Tascam Portastudio 424mkIII Owners Manual

							33 The recording capability of the PORTASTUDIO 424 MKIII 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 424 MKIII 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.
Bouncing Tracks (Ping-Pong)
Ping-pong procedure
In this example, we will combine material from tracks 1-3 onto track 4.
1. On channels 1-3, make the following settings :
ÏINPUT to TAPE,
ÏPAN all the way to R, and
ÏInput fader to the shaded zone (7-8 on the scale).
2. Push the MASTER fader to the shaded zone.
3. Set the MONITOR SELECT LINE OUT switch to the MONO
position. 
4. Set the RECORD FUNCTION switch for track 4 to BUSS R. The
REC 4 indicator will start blinking in the meter window, indicating
the track is in Rec Ready mode.
5. Press PLAY. The tape will start playing.
TRK 1 A2B3C4
Bouncing tracks 1-3
onto track 4
DEFA + B + C
Tracks 1-3 available for
recording new parts
¨ 
						

							346. Use channel faders 1 through 3 to make any necessary level
adjustments. You may want to repeat this step several times to
get the balance correct.
7. When the balance is right and the level is peaking at no more
than +6 on the track 4 meter, stop and rewind the tape to the
beginning of the track.
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. Youll hear the mix 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, remember that live material 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. 
						

							Using Effects With the PORTASTUDIO 424 MKIII
35 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 424
MKIII 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 424 MKIII. 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 on
the upper top panel.  These outputs can then
be connected to the input of effect devices.
The processed signals from the devices come
back into the mix via the STEREO INPUTS.
Finally, the effect is mixed onto the stereo left
or right buss with the ASSIGN switch on the
stereo channels (7-8). This whole path—from
the EFFECT SENDS to the reverb and back
into STEREO INPUTS — is called an effects
loop.  The EFFECT 1 and 2 controls determine
how much signal goes to the reverb unit; the
LEVEL control on the stereo channels
determine how much returns from the reverb
unit. In this method, the stereo inputs
function as effect returns.Setting effect send levels
Setting the output level of effect devices
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 424 MKIII, 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.
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
424 MKIII, 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).
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 424 MKIIIs 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.Setting the mix/balance control on effect
devices 
						

							36To record reverb onto a track :Switch the
ASSIGN switch to L-R, and adjust the
controls for the sound you want. Remember
that stereo signals must be recorded onto
two tracks to keep their stereo effect.
To hear reverb in the headphones but not record
the reverb :Set the ASSIGN switch on the
stereo channel being used for returning
effects to the right/MON position, turning up
the LEVEL control on the stereo channel in
use. Mono returns:A special feature of the STEREO
INPUT allows continuously variable control
between left and right if desired: a mono effect
connected to 7/MONO will go to 7-8 LEVEL
control if nothing is plugged into jack 8.
Patching effects to an input channel:Theres no
law that says the output of an effects device
must be plugged into a STEREO INPUT,
either. 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. 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/MONORIGHT
INPUTSLEFT RIGHT
OUTPUT 
						

							Problem Solution
Old tracks are always recorded along  Use the TAPE CUE section instead of the 
with new material. main mixer for monitoring previous tracks.
Make sure all mixer channel INPUT switches
are in the OFF
position except ones you are
Recording is noisy. using. Also, increase the volume faders of
the instruments themselves — the 424 MKIII 
channel and master faders should not have 
to be full up at any time.
Incorrect tape sync. Try re-recording sync tones by adjusting 
the MASTER fader between –10 to 0 dB on the 
track 4 meter.
Problem Possible Cause
Playback sounds dull Dirty headsPlayback level is low Dirty headsTransport keys not effective Power turned off, or tape not loadedNo tape motion PAUSE pressed
RECORD FUNCTION set to SAFE,
No recording cassette tab broken, or REHEARSAL
engaged
Wrong tracks recorded PAN improperly set
Incorrect playback pitch PITCH CONTROL set to a different
position than during recording
Feedback occurs during ping-pong  Level is too high or EQ HIGH is 
recording excessively boosted
38
Troubleshooting
37
Syncing MIDI-Tape1Using the TASCAM MTS-30
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 appropriate
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 containing 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
424 MKIII, and the TAPE OUT 4 of the 424 MKIII to the TAPE IN of
the MTS-30.
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.
cWhen recording FSK signal, adjust the MASTER fader of the 424
MKIII to get a reading on the track 4 meter of from -10 to 0 dB.
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 mixdown. 
						

							424 MKIII MIXER1. POWER switch (on the rear panel): Turns the
424 MKIII on and off.
2. Power connector: Connect the power adaptor
for the 424 MKIII to this connector. It is
important that you use only a power adaptor
specially designed for the 424 MKIII which is
designed for use with the voltage in your
area.
3. MIC/LINE INPUTS jacks, Balanced (Channels
1-4):The 3-contact XLR-type connector
accepts balanced microphone signals
ranging from –60 dBV (1 mV) to –20 dBV 
(100 mV), depending on the setting of the
TRIM control (#6).
4. MIC/LINE INPUTS jacks, Unbalanced
(Channels 1-4):This 1/4 jack accepts
unbalanced signals ranging from –50 dBV 
(3 mV) to –10 dBV (0.3 V), depending on the
setting of the TRIM control (#6).
5. SUB INPUT 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.
6. TRIM controls: This is used to set
preamplification level on the MIC/LINE
INPUTS. When TRIM is turned all the way to
the left (LINE position), the preamplifier gain
is low, allowing the jack to accept line level
sources such as electronic instruments. As
you turn TRIM up, the preamplifier gain
increases, and when you turn TRIM full
clockwise (MIC position), the nominal input
sensitivity increases to –50 dBV (3 mV) for
1/4 phone jack, and to –60 dBV (1 mV) for
XLR-type jack. 
NOTE
nDO NOT use both the XLR-type and 1/4
phone jacks on the same channel at the
same time.
Input Section
39Features and Controls
407. INPUT select switches: 
(channels 1-4)
This is used to control what the source of the
channel is:
The left position (MIC/LINE) is used when
recording microphones/instruments (in
tracking or overdubbing).
The center position (OFF) is used to shut off
the channel.
The right position (TAPE) is used during
mixdown or bouncing tracks. 
(channels 5 and 6)
This is used to control the source of these
channels. Channel 5 can accept the signals
from equipment connected to odd-numbered
inputs 1, 3 and 5, and channel 6 uses the
even-numbered inputs in the same way. Slide
the switch to the appropriate number to send
the signal from the appropriately-numbered
input to the channel.
Note that if signals are sent through more
than one channel at the same time (e.g.
through channel 1 and 5), the level of these
signals will be doubled. You should allow for
this when mixing.
8. EQ HIGH: This controls the tonality of the
high or treble frequencies. Turn it to the
right to boost the signals  high frequency
content emphasizing 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.
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 much
cut or boost is applied to the band chosen by
the upper knob. Turning the lower knob to
the right amplifies the band up to 12 dB.
Turning it to the left cuts the band down to
–12 dB. At center, there is no effect (flat
response).
10. EQ LOW: Turn the control to the right to
boost bass frequencies and make the sound
relatively heavy. Turn the control to the left to
cut bass and make the sound thinner. The EQ
shelving point is 100 Hz. 
						

							11. 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 corresponding channel signal to
the EFFECT 1 SEND jack. Turn the control to
the right to increase volume to the EFFECT 1
SEND jack. 
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 monitor section, as determined
by the MONITOR EFFECT 2/TAPE CUE select
switch. 
13. PAN controls: This control allows 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.
14. Channel Faders:This linear control varies the
level feeding the Master section.
The nominal setting position is between 7
and 8 (shaded area).
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. Nominal input level is –10 dBV
(0.3 V).
Mono Feature:If you connect a mono signal
to the 7/MONO jack, the signal is sent to both
the stereo left and right busses.
16. LEVEL control: This rotary control varies the
level feeding the Master section. 
The nominal setting position is about 2
oclock.
17. ASSIGN switch: This send the signal from
the LEVEL control to the MASTER (L-R),
switches it off entirely (OFF) or to the
MONITOR LEVEL control (MON). If you are
using these inputs for MIDI “virtual tracks”,
you should probably set this switch to MON
while recording tape tracks, and L-R on
mixdown.
Stereo Input Section
18. MONITOR SELECT switches: These switches
determine what you will hear when
monitoring.
The LINE OUT switch allows you to monitor
in stereo (L-R), in mono (MONO) or turn off
the L-R signals completely from the
monitoring mix (OFF).
The EFFECT/CUE switch allows you to
choose whether you will hear the EFFECT 1
send, the EFFECT 2 or TAPE CUE send (as
determined by the position of the EFFECT
2/TAPE CUE switch), or neither of these
(OFF).
19. MONITOR LEVEL control: This affects signal
from the MONITOR select switch and sets
the level youll hear in the
headphones/monitor speakers.
20. EFFECT 2/TAPE CUE select switch : Depend-
ing 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 studio.
21. 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.
22. LINE OUTPUT 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 OUTPUT jacks can also
be used to send the mixer outputs of the 
424 MKIII to the sub inputs of a larger mixer.
23. MONITOR OUTPUT 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.
Output Section 
Master Section 
Monitor Section 
41 
						

							42
424 MKIII RECORDER
29. Cassette compartment door:To access the
cassette compartment for inserting or
removing 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.
Tape path components
30. DBX NR 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, or with Dolby B type NR.
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.
Cassette Loading and dbx System
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 (# 20). Nominal
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
you want to mix the tape down with an
external mixer or to make a backup copy of
your master 4-track onto another  tape
recorder.
Sync tones recorded on track 4 are sent out
of jack 4, for MIDI instruments to play synced
up to the tape.
27. PHONES jack (on the front panel): Connect
any stereo headphones with a 1/4 stereo
TRS 3-conductor plug to this jack.
28. REMOTE PUNCH IN/OUT jack: For
connection to an optional RC-30P remote
footswitch. 
						

							This can be used to save slightly out-of-tune
parts, or to create sound effects such as
flanging. Note that if you record with the dial
at its maximum or minimum setting, you will
NOT be able to make further adjustment in
that direction upon playback.
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.
37. TAPE SPEED select switch:Controls the
speed of the transport in both record and
playback.
HIGH(3-3/4 i.p.s., 9.5 cm/sec.) is the position
you should use for master recording, since it
offers slightly better frequency response and
signal-to-noise ratio than standard speed. In
high speed, a C-60 offers 15 minutes of 
4-track recording.
NORMALis standard cassette speed of 1-7/8
i.p.s. (4.8 cm/sec.). It offers compatibility with
other cassettes, acceptable sound quality for
less critical work, and 30 minutes of
recording on a C-60.
43 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. PLAY key:
a) Press this key alone to start playback. 
b) If pressed together with RECORD,
recording (punch in) starts. 
c) Press this key during recording to stop
recording (punch out) without stopping
tape motion.
35. RECORD key:Pressing this key alone has no
effect. Pressing it together with PLAY (4)
activates either of two functions:
1) Recording begins if one or more RECORD
FUNCTION switches (#38) are previously
set to a different position from SAFE and
the track indicators blink in the meter
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 mode as indicated
by a blinking RECORD LED.
36. PITCH CONTROL dial: Varies tape speed in
record and play modes by up to
approximately 12%. 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 or 4.8 cm/sec., as selected by the TAPE
SPEED switch.
Transport Controls 
						

							44Autolocators
41. Monitor level meters: These show the level
in the monitor mix selected by the MONITOR
switches (#18). The meters are Pre (before)
the rotary MONITOR LEVEL control, so this
control does not affect the meter readings.
42. Tape counter: Displays the distance the tape
has moved from a zero reference point
selected by pressing the COUNTER RESET
key beneath.
43. Other indicators: Light up or blink depending
on the selected mode and condition of your
424 MKIII.
44. RTZ (Return-To-Zero) key: When this key is
pressed in any transport mode, the tape will
fast wind to the counters 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 memorized).
This key is also used to check the memo
point.
NOTE:To initiate autolocation, HIT the LOC
key. To check the memo point, PRESS the key
for 0.5 second or more.
46. LOC 2 key: Similar to the LOC 1 key, this key
is used to establish a MEMO 2 point, and to
locate tape with that memory point.
47. MEMO IN key: Used together with the LOC 1
and LOC 2 keys to load the current tape
location into memory. See #45 and 46 above.
48. REPEAT switch: This provides a playback
loop or block repeat between MEMO 1 and
MEMO 2 points. Track Controls
38. RECORD FUNCTION switches 1-4:These
switches put the respective tracks into Record
Ready. Recording starts when RECORD is
pressed after or together with PLAY.
In the center position (SAFE) no recording
takes place.
NOTE: Dont operate the RECORD FUNCTION
switches to punch in and out. Otherwise,
clicks will remain on tape.
The RECORD FUNCTION switches also select
what source will be recorded. For example,
Track 1 can record either the single source
plugged into Channel 1 of the mixer
(DIRECT), or the entire BUSS L mix (which
may have as many as six sources). The other
RECORD FUNCTION switches work in the
same way: either DIRECT from the same-
numbered mixer channel, or from the
MASTER stereo mix: Tracks 1 & 3 from BUSS
L, Tracks 2 & 4 from BUSS R.
39. Track REC indicators: They show the
individual tracks status as selected by the
RECORD FUNCTION switches (#38).
40. Track level meters 1-4:These meters show
the record level coming either from each
channels fader or from the MASTER fader
(the first and the third meters register the
level from the left buss, the second and the
fourth meters register the level from the right
buss). If a track or tracks are in Safe mode the
corresponding meters show the playback
level. Displays 
Track REC 
Track statusindicator
Off Safe
Blinking Record Stand-by
Steady indication Record