![]() Consistency in frequency response between channels is good, and the weak point of cramming 8 tracks onto ¼” tape is that channel separation is less than decks that put 8 tracks onto ½” tape. The frequency of most Fostex machines are pretty similar, flat to 20Khz with the heads being in good shape, with a typical 3-4db boost around 50-100Hz for that nice ‘tape’ sound. ![]() ![]() Still, many demos and albums were made on Fostex decks, and you may just have an album in your collection made solely on Fostex equipment. Throw in a couple of lemon models (detailed below), and you may end up with a deck that needs a ton of repairs before it’s serviceable. The downside of the Fostex units is that the design and build quality wasn’t as good as Teac or Otari, so 40 years later, the machines, especially the high hour units, don’t fare as well on the used market. The decks worked well, and sounded decent, with a good frequency response. Generally speaking, they were priced less than Otari and Teac models, so a ton of their decks were sold into the home and semi pro recording studio market. The Tascam however runs at 7 ½ IPS only, so a tape made on a Fostex cannot be played on a Tascam 388 and vice versa. The only other company making an 8 track ¼” machine was Tascam, when they released their 388, combination multitrack and mixer unit. Fostex A2įostex was the first and only company that made numerous 1/4” 8 track machines that used 7” tape, for a tiny, portable multitrack reel to reel that ran at 15 IPS. Fostex only marketed to the recording studios, and generally speaking, Fostex wasn’t sold for home stereo use (although several of their ½ track mastering decks are used as such today). Fostex was a relative latecomer to the semi pro and home recording industry, bringing out their first tape deck, the A2, in 1981.
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