We end 2025 with a look back on this year's hottest new products and best selling gear...

Announced at this year’s NAMM, Black Box Analog Design’s highly anticipated HG-Q Equalizer/Saturator arrived in October and was quickly snapped up by mastering and sound design customers.

HG-Q is an innovative and immensely powerful equalizer, offering six fully independent and interactive EQ bands, combined with Black Box’s renowned tube saturation for additional harmonic richness. With the ability to switch between series and parallel configurations, users can achieve wildly complex EQ curves unattainable with conventional equalizers – all without sacrificing the integrity of the source material. 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 for a more cohesive, balanced, and musically engaging sound - even at aggressive settings.

Black Box have developed an attractive 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-flight analogue processing with comprehensive digital control.

UK pricing £5995 inc. VAT.

Cranborne Audio like to do things differently and, following from last year’s groundbreaking Carnaby HE2 Harmonic Equalizer, their new BRICK LANE modal compressor aims to similarly shake up dynamics processing.

Based on Cranborne’s analogue Modal PWM Compression technology, BRICK LANE offers unlimited shaping of compression envelopes 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 

The STRESS control 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 hammer 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.

This is the kind of processor that works particularly well in 500 Series format – no matter what hardware dynamics you already use, it’s always useful to have more flavours to hand – even better if you can do so at an affordable price like this.

UK pricing @£679 inc. VAT

The recent introduction of channel strips based on classic consoles is a trend we hope to see more of in 2026 - it's a great way of adding proper console sonics to your audio arsenal. SSL’s earlier Revival 4000 reproduced a channel from the classic SSL 4000E console – renowned for its punchy, forward sonics. SUPER 9000 adds another welcome flavour with a channel strip from their 9000J desk. SSL’s SuperAnalogue circuitry results in a more modern, transparent sound with increased headroom and  more wide-band sonics - especially in the low end.

There’s plenty of flexibility, with VHD preamps allowing users to choose between pristine and harmonically rich/ textured preamp characteristics. More flexibility is offered in the EQ section with punchy/forward-sounding “Black Knob” 242 E-Series and smoother/more surgical “Pink Knob” 292 G-Series circuits. Two further control switches multiply or divide the mid-band frequency range by x3 for targeting unusual tonal areas in G-Series mode. In E-Series mode, the same switches toggle the high and low bands between bell and shelving operation. High-pass (18dB/oct) and low-pass (12dB/oct) filters can be engaged, bypassed, or routed to the sidechain for advanced tone-shaping.

A balanced insert point means users can add their favourite processors into the signal path (post-EQ, pre-output trim), an external sidechain and Flip function routes the Line input to the MIc Pre for more creative saturation.

There’s much to like about this processor – you get a LOT of functionality for your buck, it nails the SSL 9000 sound and a pair of these means you can build up a session with genuine SSL 9K character. More of this kind of thing!

UK pricing @£1499 inc. VAT

This latest design from LA-based designer Bryce Gonzales is exactly the kind of gear we like supplying @KMR Audio. HIGHLAND DYNAMICS DELTA 4-7 is a dual channel, hand wired, transformer-balanced mic pre-amp/DI inspired by the legendary 1960s EMI REDD.47 console. If you’re looking for the classic vintage British valve sound, you’ll find it in spades here.

Build quality is exemplary, using point-to-point wiring, solid-core copper wire, and oversized film capacitors for robust power delivery. The signal path features paper and oil capacitors from West-Cap, Vitamin Q, and NYT along with 2-Watt carbon resistors. Grayhill rotary switches are used to control both gain and bass cut functions, ensuring durability and repeatability. The preamp has a transformer-balanced input and output, employing an EF86 tube for gain and a 6DJ8 for output drive, enhancing clarity and tonal warmth. It’s gear made the old-fashioned way, with no compromises to simply be the best it can possibly be.

Each channel of the DELTA 4-7 MK2 can be cascaded into the other via a routing switch, enabling console-like tube saturation. Setting the second channel to line level and gradually disabling the pad introduces dynamic overdrive, suitable for creative tone shaping and saturation.

At £3499 inc. VAT for a 2-channel preamp we weren’t sure how this one would be received by our customers, but response has been universally positive. A genuinely lovely thing.

UK pricing @£3499 inc. VAT.

Digitally controlled patchbays have been available for some time, offering a much faster workflow without the need for a rat’s nest of patch cables hanging from the front of your rack. The convenience of patching your audio equipment with the click of a mouse, instant recall of complex sessions and ease of relabelling patch points whenever you reconfigure or replace gear is quite addictive – and once you’ve used one, it’s hard to go back. But does the world really need another one?

Well, yes, with their PROPATCH system we think Wolff Audio have something new to offer. While other products use digitally controlled analogue switching for core routing, they still rely on active circuitry for mults and splits. PROPATCH, however, uses all-analogue relay-based passive switching with no buffers, no amplifiers and no signal conditioning for complete transparency. With PROPATCH, users are getting an unadulterated “straight wire” signal path, guaranteeing no additional noise or distortion. 

PROPATCH handles microphone-level, line-level, control voltage, MIDI and 48V phantom power sources with complete neutrality. Routing is achieved using an intuitive drag-and-drop interface and neat features like A/B comparison really speeds up workflow. It’s a great product that takes the drag out of routing management – especially in larger hard-working commercial studios. 

Pricing from £2288 inc VAT for 16-in/16-out patchbay to £13989 for their 100-in/100-out flagship model.

UK pricing from @£2288 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 valve saturators continue to be a popular class of product as a way of conveniently adding harmonic enrichment to your tracks.

In another great product release, Gainlab Audio’s THE WIZARD Stereo Tube Saturator was developed after overwhelmingly positive feedback about the Tube Boost feature found on other Gainlab outboard. WIZARD expands Tube Boost into a fully-fledged stand-alone processor with a host of features to dial in your sound. Input and Output controls are used set the basic level of saturation with a Feed function that uses the clean input signal to further adjust saturation levels. The Bias control, alongside a 3-band EQ and HPF, offers the ability to produce a very wide range of tones. Finally, a Pressure control introduces vari-mu compression for added density. Like all gainlab products, WIZARD sounds great, is intuitive to use and, in an increasingly competitive hardware saturator market, manages to offer something just a little bit different. 

UK pricing @£2899 inc. VAT.

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. This is a really nice, vintage style EQ with sonics that punch far above its modest price point.

UK Pricing MQ-1 @£299 inc. VAT and MQ-2 @£430 inc. VAT

We supply hundreds of different microphones – so you'll forgive us if we’re sometimes a little jaded by the prospect of yet another “innovative” design. However, once in a while something special comes our way and the new NU-24K cardioid mic from Finnish designer Martin Kantola under his Nordic Audio brand is such a thing.

Kantola’s reputation as a microphone wizard spans over three decades, creating signature mics for clients including legendary recording engineer Bruce Swedien. There are two main components providing the secret sauce behind his microphone designs. Firstly, a proprietary D100K 30mm edge terminated capsule which produces an exceptionally smooth top end and excellent off-axis response. Secondly his innovative FloFET technology that provides a unique combination of characteristics from one microphone. The result is a solid state design that manages to offer the warmth and three-dimensional response of a great valve mic, the velvety smoothness of a ribbon mic and the detailed, extended HF you normally associate with high-quality large diaphragm condenser mics.

The results are excellent. When you hear this mic, it’s difficult to believe it doesn't use either valves or transformers – although this no doubt contributes to its low noise performance.

The £1495 price tag offers outstanding value for a microphone of this quality – and although Nordic Audio pitch this primarily as a vocal mic, it works equally well on instrument duties. Our first shipment quickly sold out, and although customers who pre-ordered have had to wait longer than expected for this mic to land in the UK, Nordic have now scaled up production so it should become much more readily available in 2026. A fantastic microphone - we'll eat our collective hats if it doesn't become a modern classic.

UK pricing @£1482 inc. VAT

Rodec’s new MX MODULAR is a customisable performance mixer that incorporates a 16-channel mixer with crossfader, ten 500 Series slots, an 18in/out USB audio interface and digital FX processor – all in one elegant control surface.

The 16ch mixer is split into two groups of eight – the first 8ch can be populated with any configuration of fully-featured mono or stereo channels (all with solo, pan, mute, two aux sends and momentary/PFL/bus-master bus routing switches). The second eight are made up of four simpler stereo channels.

MX MODULAR is an inline console configured so that each channel input can be fed from either the analogue input (rear-mounted DB25 connectors) or the built-in class-compliant USB audio interface. 

Slots 1-8 of the integrated 500 Series housing act as inserts for channels 1-8 of the mixer, with two further slots assignable to Bus 1 or the Master Bus. There’s also the option to use smaller 100-Series modules via an adaptor that fits into the 500 Series slots. Rodec currently offer four 100 Series modules including a stereo line preamp, phono/line preamp, stereo EQ and stereo filter with more modules in the pipeline.

When this landed in store, we were immediately impressed by the build quality – it looks, feels and sounds great with robust controls and everything laid out clearly. Comprehensive connectivity is neatly tucked out of the way on the back of the chassis. It’s an unusual product, and at this price point it's clearly aimed at pro users – we’re thinking professional DJ’s, electronic musicians and sound designers. But for the right customer, there’s nothing else that offers all these functions at this level of quality in one control surface.

UK pricing @£10,790 inc. VAT

Throughout his long and illustrious career, Rupert Neve never stopped innovating and improving his designs. For most people, Neve's name will always be associated with iconic processors like the 1073 pre/EQ and 33609 comp/limiter. However, it is Rupert Neve Designs – his last commercial venture before his passing in 2021 - that holds the “keys to the kingdom” for his last and arguably best designs - including products like Shelford Channel and the formidable 5088 analogue console.

NEWTON CHANNEL is maybe best thought of as a simplified version of the flagship Shelford Channel – designed for users who want the essential premium Neve sound but at a more affordable price. It’s a straightforward Mic Pre > EQ > Compressor channel strip that also includes Neve’s highly-regarded Silk/Texture control.

The pre-amp offers everything you expect from a Neve design – musical and tonally rich without overly colouring the source - with 72dB of gain to drive even the most demanding microphone.

A 20-250Hz switchable HPF allows you to dial out LF noise and rumble before the signal passes to the equalizer - a simple 3-band design with low- and high-frequency shelf bands (each with two switchable frequencies and 12dB cut/boost), and a parametric mid band (220Hz – 7kHz). The fixed Q is a well-chosen balance between precision and musicality. As with the other stages that make up Newton Channel, the EQ can be independently bypassed. 

The ultra-smooth and natural-sounding VCA soft-knee compressor can be switched pre or-post-EQ and has a fixed 2:1 ratio with 20ms attack time. Release time is variable from 50ms – 500ms. It’s very intuitive to use with instantly pleasing results. 

Although the pre-amp is fundamentally neutral, detailed and “modern” sounding, the final Silk/Texture control is where users can dial in colouration. This essentially manipulates the transformers’ harmonic profile to emulate the sound of Neve’s earlier Class A designs. Red mode boosts upper frequencies for increased sparkle, sheen and clarity and Blue mode emphasises low-mids for a thicker, warmer sound. It’s hugely effective and enhances any Neve processor it appears on. The end result is that users can achieve everything from clean/neutral though to vintage coloured tones all from the one box – while always retaining a classy, musical sonic signature that never swamps the source.

It’s easy to understand why Newton Channel has proven so popular this year – it’s a classy-sounding, simple-to-use “grown up” channel strip that offers the genuine Neve sound at an achievable price.

UK pricing @£1850 inc. VAT

If there was ever a case of “great things come in small packages”, then this is it. One of the more challenging requests we get is for small speakers that can perform as genuinely good monitors. With almost pocket-sized 20x15cm dimensions, the laws of physics would dictate that you shouldn’t expect much from such a diminutive closed-box cabinet. But it’s always nice to be proved wrong!

As with most Geithain monitors, the driver is a typically unusual design – a co-axial 100mm bass/mid driver married to a concentric and forward positioned 19mm dome tweeter, driven by two Class-D amps with a crossover frequency of 3.5kHz.

M-01 MkII was primarily designed as a close-distance nearfield or broadcast monitor for OB trucks which explains the comprehensive connectivity on the back panel. Two analogue inputs can be switched between independent sources, or can be used in tandem to monitor a stereo source in mono. Two network sockets allow M-01 MkII to be connected to a Dante/AES67 Audio-over-IP (AoIP) network – and they also provide connectivity for use with a MacOS/Windows DSP control app.

In use, these monitors are remarkably flat down to around 100kHz. It would require magical thinking to expect extended LF from a monitor of this size – but what is there is accurate and useful. The mid-range and HF is remarkably open and detailed with precise stereo imaging. Along with their slightly bigger brother, the RL906 – the sound stage that’s presented to you as a listener belies all expectations – an excellent small nearfield or portable monitor speaker.

UK pricing @£2598 inc. VAT

When Groove Synthesis released their original 3^rd Wave wavetable synth in 2022, it was an immediate hit with synth aficianados, but the £5k price tag required deep pockets. The same engine has been repackaged since its initial launch, and the latest 3^rd WAVE 8M is their smallest and most affordable iteration yet.

The heart and soul of the original 3^rd Wave remains fully intact, but clearly some things have had to be sacrificed to get the price under £2k – most notably the reduction from 24 voices to 8 voices – each with three high-resolution oscillators, four envelopes, four LFO’s and two analogue filters. It’s now also bi-timbral rather than 4-part, but the engine itself is still the same full-fat powerhouse you find in its larger cousin.

Based on the legendary PPG Wave, it is the combination of digital wavetables with great-sounding analogue low-pass filters (including a 24dB/oct Dave Rossum-designed 2140 LPF) that creates its unmistakably gorgeous, cinematic sound. It comes with 48 factory tables – including 32 classic PPG waveforms – and 64 user wavetable slots. Other key features include FM and sampling synthesis, a 16-slot modulation matrix per part, onboard wavetable creation via audio or USB, a real-time sequencer/arpeggiator, dual digital FX and a 7-inch screen. All controls are logically laid out – although more controls are now accessed through the display than with dedicated control knobs.

In short – if you’ve ever hankered after a Wave, Groove Synthesis 3^rd Wave 8M gives you all of the sound, just with a trimmed feature set. At half the price of the original 3^rd Wave desktop module, that’s a compromise many will be more than happy to make.

UK pricing @£1755 inc. VAT

For the second consecutive year, BEESNEEZ B67-269 makes it onto our bestseller list.

BeesNeez are an Australian company who have been making microphones for over 20 years. Alongside their own original designs, they also make reproductions of classic mics under their “Classic” and “Tribute” ranges – B67-269 being their take on the legendary U67.

If you thought this was just another budget “me-too” microphone, you’d be wrong. BeesNeez make all the key components of their microphones in-house including the capsules and transformers. Company owner, Ben Sneesby personally creates each individual capsule and is rightfully proud of the care and attention that goes into his product.

B67-269 takes its inspiration from the classic U67 design, based around a K6 capsule and Brimar/Mullard 86 designated valve. BeesNeez have used their own transformer design – a huge toroidal unit which offers excellent impedance conversion with a tertiary winding – something present in the BV12 UI30 used in the original U67 but often omitted in budget clones. They have then added switchable “Old” and “New” voicings for both 67 and 269 modes. In 67 mode, the “Old” voice captures the sonics of the vintage U67, with the “New” voice providing more air and a gentle lift in the high mids.

And how does it sound? In a word – great. It has all the rich mid-range body and smooth top-end detail you expect from this type of microphone.

If you’re looking for a 67-style mic and don’t have the budget for a Neumann or Flea, we can’t think of a better alternative. B67-269 is very popular for good reason – it’s a great mic at a very affordable price.

UK pricing @£1320 inc. VAT

If you're fortunate enough to work in a professionally treated recording studio you can skip the rest of this section, but the reality for most is that we're not working in acoustically ideal rooms. For those with the budget available, high-end solutions like Trinnov NOVA are highly effective and will go a long way towards solving your room’s acoustic issues. However, if you're on a tight budget, spending £4k on a room optimiser when you could, instead, get your hands on that gorgeous valve compressor you’ve always coveted is not an easy choice. 

Sitting between your audio interface and speakers, ORIA MINI is a dedicated hardware solution that analyses and corrects your room’s acoustic imperfections in minutes. Calibration is performed on ORIA MINI’s hardware DSP using Sonarworks' popular SoundID Reference software to handle room measurement and correction. Once completed, you can then close the software and crack on with your mix project. It's remarkably effective and unobtrusive.

Is this a Trinnov for £379? Well, no – but it will fix many of your room issues and give you the increased confidence of knowing that you are mixing in a controlled and reproducible environment. Because at the end of the day, if you can’t trust what you’re hearing – making great mixes becomes all but impossible..

UK pricing from £249 inc. VAT.

Premium small and medium format analogue consoles were firmly back on customers’ shopping lists this year. Purchasing a mixing desk is always a considered process – the balance of sound, features and workflow is different for each client. One of the most difficult balancing acts to get right is how to squeeze the large-format console experience into a compact footprint – easier to achieve with digital desks of course, but a bit of an ask when you have the one-knob-per-function layout of a traditional analogue mixer – it requires a lot of real estate and, of course, is the very thing that makes working on them such a pleasure.

API 1608-II is designed to deliver the full-fat API sound for smaller studios that demand high-end quality but can't accomodate or justify a large format desk.  It’s a straightforward design with a single audio path used for both tracking and mixing. Each channel offers a mic preamp and equalizer, with eight Aux buses, eight multitrack buses, four stereo buses, one stereo master bus and a centre section with up to 5.1 surround monitoring. API also offers their optional Final Touch™ fader automation system, but this is the only digital nod to the DAW recording systems this console is most likely to be used with. Make no mistake, this desk is 100% pure analogue – and API have been masters of their craft in the 50+ years since Saul Walker developed his fabled 2520 discrete op amp.

1608-II is fitted with API’s coveted 550A discrete 3-Band equalizer module on the first 12 channels. This is a 3-Band EQ with 7x switched frequencies per band, 12dB boost/cut and a “proportional Q” that narrows the filter Q at extremes. It’s a very musical, slightly forward sounding equalizer that along with API’s preamp and compressor circuits delivers the sought-after "API sound".  API 560 10-Band graphic EQ modules are used to populate the remaining four channels.

If you’re looking for a high-end analogue console but simply don’t want or need the extra features of a large format desk, API 1608-II does an excellent job of providing a professional console experience without all the stuff you will likely never use - all in a tidy, compact footprint. As a tactile experience, it’s a joy to use and everything about it shouts quality, with the distinctive API metal control knobs still some of the best in the business.

The natural home for a desk like this is the smaller high-end DAW-based recording studio where it will be used for tracking and final mixing. Paired with a good DAW setup, you really do have the best of both analogue and digital worlds.

If you would like to have some flight time on this console, we have a 16-channel fame size on permanent demo in our North London showroom.

UK pricing @£58,800 inc. VAT.

Some products need a “every studio should have one” sticker on the box – and Heritage Audio’s SYNTH BUDDY is one such product. There’s really not much to say about this – it’s a fully passive 10-into-1 stereo desktop switcher or, conversely, a 1-into-10 output selector. It doesn’t affect your sound. It’s well made. It’s affordable.

Sounds useful? It seems so - you've been buying bucket loads of the things!

UK pricing @£189 inc. VAT.

Locomotive Audio products take vintage circuit designs from the 1950s/1960s and adapt them for modern engineers. They are always well featured, very high quality and sound fantastic - all without the stratospheric prices commanded by some other comparable boutique gear. 

POWER-MU 500 is a fully-featured stereo vari-mu valve compressor with custom interstage transformers and NOS dual triode valves providing rich harmonic content. There is both AC and DC threshold adjustment for fine control over onset (think Fairchild 670), character and compression intensity. As you may expect, it has plenty of rich harmonic valve vibe - a gorgeous smooth, silky “larger than life” character with a big bottom end.

Squeezing a high-quality valve compressor like this into 500 Series is no mean feat. Designer Eric Strouth has done an excellent job with this one!

UK pricing @£1599 inc. VAT.

That's it for another year! Tune in again when we'll be reporting back from the Winter NAMM show in January with all the hottest new gear to look forwad to in 2026...

(Pricing correct at time of publication).