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.  
3
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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  
4
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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.  
2
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.  
5
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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".  
6
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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 dont  
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:  
8
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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:  
a
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  
9
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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.  
10  
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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.  
a
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  
œ
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.  
œ
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 areas 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  
Lets 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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œ
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.  
œ
œ
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.  
24  
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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  
register will be displayed in the counter window.  
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.  
25  
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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.  
OR  
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.  
27  
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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.  
32  
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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  
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  
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.  
33  
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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 pathfrom  
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  
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.  
36  
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Syncing MIDI-Tape
מ
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  
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.  
37  
38  
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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.  
39  
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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  
in  
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.  
41  
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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.  
43  
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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.  
44  
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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).  
45  
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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  
a
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.)  
47  
48  
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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  
Á
Á
Á
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  
of  
input signal  
Encode  
Decode  
(Expand)  
Record Playback  
(Compress)  
Saturation  
level  
80dB  
Á
40dB  
Á
40dB  
80dB  
Á
+25dB  
+20dB  
+20dB  
+15dB  
+10dB  
0dB  
Dynamic range of tape  
(65dB)  
–30dB  
–50dB  
–60dB  
–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.  
49  
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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  
50  
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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  
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)  
51  
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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.  
Changes in specifications and features m ay be m ade without notice or obligation.  
419mm  
52  
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Block Diagram  
53  
54  
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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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