Mike Oldfield's studio was "based around a Neve Copricorn desk and a Sony 3348 digital multitrack machine" in 1995.

"When I worked with Trevor, our main format was pretty much the Sony 3348 [48-track digital tape recorder]. We also had Digidesign's Sound Designer, which was the beginning of Pro Tools, and which could only be used for two-track digital editing. There was no way you could use it as a stand-alone recorder. Pro Tools crashed all the time, it was a nightmare. I saw it going from twotrack to eight-track, to 24-track. I've worked with Pro Tools from the beginning, so it's not an alien format for me. I love what I can do with it."

"There are some great-sounding new records, but in the past we made better-sounding records, with more soul. The higher sample rates help, so I've tried using 96k, but it's a pain. It uses too much space and slows down the session, and I like to move fast. So I'm now back to 24/48. I still think that the converters of the old Sony 3348 [digital multitrack tape machine] are incredible. When I worked on Michael's albums at David Foster's studio, we always went through a 3348. For my current studio I bought an old 3348, and I process my signal through its converters."

— Humberto Gatica, producer of Bublé's "You're Nobody Till Somebody Loves You" and "Stardust"

"The first thing I do when I start a mix is transfer all the material to a high-definition, 24-bit Sony 3348 digital 48-track. I've been using the 3348 for seven or eight years now and it's a great production tool. Transferring all the material to it means I won't risk damaging or wearing out the original multitrack. I also never run anything live, from a sequencer. I don't want to have to worry about synchronisation or issues of sound level. So everything goes on the 3348, and the great thing about it is that it is easy to do a lot of internal bouncing with it. To start with I bounce everything to the tracks where I like them under my faders. Say the drums are on tracks 1 to 10. I like to have my drums on tracks 6 to 14. My favourite layout is to have the kick on channel 9, the snare on 10, the tom toms on 11 and 12, and the overheads on 13 and 14. The drum room mics will be on 7 and 8, the hi-hat on 6. The bass guitar will always be on 15 and 16. Channels 17-24 contain the main instruments, guitars, keyboards, or whatever they are. The lead vocal will be on 25 and any additional vocals go after that. Any music that's left over will go on 33 and upwards. If there's any percussion, like tambourines or things like that, it will go to channels 5 and down."

Kenji Kawai uses the Sony PCM 3348, as listed on his official website under the "Profile" section.