Tascam Portastudio 424mkIII Owners Manual

							Ch 7-8STEREO INPUT: Connect any stereo
line-level signal (such an effect
return or electronic instrument)
here. Alternatively, you can
connect two mono line-level
signals.
MONO feature: If only one mono
signal is to be connected,
connect it to the L jack, and
leave the R jack unconnected.
The signal is automatically taken
to both the 7 and 8 channels.
LEVEL: Controls the volume of both
of the inputs simultaneously.
The signal is sent to the
destination selected by the
ASSIGN switch.
ASSIGN: This sends the signal(s) at
the STEREO INPUT to the stereo
mix for recording (L-R) or to the
monitor mix (MON), or turns the
signals OFF (center).
LINE OUT switch: Controls whether
the LINE OUT stereo mix will be
output to the monitor mix, in
stereo (L-R), in mono (MONO) or
not at all (OFF).
EFFECT/CUE switch: Controls
whether the signals sent to
EFFECT 1 or EFFECT 2/CUE or
neither (OFF) will be output to
the monitor mix, or you may
select neither of these for
monitoring (OFF).
LEVEL: Controls the level of the
monitor mix feeding the
MONITOR OUT jacks and
headphones.
EFFECT 2/TAPE CUE switch: This
alters the function of the four
level controls immediately
above the pan controls of
channels 1 through 4.
MASTER fader: This sets the total
output level of the stereo mix. Ch.1-4
MIC/LINE INPUTS:These are the input jacks for
the mixer channels. Primarily, the 3-contact,
XLR-type connectors are for connection to
balanced microphones, and the 1/4 jacks
are for line-level, unbalanced signal sources
(such as electronic instruments). But you
can also connect lower-level signals (down
to –50 dBV) to these 1/4 jacks and use the
TRIM control to amplify them.
TRIM :Sets how much preamplification will be
added to the MIC/LINE IN jack. Turn to the
right if the signal needs amplification, to the
left if the signal is so loud it is distorting the
mixer electronics.
INPUT :Detemines where the channel signal
comes from.
MIC/LINE (left)brings the mic/line input
into the channel.
OFF (center)shuts off the channel.
TAPE (right)makes tape play back the
channel source.
EQ HIGH :Cuts or boosts treble frequencies.
Shelving point is at 10 kHz.
EQ MID sweep :The upper control sets the
frequency range, centered from 250 Hz to 
5 kHz. The lower control cuts or boosts this
frequency range.
EQ LOW :Cuts or boosts bass frequencies.
Shelving point is at 100 Hz. 
EFFECT 1 and 2 :These control how much signal
will go to the corresponding EFFECT send
jacks. They get their signal from a point just
after the channel fader.
TAPE CUE : The EFFECT 2 controls can be
switched to act as the TAPE CUE level
controls (by means of the correspondingly
labeled switch) and adjust the playback
level for the musicians in the studio.
PAN :Sets the pan position (left-right balance) of
the channel. Note that the Left Mix can be
recorded on tracks 1 and 3, and the Right
Mix onto tracks 2 and 4.
Channel fader : Sets the volume of the channel
feeding the MASTER fader.
12 11
Input Selection and Adjustment
NOTE
DO NOT use both the XLR and 1/4 jacks
in the same channel at one time.
Disconnect one when the other is used.
PORTASTUDIO 424 MKIII Brief Guide
For detailed information on each feature, see Features
and Controls, pp. 39-45 of the supplied manual.
Ch.5-61/4” STEREO INPUTS :Primarily used for
connecting line-level sources. However,
you can also connect lower-level signals
(down to –50 dBV) to these 1/4” jacks
and use the TRIM level to amplify them.
TRIM:Sets how much preamplification will
be added to the MIC/LINE IN jack. Turn
to the right if the signal needs
amplification, to the left if the signal is
so loud it is causing distortion in the
mixer electronics.
INPUT: Determines the source of the channel
signals.
MIC/LINE 1/3/5 (channel 5): Allows you
to choose whether the signal
handled by channel 5 comes from
either of the MIC/LINE inputs of
channel 1, either of the MIC/LINE
inputs of channel 3, or the MIC/LINE
input of channel 5.
MIC/LINE 2/4/6 (channel 6): Allows you
to choose whether the signal
handled by channel 6 comes from
either of the MIC/LINE inputs of
channel 2, either of the MIC/LINE
inputs of channel 4, or the MIC/LINE
input of channel 6.
EQ HIGH: Cuts or boosts treble frequencies.
Shelving point is at 10 kHz.
EQ MID (sweep): The upper control sets the
frequency range, centered from 250 Hz
to 5 kHz. The lower control cuts or
boosts this frequency range.
EQ LOW: Cuts or boosts bass frequencies.
Shelving point is at 100 Hz.
EFFECT 1 and 2: These control how much
signal will go to the corresponding
EFFECT SEND jacks. They get their
signal from a point just after the
channel fader.
TAPE CUE: The EFFECT 2 controls can be
switched to act as the TAPE CUE level
controls (by means of the
correspondingly labeled switch) and
adjust the playback level for the
musicians in the studio.
PAN: Sets the pan position (left-right
balance) of the channel. Note that the
Left Mix can be recorded on tracks 1
and 3, and the Right Mix onto tracks 2
and 4.
Channel fader: Sets the volume of the
channel feeding the MASTER fader.   Monitor Section
Master Section
 
						

							13Recorder Controls 
RECORD FUNCTION 1-4 :These control
which track(s) will be recorded when the
master RECORD and the PLAY key is
pressed, and choose where the signal to
be recorded is coming from.
Ï
Setting to DIRECT routes the
channel signal directly to the tape
(channel 1 is recorded on track 1,
channel 2 on track 2, and so on).
Recording level is adjusted by the
channel fader only.
Ï
When recording the stereo mix: As
the labels indicate, tracks 1 and 3
are recorded with the mix in BUSS
L, and tracks 2 and 4 are recorded
with the mix in BUSS R.
TAPE SPEED : HIGH is 3-3/4 ips (9.5 cm/sec.),
double the standard (NORMAL) cassette
tape speed of 1-7/8 ips (4.8 cm/sec.).
Meters :The meters numbered 1-4 show the
playback or the record level of the
respective tape tracks. The average
record level should be in the center (0),
but occasional peaks up to +6 scale are
acceptable.
The MONITOR meters show the level of
mixes selected by the MONITOR
switches.
Tape counter :A four-digit display that
shows the distance the tape has moved
from a zero reference point.
REC indicators : They blink to show the
corresponding tracks are in record
ready, and glow solid when recording
starts.
COUNTER RESET :Press to change the
counter to 0000.
PITCH CONTROL :Increases or decreases
the speed of the transport in play and
also in  Record, over a 12% range
(approx.).
RTZ (Return To Zero) :Lets the tape fast
wind to the counter zero point. The tape
will automatically start playing from the
zero point if PLAY is pressed after RTZ.
REPEAT :Lets the tape play over and over
between two memo points.
Transport keys : Principally these work the
same as on any cassette recorder.
MEMO IN :Hold this key down and press LOC 1
or 2 to load the current counter location into
the MEMO 1 or 2 register.
LOC 1 and 2 :When used together with MEMO
IN, these keys let you load the current
counter location into memory. If only LOC 1
or 2 is hit, the tape will be located to the
MEMO 1 or 2 point. Pressing LOC for half a
second or more allows you to check the
memo point on the display. REHEARSAL :Lets you program a punch-in/out
sequence to be used for rehearsals and for
AUTO IN/OUT.
AUTO PUNCH :Executes the punch-in recording
actually on tape as you practiced in
REHEARSAL.
CLEAR :Disables the REHEARSAL and AUTO
IN/OUT functions.
PORTASTUDIO 424 MKIII Brief Guide
14
REMOTE PUNCH IN/OUT: Connect an
optional RC-30P footswitch to this jack.
POWER switch: Push in to turn on the 
424 MKIII, and push again to turn it off.
POWER connector: Connect the power
cable of the PS-424MKIII power supply
to this connector. Never use any power
supply with the 424 MKIII except the
PS-424MKIII power supply which is
appropriate for your area’s voltage.TAPE OUTPUTS: These jacks receive signals directly
from tape tracks 1–4 and are connected to the
inputs of an external mixer, or of another
multitrack recorder for making a backup copy of
your 4-track master, as required.
DBX NR switch: Normally, leave this switch in the
ON position. When you use track 4 for
recording and playing back MIDI sync tones or
timecode, set to SYNC, to set the dbx NR on for
tracks 1 through 3, and off for track 4.
LINE OUTPUT L and R: Normally, connect these
jacks to the left and right inputs of your
mixdown deck.
MONITOR OUTPUT L and R: These are connected to
an amplifier powering the control room
speakers. EFFECT 2 SEND/TAPE CUE OUT: The signal available at this jack comes from either post
channel fader for connection to an additional effects device, or from the tape for
connection to a studio speaker system, as selected by means of the EFFECT 2/TAPE
CUE switch.
EFFECT 1 SEND: For sending post-fader signals to effects devices. The returns may be
plugged into the stereo inputs.
SUB INPUT L and R: Provide a direct route to the MASTER fader. You may connect an
outboard mixer here. The SUB IN R jack is also used to record sync tones on track 4.
Rear Panel Connections
On the fr
ont
PHONES (not shown) :This carries the same
mix as the MONITOR OUTPUT jacks, as
selected by the MONITOR switches. 
						

							Input connections
Powering on
Headphone connection
Routing inputs Let’s try the 424 MKIII mixer
To learn how the mixer works, first you need to plug a signal source
into one of the 1-8 jacks located at upper top of the unit, in your easy
reach.
As an example, well use a microphone as the source.
1. Have to hand a dynamic microphone and a set of stereo
headphones.
2. Plug the 1/4 plug on your microphone cable into the leftmost
MIC/LINE IN jack for channel 1.
3. Turn the 424 MKIII on. The TASCAM logo appears in the display.
(The POWER switch is located on the back, beside the power
cable.) 
4. Plug your headphones into the front PHONES jack, so you can
hear the input signal going to the mixer section of the 424 MKIII.
5.  Set the channel 1 INPUT select switch to the left (MIC/LINE)
position.
15 Notes to be read prior to making connections
nAlthough both XLR-type and 1/4 phone jacks are provided
for connection to each of channels 1-4, dont use both jacks
on the same channel at the same time.
nTurn all the TRIM and other level controls all the way to the
left.
nTurn the EQ controls to their center flat position; bring all
the faders down; and set all the switches to OFF.
Step-By-Step-Operations Guide 
						

							Panning
Channel level
Master level
Monitor selection
TRIM adjustment
Listening level6. Turn the channel 1 PAN control all the way to the left.
7. Raise the channel fader to 7 on the scale.
8. Raise the MASTER fader to 7.
9. Set the MONITOR SELECT LINE OUT switch to the left (L-R)
position.
10. While speaking into the microphone, turn the TRIM control in
channel 1 to the right/MIC until the monitor level meter reads
around 0 in average.
11. Slowly turn the MONITOR LEVEL control to the right. You will
hear your voice in the left side of the headphones. 
When using a line level source (such as electronic instruments)
instead of the mic, the TRIM does not need to be turned up very
far, if at all.
16As a trial, lets record your voice on tape.
1. Have in hand a new cassette tape (Type II, C-90 length or shorter).
2. Open the cassette door using the tab on the right of the door.
Insert the cassette tape, and close the cassette door.
3. Press PLAY and allow the tape to run for about 5 seconds.  This
will run the tape leader onto the takeup reel, and put the
beginning of the tape in front of the heads.
Loading a cassette
Getting past the leader
tapeHow to record on track 1 
						

							Resetting the counter
Selecting tracks
Mic level adjustment
Beginning to record
Stopping recording
Putting track into Safe4. Press the COUNTER RESET switch, so you can use the RTZ
(Return-To-Zero) function to get back to this point.
5. Set the RECORD FUNCTION switch for TRK 1 to its BUSS L
position. The REC 1 indicator will start blinking in the display
window, indicating track 1 is in Record Ready mode.
6. Speak into the mic. You will see meter 1 move. If no level or too
low a level is shown, continue to speak into the mic and slowly
turn the channel 1 TRIM control to the right/MIC until the meter
peaks at no more than +6.
7. Hold RECORD and press PLAY to initiate recording.  The REC 1
indicator that was blinking in the meter will turn on solid,
indicating track 1 is in Record mode.
8. Speak into the mic.
9. Press STOP to stop the tape and finish recording.
10. The REC 1 indicator in the meter should now be blinking as
before. Set the RECORD FUNCTION switch for TRK1 to its SAFE
position.
17 
						

							Switching TAPE CUE on
Monitor selection
Locating tape to zero
Begin to play
Listening level
adjustment
Routing tape signals to
TAPE CUE
Stop playTrack 1 playback through TAPE CUE1. Set the EFFECT 2/TAPE CUE selection switch located below the
LEVEL control to the right/TAPE CUE position.
2. Slide the MONITOR SELECT LINE OUT switch to the center
MONO position.
3. Press the RTZ key. The tape will rewind, automatically stopping at
the zero counter point.
4. Press PLAY.
5. Turn the MONITOR LEVEL control up or down to the desired
listening level.
6. Locate the EFFECT 2/TAPE CUE level control on channel 1 and
slowly turn it to the right. Youll hear, in center mono, what you
have recorded on track 1.
7. Press STOP to stop play.
18 
						

							19 Routing input
Panning
Channel 1 level
Master level
Monitor selection
Locating tape to zero
Track selection
Record level adjustment
(TRIM)How to make an overdub on track 2
Overdubbing entails recording one or more additional tracks on the
same tape, while listening to previously recorded tracks using TAPE
CUE.
Leave the microphone connected to the channel 1 input. There is no
need to repatch it to channel 2 to record on track 2. You can send any
mixer input to any track of the recorder through the combination use
of PAN and RECORD FUNCTION.
1. Set the channel 1 INPUT selection switch to the left (MIC/LINE)
position.
2. Turn the channel 1 PAN control all the way to the right (R)
position.
3. Bring the channel 1 fader to 7.
4. Bring the MASTER fader to 7.
5. Make sure the MONITOR SELECT LINE OUT switch is still in the
MONO position.
6. Press the RTZ key, so the tape will rewind to the beginning of the
track 1 recording.
7. Set the TRK 2 RECORD FUNCTION switch to its BUSS R position.
The REC 2 indicator will start blinking in the meter.
8. Speak into the mic to check to see meter 2 move. If no level or
too low a level is shown, continue to speak into the mic and
slowly turn the channel 1 TRIM control to the right until the meter
peaks at no more than +6. 
						

							20How to record tracks 3 and 4
How to record many sources onto a single track
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.
10. You will hear track 1 play, together with the new signal going to
track 2, in the headphones.
NOTE:Adjust only the TAPE CUE control of channel 1 if you need to
change the balance between the old and new tracks in your
headphones. Leave the channel fader and TRIM and the MASTER
fader alone, because they control the level being recorded.
11. Press STOP to stop recording.
12. The REC 2 indicator in the meter should now be blinking as
before. Set TRK 2 RECORD FUNCTION switch back to its SAFE
position and the indicator will turn off.Begin to record
Monitoring input/tape
Stop recording
Putting track into Safe
Tracks 3 and 4 can be recorded using almost the same procedure just
shown for tracks 1 and 2. Just use the applicable RECORD FUNCTION
switches, and the PAN controls should be rotated to the LEFT for
recording on Track 3 and to the RIGHT for Track 4.
In the first example, we recorded one source onto one track at a time
for simplicity. But the mixer of the Portastudio 424 MKIII can take
multiple channels and mix them onto a single track. To do this :  
						

							21 How to record a mix onto two tracks simultaneously
ÏSet the PAN control of each channel to the same setting, for
example :
In this example, all instruments plugged into
channels 1-4 will be recorded onto Track 1 or 3.
If you want to record multiple sources onto two tracks, you use the
channel PAN controls to send them to LEFT or RIGHT (or anywhere in
between, if youre making a stereo mix). The track RECORD
FUNCTION switches choose what track the Left and Right mixes will
be recorded on. Note that in this method, the mixer channel number
has nothing to do with what track the instrument winds up on. Any
mixer channel can be panned to any track.
These mixer channels are being sent to the 
LEFT, for recording on either Track 1 or Track 3.
These mixer channels are being sent to the RIGHT, 
for recording on either Track 2 or Track 4.
ÏLower the MASTER fader to make overall level adjustments once
you have each channels TRIM and fader level set.
ÏMake sure the INPUT switch of every channel you want to record
is set to MIC/LINE.
·
You cant record channels 7 and 8 onto a single track. 
						

							22Recording on more than two tracks simultaneously : DIRECT
·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 same procedure as for one track. In the example
above, set both the TRK 3 and TRK 4 RECORD FUNCTION switches to
BUSS to record on tracks 3 and 4 simultaneously.
Restrictions : The 424 MKIII mixer section has only two main mixes,
Left and Right. For this reason, 
you can record only two tracks at once
while youre recording a mix of instruments(for example, two
instruments on track 1, three instruments on track 2). Also, you can
record a mix only on combinations or even/odd numbered tracks(1 &
2, 1 & 4, 2 & 3 etc.). If the TRK 1 and TRK 3 RECORD FUNCTION
switches are set to BUSS, the two tracks will both record the same
mix.
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 mixes. The input for
these channels can be odd-numbered inputs 1 through 5 (channel 5)
and even-numbered inputs 2 through 6 (channel 6).
Note that if one of the inputs 1 through 4 is selected for use with its
appropriately-numbered channel, as well as with channel 5 or 6, the
signal level will be doubled, as it is being mixed through two
channels together.
Use the stereo channels 7 and 8 to add additional signal sources to
the mix. These channels are automatically panned left and right
respectively, so you may want to use them with a pre-panned source,
such as the stereo outputs of a multi-timbral synthesizer, or a stereo
effects unit.
It is possible to record on three or four tracks at the same time by
using the DIRECT position of the RECORD FUNCTION switches. In
Direct recording, each track gets its signal from a single mixer
channel only — Track 3 from channel 3, etc.
·When using DIRECT, the MASTER fader has no effect on the
record level. It only affects the level going to the
headphones/monitor speakers. Use the CHANNEL FADER only to
set record levels.
·Even when using DIRECT, a channel still goes to the Left/Right
mix. If you record another track with BUSS L or BUSS R at the
same time, you  must check your PAN settings. For example, you
can record a vocal DIRECT onto Track 3, and record multiple
instruments on Track 1 via BUSS L at the same time. But Channel
3s PAN control must be turned hard right, otherwise youll wind
up with vocals bleeding through onto Track 1s instruments.
·DIRECT can be used anytime you want to record a single channel
to a single track.