Here’s where you need to know the real difference between “Pro” and “Semi-pro.” Most important thing to know is the difference is NOT necessarily sound quality. The difference is in line levels, +4 dB vs -10 dB, and in whether the build quality is aimed at the home/project studio or professional studios that put more daily wear and tear on their machines. You don’t need an expensive deck with all the bells and whistles to have fully professional results. ¼” half-track @ 15 ips is standard. There are a few ½” half-tracks out there, but that will narrow your mastering options down to few or none. Most mastering houses won’t support ½” half-track these days.
There are many good options. There isn’t a huge difference in sound from the least expensive to the most expensive, so most important these days is to get the machine that’s in the best condition. The biggest difference is the features offered on a given machine. Here are a few ideas from what I’ve owned or used at some time in my recording past.
Tascam 22-2 - low cost, great sound, very basic with no bells and whistles. 7-inch reels max, which gives you about 22 minutes of record time per 1800 ft reel @ 15 ips speed. I have two of these machines and have always had great results. The 22-2 was first introduced as a budget deck, but is underrated. RCA in/outs only. -10 dB line level. Tascam still has new heads for this machine and they are the least expensive of any ¼” half-track heads. The availability of new and used parts makes this a great candidate for restoration to “Like-new.”
Tascam 32 - probably the most prolific half-track machine in the world. Great sound, more features, takes 10-inch reels if you need them. Dependable machine with a virtually endless supply of parts out there… new and used, for maintenance. The heads are still available new for this one too. I still have a 32 as well.
Otari MX5050 - probably the second most prolific half-track in the world. A very solid, dependable machine with plenty of bells and whistles. Great machine, but new parts availability is not as good.
Revox B77 – Great machine, but the model designations make it difficult for the novice to find the right one… and in good condition they’re a lot pricier than any of the above models. Funny as it may seem, even though this is basically a Studer product the specs on paper aren’t much different than the Tascam 22-2. In use every deck has its own character, but again its not a matter of better or worse, just different.
Ampex ATR-102 - Arguably one of the best machines ever, but it will cost you. I would take this over any Studer. It’s been many years since I used one in a commercial studio, but my memories are all good. However, when it comes down to it I don’t think the cost would ever be worth replacing my Tascam 32 with one of these… unless I just wanted to impress my friends and clients.
With the 388 you can use a mixdown deck with either balanced XLR or unbalanced RCA inputs, so your options are many. The Tascam 42B and BR-20 have both balanced and unbalanced ins/outs, so are most versatile in that regard. They also have all the bells and whistles, and great sound.
