Tascam 388 Prices?

gobbltygoop

New member
Hi! I'm Max, this is my first post! I wanted to ask about the Tascam 388, which I imagine you guys get an overwhelmingly annoying number of questions about...Do more and more research into the unit reveals just how popular or even kitschy this thing has become recently. Now a guy in my general area is selling one for $2600, recently serviced and in mint condition. I wanted to as all y'all, is that completely egregious for one of these things?

Here is the services done to it recently:

Relapped heads.
Calibrated for Maxell 35-90 tape.
Drop resistor in VU (lights will never go out)
Refurbished power supply
Lubricated tension arms
Pots/switches cleaned
New Arm rest

Thanks for any insight or advice!!
 
Hi! I'm Max, this is my first post! I wanted to ask about the Tascam 388, which I imagine you guys get an overwhelmingly annoying number of questions about...Do more and more research into the unit reveals just how popular or even kitschy this thing has become recently. Now a guy in my general area is selling one for $2600, recently serviced and in mint condition. I wanted to as all y'all, is that completely egregious for one of these things?

Here is the services done to it recently:

Relapped heads.
Calibrated for Maxell 35-90 tape.
Drop resistor in VU (lights will never go out)
Refurbished power supply
Lubricated tension arms
Pots/switches cleaned
New Arm rest

Thanks for any insight or advice!!

That's some good service done to it...but I still wouldn't pay $2600 for a 388...no disrespect intended for the 388 users.
I mean...I bought my Otari MX-80 with relapped heads and recent service performed, with everything 100% functional and lots of extra parts...for like $2200 if I recall...and it's certainly a lot more machine than a 388.
Granted, prices have gone up some since the old decks in running condition are harder to find...but still, $2600 for a 1/4" multitrack that can only use 7" plastic reels....? Naaa, not my thing.
Oh...I sold my *mint* Fostex G16, 1/2" 16-track, including a second "parts" G16 for around $1200...and that too would run circles around a 388.

Of course...it's all about supply & demand...so if you REALLY want a 388 and that's the only one within a 1000 miles...etc...than it's a seller' market and buyer's remorse. Like...how bad do you want it and how much are you willing to pay? :)
I would think in California there are people are tripping over all kinds of semi-pro and pro tape decks for that kind of money.
That said...I think some people get all hooked on the "compactness" of the 388...but to me, it was always too much of a "fumbly" kind of thing...having to load the tape inside the whole thing..etc...and I didn't like the idea of the mixer and the deck being married in that way...so if one dies, it kinda takes the other with it.
To each his own.
 
I've been monitoring the resale prices for 388's for the past few years, looks like ebay pricing for 388's jumped from $1100 or so three or four years back to $1500-1600 and now this year to $2500-2600. I think that is beyond ridiculous, but if you want one, that's what it will cost. I've had mine for 20 years or so, and I'll never sell it.... hopefully.
 
From a technical perspective, Miro is right, they shouldn't be going at similar prices to Otari 24 track machines.

But these things are hot as hell now and it seems everyone (at least in my area) is recording now on these. A lot of new studios are running Tascam 388's as the center piece of the studio and they are getting a lot of clients. The DIY/indie culture at the moment loves the distinct sound of these machines, it's ease of use AND limitations of 8 tracks.

Same thing is happening with portastudios, any model in working condition goes for at least $500, sometimes as much as $1000 in my area.
 
The DIY/indie culture at the moment loves the distinct sound of these machines, it's ease of use AND limitations of 8 tracks.

What sound is that?
What's special/different about it other than lower fidelity compared to most 1/2" 8 tracks and other tape formats.
I mean...clients are *specifically* coming because of the 388 "sound"...?
I find that pretty hard to believe.

AFA limitations and 8 tracks, there are other decks that will give you that.
Granted, it might be some "thing"...just like the cassette portastudios, which I understand their appeal more, because the cassette is small and simple to pass around etc.
I just don't see 8 tracks on 1/4" tape with a 7" reel limitation as any kind of draw, other than the fact it's an "all-in-one" package, which for many newbs might be an appealing way to get into "tape"...but I don't see any sonic quality draw, unless it's kinda the "step up" in lo-fi or something from the cassettes.
Certainly not for $1600...and definitely not for $2600.
 
---------- Update ----------

That's some good service done to it...but I still wouldn't pay $2600 for a 388...no disrespect intended for the 388 users.
I mean...I bought my Otari MX-80 with relapped heads and recent service performed, with everything 100% functional and lots of extra parts...for like $2200 if I recall...and it's certainly a lot more machine than a 388.
Granted, prices have gone up some since the old decks in running condition are harder to find...but still, $2600 for a 1/4" multitrack that can only use 7" plastic reels....? Naaa, not my thing.
Oh...I sold my *mint* Fostex G16, 1/2" 16-track, including a second "parts" G16 for around $1200...and that too would run circles around a 388.

Of course...it's all about supply & demand...so if you REALLY want a 388 and that's the only one within a 1000 miles...etc...than it's a seller' market and buyer's remorse. Like...how bad do you want it and how much are you willing to pay? :)
I would think in California there are people are tripping over all kinds of semi-pro and pro tape decks for that kind of money.
That said...I think some people get all hooked on the "compactness" of the 388...but to me, it was always too much of a "fumbly" kind of thing...having to load the tape inside the whole thing..etc...and I didn't like the idea of the mixer and the deck being married in that way...so if one dies, it kinda takes the other with it.
To each his own.

You're right! It is a ton of money, but if it's something someone really wants then it'll be hard to talk them out of it...haha. They say the 388 has a special sound to it unlike machines, but I wonder if some effects could emulate that, like a nice studio compressor? Honestly, I love the idea of have a 388, but I feel like spending that much on it is just like the seller giving me the finger right to my face. There's a TSR8 and a Tascam 2516 in my area for $1800, I just don't know anything about mixers and what is good or not. And I don't know how I'd be able to tell how good of condition the tape machine was in, I guess it's the struggle of being new!
 
I've been monitoring the resale prices for 388's for the past few years, looks like ebay pricing for 388's jumped from $1100 or so three or four years back to $1500-1600 and now this year to $2500-2600. I think that is beyond ridiculous, but if you want one, that's what it will cost. I've had mine for 20 years or so, and I'll never sell it.... hopefully.

I know it seems like a big F U to sell them for that much, but then again, they are priced that high because people will pay that much. I think being in California too means there's a lot of people looking for one. That's cool you have one. How do you like the sound of it? Mentioned a lot is the unique sound it produces, do you agree with that, or do you think there are other machines which could produce the same or similar sound?
 
From a technical perspective, Miro is right, they shouldn't be going at similar prices to Otari 24 track machines.

But these things are hot as hell now and it seems everyone (at least in my area) is recording now on these. A lot of new studios are running Tascam 388's as the center piece of the studio and they are getting a lot of clients. The DIY/indie culture at the moment loves the distinct sound of these machines, it's ease of use AND limitations of 8 tracks.

Same thing is happening with portastudios, any model in working condition goes for at least $500, sometimes as much as $1000 in my area.

I record on a Portastudio now haha (424 MKIII, got it for $100!), so it feels like the logical next step because I'm so in love with the lo-fi, tape-hissy sound. But what you're saying is very interesting to me, is it possible this machine has such a unique sound incapable of being emulated on other machines of the same era? I get so caught up in this idea that it produces it's own sound, and similar to the portastudio that's the sound I want, but $2500 for that specific sound....I dunno I feel like there's better options, but I'm really not sure!
 
What sound is that?
What's special/different about it other than lower fidelity compared to most 1/2" 8 tracks and other tape formats.
I mean...clients are *specifically* coming because of the 388 "sound"...?
I find that pretty hard to believe.

AFA limitations and 8 tracks, there are other decks that will give you that.
Granted, it might be some "thing"...just like the cassette portastudios, which I understand their appeal more, because the cassette is small and simple to pass around etc.
I just don't see 8 tracks on 1/4" tape with a 7" reel limitation as any kind of draw, other than the fact it's an "all-in-one" package, which for many newbs might be an appealing way to get into "tape"...but I don't see any sonic quality draw, unless it's kinda the "step up" in lo-fi or something from the cassettes.
Certainly not for $1600...and definitely not for $2600.

Right on! Yea, like I replied above, I'm moving up from a Tascam 424 MKIII, which I moved up to from a Tascam MF-P01, which I started on, so my whole experience of recording has been with portastudios haha. But you're right, the ease of the cassette tape is definitely what is so cool and accessible about those machines, and definitely made my early recording goals feel much more attainable.

I really don't know what the specific sound is that people say the 388s produce. I think it is that mystery that largely contributes to my desire of it, plus my fondness of the lo-fi type recordings. But right, I don't feel right spending that much, I just don't know a machine that may sound similar, and a mixer that would be of good use.
 
I would honestly like to know what that "sound" is that sets the 388 apart in a good way...?
If people can't at least describe it or demonstrate it...then it's all just myth because there's some lo-fi tape deck resurgence for some reason the last few years.

I think it's just about people who probably haven't worked with much or any analog/tape (no disrespect intended, we all started somewhere)...and they've kinda focused on these units and given them some mythical "sound" that they think they hear...but probably have no decent tape decks to reference to....or like I said, moving up from cassette, most anything would sound better.

Point I'm making is that when the 388 was in full production...I don't recall anyone preferring them over a nice 1/2" 8-track open reel deck or something even more upscale.
The 388 was an all-in-one package and that's what made it "cool"...but that's kinda how we all felt when we had our 3340 1/4" 4 tracks and Model 3 or better yet Model 5 mixers...we *thought* we found audio nirvana. :D

Anyway...I'm not nocking it...just saying that the bloated prices are probably due to some unintentional hyping of the deck, and of a "sound" that probably doesn't exist. 5-10 years ago, I don't remember there being a mad dash to buy these things...if anything, people were unloading them because when they go down, they are a PITA...and like I said earlier...if you lose one half, you also lose the other. I don't think you can separate the two, and use just the mixer as a mixer with another deck...but I could be wrong about that.

That said...you are right...the market drives the price, and if you want it that's what you pay for it...but again, I would rather drop $2600 on a 2" 24 track than even consider a 388....but that's just me. :)

There was an MX-80 just a week or so ago on eBay (already gone, someone smart grabbed it quick) going for like $2500.

Here's a 16-track MX-70 that will also dance circles around a 388...and it's less money. Granted, it's in NJ...but I'm just saying there are WAY better choices out there for $2600 than a 388 (I don't care what shape it's in)...and California is full of old analog tape decks.

Otari MX-70 Professional Tape Recorder (1989) reel to reel recorder NICE | eBay
 
Definitely a better idea to get a 1/2" 8-track and Tascam mixer than a 388 at this point, unless you're rich. A 388 at that price defeats the purpose of a 388.
 
I would honestly like to know what that "sound" is that sets the 388 apart in a good way...?
If people can't at least describe it or demonstrate it...then it's all just myth because there's some lo-fi tape deck resurgence for some reason the last few years.

I think it's just about people who probably haven't worked with much or any analog/tape (no disrespect intended, we all started somewhere)...and they've kinda focused on these units and given them some mythical "sound" that they think they hear...but probably have no decent tape decks to reference to....or like I said, moving up from cassette, most anything would sound better.

Point I'm making is that when the 388 was in full production...I don't recall anyone preferring them over a nice 1/2" 8-track open reel deck or something even more upscale.
The 388 was an all-in-one package and that's what made it "cool"...but that's kinda how we all felt when we had our 3340 1/4" 4 tracks and Model 3 or better yet Model 5 mixers...we *thought* we found audio nirvana. :D

Anyway...I'm not nocking it...just saying that the bloated prices are probably due to some unintentional hyping of the deck, and of a "sound" that probably doesn't exist. 5-10 years ago, I don't remember there being a mad dash to buy these things...if anything, people were unloading them because when they go down, they are a PITA...and like I said earlier...if you lose one half, you also lose the other. I don't think you can separate the two, and use just the mixer as a mixer with another deck...but I could be wrong about that.

That said...you are right...the market drives the price, and if you want it that's what you pay for it...but again, I would rather drop $2600 on a 2" 24 track than even consider a 388....but that's just me. :)

There was an MX-80 just a week or so ago on eBay (already gone, someone smart grabbed it quick) going for like $2500.

Here's a 16-track MX-70 that will also dance circles around a 388...and it's less money. Granted, it's in NJ...but I'm just saying there are WAY better choices out there for $2600 than a 388 (I don't care what shape it's in)...and California is full of old analog tape decks.

Otari MX-70 Professional Tape Recorder (1989) reel to reel recorder NICE | eBay

No disrespect at all! I'm trying to keep reminding myself that the 388 is most likely hyped up by people who don't know a whole lot about recording, they just know what gear certain musicians use. I do love the lower-quality sound of the machine though, at least what I have heard on recordings that used a 388.

Do you think there are ½” 8 tracks that produce the similar lo-fi like sound? If I had a budget of $2000-$2500 but wanted something that kept the quality of recordings pretty hissy, and low-quality, what would you recommend. That link you sent is for an awesome machine, but the thing is, I need a mixer as well, and I don’t know which ones are good, or how to choose a quality one!
 
Definitely a better idea to get a 1/2" 8-track and Tascam mixer than a 388 at this point, unless you're rich. A 388 at that price defeats the purpose of a 388.

Ya that is kind of the feeling I'm getting from most people who know stuff about analog recording gear. I am definitely not rich!!! I want a quality machine and mixer, but I really love the lo-fi sound of the 388. Do most 1/4" and 1/2" tape machines produce the same hissy sound? What would you suggest as a good 8 track recorder and mixer setup for $1500-$2000, or more if necessary?
 
No disrespect at all! I'm trying to keep reminding myself that the 388 is most likely hyped up by people who don't know a whole lot about recording, they just know what gear certain musicians use. I do love the lower-quality sound of the machine though, at least what I have heard on recordings that used a 388.

Do you think there are ½” 8 tracks that produce the similar lo-fi like sound? If I had a budget of $2000-$2500 but wanted something that kept the quality of recordings pretty hissy, and low-quality, what would you recommend. That link you sent is for an awesome machine, but the thing is, I need a mixer as well, and I don’t know which ones are good, or how to choose a quality one!


TBH...I never quite "got" the whole lo-fi thing.
I mean...back in the day, I did a LOT of "lo-fi" recordings...using a 1/4" 4-track and then mixing down to a cassette deck...or even using a cassette deck to bounce stuff, but eventually I added a 1/4" 2-track mixdown deck. Mind you, these were still consumer grade machines, but the open reel decks were actually pretty good sounding. They were made by Akai, and they had glass & crystal ferrite heads...so quite smooth.
Still, there was plenty of lo-fi to be had.

While there is certainly a lot of nostalgic connection and history with those recordings (I still have all the 1/4" tapes and cassettes from then)...all I ever kept thinking about and trying to do was to get away from that "lo-fi" stuff and move up to more pro quality equipment.
I don't know what the appeal is with "lo-fi" recordings, other than it has that garage band, "demo tape" sound...
...which IMO, is liked by some people because it *removes* the need to reach any pro level quality. It's lets you off a lot of hooks when you don't have to try and get pro quality...and it's more of a "as-it-falls" approach...which can be fun, no doubt. Take what comes and don't touch it afterward.

Also...I think a lot of people confuse "lo-fi" with pro music that was recorded back in the '50s and '60s...as though THAT was the original intent, but quite the opposite, they were trying to get as pro/pristine quality as possible, and the "sound" that is often associated with some "lo-fi" music, is really about the production and just the limitation imposed on it (they didn't have DAWs with 1000 tracks and 500 plugins)...but there was no conscious "lo-fi" production goal, as there seems to be today with some folks.

Now if some people like the hiss and the noise and the "garage band", "demo tape" thing...that's OK, but frankly, I don't think you need to use older, crappier gear to get there. I mean, if you want some hiss, these days you can probably use a plug-in :D ...but really, it's more about the arrangements, the tone selection for the instruments, and the limited/sparse production approach...not so much the lousy Signal to Noise on some cheap cassette deck.
Of course...maybe for some, the hiss and the noise is the "effect" they want to add to their music....though I tend to try and get as far from that as possible these days. I had enough of it when I was stuck with a 4-track and cassette to last me a lifetime. ;)

Check out some of the Daptone Records stuff...it has that very old-school sound, which I think a lot of folks associate with "lo-fi"...but there's really nothing lo-fi about the quality. I mean heck, they did a bunch of stuff for Amy Winehouse back in the day...and while the music sounds "old"...there was no "lo-fi" intent with the audio quality. They have some decent gear at the Daptone Studio...even an old Trident 65, which I'm happy to see, considering I have the bigger London 24 version.
So nothing shabby about the gear...it's all about the production and the music.

Look behind Gabe in the beginning...there's an Otari 1/2" 8-track. :)

 
I would honestly like to know what that "sound" is that sets the 388 apart in a good way...?
If people can't at least describe it or demonstrate it...then it's all just a myth...

There is nothing about the 388 that sets it apart in a totally unique and unobtainable way, it's just the combination of the mixing section with the 7.5IPS tape speed on 8 track 1/4" tape with DBX.

If you want the same sound, get a M308 mixer (which is the mixer that the Tascam 388 mixing section was taken from, exact same). Get a Tascam 38 and outboard DBX units then run the tape at 7.5ips and it will have exactly the same sound as a Tascam 388.

That's a lot of individual, old equipment that you have to source to get the same sound and hence why the 388 is a nice neat package. What made people want this specific sound was that a lot of artists (Mac DeMarco comes to mind) have been using these to record their last few albums and if you get a Tascam 388, you can get essentially the same sound (with variations depending on what mics you use).

Using a Tascam 388 means that you are using the same DBX, the same preamps, the same EQ, the same tape speed and the same tape format as every other 388 user.

If you get a Tascam 38 for example, people pair it with all different kinds of mixers, preamps, EQ's, NR or no NR, different tape speeds..... These all change the sound you end up with.

You're right about the appeal for users with limited analog recording experience (which is 95% of engineers these days), Tascam 388 is basically a plug and play analog recording system that instantly imparts an identifiable sound (which you hear all over indie radio). Saves you a lot of time and money buying, learning and trying different mixers, tape decks etc. to get you sounding like the radio.

It's not as versatile as an Otari MX70, but there are a lot of people who love recording to cassette and dream about getting a 388 as it's a bit more versatile than cassette 4 tracks but still maintains the vibey lo-fi sound that's currently trendy.
 
There is nothing about the 388 that sets it apart in a totally unique and unobtainable way, it's just the combination of the mixing section with the 7.5IPS tape speed on 8 track 1/4" tape with DBX.

If you want the same sound, get a M308 mixer (which is the mixer that the Tascam 388 mixing section was taken from, exact same). Get a Tascam 38 and outboard DBX units then run the tape at 7.5ips and it will have exactly the same sound as a Tascam 388.

That's a lot of individual, old equipment that you have to source to get the same sound and hence why the 388 is a nice neat package.

........


It's not as versatile as an Otari MX70, but there are a lot of people who love recording to cassette and dream about getting a 388 as it's a bit more versatile than cassette 4 tracks but still maintains the vibey lo-fi sound that's currently trendy.

Yeah...I do get that, the 388 has everything in one box...and it makes it attractive to people who want a compact rig...but to me, it's exactly the reason to stay away from it, because you have more flexibility and longevity with individual pieces. If one goes, you can replace with another/different piece...or if you suddenly outgrow one piece, you can still keep the others...etc...but I also do get that financially, all-in-one boxes tend to be the less expensive way to go, but man, not when people are asking $2600 for a 388. You could get a 1/2" 8-track, or even a 16-track...plus a small mixer...for that same amount of money, IMO.

AFA the DBX NR...meh...I don't particularly care of it. My Fostex G16 had the Dolby C...which sounds kinda the opposite of the DBX (Dolby is kinda dullish while DBX is kinda "hissy" sounding, IMO). I didn't care for the Dolby C either.
I don't use any NR with my MX-80, but with the small format machines, you kinda have to.
I've considered the high-end Dolby SR units a coupe of time when I've seen people selling them (usually too pricey)...but the MX-80 at 15ips sounds great without any NR, and I can even go to 30ips if I wanted things even more cleaner, though I've not had a reason to.

Anyway...you're right about the 388, and to me, it IS like a large cassette portastudio, so I think it's often the portastudio guys who move to the 388.
 
Just my two cents....

I'd go for the 1/2 inch and the mixer.

The initial appeal of the 388 was that it was an 'affordable' open reel multitrack, and a 'portastudio'. Compared to a 1/2 inch , 1 inch, or 2 inch machine and a Neve console, yes, it was affordable as well as portable.
But it wasn't actually that affordable nor portable, and I never fell for the hype.

I'm not saying I wouldn't own one, but not at the current pricing. My magic # would be in the 2 to 800 range. (Provided it was fully servciable)
Yeah, picky. I know.:D

Current pricing is totally due to the cult following they have. Why the cult following? Lots of people putting up youtube videos, and talking about them online, as well as a few minor indie artists using them.

I admit they do have their charm and are very 'retro-cool'

But i believe you can do better for less cash, and have a setup that can grow with you.


Edit: As to that lofi sound? Simple. Get a bunch of people in a room together, reheasrse them, mic everyone up, turn off the noise reduction and record.
With nr turned off and the mic bleed, and real humans playing un-quantized...... boom! LoFi at it's finest.
Lo fi has more to do with recording style than lo quality equipment. (imho)
 
Last edited:
Yeah...I do get that, the 388 has everything in one box...and it makes it attractive to people who want a compact rig...but to me, it's exactly the reason to stay away from it, because you have more flexibility and longevity with individual pieces. If one goes, you can replace with another/different piece...or if you suddenly outgrow one piece, you can still keep the others...etc...but I also do get that financially, all-in-one boxes tend to be the less expensive way to go, but man, not when people are asking $2600 for a 388. You could get a 1/2" 8-track, or even a 16-track...plus a small mixer...for that same amount of money, IMO.

AFA the DBX NR...meh...I don't particularly care of it. My Fostex G16 had the Dolby C...which sounds kinda the opposite of the DBX (Dolby is kinda dullish while DBX is kinda "hissy" sounding, IMO). I didn't care for the Dolby C either.
I don't use any NR with my MX-80, but with the small format machines, you kinda have to.
I've considered the high-end Dolby SR units a coupe of time when I've seen people selling them (usually too pricey)...but the MX-80 at 15ips sounds great without any NR, and I can even go to 30ips if I wanted things even more cleaner, though I've not had a reason to.

Anyway...you're right about the 388, and to me, it IS like a large cassette portastudio, so I think it's often the portastudio guys who move to the 388.

Yeah I wouldn't use any type of NR either if I had 16 or 24 tracks on 2" tape. I can get away with not using NR on my Tascam MSR16 (16 tracks on 1/2" tape) if I'm recording super hot onto the tape and only for a dirtier rock n roll style, acoustic or most other styles NR is a must on that narrow track format.

A nice condition 388 ad went up for $1900AUD locally to me a few weeks ago and was snapped up within hours. I could of got it but really no interest to me (at any price) as I already have an established setup with regards to mixer, tape recorder combo and all the outboard gear to do all sorts of things so the all in one package has no appeal to me and I know my setup is much more versatile (and capable of much higher fidelity when needed) than a Tascam 388.

In summary, great first step into the analog recording realm if you don't have much knowledge or experience in analog recording. Otherwise a nice, logical upgrade from a cassette portastudio.
 
A nice condition 388 ad went up for $1900AUD locally to me a few weeks ago and was snapped up within hours.

So if I buy up all the 388 decks I could find and ship them to AU...I could make a nice profit. :D

https://www.ebay.com/sch/i.html?_from=R40&_trksid=m570.l1313&_nkw=tascam+388&_sacat=0

I have to admit that this is one of the few old analog products from Tascam that's actually (suddenly) appreciated in value.

It kinda reminds of the tape echo craze.
There was a time you could find them for a couple hundred bucks, everyone switched to digital delay and reverb...and then the internet (eBay) and audio forums hyped the shit out of them...and now they're asking like $2000+ for a Roland Space echo. :facepalm:
I bought a Multivox MX-201 tape echo way back, like late '70s...it's pretty much a knockoff of the Roland units...and I still have it, and it works just fine, but TBH, I don't use it all that much. I know I could probably get at least $1000 for it these days, maybe more, because when the Roland Space Echo craze kicked in, people quickly found out that the Multivox was very similar, so the Multivox process shot up too...plus just about any other tape echo ever made, including all kinds of oddball units from various countries where someone made them.

I'm sure some of the lo-fi fanatics would scoop it up in a flash...and pay top-dollar for it.
Then there's my vintage EMT 240 gold foil reverb unit...it too works, and I tend to use it mostly on the drums. I know that too is a hot item when there's a working unit available.

It's funny how everything old is new again...and what was relatively insignificant or not considered very sought-after...is now the stuff everyone is looking for.

If I could have only been Marty McFly...quick trip 50 years into the future...and then come back and buy up all the cheap stuff that will become retro-cool...and make a fortune on it. ;)
 
If I could have only been Marty McFly...quick trip 50 years into the future...and then come back and buy up all the cheap stuff that will become retro-cool...and make a fortune on it. ;)

Yes, the Space Echo craze is very real - an essential instument in every psych band in Melbourne.

I think the next craze will be the standalone multitrack harddisk recorders from a couple of decades ago - Roland VS1680 and I saw a fully working Tascam 2488 neo sell for $50 the other day.

The Roland VS880 enjoyed some cult status when it came out as Sufjan Stevens used it to record a couple of his albums - recording the entire album at 32kHz sample rate on the VS880 because he kept running out of space on the built in hard drive at 44kHz. Mmmm that late 90's lo-fi digital sound! :guitar:
 
Back
Top