TASCAM MINISTUDIO PORTA 07 (01) PDF MANUAL

Before anything else, make the following settings:

• Turn all the EQ and PAN controls to their center position.
• Turn all the EFFECT, TAPE CUE, and MONITOR controls all the way to their left position.
• Set all the INPUT and RECORD FUNCTION switches to their center/off position.
• Bring all the TRIM controls fully down.
• Bring all the faders fully down.

1. Plug a signal source (microphone or instrument) into the leftmost MIC/LINE 1 jack.
2. Plug your headphones into the PHONES jack.
3. Press the POWER switch to turn on the unit. (The switch is located on the rear panel.)
4. Set the channel 1 INPUT switch to the left MIC/LINE position.
5. Turn the channel 1 PAN control all the way to the left position, so you can send your mic or instrument signal to the left buss.
6. Push the channel 1 fader up to the shaded area.
7. If you have plugged a microphone, set the channel 1 TRIM control to the proper position (a little higher than the center on the scale). If you have plugged an instrument, the TRIM does not need to be pushed up very far, if at all.
8. Push the MASTER fader up to the shaded area.
9. Set the MONITOR SELECT switch to the center/CUE position.
10. Turn up the MONITOR control to the center (12 o’clock) position.
11. Set the DBX switch to the ON position for best quality recording.
12. Pull the cassette compartment door open, and insert a cassette tape (“High Position,” CrO2, Type II, C-90 or shorter).
13. Put the headphones on and, while speaking into the mic or playing the instrument, adjust the MONITOR level control to a comfortable listening level. You’ll hear your voice or instrument sound at the center in the headphones.
14. Make sure that the PITCH CONTROL is at the center/off position.
15. Push the PLAY key and allow the tape to run for a few seconds. This will run the tape leader onto the takeup reel and put the beginning of the tape in front of the heads.
16. Press the small button located to the right of the tape counter to reset it to 000, and set the ZERO RETURN switch to its down/ON position. This specifies the beginning point of your recording and allows you to quickly return to this point simply by pressing the REW key.
17. Set the BUSS L RECORD FUNCTION switch to its 1 position to select track 1 for recording. The TRK 1 REC indicator will begin to flash, showing that track 1 is ready to be recorded with what you panned (routed) to the left buss.
18. Set the METER select switch to TRK.
19. Test the signal level by speaking into the mic (or playing your instrument) at a normal volume. If the level is correct, meter 1/L should read “0” or so. If necessary, adjust the channel TRIM control. Signals peaking at around “+6” may be recorded without distortion.
20. Push the RECORD key. The TRK 1 REC indicator will stop flashing and glow solid to indicate that track 1 is now recording.
21. Speak or sing a song into the mic, or play the instrument.
22. Once you have recorded to your satisfaction, push STOP. The tape will stop, and the TRK 1 REC indicator will begin flashing as before.
23. Set the BUSS L RECORD FUNCTION switch to SAFE. The TRK 1 REC indicator will turn off.

1. Push REW. The tape will rewind, stopping at 000, automatically. Because of inertia the tape may not necessarily stop at the exact 000 point. This is normal.
2. Check to see that the MONITOR SELECT switch is set to CUE.
3. Push PLAY, and slowly turn the TRK 1 TAPE CUE control to the right until the listening level in the headphones is comfortable. You will hear what you have just recorded at the center in the headphones.
4. Push STOP to stop playing.

If you want to continue to use the same mic or instrument, there is no need of plugging it into the MIC/LINE 2 jack. Leave it connected to the MIC/LINE 1 jack.

1. Set the BUSS R RECORD FUNCTION switch to its 2 position to select track 2 for recording.
2. Turn the channel 1 PAN control all the way to the right.
3. Speak into the mic or play the instrument at a normal volume. Unless you have changed the channel 1 TRIM control, meter 2/R should read “0” or so.
4. Push PLAY and speak or sing a song into the mic, or play the instrument. You will hear both the track 1 playback and the “live” input at the center in the headphones. Balance their levels with the TRK 1 TAPE CUE and MONITOR controls. Remember, the TAPE CUE control affects only the track playback level, the MONITOR control affects both the track and input signals at one time.
5. Push REW.
6. Push RECORD. The TRK 2 REC indicator will glow solid to show that track 2 is recording.
7. Once you have recorded to the end of the first track, push STOP, then push REW.
8. Set the BUSS R RECORD FUNCTION switch to SAFE.

The procedure is virtually the same as the one used for recording tracks 1 and 2.

To record on track 3, make the following changes:

1. Set the BUSS L RECORD FUNCTION switch to track 3. The BUSS R should be at SAFE.
2. Turn the PAN control (of any channel into which the source you want to record on track 3 is plugged) all the way to the left.

To record on track 4, their settings are reversed:

1. Set the BUSS R RECORD FUNCTION switch to track 4. The BUSS L switch should be at SAFE.
2. Turn the channel PAN control all the way to the right.

• Set the PAN controll of each channel to the same position.
• Once you have each channel’s TRIM and fader level set, use the MASTER fader to make overall level adjustments.
• Make sure the INPUT switch of every channel you want to record is set to MIC/LINE or LINE.

Let’s say we’ve discovered a small error on track 2, here’s how to fix it using the footswitch:

1. Plug the optional RC-30P footswitch into the REMOTE PUNCH IN/OUT jack.
2. Plug the mic or instrument as required into, let’s say, channel 1.
3. Play the tape up to a point several seconds before the error, and reset the tape counter to mark this point.
4. Set the channel 1 INPUT switch to MIC/LINE. Don’t set the BUSS R RECORD FUNCTION switch to track 2 yet. Both the BUSS L and R switches should be at SAFE at this step.
5. Turn the channel 1 PAN control all the way to the right.
6. Set the MONITOR SELECT switch to CUE.
7. Set the METER switch to TRK.
8. Check to see that the channel 1 and MASTER faders are set to their original shaded area.
9. Push PLAY, adjust the TRK 1 TAPE CUE control to the desired listening level. If you want to hear other tracks together, turn up their TAPE CUE controls as well to the desired level and balance, and adjust the overall level with the MONITOR control.
10. Rewind the tape, push PLAY again, and rehearse the punch-in: play the part containing the error while listening to the tape as a guide and making the necessary corrections to your performance. Repeat the rehearsal as many times as you need. Once you are satisfied with the rehearsal, perform the following steps.
11. Set the BUSS R RECORD FUNCTION switch to track 2.
12. Push PLAY and, as in the rehearsal, play the part along with the tape.
13. When you reach JUST BEFORE the error, push the footswitch to punch into record mode.
14. When you have performed the punch-in correctly, push the footswitch again to punch out of record. The tape will continue to roll in play mode, so you can immediately check if the new recording is smoothly followed by the original material remaining on the track.
15. Press STOP to stop the tape, and set the BUSS R RECORD FUNCTION switch back to its SAFE position. Then rewind the tape and listen to the results from the beginning.

This approach is a little bit exacting.

Follow steps 2-12 as described above in “How to Punch-in or Insert Recording?”. When you get to step 13, follow the instruction below:

13. When you approach the error, HOLD PLAY and, when you reach JUST BEFORE the error, push RECORD.
14. To punch out of record, push STOP.

• Always punch into record when there is a signal present on another track. This will mask any slight noise from the electronics. The same applies to punching out of record.
• Always rehearse your punch-in until you are sure that you will get it right when actually recording. Remember, once you punch into record over existing (already recorded) material, that original signal is permanently erased. Make your mistakes in the rehearsal, not on tape.
• Select points that are “in the clear.” i.e. in the pauses between phrases or notes. If a new note and the old one overlap, it sounds unnatural, making it noticeable.
• No matter how carefully, you select punch-in and out points, if the new recording is louder or softer than, or different in tonality from, the original material remaining on the track, it will be noticeable. The EQ and level control settings should be the same as they were during the original recording. Keep in mind that at a certain point it’s better to record the whole track over than making multiple punch-ins.

If you have recorded tracks 1 and 2, and, perhaps, track 3 as well, follow the steps below to “bounce” them to empty track 4.

1. Set the INPUT switch of channels 1-3 to TAPE. The channel 4 INPUT switch should be at OFF.
2. Turn the PAN control of channels 1-3 all the way to the right.
3. Set the BUSS R RECORD FUNCTION switch to track 4.
4. Set the channel 1-3 and MASTER faders to the shaded area.
5. Set the MONITOR SELECT switch to CUE.
6. Turn the TRK 1-4 TAPE CUE controls all the way to the left.
7. Set the METER switch to TRK.
8. Push PLAY. You are now hearing the mix of tracks 1-3. Make any necessary level adjustment with the channel and MASTER faders. You may want to repeat this step several times to get the balance correct.
9. When the balance is right, and the level averages at 0 and peaks at +6 or so on the BUSS R meter, push STOP then REW to rewind the tape to the beginning.
10. Push RECORD. Tracks 1-3 are now being mixed and recorded onto track 4.
11. Once recording is done, push STOP, set the BUSS R RECORD FUNCTION switch back to SAFE, then push REW.
12. Turn up the TRK 4 TAPE CUE control to the proper level, and push PLAY to listen to the results. Don’t bounce solo parts or lead vocals so you can control them at the final mixdown time, separately.

You may use any open channel to add “live” metarial to the tracks being “bounced.” In our example, channel 4 of the mixer is open. To make use of this:

1. Plug the source into the LINE 4 jack.
2. Set the INPUT switch of channel 4 to LINE.
3. Turn the PAN control of channel 4 all the way to the right.
4. Set the channel TRIM and fader as for any other recordings.
5. Set the other channel faders (1-3) for the final balance. Proceed with the ping-pong procedure as before. You will wind up with a mix of the live instrument along with the previously recorded tracks 1-3 all on track 4.

Since the idea of mixing down is to bring the four tracks down to two, you need another, two-track cassette recorder which will act as the mastering deck.

1. Connect the L and R LINE OUT jacks of the PORTA 07 to the line inputs of the mastering deck.
2. Check to see that all the channel and MASTER faders are set to the shaded area between 7 and 8, and that the PAN controls are set to the center (12 o’clock) position.
3. Set the MONITOR SELECT switch to REMIX.
4. Set the METER switch to BUSS.
5. Set the INPUT switch of all channels to TAPE.
6. Turn all the four TAPE CUE controls all the way to the left/minimum position.
7. Rewind the recorded four-track tape to 000.
8. Push PLAY, and adjust the MONITOR control to a comfortable listening level. Don’t use the TAPE CUE controls at this step. They receive playback signals directly from the tape. What you have to hear during mixing down is how the four track signals are mixed into two through the channel controls.
9. Use the channel PAN and fader controls to set each track’s level and left-to-right position for the desired balance. You can also use the EQ controls to adjust the tonality of each track signal.
10. When the mix sounds right, set the overall level using the MASTER fader.
11. Rewind the tape, and push PLAY again and adjust the input level controls on your mastering deck.
12. Rewind the tape again. Put a fresh tape in the mastering deck, and let it play for a few seconds, then stop it and reset the mastering deck’s counter to zero.
13. You are now ready to record the mix. Put the mastering deck into Record mode, then push PLAY on the PORTA 07. Continue to monitor the process through the headphones.
14. When recording is complete, stop both machines, rewind the stereo mixdown tape and audition it. If the mixdown tape does not sound right, make the necessary corrections and try again.

• Make sure that the amplifier is turned off before connecting it to the PORTA 07. When you are ready to monitor, turn on the PORTA 07 before the amplifier. When turning off them, reverse the order; turn off the PORTA 07 after the amplifier. Otherwise an explosion of “pop” could damage your equipment or ears.
• Take care that microphones don’t cause feedback or howling.

1. Connect the tape out of the MIDI-Tape Synchronizer to the LINE 4 jack of the PORTA 07.
2. Set the DBX switch to SYNC.
3. Set the BUSS R RECORD FUNCTION switch to track 4.
4. Push RECORD to put track into record mode, and start your MIDI data source unit connected to the MIDI IN of the MIDI-Tape Synchronizer.

Once track 4 has been recorded with sync signal, connect the SYNC OUT to the TAPE IN of the MIDI-Tape Synchronizer, and put track 4 into Play mode, and track you want to record into Record Ready mode. The MIDI-Tape Synchronizer will translate the sync signal from track 4 back into MIDI information which, in turn, will drive the MIDI program in your sequencer: so that MIDI instruments connected to the sequencer will all be referenced to the sync signal from track 4, and you can continue to record audio from your MIDI instruments on the PORTA 07’s tracks during overdubs, ping-pongs, and remix in perfect sync with each other.

• EQ HIGH control: The equalizer or EQ controls the tonality of the channel signal. Turning this control to the right of center boosts (amplifies) the high frequencies of the signal, and emphasizes its brilliance or brightness. If the signal sounds too harsh or shrill, turn the control to the left of center to cut (attenuate) the high frequencies.
• EQ LOW control: Turning this control to the right of center boosts the low frequencies, and the signal will sound relatively heavy. Turning it to the left of center makes the signal sound thinner.
• EFFECT send control: This gets its signal from a point before PAN, and adjusts how much signal will be routed to the EFFECT SEND jack.
• PAN control: This assigns (sends) the channel signal in continuously variable degree to the left or right buss. Signals you want to record are sent through the left and right busses to the PORTA 07 recorder (through the left buss to track 1 OR 3, and through the right buss to track 2 OR 4). So you can record two tracks at one time (one from the left, one from the right) but not three or four tracks. At mixdown time, you’ll use this control to create a stereo mix by sending each track signal between the left and right sides.
• INPUT switch: This controls what the source of the channel is.
  • MIC/LINE: Takes signals plugged into the MIC/LINE jack into the channel.
  • OFF: Mutes (cuts off) the channel.
  • TAPE: Lets playback signals from the multitrack tape go through the channel to the left and right busses.
• TRIM control: This adjusts the level (sensitivity) of MIC/LINE inputs but has no effect on the TAPE signals. Pushing up this control increases the incoming signal level when working with mic’s or softer sound sources. Pulling down the control decreases the incoming level when working with line level signals or louder sound sources such as electronic musical instruments.
• Channel fader: The channel fader or input fader controls the amount of signal going through the channel to the outputs.

• MIC/LINE jack (channels 1 and 2): This 1/4″ phone jack accepts unbalanced signals either from any mic or electronic instrument. When you plug a mic, its level will need to be amplified by pushing up the TRIM control.
• LINE jack (channels 3 and 4): This only accepts unbalanced line level signals coming from keyboards, electric guitars, etc.
• PHONES jack: This is for connection to any stereo headphones (with a 1/4″, stereo 3-contact plug) having (preferably) impedance from 8 to 40 ohms.
• REMOTE PUNCH IN/OUT jack: For connection to the optional RC-30P footswitch.
• EFFECT RETURN control: Adjusts the signals plugged into the EFFECT RETURNS L/MONO and R jacks before they are sent to the MASTER fader.
• TAPE CUE controls, TRK 1-4: These are used to adjust the playback level of each track being sent to the PHONES/MONITOR OUT jacks when the MONITOR SELECT switch is set to CUE, and to the meters when the METER switch is set to TRK. Playback signals you can take into the channels by switching their INPUT select switch to TAPE are NOT affected by the TAPE CUE controls.
• MONITOR SELECT switch: This controls where the signal you can hear comes from:
  • REMIX: You will hear the left and right buss signals. As the label suggests, this position is used, when remixing or mixing down the four tracks into two, to monitor playback signals from four tracks going through the channel controls and MASTER fader to an external 2-track deck. In this position the TAPE CUE controls have no effect on what you hear.
  • CUE (mono): You will hear inputs going through the channel controls and MASTER fader. During overdubbing, you will also hear playback signals of tracks put into SAFE, their levels being determined by the TAPE CUE controls. During bouncing tracks, you will hear their mix as it is being sent to an empty track through the channel controls and MASTER fader. At this time the TAPE CUE controls should be turned fully down.
  • EFF (mono): You will hear the effects send mix coming from the EFFECT control in each channel and going to the EFFECT SEND jack.
• MONITOR control: This adjusts the signal level feeding the PHONES/MONITOR OUT jacks.
• MASTER fader: This linear control affects the signal level being sent to the:
  • LINE OUT L and R jacks.
  • Recorder section through the RECORD FUNCTION switches.
  • PHONES/MONITOR OUT jacks through the MONITOR SELECT switch and MONITOR level control.
  • L and R meters through the METER select switch.

• POWER switch: Turns the unit on or off. The provided PS-P2 AC adapter is plugged into the DC IN jack next to the POWER switch.
• EFFECT RETURNS, L/MONO and R jacks: If your effects device has not stereo output but a mono output, connect it to the L/MONO jack. By doing so, the return signal is sent to both the left and right busses evenly.
• EFFECT SEND jack: This is connected to the input of external effects devices such as reverb, echo, etc. After processed, the send signal is fed back to the EFFECT RETURNS jacks.
• SUB IN, L and R jacks: These allow you to connect the stereo mix output of an external mixer directly to the left and right busses of the PORTA 07, so you’ll have more inputs in addition to the four inputs of the PORTA 07. Or “virtual tracks” such as drum machine may be connected, so they are merged with the tape tracks.
• SYNC OUT Jack: This is used to route out the sync signal recorded on rack 4 to the optional MIDI-Tape Synchronizer or other synchronizers or sequencers.
• LINE OUT, L and R jacks: This pair of RCA jacks are connected to the left and right inputs of your 2- track, mixdown deck. These jacks may also be connected to the inputs of external larger mixer. But, since the TAPE CUE signals cannot be routed to the LINE OUT jacks, these are not intended for connection to any monitoring system.
• MONITOR OUT, L and R jacks: These jacks carry the same signals as the PHONES jack, and may be connected to your monitor amp/speaker system.

• DBX switch: When recording and playing back sync signals on track 4, set this switch to SYNC. This turns on the built-in dbx noise reduction system for all tracks 1- 4, and inserts a bandpass filter to track 4 for “neat” sync signals. Unless you use track 4 to record and play back sync signals, set this switch to ON for quality audio recording and playback. Setting the switch to OFF defeats the dbx system from all tracks.
• Peak level meters and the METER switch: When the METER switch is set to TRK, the meters show: (1) the record level of tracks whose REC LED is flashing or lights solid, and (2) the playback level of tracks put into SAFE mode when the tape is rolling either in Record or Play mode. Setting the METER switch to BUSS will switch meter 1 to show the left buss level, meter 2, the right buss level, meter 3, no signal, and meter 4, the effects send level. Only when you want to see the final stereo mix or the effects send levels, you have to set the METER switch to BUSS. In other cases you can leave the switch set to TRK.
• REC indicators, TRK 1-4:
  • Off: “Safe” mode. No recording can take place.
  • Flashing: “Record Ready” mode. Recording will start on that track when RECORD is pressed.
  • On solid: “Record” mode. The track is currently recording.
• PITCH CONTROL knob: Provides a plus or minus 12% variation to the tape speed in both Record and Play modes. Normally, leave the knob at the center position for the tape to roll at the standard speed (9.5 cm/sec., 3- 3/4 ips). The PITCH CONTROL affects the record speed too. Unless you use the function intentionally, make sure that the knob is at its center “off” position.
• ZERO RETURN switch: When this switch is pressed, 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 tape counter can be reset to 000 at any time by pressing the small button located to the right of the counter.
• RECORD FUNCTION switches: Select tracks for recording. Input signals sent to the left buss can be recorded on track 1 or 3, as selected by the BUSS L RECORD FUNCTION switch. Similarly, input signals sent to the right buss can be recorded on track 2 or 4, as selected by the BUSS R RECORD FUNCTION switch. Only two tracks can be recorded at one time.
• Transport control buttons
  • RECORD: When pushed, PLAY is also activated, and recording will start on the track (or tracks) selected by the RECORD FUNCTION switches.
  • PLAY: Lets the tape play back.
  • REW: Winds the tape at high speed in reverse. The tape will stop at the beginning, or at the counter 000 point if ZERO RETURN is engaged.
  • F.FWD: Winds the tape at high speed in the forward direction.
  • STOP: Stops the tape motion.
  • PAUSE: Interrupts recording or playback momentarily. To resume record or play from the interrupted point, push PAUSE again.

All heads and metal parts in 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.

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.

After cleaning the pinch roller, clean the capstan shaft with a cotton swab moistened with head cleaning fluid.