Tascam with loop pedals

[Jboehm]

Hello hello

I'm looking at buying my first Tascam 4 track cassette. I have had a lot of fun in the past with my four instruments (electric guitar, electric bass, vocals sm57, and keyboard synth) by playing them through four seperate and synchronised loop pedals (jam man express xt).

I'm now looking at moving and growing into the world of four tracking, but would love to get some of my loop creations down onto the tracks. I've heard great things about the 234, 244 and 246 and have been looking at getting one of these. Does any particular one of these sound better suited? I have looked at pictures of the I/O on the back of these but am struggling to really get me head around the effects send and receive functions....do any of them offer independent effects send receive on each channel?

If anyone can help me figure out the way to set up a 234 with cables in and out that would be great (I'm struggling most with that one), I gather you need to have an external mixing board for these beasts, anyone with some insight into how you can make this work? I have a small mixing board (behringer) with 4 mini outs (2 main outs and 2 monitor outs)....would this do the trick or do. Need something a bit more sophisticated?

Thanks in advance....I can't wait to get into this stuff!

 

[A Reel Person]

...

The 244 and 246 both have patch points on each mixer channel for effects devices.

On the 244 it's Access-Snd/Rcv on 2 discrete RCA jacks that must be jumpered together when not in use. If these jacks are not jumpered together, the channel will not pass audio signal. You'd remove the jumper to patch your effect device inline to the channel (1-4).

On the 246 it's Insert, with send & receive on a single 1/4" TRS jack, which requires an insert/breakout cable to adapt from the 1/4" TRS jack to discrete 1/4" Input and Output TS plugs. The adapter cable is an inexpensive accessory. You'd use the adapter cable ends to connect to your effect device inline to the channel (1-6). When the insert adapter cable is removed, at least the channel still passes audio signal.

The 234 would require a mixer more feature-rich than the one you mentioned. I think a Tascam M30 would be a nice match to the 234. Some people might recommend something like the M208 or M308. They each have patch points for effects devices. Something with 4 buss outputs, dedicated tape returns and a separate submix section *I think* would be minimum.

 

[Jboehm]

The 244 and 246 both have patch points on each mixer channel for effects devices.

On the 244 it's Access-Snd/Rcv on 2 discrete RCA jacks that must be jumpered together

On the 246 it's Insert, with send & receive on a single 1/4" TRS jack, which requires an insert/breakout cable to adapt from the 1/4" TRS jack to discrete 1/4" Input and Output TS plugs.

Very cool. These machines look super functional in that regard then! Thank you for the heads up, obviously either or of these effects send receive would be perfectly alright!?

In terms of the difference between recording on a 2 buss vs. a 4 buss recorder...what does this mean practically for the musician? Is there a big difference in the way you would record on the 244 and 246?

Thank you very much for your help, I'm new to this forum but have learnt so much from you and other guys just like you out there.....love the forum culture!

 

[Jboehm]

Also, just to clarify, I take it that the insert/breakout cable is a (male TRS - 2* female TS) thing? Thanks

 

[A Reel Person]

...

2-buss vs. 4-buss *to me* isn't a huge issue. As a solo artist working alone, this issue would be negligible. Technically, a 4-buss architecture would enable you to record up to 4 tracks simultaneously by grouping your inputs to any or all of 4 buss outputs (subgroups). It would also offer more flexibility without repatching cables. A 2-buss architecture would enable you to group inputs to 2 buss outputs and record up to 2 tracks simultaneously. 2- vs. 4-buss is either negligible or a necessity, depending on your application.

I think more important features are dedicated tape returns and separate submix section. Long story short, is this enables your mixer to handle the two-way traffic that's necessary for overdubbing tracks, while avoiding a dreaded feedback loop.

In the turnaround, a 4-buss architecture may suffice for small projects on a mixer that lacks dedicated tape returns and submix section, as the to-recorder traffic could be pushed out on 2-busses and the from-recorder traffic could be received on the other 2-busses,... with considerations as to not inadvertently patch a feedback loop, which is wholly undesirable.

Alternately, a Portastudio usually handles this all internally to the unit & has separate signal paths to avoid developing feedback loops, by design. Separate mixer/recorder setups have many more options, often enough options to patch yourself into dangerous territory.

Anyone on this board, reading this post, who has patched a feedback loop between their recorder & mixer will know what I mean. A momentary feedback loop can damage your hardware as well as your hearing.

A minimal feature set would enable almost any solo artist to record a project, but more features gives more options and room for growth.

 

[A Reel Person]

......

Also, just to clarify, I take it that the insert/breakout cable is a (male TRS - 2* female TS) thing? Thanks

Yes, in general, but the other (outward) ends can either be male or female ends, RCA, 1/8" or 1/4", depending on your other hardware or application.

The "Insert" end of the cable is a M-1/4"-TRS plug. The "Effect" end can be a variety of plugs. I looked on Amazon & they are not always labeled "insert" cables, but often labeled as "breakout" cables or "stereo adapter" cables... and can be used for a variety of uses.

I think you'd want to find an insert cable with plugs specific to your application, to avoid having to use extra adapters inline.