Buying A Cassette Multitracker

Despite the increasing popularity of digital recording and MIDI + Audio sequencing, the cassette multitrack is far from being dead, and many a newcomer to recording still starts his or her recording career with some form of 4‑track, cassette‑based studio system. Paul White & Debbie Poyser discuss the features a potential buyer should be looking for, and round up the models currently available.

The home recording novice looking for their first cassette multitracker is presented with around a dozen models from which to choose. All offer the common facilities of recording and replaying up to four separate tracks of audio (or eight, in the case of the two 8‑track machines currently available), and all have some means of mixing the separately‑recorded tracks into stereo, after which they may be re‑recorded onto a stereo tape recorder. Why, then, are there so many models offering different facilities and spanning a considerable price range?

As with so many things in life, the answer has to do with cost, and while all the machines appear to perform the same basic function, variations in features and sound quality do exist. All the really low‑cost machines are limited in that they can record only two tracks (or even one track) at any one time. This represents a significant cost saving at the manufacturing stage and presents no problem to the user recording his or her music in layers, rather than all in one go. The process of building up a piece of music a few tracks at a time is known as multitracking, and is the established method for producing contemporary music, though classical music is, by‑and‑large, recorded as a single performance. For live recording, a multitrack machine is useful, as it allows the individual instruments (or groups of instruments) to be recorded onto separate tape tracks, allowing the musical balance to be changed at the mixing stage. For this application, a machine capable of recording all four tracks at the same time is essential.

Though the results produced by standard‑speed multitrack machines are not actually bad, high‑speed machines invariably turn in a noticeably better performance

The next area of possible compromise affects sound quality. A conventional cassette deck runs at a tape speed of 1 7/8 inches per second (4.8cms per second), which is very much slower than a professional studio, open‑reel recorder. The more up‑market multitrack cassette systems run the tape at twice normal speed — 9.5cms per second — which provides better sound quality, usually by way of less background hiss, and a brighter top end. The only disadvantage of a high‑speed machine is that the tape only lasts half as long, and, because all four tracks are recorded in the same direction, a C60 cassette used at high speed will provide just 15 minutes of recording time.

Because of the technical problems involved in making a cassette recorder play back on some tracks while simultaneously recording on others, it is not possible to get the same sound quality from a standard‑speed multitrack cassette machine as from a good, conventional stereo cassette deck. Though the results produced by standard‑speed multitrack machines are not actually bad, high‑speed machines invariably turn in a noticeably better performance. As a rule, the standard‑speed models are more suitable for producing simple music demos or for use as compositional aids, while the high‑speed machines can be used to make more elaborate demos or even recordings for commercial release. Though none of the cassette multitrackers are strictly suitable for making professional‑standard recordings, many independent cassette and record releases have been made on such equipment, with surprisingly good results.

Transports Of Delight

Having established that more money usually buys better sound quality and the ability to record four tracks in one go, what other considerations are there? Some machines have what are known as soft‑touch tape transport controls, while some of the cheaper models have mechanical transport buttons that are rather clunky to use. You'll also find the type and quality of metering varies across the range, as does the type of tape counter, which can be anything from a mechanical digit counter to an electronic display which reads out in true elapsed time. A further refinement on some machines is the provision of some kind of autolocation — the ability to store a tape counter location, to which the machine can be made to automatically fast‑wind and then stop. This can be very useful if you consistently need to return to the same point on tape, such as the beginning of a song or the start of a solo. Machines with this feature generally include a return‑to‑zero function, which does exactly as the name suggests and winds the tape to the zero counter location before stopping it for you. This can be zeroed at the start of each song, leaving the autolocator free for marking the start of the solo or whatever, or it may be set once at the beginning of the first song on the tape and then left alone. Some machines have the ability to play a specific section, rewind, and then play it again indefinitely until stopped, which is useful for rehearsal purposes. Some top‑of‑the‑range models link this facility to an automatic record function, which puts the machine into and out of record at the desired locations, quite automatically. For the solo player with both hands full of guitar, this can be a distinct advantage!

Mixing Matters

All cassette multitrackers have some form of mixer section, which really has two roles to play. The first is to accept signals from microphones or instruments, mix them together, and then route them to the appropriate track or tracks of the tape recorder section for recording. At the same time, the mixer has to provide the user with some means of hearing what has already been recorded while new tracks are being added or overdubbed. This process of hearing the ready‑recorded material at the same time as adding new material is known as monitoring, and is often accomplished using headphones.

Though no cassette multitracker is strictly suitable for making professional recordings, many independent releases have been made on such equipment, with surprisingly good results.

At the bottom end of the multitracker scale, you may be restricted to plugging in just two signals at the same time, whereas on more up‑market models, there may be four or more input channels which can be routed to the tape tracks simultaneously. These channels may or may not be equipped with some form of equaliser or tone control, and on the very low‑cost machines, it may only be possible to equalise the whole, finished mix rather than separate tracks.

All Mod Cons

A facility which any budding recordist will come to find indispensable is the means to plug in external effects units. Except on the cheapest machines, there should be one (or ideally two) effects sends per mixer channel, but you should also check out whether there are sufficient effects return inputs to handle the outputs from stereo effects units. The most common studio effect is digital reverb; since reverb units invariably have stereo outputs, even if only served by a mono input, a single effects return input is a limitation.

Some models are fitted with separate output sockets for all four tape tracks, which means that signals can be plugged into an external mixer, if so required. The provision of these so‑called direct outputs can be an important consideration when running sequenced MIDI instruments alongside the tape machine, as most multitracker mixer sections have insufficient inputs to handle all the necessary extra sound sources; the answer to this problem is to use an external mixer to increase the number of inputs available.

If your multitracker is to be used alongside a sequencer, it will be necessary to record a synchronising code onto one track of the tape machine, in order to make the sequencer run in sync with the tape machine. These sync codes are also known as timecode and there are various types. Some machines have specific provision for recording sync codes, in that they allow the noise‑reduction system and equalisation to be bypassed and the sync signal to be taken from the tape machine via a separate socket. This is very important, as some noise‑reduction systems, dbx in particular, can corrupt the timecode signal to such a degree that it is unusable. Dolby C, on the other hand, usually has no detrimental effect on timecode but even so, a separate output socket is still vital. The sync code is recorded onto one of the audio tracks, usually the highest‑numbered one, so it is essential to be able to access it separately — you wouldn't want to hear time code in your final stereo mix! For those of you who have never heard the sound of timecode, it's a high‑frequency buzz; if you've ever dialled a fax machine by mistake, you'll know what I mean.

Insert points are a useful addition to any cassette multitracker, especially if you want to record vocals with the use of a compressor, since insert points allow external processors such as compressors, gates or equalisers to be plugged into individual mixer channels, either during recording or while mixing. On a true studio mixer, there is an insert point on every channel, but on cassette multitrackers they may either be absent altogether (on the lower‑cost models) or provided in some compromised or limited form. If you only need a musical notepad, one of the low‑end machines with minimal facilities will be perfectly adequate, but if you want to make serious‑sounding demos, then think hard before you spend your money.

There are other little differences that will crop up between one model and another, with some of the top‑end machines offering computerised signal routing and MIDI control. However, we've covered the main facilities you're likely to require, and the best advice that we can give you is to plan for your future needs, not just your present ones. For example, you may be tempted to go for a more expensive cassette multitracker with a large mixing section because you run a MIDI sequencing system or are planning to buy one soon. But before you do decide, ask yourself whether you are still going to run out of mixer inputs in six months' time or so — if the answer is yes, or even maybe, then consider a more basic cassette multitracker with direct outputs, so that you can run it with an external mixer which does have enough inputs. Given the extra flexibility provided by even a modest external mixer, I'd recommend you consider this option very seriously.

Fostex X14 £149

At £149, the X14 is the lowest‑cost cassette multitracker you can buy new. As you'd expect, it's a very basic, though cutely‑designed, 'musical notepad', running at standard speed (4.8cms/sec) only, with no noise reduction, and recording to just one track at a time. If you're on the move or need to get an idea down in a hurry, you can make use of the X14's internal microphone, though there's also a normal jack mic input for a more conventional external mic, and an instrument input. When tracks have been recorded, they're simply balanced using the four small level faders, panned, then sent out of the stereo output (with level control) to a mastering machine or hi‑fi system. Pretty much all that's left to mention is the 5‑segment LED input meter and mechanical tape counter. There are no bells and whistles here, but if what you need is an easy‑to‑operate musical sketchpad, the X14 saves you from wasting money on features you don't need and won't use.

Fostex XR3 £249

This is the next step up on the Fostex ladder from the X14, and Fostex also call the XR3 an idea sketchpad. However, it has a few extra features that raise it above the baby of the family. For a start, there's high‑speed (9.5cms/sec) tape operation, switchable Dolby B noise reduction, varispeed, and simultaneous recording of two tracks rather than one. The two inputs can handle sources ranging from line to mic level, and there's a logic‑controlled 'auto‑bounce' feature activated from a unique large dial control on the front panel. Fostex claim that their auto‑bounce method simplifies the bouncing‑down process considerably and is virtually idiot‑proof. If you're feeling inspired and don't have a mic handy, the XR3 also features the built‑in microphone offered by the X14, and punch in and out can be performed via an optional footswitch.

Fostex X18 £339

This is an entry‑level 4‑track which is more than a sketchpad and should allow you to make reasonably high‑quality demos. It can be battery‑powered, though it also comes with a mains adaptor, runs at standard tape speed, rather than the higher speed offered by some recorders, and features Dolby B noise reduction. A simple mechanical tape counter is fitted and there are no frills in this department, though the LED level meters are quite good for such a low‑cost machine.

Recording is limited to two tracks per pass, while all four input channels may be routed to tape during recording. The input channels are basic, with just level faders, pan and monitor levels on offer, but at least it's logical, the main restriction being that only channels one and two have the three‑position gain selectors which make them able to handle mic inputs.

Varispeed is fitted, as is the ability to work with sync tracks, but there's no EQ. Though there's no dedicated aux send section, you can use the monitor section for this purpose while mixing and there's a stereo effects return. Fostex obviously expect that this machine will be used for teaching, as an extra rear‑panel input labelled 'Teach bus' allows a signal to be routed exclusively to the headphone outlet, allowing remote communication in a system where several units are in use.

Fostex XR5 £379

The mid‑priced cassette 4‑track in the Fostex range combines a high‑speed tape transport with a 4‑input mixer. Inputs 1 and 2 only can accept a microphone input, while 3 and 4 are for instruments, and simultaneous recording of two tracks at a time is supported. There's switchable Dolby B noise reduction, two inputs offer the luxury of insert points, and the two stereo aux sends (which, unfortunately, share a single pot) are joined by two stereo returns. All four input channels are equipped with a basic 2‑band EQ. Direct tape outs increase the flexibility of the system, meaning that the XR5 can be combined with a higher‑spec external mixer if desired, and direct out 4 can also be used for a sync code in a MIDI‑sequenced system. There's an optional punch‑in/out footswitch for hands‑free operation, and varispeed is available. In all, the XR5 is nicely designed, with flexible monitoring options, and the insert points and direct outs are particularly welcome at this price. The only real drawback is the restriction to 2‑track simultaneous recording.

Fostex XR7 £499

This is Fostex's top‑of‑the‑range cassette 4‑track, featuring a 6‑input mixer with inputs 5 and 6 able to accept mics and equipped with insert points. The first four inputs feature a basic 2‑band EQ, while inputs 5 and 6 have 3‑band EQ with swept mid. Two aux sends and two stereo returns are supplied, and all four tracks can be recorded to simultaneously. Two tape speeds are available (9.5cms/sec for more critical demos, and the standard 4.75cms/sec), tape speed can be varied by +/‑10%, and switchable Dolby C noise reduction helps keep hiss to a minimum. A Rehearsal mode is available, as is punch‑in/out, with a footswitch option, and a nice backlit LCD display keeps you informed of the XR7's status at all times. Like its smaller brother the XR5, the XR7 offers expandability through its direct tape outs, with output 4 doubling as a tape sync output. This machine should be capable of producing good quality demos with the minimum of compromises.

Tascam Porta 03 Mkii Ministudio £199

This little machine is one of the lowest‑priced cassette multitrackers around and falls into the musical notepad category. Up to two tracks (microphone or instrument) may be recorded at a time, while the recording section is based around a 4‑track transport running at the standard speed and using switchable Dolby B noise reduction. Transport control is via mechanical keys, and though the sound quality isn't up to that of the more costly machines, it is quite adequate for getting your musical ideas into a coherent form. The tape counter is a simple three‑digit mechanical device.

As you might expect on a machine at this end of the price range, extra features are pretty few and far between. When you come to mix, you can adjust the relative level and left/right pan position of the four tracks but that's really about it. There's no official way of bouncing tracks, but it can be done using an external patch lead; pan the channels you wish to mix all to one side and then feed the corresponding output back into the required input.

Though the Porta 03 lacks a degree of sophistication, it still represents very good value for money, in that it is easy to use, the sound quality is reasonable and it does facilitate the organisation of your musical ideas. You can also play and multitrack over conventional stereo recordings made on your hi‑fi, which could be useful. The 03's limitations are mainly in terms of expandability, so you can't add effects or equalisation as you mix and you can't take the tape outputs into a larger mixer until you've already mixed them into stereo. As a musical notepad, the Porta 03 is close to ideal, but it isn't really suitable for use as part of a growing home‑recording system.

Tascam 414 £349

The 414 is a mid‑priced unit which allows you to record on all four tracks at once and utilises dbx noise reduction. Each input channel on the mixer section features a mic/line input, and there's a useful additional pair of stereo inputs. A basic 2‑band EQ is provided on the input channels, and two aux sends, for effects processing, are available, one of which is switchable to Tape Cue for easy setting up of a monitor mix. Metering is via LED bargraphs, and the high‑speed (9.5cm/sec) tape transport, with a simple 3‑digit mechanical tape counter, features a return‑to‑zero facility. A remote punch‑in/out facility is activated via an optional footswitch, for hands‑free operation. Last, but not least, in these days of MIDI sync'ing, there's a sync option that bypasses the onboard noise reduction. While the 414 isn't the most sophisticated cassette multitracker on the market, it's far from being the most basic, and offers a good compromise between affordability and a feature set which shouldn't prove too restricting.

Tascam 424 Mkii £499

The Tascam 424 MkII ups the ante on the price front, and, as always, as the price gets higher, the compromises get fewer. Accordingly, the 424 has the ability to record on all four tracks simultaneously using dbx noise reduction. The machine offers two tape speeds: standard and double, the latter of which can be selected for working on serious demos. The transport controls are all soft‑touch types, while varispeed and the ability to cycle around a specific section of music, bounded by the zero and two locate points, are included.

The stylish, wedge‑shaped package contains a four‑channel mixer section set out very much like a conventional, separate mixer. All four channels have mic and line inputs, and there are two additional stereo inputs. Auto punch‑in and out, plus a Rehearsal feature for perfecting overdubs before performing them for real, are also provided. Three‑band semi‑parametric EQ on the input channels adds to the 424 MkII's flexibility.

The sound quality at the higher tape speed is really very good, but the lower tape speed is only of use when you really are desperate to save tape. However, it could be useful when recording live gigs for later analysis, where the long playing time would be a real bonus.

Tascam 488 Mkii 8‑Track Portastudio £1299

The 488 is one of the only two 8‑track cassette‑based multitrackers on the market. A high‑speed tape transport is used, fitted with dbx noise reduction and varispeed, and maximum of four tracks can be recorded in a single pass. Metering is via an LCD panel, and two locator positions are accessible, as is a return‑to‑zero function. Auto punch‑in and out is supported, and a Rehearsal facility is provided (manual punch‑in and out can be performed via an optional footswitch).

The mixer has eight main inputs (plus two stereo inputs), but only the first four have mic inputs and trim controls, while inputs 1 and 2 also feature balanced XLR mic inputs with switchable phantom power. EQ is 3‑band with a sweepable mid, and each channel has two aux sends. There is an insert point on both channel 1 and 2, and the 2‑TR input provided for listening back to a stereo mix can also double as an additional stereo line input. Separate sync jacks are provided, to allow a sync code to be recorded on channel 8.

So long as you don't need to be able to record more than four tracks in one go, the 488 is capable of making very impressive recordings.

Yamaha MT50 £399

This is Yamaha's budget cassette 4‑track, though it still offers simultaneous recording on all four tracks, mic and line input capability on all four mixer section channels, and one aux send with stereo return. EQ, provided on all four channels, is only of the basic 2‑band high and low type, but, usefully, the dbx noise reduction is globally switchable or can be defeated on track 4 only for sync code purposes. There's also a Sync Out jack to allow a code recorded on track 4 to be fed directly to a MIDI system. The tape controls are of the mechanical type, with a 3‑digital mechanical tape counter, but the transport runs at high speed and there's a zero stop locator function. Varispeed, as you'd expect, is provided.

Yamaha MT4X £559

This sophisticated machine offers a sleek design, with a fluorescent multi‑function display panel featuring LED bargraph metering, the ability to record on all four tracks at once, and 3‑band EQ on each channel. The mixer section has four mic/line inputs and two aux sends with stereo returns, while the tape transport offers both the higher, 9.5cm/sec speed and the standard 4.8cm/sec speed, plus varispeed. Both manual punch‑in and out (via front‑panel controls or an optional footswitch) and programmable punch‑in/out are available. There's a return to zero function, and the MT4X also features two additional locate points, between which it will cycle up to 16 times for rehearsal or level‑setting purposes. A sync mode, for reliable recording of a synchronisation code on track 4, bypasses the onboard dbx noise reduction, which can also be globally switched off if required. The provision of direct tape outs makes the MT4X considerably more versatile, as it can be connected to an external mixer or another multitrack.

Yamaha MT8X Mkii £999

Yamaha's MT8X 8‑track runs at double the normal cassette speed and is set up to use Chrome bias (Type II) audio cassettes. Noise reduction is dbx, and is globally switchable. Up to four tracks can be recorded at one time.

The mixer section features eight main inputs and three stereo inputs. Channels 1‑4 can handle either mic or line sources, while channels 5‑8 have line inputs only. In addition, channels 1 and 2, which, unusually, feature balanced XLR‑type mic inputs with switchable phantom power, have insert points — for easy use of compression, for example. A separate Sync in and out with level control, plus a noise‑reduction bypass switch on channel 8, facilitate reliable recording of timecode.

All eight mono channels feature 3‑band EQ with swept mid, and each channel also has two post‑fade Aux sends for use with effects. There are no dedicated returns, so you'll have to use one or two of the stereo inputs.

The fluorescent display integrates both numeric and metering functions. Tape varispeed is provided, and there are two tape locator points in addition to a return‑to‑zero function. The tape can be made to cycle between locator points for rehearsal, and there's also an automatic Punch‑In/Punch Out facility. As an alternative, Punch‑Ins may also be executed manually from the control panel or via the Punch I/O footswitch socket.

All eight tape tracks feature direct tape output sockets, which means that recordings can be remixed via a larger, more sophisticated external mixer if required.

This machine is aimed unashamedly at the entry‑level 8‑track market, but has sophisticated transport locate and Auto Punch In/Out features. It's a well featured and sensibly priced system ideally suited to the production of quality demos.