This article states that Linkous uses a Tascam DA-88.

A Tascam DA-88 can be seen in Midge Ure's studio (ninth photo, bottom right, middle of rack).

John Linnell uses the Tascam DA-88 Digital Recorder, as confirmed in the article "Giant Step-Time—Computers in the Life of They Might Be Giants" from the They Might Be Giants Knowledge Base. The article notes, "In fact we both have TAS-CAM DA-88s now. It's like the [Alesis] ADAT machine, but we think it's a better product."

Ginger Fish uses the Tascam DA-88 Digital Recorder to provide click tracks and sound effects, as noted in EMusician's feature on Marilyn Manson.

The CFIIIS was recorded using two B&K 4006 microphones, a Boulder mic preamp, and a DCS DCS900 24‑bit A/D converter, while the Disklavier was recorded using two Neumann M50 microphones. Recording was accomplished in24‑bit with a Tascam DA88 digital 8‑track and a Rane RC24T PAQRAT recording converter. Coincidentally, this allows 24‑bit recording in stereo on a DA88. The album was assembled and pre‑mastered with the Sonic Solutions Mac‑based audio editing system, which was created by James Moorer, a music software genius whom Suzanne knew from her days of studying computer music at Stanford University's Artificial Intelligence Laboratory. A Sony PCM9000 was used to finally transfer the album for mastering.

George Porter, Jr. is listed as using the Tascam DA-88 Digital Recorder on his official gear page.

"We use Tascam's DA88 8‑track digital recorder — I actually have Sony's PCM800 version. The music editor stripes a tape with timecode, and we mix down to that. We just drop the cassette into another machine at the mixing stage."

"I've got two racks of DA88 — a 32‑track rack and a 16‑track rack, which is sort of configured for film mixing with timecode everywhere. It's a standard now in the film industry. We've also got a 24‑bit Digidesign Pro Tools system, but I'm the Pro Tools fan; Steve prefers tape. He's waiting for a hard‑disk system that he feels comfortable with. There's a couple he's interested in right now — Euphonix is coming up with one he's probably beta‑testing."

A.J. tells Guitar.com that he used a D88 while recording.

"I've got an 8100 Power Mac that was basically outdated the second I bought it. I use Performer, and I have four 760 Roland samplers. I have a Korg TR rack sound module, a Korg O1RW sound module, a Korg X3R, an old Proteus FX and a Roland JD-1080. I've got a Roland R-8M. My keyboard is a Roland D-70. I have an old Ensoniq ASR-10 sampler. I have a Tascam DA-88 and a Mackie 32*8 mixing console, plus a couple of Lexicon reverb units."

"I worked on the orchestration for the pieces we were going to record with the Northwest Sinfonia in Seattle with my orchestrator Steve Zuckerman. I'd basically take a MIDI file and work it out so all the voices were separate before giving it to Steve, and he'd send it back to me with his ideas. I'd change a few things and send it back and we went through seven or eight passes for the main title, adopting a similar process for everything else. Finally, I recorded all the MIDI tracks I was going to keep for the final mix onto Tascam DA88s, along with many audio tracks, including certain percussion tracks, the duduk, and the boy soprano. I took these tapes to Seattle and we sync'ed it up with a click and recorded the orchestra on top of it."

According to a 1993 Sound on Sound article OMD used a Tascam DA88 for backing tracks during live performaces, which was operated by Stuart Kershaw.