By the way, there are two numerical displays, one for tape position, the other for the most recent autolocate timing used. The counter readings of either of the Memo points can be seen by pressing the CHECK button. Zero is reached, in either direction, by pressing RTZ (guess what it stands for), MEMO 1 and 2 by pressing LOC 1 and 2 respectively. Counter zero is one, the other two are called MEMO 1 and MEMO 2, sensibly. The second autolocator requirement is a series of position memories. I spent a happy five minutes shuttling the tape backwards and forwards, in and out of play and wind, before returning to find zero within half a beat of where I had started off. The counter on this model can never be as accurate as one that is linked to timecode (which some can be, at the expense of a timecode track), but it's as near as dammit for all practical purposes. Tascam have not been too hot on this in the past, but any bad experiences you have had with the Tascam 'shifting zero' can be forgotten. The first requirement for any autolocator is an accurate tape counter. Although there is no monitor mixer, many will prefer the ease of use that autolocate facilities offer. The internal autolocator is Tascam's big, big plus over the Toa machine. Tascam get a smiling face from me for this feature, which I discovered for myself without the aid of a French dictionary. Fortunately, the Tascam 238 gives you both so there is no problem! The INSERT button is the key. The arrangements on your mixing desk may be the deciding factor anyway. It can be difficult to see the problems that may arise until you have experienced both monitor switching options, to discover which you prefer. See the separate panel for details of the differences. It is the timing of when this switching is done that varies between different makes and models of recorder. On playback, the tape signal is routed to the output socket. On modern multitrack machines (reel-to-reel or cassette), when you record on any track, the input signal to that track is routed directly to the output socket. My initial difficulty in understanding the 238 concerned the switching between input monitor and tape monitor, which is more than usually versatile. Then I decided to have a serious read of the manual - which was more serious than I had anticipated because it was in French and German only! (There will, of course, be a conventional English manual when the machine is in the shops). I began my sessions with the Tascam with the cursing and tearing out of hair rituals which are commonplace when learning how to operate new equipment. How about an internal autolocator with automatic punch-in/out? This deserves examination in detail.īefore I get to the exciting bits, here are some more basic matters - matters which do need attention. It does have other advantages to compensate though. Therefore, it must be used with an external mixing console. In comparison, the Tascam 238 does not have a monitor mixer, nor even a headphone socket. (Of course, only Tascam are allowed to claim the trade name 'portastudio' for their machines). You can use the MR8T with very little extra equipment. It's this last feature which will be the key to Toa's success. Summarising the Toa's abilities: as well as normal tape recorder functions there is a return-to-zero facility, variable speed, an elapsed time display (not available for fast wind), individually switchable dbx noise reduction on track 8 for use with sync code, and - most importantly - an 8-channel monitor mixer. But the two machines have physical differences which may swing it for a potential purchaser, regardless of the ultimate audio performance. But does fact match up to expectation? We'll find out the answer to that in a short while. Tascam, having such a track record, may be expected to improve on the performance of the Toa MR8T. As I said at the time, 8-track on cassette can never be as good as 8-track reel-to-reel, but it comes very close. Indeed, Toa have obviously put in that little bit extra that makes a machine first class. I didn't think that 8-track on cassette could cut it, but the Toa's performance was as sharp as a razor - very nearly up to the standard of the best of the cassette 4-tracks I have tried. My experience with the Toa MR8T surprised me. The difference is that Tascam have a big name in the recording world, Toa have as yet to build up a presence in depth. In actual fact, it has been pretty much an open secret that these two machines were going to hit the British market at around the same time, for around the same price. Toa didn't have the field to themselves for very long, did they? I reviewed the Toa MR8T for Sound On Sound a mere two months ago and now I find myself with a rival 8-track cassette deck to evaluate.
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