Tascam 414MKII User's Manual
Contents
1. MIC LINE IN RC 30P The Three Steps to Multitrack In TRACKING and OVERDUBBING the mixer inputs are usually microphones or instruments going to different tracks of the recorder In OVERDUBBING the MONITOR section and TAPE CUE of the mixer must be used to listen to previous tracks while you record new ones so there is a two way flow through the console In MIXDOWN signal comes from the multitrack and is sent to an external 2 track recorder Understanding the Mixer This is the most important signal route in the mixer and is called Main Mix 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 EFFECT 2 SEND TAPE CUE OUT EFFECT 1 STEREO MON SEND 5 6 puts L MON R Q HIGH v LEVEL 5 6 2 Low Hd ix L R g 2 EFFECT 1 EFFECT 1 O j2. 38 Block Diagram E E F F F F 2 MASTER INPUT INPUT MIC LINE 1 FADER PAN T wae 50 to 10dBV gt MIC LINE P L GUITAR IN bets EQ TAPE o R E TRIM EFFECT 1 Bow EFFECT SEND MIC LINE 2 4 10dBV 50 to 10dBV TO CH 2 TO CH 2 EFFECT Z o TAPE CUE 0 1 EFFECT 2 Tm EURO SEND EFFECT 2 SEND 7 TAPE CUE 2 TAPE OUT ier APE CUB OU MIC LINE 3 T 9 10dBV 50 to 10dBV DIRECT 1 to DIRECT 2 v DIRECT 3 i MONITOR 1 MIC LINE 4 DIBEGT PHONES 50 to 10dBV TO CH4 60mW 60mW I4 TAPE 1 L o 3 TAPE 2 TAPE 3 Lin CH 1 CH4 a I o EFFECT ATT MONITOR OUT 1 9 TRK1 o LEVEL 5 6 L 1 STEREO INPUTS 5 6 x C10dBV EFFECTF 2 STEREO JACK R TAPE CU
3. dbx noise REDUCTION SYSTEM HIGH SPEED RECORDIN PLAY REW F FWD STOP PAUSE s Connections the Rear Panel SUB IN L and R Provide a direct route to the MASTER fader An outboard mixer may be connected here The SUB IN R jack is also used to record sync tones on track 4 SYNC OUT Sync tones you ll record on track 4 are sent out of this jack to the TASCAM MTS 30 MIDI Tape synchro nizer or other similar units LINE OUT L and R Normally connect these jacks to the Left and Right inputs of your mixdown deck On the front 14 MON OUT L and R These are connected to an amplifier powering the control room speakers EFFECT 1 SEND For sending post chan nel fader signals to effects devices The returns are plugged into the STEREO INPUTS EFFECT 2 SEND TAPE CUE OUT The signal available at this jack comes either from post channel fader for connection to an additional effects device or from the tape for connection to a studio speaker system as selected by means of the EFFECT 2 TAPE CUE switch EFFECT 1 EFFECT 2 SEND SEND TAPE CUE OUT PHONES This carries the same mix as the MON OUT jacks as selected by the MONITOR switches REMOTE PUNCH IN OUT Connect to this jack the optional RC footswitch 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 yo
4. 37 Distortion 1 MIC INPUT to LINE OUTPUT 0 05 at 1 kHz 15 dB above nominal input level with 30 kHz low pass filter inserted 1 LINE INPUT to LINE OUTPUT 0 03 at 1 kHz nominal input level with 30 kHz low pass filter inserted Crosstalk 60 dB at 1 kHz nominal input level with 1 kHz band pass filter inserted Recorder Section Record Channel 4 track single direction Noise Reduction Type Overall Frequency Response 40 Hz to 10 kHz 3 dB wihtout dbx Overall Signal to Noise Ratio 85 dB at 1 kHz ref to 3 THD A weighted with dbx Total Harmonic Distortion THD 2 0 at 1 kHz nominal input level with dbx 367mm Channel Separation 40 dB at 1 kHz nominal input level with dbx Erasure 65 dB or greater at 1 kHz B P F inserted Others Power Requirements USA CANADA 120 V AC 60 Hz U K EUROPE 230 50 Hz AUSTRALIA 240 V AC 50 Hz Power Consumption 11 W via the supplied PS P414 AC adaptor In these specifications 0 dBV is referenced to 1 Volt Actual voltage levels are also given in parentheses 0 316 V for 10 dBV rounded off to 0 3 V dbx is a registered trademark of dbx Incorporated m Changes in specifications and features may be made without notice or obligation
5. OH EFFECT 2 EFFECT 2 TAPE CUE z LH PAN 2 2 M EN p INPUT INPUT INPUT RECORD TAPE FUNCTION GUITAR GUITAR o MIC LINE MIC LINE MIC LINE B 1 E mm mm mm mm mm mm m m mm E eo 5 de 4 3 MIC 2 ge 2 2 i a 1 0 LINE TRIM 1 MASTER __ MIC LINE IN X 20 4 mm mm um EE 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 EFFECT 2 SEND TAPE CUE OUT EFFECT 2 TAPE CUE Understanding the Mixer The 4 TAPE CUE controls act like a separate 4x1 mixer dedicated solely so you can hear playback from the multitrack recorder in your headphones Settings of these controls don t affect the mix going to tape When the master EFFECT 2 TAPE CUE select switch located to the right of the track 4 meter is set to the right TAPE CUE position the channels TAPE CUE controls are turned to the right the MONITOR EFFECT 2 TAPE CUE switch is pressed on and the MONITOR level control is
6. 3 mV to 10 0 3 V ume to the EFFECT 1 SEND jack depending on the setting of the TRIM control 13 10 EFFECT 2 TAPE CUE controls These con 4 INPUT L amp R trols get their signal after the channel fader and V Ee pq ep on the rear panel These route the signal to the EFFECT 2 SEND jack or a e Na EE LT 28 XLR type COnnECtOrs A CEpi balanced signals are used to adjust the tape playback level sent to CN A AO O rower They are mainly intended for Bee with dynamic the monitor section as determined by the 7 SZ SZ AES SES 2 o 35 microphones but the nominal input level may be EFFECT 2 TAPE CUE select switch 19 X9 X9 wx N adjusted from 60 to 20 depending on the 8 ai Jio M s PN gt setting of the TRIM ii Note that if a signal 11 PAN controls These controls allow you to 9 XS zo connected to the front MIC LINE IN create stereo mixes by sending the signal from mur MN EE auro sd e the im the channel fader in continuously variable A a SY A EAA where a microphone is connected L 1 or 3 R 39 m ee p ome m E Ee I 18 or 4 the signal input here at the INPUT L R E s GL Ee 19 connector will be ignored by the 414 MKII 12 INPUT select switches These ar
7. K L R Turn the channel 1 PAN control all the way to the left Channel level Raise the channel fader to the shaded area between 7 and 8 Master level Raise the MASTER fader to the shaded area between 7 and 8 15 Step By Step Operation Guide 9 Monitor selection L R MoniToR Press the MONITOR L R switch on 10 Monitor level Turn the MONITOR level control up to the 12 o clock position 11 TRIM adjustment MIC 1 LINE While speaking into the microphone slowly push the TRIM control in channel 1 You will hear your voice on the left side in the headphones When using a line level source such as electronic instruments instead of a microphone the TRIM does not need to be pushed up very far if at all 16 How to Record on Track 1 As a trial 5 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 Getting past the leader tape Press PLAY and allow the tape to run for about 5 seconds This will run the tape leader onto the take up reel and put the beginning of the tape in front of the heads 4 Resetting the counter mx Reset the tape counter to 000 by pressing the adjacent button 5 Selecting tracks n swe E l gt eO M Set the RECORD FUNCTION switch for track 1 to its L positi
8. indicator that was blinking will turn on solid and track 4 will record a copy of what is on tracks 1 3 9 You ll hear the mix being recorded on track 4 in the headphones 10 Once the recording is done press STOP or PAUSE 11 The REC indicator will now be blinking as before Turn that off by setting the RECORD FUNCTION switch for track 4 to SAFE 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 Read the manual of your effects device and the following sections to get the complete story of what s possible for your particular situation 1 In line processing The processing that s easiest to understand doesn t involve the 414 MKII directly at all You can plug your instrument directly into the input of the effect device and plug the output of the device directly into a line input of the 414 MKII The whole signal gets processed flanged doubled limited delayed etc and only one instrument can use that processor Effect pedals for guitar are typically used this way To get a mix of processed wet and original dry signal the unit must have its own MIX or BALANCE control 2
9. or coloured GREEN or GREEN and YELLOW The wires in the mains lead on this product are coloured in accordance with the following code BLUE BROWN NEUTRAL LIVE As these colours may not correspond with the coloured markings identifying the terminals in your plug proceed as follows The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED When replacing the fuse only a correctly rated approved type should be used and be sure to re fit the fuse cover IF IN DOUBT CONSULT A COMPETENT ELECTRICIAN 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 4 channel 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 MTS 30 MIDI Tape Synchronizer 1 1 pg I o MIDI Sequencer Mixing Console GUITAR IN Ei 2 track Recorder BB MONITOR OUT TL 7 INPUTR 2 EFFECT 1 SEND STEREO INPUTS 5 6
10. turned up you can hear tape playback in the headphones You can adjust the monitor level of each track by adjusting its TAPE CUE control The channels of the Main Mix remain free to handle external inputs for recording If you can hear tape playback in your headphones when TAPE CUE is off it means you re hearing tape through the Main Mix This is correct for mixdown and bouncing tracks but during overdubbing it can cause previous tracks to be mixed together with new tracks instead of each part remaining separate Use the TAPE CUE to avoid this The three MONITOR switches choose which mix es you can hear in the headphones monitor speakers the L R mix the TAPE CUE mix and the EFFECT 1 and 2 send mixes Press the L R switch on to hear what you are recording 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 The 414 MKII s dbx Noise Reduction virtually eliminates unwanted tape noise A special SYNC feature turns off the dbx on track 4 separately making it possible to record and play back the MIDI sync tones or SMPTE EBU time code without being affected by the dbx encode decode This ensures that the sy
11. Capstan Shaft After cleaning the pinch roller clean the capstan shaft with a cotton swab moistened with head cleaning fluid 0 1 g J EL EST Erase head Capstan Record Play head Pinch roller Degaussing the Tape Path Hold the degausser about 1 m 3 feet away from the recorder Turn it on slowly move into the tape path Move the degausser slowly back and forth touching lightly all metal parts in the tape path Slowly move it away again to at least 1 m 3 feet from the recorder before turning it off CAUTION If the surface of the unit gets dirty wipe the surface with a soft cloth or use a diluted neutral cleaning fluid Clean off thoroughly Do not use thinner benzine or alcohol as they may damage the surface of the unit 36 How the dbx Works The dbx system is a wide band compression expansion system which provides a net noise reduction broadband not just hiss of a little more than 30 dB In addition the compression during recording permits a net gain in tape headroom of about 10 dB A compression factor of 2 1 is used before recording then 1 2 expansion on reproduce These compression and expansion factors are linear in decibels and allow the system to produce tape recordings with over a 90 dB dynamic range an important feature especially when you re making live recordings The dbx system employs RMS level sensors to eliminate compressor expander tracking errors due to ph
12. Polarization This product may be equipped with a polarized alternating current line plug a plug having one blade wider than the other This plug will fit into the power outlet only one way This is a safety feature If you are unable to insert the plug fully into the outlet try reversing the plug If the plug should still fail to fit contact your electrician to replace your obsolete outlet Do not defeat the safety purpose of the polarized plug 13 Power Cord Protection Power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them paying particular attention to cords at plugs convenience receptacles and the point where they exit from the product 14 Outdoor Antenna Grounding If an outside antenna or cable system is connected to the product sure the antenna or cable system is grounded so as to provide some protection against voltage surges and built up static charges Article 810 of the National Electrical Code ANSI NFPA 770 provides information with regard to proper grounding of the mast and supporting structure grounding of the lead in wire to an antenna discharge unit size of grounding conductors location of antenna discharge unit connection to grounding electrodes and requirements for the grounding electrode Note to CATV system installer This reminder is provided to call the CATV system installer s attention to Section 820 40 of the NEC which
13. RECORD FUNCTION switches work in the same way selecting either the same numbered channels or the stereo mix Left mix for Tracks 1 amp 3 Right mix for Tracks 2 amp 4 Displays 40 Track level meters 1 4 These meters show the record level coming either from each channel s fader or from the MASTER fader the first and the third meters register the level from the left buss the second and the fourth meters register the level from the right buss If a track or tracks are in Safe mode the corresponding meters show the playback level 41 Track REC indicators They show the individual track s status as selected by the RECORD FUNCTION switches 39 Track REC indicator Track status Off Safe Blinking Record Ready Steady indication Record Care and Maintenance Even though the heads used in your 414 MKII have high wear resistance and are rigidly constructed performance degradation or electro mechanical failure can be prevented if maintenance is performed regularly CLEANING The first things you will need for maintenance are not expensive The whole kit with the swabs and fluids you will need for months will cost less than a couple of high quality cassettes We cannot stress the importance of cleaning too much Clean up before each session Clean up after every session Clean up every time you take a break in the middle of a session DEGAUSSING DEMAGNETIZING A little stray magnetism
14. SUB IN R of the 414 MKII and the SYNC OUT of the 414 MKII to the TAPE IN of the MTS 30 Set the track 4s RECORD FUNCTION switch to R Set the DBX switch on the 414 MKII to the SYNC position This defeats the dbx encode decode for track 4 only When recording FSK signals adjust the MAS TER fader of the 414 MKII to get a reading on the track 4 meter of from 10 to 0 dB OUT TAPE IN MIDI OUT MIDI IN lel SUB IN TAPE OUT MIDIIN MIDI OUT R LINE OUT Drum Machine MIDI THRU MIDI IN LINE OUT Synthesizer 29 Troubleshooting Problem Possible Cause Playback sounds dull Dirty heads Playback level is too low Dirty heads Transport keys not effective Power turned off or tape not loaded No recording RECORD FUNCTION set to SAFE or cassette tab broken Wrong tracks recorded PAN improperly set Incorrect playback pitch PITCH CONTROL set to a different position than during recording Feedback occurs during ping pong recording Level is too high or EQ HIGH is excessively boosted Problem Solution Old tracks are always recorded along with new material Use the TAPE CUE section instead of the main mixer for monitoring previous tracks Recording is noisy Make sure that all mixer channel faders are turned down to the minimum level except the ones that you are using Also increase the volume controls of the instruments you
15. Send return mix processing This is the most common method of effect processing especially for reverb and delay It allows a number of different channels to use the same effect while allowing you to control how much effect is mixed with each channel Each of the 4 mixer channels can send signals to the EFFECT SEND 1 or 2 outputs These outputs can then be connected to the input of effects devices The processed signals from the devices are plugged into the stereo channels 5 6 and 7 8 for them to be mixed onto the stereo left and right buses The whole path from the EFFECT SENDS to the reverb and back into STEREO INPUTS is called an effects loop The EFFECT 1 and 2 controls determine how much signal goes to the reverb unit the LEVEL control on the stereo channels determines how much returns from the reverb unit In this method the stereo inputs function as effects returns Setting Effect Send Levels The goal is not to distort the device while staying above the noise that effect units generate To get the best signal to noise from most effects units you should send it as strong a signal as you can With a properly set input signal in the 414 the channel EFFECT send set to about 2 o clock position for EFFECT 1 or EFFECT 2 feed you should get a fairly loud signal from the EFFECT SEND jacks If your effects device has an input level control of its own it should be set so the meter or signal light of the effects
16. a little behind the expected punch in point Then press PLAY When you reach JUST BEFORE the error hold PLAY and push RECORD The REC indicator that was blinking will glow solid and track 2 enters the Record mode To punch out of record push STOP or PAUSE The REC indicator that was lit solidly blinks to indicate that recording is over PUNCH IN or INSERT Recording Using the remote footswitch RC 30P REMOTE PUNCH IN OUT Y RC 30P If you are recording alone and are too busy playing an instrument to push the switches the optional remote footswitch really comes in handy 1 Plug the RC 30P into the REMOTE PUNCH IN OUT jack on the front of the 414 MKII Check that the track 2 s REC indicator is blinking and locate the tape to a point a little before the error then press PLAY When you reach JUST BEFORE the error press the footswitch and the REC indicator that was blinking will glow steadily to indicate the track is in the Record mode To punch out of record press the footswitch again The REC indicator will start blinking again To stop the tape press STOP 25 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 instea
17. are recording the 414 MKII channel and master faders should not have to be full up at any time Incorrect tape sync Try re recording sync tones by adjusting the channel fader so that the track 4 meter reads between 10 dB and 0 dB 30 40 10 12 13 Features and Controls left to cut the high frequency content if the sig nal sounds too harsh or shrill The EQ shelving point is 10 KHz 414 MKII MIXER 5 4 1 2 1 POWER switch on the rear panel Turns the 414 MKII on and off 8 EQ LOW Tur the controls to the right to boost bass frequencies and make the sound relatively A one 2 DC IN 12 V connector on the rear panel heavy Turn the controls to the left to cut bass MV OU This is for connection of the provided TASCAM and make the sound thinner The EQ shelving e PS P414 AC adaptor only point is 100 Hz 9 Q5 Ta Sa yee 9 EFFECT 1 send controls These controls get 9 Input Section their signal from a point just after the channel fader 1 post fader send and route the corre sponding channel signal to the EFFECT 1 SEND jack Turn the control to the right to increase vol 3 MIC LINE IN jacks Channels 1 4 These 1 4 jacks accept unbalanced signals ranging 6 21 2 23 24 2516 15 from 50 dBV
18. particular switch control jack name or label like PAN Transport modes and some features are described with an upper case first letter like Record mode CAUTION To power the PORTASTUDIO 414 MKII use only the provided PS P414 AC adaptor Using any other adaptor will cause damage to the 414 MKII and such damage would not be covered by the limited warranty on the product About the weld line There is a patterned stripe like effect on the bottom surface of the 414 unit This effect is called a weld line and is a natural result of the resin molding process employed in the manufacture of the 414 MKII unit It is not a crack or scratch and will cause no problems with the operation of the 414 unit NOTE FOR U K CUSTOMERS DO NOT cut off the mains plug from this equipment If the plug fitted is not suitable for the power points in your home or the cable is too short to reach a power point then obtain an appropriate safety approved extension lead or consult your dealer If nonetheless the mains plug is cut off remove the fuse and dispose of the plug immediately to avoid a possible shock hazard by inadvertent connection to the mains supply If this product is not provided with a mains plug or one has to be fitted then follow the instructions given below IMPORTANT DO NOT make any connection to the larger terminal which is marked with the letter E or by the safety earth symbol
19. the channel source GUITAR When this is selected makes the GUITAR input the channel source If no instrument is plugged into the GUITAR input this is equiva lent to OFF MIC LINE Brings the MIC LINE input into the channel Channel fader Sets the volume of the channel feeding the MASTER fader TRIM Sets how much preamplification will be added to the MIC LINE IN jack Push up if the signal needs amplification pull down if the signal is so loud itis distorting the mixer electronics MIC LINE IN on the front These are the input jacks for the mixer channels Line level unbalanced signal sources such as electronic instruments may be connected here You can also connect lower level signals down to 50 dBV and use the TRIM control to amplify them INPUT L amp R These balanced XLR type connectors are for balanced micro phones If a signal source is connected to the front MIC LINE IN jack cor responding to the XLR type connector where a microphone is connected L 1 or 3 R 2 or 4 the microphone signal input here is ignored In other words if you want to use microphones with these connectors make sure that nothing is plugged into the corresponding MIC LINE IN jack at that time GUITAR IN jack and TRIM control This 1 4 jack is specially designed for connection of an electric guitar or bass guitar This dedicated input is provided because these instruments have an impedance that is different to that of microph
20. turn up their TAPE CUE controls as well to the desired level and balance and adjust the overall level with the MONITOR control 5 Play the instrument You ll hear it together with the tape signals through the headphones Stop the tape and you hear only the instrument being played 24 6 Setthe RECORD FUNCTION switch for track 2 to R The track s REC indicator will start blinking and meter 2 will show your instrument s output level Adjust the channel and MASTER faders for the proper recording level Selecting in and out points For both musical and technical reasons when punching in or out of a track you must select points that are in the points clear i e in pauses between phrases or notes The sound will seem unnatural and inserts will be noticeable if a new note is recorded before the old one has ended or a note is held as you punch in or out Making smooth inserts requires practice Spacing between the erase and record heads requires that you anticipate in out points by a fraction of a second for extremely tight cues Punch in Procedure 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 Check to see that the track 2 s REC indicator is blinking showing the track is in the Rec Ready mode Locate the tape
21. 3D0028100A TASCAM TEAC Professional Division 414MKII PORTASTUDIO OWNER S MANUAL 20 og 2 85 2 EX QE A WES z z z 2 rio 8 mes 8 38 Table Of Contents Safety Instructions 3 Using Effects with the The PORTASTUDIO 414 MKII is 4 PORTASTUDIO 414 27 28 The Recording System 5 Setting Effect Send Levels 27 The Three Steps to Multitrack 5 Setting the Output Level of Effect Understanding the Mixer 6 7 Devices 27 Signal Flow in the 414 MKII Mixer 6 Setting the Mix Balance Control Tape Cue Monitor System 7 on Effect Devices I 28 Multitrack Cassette Recorder 8 How to Connect Your Effects Devices 28 Track Format and Tape Syncing MIDI Tape Using the Recommendations 8 9 TASCAM MTS 30 29 Optional Accessories 10 Troubleshooting 30 PORTASTUDIO 414 MKII Brief Guide 11 14 Features and Controls 31 35 Step By Step Operation Guide 15 23 414 MKII MIXER Let s Try the 414 MKII Mixer 15 Input Section 32 How to Record on Track 1 16 Stereo Input Section 33 Track 1 Playback through TAPE CUE 17 Monitor Section 33 How to Make an Overdub on Track 2 18 Master Section 33 Ho
22. AUSTRALIA PTY LTD A C N 005 408 462 Phone 03 9644 2442 106 Bay Street Port Melbourne Victoria 3207 Australia TEAC ITALIANA S p A Phone 02 66010500 Via C Cant 11 20092 Cinisello Balsamo Milano Italy PRINTED IN CHINA 0799 M 1531A
23. E TIP L RK22 SF RING R SAFE MONO JACK L MONO LEVEL 7 8 BC TZ Sa yk Ae o L STEREO INPUTS 7 8 9 C10dBV o USS L o TRKS M STEREO JACK SAFE R RING L v MONO JACK R GUITAR IN 1 Zom 50 to 10dBV O t 4 o L sue N 10dBV R RECORD FUNCTION LEDIMETER TRK2 4TRK 4CH R P AMP DBX TYPE 2 NR TRK1 TRK2 R P HEAD TRK 4 gt 3 DBX UNIT TAPES o oa a b ILL SYNC OUT ma ESQ 4 TRK2 gt REC 1 ERASE HEAD REC 2 2 3 DEX REC 4 TRK4 lt gt lt REMOTE PUNCH vo RC 30P used OER s 39 40 Level Diagram SULA O L ABP O YOLINOW los ot H3lsviWw 1 I 1 I 1 I 1 I 1 I I I 1 1 I 1 E E 01 B i SINANI t 1038318 nee E I I 1 1 I l l 1 f l 1 I 1 N Op Ps m ka l oe 1 I N oz I 1 l 5 1 OL I 11 I 0 l 1 pd NIEV
24. LIND l I I 1 1 I I 1 1 I I 1 1 I l 1 1 I I 1 1 I l 1 I I l I I 1 l 1 I 1 l I I 1 1 I I 1 01 HO NI ANITIN QvaH 934 NI 100 NI 100 NI 100 NI wyamuogt zHs LE 62 110 3dvl SUA O L 950 41 TASCAM TEAC Professional Division 414 MKII PORTASTUDIO TEAC CORPORATION Phone 0422 52 5082 3 7 3 Nakacho Musashino shi Tokyo 180 8550 Japan TEAC AMERICA INC Phone 323 726 0303 7733 Telegraph Road Montebello California 90640 TEAC CANADA LTD Phone 905 890 8008 Facsimile 905 890 9888 5939 Wallace Street Mississauga Ontario L4Z 1Z8 Canada TEAC MEXICO S A De C V Phone 5 658 1943 Privada De Corina No 18 Colonia Del Carmen Coyoacon Mexico DF 04100 TEAC UK LIMITED Phone 01923 819699 5 Marlin House Marlins Meadow The Croxley Centre Watford Herts WD1 8YA U K TEAC DEUTSCHLAND GmbH Phone 0611 71580 Bahnstrasse 12 65205 Wiesbaden Erbenheim Germany TEAC FRANCE S A Phone 01 42 37 01 02 17 Rue Alexis de Tocqueville CE 005 92182 Antony Cedex France TEAC BELGIUM NV SA Phone 0031 30 6048115 P A TEAC Nederland BV Perkinsbaan 11a 3439 ND Nieuwegein Netherlands TEAC NEDERLAND BV Phone 030 6030229 Perkinsbaan 11a 3439 ND Nieuwegein Netherlands TEAC
25. T for recording on either Track 1 or Track 3 Goo EFFECT 2 TAPE v CUE These mixer channels are being sent to the RIGHT for recording on either Track 2 or Track 4 E Press the MONITOR L R switch on Recording is the same procedure as for one track In the example above set the RECORD FUNCTION switch for track 3 to L and the switch for track 4 to R to record on these two tracks simultaneously Step By Step Operation Guide Restrictions The 414 MKII mixer section has only two main mixes Left and Right For this reason you can record only two tracks at once while you re recording a mix of instruments for example two instruments on track 1 three instruments on track 2 Also you can record a mix only on combinations or even odd numbered tracks 1 amp 2 1 amp 4 2 amp 3 etc If the RECORD FUNCTION switch for track 1 and that for track 3 are both set to L the two tracks will both record the same mix Recording the stereo channels 5 6 and 7 8 It is possible to record up to six sources simultaneously using the four standard mixer channels plus the two pairs of stereo channels The stereo channel s signal is sent to the stereo mix bus passing through the LEVEL control so the signal is recorded along with any other channels signals sent to the stereo left and right buses Since there is no PAN control the stereo channel s signal i
26. ase shifts in the tape recorder and provides excellent transient tracking capabilities To achieve a large reduction in audible tape hiss without danger of overload or high frequency self erasure on the tape frequency pre emphasis and de emphasis are added to the signal and RMS level sensors Input o gt Encoder Decoder Output Dynamic range Encode Record Playback Compress B p B Expand y Saturation level 2008 20dB ak ers T input signal 8048 Dynamic range of tape 65dB I T 50dB lt 60dB 60dB I Slates dbx encoding decoding level diagram 80dB Noise level SUBSONICS AND INTERFERENCE The dbx system incorporates an effective bandpass filter This filter suppresses undesirable subsonic frequencies to keep them from introducing errors into the encode or decode process However if rumble from trains or trucks is picked up by your microphone and fed to the dbx system modulation of the program material during low level passages may occur This low frequency component will not itself be passed through the recorder and so will not be present at reproduce for proper decoding If this low level decoding error is encountered and subsonics are suspected we suggest the addition of a suitable high pass filte
27. can become quite a big nuisance in tape recording It only takes a small amount 0 2 Gauss to cause trouble on the record head Playing 10 cassettes will put about that much charge on the heads A little more than that 0 7 Gauss will start to erase high frequency signals on previously recorded tapes You can see that it s worth taking the trouble to degauss regularly A clean and properly demagnetized tape recorder will maintain its performance without any other attention for quite a while It won t ruin previously recorded material nor will getting it back to original specifications be difficult Cleaning the Heads and Tape Guides All heads and metal parts the tape path must be cleaned after every 6 hours of operation or before starting and after ending a recording session 1 Open the cassette door 2 Using a good head cleaning fluid and a cotton swab clean the heads and tape guides until the swab comes off clean wipe off any excess cleaning fluid with a dry swab 35 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 Cleaning the
28. cing instructions in the literature accompanying the appliance This appliance has a serial number located on the rear panel Please record the model number and serial number and retain them for your records WARNING TO PREVENT FIRE OR SHOCK HAZARD DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE Model number Serial number 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 4 Follow Instructions All operating and use instructions should be followed 5 Cleaning Unplug this product from the wall outlet before cleaning Do not use liquid cleaners or aerosol cleaners Use a damp cloth for cleaning 6 Attachments Do not use attachments not recommended by the product manufacturer as they may cause hazards 7 Water and Moisture Do not use this product near water for example near a bath tub wash bowl kitchen sink or laundry tub in a wet basement or near a swimming pool and the like 8 Accessories Do not place this product on an
29. code process Use the SYNC position for recording and playback of FSK sync or SMPTE time code The OFF position turns off the dbx noise reduction completely Use this position when playing back tapes made with no noise reduction The dbx NR system provides a net noise reduction broadband not just hiss of about 30 dB and also permits a net gain in tape headroom of about 10 dB allowing recordings over a 90 dB dynamic range Transport Controls 29 RECORD key Pressing this key alone has no effect Pressing it together with PLAY gt activates recording if one or more RECORD FUNCTION switches are previously set to a different position from SAFE and the REC indicators blink 34 30 31 32 33 34 35 36 37 PLAY key a Press this key alone to start playback b If pressed together with RECORD recording punch in starts REW key Winds tape at high speed in reverse direction F FWD key Winds tape at high speed in the forward direction STOP key Stops any tape motion and disables all transport modes PAUSE key Temporarily stops play or recording To resume the function interrupted press PAUSE off PITCH CONTROL dial Varies tape speed in record and play modes by up to approximately 10 Turn the dial to the left to lower the speed or to the right to increase the speed Set the dial to the center 0 position to run tape at a standard speed of 9 5 cm sec This can be us
30. d of to an external recorder The following diagrams depict the process TRK 1 A D 2 B 3 C F 4 A B C Bouncing tracks 1 3 Tracks 1 3 onto track 4 available for recording new parts During a bounce you can add live sources along with the prerecorded tracks using the empty mixer channels not being used for tape playback This gives you even more ways to add layers to a composition For example you can bounce tracks 1 3 along with another live part onto track 4 for a total of four parts on one track Ping pong Procedure In this example we will combine material from tracks 1 3 onto track 4 1 Onchannels 1 3 make the following settings INPUT to TAPE PAN all the way to and Channel fader to the shaded zone 7 8 on the scale 2 Push the MASTER fader to the shaded zone Press the MONITOR L R switch on The other two MONITOR switches must be off 26 4 Setthe RECORD FUNCTION switch for track 4 to R The track 4 s REC indicator will start blinking indicating the track is in Rec Ready mode 5 Press PLAY The tape will start playing 6 Use channel faders 1 through 3 to make any necessary level adjustments You may want to repeat this step several times to get the balance correct 7 When the balance is right and the level is peaking at no more than 6 on the track 4 meter stop and rewind the tape to the beginning of the track 8 Hold RECORD and press PLAY The REC
31. destroy your work Don t use C 120s in the 414 MKII Remember that with twice the normal speed and the one side only 4 track single direction format you have only one quarter of the normal play time Cassette Play Time C 46 11 5 min C 60 15 min C 90 22 5 min approx Optional Accessories RC 30P Remote Footswitch MIDI Tape Synchronizer PW 2Y PW 4Y Insertion Cable Head Demagnetizer HC 1 Head Cleaner amp RC 1 Rubber Cleaner U S only 10 For detailed information on each feature see Features and Controls pp 31 35 PORTASTUDIO 414 Brief Guide Input Selection and Adjustment 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 correspond ing EFFECT send jacks They get their signal from a point just after the channel fader TAPE CUE The EFFECT 2 controls can be switched to act as the TAPE CUE level controls by means of the correspondingly labeled switch and adjust the playback level for the musicians in the studio PAN Sets the pan position left right balance of the channel Note that the Left Mix can be recorded on tracks 1 and 3 and the Right Mix onto tracks 2 and 4 INPUT Determines where the channel signal comes from TAPE Makes tape playback
32. device 1s just under the overload point on peak signals When you want to hear less effect overall turn down the return LEVEL control on the stereo channels Setting the Output Level of Effect Devices If the effect send level has been set properly in most cases the output level of the effect unit should be set as high as possible without clipping distorting the STEREO INPUTS of the 414 MKII but low enough so that you have a reasonable range of control If you can get the effect sound you want with the return LEVEL control in the 12 to 2 o clock range you re in the ballpark If on the other hand very small settings of the Effects Return still give you a mix drowning in effects turn down the output level of your effect device Some effect units have rear panel switches setting input and output level ranges between 4 and 20 dB In this case try setting the input to 20 high sensitivity and the output to 4 full output level 27 Using Effects with the PORTASTUDIO 414 Setting the Mix Balance Control on Effect Devices 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 The mix ba
33. ding 7 Track selection s n 4p Set the RECORD FUNCTION switch for track 2 to its R position The track s REC indicator will start blinking 8 Record level adjustment TRIM 2 E Speak into the microphone to check to see meter 2 move Slowly push the channel 1 TRIM control until the meter peaks at no more than 6 9 Beginning recording gt Hold RECORD and press PLAY to initiate recording The track 2 s REC indicator that was blinking will turn on solid indicating the track is now being recorded Step By Step Operation Guide 10 Monitoring input tape You will hear track 1 play together with the new signal going to track 2 in the headphones NOTE 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 Leave the channel fader and TRIM and the MASTER fader alone because they control the level being recorded 11 Stopping recording Press STOP or PAUSE to stop recording 12 Putting track into Safe 27 sare gt R ES 1 The track 2 s REC indicator should now be blinking as before Set the RECORD FUNCTION switch for track 2 back to its SAFE position and the indicator will turn off 19 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 sw
34. e used to AN RECORD RECORD E Z RECORD lt som M ws O Wu na er 27 5 GUITAR IN amp TRIM control on the rear control what the source of the channel is gt BN Pss 6 panel This 1 4 jack has an impedance of 7 f f Ri zi RI E 1 1 and is intended for use with electric gui The upper posttton TAPE is used during mix tars basses etc Adjust the gain from this jack to down or bouncing tracks z channels 1 4 with the TRIM control here turn The center position is GUITAR which selects the 1 28 F IL cet ing it clockwise increases the signal level source at the GUITAR IN jack 5 14 1 2 i d mb 4 MEA o p lt e Turn the guitar TRIM control all the way to the ira aia iru iral nie 6 SUB IN L and R jacks These jacks are for left cascade connection of an outboard mixer etc The signal input to these jacks is sent to the The lower position MIC LINE is used when MASTER fader Nominal input level is 10 dBV recording microphones instruments in tracking 0 3 V or overdubbing 3 26 38 20 29 30 31 32 33 34 The SUB IN R jack is also used to accept FSK converted MIDI sync signals from devices such as the optional TASCAM MIDI Tape Synchronizer MTS 30 13 TRIM controls These linear control
35. ed to save slightly out of tune parts or to create sound effects such as flanging CAUTION The PITCH CONTROL dial affects recording speed also Check to make sure that the dial is at its center 0 position unless you are using the function intentionally Tape counter Displays the distance the tape has moved from a zero reference point selected by pressing the adjacent button ZERO RETURN switch When this switch is set to ON and you press REW the tape will stop at the counter 000 point If the tape overshoots it is because of inertia and it is normal The associated LED blinks to show that the tape is on its way to the counter zero point When this point is reached the LED lights solidly 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 The RECORD FUNCTION switches also select what source will be recorded For example the switch for track 1 selects either the single source plugged into Channel 1 of the mixer or the entire stereo Left mix which may have as many as six sources The other
36. ief 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 46 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 EFFECT 1 EFFEt TAPE EFFECT 2 TAPE CUE EFFECT 2 TAPE CUE TID z z men eos 2 x E f Transport keys Principally these work the same as on any cassette recorder RECORD FUNCTION 1 4 Used to select tracks to record on and also recording sources channels or stereo busses 13 DBX switch Normally leave this switch at ON When you use track 4 to record and play back MIDI sync tones or time code set to SYNC then the dbx is on for tracks 1 3 and off on track 4 Tape counter Shows the distance the tape has moved from a zero reference point Counter reset button Press to change the counter to 000 PITCH CONTROL Increases or decreases the speed of the transport in Play and also in Record over a 10 range approx PITCH CONTROL
37. ine level version of the same signal that feeds the PHONES jack and may be connected to your control room speaker amplifier EFFECT 1 SEND jack The signal available at this jack comes from post fader for connection to effects devices Nominal level is 10 dBV 0 3 V EFFECT 2 SEND TAPE CUE OUT jack This jack is for connection to an additional effects device or to a studio speaker amplifier The signal source is determined by the EFFECT 2 TAPE CUE select switch 19 Nominal output level is 10 dBV 0 3 V PHONES jack on the front panel Connect any stereo headphones with a 1 4 stereo TRS 3 conductor plug to this jack 33 Features and Controls 414 RECORDER Cassette Loading and dbx System 27 28 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 omo A I Ob Erase head Record Play head Pinch roller DBX switch When this switch is set to its ON position the built in dbx noise reduction system for all 4 tracks is turned on This is the normal position for all recording and playback When it is set to the SYNC position Track 4 is disconnected from the dbx system so the process does not affect the sync signals going to and from track 4 but tracks 1 3 still go through the dbx encode de
38. ions may result in fire electric shock or other hazards 22 Safety Check Upon completion of any service or repairs to this product ask the service technician to perform safety checks to determine that the product is in proper operating condition 23 Wall or Ceiling Mounting The product should be mounted to a wall or ceiling only as recommended by the manufacturer 24 Heat The product should be situated away from heat sources such as radiators heat registers stoves or other products including amplifiers that produce heat The PORTASTUDIO 414 is The PORTASTUDIO 414 MKII is a 4 track Multi track Master cassette tape recorder and a full function mixer with 8 inputs stereo outputs including a balanced microphone input and a dedicated guitar input combined into a single workstation Its high audio quality and creative flexibility reflect the experience and innovation that have allowed TASCAM to earn its reputation in professional audio production fields and its user friendly design makes the 414 MKII suitable for anyone from expert to novice Using this manual To get the most out of your 414 please take the time to read through this manual Some time spent now will keep you from overlooking some of the features that make the 414 MKII a more creative tool You may discover some new tricks you haven t tried before Use of capital letters In general we use all upper case type to designate a
39. itches and the PAN controls should be rotated to the LEFT for recording on Track 3 and to the RIGHT for Track 4 20 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 But the mixer of the Portastudio 414 MKII can take multiple channels and mix them onto a single track To do this Set the PAN control of each channel to the same setting for example EFFECT 2 TAPE Y REC 2 PANG s In this example all instruments plugged into channels 1 4 will be recorded onto Track 1 or 3 Lower the MASTER fader to make overall level adjustments once you have each channel s TRIM and fader level set Make sure the INPUT switch of every channel you want to record is set to MIC LINE You can t record the stereo channels onto a single track 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 Any mixer channel can be panned to any track These mixer channels are being sent to the LEF
40. lance control is set toward dry only when you re using the effects device as an in line processor How to Connect Your Effects Devices There is no absolute right or wrong way to do this there are several ways each with its own consequences The diagram shows the most common method EFFECT SEND feeds a reverb unit which has a synthesized stereo output patched into STEREO INPUTS 7 8 A special stereo splitter cable such as the optional PW 2Y AY is used with the 3 conductor Tip Ring Sleeve end plugged into channel 7 8 and the other end split to two 2 conductor plugs connected to the Left and Right outputs of the effects unit If the return is connected to channel 5 6 and nothing is connected to channel 7 8 turn the 7 8 LEVEL control all the way to the left or else the return is taken into channel 7 8 as well REVERB LEFT MONO RIGHT LEFT RIGHT INPUTS OUTPUT EFFECT 1 EFFECT 2 SEND 5 6 STEREO 7 8 SEND TAPE CUE OUT INPUTS Mono returns A special feature of the STEREO INPUTS allows continuously variable control between left and right if desired a mono effect connected to the 5 6 jack will go to both the LEVEL controls if nothing is plugged into the 7 8 jack Patching effects to an input channel There s no law that says the output of an effects device must be plugged into STEREO INPUTS They can also be plugged into LINE INPUTS just like any other source if you are cautious abou
41. nc tones code are recorded and played back without unnecessary processing With proper operating techniques it is not necessary to leave a guard band between music and sync tone tracks because of the low crosstalk of the TASCAM heads ZERO RETURN promptly brings you back to the beginning of a section of tape selected by resetting the tape counter The tape speed can be increased or decreased with the PITCH CONTROL dial in both playback and record to match pitch or for special effects Track Format and Tape Recommendations Tape Speed and Track Format The Portastudio 414 MKII records plays at 9 5 cm sec 3 3 4 ips which is twice 2 X the normal speed of a standard audio cassette Ls 1 1 It also employs a discrete 4 channel format head developed especially by TEAC for TASCAM multitrack cassette recorders Here is a comparison of various cassette formats la L TASCAM TASCAM TASCAM IEC EC ANSI 4Tr 3Ch 4Tr 4Ch 8Tr 8Ch Philips Philips Philips 4Tr 4Ch ATr 2Ch 2Tr 2Ch 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
42. on The track s REC indicator will start blinking indicating that the track is in Record Ready mode 6 Mic level adjustment 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 Beginning recording b Hold RECORD and press PLAY to initiate recording The REC indicator that was blinking will turn on solid indicating the track is in Record mode Speak into the microphone Stopping recording Y Press STOP or PAUSE to stop the tape and finish recording 10 Putting track into Safe 1 E3 gt L f The track 1 s REC indicator should now be blinking as before Set the RECORD FUNCTION switch for track 1 to its SAFE position Step By Step Operation Guide Track 1 Playback through TAPE CUE 1 Selecting TAPE CUE EFFECT 2 TAPE CUE wot T 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 EFFECT 2 TAPE CUE Press the lowest MONITOR switch on the switch marked EFFECT 2 TAPE The other two MONITOR switches must be off Locating tape to zero REW 122 7 RETURN Set the ZERO RETURN switch to ON then press REW 4 Beginning playback Press PLAY 5 MONITOR level control setting Check to see that the MONITOR level control is at the 12 o clock po
43. ones or line level sources A guitar played through this jack will be used as the signal to a channel if the INPUT switch of the channel is set to the center GUITAR position Use the TRIM control by this jack to match the level of your guitar 11 1 NIH STEREO INPUTS EFFECT 2 dbx noise REDUCTION SYSTEM HIGH MASTER Channels 5 through 8 STEREO INPUTS Connect any line level signal such as an effect return or electronic instrument here Mono Feature Plug a mono signal into the channel 5 6 L MONO jack and leave the 7 8 R jack empty The signal is then automatically taken into the two pairs of channels 5 6 and 7 8 LEVEL Controls the volume of both the left and right inputs simultaneously on their way to the respective stereo mix sides Monitor Section LEVEL This sets the output level of the monitor mix feed ing the MON OUT and PHONES jacks MONITOR switches These select the source of the MON OUT and PHONES jacks What you hear when the EFFECT 2 TAPE CUE switch is pressed on depends on the setting of the master select switch below Master Section EFFECT 2 TAPE CUE When set to EFFECT 2 sends sig nals after the channel fader to effect devices and when set to TAPE CUE sends playback signals to the moni tor MASTER fader This sets the total output level of the stereo mix 12 PORTASTUDIO 414 Br
44. provides guidelines for proper grounding and in particular specifies that the cable ground shall be connected to the grounding system of the building as close to the point of cable entry as practical Example of Antenna Grounding as per National Electrical Code ANSI NFPA 70 ANTENNA LEAD IN WIRE GROUND 4 1 CLAMP 0 P p ANTENNA ELECTRIC SERVICE EQUIPMENT DISCHARGE UNIT NEC SECTION 810 20 GROUNDING CONDUCTOR NEC SECTION 810 21 GROUND CLAMPS POWER SERVICE GROUNDING 7 7 ELECTRODE SYSTEM NEC ART 250 PART H NEC NATIONAL ELECTRICAL CODE 15 Lightning For added protection for this product during a lightning storm or when it is left unattended and unused for long periods of time unplug it from the wall outlet and disconnect the antenna or cable system This will prevent damage to the product due to lightning and power line surges 16 Power Lines An outside antenna system should not be located in the vicinity of overhead power lines or other electric light or power circuits or where it can fall into such power lines or circuits When installing an outside antenna system extreme care should be taken to keep from touching such power lines or circuits as contact with them might be fatal 17 Overloading Do not overload wall outlets extension cords or integral convenience receptacles as this can result in risk of fire or electric shock 18 Object and Liquid Entry Never pu
45. r in the microphone line Specifications MECHANICAL CHARACTERISTICS 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 Ibs ELECTRICAL CHARACTERISTICS Mixer Section MIC LINE INPUT Ch 1 4 1 4 phone jack x 4 Input Impedance 50 Nominal Input Level 50 dBV 3 mV Trim Max 10 dBV 0 3 V Trim Min Maximum Input Level 5 dBV 1 8 V Trim Min BAL MIC INPUT XLR TYPE x 2 Input Impedance 5 Nominal Input Level 60 dBV 1 mV Trim Max 20 dBV 0 1 V Trim Min Maximum Input Level 5 0 56 V Trim Min GUITAR INPUT 1 4 phone jack x 1 Input Impedance 1 Nominal Input Level 50 dBV 3 mV Trim Max 10 dBV 0 3 V Trim Min Maximum Input Level 0 1 V Trim Min STEREO INPUT Ch 5 6 7 8 1 4 stereo phone jack x 2 Input Impedance 10 5 L MONO Nominal Input Level 10 0 3 V Maximum Input Level 5 dBV 1 8 V SUB INPUT jack x 2 Input Impedance 10 Nominal Input Level 10 0 3 V Maximum Input Le
46. s are used to set the preamplification level on the MIC LINE IN puts or INPUT L R When TRIM is pulled full down the preamplifier gain is low allowing the jack to accept line level sources such as electronic instruments As you 7 EQ HIGH These control the tonality of the high or treble frequencies Turn them to the right to boost the signal s high frequency content empha sizing brilliance or brightness Turn them to the 32 push TRIM up the preamplifier gain increases and when you push TRIM full up the nominal input sensitivity increases to 50 dBV 3 mV 14 Channel faders These linear controls vary the level feeding the Master section The nominal setting position is between 7 and 8 shaded area Stereo Input Section 15 STEREO INPUTS Ch 5 6 7 8 Connect the outputs of your effects devices to these 1 4 jacks These jacks can also be used as additional line inputs Nominal input level is 10 dB V 0 3 V See also How to Connect Your Effects Devices p 28 16 LEVEL controls These rotary controls vary the level feeding the Master section The nominal setting position is about 2 o clock Monitor Section 17 MONITOR level control This affects signal from the MONITOR switches and sets the level you ll hear in the headphones monitor speakers 18 MONITOR switches Used to select a signal or signals to send to the PHONES and MON OUT jacks When the L R
47. s set to the hard left and hard right position 21 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 Wi In Direct recording the MASTER fader has no effect on the record level It only affects the level going to the headphones monitor speakers via MONITOR L R switch Use the CHANNEL FADER only to set record levels Even when using the direct recording capability channel still goes to the Left Right mix If you record another track with the stereo left or right mix at the same time you must check your PAN settings For example you can record a vocal directly onto track 3 and record multiple instruments on track 1 via the stereo left bus at the same time But channel 3 s PAN control must be turned hard right otherwise you ll wind up with vocals bleeding through onto track 15 instruments The direct recording can be used whenever you want to record a single channel to a single track 22 How to Mix Down When the 4 tracks are all recorded the final step is mixing them into a standard stereo format This procedure is known as Remixing or Mixing down During this procedure the
48. sh objects of any kind into this product through openings as they may touch dangerous voltage points or short out parts that could result in a fire or electric shock Never spill liquid of any kind on the product 19 Servicing Do not attempt to service this product yourself as opening or removing covers may expose you to dangerous voltage or other hazards Refer all servicing to qualified service personnel 20 Damage Requiring Service Unplug this product from the wall outlet and refer servicing to qualified service personnel under the following conditions 8 when the power supply cord or plug is damaged b if liquid has been spilled or objects have fallen into the product C ifthe product has been exposed to rain or water d if the product does not operate normally by following the operating instructions Adjust only those controls that are covered by the operating instructions as an improper adjustment of other controls may result in damage and will often require extensive work by a qualified technician to restore the product to its normal operation e ifthe product has been dropped or damaged in any way f when the product exhibits a distinct change in performance this indicates a need for service 21 Replacement Parts When replacement parts are required be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part Unauthorized substitut
49. sition 17 Step By Step Operation Guide 6 Routing tape signals to TAPE CUE How to Make an Overdub on Track 2 EFFECT q TO Overdubbing entails recording one or more 3 additional tracks on the same tape while listening to previously recorded tracks using 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 Leave the microphone connected to the channel 1 input There is no need to repatch it to channel 2 to record on track 2 You can send any mixer input to any track of the recorder through the combination 7 Stopping playback use of PAN and RECORD FUNCTION STOP 1 Routing input INPUT 4 GUITAR MIC LINE B Set the channel 1 INPUT selection switch to the MIC LINE position Press STOP to stop playing 2 Panning Turn the channel 1 PAN control all the way to the right R position 3 Channel 1 level Bring the channel 1 fader to the shaded area between 7 and 8 4 Master level Bring the MASTER fader to the shaded area between 7 and 8 5 Monitor selection L R i MONITOR Press the MONITOR select switch L R on Leave the EFFECT 2 TAPE CUE switch pressed on 18 6 Locating tape to zero RETURN Making sure that the ZERO RETURN switch is ON press REW and the tape will rewind to the beginning of the track 1 recor
50. switch is on the left mix is heard on the left side and the right mix on the right side The EFFECT 1 switch allows you to check the channel signal going to the corresponding send jack The third switch is used to check the channel signal going to the EFFECT 2 SEND jack or the signal from the recorder depending on the setting of the switch with the same label located to the right of the track 4 meter Master Section 19 EFFECT 2 TAPE CUE select switch Depending on the setting of this switch each channel s EFFECT 2 TAPE CUE control is switched to send the MIC LINE input to effects devices or the signal coming back from the recorder to the musicians in the studio 20 Features and Controls 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 21 22 23 24 25 26 SYNC OUT jack Sync tones recorded on track 15 sent out of this jack for MIDI instruments to play synced up to the tape See also the section Syncing MIDI Tape LINE OUT L and R jacks These jacks are the line level outputs from the MASTER fader The L and R jacks are typically connected to your 2 track master recorder at MIXDOWN The LINE OUT jacks can also be used to send the mixer outputs of the 414 MKII to the sub inputs of a larger mixer MON OUT L and R jacks These provide a l
51. t one thing make sure the EFFECT controls of those channels are set to the off position turned all the way to the left Otherwise you will be sending the output of the effect device back to itself which is a kind of feedback If the effect device is a digital delay feedback has the same effect as a regeneration number of echoes control An advantage of returning effects to a main channel is that you can EQ the effect return Return Signal L MONO Connected R Jack Empty L MONO and R Jacks Both Connected STEREO 28 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 appropri ate converter such as the MTS 30 The MTS 30 is not a mere MIDI FSK converter but translates MIDI clocks into an FSK sync signal con taining score bar information or Song Position Pointer allowing the associated MIDI equipment to stay in sync and follow the tape no matter where you move the tape within a given song The maximum stability or resolution of the synchronization is ensured by a TASCAM exclusive error correction circuit in the MTS 30 LINE IN Audio Signal Audio Signal 1 MTS 30 Connect the TAPE OUT of the MTS 30 to the
52. 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 The cassette shell essentially becomes a part of the 414 MKII s transport Poor quality shells can cause wrinkles snarls and shredding of the edges of the tape with use Even small scratches on the tape oxide can cause dropouts temporary loss of signal on one or more tracks High quality tapes are less likely to cause problems in the long run Accidental Erase Record Protection To protect a finished master tape it is necessary to punch out both record protect tabs Even though you are recording in only one direction the 414 MKII uses the entire width of the tape If for example you remove only one of the tabs you could accidentally insert the cassette into the 414 MKII backwards and erase all four tracks of the master Side A safety tab Side B safety tab Tape Length Use the shortest possible tape for a given work It is not unusual to play a tape 100 times before you are finished so select a cassette length that is as close as possible to the length of the program you plan to record Cassettes C 60 length and shorter are often made from thicker stock than longer cassettes The tape used in C 120 cassettes is extremely thin and can cause winding problems crimping wrinkling and other damage to the oxide coating of the tape which will
53. tracks are blended together and balanced to create the desired sound Connections 9 9 LINE L ow R Connect the LINE OUT L jack of the 414 MKII to the left line input of the mixdown deck and the LINE OUT R jack to the right line input 2 Master level Raise the MASTER fader to the shaded area between 7 and 8 Monitor source L R asas Press the MONITOR L R switch on All other MONITOR switches must be off 4 Routing inputs INPUT TAPE GUITAR H MIC LINE Set all the INPUT select switches on the input channels to the TAPE position 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 amp 28 Using the MASTER fader adjust the overall playback level Review When the signal balance level and tonality sound right rewind the tape and press PLAY again to check the result Rewind the multitrack tape again Put a blank tape in the mixdown deck and let it play for 5 seconds then stop it and reset the mixdown deck s counter to zero Step By Step Operation Guide 10 11 12 13 14 Press PLAY on the 414 MKII Record level P
54. unstable cart stand tripod bracket or table The product may fall causing serious injury to a child or adult and serious damage to the product Use only with a cart stand tripod bracket or table recommended by the manufacturer or sold with the product Any mounting of the product should follow the manufacturer s instructions and should use a mounting accessory recommended by the manufacturer 9 A product and cart combination should be moved with care Quick stops excessive force and uneven surfaces may cause the product and cart combination to overturn LAY 10 Ventilation Slots and openings in cabinet are provided for ventilation and to ensure reliable operation of the product and to protect it from overheating and these openings must not be blocked or covered The openings should never be blocked by placing the product on a bed sofa rug or other similar surface This product should not be placed in a built in installation such as a bookcase or rack unless proper ventilation is provided or the manufacturer s instructions have been adhered to 11 Power Sources This product should be operated only from the type of power source indicated on the marking label If you are not sure of the type of power supply to your home consult your product dealer or local power company For products intended to operate from battery power or other sources refer to the operating instructions 12 Grounding or
55. ur 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 If a signal source is connected to a front MIC LINE IN jack whose corresponding XLR connector has a microphone connected L 1 or 3 R22 or 4 the signal input to the XLR connector will be ignored First make the following settings Pull all the TRIM controls full down and turn other level controls all the way to the left Turn the EQ controls to their center off position bring all the faders down and set all the switches to OFF 1 Have in hand a dynamic microphone and a set of stereo headphones 2 Input connections Depending on the connector at the end of your microphone cable plug the microphone to the INPUT L R connector on the rear panel or the MIC LINE IN jack for channel 1 on the front panel Powering on c 35 Press the POWER switch on the switch is located on the back and the POWER indicator on the top panel will light Headphone connection _ j rr c Plug your headphones into the front PHONES jack so you can hear the input signal going to the mixer section of the 414 MKII Routing inputs INPUT TAPE GUITAR MIC LINE Set the channel 1 INPUT select switch to the MIC LINE position Panning
56. ut the mixdown deck into its Record Ready mode and adjust its input level controls for the desired record level Rewind the multitrack tape to the beginning of the recording Put the mixdown deck into Record mode then press PLAY on the 414 MKII When recording is done stop both machines rewind the mixdown tape and listen to it If the mixdown tape does not sound right make the necessary corrections and re do from the beginning 23 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 Asthe punch in track is track 2 in our example your input must be sent to the stereo right bus To do so rotate the PAN control of the channel into which your source instrument is plugged all the way to the right 2 TAPE CUE signal path is used to hear the tape so set the master EFFECT 2 TAPE CUE select switch to the right TAPE CUE position and press the same labeled MONITOR switch on To hear the instrument press the MONITOR L R switch on 4 Press PLAY to play the tape adjust the TAPE CUE control on channel 2 to the desired listening level If you want to hear other tracks together
57. vel 5 dBV 1 8 V LINE OUTPUT RCA jack x 2 Output Impedance 100 2 Nominal Output Level 10 0 3 V Maximum Output Level 5 dBV 1 8 V EFFECT 1 SEND 1 4 phone jack x 1 Output Impedance 100 2 Nominal Output Level 10 dBV 0 3 V Maximum Output Level 5 dBV 1 8 V EFFECT 2 SEND TAPE CUE OUT 1 4 phone jack x 1 Output Impedance 100 2 Nominal Output Level 10 dBV 0 3 V Maximum Output Level 5 dBV 1 8 V SYNC OUT RCA jack x 1 Output Impedance 100 Q Nominal Output Level 10 0 3 V MON OUT RCA jack x 2 Output Impedance 1 Nominal Output Level 10 dBV 0 3 V Maximum Output Level 5 dBV 1 8 V PHONES 1 4 stereo phone jack x 1 Nominal Load Impedance 30 Q Maximum Output Level 60 mW 60mW Equalizer HIGH Shelving 10 kHz 10 dB LOW Shelving 100 Hz 10 dB Frequency Response MIC INPUT to LINE OUTPUT 20 Hz to 20 kHz 3 dB LINE INPUT to LINE OUTPUT 20 Hz to 20 kHz 2 dB LINE INPUT to MONITOR OUTPUT 20 Hz to 20 kHz 2 dB LINE INPUT to EFFECT OUTPUT 20 Hz to 20 kHz 2 dB LINE INPUT to PHONES 40 Hz to 20 kHz 3 dB Signal to Noise Ratio 20 Hz to 20 kHz B P F inserted 1 MIC INPUT to LINE OUTPUT 65 dB at a nominal input level of 60 dBV 4 MIC INPUTS to LINE OUTPUT 60 dB at a nominal input level of 60 dBV 1 LINE INPUT to LINE OUTPUT 75 dB at a nominal input level of 10 dBV 4 LINE INPUTS to LINE OUTPUT 70 dB at a nominal input level of 10 dBV
58. w to Record Tracks 3 and 4 20 Output Section 33 How to Record Many Sources onto a 414 MKII RECORDER Single Track 20 Cassette Loading and dbx System 34 How to Record a Mix onto Two Tracks Transport Controls 34 Simultaneously 21 Track Controls 35 Recording on More than Two Tracks Displays 35 Simultaneously Direct Recording 22 Care and Maintenance 35 36 How to Mix Down 22 How the dbx Works 36 PUNCH IN or INSERT Recording 24 25 Specifications 37 38 Preliminary 24 Block Diagram 39 40 Punch in Procedure 25 Level Diagram 41 Bouncing Tracks Ping Pong 26 Ping pong Procedure 26 Copyright 1999 TEAC Corporation All rights reserved under international and Pan American copyright conventions This book may not be reproduced in whole or in part by mimeograph or any other means without permission The following marking is located on the bottom of the unit CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT Eg A REMOVE COVER OR BACK NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED SERVICE PERSONNEL the user to the presence of uninsulated dangerous voltage within the products enclosure The lightning flash with arrowhead symbol within equilateral triangle is intended to alert that may be of sufficient magnitude to constitute a risk of electric shock to person The exclamation point within an equilateral triangle is intended to alert the user to the A presence of important operating and maintenance servi
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