Tascam 424MKIII User Manual
OWNER’S MANUAL
424@$
3D0023100A
2
Safety Instructions 3
Introduction 4
The Recording System 5
The three steps to multitrack 5
Understanding the Mixer 6-7
Signal flow in the 424 MKIII mixer 6
Tape cue monitor system 7
Multitrack Cassette Recorder 8
Track Format and Tape Recommendations 9-10
PORTASTUDIO 424 MKIII Brief Guide 11-14
Step-By-Step Operations Guide 15-24
Let's try the 424 MKIII mixer 15
How to record on track 1 16
Track 1 playback through TAPE CUE 18
How to make an overdub on track 2 19
How to record tracks 3 and 4 20
How to record many sources onto a
single track 20
How to record a mix onto two tracks
simultaneously 21
Recording on more than two tracks
simultaneously : DIRECT 22
How to mix down 23
Using Memory Location Points 25-26
Loading MEMO points 25
Locating the tape 26
Repeat Play 27
PUNCH-IN or INSERT Recording 28-32
Preliminary 28
Rehearsal and auto in/out procedures 29
Manual punch-in 31
Bouncing Tracks (Ping-Pong) 33-34
Ping-pong procedure 33
Using Effects with the
PORTASTUDIO 424 MKIII 35-36
Setting effect send levels 35
Setting the output level of effect devices 35
Setting the mix/balance control
on effect devices 35
How to connect your effects devices 36
Syncing MIDI-Tape—Using the
TASCAM MTS-30 37
Troubleshooting 38
Features and Controls 39-45
424 MKIII Mixer
Input section 40
Stereo input section 41
Monitor section 41
Master section 41
Output section 41
424 MKIII Recorder
Cassette loading and dbx system 42
Transport controls 43
Track controls 44
Displays 44
Autolocators 44
Optional Accessories 47
Care and Maintenance 48-49
How the dbx Works 49
Specifications 50-52
Block Diagram 53-54
Level Diagram 55
Table Of Contents
"© Copyright 1998, TEAC Corporation"
All rights reserved under international and Pan American copyright conventions.
This book may not be reproduced in whole or in part, by mimeograph or any other means,
without permission.
"The following marking is located on the bottom of the unit."
This appliance has a serial number located
on the rear panel. Please record the model
number and serial number and retain them
for your records.
Model number
Serial number
WARNING: TO PRIVENT FIRE OR SHOCK
HAZARD, DO NOT EXPOSE THIS
APPLIANCE TO RAIN OR MOISTURE.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT
REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS
INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within equilateral triangle, is intended to alert
the user to the presence of uninsulated "dangerous voltage" within the product's enclosure
that may be of sufficient magnitude to constitute a risk of electric shock to person.
The exclamation point within an equilateral triangle is intended to alert the user to the
presence of important operating and maintenance (servicing) instructions in the
literature accompanying the appliance.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
3
Safety Instructions
CAUTION:
• Read all of these Instructions.
• Save these Instructions for later use.
• Follow all Warnings and Instructions marked on the
audio equipment.
1) Read instructions — All the safety and operating instructions
should be read before the product is operated.
2) Retain instructions — The safety and operating instructions should
be retained for future reference.
3) Heed Warnings — All warnings on the product and in the operating
instructions should be adhered to.
4) Follow instructions — All operating and use instructions shoud be
followed.
5) Cleaning — Unplug this product from the wall outlet before cleaning.
Do not use liquid cleaners or aerosol cleaners. Use a damp cloth for
cleaning.
6) Attachments — Do not use attachments not recommended by the
product manufacturer as they may cause hazards.
7) Water and Moisture — Do not use this product near water _for
example, near a bath tub, wash bowl, kitchen sink, or laundry tub; in a wet
basement; or near a swimming pool; and the like.
8) Accessories — Do not place this product on an unstable cart, stand,
tripod, bracket, or table. The product may fall, causing serious injury to a
child or adult, and serious damage to the product. Use only with a cart,
stand, tripod, bracket, or table recommended by the manufacturer, or sold
with the product. Any mounting of the product should follow the
manufacturer’s instructions, and should use a mounting accessory
recommended by the manufacturer.
9) A product and cart combination should be moved with care. Quick
stops, excessive force, and uneven surfaces may cause the product and cart
combination to overturn.
10) Ventilation — Slots and openings in the cabinet are provided for
ventilation and to ensure reliable operation of the product and to protect it
from overheating, and these openings must not be blocked or covered. The
openings should never be blocked by placing the product on a bed, sofa,
rug, or other similar surface. This product should not be placed in a built-in
installation such as a bookcase or rack unless proper ventilation is provided
or the manufacturer’s instructions have been adhered to.
11) Power Sources — This product should be operated only from the
type of power source indicated on the marking label. If you are not sure of
the type of power supply to your home, consult your product dealer or local
power company. For products intended to operate from battery power, or
other sources, refer to the operating instructions.
12) Grounding or Polarization — This procuct may be equipped with
a polarized alternating-current line plug (a plug having one blade wider
than the other). This plug will fit into the power outlet only one way. This
is a safety feature. If you are unable to insert the plug fully into the outlet,
try reversing the plug. If the plug should still fail to fit, contact your
electrician to replace your obsolete outlet. Do not defeat the safety purpose
of the polarized plug.
13) Power-Cord Protection — Power-supply cords shoud be routed so
that they are not likely to be walked on or pinched by items placed upon or
against them, paying particular attention to cords at plugs, convenience
receptacles, and the point where they exit from the product.
14) Outdoor Antenna Grounding — If an outside antenna or cable
system is connected to the product, be sure the antenna or cable system is
grounded so as to provide some protection against voltage surges and builtup static charges. Article 810 of the National Electrical Code, ANSI/NFPA
70, provides information with regard to proper grounding of the mast and
supporting structure, grounding of the lead-in wire to an antenna discharge
unit, size of grounding conductors, location of antenna-discharge unit,
connection to grounding electrodes, and requirements for the grounding
electrode.
"Note to CATV system installer:
This reminder is provided to call the CATV system installer’s attention to
Section 820-40 of the NEC which provides guidelines for proper grounding
and, in particular, specifies that the cable ground shall be connected to the
grounding system of the building, as close to the point of cable entry as
practical.
15) Lightning — For added protection for this product during a lightning
storm, or when it is left unattended and unused for long periods of time,
unplug it from the wall outlet and disconnect the antenna or cable system.
This will prevent damage to the product due to lightning and power-line
surges.
16) Power Lines — An outside antenna system should not be located in
the vicinity of overhead power lines or other electric light or power circuits,
or where it can fall into such power lines or circuits. When installing an
outside antenna system, extreme care should be taken to keep from
touching such power lines or circuits as contact with them might be fatal.
17) Overloading — Do not overload wall outlets, extension cords, or
integral convenience receptacles as this can result in risk of fire or electric
shock.
18) Object and Liquid Entry — Never push objects of any kind into
this product through openings as they may touch dangerous voltage points
or short-out parts that could result in a fire or electric shock. Never spill
liquid of any kind on the product.
19) Servicing — Do not attempt to service this product yourself as
opening or removing covers may expose you to dangerous voltage or other
hazards. Refer all servicing to qualified service personnel.
20) Damage Requiring Service — Unplug this product from the wall
outlet and refer servicing to qualified service personnel under the following
conditions:
a) when the power-supply cord or plug is damaged.
b) if liquid has been spilled, or objects have fallen into the product.
c) if the product has been exposed to rain or water.
d) if the product does not operate normally by following the operating
instructions. Adjust only those controls that are covered by the operating
instructions as an improper adjustment of other controls may result in
damage and will often require extensive work by a qualified technician to
restore the product to its normal operation.
e) if the product has been dropped or damaged in any way.
f ) when the product exhibits a distinct change in performance _ this
indicates a need for service.
21) Replacement Parts — When replacement parts are required, be
sure the service technician has used replacement parts specified by the
manufacturer or have the same characteristics as the original part.
Unauthorized substitutions may result in fire, electric shock, or other
hazards.
22) Safety Check — Upon completion of any service or repairs to this
product, ask the service technician to perform safety checks to determine
that the product is in proper operating condition.
23) Wall or Ceiling Mouting — The product shoud be mounted to a
wall or ceiling only as recommended by the manufacturer.
24) Heat — The product should be situated away from heat sources such
as radiators, heat registers, stoves, or other products (including amplifiers)
that produce heat.
ANTENNA
LEAD IN
WIRE
ANTENNA
DISCHARGE UNIT
(NEC SECTION 810-20)
GROUNDING CONDUCTORS
(NEC SECTION 810-21)
GROUND CLAMPS
POWER SERVICE GROUNDING
ELECTRODE SYSTEM
(NEC ART 250. PART H)
NEC - NATIONAL ELECTRICAL CODE
ELECTRIC
SERVICE
EQUIPMENT
Example of Antenna Grounding as per
National Electrical Code, ANSI/NFPA 70
GROUND
CLAMP
Using this manual : To get the most out of your
424 MKIII, please take the time to read through
this manual. Some time spent now will keep you
from overlooking some of the features that make
the 424 MKIII a more creative tool. You may
discover some new tricks you haven't tried
before.
Use of capital letters
: In general, we use all upper
case type to designate a particular switch,
control, jack name or label (like PAN). Transport
modes and some features are described with an
upper case first letter (like Record mode).
The PORTASTUDIO 424 MKIII is...
The PORTASTUDIO 424 MKIII is a 4-track
"Multitrack Master" cassette tape recorder and a
full-function mixer with 8 inputs/stereo outputs
combined into a single workstation.
Its high audio quality and creative flexibility
reflect the experience and innovation that have
allowed TASCAM to earn its reputation in
professional audio production fields, and its userfriendly design makes the 424 MKIII suitable for
anyone, from expert to novice.
NOTE FOR U.K. CUSTOMERS
DO NOT cut off the mains plug from this
equipment. If the plug fitted is not suitable for the
power points in your home or the cable is too
short to reach a power point, then obtain an
appropriate safety approved extension lead or
consult your dealer.
If nonetheless the mains plug is cut of
f, remove
the fuse and dispose of the plug immediately, to
avoid a possible shock hazard by inadvertent
connection to the mains supply.
If this product is not provided with a mains plug,
or one has to be fitted,
then follow the
instructions given below:
IMPORTANT. DO NOT make any connection to
the larger terminal which is marked with the letter
E or by the safety earth symbol ç or coloured
GREEN or GREEN-and-YELLOW.
The wires in the mains lead on this product are
coloured in accordance with the following code:
BLUE: NEUTRAL
BROWN: LIVE
Introduction
CAUTION : TO PREVENT ELECTRIC SHOCK,
MATCH WIDE BLADE OF PLUG TO WIDE
SLOT, FULLY INSERT
ATTENTION : POUR ÉVITER LES CHOCS
ÉLECTRIQUES, INTRODUIRE LA LAME LA
PLUS LARGE DE LA FICHE DANS LA BORNE
CORRESPONDANTE DE LA PRISE ET
POUSSER JUSQU' AU FOND.
About the weld line
There is a patterned stripe-like effect on the
bottom surface of the 424 unit. This effect is
called a "weld line" and is a natural result of
the resin molding process employed in the
manufacture of the 424 unit. It is not a crack
or scratch, and will cause no problems with
the operation of the 424 unit.
As these colours may not correspond with the
coloured markings identifying the terminals in
your plug proceed as follows:
The wire which is coloured BLUE must be
connected to the terminal which is marked with
the letter N or coloured BLACK.
The wire which is coloured BROWN must be
connected to the terminal which is marked with
the letter L or coloured RED.
When r
eplacing the fuse only a correctly rated
approved type should be used and be sure to refit the fuse cover.
IF IN DOUBT — CONSULT A COMPETENT
ELECTRICIAN.
4
5
The PORTASTUDIO 424 MKIII is a complete audio
production facility in a single box. It is divided
into two major sections: a full-function mixer and
an 4-channel, multitrack cassette recorder.
To complete the recording system, you'll
additionally need these: Input devices
(microphones, instruments), Output devices
(headphones), 2 track recorder, Effects
processors, etc.
The Recording System
The Three Steps to Multitrack
In TRACKING and Overdubbing, the mixer inputs
are usually microphones or instruments, going to
different tracks of the recorder.
In OVERDUBBING, the MONITOR section and
TAPE CUE of the mixer must be used to listen to
previous tracks while you record new ones, so
there is a two-way flow through the console.
In MIXDOWN, signal comes from the multitrack
and is sent to an external 2-track recorder.
6
jacks. This is the most important signal route in
the mixer and is called "Main Mix".
The illustration below shows how input signals
pass through the 424 MKIII Mixer section. After
the MASTER fader they go to the L/R LINE OUT
Signal Flow in the 424 MKIII Mixer
Understanding the Mixer
7
Tape Cue Monitor System
The TAPE CUE mix and MONITOR switches are
also crucial for successful multitrack recording,
because they control what you hear in the
headpnones. This CUE mix is totally independent
from the Main Mix going to tape. If you don't use
the CUE mix, you run the risk of accidentally
"bouncing tracks" every time you record new
material.
The 4 TAPE CUE controls act like a separate 4x1
mixer, dedicated solely to enabling you to hear
playback from the multitrack recorder in your
headphones. The settings of these controls don’t
affect the mix going to tape. When the
EFFECT/CUE switch is set to the center position
(EFFECT 2/CUE), the EFFECT 2/TAPE CUE switch
is set to TAPE CUE, the TAPE CUE of the tracks
you want to hear are turned clockwise, and the
MONITOR LEVEL is turned up, you can hear the
tape playback in the headphones and MONITOR
outputs. You can adjust the monitor level of each
track by adjusting its TAPE CUE control. The
channels of the Main Mix remain free to handle
external inputs for recording.
If you can hear tape playback in your headphones
when TAPE CUE is off (in the left position), it
means you're hearing tape through the Main Mix.
This is correct for mixdown and bouncing tracks,
but during overdubbing it can cause previous
tracks to be mixed together with new tracks,
instead of each part remaining separate. Use the
TAPE CUE to avoid this.
The MONITOR SELECT LINE OUT switch affects
whether you will hear the off-tape signal (OFF), or
the LINE OUT signals in MONO or stereo (L-R).
When you are recording, you should set this
switch to OFF, the EFFECT/CUE switch to EFFECT
2/CUE, and the EFFECT 2/TAPE CUE switch to
TAPE CUE.
8
∑ A three-point autolocator (MEMO/LOC 1 and 2
and RTZ) lets the tape STOP at, or PLAY from
preset points.
∑ REPEAT allows a section to be played over
and over between the MEMO 1 and MEMO 2
points.
∑ REHEARSAL programs the 424 MKIII to repeat
a punch-in/out sequence as many times as
you wish, and AUTO PUNCH actually executes
it on tape exactly as you "previewed" in
REHEARSAL.
∑ Two tape speeds offer HIGH for greater
fidelity, and NORMAL for compatibility with
standard cassette tapes.
∑ The tape speed can be increased or decreased
with the PITCH CONTROL dial in both
playback and record, to match pitch or for
special effects.
The 424 MKIII records on readily available
standard (Philips) Compact Cassette tape, high
bias Type II. The recorder has 4 tracks while the
mixer has a stereo output; however, using the
DIRECT feature you can record on any or all of
the 4 tracks at one time. For more details, see
"Recording on More Than Two Tracks
Simultaneously", page 22.
The 424 MKIII's dbx Noise Reduction virtually
eliminates unwanted tape noise. A special SYNC
feature tuns off the dbx on track 4 separately,
making it possible to record and play back the
MIDI sync tones or SMPTE/EBU time code
without being affected by the dbx encode/decode.
This ensures that the sync tones/code are
recorded and played back without unnecessary
processing. With proper operating techniques, it
is not necessary to leave a guard band between
music and sync tone tracks because of the low
crosstalk of the TASCAM heads.
The transport controls of the 424 MKIII are microprocessor operated, allowing highly reliable
functions that make the unit easier to use:
Multitrack Cassette Recorder
9
Tape Speed and Track Format
The Portastudio 424 MKIII uses a HIGH speed of
9.5 cm/sec. (3-3/4 inches per second) which is two
times (2X) the normal speed of a standard audio
cassette. Its NORMAL speed is 4.8 cm/sec (1-7/8
i.p.s.), the same as that used by conventional
recorders.
It also employs a discrete 4-channel format head
developed especially by TEAC for TASCAM
multitrack cassette recorders. Here is a
comparison of various cassette formats:
Track Format and Tape Recommendations
Playing back standard (stereo) prerecorded
tapes: Tapes recorded on stereo cassette
recorders can play back properly on the 424 MKIII
if you set the track playback, tape speed, and
noise reduction type correctly. Tracks 1 and 2
roughly follow the standard "stereo" format, but
tracks 3 and 4 use the "Side B" (reverse side)
tracks. So you must turn off Track 3-4 playback to
avoid hearing the flip side playing backwards. If
the cassette was recorded with Dolby B type
noise reduction, the DBX NR switch should be set
to OFF.
For the same reasons, tapes recorded on the
Portastudio 424 MKIII will not play back properly
on stereo cassette recorders. Material recorded
on the 424 MKIII must be mixed down to stereo
for final distribution.
The 424 MKIII needs the entire width of the tape
to record its four tracks, eliminating the option of
recording on both sides (actually, it's both
directions). Therefore, you should decide which
side (side "A" or side "B") you want to use and
use that side exclusively. It's a good idea to get
into habit of consistently using the same side on
all multitrack tapes.
Tape Type
The Portastudio 424 MKIII is internally adjusted
for HIGH BIAS Type II tape. This means that for
best results, you should only use tapes of this
type. TDK SA, Maxell XL-II or equivalent
formulations are recommended. We strongly
suggest that you select one good quality brand
and use it exclusively. The time you spend
creating your multitrack master is much more
valuable than the money you save by buying
inferior tape. The cassette shell essentially
becomes a part of the 424 MKIII's transport. Poor
quality shells can cause wrinkles, snarls and
shredding of the edges of the tape with use. Even
small scratches on the tape oxide can cause
"dropouts" (temporary loss of signal) on one or
more tracks. High quality tapes are less likely to
cause problems in the long run.
10
Accidental Erase/Record Protection
To protect a finished master tape, it is necessary
to punch out both record protect tabs. Even
though you are recording in only one direction,
the 424 MKIII uses the entire width of the tape, as
mentioned above. If, for example, you remove
only one of the tabs, you could accidentally insert
the cassette into the 424 MKIII backwards and
erase all four tracks of the master.
Tape Length
Use the shortest possible tape for a given work. It
is not unusual to play a tape 100 times before you
are finished, so select a cassette length that is as
close as possible to the length of the program
you plan to record. Cassettes C-60 length and
shorter are often made from thicker stock than
longer cassettes.
The tape used in C-120 cassettes is extremely thin
and can cause winding problems, crimping,
wrinkling, and other damage to the oxide coating
of the tape which will destroy your work. Don't
use C-120s in the 424 MKIII.
Remember that at 2X normal speed, and the
"one-side-only" 4-track single direction format
means that you have only one quarter of the
normal play time:
Tape Speed
Cassette
9.5 cm/sec. 4.8 cm/sec.
C-46 11.5 min. 23 min.
C-60 15 min. 30 min.
C-90 22.5 min. 45 min.
(approx.)
Side A
safety tab
Side B
safety tab
Ch 7-8
STEREO INPUT: Connect any stereo
line-level signal (such an effect
return or electronic instrument)
here. Alternatively, you can
connect two mono line-level
signals.
MONO feature: If only one mono
signal is to be connected,
connect it to the L jack, and
leave the R jack unconnected.
The signal is automatically taken
to both the 7 and 8 channels.
LEVEL: Controls the volume of both
of the inputs simultaneously.
The signal is sent to the
destination selected by the
ASSIGN switch.
ASSIGN: This sends the signal(s) at
the STEREO INPUT to the stereo
mix for recording (L-R) or to the
monitor mix (MON), or turns the
signals OFF (center).
LINE OUT switch: Controls whether
the LINE OUT stereo mix will be
output to the monitor mix, in
stereo (L-R), in mono (MONO) or
not at all (OFF).
EFFECT/CUE switch: Controls
whether the signals sent to
EFFECT 1 or EFFECT 2/CUE or
neither (OFF) will be output to
the monitor mix, or you may
select neither of these for
monitoring (OFF).
LEVEL: Controls the level of the
monitor mix feeding the
MONITOR OUT jacks and
headphones.
EFFECT 2/TAPE CUE switch: This
alters the function of the four
level controls immediately
above the pan controls of
channels 1 through 4.
MASTER fader: This sets the total
output level of the stereo mix.
Ch.1-4
MIC/LINE INPUTS: These are the input jacks for
the mixer channels. Primarily, the 3-contact,
XLR-type connectors are for connection to
balanced microphones, and the 1/4" jacks
are for line-level, unbalanced signal sources
(such as electronic instruments). But you
can also connect lower-level signals (down
to –50 dBV) to these 1/4" jacks and use the
TRIM control to amplify them.
TRIM : Sets how much preamplification will be
added to the MIC/LINE IN jack. Turn to the
right if the signal needs amplification, to the
left if the signal is so loud it is distorting the
mixer electronics.
INPUT : Detemines where the channel signal
comes from.
MIC/LINE (left) brings the mic/line input
into the channel.
OFF (center) shuts off the channel.
TAPE (right) makes tape play back the
channel source.
EQ HIGH : Cuts or boosts treble frequencies.
Shelving point is at 10 kHz.
EQ MID sweep : The upper control sets the
frequency range, centered from 250 Hz to
5 kHz. The lower control cuts or boosts this
frequency range.
EQ LOW : Cuts or boosts bass frequencies.
Shelving point is at 100 Hz.
EFFECT 1 and 2 : These control how much signal
will go to the corresponding EFFECT send
jacks. They get their signal from a point just
after the channel fader.
TAPE CUE : The EFFECT 2 controls can be
switched to act as the TAPE CUE level
controls (by means of the correspondingly
labeled switch) and adjust the playback
level for the musicians in the studio.
PAN : Sets the pan position (left-right balance) of
the channel. Note that the Left Mix can be
recorded on tracks 1 and 3, and the Right
Mix onto tracks 2 and 4.
Channel fader : Sets the volume of the channel
feeding the MASTER fader.
1211
Input Selection and Adjustment
NOTE
DO NOT use both the XLR and 1/4" jacks
in the same channel at one time.
Disconnect one when the other is used.
PORTASTUDIO 424 MKIII Brief Guide
For detailed information on each feature, see "Features
and Controls", pp.39-45 of the supplied manual.
Ch.5-6
1/4” STEREO INPUTS : Primarily used for
connecting line-level sources. However,
you can also connect lower-level signals
(down to –50 dBV) to these 1/4” jacks
and use the TRIM level to amplify them.
TRIM: Sets how much preamplification will
be added to the MIC/LINE IN jack. Turn
to the right if the signal needs
amplification, to the left if the signal is
so loud it is causing distortion in the
mixer electronics.
INPUT: Determines the source of the channel
signals.
MIC/LINE 1/3/5 (channel 5): Allows you
to choose whether the signal
handled by channel 5 comes from
either of the MIC/LINE inputs of
channel 1, either of the MIC/LINE
inputs of channel 3, or the MIC/LINE
input of channel 5.
MIC/LINE 2/4/6 (channel 6): Allows you
to choose whether the signal
handled by channel 6 comes from
either of the MIC/LINE inputs of
channel 2, either of the MIC/LINE
inputs of channel 4, or the MIC/LINE
input of channel 6.
EQ HIGH: Cuts or boosts treble frequencies.
Shelving point is at 10 kHz.
EQ MID (sweep): The upper control sets the
frequency range, centered from 250 Hz
to 5 kHz. The lower control cuts or
boosts this frequency range.
EQ LOW: Cuts or boosts bass frequencies.
Shelving point is at 100 Hz.
EFFECT 1 and 2: These control how much
signal will go to the corresponding
EFFECT SEND jacks. They get their
signal from a point just after the
channel fader.
TAPE CUE: The EFFECT 2 controls can be
switched to act as the TAPE CUE level
controls (by means of the
correspondingly labeled switch) and
adjust the playback level for the
musicians in the studio.
PAN: Sets the pan position (left-right
balance) of the channel. Note that the
Left Mix can be recorded on tracks 1
and 3, and the Right Mix onto tracks 2
and 4.
Channel fader: Sets the volume of the
channel feeding the MASTER fader.
Monitor Section
Master Section
✂
13
Recorder Controls
RECORD FUNCTION 1-4 : These control
which track(s) will be recorded when the
master RECORD and the PLAY key is
pressed, and choose where the signal to
be recorded is coming from.
œ Setting to DIRECT routes the
channel signal directly to the tape
(channel 1 is recorded on track 1,
channel 2 on track 2, and so on).
Recording level is adjusted by the
channel fader only.
œ When recording the stereo mix: As
the labels indicate, tracks 1 and 3
are recorded with the mix in BUSS
L, and tracks 2 and 4 are recorded
with the mix in BUSS R.
TAPE SPEED : HIGH is 3-3/4 ips (9.5 cm/sec.),
double the standard (NORMAL) cassette
tape speed of 1-7/8 ips (4.8 cm/sec.).
Meters : The meters numbered 1-4 show the
playback or the record level of the
respective tape tracks. The average
record level should be in the center (0),
but occasional peaks up to +6 scale are
acceptable.
The MONITOR meters show the level of
mixes selected by the MONITOR
switches.
Tape counter : A four-digit display that
shows the distance the tape has moved
from a zero reference point.
REC indicators : They blink to show the
corresponding tracks are in record
ready, and glow solid when recording
starts.
COUNTER RESET : Press to change the
counter to "0000".
PITCH CONTROL : Increases or decreases
the speed of the transport in play and
also in Record, over a 12% range
(approx.).
RTZ (Return To Zero) : Lets the tape fast
wind to the counter zero point. The tape
will automatically start playing from the
zero point if PLAY is pressed after RTZ.
REPEAT : Lets the tape play over and over
between two memo points.
Transport keys : Principally these work the
same as on any cassette recorder.
MEMO IN : Hold this key down and press LOC 1
or 2 to load the current counter location into
the MEMO 1 or 2 register.
LOC 1 and 2 : When used together with MEMO
IN, these keys let you load the current
counter location into memory. If only LOC 1
or 2 is hit, the tape will be located to the
MEMO 1 or 2 point. Pressing LOC for half a
second or more allows you to check the
memo point on the display.
REHEARSAL : Lets you program a punch-in/out
sequence to be used for rehearsals and for
AUTO IN/OUT.
AUTO PUNCH : Executes the punch-in recording
actually on tape as you practiced in
REHEARSAL.
CLEAR : Disables the REHEARSAL and AUTO
IN/OUT functions.
PORTASTUDIO 424 MKIII Brief Guide
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REMOTE PUNCH IN/OUT: Connect an
optional RC-30P footswitch to this jack.
POWER switch: Push in to turn on the
424 MKIII, and push again to turn it off.
POWER connector: Connect the power
cable of the PS-424MKIII power supply
to this connector. Never use any power
supply with the 424 MKIII except the
PS-424MKIII power supply which is
appropriate for your area’s voltage.
TAPE OUTPUTS: These jacks receive signals directly
from tape tracks 1–4 and are connected to the
inputs of an external mixer, or of another
multitrack recorder for making a backup copy of
your 4-track master, as required.
DBX NR switch: Normally, leave this switch in the
ON position. When you use track 4 for
recording and playing back MIDI sync tones or
timecode, set to SYNC, to set the dbx NR on for
tracks 1 through 3, and off for track 4.
LINE OUTPUT L and R: Normally, connect these
jacks to the left and right inputs of your
mixdown deck.
MONITOR OUTPUT L and R: These are connected to
an amplifier powering the control room
speakers.
EFFECT 2 SEND/TAPE CUE OUT: The signal available at this jack comes from either post
channel fader for connection to an additional effects device, or from the tape for
connection to a studio speaker system, as selected by means of the EFFECT 2/TAPE
CUE switch.
EFFECT 1 SEND: For sending post-fader signals to effects devices. The returns may be
plugged into the stereo inputs.
SUB INPUT L and R: Provide a direct route to the MASTER fader. You may connect an
outboard mixer here. The SUB IN R jack is also used to record sync tones on track 4.
Rear Panel Connections
On the front
PHONES (not shown) : This carries the same
mix as the MONITOR OUTPUT jacks, as
selected by the MONITOR switches.
Input connections
Powering on
Headphone connection
Routing inputs
Let’s try the 424 MKIII mixer
To learn how the mixer works, first you need to plug a signal source
into one of the 1-8 jacks located at upper top of the unit, in your easy
reach.
As an example, we'll use a microphone as the source.
1. Have to hand a dynamic microphone and a set of stereo
headphones.
2. Plug the 1/4" plug on your microphone cable into the leftmost
MIC/LINE IN jack for channel 1.
3. Turn the 424 MKIII on. The TASCAM logo appears in the display.
(The POWER switch is located on the back, beside the power
cable.)
4. Plug your headphones into the front PHONES jack, so you can
hear the input signal going to the mixer section of the 424 MKIII.
5. Set the channel 1 INPUT select switch to the left (MIC/LINE)
position.
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Notes to be read prior to making connections
■ Although both XLR-type and 1/4" phone jacks are provided
for connection to each of channels 1-4, don't use both jacks
on the same channel at the same time.
■ Turn all the TRIM and other level controls all the way to the
left.
■ Turn the EQ controls to their center "flat" position; bring all
the faders down; and set all the switches to OFF.
Step-By-Step-Operations Guide
Panning
Channel level
Master level
Monitor selection
TRIM adjustment
Listening level
6. Turn the channel 1 PAN control all the way to the left.
7. Raise the channel fader to "7" on the scale.
8. Raise the MASTER fader to "7".
9. Set the MONITOR SELECT LINE OUT switch to the left (L-R)
position.
10. While speaking into the microphone, turn the TRIM control in
channel 1 to the right/MIC until the monitor level meter reads
around "0" in average.
11. Slowly turn the MONITOR LEVEL control to the right. You will
hear your voice in the left side of the headphones.
When using a line level source (such as electronic instruments)
instead of the mic, the TRIM does not need to be turned up very
far, if at all.
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As a trial, let's record your voice on tape.
1. Have in hand a new cassette tape (Type II, C-90 length or shorter).
2. Open the cassette door using the tab on the right of the door.
Insert the cassette tape, and close the cassette door.
3. Press PLAY and allow the tape to run for about 5 seconds. This
will run the tape leader onto the takeup reel, and put the
beginning of the tape in front of the heads.
Loading a cassette
Getting past the leader
tape
How to record on track 1
Resetting the counter
Selecting tracks
Mic level adjustment
Beginning to record
Stopping recording
Putting track into "Safe"
4. Press the COUNTER RESET switch, so you can use the RTZ
(Return-To-Zero) function to get back to this point.
5. Set the RECORD FUNCTION switch for TRK 1 to its BUSS L
position. The REC "1" indicator will start blinking in the display
window, indicating track 1 is in Record Ready mode.
6. Speak into the mic. You will see meter 1 move. If no level or too
low a level is shown, continue to speak into the mic and slowly
turn the channel 1 TRIM control to the right/MIC until the meter
peaks at no more than "+6".
7. Hold RECORD and press PLAY to initiate recording. The REC "1"
indicator that was blinking in the meter will turn on solid,
indicating track 1 is in Record mode.
8. Speak into the mic.
9. Press STOP to stop the tape and finish recording.
10. The REC "1" indicator in the meter should now be blinking as
before. Set the RECORD FUNCTION switch for TRK1 to its SAFE
position.
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