Tascam’s Model 24 looks like it could be the ultimate PortaStudio

Looking rather like a vintage mixing desk, Tascam’s Model 24 is actually a digital multitrack recorder that enables you to capture 24 tracks of 24-bit/48kHz audio. This is broken down into 22 channels and a stereo main mix, with 22 playback tracks being sent over USB 2.0 or to the built-in SD card recorder.

Said recorder promises to be quick and easy to use, and offers transport controls, auto and manual punch in/out and an overdub option.

As you’d expect, the Model 24 features XLR mic and 1/4-inch line inputs, while unbalanced RCA and stereo minijack inputs are also catered for. There’s Bluetooth connectivity, too, so you can stream audio from a laptop or mobile device.

You can choose from various routing modes, while multi-segment LED meters can be used to monitor the stereo main bus output levels. Output connections include stereo XLR and 1/4-inch main outputs, two 1/4-inch monitor sends, an effects send, stereo control room outputs, and a stereo 1/4-inch headphone monitor output.

Signal processing is also part of the package. Each of the 12 mono channels includes a one-knob compressor, a low-cut filter and 3-band semi-parametric EQ with sweepable midrange. The stereo channels, meanwhile, come with a low-cut filter and 3-band fixed EQ, while a stereo 7-band graphic EQ can be applied to the main mix or monitor outputs. The icing on the DSP cake is a multi-effects processor that delivers 16 preset effects that cover reverb, delay, chorus and flanging.

Designed for use both in the studio and in a live environment, the Model 24 is expected to start shipping in the fourth quarter of 2018 at a price that’s still to be confirmed. Keep an eye on the Tascam website for more.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.