As a music maker and perform regularly, having the ideal mixer is essential to control and produce great sound. If you walk around the online stores, you will probably come across TASCAM 24, an option that can record multiple tracks, is easy to use, and sounds excellent.
This is not a small investment, so before deciding to buy this set, you should stop for a few minutes to read through our Tascam Model 24 Reviews, where Fidlar has gathered the details and analyzed the features and the highlight of this mixer. Let’s see if it is worthy for users to invest or not.
Tascam Model 24 Reviews
- Type: Analog Mixer with USB Interface/Recorder
- Channels: 22 input channels, 24-track
- Computer Connectivity: USB (24 x 22)
- A/D Resolution: 24-bit/48kHz
- Faders: 21 x 100mm Long Throw
- Inputs – Mic Preamps: 16 x XLR
- Phantom Power: 16 channels
- Inputs – Line: 12 x 1/4″ (mono), 8 x 1/4″ (4 stereo), 2 x 1/4″ (line/Hi-Z), 1 x 1/8″ (stereo), 1 x Dual RCA Stereo
- Outputs – Main: 2 x XLR (main), 2 x 1/4″ (control room)
- Outputs – Other: 2 x 1/4″ (L/R subgroup)
- Aux Sends: 2 x Monitor, 1 x FX
- Send/Return I/O: 2 x 1/4″ (monitor send), 1 x 1/4″ (FX send)
- Busses/Groups: 1 x Subgroup
- Inserts: 2 x 1/4″ (channel)
- Headphones: 1 x 1/4″
- USB: 1 x Type B
- Bluetooth: v4.0
- Other I/O: 1 x 1/4″ (footswitch)
- EQ Bands: 3-band EQ with Sweepable Mid Frequency, 100Hz Low-cut, 7-band Graphic EQ
- Signal Processing: 12 x Channel Compressor
- Effects: Reverbs, Delays, Chorus, Flanger
- Storage: SD Card Slot, SDHC (4GB-32GB), SDXC (64GB-512GB)
- OS Requirements – Mac: Dual Core 2GHz Processor or higher, OS X 10.11 or later
- OS Requirements – PC: Dual Core 2GHz Processor or higher, Windows 7 SP1, 8.1, 10 1803 update or later
- Power Source: Standard IEC AC cable
- Height: 4.43″
- Width: 22.67″ (with panels), 20.26″ (without)
- Depth: 20.20″
- Weight: 22 lbs.
- Looks great, feels well built and most facilities are very intuitive.
- 22-track computerless recording, and 24-input USB audio interfaces.
- Auto and footswitch-controlled punch‑in/out with pre-roll.
- 12 analog compressors.
- Three aux sends.
- Some useful reverb.
- Competitively priced.
- Can’t print the EQs
- Can’t mix through the compressors.
- Multitrack recordings can’t be assigned to other tracks without a computer.
- No pads, polarity inversion, or talkback.
Unlike a few other all-in-one products, the Tascam model 24 manual is arguably the most excellent idea of the first and foremost as an analog mixer but one with a multitrack recorder built-in, and yet one which doubles as a 16-mic preamp, 22-input USB 2.0 audio interface.
The incorporated multitrack digital recorder would be your headline attribute, and by today’s standards, it’s pretty simple, although I feel that is deliberate.
You can record, playback, and punch in (using a pre-roll if you need ), select your song sample rate/word duration, and edit song titles. And that is pretty much it. There are no editing tools, and there is no virtual takes center or anything similar to this.
Crucially, however, the individual track-arming implies you’ve got the choice of recording a whole 22-track project at one time or building this up just a couple of components at one time.
That is something that you can not do if partnering a different mixer using among the newest creation of stand‑alone multitrack recorders out of, for instance, Cymatic Audio or Allen & Heath, because these devices connect to all monitors simultaneously (or, at best, in two passes, every composing to half of the tracks).
For personal track-arming in this setup, you would need either a pc or some more upmarket device like a JoeCo Black Box Recorder.
The sole current product I am aware of that provides this facility and a similar variety of stations for about the same cost is the Zoom LiveTrak L‑20.
However, that is a somewhat different product, which I’ll talk about near the end of the review.
The Model 24 is not a direct replacement for its do-everything stand‑alone electronic Portastudio, which Tascam mixer recorder and many others have been refining and making for the past few years.
Some might lament that reality, but I think that it’s a sensible design choice. To have turned into a complete bells-and-whistles digital studio could have added considerably to the device’s sophistication, setting off as many individuals as it delighted.
It would likewise have awakened the asking cost significantly! Since it is, the Model 24 provides you sufficient built-in recording facilities, which you could be free on the pc when recording or songwriting.
When you have captured the components, you have the choice of employing the multitracker to playback your records and generate a fundamental analog combination or hooking up on your computer through USB for more authoritarian document management, editing, and blending tasks.
The Way In
Mono channels 1 through 12 would be the most fully-featured on the Model 24. Each is outfitted with a one-knob compressor with an adjoining index LED that lights when reduction is used. Such as the Inserts, the Compressors work when the input-select for your monitor in place to Live.
Every one of these 16 mono channels has precisely the same EQ section. The low and high bands are fixed-frequency shelving EQs using a boost/cut knob.
The midrange ring is semi-parametric, including both frequency pick (100 Hz to 8 kHz) and boost/cut knobs. On the stereo stations, all three rings are fixed; there is no elastic midrange frequency.
The EQ frequency configurations for the non and high-shelving rings are rather musical, and that I was amazed by how successful the EQ part is, generally. Between the three rings and the Low-Cut filter, you can sculpt a solid sound.
Gently down the channel strips, you obtain a knob for each of that two monitors sends and effects reunite, which controls the yield of their built-in effects (more on these in a little ).
Each of the channels also contains Pan knobs, 100mm faders, record-enable buttons to your own built-in multitrack, and Mute buttons. There are no solo buttons.
The Model 24 is outfitted with phantom power; however, disappointingly, it is controlled by one worldwide switch for several of the mic preamps inputs.
Though I do not anticipate individual ghost switches for each station within this price range, it might have been helpful to have the ability to change it on for classes of stations or perhaps have a few mic inputs which don’t acquire ghost in any way.
This way, if you have some mics, for example, particular ribbon mic preamps that you don’t wish to send ghost power to, you’ve got this choice.
In the end, at the base of each station are routing buttons for sending a signal to the effective combination, the Sub outside and PFL.
The latter routes the sound to the PFL/AFL bus, which dismisses the primary output and allows you to listen to respective channels pre-fader or later if you press one of the AFL buttons situated on the Monitor 1 two faders to the track combination.
On stereo stations, 21-22 is your Bluetooth input signal. It has two controllers, a Pairing button plus a convenient Mute/On switch.
The master section includes faders for four different combinations: Sub blend, two monitor mixes, and the essential mix.
It is possible to track the numerous channels into the Sub and Main mixtures using track-based buttons. You use the Aux 1 and 2 knobs for producing monitor combinations.
At the top of the device are corresponding outputs, such as XLR jacks to the primary workouts and 1/4-inch TRS stereo pairs to your Sub and Aux (track ) outputs. Also, you get PFL/AFL Master, Control Room Outputs, plus a Telephones output signal.
Another crucial characteristic is that a 7-band analog picture EQ could be put from the Monitor or Main signal route or bypassed.
Effects And Everything
The Model 24 sport-built-digital effects processor into which you’ll be able to send signals from the respective channels utilizing their FX knobs. Just one result can be active at one time, but over half of these 16 impact options are mixtures of 2.
Effects include a choice of reverbs, delays, a chorus, and a flanger. You also find several combo effects that unite reverb with delay and reverb with the chorus. The reverbs are very significant, but overall the effects aren’t particularly memorable.
Without flexible parameters and with just one effect from active at one time, the built-in outcomes are primarily helpful for live mixing or tracking when recording.
The effects do not publish into the recorder when used on a live origin. However, they will if you combine down to stations 23-24 on the built-in recorder.
22 Is Nice
The onboard multi track recorder (22 monitors and a 2-track stereo mix) is among the features that make the Model 24 attractive. The device comes with a sans SD card, which means you have to provide one.
It can manage standard SD cards from 512 MB to 2 GB, SDHC cards in 4 GB to 32 GB, and SDXC cards out of 64 GB to 128 GB.
I set into a 32 GB SDHC card, and the device revealed approximately 24 hours of available recording time. That would be more than one hour daily if you’re using 22, which can be fairly impressive.
And should you use more giant SDXC cards, you also can become relatively a little more time.
In comparison to recording into a hard disk, you will discover that the card-based recording is slower; when you choose the device from the document, you need to wait a few seconds (longer for more extended monitors ) while it finishes writing the information to the card.
You may select between 16- and 24-bit resolution and 44.1 and 48 kHz sampling prices. The device records into Wave files and may import both typical Wave and BWF (Broadcast Wave).
The recorder provides overdub, locator, pre-roll, and punch-in features. It has a footswitch jack for tripping punch-ins if you are working on your own. The footswitch (TASCAM RC-1F or equal ) isn’t included.
Together with the Model 24’s little LCD, document management is somewhat tedious. When you produce a tune, it’s automatically extended a lengthy numerical name and shifting that needs multiple entrances of letters together with a jog shuttle wheel, which can be reasonably slow-going.
Despite several inconveniences, the recording quality is pristine, and the multitrack capacity is hugely suitable. I’d guess the most popular program for your built-in recorder will be to record live shows or rehearsals where the Model 24 is employed as a live mixer.
For an artist or group, that capacity would be a true luxury and is not something you would expect from your live mixing console.
What gets the onboard recorder much more precious is that you could quickly move files in the SD card into your personal computer and back.
When you place the Model 24 into Storage manner, it shows up as a drive in your PC. You may then copy files out of the MTR (multitrack recorder) folder into your PC.
Additionally, anything you put to its Music folder can then be imported to a tune on the Model 24.
I had been disappointed to discover the station 23-24 mixdowns that automatically got made in the master bus showed up on my pc as different, non-interleaved documents.
After importing them into my pc, I needed to unite them into my DAW or sound editor until I could play with them. That is something I expect the Tascam recording mixer will cure.
At least in my Mac, the MTR folder also included lots of temporary files, which generated the directory’s visual clutter.
Over the bus faders and level knobs would be your onboard digital pedals department. There is a helpful range of reverbs and delays here, in addition to a chorus, a flanger, and a couple of hybrid spots, such as mixing reverb with the chorus.
All of the effects are recorded clearly on the upper panel under the display. Each has one parameter that may be tweaked with the Multi Jog wheel (a rotary encoder that pops up as a button), the display, along with the function buttons instantly under it.
This impact engine receives a mono input (whatever is delivered to it with the channels and three knobs) and provides a stereo output signal.
The output may be routed in different levels into the mono Mon 1 plus Mon 2 presses and the central stereo mix, utilizing the three orange-capped knobs on the region’s remaining effects.
The chosen effect will show up on the screen to utilize the consequences and hit on the ramifications segment’s Select button.
Switch the Multi Jog to pick the result you desire, press it to pick the effect’s editable parameter, and turn again to alter the impact parameter.
Press again if you would like to pick a different result, or press on Menu to return to the Main Menu to the multitracker.
The effects seem decent enough, even though there’s nothing I’d choose rather than my DAW plug-ins, along with a reasonable-quality cheap hardware impacts processor patched into the FX output would also be an improvement.
However, here will indeed work well enough for cue-mix reverbs, demonstration mixes, and tiny gigs. Delays and reverbs are straightforward options for international ship ramifications.
Still, I had been somewhat perplexed by other options; how likely would you want to utilize that anger as a send effect? I guess, therefore, these impacts are courtesy of an all-in-one effects chip.
USB Audio Interface
Establishing the Model 24 sound effect as a sound port is simple: it is a class-compliant Audio Unit apparatus for Mac OS, and there is an ASIO/WDM driver for Windows.
It had been recognized right off from my 2018 MacBook Pro (Mac OS 10.14.1) along with also my Cubase 9.5 Pro and Reaper v5.963 DAWs. Much like all the multitracker, the conversion may be 16- or 24-bit and 44.1 or 48 kHz.
It is possible to set up to 24 tracks such as the most critical mix and play up to 22 tracks concurrently.
The guide explains, “You can’t use this device’s recording, playback, and other recorder works when it’s linked to a computer by USB.”
Thankfully I discovered it to be erroneous; I managed to record to SD card to Reaper through USB concurrently, so there is a redundancy level there.
Much like the multitracker, both the A-D and D-A conversion occur to place the microphone preamp, high-pass filter, insert-point, and compressor.
There is a useful, transparent cube diagram in the guide detailing all of this, and yet another that spells from the maximum gain/attenuation at every stage in the signal path.
That is a sensible enough default place, but it will imply that you can not get into the mixer’s insert compressors or points while blending.
And this, sadly, you can not catch the outcomes of each station’s EQ back to person DAW tracks concurrently in other words, you can not utilize the compressors or EQ because of hardware inserts’ on your DAW.
Additionally, it suggests that, with no ad hoc physical patching of outputs back to instrument inputs, the onboard effects segment can only be listed through the primary blend stations.
So if, as an instance, you wished to publish the audio of a DI guitar running through the ramifications engine flanger or chorus, you would need to plug the guitar to channel one or two, send this to the ramifications engine through a 3, then route the outcomes to the central mix.
Document rather not have anything else hauled through the primary mix while you did this. It is not the most intuitive workstream, so most folks prefer to utilize plug-ins when utilizing the Model 24 within a sound port.
The plus side of this conversion occurring pre-EQ, naturally, is that you can either combine and capture a live show, together with the EQ and transmits used for front-of-house responsibilities.
Still, the records being recorded without any of your EQ, mutes, or fader moves. You might even record the most crucial mix with no picture EQ (for your point screens or PA) being published. Thought of in this circumstance, the Model 24 will make much more sense.
Model 24 will satisfy the requirements of many individuals who wish to capture their gigs, and it provides plenty of cash from the house studio. At this cost, however, there are necessarily some routing constraints.