The Audio-Technica AT-RMX64 was a combined 6-channel mixer and 4-track cassette recorder aimed at musicians and small studios that needed a compact system for both live mixing and multitrack recording. Presented as more than a typical portable studio, the AT-RMX64 was built around six input channels rather than four, with any input routable to any tape track. This flexible architecture allowed the unit to work not only as a cassette multitracker but also as a standalone mixer, giving it a broader role in rehearsal, demo production, and small-scale live applications.
At its core, the Audio-Technica AT-RMX64 combined compatibility with conventional stereo cassette recording and the ability to work across any combination of one to four tracks during overdubbing and dubbing. It supported recording in compatible stereo at normal speed, while also allowing recording on selected track combinations at double speed. Dolby B and Dolby C noise reduction were included, along with punch-in and punch-out capability on any track. Variable speed control of ±15% further expanded its usefulness by allowing users to match instrument pitch accurately during recording or playback.
The mixer section was a major part of the Audio-Technica AT-RMX64’s appeal. Each input accepted either balanced or unbalanced microphone or line signals, with 60 dB of available attenuation and 72 dB of overall gain. Patch-in and patch-out facilities were provided for every channel, alongside two send circuits for every channel. The mixer also offered 48V phantom power, allowing the use of professional condenser microphones. These features positioned the AT-RMX64 as a more capable and more serious machine than many compact cassette-based studio systems of its period.
Audio-Technica also emphasised the control available in the equaliser section. Dual-frequency EQ on each input gave users more shaping ability than basic tone controls, with selectable low and high frequencies for boost or cut. A high-pass filter could also be selected for the bass, while the highs could be shelved up or down. This gave the Audio-Technica AT-RMX64 a degree of tonal flexibility that made it suitable for a wider range of sources and applications than simpler recorder mixers.
Routing and monitoring options were another strong point. Any input could be sent to any sub output and or tape channel, while signal processing could be added from two return channels. Channels 1 and 2 could be panned, and users could monitor any combination of channels using the solo bus. The unit could also create both a PA mix and a monitor mix while simultaneously recording the output. Audio-Technica further noted that the AT-RMX64 fed amplifiers at +4 dBm rather than -10 dBm, with up to +18 dBm before clipping, allowing it to make fuller use of amplifier power in live or playback situations.
The overall concept behind the Audio-Technica AT-RMX64 was to provide an easy-to-use system for beginners while still offering enough depth for more advanced users as their recording and mixing needs became more sophisticated. It was promoted as a design that could grow with the user, functioning both as a live mixer and as a full-feature recorder. In that sense, the Audio-Technica AT-RMX64 reflected the mid-1980s push toward self-contained production tools that could support songwriting, rehearsals, demos, and small project work without requiring a separate mixer and recorder.
Features
- 6 input channels instead of the 4 channels used by many portable studio systems
- Any input routable to any tape track
- Compatible stereo recording at normal speed
- Recording on any combination of 1 to 4 tracks at double speed when dubbing
- Dolby B and Dolby C noise reduction
- Punch-in and punch-out on any track
- Variable speed control of ±15% for pitch matching
- Operates as both a cassette recorder and a free-standing mixer
- Each input accepts balanced or unbalanced microphone or line signals
- 60 dB of available attenuation
- 72 dB of overall gain
- Patch-in and patch-out for every channel
- Two send circuits for every channel
- 48V phantom power for professional condenser microphones
- Dual-frequency EQ on each input
- Selectable low and high frequency peak or dip control
- High-pass filter for bass
- High-frequency shelving control
- Any input can be sent to any sub output and or tape channel
- Two return channels for additional signal processing
- Pan control between channels 1 and 2
- Solo bus for monitoring combinations of channels
- Can create a PA mix and a monitor mix while recording the output
- Output level of +4 dBm
- Up to +18 dBm before clipping