RECENTLY THE RICHER KIDS in the neighbourhood of home recording hove been catered for with the arrival onto the market of two new porta-studios, Tascam's 246, and the Audio Technica RMX64. Both machines are similar in having six instead of the usual four input channels, but neither machines differ radically from hitherto available portastudios except that they both cost around a grand to buy.

Tascam 246

The 246 looks quite like its younger brother the popular 244, with angled VU meters, a robust and modern looking dark plastic casing, tall parametric equalising pots and is as near in size to the 244 as it could be bearing in mind that there is space for two (extra) input channels.

Each input channel in the mixer section consists of a line input selector switch, trim pot, two effects send pots marked one and two, the No 2 pot being switchable in and out, two band parametric (sweepable) equalization, four track assign buttons, a pan pot and a channel fader.

The input jacks for line or mic into each channel are at the front of the unit, whilst on the back each channel has a jack point for the connection of rack processing effects, which accesses the signal path prior to the eq and fade sections, so that the whole, processed signal can then be eq-ed and given a level.

The other signal processing option is to use the two effects send channels which take a post fade, post eq signal out to one or both outs on the back of the unit. The outputs are RCA phono type, which seems a bit of a drawback, since many home recordists use pedal effects and would therefore have to make up some phono to jack leads. Anyway, the signal can then be brought back into the unit after processing via one of the two channels, marked 5 & 6. The principal advantage of using this system is that two diferent effect levels and equalizations can be given to two different instruments while being recorded simultaneously.

The other main advantage of the two extra channels is that the input need only ever be left in channel 5 or 6, saving time changing the signal routing no matter what channel you are routing onto.

Other features of the mixer section include stereo monitoring, with pan and individual volume control for each channel, mono monitoring, and the ability to listen to either the playback, monitor, or effects signals over the headphones. There are six meters, the extra two being for the Line B channels (5 & 6), or for stereo monitoring or mixdown.

The recorder section is especially good for having several transport memory functions which make recording much, much easier. Not only does it have a zero memory return, but it also performs zero-return-play, and memory stop-rewind, so that a section of tape can be practised over and over, accurately, with very little wear on the tape, and without you having to take your hands off your instrument once.

The machine runs at two speeds, 1⅞ and 3¾ ips, so that you can use tapes recorded on X15s as well as 244s, and you can also play conventionally recorded cassettes. DBX noise reduction is optional and can also be switched off on track four alone to prevent possible problems when putting sync codes down.

RMX 64

The Audio Technica RMX64 is quite a different kettle of fish even though with six input channels it may appear to be moulded along the lines of the 246. It has in fact ten channels, including four sub channels which can be used for a number of functions such as auxiliary mixing and performance monitoring.

One of the main aims of the manufacturers in building this machine was to avoid many of the more unprofessional aspects of the portastudio, such as connection difficulties, and shortfalls in performance. This has resulted in a far bulkier machine than the 246, built into an all metal chassis, using computer standard components, and which is only portable in the most pedantic sense of the word. Metering is angled along the back of the machine, and down either side of the unit are two planklike buffers, obviously meant to add protection, but making it look somewhat dated.

The mixer section is similar to the 246, except that each channel can handle a wider range of input levels, being switchable to either normal 0db input level, or to a setting with a -20db attenuator, allowing a possible input range of from 0-40db. The equalisation is more intricate, with a choice between two band parametric eq, and 'shelving' type eq, where frequencies below a certain level on each band are cut, enabling effects like telephone voices to be achieved. The only other additional feature is a solo button which sends the signal to the solo buss which can be monitored through headphones or in mono through an external amplifier.

Unlike virtually any other portastudio, all the connections on the RMX64 are at the back, except for two of the four headphone outputs. The reason for this is simple when you look at the back. The number and variation of the connections is truly enormous for a portastudio. Each input channel has jack and XLR type inputs, in and out (two) effects send/return jacks, which can be switched pre or post fade on the mixer. Then there are two pairs of effects send/return jacks, four RCA direct outputs from the tape, four jack outputs from the sub-channels, two RCA sub channel outputs (1&2) for mixdown, and two XLR sub channel outputs (3&4), two more headphone sockets, jack output for mono monitoring, remote footswitch jack, two RCA inputs for effects or audio input, and an optional 48 volt power supply for powering microphones and accessories.

As you can see, signal processing options are even wider than on the 246, enabling the signal path to be accessed within the channel at one of two points (and incidentally using out and in jacks, instead of two way jacks.) Signals can also be sent to one or two send busses and then allocated to any channel on the tape, and signals can be taken out of the initial channel and fed to processing equipment, then back into another channel, without affecting the path of the virgin signal.

Metering consists of four main VUs, switchable to measure monitor/sub mix, or tape levels, and a single stacked type meter for measuring signals on the solo buss. The functioning of the RMX also differs from the 246 in that the record level is controlled independently on four record level pots situated above the recorder along with the usual record ready buttons The recorder runs at both speeds, although it only records two tracks when running at 1⅞ips. Noise reduction is switchable between Dolby B and C and there is a pitch control function. Sadly, the only transport feature is zero-return memory.

These two machines are really quite different although seeming to occupy a similar place in the market. The 246 is still conceivably a portable unit, perfectly usable simply as a songwriter's machine, and especially suited for working at speed (it has connections for a remote control unit.) The RMX is probably more likely to appeal to people wishing to begin a small recording installation, complete with patch bays etc. It is the more flexible of the two, but more complicated and a little more laborious to use, having missed out on some of the more human features found on the Tascam 246.

Tascam 246 Portastudio £980
Audio Technica RMX64 £1,099