TASCAM PORTA 05 MINISTUDIO (01) PDF MANUAL

Please observe the following safety precautions when operating your TASCAM PORTA 05 MINISTUDIO:

WARNING: TO PREVENT FIRE OR SHOCK HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

Using your TASCAM PORTA 05 MINISTUDIO, you can:

Record a four-track “Multitrack Master” tape.

Mixdown your multitrack master tape to a stereo master using L/R outputs and a stereo recorder.

Record four mixer channels onto a single recorder track.

Overdub new signal while listening to prerecorded tracks.

Ping-Pong (bounce) up to 3 tracks down to one.

Synchronize electronic musical instrument (“Virtual Tracks”) during any recording process using the Sync Out.

Add effects to any combination of 4 mixer channels using the Effect submixer and Effects Return.

1. Track Format and Compatibility: The track format is compatible with standard (Philips) stereo format tapes recorded at 1 7/8 ips (4.75 cm/sec). Tapes recorded without noise reduction or with dbx type II can be played. The TASCAM PORTA 05 records and plays in one direction using the whole width of the tape.

2. Use the Shortest Possible Tape for a Given Job: Do not use C-120 tapes under any circumstances; the tape stock is too thin and not sturdy enough for multitrack recording.

3. Tape Type: The TASCAM PORTA 05 is internally adjusted for HIGH BIAS, 70 µs EQ, TYPE II TAPE. This means you can only use 70 µs, High Bias, Type II tapes such as TDK SAX, MAXELL UD XL IIS or equivalent formulations.

4. Protect the Finished Master: To protect your recording, remove both safety tabs of the cassette. If you break out only one tab, you could still put the tape in “upside down” and erase the tracks.

To power the TASCAM PORTA 05 from an AC line, use the provided AC adapter PS-P2 which is designed especially for the unit and provides a convenient connection and correct polarity.

Should you attempt to employ an AC-DC converter of any other brand, you must make sure that the connection provides the proper polarity as shown by the symbols on the left side of the unit. Furthermore, the specified voltage of 11 – 15 V and amperage of 350 mA must be properly observed. Otherwise, damage may occur to the TASCAM PORTA 05 and such damage would not be covered by the limited warranty on the product.

1. Plug a Microphone into channel 1.

2. Plug your headphones into the PHONES output jack. Do not put them on yet.

3. Turn the TASCAM PORTA 05 on.

4. Set the channel 1 fader to the shaded area.

5. Set the TRIM control to the proper position (a little higher than the center on the scale).

6. Set the channel 1 PAN control to the full LEFT position, fully counterclockwise.

7. Set the Equalizer controls to the 12 o’clock position.

8. Set the MASTER fader to the shaded area.

9. Put the headphones on and, while speaking into the mic, adjust the PHONES level control to a comfortable listening level.

10. Set the METER select switch to the INPUT position. (NOTE: If you intend to use the EQ, set the METER switch to the BUSS position.)

11. Test the signal level by speaking into the mic at a normal volume. If the level is correct, INPUT 1 meter should read between -10 and 0. Adjust your level using the TRIM control.

12. Set the BUSS L RECORD FUNCTION switch to the track 1 position. The RECord Function LED will begin to flash. Set the BUSS R RECORD FUNCTION switch to the SAFE position.

13. Check to make sure the PITCH CONTROL is in the center (off) position.

14. Push the PLAY key and allow the tape to run for about 15 seconds to run the tape leader onto the take up reel.

15. Push the RESET button and set the ZERO RETURN switch to the ON position. This locates the beginning point of your recording and allows you to quickly return to this point by pressing the REWind key.

16. Press the RECord key. You are now recording on track 1. The RECord Function LED will stop blinking and stay on steadily.

17. Once you have recorded, push the STOP key.

18. Press the REWind key. The tape will rewind to 000 and stop, since the ZERO RETURN switch is ON.

19. Set the BUSS L RECORD FUNCTION switch to SAFE. The LED will turn off.

20. Set the MONITOR select switch to the CUE position.

21. Play the tape and adjust the track 1 TAPE CUE control until the headphone volume is comfortable.

Using the same basic set-up as recording the first track, make the following changes:

1. Set the BUSS R RECORD FUNCTION switch to the track 2 position. The RECord Function LED will begin to blink.

2. Turn the channel 1 PAN control all the way to the right (clockwise). Make sure the MASTER fader is in the shaded area between 7 and 8.

3. Listening through the headphones, push PLAY and begin speaking into the mic. Balance the volume of the new signal to that of the track 1 playback level by using TAPE CUE 1 and PHONES controls.

4. Rewind the tape.

5. Press RECord. The RECord Function LED will stay on. The second track is now being recorded “in sync” with the first.

6. Once you have recorded to the end of the first track, push STOP and then REWind.

7. Set the BUSS R RECORD FUNCTION switch to SAFE.

8. Push PLAY and listen to the two tracks. Adjust the track 1 and 2 TAPE CUE controls to the desired level and balance.

The method is virtually the same as recording the first and second tracks. The differences are in the PAN settings and the RECORD FUNCTION switch positions.

To record on track 3:

1. Set the BUSS L RECORD FUNCTION switch to track 3 and BUSS R switch to SAFE.

2. Turn the channel PAN control all the way to the left.

For recording on track 4, the method is reversed:

1. Set the BUSS R RECORD FUNCTION switch to track 4 and the BUSS L switch to SAFE.

2. Turn the channel PAN control all the way to the right.

Once these steps are done, the rest is merely balancing the levels of the playback signals with the new material.

Ping-ponging allows you to combine two or three tracks onto a remaining blank track. If you have recorded tracks 1, 2, and 3, follow these steps to put them all onto track 4:

1. Check to make sure that all inputs are removed from the MIC/LINE and LINE connectors. The input channels are now internally switched to Tape.

2. Set the BUSS R RECORD FUNCTION switch to track 4 and the BUSS L switch to SAFE. The RECord Function LED will begin blinking.

3. Set channel faders 1 through 3 to the shaded area between 7 and 8.

4. Set the MASTER fader to 7.

5. Set the PAN controls (1, 2, 3) all the way to the right (fully clockwise).

6. Rewind the tape to 000.

7. Set the MONITOR switch to the CUE position, turn the TAPE CUE controls all the way down.

8. Push the PLAY key and listen to the mix. Make any necessary level adjustments using the channel and MASTER faders. Repeat this step as needed to get the balance correct.

9. When the balance is right and the level is between -10 and 0 on the BUSS R meter, stop and rewind the tape to 000.

10. Push the RECord key. The first three tracks are now being recorded onto track 4. The RECord Function LED will stay on.

11. Once the recording is done, press STOP then REWind.

12. Set the BUSS R RECORD FUNCTION switch to SAFE. The LED will stop blinking.

13. With the MONITOR switch in the CUE position, adjust the track 4 TAPE CUE control to the proper level and listen to the results.

The TASCAM PORTA 05 MINISTUDIO has the ability to mix a new signal with the tracks being ping-ponged. Using the previous example of collapsing tracks 1, 2, and 3 onto track 4, you can add a new signal by using input channel 4 and following these steps:

1. After Step 4 of the standard ping-pong procedure, plug the new line level source into channel 4.

2. Set the fader level for channel 4 to the shaded area.

3. Set the channel 4 PAN fully right.

4. Now, continue on with Steps 5, 6 and 7 of the ping-pong section. When you reach Step 8, balance the new signal with the previous tracks and rehearse the new material until the balance and timing are right. Then proceed with steps 9 – 13. Once completed, you can re-record over the material on Tracks 1, 2 and 3.

To mix your finished multi-track master tape into a standard stereo format, you will need a separate two-track cassette recorder to act as the MASTERING deck.

1. Connect the Left and Right LINE OUT jacks of the TASCAM PORTA 05 to the line inputs of the mastering deck.

2. Switch all four channels to Tape by disconnecting all input sources from the MIC/LINE and LINE connectors.

3. Set the PAN controls to the center (12 o’clock) position.

4. Set the channel and MASTER faders to 7.

5. Set the MONITOR switch to REMIX.

6. Turn the TAPE CUE controls all the way to the left (off).

7. Rewind the recorded tape to 000.

8. Push PLAY and, with headphones on, adjust the PHONES level control to a comfortable listening level.

9. Using the channel PAN and fader controls, set each track’s level and left-to-right position for the desired balance.

10. When the signal balance and level sound right, set the overall level using the MASTER fader.

11. Rewind the tape and push PLAY. Adjust the input levels on the MASTERING deck until its meters read between about -3 to 0.

12. Rewind the tape again. Put a fresh tape in the MASTERING deck and let it play for 10 to 15 seconds, then stop it and reset its counter to 000.

13. You are now ready to record the mix. Put the MASTERING deck into its RECORD mode, then push PLAY on the TASCAM PORTA 05. Continue to monitor the process through headphones. When the recording is done, stop both machines, rewind the stereo MASTER and listen to the mix.

Signals can be monitored in two ways:

1. Through headphones: This is the method discussed in most procedures.

2. Through monitor speakers: This approach requires an external stereo amplifier. Be careful when using speakers with an open microphone, as this can cause feedback or howling.

To use speakers:

1. Plug a dual RCA plug cable into the LINE OUT jacks (L and R) on the TASCAM PORTA 05.

2. Connect each plug to the corresponding tape or Aux Inputs on the amplifier.

3. Set the amplifier’s volume to 0 before you connect the TASCAM PORTA 05 to it.

4. When you are ready to monitor, make sure you turn the TASCAM PORTA 05 on before turning on the amplifier.

5. When finished, turn the amplifier off before turning off the TASCAM PORTA 05.

Punch-in recording allows you to re-record a small portion of a track to correct a mistake or add material. Here’s how to fix an error on track 1:

1. Play the tape up to a point several seconds before the error. Push the RESET button to mark this point.

2. Plug the mic into channel 1. (Disconnect any other inputs).

3. Set the channel controls just as before.

4. Set the RECORD FUNCTION switches: BUSS L switch to track 1, BUSS R to SAFE.

5. Set the MONITOR switch to CUE.

6. Turn the TAPE CUE controls for tracks 1 and 2 to about 12 o’clock.

7. Press PLAY. The two tracks should be heard through the headphones. Adjust the PHONES control and TAPE CUE controls to the desired volume and balance.

8. Adjust the fader and TRIM controls on channel 1 while speaking into the mic. Set the PAN control all the way to the left. Balance the new signal with the recorded one.

9. Rehearse the Punch-In by rewinding the tape and pressing PLAY. Speak along with the recorded signal, making the necessary corrections. Once satisfied, rewind the tape.

10. Press PLAY and, as in the rehearsal, speak along with the material. When you reach the point JUST BEFORE the error, press RECord. Continue speaking to make the corrections.

11. When the Punch-In has been performed correctly, press STOP.

12. Rewind the tape and listen to the Punch-in. If the results are not to your liking, go back and try again.

The optional RC-30P remote foot switch allows for hands-free punch-in recording, which is helpful when playing an instrument.

1. Plug the RC-30P foot switch into the REMOTE PUNCH IN/OUT jack on the TASCAM PORTA 05.

2. Follow steps 1-9 of the manual punch-in procedure as described previously.

3. When you get to Step 10, follow this instruction instead:

Press PLAY and, as in rehearsal, speak along with the material. When you reach the point just before the error, press the RC-30P foot switch. The RECord Function LED should stay on, indicating recording is in progress. Make the necessary corrections to the track, then:

4. Press the foot switch again. This takes the TASCAM PORTA 05 out of RECORD and into PLAY. The RECord Function LED should begin to flash.

5. As before, STOP and REWind the tape and listen to the results.

Punch-in Tips:

Always try to punch-in when there is a signal present on another track. This will mask any slight noise from the electronics. The same applies to punching-out.

Always rehearse your punch-in until it’s PERFECT. Remember, once you punch-in over existing material, that recorded signal is erased. Make your mistakes in the rehearsal, not on tape.

The TASCAM PORTA 05 MINISTUDIO features a built-in Effects submix system to process any combination of your mixer channels with external effects units (like reverb, delay, chorus, etc.).

The EFF control in each channel is used to send signal to the Effects submixer. Signals from the channels are summed together and sent to the EFFECT OUT jack.

The TASCAM PORTA 05 has a dedicated EFFECT RTN jack to bring the processed signal from your effects loop back into the unit.

The SYNC OUT feature is designed for use with the synchronizing codes used by electronic musical instruments (MIDI) and computer interfaces. This allows you to create “Virtual Tracks” with sequencers that play in perfect sync with your recorded audio tracks.

Recording a Sync Signal:

1. You must convert the MIDI sync signal to a recordable signal like FSK (Frequency Shift Keying) using a MIDI FSK converter, which may be part of your sequencer, drum machine, or computer interface.

2. Connect the FSK output (often labeled “Sync Out” or “Tape Out”) of your device to the LINE 4 input on the front panel of the TASCAM PORTA 05.

3. Set the transport to Record Sync on track 4. The sync signal level should register between -10 and 0 on the BUSS R meter. Adjust the level with the channel 4 fader.

Recording New Synchronized Tracks:

1. Connect the SYNC OUT of the TASCAM PORTA 05 to the “Sync In” or “Tape In” of your converter/sequencer.

2. Put track 4 into play mode and any tracks you want to record into Record Ready mode.

3. Your converter will translate the sync code from track 4 back into MIDI clock information, which will drive the MIDI program in your sequencer.

4. Your synthesizers, drum machines, and other sources will now operate in perfect sync, allowing you to record their audio signals onto the MINISTUDIO’s available tracks during overdubs, ping-pongs, and remix.

MIC/LINE Input Connector (Channels 1 and 2 Only): This 1/4″ phone jack accepts unbalanced signals from any type of microphone (150 to 10,000 ohms). You can also connect a magnetic instrument pickup (electric guitar/bass) or an electronic keyboard. When a signal is connected here, the channel switches to this input. When disconnected, the channel switches to the built-in recorder’s track output (track 1 to channel 1, track 2 to channel 2).

LINE Input Connector (Channels 3 and 4): This 1/4″ phone jack accepts unbalanced line level signals only. Like channels 1 and 2, when a signal is connected, the channel uses this input. When disconnected, it switches to the recorder’s track output (track 3 to channel 3, track 4 to channel 4).

TRIM (Channels 1 and 2 Only): This control alters the gain of the input amplifier for MIC/LINE signals. It has no effect on tape signals. Push it up for more gain with mics or softer sources; pull it down for less gain with high-level signals.

Input Fader: This slide fader adjusts the amount of signal from the input channel going to the Stereo Left and Right (L/R) Output Busses via the PAN control. It’s the main control for adjusting how much of the input appears at the outputs.

PAN: This control assigns (sends) the channel’s signal to the Stereo Busses. Rotating it fully counterclockwise sends the signal to the L Buss; fully clockwise sends it to the R Buss. This allows you to position a sound anywhere in the stereo image.

Equalizers (L and R): The EQ circuitry adjusts the tonality of the signal mix assigned to the Stereo L and R Busses. The high knob allows a boost or cut of 10 dB at 10 kHz. The low knob allows a boost or cut of 10 dB at 100 Hz. CAUTION: The EQ is located after the PAN and before the MASTER fader. To prevent overloading the Busses, reduce the MASTER fader before turning the EQ knobs up.

MASTER Fader: This slide fader controls the overall level of the signal mix on the L and R Busses. It simultaneously adjusts the signal level at the LINE OUT jacks, the Buss L/R meters (when METER switch is in BUSS position), the RECORD FUNCTION select switch, and the MONITOR switch/PHONES level control.

What you hear in the headphone circuit is controlled by this switch, which has three positions:

REMIX: You will hear the stereo output of the L and R Busses. The levels are affected by the settings of the MASTER Fader and the PHONES level control. In this position, the TAPE CUE controls have no effect on what you hear.

CUE: You will hear a Mono combination of the MASTER fader signal plus the Tape Cue signals, one for each track. The TAPE CUE controls have signals available to them only after a track has been recorded. To hear them you must be in the CUE (mono) mode.

EFFECT: You will hear the EFFECT OUT (mono). The listening level in the headphones is affected by the settings of the Input Channel Fader, the EFF send level control, and the PHONES volume control.

The PHONES control adjusts the overall level of your headphones, plugged into the front panel jack. Any change in the setting of the TRIM, Input Faders, MASTER Fader or the TAPE CUE controls will change the signal level in the phones.

CAUTION: MONO (2-WIRE) HEADPHONES WILL CAUSE CIRCUIT FAILURE. If your headphones have a 1/4″ phone 2-connector (mono plug), do not use them. Using a 2-wire connector shorts out one of the amplifiers driving the headphones, which will cause it to burn out. You must use headphones with a 3-connector (stereo) plug.

RESET and ZERO RETURN: The Tape Counter can be reset to 000 at any time by pressing RESET. If the ZERO RETURN switch is ON, the tape will automatically stop during REWind when the counter reaches 000. This is useful for returning to a specific point. Pressing REW again after it stops at 000 will continue rewinding to the beginning of the tape. ZERO RETURN only works in rewind mode.

PLAY: Places the transport in play mode.

PAUSE: Disengages the pinch roller, stopping the tape. The electronics remain engaged. To resume, press PAUSE again.

STOP: Stops any tape motion and cancels the Record mode.

F. FWD: Winds the tape forward at high speed.

REW: Rewinds the tape at high speed.

REC: Begins the recording process by activating the record electronics selected by the RECORD FUNCTION switches and starting tape motion. Recording cannot be done if both RECORD FUNCTION switches are in SAFE mode or if the cassette’s record protection tabs are missing.

The TASCAM PORTA 05 mixer has two Output Busses (Left and Right) which are internally connected to the RECORD FUNCTION switches. The Left switch assigns the L Buss to either Track 1 or Track 3, and the Right switch assigns the R Buss to either Track 2 or 4. Setting either switch to a track puts the unit in “Record Ready” mode, indicated by a flashing RECord Function LED.

The RECord Function LED indicates the record status:

a) LED off: “Record Safe” mode – no recording can take place.

b) LED blinks: “Record Ready” mode – indicates a buss has been assigned to a track. The unit is ready to go into record, but not yet recording.

c) LED on: Record or Record/Pause – the recorder is recording or is ready to begin recording by releasing the PAUSE button.

CAUTION! The optional RC-30P is active if a RECORD FUNCTION switch is set to the Record Ready mode, regardless of the removal of the record safety tabs.

The four vertical meters have different functions depending on the METER Select switch position:

INPUT: In this position, meters 1 through 4 will show the source level if a source is connected to the corresponding input channel. If no source is connected, the meter will show the playback level from the tape track.

BUSS: In this position, the meters display the buss output levels.

Meter 1 will show the left buss output.

Meter 2 will show the right buss output.

Meter 3 will show no signal.

Meter 4 will show the effects send buss output.

This control allows you to adjust the tape speed by approximately ±15% in both record and playback modes. Sliding the knob to the left (-) slows the tape, while sliding it to the right (+) speeds up the tape. You can return to the basic speed of 1 7/8 ips (4.8 cm/sec) by setting it at the center detented position.

It is suggested to use “full slow” or “full fast” only during final playback, as minor drifts in the circuit may result in slight speed variations over time. Also, it is recommended to let the tape run for several seconds in play mode for the speed to stabilize, especially after a large change.

CAUTION: dbx NR calibration will only be accurate at the basic speed. Recording at one speed and playing back at another may cause dbx decoding errors that affect the dynamics of the signal. The specifications for the unit may not be achievable when this circuit is used on extremes.

The EQ on the TASCAM PORTA 05 can be used to change the tonality of an instrument or a mix. The 10 kHz control (EQ HIGH) affects the “brightness” or “brilliance,” while the 100 Hz control (EQ LOW) affects the “boominess” or “bassiness.”

It is important to remember that there are two ways to make a tonal change. For example, if you want to add more high frequencies (10 kHz), you can either turn up the EQ HIGH control, or you can achieve a similar effect by turning down the EQ LOW control (100 Hz). The best approach depends on the sound source and the desired result.

Understanding the frequency range of the instruments you are recording will help you use the EQ effectively. For example, cymbals and flutes have little energy in the 100 Hz range, so the EQ LOW control will not affect them much. A kick drum, however, has a large amount of energy in the 100 Hz range, so it will be significantly affected by that control.

Try to get the levels as close to “right” as possible before using EQ. A good balance of levels will lead to a better mix with less noise and distortion.

1. If your console faders are always very high and the master fader is low: You are likely overloading your outputs. Pull down the input faders and raise the master fader.

2. If your console faders are very low and the master fader is very high: You are getting too much gain from your master fader. Your mix might be clean, but it will be noisy.

3. A reasonable compromise: Having the input faders and the master fader in their middle-to-upper ranges is probably better all around, providing a good balance between signal level and noise.

The DBX system is a wide-band compression-expansion system that provides a net noise reduction of a little more than 30 dB. It also permits a net gain in tape headroom of about 10 dB.

Before recording, a compression factor of 2:1 is used. Then, on playback, a 1:2 expansion is applied. These linear factors allow the system to produce tape recordings with over a 90 dB dynamic range. The system employs RMS level sensors to eliminate tracking errors due to phase shifts in the tape recorder and provides excellent transient tracking capabilities.

The DBX also incorporates a bandpass filter to suppress undesirable subsonic frequencies from introducing errors into the encode or decode process. However, if rumble from external sources (like trains or trucks) is picked up by your microphone during low level passages, it may cause low-level decoding errors. If this is encountered, the addition of a suitable high-pass filter in the microphone line is suggested.

Regular cleaning is essential to prevent performance degradation. Clean up before each session, after every session, and during any break in the middle of a session.

Cleaning the Heads and Tape Guides:

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. 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.

Cleaning the Pinch Roller:

Clean the pinch roller at least once each day the deck is used. Use a good rubber cleaner.

1. Open the cassette door.

2. Press PLAY.

3. Lightly press a cotton swab moistened with rubber cleaner to the pinch roller on the right-hand side of the capstan shaft. Clean it until there is no visible residue on the pinch roller or coming off a clean swab.

4. Using a clean cotton swab, wipe off all excess rubber cleaner from the pinch roller.

Cleaning the Capstan Shaft:

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

Stray magnetism can build up on the heads and cause problems, such as erasing high-frequency signals on previously recorded tapes. It is worth taking the trouble to degauss regularly.

1. Degaussing is ALWAYS DONE WITH THE RECORDER TURNED OFF. Doing it with the electronics on will seriously damage the electronics and/or meters.

2. Turn on the degausser at least 1 meter (3 feet) away from the recorder.

3. Be certain your degausser has a plastic cover or tape over its tip to prevent scratching the heads.

4. Slowly move the degausser into the tape path. Move it slowly up and down, lightly touching all metal parts in the tape path.

5. Slowly move the degausser away again to at least 1 meter (3 feet) from the recorder before turning it off.

CAUTION: If the degausser is turned on or off by accident while it is near the heads, you may put a permanent magnetic charge on them that cannot be removed by degaussing. You will have to get the heads replaced.

If you won’t be using the TASCAM PORTA 05 for a period of time, it’s always a good idea to remove the AC adaptor from the unit and the AC line.

For General Export units, the voltage setting can be changed to match your mains power. ALWAYS DISCONNECT THE AC LINE BEFORE MAKING THE CHANGE.

1. Locate the voltage selector on the top panel of the PS-P2.

2. Two voltage ranges are available: 120 V (110 – 120 V) and 220 V (220 – 240 V). Using a regular (slot-bladed) screwdriver, set the selector to the indication corresponding to the voltage requirements of your area.

This voltage conversion is NOT possible on units sold in North America, U.K., Australia or Europe.

CS-P5 Carrying Case: A protective case with a shoulder strap for portability.

RC-30P Remote Punch-In/Out Pedal: A durable footswitch that connects to the REMOTE PUNCH IN/OUT jack, permitting “hands free” entry and exit from the record mode.

109B Input Transformer: An adaptor that matches balanced low impedance microphones with XLR connectors to the unbalanced high impedance 1/4″ phone jack inputs. This helps reject hum and buzz and properly loads the mic for correct frequency response.

E-3 Head Demagnetizer: For demagnetizing the tape heads.

JC-T201 Plug Adaptor (RCA Phono -> 1/4″ Phone): For adapting cable connections.

TZ-261 Cleaning Kit (Except U.S.): A kit for cleaning the unit.

HC Head Cleaner & RC Rubber Cleaner (U.S. Only): Cleaning fluids available in the U.S.

TASCAM Cables: Professional audio cables for optimal system performance.