Cassette 4 Track Machines - Which to get? What's your preferred 4-track and why?

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Hello friends. I started posting in another old thread, but I'll take some friendly advice and make a new one for better results. In the midst of recording an album on my Yamaha MT4X, the thing seems to have broken down. I figure life’s too short to go down some rabbit hole of trying to fix it, even if it’s a simple thing, as the chance of finding anyone who can help with me personally with that are, well, it’s not even worth trying. It seems to be jammed up in a major way.

Anyhow, as I’m sure many of you can relate and empathize, in the midst of recording fever, it really sucks to be stopped short like this. Basically, what I’m getting at is, I’m going to buy what I need(4 track cassette wise) ASAP, and want some advice on what to get.

The MT4X was great while it worked, and my first impulse is to buy another. Looking around online, there doesn’t seem to be many available at the moment, save for some new ones on ebay that are asking for considerably more than is necessary for me to spend. A lot of people seem to be privy to TASCAM 246, 244, 234and stuff. What about the 424? I like that it has standard microphone inputs, as I imagine the preamp will support dynamic microphones and "real equipment"? Why is the 246 generally preferred over the 424? Figure I'll buy something real cool while I'm at it. However, for what I’ve been doing lo-fi mics are fine for now. But in general, particularly if anyone has experience with the MT4X, where do other 4 tracks stack up? An array of features are not my concern, I’m mainly interested in raw sound, and the MT4X was capable of as high quality as I need. Recorded tracks are all left without so much as attempting the other available tracks needed to finish the song. The MT4X recorded really clean it seemed to me. Obviously, that is relatively speaking, but it was cleaner sounding than I ever hoped for, and I never use DBX.

All and any attempts to help are so very very appreciated! THANKS!
 
I do like the raw sound I get on my Tascam 244. It definitely has a "feel" that works well with my music. I used to love the Tascam Porta one.
But yea the link Hammerstone posted looks pretty good too!
 
FYI, I just posted another response to your question in the other thread. I didn't realize you'd started this one already. Here's what I said:

The XLR jacks will allow you to run a standard mic (XLR) cable into the recorder. This means you can record with a dynamic mic like the Shure SM57, for instance, just by plugging a mic cable straight in to the recorder without need for an adapter or anything else external.

However, if you want to use a condenser mic (that doesn't have a battery option), you'll either need an external phantom power supply (basically around $20 per channel on the lower end if you buy new -- cheaper if you buy used obviously) or you could also use an external preamp that has phantom power built in. (I think just about any external pre---especially those made within the last 15 years---will have this.) For instance, you could get an M-Audio DMP 3, a Presonus TubePre, etc.

M Audio DMP3 Dual Microphone Preamp | eBay

PreSonus Tube Pre V1 with Upgraded Mesa Boogie Vacuum Tube | eBay

EXTERNAL PHANTOM POWER SUPPLY OPTION
The external phantom power supply is just placed between your mic and the recorder. You run mic > PP supply > recorder. However, the output jack on the PP supply is XLR, so if you do that on a recorder with only 1/4" inputs (like your MT4X), you'll either need an XLR female-to-male 1/4" cable, like this:

Hosa XLR Female to 1/4-Inch Male TS Unbalanced Interconnect Patch Cable 5 Foot | Musician's Friend

Or an adapter that does the same thing, like this:
American Recorder Technologies XLR Female to 1/4" Male Mono Adapter Nickel | Musician's Friend

If you did it on the 424, though, you could just run a standard mic cable from the PP supply to the recorder.

EXTERNAL MIC PRE OPTION
If you go the external preamp option, though, you don't need the XLR input jacks on your recorder. The external preamp will have both an XLR and 1/4" output. So you could just run from the 1/4" output into the 1/4" inputs on your recorder. However, the output from the preamp will be at line level, not mic level. So you'd need to adjust the input on the recorder channel for that. In other words, on the MT4X, you'd probably have the gain knob turned all the way to the "line" side, because the preamp will likely give you all the gain you need.
 
I don't know how the MT4X stands up against Tascams equal in features, because I've never used it. I did use the Yamaha MT50 for a bit though, and in my experience, it sounded comparable to the Tascam 414, for example, which is similar in features.

People many times opt for the older machines because generally the build quality was better, they may have used better components, etc., and the specs are usually a bit better. There's also the mojo factor, which is not to be overlooked. They usually just look cooler than the newer models (with the VU meters, etc.).

Having said that, generally speaking, the chances of you getting a fully functional unit decrease as the model increases in age. The Tascam 244 and 246, for example, are very well-built machines, but at this point, they're nearly around 30 years old. So it's very likely that they'll need a bit of maintenance (replacing belts, etc.) in order for them to be fully functional again. I actually went through 2 vintage 4-track cassette recorders (Fostex 250 and Audio Technica AT-RMX64) and returned both (because they weren't working as advertised) en route to the Tascam 246 I have now.

The 246 didn't work either when I got it. But I was fed up with exchanging and have always wanted a 246, so I decided to bite the bullet and fix it. I was able to replace two belts that were broken, which got the transport back working properly, but after recording some tests, I discovered that it was recording at low levels. This was beyond my ability (and I don't have calibration tapes, etc.), so I decided to take it in to a shop to get repaired. Luckily, the ebay seller was cool and agreed to cover my repair shop costs. Anyway, that's where I am now -- waiting to get it back from the shop.

So, just so you know, those old recorders are very cool and certainly sound great, but they're not for the faint of heart. I'd say it's more than likely that, if you for a vintage unit, it's going to need a little TLC before you can get up and running. If you're up for it, though, the guys here and extremely helpful!
 
famous beagle said:
The 246 didn't work either when I got it. But I was fed up with exchanging and have always wanted a 246, so I decided to bite the bullet and fix it. I was able to replace two belts that were broken, which got the transport back working properly, but after recording some tests, I discovered that it was recording at low levels. This was beyond my ability (and I don't have calibration tapes, etc.), so I decided to take it in to a shop to get repaired. Luckily, the ebay seller was cool and agreed to cover my repair shop costs. Anyway, that's where I am now -- waiting to get it back from the shop.

So, just so you know, those old recorders are very cool and certainly sound great, but they're not for the faint of heart. I'd say it's more than likely that, if you for a vintage unit, it's going to need a little TLC before you can get up and running. If you're up for it, though, the guys here and extremely helpful!
Click to expand...

That's an important point. Just because you buy another one doesn't mean it'll work any better, unless you're buying one that's been recently refurbished, and that'll cost you. I have a Tascam 244 and when I bought it (from a thrift store), it needed to have the belts replaced. After I did that, the pinch roller went bad and I had to change that out too. All told, I've only spent $50 on that 244 though, including purchase price. If this were 10 years ago, then yeah, probably the best option out there would be to buy a 424 brand new for $300, but unfortunately you can't do that anymore. Your options are:
-buy a fully refurbished unit, or at least one that has had its rubber parts replaced
-buy a unit cheap, and do the repairs yourself (or pay someone to do them for you)
-pay to have your Yamaha unit fixed

Out of those options, #3 seems to be the most hassle-free, unless you just really want to upgrade to a better model.
 
I agree with Hammerstone. If you like the MT4X's quality, and it seems you do, I'd say just take it in to get repaired. It's a nice deck with good features (2 aux sends, 3-band EQ, DBX NR -- even though you're not using it for whatever reason -- cue mix, etc.).

Without telling us more symptoms other than it's "jammed up in a major way," obviously we can't tell you what to expect, but I imagine that a repair wouldn't likely cost you more than $80 or so. If it's just the transport that's not working, those are actually fairly easy repairs to make IME. It's most likely a belt that needs replacing or something along those lines.

Anyway, the point is that you have a unit that you know well and you know exactly what's wrong with it. If you buy another, you'll be taking a chance at getting something with new, unknown problems. Of course, it could work out great, and the unit could work perfectly as described. But you just can't count on that anymore with these old machines unfortunately.
 
The Tascam 246 is my favorite and I still have the one I bought new in the 80's. I had the first two as well in order of introduction... the 144 and 244. This was back when Tascam still cared about perfecting on perfection. I felt the portastudio concept really arrived with the 246. Later models sounded good, but were mostly about features like MIDI capabilities, and although a lot those later models are still around and working fine for recording, some of those extra features are not working. And then the really cheap toys starting coming out as Tascam was competing with Fostex and everyone else jumped on the portastudio concept. Everyone could afford some kind of cassette multitrack but the idea of professional results on cassette fell out of fashion. And you can get fully professional results on something like the 246 if you know what you're doing. That was the beauty of it all.

I think the 424 is pretty good as well, but I would also recommend you try to get your Yamaha repaired first if it was working for you and you've been happy with it.
 
Beck said:
The Tascam 246 is my favorite and I still have the one I bought new in the 80's. I had the first two as well in order of introduction... the 144 and 244. This was back when Tascam still cared about perfecting on perfection. I felt the portastudio concept really arrived with the 246. Later models sounded good, but were mostly about features like MIDI capabilities, and although a lot those later models are still around and working fine for recording, some of those extra features are not working. And then the really cheap toys starting coming out as Tascam was competing with Fostex and everyone else jumped on the portastudio concept. Everyone could afford some kind of cassette multitrack but the idea of professional results on cassette fell out of fashion. And you can get fully professional results on something like the 246 if you know what you're doing. That was the beauty of it all.

I think the 424 is pretty good as well, but I would also recommend you try to get your Yamaha repaired first if it was working for you and you've been happy with it.
Click to expand...

Thanks a lot guys for all your thoughtful and genuine responses. Greatly appreciated. I actually ended up doing both. Got the Yamaha fixed for $100(some kind of azimuth alignment issue, it ate my tape up :( In the meantime, while thinking, I needed it, I bought a Tascam 234 on ebay. It was fully serviced which was a real draw. Kinda a blessing in disguise maybe, as I look forward to trying out a much-sought after Tascam model for the first time. If you have a 4 track fetish like me, more than one working machine can never hurt.

A bit off topic of my original question, but if anyone would care to weigh in with what mic's you've used with a 4-track cassette machine I'd be curious. Been using a cassette machine Sony hi-fi mic I got for $2. I like it, but the original impetus for using it was that my SM 58 doesn't register much for recording my amp, due to there being impedance issues without having a preamp. Figure I'll rent a preamp and test to see whether the "real" mic is more suitable for what I'm doing. I like lo-fi, so the cheapie mic might be fine (it does capture a cool sound), just wanna know my options. Just throwing it out there. In scouring the internet the 1/4 inch jack/dynamic mic conundrum seems to be common for the inexperienced. Don't have the Tascam 234 yet so can't see if it gets around this with gain, but it also has 1/4 inch jacks from what I can see.

THANKS!
 
Very cool! I can't speak for the 234, because I've never used one, but I don't think it has mic preamps in it, because it doesn't have a mixer. It's kind of like the cassette version of a Tascam 34 reel to reel recorder, for example. In other words, it's just the recorder, and the inputs are for line level. You'll have to pair it with a mixer in order to mix, add effects, etc.

Again, though, there are others here that are much more knowledgeable on that machine.
 
Im surprised your 4 track isn't pairing well with the 58.
I can easily plug a sm 57-58 straight into my Tascam 244- 246- and 424mkII using no external preamps at all. Just using the trim knob to get my volume from them.
 
famous beagle said:
Very cool! I can't speak for the 234, because I've never used one, but I don't think it has mic preamps in it, because it doesn't have a mixer. It's kind of like the cassette version of a Tascam 34 reel to reel recorder, for example. In other words, it's just the recorder, and the inputs are for line level. You'll have to pair it with a mixer in order to mix, add effects, etc.

Again, though, there are others here that are much more knowledgeable on that machine.
Click to expand...

The 234 has line inputs as well as unbalanced mic level inputs. You'll just need an XLR-F to 1/4" TRS-M or 1/4" TS-M adapter to hook your SM58 up to the 234.

The 234 is cool because it has a simple 4 x 2 mixer on board with cue monitoring, so you can track, overdub and mixdown on the 234 without an external mixer unlike some other rack-mount cassette multitrack machines.
 
sweetbeats said:
The 234 has line inputs as well as unbalanced mic level inputs. You'll just need an XLR-F to 1/4" TRS-M or 1/4" TS-M adapter to hook your SM58 up to the 234.

The 234 is cool because it has a simple 4 x 2 mixer on board with cue monitoring, so you can track, overdub and mixdown on the 234 without an external mixer unlike some other rack-mount cassette multitrack machines.
Click to expand...

Oh cool, I didn't know that!
 
Tascam 424 mk 3.
My number one requirement for a 4 track is individual ins and outs so i can use my mackie 24-4. the tascam 424 mk 1/2/3 transports are solid as a rock. i do everything else via my external mixer.
 
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