1 An introduction to the Porta02
The TASCAM Porta02 MiniStudio allows you to produce recordings which are not possible with an ordinary stereo cassette recorder. We suggest that you read at least this section 1 and also 3, Making your rst recording before you start using the Porta02. Spending a little time reading now will save you a lot of time in the future. You can read the rest of the manual at any time.
Multitrack recording a brief introduction
to read through this section so that you understand the rest of the manual, which uses the terms explained here.
This section gives you a brief introduction to some of the terms and techniques used in recording. If you are unfamiliar with these terms, you may nd it useful
1.1.1 Multitrack recorders
When you listen to a commercial recording (CD, cassette, etc.), it is quite probable that the different parts of the piece will have been recorded at different times. This is done by multitrackingtaking the different sounds, feeding them through a mixers inputs (channels) and recording them on a special tape recorder which splits the tape into stripes, each stripe being used for a different part of the music. These stripes are called tracks, and the parts recorded on them may also be called tracks. Since there are many tracks on a tape, the term multitrack is used to describe these tapes and recorders. The Porta02 allows you to record up to 4 tracks on inexpensive Type II (chrome) cassettes using the same principle as larger studiostaking inputs into a mixers channels, feeding them into a recorder which can record tracks independently of each other, and building up the song by recording new tracks while listening to what has been recorded before (monitoring). The advantage of working with multitrack recording is that the whole group of musicians does not have to repeat the whole piece if one person makes a mistake. The illustration below shows you how tracks are arranged on an ordinary stereo cassette tape, as well as on the Porta02
and on A/V cue-equipped cassette recorders.

L R R R L

IEC (Philips) stereo cassette
TASCAM 4Tr 4Ch (Porta02 format)
TASCAM 4Tr 3Ch (A/V cue format)
Notice that the stereo cassette arrangement allows you to use both sides of the cassette, by playing the tape in the other direction. The Porta02, however, uses the whole width of the tape. Notice also that
one pair of L and R tracks on the stereo cassette take up the same positions as tracks 1 and 2 on the Porta02. This can be important for your recording projects, as we will see later on. using the panpots, you can make the tracks appear to come from the left or the right speakers or anywhere in the middle. The technique of converting a multitrack recording to a stereo recording is called mixing down to a stereo master or mastering recorder. The Porta02 includes a mixdown section which allows you to mix to a stereo cassette or MD recorder.

Never use C120 cassettes with the Porta02. The tape in these cassettes is thin, and may stretch and break.
Always store cassettes in a safe place (away from the magnetic elds produced by speakers, television sets, computer monitors, etc.). However, we suggest that you remove both tabs when you want to protect a Porta02 cassette. This will stop you putting in the cassette the wrong way round and recording over old material accidentally. be played back on a stereo cassette recorder. Also, note that if a cassette has been recorded with noise reduction, such as Dolby, etc., it will sound strange when played back on the Porta02. Any tapes (tracks 1 and 2) recorded on the Porta02 should be played back without noise reduction on a stereo recorder.
1.2.2 Record-protecting cassettes
The record-protect tab on a cassette stops you recording on that side when it is removed. The Porta02 also recognizes this protection, and will not allow you to record on the side of a cassette where this tab has been removed.
1.2.3 Playing back stereo cassettes
As mentioned earlier, the Porta02 can play back cassettes recorded on a stereo cassette recorder, using tracks 1 and 2. Also, if tracks 1 and 2 have been recorded on the Porta02, these cassettes can be played back on a stereo cassette recorder. However, if tracks 3 and 4 are used for recording on the Porta02, these cannot
1 An introduction to the Porta02 1.2.4 Cleaning the heads
You should clean the tape heads of the Porta02 regularly to keep it working properly. Dirt and tape oxide buildup on the heads will force the tape away from the tape head gaps that record and playback. Head cleaner will remove the dirt and restore the sound quality. In addition to affecting performance by coating the heads, and keeping the tape away from the recording and playback gaps, dirt and oxide in the tape path will also act in the same way as very ne sandpaper, which will wear down internal parts of the Porta02, and affect the recording in this way as well. All of these problems can be avoided if you buy a head cleaning kit such as the TEAC TZ-261 and keep it with your Porta02 for regular use. The kit consists of head cleaner, cleaner for the rubber parts of the Porta02, and cotton-tipped swabs. The cost of such a kit is less than the cost of a couple of high-quality cassettes and will pay for itself in better performance and longer life from your Porta02.

WARNING

Only use head and rubber cleaning uid and cleaning swabs designed for use with tape recorders. The use of any other cleaning materials may cause damage to the Porta02.

Clean the heads and metal parts of the tape path before every session with the Porta02 and also after every session.
Heads and tape guides Capstan Pinch wheel
1) Open the tape cassette cover. 2) Carefully clean the heads and metal parts as shown in the illustration using a swab dipped in the head cleaning uid. 3) Dry off the heads with a dry swab.
1.2.5 Cleaning the pinch roller
You should also clean the rubber pinch roller at regular intervals (at least once each day that you use the Porta02). 1) Open the tape cassette cover. 2) Press the PLAY key.
The pinch roller will engage with the capstan shaft and start turning.
3) Press a swab dipped in the rubber cleaning uid against the right side of the pinch roller.
If you press the right side of the roller, the swab will not get caught between the roller and capstan.
4) Dry the capstan with a dry swab and make sure that there is no material on the pinch roller or capstan before you insert a cassette.

2 Parts of the Porta02

What you need to make recordings
Some monitoring equipment (some kind of amplier and speaker system). Headphones, if you intend doing any work with microphones. These will avoid acoustic feedback (howlround) when recording. Additionally, headphones are sometimes useful when panning tracks on mixdown, as you can hear the precise position of each track. Of course, you will also need some kind of sound source to record (instrument or microphone, etc.).
Apart from the Porta02 itself, you will need: Some kind of stereo mastering recorder to produce the stereo recordings. This can be a cassette recorder such as the TASCAM 102Mk II or an MD recorder such as the TASCAM MD301. A recorder which does not have recording level controls is not suitable for use as a master recorder. You will also need RCA (pin or phono) cables to connect the Porta02 to other equipment.

Connecting the Porta02

You can listen to the Porta02 by selecting the ampliers input source to be from the terminals to which you connected the Porta02 (AUX or VIDEO, etc.). When you have mixed down and you want to listen to the mixed tape, you should select the mastering recorder as the ampliers input source.

This control adjusts the volume in headphones connected to the PHONES jack. Turn clockwise to increase the volume. There will be no output from the PHONES jack when the control is fully counter-clockwise. It has no effect on the level from the LINE OUT connectors.

MONO switch

When this switch is pressed down (in), it changes the stereo signal from the PHONES jack into a mono signal (the same signal will be output from both the left and right channels). Press it again to return it to the out stereo position. It does not affect the signal from the LINE OUT connectors.

MIC/LINE 1 (MONO)

TRIM (1 and 2)
Use this 1/4 phone jack to connect the rst channel audio source (instrument or microphone) to the Porta02. If you connect an audio source to this jack, but do not connect a source to the MIC/LINE 2 jack, the source at this MIC/ LINE 1 jack acts as a mono source, that is, it will be split between the rst and second channels as if you had plugged the same source into both jacks.
Different pieces of equipment output signals at different levels. The TRIM controls allow you to match the Porta02 to these levels. A piece of equipment such as a CD player or cassette deck will output signals at a high (LINE) level, so the trim control should be turned fully counterclockwise when such a device is being recorded. A microphone on the other hand, produces a lower signal level, and so the TRIM control should be turned fully
clockwise to MIC for any channel which is recording a microphone. Instruments such as electric guitars produce a signal which is between MIC and LINE levels and the TRIM control should therefore be somewhere between fully clockwise and fully counter-clockwise. See 3.3, Setting the level for full details of how to adjust the TRIM controls for different input sources. When the PHONES MONO switch is pressed, these controls will have no effect on the output from the PHONES jack.
REC FUNCTION switches (1 and 2)

POWER indicator

This yellow light is lit when the Porta02 is connected to the power supply and switched on.
These switches control where the signals coming into the MIC/LINE jacks will be recorded. For both switches 1 and 2, the center position is marked as SAFE. When a switch is in this position, no signal will be recorded on tape. However, you can still listen to the signals coming into the MIC/LINE jacks and view the levels on the meters. When set to a number (1 or 3 for channel 1, or 2 or 4 for channel 2), the signals input to the channel will be recorded on the track whose number has been set on the switch. This is called assigning or routing channels to tracks.

Tape counter and reset button
The tape counter allows you to note different parts of the tape and locate to them. Press the reset button to reset the counter to 000 at any time (we suggest that you only do this at the beginning of a recording).

Channel meters (1 and 2)

OUTPUT LEVEL controls
These controls change the levels of the four tape tracks in the LINE OUT and PHONES outputs. When one of these controls is turned fully counter-clockwise, the tape track corresponding to that control will not be heard in the LINE OUT and PHONES outputs.
Each channel has a set of four LED indicators which show the level of the signals sent to the LINE OUT L and R jacks. Exactly what is metered depends on the REC FUNCTION switch settings, but generally, they display the signals at the MIC/ LINE IN jacks, and when the input channels are set to SAFE, the meters show the off-tape signals, whose levels and pan positions are set using the OUTPUT LEVEL and PAN controls. The best level for any input signal is when an averagely loud part of the signal lights the red 0 indicator, and the +6 indicator (also red) is only lit by the loudest parts of the signal. See 3.3, Setting the level for details of how this should be set up.

OUTPUT PAN controls

These controls change the position of the four tape tracks in the stereo LINE OUT and PHONES outputs. When one of these controls is turned fully counter-clockwise, the sound of the corresponding tape track will appear to come from the left, and when turned fully clockwise, it will appear to come from the right. When in the center position, the output will appear equally from both the left and right.

Channel faders (1 and 2)

These faders are used to adjust the level of the signals coming into the MIC/LINE
IN jacks. They should be used together with the TRIM controls (see 3.3, Setting the level) to adjust the levels of the signals routed to the tape tracks.

RECORD indicator

This red indicator lights when the RECORD and PLAY keys are pressed, and at least one of the REC FUNCTION switches is not in the SAFE position. Pressing RECORD and PLAY while both REC FUNCTION switches are set to SAFE has the same effect as pressing PLAY.
If the left record-protect tab of the cassette has been broken out, or if there is no cassette loaded, the RECORD key cannot be pressed. It is not possible to go directly from recording into playback mode. The PAUSE key only pauses playback and recording. It is not possible to pause the tape in fast forward and rewind modes. All keys lock down when pressed, except for the STOP key, and only work when locked down.

Transport controls

Cassette compartment cover
These work in the same way as the controls on most cassette recorders. However, there are a few points you should note: Pressing the RECORD key will also press down the PLAY key.

The hinged cassette compartment cover is opened by lifting the tab on the right side. There is no eject mechanism. You load and unload cassettes by hand, using a nger or ngers in the space to the right of the cassette.
3 Making your first recording
3 Making your rst recording
This section describes how to make a 4-track recording using the Porta02. For this, we will assume that you are making a recording of your voice on two tracks (1 and 2), using a microphone, and recording a part of a stereo CD or cassette on the other two tracks (3 and 4). Make sure you know what you are going to say. Start by making sure that you have all the equipment listed in 1.3, What you need to make recordings.

Setting up

1) Make sure all equipment is turned off. 2) Connect the LINE OUT jacks of the Porta02 to the AUX IN jacks of the amplier. 3) Connect the mastering recorder REC IN and PLAY OUT jacks to the appropriate jacks of the amplier. See 1.4, Connecting the Porta02 if you are not sure what you should be doing here. 4) With the INPUT 1 fader at the 0 position, plug the microphone into the MIC/LINE 1 jack. Do not plug anything into the MIC/LINE 2 jack.
If the microphone has a switch, make sure this switch is off.
5) Plug the stereo headphones into the PHONES jack of the Porta02. 6) Turn on the Porta02, the mastering recorder, and the amplier (in that order). 7) Set the ampliers input source to AUX (or the name of the jacks to which the Porta02 is connected).

Getting ready

1) Clean the heads and pinch roller (see 1.2.4, Cleaning the heads and 1.2.5, Cleaning the pinch roller). 2) Insert a Type II (chrome) cassette.
The tape should be towards the front of the Porta02, and the full spool should be on the left side. Put the non-tape part of the cassette in rst, and then push the tape (front) down into place
3) Play the tape for about 10 seconds and then stop the tape. 4) Press the counter reset button.

Setting the level

The aim of this section is to teach you to set the input level so that the average signals coming from the microphone will light the 0 meter indicator, and the loudest will light the +6 indicator. 1) Make sure all OUTPUT LEVEL controls are set to 0. Put on the headphones and set the PHONES LEVEL to the 0 position.

If you do not do turn down the speaker volume, you will probably get feedback (howlround) when you start using the microphone.
2) Set both TRIM controls to the LINE position.
Although you will probably end up with this control at the MIC position, or close to it, for now, set it to LINE.
3) Take the INPUT 2 fader to the 0 mark. Bring the INPUT 1 fader up to between the 7 and 8 marks.
This is called the nominal position, and is the position where the electronics controlled by the fader will not have to amplify the signal too much (causing noise) or have too much signal going into them (causing distortion).
4) Switch the microphone on if necessary. Speak into the microphone at the volume you will be recording.
It is important than when you perform these level checks that you speak, sing or play at the level at which you will actually be recording. Most people, when they rst start recording, tend to be a little louder than when they are simply checking the levels.
5) While talking into the microphone, turn the INPUT 1 TRIM control clockwise until the left 0 indicator is lit most of the time, and the +6 indicator is lit on the loudest parts.
If the 0 indicator hardly lights at all, you may be too far from the microphone, or you are speaking too softly. If the microphone uses batteries, you may need to replace them. You can also bring the fader up from the 7-8 position to increase the level, but you should do this only after the TRIM control has been turned fully clockwise.
6) Adjust the PHONES LEVEL until you are comfortable with what you hear in the headphones.

Recording the rst track

1) Set the REC FUNCTION switch of INPUT 1 to 1.
You are now ready to record on track 1. Make sure the REC FUNCTION switch of INPUT 2 is set to SAFE, so you dont record on it by accident.
2) Press the RECORD key (which will also press the PLAY key) and start recording the rst spoken track.
If the level as shown by the meters now seems a little high, you can back off on the fader a little.
3) When you have nished (try to keep speaking for at least a minute), press the STOP key. 4) Rewind the tape to the 000 mark. 5) Start playing the tape, and adjust the LEVEL and PAN controls of track 1 so that you can hear clearly what you have just recorded.

4 Hints and advanced tips
This section gives a few hints and tips which may be useful to you when you make recordings using the Porta02.

Recording techniques

you, and there are several good books on the subject which can explain the theory of recording and some of the techniques.
Learning how to record is an art, not a science. One of the best teachers is experience. However, there are a few things mentioned here which may be useful to
4.1.1 Recording electric guitars
Much of the sound of an electric guitar (and also bass) is due to the effects, amplier and speakers, as well as the guitar and style of playing. If you plug the guitar straight into the Porta02, you will, of course, be able to record it, but the sound will probably not be what you are used to. Plugging effects units between the guitar and the Porta02 will certainly help to produce a fuller sound. The sound which will come closest to a live sound, though, will be provided by the amplier itself. You can adopt one of two approaches: either to put a microphone in front of the guitar speaker and record this (at MIC level), or to connect the output of the pre.amplier to the Porta02 and record at LINE level.
Do not connect the speaker output (or headphone output, if provided) of the amplier to the Porta02. This will almost certainly damage the Porta02, and may damage the amplier. Only use outputs which are marked LINE OUT, PRE OUT, DIRECT OUT and so on. Avoid using any outputs marked SPEAKER OUT, SP OUT, 4, 8, 16 or the like.
4.1.2 Recording with effects
Professional recordings often use effects like digital reverberation on vocals, etc. You can add some of these effects by plugging the microphone into an effects unit, and plugging the unit into the Porta02. Note that the effects unit must be able to accept microphone-level signals, and will output to the Porta02 at LINE levels. In addition, you will need to use the internal balance control in the unit to decide how much of the dry (un-effected) sound will be passed through to the Porta02 for recording. If you do not have access to a reverberation unit, you can try recording vocals in a very live room (without much furniture).
4 Hints and advanced tips 4.1.3 Metering
In general, you should not try to record at too high a level, and the +6 indicator should not be lit more than half the time (at the very most). The meters display the input levels to the channels at all times except when playing back with the input channels in SAFE mode. When playing back if one or both of the input channels has set to SAFE, they will display the levels of the signal sent to the left LINE OUT (channel and meter 1) or the right LINE OUT (channel and meter 2). If a signal is also received at the MIC/ LINE input jacks, this will be added to the playback for metering.

4.1.4 When youre not recording
Try to get into the habit of always leaving the REC FUNCTION switches in the SAFE position unless you are actually recording or rehearsing a take. This will stop you recording by accident (remember that pressing RECORD with both channels SAFE is the same as pressing PLAY).
tant pieces of equipment that you have are your ears! Train yourself to use them so that you can spot mistakes quickly, and you know how to put them right, just by listening. Its a useful skill! 2) Set both REC FUNCTION switches to SAFE. 3) Connect the source for the extra inputs to the MIC/LINE jacks and adjust the TRIM controls to match the level. 4) Play back the tape, and use the OUTPUT LEVEL and PAN controls to adjust the playback of the tape tracks. 5) Use the faders to adjust the levels of the input signals against the tape tracks. The four tracks of the Porta02 are mixed in the usual way onto a stereo cassette. This cassette is then removed from the mastering recorder and replaces the 4-
What sounds good is something that depends on personal taste, but most professionals try to avoid mixes with too much bass or high end (unless its for a special effect). However, the most imporAlthough the Porta02 has only 4 tracks, it is possible to produce a mix with more than four sounds. Heres one way, which involves adding one or two more extra inputs to the four recorded tape tracks. These extra inputs will be panned either fully left or right (or one track will be in the center) and the mix proceeds as the extra inputs are recorded. This method is therefore useful for adding a pre-recorded stereo backing to go behind the four recorded tracks. 1) Record on all four tracks of the Porta02. For this method, there must be an ordinary stereo cassette recorder used as the mastering recorder.
4.2.1 Recording more than four tracks (i)
4.2.2 Recording more than 4 tracks (ii)

5 Troubleshooting

track tape in the Porta02. The left and right stereo tracks of the mastering recorder can be used as tracks 1 and 2 of the Porta02, leaving tracks 3 and 4 ready for recording. There are a few points to remember: Although you can repeat this process of mixing 4 tracks to 2 and then adding 2 more, as you repeat the mix process, noise and hiss will build up to a point where the quality becomes unacceptable. The mastering recorder must have its noise reduction turned off when mix ing the Porta02 tracks to the mastering machine, as the Porta02 does not use noise reduction. Of course, on the nal stereo mix, you can use noise reduction on the mastering machine. Once you have mixed the four tracks to two, you cannot adjust their levels or pan positions again on the new tape. Think ahead to what tracks you will record on the new tape, and mix accordingly. When using this technique, always use the same type of tape in the Porta02 and mastering machine. Differences in tape type may affect the sound.

Tracing faults in a recording setup is often a mixture of logical deduction and patience. Very often, the problem is caused by something simple; a cable which hasnt been plugged in properly, or a faulty cable. If you discover a faulty cable, replace it with a new oneits not worth hanging onto bad cables!
The Porta02s POWER light does Is the PS-P2 adaptor plugged into the Porta02? not come on
Is the PS-P2 adaptor plugged into the power supply?
Is the switch on the Porta02 set to ON? Is the tape properly inserted in the Porta02? The tape does not move when PLAY is pressed Is the tape at the end of the tape? If youve just put in a tape you recorded in another session, make sure that its the right way round. Make sure the OUTPUT LEVEL controls are set to monitor the Some tracks have been recorded tape tracks (not at 0). Set the REC FUNCTION switches to SAFE and look at the meters. on the tape, but nothing can be heard when playing back Try monitoring through headphones and adjust the PHONES LEVEL. If you can hear something through the headphones, check the LINE OUT connections. Make sure the amplier is set to the correct input source. Is the source (microphone, guitar, etc.) switched on and volume Nothing appears on the meter control turned up? If it uses batteries, does it need new batteries? indicators when a source is played Is the TRIM control of the channel set correctly? Is the tape properly inserted in the Porta02? Cannot press the RECORD key Is the tape record-protected? Is the REC FUNCTION set to SAFE? The RECORD key is pressed, the Check the OUTPUT LEVEL control for the track. tape moves, but nothing is Is the TRIM level set correctly (a microphone feeding a channel set recorded, or the level is very low to LINE will sound very faint).

6 Specifications

If youre listening through headphones, is the Porta02s MONO switch pressed? If youre listening through speakers, is there a MONO switch on the amplier which has been pressed? When monitoring while recording, the sound will often be a little different to when it is played back. A large amount of distortion may be caused by recording at too high a level (shown by the meter +6 indicator being lit all or most of the time). Adjust the TRIM level and/or back off on the faders. If the meter +6 indicator is not constantly lit, you may want to reduce the headphone level; you may be driving the headphones too hard. Either the sound was recorded at too high a level, or the summed level of all four tracks is too high. Try reducing the level of all tracks so that the meter +6 indicator is not constantly lit on playback (set REC FUNCTION to SAFE). If one track only is distorted, it was recorded at too high a level. The heads are dirty. Clean them (see 1.2.4, Cleaning the heads) The capstan and pinch roller are dirty. Clean the capstan and pinch roller (see 1.2.5, Cleaning the pinch roller). Youre probably listening to tracks 1 and 2 forwards at the same time as 3 and 4 backwards. Turn down the OUTPUT LEVEL controls of tracks 3 and 4. If the sound is unnaturally bright, its quite likely that the tape was recorded on the other machine using noise reduction.

The PAN controls dont work
Recorded sound is distorted when recording
Recorded sound distorts on playback. Tape sounds mufed on playback Pitch changes (wow and utter) A stereo tape recorded on another machine sounds really strange!

6 Specications

Recommended tape type Track format Head conguration Motor type Tape speed Wow and utter Fast wind speed Power requirements
Compact cassette tape, CrO2 (Type II, 70s EQ), C-30 to C-tracks, 4 channels 1 x 4-track record/replay head (Permaloy) 1 x 4-track erase head (ferrite) 1 x DC motor (capstan and reel motor) 1 7/8 in./sec (4.76 cm/sec) 0.18% Approx 120 seconds (C-60 tape) USA/CANADA: 120V AC, 60Hz U.K./EUROPE: 230V AC, 50Hz AUSTRALIA: 240V AC, 50Hz 7W, via the supplied PS-P2 AC adaptor 305 x 64 x 205 (mm), 12.0 x 2.5 x 8.1 (in.), maximum height (including controls) 80 (mm), 3.1(in) 1.5kg (3.3lb) 50dBV, TRIM at maximum; 10dBV, TRIM at minimum 50k
Power consumption Physical dimensions (w x h x d) Weight (main unit) MIC/LINE inputs (2 x 1/4" jacks) Input level Input impedance
LINE outputs (2 x RCA jacks) Output level Output impedance Headphone output (1/4" stereo jack) Output level Output impedance Frequency response Signal-to-noise ratio Total Harmonic Distortion Channel separation Erasure

10dBV 10k

60mW + 60mW 30 50Hz 12.5kHz 3dB 43dB Better than 3.0% (400Hz, 10dB) Better than 40dB (at 1kHz) 65dB (at 1kHz)
0 dBV is referenced to 1 volt Changes in features or specications may be made without notice or obligation.

TEAC CORPORATION

TEAC AMERICA, INC. TEAC CANADA LTD. TEAC MEXICO, S.A. De C.V TEAC UK LIMITED TEAC DEUTSCHLAND GmbH TEAC FRANCE S. A. TEAC BELGIUM NV/SA TEAC NEDERLAND BV TEAC AUSTRALIA PTY., LTD. A.C.N. 462 TEAC ITALIANA S.p.A.
3-7-3, Nakacho, Musashino-shi, Tokyo 180, Japan Phone: (0422) 52-5082
7733 Telegraph Road, Montebello, California 90640 Phone: (213) 726-Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada Phone: 905-890-8008 Facsimile: 905-890-9888 Privada De Corina, No.18, Colonia Del Carmen Coyoacon, Mexico DF 04100 Phone: 5-658-Marlin House, Marlins Meadow, The Croxley Centre, Watford, Herts. WD1 8YA, U.K. Phone: 01923-819699 Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany Phone: 0611-Rue Alexis-de-Tocqueville, CE Antony Cedex, France Phone: (01) 42.37.01.02 P.A. TEAC Nederland BV, Perkinsbaan 11a, 3439 ND Nieuwegein, Netherlands Phone: 0031-30-6048115 Perkinsbaan 11a, 3439 ND Nieuwegein, Netherlands Phone: 030-Bay Street, Port Melbourne, Victoria 3207, Australia Phone: (03) 9644-2442 Via C. Cant 5, 20092 Cinisello Balsamo, Milano, Italy Phone: 02-6601050

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HOW TO

An Introduction to Multitrack Recording from
Capturing your art: How to develop your music by recording it.
It comes down to one simple, unavoidable fact: Every note you play thats not recorded is lost forever. Whether its a new song idea, a hot riff or just a phrase that you need to practice over and over, record it and its yours. To hear again. To share. To develop. To improve on. All it takes to capture your art is a multitrack recorder from TASCAM.
Getting started in the world of multitrack recording.
can help you write better songs and make better music. Even if youre not aiming for stardom, multitrack recording can be a lot of fun. But for a lot of us it just seems too complicated. There are so many different choices available, you cant figure out whats right for you. When you ask questions, all you get are buzzwords. If the world of multitrack recording makes you feel like youve just walked into a private club where everyone else speaks Geek, this guide is for you. It explains, in plain English, the basics of multitrack recording and what you can expect from the different kinds of gear available. It assumes you have no prior experience with recording. We know what its like because TASCAM has introduced hundreds of thousands of people to the world of multitrack recording over the last thirty years. And you could be next. First of all, dont feel like youre the only one who has questions. Even for people with recording experience, the field has grown so huge so fast that no one can keep up with every new development. But
like learning how to use a new cell phone, what seems baffling at first will become second nature after a little bit of reading and trying it out.
Develop your skills by recording your own music.
Forget all the jargon and technology for a minute and remember why this technology was invented in the first place. Music is made up of many parts. Multitrack technology simply allows you to separate the parts and develop each one, making a good recording better. This technology can help you grow as a musician and/or writerand you dont have to be a tech-head to do it. With your own multitrack recording equipment, you can hear how you sound without the pressure of anyone else listening. By experimenting with different styles and sounds in the privacy of your own studio, youll become your own best critic. You can push yourself to the limits of your ability, keeping what works and erasing the parts that, umm, arent so hot. If youre a writer, you can record an interesting but
Have you seen all the great recording equipment available today? Maybe youve read about it in music magazines, heard about it on the Internet, or have a friend whos gotten some equipment. No matter what kind of music you make, this gear

MF-P01

incomplete song element, and play around with it until you come up with the magical combination of the other parts or lyrics that make a great song. Thats what its all about. Lets say youre playing guitar when an idea for a new pattern of chords comes up. You simply plug your guitar into Track 1, hit record, and play the pattern for a few minutes (represented by the notes in track 1 of the drawing below). This is called laying the basic track.
Need help putting your lyrics to music?
If youre a singer or lyric writer without a band, take heart. Todays tools have become so advanced and easy to use that theyre practically like having a songwriting partner. You can start simply, and work your way up in technical and musical skill, as far as your dedication will take you. A lot of great musicians and songwriters have been using these tools since they were introduced, and agree that recording helped them to become better artists without getting mired down in technology. So, dont be afraid. You have nothing to lose. OK, now down to the nuts and bolts.
Simple 4-track cassette recorder One W" jack mic / line input for vocals and instruments Four track level, four pan and one master level control Master fader with 4-LED level display Headphone output

PORTA02 mkII

Because the TASCAM recorders were talking about here are multitracks, not just stereo recorders, you can now rewind to the beginning, plug a microphone into Track 2, and sing along with the guitar you just recorded.
Tracking, overdubbing, and mixdown.
Multitrack recording is a great tool for any musician or songwriter because it lets you build up a musical piece one part at a time, without having to organize a band or having to play and sing parts simultaneously. Lets start with a 4-track example. Were going to represent the four tracks like this:

4-track cassette recorder with 2-track simultaneous recording Two W" jack mic / line inputs for vocals and instruments; Hi-Z guitar input (assignable to both mic/line inputs) Easy-to-use 4-channel mixer section with pan and level controls for mixing down Headphone output with separate level control Dual faders with four-LED level meters
Rewind again, and you can record a lead guitar part on Track 3. This overdubbing capability lets you change or add any track at any time, without affecting the others. You cant just give a multitrack tape or disk to someone to play back, however; you must first perform the last stage of the multitrack process, a mixdown. You use a mixer to adjust
how many effect sends, what kind of inputs, and whether the mixer can be automated) What other equipment is included with the workstation such as effect processors that add reverb or special effects, synthesizers and drum machines, or even microphones Whether a stereo mixdown machine is included in the workstation (for example, some can make standard CDs or MP3s to be posted on a web site) Whether the system can be expanded for more tracks or channels or recording time, without switching to an entirely new system Whether it includes a MIDI sequencer which can play synthesizers and drum machines in sync to the audio (these are called virtual tracks). Dont worry if you dont completely understand these differences yet.it will become clear when we explain each product.
multitrack recording, depending on your needs: Portastudios: a 4-track analog cassette multitrack combined with a mixer (the features of TASCAMs various models are described in the colored boxes on page 3 and at right.) Pocketstudio 5: a self-contained recorder/arranger/mixer/effects device that records into digital memory (see page 7) 788: a high-quality 8-track digital Portastudio with a digital mixer and effects (see page 9) Computer interfaces such as our US-122, US-224, US-428 and software that turn your personal computer into a complete multitrack music production system (see pages 9 and 11). Well explain the advantages of each of these products, but the right one depends on your musical goals and how you like to work. In addition to finding out about the gear, you need to answer a few questions about yourself:

INSTRUMENTS

2-track CD or cassette, to share your work with other people. These six components are often combined. TASCAM Portastudios combine the mixer and multitrack in a single unit. A Pocketstudio adds MIDI instruments and a microphone, plus effects processors. Computer systems may add a built-in CD recorder. Even though elements are combined, it helps to understand them as separate blocks.
EFFECTS (REVERB, CHORUS, ECHO)
4-track simultaneous recording 8-input mixer section 2-band high/low equalizer on 4 main input channels Two dedicated W" stereo inputs Two XLR balanced mic inputs assignable to Channels 1 through 4 One W" dedicated Guitar input RCA unbalanced stereo SUB inputs Separate main and monitor outputs Headphone output with level control Two effect sends, one of which is switchable to Tape Cue 3-3/4 i.p.s. high tape speed dbx noise reduction Optional RC-30P punch-in pedal

424 mkIII

MICROPHONES (OPTIONAL) MIDI SEQUENCER

MULTITRACK RECORDER

The mixer and multitrack are usually combined into one unit
CASSETTE DECK OR CD BURNER MONITOR SPEAKERS/HEADPHONES
4-track simultaneous recording with logiccontrolled 4-track tape transport and dbx noise reduction. 12% pitch control RTZ and 2 locate points, repeat function, auto punch I/O with rehearsal function and more 6 full-function input channels with MID sweepable 3-band EQ, 2 aux sends for effects processing Four assignable XLR Microphone inputs Dedicated W" stereo inputs (channel 7-8) Separate main L-R and monitor outputs Dedicated W" tape outputs Sync output 5
Getting started with multitrack recording: cassette tape Portastudios
Number of tracks: 4 Number of mixer channels: 1 to 6 Recording medium: analog cassette tapes
Mixdown to: external cassette or CD recorder Extras: none
ASCAMs Portastudios are the easiest and least expensive way to get started in multitrack recording. The MF-P01, Porta02 mkII, 414 mkII, and 424 mkIII are 4-track tape decks complete with sound mixers. They record on the same blank cassette tapes you can buy anywhere and connect to all standard electronic instruments, speaker systems, and microphones. Because of noise reduction technology (and in some cases a faster tape speed), the sound quality is very good even though its not digital. On these TASCAM Portastudios, you can record up to four separate tracks or channels on a cassette tape.
What are the differences between the Portastudios?

PORTA02 mkII Pan Controls (four) Output Level Controls (four) These knobs control the playback levels of the tracks youve already recorded during overdubbing and mixdown. Input Level Faders (two) These faders set the level of the microphone or instrument as youre recording them. Level Indicators (two)
more than two tracks at a time. It also has no effect send, so you cant add reverb or other effects while mixing down. The 424 mkIII lets you record up to four tracks at once from its six-input mixer, has two effects sends, a sweepable midrange EQ on each channel, and four high-quality XLR inputs for low-impedance microphones. Another difference is that the larger Portastudios have better sound quality because of dbx noise reduction and faster tape speeds. If you plan on getting together with friends to record several instruments at once, the 414 mkII or 424 mkIII is probably your best choice. If you like to work alone, even the MF-P01 can do the trick.

Linear or nonlinear?

The biggest differences are the mixers. For example, on the Porta02 mkII, the mixer has only two inputs, so you cant record
3-band (high, mid, low) equalization Midrange EQ gives you more control over the tone of each track in a mix. The two EFFECTS knobs on each channel determine how much signal goes to an external effect device like a reverb, so each track can have the right amount of effect (a lot on a vocal, not so much on a guitar). Pan Controls (six) Level Controls (six) adjust both input and output levels Level Indicators (six)
Portastudios use tape which makes editing more difficult than on the other products. For example, if during the overdubbing process you come up with an idea for a new section in-between two verses, youll have to erase the second verse (by recording the new bridge over it) and re-record everything after it. By contrast, all the other multitrack systems well talk about later are nonlinear, which means they allow you to insert new material in-between other sections without having to re-record anything. However, most people start tracking only after the structure of a song is complete, so layering and punching-in is more important than cutting up sections.

POCKETSTUDIO 5

Make the Pocketstudio 5 your own private backup band
Number of tracks: 4 plus up to 16 virtual tracks Number of mixer channels: 2 inputs, 4 faders Recording medium: Compact Flash memory cards Mixdown to: MP3 files (internal), external cassette, CD-R (via computer) Extras: 3 effect processors, MIDI arranger, 16-voice General MIDI tone generator with MIDI IN

hat if youre beginning to have ideas for your own songs, harmonies, or arrangements, but dont know how to get them out of your head and onto a recording? You could wait until youve learned how to write and play every instrument in a band before you get started. Or, you could get a Pocketstudio 5: TASCAMs stand-alone music workstation for people who want to express musical ideas, but cant do everything themselves. The Pocketstudio 5 is a perfect step up for musicians who started out playing along with CDs or singing to karaoke machines and are ready to advance to the next level of musical understanding. It lets you be musical in a fun framework thats flexible enough to start writing your own songs. To call it an entry-level product doesnt do it justice, because there is a lot of potential built into this little under-$500 device. From the outside, it looks somewhat like a small 4-track recorder,
4-track digital Pocketstudio Up to 9 songs per card Mac OS 10.1 and higher support Record four digital audio tracks on Compact Flash media Internal synthesizer module for playback of MIDI sequence files Over 100 built-in high-quality effects for vocals, guitars and other instruments Audio/MIDI editing: copy/paste to exact bars/beats, bounce tracks, automate punch-in/out USB port for interfacing your music with Mac and Windows computers Mix down to MP3 format for putting your music on web sites and emailing to friends Playback MP3 audio files Includes 100 song styles that can be re-arranged to create original music Built-in condenser mic included Headset mic included AC power supply included 32MB Compact Flash card included up to 256k cards optional)
but it also contains a band-in-abox or auto-accompaniment device. This means that the Pocketstudio has electronic instruments (such as keyboards, bass, and drums) built right in. These internal instruments can be played by the internal MIDI Arranger, giving you backing tracks in a variety of styles without having to know anything about MIDI or sequencers (but it will expand your knowledge and let you grow in that direction). That gives the
Basic Pocketstudio 5 connections.
Pocketstudio the power of an 8-track recorder, since the rhythm section is handled internally via these MIDI virtual tracks, leaving the four digital audio tracks open to record live vocals, guitars, or anything you want. For example, the Pocketstudio lets you select a background style (like hard rock,jazz, or country) thats not a specific song. This accompaniment isnt a recording.its actually playing the drums, bass, keyboards and other instruments in real time through its internal synthesizer. Its not quite a sequencer (where youd have to program every single drum and every note of every chord), but its much more than just a sequence playback device.
Growing into songwriting.
Most people get interested in multitrack recording equipment to help them with songwriting and arranging. Songwriters have a lot of things to struggle with, and just

having a drum beat to play with can be a big help. Add a bass part and a keyboard part playing open, general arrangements, and its easier to start improvising a melody to those words you jotted down on a napkin last night. The Pocketstudio 5 even provides a headset mic and can run on batteries so you can work on lyrics and melodies while youre walking down a country road. New songs dont always fit into pre-established beats, keys and arrangements. This is where the Pocketstudio goes beyond a beat box or auto-arranger. You can change the key, harmonies and structure of any arrangement after its initial builtin style has inspired you. As long as you understand the difference between a C major chord and an
E minor chord, you can program the Pocketstudio to play different chords than what came in the standard arrangement at any point.
Digital recording with no moving parts.
The Pocketstudio records its audio tracks onto Compact Flash cards instead of tape. A 32 MB card is supplied, which gives you about 10 minutes of 4-track recording plus 10 minutes of 2-track mixdown time, and you can double or quadruple that time with larger cards available at electronics and office supply stores. The sound quality is very good, competitive with the best cassette recorders and similar to commercial MP3 units. Recording onto solidstate memory cards is trouble-free and allows nonlinear editing with simple copy and paste commands. There are built-in effects (like reverb, distortion, chorus) and even a guitar tuner!
Building creative networks via your computer.
the capabilities of the Pocketstudio. Youll want to control the specific notes played in a chord, or customize a drum fill. No problemthe Pocketstudio can import detailed arrangements in the Standard MIDI File (SMF) format. SMFs can be downloaded from the Internet, or written from scratch in most MIDI sequencers.
The Pocketstudios mixdown format is MP3, a compressed data file used to send audio over the Internet. If you have a computer with a USB port, youll be able to post your finished songs on a web site or email them to friends, collaborators and publishing companies. TASCAM has established the Pocketstudio Network so you can get together with other musicians to write and record over the Internet.

Harpsicord Marimba Church_Org Steel Guitar Fretless Cello SlowString Trumpet SopranoSax Bassoon Sitar SteelDrums Gunshot
GlamRock LatinRock Motown DrumNbass House Grunge FastBeBop Ska Western HighTec Bluegrass HipHop Reggae1
Ultimate 8-track: the 788 Digital Portastudio
Number of tracks: 8 (6 recordable at once) Number of mixer channels: 8 Recording medium: internal hard disk (over 3 hours of 8-track at 16-bit, capable of 24-bit), expandable with external SCSI drives Mixdown to: optional CD recorder or external cassette Extras: two effects processors, mixer automation, MIDI sync, internal tempo map/ metronome
Source selection (Inputs A-D, Aux inputs, Track or stereo Input trim controls (four) (inside) hard disk
Effects 1 and 2 buttons EQ, Send and Fader/Pan buttons work with LCD screen
Track Assign (seven buttons serve eight channels) Record Ready buttons Channel faders (seven)
Jog/Shuttle wheel Editing controls Transport controls Cursor controls Master fader
right settings for tracking, another push sets them for mixing. So, you can be clueless about what some of the buttons do, and still start recording.
When you need no-compromise sound quality.
TASCAM invented the Portastudio many years ago, and has brought the mixer/multitracker into the digital era with the 788. The faders and transport controls work the same way they do on a cassette Portastudio. But well admit it with dozens of switches and lights, and some cryptic names on its top panel, the 788 can be intimidating when you first look at it, especially if youve never recorded before. Dont worry the 788s QUICK SETUP button is designed to help you out. One push sets all the mixer controls to the
Of the TASCAM products described so far, the 788 leads the pack in sound quality. Our cassette Portastudios are good, and the Pocketstudio is digital, but the 788s 24-bit digital recording and excellent analog-to-digital
converters are state-of-the-art. What does that mean? It means that the 788s frequency response is wider, and the noise is lower, than previous generations of analog or digital multitracks, resulting in better-than-CD sound quality. Essentially, what you plug into the 788 is exactly what youll get out of itno extra noise or hiss.
Hidden features of the 788s digital mixer.
The 788 has 8 faders and 4 trim knobs, but you dont see any other knobs for EQ and effects sends. That

788 back panel showing audio, MIDI and SCSI connections.

US-224

doesnt mean theyre not there, however. The knobs are digital and can be commanded from the LCD screen. In fact, the 788 has the equivalent of over fifty knobs. What you give up by losing knobs, you gain by having snapshot automation that stores your favorite knob setups for all the channels at once in computer memory. Each song can have up to ten snapshots, so you can change the mix for each verse, chorus, solo, etc., automatically.
Not only is the 788 easy to use, but its quite powerful.The built-in editing capabilities could be used to cut out a cough or phone ring in the middle of a great take, loop a drum beat, or duplicate well-sung chorus vocals.The wave form screen with audio scrubbing offers a simple visual reference.

MIDI compatible.

The 788 doesnt have a MIDI sequencer or any internal instruments of its own, but it can synchronize to
an external sequencer via MIDI, and receive transport commands (play, fast forward, etc.) from an external controller (this is called MIDI Machine Control Control). This division of labor between audio and MIDI is perfect for those who already have hardware sequencers.
USB audio and MIDI interface for Mac and PC Compatible with many popular audio multitrack software applications; includes version of Steinberg Cubasis VST for Mac and Windows 24-bit A/D/A resolution; 44.1 or 48 kHz sampling rates Four channel strips plus master fader control surface Two analog inputs (1/4); S/PDIF digital input & output; Stereo RCA analog outputs; MIDI In / MIDI out Transport controls, Data/Shuttle Wheel, Solo/mute switches, Headphone jack Self-powered via USB.no external power supply required

Pushing the envelope

This LCD screen shows how you change the EQ (tone) on a channel of the 788. There are 3 bands of EQ (Low, Mid, and High), each with adjustable frequencies (shown set to 80 Hz, 1 kHz, and 10 kHz). Currently all of the bands are flat (no cut or boost). The Low Gain (bass boost) is selected and can be increased or decreased by moving the large JOG/DATA wheel. If you wanted to change the Mid EQ gain, youd simply press the right CURSOR key until it was highlighted and change it with the DATA wheel as well.
If you need more inputs (for example, several synthesizers at once) youll probably want to get an external mixer for the keyboards and plug it into the 788s stereo AUX inputs. But if your music is heavily keyboard-based, and you have computer skills, youll probably find it easier to combine MIDI sequencing and digital audio multitracking in a personal computer. Thats where the next category of TASCAM gear comes in.

US-428

USB audio and MIDI interface for Mac and PC Compatible with many popular audio multitrack software applications; includes version of Steinberg Cubasis VST for Mac and Windows 24-bit A/D/A resolution; 44.1 or 48 kHz sampling rates 8 channel strips plus master fader control surface 4-band EQ control, Transport controls, Data/Shuttle Wheel, Solo/mute switches, Headphone jack Four analog inputs (XLR, balanced line and Hi-Z); S/PDIF digital input & output; Stereo RCA analog outputs; 2x MIDI In / 2x MIDI out Four analog or two analog and two digital inputs can be recorded at once 11

A MIDI sequence can be a great basic track to a song, and may be all you need for an instrumental track. But not everything can be sequenced, notably guitars and vocals. Thats where the marriage between a MIDI sequencer and digital audio recording comes in. A human being singing into a microphone is still the most important part of a successful
The components of a multi
Compare this drawing to the one on page 3 of this booklet. Same six components but now some of the functions are being handled by the computer. Multitrack recording is now a function of the Digital Audio Workstation (DAW) program and your computers

MICROPHONES

MONITOR SPEAKERS/HEADPHONES
song. Todays music software, like Steinbergs Cubase, can record audio tracks and MIDI tracks in the same program, side-by-side. This has a lot of advantages, especially when youre experimenting with a songs structure. Want to repeat the chorus? Simply copy and paste all the audio and MIDI data in the new location. Want to add a bridge between two sections? Dont start from scratchsimply create new space in the middle without erasing anything. For people who come up with new ideas all the time but dont want to re-do tracks over and over again, the digital audio workstation is a godsend. This is a real advantage over linear systems (like the Portastudios) that use tape.
Steinbergs Cubasis, a basic digital audio workstation/sequencer program that ships free with the TASCAM US-122, US-224 and US-428. Note the virtual mixer that can be mapped to US-224
or US-428 faders for hands-on control. TASCAM computer interfaces can also be used with more complex DAW programs such as Nuendo, Digital Performer, Logic Audio, etc.

track studio revisited.

hard disk. MIDI sequencing is also controlled through the computer. On the other hand, the US-224 Interface provides the functions of the mixer in our first drawing, as well as better access to DAW functions such as transport controls.
Some computers come with a tiny speaker for playing back computergenerated tones, others might even have a microphone, but theyre usually meant more as a minor accessory than for serious recording. If you want to use a computer as a digital audio workstation (DAW), youll need an interface.

Whats an interface?

Think of an interface as a way of connecting between two different things. Need to get audio into or out
MULTITRACK RECORDER & MIXER BUILT INTO DAW SOFTWARE
of a computer? You need an audio interface. Want to get MIDI data in and out so you can play a keyboard from a computer sequencer? You need a MIDI interface. The arrangement of windows on a computer screen may be called a user interface, because thats where you connect with the software. The computer connects with the outside world with a USB interface, or to a hard disk with a Firewire interface.

Making a computer into a digital audio workstation with TASCAM interfaces.

DAW SOFTWARE

CASSETTE DECK OR CD BURNER

MIDI SEQUENCER

TASCAM makes three multipurpose interfaces that can bridge the gap between the computer and your music. We call them multipurpose because they act as an audio interface, a MIDI interface, and a fader
control surface simultaneously. The US-428, US-224 and US-122 connect 224 to a computer via its USB port. See pages 11 and 13 for details. The US-428 and US-224 look very 224 similar to the tape-based Portastudios we talked about before. Like the Portastudios, the difference between the US-428 and US-224 is primarily 224 in the number of channels and controls. Both of them come with a free version of Steinbergs Cubasis VST software, and are compatible with more advanced software from Steinberg and other companies. The great thing about these interfaces is that you dont need to purchase a separate mixer. The US-428 has 4 audio inputs complete with mic preamps, XLRs, (the 3-pin connectors used with professional lowimpedance microphones) and W" connectors, so you can plug in your microphone, guitar, or keyboard. It also has two sets of MIDI IN and MIDI OUT jacks for controlling external synthesizers. It has four analog-todigital converters which change the sound into a stream of numbers that can be read by the computer software and recorded onto hard A USB cable specimen disk. The (QuickusConnectus US-224 ComputerInterfaceae). has 2 analog inputs. Both have S/PDIF inputs and outputs (which connect to external digital devices like CD-Rs), headphone outputs, and transport control switches.
About virtual audio channels.
Unlike the analog Portastudios, computer software can have many more channels than there are corresponding faders on the top panel of the US-224 and US-428. For ex224 ample, up to 8 with Cubasis VST and as many as 64 with some DAW programs. It doesnt matter that the US-428 has only 8 physical faders on its top panel, or the US-224 has 224 only 4; those faders can be assigned to control any of the channels in the software. The faders dont actually control the audio level directlyinstead, they act as controllers sending messages to the computer, which actually does the mixing. But thats just a detail.as far as youre concerned, you simply reach for a fader to change the level of a track, just as you would in a traditional noncomputerized studio. This expandability is one of the big pluses of going the computer routeit may look like an 8-track on top, while its controlling 48 tracks

Basic US-428 connections.
in the software. Its perfect if youre someone who likes to build a wall of sound with no limitations. Many software packages also provide a way to record several different alternate takes in one track, and (for example) compile the best phrases or even words from different takes into a final vocal.
What the computer needs to record audio on the hard disk.
Make sure you have enough space before you record. Multitrack audio uses a lot of disk spaceover 8 megabytes per minute per 24-bit track. If you record 10 tracks for 5 minutes, youve occupied over 400 MB. Luckily, large hard drives are cheap now. You can get fast drives with 80 gigabytes or more for

TASCAM US-122

When you get to the US-122, the majority of our six components are now living inside your computer. The US-122 provides analog to digital conversion, inputs including mic preamps and monitoring. MONITOR SPEAKERS/HEADPHONES
about $100. Most computer stores or knowledgeable friends can connect the drives for you. Its good to have a lot of computer memory, too 128 MB will work, but 256 MB is better; 512 MB will keep you out of trouble if youre running a lot of effects and tracks. Finally, youll need to have something to back up with, since you cant keep your music on the hard drive forever. Most musicians use recordable CD drives, which make both CD-ROMs to store the multitrack data, and audio CDs to play the stereo mixdowns. TASCAMs parent company TEAC makes CD-Rs and DVD-R drives that work well with any PC or Mac.
incredibly compact bridge for getting audio into your computer. It features two XLR-based, phantompowered mic inputs. As one of the only small computer interfaces with analog inserts, you can use the US-122 to place hardware devices (compressors, etc.) into the recording signal chain. Two linelevel inputs on balanced W" TRS jacks are included, and are switchable to guitar-level for direct instrument recording into your computer. In addition to audio interfacing, the US-122 gives you 16 channels of MIDI I/O for use with synthesizers and other sound generating equipment.
Having said that, many people just find a non-computer recording system easier to use. This is especially true if you only record occasionally; its easy to forget some of the software commands if you havent turned on the computer for a few weeks.

Need more information?

The US-122.
Our new US-122 foregoes faders, displays and controls to provide an
Computer-based DAWs have incredible potential.
INTERNAL OR EXTERNAL CD BURNER
MULTITRACK RECORDER BUILT INTO DAW SOFTWARE
VIRTUAL MIXER BUILT INTO DAW SOFTWARE

They give you virtually unlimited recording space and the ability to try different variation without losing your original. However, keep in mind that they present certain hassles that not everyone enjoys dealing with such as optimizing the hard drive, software conflicts, crashes, viruses, updates, etc. When you first start out, it may take a while before you get all the bugs out of a system. So, it helps to have a friend or dealer you can call on to answer specific questions. This will save you a lot of time.
We hope this Guide has given you an idea of all the different multitrack technologies TASCAM has developed, and how you might be able to use it to take your music to the next level. The next step is to narrow your focus to the products that seem right for you, and to try them out at your TASCAM dealer. You might want to prepare by downloading more information about specific products from www.tascam.com. You can even read the manuals first if you want. But theres no substitute for having a knowledgeable salesperson show you the ropes. TASCAM dealers have gone through special training programs designed to help them help you.
REVERB, CHORUS, ECHO ETC. VIA DAW PLUG-INS
No matter what your level of expertise musically or technically, no matter what kind of music you play, we know that multitrack recording can be a valuable artistic tool. We hope weve helped you find the right equipment for you. Good luck with your music!
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