Like all well-designed tools - think of Apple products today - the 388 was intuitive, easy to use, and more capable than the amateur piloting it. Others were still making do with their four-tracks (“I just need to make demos, man”), and considered the 388 prohibitively expensive.īut the 388 was an exceptional machine, at that price ($3,000) or a higher one. Most everybody else was using old 1/2-inch reel-to-reels and converted live mixers, and considered the 388 a sort of gimmicky aberration. We both loved the comprehensive design, the simplicity, the sound quality.
Around that time, the only other 388 I knew of belonged to singer-songwriter Kowtow Popof. I bought my 388 with a timely loan (begging is underrated) from Mom and Dad in 1987. Next to other home-recording setups, it was powerful and elegant and seemingly capable of whatever we imagined. Having cut my teeth until then on various four-track cassette decks, I found this reel-to-reel, hard-wired hulk with close-to-pro EQ and signal routing to be something like a miracle.
The first recording band I was in made albums on an all-in-one portable studio with eight tracks of audio on 1/4-inch, analog tape.
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