» 414@# OWNER'S MANUAL 3D0028100A
Table Of Contents Safety Instructions 3 The PORTASTUDIO 414 MKII is...
Safety Instructions CAUTION: • Read all of these Instructions. • Save these Instructions for later use. • Follow all Warnings and Instructions marked on the audio equipment. 1) Read Instructions — All the safety and operating instructions should be read before the product is operated. 2) Retain Instructions — The safety and operating instructions should be retained for future reference. 3) Heed Warnings — All warnings on the product and in the operating instructions should be adhered to.
The PORTASTUDIO 414 MKII is... The PORTASTUDIO 414 MKII is a 4-track "Multitrack Master" cassette tape recorder and a fullfunction mixer with 8 inputs/stereo outputs including a balanced microphone input and a dedicated guitar input combined into a single workstation.
The Recording System The PORTASTUDIO 414 MKII is a complete audio production facility in a single box. It is divided into two major sections: a full-function mixer and a 4channel, multitrack cassette recorder. To complete the recording system, you'll additionally need these: input devices (microphones, instruments), output devices (headphones), 2 track recorder, effects processors, etc.
Understanding the Mixer Signal Flow in the 414 MKII Mixer The illustration below shows how input signals pass through the 414 MKII Mixer section. After the MASTER fader they go to the L/R LINE OUT jacks. 6 This is the most important signal route in the mixer and is called "Main Mix".
Understanding the Mixer Tape Cue Monitor System The TAPE CUE mix and MONITOR switches are also crucial for successful multitrack recording, because they control what you hear in the headphones. This CUE mix is totally independent from the Main Mix going to tape. If you don't use the CUE mix, you run the risk of accidentally "bouncing tracks" every time you record new material.
Multitrack Cassette Recorder The 414 MKII records on readily available standard (Philips) Compact Cassette tape, high bias Type II. The recorder has 4 tracks while the mixer has a stereo output; however, using the Direct Recording feature you can record on any or all of the 4 tracks at one time. For more details, see "Recording on More Than Two Tracks Simultaneously", page 22. ■ ZERO RETURN promptly brings you back to the beginning of a section of tape, selected by resetting the tape counter.
Track Format and Tape Recommendations Tape Type The Portastudio 414 MKII is internally adjusted for HIGH BIAS Type II tape. This means that for best results, you should only use tapes of this type. TDK SA, Maxell XL-II or equivalent formulations are recommended. We strongly suggest that you select one good quality brand and use it exclusively. The time you spend creating your multitrack master is much more valuable than the money you save by buying inferior tape.
Optional Accessories RC-30P Remote Footswitch MIDI-Tape Synchronizer PW-2Y/PW-4Y Insertion Cable Head Demagnetizer TZ-261 Cleaning Kit (Except U.S.) HC-1 Head Cleaner & RC-1 Rubber Cleaner (U.S.
PORTASTUDIO 414 MKII Brief Guide For detailed information on each feature, see "Features and Controls", pp. 31-35. Input Selection and Adjustment Channels 5 through 8 Channels 1 through 4 EQ HIGH : Cuts or boosts treble frequencies. Shelving point is at 10 kHz. EQ LOW : Cuts or boosts bass frequencies. Shelving point is at 100 Hz. EFFECT 1 and 2 : These control how much signal will go to the corresponding EFFECT send jacks. They get their signal from a point just after the channel fader.
PORTASTUDIO 414 MKII Brief Guide Recorder Controls Meters : The meters numbered 1-4 show the playback or the record level of the respective tape tracks. The average record level should be in the center (0), but occasional peaks up to +6 are acceptable. ZERO RETURN : When this switch is on and you press REW, the tape fast winds to the counter zero point. The associated LED blinks when the tape is rewinding, and glows solid when the 000 point is reached.
Step-By-Step-Operation Guide Let's Try the 414 MKII Mixer To learn how the mixer works, we’ll use a microphone as the source. If your dynamic microphone cable has a balanced XLR-type connector, we’ll use the rear-panel XLR-type INPUT (L, R) connector. If it is fitted with an unbalanced 1/4" connector, we’ll use the front-panel MIC/LINE IN jack. 3 ‘ Press the POWER switch on (the switch is located on the back), and the POWER indicator on the top panel will light.
Step-By-Step-Operation Guide 9 Monitor selection L-R MONITOR ‘ Press the MONITOR "L-R" switch on. 10 As a trial, let's record your voice on tape. 1 Have in hand a new cassette tape (Type II, C-90 length or shorter). 2 Loading a cassette Pull the cassette door open. Insert your cassette tape. Close the door. 3 Getting past the leader tape Monitor level Turn the MONITOR level control up to the 12 o'clock position.
Step-By-Step-Operation Guide 6 Mic level adjustment Track 1 Playback through TAPE CUE 1 Speak into the microphone. You will see meter 1 move. Slowly push the channel 1 TRIM control until the meter peaks at no more than "+6". 7 Selecting TAPE CUE Set the EFFECT 2/TAPE CUE selection switch located to the right of the track 4 meter to the right/TAPE CUE position. 2 Monitor selection Beginning recording ‘ ‘ ‘ Hold RECORD and press PLAY to initiate recording.
Step-By-Step-Operation Guide 6 Routing tape signals to TAPE CUE Locate the EFFECT 2/TAPE CUE level control on channel 1 and slowly turn it to the right. You'll hear, in center mono, what you have recorded on track 1. 7 Stopping playback How to Make an Overdub on Track 2 Overdubbing entails recording one or more additional tracks on the same tape, while listening to previously recorded tracks using TAPE CUE. Leave the microphone connected to the channel 1 input.
Step-By-Step-Operation Guide 6 Locating tape to zero ‘ 10 Monitoring input/tape You will hear track 1 play, together with the new signal going to track 2, in the headphones. NOTE Making sure that the ZERO RETURN switch is ON, press REW and the tape will rewind to the beginning of the track 1 recording. 7 Track selection Adjust only the TAPE CUE control of channel 1 if you need to change the balance between the old and new tracks in your headphones.
Step-By-Step-Operation Guide How to Record Tracks 3 and 4 Tracks 3 and 4 can be recorded using almost the same procedure just shown for tracks 1 and 2. Just use the applicable RECORD FUNCTION switches, and the PAN controls should be rotated to the LEFT for recording on Track 3 and to the RIGHT for Track 4. How to Record Many Sources onto a Single Track In the first example, we recorded one source onto one track at a time for simplicity.
Step-By-Step-Operation Guide How to Record a Mix onto Two Tracks Simultaneously If you want to record multiple sources onto two tracks, you use the channel PAN controls to send them to LEFT or RIGHT (or anywhere in between, if you're making a stereo mix). The track RECORD FUNCTION switches choose what track the Left and Right mixes will be recorded on. Note that in this method, the mixer channel number has nothing to do with what track the instrument winds up on.
Step-By-Step-Operation Guide Recording on More than Two Tracks Simultaneously : Direct Recording It is possible to record on three or four tracks at the same time by setting the respective RECORD FUNCTION switches to their numbered (1-4) position. In this Direct recording, each track gets its signal from a single mixer channel only — track 1 from channel 1, and so on. How to Mix Down When the 4 tracks are all recorded, the final step is mixing them into a standard stereo format.
Step-By-Step-Operation Guide 5 6 Playback level Press PLAY and, while listening to the tape play, tentatively set the channel faders. Adjust the PAN controls to set each track's left-to- right position for the desired stereo image. You may also want to use the EQ controls to adjust the individual tracks for the desired tonality. (For using effects, see pp. 27 & 28.) 7 Using the MASTER fader, adjust the overall playback level.
PUNCH-IN or INSERT Recording "Punching in" or "insert recording" is recording over a small section of previously recorded track to correct or improve a performance, while keeping the rest of the track intact. The mixer settings should be exactly the same as they were during the original recording. In the following, we'll use track 2 as the punch-in track as an example. Preliminary 1 As the punch-in track is track 2 in our example, your input must be sent to the stereo right bus.
PUNCH-IN or INSERT Recording Punch-in Procedure Using the remote footswitch (RC-30P) There are 2 ways to initiate the punch-in recording. The first is with the transport RECORD button, and the second is with the optional footswitch. Perform the "Preliminary" on the previous page, if you haven't yet done so. Punching-in/out with RECORD 1 2 3 Check to see that the track 2's REC indicator is blinking showing the track is in the Rec Ready mode. Locate the tape a little behind the expected punch-in point.
Bouncing Tracks (Ping-Pong) The recording capability of the PORTASTUDIO 414 MKII is not limited to four tracks. You can "bounce" or combine tracks you have recorded to an empty track, and then replace the original tracks with new material. A bounce is like a mixdown, except you are recording to one of the tracks of the 414 MKII instead of to an external recorder. The following diagrams depict the process.
Using Effects with the PORTASTUDIO 414 MKII Effects and signal processing are areas where you can really start to have fun customizing your sound, and develop your own unique recording style. Because there are so many possibilities, it also can be confusing. There are many different effect units on the market, all with different controls, types of inputs and outputs, and other characteristics.
Using Effects with the PORTASTUDIO 414 MKII Setting the Mix/Balance Control on Effect Devices REVERB LEFT/MONO RIGHT When it's being used in a send-return mix, set the mix/balance of your effect device all the way to "wet" or full processing with no direct original signal. In send/receive processing, the dry signal goes down the 414 MKII's channel fader to be mixed with the effect return signal on the stereo mix. Therefore, you don't need any "dry" signal coming to the effects return.
Syncing MIDI-Tape — Using the TASCAM MTS-30 MIDI clocks are themselves a computer type digital language and cannot be recorded on analog tape; it is necessary to convert them to recordable FSK (Frequency Shift Keying) signals using an appropriate converter, such as the MTS-30.
Features and Controls 414 MKII MIXER 5 4 1 2 1. POWER switch (on the rear panel): Turns the 414 MKII on and off. – – 6 21 22 23 2. DC IN 12 V connector (on the rear panel): This is for connection of the provided TASCAM PS-P414 AC adaptor only. – – Input Section – 24 25 16 3. MIC/LINE IN jacks (Channels 1-4): These 1/4" jacks accept unbalanced signals ranging from –50 dBV (3 mV) to –10 dBV (0.3 V), depending on the setting of the TRIM control (#13).
Features and Controls 14. Channel faders: These linear controls vary the level feeding the Master section. The nominal setting position is between 7 and 8 (shaded area). 20. MASTER fader: Used to adjust the stereo mix level. The signal fed to this fader comes from each channel's PAN control. The safe operating zone is between 7-8 on the scale. Output Section Stereo Input Section 15. STEREO INPUTS (Ch.5-6/7-8): Connect the outputs of your effects devices to these 1/4" jacks.
Features and Controls 414 MKII RECORDER 30. PLAY key: a) Press this key alone to start playback. Cassette Loading and dbx System 27. Cassette compartment door: To insert or remove a cassette, pull the door open. Once a cassette is inserted, be sure to close the door to prevent objects, dust or liquids from falling into the tape path. Tape path components b) If pressed together with RECORD, recording ("punch in") starts. 31. REW key: Winds tape at high speed in reverse direction. 32.
Features and Controls Track Controls 38. REMOTE PUNCH IN/OUT jack (on the front panel): For connection to an optional RC-30P remote footswitch. 39. RECORD FUNCTION switches 1-4: These switches put the respective tracks into Record Ready. Recording starts when RECORD is pressed together with PLAY. In the center position (SAFE) no recording takes place. NOTE Don't operate the RECORD FUNCTION switches to punch in and out. Otherwise, "clicks" will remain on tape.
Care and Maintenance Cleaning the Pinch Roller Clean the pinch roller at least once each day the deck is used. Use a good rubber cleaner. 1. Clean the pinch roller with a cotton swab moistened with rubber cleaner, until there is no visible residue on the pinch roller. 2. Using a clean cotton swab, wipe off all excess rubber cleaner from the pinch roller. Make certain that there is no foreign matter remaining on the pinch roller.
Specifications Tape: Compact Cassette (C-60 to 90), High-Bias (CrO2) Track Format: 4-track/4-channel Head Configuration: 4-channel record/play (permalloy) x 1 4-channel erase (ferrite) x 1 Motor: DC servo motor x 1 Tape Speed: 9.5 cm/sec. (3-3/4 ips) Pitch Control: ± 10 % (approx.) Wow and Flutter: 0.2% WRMS or less Fast Winding Time: 115 sec. (approx.) with C-60 Dimensions (W x H x D) 367 x 100 x 247 mm (14-7/16" x 3-15/16" x 9-3/4") Weight: 2.1 kg (4-10/16 lbs.
Block Diagram L INPUT INPUT FADER MIC/LINE 1 PAN R E F F L MIC/LINE (-50 to -10dBV) GUITAR IN EQ TAPE MASTER L LINE OUT (-10dBV) C U E R TRIM E F F 2 / T A P E R EFFECT 1 LOW HIGH EFFECT 1 SEND MIC/LINE 2 (-10dBV) TO: CH 2 (-50 to -10dBV) TO: CH 2 EFFECT 2 EFFECT 2 /TAPE CUE EFFECT 2 SEND /TAPE CUE OUT TAPE CUE (-10dBV) MIC/LINE 3 TO: CH 3 (-50 to -10dBV) TO: CH 3 DIRECT 1 DIRECT 2 DIRECT 3 MONITOR DIRECT 4 MIC/LINE 4 TO: CH 4 (-50 to -10dBV) PHONES TO: CH 4 (60mW+60mW)
–90 –80 –70 –60 –50 –40 –30 –20 –10 0 +10 ( dBV ) BIAS ADJ. 10 REPRO REC 1 REPRO HEAD (–79) (315Hz 160nWb/m) 1 0 dBV = 1.
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