Tascam us-4x4 Operator's manual

TRACKPACK 4x4
Complete Bundle for the Recording Novice
A high-quality recording is necessary to translate the artistic perfection and sonic realism of a
performance. Additionally, stereo recording techniques using multiple microphones further enhance the
audio experience.
TRAC KPAC K 4x4 is the perfect system to easily create professional stereo recordings from multi-
channel sources with everything required – audio interface US-4x4, two TM-80 microphones, and two
sets of TH-02 headphones.
C reate a recording of your favourite acoustic guitar using two condenser microphones for direct and
ambient signals. Make a 4-channel stereo recording of a performance with two guitars using both
microphone and instrument inputs. Utilize the two condenser microphones for a vocal and piano
recording. Or record a drum kit in stereo using the two condenser microphones.
TRAC KPAC K 4x4 can capture any performance in stunning stereo clarity right out of the box.

Recording an acoustic guitar with two TM-80 microphones
Place one microphone about 20 cm from the sound hole of
the guitar. This is referred to as the 'on-mic' position. Make sure the microphone diaphragm is
parallel to the guitar. If the sound is too boomy, shift the microphone away from the sound hole
and closer to the bridge.
Place the second microphone about 5 feet in front of the guitar, and at a height of 5 feet off the
floor. This is referred to a the 'off-mic' position. Make sure the diaphragm is facing the guitar.
Another option is to have someone play the guitar while you place the mic where the guitar sounds
the best in the room.
C onnect the microphones to the balanced inputs on the US-4x4, then turn-on the +48V switch to
supply phantom power. The TM-80 microphones require phantom power for operation.
C reate two tracks in your DAW software in order to record each mic on its own track. Adjust the
recording levels by using the GAIN controls of the US-4x4. Gradually increase the level without
lighting the PEAK LED. Setting the DAW software to record standby allows you to check the level
from the computer.
While in standby mode, listen to the sound of each microphone. You may need to make fine
adjustments to the positions of the microphones. The closer the mic is to the sound source, the
larger and more dynamic the low-pitched tones become. This phenomenon is called proximity
effect. On the contrary, the farther away the microphone is, the smaller and milder the sound
becomes.
After the mics are placed, start recording. Whether you choose to monitor the performance
through headphones or not, the balance of the on-mic and off-mic can be changed later.
Another option is to use two mics as a 'stereo pair' in both the on-mic and off-mic positions. Using
four mics in this manner provides a rich, fuller stereo sound. The capsules are placed as close
together as possible – one mic is panned left, and the other panned right.
Recording a vocal performance while playing an acoustic guitar
In some cases, vocals and instruments are recorded
separately. Here we will explain an example of how to use two mics to capture the live feel of a
vocal and guitar performance.
For the guitar, place the mic in the 'on-mic' position as described previously. For the vocal, place
the second mic about 20 cm from the mouth (a commercially available pop-guard is recommended
to reduce p-popping).
Note that the vocal microphone can pick up the sound of the guitar as well as the vocal. To reduce
the sensitivity to the guitar, adjust the angle of the microphone as pictured. The TM-80 microphone
has a directional pickup pattern (cardioid), and turning the front of the mic away from the guitar
will lessen the sensitivity to and volume of the guitar.

Recording a piano
The stereo recording of an acoustic piano exemplifies the sonic quality and overall beauty of the
instrument. Basically, a stereo pair of microphones is used for recording a piano performance.
C onnect the left microphone to IN1 and the right one to IN2. We recommend you to create one
track in the DAW software and set it to stereo.
In most cases, a grand piano is recorded with its lid open.
There are several ways to effectively record the piano, but here we will focus on recording the
piano from a short distance. By opening the lid and placing a microphone outside of the piano, you
can record the entire sound of the piano including sounds reflected by the lid. On the right from
the player's side (open side of the lid), place the left and right microphones with a distance of 20
cm or around between them. Leave a space of 20 cm or around from the edge of the piano. By
placing the microphone at half the height of the lid, the microphone can pick up sounds including
reflected ones well. Due to the structure of the piano, the left microphone picks up a large portion
of high-pitched tones.
Set the input levels while the piano is being played, and start recording. C heck the recording to
determine if the mic positions need adjusted – for a more pronounced attack, move the
microphones closer. For more of a room sound, move the microphones further away. To enhance
the stereo effect and increase the width, increase the distance between the two microphones.
Additional mics can be used in combination with the TM-80
mics for on-mic recording of the piano. Two more mics placed under the lid and closer to the
strings is used for a clearer sound. Also, placing mics under the piano and close to the sound
board is used for yet another quality of the piano’s sound.

Recording drums
There are many ways to record drums, but here we will focus on using two TM-80 microphones for
a stereo track. The typical drum kit consists of a bass drum, snare drum, hi-hat cymbals, one or
more tom drums, and other cymbals (crash, ride, etc). It is important to capture the drums and
cymbals in balance.
Often, a pair of microphones are seen positioned above the drum kit. These situations are usually
multi-microphone recordings where all drums and cymbals have their own track. When using just
a pair of microphones, it is better to place them in front of the drum kit for a balanced sound.
As shown in the picture, place two microphones spaced
approximately 20 cm apart at the height of the bass drum. Because the snare drum is off-center,
place the pair of mics so that the bass drum and snare drum are aligned in the center of the
pattern (as pictured) for a balanced stereo sound – the bass drum and snare drum are reproduced
in the center of the stereo field.
Set the input levels and check the recording. The mics can be adjusted upward to reduce the bass
drum in the track – or moved lower to increase the response of the bass drum.
You can add two additional mics specifically for on-mic recording of the the bass and snare drums.
This technique will provide a tighter drum kit sound. In this case, place the stereo mics above the
drum kit to capture cymbal sounds and other drums as well.
Listen to a sound example for US-4x4 and TM-80
Here’s a sound sample (link to soundcloud.com) of music created with a Tascam US-4x4 audio
interface and Tascam TM-80 microphones. The track includes acoustic guitar and vocals and has been
produced by the Japanese composer Masaku Murata.
He used three TM-80s for the acoustic guitar: two were placed in front of the guitar, one pointing at the
center and the other one pointing at the bridge. The third TM-80 was placed farther away for
ambience.
Vocals were picked up by a fourth TM-80. For mixing, Murata used Sonar Platinum with its included
plugins and ProC hannel effects. No additional plugins were used for the mix.
Design and specifications subject to change without notice.
Last modified: 2018-06-27 10:02:35 UTC