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