Teac Tascam Series User manual

TEAC Tascam Series
Model 144
PORTASTUDIO™
Owner's Reference Manual

TABLE
OF
CONTENTS
FRONT
&
REAR
PANEL
FEATURES
1
6 SECTION1
7
SECTION
2
9 SECTION 3
1 SECTION 4
13°
SECTIONS
14
SECTIONG
15 SECTION7
18 SECTIONS
20
SECTIONS
21° SECTION 10
SECTION 11
SECTION 12
SECTION 13
SS8RSR
SECTION 14
INTRODUCTION
RECORDING
THE
FIRST
TRACK
OVERDUBBING
REMIXING
PING
PONG
(COMBINING
TWO
OR
THREE
TRACKS
TO
ONE)
STEREO/2-TRACK
TRANSFERS
STEREO/2-TRACK
RECORDING
AUXILIARY
SIGNAL
PROCESSING
PUNCH-IN
RECORDING
DURING
AN
OVERDUB
AN
ALTERNATIVE
CUE
SYSTEM
—
USE
ONE
BUSS
(L
OR
R)
MIC
PLACEMENT
—
SELECTION
VS
EQUALIZATION
ABOUT
IMPEDANCE
AND
LEVEL
MAINTENANCE
AND
SERVICE
TROUBLESHOOTING
CHART
BLOCK
DIAGRAM
SPECIFICATIONS
©
Noise
reduction
circuit
made
under
license
from
Dolby
Laboratories.
The
word
“Dolby”
and
the
Double-D
symbof
are
trademarks
of
Dalby
Laboratories.
WARNING:
TO
PREVENT
FIRE
OR
SHOCK
HAZARD,
DO
NOT
EXPOSE
THIS
APPLIANCE
TO
RAIN
OR
MOISTURE.
This
unit
has
a
Serial
Number
focated
on
the
rear
panel, Please
record
the
Model
Number
and
Serail
Number
and
retain
them
for
your
records,

MIXER SECTION
MONITOR SECTION
23 24 «2526
Ey
1918 2000 «17:4 1s
TRANSPORT SECTION
Figure 1 - Portastudio Front Panel
Figure
2
-
Rear
Panel
14
13 200
10

Mixer Section
1, MIC/LINE-TAPE
In the up position this selects the
Mic/Line
connector
asa
source
of
signal.
In
the
down
position
it
selects tape playback from the
built-in transport; input channel A
now corresponds to tape Track 1,
channel B to Track 2, channel Cto
Track 3and channel D to Track 4.
2. TRIM
This control varies the amount of
gain or amplification produced by
the first amplifier. Although the
trim control range is very wide (50
dB), it is possible that very high
output line level sources may
require external “pads,” or gain
lowering devices. When mic cable
runs exceed 10 feet we strongly
recommend the use of balanced
(3-wire) microphones and mic
input
transformers
(e.g.
ME-120,
ME-80, or MM-100 microphones
with 109 series microphone trans-
formers) to minimize interference
that radios, television and citizens
band transmitters may cause.
3. AUX SEND
This control feeds the input
channel's post-fader, post-equal-
izer signal to a combining ampli-
fier that mixes the Aux Sends of
all four input channels for feed to
the Aux Send jack. This mono mix
may be used to feed external
auxiliary signal processing equip-
ment.
RESPONSE (dB)
200 «2K
FREQUENCY (Hertz)
PORTASTUDIO
FRONT
PANEL
FEATURES
4. EQUALIZER .
The Equalizer consists of one
Bass and one Treble control. Turn
the knobs clockwise to boost and
counter-clockwise to cut. How
much boost or cut? Here is achart
showing the maximum deviation
from “flat”, (See below!
5.
PAN
This control is used to “route” a
signal to either the Left Buss (Pan
control fully Left), the Right Buss
(Pan control fully Right) or to any
point in between.
NOTE: Panning is generally
used during remixing to position
a signal anywhere from extreme
Left to extreme Right in the stereo
perspective, although it can be
used for this same purpose when
recording original tracks or over-
dubbing in stereo. When record-
ing or overdubbing one track ata
time, the Pan control is nearly
always rotated fully Left or fully
Right to assign the Left or Right
Buss to a given track.
6. INPUT CHANNEL FADER
Controls the level of the signal
selected from either the channel
input jack or the playback from
the Portastudio’s built-in cassette
recorder, depending on the set-
ting of the Mic/Line-Tape switch,
Figure 3 - Portastudio Equalizer Characteristics
7. RECORD SELECT
SWITCH MATRIX
This group of switches performs
two separate but related func-
tions:
a. The Portastudio has only
two Busses or mixing networks
that can be used to record a
maximum of two tracks at a
time. The Left Buss assigns
only
to
Track
1
or
Track
3,
so
depressing both buttons serves
no purpose. Only one Left
program track will be recorded
at a time. Should you force the
buttons down together, the
matrix will select Track 1 for
recording. Similarly, the Right
Buss assigns only to Track 2 or
Track 4, The same logic appl-
ies; force down both buttons
and you will get only Track 2;
the top button has priority. The
Rec Off buttons are used to
clear or make the recorder
“safe” so you don't accidentally
erase a track that you wish to
keep.
b. The switches also deter-
mine which VU meters are
illuminated and what signal
they display (i.e., either Track 1
through 4 playback level or Left
and/or Right Buss level).
8. AUX RECEIVE
This control simultaneously sets
the level of whatever inputs are
plugged into the Left and Right
Aux In jacks. The incoming aux
signal is then applied directly to
the Left and Right Busses just
before the L-Master-R fader. Aux
Receive is useful for returning
echo or effects back into the
Program or for adding the output
of an auxiliary mixer to the
Portastudio.
9. L-MASTER-R FADER
This slide fader sets the overall
program level for both the Left
and Right Busses.
Transport Section
10. POWER
This pushbutton controls the
main AC power for the entire
Portastudio. Connect the unit to
120 Volt 60 Hz outlets only.
11. TAPE COUNTER
This 3-digit counter indicates

how
much
tape
has
wound
off
the
cassette
supply
hub.
It
can
be
zeroed
at
any
point
using
the
adjacent
reset
button.
12. MEMORY STOP
When
in
use
(button
down),
this
feature
automatically
stops
tape
rewinding
at
“000".
This
permits
easy
return
to
a
particular
section
of
the
tape
for
overdubs,
play-
back,
etc.
13. DOOR
This
button
releases
the
latch
on
the
cassette
compartment
door,
which
springs
open
to
give
access
to
the
cassette.
(Push
a
cassette
straight
down
to
insert
it, and
lift
Straight
up
to
remove
it.)
14, PLAY (p)
Press
this
button
to
initiate
play
mode.
15. PAUSE
Press this button to temporarily
halt
playback
or
recording.
If
the
unit
is
in
record
mode
when
you
press
Pause,
pressing
Play
will
resume recording.
16. PAUSE INDICATOR
This
green
light
is
ON
when
the
unit
is
in
Pause
mode.
17. STOP
Pressing
this
button
stops
the
tape
transport
and
disables
Play,
Record
or
Pause
modes.
18. RECORD
When depressed simultaneously
with:
a.
Pause,
the
system
enters
Record
Ready
mode.
In
this
mode,
recording
will
automati-
cally
begin
on
the
Record
Select-assigned
tracks
when
the
Play
button
is
pushed.
b.
Play,
the
system
will
automatically
begin
recording
on
the
Record
Select-assigned
tracks.
19. RECORD INDICATOR
This
light
indicates
whether
the
Portastudio
is
in
play
mode
(light
off),
record
ready
mode
(light
flashing)
or
record
mode
{light
On).
20, FAST FORWARD (> >)
21.
FAST
REWIND
(<<)
These
pushbuttons
advance
the
tape
at
high
speed
in
the
indicated
direction.
The
transport
automa-
tically
enters
stop
mode
at
the
end
of
the
cassette.
22. PITCH
This feature allows you to speed
up or slow down the tape trans-
port by up to 15%. Commonly
found only on the most sophisti-
cated equipment, it is useful for
adjusting to pre-tuned instru-
ments or previously recorded
tracks.
NOTE: When Pitch is raised or
towered, performance of the
built-in Dolby noise reduction
Circuitry
may
be
affected.
Monitor Section
23. BUSS MONITOR
This
control
sets
the
level
of
the
Left
and
Right
Busses
feeding
the
headphones.
it
does
not
affect
the
line
outputs
or
aux
outputs.
24. CUE & REMIX
What
you
will
hear
in
the
head-
phone
circuit
will
be controlled
by
these
2 interlocking
switches,
as
explained
below:
a.
When
the
Remix
button
is
depressed
you
will
hear
the
stereo
output
of
the
L+R
Buss
amplifiers.
The
levels
you
will
hear
are
subject
to
the
setting
of
the
Buss/Monitor
control.
In
this
mode
the
Tape
Cue
con-
trols
do
not
have
any
affect
on
what
you
hear
in
the
head-
phones.
b. With the Cue button down
you will hear a mono combina-
tion of the L +R Buss Master
Signal, plus the signals con-
trolled by the 4 Tape Cue
controls, one for each track on
the Portastudio recorder.
These Tape Cue controls have
signal available to them only
after something has been
recorded, so they cannot
“double” as buss monitors in
advance of playback, To hear
them you must be in Cue
(mono) mode,
25. VU METERS
These
four
illuminated
meters
display
the
playback
level
from
Tracks
1 through
4 when
both
Rec
Off
switches
are
engaged.
When
any
Record
Select
Track
button
is
engaged,
the
first
two
meters
display
Left
and
Right
Buss
level;
the
only
illuminated
meter(s)
now
correspond
to
the
selected
Left
and/or
Right
Buss.
Meters
3
and
4
are
illuminated
only
when
both
Rec
Off
switches
are
engaged
(in
playback
mode).
See Record Select Matrix and VU Meter
Operation diagrams below and on page 4.
26. TAPE CUE
LEVEL CONTROLS
These 4 knobs, corresponding to
Tracks
1
through
4,
are
used
to
create a mono mix of any existing
tracks (already recorded tracks)
during playback, The Tape Cue
mix is always fed to the rear panel
Tape Cue jack, but is also fed to
the monitor system (Headphone
jack) only when the Cue button is
engaged.
Figure 4 - Record Select Matrix and VU Meter Operation
Jadicates meter
i
light ON.
e
Indicates
button
engaged.
Four
meters
indicate
playback
levels
of
tracks
1—4.
{When
Input
“Mic/Line~Tape”
switches
are
down.
Figure 4 continued next page.

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meters
indicate
Buss
L&R
levels.

REAR PANEL FEATURES
27. PHONES
This
stereo
headphone
jack
will
feed
one
set
of
8-ohm
or
higher
impedance
stereo
headphones
directly,
and
up
to
two
sets
of
phones
with
a
simple
“Stereo
Y”
adapter.
NOTE:
if
you
use
two
sets
of
headphones,
there
may
be
some
loss
of
volume.
For
three
or
more
sets
of
headphones,
you
will
require
additional
electronics
and
another
(outboard)
power
ampli-
fier.
CAUTION:
DO
NOT
USE
MONO
HEADPHONES
OR
TIP-RING
(INSTRUMENT
STYLE)
CABLES
IN
THIS
JACK.
Doing
so
would
connect
both
amp
outputs
toge-
ther,
leading
to
circuit
failure.
Also,
NEVER
PATCH
THE
PHONES
OUTPUT
DIRECTLY
TO
ANY
OF
THE
PORTASTU-
DIO’S
INPUTS.
28. LINE OUT (L & R)}
This
pair
of
R.C.A.
jacks
feed
a
line-level
program
mix
(from
the
Left
and
Right
Busses)
to
a
monitor
amp
or
tape
recorder.
This
is
the
same
mix
you
hear
in
the
headphones
when
the
Porta-
studio
is
in
remix
mode,
except
the
Line
Out
level
is
controlled
only
by
the
L-Master-R
Fader
and
not
by
the
Buss/Monitor
control.
29. AUX OUT (L & R)
This
pair
of
R.C.A.
jacks
carry
the
same
line-level
program
mix
as
the
Line
Out
jacks.
They
providea
convenient
means
to
feed
another
device
such
asa
monitor
amplifier
or
another
tape
recorder.
NOTE: Do not confuse the Aux
Out
jacks
with
the
Aux
Send
jack,
a mono effects output.
30. AUX IN (L & R)
These
R.C.A.
jacks
feed
an
extra
stereo
input
source
to
the
Left
and
Right
Busses.
They
may
be
used
for
returning
line-level
effects
(such
as
echo,
reverb,
compres-
sion,
etc.)
to
the
program
which
had
been
sent
to the
effects
unit
via
the
Aux
Send
jack
or
Tape
Cue
jack,
or
they
may
be
used
for
spare
line
inputs
to the
program.
A
mono
effect
can
be
returned
to
the
“center”
of
the
stereo
per-
spective
in
the
Left
and
Right
Busses
by
using
a “Y"
adapter
to
feed
both
these
input
jacks
from
the
same
source.
The
level
of the
signal
applied
to
both
jacks
is
adjustable
by
means
of
the
Aux
Receive
control.
31. TAPE CUE
This
R.C.A.
jack
carries
the
mono
mix
created
with
the
4
Tape
Cue
level
controls.
The
line-level
Tape
Cue
output
is so
called
because
it
is
derived
exclusively
from
al-
ready-recorded
tape
tracks
when
the
Portastudio
is
in
play
mode.
This
output
is
useful
during
mixdown
as
a
pre-fader
echo/
effects
send.
32. AUX SEND
This
R.C.A.
jack
carries
a
mono
mix
of
the
four
input
channel
signals,
as
determined
by
the
setting
of their
Aux
Send
controls.
The
line-level
signal
is
post-EQ
and
post-input
fader,
and
can
be
sent
to
external
auxiliary
signal
Processing
equipment
such
as
a
compressor,
a graphic
equalizer,
an
echo
or delay
unit,
or a reverb.
33. CHANNEL INPUTS (A,B,C,D)
These
1/4"
phone
jacks
are
wired
directly
to
the
“Mic/Line”
side
of
their
respective
input
channels’
Mic/Line-Tape
switches.
Sensi-
tivity is adjusted from nominal
mic
level
(1
millivolt
or
-60
dBy)
to
line
level
(0.3
volts
or
10
dBv)
by
means
of
continuously
variable
Trim controls (one per channel).
NOTE: Any type of mic with an
impedance
rating
of
50
ohms
to
10,000
ohms
and
a
minimum
level
of
0.5
millivolts
(-66
dBv)
can
be
connected to the input jacks.
{Low impedance mics with bal-
ancing
transformers
are
prefer-
able
due
to
their
greater
rejection
of external noise and hum.) Also,
any
medium
line-level
source
up
to
a
maximum
of
2.5
volts
(+8
dBv)
peak
level
may
be
connected
here.
CAUTIONS:
Never
patch
the
output
of
any
Power
amplifier
(i.e.,
a
device
whose
output
is
rated
in
Watts)
to
the
channel
inputs,
or
any
of
the
Portastudio
inputs,
unless
a
suitable
attenuation
pad
or
direct
box
first
drops
the
level.
Such
devices
are
commercially
avail-
able.
Never
connect
two
Portastudio
outputs
directly
together
via
a
“Y”
adaptor
or
similar
method.
(it
is
permissible
to
use
one
Porta-
studio
output
to
feed
two
inputs
on
another
device
via
a
“Y
adapter,
or
to
feed
two
Porta-
studio
inputs
from
an
external
mono
source
via
a
“Y"
adapter,
so
long
as
the
impedances
are
compatible.
Refer
to
Section
12).

SECTION 1
INTRODUCTION
The TEAC Model 144 is a complete multitrack
recording facility built into one lightweight
package. That's why we call it the Portastudio.™
The Portastudio combines a full-function 4-
channel mixer, the first 4-track cassette recorder
with overdub capability, functional record/re-
produce signal routing and monitoring systems,
and Dolby™ B-type noise reduction.
This manual is organized in a logical sequence
for understanding the various Portastudio
functions. We first cover the basic techniques so
you can gain a solid understanding of the unit.
Then we cover some of the more complex
functions
and
techniques.
(If
you
are
looking
for
specific information, consult the index.) It may
take you a while to make a tape with which you are
satisfied. Making a live multitrack recording is not
as simple as taping a record or a radio broadcast;
remember that these programs have already been
extensively processed by professional engineers.
Most professional recording engineers and
producers will agree that the single most
important element to a successful recording
session is that the artist feel comfortable and
confident. We have made this manual as easy to
understand as possible so you can quickly
acquire that comfort and confidence. Please read
it slowly and carefully, and as many times as you
need to until you are thoroughly familiar with the
fundamentals of recording basic tracks, over-
dubbing, and mixdown. Because the Portastudio
is so versatile, no manual could describe all the
possible applications and hook-ups. Therefore,
once you know the unit, use your own
imagination — try your own ideas. The setups and
examples in this manual are intended only as a
guide,
Things You Should Know About the Portastudio
1, Although the Portastudio can record a
maximum of 2 tracks at once, it can record a
cumulative total of 4 tracks, and all are recorded
with
the
tape
running
in
the
same
direction.
(This
means you cannot turn the cassette over and use
side B).
2. It will play up to 4 tracks at the same time.
3. It uses a base speed of 3-3/4 ips.
4. For the reasons cited above, cassettes made
on the Portastudio will not play on a standard
format cassette machine ( 1-7/8 ips & 2-tracks in
each direction) and vice-versa. (In fact, the track
spacing also differs between standard cassette
recorders
and
the
Portastudio).
Thus,
you
will
have to remix and dub (re-record) on another tape
recorder to get a compatible 2 track tape to play
on standard mono or stereo cassette recorders.
5. We do not recommend C120 cassettes for use
in the Portastudio, as explained below.
6. Never use any sharp object or magnetic
object
near
the
tape
heads.
Use
only
TEAC
cleaners
on
the
heads
and
pinch
roller,
as
described in Section 13.
Which Tapes to Use
Use only gammaz-ferric oxide cassette tapes
that require high bias level (i.e., chrome position
on most recorders). The record circuitry is
designed to function optimally with this type of
cassette, which is available from a variety of
manufacturers (TOK-SA, MAXELL UDXL-II, or
the equivalent). We suggest that you pick one of
the above and stick to it.
USE ONLY PREMIUM CASSETTES AND
AVOID C-120's. The smaller oxide area of
cassette tape compared to open reel makes oxide
shedding more significant. In addition, 4 track
overdub and replay may require as many as 50 or
more plays before you are ready to remix. In order
to gain more time from C-120 cassettes, a thinner
tape backing (1/2 mil) is used. While such tape
may hold up to one stereo recording and
occasional playing, the multiple passes through
the Portastudio are likely to prematurely wear out
or jam a C-120 cassette. For this reason, C-120
cassettes are NOT recommended for use in the
Portastudio — in extreme cases, your work
may be lost.
Remember that the Portastudio runs at 2 x
“normal” speed and records on only one side, soa
C-90 runs for 22-1/2 minutes, a C-60 for 15
minutes, aC-45for 11-1/4 minutes and a C-30for
7-1/2 minutes.
About Cables
Because most of the functions of a complete
multichannel recording system are available by
means of switches in the Portastudio, you won't
need as many cables as with separate compo-
nents. Still, you do need cables if you use
auxiliary signal processing equipment, an
external monitor amplifier, or even a microphone
or a line-level input source. We therefore offer
these two suggestions:
a. Keep your cables as short as possible. This
reduces signal losses that degrade audio
quality, and presents less of an “antenna” to
broadcast or random radio-frequency interfer-
ence (RFI).
b. Use TEAC low loss cable. It is the best
quality cable available, made especially for us
by Belden Corporation. The cable has
extremely
effective
braided
shielding,
very
low
capacitance (14.5 pico-farads/foot), and multi-
stranded center conductors. The Datalene
dielectric (center insulation) is flexible enough
to avoid kinking, yet stable enough to keep the
inner conductors properly centered at all
times. The outer jacket is tough vinyl insulation
with a “footprint” that tightly clasps the braided
shield to prevent “hosing” when the cable is
pulled. TEAC cable's center pin is filled with
solder, and the shield is soldered 120° around
the
outer
shell
of
the
connector
to
ensure
optimum shielding and reliability. More and
more people are realizing that cable does make
a difference, and TEAC cable is audibly
superior.

SECTION 2
RECORDING
THE
FIRST
TRACK
7
6
5s
4
14
1%
15)
13
Figure
S
-
Typical
Portastudio
Setup
for
Recording
a
Basic
Track
1.
Turn
on
the
Power,
insert
a
blank
cassette,
and
be
sure
the
tape
pack
is
smooth.
(See
“Which
Tapes
to
Use"
on
page
6.)
NOTE:
To
ensure
smooth
tape
motion,
we
recommend
tapping
the
cassette
on
a
hard
flat
Surface,
with
the
cassette
oriented
as
it
will
be
when
you
use
it.
This
packs
the
tape
firmly
against
the
bottom
of
the
shell.
Then,
after
placing
the
cassette
in
the
Portastudio,
fast
wind
it
fully
toone
end,
and
then
rewind
it completely.
2. Plug in a signal source (a microphone or
electric
instrument)
to
Input
jack
D
on
the
rear
of
the Portastudio,
3. Make sure the channel D Mic/Line-Tape
button
is
up
to
select
the
external
Mic/Line
signal
source
rather
than
tape
playback.
4. Set the L-Master-R fader to the “nominal”
zone
(shaded
area
between
#7
and
#8
on
the
control scale).
5. Also set Input channel D's fader to its
“nominal” zone.
6. Turn channel D's Pan contro! to full Left
(counterclockwise),
thus
assigning
ail
the
input
signal to the Left Buss.
7.
Press
the
Track
1
button
on
the
Record
Select
switch
matrix,
thus
assigning
the
Left
Buss
to
Track
1
of
the
recorder.
NOTE: The red Record Indicator light will now
flash
ON
and
OFF.
Only
the
Buss
L/Trk
1
VU
meter
will
be
illuminated,
indicating
that
recording
will
take
place
on
the
Left-assigned
track.
8. Adjust the channel D Trim control so the
Buss
L/Trk
1
meter
peaks
between
-3
VU
and
0VU
with
a
typical
signal
present
(i.e.,
when
you're
singing
into
the
mic
or
playing
the
instrument
connected to Input D).
NOTE:
You'll
need
a
source
of
sound
to
make
this
operation
an
actual
working
experience.
While
you're
learning
how
the
Portastudio
works,
we
suggest
you
place
the
mic
close
to
a
radio
loudspeaker,
rather
than
attempting
to
play
an
instrument
yourself.
The
radio
will
serve
as
your
“musician.”
A
friend
will
do
as
well,
but
if
you
wish
to
work
in
private,
any
source
of
sound
that
doesn't
give
up
will
serve.
An
organ
will
play
continuously
if
you
put
a
weight
on
a
key,
or
any
motor
operated
device
that
won't
be
damaged
by
continuous
operation
will
work.
(Try
a
vacuum
cleaner.)
Later
on,
the
only
way
to
“fine
tune”
your
Settings
is
to
actually
play
an
instrument
yourself
at
the
normal
volume
and
distance
from
the
mic.
An
occasional
meter
peak
in
the
red
zone
is
OK,
but
avoid
frequent
peaks
in
the
red
zone
as
this
may
cause
unwanted
distortion.
On
the
other
hand,
do
not
record
with
the
average
levels
too
low
(i.€.,
-20
VU)
as
this
will
lead
to
excessive
tape
noise.
You
have
now
adjusted
the
unit
for
the
proper
recording
levels.
The
monitor
level
(the
level
at
which
you
listen
with
headphones)
will
be
independently
adjusted,
as
described
below.
Remember
to
always
adjust
the
record
levels
by
using
the
Buss
L/Trk
1
VU
meter,
the
Buss
R/Trk
2
VU
meter,
or
both.
9.
Press
the
Cue
button.
This
places
the
unit
in
cue
mode
(i.e.,
for
mono
headphone
monitoring).
At
this
time,
all
four
Tape
Cue
level
controls
should
be
set
at
minimum
(counterclockwise),
10.
Plug
a
pair
of
stereo
headphones
into
the
Portastudio
Headphone
jack,
and
advance
the
Buss/Monitor
control
for
a
comfortable
listening
level
(when
singing
into
the
mic
or
playing
an
instrument).
NOTE:
Rotating
this
control
does
nothing
to
the
meter
reading,
and
recording
would
take
place
successfully,
even
if
you
could
hear
nothing.
A
good
grasp
of
this
kind
of
dual
requirement
is
the
basis
for
successful
multichannel
engineering.
IMPORTANT
NOTE:
The
Record
Select
matrix
does
not
affect
the
headphone
signal.
if
signal
is
present
on
a
buss
that
is
not
recording
you
will
hear
it
in
the
headphones.
That
is
why
we
have
said
that
one
track
recording
requires
full
pan
to
the
appropriate
buss
(the
Record
Ready
one)
or
you
may
think
you
are
recording
when
you
are
not,
and
playback
will
show
an
unexpected
result
ranging
from
too
low
a
level
of
the
partially
panned
signal,
to
no
result
on
tape
at
all.
11.
Adjust
the
channel
D
equalizer
(Bass
&
Treble
controls)
as
desired,
and/or
adjust
the
mic
position.
(Additional
mic
&
EQ
information
may
be
found
in Section
11.)
12.
Press
the
Reset
button
to
zero
the
Counter.
13.
Engage
the
Memory
Stop
button.
Later
on
this
will
enable
you
to
quickly
rewind
to
the
beginning
of
the
recording.
14.
Check
the
Pitch
control
to
make
sure
it
is

centered
for
recording
at
the
normal
speed
(3-3/4
ips).
15. Press the Record and Play buttons
simultaneously
to
make
the
unit
begin
recording.
NOTE: Record as long as you like, or until you
run out of tape. You may adjust the fader to
maintain
a
good
meter
level,
but
DO
NOT
ADJUST TRIM WHILE RECORDING.
16. When you're done recording, press the Stop
button.
To Play Back Your First Track
Figure 6 - Typical Setup for Playback of First Track
1. Press Rewind. Because the unit is in Memory
Stop mode, the tape will automatically come toa
halt at the beginning of this recording “take”
(Counter at approx. 009).
2. Press the Left Rec Off button in the Record
Select matrix. This places the unit in a safe mode
So you cannot accidentally erase your track.
TAPE NO. z& DATE
3. Bring the L-Master-R Fader down to
minimum
(zero).
This
will
prevent
the
live
mic
or
instrument input from being fed to the head-
phones, avoiding distraction during playback.
4. Press the Play button.
5. Advance the #1 Tape Cue level control until
you hear a comfortable listening level.
NOTE: ff you like this first “take”, you can
continue to set up the Portastudio for an overdub,
as described in Section 3. If you don’t like this
“take”, you can re-do it, as described below:
a. Rewind the tape to the beginning of the
“take.”
b. Press the Record Select Track 1 button to
again assign the Left Buss for recording on
Track 1.
c. Reset the L-Master-R fader to the nominal
position (shaded zone).
a. Record the take again. Since you are using
the same track as the original take, that first
version will automatically be erased as the new
recording is made.
NOTE: If you wondered about the #1 Tape Cue
level
control
that
was
advanced
during
playback,
it is Of no concern here. It only affects signals
playing back from the tape. Since Track 1 is now
recording, not playing back, the Tape Cue control
has no effect. Instead, the Buss/Monitor control
sets the level in your headphones.
HINT: It is one thing to write down the name of an
album on a conventional cassette tape, but quite
another to remember what you have done on a
tape all your own. Writing down the tunes is
helpful, but even then you will want to know what
information is on each of the four tracks, which
“takes” are preferred, and perhaps other
information. We urge you to make up an informal
Track Sheet, photocopy a handful of them, and fill
one out to keep with each Portastudio cassette
you make. One suggested layout is shown.
October S
SERDAR
TO
REVERT
Oar
T
RETURN
TO
AX
WW
LER
Figure 7 - Sample Track Sheet

SECTION 3
OVERDUBBING
Overdubbing
(or
“making
an
overdub”)
is
the
Process
whereby
one
or
more
additional
tracks
are
recorded
in
synchronization
with
other
tracks
which
have
already
been
recorded.
To
make
an
overdub,
the
recording
process
is
about
the
same
as
recording
an
original
track.
However,
not
only
do
you
need
to
monitor
the
new
sound
you
are
recording,
you
also
have
to
be
able
to
hear
any
tracks
you
previously
recorded.
The
Portastudio
must
be
in
cue
mode.
The
Buss/Monitor
control
adjusts
the
headphone
level
of
any
new
sound
or
sounds
you
may
be
recording
--
assuming
the
L-Master-R
fader,
channel
fader
and
Trim
controls
have
been
set
for
the
proper
record
levels
using
the
Buss
L/Trk
1
and/or
Buss
R/Trk
2
VU
meter(s)
as
a
guide.
The
Tape
Cue
level
controls
adjust
the
level
of
any
tracks
that
have
already
been
recorded.
NOTE:
In
cue
mode,
all
sounds,
whether
on
tape
or
coming
from
a
new
input,
will
be
heard
as
“center
mono.”
Overdubbing
Procedure
pushbutton
to
assign
the
Right
Buss
to
record
on Track 2 of the tape.
NOTE:
Only
the
Buss
R/Trk
2
VU
meter
light
will
be
ON.
The
other
meters
will
not
be
illuminated.
3.
Set
the
new
input
for
proper
recording
level,
as
follows:
a.
Set
the
L-Master-R
fader
at
nominal
(shaded
zone).
b.
Set
the
channel
D
fader
at
nominal
(shaded
zone).
c.
Adjust
the
channel
D
Trim
control
so
the
Buss
R/Trk
2
VU
meter
peaks
at
between
-3
VU
and
0
VU
with
a
typical
signal
present.
4.
Adjust
the
Buss/Monitor
control
so
you
can
hear
the
new
input
at
a
comfortable
listening
level.
5.
Press
the
Play
button
to
roll
tape,
and
adjust
the
#1
Tape
Cue
level
contro!
for
a
comfortable
listening
level
on
the
already-recorded
track.
NOTE:
You
can
vary
the
settings
of
the
Buss/Monitor
control
and
the
Tape
Cue
level
control(s)
to
obtain
any
desired
headphone
balance
(mix).
Remember
headphone
levels
are
essentially
independent
of
actual
levels
on
the
tape.
This
lets
you
make
one
track
louder
for
monitoring,
if
desired,
even
though
you
record
all
tracks
at
about
the
same
nominal
level
on
the
tape,
6.
Press
Rewind
to
get
to
the
beginning
of
the
“take.”
You
are
now
ready
to
record
the
overdub.
7.
Simultaneously
press
Play
and
Record,
and
sing
or
play
your
instrument
along
with
the
previously
recorded
track.
When
you're
done
with
the
overdub,
press
the
Stop
button.
To
Play
Back
Your
First
Two
Tracks
3b
0
3a
2b
6 7
5
Figure
8
-
Typical
Portastudio
Setup
for
Overdubbing
1,
Connect
a
mic
or
instrument
to
one
of
the
Portastudio
input
channels.
For
convenience,
we
recommend
you
use
input
channel
D,
as
you
did
when
recording
the
original
track,
even
though
you
will
be
overdubbing
onto
a
different
track
of
the
tape.
2,
Decide
what
track
you
want
to
use
for
recording
the
overdub.
Tracks
2,
3
and
4
are
available.
For
this
example,
we'll
select
Track
2.
a.
Rotate
the
channel
D
Pan
control
fully
right
(clockwise)
to
assign
that
input
to
the
Right
Buss.
b.
Press
the
Track
2
Record
Select
Figure
9
-
Setup
for
Playing
Back
Basic
&
Overdubbed
Tracks
1.
Press
Rewind.
If
the
unit
is
still
in
Memory
Stop
mode,
the
tape
will
come
to
a
hait
at
the
beginning
of
the
“take.”
2.
Press
the
Right
Rec
Off
button.
This
places
the
unit
in
a
safe
mode
so
you
cannot
accidentally

10
erase your overdub.
3.
Bring
the
L-Master-R
fader
down
to
minimum
(zero).
This
will
prevent
the
live
mic
or
instrument
input
from
being
fed
to
the
headphones,
avoiding
distraction
during
playback.
4.
Press
the
Play
button.
5.
Advance
the
#2
Tape
Cue
level
control
until
you
hear
the
desired
balance
with
Track
1,
whose
Tape
Cue
control
is
already
turned
up.
NOTE:
If
you
want
to
overdub
additional
tracks,
you
can
continue
in
this
same
fashion.
Use
input
channel
D,
set
Pan
fully
Left,
and
press
the
Record
Select
3
button
to
record
on
Track
3
(Left
Buss)
—
or
Pan
fully
Right
and
press
Record
Select
4
to
record
on
Track
4
(Right
Buss).
Remember
that
the
Tape
Cue
controls
always
set
the
playback
level
in
the
headphones,
and
the
Buss/Monitor
control
sets
the
headphone
level
of
the
new
sound
being
overdubbed.
Also
Remem-
ber
that
only
the
Buss
L/Trk
1
and/or
Buss
R/Trk
2
VU
meter(s)
will
be
illuminated
when
recording.
IMPORTANT
NOTE:
After
you
are
satisfied
with
your
4-Track
Portastudio
master
cassette,
remember
to label
the
cassette
and
PUNCH
OUT
THE
TWO
“PROTECT”
TABS
on
the
rear
edge
of
the
cassette
housing.
This
way
the
cassette
cannot
be
inadvertently
erased.
(Be
sure
to
knock
out
both
tabs
—
even
though
you
only
record
in
one
direction
on
the
cassette,
you
are
filling
all
four
tracks;
were
you
to
knock
out
only
one
tab,
then
accidentally
turn
the
cassette
over
and
place
it
back
in
the
Portastudio,
you
could
still
erase
it.)
t
side B
safety tab
side A
safety teb
Knock out BOTH tabs to prevent
accidental erasure of a completed
Portastudio cassette,
Figure
10
-
Knocking
Out
the
Record
Tabs
to
Protect
a
Cassette

SECTION 4
REMIXING
After
you
have
recorded
ail
the
tracks,
you
are
ready
to
remix.
Remixing
is
the
process
where
you
establish
the
stereo
perspective
(Left-to-
Right
position)
for
each
track,
make
final
EQ
adjustments,
and
balance
the
various
tracks
with
one
another,
Until
now
you
have
recorded
one
new
track
ata
time,
while
listening
to
it
and
any
previously
recorded
tracks.
You
listened
with
headphones,
and
since
the
Portastudio
was
in
cue
mode,
you
listened
in
mono.
During
the
remix,
you
are
not
working
with
any
new
sound
sources.
Instead,
you
work
with
the
Portastudio
in
remix
mode
so
you
can
monitor
in
stereo
as
you
combine
the
4
existing
tracks.
You
will
probably
want
to
remix
the
master
Portastudio
cassette
several
times,
“fine-tuning”
your
mix
until
it
sounds
exactly
the
way
you
want
it.
You
can
monitor
with
headphones
for
remixing.
However,
you
will
achieve
much
greater
realism
and
accuracy
if
you
use
an
external
stereo
amplifier
and
speakers.
For
this
hook-up
you
can
use
an
integrated
stereo
amplifier
(preamp
and
power
amp
combined
into
one)
or
a
receiver.
Connect
a
dual
RCA
phono
plug
cable
from
the
Portastudio's
Aux
Output
jacks
to
the
aux
input
of
your
amplifier
or
receiver.
BE
SURE
TO
TURN
OFF
THE
AMPLIFIER
AND
SET
ITS
VOLUME
ALL
THE
WAY
DOWN
BEFORE
YOU
CONNECT
THE
PORTASTUDIO
TO
IT.
To
Set
Up
Your
Remix
74
only
—
use
volume
control
on
amplitier
Nita i
Amplifier
or
Receiver
Speakers
[0000
7b only
6 all channets
J all channols
™
g
4
2
Figure
11
-
Typical
Setup
for
Remixing
1,
Press
the
Remix
button,
placing
the
Portastudio
in
remix
mode
for
stereo
monitoring.
2.
Press
the
two
Rec
Off
buttons
in
the
Record
Select
matrix
so
you
cannot
accidentally
erase
any
tracks.
3.
Set
all
Mic/Line-Tape
switches
to
the
Tape
position
(button
down).
Remember
that
channel
A
correponds
to
Track
1,
channel
B
to
Track
2,
and
so
forth
when
you
have
these
switches
set
for
Tape
playback.
4.
Set
the
L-Master-R
fader
to
nominal
level
(shaded
zone).
5.
Rewind
the
tape
and
then
press
Play,
to
play
the
segment.
6.
Temporarily
set
all
the
input
channel
faders
at
nominal
(shaded
zone),
all
Pan
pots
at
center,
and
all
EQ
controls
at
“0”
(center).
This
will
not
be
the
mix
setup
you
ultimately
use,
but
it
provides
a
good
reference
while
setting
levels
initially.
7. In
order
to
hear
what
you
are
doing:
a.
If
you
are
listening
via
an
external
amplifier
and
speakers,
turn
On
that
amp
and
gradually
raise
its
Volume
control
until
you
hear
the
desired
level.
b.
If
you
are
listening
via
a
pair
of
headphones
plugged
into
the
Portastudio,
bring
up
the
Buss/Monitor
contro!
for
a
comfortable
listening
level.
8.
Bring
down
all
the
input
channel
faders
except
channel
A.
9.
Adjust
channel
A's
Pan
control
to
place
the
sound
where
you
want
it
anywhere
from
extreme
Left
to
extreme
Right.
10.
Adjust
the
EQ
controls
for
the
desired
sound.
(Additional
equalizer
information
may
be
found
in
Section
11).
11,
Pull
down
the
channel
A
fader,
and
bring
up
the
channel
B
fader.
Repeat
steps
9and
10
above.
Then
do
the
same
for
channels
C
and
D.
NOTE:
We
suggested
beginning
with
channel
A,
but
you
can
really
do
the
preliminary
Pan
and
EQ
adjustments
in
any
channel
order.
12.
Now
bring
up
all
four
input
channel
faders
to
approximately
the
nominal
setting.
At
this
point
yOu
Can
move
some
channel
faders
up
a
little
and
others
down
to
balance
the
level
between
the
tracks
for
the
desired
mix.
13.
By
the
time
you
have
made
most
of
these
adjustments,
you
may
be
near
the
end
of
the
take.
If
so,
just
rewind
the
tape
and
play
it
again
so
you
can
achieve
the
desired
mix.
Completing
the
Mixdown
(Dubbing
the
Remix
Onto
Another
Tape)
NOTE:
First
check
your
dubbing
tape
recorder.
tt
it
has
a
separate
output
level
control,
adjust
that
to
its
normal
setting.
If
the
recorder
is
a
3-head
machine,
set
its
Source/Tape
switch
to
source.
You
won't
want
to
set
the
switch
to
Tape
because
of
the
inherent
time
delay
between
the
record
and
play
heads.
1

Amplifier or Receiver
ays
v /—2a ony
/
if Dupbing Recorder
Me, O°
fee
QO rane so te
Caco cS
5
as
required
7
8
5,10
Figure 12 - Setup for Mixdown of a Portastudio Cassette
1. Connect the Portastudio Line Outputs to the
line
inputs
of
the
dubbing
tape
recorder.
NOTE: We recommend feeding the dubbing
recorder directly from the Portastudio even if
your integrated amplifier or receiver has Tape Out
jacks. In this way, the signal passes through a
minimum of circuitry.
2. In order to monitor the playback from the
dubbing machine, you will need to do one of the
following:
a. Connect the dubbing recorder's Line
outputs to the Tape In jacks on your integrated
amplifier or receiver, and set the amp or
receiver so you will be able to hear the tape
playback.
b. If there are no Tape in jacks, connect the
dubbing recorder's Line outputs to a second
pair of Auxiliary input jacks on your integrated
amplifier or receiver, and set the amp or
receiver input selector to pick up that input.
c. If you are using only headphones, unplug
them from the Portastudio and plug them into
the dubbing recorder.
3. Turn ON the dubbing recorder and place itin
record ready mode (record/pause or whatever
mode will let you set the record levels without
actually recording).
IMPORTANT NOTE: At this point it is essential to
12
establish
the
proper
relationship
of
the
Porta-
studio’s
output
level to the dubbing
recorder’s
input
setting.
Remember
that you could
be
listening
at a comfortable
level
and still be
recording
at the wrong
level, so we recommend
the following
procedures:
4. During remix the Portastudio VU meters have
displayed the playback level from Tracks 1
through 4, but not the mix levels on the Left and
Right busses. To see the mix levels you are
working
with,
TEMPORARILY
PRESS
THE
TRACK 1 and TRACK 2 RECORD SELECT
BUTTONS. This readies the Buss L/Trk 1 and
Buss
R/Trk
2
meters
to
display
the
Left
and
Right
buss
level.
The
other
meters
will
no
longer
be
illuminated.
5. Press the Portastudio Play button. BE SURE
YOU
DO
NOT
PRESS
THE
RECORD
BUTTON
ON
THE
PORTASTUDIO,
OR
YOU
WILL
ERASE
YOUR
TAPE.
Observe
the
Buss
L/Trk
1
and
the
Buss
R/Trk
2
VU
meters.
They
should
be
peaking
between
-6
and
OVU.
If
they
are
somewhat
higher,
bring down the L-Master-R fader. If they are
somewhat lower, raise all the input channel
faders.
6. You have now established the desired output
level so you no longer need to look at the
Portastudio meters. PRESS THE REC OFF
BUTTONS
ON
THE
PORTASTUDIO
to
avoid
inadvertent tape erasure.
7. From now on, you can observe the mix level
by watching the dubbing recorder’s meters. With
the Portastudio tape still playing, adjust the
dubbing recorder's input level controls so its
meters display the proper nominal recording
levels specified for the machine.
NOTE: In rare instances, the sound you are
monitoring may seem unusually noisy or
distorted,
indicating
a
possible
level
mis-match
between
the
Portastudio
and
the
dubbing
recorder. Here are two quick approaches to
remedy most situations:
a. If the signal sounds too noisy, bring up the
Portastudio L-Master-R fader and bring down
the dubbing recorder input level controls.
b. if the signal sounds too distorted, bring
down the Portastudio L-Master-R fader. Then,
if necessary, bring up the dubbing recorder
input level controls.
8. Rewind the Portastudio master tape to the
beginning of the “take.”
9. Place the dubbing recorder in record mode.
10. Press the Portastudio Play button. YOU
ARE NOW MAKING THE TRANSFER.
11. If you want to fade out at the end ofa take, be
sure to note the position of the controls so you
can later return to the same settings.
12. To play back the dub, just rewind the
dubbing recorder, and place it in play mode. Your
monitoring is already set up to hear the tape,
unless it is a 3-head recorder, in which case you
will have to switch it from source or input to tape.

SECTION 5
PING PONG (COMBINING TWO
OR THREE TRACKS TO ONE)
“Ping-Pong” describes the transfer of program
material
from
one
place
on
the
tape
to
another
so
that
additional
tracks
can
be
recorded.
in
its
most
common form, the ping-pong involves the mixing
together of two or three previously recorded
tracks
and
the
simultaneous
re-recording
of
that
mix
onto
another
“open”
(unused)
track;
the
original
two
or
three
tracks
may
then
bé
erased or used for subsequent overdubs. In a
variation of the ping-pong technique, one or
more “live” sources are mixed with up to three
existing
tracks,
and
this
combined
program
is
re-
recorded
onto
a
single
“open”
track;
once
again,
the
original
track(s)
can
thenbe
erased.
j
med
2
°
om
eo}
(a)
Au
Figure 13 - Typical Setup for Ping-Pong
1. Place the Portastudio in cue mode (press the
Cue button).
2. Set these Tape Cue level controls at
minimum (zero):
a. The track(s) being combined, and
b, On the track to which the signal is being
transferred.
Turning
down
.these
Cue
controls
avoids
redundant
monitoring
of the
previously
recorded
program
and
ensures
that
what
you
hear
represents
the
actual
balance
being
recorded,
NOTE: If you are adding a “live” source, and you
wish to hear an existing track which is not part of
the ping-pong, you can monitor that track by
bringing up the corresponding Tape Cue level
control.)
3. Press down the Mic/Line-Tape switches
(“tape” mode) on those channels corresponding
to the tracks from which signal is being
transferred. This brings the pre-recorded track(s)
through the input channel(s). Remember that
Tracks 1 through 4 will appear on input channels
A through D respectively when the buttons are
down.
4, If you are also mixing in a “live” source(s)
during the ping-pong, bring it to any available
input channel(s) and leave that channel's
Mic/Line-Tape switch up ("Mic/Line” mode).
Remember to set the Trim control in accordance
with the basic techniques outlined earlier in
Section 2 of this manual.
5. Set the Pan controls of all channels being
transferred fully to the Left or the Right, as
required to assign signal to the track onto which
you are recording (see the chart preceeding these
instructions).
6. Engage the appropriate Record Select button
for the track onto which you are recording.
7. Play the tape and adjust the channel faders
on the tracks being combined (and on any new
inputs) for the desired program balance. If the
overall balance is OK, you still may have to bring
down the L-Master-R Fader a bit to keep the
illuminated VU meter in the nominal range.
8. Rewind the cassette, and you're ready forthe
ping-pong.
9. Simultaneously press Play and Record to
make the transfer.
10. To evaluate the recording, rewind the tape,
pull down the L-Master-R fader, and bring up the
Tape Cue level control for the track onto which
the transfer was made. If you're not satisfied with
the transfer, you can rewind, make any necessary
adjustments, and re-record over the same track.
CAUTION: When making ping-pong recordings
from one track to an adjacent track, from track
3 to track 2 or 4, for example, do not set the
channel faders set higher than the shaded zone
and avoid setting the treble controls to an
excessively high position.
If such extreme settings are unavoidable when
making ping-pong transfers, do not use adjacent
tracks, otherwise feedback/oscillation is likely to
result.
13

SECTION 6
STEREO/2-TRACK
TRANSFERS
Two
existing
tracks
can
be
simultaneously
transferred
to
two
unused
tracks
of
the
tape,
and
new
sounds
can
be
added
to
the
program
at
the
‘
wees
(Existing
_
Input
Channel
‘Set
Channet
same
time.
This
technique
is
really
a
variation
of
Trackor
|
&
Mic/Line-Tape
Pan
Controls
the
“ping-pong”.
New
Input}
|
Switch
Position
as
shown
1 Full Lef
In
theory,
this
back-and-forth
transfer
routine
Trock2
[ChB
Tae
|
4
Full
Right
can
be
used
more
than
once,
adding
an
New
Input
|
Ch.
C
—
Mic/Line
3
&/or
4
As
Desired
instrument
to
the
“stereo”
each
time
you
New
Input
|
Ch.
0
-
Mic/Ling!3
&i/or
4
As
Desizod
“bounce”
or
“ping-pong”.
In
practice,
noise
will
Track
3
|
Ch.C
—
Tape
1
Full
Left
-
7
Track
4
|
Ch.
D
—
Tape
2
|
Full
Right
build
up
rapidly
and
limits
the
use
of
thisstereo/2-
New
Input
|
Ch.
A
—
Mic/Line!
1
&J/or
2
As
Desired
track
transfer
method
to
perhaps
a
single
time.
New
input
|
Ch.
8
—
Mic/Line|
1
&/ar
2
|_As
Desir
The
ping-pong
is
otherwise
similar
to
the
mono
Track2
'Ch.6—Tape
|
1
F
ping-pong.
Be
sure
to
pan
the
tracks
fully
Left
and
Track
3
Ch.C—Tape
|
4
ull
Right
f é ;
;
New
Input
|
Ch.
A
—
Mic/Line|1
&/or
4
As
Desired
fully
Right.
If
you
wish
to
monitor
in
stereo,
switch
New
input
|
Ch.D~MiciLine|t
&/or4
|
As
Desired
_
to
remix
mode
and
turn
down
the
Tape
Cue
Track
2
Ch
8
Tape
Fist
Full
Right
controis.
Track
3
|
Ch.C
-
Tape
1
|
Full
Left
New
Input
|
Ch,
A
=
Mic/Line
1
&/or
4
As
Desired
New
Input
|
Ch.
D
—
Mic/Line’
1
&/or
4
As
Desired
|. A — Tape 3 , Full
. 0 — Tape 2 Full
. 8 — Mic/Line| 2 &/or 3 As Di
Mic/Line| 2 &/or 3
Track
1
.
A
—
Tape
2
Track
4
.
D
~
Tape
3
New Input B= Mic/Line| 2 &/or 3
New Input .C — Mic/Line! 2 &ior 3
Track
1
t-
3
Track
3
a
on a"
Track 2} ]
Track
4
3°
“These transfers are not possible.
Stereo/2-Track
Transfer
Track
Assignment
Chart
14

SECTION 7
STEREO/2-TRACK RECORDING
Stereo
Pair
of
Microphones.
(overall
pickup}
“Close”
mics
for
each
Sound
Source
a. Stereo sound field recorded using 2 mics, panned Full Left
and Right: levels the same on both channels.
b. Stereo recording using multiple mics, panned to create a
Perspective (real or artificiatl: levels may vary on different
Figure 14 - Pictorial Representation of Stereo Recording
When you record on two tracks at the same
time,
you
may
or
may
not
be
making
a
“stereo
recording.”
If
the
two
tracks
have
unrelated
material, perhaps an electric instrument on one
channel and a vocal mic on the other, then you are
making two simultaneous mono recordings, and
the
technique
is
known
as
“2-track
recording.”
If
the two tracks are used to create a panoramic
sound
image,
then
the
technique
is
known
as
“stereo recording.” There are two basic varieties
of stereo recording:
a. There are only two mics, and these are
recorded with one channel assigned complete-
ly to one track and the other channel to the
other track to preserve the stereo sound field.
b. There are 3 or 4 inputs, and these inputs
are assigned to the two tracks being recorded
by
adjusting
the
Pan
controls
to
create
any
desired stereo perspective.
Either
stereo
recording
or
2-track
recording
may
be
done
as
basic
tracks
(i.e.,
the
intial
take")
or
as
an
overdub.
Because
most
of
the
steps
are
the
same
in a stereo
basic
track
or
overdub,
we
have
combined
the
procedures
and
indicated
any
differences.
Sa
414d
8b,89
1—all chans. 8b,13 140 1s 14d
Figure 15 - Typical Setup for Stereo/2-Track Recording
1. Set all channel faders and the L-Master-R
fader at #0 (all the way down).
2. Set the Buss/Monitor control at #0.
3. Press the Cue button to place the Portastudio
16

16
in
cue
mode.
Since
you
will
be
auditioning
each
of
the
input
sources
individually,
this
prepares
you
to
listen
in
mono
with
the
headphones.
4.
Turn
down
all
the
Tape
Cue
level
controls
to
#0
(if
this
is
an
overdub,
you
are
not
initially
interested
in
hearing
existing
tracks,
but
only
in
auditioning
new
ones).
5.
Plug
in
the
microphone
or
line
level
input
sources
to
any
input
channels.
6.
Set
all
four
Mic/Line-Tape
switches
to
Mic/Line
position
(buttons
up).
7.
Press
the
Record
Select
switches
for
the
two
tracks
onto
which
you
plan
to
record
{i.e.,
one
Left-assigned
track
and
one
Right-assigned).
8. In order to audition each input source
without
confusion
from
the
others
(to
“solo”
the
inputs),
perform
the
following
sequence
once
for
each
channel
that
carries
a
new
input:
a, Rotate the channel's Pan control fully Left.
This
temporarily
isolates
the
signal
in
order
that
its
initial
level
and
EQ
may
be
more
easily
adjusted.
Later
the
Pan
control
may
be
reset.
b.
Slide
the
L-Master-R
fader
and
the
channel
fader
to
the
nominal
setting
(shaded
zone).
c.
With
a
typical
signal
present
at
the
input
(i.€.,
someone
using
the
mic
or
playing
the
instrument),
set
the
channel's
Trim
control
for
a
nominal
VU
meter
indication
(i.e.,
peaks
from
-3
dB
to
0
dB).
Only
the
Buss
L/Trk
1
VU
meter
will
be
moving
at
this
point,
although
the
Buss
R/Trk
2
VU
meter
also
will
be
illuminated.
d.
Plug
in
a
set
of
stereo
headphones
so
you
can
listen
to
the
program.
(Refer
to
the
Phones
jack
description
in
the
rear-panel
callouts
at
the
front
of
this
Manual.)
@. Raise the Buss/Monitor control to obtaina
comfortable listening level. (If you are using an
external headphone amplifier driven from the
Portastudio
headphone
jack
—
for
multi-
headphone
setups
during
overdubs
—
begin
with
the
Buss/Monitor
control
set
at
#3.)
f. Set the channel equalizer and/or adjust the
microphone
placement
to
obtain
the
desired
sound quality.
g.
Return
the
channel
fader
to
#0.
h. Repeat steps A through G above for the
next
input
channel
being
used
for
the
stereo
recording
until
all
channels
have
been
set
up.
9. Press the Remix button so you can monitor in
stereo.
10. Slide the channel faders to the nominal
setting
(shaded
zone)
on
all
the
input
channels
you just auditioned.
11. Have all of the musicians and/or vocalists
perform
whatever
program
you
intend
to
record.
12.
Set
each
input
channel's
Pan
control
for
the
desired
stereo
perspective.
NOTES (Refer to Figures 14 & 15):
4. If you are using a pair of mics to pick up the
stereo perspective, recording them directly
onto
two
tracks,
then
pan
one
input
fully
Left
and
the
other
fully
Right.
This
applies
the
same
Stereo perspective “heard” by the mics directly
to the tape.
b. ff you are using a pair of mics (or line
inputs)
to
pick
up
two
unrelated
sources
that
you
simply
wish
to
record
simultaneously
on
different
tracks,
then
pan
one
fully
Left
and
the
other
fully
Right.
(Such
tracks
can
be
re-
positioned later during the remix.)
c. If you are using several inputs, then pan
them wherever you wish until you hear the
desired stereo panorama in the headphones.
13.
Observe
the
Buss
L/Trk
1
and
Buss
R/Trk
2
VU
meters.
If
you
are
using
three
or
more
inputs,
the
combined
levels
may
get
a
bit
too
high;
in
that
case
you
can
bring
down
the
L-Master-R
fader
to
Obtain
the
proper
nominal
VU
meter
levels,
It
is
not
necessary
or
even
desirable
that
the
two
meters
give
identical
indications,
but
generally
they
should
both
peak
in
the
area
of
-3
dB
to
0dB.
NOTE:
Remember
that
if
the
sound
is
too
loud
or
soft
in
the
headphones
when
the
VU
meters
are
displaying
the
desired
levels,
use
the
Buss/Mon-
itor
control
to
adjust
the
level.
Do
not
use
the
channel
faders
or
L-Master-R
fader
as
this
will
interfere
with
optimum
recording.
14.
If
you
are
not
doing
an
overdub,
go
on
to
Step
15.
If
you
are
overdubbing,
you
and
the
performers
will
need
to
hear
the
already-recorded
tracks
as
well
as
the
new
sounds
being
recorded.
This
requirement
is
met
by
the
following
procedure
(14a-14d).
a. Press the Cue button. You no longer need
to monitor the stereo perspective. While
placing
the
unit
in
cue
mode
produces
a
mono
headphone
mix,
it
lets
you
listen
to
the
already
recorded tracks via their Tape Cue level
controls;
new
inputs
are
still
fed
to
the
headphones
via
the
Buss/Monitor
control.
Remember that even though you are monitor-
ing
in
mono,
you
will
be
making
a
stereo/2-
track recording.
b. Play the cassette (but don’t record yet).
Adjust the Tape Cue level controls for a
meaningful
balance
and
comfortable
sound
level
of
already
recorded
tracks.
c.
Have
the
musicians
and/or
vocalists
pertorm
while
you
are
playing
the
cassette
and
adjust
the
Buss/Monitor
control
for
the
desired
headphone
level.
You
will
be
also
be
hearing
the
existing
tracks
since
their
Tape
Cue
controls
are
up.
d. Rewind the cassette to the beginning of
the take, and proceed to the next step
(recording).
15. Press Play and Record to record the
performance.
When
you're
finished
recording,
Press
Stop.
Also
press
the
Record
Select
Off
buttons
to
avoid
inadvertent
erasure
during
playback.

To
Evaluate
the
Stereo/2-Track
Recording
There
is
more
than
one
way
you
can
monitor
the
playback.
You
will
notice
that
mono
playback
for
quick
reference
is
a
very
simple
procedure,
whereas
stereo
playback
can
become
rather
involved.
Since
you
already
checked
the
stereo
balance
when
you
were
setting
up
the
recording,
you
may
just
want
to
play
back
in
mono
for
a
check
of
the
signal.
NOTE:
Be
aware
that
apparent
hiss
will
be
excessive
in
this
mono
playback
mode,
even
though
the
tape
is
not
noisy.
This
mode
is
useful
Primarily
for
a
check
of
the
“timing”,
and
quiet
playback
will
not
be
feasible
until
the
Portastudio
is
switched
to
the
mixer
playback
method
(i.e.,
the
input
channels’
Mic/Line-Tape
switches
in
Tape
mode).
MONO
PLAYBACK
You
can
quickly
monitor
the
tape
in
mono
by
rewinding
it,
setting
the
L-Master-R
fader
at
#0.
Since
you
are
already
in
cue
mode
from
Step
14A,
just
set
the
Tape
Cue
level
controls
to
hear
a
headphone
mix
of
the
tape.
If
you
want
to
re-do
the
take,
rewind
the
tape
and
start
all
over
again.
STEREO
PLAYBACK
If
you
want
to
check
the
stereo
balance
of
your
basic
track
or
overdub,
follow
this
procedure.
You
can
either
use
headphones
or
an
external
stereo
amplifier
and
a
pair
of
speakers.
9
—
volume
adjust
{if
using
speakers)
Amplifier
or
Receiver
Speake:
3
(optional)
ee
[oes]
Figure
16
-
Typical
Setup
for
Stereo
Playback
to
Evaluate
Cassette
1,
Press
the
Remix
button
to
obtain
stereo
monitoring.
2.
Set
all
the
channel
faders
and
the
L-Master-R
fader at #0.
3.
If
using
Speakers,
connect
either
the
Portastudio's
Line
Out
or
Aux
Out
jacks
to
the
Aux
inputs
of
your
stereo
amplifier
or
receiver.
4.
Press
in
the
Mic/Line-Tape
buttons
on
any
input
channels
you
wish
to
monitor.
5.
Set
the
Treble
and
Bass
controls
at
#0
(center)
on
the
channels
to
be
played.
6.
On
the
two
channels
corresponding
to
the
stereo-recorded
tracks,
rotate
one
Pan
pot
fully
counterclockwise
and
the
other
fully
clockwise
(i.e.,
all
the
way
Left
and
Right).
This
ensures
you
will
hear
the
full
separation
and
stereo
perspective
on
these
channels.
If
you
want
to
reverse
the
stereo,
just
reverse
the
Pan
pot
positions.
7.
If
your
stereo
recording
was
an
overdub
and
you
also
wish
to
hear
the
other
track(s),
pan
them
to
any
point
along
the
stereo
perspective.
8.
Slide
the
playback
channels’
faders
and
the
L-Master-R
fader
to
nominal
(shaded
zone).
9.
Rewind
the
tape
and
press
Play.
Use
the
Volume
control
on
your
stereo
amplifier
to
set
the
speaker
level.
Alternately,
for
headphones
adjust
the
Buss/Monitor
control.
If
you
need
to
balance
overdubbed
tracks
with
basic
tracks,
adjust
the
channel
faders.
10.
If
you
want
to
redo
a
basic
stereo
track,
you
have
three
choices:
you
can use
a
fresh
cassette
(a
safe
way
to
ensure
you
won't
run
out
of
time),
use
remaining
time
on
the
same
cassette
(so
you
can
compare
first
and
second
takes),
or
simply
rewind
and
re-record
over
the
first
take
(when
tape
is
scarce).
If
you
want
to
redo
a
stereo
overdub,
you
have
only
one
choice
—
rewind
and
re-record
over
the
first
attempt.
NOTE:
If
you
are
redoing
a
recording,
return
all
controls
to
their
pre-playback
positions
{i.¢.,
before
Step
1
of
this
playback
procedure),
These
settings
may
nonetheless
produce
unexpected
results
because
the
performance
itself
may
differ
from
the
original.
In
that
case,
the
best
technique
—
albeit
time
consuming
—
is
to
start
all
over
with
Step
1
of
the
recording
procedure,
including
setting
all
the
levels
and
EQ.
CAUTION:
IF
YOU
ARE
GOING
TO
AGAIN
RECORD,
TURN
DOWN
THE
VOLUME
ON
YOUR
AMPLIFIER
(or,
safer
still,
turn
off
the
amplifier).
A
“live”
amplifier/speaker
system
in
the
presence
of
an
“open”
mic
is
likely
to
cause
severe
feedback
(howling)
that
could
easily
damage
your
speakers.

SECTION 8
AUXILIARY
SIGNAL
PROCESSING
Auxiliary
signal
processing
refers
to
the
use
of
external
equipment
such
as
an
echo
unit,
a
reverb,
a
delay
line,
a
phaser,
a
graphic
or
parametric
equalizer,
a
compressor,
and
so
forth.
Such
devices
may
be
used
when
recording
basic
tracks,
as
part
of
an
overdub,
and/or
during
the
remix.
Basically,
any
device
which
is
meant
for
use
with
an
electric
guitar
or
similar
instrument,
or
with
a
microphone,
can
be
connected
between
that
device
and
the
Portastudio’s
input;
in
this
instance
the
auxiliary
device
is
treated
as
an
integral
part
of
the
input
signal
and
no
special
Portastudio
connections
or
adjustments
are
involved.
Devices
which
are
designed
for
operation
in
medium
line-level
circuits
may
be
connected
between
the
Portastudio's
Aux
Send
jack
and
its
Aux
In
jacks,
between
the
Aux
Send
jack
and
a
channel
Mic/Line
input
jack,
or
between
the
Tape
Cue
jack
and
the
Aux
In
jacks,
as
shown
in
the
following
diagrams.
NOTE:
It
is
important
to
use
equipment
that
is
compatible
with
the
levels
and
impedances
of
the
Portastudio
(see
Section
12).
You
can
use
either
of
two
Portastudio
output
jacks,
Aux
Send
or
Tape
Cue,
to
feed
an
auxiliary
signal
processing
device.
The
choice
depends
on
the
specific
mixing
requirements,
as
described
below:
Auxiliary
Signal
Processor
—
Echo,
Graphic
EQ,
Phaser,
etc.
LINE IN LINE OUT
\se figures 19 & 20
These
controls
affect
Aux
Seng
levels
only
when
Mic¢/Line-Tape
buttons
are
up,
Send tevel
set neve
These
controls
affect
Taste
controls
Aux
Send
fevets
Send
tone
Figure
17
-
Using
the
Aux
Send
Output
for
Auxiliary
Signal
Processing
a,
For
signal
processing
while
recording
basic
tracks
or
an
overdub,
or
during
the
remix,
use
the
Aux
Send
output
jack.
The
Aux
Send
control
on
each
input
channel
actually
“sends”
the
channel's
signal
to
a
combining
amplifier
(a
summing
amplifier),
where
the
four
input
channels’
Aux
Sends
are
mixed
to
mono
for
feed
to
the
device.
This
Aux
Send
feed
is
post-
EQ
and
post-fader
which
means
that
level
adjustments
made
with
the
channel
fader
and
tone
adjustments
made
with
the
channel
Bass
and
Treble
controls
affect
the
Aux
Send
signal.
Thus,
if
you
bring
down
a
channel
fader
to
reduce
the
input'’s
direct
contribution
to
the
Program
mixing
network,
you
simultaneously
reduce
the
channel's
contribution
to
the
auxiliary
signal
processing
device.
Fade
outa
channel,
and
you
have
faded
out
the
aux
effect
as
well,
Auxiliary
Signal
Processor
{Echo
ete.)
LINE
IN
LINE
OUT
\
See
Figures
19
&
20
+
No
Input
channel
controls
affect
Aux
Mix
(via
Tape
Cue
out)
Only those controls
affect Aux Mix and
Output level
(via Tape Cue out
No
effect
on
Aux
Mix
or
Output
fevel
Figure
18
-
Using
the
Tape
Cue
Jack
for
Auxiliary
Signal
Processing
b.
An
alternative
aux
feed
may
be
used
for
signal
processing
during
remix
—
the
Tape
Cue
jack.
If
the
Portastudio
is
in
Remix
mode,
with
the
input
channels’
Mic/Line-Tape
switches
in
Tape
position,
then
the
headphone
(or
speaker)
monitoring
does
not
require
use
of
the
Tape
Cue
level
controls.
Thus,
these
controls
may
be
used
to
make
a
mono
mix
of
the
tracks
being
played
back,
and
that
mix
may
be
fed
to
the
auxiliary
signal
processor.
Since
the
Cue
feed
is
not
subject
to
the
input
channel
faders
or
equalizers,
special
effects
are
possible.
For
example,
suppose
the
auxiliary
device
is
an
echo/reverb
unit,
where
it
can
be
used
to
provide
ambience
for
a
person