The TASCAM 246 Portastudio, released in 1984, represented the high point of TASCAM’s original cassette-based multitrack line and remains one of the most respected Portastudios ever made. It was conceived at a time when home recording was booming, with musicians seeking professional tools without the prohibitive costs of commercial studios.
Earlier Portastudios like the TASCAM 144 and TASCAM 244 had already established the concept, but the TASCAM 246 elevated it significantly by adding a true four-buss mixer, dual tape speeds, advanced routing options, and comprehensive dbx noise reduction. For many musicians, this was the first machine that genuinely bridged the gap between a songwriter’s demo machine and a professional studio tool.
The heart of the TASCAM 246 was its integrated mixer and four-track cassette recorder. By combining them in a single chassis, TASCAM eliminated the need for patch bays and complex cabling that defined traditional studio workflows. Four independent submixers (Main, Monitor, and two Effect Mixes) allowed for sophisticated overdubbing, ping-ponging and remixing, functions that previously required external gear.
The inclusion of EQ on every channel, along with flexible routing, meant that the TASCAM 246 behaved more like a scaled-down professional console than a consumer product. The two-speed transport, running at both 4.8 cm/s and 9.5 cm/s, gave users a choice between compatibility with standard cassettes and the improved fidelity of high-speed operation, which pushed the cassette format to its sonic limits.
Noise reduction was another key to the TASCAM 246’s appeal. Its dbx Type II system virtually eliminated tape hiss, a constant frustration in cassette-based recording. Recognising the growing role of synchronisation with sequencers and drum machines in the mid-1980s, TASCAM added the ability to defeat dbx on track 4, allowing SMPTE and FSK timecode to be recorded without corruption.
This feature made the TASCAM 246 particularly attractive to musicians working with early MIDI setups, cementing its place in the evolving landscape of electronic music production. Additional touches, such as ±12 percent pitch control, memory and zero return functions to minimise tape wear, and optional remote and footswitch accessories for hands-free punch-in, gave the TASCAM 246 a level of refinement not seen in earlier models.
In use, the TASCAM 246 was widely praised for its build quality and professional feel. At over 10 kg, it was solid and roadworthy, unlike some of the more plasticky machines that followed. It found favour not only with songwriters sketching demos, but also with independent producers who pushed it to its limits in serious production work.
Countless demos, small-label releases and even broadcast material were tracked on TASCAM 246s during the mid-to-late 1980s. Its success lay not in replacing professional studios outright, but in giving musicians unprecedented control over their own work, with sound quality that came surprisingly close to semi-professional open-reel systems.
The mixer inside the TASCAM 246 Portastudio was the true command centre of the system, reflecting TASCAM’s effort to bring the functionality of a professional console into a compact, integrated design. At a time when most small studios and home setups still required patch bays and external routing, the TASCAM 246 consolidated all of this into one streamlined unit. Every signal, whether from microphones, instruments, previously recorded tracks, or outboard processors, passed through the mixer. Its architecture allowed users to balance, route, and process signals with a degree of flexibility that was exceptional for a cassette-based recorder in the mid-1980s.
The TASCAM 246 featured four dedicated submixers: the Main Mix, Monitor Mix, and two Effect Mixes. These allowed musicians to overdub, ping-pong tracks, and experiment with remix techniques without needing additional gear. The design supported professional workflows such as sending signals to external processors while simultaneously monitoring previous takes, mimicking the functionality of much larger studio desks.
The EQ section provided sweepable bands across low/mid and mid/high ranges, making tonal shaping far more versatile than earlier Portastudio models. For many users, this was the first time they experienced console-style signal control at home, and it gave them a real taste of the professional studio environment. The TASCAM 246’s mixer not only made the machine powerful, but also intuitive, greatly reducing the learning curve for musicians and songwriters who were stepping into multitrack recording for the first time.
The recorder section of the TASCAM 246 Portastudio was equally advanced, designed to push the compact cassette format to its limits while remaining compatible with consumer media. Unlike typical home stereo decks, the TASCAM 246 recorded in a single direction across four tracks, providing genuine multitrack capability. The inclusion of dual tape speeds, 4.8 cm/s for compatibility with standard tapes and 9.5 cm/s for higher fidelity, gave users the flexibility to choose between convenience and sound quality. At the higher speed, frequency response extended to 18 kHz, narrowing the gap between cassette and semi-professional open-reel machines.
Noise reduction was a crucial component, and the TASCAM 246 employed dbx Type II across all four tracks to virtually eliminate the hiss that plagued cassette recording. Importantly, TASCAM recognised the growing importance of synchronisation with external sequencers and drum machines in the 1980s, and track 4 featured a dedicated dbx defeat switch. This allowed SMPTE and FSK time code to be recorded cleanly, enabling reliable sync with external gear. For musicians embracing MIDI-based production, this feature was transformative.
The transport was robust and designed for professional use, incorporating servo-controlled motors and fast-wind capability to handle tapes with precision. Pitch control offered ±12 percent speed variation, a powerful tool for performance matching, tape editing, and creative manipulation. Memory and zero return functions were another forward-thinking feature, reducing tape wear by automating rewind and playback loops—vital for repeated takes and overdubs. Remote control was possible through the optional RC-71, extending transport control up to five metres away, while the RC-30P footswitch enabled hands-free punch-in and out, streamlining the recording process.
Together, these features made the recorder section of the TASCAM 246 Portastudio far more than just a cassette deck; it was a carefully engineered recording system optimised for the needs of serious musicians. By addressing the inherent weaknesses of the cassette medium with speed options, noise reduction, and advanced transport functions, TASCAM transformed the humble cassette into a credible multitrack format capable of professional-quality results.
Today, the TASCAM 246 is often remembered as the “flagship Portastudio” of its era, with many users regarding it as the most desirable of TASCAM’s cassette multitrackers thanks to its balance of power, usability and fidelity. Though digital recording would soon eclipse cassette technology, the TASCAM 246 played a pivotal role in democratising multitrack recording, enabling an entire generation of musicians to record at home with a degree of professionalism that had previously been impossible outside the studio.
Features
- Single integrated unit combining full-function mixer and four-track cassette recorder
- Internal routing with four submixers: Main Mix, Monitor Mix and two Effect Mixes
- Two tape speeds for quality and compatibility: 9.5 cm/s and 4.8 cm/s
- dbx noise reduction with independent dbx off on track 4 for timecode/FSK
- Optional RC-71 remote for transport control up to 5 metres away
- Optional RC-30P footpedal for punch-in and punch-out
- Pitch control with ±12 percent range during record or playback
- Memory and zero return functions to automate searches and reduce tape wear
- Ability to create playback loops using memory with rewind and play
- Designed for overdubbing, ping-ponging and remix workflows