3D0028100A
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414@#
OWNER'S MANUAL
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Safety Instructions
CAUTION:
"Note to CATV system installer:
• Read all of these Instructions.
• Save these Instructions for later use.
• Follow all Warnings and Instructions marked on the
audio equipment.
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.
1) Read Instructions — All the safety and operating instructions should
be read before the product is operated.
Example of Antenna Grounding as per
National Electrical Code, ANSI/NFPA 70
2) Retain Instructions — The safety and operating instructions should
be retained for future reference.
3) Heed Warnings — All warnings on the product and in the operating
instructions should be adhered to.
4) Follow Instructions — All operating and use instructions should be
followed.
5) Cleaning — Unplug this product from the wall outlet before cleaning.
Do not use liquid cleaners or aerosol cleaners. Use a damp cloth for
cleaning.
ANTENNA
LEAD IN
WIRE
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 CONDUCTOR
(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
GROUND CLAMPS
POWER SERVICE GROUNDING
ELECTRODE SYSTEM
(NEC ART 250. PART H)
NEC - NATIONAL ELECTRICAL CODE
manufacturer’s instructions, and should use
a
mounting accessory
recommended by the manufacturer.
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.
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.
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 product 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 Mounting — The product should 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 should 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.
3
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The PORTASTUDIO 414 MKII is...
The PORTASTUDIO 414 MKII is a 4-track "Multi-
track Master" cassette tape recorder and a full-
function mixer with 8 inputs/stereo outputs including
a balanced microphone input and a dedicated guitar
input combined into a single workstation.
NOTE FOR U.K. CUSTOMERS
DO NOT cut off the mains plug from this
equipment. If the plug fitted is not suitable for the
power points in your home or the cable is too short
to reach a power point, then obtain an appropriate
safety approved extension lead or consult your
dealer.
Its high audio quality and creative flexibility reflect
the experience and innovation that have allowed
TASCAM to earn its reputation in professional audio
production fields, and its user-friendly design makes
the 414 MKII suitable for anyone, from expert to
novice.
If nonetheless the mains plug is cut off, remove the
fuse and dispose of the plug immediately, to avoid a
possible shock hazard by inadvertent connection to
the mains supply.
Using this manual : To get the most out of your
414 MKII, please take the time to read through this
manual. Some time spent now will keep you from
overlooking some of the features that make the 414
MKII a more creative tool. You may discover some
new tricks you haven't tried before.
If this product is not provided with a mains plug, or
one has to be fitted, then follow the instructions
given below:
IMPORTANT. DO NOT make any connection to the
larger terminal which is marked with the letter E or
by the safety earth symbol ç or coloured GREEN
or GREEN-and-YELLOW.
Use of capital letters : In general, we use all upper
case type to designate a particular switch, control,
jack name or label (like PAN). Transport modes and
some features are described with an upper case first
letter (like Record mode).
The wires in the mains lead on this product are
coloured in accordance with the following code:
BLUE:
NEUTRAL
LIVE
CAUTION
BROWN:
To power the PORTASTUDIO 414 MKII, use
only the provided PS-P414 AC adaptor.
Using any other adaptor will cause damage
to the 414 MKII, and such damage would not
be covered by the limited warranty on the
product.
As these colours may not correspond with the
coloured markings identifying the terminals in your
plug proceed as follows:
The wire which is coloured BLUE must be
connected to the terminal which is marked with the
letter N or coloured BLACK.
About the weld line
The wire which is coloured BROWN must be
connected to the terminal which is marked with the
letter L or coloured RED.
There is a patterned stripe-like effect on the
bottom surface of the 414 MKII unit. This
effect is called a "weld line" and is a natural
result of the resin molding process
employed in the manufacture of the
414 MKII unit. It is not a crack or scratch,
and will cause no problems with the
operation of the 414 MKII unit.
When replacing the fuse only a correctly rated
approved type should be used and be sure to re-fit
the fuse cover.
IF IN DOUBT — CONSULT A COMPETENT
ELECTRICIAN.
4
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The Recording System
The PORTASTUDIO 414 MKII is a complete audio
production facility in a single box. It is divided into
two major sections: a full-function mixer and a 4-
channel, multitrack cassette recorder.
To complete the recording system, you'll additionally
need these: input devices (microphones,
instruments), output devices (headphones), 2 track
recorder, effects processors, etc.
previous tracks while you record new ones, so there
is a two-way flow through the console.
The Three Steps to Multitrack
In TRACKING and OVERDUBBING, the mixer
inputs are usually microphones or instruments, going
to different tracks of the recorder.
In MIXDOWN, signal comes from the multitrack
and is sent to an external 2-track recorder.
In OVERDUBBING, the MONITOR section and
TAPE CUE of the mixer must be used to listen to
5
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Understanding the Mixer
This is the most important signal route in the mixer
and is called "Main Mix".
Signal Flow in the 414 MKII Mixer
The illustration below shows how input signals pass
through the 414 MKII Mixer section. After the
MASTER fader they go to the L/R LINE OUT jacks.
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Understanding the Mixer
The 4 TAPE CUE controls act like a separate 4x1
mixer, dedicated solely so you can hear playback
from the multitrack recorder in your headphones.
Settings of these controls don't affect the mix going
to tape. When the "master" EFFECT 2/TAPE CUE
select switch located to the right of the track 4 meter
is set to the right/TAPE CUE position, the channels'
TAPE CUE controls are turned to the right, the
"MONITOR" EFFECT 2/TAPE CUE switch is
pressed on, and the MONITOR level control is
turned up, you can hear tape playback in the
headphones. You can adjust the monitor level of each
track by adjusting its TAPE CUE control. The
channels of the Main Mix remain free to handle
external inputs for recording.
Tape Cue Monitor System
The TAPE CUE mix and MONITOR switches are
also crucial for successful multitrack recording,
because they control what you hear in the
headphones. This CUE mix is totally independent
from the Main Mix going to tape. If you don't use
the CUE mix, you run the risk of accidentally
"bouncing tracks" every time you record new
material.
If you can hear tape playback in your headphones
when TAPE CUE is off, it means you're hearing tape
through the Main Mix. This is correct for mixdown
and bouncing tracks, but during overdubbing it can
cause previous tracks to be mixed together with new
tracks, instead of each part remaining separate. Use
the TAPE CUE to avoid this.
The three MONITOR switches choose which
mix(es) you can hear in the headphones/monitor
speakers — the L-R mix, the TAPE CUE mix, and
the EFFECT 1 and 2 send mixes. Press the L-R
switch on to hear what you are recording.
7
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Multitrack Cassette Recorder
The 414 MKII records on readily available standard
(Philips) Compact Cassette tape, high bias Type II.
The recorder has 4 tracks while the mixer has a
stereo output; however, using the Direct Recording
feature you can record on any or all of the 4 tracks at
one time. For more details, see "Recording on More
Than Two Tracks Simultaneously", page 22.
I ZERO RETURN promptly brings you back to the
beginning of a section of tape, selected by
resetting the tape counter.
I The tape speed can be increased or decreased
with the PITCH CONTROL dial in both
playback and record, to match pitch or for special
effects.
The 414 MKII's dbx Noise Reduction virtually
eliminates unwanted tape noise. A special SYNC
feature turns off the dbx on track 4 separately,
making it possible to record and play back the MIDI
sync tones or SMPTE/EBU time code without being
affected by the dbx encode/decode. This ensures that
the sync tones/code are recorded and played back
without unnecessary processing. With proper
operating techniques, it is not necessary to leave a
guard band between music and sync tone tracks
because of the low crosstalk of the TASCAM heads.
Track Format and Tape Recommendations
It also employs a discrete 4-channel format head
Tape Speed and Track Format
developed especially by TEAC for TASCAM
multitrack cassette recorders. Here is a comparison
of various cassette formats:
The Portastudio 414 MKII records/plays at 9.5
cm/sec (3-3/4 ips) which is twice (2 X) the normal
speed of a standard audio cassette.
8
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Track Format and Tape Recommendations
Tape Type
Tape Length
The Portastudio 414 MKII is internally adjusted for
HIGH BIAS Type II tape. This means that for best
results, you should only use tapes of this type. TDK
SA, Maxell XL-II or equivalent formulations are
recommended. We strongly suggest that you select
one good quality brand and use it exclusively. The
time you spend creating your multitrack master is
much more valuable than the money you save by
buying inferior tape. The cassette shell essentially
becomes a part of the 414 MKII's transport. Poor
quality shells can cause wrinkles, snarls and
shredding of the edges of the tape with use. Even
small scratches on the tape oxide can cause
"dropouts" (temporary loss of signal) on one or more
tracks. High quality tapes are less likely to cause
problems in the long run.
Use the shortest possible tape for a given work. It is
not unusual to play a tape 100 times before you are
finished, so select a cassette length that is as close as
possible to the length of the program you plan to
record. Cassettes C-60 length and shorter are often
made from thicker stock than longer cassettes.
The tape used in C-120 cassettes is extremely thin
and can cause winding problems, crimping,
wrinkling, and other damage to the oxide coating of
the tape which will destroy your work. Don't use
C-120s in the 414 MKII.
Remember that with twice the normal speed and the
"one-side-only" 4-track single direction format, you
have only one quarter of the normal play time:
Cassette
C-46
Play Time
11.5 min.
15 min.
Accidental Erase/Record Protection
To protect a finished master tape, it is necessary to
punch out both record protect tabs. Even though you
are recording in only one direction, the 414 MKII
uses the entire width of the tape. If, for example, you
remove only one of the tabs, you could accidentally
insert the cassette into the 414 MKII backwards and
erase all four tracks of the master.
C-60
C-90
22.5 min.
(approx.)
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Optional Accessories
RC-30P Remote Footswitch
MIDI-Tape Synchronizer
PW-2Y/PW-4Y Insertion Cable
Head Demagnetizer
TZ-261 Cleaning Kit (Except U.S.)
HC-1 Head Cleaner & RC-1 Rubber Cleaner
(U.S.only)
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For detailed information on each feature, see
"Features and Controls", pp. 31-35.
PORTASTUDIO 414 MKII Brief Guide
Input Selection and Adjustment
Channels 5 through 8
Channels 1 through 4
EQ HIGH : Cuts or boosts treble frequencies. Shelving point is at 10 kHz.
STEREO INPUTS : Connect any line-level signal (such as
an effect return, or electronic instrument) here.
EQ LOW : Cuts or boosts bass frequencies. Shelving point is at 100 Hz.
Mono Feature : Plug a mono signal into the channel
5-6 (L/MONO) jack and leave the 7-8 (R) jack empty.
The signal is then automatically taken into the two pairs
of channels (5-6 and 7-8).
EFFECT 1 and 2 : These control how much signal will go to the correspond-
ing EFFECT send jacks. They get their signal from a point just after the
channel fader.
TAPE CUE : The EFFECT 2 controls can be switched to act as the TAPE
CUE level controls (by means of the correspondingly labeled switch) and
adjust the playback level for the musicians in the studio.
LEVEL : Controls the volume of both the left and right
inputs simultaneously on their way to the respective
stereo mix sides.
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.
Monitor Section
INPUT : Determines where the channel signal comes from.
LEVEL : This sets the output level of the monitor mix feed-
TAPE; Makes tape playback the channel source.
ing the MON OUT and PHONES jacks.
GUITAR; When this is selected, makes the GUITAR input the channel
source. If no instrument is plugged into the GUITAR input, this is equiva-
lent to OFF.
MONITOR switches : These select the source of the MON
OUT and PHONES jacks.
MIC/LINE; Brings the MIC/LINE input into the channel.
– What you hear when the EFFECT 2/TAPE CUE
switch is pressed on, depends on the setting of the
master select switch below.
Channel fader : Sets the volume of the channel feeding the MASTER fader.
TRIM : Sets how much preamplification will be added to the MIC/LINE IN jack.
Push up if the signal needs amplification, pull down if the signal is so loud
it is distorting the mixer electronics.
Master Section
MIC/LINE IN (on the front) : These are the input jacks for the mixer channels.
Line-level, unbalanced signal sources (such as electronic instruments)
may be connected here. You can also connect lower-level signals (down to
–50 dBV) and use the TRIM control to amplify them.
EFFECT 2/TAPE CUE : When set to EFFECT 2, sends sig-
nals after the channel fader to effect devices, and when
set to TAPE CUE, sends playback signals to the moni-
tor.
INPUT L & R : These balanced XLR-type connectors are for balanced micro-
phones. If a signal source is connected to the front MIC/LINE IN jack cor-
responding to the XLR-type connector where a microphone is connected
(L=1 or 3, R=2 or 4), the microphone signal input here is ignored. In other
words, if you want to use microphones with these connectors, make sure
that nothing is plugged into the corresponding MIC/LINE IN jack at that
time.
MASTER fader : This sets the total output level of the
stereo mix.
GUITAR IN jack and TRIM control : This 1/4" jack is specially designed for
connection of an electric guitar (or bass guitar). This dedicated input is
provided because these instruments have an impedance that is different
to that of microphones or line level sources. A guitar played through this
jack will be used as the signal to a channel, if the INPUT switch of the
channel is set to the center GUITAR position. Use the TRIM control by
this jack to match the level of your guitar.
11
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PORTASTUDIO 414 MKII Brief Guide
Recorder Controls
Connections on the Rear Panel
Meters : The meters numbered 1-4 show the
playback or the record level of the
respective tape tracks. The average
record level should be in the center (0),
but occasional peaks up to +6 are
acceptable.
DBX switch : Normally, leave this switch at
ON. When you use track 4 to record and
play back MIDI sync tones or time code,
set to SYNC then the dbx is on for tracks
1-3, and off on track 4.
SUB IN L and R : Provide a direct route to
MON OUT L and R : These are connected
to an amplifier powering the control
room speakers.
the MASTER fader. An outboard mixer
may be connected here. The SUB IN R
jack is also used to record sync tones
on track 4.
EFFECT 1 SEND : For sending post chan-
nel fader signals to effects devices. The
returns are plugged into the STEREO
INPUTS.
Tape counter : Shows the distance the tape
SYNC OUT : Sync tones you'll record on
track 4 are sent out of this jack to the
TASCAM MTS-30 MIDI/Tape synchro-
nizer or other similar units.
ZERO RETURN : When this switch is on and
you press REW, the tape fast winds to
the counter zero point. The associated
LED blinks when the tape is rewinding,
and glows solid when the 000 point is
reached.
has moved from a zero reference point.
EFFECT 2 SEND/TAPE CUE OUT : The
signal available at this jack comes either
from post channel fader for connection
to an additional effects device or from
the tape for connection to a studio
speaker system, as selected by means
of the EFFECT 2/TAPE CUE switch.
Counter reset button : Press to change the
counter to "000".
LINE OUT L and R : Normally, connect
these jacks to the Left and Right inputs
of your mixdown deck.
PITCH CONTROL : Increases or decreases
the speed of the transport in Play and
also in Record, over a 10% range
(approx.).
On the front
PHONES : This carries the same mix as the MON OUT jacks,
as selected by the MONITOR switches.
REMOTE PUNCH IN/OUT : Connect to this jack the optional
RC- 30P footswitch.
Transport keys :
Principally these work the same as on any
cassette recorder.
RECORD FUNCTION 1-4 : Used to select tracks
to record on, and also recording sources
(channels or stereo busses).
13
14
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Step-By-Step-Operation Guide
3 Powering on
Let's Try the 414 MKII Mixer
To learn how the mixer works, we’ll use a
microphone as the source. If your dynamic
microphone cable has a balanced XLR-type
connector, we’ll use the rear-panel XLR-type INPUT
(L, R) connector. If it is fitted with an unbalanced
1/4" connector, we’ll use the front-panel MIC/LINE
IN jack.
‘
Press the POWER switch on (the switch is
located on the back), and the POWER
indicator on the top panel will light.
4 Headphone connection
If a signal source is connected to a front MIC/LINE
IN jack whose corresponding XLR connector has a
microphone connected (L=1 or 3, R=2 or 4), the
signal input to the XLR connector will be ignored.
Plug your headphones into the front
PHONES jack, so you can hear the input
signal going to the mixer section of the 414
MKII.
First, make the following settings :
I Pull all the TRIM controls full down and turn
other level controls all the way to the left.
5 Routing inputs
I Turn the EQ controls to their center "off"
position; bring all the faders down; and set all the
switches to OFF.
Set the channel 1 INPUT select switch to
the MIC/LINE position.
1 Have in hand a dynamic microphone and a
set of stereo headphones.
6 Panning
2 Input connections
Turn the channel 1 PAN control all the way
to the left.
7 Channel level
Raise the channel fader to the shaded area
(between 7 and 8).
Depending on the connector at the end of
your microphone cable, plug the
microphone to the INPUT (L, R) connector
on the rear panel, or the MIC/LINE IN jack
for channel 1 on the front panel.
8 Master level
Raise the MASTER fader to the shaded area
(between 7 and 8).
15
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Step-By-Step-Operation Guide
9 Monitor selection
How to Record on Track 1
L-R
MONITOR
As a trial, let's record your voice on tape.
‘
Press the MONITOR "L-R" switch on.
1 Have in hand a new cassette tape (Type II,
C-90 length or shorter).
10 Monitor level
2 Loading a cassette
Pull the cassette door open. Insert your
cassette tape. Close the door.
Turn the MONITOR level control up to the
12 o'clock position.
3 Getting past the leader tape
11 TRIM adjustment
‘
‘
Press PLAY and allow the tape to run for
about 5 seconds. This will run the tape
leader onto the take-up reel, and put the
beginning of the tape in front of the heads.
While speaking into the microphone, slowly
push the TRIM control in channel 1. You
will hear your voice on the left side in the
headphones.
4 Resetting the counter
‘
When using a line level source (such as
electronic instruments) instead of a
microphone, the TRIM does not need to be
pushed up very far, if at all.
Reset the tape counter to 000 by pressing
the adjacent button.
5 Selecting tracks
Set the RECORD FUNCTION switch for
track 1 to its L position. The track's REC
indicator will start blinking, indicating that
the track is in Record Ready mode.
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Step-By-Step-Operation Guide
6 Mic level adjustment
Track 1 Playback through TAPE CUE
1 Selecting TAPE CUE
Speak into the microphone. You will see
meter 1 move. Slowly push the channel 1
TRIM control until the meter peaks at no
more than "+6".
Set the EFFECT 2/TAPE CUE selection
switch located to the right of the track 4
meter to the right/TAPE CUE position.
2 Monitor selection
7 Beginning recording
‘
‘ ‘
Press the lowest MONITOR switch on (the
switch marked EFFECT 2/TAPE CUE). The
other two MONITOR switches must be off.
Hold RECORD and press PLAY to initiate
recording. The REC indicator that was
blinking will turn on solid, indicating the
track is in Record mode.
3 Locating tape to zero
8 Speak into the microphone.
‘
9 Stopping recording
Set the ZERO RETURN switch to ON, then
press REW.
4 Beginning playback
‘
Press STOP (or PAUSE) to stop the tape
and finish recording.
‘
10 Putting track into "Safe"
Press PLAY.
5 MONITOR level control setting
The track 1's REC indicator should now be
blinking as before. Set the RECORD
FUNCTION switch for track 1 to its SAFE
position.
Check to see that the MONITOR level
control is at the 12 o'clock position.
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Step-By-Step-Operation Guide
6 Routing tape signals to TAPE CUE
How to Make an Overdub on Track 2
Overdubbing entails recording one or more
additional tracks on the same tape, while listening to
previously recorded tracks using TAPE CUE.
Locate the EFFECT 2/TAPE CUE level
control on channel 1 and slowly turn it to
the right. You'll hear, in center mono, what
you have recorded on track 1.
Leave the microphone 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 mixer input to
any track of the recorder through the combination
use of PAN and RECORD FUNCTION.
7 Stopping playback
1 Routing input
‘
Press STOP to stop playing.
Set the channel 1 INPUT selection switch to
the MIC/LINE position.
2 Panning
Turn the channel 1 PAN control all the way
to the right (R) position.
3 Channel 1 level
Bring the channel 1 fader to the shaded area
(between 7 and 8).
4 Master level
Bring the MASTER fader to the shaded area
(between 7 and 8).
5 Monitor selection
L-R
MONITOR
‘
Press the MONITOR select switch L-R on.
(Leave the EFFECT 2/TAPE CUE switch
pressed on.)
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Step-By-Step-Operation Guide
6 Locating tape to zero
10 Monitoring input/tape
You will hear track 1 play, together with the
new signal going to track 2, in the
headphones.
‘
NOTE
Making sure that the ZERO RETURN
switch is ON, press REW and the tape will
rewind to the beginning of the track 1
recording.
Adjust only the TAPE CUE control of channel
1 if you need to change the balance between
the old and new tracks in your headphones.
Leave the channel fader and TRIM and the
MASTER fader alone, because they control
the level being recorded.
7 Track selection
11 Stopping recording
Set the RECORD FUNCTION switch for
track 2 to its R position. The track's REC
indicator will start blinking.
‘
Press STOP (or PAUSE) to stop recording.
8 Record level adjustment (TRIM)
12 Putting track into "Safe"
The track 2's REC indicator should now be
blinking as before. Set the RECORD
FUNCTION switch for track 2 back to its
SAFE position and the indicator will turn
off.
Speak into the microphone to check to see
meter 2 move. Slowly push the channel 1
TRIM control until the meter peaks at no
more than +6.
9 Beginning recording
‘ ‘
Hold RECORD and press PLAY to initiate
recording. The track 2's REC indicator that
was blinking will turn on solid, indicating
the track is now being recorded.
19
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Step-By-Step-Operation Guide
How to Record Tracks 3 and 4
How to Record Many Sources onto a
Single Track
Tracks 3 and 4 can be recorded using almost the
same procedure just shown for tracks 1 and 2. Just
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.
In the first example, we recorded one source onto
one track at a time for simplicity. But the mixer of
the Portastudio 414 MKII can take multiple channels
and mix them onto a single track. To do this :
– Set the PAN control of each channel to the same
setting, for example :
In this example, all instruments plugged
into channels 1-4 will be recorded onto
Track 1 or 3.
– Lower the MASTER fader to make overall level
adjustments 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.
I You can't record the stereo channels onto a single
track.
20
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Step-By-Step-Operation Guide
Restrictions : The 414 MKII mixer section has only
two main mixes, Left and Right. For this reason, you
can record only two tracks at once while you're
recording a mix of instruments (for example, two
instruments on track 1, three instruments on track 2).
Also, you can record a mix only on combinations or
even/odd numbered tracks (1 & 2, 1 & 4, 2 & 3 etc.).
If the RECORD FUNCTION switch for track 1 and
that for track 3 are both set to L, the two tracks will
both record the same mix.
How to Record a Mix onto Two
Tracks Simultaneously
If you want to record multiple sources onto two
tracks, you use the channel PAN controls to send
them to LEFT or RIGHT (or anywhere in between, if
you're making a stereo mix). The track RECORD
FUNCTION switches choose what track the Left and
Right mixes will be recorded on. Note that in this
method, the mixer channel number has nothing to do
with what track the instrument winds up on. Any
mixer channel can be panned to any track.
Recording the stereo channels (5-6 and 7-8):
It is possible to record up to six sources
simultaneously, using the four standard mixer
channels plus the two pairs of stereo channels. The
stereo channel's signal is sent to the stereo mix bus
passing through the LEVEL control, so the signal is
recorded along with any other channels' signals sent
to the stereo left and right buses. Since there is no
PAN control, the stereo channel's signal is set to the
"hard left" and "hard right" position.
These mixer channels are being sent
to the LEFT, for recording on either
Track 1 or Track 3.
These mixer channels are being sent
to the RIGHT, for recording on either
Track 2 or Track 4.
I Press the MONITOR L-R switch on.
Recording is the same procedure as for one track. In
the example above, set the RECORD FUNCTION
switch for track 3 to L, and the switch for track 4 to
R, to record on these two tracks simultaneously.
21
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Step-By-Step-Operation Guide
Recording on More than Two Tracks
Simultaneously : Direct Recording
How to Mix Down
When the 4 tracks are all recorded, the final step is
mixing them into a standard stereo format. This
procedure is known as Remixing or Mixing down.
During this procedure the tracks are blended together
and balanced to create the desired sound.
It is possible to record on three or four tracks at the
same time by setting the respective RECORD
FUNCTION switches to their numbered (1-4)
position. In this Direct recording, each track gets its
signal from a single mixer channel only — track 1
from channel 1, and so on.
1 Connections
I In Direct recording, the MASTER fader has no
effect on the record level. It only affects the level
going to the headphones/monitor speakers (via
MONITOR L-R switch). Use the CHANNEL
FADER only to set record levels.
I Even when using the direct recording capability,
a channel still goes to the Left/Right mix. If you
record another track with the stereo left or right
mix at the same time, you must check your PAN
settings. For example, you can record a vocal
directly onto track 3, and record multiple
instruments on track 1 via the stereo left bus at
the same time. But channel 3's PAN control must
be turned hard right, otherwise you'll wind up
with vocals "bleeding through" onto track 1's
instruments.
Connect the LINE OUT L jack of the
414 MKII to the left line input of the
mixdown deck, and the LINE OUT R jack
to the right line input.
2 Master level
Raise the MASTER fader to the shaded area
between 7 and 8.
3 Monitor source
I The direct recording can be used whenever you
L-R
MONITOR
want to record a single channel to a single track.
‘
Press the MONITOR L-R switch on. All
other MONITOR switches must be off.
4 Routing inputs
Set all the INPUT select switches on the
input channels to the TAPE position.
22
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Step-By-Step-Operation Guide
5 Playback level
10 Press PLAY on the 414 MKII.
Press PLAY and, while listening to the tape
play, tentatively set the channel faders.
11 Record level
Put the mixdown deck into its "Record
Ready" mode, and adjust its input level
controls for the desired record level.
6 Adjust the PAN controls to set each track's
left-to- right position for the desired stereo
image. You may also want to use the EQ
controls to adjust the individual tracks for
the desired tonality. (For using effects, see
pp. 27 & 28.)
12 Rewind the multitrack tape to the
beginning of the recording.
13 Put the mixdown deck into Record mode
7 Using the MASTER fader, adjust the overall
then press PLAY on the 414 MKII.
playback level.
14 When recording is done, stop both
machines, rewind the mixdown tape and
listen to it.
8 Review
When the signal balance, level, and tonality
sound right, rewind the tape, and press
PLAY again to check the result.
If the mixdown tape does not sound right,
make the necessary corrections and re-do
from the beginning.
9 Rewind the multitrack tape again. Put a
blank tape in the mixdown deck and let it
play for 5 seconds, then stop it and reset the
mixdown deck's counter to zero.
23
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PUNCH-IN or INSERT Recording
"Punching in" or "insert recording" is recording over
a small section of previously recorded track to
correct or improve a performance, while keeping the
rest of the track intact. The mixer settings should be
exactly the same as they were during the original
recording.
6 Set the RECORD FUNCTION switch for
track 2 to R. The track's REC indicator will
start blinking, and meter 2 will show your
instrument's output level. Adjust the channel
and MASTER faders for the proper
recording level.
In the following, we'll use track 2 as the punch-in
track as an example.
Selecting in and out points
For both musical and technical reasons, when
punching in or out of a track, you must select points
that are "in the points clear", i.e., in pauses between
phrases or notes. The sound will seem unnatural and
inserts will be 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 smooth inserts requires
practice. Spacing between the erase and record heads
requires that you anticipate in/out points by a
fraction of a second for extremely tight cues.
Preliminary
1 As the punch-in track is track 2 in our
example, your input must be sent to the
stereo right bus. To do so, rotate the PAN
control of the channel into which your
source instrument is plugged all the way to
the right.
2 TAPE CUE signal path is used to hear the
tape, so set the master EFFECT 2/TAPE
CUE select switch to the right/TAPE CUE
position and press the same labeled
MONITOR switch on.
3 To hear the instrument, press the
MONITOR L-R switch on.
4 Press PLAY to play the tape, adjust the
TAPE CUE control on channel 2 to the
desired listening level.
If you want to hear other tracks together,
turn up their TAPE CUE controls as well to
the desired level and balance, and adjust the
overall level with the MONITOR control.
5 Play the instrument. You'll hear it together
with the tape signals through the
headphones. Stop the tape, and you hear
only the instrument being played.
24
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PUNCH-IN or INSERT Recording
Using the remote footswitch
(RC-30P)
Punch-in Procedure
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.
Perform the "Preliminary" on the previous page, if
you haven't yet done so.
Punching-in/out with RECORD
RC-30P
1 Check to see that the track 2's REC
indicator is blinking showing the track is in
the Rec Ready mode. Locate the tape a little
behind the expected punch-in point. Then
press PLAY.
If you are recording alone and are too busy playing
an instrument to push the switches, the optional
remote footswitch really comes in handy.
1 Plug the RC-30P into the REMOTE
PUNCH IN/OUT jack on the front of the
414 MKII.
2 When you reach JUST BEFORE the error,
hold PLAY and push RECORD. The REC
indicator that was blinking will glow solid
and track 2 enters the Record mode.
2 Check that the track 2's REC indicator is
blinking, and locate the tape to a point a
little before the error, then press PLAY.
3 To punch-out of record, push STOP (or
PAUSE). The REC indicator that was lit
solidly blinks to indicate that recording is
over.
3 When you reach JUST BEFORE the error,
press the footswitch, and the REC indicator
that was blinking will glow steadily to
indicate the track is in the Record mode.
4 To punch-out of record, press the footswitch
again. The REC indicator will start blinking
again.
5 To stop the tape, press STOP.
25
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Bouncing Tracks (Ping-Pong)
The recording capability of the PORTASTUDIO 414
MKII is not limited to four tracks. You can "bounce"
or combine tracks you have recorded to an empty
track, and then replace the original tracks with new
material. A bounce is like a mixdown, except you are
recording to one of the tracks of the 414 MKII
instead of to an external recorder. The following
diagrams depict the process.
4 Set the RECORD FUNCTION switch for
track 4 to R. The track 4's REC indicator
will start blinking, indicating the track is in
Rec Ready mode.
5 Press PLAY. The tape will start playing.
6 Use channel faders 1 through 3 to make any
necessary level adjustments. You may want
to repeat this step several times to get the
balance correct.
TRK
1
2
3
4
A
B
C
D
E
F
A + B + C
Bouncing tracks 1-3
onto track 4
Tracks 1-3
available for
recording new parts
7 When the balance is right and the level is
peaking at no more than +6 on the track 4
meter, stop and rewind the tape to the
beginning of the track.
During a bounce you can add live sources along with
the prerecorded tracks, using the "empty" mixer
channels not being used for tape playback. This
gives you even more ways to add layers to a
composition. For example, you can bounce tracks
1-3 along with another "live" part onto track 4, for a
total of four parts on one track.
8 Hold RECORD and press PLAY. The REC
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 mix being recorded on track
4 in the headphones.
Ping-pong Procedure
10 Once the recording is done, press STOP
(or PAUSE).
In this example, we will combine material from
tracks 1-3 onto track 4.
11 The REC indicator will now be blinking
as before. Turn that off by setting the
RECORD FUNCTION switch for track 4
to SAFE.
1 On channels 1-3, make the following
settings :
I INPUT to TAPE,
I PAN all the way to R, and
I Channel fader to the shaded zone (7-8 on
the scale).
2 Push the MASTER fader to the shaded
zone.
3 Press the MONITOR L-R switch on. The
other two MONITOR switches must be off.
26
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Using Effects with the PORTASTUDIO 414 MKII
Effects and signal processing are areas where you
Setting Effect Send Levels
can really start to have fun customizing your sound,
and develop your own unique recording style.
Because there are so many possibilities, it also can
be confusing. There are many different effect units
on the market, all with different controls, types of
inputs and outputs, and other characteristics. Read
the manual of your effects device, and the following
sections to get the complete story of what's possible
for your particular situation.
The goal is not to distort the device, while staying
above the noise that effect units generate. To get the
best signal-to-noise from most effects units, you
should send it as strong a signal as you can. With a
properly set input signal in the 414 MKII, the
channel EFFECT send set to about 2 o'clock position
(for EFFECT 1 or EFFECT 2 feed), you should get a
fairly loud signal from the EFFECT SEND jacks.
1. In-line processing: The processing that's
easiest to understand doesn't involve the
If your effects device has an input level control of its
own, it should be set so the meter or signal light of
the effects device is just under the overload point on
peak signals. When you want to hear less effect
overall, turn down the return LEVEL control on the
stereo channels.
414 MKII directly at all. You can plug your
instrument directly into the input of the effect
device, and plug the output of the device directly
into a line input of the 414 MKII. The whole
signal gets processed (flanged, doubled, limited,
delayed etc.), and only one instrument can use
that processor. Effect pedals for guitar are
typically used this way. To get a mix of processed
("wet") and original ("dry") signal, the unit must
have its own MIX or BALANCE control.
Setting the Output Level of Effect
Devices
2. Send/return mix processing: This is the
most common method of effect processing,
especially for reverb and delay. It allows a
number of different channels to use the same
effect, while allowing you to control how much
effect is mixed with each channel. Each of the 4
mixer channels can send signals to the EFFECT
SEND 1 or 2 outputs. These outputs can then be
connected to the input of effects devices. The
processed signals from the devices are plugged
into the stereo channels (5-6 and 7-8), for them to
be mixed onto the stereo left and right buses. The
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 determine how much signal goes to the
reverb unit ; the LEVEL control on the stereo
channels determines how much returns from the
reverb unit. In this method the stereo inputs
function as effects returns.
If the effect send level has been set properly, in most
cases the output level of the effect unit should be set
as high as possible without clipping (distorting) the
STEREO INPUTS of the 414 MKII, but low enough
so that you have a reasonable range of control. If
you can get the effect sound you want with the
return LEVEL control in the 12 to 2 o'clock range,
you're in the ballpark. If, on the other hand, very
small settings of the Effects Return still give you a
mix drowning in effects, turn down the output level
of your effect device.
Some effect units have rear panel switches 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).
27
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Using Effects with the PORTASTUDIO 414 MKII
Setting the Mix/Balance Control on
Effect Devices
REVERB
LEFT/MONO RIGHT
INPUTS
LEFT
OUTPUT
RIGHT
When it's being used in a send-return mix, set the
mix/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 414 MKII's channel fader to be mixed
with the effect return signal on the stereo mix.
Therefore, you don't need any "dry" signal coming to
the effects return. The mix/balance control is set
toward "dry" only when you're using the effects
device as an in-line processor.
Mono returns: A special feature of the STEREO
INPUTS allows continuously variable control
between left and right if desired: a mono effect
connected to the 5-6 jack will go to both the LEVEL
controls if nothing is plugged into the 7-8 jack.
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.The diagram shows the most common
method. EFFECT SEND feeds a reverb unit, which
has a synthesized stereo output patched into
STEREO INPUTS 7-8. A special "stereo splitter"
cable (such as the optional PW-2Y/4Y) is used, with
the 3-conductor (Tip-Ring-Sleeve) end plugged into
channel 7-8, and the other end split to two 2-
conductor plugs connected to the Left and Right
outputs of the effects unit. If the return is connected
to channel 5-6 and nothing is connected to channel
7-8, turn the 7-8 LEVEL control all the way to the
left or else the return is taken into channel 7-8 as
well.
Patching effects to an input channel: There's
no law that says the output of an effects device must
be plugged into STEREO INPUTS. They can also be
plugged into LINE INPUTS just like any other
source, if you are cautious about one thing: make
sure the EFFECT controls of those channels are set
to the off position (turned all the way to the left).
Otherwise, you will be sending the output of the
effect device back to itself, which is a kind of
feedback. If the effect device is a digital delay,
feedback has the same effect as a regeneration
(number of echoes) control. An advantage of
returning effects to a main channel is that you can
EQ the effect return.
L/MONO Jack Only
Return Signal
L/MONO and R Jacks Both Connected
Connected (R Jack Empty)
L
L
STEREO
R
L
R
L
MONO
R
R
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Syncing MIDI-Tape — Using the TASCAM MTS-30
Troubleshooting
MIDI clocks are themselves a computer type digital
1 Connect the TAPE OUT of the MTS-30 to the
Problem
Playback sounds dull
Playback level is too low
Transport keys not effective
No recording
Possible Cause
language and cannot be recorded on analog tape; it is
necessary to convert them to recordable FSK
(Frequency Shift Keying) signals using an appropri-
ate converter, such as the MTS-30.
SUB IN "R" of the 414 MKII, and the SYNC
OUT of the 414 MKII to the TAPE IN of the
MTS-30.
Dirty heads
Dirty heads
Power turned off, or tape not loaded
RECORD FUNCTION set to SAFE, or cassette tab broken
PAN improperly set
2 Set the track 4's RECORD FUNCTION switch
The MTS-30 is not a mere MIDI-FSK converter but
translates MIDI clocks into an FSK sync signal con-
taining score "bar" information or "Song Position
Pointer", allowing the associated MIDI equipment to
stay in sync and follow the tape no matter where you
move the tape within a given song. The maximum
stability or resolution of the synchronization is
ensured by a TASCAM-exclusive error correction
circuit in the MTS-30.
to R.
Wrong tracks recorded
3 Set the DBX switch on the 414 MKII to the
SYNC position. This defeats the dbx
encode/decode for track 4 only.
PITCH CONTROL set to a different position than during
recording
Incorrect playback pitch
Feedback occurs during ping-pong
recording
Level is too high or EQ HIGH is excessively boosted
– When recording FSK signals, adjust the MAS-
TER fader of the 414 MKII to get a reading on
the track 4 meter of from –10 to 0 dB.
Problem
Solution
Old tracks are always recorded along
with new material
Use the TAPE CUE section instead of the main mixer for
monitoring previous tracks
Make sure that all mixer channel faders are turned down to
the minimum level except the ones that you are using. Also,
increase the volume controls of the instruments you are
recording — the 414 MKII channel and master faders should
not have to be "full up" at any time
Recording is noisy
Incorrect tape sync
Try re-recording sync tones by adjusting the channel fader
so that the track 4 meter reads between –10 dB and 0 dB
29
30
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Features and Controls
left to cut the high frequency content, if the sig-
nal sounds too harsh or shrill. The EQ shelving
point is 10 kHz.
414 MKII MIXER
5
4
1
2
1. POWER switch (on the rear panel): Turns
8. EQ LOW: Turn the controls to the right to boost
bass frequencies and make the sound relatively
heavy. Turn the controls to the left to cut bass
and make the sound thinner. The EQ shelving
point is 100 Hz.
the 414 MKII on and off.
–
–
2. DC IN 12 V connector (on the rear panel):
This is for connection of the provided TASCAM
PS-P414 AC adaptor only.
9. EFFECT 1 send controls: These controls get
their signal from a point just after the channel
fader (i.e., "post fader send") and route the corre-
sponding channel signal to the EFFECT 1 SEND
jack. Turn the control to the right to increase vol-
ume to the EFFECT 1 SEND jack.
Input Section
–
–
–
3. MIC/LINE IN jacks (Channels 1-4): These
1/4" jacks accept unbalanced signals ranging
from –50 dBV (3 mV) to –10 dBV (0.3 V),
depending on the setting of the TRIM control
(#13).
6
21
22
23
24
25
15
16
10. EFFECT 2/TAPE CUE controls: These con-
trols 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 monitor section, as determined by the
4. INPUT L & R (on the rear panel): These
XLR-type connectors accept balanced signals.
They are mainly intended for use with dynamic
microphones, but the nominal input level may be
adjusted from –60 to –20 dBV depending on the
setting of the TRIM control. Note that if a signal
source is connected to the front MIC/LINE IN
jack corresponding to the XLR-type connector
where a microphone is connected (L=1 or 3, R=2
or 4), the signal input here at the INPUT (L/R)
connector will be ignored by the 414 MKII.
40
7
28
35
–
––
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
EFFECT 2/TAPE CUE select switch (#19).
–
–
–
8
9
11. PAN controls: These controls allow you to
create stereo mixes by sending the signal from
the channel fader in continuously variable
degrees to the left or right sides of the stereo mix
at mixdown time.
–
36
37
17
41
10
39
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
18
19
–
–
–
–
–
–
–
–
12. INPUT select switches: These are used to
11
5. GUITAR IN & TRIM control (on the rear
panel): This 1/4" jack has an impedance of
1MΩ and is intended for use with electric gui-
tars, basses, etc. Adjust the gain from this jack to
channels 1 - 4 with the TRIM control here (turn-
ing it clockwise increases the signal level).
–
27
control what the source of the channel is:
The upper position (TAPE) is used during mix-
down or bouncing tracks.
12
13
The center position is GUITAR, which selects the
source at the GUITAR IN jack (#5).
Turn the guitar TRIM control all the way to the
left.
–
–
–
–
–
14
–
–
–
–
–
–
6. SUB IN L and R jacks: These jacks are for
cascade connection of an outboard mixer, etc.
The signal input to these jacks is sent to the
MASTER fader. Nominal input level is –10 dBV
(0.3 V).
The lower position (MIC/LINE) is used when
recording microphones/instruments (in tracking
or overdubbing).
30 31 32 33
26 38
20 29
34
3
The SUB IN R jack is also used to accept FSK-
converted MIDI sync signals from devices such
as the optional TASCAM MIDI-Tape
Synchronizer MTS-30.
–
–
–
–
–
13. TRIM controls: These linear controls are used
to set the preamplification level on the
–
–
–
MIC/LINE IN(puts) or INPUT (L, R). When
TRIM is pulled full down, the preamplifier gain
is low, allowing the jack to accept line level
sources such as electronic instruments. As you
push TRIM up, the preamplifier gain increases,
and when you push TRIM full up, the nominal
input sensitivity increases to –50 dBV (3 mV).
7. EQ HIGH: These control the tonality of the high
or "treble" frequencies. Turn them to the right to
boost the signal's high frequency content empha-
sizing brilliance or brightness. Turn them to the
31
32
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Features and Controls
14. Channel faders: These linear controls vary the
20. MASTER fader: Used to adjust the stereo mix
level. The signal fed to this fader comes from
each channel's PAN control. The safe operating
zone is between 7-8 on the scale.
level feeding the Master section.
The nominal setting position is between 7 and 8
(shaded area).
Output Section
Stereo Input Section
21. SYNC OUT jack: Sync tones recorded on track
is sent out of this jack, for MIDI instruments to
play synced up to the tape. See also the section,
Syncing MIDI-Tape.
15. STEREO INPUTS (Ch.5-6/7-8): Connect the
outputs of your effects devices to these 1/4"
jacks.
These jacks can also be used as additional line
inputs. Nominal input level is –10 dBV (0.3 V).
22. LINE OUT L and R jacks: These jacks are the
line-level outputs from the MASTER fader. The
L and R jacks are typically connected to your 2-
track master recorder at MIXDOWN. The LINE
OUT jacks can also be used to send the mixer
outputs of the 414 MKII to the sub inputs of a
larger mixer.
See also "How to Connect Your Effects
Devices", p.28.
16. LEVEL controls: These rotary controls vary
the level feeding the Master section.
The nominal setting position is about 2 o’clock.
23. MON OUT L and R jacks: These provide a
line level version of the same signal that feeds
the PHONES jack and may be connected to your
control room speaker amplifier.
Monitor Section
17. MONITOR level control: This affects signal
from the MONITOR switches and sets the level
you'll hear in the headphones/monitor speakers.
24. EFFECT 1 SEND jack: The signal available at
this jack comes from post-fader, for connection
to effects devices. Nominal level is –10 dBV
(0.3 V).
18. MONITOR switches: Used to select a signal
or signals to send to the PHONES and MON
OUT jacks. When the L-R switch is on, the left
mix is heard on the left side, and the right mix
on the right side. The EFFECT 1 switch allows
you to check the channel signal going to the
corresponding send jack. The third switch is
used to check the channel signal going to the
EFFECT 2 SEND jack or the signal from the
recorder, depending on the setting of the switch
with the same label located to the right of the
track 4 meter.
25. EFFECT 2 SEND /TAPE CUE OUT jack:
This jack is for connection to an additional
effects device, or to a studio speaker amplifier.
The signal source is determined by the EFFECT
2/TAPE CUE select switch (#19). Nominal
output level is –10 dBV (0.3 V).
26. PHONES jack (on the front panel):
Connect any stereo headphones with a 1/4"
stereo TRS 3-conductor plug to this jack.
Master Section
19. EFFECT 2/TAPE CUE select switch:
Depending on the setting of this switch, each
channel's EFFECT 2/TAPE CUE control is
switched to send the MIC/LINE input to effects
devices or the signal coming back from the
recorder to the musicians in the studio.
33
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Features and Controls
30. PLAY key:
a) Press this key alone to start playback.
414 MKII RECORDER
b) If pressed together with RECORD, recording
("punch in") starts.
Cassette Loading and dbx System
27. Cassette compartment door: To insert or
remove a cassette, pull the door open. Once a
cassette is inserted, be sure to close the door to
prevent objects, dust or liquids from falling into
the tape path.
31. REW key: Winds tape at high speed in reverse
direction.
32. F FWD key: Winds tape at high speed in the
forward direction.
Tape path components
33. STOP key: Stops any tape motion and disables
all transport modes.
34. PAUSE key: Temporarily stops play or
recording. To resume the function interrupted,
press PAUSE off.
Erase head
Capstan
35. PITCH CONTROL dial: Varies tape speed in
record and play modes by up to approximately
±10%. Turn the dial to the left to lower the
speed, or to the right to increase the speed. Set
the dial to the center "0" position to run tape at a
standard speed of 9.5 cm/sec.
Record/Play head
Pinch roller
28. DBX switch : 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 normal
position for all recording and playback.
This can be used to save slightly out-of-tune
parts, or to create sound effects such as
flanging.
When it is set to the SYNC position, Track 4 is
disconnected from the dbx system, so the
process does not affect the sync signals going to
and from track 4, but tracks 1-3 still go through
the dbx encode/decode process. Use the SYNC
position for recording and playback of FSK
sync or SMPTE time code.
CAUTION: The PITCH CONTROL dial affects
recording speed also. Check to make sure that
the dial is at its center "0" position unless you
are using the function intentionally.
The OFF position turns off the dbx noise
reduction completely. Use this position when
playing back tapes made with no noise
reduction.
36. Tape counter: Displays the distance the tape
has moved from a zero reference point selected
by pressing the adjacent button.
37. ZERO RETURN switch: When this switch is
set to ON, and you press REW, the tape will stop
at the counter 000 point. If the tape overshoots,
it is because of inertia, and it is normal.
The dbx NR system provides a net noise
reduction (broadband, not just hiss) of about
30 dB, and also permits a net gain in tape
headroom of about 10 dB, allowing recordings
over a 90 dB dynamic range.
The associated LED blinks to show that the tape
is on its way to the counter zero point. When
this point is reached the LED lights solidly.
Transport Controls
29. RECORD key : Pressing this key alone has no
effect. Pressing it together with PLAY (í)
activates recording if one or more RECORD
FUNCTION switches are previously set to a
different position from SAFE and the REC
indicators blink.
34
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Features and Controls
Care and Maintenance
Even though the heads used in your 414 MKII have
high wear resistance and are rigidly constructed,
performance degradation or electro-mechanical
failure can be prevented if maintenance is performed
regularly.
Track Controls
38. REMOTE PUNCH IN/OUT jack (on the
front panel): For connection to an optional
RC-30P remote footswitch.
39. RECORD FUNCTION switches 1-4: These
switches put the respective tracks into Record
Ready. Recording starts when RECORD is
pressed together with PLAY.
CLEANING
The first things you will need for maintenance are
not expensive. The whole kit with the swabs and
fluids you will need for months will cost less than a
couple of high quality cassettes.
In the center position (SAFE) no recording
takes place.
We cannot stress the importance of cleaning too
much. Clean up before each session. Clean up after
every session. Clean up every time you take a break
in the middle of a session.
NOTE
Don't operate the RECORD FUNCTION
switches to punch in and out. Otherwise,
"clicks" will remain on tape.
DEGAUSSING (DEMAGNETIZING)
The RECORD FUNCTION switches also select
what source will be recorded. For example, the
switch for track 1 selects either the single
source plugged into Channel 1 of the mixer, or
the entire stereo Left mix (which may have as
many as six sources). The other RECORD
FUNCTION switches work in the same way,
selecting either the same-numbered channels or
the stereo mix : Left mix for Tracks 1 & 3,
Right mix for Tracks 2 & 4.
A little stray magnetism can become quite a big
nuisance in tape recording. It only takes a small
amount (0.2 Gauss) to cause trouble on the record
head. Playing 10 cassettes will put about that much
charge on the heads. A little more than that (0.7
Gauss) will start to erase high frequency signals on
previously recorded tapes. You can see that it's worth
taking the trouble to degauss regularly.
A clean and properly demagnetized tape recorder
will maintain its performance without any other
attention for quite a while. It won't ruin previously
recorded material, nor will getting it back to original
specifications be difficult.
Displays
40. Track level meters 1-4: These meters show
the record level coming either from each
channel's fader or from the MASTER fader (the
first and the third meters register the level from
the left buss, the second and the fourth meters
register the level from the right buss). If a track
or tracks are in Safe mode the corresponding
meters show the playback level.
Cleaning the Heads and Tape Guides
All heads and metal parts in the tape path must be
cleaned after every 6 hours of operation, or before
starting and after ending a recording session.
41. Track REC indicators: They show the
individual track's status as selected by the
RECORD FUNCTION switches (#39).
1. Open the cassette door.
2. Using a good head cleaning fluid and a cotton
swab, clean the heads and tape guides until the
swab comes off clean, wipe off any excess
cleaning fluid with a dry swab.
Track REC indicator
Off
Track status
Safe
Blinking
Record Ready
Record
Steady indication
35
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Care and Maintenance
How the dbx Works
The dbx system is a wide-band compression-
expansion system which provides a net noise
reduction (broadband, not just hiss) of a little more
than 30 dB. In addition, the compression during
recording permits a net gain in tape headroom of
about 10 dB.
Cleaning the Pinch Roller
Clean the pinch roller at least once each day the deck
is used. Use a good rubber cleaner.
1. Clean the pinch roller with a cotton swab
moistened with rubber cleaner, until there is no
visible residue on the pinch roller.
A compression factor of 2:1 is used before recording;
then, 1:2 expansion on reproduce. These
2. Using a clean cotton swab, wipe off all excess
rubber cleaner from the pinch roller. Make certain
that there is no foreign matter remaining on the
pinch roller.
compression and expansion factors are linear in
decibels and allow the system to produce tape
recordings with over a 90 dB dynamic range – an
important feature, especially when you're making
live recordings. The dbx system employs RMS level
sensors to eliminate compressor-expander tracking
errors due to phase shifts in the tape recorder, and
provides excellent transient tracking capabilities.
Cleaning the Capstan Shaft
After cleaning the pinch roller, clean the capstan
shaft with a cotton swab moistened with head
cleaning fluid.
To achieve a large reduction in audible tape hiss,
without danger of overload or high-frequency self-
erasure on the tape, frequency pre-emphasis and de-
emphasis are added to the signal and RMS level
sensors.
Á
Á
Á
Input
Encoder
Tape deck
Decoder
Output
Dynamic range
of
input signal
Encode
(Compress)
Decode
(Expand)
Record Playback
Saturation
level
80dB
Á
40dB
Á
40dB
Á
80dB
+25dB
+20dB
+20dB
+15dB
+10dB
0dB
Dynamic range of tape
(65dB)
–30dB
Erase head
Capstan
–50dB
–60dB
Record/Play head
Pinch roller
–60dB
–80dB
dbx encoding/decoding level diagram
Noise level
Degaussing the Tape Path
Hold the degausser about 1 m (3 feet) away from the
recorder. Turn it on, slowly move into the tape path.
Move the degausser slowly back and forth, touching
lightly all metal parts in the tape path. Slowly move it
away again to at least 1 m (3 feet) from the recorder
before turning it off.
SUBSONICS AND INTERFERENCE
The dbx system incorporates an effective bandpass
filter. This filter suppresses undesirable subsonic
frequencies to keep them from introducing errors
into the encode or decode process. However, if
rumble from trains or trucks is picked up by your
microphone and fed to the dbx system, modulation
of the program material during low level passages
may occur. This low-frequency component will not
itself be passed through the recorder and so, will not
be present at reproduce for proper decoding. If this
low-level decoding error is encountered, and
CAUTION
If the surface of the unit gets dirty, wipe the
surface with a soft cloth or use a diluted
neutral cleaning fluid. Clean off thoroughly.
Do not use thinner, benzine, or alcohol, as
they may damage the surface of the unit.
subsonics are suspected, we suggest the addition of a
suitable high-pass filter in the microphone line.
36
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Specifications
MECHANICAL CHARACTERISTICS
LINE OUTPUT (RCA jack x 2):
Distortion:
1 MIC INPUT to LINE OUTPUT 0.05%
Channel Separation: 40 dB
(at 1 kHz, nominal input level, with dbx)
Output Impedance: 100 Ω
Nominal Output Level: –10 dBV (0.3 V)
Maximum Output Level: +5 dBV (1.8 V)
Tape: Compact Cassette (C-60 to 90),
High-Bias (CrO2)
Track Format: 4-track/4-channel
Head Configuration:
4-channel record/play (permalloy) x 1
4-channel erase (ferrite) x 1
Motor: DC servo motor x 1
Tape Speed: 9.5 cm/sec. (3-3/4 ips)
Pitch Control: ± 10 % (approx.)
Wow and Flutter: 0.2% WRMS or less
Fast Winding Time: 115 sec. (approx.) with C-60
Dimensions (W x H x D) 367 x 100 x 247 mm
(14-7/16" x 3-15/16" x 9-3/4")
(at 1 kHz, 15 dB above nominal input level
with 30 kHz low-pass filter inserted)
1 LINE INPUT to LINE OUTPUT 0.03%
(at 1 kHz, nominal input level with 30 kHz
low-pass filter inserted)
Erasure: 65 dB or greater (at 1 kHz, B.P.F. inserted)
Others
EFFECT 1 SEND (1/4" phone jack x 1):
Output Impedance: 100 Ω
Power Requirements
Nominal Output Level: –10 dBV (0.3 V)
Maximum Output Level: +5 dBV (1.8 V)
USA/CANADA: 120 V AC, 60 Hz
U.K./EUROPE: 230 V AC, 50 Hz
AUSTRALIA: 240 V AC, 50 Hz
Crosstalk: 60 dB (at 1 kHz, nominal input level
with 1 kHz band pass filter inserted)
EFFECT 2 SEND/TAPE CUE OUT
(1/4" phone jack x 1):
Power Consumption: 11 W, via the supplied
Recorder Section
PS-P414 AC adaptor.
Output Impedance: 100 Ω
Nominal Output Level: –10 dBV (0.3 V)
Maximum Output Level: +5 dBV (1.8 V)
Record Channel: 4-track single direction
Noise Reduction: dbx* Type II
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).
Weight: 2.1 kg (4-10/16 lbs.)
SYNC OUT (RCA jack x 1):
Overall Frequency Response:
Output Impedance: 100 Ω
Nominal Output Level: –10 dBV (0.3 V)
40 Hz to 10 kHz, ±3 dB (wihtout dbx)
ELECTRICAL CHARACTERISTICS
Mixer Section
*dbx is a registered trademark of dbx Incorporated.
Overall Signal-to-Noise Ratio: 85 dB
(at 1 kHz, ref. to 3% THD, “A” weighted,
with dbx)
MON OUT (RCA jack x 2):
Output Impedance: 1 kΩ
Nominal Output Level: –10 dBV (0.3 V)
Maximum Output Level: +5 dBV (1.8 V)
MIC/LINE INPUT, Ch.1-4: (1/4" phone jack x 4)
Input Impedance: 50 kΩ
Ⅲ Changes in specifications and features may be
made without notice or obligation.
Total Harmonic Distortion (THD): 2.0%
Nominal Input Level:
(at 1 kHz, nominal input level, with dbx)
–50 dBV (3 mV) (Trim Max.)
–10 dBV (0.3 V) (Trim Min.)
Maximum Input Level:
PHONES (1/4" stereo phone jack x 1):
Nominal Load Impedance: 30 Ω
Maximum Output Level: 60 mW + 60mW
+5 dBV (1.8 V) (Trim Min.)
Equalizer:
HIGH (Shelving): 10 kHz, ±10 dB
LOW (Shelving): 100 Hz, ±10 dB
BAL MIC INPUT (XLR TYPE x 2)
Input Impedance: 5 kΩ
Nominal Input Level:
Frequency Response:
367mm
–60 dBV (1 mV) (Trim Max.)
–20 dBV (0.1 V) (Trim Min.)
Maximum Input Level:
MIC INPUT to LINE OUTPUT:
20 Hz to 20 kHz ±3 dB
LINE INPUT to LINE OUTPUT:
20 Hz to 20 kHz ±2 dB
–5 dBV (0.56 V) (Trim Min.)
LINE INPUT to MONITOR OUTPUT:
20 Hz to 20 kHz ±2 dB
LINE INPUT to EFFECT OUTPUT:
20 Hz to 20 kHz ±2 dB
GUITAR INPUT (1/4" phone jack x 1)
Input Impedance: 1 MΩ
Nominal Input Level:
–50 dBV (3 mV) (Trim Max.)
–10 dBV (0.3 V) (Trim Min.)
Maximum Input Level:
LINE INPUT to PHONES:
40 Hz to 20 kHz ±3 dB
Signal-to-Noise Ratio:
0 dBV (1 V) (Trim Min.)
(20 Hz to 20 kHz, B.P.F. inserted)
1 MIC INPUT to LINE OUTPUT 65 dB
(at a nominal input level of –60 dBV)
4 MIC INPUTS to LINE OUTPUT 60 dB
(at a nominal input level of –60 dBV)
1 LINE INPUT to LINE OUTPUT 75 dB
(at a nominal input level of –10 dBV)
4 LINE INPUTS to LINE OUTPUT 70 dB
(at a nominal input level of –10 dBV)
STEREO INPUT, Ch.5-6/7-8:
(1/4" stereo phone jack x 2)
Input Impedance: 10 kΩ
5 kΩ (L / MONO)
Nominal Input Level: –10 dBV (0.3 V)
Maximum Input Level: +5 dBV (1.8 V)
SUB INPUT (RCA jack x 2):
Input Impedance: 10 kΩ
Nominal Input Level: –10 dBV (0.3 V)
Maximum Input Level: +5 dBV (1.8 V)
37
38
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Block Diagram
E
F
F
2
/
T
A
P
E
E
F
F
L
R
MASTER
INPUT
INPUT
FADER
MIC/LINE 1
PAN
L
MIC/LINE
GUITAR IN
TAPE
L
(-50 to -10dBV)
LINE OUT
(-10dBV)
EQ
C
U
E
R
R
TRIM
EFFECT 1
LOW
HIGH
EFFECT 1 SEND
(-10dBV)
MIC/LINE 2
TO: CH 2
TO: CH 2
EFFECT 2
/TAPE CUE
(-50 to -10dBV)
EFFECT 2
TAPE CUE
EFFECT 2 SEND
/TAPE CUE OUT
MIC/LINE 3
(-10dBV)
TO: CH 3
TO: CH 4
TO: CH 3
TO: CH 4
DIRECT 1
DIRECT 2
DIRECT 3
DIRECT 4
(-50 to -10dBV)
MONITOR
MIC/LINE 4
PHONES
(-50 to -10dBV)
(60mW+60mW)
TAPE 1
TAPE 2
TAPE 3
TAPE 4
L/R
CH 1 - CH 4
INPUT L
ATT
EFFECT 1
MONITOR OUT
(-10dBV)
(-60 TO -20dBV)
L
TRK1
TRK2
TRK3
TRK4
SAFE
1
L
LEVEL 5-6
STEREO INPUTS 5-6
(-10dBV)
STEREO JACK
EFFECTF 2
/TAPE CUE
R
INPUT R
R
(-60 TO -20dBV)
TIP : L
SAFE
2
RING
: R
MONO JACK : L/MONO
LEVEL 7-8
STEREO INPUTS 7-8
(-10dBV)
L
SAFE
STEREO JACK
TIP : R
RING
: L
3
MONO JACK : R
R
GUITAR IN
SAFE
(-50 to -10dBV)
4
L
SUB IN
RECORD FUNCTION
(-10dBV)
R
LED METER
TRIM
TRK1 TRK2 TRK3 TRK4
4TRK 4CH R/P AMP DBX TYPE 2 NR
TRK 1
TRK 2
TRK 3
TRK 4
R/P HEAD
TAPE1
TAPE2
TAPE3
TAPE4
DBX UNIT
SYNC OUT
TRK 1
TRK 2
TRK 3
TRK 4
REC 1
REC 2
REC 3
REC 4
ERASE HEAD
DBX
SYNC
DBX
SYNC
ON
REMOTE PUNCH I/O
(RC-30P used)
OFF
39
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Level Diagram
41
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»
414@#
TEAC CORPORATION
Phone: (0422) 52-5082
3-7-3, Nakacho, Musashino-shi, Tokyo 180-8550, Japan
TEAC AMERICA, INC.
Phone: (323) 726-0303
7733 Telegraph Road, Montebello, California 90640
5939 Wallace Street, Mississauga, Ontario L4Z 1Z8, Canada
TEAC CANADA LTD.
Phone: 905-890-8008 Facsimile: 905-890-9888
TEAC MEXICO, S.A. De C.V
Phone: 5-658-1943
Privada De Corina, No.18, Colonia Del Carmen Coyoacon, Mexico DF 04100
5 Marlin House, Marlins Meadow, The Croxley Centre, Watford, Herts. WD1 8YA, U.K.
Bahnstrasse 12, 65205 Wiesbaden-Erbenheim, Germany
TEAC UK LIMITED
Phone: 01923-819699
TEAC DEUTSCHLAND GmbH
Phone: 0611-71580
TEAC FRANCE S. A.
Phone: 01.42.37.01.02
17 Rue Alexis-de-Tocqueville, CE 005 92182 Antony Cedex, France
P.A. TEAC Nederland BV, Perkinsbaan 11a, 3439 ND Nieuwegein, Netherlands
Perkinsbaan 11a, 3439 ND Nieuwegein, Netherlands
TEAC BELGIUM NV/SA
Phone: 0031-30-6048115
TEAC NEDERLAND BV
Phone: 030-6030229
TEAC AUSTRALIA PTY., LTD. A.C.N. 005 408 462
Phone: (03) 9644-2442
106 Bay Street, Port Melbourne, Victoria 3207, Australia
TEAC ITALIANA S.p.A.
Phone: 02-66010500
Via C. Cantù 11, 20092 Cinisello Balsamo, Milano, Italy
PRINTED IN CHINA 0799 M-1531A
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