Tascam Recording Equipment 424MKIII User Manual

424@$

OWNER’S MANUAL

3D0023100A

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Safety Instructions

"Note to CATV system installer:

CAUTION:

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.

• 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.

Example of Antenna Grounding as per

National Electrical Code, ANSI/NFPA 70

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.

ANTENNA

LEAD IN

WIRE

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.

GROUND

CLAMP

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

ANTENNA

DISCHARGE UNIT

(NEC SECTION 810-20)

example, near a bath tub, wash bowl, kitchen sink, or laundry tub; in a wet

basement; or near a swimming pool; and the like.

ELECTRIC

SERVICE

EQUIPMENT

GROUNDING CONDUCTORS

(NEC SECTION 810-21)

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.

GROUND CLAMPS

POWER SERVICE GROUNDING

ELECTRODE SYSTEM

(NEC ART 250. PART H)

NEC - NATIONAL ELECTRICAL CODE

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.

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.

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.

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.

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 built-

up 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.

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Introduction

The PORTASTUDIO 424 MKIII is...

Using this m anual : To get the m ost out of your

424 MKIII, please take the tim e to read through

this m anual. Som e tim e spent now will keep you

from overlooking som e of the features that m ake

th e 424 MKIII a m o re cre a tive to o l. Yo u m a y

d is co ve r s o m e n e w tricks yo u h a ve n ' t trie d

before.

Th e PORTAS TUDIO 424 MKIII is a 4-tra ck

"Multitrack Master" cassette tape recorder and a

full-function m ixer with 8 inputs/stereo outputs

com bined into a single workstation.

Its h ig h a u d io q u a lity a n d cre a tive fle xib ility

reflect the experience and innovation that have

a llo w e d TAS CAM to e a rn its re p u ta tio n in

professional audio production fields, and its user-

friendly design m akes the 424 MKIII suitable for

anyone, from expert to novice.

Use of capital letters : In general, we use all upper

ca s e typ e to d e s ig n a te a p a rticu la r s w itch ,

control, jack nam e or label (like PAN). Transport

m odes and som e features are described with an

upper case first letter (like Record m ode).

CAUTION : TO PREVENT ELECTRIC SHOCK,

MATCH WIDE BLADE OF PLUG TO WIDE

SLOT, FULLY INSERT

About the w eld 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 m olding process em ployed in the

m anufacture of the 424 unit. It is not a crack

or scratch, and will cause no problem s with

the operation of the 424 unit.

ATTENTION : POUR ÉVITER LES CHOCS

ÉLECTRIQUES, INTRODUIRE LA LAME LA

PLUS LARGE DE LA FICHE DANS LA BORNE

CORRES PONDANTE DE LA PRIS E ET

POUSSER J USQU' AU FOND.

NOTE FOR U.K. CUSTOMERS

DO NOT cu t o ff t h e m a in s p lu g fro m t h is

equipm ent. If the plug fitted is not suitable for the

power points in your hom e or the cable is too

s h o rt to re a ch a p o w e r p o in t, th e n o b ta in a n

appropriate safety approved extension lead or

consult your dealer.

As these colours m ay not correspond with the

coloured m arkings identifying the term inals in

your plug proceed as follows:

Th e w ire w h ich is co lo u re d BLUE m u s t b e

connected to the term inal which is m arked with

the letter N or coloured BLACK.

If nonetheless the m ains plug is cut off, rem ove

the fuse and dispose of the plug im m ediately, to

a vo id a p o s s ib le s h o ck h a za rd b y in a d ve rte n t

connection to the m ains supply.

Th e w ire w h ich is co lo u re d BROWN m u s t b e

connected to the term inal which is m arked with

the letter L or coloured RED.

If this product is not provided with a m ains plug,

o r o n e h a s to b e fitte d , th e n fo llo w th e

instructions given below:

When replacing the fuse only a correctly rated

approved type should be used and be sure to re-

fit the fuse cover.

IMPORTANT. DO NOT m ake any connection to

the larger term inal which is m arked with the letter

E or by the safety earth sym bol ç or coloured

GREEN or GREEN-and-YELLOW.

IF IN DOUBT — CONS ULT A COMPETENT

ELECTRICIAN.

The wires in the m ains lead on this product are

coloured in accordance with the following code:

BLUE:

BROWN:

NEUTRAL

LIVE

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The Recording System

The PORTASTUDIO 424 MKIII is a com plete audio

production facility in a single box. It is divided

into two m ajor sections: a full-function m ixer and

an 4-channel, m ultitrack cassette recorder.

To co m p le te th e re co rd in g s ys te m , yo u ' ll

a d d itio n a lly n e e d th e s e : In p u t d e vice s

(m icro p h o n e s , in s tru m e n ts ), Ou tp u t d e vice s

(h e a d p h o n e s ),

processors, etc.

tra ck re co rd e r, Effe cts

The Three Steps to Multitrack

In TRACKING and Overdubbing, the m ixer inputs

are usually m icrophones or instrum ents, going to

different tracks of the recorder.

In MIXDOWN, signal com es from the m ultitrack

and is sent to an external 2-track recorder.

In OVERDUBBING, th e MONITOR s e ctio n a n d

TAPE CUE of the m ixer m ust be used to listen to

previous tracks while you record new ones, so

there is a two-way flow through the console.

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Understanding the Mixer

Signal Flow in the 424 MKIII Mixer

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

jacks. This is the m ost im portant signal route in

the m ixer and is called "Main Mix".

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Tape Cue Monitor System

The 4 TAPE CUE controls act like a separate 4x1

m ixer, dedicated solely to enabling you to hear

playback from the m ultitrack recorder in your

headphones. The settings of these controls don’t

a ffe ct th e m ix g o in g to ta p e . Wh e n th e

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 m onitor level of each

tra ck b y a d ju s tin g its TAPE CUE co n tro l. Th e

channels of the Main Mix rem ain free to handle

external inputs for recording.

The TAPE CUE m ix and MONITOR switches are

also crucial for successful m ultitrack recording,

b e ca u s e th e y co n tro l w h a t yo u h e a r in th e

headpnones. This CUE m ix is totally independent

from the Main Mix going to tape. If you don't use

the CUE m ix, you run the risk of accidentally

"b o u n cin g tra cks " e ve ry tim e yo u re co rd n e w

m aterial.

If you can hear tape playback in your headphones

whe n TAPE CUE is off (in the le ft position), it

m eans you're hearing tape through the Main Mix.

This is correct for m ixdown and bouncing tracks,

but during overdubbing it can cause previous

tra cks to b e m ixe d to g e th e r w ith n e w tra cks ,

instead of each part rem aining 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).

Wh e n yo u a re re co rd in g , yo u s h o u ld s e t th is

switch to OFF, the EFFECT/CUE switch to EFFECT

2/CUE, a nd the EFFECT 2/TAPE CUE switch to

TAPE CUE.

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Multitrack Cassette Recorder

Th e 424 MKIII re co rd s o n re a d ily a va ila b le

standard (Philips) Com pact Cassette tape, high

bias Type II. The recorder has 4 tracks while the

m ixer has a stereo output; however, using the

DIRECT feature you can record on any or all of

the 4 tracks at one tim e. For m ore details, see

"Re co rd in g o n Mo re Th a n Tw o Tra cks

Sim ultaneously", page 22.

∑ 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 program s the 424 MKIII to repeat

a punch-in/out sequence as m any tim es as

you wish, and AUTO PUNCH actually executes

it o n ta p e e xa ctly a s yo u "p re vie w e d " in

REHEARSAL.

The 424 MKIII's dbx Noise Reduction virtually

elim inates unwanted tape noise. A special SYNC

feature tuns off the dbx on track 4 separately,

m aking it possible to record and play back the

MIDI s yn c to n e s o r S MPTE/EBU tim e co d e

without being affected by the dbx encode/decode.

Th is e n s u re s th a t th e s yn c to n e s /co d e a re

recorded and played back without unnecessary

processing. With proper operating techniques, it

is not necessary to leave a guard band between

m usic and sync tone tracks because of the low

crosstalk of the TASCAM heads.

∑ Tw o ta p e s p e e d s o ffe r HIGH fo r g re a te r

fidelity, and NORMAL for com patibility with

standard cassette tapes.

∑ The tape speed can be increased or decreased

w ith th e PITCH CONTROL d ia l in b o th

pla yba ck a nd re cord, to m a tch pitch or for

special effects.

The transport controls of the 424 MKIII are m icro-

p ro ce s s o r o p e ra te d , a llo w in g h ig h ly re lia b le

functions that m ake the unit easier to use:

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Track Format and Tape Recommendations

Tape Speed and Track Form at

The Portastudio 424 MKIII uses a HIGH speed of

9.5 cm /sec. (3-3/4 inches per second) which is two

tim es (2X) the norm al speed of a standard audio

cassette. Its NORMAL speed is 4.8 cm /sec (1-7/8

i.p.s.), the sam e as that used by conventional

recorders.

It also em ploys a discrete 4-channel form at head

d e ve lo p e d e s p e cia lly b y TEAC fo r TAS CAM

m u ltitra ck ca s s e tte re co rd e rs . He re is

com parison of various cassette form ats:

Pla yin g b a ck s t a n d a rd (s t e re o ) p re re co rd e d

t a p e s : Ta p e s re co rd e d o n s te re o ca s s e tte

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" form at, but

tra cks 3 a nd 4 use the "Side B" (re ve rse side )

tracks. So you m ust turn off Track 3-4 playback to

avoid hearing the flip side playing backwards. If

th e ca s s e tte w a s re co rd e d w ith Do lb y B typ e

noise reduction, the DBX NR switch should be set

to OFF.

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 sam e side on

all m ultitrack tapes.

Tape Type

The Portastudio 424 MKIII is internally adjusted

for HIGH BIAS Type II tape. This m eans that for

best results, you should only use tapes of this

typ e . TDK S A, Ma xe ll XL-II o r e q u iva le n t

fo rm u la tio n s a re re co m m e n d e d . We s tro n g ly

suggest that you select one good quality brand

a n d u s e it e xclu s ive ly. Th e tim e yo u s p e n d

creating your m ultitrack m aster is m uch m ore

va lu a b le th a n th e m o n e y yo u s a ve b y b u yin g

in fe rio r ta p e . Th e ca s s e tte s h e ll e s s e n tia lly

becom es a part of the 424 MKIII's transport. Poor

q u a lity s h e lls ca n ca u s e w rin kle s , s n a rls a n d

shredding of the edges of the tape with use. Even

s m a ll s cra tch e s o n th e ta p e o xid e ca n ca u s e

"dropouts" (tem porary loss of signal) on one or

m ore tracks. High quality tapes are less likely to

cause problem s in the long run.

Fo r th e s a m e re a s o n s , ta p e s re co rd e d o n th e

Portastudio 424 MKIII will not play back properly

on stereo cassette recorders. Material recorded

on the 424 MKIII m ust be m ixed down to stereo

for final distribution.

The 424 MKIII needs the entire width of the tape

to record its four tracks, elim inating the option of

re co rd in g o n b o th s id e s (a ctu a lly, it' s b o th

directions). Therefore, you should decide which

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Accidental Erase/ Record Protection

To protect a finished m aster tape, it is necessary

to p u n ch o u t b o th re co rd p ro te ct ta b s . Eve n

though you are recording in only one direction,

the 424 MKIII uses the entire width of the tape, as

m entioned above. If, for exam ple, you rem ove

only one of the tabs, you could accidentally insert

the cassette into the 424 MKIII backwards and

erase all four tracks of the m aster.

Side A

safety tab

Side B

safety tab

Tape Length

Use the shortest possible tape for a given work. It

is not unusual to play a tape 100 tim es 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 m ade from thicker stock than

longer cassettes.

The tape used in C-120 cassettes is extrem ely thin

a n d ca n ca u s e w in d in g p ro b le m s , crim p in g ,

wrinkling, and other dam age to the oxide coating

of the tape which will destroy your work. Don't

use C-120s in the 424 MKIII.

Re m e m b e r th a t a t 2X n o rm a l s p e e d , a n d th e

"one-side-only" 4-track single direction form at

m e a n s th a t yo u h a ve o n ly o n e q u a rte r o f th e

norm al play tim e:

(approx.)

Tape Speed

9.5 cm /sec.

4.8 cm /sec.

Cassette

C-46

11.5 m in.

15 m in.

23 m in.

30 m in.

45 m in.

C-60

C-90

22.5 m in.

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For detailed information on each feature, see "Features

and Controls", pp. 39-45 of the supplied manual.

PORTASTUDIO 424 MKIII Brief Guide

Input Selection and Adjustm ent

Ch.1-4

Ch.5-6

MIC/ LINE INPUTS: These are the input jacks for

1/ 4” STEREO INPUTS : Prim arily 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 am plify them .

the m ixer channels. Prim arily, the 3-contact,

XLR-type connectors are for connection to

balanced m icrophones, and the 1/4" jacks

are for line-level, unbalanced signal sources

(such as electronic instrum ents). But you

can also connect lower-level signals (down

to –50 dBV) to these 1/4" jacks and use the

TRIM control to am plify them .

Ch 7-8

STEREO INPUT: Connect any stereo

line-level signal (such an effect

return or electronic instrum ent)

h e re . Alte rn a tive ly, yo u ca n

co n n e ct tw o m o n o lin e -le ve l

signals.

TRIM: Sets how m uch pream plification will

be added to the MIC/LINE IN jack. Turn

to th e rig h t if th e s ig n a l n e e d s

am plification, to the left if the signal is

so loud it is causing distortion in the

m ixer electronics.

MONO fe a t u re : If o n ly o n e m o n o

s ig n a l is to b e co n n e cte d ,

co n n e ct it to th e L ja ck, a n d

le a ve th e R ja ck u n co n n e cte d .

The signal is autom atically taken

to both the 7 and 8 channels.

NOTE

DO NOT use both the XLR and 1/4" jacks

in th e s a m e ch a n n e l a t o n e tim e .

Disconnect one when the other is used.

INPUT: Determ ines the source of the channel

signals.

MIC/ LINE 1/ 3/ 5 (channel 5): Allows you

to ch o o s e w h e th e r th e s ig n a l

h a nd le d by ch a n ne l 5 co m e s from

e ith e r o f th e MIC/LINE in p u ts o f

ch a n n e l 1, e ith e r o f th e MIC/LINE

inputs of channel 3, or the MIC/LINE

input of channel 5.

TRIM : Sets how m uch pream plification will be

added to the MIC/LINE IN jack. Turn to the

right if the signal needs am plification, to the

left if the signal is so loud it is distorting the

m ixer electronics.

LEVEL: Controls the volum e of both

o f th e in p u ts s im u lta n e o u s ly.

Th e s ig n a l is s e n t to th e

d e s tin a tio n s e le cte d b y th e

ASSIGN switch.

INPUT : Detem ines where the channel signal

com es from .

MIC/ LINE 2/ 4/ 6 (channel 6): Allows you

to ch o o s e w h e th e r th e s ig n a l

h a nd le d by ch a n ne l 6 co m e s from

e ith e r o f th e MIC/LINE in p u ts o f

ch a n n e l 2, e ith e r o f th e MIC/LINE

inputs of channel 4, or the MIC/LINE

input of channel 6.

MIC/ LINE (le ft ) b rin g s th e m ic/lin e in p u t

into the channel.

OFF (center) shuts off the channel.

TAPE (rig h t ) m a ke s ta p e p la y b a ck th e

channel source.

ASSIGN: This sends the signal(s) at

the STEREO INPUT to the stereo

m ix for recording (L-R) or to the

m onitor m ix (MON), or turns the

signals OFF (center).

EQ HIGH : Cuts or boosts treble frequencies.

Shelving point is at 10 kHz.

Monitor Section

EQ HIGH: Cuts or boosts treble frequencies.

EQ MID s w e e p : Th e u p p e r co n tro l s e ts th e

frequency range, centered from 250 Hz to

5 kHz. The lower control cuts or boosts this

frequency range.

Shelving point is at 10 kHz.

LINE OUT sw itch: Controls whether

the LINE OUT stereo m ix will be

o u tp u t to th e m o n ito r m ix, in

stereo (L-R), in m ono (MONO) or

not at all (OFF).

EQ MID (sw eep): The upper control sets the

frequency range, centered from 250 Hz

to 5 kHz. Th e lo w e r co n tro l cu ts o r

boosts this frequency range.

EQ LOW : Cu ts o r b o o s ts b a s s fre q u e n cie s .

Shelving point is at 100 Hz.

EQ LOW: Cuts or boosts bass frequencies.

EFFECT/ CUE s w it ch : Co n tro ls

w h e th e r th e s ig n a ls s e n t to

EFFECT 1 o r EFFECT 2/CUE o r

neither (OFF) will be output to

th e m o n ito r m ix, o r yo u m a y

s e le ct n e ith e r o f th e s e fo r

m onitoring (OFF).

EFFECT 1 and 2 : These control how m uch signal

will go to the corresponding EFFECT send

jacks. They get their signal from a point just

after the channel fader.

Shelving point is at 100 Hz.

EFFECT 1 and 2: These control how m uch

s ig n a l w ill g o to th e co rre s p o n d in g

EFFECT S END ja cks . Th e y g e t th e ir

TAPE CUE : Th e EFFECT 2 co n tro ls ca n b e

s w itch e d to a ct a s th e TAPE CUE le ve l

controls (by m eans of the correspondingly

la b e le d s w itch ) a n d a d ju s t th e p la yb a ck

level for the m usicians in the studio.

s ig n a l fro m

channel fader.

p o in t ju s t a fte r th e

LEVEL: Co n tro ls th e le ve l o f th e

m o n ito r m ix fe e d in g th e

MONITOR OUT ja cks a n d

headphones.

TAPE CUE: The EFFECT 2 controls can be

switched to act as the TAPE CUE level

co n tro ls

(b y

m e a n s

o f

th e

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.

co rre s p o n d in g ly la b e le d s w itch ) a n d

a d ju s t th e p la yb a ck le ve l fo r th e

m usicians in the studio.

Master Section

PAN: S e ts th e p a n p o s itio n (le ft-rig h t

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.

EFFECT 2/ TAPE CUE s w it ch : Th is

a lte rs th e fu n ctio n o f th e fo u r

le ve l co n tro ls im m e d ia te ly

a b o ve th e p a n co n tro ls o f

channels 1 through 4.

Channel fader : Sets the volum e of the channel

feeding the MASTER fader.

Ch a n n e l fa d e r: S e ts th e vo lu m e o f th e

MAS TER fa d e r: Th is s e ts th e to ta l

channel feeding the MASTER fader.

output level of the stereo m ix.

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PORTASTUDIO 424 MKIII Brief Guide

Rear Panel Connections

Recorder Controls

EFFECT 2 SEND/ TAPE CUE OUT: The signal available at this jack com es 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 m eans of the EFFECT 2/TAPE

CUE switch.

REHEARS AL : Le ts yo u p ro g ra m a p u n ch -in /o u t

s e q u e n ce to b e u s e d fo r re h e a rs a ls a n d fo r

AUTO IN/OUT.

RECORD FUNCTION 1-4 : Th e s e co n tro l

which track(s) will be recorded when the

m a s te r RECORD a n d th e PLAY ke y is

pressed, and choose where the signal to

be recorded is com ing from .

AUTO PUNCH : Executes the punch-in recording

a ctu a lly o n ta p e a s yo u p ra ctice d in

REHEARSAL.

EFFECT 1 SEND: For sending post-fader signals to effects devices. The returns m ay be

S e ttin g to DIRECT ro u te s th e

channel signal directly to the tape

(channel 1 is recorded on track 1,

ch a n n e l 2 o n tra ck 2, a n d s o o n ).

Recording level is adjusted by the

channel fader only.

plugged into the stereo inputs.

CLEAR : Dis a b le s th e REHEARS AL a n d AUTO

SUB INPUT L and R: Provide a direct route to the MASTER fader. You m ay connect an

IN/OUT functions.

outboard m ixer here. The SUB IN R jack is also used to record sync tones on track 4.

When recording the stereo m ix: As

the labels indicate, tracks 1 and 3

are recorded with the m ix in BUSS

L, and tracks 2 and 4 are recorded

with the m ix 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 m eters num bered 1-4 show the

p la yb a ck o r th e re co rd le ve l o f th e

re s p e ctive ta p e tra cks . Th e a ve ra g e

record level should be in the center (0),

but occasional peaks up to +6 scale are

acceptable.

The MONITOR m eters show the level of

m ixe s s e le cte d b y th e MONITOR

switches.

Ta p e co u n t e r : A fo u r-d ig it d is p la y th a t

shows the distance the tape has m oved

from a zero reference point.

REC in d ica t o rs : Th e y b lin k to s h o w th e

co rre s p o n d in g tra cks a re in re co rd

ready, and glow solid when recording

starts.

REMOTE PUNCH IN/ OUT: Co n n e ct a n

optional RC-30P footswitch to this jack.

TAPE OUTPUTS: These jacks receive signals directly

from tape tracks 1–4 and are connected to the

in p u ts o f a n e xte rn a l m ixe r, o r o f a n o th e r

m ultitrack recorder for m aking a backup copy of

your 4-track m aster, as required.

COUNTER RES ET : Pre s s to ch a n g e th e

POWER s w it ch : Pu s h in to tu rn o n th e

counter to "0000".

424 MKIII, and push again to turn it off.

PITCH CONTROL : Increases or decreases

the speed of the transport in play and

a ls o in Re co rd , o ve r a 12% ra n g e

(approx.).

POWER co n n e ct o r: Co n n e ct th e p o w e r

cable of the PS-424MKIII power supply

to this connector. Never use any power

supply with the 424 MKIII except the

PS -424MKIII p o w e r s u p p ly w h ich is

appropriate for your area’s voltage.

DBX NR sw itch: Norm ally, leave this switch in the

ON p o s itio n . Wh e n yo u u s e tra ck 4 fo r

recording and playing back MIDI sync tones or

tim ecode, set to SYNC, to set the dbx NR on for

tracks 1 through 3, and off for track 4.

RTZ (Re t u rn To Ze ro ) : Le ts th e ta p e fa s t

wind to the counter zero point. The tape

will autom atically start playing from the

zero point if PLAY is pressed after RTZ.

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.

LINE OUTPUT L and R: Norm ally, connect these

ja cks to th e le ft a n d rig h t in p u ts o f yo u r

m ixdown deck.

REPEAT : Lets the tape play over and over

On the front

between two m em o points.

LOC 1 and 2 : When used together with MEMO

IN, th e s e ke ys le t yo u lo a d th e cu rre n t

counter location into m em ory. 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

se cond o r m ore a llows you to che ck the

m em o point on the display.

MONITOR OUTPUT L and R: These are connected to

a n a m p lifie r p o w e rin g th e co n tro l ro o m

speakers.

Transport keys : Principally these work the

PHONES (not show n) : This carries the sam e

m ix as the MONITOR OUTPUT jacks, as

selected by the MONITOR switches.

sam e as on any cassette recorder.

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Step-By-Step-Operations Guide

Let’s try the 424 MKIII m ixer

To learn how the m ixer 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 exam ple, we'll use a m icrophone as the source.

No t e s t o b e re a d p rio r t o m a k in g c o n n e c t io n s

■ 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 sam e channel at the sam e tim e.

■ 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.

1. Ha ve to h a n d a d yn a m ic m icro p h o n e a n d a s e t o f s te re o

headphones.

Input connections

2. Plug the 1/4" plug on your m icrophone cable into the leftm ost

MIC/LINE IN jack for channel 1.

Pow ering on

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.)

Headphone connection

4. Plug your headphones into the front PHONES jack, so you can

hear the input signal going to the m ixer section of the 424 MKIII.

Routing inputs

5. Set the channel 1 INPUT select switch to the left (MIC/LINE)

position.

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Panning

6. Turn the channel 1 PAN control all the way to the left.

Channel level

Master level

7. Raise the channel fader to "7" on the scale.

8. Raise the MASTER fader to "7".

Monitor selection

9. Se t the MONITOR SELECT LINE OUT switch to the le ft (L-R)

position.

TRIM adjustm ent

10. While speaking into the m icrophone, turn the TRIM control in

channel 1 to the right/MIC until the m onitor level m eter reads

around "0" in average.

Listening level

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 instrum ents)

instead of the m ic, the TRIM does not need to be turned up very

far, if at all.

How to record on track 1

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).

Loading a cassette

2. Open the cassette door using the tab on the right of the door.

Insert the cassette tape, and close the cassette door.

Getting past the leader

tape

3. Press PLAY and allow the tape to run for about 5 seconds. This

w ill ru n th e ta p e le a d e r o n to th e ta ke u p re e l, a n d p u t th e

beginning of the tape in front of the heads.

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Resetting the counter

4. Pre s s th e COUNTER RES ET s w itch , s o yo u ca n u s e th e RTZ

(Return-To-Zero) function to get back to this point.

Selecting tracks

5. S e t th e RECORD FUNCTION s w itch fo r TRK 1 to its BUS S L

position. The REC "1" indicator will start blinking in the display

window, indicating track 1 is in Record Ready m ode.

Mic level adjustm ent

6. Speak into the m ic. You will see m eter 1 m ove. If no level or too

low a level is shown, continue to speak into the m ic and slowly

turn the channel 1 TRIM control to the right/MIC until the m eter

peaks at no m ore than "+6".

Beginning to record

7. Hold RECORD and press PLAY to initiate recording. The REC "1"

in d ica to r th a t w a s b lin kin g in th e m e te r w ill tu rn o n s o lid ,

indicating track 1 is in Record m ode.

8. Speak into the m ic.

Stopping recording

9. Press STOP to stop the tape and finish recording.

Putting track into "Safe"

10. The REC "1" indicator in the m eter should now be blinking as

before. Set the RECORD FUNCTION switch for TRK1 to its SAFE

position.

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Track 1 playback through TAPE CUE

Sw itching TAPE CUE on

1. Set the EFFECT 2/TAPE CUE selection switch located below the

LEVEL control to the right/TAPE CUE position.

Monitor selection

Locating tape to zero

Begin to play

2. S lid e th e MONITOR S ELECT LINE OUT s w itch to th e ce n te r

MONO position.

3. Press the RTZ key. The tape will rewind, autom atically stopping at

the zero counter point.

4. Press PLAY.

Listening level

adjustm ent

5. Turn the MONITOR LEVEL control up or down to the desired

listening level.

Routing tape signals to

TAPE CUE

6. Locate the EFFECT 2/TAPE CUE level control on channel 1 and

slowly turn it to the right. You'll hear, in center m ono, what you

have recorded on track 1.

Stop play

7. Press STOP to stop play.

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How to m ake an overdub on track 2

Overdubbing entails recording one or m ore additional tracks on the

sam e tape, while listening to previously recorded tracks using TAPE

CUE.

Leave the m icrophone connected to the channel 1 input. There is no

need to repatch it to channel 2 to record on track 2. You can send any

m ixer input to any track of the recorder through the com bination use

of PAN and RECORD FUNCTION.

Routing input

1. Set the channel 1 INPUT selection switch to the left (MIC/LINE)

position.

Panning

2. Tu rn th e ch a n n e l 1 PAN co n tro l a ll th e w a y to th e rig h t (R)

position.

Channel 1 level

Master level

3. Bring the channel 1 fader to 7.

4. Bring the MASTER fader to 7.

Monitor selection

5. Make sure the MONITOR SELECT LINE OUT switch is still in the

MONO position.

Locating tape to zero

6. Press the RTZ key, so the tape will rewind to the beginning of the

track 1 recording.

Track selection

7. Set the TRK 2 RECORD FUNCTION switch to its BUSS R position.

The REC 2 indicator will start blinking in the m eter.

Record level adjustm ent

(TRIM)

8. Speak into the m ic to check to see m eter 2 m ove. If no level or

too low a level is shown, continue to speak into the m ic and

slowly turn the channel 1 TRIM control to the right until the m eter

peaks at no m ore than +6.

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9. Hold RECORD and press PLAY to initiate recording. The REC "2"

indicator that was blinking will turn on solid, indicating track 2 is

now being recorded.

Begin to record

10. You will hear track 1 play, together with the new signal going to

track 2, in the headphones.

Monitoring input/ tape

NOTE: Adjust only the TAPE CUE control of channel 1 if you need to

ch a n g e th e b a la n ce b e tw e e n th e o ld a n d n e w tra cks in yo u r

headphones. Leave the channel fader and TRIM and the MASTER

fader alone, because they control the level being recorded.

11. Press STOP to stop recording.

Stop recording

12. The REC 2 indicator in the m eter should now be blinking as

before. Set TRK 2 RECORD FUNCTION switch back to its SAFE

position and the indicator will turn off.

Putting track into "Safe"

How to record tracks 3 and 4

Tracks 3 and 4 can be recorded using alm ost the sam e procedure just

shown for tracks 1 and 2. J ust use the applicable RECORD FUNCTION

switches, and the PAN controls should be rotated to the LEFT for

recording on Track 3 and to the RIGHT for Track 4.

How to record m any sources onto a single track

In the first exam ple, we recorded one source onto one track at a tim e

for sim plicity. But the m ixer of the Portastudio 424 MKIII can take

m ultiple channels and m ix them onto a single track. To do this :

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Set the PAN control of each channel to the sam e setting, for

exam ple :

In th is e xa m p le , a ll in s tru m e n ts p lu g g e d in to

channels 1-4 will be recorded onto Track 1 or 3.

Lower the MASTER fader to m ake overall level adjustm ents once

you have each channel's TRIM and fader level set.

Make sure the INPUT switch of every channel you want to record

is set to MIC/LINE.

∑ You can't record channels 7 and 8 onto a single track.

How to record a m ix onto tw o tracks sim ultaneously

If you want to record m ultiple sources onto two tracks, you use the

channel PAN controls to send them to LEFT or RIGHT (or anywhere in

b e tw e e n , if yo u ' re m a kin g a s te re o m ix). Th e tra ck RECORD

FUNCTION switches choose what track the Left and Right m ixes will

be recorded on. Note that in this m ethod, the m ixer channel num ber

has nothing to do with what track the instrum ent winds up on. Any

m ixer channel can be panned to any track.

These m ixer channels are being sent to the

LEFT, for recording on either Track 1 or Track 3.

These m ixer channels are being sent to the RIGHT,

for recording on either Track 2 or Track 4.

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∑ Set the MONITOR SELECT LINE OUT switch to L-R or MONO, and

set the EFFECT 2/TAPE CUE switch to TAPE CUE if you need to

hear tape tracks or MIDI virtual tracks.

Recording is the sam e procedure as for one track. In the exam ple

above, set both the TRK 3 and TRK 4 RECORD FUNCTION switches to

BUSS to record on tracks 3 and 4 sim ultaneously.

Restrictions : The 424 MKIII m ixer section has only two m ain m ixes,

Left and Right. For this reason, you can record only two tracks at once

w h ile yo u 're re co rd in g a m ix o f in s tru m e n ts (fo r e xa m p le , tw o

instrum ents on track 1, three instrum ents on track 2). Also, you can

record a m ix only on com binations or even/odd num bered tracks (1 &

2, 1 & 4, 2 & 3 etc.). If the TRK 1 and TRK 3 RECORD FUNCTION

switches are set to BUSS, the two tracks will both record the sam e

m ix.

Recording the stereo channels (5-6 and 7-8) : Channels 5 and 6 can be

used to add additional signals to the L and R m ixes. The input for

these channels can be odd-num bered inputs 1 through 5 (channel 5)

and even-num bered inputs 2 through 6 (channel 6).

Note that if one of the inputs 1 through 4 is selected for use with its

appropriately-num bered channel, as well as with channel 5 or 6, the

s ig n a l le ve l w ill b e d o u b le d , a s it is b e in g m ixe d th ro u g h tw o

channels together.

Use the stereo channels 7 and 8 to add additional signal sources to

the m ix. These channels are autom atically panned left and right

respectively, so you m ay want to use them with a pre-panned source,

such as the stereo outputs of a m ulti-tim bral synthesizer, or a stereo

effects unit.

Recording on m ore than tw o tracks sim ultaneously : DIRECT

It is possible to record on three or four tracks at the sam e tim e by

using the DIRECT position of the RECORD FUNCTION switches. In

Dire ct re co rd in g , e a ch tra ck g e ts its s ig n a l fro m a s in g le m ixe r

channel only — Track 3 from channel 3, etc.

∑ Wh e n u s in g DIRECT, th e MAS TER fa d e r h a s n o e ffe ct o n th e

re co rd le ve l. It o n ly a ffe cts th e le ve l g o in g to th e

headphones/m onitor speakers. Use the CHANNEL FADER only to

set record levels.

∑ Even when using DIRECT, a channel still goes to the Left/Right

m ix. If you record another track with BUSS L or BUSS R at the

sam e tim e, you m ust check your PAN settings. For exam ple, you

ca n re cord a voca l DIRECT onto Tra ck 3, a nd re cord m ultiple

instrum ents on Track 1 via BUSS L at the sam e tim e. But Channel

3's PAN control m ust be turned hard right, otherwise you'll wind

up with vocals "bleeding through" onto Track 1's instrum ents.

∑ DIRECT can be used anytim e you want to record a single channel

to a single track.

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How to m ix dow n

When the 4 tracks are all recorded, the final step is m ixing them into a

standard stereo form at. This procedure is known as Rem ixing or

Mixing down. During this procedure the tracks are blended together

and balanced to create the desired sound.

Connections

1. Connect the LINE OUTPUT L jack of the 424 MKIII to the left line

input of the m ixdown deck, and the LINE OUTPUT R jack to the

right line input.

Master level

2. Raise the MASTER fader to the shaded area between 7 and 8.

3. Set the MONITOR SELECT LINE OUT switch to the L-R position.

Monitor source

Routing inputs

4. Set all the INPUT select switches on the input channels to the

right TAPE position.

Playback level

5. Press PLAY and, while listening to the tape play, tentatively set

the channel faders.

6. Adjust the PAN controls to set each track's left-to-right position

for the desired stereo im age. You m ay also want to use the EQ

controls to adjust the individual tracks for the desired tonality.

(For using effects, see page 35.)

7. Using the MASTER fader, adjust the overall playback level so the

m onitor level m eter averages around "0" and peaks below "+6".

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Review

8. When the signal balance, level, and tonality sound right, rewind

the tape, and press PLAY again to check the result.

9. Re w in d th e m u ltitra ck ta p e a g a in . Pu t a b la n k ta p e in th e

m ixdown deck and let it play for 5 seconds, then stop it and reset

the m ixdown deck's counter to zero.

10. Press PLAY on the 424 MKIII.

Record level

11. Put the m ixdown deck into its "Record Ready" m ode, and adjust

its input level controls for the desired record level.

12. Rewind the m ultitrack tape to the beginning of the recording.

13. Put the m ixdown deck into Record m ode then press PLAY on the

424 MKIII.

14. Wh e n re co rd in g is d o n e , s to p b o th m a ch in e s , re w in d th e

m ixdown tape and listen to it.

If the m ixdown tape does not sound right, m ake the necessary

corrections and re-do from the beginning.

Using channels 5 and 6 w ith alternative inputs at m ixdow n:

When channels 1 through 4 are being used to replay previously-

recorded tape tracks, channels 5 and 6 can be used to add signals

received at the MIC/LINE INPUTS of channels 1–4.

Set the INPUT switch for channel 5 to 1 or 3 or 5, and the INPUT

switch for channel 6 to 2 or 4 or 6.

These signals will appear in the final stereo m ix. Use the PAN control

to position them in the desired stereo position.

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Using Memory Location Points

Loading MEMO points

Two autolocation points can be established in the 424 MKIII's m em ory

system .

MEMO 1

At the desired m om ent, hold the MEMO IN key and press the LOC 1

key. The MEMO 1 indicator will turn on, showing that the current tape

location is loaded into that register.

MEMO 2

Sim ilarly, if you hold MEMO IN and press LOC 2, the current tape

location is loaded as m em ory point 2 into that register.

Establishing new MEMOs

Each tim e LOC 1 or 2 is pressed while MEMO IN is held down, a new

m em ory point is established, and the previous m em ory point is

erased.

MEMO points can't be entered while the tape is locating to either

MEMO point or during REPEAT.

Recalculation of MEMOs

Checking MEMO points

If the COUNTER RESET button is pressed, both MEMO points are

autom atically recalculated, so they stay the sam e relative to their

original tape positions.

Wh e n th e ta p e is s to p p e d , h o ld d o w n th e d e s ire d LOC ke y

(for 0.5 second or m ore). The content of the corresponding MEMO

Rem em ber : If you don't hold down but just hit the LOC key, the tape

is autolocated to the corresponding MEMO point.

Erasing

Both MEMO points are erased when the cassette is taken out from

the com partm ent or the power is turned off.

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Locating the tape

To zero

Press the RTZ key to fast wind the tape to the counter zero point.

If yo u p re s s COUNTER RES ET d u rin g th e RTZ p ro ce s s , th e ta p e

counter is reset to 0000 and the tape stops.

To MEMO 1

Hit the LOC 1 key to fast wind the tape to the MEMO 1 point.

Note : Only touch the LOC key. If you hold it down for 0.5 second or

m ore, autolocation does not start and only the tape counter shows

the location point.

To MEMO 2

Hit the LOC 2 key to fast wind the tape to the MEMO 2 point.

Note : For the deck to autolocate, the current point m ust be 0003 or

m ore higher or lower than the m em o point. A shorter distance only

causes the MEMO 1 (or 2) indicator to flash upon hitting the LOC 1 (or

2) key.

Auto play

If PLAY is pressed after RTZ, LOC 1 or LOC 2, the tape will auto-

m atically start playing when the location point is reached.

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Repeat Play

The REPEAT function provides a "Playback Loop" or "Block Repeat"

b e tw e e n th e tw o p ro g ra m m e d MEMO p o in ts . Th e 424 MKIII

understands the lower MEMO point as the start point of the loop, and

the higher point as the end.

Operating procedure

1. Use MEMO IN and LOC 1 and LOC 2 (as explained above) to

establish the beginning and the end of loop.

2. Press the REPEAT key. The tape will fast wind to the lower MEMO

point.

3. As soon as that location is reached, the tape will autom atically

start playing to the higher MEMO location.

4. When the tape reaches the end of the loop, it will autom atically

rewind to the lower MEMO location and start over.

To interrupt REPEAT

sequence

Press any transport keys (except Play). The function pressed will be

activated. If the tape is wound outside the repeat loop points, the

REPEAT LED that was on solid will start blinking.

To resum e the REPEAT sequence –;

Press the LOC 1 or LOC 2 key.

If you are now within the loop or shortly behind the lower MEMO

point, press PLAY.

Note 1

Note 2

Repeat Play does not work while the 424 MKIII is in Record m ode

(REC LED is blinking or lights on solid).

A s p a ce o f 0003 o r m o re (a s co n tro lle d o n th e ta p e co u n te r) is

required between two m em o points. If you create a sm aller loop and

press REPEAT, the REPEAT indicator does not light up in the display

and both the MEMO 1 and MEMO 2 indicators flash, showing that the

loop cannot be played.

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PUNCH-IN or INSERT Recording

"Punching in" or "insert recording" is recording over a sm all section

of previously recorded track to correct or im prove a perform ance,

while keeping the rest of the track intact. The m ixer settings should

be exactly the sam e as they were during the original recording.

In the following, we'll use track 2 as the punch-in track as an exam ple.

Prelim inary

1. As the punch-in track is track 2 in our exam ple, your input m ust

be sent to the stereo right bus. To do so, rotate the PAN control of

the channel into which your source instrum ent is plugged all the

way to the right.

2. TAPE CUE s ig n a l p a th is u s e d to h e a r th e ta p e , s o s e t th e

EFFECT 2/TAPE CUE s e le ct s w itch (lo ca te d b e lo w th e

MONITOR LEVEL control) to the TAPE CUE position and set the

EFFECT/CUE m onitor switch to EFFECT 2/CUE.

3. To hear the instrum ent, set the MONITOR SELECT LINE OUT

switch to the MONO position.

4. Press PLAY to play the tape, adjust the TAPE CUE control on

channel 2 until the MONITOR level m eters read a m axim um of

from 0 to +3, and adjust the MONITOR LEVEL control for the

desired headphone listening level.

5. Play the instrum ent. You'll hear it together with the tape signals

through the headphones. Stop the tape, and you hear only the

instrum ent being played.

6. Set the TRK 2 RECORD FUNCTION switch to BUSS R. The REC 2

indicator will start blinking in the display window, and m eter 2

will show your instrum ent's output level. Adjust the channel and

MASTER faders for the proper recording level.

Selecting in and

out points

For both m usical and technical reasons, when punching in or out of a

track, you m ust select points that are "in the points clear", i.e., in

p a u s e s b e tw e e n p h ra s e s o r n o te s . S o u n d s e e m s u n n a tu ra l a n d

inserts are noticeable if a new note is recorded before the old one has

ended, or a note is held as you punch in or out. Making sm ooth

inserts requires practice. Spacing between the erase and record

heads requires that you anticipate in/out points by a fraction of a

second for extrem ely tight cues. Use the following procedures with

the REHEARSAL switch on.

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Rehearsal and Auto In/ Out Procedures

Re h e a rs in g

(Insert) recording

Pu n ch -in

Yo u ca n re h e a rs e yo u r p u n ch -in a s m a n y tim e s n e e d e d w ith o u t

affecting the existing recording. During rehearsal, what you hear in

the m onitor m ix and read on the level m eters will be the sam e as

during recording, but signal won't be recorded on tape.

Storing the punch-in and

out points into m em ory

1. Cue the tape up a few seconds before you reach the expected

punch-in point.

2. Press the REHEARSAL switch. The "RHSL" indicator will start

blinking in the display.

3. Press PLAY to start playing ("preroll"). The "START" indicator will

glow on the display. The counter readout at which the key was

pressed is stored as the START point. The MEMO 1 or 2 indicator

turns off (if it was lit).

4. When you reach J UST BEFORE the error, press RECORD to start

recording (punch in). The "IN" indicator will glow on the display

and an LED will start flashing above the RECORD button. The

counter readout at which the key was pressed is stored as the

PUNCH-IN point.

5. When the tape reaches the expected punch-out point, press PLAY.

The "OUT" indicator will turn on, and the "IN" indicator and the

LED above the RECORD button will turn off. The counter readout

at which the key was pressed is stored as the PUNCH-OUT point.

6. The tape will play for about 3 seconds ("postroll"), then will

autom atically rewind, stopping at the START point. The "RHSL"

indicator that was blinking will glow solid in the display.

Rehearsal

7. Press PLAY (or REPEAT if you want to practice the perform ance

over and over again, continuously). When the tape reaches the

preset punch-in point, the m onitor will switch from tape to "live"

instrum ent on the punch-in track (in our exam ple, on track 2).

The RECORD LED will blink to indicate that you are "rehearsing"

punch-in recording, not actually recording.

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When the tape reaches the preset punch-out point, you will be

able to hear the old m aterial existing on track 2, letting you check

that the new m aterial is sm oothly followed by the old one. The

RECORD LED will turn off, indicating that the "dry-run" record is

over.

After 3 seconds of play ("postroll") the tape will autom atically

re w in d , s to p p in g a t th e S TART p o in t, s o yo u ca n a g a in g o

through the rehearsal procedure.

● To ch a n g e th e p u n ch -in a n d o u t p o in ts , p re s s CLEAR, a n d

restart from the beginning.

● If yo u w a n t to q u it Re h e a rs a l m o d e fo r a n y re a s o n , p re s s

CLEAR. "RHSL" goes out and the start, punch-in and out points

are cleared from m em ory.

Practice the perform ance until you are sure that you will get it

rig h t w h e n a ctu a lly re co rd in g . Re m e m b e r, p u n ch in g -in o ve r

existing m aterial erases the original signal.

Wh e n th e REHEARS AL ke y is p re s s e d d u rin g p la yb a ck, th e

counter readout at which the key is pressed is stored as the

START point.

You can store the Punch-In/Out or Rehearsal point also using the

optional rem ote footswitch (RC-30P).

Suggestion: During the punch-in setting or the rehearsal process,

if you press the footswitch after STOP, the tape will rewind to

your START point.

Rehearsal function is not available while the 424 MKIII is in the

locate, repeat or record m ode.

Locate or repeat function is not available while storing Punch-

In/Out points in m em ory.

After the Punch-In/Out points have been stored in m em ory, the

424 MKIII cannot enter the record m ode (whereby RECORD LED

blinks or glows).

If you pre ss a ny of the tra nsport ke ys during stora ge of the

Rehearsal (Punch-In/Out) points, the 424 MKIII will start operation

corresponding to the key pressed. However, only when the REW

key is pressed, the tape will rewind, stopping at that Start point.

Once you're sure your perform ance and the in/out points selected are

correct, you're ready to actually record the insert using the Auto

Punch-In/Out feature.

Actual Auto Punch In/ Out

Before proceeding to the next step, #8, check to see that the RHSL

indicator is on solid in the display, showing that your punch-in and

out points are in m em ory, and that all REC indicators beneath the

m eters are off (except the one for the punch-in track), showing that all

non-punch-in tracks are in Safe m ode.

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8. Press the AUTO PUNCH switch. "RHSL" will turn off and "AUTO"

will start blinking in the display.

9. Press PLAY.

What you have anticipated in REHEARSAL will autom atically

occur in sequence: preroll, punch in, punch out, postroll, rewind,

and stop.

"AUTO" will be solidly displayed when the 424 MKIII punches out

of record.

10. Press PLAY (or the optional footswitch). The tape will play the

entire length of insert and rewind to the START point.

Auto Review

Afte r co m p le tin g a u to re vie w if yo u w a n t to re -d o th e a u to

p u n ch -in a n d o u t u s in g th e s a m e s e ttin g s , p re s s th e AUTO

PUNCH switch once m ore and "AUTO", which was lit steadily,

starts flashing as before, showing that the auto punch-in process

will restart when pressing PLAY.

●

To Dis a b le AUTO PUNCH Mo d e , p re s s CLEAR. Th e m e m o ry

points will be cleared and "AUTO" will turn off in the display.

Manual Punch-in

The 424 MKIII lets you m anually punch in, too. There are 2 ways to

initiate the punch-in recording. The first is with the transport RECORD

button, and the second is with the optional footswitch.

We always use track 2 as the punch-in track in the following exam ple.

Perform the "Prelim inary" on page 28, if you haven't yet done so.

1. Check to see that the REC 2 indicator is blinking showing track 2

is in Rec Ready m ode. Locate the tape a little behind the expected

punch-in point. Then press PLAY.

Punching-in/ out w ith

RECORD

2. When you reach J UST BEFORE the error, press RECORD. The

REC 2 indicator that was blinking will be solidly displayed and

track 2 enters Record m ode.

3. To punch-out of record, press PLAY. The REC 2 indicator that was

solidly displayed again blinks to indicate that recording is over.

4. To stop the tape, press STOP.

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Using the rem ote

footsw itch (RC-30P)

If you are recording alone and are too busy playing an instrum ent to

push the switches, the optional rem ote footswitch really com es in

handy.

1. Plug the RC-30P into the REMOTE PUNCH IN/OUT jack on the

rear panel of the 424 MKIII.

2. Check that the REC 2 indicator is blinking, and locate the tape to a

point a little before the error, then press PLAY.

3. When you reach J UST BEFORE the error, press the footswitch.

This has the sam e effect as pressing RECORD, and the REC 2

indicator that was blinking will glow steadily to indicate track 2 is

in Record m ode.

4. To punch-out of record, press the footswitch again. It has the

sam e effect as pressing PLAY. The REC 2 indicator will start

blinking again.

5. To stop the tape press STOP.

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Bouncing Tracks (Ping-Pong)

The recording capability of the PORTASTUDIO 424 MKIII is not lim ited

to four tracks. You can "bounce" or com bine tracks you have recorded

to an em pty track, and then replace the original tracks with new

m aterial. A bounce is like a m ixdown, except you are recording to one

of the tracks of the 424 MKIII instead of to an external recorder. The

following diagram s depict the process.

TRK

A + B + C

Bouncing tracks 1-3

onto track 4

Tracks 1-3 available for

recording new parts

During a bounce you can add live sources along with the prerecorded

tracks, using the "em pty" m ixer channels not being used for tape

p la yb a ck. Th is g ive s yo u e ve n m o re w a ys to a d d la ye rs to a

com position. For exam ple, you can bounce tracks 1-3 along with

another "live" part onto track 4, for a total of four parts on one track.

Ping-pong procedure

In this exam ple, we will com bine m aterial from tracks 1-3 onto track 4.

1. On channels 1-3, m ake the following settings :

œ INPUT to TAPE,

œ PAN all the way to R, and

œ Input fader to the shaded zone (7-8 on the scale).

2. Push the MASTER fader to the shaded zone.

3. S e t th e MONITOR S ELECT LINE OUT s w itch to th e MONO

position.

4. Set the RECORD FUNCTION switch for track 4 to BUSS R. The

REC 4 indicator will start blinking in the m eter window, indicating

the track is in Rec Ready m ode.

5. Press PLAY. The tape will start playing.

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6. Use channel faders 1 through 3 to m ake any necessary level

adjustm ents. You m ay want to repeat this step several tim es to

get the balance correct.

7. When the balance is right and the level is peaking at no m ore

than +6 on the track 4 m eter, stop and rewind the tape to the

beginning of the track.

8. Hold RECORD and press PLAY. The REC 4 indicator that was

blinking will turn on solid and track 4 will record a copy of what is

on tracks 1-3.

9. You'll hear the m ix being recorded on track 4 in the headphones.

10. Once the recording is done, press STOP.

11. The REC 4 indicator will now be blinking as before. Turn that off

by setting the RECORD FUNCTION switch for track 4 to SAFE.

When bouncing tracks, rem em ber that live m aterial can be added

from channels 5 and 6, as well as from 7-8. Channels 5 and 6 can

use the signal sources connected to inputs 1 through 4, using the

INPUT switches for channels 5 and 6.

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Using Effects With the PORTASTUDIO 424 MKIII

Effects and signal processing are areas where

Setting effect send levels

you can really start to have fun custom izing your

sound, and develop your own unique recording

style. Because there are so m any possibilities, it

also can be confusing. There are m any different

e ffe ct u n its o n th e m a rke t, a ll w ith d iffe re n t

controls, types of inputs and outputs, and other

characteristics. Read the m anual of your effects

d e vice , a n d th e fo llo w in g s e ctio n s to g e t th e

co m p le te s to ry o f w h a t' s p o s s ib le fo r yo u r

particular situation.

Th e g o a l is n o t to d is to rt th e d e vice , w h ile

s ta yin g a b o ve th e n o is e th a t e ffe ct u n its

generate. To get the best signal-to-noise from

m ost effects units, you should send it as strong a

s ig n a l a s yo u ca n . With a p ro p e rly s e t in p u t

signal in the 424 MKIII, the channel EFFECT send

set to about 2 o'clock position (for EFFECT 1 or

EFFECT 2 fe e d ), yo u s h o u ld g e t a fa irly lo u d

signal from the EFFECT SEND jacks.

1. In -lin e p ro ce s s in g : Th e p ro ce s s in g th a t' s

easiest to understand doesn't involve the 424

MKIII d ire ctly a t a ll. Yo u ca n p lu g yo u r

instrum ent directly into the input of the effect

d e vice , a n d p lu g th e o u tp u t o f th e d e vice

directly into a line input of the 424 MKIII. The

w h o le s ig n a l g e ts p ro ce s s e d (fla n g e d ,

doubled, lim ited, delayed etc.), and only one

instrum ent can use that processor. Effect

pedals for guitar are typically used this way.

To get a m ix of processed ("wet") and original

("dry") signal, the unit m ust have its own MIX

or BALANCE control.

If your effects device has an input level control of

its own, it should be set so the m eter or signal

lig h t o f th e e ffe cts d e vice is ju s t u n d e r th e

overload point on peak signals. When you want

to hear less effect overall, turn down the return

LEVEL control on the stereo channels.

Setting the output level of effect devices

If the effect send level has been set properly, in

m ost cases the output level of the effect unit

s h o u ld b e s e t a s h ig h a s p o s s ib le w ith o u t

clipping (distorting) the STEREO INPUTS of the

424 MKIII, but low enough so that you have a

reasonable range of control. If you can get the

e ffe ct so u n d yo u wa n t with th e re tu rn LEVEL

control in the 12 to 2 o'clock range, you're in the

b a llp a rk. If, o n th e o th e r h a n d , ve ry s m a ll

settings of the Effects Return still give you a m ix

drowning in effects, turn down the output level

of your effect device.

2. Send/ return m ix processing: This is the m ost

co m m o n m e th o d o f e ffe ct p ro ce s s in g ,

especially for reverb and delay. It allows a

num ber of different channels to use the sam e

e ffe ct, w h ile a llo w in g yo u to co n tro l h o w

m u ch e ffe ct is m ixe d w ith e a ch ch a n n e l.

Ea ch o f th e 4 m ixe r ch a n n e ls ca n s e n d

signals to the EFFECT SEND 1 or 2 outputs on

the upper top panel. These outputs can then

be connected to the input of effect devices.

The processed signals from the devices com e

back into the m ix via the STEREO INPUTS.

Finally, the effect is m ixed onto the stereo left

or right buss with the ASSIGN switch on the

stereo channels (7-8). This whole path—from

the EFFECT SENDS to the reverb and back

into STEREO INPUTS — is called an effects

loop. The EFFECT 1 and 2 controls determ ine

how m uch signal goes to the reverb unit; the

LEVEL co n tro l o n th e s te re o ch a n n e ls

determ ine how m uch returns from the reverb

u n it. In th is m e th o d , th e s te re o in p u ts

function as effect returns.

S o m e e ffe ct u n its h a ve re a r p a n e l s w itch e s

setting input and output level ranges between

"+4" and "–20 dB". In this case, try setting the

input to –20 (high sensitivity) and the output to

+4 (full output level).

Setting the m ix/ balance control on effect

devices

When it's being used in a send-return m ix, set

the m ix/balance of your effect device all the way

to "wet" or full processing with no direct original

signal. In send/receive processing, the dry signal

goes down the 424 MKIII's channel fader to be

m ixed with the effect return signal on the stereo

m ix. Therefore, you don't need any "dry" signal

com ing to the effects return. The m ix/balance

co n tro l is s e t to w a rd "d ry" o n ly w h e n yo u 're

using the effects device as an in-line processor.

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How to Connect Your Effects Devices

There is no absolute "right" or "wrong" way to do

this—there are several ways, each with its own

consequences.

CHORUS

LEFT

RIGHT

LEFT/MONO

INPUTS

OUTPUT

Mono returns: A special feature of the STEREO

INPUT allows continuously variable control

between left and right if desired: a m ono effect

connected to 7/MONO will go to 7-8 LEVEL

control if nothing is plugged into jack 8.

To re co rd re ve rb o n t o a t ra ck : S w itch th e

AS S IGN s w itch to L-R, a n d a d ju s t th e

controls for the sound you want. Rem em ber

that stereo signals m ust be recorded onto

two tracks to keep their "stereo" effect.

Patching effects to an input channel: There's no

law that says the output of an effects device

m u s t b e p lu g g e d in to a S TEREO INPUT,

either. They can also be plugged into LINE

INPUTS just like any other source, if you are

ca u tio u s a b o u t o n e th in g : m a ke s u re th e

EFFECT controls of those channels are set to

the off position (turned all the way to the

le ft). Oth e rw is e , yo u w ill b e s e n d in g th e

o u tp u t o f th e e ffe ct d e vice b a ck to its e lf,

w h ich is a kin d o f fe e d b a ck. If th e e ffe ct

device is a digital delay, feedback has the

sa m e e ffe ct a s a re ge ne ra tion (num b e r o f

echoes) control. An advantage of returning

effects to a m ain channel is that you can EQ

the effect return.

To hear reverb in the headphones but not record

the reverb : Set the ASSIGN switch on the

s te re o ch a n n e l b e in g u s e d fo r re tu rn in g

effects to the right/MON position, turning up

the LEVEL control on the stereo channel in

use.

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Syncing MIDI-Tape

Using the TASCAM MTS-30

Troubleshooting

Problem

Possible Cause

MIDI clocks are them selves a com puter type digital language and

cannot be recorded on analog tape; it is necessary to convert them to

recordable FSK (Frequency Shift Keying) signals using an appropriate

converter, such as the MTS-30.

Playback sounds dull

Playback level is low

Transport keys not effective

No tape m otion

Dirty heads

Power turned off, or tape not loaded

PAUSE pressed

The MTS-30 is not a m ere MIDI-FSK converter but translates MIDI

clocks into an FSK sync signal containing score "bar" inform ation or

"Song Position Pointer", allowing the associated MIDI equipm ent to

stay in sync and follow the tape no m atter where you m ove the tape

within a given song. The m axim um stability or resolution of the

synchronization is ensured by a TASCAM-exclusive error correction

circuit in the MTS-30.

RECORD FUNCTION set to SAFE,

cassette tab broken, or REHEARSAL

engaged

No recording

Wrong tracks recorded

Incorrect playback pitch

PAN im properly set

1. Connect the TAPE OUT of the MTS-30 to the SUB IN "R" of the

424 MKIII, and the TAPE OUT 4 of the 424 MKIII to the TAPE IN of

the MTS-30.

PITCH CONTROL set to a different

position than during recording

Feedback occurs during ping-pong

recording

Level is too high or EQ HIGH is

excessively boosted

2. Set the TRK 4 RECORD FUNCTION switch to BUSS R.

3. Locate the DBX NR switch on the back panel and set it to the

SYNC position. This defeats the dbx encode/decode for track 4

only.

●

When recording FSK signal, adjust the MASTER fader of the 424

MKIII to get a reading on the track 4 m eter of from -10 to 0 dB.

Problem

Solution

Old tracks are always recorded along

with new m aterial.

Use the TAPE CUE section instead of the

m ain m ixer for m onitoring previous tracks.

We suggest that you input the "virtual" tracks from the MIDI system to

STEREO INPUTS 7 and 8. Set the ASSIGN switch of these inputs to

MON while recording, and to L-R position on m ixdown.

Make sure all m ixer channel INPUT switches

are in the OFF position except ones you are

using. Also, increase the volum e faders of

the instrum ents them selves — the 424 MKIII

channel and m aster faders should not have

to be "full up" at any tim e.

Recording is noisy.

Incorrect tape sync.

Try re-recording sync tones by adjusting

the MASTER fader between –10 to 0 dB on the

track 4 m eter.

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Features and Controls

424 MKIII MIXER

7. INPUT select sw itches:

(channels 1-4)

1. POWER sw itch (on the rear panel): Turns the

This is used to control what the source of the

channel is:

424 MKIII on and off.

2. Pow er connector: Connect the power adaptor

fo r th e 424 MKIII to th is co n n e cto r. It is

im portant that you use only a power adaptor

specially designed for the 424 MKIII which is

de signe d for use with the volta ge in your

area.

The le ft position (MIC/LINE) is use d whe n

re co rd in g m icro p h o n e s /in s tru m e n ts (in

tracking or overdubbing).

The center position (OFF) is used to shut off

the channel.

Th e rig h t p o s itio n (TAPE) is u s e d d u rin g

m ixdown or bouncing tracks.

Input Section

(channels 5 and 6)

3. MIC/ LINE INPUTS jacks, Balanced (Channels

1-4): Th e 3-co n ta ct XLR-typ e co n n e cto r

a cce p ts b a la n ce d m icro p h o n e s ig n a ls

ra n g in g fro m –60 d BV (1 m V) to –20 d BV

(100 m V), depending on the setting of the

TRIM control (#6).

This is used to control the source of these

channels. Channel 5 can accept the signals

from equipm ent connected to odd-num bered

inpu ts 1, 3 a n d 5, a n d ch a nne l 6 u se s the

even-num bered inputs in the sam e way. Slide

the switch to the appropriate num ber to send

the signal from the appropriately-num bered

input to the channel.

4. MIC/ LINE INPUTS ja cks , Un b a la n ce d

(Ch a n n e ls 1-4): Th is 1/4" ja ck a cce p ts

unbalanced signals ranging from –50 dBV

(3 m V) to –10 dBV (0.3 V), depending on the

setting of the TRIM control (#6).

Note that if signals are sent through m ore

th a n o n e ch a n n e l a t th e s a m e tim e (e .g .

through channel 1 and 5), the level of these

signals will be doubled. You should allow for

this when m ixing.

NOTE

■ DO NOT use both the XLR-type and 1/4"

phone jacks on the sam e channel at the

sam e tim e.

8. EQ HIGH: This controls the tonality of the

high or "treble" frequencies. Turn it to the

right to boost the signal's high frequency

content em phasizing brilliance or brightness.

Turn it to the left to cut the high frequency

content, if the signal sounds too harsh or

shrill. The EQ shelving point is 10 kHz.

5. SUB INPUT L and R jacks: These jacks are for

cascade connection of an outboard m ixer,

etc. The signal input to these jacks is sent to

the MASTER fa de r. Nom ina l input le ve l is

–10 dBV (0.3 V).

9. EQ MID: The upper knob changes the center

frequency of the MID equalizer from 250 Hz

to 5 kHz. The lower knob controls how m uch

cut or boost is applied to the band chosen by

the upper knob. Turning the lower knob to

th e rig h t a m p lifie s th e b a n d u p to 12 d B.

Turning it to the left cuts the band down to

–12 d B. At ce n te r, th e re is n o e ffe ct (fla t

response).

The SUB IN R jack is also used to accept FSK-

converted MIDI sync signals from devices

s u ch a s th e o p tio n a l TAS CAM MIDI-Ta p e

Synchronizer MTS-30.

6. TRIM co n t ro ls : Th is is u s e d to s e t

p re a m p lifica tio n le ve l o n th e MIC/LINE

INPUTS. When TRIM is turned all the way to

the left (LINE position), the pream plifier gain

is low, allowing the jack to accept line level

sources such as electronic instrum ents. As

yo u tu rn TRIM u p , th e p re a m p lifie r g a in

in cre a s e s , a n d w h e n yo u tu rn TRIM fu ll

clockwise (MIC position), the nom inal input

sensitivity increases to –50 dBV (3 m V) for

1/4" phone jack, and to –60 dBV (1 m V) for

XLR-type jack.

10. EQ LOW: Tu rn th e co n tro l to th e rig h t to

boost bass frequencies and m ake the sound

relatively heavy. Turn the control to the left to

cut bass and m ake the sound thinner. The EQ

shelving point is 100 Hz.

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11. EFFECT 1 send controls: These controls get

th e ir s ig n a l fro m a p o in t ju s t a fte r th e

channel fader (i.e., "post fader send") and

route the corresponding channel signal to

the EFFECT 1 SEND jack. Turn the control to

the right to increase volum e to the EFFECT 1

SEND jack.

Monitor Section

18. MONITOR SELECT sw itches: These switches

d e te rm in e w h a t yo u w ill h e a r w h e n

m onitoring.

The LINE OUT switch allows you to m onitor

in stereo (L-R), in m ono (MONO) or turn off

th e L-R s ig n a ls co m p le te ly fro m th e

m onitoring m ix (OFF).

12. EFFECT 2/ TAPE CUE controls: These controls

get their signal after the channel fader and

route the signal to the EFFECT 2 SEND jack,

or are used to adjust the tape playback level

sent to the m onitor section, as determ ined

by the MONITOR EFFECT 2/TAPE CUE select

switch.

Th e EFFECT/CUE s w itch a llo w s yo u to

choose whether you will hear the EFFECT 1

send, the EFFECT 2 or TAPE CUE send (as

determ ined by the position of the EFFECT

2/TAPE CUE s w itch ), o r n e ith e r o f th e s e

(OFF).

13. PAN co n t ro ls : Th is co n tro l a llo w s yo u to

create stereo m ixes by sending the signal

fro m th e ch a n n e l fa d e r in co n tin u o u s ly

variable degrees to the left or right sides of

the stereo m ix at m ixdown tim e.

19. MONITOR LEVEL control: This affects signal

from the MONITOR select switch and sets

th e

le ve l

yo u ' ll

h e a r

th e

headphones/m onitor speakers.

14. Channel Faders:This linear control varies the

level feeding the Master section.

The nom inal setting position is between 7

and 8 (shaded area).

Master Section

20. EFFECT 2/ TAPE CUE select sw itch : Depend-

in g o n th e s e ttin g o f th is s w itch , e a ch

ch a n n e l' s EFFECT 2/TAPE CUE co n tro l is

switched to send the m ic/line input to effects

devices or the signal com ing back from the

recorder to the m usicians in studio.

Stereo Input Section

15. STEREO INPUT jacks: Connect the outputs of

your effects devices to these 1/4" jacks.

These jacks can also be used as additional

line inputs. Nom inal input level is –10 dBV

(0.3 V).

21. MASTER fader : Used to adjust the stereo

m ix level. The signal fed to this fader com es

from each channel's PAN control. The safe

operating zone is between 7-8 on the scale.

Mono Feature: If you connect a m ono signal

to the 7/MONO jack, the signal is sent to both

the stereo left and right busses.

Output Section

16. LEVEL control: This rotary control varies the

level feeding the Master section.

Th e n o m in a l s e ttin g p o s itio n is a b o u t 2

o'clock.

22. LINE OUTPUT L and R jacks: These jacks are

th e lin e -le ve l o u tp u ts fro m th e MAS TER

fa d e r. Th e L a n d R ja cks a re typ ica lly

connected to your 2-track m aster recorder at

MIXDOWN. The LINE OUTPUT jacks can also

be used to send the m ixer outputs of the

424 MKIII to the sub inputs of a larger m ixer.

17. ASSIGN sw itch: This send the signal from

th e LEVEL co n tro l to th e MAS TER (L-R),

s w itch e s it o ff e n tire ly (OFF) o r to th e

MONITOR LEVEL control (MON). If you are

using these inputs for MIDI “virtual tracks”,

you should probably set this switch to MON

w h ile re co rd in g ta p e tra cks , a n d L-R o n

m ixdown.

23. MONITOR OUTPUT L a n d R ja cks : Th e s e

p ro vid e a lin e le ve l ve rs io n o f th e s a m e

signal that feeds the PHONES jack and m ay

be connected to your control room speaker

am plifier.

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24. EFFECT 1 SEND jack : The signal available at

th is ja ck co m e s fro m p o s t-fa d e r, fo r

connection to effects devices. Nom inal level

is –10 dBV (0.3 V).

424 MKIII RECORDER

Cassette Loading and dbx System

29. Cassette com partm ent door: To access the

ca s s e tte co m p a rtm e n t fo r in s e rtin g o r

rem oving a cassette, or cleaning the heads,

etc., lift the door, using the tab at the lower

right corner of the door. Once a cassette is

inserted, be sure to close the door to prevent

objects, dust or liquids from falling into the

tape path.

25. EFFECT 2 SEND / TAPE CUE OUT jack: This

jack is for connection to an additional effects

device, or to a studio speaker am plifier. The

signal source is determ ined by the EFFECT

2/TAPE CUE s e le ct s w itch (# 20). No m in a l

output level is –10 dBV (0.3 V).

26. TAPE OUTPUTS 1-4: These jacks get signal

directly from the tape (jack 1 from track 1,

jack 2 from track 2, and so on). Use them if

yo u w a n t to m ix th e ta p e d o w n w ith a n

external m ixer or to m ake a backup copy of

yo u r m a s te r 4-tra ck o n to a n o th e r ta p e

recorder.

Tape path com ponents

Sync tones recorded on track 4 are sent out

of jack 4, for MIDI instrum ents to play synced

up to the tape.

27. PHONES jack (on the front panel): Connect

a n y ste re o he a dpho n e s with a 1/4" ste re o

TRS 3-conductor plug to this jack.

30. DBX NR sw itch: When this switch is set to its

ON position, the built-in dbx noise reduction

system for all 4 tracks is turned on. This is the

n o rm a l p o s itio n fo r a ll re co rd in g a n d

playback.

28. REMOTE PUNCH IN/ OUT ja ck: Fo r

co n n e ctio n to a n o p tio n a l RC-30P re m o te

footswitch.

When it is set to the SYNC position, Track 4 is

disconnected from the dbx system , so the

p ro ce s s d o e s n o t a ffe ct th e s yn c s ig n a ls

going to and from track 4, but tracks 1-3 still

go through the dbx encode/decode process.

Us e th e S YNC p o s itio n fo r re co rd in g a n d

playback of FSK sync or SMPTE tim e code.

Th e OFF p o s itio n tu rn s o ff th e d b x n o is e

reduction com pletely. Use this position when

p la yin g b a ck ta p e s m a d e w ith n o n o is e

reduction, or with Dolby B type NR.

Th e d b x NR s ys te m p ro vid e s a n e t n o is e

reduction (broadband, not just hiss) of about

30 dB, and also perm its a net gain in tape

h e a d ro o m o f a b o u t 10 d B, a llo w in g

recordings over a 90 dB dynam ic range.

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This can be used to save slightly out-of-tune

p a rts , o r to cre a te s o u n d e ffe cts s u ch a s

flanging. Note that if you record with the dial

at its m axim um or m inim um setting, you will

NOT be able to m ake further adjustm ent in

that direction upon playback.

Transport Controls

31. REW ke y: Win d s ta p e a t h ig h s p e e d in

reverse direction.

32. F FWD key: Winds tape at high speed in the

forward direction.

CAUTION: The PITCH CONTROL dial affects

recording speed also. Check to m ake sure

that the dial is at its center "0" position unless

you are using the function intentionally.

33. S TOP ke y: S to p s a n y ta p e m o tio n a n d

disables all transport m odes.

34. PLAY key:

37. TAPE S PEED s e le ct s w it ch : Co n tro ls th e

speed of the transport in both record and

playback.

a) Press this key alone to start playback.

b) If p re s s e d to g e th e r w ith RECORD,

recording ("punch in") starts.

c) Pre ss this ke y du ring re cording to stop

recording ("punch out") without stopping

tape m otion.

HIGH (3-3/4 i.p.s., 9.5 cm /sec.) is the position

you should use for m aster recording, since it

offers slightly better frequency response and

signal-to-noise ratio than standard speed. In

h ig h s p e e d , a C-60 o ffe rs 15 m in u te s o f

4-track recording.

35. RECORD key: Pressing this key alone has no

effect. Pressing it together with PLAY (4)

activates either of two functions:

NORMAL is standard cassette speed of 1-7/8

i.p.s. (4.8 cm /sec.). It offers com patibility with

other cassettes, acceptable sound quality for

le s s critica l w o rk, a n d 30 m in u te s o f

recording on a C-60.

1) Recording begins if one or m ore RECORD

FUNCTION switches (#38) are previously

set to a different position from SAFE and

th e tra ck in d ica to rs b lin k in th e m e te r

window.

- Recording can also be initiated by pressing

RECORD during PLAY. See "PUNCH-IN or

INSERT Recording", page 28.

2) If all RECORD FUNCTION switches (#38)

are in the SAFE position, the recorder will

enter Record standby m ode as indicated

by a blinking RECORD LED.

36. PITCH CONTROL dial: Varies tape speed in

re co rd a n d p la y m o d e s b y u p to

approxim ately 12%. Turn the dial to the left to

lower the speed, or to the right to increase

th e s p e e d . S e t th e d ia l to th e ce n te r "0"

position to run tape at a standard speed of

9.5 or 4.8 cm /sec., as selected by the TAPE

SPEED switch.

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41. Monitor level m eters: These show the level

in the m onitor m ix selected by the MONITOR

switches (#18). The m eters are "Pre" (before)

the rotary MONITOR LEVEL control, so this

control does not affect the m eter readings.

Track Controls

38. RECORD FUNCTION s w it ch e s 1-4: Th e s e

switches put the respective tracks into Record

Re a d y. Re co rd in g s ta rts w h e n RECORD is

pressed after or together with PLAY.

42. Tape counter: Displays the distance the tape

h a s m o ve d fro m a ze ro re fe re n ce p o in t

selected by pressing the COUNTER RESET

key beneath.

In the center position (SAFE) no recording

takes place.

NOTE: Don't operate the RECORD FUNCTION

sw itches to punch in and out. Otherw ise,

"clicks" w ill rem ain on tape.

43. Other indicators: Light up or blink depending

on the selected m ode and condition of your

424 MKIII.

The RECORD FUNCTION switches also select

what source will be recorded. For exam ple,

Track 1 can record either the single source

p lu g g e d in to Ch a n n e l 1 o f th e m ixe r

(DIRECT), or the entire BUSS L m ix (which

m ay have as m any as six sources). The other

RECORD FUNCTION s w itch e s w o rk in th e

s a m e w a y: e ith e r DIRECT fro m th e s a m e -

n u m b e re d m ixe r ch a n n e l, o r fro m th e

MASTER stereo m ix: Tracks 1 & 3 from BUSS

L, Tracks 2 & 4 from BUSS R.

Autolocators

44. RTZ (Return-To-Zero) key: When this key is

pressed in any transport m ode, the tape will

fast wind to the counter's zero (0000) point.

45. LOC 1 key: If pressed while the MEMO IN key

(#47) is held down, it loads the current tape

location into MEMO 1 register.

If pressed alone, it causes the tape to fast

wind in either direction to the MEMO 1 point

(if this point has been m em orized).

Displays

39. Tra ck REC in d ica t o rs : Th e y s h o w th e

individual track's status as selected by the

RECORD FUNCTION switches (#38).

Th is ke y is a ls o u s e d to ch e ck th e m e m o

point.

NOTE: To initiate autolocation, HIT the LOC

key. To check the m em o point, PRESS the key

for 0.5 second or m ore.

Track REC

Track status

indicator

Off

Safe

Blinking

Record Stand-by

Record

46. LOC 2 key: Sim ilar to the LOC 1 key, this key

is used to establish a MEMO 2 point, and to

locate tape with that m em ory point.

Steady indication

47. MEMO IN key: Used together with the LOC 1

a n d LOC 2 ke ys to lo a d th e cu rre n t ta p e

location into m em ory. See #45 and 46 above.

40. Track level m eters 1-4: These m eters show

th e re co rd le ve l co m in g e ith e r fro m e a ch

channel's fader or from the MASTER fader

(the first and the third m eters register the

level from the left buss, the second and the

fourth m eters register the level from the right

buss). If a track or tracks are in Safe m ode the

co rre s p o n d in g m e te rs s h o w th e p la yb a ck

level.

48. REPEAT sw itch: This provides a "playback

loop" or "block repeat" between MEMO 1 and

MEMO 2 points.

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49. CLEAR key: Turns off the REHEARSAL and

AUTO PUNCH IN/OUT functions (pp.30-31).

50. COUNTER RES ET s w it ch : Th is re s e ts th e

COUNTER to "0000" so you can assign any

p o in t o n th e ta p e a s a s ta rtin g lo ca tio n .

Pre s s in g RTZ (#44) g e ts yo u b a ck to th a t

location.

51. REHEARSAL sw itch: Helps you rehearse a

punch-in without erasing anything until you

are ready to actually record (p.29).

52. AUTO PUNCH sw itch: Autom ates the punch-

in/out sequence (Preroll, Punch-in, Punch-out

a n d Po s tro ll) yo u p ro g ra m m e d in

REHEARSAL m ode (p.31).

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Care and Maintenance

Optional Accessories

Even though the heads used in your 424 MKIII

h a ve h ig h w e a r re s is ta n ce a n d a re rig id ly

constructed, perform ance degradation or electro-

m e ch a n ica l fa ilu re ca n b e p re ve n te d if

m aintenance is perform ed regularly.

Cleaning the Heads and Tape Guides

RC-30P Rem ote Footsw itch

MIDI-Tape Synchronizer

All heads and m etal parts in the tape path m ust

be cleaned after every 6 hours of operation, or

b e fo re s ta rtin g a n d a fte r e n d in g a re co rd in g

session.

CLEANING

1. Op e n th e ca s s e tte co m p a rtm e n t d o o r. Ta p e

should not be loaded.

The first things you will need for m aintenance are

not expensive. The whole kit with the swabs and

fluids you will need for m onths will cost less than

a couple of high quality cassettes.

2. Hold STOP and REHEARSAL and press POWER

to activate a Cleaning m ode. "Cleaning" will

show on the display.

We cannot stress the im portance of cleaning too

m uch. Clean up before each session. Clean up

after every session. Clean up every tim e you take

a break in the m iddle of a session.

CLEANING MODE : While in this m ode, PLAY,

F.FWD, REW, and STOP are effective, letting

you get access to the head block, and rotate

the capstan shaft and the pinch roller at high

speed in either direction, or at norm al play

speed, m aking it easy to clean them as you

perform the following steps.

DEGAUSSING (DEMAGNETIZING)

HC-1 Head Cleaner & RC-1 Rubber Cleaner

(U.S.only)

Head Dem agnetizer

A little stray m agnetism can becom e quite a big

nuisance in tape recording. It only takes a sm all

a m o u n t (0.2 Ga u s s ) to ca u s e tro u b le o n th e

record head. Playing 10 cassettes will put about

that m uch charge on the heads. A little m ore than

that (0.7 Gauss) will start to erase high frequency

signals on previously recorded tapes. You can see

th a t it' s w o rth ta kin g th e tro u b le to d e g a u s s

regularly.

3. Press PLAY (needless to hold it this tim e), so

the head blocks m ove out.

∑ If yo u le a ve th e u n it in Cle a n in g m o d e fo r

3 m inutes after you have pressed PLAY, it will

a u to m a tica lly g o to S TOP, th e h e a d b lo ck

m oving back.

A clean and properly dem agnetized tape recorder

will m aintain its perform ance without any other

4. Using a good head cleaning fluid and a cotton

swab, clean the heads and tape guides until

the swab com es off clean. Wipe off any excess

cleaning fluid with a dry swab.

a tte n tio n fo r q u ite

w h ile . It w o n ' t ru in

previously recorded m aterial, nor will getting it

back to original specifications be difficult.

TZ-261 Cleaning Kit (Except U.S.)

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How the dbx Works

Cleaning the Pinch Roller

The dbx is a wide-band com pression-expansion

s ys te m w h ich p ro vid e s a n e t n o is e re d u ctio n

(broadband, not just hiss) of a little m ore than

30 d B. In a d d itio n , th e co m p re s s io n d u rin g

recording perm its a net gain in tape headroom of

about 10 dB.

1. Press a cotton swab that has been m oistened

with rubber cleaner to the pinch roller on the

right hand side of the capstan shaft (or, on the

le ft h a n d s id e if REW is p re s s e d ). Th is w ill

prevent the swab from becom ing tangled in

the m echanism .

A co m p re s s io n fa cto r o f 2:1 is u s e d b e fo re

re co rd in g ; th e n , 1:2 e xp a n s io n o n re p ro d u ce .

These com pression and expansion factors are

lin e a r in d e cib e ls a n d a llo w th e s ys te m to

p ro d u ce ta p e re co rd in g s w ith o ve r a 90 d B

dynam ic range – an im portant feature, especially

when you're m aking live recordings. The dbx

e m p lo ys RMS le ve l s e n s o rs to e lim in a te

co m p re s s o r-e xp a n d e r tra ckin g e rro rs d u e to

phase shifts in the tape recorder, and provides

excellent transient tracking capabilities.

2. Clean it until there is no visible residue com ing

off onto the swab.

3. Using a clean cotton swab, wipe off all the

excess rubber cleaner from the pinch roller.

Make certain that there is no foreign m atter

re m a in in g o n e ith e r th e p in ch ro lle r o r th e

capstan shaft.

Cleaning the Capstan Shaft

To achieve a large reduction in audible tape hiss,

without danger of overload or high-frequency

self-erasure on the tape, frequency pre-em phasis

a nd de -e m p h a sis a re a d de d to the sig na l a n d

RMS level sensors.

1. Clean the capstan shaft by lightly pressing a

co tto n s w a b m o is te n e d w ith h e a d cle a n in g

fluid onto the shaft. Clean thoroughly and wipe

off excess fluid.

Degaussing the Tape Path

Encoder

Input

Tape deck

Decoder

Output

1. Hold the degausser about 1 m (3 feet) away

from the recorder. Turn it on, slowly m ove in to

the tape path. Move the degausser slowly back

and forth, touching lightly all m etal parts in the

tape path. Slowly m ove it away again to at

le a s t 1 m (3 fe e t) fro m th e re co rd e r b e fo re

turning it off.

Dynamic range

input signal

Encode

Decode

(Expand)

Record Playback

(Compress)

Saturation

level

80dB

40dB

80dB

+25dB

+20dB

+15dB

+10dB

0dB

Dynamic range of tape

(65dB)

–30dB

–50dB

–60dB

2. To com plete the cleaning and dem agnetizing

procedure, press STOP. The head block will

retract. Then hold STOP and press COUNTER

RESET to cancel the cleaning m ode.

–80dB

dbx encoding/decoding level diagram

Noise level

SUBSONICS AND INTERFERENCE

CAUTION

The dbx incorporates an effective bandpass filter.

Th is filte r s u p p re s s e s u n d e s ira b le s u b s o n ic

frequencies to keep them from introducing errors

into the encode or decode process. However, if

rum ble from trains or trucks is picked up by your

m icrophone and fed to the dbx, m odulation of the

program m aterial during low level passages m ay

occur. This low-frequency com ponent will not

itself be passed through the recorder and so, will

not be present at reproduce for proper decoding.

It this low-level decoding error is encountered,

a n d s u b s o n ics a re s u s p e cte d , w e s u g g e s t th e

a d d itio n o f a s u ita b le h ig h -p a s s filte r in th e

m icrophone line.

If the surface of the unit gets dirty, wipe the

s u rfa ce w ith a s o ft clo th o r u s e a d ilu te d

neutral cleaning fluid. Clean off thoroughly.

Do not use thinner, benzine, or alcohol, as

they m ay dam age the surface of the unit.

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Specifications

Mechanical Characteristics

Tape:

Track Form at:

Head Configuration:

Com pact Cassette (C-30 to 90), High-Bias (CrO2

4-track/4-channel

4-channel record/play (perm alloy) x 1

4-channel erase (ferrite) x 1

DC servo m otor x 1

)

Motor:

Tape Speed:

Switchable two speeds: 9.5 cm /sec. (3-3/4 ips) and

4.8 cm /sec. (1-7/8 ips), ± 1%

± 12 % (approx.)

Pitch Control:

Wow and Flutter:

0.06% WRMS at 4.8 cm /sec.,

0.05% WRMS at 9.5 cm /sec.

120 sec. (approx.) with C-60

419 x 115 x 357 m m (16-1/2" x 4-1/2" x 14-1/16")

4.9 kg (10.8 lbs.)

Fast Winding Tim e:

Dim ensions (W × H × D)

Weight:

Electrical Characteristics

Mixer Section

MIC/ LINE INPUT, Ch.1-4

(XLR type connector x 4)

Input Im pedance:

3.6k ohm s

Nom inal Input Level:

–60 dBV (1m V) (MIC position)

–20 dBV (0.1 V) (LINE position)

+3 dBV (1.4 V) at Trim Min.

Maxim um Input Level:

MIC/ LINE INPUT, Ch.1-6

(1/ 4" phone jack x 6)

Input Im pedance:

5.6k ohm s

Nom inal Input Level:

–50 dBV (3m V) (MIC position)

–10 dBV (0.3 V) (LINE position)

+10 dBV (3 V) at Trim Min.

Maxim um Input Level:

STEREO INPUT, Ch.7-8

(1/ 4" phone jack x 2)

Input Im pedance:

10k ohm s

Nom inal Input Level:

–10 dBV (0.3 V)

+10 dBV (3 V)

Maxim um Input Level:

SUB INPUT (RCA jack x 2)

Input Im pedance:

10k ohm s

Nom inal Input Level:

–10 dBV (0.3 V)

+10 dBV (3 V)

Maxim um Input Level:

LINE OUTPUT (RCA jack x 2)

Output Im pedance:

100 ohm s

Nom inal Output Level:

Minim um Load Im pedance:

EFFECT 1 SEND (1/ 4" phone jack)

Output Im pedance:

–10 dBV (0.3 V)

2k ohm s

100 ohm s

Nom inal Output Level:

Minim um Load Im pedance:

–10 dBV (0.3 V)

2k ohm s

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EFFECT 2 SEND/ TAPE CUE OUT

(1/ 4" phone jack)

Output Im pedance:

100 ohm s

Nom inal Output Level:

–10 dBV (0.3 V)

2k ohm s

Minim um Load Im pedance:

TAPE OUTPUT (RCA jack x 4)

Output Im pedance:

100 ohm s

Nom inal Output Level:

–10 dBV (0.3 V)

2k ohm s

Minim um Load Im pedance:

MONITOR OUTPUT (RCA jack x 2)

Output Im pedance:

690 ohm s

Nom inal Output Level:

–10 dBV (0.3 V)

PHONES (1/ 4" stereo phone jack x 1)

Nom inal Load Im pedance:

Maxim um Output Level:

30 ohm s

60 m W (approx.)

Equalizer

HIGH (Shelving):

10 kHz, ±10 dB

MID (Param etric):

LOW (Shelving):

250 Hz to 5 kHz, ±12 dB

100 Hz, ±10 dB

Frequency Response:

MIC INPUT to LINE OUTPUT:

LINE INPUT to LINE OUTPUT:

LINE INPUT to EFFECT OUTPUT:

LINE INPUT to PHONES:

Signal-to-Noise Ratio

20 Hz to 20 kHz ±3 dB

20 Hz to 20 kHz ±2 dB

40 Hz to 20 kHz ±3 dB

(20 Hz to 20 kHz, B.P.F. inserted)

1 MIC INPUT to LINE OUTPUT

4 MIC INPUTS to LINE OUTPUT

1 LINE INPUT to LINE OUTPUT

4 LINE INPUTS to LINE OUTPUT

Distortion

65 dB (at a nom inal input level of –60 dBV)

60 dB (at a nom inal input level of –60 dBV)

76 dB (at a nom inal input level of –10 dBV)

70 dB (at a nom inal input level of –10 dBV)

1 MIC INPUT to LINE OUTPUT

0.05% (at 1 kHz, 15 dB above nom inal input level with

30 kHz low-pass filter inserted)

1 LINE INPUT to LINE OUTPUT

Crosstalk:

0.04% (at 1 kHz, nom inal input level with 30 kHz low-pass

filter inserted)

55 dB (at 1 kHz, nom inal input level with 30 kHz low-pass

filter inserted)

Recorder Section

Record/ Play channels:

Noise Reduction:

4/4

dbx TYPE II

Frequency Response (overall):

40 Hz to 16 kHz, ±3 dB at 9.5 cm /sec.,

40 Hz to 10 kHz, ±3 dB at 4.8 cm /sec.

UNWTD (20 Hz to 20 kHz)/IHF A WTD

55 dB/58 dB (without dbx); 90/95 dB (with dbx)

54 dB/56 dB (without dbx); 88/93 dB (with dbx)

1.0% (1 kHz)

Signal-to-Noise Ratio (overall):

HIGH:

NORMAL:

Total Harm onic Distortion:

Crosstalk (Channel Separation):

Erasure:

55 dB or better

65 dB or better (at 1 kHz, B.P.F. inserted)

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Others

Pow er Requirem ents

USA/ CANADA:

U.K./ EUROPE:

AUSTRALIA:

Pow er Consum ption:

120 V AC, 60 Hz

230 V AC, 50 Hz

240 V AC, 50 Hz

22 W

In these specifications, 0 dBV is referenced to 1 Volt. Actual voltage levels are also given in parentheses

(0.316 V for -10 dBV rounded off to 0.3 V).

* dbx is a registered tradem ark of dbx Incorporated.

Ⅲ Changes in specifications and features m ay be m ade without notice or obligation.

419mm

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Block Diagram

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Level Diagram

424@$

TEAC CORPORATION

3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan Phone: (0422) 52-5082

TEAC AMERICA, INC.

TEAC CANADA LTD.

7733 Telegraph Road, Montebello, California 90640 Phone: (323) 726-0303

5939 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: 5-658-1943

5 Marlin House, Marlins Meadow, The Croxley Centre, Watford, Herts. WD1 8YA, U.K. Phone: 01923-819699

Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany Phone: 0611-71580

TEAC MEXICO, S.A. De C.V

TEAC UK LIMITED

TEAC DEUTSCHLAND GmbH

TEAC FRANCE S. A.

17 Rue Alexis-de-Tocqueville, CE 005 92182 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: 030-6030229

TEAC BELGIUM NV/SA

TEAC NEDERLAND BV

TEAC AUSTRALIA PTY., LTD.

A.C.N. 005 408 462

106 Bay Street, Port Melbourne, Victoria 3207, Australia Phone: (03) 9644-2442

Via C. Cantù 11, 20092 Cinisello Balsamo, Milano, Italy Phone: 02-66010500

TEAC ITALIANA S.p.A.

PRINTED IN CHINA M-1463

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