an old tascam question
- Thread starter nl553
- Start date
chessparov
New member
Tascam 144
nl, the Tascam 144 has the distinction of being the first portastudio ever! Plus it's infamous for being the unit that recorded Bruce Springsteen's "Nebraska"-so it's pretty cool.
Sorry, don't know about the remix button.
The best authority on this stuff here is "a reel person", if you post
this question in the Tascam forum he might be able to tell you more about your recorder. I love my Tascam 244 BTW!
Hope your 144 is working O.K. too.
Chris
nl, the Tascam 144 has the distinction of being the first portastudio ever! Plus it's infamous for being the unit that recorded Bruce Springsteen's "Nebraska"-so it's pretty cool.
Sorry, don't know about the remix button.
The best authority on this stuff here is "a reel person", if you post
this question in the Tascam forum he might be able to tell you more about your recorder. I love my Tascam 244 BTW!
Hope your 144 is working O.K. too.
Chris
dagmarscott
New member
To get a manual for your Tascam 144, you might try requesting one via email to parts@teac.com. Just provide a written description of what you want. If you ask for a price quote, they'll email you one back. If you include your credit card info, mailing address, and shipping preference, they'll process your order and ship it to you. I've been able to get many obscure Teac/Tascam parts without any problem, so you might give this a shot. Good luck.
Scott
Scott
A Reel Person
It's Too Funky in Here!!!
Thanx chess, I appreciate the mention.
Chess and Dag are correct.
The 144 was Tascam's FIRST Portastudio, and it has the distinction as such, plus it's slightly different than the later Portastudio models, which over time became much more refined.
One, is that the Tascam 144 used "Dolby" noise reduction, when all other later Portastudios used "dbx". Not only is dbx superior NR to Dolby, [IMO], but since FOSTEX glaumed on to Dolby, there was probably some licencing contention between Tascam and Fostex for Dolby, early on, and also IMO, Tascam could "differentiate" itself from Fostex by going with "dbx". I guess that's academic.
[EDITED*]- The REMIX button switches the BUSS MONITOR* [headphones section*] to get it's signal directly from THE L/R BUSS*, as opposed to the TAPE CUE* monitor. [EDITED*]
Dag's right, you may get MANUALS directly from TEAC USA/TASCAM PARTS dept, by email, or by phone, at (323) 727-4840. Call them directly, or go check out the www.tascam.com website for more details. Email to parts@tascam.com if you're an email-type person.
Actually, I've heard different stories, but I thought the Springsteen album "Nebraska" was recorded on the "244", which should give me, chess and other 244 owners a kick. I don't have the album "Nebraska", so I can't verify that, one way or the other, but I heard it was the done on the "244".
The 144 was Tascam's first-out Portastudio, which really DEFINED the PORTASTUDIO format, but in retrospect, it's design is a little crude, in comparison to later Portastudio models.
Not to worry, I said "crude", not "crud", and the 144 should prove to be as easy to use and functional as any other Portastudio design. It's basically the GRANDDADDY of all Portastudios.
I don't have the 144. The earliest Portastudio model I have is the 244, but I do have the 144's User Manual, which someone threw in with one of my other used Tascam gear purchases.
With a Portastudio of this age, you might encounter "rubber part deterioration"-related maintenance issues, but again, not to worry, because all analog recorders of this vintage are prone to the same problems, which in the big scheme of things, are relatively minor maintenance issues.
When I was in J-C, I used to get MUSICIAN magazine, and I'd just DROOL over having a TASCAM 144 PORTASTUDIO, but by the time I could afford one, [a couple years later], the 244 was the latest one on the market. BTW, it's no secret, but that was a long time ago, >=20 years ago.
The good thing is, that the 144 was a whole new design concept in home recording, with the "Portastudio" being a Tascam proprietary design. All the other non-Tascam Porta's were just ME-TOO designs, and Tascam-CLONES, but TASCAM invented the PORTASTUDIO, and for this and many other reasons, TASCAM RULES.
Some other academic points:
1- The 144's EQ is fixed-type-EQ, where later Portastudios used semi-parametric [sweepable] EQ.
2- The 144's AUX-SEND output is MONO, [where the later Portastudios are STEREO AUX SEND], but the 144's TAPE CUE [also mono] output can double as another AUX SEND. [BTW, SOME of the later Portastudios, such as the 244, also had a STEREO TAPE CUE section].
3- [fyi, AUX SEND is primarily used for hooking up an EFFECTS LOOP, but can be used for other related purposes, by sending the mixer's signal out to an external device].
-->> WAIT, ... I'll get the 144 MANUAL out,.... OKAY,... I've consulted the manual, and EDITED the part about the REMIX button, [above]. The edited version [above] is now CORRECT.<<--
One other academic point, is that the LINE OUT and AUX OUT are the SAME STEREO SIGNAL, on two sets of stereo outputs, IN PARALLEL. This was just to give maximum signal routing capability.
The 144's MANUAL is a bit crude, but if you're new to Portastudios, it still should come in handy for reference.
Good luck, and have fun with your 144 Portastudio!
Chess and Dag are correct.
The 144 was Tascam's FIRST Portastudio, and it has the distinction as such, plus it's slightly different than the later Portastudio models, which over time became much more refined.
One, is that the Tascam 144 used "Dolby" noise reduction, when all other later Portastudios used "dbx". Not only is dbx superior NR to Dolby, [IMO], but since FOSTEX glaumed on to Dolby, there was probably some licencing contention between Tascam and Fostex for Dolby, early on, and also IMO, Tascam could "differentiate" itself from Fostex by going with "dbx". I guess that's academic.
[EDITED*]- The REMIX button switches the BUSS MONITOR* [headphones section*] to get it's signal directly from THE L/R BUSS*, as opposed to the TAPE CUE* monitor. [EDITED*]
Dag's right, you may get MANUALS directly from TEAC USA/TASCAM PARTS dept, by email, or by phone, at (323) 727-4840. Call them directly, or go check out the www.tascam.com website for more details. Email to parts@tascam.com if you're an email-type person.
Actually, I've heard different stories, but I thought the Springsteen album "Nebraska" was recorded on the "244", which should give me, chess and other 244 owners a kick. I don't have the album "Nebraska", so I can't verify that, one way or the other, but I heard it was the done on the "244".
The 144 was Tascam's first-out Portastudio, which really DEFINED the PORTASTUDIO format, but in retrospect, it's design is a little crude, in comparison to later Portastudio models.
Not to worry, I said "crude", not "crud", and the 144 should prove to be as easy to use and functional as any other Portastudio design. It's basically the GRANDDADDY of all Portastudios.
I don't have the 144. The earliest Portastudio model I have is the 244, but I do have the 144's User Manual, which someone threw in with one of my other used Tascam gear purchases.
With a Portastudio of this age, you might encounter "rubber part deterioration"-related maintenance issues, but again, not to worry, because all analog recorders of this vintage are prone to the same problems, which in the big scheme of things, are relatively minor maintenance issues.
When I was in J-C, I used to get MUSICIAN magazine, and I'd just DROOL over having a TASCAM 144 PORTASTUDIO, but by the time I could afford one, [a couple years later], the 244 was the latest one on the market. BTW, it's no secret, but that was a long time ago, >=20 years ago.
The good thing is, that the 144 was a whole new design concept in home recording, with the "Portastudio" being a Tascam proprietary design. All the other non-Tascam Porta's were just ME-TOO designs, and Tascam-CLONES, but TASCAM invented the PORTASTUDIO, and for this and many other reasons, TASCAM RULES.
Some other academic points:
1- The 144's EQ is fixed-type-EQ, where later Portastudios used semi-parametric [sweepable] EQ.
2- The 144's AUX-SEND output is MONO, [where the later Portastudios are STEREO AUX SEND], but the 144's TAPE CUE [also mono] output can double as another AUX SEND. [BTW, SOME of the later Portastudios, such as the 244, also had a STEREO TAPE CUE section].
3- [fyi, AUX SEND is primarily used for hooking up an EFFECTS LOOP, but can be used for other related purposes, by sending the mixer's signal out to an external device].
-->> WAIT, ... I'll get the 144 MANUAL out,.... OKAY,... I've consulted the manual, and EDITED the part about the REMIX button, [above]. The edited version [above] is now CORRECT.<<--
One other academic point, is that the LINE OUT and AUX OUT are the SAME STEREO SIGNAL, on two sets of stereo outputs, IN PARALLEL. This was just to give maximum signal routing capability.
The 144's MANUAL is a bit crude, but if you're new to Portastudios, it still should come in handy for reference.
Good luck, and have fun with your 144 Portastudio!
Last edited:
dagmarscott
New member
Hot-rodded 244
Unlike the other thread covering this same subject- "Remix Button", which seemed to have gotten out of control with sarcasm - there's been some helpful information in this thread.
Something I noticed about my 244 years ago is that it sounded shrill and tinny when I boosted the HF eq at the highest possible frequency on the semi-parametric tone controls - poor design. I'm sure it's fine for most folks, but it bugged the hell out of me. (I like lots of sizzle.) So being the tech-head that I am, I found that by changing out 4 capacitors (one for each channel), the highs, when boosted, could have that nice sizzle instead. I always thought the 244 got a bad rap for compromised sound quality when it was simply due to those capacitors. I suppose a couple of low-tech ways around this might be to boost the highs on a a graphic eq patched into the "insert" point on a particular channel (track) instead of using that channel's tone control. You could also record your tracks normally WITHOUT boosting the highs, then boost them later via a graphic inserted between the 144/244 and what you're mixing to (cassette, CD, minidisc, etc.). This latter solution would affect all channels, unfortunately.
Scott
Unlike the other thread covering this same subject- "Remix Button", which seemed to have gotten out of control with sarcasm - there's been some helpful information in this thread.
Something I noticed about my 244 years ago is that it sounded shrill and tinny when I boosted the HF eq at the highest possible frequency on the semi-parametric tone controls - poor design. I'm sure it's fine for most folks, but it bugged the hell out of me. (I like lots of sizzle.) So being the tech-head that I am, I found that by changing out 4 capacitors (one for each channel), the highs, when boosted, could have that nice sizzle instead. I always thought the 244 got a bad rap for compromised sound quality when it was simply due to those capacitors. I suppose a couple of low-tech ways around this might be to boost the highs on a a graphic eq patched into the "insert" point on a particular channel (track) instead of using that channel's tone control. You could also record your tracks normally WITHOUT boosting the highs, then boost them later via a graphic inserted between the 144/244 and what you're mixing to (cassette, CD, minidisc, etc.). This latter solution would affect all channels, unfortunately.
Scott
A Reel Person
It's Too Funky in Here!!!
Wow, that's interesting.
I didn't catch that other "Remix Button" thread, but I'll catch it later.
BTW, I've never had any trouble with the "stock" EQ on the 244, but then again, I typically don't turn EQ up to the max/max.
IMO, The 244's a great machine. Thanx for the tip. /DA
I didn't catch that other "Remix Button" thread, but I'll catch it later.
BTW, I've never had any trouble with the "stock" EQ on the 244, but then again, I typically don't turn EQ up to the max/max.
IMO, The 244's a great machine. Thanx for the tip. /DA