Tascam Portastudio 414mkII Owners Manual

							23
Step-By-Step-Operation Guide
5
Playback level
Press PLAY and, while listening to the tape
play, tentatively set the channel faders.
6Adjust the PAN controls to set each tracks
left-to- right position for the desired stereo
image. You may also want to use the EQ
controls to adjust the individual tracks for
the desired tonality. (For using effects, see
pp. 27 & 28.)
7Using the MASTER fader, adjust the overall
playback level.
8Review
When the signal balance, level, and tonality
sound right, rewind the tape, and press
PLAY again to check the result.
9Rewind the multitrack tape again. Put a
blank tape in the mixdown deck and let it
play for 5 seconds, then stop it and reset the
mixdown decks counter to zero.
10Press PLAY on the 414 MKII.
11Record level
Put the mixdown deck into its Record
Ready mode, and adjust its input level
controls for the desired record level.
12Rewind the multitrack tape to the
beginning of the recording
.
13Put the mixdown deck into Record mode
then press PLAY on the 414 MKII.
14When recording is done, stop both
machines, rewind the mixdown tape and
listen to it.
If the mixdown tape does not sound right,
make the necessary corrections and re-do
from the beginning. 
						

							24
PUNCH-IN or INSERT Recording
Punching in or insert recording is recording over
a small section of previously recorded track to
correct or improve a performance, while keeping the
rest of the track intact. The mixer settings should be
exactly the same as they were during the original
recording.
In the following, well use track 2 as the punch-in
track as an example.
Preliminary
1As the punch-in track is track 2 in our
example, your input must be sent to the
stereo right bus. To do so, rotate the PAN
control of the channel into which your
source instrument is plugged all the way to
the right.
2TAPE CUE signal path is used to hear the
tape, so set the master EFFECT 2/TAPE
CUE select switch to the right/TAPE CUE
position and press the same labeled
MONITOR switch on.
3To hear the instrument, press the
MONITOR L-R switch on.
4Press PLAY to play the tape, adjust the
TAPE CUE control on channel 2 to the
desired listening level.
If you want to hear other tracks together,
turn up their TAPE CUE controls as well to
the desired level and balance, and adjust the
overall level with the MONITOR control.
5Play the instrument. Youll hear it together
with the tape signals through the
headphones. Stop the tape, and you hear
only the instrument being played.
6Set the RECORD FUNCTION switch for
track 2 to R. The tracks REC indicator will
start blinking, and meter 2 will show your
instruments output level. Adjust the channel
and MASTER faders for the proper
recording level.
Selecting in and out points
For both musical and technical reasons, when
punching in or out of a track, you must select points
that are in the points clear, i.e., in pauses between
phrases or notes. The sound will seem unnatural and
inserts will be noticeable if a new note is recorded
before the old one has ended, or a note is held as you
punch in or out. Making smooth inserts requires
practice. Spacing between the erase and record heads
requires that you anticipate in/out points by a
fraction of a second for extremely tight cues. 
						

							25
PUNCH-IN or INSERT Recording
Punch-in Procedure
There are 2 ways to initiate the punch-in recording.
The first is with the transport RECORD button, and
the second is with the optional footswitch.
Perform the Preliminary on the previous page, if
you havent yet done so.
Punching-in/out with RECORD
1Check to see that the track 2s REC
indicator is blinking showing the track is in
the Rec Ready mode. Locate the tape a little
behind the expected punch-in point. Then
press PLAY.
2When you reach JUST BEFORE the error,
hold PLAY and push RECORD. The REC
indicator that was blinking will glow solid
and track 2 enters the Record mode.
3To punch-out of record, push STOP (or
PAUSE). The REC indicator that was lit
solidly blinks to indicate that recording is
over.Using the remote footswitch 
(RC-30P)
If you are recording alone and are too busy playing
an instrument to push the switches, the optional
remote footswitch really comes in handy.
1Plug the RC-30P into the REMOTE
PUNCH IN/OUT jack on the front of the
414 MKII.
2Check that the track 2s REC indicator is
blinking, and locate the tape to a point a
little before the error, then press PLAY.
3When you reach JUST BEFORE the error,
press the footswitch, and the REC indicator
that was blinking will glow steadily to
indicate the track is in the Record mode.
4To punch-out of record, press the footswitch
again. The REC indicator will start blinking
again.
5To stop the tape, press STOP.
RC-30P 
						

							26
Bouncing Tracks  (Ping-Pong)
The recording capability of the PORTASTUDIO 414
MKII is not limited to four tracks. You can bounce
or combine tracks you have recorded to an empty
track, and then replace the original tracks with new
material. A bounce is like a mixdown, except you are
recording to one of the tracks of the 414 MKII
instead of to an external recorder. The following
diagrams depict the process.
During a bounce you can add live sources along with
the prerecorded tracks, using the empty mixer
channels not being used for tape playback. This
gives you even more ways to add layers to a
composition. For example, you can bounce tracks
1-3 along with another live part onto track 4, for a
total of four parts on one track.
Ping-pong Procedure
In this example, we will combine material from
tracks 1-3 onto track 4.
1On channels 1-3, make the following
settings :
INPUT to TAPE,
PAN all the way to R, and
Channel fader to the shaded zone (7-8 on
the scale).
2Push the MASTER fader to the shaded
zone.
3Press the MONITOR L-R switch on. The
other two MONITOR switches must be off.
TRK 1
2
3
4A
B
CD
E
F
A + B + C
Bouncing tracks 1-3
onto track 4Tracks 1-3
available for
recording new parts
4Set the RECORD FUNCTION switch for
track 4 to R. The track 4s REC indicator
will start blinking, indicating the track is in
Rec Ready mode.
5Press PLAY. The tape will start playing.
6Use channel faders 1 through 3 to make any
necessary level adjustments. You may want
to repeat this step several times to get the
balance correct.
7When the balance is right and the level is
peaking at no more than +6 on the track 4
meter, stop and rewind the tape to the
beginning of the track.
8Hold RECORD and press PLAY. The REC
indicator that was blinking will turn on solid
and track 4 will record a copy of what is on
tracks 1-3.
9Youll hear the mix being recorded on track
4 in the headphones.
10Once the recording is done, press STOP
(or PAUSE).
11The REC indicator will now be blinking
as before. Turn that off by setting the
RECORD FUNCTION switch for track 4
to SAFE. 
						

							27
Using Effects with the PORTASTUDIO 414 MKII
Effects and signal processing are areas where you
can really start to have fun customizing your sound,
and develop your own unique recording style.
Because there are so many possibilities, it also can
be confusing.  There are many different effect units
on the market, all with different controls, types of
inputs and outputs, and other characteristics.  Read
the manual of your effects device, and the following
sections to get the complete story of whats possible
for your particular situation.
1. In-line processing:The processing thats
easiest to understand doesnt involve the
414 MKII directly at all. You can plug your
instrument directly into the input of the effect
device, and plug the output of the device directly
into a line input of the 414 MKII. The whole
signal gets processed (flanged, doubled, limited,
delayed etc.), and only one instrument can use
that processor.  Effect pedals for guitar are
typically used this way. To get a mix of processed
(wet) and original (dry) signal, the unit must
have its own MIX or BALANCE control.
2. Send/return mix processing:This is the
most common method of effect processing,
especially for reverb and delay.  It allows a
number of different channels to use the same
effect, while allowing you to control how much
effect is mixed with each channel.  Each of the 4
mixer channels can send signals to the EFFECT
SEND 1 or 2 outputs. These outputs can then be
connected to the input of effects devices. The
processed signals from the devices are plugged
into the stereo channels (5-6 and 7-8), for them to
be mixed onto the stereo left and right buses. The
whole path—from the EFFECT SENDS to the
reverb and back into STEREO INPUTS—is
called an “effects loop”. The EFFECT 1 and 2
controls determine how much signal goes to the
reverb unit ; the LEVEL control on the stereo
channels determines how much returns from the
reverb unit. In this method the stereo inputs
function as effects returns.Setting Effect Send Levels
The goal is not to distort the device, while staying
above the noise that effect units generate.  To get the
best signal-to-noise from most effects units, you
should send it as strong a signal as you can.  With a
properly set input signal in the 414 MKII, the
channel EFFECT send set to about 2 oclock position
(for EFFECT 1 or EFFECT 2 feed), you should get a
fairly loud signal from the EFFECT SEND jacks.
If your effects device has an input level control of its
own, it should be set so the meter or signal light of
the effects device is just under the overload point on
peak signals. When you want to hear less effect
overall, turn down the return LEVEL control on the
stereo channels.
Setting the Output Level of Effect
Devices
If the effect send level has been set properly, in most
cases the output level of the effect unit should be set
as high as possible without clipping (distorting) the
STEREO INPUTS of the 414 MKII, but low enough
so that you have a reasonable range of control.  If
you can get the effect sound you want with the
return LEVEL control in the 12 to 2 oclock range,
youre in the ballpark.  If, on the other hand, very
small settings of the Effects Return still give you a
mix drowning in effects, turn down the output level
of your effect device.
Some effect units have rear panel switches setting
input and output level ranges between +4 and 
–20 dB.  In this case, try setting the input to –20
(high sensitivity) and the output to +4 (full output
level). 
						

							28
Using Effects with the PORTASTUDIO 414 MKII
Setting the Mix/Balance Control on
Effect Devices
When its being used in a send-return mix, set the
mix/balance of your effect device all the way to
wet or full processing with no direct original
signal.  In send/receive processing, the dry signal
goes down the 414 MKIIs channel fader to be mixed
with the effect return signal on the stereo mix.
Therefore, you dont need any dry signal coming to
the effects return. The mix/balance control is set
toward dry only when youre using the effects
device as an in-line processor.
How to Connect Your Effects Devices
There is no absolute right or wrong way to do
this—there are several ways, each with its own
consequences.The diagram shows the most common
method. EFFECT SEND feeds a reverb unit, which
has a synthesized stereo output patched into
STEREO INPUTS 7-8. A special stereo splitter
cable (such as the optional PW-2Y/4Y) is used, with
the 3-conductor (Tip-Ring-Sleeve) end plugged into
channel 7-8, and the other end split to two 2-
conductor plugs connected to the Left and Right
outputs of the effects unit. If the return is connected
to channel 5-6 and nothing is connected to channel
7-8, turn the 7-8 LEVEL control all the way to the
left or else the return is taken into channel 7-8 as
well.Mono returns:A special feature of the STEREO
INPUTS allows continuously variable control
between left and right if desired: a mono effect
connected to the 5-6 jack will go to both the LEVEL
controls if nothing is plugged into the 7-8 jack.
Patching effects to an input channel:Theres
no law that says the output of an effects device must
be plugged into STEREO INPUTS. They can also be
plugged into LINE INPUTS just like any other
source, if you are cautious about one thing: make
sure the EFFECT controls of those channels are set
to the off position (turned all the way to the left).
Otherwise, you will be sending the output of the
effect device back to itself, which is a kind of
feedback.  If the effect device is a digital delay,
feedback has the same effect as a regeneration
(number of echoes) control.  An advantage of
returning effects to a main channel is that you can
EQ the effect return.
REVERB
LEFT/MONO
RIGHT RIGHT LEFT
INPUTSOUTPUT
R
L
R
L
R
L
R
LMONO STEREO Return SignalL/MONO Jack Only
Connected (R Jack Empty)          L/MONO and R Jacks Both Connected
 
						

							30
29
Syncing MIDI-Tape —Using the TASCAM MTS-30
Troubleshooting
Problem Possible Cause
Playback sounds dull Dirty headsPlayback level is too low Dirty headsTransport keys not effective Power turned off, or tape not loadedNo recording RECORD FUNCTION set to SAFE, or cassette tab brokenWrong tracks recorded PAN improperly set
Incorrect playback pitchPITCH CONTROL set to a different position than during 
recording
Feedback occurs during ping-pong  Level is too high or EQ HIGH is excessively boosted
recording
Problem Solution
Old tracks are always recorded along  Use the TAPE CUE section instead of the main mixer for 
with new material monitoring previous tracks
Make sure that all mixer channel faders are turned down to 
the minimum level except the ones that you are using. Also, 
Recording is noisy increase the volume controls of the instruments you are 
recording — the 414 MKII channel and master faders should 
not have to be full up at any time
Incorrect tape syncTry re-recording sync tones by adjusting the channel fader
so that the track 4 meter reads between –10 dB and 0 dB
MIDI clocks are themselves a computer 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 appropri-
ate converter, such as the MTS-30.
The MTS-30 is not a mere MIDI-FSK converter but
translates MIDI clocks into an FSK sync signal con-
taining score bar information or Song Position
Pointer, allowing the associated MIDI equipment to
stay in sync and follow the tape no matter where you
move the tape within a given song. The maximum
stability or resolution of the synchronization is
ensured by a TASCAM-exclusive error correction
circuit in the MTS-30.
1
Connect the TAPE OUT of the MTS-30 to the
SUB IN R of the 414 MKII, and the SYNC
OUT of the 414 MKII to the TAPE IN of the
MTS-30.
2
Set the track 4s RECORD FUNCTION switch
to R.
3
Set the DBX switch on the 414 MKII to the
SYNC position. This defeats the dbx
encode/decode for track 4 only.
–When recording FSK signals, adjust the MAS-
TER fader of the 414 MKII to get a reading on
the track 4 meter of from –10 to 0 dB. 
						

							31
32
Features and Controls
414 MKII MIXER1. POWER switch (on the rear panel):Turns
the 414 MKII on and off.
2. DC IN 12 V connector (on the rear panel):
This is for connection of the provided TASCAM
PS-P414 AC adaptor only.
3. MIC/LINE IN jacks (Channels 1-4):These
1/4 jacks accept unbalanced signals ranging
from – 50 dBV (3 mV) to – 10 dBV (0.3 V),
depending on the setting of the TRIM control
(#13).
4. INPUT L & R (on the rear panel):These
XLR-type connectors accept balanced signals.
They are mainly intended for use with dynamic
microphones, but the nominal input level may be
adjusted from – 60 to – 20 dBV depending on the
setting of the TRIM control. Note that if a signal
source is connected to the front MIC/LINE IN
jack corresponding to the XLR-type connector
where a microphone is connected (L=1 or 3, R=2
or 4), the signal input here at the INPUT (L/R)
connector will be ignored by the 414 MKII.
5. GUITAR IN & TRIM control (on the rear
panel):This 1/4 jack has an impedance of
1MΩand is intended for use with electric gui-
tars, basses, etc. Adjust the gain from this jack to
channels 1 - 4 with the TRIM control here (turn-
ing it clockwise increases the signal level).
6. SUB IN L and R jacks:These jacks are for
cascade connection of an outboard mixer, etc.
The signal input to these jacks is sent to the
MASTER fader. Nominal input level is – 10 dBV
(0.3 V).
The SUB IN R jack is also used to accept FSK-
converted MIDI sync signals from devices such
as the optional TASCAM MIDI-Tape
Synchronizer MTS-30.
7. EQ HIGH:These control the tonality of the high
or treble frequencies. Turn them to the right to
boost the signals  high frequency content empha-
sizing brilliance or brightness. Turn them to theInput Section
left to cut the high frequency content, if the sig-
nal sounds too harsh or shrill. The EQ shelving
point is 10 kHz.
8. EQ LOW:Turn the controls to the right to boost
bass frequencies and make the sound relatively
heavy. Turn the controls to the left to cut bass
and make the sound thinner. The EQ shelving
point is 100 Hz.
9. EFFECT 1 send controls:These controls get
their signal from a point just after the channel
fader (i.e., post fader send) and route the corre-
sponding channel signal to the EFFECT 1 SEND
jack. Turn the control to the right to increase vol-
ume to the EFFECT 1 SEND jack.
10. EFFECT 2/TAPE CUE controls:These con-
trols get their signal after the channel fader and
route the signal to the EFFECT 2 SEND jack, or
are used to adjust the tape playback level sent to
the monitor section, as determined by the
EFFECT 2/TAPE CUE select switch (#19).
11. PAN controls:These controls allow you to
create stereo mixes by sending the signal from
the channel fader in continuously variable
degrees to the left or right sides of the stereo mix
at mixdown time.
12. INPUT select switches:These are used to
control what the source of the channel is:
The upper position (TAPE) is used during mix-
down or bouncing tracks.
The center position is GUITAR, which selects the
source at the GUITAR IN jack (#5).
Turn the guitar TRIM control all the way to the
left.
The lower position (MIC/LINE) is used when
recording microphones/instruments (in tracking
or overdubbing).
13. TRIM controls:These linear controls are used
to set the preamplification level on the
MIC/LINE IN(puts) or INPUT (L, R). When
TRIM is pulled full down, the preamplifier gain
is low, allowing the jack to accept line level
sources such as electronic instruments. As you
push TRIM up, the preamplifier gain increases,
and when you push TRIM full up, the nominal
input sensitivity increases to – 50 dBV (3 mV).
1 4 5
2
6
21 22 23 24 25
1615
40
7
8
9
41
10
39
11
12
13
14
326 38 20 2930 31 32 33
3428  
35
36
37
17
18
19
27
–
–
–
–
– – –– –
–– –– –
–– –– –
–– –– – ––
–––
–
–
–
–
––––––
– ––
––––
–––
––
–
––
––
––
––
––
––
––
––
––
–– 
						

							33
Features and Controls
14. Channel faders:These linear controls vary the
level feeding the Master section.
The nominal setting position is between 7 and 8
(shaded area).
15. STEREO INPUTS (Ch.5-6/7-8):Connect the
outputs of your effects devices to these 1/4
jacks.
These jacks can also be used as additional line
inputs. Nominal input level is –10 dBV (0.3 V).
See also How to Connect Your Effects
Devices, p.28.
16. LEVEL controls:These rotary controls vary
the level feeding the Master section.
The nominal setting position is about 2 o’clock.
17. MONITOR level control:This affects signal
from the MONITOR switches and sets the level
youll hear in the headphones/monitor speakers.
18. MONITOR switches:Used to select a signal
or signals to send to the PHONES and MON
OUT jacks. When the L-R switch is on, the left
mix is heard on the left side, and the right mix
on the right side. The EFFECT 1 switch allows
you to check the channel signal going to the
corresponding send jack. The third switch is
used to check the channel signal going to the
EFFECT 2 SEND jack or the signal from the
recorder, depending on the setting of the switch
with the same label located to the right of the
track 4 meter.
19. EFFECT 2/TAPE CUE select switch:
Depending on the setting of this switch, each
channels EFFECT 2/TAPE CUE control is
switched to send the MIC/LINE input to effects
devices or the signal coming back from the
recorder to the musicians in the studio.
Master Section
Monitor Section
Stereo Input Section
20. MASTER fader:Used to adjust the stereo mix
level. The signal fed to this fader comes from
each channels PAN control. The safe operating
zone is between 7-8 on the scale.
21. SYNC OUT jack:Sync tones recorded on track
is sent out of this jack, for MIDI instruments to
play synced up to the tape.  See also the section,
Syncing MIDI-Tape.
22. LINE OUT L and R jacks:These jacks are the
line-level outputs from the MASTER fader. The
L and R jacks are typically connected to your 2-
track master recorder at MIXDOWN. The LINE
OUT jacks can also be used to send the mixer
outputs of the 414 MKII to the sub inputs of a
larger mixer.
23. MON OUT L and R jacks:These provide a
line level version of the same signal that feeds
the PHONES jack and may be connected to your
control room speaker amplifier.
24. EFFECT 1 SEND jack:The signal available at
this jack comes from post-fader, for connection
to effects devices. Nominal level is –10 dBV
(0.3 V).
25. EFFECT 2 SEND /TAPE CUE OUT jack:
This jack is for connection to an additional
effects device, or to a studio speaker amplifier.
The signal source is determined by the EFFECT
2/TAPE CUE select switch (#19). Nominal
output level is –10 dBV (0.3 V).
26. PHONES jack (on the front panel):
Connect any stereo headphones with a 1/4
stereo TRS 3-conductor plug to this jack.
Output Section 
						

							34
Features and Controls
414 MKII RECORDER
27. Cassette compartment door:To insert or
remove a cassette, pull the door open. Once a
cassette is inserted, be sure to close the door to
prevent objects, dust or liquids from falling into
the tape path.
Tape path components
28. DBX switch :When this switch is set to its ON
position, the built-in dbx noise reduction system
for all 4 tracks is turned on. This is the normal
position for all recording and playback.
When it is set to the SYNC position, Track 4 is
disconnected from the dbx system, so the
process does not affect the sync signals going to
and from track 4, but tracks 1-3 still go through
the dbx encode/decode process. Use the SYNC
position for recording and playback of FSK
sync or SMPTE time code.
The OFF position turns off the dbx noise
reduction completely. Use this position when
playing back tapes made with no noise
reduction.
The dbx NR system provides a net noise
reduction (broadband, not just hiss) of about 
30 dB, and also permits a net gain in tape
headroom of about 10 dB, allowing recordings
over a 90 dB dynamic range.
29. RECORD key :Pressing this key alone has no
effect. Pressing it together with PLAY (í)
activates recording if one or more RECORD
FUNCTION switches are previously set to a
different position from SAFE and the REC
indicators blink.
Transport Controls
Erase head
Record/Play head Pinch rollerCapstan
Cassette Loading and dbx System
30. PLAY key:
a) Press this key alone to start playback.
b) If pressed together with RECORD, recording
(punch in) starts.
31. REW key:Winds tape at high speed in reverse
direction.
32. F FWD key:Winds tape at high speed in the
forward direction.
33. STOP key:Stops any tape motion and disables
all transport modes.
34. PAUSE key:Temporarily stops play or
recording. To resume the function interrupted,
press PAUSE off.
35. PITCH CONTROL dial:Varies tape speed in
record and play modes by up to approximately
±10%. Turn the dial to the left to lower the
speed, or to the right to increase the speed. Set
the dial to the center 0 position to run tape at a
standard speed of 9.5 cm/sec.
This can be used to save slightly out-of-tune
parts, or to create sound effects such as
flanging.
CAUTION:The PITCH CONTROL dial affects
recording speed also. Check to make sure that
the dial is at its center 0 position unless you
are using the function intentionally.
36. Tape counter:Displays the distance the tape
has moved from a zero reference point selected
by pressing the adjacent button.
37. ZERO RETURN switch:When this switch is
set to ON, and you press REW, the tape will stop
at the counter 000 point.  If the tape overshoots,
it is because of inertia, and it is normal.
The associated LED blinks to show that the tape
is on its way to the counter zero point. When
this point is reached the LED lights solidly.