If you're working with a wall of synthesizers or have a small army of always-on instruments set up in the studio, then the Arturia AudioFuse 16Ri provides a solid solution. This audio interface supplies the full array of connection options to support everything from line-level equipment to microphones, so everything can stay connected and ready to start recording. This hardware-focussed system serves as a sort of central hub for your studio, making sure that your equipment remains synchronised and is always ready for work. A Computer-Free, Stand-Alone MixerWhat makes the AudioFuse 16Rig interface truly unique is that it can also operate as a 100% stand-alone unit, removing the need to hook it up to a computer, so you can record directly without the middle-man of a DAW, or even live-mix via an out-of-the-box configuration. All of this is made possible by two internal low-latency mixers that process both audio and MIDI without needing a computer. When working in stand-alone mode, custom presets can also be made and saved to be called up later - all via the AudioFuse itself. Advanced Audio-Routing & A/B Monitoring The multiple sends and returns provided for adding effects, and the fast A/B switching between monitor pairs is just a small slice of the mass of functions this audio interface has to offer. Via the included AudioFuse Control Center, access is granted to a real matrix, giving you a clear and fast overview of the ins and outs of 'connecting everything to everything'. All of that, and we haven't even touched on the level of audio quality which, all thanks to superior components, including 24-bit ESS and Cirrus Logic AD/DA converters, more than cuts it - especially when you add them to an outstanding set of digitally-controlled preamps optimised to support precise monitoring. Connection Options & Included Software Via the two banks of ADAT inputs and outputs, a potential sixteen extra in and/or outs can be added, so external preamps can be linked up to record a drum kit or full band. The AudioFuse 16Rig has also been kitted out with sixteen analogue line-inputs and eight analogue DC-coupled line-outputs, including two mounted on the front panel so they can be used for re-amping or plugging in two extra sets of headphones. This vast unit can also be used as your master clock device: simply connect all of your digital equipment to the wordclock I/O to ensure flawless synchronisation.

Since the introduction of the black monitor with the white woofer back in the seventies, the impressively neutral, honest sound of a Yamaha nearfield has formed the industry standard. Back in 2013, the HS Series was unveiled: a more compact take on the same concept that proved just as popular as the originals - and now, we come to the HS3. This pair of studio helpers feature a 3.5 inch woofer and a 0.75 inch soft-dome tweeter, both specifically tuned to compliment the current HS Series models. With this smaller edition, everyone from content creators to musicians, writers and producers working in smaller spaces are fully accommodated. Zero Compromise on Sound Quality With the HS3 monitor pair, Yamaha proves that, even if you're working with limited space, that doesn't mean you have to make any compromises when it comes to sound quality. With a dynamic capacity of 26 Watts, you're still getting more than enough headroom when things need to get loud, and even at a standard volume level, you can expect pure sound with a flat response. In terms of connection options, you'll find a set of combo XLR/TRS jack ports fitted on the rear plus an RCA port that's compatible with any audio interface or amplifier. And, since both monitors are run by an integrated Class-D amplifier, the weight of the pair has been trimmed down and the cabled connections have been simplified.

Compared to standard compressors and equalisers, the SPL Stereo Vitalizer MK3-T has a few extra tricks up its sleeve and gives you more headroom, more bass, more mids and more treble than any of its predecessors. This popular masterbus processor can not only make any mix sound bigger and clearer, but injects the sonic saturation of two Sovtek 12AX7 vacuum tubes for fully vitalised low frequencies. It also runs on a higher internal voltage than the first-gen and second-gen models, resulting in an even broader dynamic range.

Teenage Engineering launch yet another bit of kit that's capable of much more than you'd expect at first glance. Enter the EP-133 K.O. II: a sampler, sequencer and composer in one. Designed to replace the original Pocket Operator K.O., this groovebox actually strays quite far from the PO concept and looks more like a combination of a classic Akai MPC console and an old-school calculator. At the same time, it's a seriously potent bit of kit, much like the Teenage Engineering TP-7 and CM-15.The EP-133 K.O. 2So, who's the EP-133 K.O. 2 for? Actually, this portable synth-style unit is aimed at a wide range of musicians and producers, especially beat creators and loop-based producers. It supports 24-bit AD/DA audio and features a built-in speaker, a 12-voice polyphony in mono mode (or 6-voice in stereo mode), a fistful of effects, and a 64MB storage capacity, which is quite a lot for sample-based creations, because remember, the EP-133 K.O. II isn't exactly designed for writing Wagner-style symphonies.Other FeaturesAs well as a built-in microphone, the Teenage Engineering EP-133 K.O. II comes with twelve touch-sensitive trigger pads for sampling and sequencing, a clear display packed with colourful little icons, and a standard line input and headphone jack - everything you need to whip up beats while you're on the bus, taking a break, or kicking back on the weekend.