Binson EchoRec

The EchoRec is a legendary tape echo unit that has left an indelible mark on the history of music production. Originally introduced in the 1960s, the EchoRec quickly gained popularity among musicians for its unique and rich echo effects. What sets the Binson EchoRec apart is its use of magnetic drum technology, which allows for multiple playback heads and variable delay times.

In addition to its remarkable sound, the Binson EchoRec is known for its innovative controls. It offers separate controls for each playback head, allowing precise adjustment of delay times and feedback levels. Musicians can experiment with different head combinations and tweak the intensity of the echoes to create intricate rhythmic patterns or cascading repeats.

Although the Binson EchoRec is a vintage piece of equipment, its sonic charm has stood the test of time. It continues to be sought after by musicians, producers, and audio enthusiasts who value its unique capabilities and iconic sound. Whether used as a subtle effect or as a central component of a composition, the Binson EchoRec remains a revered tool in the realm of echo and delay effects.

Probably one of the biggest highlights of NAMM was the announcement of the Binson Echorec re-issue by the Danish guitar pedal manufacturer, T-Rex, who have been developing the unit for 8 years! The company claims to have made a faithful recreation that not only captures the essence of the original unit but incorporates some modern enhancements, such as two recording heads with short and long delays, providing versatility in creating different echo effects and the adjustment of the drum speed by +/- 20%, allowing for fine-tuning of the echo timing.

It has four individual and switchable playback heads, each with its own level adjustment, offering precise control over the echoes' intensity and placement. The addition of a magic eye enables easy determination of input levels, ensuring optimal signal management. For use in the studio, the EchoRec has balanced input and output connections. It also offers a selection between Repeats and Swell modes, allowing for further creative exploration.

The T-Rex EchoRec re-issue appears to deliver all of the beloved vintage tape echo sound of the original with enhanced functionality for modern musicians and producers. They definitely sold us on it, because we have already pre-ordered one!

Neumann MT48

Developed in collaboration with Merging Technologies, a Swiss manufacturer known for their precision AD converters, the Neumann MT48 drew immediate attention at NAMM 2023. The MT48 is designed to set new standards in audio fidelity with a dynamic range of 136 dB, which the company claims is four times higher than comparable interfaces in this price range. But marketing spiel aside, there is a lot packed into this small box so lets have a look into the features.

The MT48 boasts two low-noise mic/line preamps with up to 78 dB gain, two line/instrument inputs, four monitor/line outputs and two headphone outputs. The connectivity options include ADAT/S/PDIF, AES67, and an integrated MIDI interface.

The MT48 is not just an audio interface but also a digital mixing desk. Its DSP processing can be utilized for monitoring, recording with effects, or both simultaneously. Wet and dry signals can be recorded via separate channels, ensuring an unprocessed backup is always available, and DSP effects include an EQ, a dynamics section (compression/limiting) and reverb.

While the Neumann MT48 offers an impressive range of features, there seems to be a missed opportunity in creating a fully stand-alone interface that allows for recording directly to an SD card or USB drive. It would have been advantageous to have this capability integrated into the unit from the start. However, it is possible that Neumann may consider incorporating such functionality in a future firmware update, providing users with the convenience and flexibility of standalone recording.

The MT48 seems user-friendly, allowing for easy operation via the built-in touchscreen, but there are a lot of complex parameters here that could take a while to get used to. However, there are multiple ways to control the interface to match your workflow, either using the in-built touch screen, remote controlled via the MT48 remote desktop app, or via a web browser.

The target audience for the Neumann MT48 may seem somewhat ambiguous, as its description includes terms like "reference class" that usually appeal to mastering engineers. However, it appears that the device is primarily aimed at home or small studio engineers, producers, and musicians. While the tactile interface is a desirable feature, offering a break from computer-based workflows, it's worth noting that you are trading one screen for another.

Musicians, in particular, may find the MT48's two mic preamps limiting compared to other options available on the market for under €600, such as the SSL 12. With a multitude of alternatives offering more preamps at a similar price point, it becomes challenging to understand why one would choose the MT48 specifically in this regard.

Wes Audio NG76

One thing we were extremely excited about (and still are) is the Wes Audio NG76 compressor limiter, a next-generation FET compressor that combines analog sound with digital control. It is based on the classic 76-style FET compressor design and includes both modern and vintage modes which are based on the Revisions F and G.

The ng76 offers 100% analog processing with 24dBu of headroom and has bespoke Carnhill Transformers, saturation mode, two independent side chain EQ circuits, and includes total harmonic distortion control and a mix knob for parallel compression. The NG76 also includes analog automation and hardware A/B buttons for comparing settings.

Two units can be linked together for stereo compression or dual mono compression, and with its USB or Ethernet connectivity, it offers total recall control via plugin the DAW, meaning you only need to open your session, patch in the unit and you are good to go!

Digital control of analog devices isn't a new thing, and Wes Audio have incorporated this into earlier devices such as the NS Series Bus Comp and Leveller, but with the desire of 1176 compressors growing, we think that this is the modern equivalent we have all been waiting for, combining the best of analog and digital technology, making it a versatile and powerful tool for producers and engineers.

IK MULTIMEDIA Axe One

IK Multimedia annouced the little brother of their popular AXE Interface, the Axe I/O One. Which is a rugged and portable audio interface that offers impressive features and functionality. With its 24-bit AD and DA resolution and support for multiple sampling rates, it delivers high-quality audio performance. The microphone input utilizes a Class-A discrete differential preamp, ensuring clean and transparent recordings with a wide frequency response.

The interface is primarily aimed at guitarists and this is where the features really open up. The instrument input provides variable impedance options to adjust the tone of the pick-ups in the guitar, pure and j-fet input stages and passive and active settings, and when we interviewed them at Superbooth they explained that the interface has three line outputs, two for monitoring and one front 'Amp Out' dedicated to reamping.

Given the cost of this interface for the features included we had to include this as a featured product, and it doesn't stop there, you also get Ampltube 5 SE and Tone X SE included. So overall, the Axe I/O One is an excellent interface for the price and although includes a feature set specifically aimed at guitarists this is a perfect choice for musicians who need a good quality interface for on the go.

We are also very excited for the Empirical Labs Pump, but we have a dedicated article for you to read right here.