The Akai MG614 Recorder was a premium cassette-based multitrack cassette recorder and mixer that pushed the boundaries of what four-track portastudios could offer in the 1980s. Developed after the popular Akai MG1214, the MG614 delivered an advanced set of features tailored to serious home recordists and musicians working with MIDI and synchronised gear.
Despite being marketed as a four-track recorder, the Akai MG614 offered a form of five-track functionality. Akai implemented a system that allowed both audio and a synchronisation signal to be recorded together on track 1. By modulating the sync signal at 23kHz and recording it above the audio content, users could retain four fully usable tracks for musical performance while still driving sequencers or drum machines during mixdown. To prevent interference, a 10kHz filter was automatically engaged on playback when sync was used, making track 1 more suitable for low-frequency parts such as bass.
At the core of the Akai MG614 was a six-channel audio mixer featuring high-spec components including twin parametric equalisers with switchable engagement, two auxiliary sends, line input trims, and a sophisticated matrix patch system for fast channel-to-track assignment. Channels 5 and 6 offered balanced XLR microphone inputs, and all connections were conveniently mounted on a top-facing rear strip, allowing easy access for patching and configuration.
The recorder supported two tape speeds: the standard 4.75cm/sec and a higher-fidelity 9.5cm/sec mode, ensuring broader frequency response and superior results when used with Type I cassettes and dbx noise reduction. Frequency performance extended to 30Hz–20kHz in high-speed mode, and 40Hz–13kHz at the lower speed. The dbx system itself was switchable, allowing users to bypass it if preferred.
One of the most distinctive features was the built-in auto locator with four assignable memory positions. These allowed musicians to capture precise moments during playback, then instantly return to them with memory search or loop between them automatically during rehearsal or overdubbing. This feature significantly enhanced workflow and efficiency during tracking sessions.
Physically, the Akai MG614 was solidly constructed, housed in a durable casing with a padded armrest and a layout that encouraged extended use in demanding environments. With a total weight of 14.5kg and dimensions of 556mm x 157mm x 470mm, it was clearly designed to be a professional-grade tool for the home studio, rather than a portable sketchpad.
The Akai MG614 offered a level of luxury, performance, and control well beyond that of conventional four-track machines. While the inclusion of sync functionality did impose some limitations on track 1, the payoff was seamless integration with external MIDI gear and a refined recording process. For committed four-track users looking to maximise their workflow and audio quality, the Akai MG614 stood out as a highly capable and forward-thinking multitrack recorder.
Features
- There is no need to connect the mixer and the recorder.
- The REC TRACK/BUS selector function makes it possible to connect any mixer channel output to any track and record. Ping-pong recording between tracks is also possible with simple button operation.
- FM recording and playback of tape synchro signals is possible using a sequencer or rhythm machine. The signals are recorded on track 1 along with the audio signals, so the full four tracks can be used for recording and playback of audio signals, making synchronized operation with a sequencer or rhythm machine possible.
- dbx noise reduction. This system provides an extremely high reduction effect (30 ~ 40dB), and can be used for either regular recording or ping-pong recording between tracks without losing the dynamic range of the recording source.
- Two speeds: HIGH (9.5cm/sec) and LOW (4.75cm/sec). Pitch control function for varying the tape speed by ±10%.
- Auto memory system for increased operability of the search and repeat playback functions.
- Handy functions for improved multi-layer recording operability, including rehearsal mode and auto monitor.
- Input modules for channels 5 and 6 equipped with transformerless balanced mike inputs using XLR-type cannon plugs.
- Each input module is equipped for accessory send/receive, so effectors can be used for each channel and track.
- Double total effect send/receive for monaural, stereo, or multiple effect loop configurations.
- Monitor selector making it possible to easily monitor the track, bus, total effect receive, and master level separately.
- Track monitor mixer with pan-pot for stereo-image track monitoring. The mixer output can also be connected to the master line.
- AUX inputs (stereo) can be connected to the master and bus lines.
- 4 track direct playback output.
- Punch-in/punch-out is possible using a foot switch.
