If you’re serious about recording, the best channel strip can be a game-changer for your studio. I’ve found that having a dedicated channel strip not only improves sound quality but also speeds up my workflow by giving me a more polished sound right at the source.
Under $500 | Under $500 Product Image | Product Title | *GEARANK | **Sources | Check Prices |
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Under $1000 | Under $1000 Product Image | Product Title | *GEARANK | **Sources | Check Prices |
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Under $1500 | Under $1500 Product Image | Product Title | *GEARANK | **Sources | Check Prices |
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Over $1500 | Over $1500 Product Image | Product Title | *GEARANK | **Sources | Check Prices |
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*Gearank = Rating score out of 100.
**Sources = Number of gear owner and user opinions analyzed for these product Gearank Ratings.
Research Process: How Gearank Works
Whether you’re tracking vocals, instruments, or even voiceovers, a high-quality channel strip offers superior preamp clarity, EQ sculpting, and compression.
At its core, a channel strip combines essential analog processing tools, usually a mic preamp, EQ, and compressor, designed to shape and enhance your audio before it even reaches your DAW.
Some models go a step further, adding features like saturation, de-essing, and even harmonic enhancers, which can bring a warm, analog vibe to your recordings.
While a large-format console, including a mixing board, can have multiple channel strips built-in, a high-quality standalone unit can give you that same professional tone without taking up an entire control room.
A good channel strip isn’t just for musicians—it’s a secret weapon for podcasters, voice-over artists, and content creators who want broadcast-quality sound without spending hours tweaking in post-production.
For people who record podcasts or voice-overs, having a channel strip before your audio interface or iPad Audio Interface adds a lot of big studio character, without the big studio cost. It also lets you fire up your DAW and record right away with consistent sound quality.
By adding a channel strip before your audio interface, you can capture a fuller, richer sound with minimal effort. Some channel strips also include useful tools like toggles for a saturator and other features that color your sound in beneficial ways. It is the most economical way to improve your sound, especially for vocals.
Whether you’re looking for a clean, transparent signal path or a character-rich, vintage-style tone, the right channel strip can make all the difference. Let’s take a closer look at the best options available today.
Best Channel Strip – Under $500
DBX 286s Channel Strip & Mic Preamp
This budget-friendly channel strip delivers impressive vocal clarity with built-in compression and de-essing, making it a great choice for podcasters, streamers, and musicians. Its easy-to-use controls and reliable sound processing make it a budget friendly workhorse.
Pros:
- Great sounding preamp
- Gate/expander one of the best I’ve tried
- Dynamics and EQ well thought out
- Simplified controls limit tweakability
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Many consider rackmount channel strips a “medium” type of studio gear. I’ve always used software monitoring, and channel strip plugins during audio recording. Still, sometimes, the latency builds up, especially when the tracks and plugins start piling up.
I also wanted some processing into the audio interface for general communication, so I started looking into the most popular channel strips for my project studio.
Your signal goes through the Preamp section. While I don’t think dbx based the circuitry on API gear, to my ears, it reminds me of what API preamps sound like. It smooths out the high frequencies with harmonics without muffling the input. Other preamp features include a standard 48V phantom power and an 80Hz high-pass filter at 18dB/octave.
The filter’s roll-off is enough to deal with wind and vibration transfer from the mic stand without affecting the overall tone of my mics. The input levels are visible thanks to four LEDs that indicate the amount of signal passing through the preamp.
The dbx 286s compressor section works well even with just 2 controls.
The compressor section looks basic at first glance. The controls are different from what most would expect. The drive is basically your threshold control, and the compression ratio is fixed at 4:1. The density knob is a release time knob with fully counterclockwise giving the slowest release and fully clockwise giving the fastest.
Equalization is also simple on the outside. Labeled “Enhancer” on the unit, the low frequencies combine a boost at 80Hz while simultaneously cutting out 250Hz as you go higher with it at a ratio of 2:1. The high-frequency control employs a dynamic shelving EQ.
I noticed that with higher speaking levels, the high frequencies don’t get proportionally louder but retain clarity throughout the entire voice’s dynamic range.
The gating is natural at ratios lower than 2:1. It filters out my A/C in the background well enough for general recording.
Tweakers relying on minute adjustments of various parameters might find the controls too limited. Even so, I preferred this simplicity because it didn’t keep me fixated on getting everything right.
The excellent price point and feature set make it great value for any studio. Even comparing it with more expensive channel strips, it packs enough punch to hang with the big boys, especially with how well the dynamics are handled.
Voiceover example recorded with the dbx 286s*
*Audio recorded with a Lewitt LCT 440 Pure condenser microphone.
The dbx 286s is an excellent addition to any studio, big or small. As a vocal chain, it adds a professional sheen to singing and excellent dynamic control for spoken word and voiceovers.
While the simplified controls may not be to everyone’s liking, each module is cleverly engineered to have a useful setting, no matter the input. If you’re looking for your first channel strip or preamp, the dbx 286s is an excellent choice at a great price.
If you’d like a detailed explanation of all its functionality, look at my extended dbx 286s review.
- Channels: 1 (some people mistake the Insert for a second channel)
- Inputs: XLR (mic), 1/4″ TRS (line), 1/4″ TRS (insert)
- Outputs: 1/4″ TRS – 100Ω balanced / 200Ω unbalanced
- Preamp: 0dB to +60dB gain with phantom power on XLR pins 2 and 3
- Compressor: ratio 4:1 with a threshold range of -40dBu to +20dBu
- De-Esser: frequency range 800Hz to 10kHz High Pass, 12dB/octave
- Enhancer: with high frequency program-controlled shelving equalizer, approximately 15dB maximum HF boost, and low frequency bell-shaped boost @ 80Hz, bell-shaped cut @250Hz, ratio is approximately 2:1
- Expander/Gate: with an adjustable expansion ratio from 1.5:1 to 10:1
- Rackmountable: Yes – 1U
ART Voice Channel
With its tube-driven warmth and flexible EQ, this channel strip adds rich character to vocals and instruments alike. Its combination of analog warmth and digital connectivity makes it an excellent studio centerpiece.
Pros:
- Extremely versatile with a multitude of controls
- Tube preamp tone warms up even the brightest condenser mics
- Tone shaping options abound with a Parametric EQ
- Multiple options might be overwhelming at first
- Better sounding (but less versatile) options at this price
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The ART Voice channel is a full-featured channel strip with all the tools you need to get an amazing-sounding track onto a recording. It features a Class A Tube Preamp with up to +60dB Mic gain and +40 dB line-level gain, which aligns with ART’s reputation for affordable quality outboard gear, especially their mic preamps.
While the front panel looks overwhelming, audio professionals will feel right at home with the controls.
It includes a semi-parametric EQ that can be patched pre- or post-dynamics, multiple insert points, an expander/gate section (one of my biggest requirements in an outboard channel strip), and a special impedance control to fine-tune different mics to the preamp.
Switching the tube voltage changes the response of the preamp mild tube tone to harmonically rich. Cheap microphones can benefit from the warmth and saturation of the tube section.
Additional I/O makes it versatile enough to integrate into an already busy rig. At the same time, USB outlets function as a direct recording solution for smaller setups.
While a blessing for experienced engineers, the complex layout and various controls might be overwhelming for someone still learning the craft. Don’t let that stop you from adding it to your rack.
The ART Voice Channel is a versatile piece of gear at a great price. It amalgamates many essential pieces in a signal chain and works well with vocal and instrument recordings. It’s not the most transparent preamp, so look elsewhere if that’s what you’re after.
- Channels: 1
- Inputs: 2 x Combo (XLR/TRS), 1 x ADAT (Optical)
- Outputs:1 x AES/EBU (XLR), 1 x S/PDIF (Coax), 1 x S/PDIF (Optical)
- Preamp: Class A vacuum tube (12AX7), up to +60 dB (Mic) +3 dB to +40 dB (Line) with 48v phantom power
- Compressor: 1:1 to 20:1
- Equalizer: Low Frequency: 50/150 Hz Selectable, MID 1 Frequency: 100 Hz to 3kHz continuously variable, MID 2 Frequency: 500 Hz to 15kHz continuously variable, High Frequency: 5K/15kHz Selectable
- Rackmountable: Yes – 2U
Black Lion Audio Eighteen Channel Strip
This vintage-inspired channel strip brings big, warm tones with premium preamp circuitry and passive EQ for detailed shaping. It’s not the cheapest option, but its musicality and build quality make it a standout for pro-level recordings.
Pros:
- Classic solid state preamp tones inspired by landmark designs
- Pultec-style EQ brings familiar sheen
- High quality components
- Inadequate as a standalone preamp; synergizes best with other outboard gear
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Nothing beats the great crunch of a pushed channel as an effect on vocals. Even in more subtle flavors, a nice amount of saturation on vocals and other instruments adds to the “glue” effect during a mix.
The Black Lion Audio Eighteen was designed with character in mind. Its solid-state, CineMag transformer-based induction EQ/Preamp puts mojo and vibe at the forefront.
The EQ controls will be familiar to those who have used Pultec-style equalization. It’s a great-sounding circuit that adds brilliance without becoming harsh. This trait is carried over to the Eighteen and improved with custom componentry and tweaks.
Even with copious amounts of harmonic saturation from the 1831 op-amp it was named after, the Black Lion Audio Eighteen has excellent control over distortion and does not introduce unmusical audio clipping.
However, as a channel strip, it lacks a compressor and other processing that could have improved its functionality. That being said, it’s best used in a studio with the outboard gear necessary to synergize with it.
All in all, the Black Lion Eighteen is a refinement of classic, time-tested designs that fits very well into a well-equipped studio. Do note that I do not recommend it as a first purchase for a studio just starting out because of the lack of other features like compression.
- Channels: 1
- Inputs: 1 x XLR)
- Outputs: 1 x XLR
- Preamp: Solid State Induction EQ Preamp. OpAmp circuitry with CineMag Transformers
- Compressor: none
- Equalizer: 2-band EQ, Lowpass Shelving, 80Hz Highpass, 10kHz Lowpass
- Rackmountable: Yes – 2U
Vintech X73i Channel Strip w/ Mic Pre & EQ
Modeled after the legendary Neve 1073, this channel strip delivers that iconic British punch and harmonically rich saturation. It’s a bit pricey, but for those chasing classic analog mojo, it’s a worthy investment.
Pros:
- Modernized 1073 look and feel
- Smooth, harmonically rich top end
- Modern components with tight tolerances perfect for stereo matching
- More affordable and reliable than vintage units
- Not the pick if you’re looking for a 1:1 vintage reproduction (warts and all)
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The 1073-style preamp/EQ has always been a community favorite. The design lends itself to warm and polished-sounding vocals with a focused, clear midrange and a shimmering top end.
The Vintech X73i is based on the legendary 1073 design and built with production techniques that allow Vintech to make it more accessible to most studios and engineers.
It features a Class A solid-state preamp with a familiar EQ section for various cuts and boosts. The analog circuitry makes even the most extreme settings sound musical in many contexts.
The X73i would pass as an actual Neve unit with the color scheme from a distance. The X73i injects the Neve mojo with a more polished, modern twist.
With compression, the high end never gets overemphasized, as sibilance is smoothed out across a broader spectrum thanks to the harmonic content—just like the unit the X73i was based on.
The modern construction and componentry give it a “brand new” sound compared to vintage units with aged components and lower tolerances.
This, however, means that the X73i is not a one-to-one reproduction. It favors consistency over vintage accuracy, so having a stereo preamp pair would be more consistent (and affordable!) than getting two vintage units.
If you’re a 1073 preamp/eq fan and have a limited budget to outfit your studio with a channel strip, the Vintech X73i is your best bet to get that N-style polish.
- Channels: 1
- Inputs: 1 x XLR (Mic), 1 x XLR (Line), 1 x 1/4″ (Line)
- Outputs: 1 x XLR, 1 x 1/4″
- Preamp: Class A solid state with up to +70db gain with 48v phantom power
- Compressor: none
- Equalizer: Low shelving, Fixed Hi EQ, Variable Low EQ, Variable Mid EQ frequencies
- Rackmountable: Yes – 1U
Rupert Neve Designs Portico 5017 Channel Strip
This portable preamp, compressor, and DI unit packs legendary Neve quality into a travel-friendly format, perfect for recording on the go. Its sonic excellence makes it a must-have for mobile musicians and engineers.
Pros:
- Big Neve console sound in a compact package
- Sweetens various sound sources like vocals and instruments
- Onboard compressor provides light transient smoothing
- Needs more options for tone shaping
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Rupert Neve and his name have been among the most recognizable trademarks in the audio engineering industry. He has done designs for both his own brands and others like Focusrite. His designs have a trademark “sheen” and polish and what he calls a “sweet” sound, and this is what you’ll get from the Portico 5017.
The Rupert Neve Designs Portico 5017 is unlike other channel strips. For starters, it is in a desktop format rather than a rackmount or modular unit. This form factor makes it ideal for project recording studios without rack space but still want the “big console sound” the Neve name is known for.
It features a solid-state preamp with up to +66dB in gain, phase, and high-pass switches. The Silk switch engages a vintage-styled character reminiscent of early Neve console designs. The compressor offers light dynamic range augmentation with just the right ratio for dynamic singing, leaving room for further processing.
The sound is unmistakably “Neve”. For vocals, this results in a sweet-sounding high-end, especially for female vocals. Strident singers get tamed by the Neve’s richness without sacrificing sparkle.
On bass, the Portico 5017 clears up any muddiness on the lower range while adding a nice sheen to the top end without sounding brittle. For miked-up electric guitars, fat tones are streamlined to fit better in mixes.
To me, though, it lacks additional equalization and dynamics options. The optical compressor has a variable threshold but a fixed 2:1 ratio. This limits the unit’s versatility but is adequate for a gentle squeeze on bass and vocals.
The fundamental Neve tone is adequate for great-sounding sources. Still, additional tone-shaping options would have made it even more versatile.
For big studio polish in a portable desk format, the Rupert Neve Designs Portico 5017 is the perfect companion for small to medium studios and more mobile setups.
- Channels: 1
- Inputs: 1 x XLR (Mic), 1 x 1/4″ (Hi-Z)
- Outputs: 1 x XLR, 1 x 1/4″ (Mic Out)
- Preamp: Solid State with up to +66 dB gain with 48v phantom power
- Compressor: 2:1 ratio with a 10dB to -20dB threshiold
- Equalizer: Highpass filter: 12dB/octave @ 80Hz
- Rackmountable: no
Empirical Labs EL-9 Mike-E Mic Preamp / Channel Strip
This unit combines a stellar preamp with Empirical Labs’ signature compression and saturation for a great-sounding tone. If you love vintage-style warmth, this delivers in spades.
Pros:
- High-quality mic preamp
- Smooth and musical compression
- Tape-style saturation adds warmth and character
- Great for vocals, bass, and drums
- Versatile tone shaping
- Not a completely clean preamp
- Saturation can be aggressive at higher settings
- Takes up a decent amount of rack space
- Higher price point compared to basic preamps
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The Empirical Labs EL-9 Mike-E is more than just a mic preamp, it’s a tone-shaping powerhouse. Right away, I was impressed with its punchy, full-bodied sound, thanks to its high-quality preamp section.
But what really makes this unit shine is the built-in saturation and compression, which add warmth and character without over-coloring the signal. Whether you’re tracking vocals, bass, or even drums, the Mike-E delivers a rich and dynamic sound that stood out in the mix.
Another standout feature is the “CompSat” section, which combines compression and tape-style saturation in a way that enhances the source without making it sound artificial. I found this especially useful when recording vocals, as it added just the right amount of harmonic richness without sounding overly processed.
The compressor is smooth and musical, making it easy to dial in a polished sound. However, if you prefer a completely clean and transparent preamp, the Mike-E may not be the best choice—it definitely imparts its own sonic signature.
While I love its character-driven sound, it does have a few drawbacks. It’s not the most compact unit, taking up a good amount of rack space, and for those who want a more clinical, transparent sound, this might not be the best fit. Also, while the saturation feature is fantastic, it can be a little aggressive at higher settings, so subtle adjustments are key.
But if you’re looking for a preamp that adds warmth, punch, and vintage-style saturation in a controlled and musical way, the Mike-E is an incredible tool for the studio.
- Channels: 1
- Inputs: 1 x XLR. 1 x 1/4″, 1 x 1/4″ (Hi-Z)
- Outputs: 1 x XLR, 1 x 1/4″
- Preamp: Solid State with up to +74dB dB gain with 48v phantom power
- Compressor: ratio 1:1 to 8:1 with ‘nuke’ feature for additional saturation
- Equalizer: 80Hz highpass filter
- Rackmountable: Yes – 1U
Manley Core Reference Tube Channel Strip
This tube-driven channel strip offers silky highs and a rich, polished sound, making it a go-to for vocals and acoustic instruments. It’s a worthy investment if you want studio-grade audio quality.
Pros:
- Adds richness and complexity to brighter, detailed mics
- Distilled versions of Manley’s best circuits in one unit
- Custom high-end componentry
- Great entry into boutique gear
- Limited tweakability compared to individual units from Manley
- No noise gate
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The Manley Core Reference is a channel strip based on Manley’s award-winning VOXBOX. With a Class A tube mic preamp (1 x 12AX7 for gain and 1 x 6922 White Follower) and custom Manley transformers, the Core Reference was designed to be as it’s named: the core of your project studio.
The Core Reference combines Manley’s most popular modules and technology into one channel strip, an all “essentials” package channel strip.
In addition to the tube preamp, the Core Reference has a Baxandall EQ, ELOP compressor, and Brickwall limiter.
Going into the preamp, the overall tone is crisp and clear without making bright condenser mics thin or brittle. This is a big plus for bright mics like the Sony C800g or C100 to have a richer top end without totally sacrificing the tonality they are known for.
Manley’s own Reference series condenser mics have an extended top end. With that in mind, if your mic collection consists of bright mics, this unit’s preamp is a godsend in keeping harshness at bay.
That said, the Core Reference has its own compromises. Its modules are less fully fleshed out than Manley’s main units, such as their individual dynamics and EQ lines. The lack of a noise gate/expander (which is important to me) is also something to look out for.
If you’re looking to upgrade your existing gear, the Manley Core Reference is a good next channel strip to have. It is a great entry point for high-end gear. It allows a generous taste of what boutique gear can do for your sound without the collective cost of owning multiple modules.
- Channels: 1
- Inputs: 1 x 1/4″, 2 x XLR
- Outputs: 2 x XLR
- Preamp: Class A tube mic preamplifier (1 x 12AX7 for gain and 1 x 6922 White Follower), Manley hand-wound transformers, Mic Pre Selectable Gain 40dB or 60dB, Line Amp Selectable Gain 20dB or 40dB
- Compressor: ratio 3:1, variable Attack and Release controls, Threshold control,
- Equalizer: Low and High Baxandall Shelves (80Hz and 12kHz) with ±12dB range, Sweepable Midrange Bell EQ (100Hz – 1kHz) or (1kHz – 10kHz) with ±10dB range, 120Hz High Pass Filter switch
- Rackmountable: Yes – 2U
Rupert Neve Designs Shelford Channel Strip
A powerhouse channel strip with Rupert Neve’s signature preamp, EQ, and compression, delivering classic analog warmth with modern flexibility. If you want top-tier studio sound, this is the real deal.
At publication time, this was the highest-rated channel strip.
Pros:
- Developed and refined by Rupert Neve
- Takes the best of classic Neve designs into a channel strip
- Unmistakable Neve character that can be dialed in or out
- No master output control
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The Rupert Neve Designs Shelford Channel is the closest thing to a large-format channel strip, refined for the modern recording studio.
It features the classic Inductor EQ from the Shelford 5052. The preamp was designed with a direct-coupled transformer input, and the custom transformer provides gain.
The equalizer bass section is based on 1064, known for its smooth-sounding and resonant bass harmonics. The midrange is based on the famous 1073 and is best for sweetening vocals and instruments. The compressor is based on a Neve-designed 2254. All this is rounded off with toggles for the “Silk” setting and as well as a texture knob for more character.
The one thing missing for me is a master output control. Some of us might be a bit gain-happy when it comes to recording, so without a master output, it might hit your interface too hard, even with the gain turned down all the way. This is an unlikely scenario, but it is still something to watch out for.
The Shelford Channel provides the classic sound associated with the name in a more accessible format. It preserves the tone shaping and character of the best of Rupert Neve’s circuit designs over the years while making it more accessible to those who can’t fit large recording consoles in their bedroom (hey, we can all dream, right?).
If you’re after the “Neve Sound,” that is, a sparkly top end with a lot of midrange clarity and smooth dynamics, then this is it. It’s designed by the legend himself, with many refinements over the original units he helped create.
- Channels: 1
- Inputs: 1 x XLR (mic), 1 x XLR (line), 1 x 1/4″ (Hi-Z)
- Outputs: 1 x XLR (line), 1 x XLR (-6dB out), 1 x 1/4″ (thru)
- Preamp: Solid-state with up to +66 dB gain with 48v phantom power
- Compressor: ratio 1.5:1 to 8:1 with a threshold range of -25dBu to +20 dBu
- Equalizer: 3-band Parametric with selectable peak/shelf modes
- Rackmountable: Yes – 1U
Things to Consider When Buying a Channel Strip
What is a Channel Strip, and What Does it Do?
They are basically a single or double channel of a mixing console providing signal processing functions. These may include things such as a preamp, compressor, limiter, Equalizer, exciter, de-esser, and auto-tuning. Various channel strips offer different combinations of signal processing.
Modules
Channel strips offer different combinations of modules. Some have different kinds of circuits that include a Preamp, Equalizer, high pass and low pass filters, compression section, and limiter (gain reduction). Others are more streamlined and only include a mic preamp and one or two other modules. Some channel strips have consoles with options for saturation and character. Knowing whether you want a channel strip that does everything before your DAW or leaves enough for you to work with inside the box is important.
Transparency vs Character
This will depend on whether you want a channel strip that was designed to be as clean as possible or a strip with a lot of character. Transparent channel strips only subtly alter the tone going into your interface.
Those who shop channel strips with character-based designs want to imbue their tracks with analog warmth and saturation, reminiscent of the analog console gear of yesterday.
Enclosure Format
Channel strips come in various formats, from 1U rackmount units to 500 series and desktop form factors. What you choose will depend on whether you have an existing rack to use and won’t be moving around or prefer having a more mobile setup. We have included rack size in the features of each product so you can know which fits your existing space the best or how to budget your eventual rackmount setup.
Best Channel Strip Selection Methodology
The first edition was published in 2016. This current edition was published in 2025.
We looked at all the rackmount, desktop, and 500 series channel strips available at major online American retailers for this edition. We ended up with 29 options on our shortlist from different brands that include including Rupert Neve, Manley, Dbx, Universal Audio, and more. You can see our shortlist in the Music Gear Database.
We then collected ratings and reviews from forum posts, magazine articles, videos, and retailers, which incorporated over 2,600 of these sources into our data set – an increase of more than 10% over the previous edition. We processed those data with the Gearank Algorithm to produce the rating scores out of 100 for each channel strip. These rating scores were used to select the highest-rated options to recommend above in each price range. For more information about our methods, see How Gearank Works.
Other popular options that did not secure a top spot in this list include the Avalon VT-737SP, Universal Audio 6176, UAD Century Tube Channel Strip, and the Presonus Studio Channel Strip.
About the Author and Contributors
Here are the key people and sources involved in this guide’s production – click on linked names for information about their music industry backgrounds.
Lead Author & Researcher
Contributors
Jerry Borillo: Research
Alexander Briones: Supplemental Writing
Jason Horton: Editing and Illustrating.
Media / Image Credit
Main/Top Image: By Gearank.com using photographs of the RND Portico 5017, DBX 286s, Vintech X73i, RND Shelford Channel, and Manley Core Reference.
The videos have been embedded in accordance with YouTube’s Terms of Service.
The individual product images were sourced from websites, promotional materials, or supporting documentation provided by their respective manufacturers, except for the dbx 286s Compressor Section, which was photographed by the author.
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Comments:
7 responses
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The following channel strips came off our recommended list when we published the October 2022 Edition:
Empirical Labs EL-9 Mike-E
Manley SLAM!
PreSonus Studio Channel
Universal Audio 6176 -
Publication of our December 2021 Edition resulted in the following channel strip being removed from the recommended list above: TASCAM TA-1VP.
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As a result of our June 2020 update, the following has come off the recommended list above, but you can still view our analysis of it:
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I’ve just completed a review of the category and there were no eligible 2 channel options available under $500 to include in this guide.
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Hello and sorry for maybe silly question but i am kinda a newbie in this field. I recently wanted to build a small home studio and wanted to ask if any of the above are good tools for mastering. All of the strip channels showed are “mono”, this means that I need a pair if I want to master a whole song, one for each channel? Or i can simply bounce all the tracks in a single track and then master/eq on the strip? Thank you in advance for your support!!!
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Once you mix the stereo tracks into mono you can’t separate them back to stereo. It sounds like you haven’t had the chance to do much mastering yet so I suggest you look at some guides on the topic – Mastering music.
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Disclosure
Author & Contributors
Raphael Pulgar
I've been an audio engineer for 20 years specializing in rock and metal recordings. I also play guitar and produce original music for my band and other content creators.
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