Oh, there's all kinds of special deck ideas that can help but obtaining the single key cards for them are probabilistically impossible. The rest of the game boils down to just one thing: obtaining useful cards, which are pretty much just 5-star cards and a few just as rare 4-star cards that are good. And the higher you go, the exponentially longer it takes.ĭeck Heroes' #2 Problem: Clicker Daily Quest In Disguise Each single level takes now days to weeks. After Thalassas, you can manage to duct-tape a deck together enough to beat a few more levels through repetition and sheer willpower. Right about here is exactly the point where the fun abruptly ends and the game is bait-n-switched with something else entirely. With your gems, you eventually get a few 4-stars, then Thalassas. This is fun, really, it's great! You're progressing and it's awesome. Within a day or two, you've cleared a couple entire stages. You get your Faen deck and begin to go through level sets. Perhaps the biggest problem that Deck Heroes has as a game is the sheer cliff in the adventure story mode. I picked up Deck Heroes because it didn't seem like the money-grab that the more popular games like Hearthstone were.ĭeck Heroes' #1 Problem: The Adventure Mode Cliff - aka Bait N Switch Yet take a look at the recent Reverb Price Guides for these nearly vintage machines: The Tascam 414, 424, 244, or even the comparatively limited Porta02 all have strong demand.Hello, I am an avid CCGer, the type of person who reads all the tutorials and pro-tips and then gets into reading up on deck builds when I haven't even finished the in-game tutorial. Depending on model and condition, 4-track recorders fetch a few hundred to almost $1,000 USD. Unveiled in 1979, the Teac 144 was the first 4-track of its kind, weighing in at 20 pounds and measuring 18 inches by 15 inches. In the following years, one of Teac's divisions, Tascam, began churning out machines that just got better and smaller. Their newly coined Portastudios proliferated across the music-making world, while competition from Yamaha, Fostex, and other manufacturers flooded the market. The new machines allowed songwriters to workshop their songs in private. Upstart and established artists alike, from The Jesus and Mary Chain to Lou Reed, created 4-track demos on their own. Electronic musicians could sync a sequencer to one track while recording onto the other three. Hip-hop producers created their own beat tapes to share and shop around their creations. It wasn't long before 4-track recordists began to engineer their own mythos too. Robert Pollard-whose group, Guided By Voices, released a prodigious amount of homemade recordings throughout the '80s and '90s-summed up the 4-track philosophy in a 1997 interview with Musician magazine: Portastudios were not just a step on the way to the real studio, they were even preferable. "In the beginning, we never had much success with recording studios. By the time you booked the place and got everything together, the spirit of what you wrote would be gone. With the 4-track down here in Toby's basement, we could just come over and do it. The important thing was the immediacy and the economy. Plus it was with the 4-track that we came closest to getting the sound that we had in our heads. For some reason, you sometimes get a better vocal sound in a kitchen or bathroom or basement than you can in a big studio."Ĥ-track recordings by some of the biggest names in rock, alternative, and electronic music carried both the charm and lore: Bruce Springsteen's Nebraska, grittily recorded on his 144 and salvaged from his jacket pocket PJ Harvey's tape-turned-proper-release 4-Track Demos Ween's warped, Portastudio-grown The Pod Aphex Twin's first full-length, Selected Ambient Works 85–92, tracked at home on cassette with self-constructed instruments, by Richard D. In addition to the raw, homespun sound, many music makers wanted to stretch the limits of the technology. Why not bounce those 4-tracks down and layer more on top, like their heroes at Abbey Road? Use the limitations to spark creativity. In a review of the Teac 144, Reverb user Trey Y. said he bought one of these "Earth-changing" machines as soon as they came out. "Suddenly I was able to create beautifully produced demos that were almost as good as studio masters. It was easy to learn and extremely powerful," he writes.
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