Welcome to BPB! And haha, I know what you mean. The grass is always greener on the other side!

I had a 3340 as my first tape machine and then Pete Townsend got involved in the band I was working with and leant me his Tascam 8 track on a number of occasions. When we started doing quite well as a band, we upgraded to a 16 track one inch Tascam and as the technology allowed ran a SMPTE from it to outboard drums machines, synths, sequencers etc. What I remember about that time was how to compete with the 2 inch Studers etc.in the big studios, as the smaller format tape machines never ever replayed a dynamic beat (such as an 808 bass drum) accurately. It just could not handle the punch. So we were itching for digital formats and never ever thought of the distortion factors of analogue, warmth etc because to get the punch and no tape hiss was the holy grail. How times change.

I would say that this collection is probably the best plug-ins IK has made thus far. The 388 and Porta One are excellent for lo-fi sounds, especially for synths and drum machines. The two TEAC machines have some of the best vintage tape sounds I’ve heard. When I was demoing them when they were first released I didn’t like them that much. When I’ve used them now; however, I’ve absolutely loved them! I have owned U-he Satin for quite a while and I’ve never found any tape plug-in that has come even close to it (no, not even Softube Tape or Slate VTM), but I’m starting to think that these TEAC plug-ins are up there with Satin. They don’t have the same freedom of control over the processing happening inside of the plug-ins, but you do have control over the most important parts.

I’ve received very positive feedback on the couple of mixes that I’ve used the TEAC plug-ins in so far. I probably wouldn’t use them a lot in mixes that call for a modern sound, but they will definitely become a mainstay in every mix that needs some vintage funkiness.

Btw; I noticed that in your review you mentioned the EQs in the record and play section: it’s actually the tape compander (compressor/expander) section. It works a bit like a pre-emphasis/de-emphasis EQ, but instead of de-emphasizing with an EQ you do it with a expander. If you, for example, increase the highs in the record section they get more compressed at the tape stage, then you bring them back again with the expander in the play section. It sounds great!

Dude, don’t get me wrong but why do you answer in French when the comment’s in English? 🤨🤨

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Oh yes, that is yet another not to underestimate factor, the space! I would not be able to house the analog equivalent in quality and magnitude in my two-room appartement…