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pretty sure...that stuff is pretty layered though, and i bet they have great instruments, vintage keyboards probably and whatnot. don't judge the tone on those records just cause of the recorder.

with that said, if you like what you're hearing, than that's the way to go.

if you're absolutely sure you'll need more than 8 tracks often, and a good mixer section, go for the 488...if you want a more vintage and robust tone, and a real looker, go for the 246. either of these recorders will need service eventually...a rubber belt is very easy to replace inside..and there's...

i am doing more follow up research and i like the idea of the tascam 246. i notice these things have a lot of problems with belts, though. is that normal for these early 4tracks? also, this is something i forgot to mention, but the songs i'm working on rely on drum loops/samples. they are currently...

thanks snatch. i am unsure whether to get a 244 or a 488. i really like the idea of doing 8 tracks before bouncing, but not if there is bleed. i like lo-fi, but i do not like bleed. maybe someone else can offer input that will clear the decision for me. thanks all. a 244 is the best porta ever (to ...

no worries..

there's an even cheaper one without the VU...

that things goes for like 30 bucks, buy it new, seriously. 10 or 20 more bucks and you get something new, i think it's worth it.

mind that it'll be easier to get that sound on a 4 track with bounces...and that some portas won't allow you to do the dbx trick cause some of them don't have the on/off option...

the sound you want can be achieved many ways...cutting your recording chain short ain't exactly good, cause you can fuck up with the sound to get that tone you're after (i also like gbv's) but it's cool to still have things sound good and clear. cause otherwise, it'll limit you in terms of how much ...

that shure is a good mic, hold on to it unless you need the money. good mics and pres make all the difference going into cassette. the bounce on a 4 track won't sound like a 488, no. it depends on too many things. if your track count is mostly 4-6 all the time, idd say get a 4 track and save the les...

a 244 or a 246 (if you need the extra mixer hassle) will get you a much more robust sound cause you're printing 4 tracks on a cassette (just compare that to the tape you use on the tsr8)..so each track has more space in the tape than say an 8 or 6 track, where you're printing 8 tracks on such a smal...

the mk2 is the way to go then, if you really need 8 tracks. a 4 track will sound more robust, but the 488 is a good recorder, i've owned one.

it means the you can play tapes made by the 488 or 488mk2, on the 238 and vice versa...it also means you can take 8 mono tracks out of a 238, which can't happen on a 488 i think. the differences between the 488 and the 488mk2 are mainly in the mixer section if i recall correctly, with the mk2 having...

you have a tsr-8 and you're thinking of a 488..why on earth?

. I interviewed him in Tape Op #59 and touched on that a little bit, but the interview really only scratched the surface. my thoughts exactly. i wish you had a couple of pages there...it was really something i was looking forward to. any chance you might send me a word doc. with the whole thing or ...

by far one of the best folks out there doing this sort of work. i've had 3 or 4 mics modded, last one was a ribbon i think. outstanding guy, outstanding work, and what's really great is that he doesn't leave you hanging...emails are super quick, and there's a set date for the shipping that he gives ...

i always ran the 12ay7s into the unbalanced inputs of my 244, and there was no change. even inverted my passive DIs and that didn't work either..1 channel didn't hum no matter what, the other one did. although the balanced/unbalanced thing might be part of the problem most ppl experience with this, ...