13 Forgotten Music Formats That Deserve a Mainstream Comeback, According to Thousands of Audiophiles

Audiophiles revealed a surprising favorite that major labels abandoned in under five years.

Some music formats vanished from shelves decades ago, but for many audiophiles, they never stopped mattering. These listeners still buy, collect, and swear by formats most people forgot, convinced they offer something today’s streaming services can’t.

So, we asked thousands of them which ones deserve another shot at mainstream life. Here are 13 “practically dead” formats they want back and why they’re still worth your time.

1. MiniDisc (39.9% of Votes)

Sony’s MiniDisc debuted in 1992 as a digital-optical disc that fit 60–80 minutes of music inside a protective cartridge. Using ATRAC compression, it packed near-CD-quality audio onto a disc smaller than a floppy. It also blended the best of CDs (random track access, digital clarity) with cassettes (recordability, portability).

MiniDisc offered features no other format could, including editable track orders and titles. Plus, it has extremely high rewrite endurance (documented at ~1,000,000 cycles for MO/MD media).

ATRAC also removed only sounds deemed imperceptible, giving listeners what many described as ‘clean’ with a touch of analog warmth. And, the protective shell made them nearly skip-proof.

However, Sony didn’t really push the format in the U.S.. So, the format fell when MP3 players took over, especially after the iPod’s 2001 debut made real-time transfers feel archaic.

Why audiophiles want it back:

• Strong nostalgia factor
• The physical ritual of handling colorful discs and creating custom compilations
• ATRAC compression, which many feel sounds better than early MP3s
• Modern potential for higher-capacity discs (like Sony’s failed Hi-MD attempt)

2. Compact Cassette (13.2% of Votes)

Philips introduced the analog compact cassette in 1963 as a dictation tool. By the 1970s, it had become the dominant music format. Using 1/8-inch magnetic tape running at a slow 1⅞ inches per second, cassettes packed two stereo pairs of tracks into a pocket-sized shell. It defined portable music for a generation.

What made cassettes special was their versatility.

The 1979 Sony Walkman revolutionized personal listening, while home recording let fans create mixtapes from LPs, radio, or other tapes. And, despite a limited frequency response and inherent tape hiss, sound quality improved significantly with Type II (chrome) and Type IV (metal) tapes, especially when paired with Dolby noise reduction.

CDs ultimately killed the cassette. They offered noiseless playback, instant track access, and permanence. The factory-installed car cassette player disappeared around 2011.

Why audiophiles want it back:

• The tactile experience of handling tapes and operating a Walkman
• Analog warmth that softens harsh frequencies
• DIY recording culture and personal mixtape creation
• Extremely affordable gear and media compared to vinyl
• Tape saturation adds pleasant coloration to certain music styles

3. Reel-to-Reel Tape (12.6% of Votes)

Dating back to the 1940s, open-reel tape used exposed spools of ¼-inch magnetic tape running anywhere from 3¾ to 15 inches per second.

Professional studios relied on reel-to-reel as their primary recording medium through the 1980s. Meanwhile, audiophile home decks brought that studio-quality sound into dedicated listening rooms.

Running wider tape at faster speeds delivers the highest-fidelity analog format available. At 15 ips, reel-to-reel achieves frequency response beyond 20 kHz with a 70+ dB signal-to-noise ratio, outperforming most vinyl setups.

The format also adds subtle harmonic distortions and tape saturation. Listeners often describe the sound as “creamy” or “smooth,” a stark contrast to digital’s clinical precision.

Consumer reel-to-reel fell out of favor due to its inconvenience. Threading tape, rewinding reels, and managing bulky equipment couldn’t compete with the ease of pop-in cassettes.

By the late 1970s, improved cassette quality satisfied most listeners. At the same time, digital recording had taken over studios by the late 1980s.

Why audiophiles want it back:

• Ultimate analog sound quality that many consider unsurpassed
• The physical ritual of threading tape creates focused listening sessions
• New boutique manufacturers (Ballfinger, Metaxas & Sins) prove that demand exists
• Access to master-tape quality sound at home
• Collectible original recordings and modern tape releases can command high prices

4. Super Audio CD (7.0% of Votes)

Sony and Philips launched SACD in 1999 as a high-resolution successor to the CD. Using Direct Stream Digital (DSD) encoding at a 2.8224 MHz sampling rate, SACDs could reproduce frequencies up to 100 kHz with 120 dB of dynamic range.

Many discs included both stereo and 5.1 surround mixes, often in a hybrid form that still played on standard CD players.

SACDs delivered strikingly clear, detailed sound with what many listeners described as a more “analog” character than regular CDs. Major labels issued hundreds of titles across genres from classical to rock.

Audiophile labels also produced meticulous remasters. And, the optional surround mixes created immersive experiences no stereo format could match.

However, format wars doomed SACD’s mainstream chances. Its battle with DVD-Audio split the market, while consumers gravitated toward MP3s and iPods instead of upgrading their CD players.

Additionally, strict digital rights management made ripping difficult, and high player prices stalled adoption.

Why audiophiles want it back:

• Sound quality that many believe surpasses CD and rivals analog
• Extensive catalog of exclusive high-resolution remixes and remasters
• Physical media that delivers uncompressed quality without streaming
• No need for new technology – just wider adoption of existing format

5. Compact Disc (6.4% of Votes)

Aside from SACD, Philips and Sony also revolutionized music in 1982 with the launch of the compact disc. Each could hold up to 80 minutes of 16-bit/44.1 kHz PCM digital audio with near-perfect reproduction.

That means no surface noise, no degradation, and instant track access that vinyl and tape couldn’t match.

CDs solved nearly every analog headache: 96 dB dynamic range, frequency response up to 20 kHz, and thousands of plays without wear. Their durability and portability (thanks to the Discman) made them the dominant medium by the early 1990s.

Plus, the arrival of CD-R technology later let fans burn their own discs with the same fidelity.

Then, the streaming revolution happened. Downloads offered instant gratification, and streaming made ownership feel unnecessary. So, despite ongoing releases, CDs are no longer the default listening format.

All that doesn’t stop audiophiles and physical media fans from building impressive CD collections, though.

Why audiophiles want it mainstream:

• Permanent ownership that isn’t affected by licensing or catalog changes
• Guaranteed lossless 16/44.1 quality compared to lossless streaming, which relies on the internet bandwidth, codecs, etc.
• More dynamic masterings on many vintage CDs versus modern remasters
• Incredibly cheap used prices make collecting affordable
• Physical liner notes and a complete album experience
• Can be ripped to FLAC for personal digital archives

6. Digital Audio Tape (5.1% of Votes)

Sony’s DAT format, introduced in 1987, packed CD-quality (or better) digital recording onto tiny 4mm cassettes half the size of analog tapes.

Using helical-scan heads like a VCR, DAT captured 16-bit audio at 48 kHz, delivering pristine sound. It quickly became the standard for professional field recording throughout the 1990s.

DAT offered studio-grade performance in a portable package. Live music tapers prized its bit-perfect accuracy and 120-minute capacity. Features like absolute time code and zero pitch variation made it indispensable for archival work.

That said, the format never broke through with consumers. The music industry feared perfect digital copies, so SCMS copy protection complicated home use. Deck prices also stayed sky-high, and CD-R soon offered a simpler, cheaper alternative.

Why audiophiles want it back:

• Playing rare concert recordings that only exist on DAT masters
• Small, high-quality recording medium for modern field recording
• Nostalgic appeal from the ’80s/’90s hi-fi golden age
• Working decks can fetch high prices, showing cult interest
• Many early digital masters exist only on DAT

7. 8-Track Cartridge (4.1% of Votes)

The Stereo 8 cartridge dominated car audio from the mid-1960s through the late 1970s. Each chunky plastic cartridge held an endless loop of ¼-inch tape divided into eight tracks (four stereo programs) that played continuously without flipping.

For its time, 8-track delivered respectable performance. The 3¾ ips tape speed (double that of cassettes) offered solid frequency response, while continuous play made it ideal for the road. That distinctive ka-THUNK between programs became part of the charm.

But mechanical flaws proved fatal. Foam pressure pads disintegrated, metal splice sensors failed, and jams were common. By 1978, improved cassettes offered better sound in a smaller package, plus the ability to record.

Why audiophiles want it back:

• Pure nostalgia for the ’70s car stereo experience
• Collectible appeal of chunky, colorful cartridges
• Limited modern releases (Cheap Trick, Dolly Parton) prove niche interest exists
• Unique listening experience that forces full album consumption

8. 78 RPM Shellac Records (2.7% of Votes)

Before vinyl, music was pressed on brittle shellac discs spinning at 78 revolutions per minute. These heavy 10- or 12-inch records could hold only 3–5 minutes per side, using wide grooves and acoustic or early electric recording methods from 1900 through the 1940s.

Despite severe technical limits, at roughly 50 Hz to 7 kHz, well-preserved 78s can sound surprisingly lifelike. In fact, many performances from the first half of the 20th century exist solely on 78s, making them invaluable historical documents.

Unfortunately, the arrival of vinyl in 1948 made 78s obsolete. The thing is, microgroove LPs held 20+ minutes per side on unbreakable material with lower surface noise. So by 1955, the industry had fully shifted to vinyl, and 78s became treasured antiques.

Why audiophiles want it back:

• Access to performances that never made it to other formats
• Historical authenticity for early jazz, blues, and classical recordings
• Unique midrange presence that can sound startlingly real
• More turntables with 78 rpm capability for easier playback

9. Elcaset (2.3% of Votes)

Sony’s 1976 Elcaset aimed to deliver reel-to-reel quality in cassette-sized convenience. These oversized cartridges (twice the size of a standard cassette) used ¼-inch tape at 3¾ ips, matching consumer reel-to-reel specs but in an easy-load shell.

Technically, Elcaset was a triumph. Frequency response exceeded 25 kHz, with noise and distortion rivaling high-end open-reel decks. The tape unspooled from the cartridge inside the deck for optimal stability, avoiding the shell mechanics that limited regular cassettes.

But poor timing sealed its fate. By the time Elcaset launched, standard cassettes had improved dramatically with chrome tape and Dolby noise reduction. Its bulky size negated portability advantages, while high prices pushed buyers toward proven formats.

Why audiophiles want it back:

• Technical excellence that delivered on its promises
• The ultimate “what if” format for tape enthusiasts
• Reports of superb sound from those who’ve heard it
• Represents the path not taken in tape evolution
• Pure novelty factor as a format most have never seen

10. Digital Compact Cassette (1.6% of Votes)

Philips launched DCC in 1992 as the digital evolution of the cassette. Using PASC compression (similar to MP1), DCC recorded near-CD-quality audio on tapes that looked like standard cassettes but featured sliding shutters. Crucially, DCC decks could also play analog cassettes, bridging old and new collections.

The format’s backward compatibility was clever. Users could keep their old tapes while recording new digital ones with no hiss and track naming. The PASC codec delivered roughly 384 kbps quality, rivaling early MiniDisc while maintaining the familiar cassette form factor.

Even so, Sony’s sleeker MiniDisc dominated the market. While Philips offered compatibility, Sony pushed stylish portables and stronger marketing. DCC also arrived just as consumers were abandoning tapes for CDs entirely.

Why audiophiles want it back:

• Clever bridging of analog and digital in one device
• Fondness for the concept despite commercial failure
• Very good sound quality, comparable to CD
• Physical digital media with moving parts appeals to collectors
• The DCC Museum website shows cult following persists

11. DVD-Audio (1.1% of Votes)

DVD-Audio arrived in 2000 as the audiophile successor to the CD, supporting up to 24-bit/192 kHz stereo or 24/96 surround sound. Using Meridian Lossless Packing, it delivered studio-master quality with room for 5.1 mixes, lyrics, and bonus content on a single disc.

Well-mastered DVD-Audio could sound spectacular. Classic albums remixed in 5.1 surround revealed new dimensions, while high-resolution stereo often came straight from the master tapes. The familiar PCM format and lossless compression also appealed to purists seeking audiophile-grade sound.

Still, format wars with SACD split the market, and both lost out to convenience. The need for TV-style menus annoyed audio purists, while copy protection complicated playback.

Why audiophiles want it back:

• Uncompromised high-resolution audio in physical form
• Many best-sounding versions of albums exist only on DVD-A
• Extensive 5.1 surround catalog never replicated elsewhere
• Built on familiar PCM/DVD technology most people already owned
• Could easily translate to modern Blu-ray infrastructure

12. Blu-Ray Audio (0.9% of Votes)

Universal Music’s High Fidelity Pure Audio initiative launched around 2013, delivering music on standard Blu-ray discs. Any Blu-ray player could output 24-bit/96–192 kHz stereo or multichannel audio via HDMI, solving DVD-Audio’s hardware problem.

Blu-ray Audio fixed past mistakes: its massive 50 GB capacity allowed multiple formats per disc, no special player was required, and proven lossless codecs like DTS-HD

Despite solving technical hurdles, the format arrived too late. By 2013, physical media sales were in freefall, and high-res downloads and streaming offered more convenient alternatives.

Limited promotion outside audiophile circles also meant most consumers never knew it existed.

Why audiophiles want it back:

• Ideal specs with universal compatibility finally achieved
• Some releases are exclusive to this format with unique masterings
• Could support modern Atmos music mixes
• Leverages existing Blu-ray infrastructure
• Represents the logical evolution of optical disc audio

13. LaserDisc (0.2% of Votes)

Though primarily a video format, LaserDisc delivered exceptional audio for music content. These 12-inch optical discs carried uncompressed PCM digital audio from 1985 onward, essentially offering CD-quality soundtracks for concert films and music videos.

Many music LaserDiscs featured audio unavailable elsewhere. Concert films often included higher-bitrate DTS tracks than later DVD releases, and some discs offered unique analog audio channels with their own sonic character. The large format also matched vinyl in visual appeal.

DVDs ultimately killed LaserDisc by 2000, offering smaller size, full-movie capacity, and lower prices. The bulky discs, side-flipping requirements, and issues like “laser rot” made DVDs overwhelmingly more convenient.

Why audiophiles want it back:

• Unique concert films and music videos never released elsewhere
• Some audio mixes are superior to DVD/Blu-ray versions
• Analog audio track’s FM-like warmth appeals to some
• Large-format packaging satisfies collectors
• Pure nostalgia for the ultimate ’90s home theater format