This allows you to practice the new part without erasing the existing one, until you are ready to record. The MkII will run at both high and low tape speeds, selectable via a front panel switch. For improved recording quality when multitracking, it is advisable to use the 9. The 4. Once your tape is inserted under the clear perspex door, simply connect a mic, or instrument, to an input channel. External effects processors can either be monitored when recording, or printed to tape along with the main signal, by utilising the extra stereo input channels.
After setting the recording level with the channel input and master faders, you're ready to go. To overdub, it is necessary to hear tracks already recorded and this can be achieved by switching to 'tape cue' in the monitor section and turning up the Cue level control on the relevant channels. For most users the ability to bounce tracks will be a necessity, with only four available, and this is as easy to accomplish on the MkII as on any other multitracker.
In general, sound quality on the MkII is very good; even after bouncing, things remain quite crisp. As long as you look after the recording levels and use reasonably good quality mics, far more noise is generated by the cassette tape itself than by the electronics. On the subject of tapes, Tascam recommend the use of high bias 'Type II' cassettes — so no cheapies please, it's false economy.
The EQ section is quite flexible for a machine of this price, although if pushed it can tend to sound slightly peaky and, because of the tape format, the high frequency control can accentuate tape noise on quiet passages, if care is not taken.
We are now truly in the digital age, with hard disk recording offering exceptional sound quality and unlimited creative choice. The downside to this, however, is the fact that the instruction manual for such beasts often weighs more than the product and creativity can sometimes get lost in the technology. The portastudio, on the other hand, offers a budget platform where ideas can be directly printed to tape, quickly and without the paraphernalia of more upmarket systems.
Musicians wishing to utilise the within a sequencing setup will find the sync facility makes it possible to run sequenced keyboard and drum parts along with guitar and vocal tracks recorded on the By using multitimbral modules, these 'live' tracks could even be returned through the stereo input channels, without recourse to a separate mixer.
It's difficult to find anything to criticise about the MkII. The tape counter display could have been in minutes and seconds, or the EQ section might have featured a bypass switch. All in all, I have to admit that the portastudio concept has come a long way since the days of my old I recently saw Alessandro Cortini's interview on Sonicstate's Youtube channel and was so inspired by his set up that I had to create this video.
It is divided into two major sections: a full-function mixer and an 4-channel, multitrack cassette recorder. To complete the recording system, youll additionally need these: Input devices microphones, instruments , Output devices headphones , 2 track recorder, Effects processors, etc. If, for example, you remove only one of the tabs, you could accidentally insert the cassette into the MKIII backwards and erase all four tracks of the master. Track Cassette Recorder.
PortaStudio cassette player pdf manual download. Free shipping for many products! Its advanced feature set offers something for everyone. Using this manual :To get the most out of your MKII, please take the time to read through this manual.
EUR ,. And a lip-reader with a telescope on the opposite bank. It came in handy sometimes at road-blocks. Curiously enough, it remained invisible to the ships below, up and walked out of the room.
Two locate points plus return to zero can be set, to help you get around a recording quickly though there's no instant rewind here! The MkIII version of the now has all its connections on the rear panel — sadly this includes, rather inconveniently, the footswitch input. It has no display and features a mechanical tape transport. Apart from cosmetic changes, it has grown two XLR mic inputs its predecessor didn't have, and also has a new dedicated guitar input.
Obviously, this doesn't offer as much control as the 's EQ. Like the , the MkII has two effects sends, which is quite generous for a budget machine effects would be returned via the two stereo channels , and again one doubles as a tape monitoring control. The monitoring system is even simpler than the 's, though quite sufficient: all one really loses is the option to check a mix in mono. The only connection remaining is the Sub In, which allows a submixer to be connected.
The lacks t he 's direct tape track outs, so users don't have the option to send recorded audio out for mixing on a more sophisticated desk. The tape section records at one speed only 3. There's apparently 10 percent varispeed on offer, though tests with both machines suggest that they actually provide the same amount of varispeed, which the 's manual says is 12 percent — whichever figure is correct, you get about three semitones of pitch change downwards and almost three upwards.
You can, of course, punch in and out manually or via footswitch. All four tracks can be recorded at once, which is nice on a machine of this price. As with the , Dbx noise reduction keeps noise to a minimum, and can again be bypassed on track four if sync code is to be recorded. Because the doesn't have individual track outs, Tascam have fitted a dedicated Sync Out socket to feed code back to your synchroniser. Recording quality is clean and punchy, and is not noticeably compromised by one generation of bouncing.
Audio will even survive a second bounce if you're careful with levels. It's also a shame there's neither phantom power, when XLR inputs are supplied, nor insert points. Of course, at this price that's probably asking too much The MkII is even easier to use than the , and though it has a reduced feature set there's enough in common with the more expensive machine to ensure that it's not fatally compromised.
We missed stereo mix metering — without it you're dependent upon your mastering recorder's meters to ensure the mix isn't overheating.
Sonically, the two machines seem virtually identical, so there are no worries that the cheaper will produce an inferior sound. We did find, however, that the review 's transport ran slightly slower than that of the
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