#TASCAM 424 MKII LINE OUTPUTS PROFESSIONAL#
Some included professional XLR microphone sockets, which enabled us to connect the microphones without the bulky power supply. The characteristics of each machine were unique. A flurry of model names and numbers followed throughout the years. The Home-Studio Revolutionīy the 1990s, the notion of Portastudio had firmly entrenched itself in the minds of aspiring musicians. Regardless, the 246 was a remarkable machine that all musicians wanted to get their hands on because it allowed for significantly better quality audio from home studios. This was still far from a professional two-inch tape machine, which went at 15 inches per second. It allowed the transport to play at double the normal speed to obtain higher-quality audio. This was an incredible feature for the 246. Tascam’s innovative two-speed deck was going at 3.75 inches per second versus the conventional 1.875 inches per second. It featured six channels, so inputs could be directed through the mixer simultaneously, and recording on all four tracks of the tape at the same time was made possible. This powerful machine, meticulously designed and constructed like a tank, provided an unrivaled breadth of advanced recording and mixing functions. The Tascam 246 Portastudio, dubbed the “King of the Four-Tracks” by many, was released in 1986.
The four tracks of the 244 were renamed 1, 2, 3, and 4, replacing the A, B, C, and D of the 144. It came with four knobs for sweepable EQ, two sockets for the headphones (one for the producer and the other for the performer), and a digital tape counter. This helped musicians eliminate the annoying hiss on tapes. The TEAC 244 came with a nifty feature called dbx noise reduction. The truth is, the TEAC 144 wasn’t really referred to as ‘Portastudio.’ This term was actually used for the first time on the TEAC 244 Portastudio, which was launched three years after the TEAC 144. With a retail price of $899, the TEAC 144 quickly became a fan-favorite, and so the Portastudio was born – nearly. There was also a knob that controlled the pitch, in addition to the ability to record in reverse by flipping the tape over. The four-bus mixer also came with several buttons, four independent tape cue knobs to monitor work while fresh material is added.
Each 144 channel had an analog VU meter, a fader, a rotary pan, an aux send, trim controls, EQ input buttons for the microphone/line, and a tape slot. The 144 was split into four separate bands, in each band came numerous knobs and sliders. TEAC was brave enough to make the record/play head so tiny that it’d fit four independent tracks on the quarter-inch cassette tape. The first thing people noticed when they held the recorder was how crammed up everything was. They unveiled the TEAC 144 four-track recording and mixing device.
In September 1979, the Audio Engineering Society‘s annual conference witnessed a historic moment when Tokyo Electronic Acoustic Company (TEAC) got up for its presentation. Though it didn’t sound fantastic, it’s where millions of big and not-so-big song ideas were created. This little gadget provided you the opportunity to record yourself several times and create your own effects in your bedroom or cellar. It was truly regarded as a home-studio revolution. The Portastudio was a godsend for skilled individuals who wished to produce music without the hassle and costs of a professional studio. This instrument has produced some of the biggest hits and shaped Grammy-winning performers. It basically allowed us to mix the tracks in three decks and pour them into the fourth deck. It featured colorful knobs, conventional VU meters, and four decks.
The Portastudio is an analog, compact recorder that used to come in a black body that resembled a cassette recorder. Let’s get started! What is the Portastudio? From the late seventies up until the 21st century, the Portastudio has enjoyed its fair share of popularity. In this article, we’ll go over the birth of the Portastudio and the impact it had on producers and aspiring musicians.