How to record with only the tascam model 24

[Fluby42]

Hello,

How to record mixed tracks (EQ, faders, pan) on the SD Card ? (i don't want to use a DAW)

Thank you very much

 

[Mark Richards]

Welcome.

The answer to your question:

How to record mixed tracks (EQ, faders, pan) on the SD Card

can be found in the relevant segment of the Sticky Thread Basic Facts: Model 24, 16, 12
"The MAIN MIX L/R bus does not have a REC button it is..." and so on for the rest of the details.

The forum also has a pretty good Search engine that found this thread from three years ago.

 

[-mjk-]

I could copy/paste the user manual, bit I'm not going to. I suggest that you read the user manual and come back with specific questions.

 

[BazzBass]

Another person who bought the wrong Tascam product. A wise man would ask these questions BEFORE buying it.........
return it, buy a DP32SD

 

[robin courtenay]

Why buy a dp32sd?

 

[BazzBass]

because the Model series are meant to be used with a DAW but you don't want to use a DAW,.

I'll leave you to it then.

 

[robin courtenay]

I think there is a bit of confusion here, i am not the OP his question was how to record a mixdown using faders,pan and EQ on the model 24 and this was answered in the second post,the manual is totally useless as it has no mention of how to do this important step.What i was asking was why do you reccomend a DP32sd over a model 24? i have been using a 24 to produce great recordings over the last couple of years without using a DAW

 

[-mjk-]

What i was asking was why do you reccomend a DP32sd over a model 24? i have been using a 24 to produce great recordings over the last couple of years without using a DAW

Robin, I guess the 2 main questions would be: how do you edit, and, how to you Master the recordings? I have no doubt that one could get great recordings on the '24, but I wouldn't be able to edit with it, and any Mastering would be outside of the '24 environment. So the recommendation for a DP is because you can do those operations with the DP alone.

 

[BazzBass]

so I was correct lol. I take back my apology and reiterate that you bought the wrong thing.
Why don't people research BEFORE they buy something?

Even if I'm buying a $30 pedal I'll read the online manual so I know what it can do,and, just as crucial, what it CAN'T do.

All you have to do is google the manual ffs, takes 20 seconds.

 

[robin courtenay]

Thanks for the replies, first let me say that i am first and foremost a musician and in no way an audio engineer,but i think i understand the basics of recording i still think there is some confusion going on in this thread as i said in my last post the original question was posted by a new member and was How to record a mixdown with faders EQ pan to the sd card and as i said before this was answered in the second post.My question was why reccomend a dp32 over a model 24 to which mjk replied so let me answer his quetions as for editing as you know there is no editing facilities on the 24 apart from punch in/out which i never use all i do is simply record my tracks and rerecord if i am not happy or i make mistakes i suppose you could call that editing.Then i will mixdown using faders EQ pan and FX as needed and export the stereo file.As far as mastering is concered as i understand it with my very limited knowlededge mastering means finalizing a stereo file by further proccessing with various tools,if i am wrong i stand corrected. As far as mixing on the Dp series is concened i believe the 24 is very similar when it comes to mastering on the Dp you have EQ , compressor and normalization at your disposal with the exception of nomalization this can be achieved on the 24 by importing the stereo file to a new track or tracks and applying as needed and then recording the mixdown hope that answers your questions MJK.At the end of the day you end up with a stereo file on both machines.Bazzbass you were not correct LOL i do research BEFORE i buy!!

 

[Mark Richards]

I've been watching this thread since I first responded to the OP, and thought I'd jump in again given the direction it's taken.

It should go without saying that the quality of the recording is very much dependant on the skill of the individual musician(s), the skill of the individual who engineers the session and the mix, the audio quality of the room, and the quality of the audio evaluation system.

The crux of the matter is the purpose for, and target market of, the production.

If the desired outcome is commercial release in a competative market, then efficient creation of the best possible mix can be essential, and that can sometimes require production methods absent in the Model series as a stand-alone tool vs the stand-alone portastudios.

Mastering an already excellent mix can make a significant difference in how well the final product penetrates the intended market. Different/multiple markets/distribution chains for the same product often require different mastering solutions. And if the product is an album, mastering is absolutely essential. Also, the mastering tools are designed specifically to always impact the stereo mix equally left/right/center to assure the original sound stage and imaging of the mix remain unaltered. There's much more about mastering that goes way beyond the scope of the issue raised in this thread.

M2CW
ps Normalizing is the worst thing you can do to a master if you haven't achieved an excellent average to peak audio ratio for the mix, IMO.

 

[robin courtenay]

Thanks Mark the recordings i make are not for commercial release, as i say im not an audio engineer my point is i can produce excellent results (imho) on the 24 alone, would i get better results on a dp using its mastering capabilities? I'm here to learn.Thanks again.

 

[-mjk-]

@robin courtenay no one can answer that question. If you are happy with the outcome, stick with it.

 

[Mark Richards]

Robin, I can only tell you my experience when I've worked completely within the portastudio environment, and that is: mastering those mixes on my portastudio helps them subtly have more punch and clarity, and the change can be heard in an A/B comparison.

Just about every D.A.W. also has built-in mastering capability, and for all the same reasons. IMO, the Model series + an easy-to-use D.A.W. is a killer combination in the right hands.

 

[robin courtenay]

Thanks Mark that answers my question. All the best .

 

[BazzBass]

if you are happy releasing material without editing,EQing or mastering, then yes, you don't need a portastudio. go at it. Bye

PS oh, look, there IS an ignore option

 

[dctdct]

Thanks Mark the recordings i make are not for commercial release, as i say im not an audio engineer my point is i can produce excellent results (imho) on the 24 alone, would i get better results on a dp using its mastering capabilities? I'm here to learn.Thanks again.

From my own A/B check experience, you would gain typically some loudness and overall perseverance for your song using any mastering device.
It must not be the mastering function of a Tascam Portastudio. As we are here in the Model series forum, I suppose the mastering step would take place in a DAW of your choice.

 

[Joseph Hanna]

Interesting thoughts on the subject here. I have a much different take, especially for the 16 and 24 mainly because of their analog nature. I suppose I should say by way of background I'm an audio engineer here in Hollywood and have been for many, many years. I've set my official retirement date for Thanksgiving this year, good Lord willing and the creek don't rise. In that, I came from the days of tape. In that light, the obvious answer is of course you can record top to bottom on any of the three devices. We did it all the time in the tape days. If something needed to be mastered (which for television seldom is the case) we'd send it out to be mastered. It, of course, was a different approach to multitrack recording but in many ways, I think it was a much more creative approach, especially when it came to music production. That of course a discussion for another day.

I think as many have said the OP's question was answered early on in the thread but it's interesting to me that there are little or no thoughts on the analog side of the 16 and 24. Since I have my head in Pro Tools 10 hours a day I was looking for something outside of a DAW. Kinda a purposeful return to a non-visual recording environment. I also have continued my mantra of the irreplaceable "feel" of an analog console. For me, it simply can not be replicated in the digital domain. The same goes for analog eq. Again for me, the touch to ear to brain is intrinsically and palpable more organic. It's the connectivity that makes it feel different. So the 24 made all kind of sense for me and I gotta say the feel and sound of the 24 are just wonderful. In the end, I'll still use some Pro Tools most likely as a playback engine and some soft synths although I haven't fully mapped what signal flow I'll use. Still, the possibilities are pretty numerous.

Distilled the 16 and 24 are just wonderful recording solutions be it internal to the machine or not. I can't speak to the 12 but I'm guessing beside the smaller track count and digital mixer I'd guess it too would be a really capable machine.

Just my 2 cents :0