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IK Multimedia T-RackS TASCAM Tape Collection REVIEW

T-RackS TASCAM Tape Collection REVIEW (WINNER ANNOUNCED)

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If you’re going to emulate some legendary hardware, working with the original manufacturer is an excellent place to start. IK Multimedia put this collection together in collaboration with TASCAM for their 50th anniversary.

Read more in our IK Multimedia T-RackS TASCAM Tape Collection review and enter the giveaway to win a FREE copy of the software.

Recreating the sound of vintage hardware in plugin form can be a thankless task at times. Some purists will tell you it sounds awful before they even hear it. Personally, I like to take each on individual merit; some are terrible, some are good, and now and then, some are remarkably good.

The TASCAM Tape Collection got my attention when it was announced, so I’m delighted to have the chance to check it out.

T-RackS TASCAM Tape Collection – What’s in the Collection?

The collection features four vintage tape machines and has an introductory price of €129.99 (usually €199.99).

TEAC A-6100 MKII

The TEAC A-6100 MKII arrived on the scene in 1973 as one of the first tape machines made specifically for mastering.

It’s the most subtle of the four, and you have to make more significant adjustments to get more noticeable changes. It adds instant authenticity with the right amount of tape saturation and compression.

TEAC A-3340S

The 1972 A-3340S was the first four-track recorder that featured synchronized overdubbing.

When used with the 911 tape formulation, it delivers the definitive tape sound with saturation that can be warm or more aggressive when pushed.

TASCAM 388

The TASCAM 388 eight-track recorder came around in 1985.

Of the four, the 388 provides the most comprehensive scope for creative tweaking, thanks largely to the three-band EQ.

TASCAM Porta One

The four-track TASCAM Porta One MiniStudio looks and sounds like the 80s/90s.

I’m not just bundling two decades of sound together, but I’m talking about that boombox image. It makes me think of movies like Do the Right Thing, and it’s great on Hip Hop, New Jack Swing, etc.

IK Multimedia says TEAC and TASCAM selected the most sought-after models from their history, which is no surprise. They then sourced the most pristine example of each unit available and fully restored them to factory specification.

Spectrasonics did a similar thing on a larger scale with 36 vintage keyboard instruments for Keyscape.

The behavior and performance of vintage gear aren’t always consistent from one unit to another, so multiple hardware owners could have slightly different expectations of how something should sound. What I like most about this collection is that it starts with the sound and performance that the manufacturer intended all those years ago.

Having the original manufacturer’s seal of approval doesn’t guarantee success, but it certainly doesn’t hurt.

Using T-RackS TASCAM Tape Collection

The first thing to note is that you can open these plugins inside the T-Racks 5 shell or individually in your DAW.

As far as image goes, I think these plugins look great, and that’s pretty common with IK Multimedia. Good looks aren’t essential, but when a plugin looks clunky or has a strange/tedious layout, it becomes less appealing to use; these GUIs are fully resizable too, which is always nice.

The layout of each plugin follows the design of the original tape machines pretty closely, minus a few adjustments for plugin form. Each plugin also shares the same set of controls, with just a few slight differences.

The shared controls allow you to quickly become more confident with all four plugins, especially for users new to tape machine plugins. Instead of struggling with too many controls, you can focus on how each plugin sounds and reacts.

The TEAC machines have Record and Play sections, the TASCAM machines have Record and EQ sections, including some of the most important controls.

In the Record sections, you’ll find Bias, Level, and HF EQ. In conjunction with the main Input, these three controls let you bring out varied effects of the recording head. Pushing the Record Level will result in more obvious saturation, and the HF EQ can either highlight or compensate for the loss of high-frequency content with magnetic tape recorders.

The Bias is a bit more interesting; generally, Bias on a tape machine provides optimal fidelity through a more linear magnetic transfer. Increasing the Bias will typically produce a warmer sound with more saturation; reducing it will typically enhance any non-linear effects like distortion.

You don’t have to adjust the Bias, but it’s something that is often used exaggeratedly.

There is an Input/Repro switch that determines whether your signal goes through the whole analog recording system or just the electronic input/output stages. I can see why people might like both options, with Input being more transparent.

But, for me, I doubt I’d stray from Repro because you can still be subtle without losing any of the tape machine processes.

I love the EQ in the Record and Play stages; even if they are subtle, you can do a lot of fine-tuning, avoiding the need for another plugin.

The TASCAM Porta One has the same EQ as the TEAC models (Play), but the 388 has a three-band EQ with a wide frequency range.

True Stereo recreates the subtle variation between left and right channels that you’d expect from a tape machine. The variation isn’t overwhelmingly noticeable, but it’s part of the analog charm. You can disable it if you prefer to keep both channels identical.

Transport Modeling mimics the behavior of the mechanical transport, which increases the likelihood of very slight irregularities.

Features like True Stereo and Transport Modeling are amongst my favorite things about this collection.

I say that for a couple of reasons; firstly, it’s an example of how IK Multimedia modeled each part of these tape machines in great detail. It’s about recreating the interaction between those different parts that play a role in the final sound.

Secondly, when developers add such features, they sometimes exaggerate them as if that validates their inclusion more. When that happens, you end up with something that sounds false and gimmicky; that’s not the case here.

The Tape Speed is shown on each machine as Low and High, representing 7.5 and 15 inches per second (IPS), respectively. Setting the Tape Speed has a lot to do with the desired sound and the style of music in question. I prefer the Slow speed because it sounds warmer and less clinical, but the increased fidelity of the High speed works well, too, particularly with a more modern sound.

The TASCAM 388 has no Tape Speed controls.

Magic Formulas

There are five tape formulations in total. Each machine offers four of those formulations, with the selection varying from one machine to another. The TASCAM Porta One is the exception, which offers two cassette tape formulations (Type I and Type II). As a nice little aesthetically pleasing feature, you’ll see the tape change on the GUI when you select different formulations.

Here are the formulations and their defining characteristics:

  • 35 – Balance between precision and warmth of the TASCAM 388.
  • 911 – Balance between precision and warmth on the TEAC machines.
  • 456 – The most commonly used and definitive tape sound.
  • GP9 – Punchy and modern.
  • 499 – Analog sound with minimal distortion/compression and enhanced HF definition.

The impact of changing formulation depends on the machine you are using and how you have it set up. With default settings, the effect of changes is fairly minimal; you’ll hear it, but it’s not a drastic change. You notice a subtle but steady transition from a warmer or darker sound to a more open and modern sound as you cycle through the selections.

The two cassette tape types of the Porta One have more distinct characteristics. Type I (normal bias) has an apparent Lo-Fi sound, and Type II has a cleaner sound.

CPU-Unfriendly

I want to touch on this briefly because it’s to be expected. With many moving parts (processing), the trade-off is higher CPU usage; this is true of these plugins. It’s not going to cripple your project in any way, but you wouldn’t want to have too many instances running. Even if the CPU usage was far less, these plugins aren’t ones that you’d want all over everything in your mix anyway.

T-RackS TASCAM Tape Collection – Final Thoughts

I don’t own any of these tape machines in hardware form, so I’m not making direct comparisons. I’ve heard people saying bluntly, it’s not as good as the real thing, and I’ll agree, that’s fine.

Without ever using a real TEAC A-6100 MkII, if offered the machine or the plugin, I’ll take the machine. However, I find it ridiculous that people who make it clear they are hardware-only purists take the time to comment so passionately on plugins; just don’t buy it.

Anyone who is open to software will know that emulations are getting better and better. The trouble isn’t so much creating a good sound; it’s mimicking the inconsistencies of an analog machine, and the relationship between each stage; that’s where I think IK has done a fantastic job.

I love how they sound, and I love that they aren’t as obvious/intrusive as many other tape emulations. I think they sound very close to the original units (as far as I can without owning one), and it’s fantastic when you add the convenience of a plugin (no maintenance, no flight case).

Even beyond the introductory price, the full price of €199.99 seems reasonable value for money to me for the collection. I mean, I wouldn’t mind if they reduced the price to, say, around FREE, but that’s stretching wishful thinking.

Plugins come in 64-bit AU, VST2, VST3, and AAX formats for macOS and Windows.

More info: T-RackS TASCAM Tape Collection

The Giveaway

We are giving away a FREE copy of the T-RackS TASCAM Tape Collection to one lucky BPB reader (thanks, IK Multimedia! ❤️).

To enter the giveaway, answer this question in the comments section: Would you ever substitute your digital studio for an entirely analog one?

We will pick the winners using a random comment picker on Monday, November 29th.

The winner is: Nicolas Fournier: n********@gmail.com

Congratulations! :)

Everyone else, thanks for participating, and better luck next time. Thanks for reading BPB! :)

More articles:

T-RackS TASCAM Tape Collection Review

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James is a musician and writer from Scotland. An avid synth fan, sound designer, and coffee drinker. Sometimes found wandering around Europe with an MPC in hand.

689 Comments

  6. @dafingaz

     on

    No. I like to created while on the go (vacations, traveling, out with the family).

    That would be really hard in an all analog world. 😳🤣

    Reply

  18. JT Harris

     on

    I don’t think I’d replace one for the other, but I’d sure like to attend the week long Analogue Boot Camp, and see and hear what happens. I do value IK’s products and use many of them frequently.
    Thank BPB!

    Reply

  23. Sascha

     on

    no, never these days.
    I have participated and used the technical development. 4+8 track cassette recorder, tape machine, HD+MD recorder and then computer based recording.
    Not everything is 100% great in the digital age, but I wouldn’t want to miss or trade the possibilities of today.

    Reply

  24. Javier

     on

    Not really

    I believe in a few more years the analog will be a complement to the digital one. Digital is getting closer and closer in quality and allows a more exact way of working if needed.

    Reply

  32. Simon Oxblod

     on

    I would. If I could afford it. I would love to work old school with tapes and spring reverbs and such. But it’s but a dream.

    Reply

  33. hammerpocket

     on

    If I could have the hardware equivalent of all the plugins I have (an SSL desk, LA2As, 1176s, Fairchild 670, grand piano, Mellotron, Hammond B3, Wurlitzer 200A, a collection of classic synths, practically every guitar amp known to man, bass guitars, drums, orchestral instruments of all types, great recording rooms, plate reverb, etc., etc., etc.), then.. well, no, I still don’t think I would give up digital recording!

    Reply

  37. Demetrios

     on

    Yes, and here is why. If I lose access to the Internet or cannot use it in certain spaces, I cannot use or download a lot of digital functions.

    Each layer of dependence you add to the process jeopardizes your ability to be creative in the future. One should have no anxieties when they create.

    Reply

  38. Cam

     on

    I wouldn’t substitute digital for analog, only because digital is more efficient, even though analog has the character & tone that I want. My dream is to have a hybrid of the two

    Reply

  40. Chris Thomas

     on

    Replace? No chance. That said, I am shopping for an old tape machine to supplement my setup :) These plugins would make for a fun comparison.

    Reply

  43. Mike Herrera

     on

    No, definitivamente no sería posible, sería un sueño claro, pero no creo que sea posible, crecí completamente en el mundo Digital, no podría entrar a un mundo Analógico, quizá podría tener algunos equipos que brinde ese sonido pero enteramente dejar lo digital, creo sería imposible y poco sustentable.

    Reply

  48. Belman

     on

    Muy difícil, ya que el proceso de audio digital cada vez va tomando mayor fuerza y hay muchas mejoras 👌 Aunque es difícil sustituir un equipo analógico, hay varios plugins hoy en día que hacen muy buenas emulaciones ¡¡
    Mientras tanto seguiremos trabajado el Audio Digital ¡¡

    Pdta. Buena reseña de las Cintas ¡¡ 👌

    Reply

  49. Bajista Mendoza

     on

    Creo que es muy difícil ¡¡
    Hoy en día se pueden hacer muchas cosas similare con Software y Plugins Digital mente ¡¡

    Reply

  50. Dimaslavsky

     on

    If there was such a person who would agree to sponsor me, throw money into my orchestra and buy me analog equipment instead of my plug-ins, I would definitely not refuse.
    and then I would have safely sold all this and flew to the Mekong Delta, because I had never been there.

    Reply

  54. Michael

     on

    Not entirely, no.
    But I’m working ITB plus a small amount of analog hardware and consumer tapedecks, which are an amazing addition to the whole sound.

    Reply

  55. Scott

     on

    If I can a fully analog studio with everything that I wanted (so we are talking an LA recording studio plus) it would be hard to say no. But digital includes a DAW and there is NO way I would splice tape! : )

    Reply

  56. Antonio Iunco

     on

    YES! And then I’d sell most part of the analog gear in and reinvest it in acoustics, networking, plugins, marketing and, of course, education!

    Reply

  65. Osvaldo Morejon

     on

    I would not do that. It is just a better workflow for these days having the flexibility and be able to work in any place just usin your basic gear.

    Reply

  69. Adam Rogers

     on

    No. I think digital provides so much flexibility and simplicity (a at least in terms of wiring, connections, power use, heat etc.) A partially malady studio would be nice, but not solely.

    Reply

  70. Norman Stewart

     on

    I would not change. Too much versatility with plugins. I can put a different version of a Fairchild compressor on 50 different tracks if I want!

    Reply

  71. mx

     on

    i would not substitute software completely, because it is just too handy compared to working analog all the way.
    but the pleasure of turning real potis, also two at a time, will always make me do certain things with hardware, though it doesnt have to be analog inside.

    Reply

  72. Mr Olu

     on

    No, not completely, but mostly…about 70% analog and 30% digital. However, I would definitely insist on all vintage analog consoles. I still can’t get over the drastic difference in sound and character between analog boards and digital ones.Would definitely want real Leslie speakers and old school reverb units

    Reply

  73. Al F

     on

    Analog sound is now at our reach with all the incredible plugins we have. The digital workflow is so much better that I couldn’t think about changing how I work right now.

    Reply

  77. Arath Adriel

     on

    I think if I had the opportunity and the economy acceptable, I would. I think that despite being used to working in digital, I believe that it is never too late to learn new things, especially as producers, that we are constantly learning and adapting in the musical environment.

    Reply

  80. Irion Da Ronin

     on

    I wouldn’t change my way to make music or workflow, that would mean more time invested, and i want focus my time in making music, not learning new stuff, or even buying stuff.

    Have a nice day and good luck everyone! :)

    Reply

  81. Leo

     on

    Both digital and analog have their own merits. I want to use it on a case-by-case basis. So sometimes it’s completely analog, sometimes it’s completely digital, and sometimes it’s a mix of both. But with the amazing T-RackS TASCAM Tape Collection, it may be possible to move completely to digital. Give me a present to verify that!!

    Reply

  83. RedBaron

     on

    Hybrid is a desirable option for two worlds meeting. A complete Analogue set up would bring the comforting heat and energy from the components. Not forgetting the distinct smell of valves and transformers cooking before air con was prevalent.

    Reply

  85. Luis Mario Magaña

     on

    Yes!! i love analog hardware, i recorded many music on Tascam analog and digital machines, i have a Tascam M-160 on my studio and cassette recorders, tape machines. Yes!

    Reply

  87. Marcelo Ribeiro Simões

     on

    At the first time, no, I would not.
    But it depends on what analog items I could have.
    Studer(s), SSL(s), etc. could make me tempted… ;-)

    Reply

  89. Stefano Papetti

     on

    It wouldn’t make any sense to discard all the convenience and advantages of digital audio. Still, a lot of nice hardware is also becoming affordable, and it’s great that I could add a few devices to my setup lately, especially synths and drum machines. I still feel the connection with a hardware unit cannot be overcome by software.

    Reply

  91. Stefano

     on

    It wouldn’t make any sense to discard all the convenience and advantages of digital audio. Still, a lot of nice hardware is also becoming affordable, and it’s great that I could add a few devices to my setup lately, especially synths and drum machines. I still feel the connection with a hardware unit cannot be overcome by software.

    Reply

  100. Michael

     on

    Maybe… I mean, I don’t have enough space here for a full analog studio, but if it would come with a house built around it, I would take it.

    Reply

  103. Pedro Ronquillo

     on

    La verdad seria muy bueno equipo analógico porque nada es mejor que lo original, en este caso los equipos, pero creo que al usar complementos digitales tienes mas facilidades por ejemplo tener el mismo complemento en cada canal que en analógico no se puede y además de la movilidad que tienes al usar complementos digitales que te permite trabajar de varios lugares muy fácil y con muy buena calidad, así que me quedo con complementos digitales.

    Reply

  104. GILVAN RIBEIRO COSTA

     on

    I wouldn’t change it, because I wouldn’t be able to pay for all the maintenance expenses, even more than the customers are not paying for us to keep everything analog. I would even work with something else 80% of the digital suits me.

    Reply

  105. Music ByIan

     on

    No. I’m old enough to remember when the hiss, warble and analogue goodness was unwanted. Nevermind the worn tape heads, and chewed up tapes.

    Reply

  107. Radosław Osypiuk

     on

    Yes I do. It’s because when I use DAW and plugins I very often mix with my eyes unfortunately… And I think it isn’t a good habit.

    Reply

  115. Wesley gardner

     on

    No to much work. But I think the people that are doing a remote studio were you can control the equipment from anywhere while sending audio in is outstanding!

    Reply

  117. bart walravens

     on

    Only if the A studio came with a technician to keep everything in working order…..oh, ànd a coffee maker! Can’t do analogue without coffee!

    Reply

  118. Ben

     on

    I don’t think I would go completely analog. I prefer the workflow of ITB mixing and there are a few AI-assisted plugins I would like to keep using. I’d definitely like to add some analog preamps and distortion tools though

    Reply

  119. andrea

     on

    No, I wouldn’t. First of all, I used to own an all-analog studio back in the 1990s, and although I loved it, I remember very well all the obstacles and limitations I had to cope with. First, in order to operate analog gear, you need money and plenty of time to maintain it properly. You never know what and when is going to break down and whether you will be able to fix it on your own. Besides, even if we like the “analog sound” and try to add a little bit of noise to the sterile digital sound, we have to keep in mind that noise was a real curse of the analog domain and we used to dream of purity offered by DAWs. DAWs are simply easier for reasons we usually don’t even think about these days. Last but not least, the analog studio — at least the incarnation of it we could afford ’cause the majority of us wasn’t awfully rich — was never as flexible as an avarage DAW. The number of things you can do in a box, possible routings, instances of a single plugin you can use, finally the accessibility of plugins doing literally anything you dream of for free or for a fraction of the price of a hardware processor makes a real difference if you think about it. Hence I’d always pick a modern DAW today, maybe with some necessary hardware if I really needed it, but frankly speaking I try to keep things as simple as possible. With plugins being better and better you can do a lot and more, for less and in a limited space of your bedroom. With demanding and pricy hardware life isn’t always better. It’s just my two cents though.

    Reply

  124. JoeB

     on

    I would not go analog. I don’t have the space. As long as plugins like the Tascam Series are developed, there is no reason to go back to analog.

    Reply

  127. Alberto Lucendo

     on

    the fun of performance with the buttons and the touch of the gear is hard to get just with plugins, but everytime plugins are sounding better and better and affordable and also good looking :) so it’s becaming a compromise ant tempting to mobr to a mostly digital enviroment.

    Reply

  141. Joe L.

     on

    Back in the day I would go full analog in a heartbeat… but now, no I wouldn’t… everything has become so streamlined there’s no going back.

    Reply

  144. Terry Sanders

     on

    No, there’s enough to keep me me busy with updates, new plugins, etc. While the hardware would be sweet and from my age group and time, the possible wiring/routing hassles, parts repair, cost factor, etc. would no longer be worth the trade off.

    Reply

  150. imoyes

     on

    I have gone from fully analogue recording (when I started there was no option!) to pretty much fully digital recording (my guitars & voice are still analogue!), and I have no intention of going back! :-)

    Reply

  151. David N

     on

    Yes, I would – if by some unexpected miracle I suddenly became rich enough.
    Until then, I’ll stick with a hybrid approach, while my last remaining tape cassette machines
    continue to survive on their last legs.

    Reply

  153. Alexandre Munhoz Scherer

     on

    Acho que não trocaria pelo fato da manutenção. Hoje em dia é bastante complicado já no ITB a manutenção, o que dirá no analógico.

    Reply

  159. James

     on

    No, I wouldn’t. It would be tempting but not being able to switch between projects would be a nightmare. Recalls and all that. And much more expensive

    Reply

  160. Martin Victor

     on

    I firmly believe in the digital recording realm and I’d never want to leave it after learning it, using it and reaping its benefits for 20 years. That said, I also believe in analog instruments and prefer them to their digital counterparts. Tube amps for guitars and basses, and tube preamps in Hammond organs and Leslie speakers. I love acoustic drums too. I have heard newer Roland electronic drums that sound quite good though, and would give serious consideration to using that type of kit and forego the nightmare of microphone setup and drum tuning to achieve that killer drum sound. And I do have a digital piano which sounds great too. It certainly beats paying for a piano tuner.

    Reply

  161. Alexander León

     on

    Of course, today it has been demonstrated that software has elements that hardware does not and that it is possible to mimic the behavior of hardware.

    Reply

  166. Miguel Angel Rodriguez

     on

    No I do not. Because today technology is so advanced that the difference between digital and analog is minimal.

    Reply

  168. Arnold Ulloa

     on

    No, considero que las emulaciones de plugins de UAD, aparte de ser mas económicas, tienen un sonido mas fiel al original. Tal vez compre algunos complementos análogos, pero no sustituirlos al 100%

    Reply

  169. Mibrilane

     on

    Probably not, editing in digital is just so easy. Analog would force choices, though, and sometimes that’s a good thing.

    Reply

  170. Alex

     on

    Not sure I could trade the digital for an analog studio. Maybe like a simple eight track tape recorder. That’d be pretty dope.

    Reply

  171. Joel Glaser

     on

    Would I ever substitute my digital studio for an entirely analog one? Well, no. Quite frankly, I love the analog gear that I own, but software and digital gear is getting better every year. There may be some that can afford to buy and maintain analog bits, but most of us don’t have that budget. And truthfully, most of us aren’t making the types of recordings where it would make any noticeable difference.
    Thanks for putting the BPB newsletter together. I do enjoy it.
    Happy Holidays!

    Reply

  172. Charles B

     on

    Would you ever substitute your digital studio for an entirely analog one?
    – Now that plugins like these are already created, there’s no need for an entirely analog setup. Gosh, that TASCAM Porta One is the only missing piece in my low-end digital setup! Thank you IK, thank you Bedroom Producer Blog! ( I visit your site everyday! )

    Reply

  175. Alexandr

     on

    No. But I would buy something from the analogue. All the same, the sound is captured in the analogue part. However, with regard to processing – only ITB.

    Reply

  177. Pavel Gorlovoy

     on

    Maybe yes. At least to work on some special project.
    For everyday use – this would not work in today’s realities.

    Reply

  181. Carlos Álvarez Rodriguez

     on

    No. First at all, I work in home-studio, so my space to hardware is limited. Also, digital emulation is more realible and is hard to damage,

    Reply

  184. Chris

     on

    If space and money were no option, I WOULD trade! but sometimes it would take a few hours to get from one piece of equipment to another…

    Reply

  187. Darren Jennings

     on

    I wouldn’t swap it completely, as it would hurt my workflow too much. But nothing wrong with an analog tape machine and compressor in my studio one day.

    Reply

  190. Fernando

     on

    No, I think with such a busy schedule there is only so much time for me personally to make music. The quality in low end is closer than ever before to emulate analog and the fun of spending a weekend purchasing plugins is in itself a wonder! The resolution and quality of emulations is amazing for sure!
    Thank you for this blog and IK for your amazing software!

    Reply

  195. yambu

     on

    yes I would, because I come from the analogy era. But I also don’t want to do without a digital studio anymore. I like both. Can you forgive me?

    Reply

  197. Leo Wieber

     on

    No I wouldn’t, it is great that we can use both digital and analog nowadays (and its impressive to see how good digitally emulated analog gear has become !

    Reply

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