’t have to tie up precious onboard preamps. Configurable function buttons offer customisable control for monitoring tasks like speaker selection, dim, or mono summing.

AUDIENT iD48 now becomes their flagship audio interface and @£749 inc VAT demonstrates just how much customers can get for their money these days.

In larger studios, a well configured and reliable patching system is an essential aid to workflow. However, when gear is swapped out, or artists bring in their own equipment, your carefully labelled patch bay can quickly start to be unrepresentative of reality! This is where Black Lion’s PBR TT LIT comes in – a professional grade 96-point TT patch bay with gold-plated connectors, twelve rear-mounted DB25 connectors. Normalising is set with easy-to-use long-life switches on the top of the housing.

PBR TT LIT's standout feature is the customisable LED display with 6-character channel labelling for both inputs and outputs. Users can customise the display by connecting a USB keyboard directly to the unit or using the included PatchCAD spreadsheet-style software on a computer. Genius!

Available to order now, priced @£999 inc VAT.

On first glance, it would be easy to dismiss AudioScape as just another budget clone manufacturer, but they’re much better than that! AudioScape’s mission statement says “we believe in creating zero compromise, boutique-quality analogue hardware for a reasonable cost. No Compromises.” and their faithful reproductions of vintage iterations of classic gear are hand built in small batches to a very high standard with premium components in the USA – all at a remarkably affordable price.

Their new EQP-2A is a stereo version of the iconic EQP-1 originally created in the 1950s. Back then, stereo playback still hadn’t established itself as the predominant format so EQP-1 was always produced as a single-channel mono processor. 

Audioscape have put a lot of work into getting this product right. EQP-2A uses a full complement of NOS 12AX7 and 12AU7 tubes (including a pair of 6x4 rectifier tubes often excluded in other repros) and custom-wound inductors. High-end custom transformers have been painstakingly matched to the originals - including the critical interstage transformer, again typically missing from lesser products. Build quality is excellent, and the whole thing has been finished in the very attractive original battleship grey.

For stereo use – eg. for mix bus sweetening – a pair of EQP-1A’s sound fantastic, but you’re into serious money. EQP-2A offers a high-quality alternative designed specifically for stereo use without emptying out your bank account.

The first batch is already sold out, but these are in production and available to order @£2499 inc VAT.

Even though digital recording and outboard emulations have never been better, there’s still a sonic weight and dimensionality that can only be achieved with good analogue outboard - which goes some way to explaining why tube saturators continue to be a popular class of product as a way of conveniently adding harmonic enrichment to tracks.

In Gainlab’s second NAMM release, the WIZARD Stereo Tube Saturator was born out of feedback from users that the Tube Boost feature found on other Gainlab outboard was one of the most popular. WIZARD develops Tube Boost into a fully-fledged stand-alone processor with plenty of control to fine tune your sound. Input and Output controls are used to dial in the basic level of saturation with a Feed function that uses the clean input signal to further adjust the level of saturation. An additional Bias control, alongside 3-band EQ and HPF, offer the ability to produce a wide range of tones. Finally, a Pressure control introduces vari-mu compression for added density. We’re looking forward to making this available for demo in the near future.

Available end of March, price @£2899 inc VAT.

Lynx Audio's newly announced MESA is a compact Thunderbolt 3 device that can function as both an audio device and standalone professional-grade AD/DA, based on the same converter technology as their flagship Aurora(n) interface. 

As well as being a neat desktop interface, MESA offers a well-chosen feature set for mobile and live recording including four mic/line/DI inputs, two monitor outputs, two headphone outputs with individual level control, S/PDIF & ADAT I/O and word clock. 

A really useful feature is the inclusion of a MicroSD slot, allowing MESA to be used as a live recording device or redundant backup for larger rigs. A high-contrast capacitive touchscreen display (taken from their acclaimed Hilo 2 interface) is used to navigate the controls, or the device can also be operated remotely with the included Mesa Control software. As they say, good things come in small packages!

UK price @£2499 inc VAT, shipping date TBA.

Locomotive Audio were showing their new 40AM valve preamp, available in both 19-inch rack and 500 Series formats.

Combining RCA BA-11A and Gates SA-70 design elements into one hybrid design, this new preamp offers the big, thick and compressed sonic signature of its 1940s inspirations. 40AM delivers a powerful punchy sound that remains versatile enough to be used on a wide range of sound sources - perfect for producing recordings that embody the warmth and character of vintage recordings.

Designer Eric Strouth says, “"I've been asked repeatedly over the past few years when I would offer a 1940s-style preamp. With the growing interest in designs that use metal octal tubes like the RCA BA-11A and Gates SA-70, I took the opportunity to create a new hybrid design that combines the best features of both. Customers can expect a thicker, more compressed sound that complements the Locomotive 86B and WT-72, finishing the Locomotive preamp lineup with little crossover in the sonics."

Additional features include a 20dB pad, 85Hz low cut filter and a high impedance DI. “Proper” valve preamps in 500 Series are relatively uncommon – this is up there with the best of them.

Due early March, pricing @£1099 inc VAT for the 500-Series version and £2499 for the dual-channel 19-inch rack version.

Possibly the most ambitious new audio interface we saw at this year’s NAMM was Grace Designs’ M701 - a high channel count, modular AD/DA audio interface aimed at professional users.

M701 offers up to 64 channels of analogue I/O and 116 channels of digital I/O, freely configurable using eight expansion slots with option cards for reference-quality 8-channel ADC/DAC, DigiLink & Dante, Ravenna/AES67/ST2110, 32x32 USB2 and 24ch AES3 I/O. There’s also a high-performance 4-channel microphone preamp option module based on Grace’s pristine m108 preamps. The main chassis comes fitted with 8ch ADAT, 8ch AES3 and S/PDIF.

Configuring and operating the M701 is done from either the front panel or via their GraceNet web-based control software. A built-in 32×8 mixer allows for multiple low latency cue mixes, with individual mixers made available to the artist via GraceNet and a personal device (phone or tablet).

A large hi-resolution LCD makes navigating the complex functions of M701 a breeze, as well as offering high-quality metering. 

This is a very powerful and configurable interface competing with the likes of DAD and Prism Sound.

Pricing and availability TBA.

Texan manufacture Flock Audio are best known for their software-controlled patch bay systems. They have now used this technology to create the SWITCH desktop routing system. Aimed at smaller studios that often have a lot of sources but maybe not so many DAW inputs – either on their audio interface or through lack of a hardware mixer – SWITCH offers the ability to select between eight stereo input channels routed to one stereo output – perfect for selecting instruments from a synth rack.

Flock SWITCH is USB-powered and features a very attractive, customizable LCD display that clearly shows what source is selected, along with other functions including individual channel mute/bypass and global mute. 

UK price @£899 inc VAT - no shipping date available as of yet.

A new Elysia product is always worth checking out – their gear typically comes at things from a slightly different angle and combines features not usually seen in one processor. The new XMAX is another interesting release - a multiband master bus processor with soft clipping and mid-side processing – designed primarily as a finishing tool to glue your mixes together. 

The multiband compressor is split into low, mid and side bands, effectively offering three independent compressors for flexible dynamics control. A Punch setting further boosts compression with a side band mono-maker retaining a focussed and centred LF. The signal then passes through a HF filter for a rich analogue high-end before being decoded back into stereo. This is followed by a Soft Clipper that drives the signal harder without clipping the A/D - derived from Elysia’s premium Alpha Compressor.

Available in 500 Series, 19-inch rack or Elysia’s proprietary Qube format, this is another simple-to-use, well-made product from Elysia that allows users to get great sounding results with minimum fuss.

Pricing is £1149 inc VAT for the 500 Series version and £1749 for the 19-inch rack.

Australian synth manufacturer Melbourne Instruments had a lot of interest in their ROTO-CONTROL motorized MIDI controller. ROTO-CONTROL features eight fully assignable, touch-sensitive knobs with user-definable haptics for detailed control and sixteen backlit LED buttons. High resolution LCD “scribble strip” displays for each controller provide easy-to-read labels, with over 8000 assignments storable using the internal memory. 

ROTO-CONTROL is set up for seamless integration with Ableton Live but can be used to control any MIDI hardware and software including DAWs, synths, lighting or any MIDI-compatible technology. In “MIDI” mode, the device can store up to 64 MIDI setups, each with 128 controls (64 knobs and 64 buttons).

Melbourne’s Roto-Setup app makes parameter assignment and management very straightforward.

The unit is well made with high-quality controllers that feel good to the touch, and the £389 price tag is very reasonable - especially with the motorized controls. One of the best products of its type that we've seen. Available to order now.

Venerable UK manufacturer Drawmer released two new 500 Series processors – the MQ-1 7-band mono equalizer and MQ-2 stereo EQ/Compressor. Both units are inspired by the legendary “Motown EQ” famously deployed in Detroit studios in the 1960s. 

The single slot MQ-1 is a mono 7-band EQ with Drawmer’s great-sounding “Crush” harmonic saturation circuit taken from the 1971 dual parametric equalizer. “Crush” fattens up the low-end, adds mid presence and brings a lovely shimmer to the top end – the effect becoming more pronounced the harder the EQ is driven.

The 2-slot MQ-2 offers the same EQ curves and “Crush” feature but in full stereo. MQ-2 also features a single-knob compressor that can be placed pre- or post-EQ and adapts its envelope to the characteristics of the signal. The extra front panel real estate means there is also space for G/R and output metering. A great addition to Drawmer’s 500 Series range.

Both products are available now, MQ-1 @£299 inc VAT and MQ-2 @£454 inc VAT.

In recent years, Mellotron have revived interest in their heritage electro-mechanical instrument with the production of a range of excellent digital sample-based keyboards. However, there are only so many keyboards your average studio owner has room for, so we were delighted to spot a new Mellotron sound module on their stand. We haven’t received any official info yet, but the new MICRO MODULE looks like it’s based on their Mellotron Micro keyboard with two LCD displays, four knob controllers and a couple of switched.

Early info indicates MICRO MODULE will sell for around USD $500. We’ll announce more info as we receive it.

 

That's it for another year!