TASCAM: Model 2400 Analog Console, Mixer, & Interface

In writing this review, I realized it's been over 30 years since I was introduced to my first TASCAM product: The Porta One Ministudio. That little 4-track cassette recorder planted the seeds for countless multitrack creations. It wasn't long after exploring and outgrowing the capabilities of my Porta One that my rock 'n' roll dojo (aka, bedroom-turned-home-studio) evolved into something more serious with the acquisition of a TASCAM M-520 mixer and a TASCAM 38 8-track, 1/2-inch tape machine. This upgrade taught me a lot, refining my workflow and expanding my creative options as I began to learn the craft of recording. Best of all was the fun I had experimenting in the process. The Model 2400 has been a return to that experience – but in a modern way.

Right out of the box, the Model 2400 hits like a nostalgia bomb. It looks like one of the TASCAM mixers of old, from the color-coded knobs to the feel of the push buttons, rocker switches, and faders. At around 30 pounds and measuring roughly 27-inches wide by 23-inches deep, it's clear why TASCAM calls this the "flagship" of their Model series. While some might find it large by modern standards, the size is completely justified considering its abundant feature set, combining an analog-style mixer, standalone multitrack recorder, and DAW integration all in one unit.

After unboxing and patching everything in to run some signal, I started digging into the manual. TASCAM has always made excellent, informative manuals, and I highly recommend checking this one out to explore all this unit's features, of which there are many (I'll try to cover as much as I can). Within an hour or so of reading, exploring knobs and settings, and general futzing around with the unit, I began to see the potential of this device and all its variable scenario use cases: Home studio centerpiece, mobile studio hub, live sound mixer and recorder – there are a lot of options. First and foremost, this mixer is an all-in-one solution, capable of recording full sessions without a DAW. It captures 24 tracks (22 mono inputs, plus one stereo) straight to an SDXC card (up to 512 GB) in WAV format at 44.1 or 48 kHz sampling rates; 16 or 24-bit depth. That said, the unit can also connect via USB as a 22-channel input/24-channel output audio interface, allowing users to record individual tracks directly into their computer and software of choice while also sending DAW playback through the mixer for hybrid mixing workflows. I was curious if this USB connectivity applied to iOS devices as well, so I promptly connected my iPad Mini to the Model 2400's USB port and played around with a variety of virtual drum machines and synthesizers and multitrack app; it worked swimmingly – two enjoyable review hours lost. Additionally on the USB connectivity front, the 2400 supports basic DAW transport control functions (e.g., play/pause, stop, rec, scrub, etc.) via Mackie HUI protocol.

Tying all this tech together is the analog mix section. Each individual channel has an Input Sel switch with options for Mic/Line, USB (return), and MTR (Multitrack Recorder playback), making the transition between tracking, overdubbing, and mixing a cinch. Sixteen mic/line input channels offer up to 50 dB of gain, an LED signal indicator, and a 100 Hz Low Cut (high-pass) filter button. I am surprised to report the lack of polarity invert buttons on any channels, nor are there dedicated solo buttons. Given the board's focus, these features feel like a bit of an omission. However, there is phantom power, selectable in groups of four. Also of note, channels one and two can double as instrument-level inputs, and channels 13 to20 are set up as stereo pairs, which can be used as four mono mic level channels or as eight stereo line level channels (or a combination thereof). Each of the first 12 mono channels includes an analog 3-band EQ (+/-15 dB) with fixed high and low shelves at 10 kHz and 80 Hz, a sweepable midrange (100 Hz to 8 kHz), plus a one-knob pre-EQ analog compressor that has an auto-adjusting threshold and ratio accompanied by a signal LED indicating the compression level. The remaining stereo channels feature a similar 3-band EQ, but with a fixed midrange set at 2.5 kHz. The Bypass button disables both the compressor and EQ section, and a Rec Out / Post-EQ button determines whether the signal is sent to the SD recorder and/or computer pre-compression and EQ or post. Channel routing options can be configured independently with the Input Sel and Rec Out selectors and Rec Out / Post-EQ button. The last stereo channel (21/22) is line level only but also doubles as a Bluetooth input, making it easy to stream reference tracks from a smartphone or tablet.

The Model 2400's outing flexibility is excellent, with five Aux sends: Aux 1-3 are pre-fader, Aux 4 is switchable pre/post, and Aux 5 (always post) doubles as a dedicated send for the onboard digital effects processor. The effects routing section can assign the built-in stereo effects processor to Aux 1/2, Aux 3/4, subgroups, or the main mix. There are 16 digital onboard effects, including reverbs, delays, choruses, and flangers, all adjustable via digital parameters within the LCD menu. For grouping and summing, there are four stereo subgroups. There's a dedicated Talkback section with an XLR input for an external mic, and a small section dedicated to an onboard Click, which I thought was very basic at first glance, but upon deeper exploration of the LCD menus I was able to find settings that offer customizable tempos, time signatures, and a variety of click sounds, as well as optional count-in options… cool! Further LCD menu hunting revealed custom footswitch assignments, enabling hands-free punch in/out, tap tempo, or transport control during recording. The master section is another highlight, featuring a digital stereo bus compressor and 4-band parametric EQ. These can be engaged separately via dedicated EQ In and Comp In buttons. All these features come together through an extensive I/O on the top and back of the unit: 20 XLR combo inputs, four stereo line inputs, balanced XLR main outputs, TRS subgroup and monitor outputs, plus inserts on channels 1 through 12 and the master bus. Wow, that's a lot to cover – oh, it also includes MIDI 5-pin I/O ports to can sync it up with external gear or a DAW. Alright, it's time to get to work!

As I began tracking with the Model 2400, it became apparent just how quick and intuitive its hybrid workflow really is. I started with a four-mic drum setup, running kick, snare, and a stereo overhead pair of ribbon mics into the unit's preamps, which provided plenty of clean gain with no noticeable noise. Signal on the drums was kept in check via the one-knob compressor, helping tamp down dynamic peaks without overdoing it. I'd describe the compressor as smooth and clean up to about 12 to 1 o'clock, after which it gets audible yet still usable for a bit of a squashed sound. Your ears and the compressors' LED indicators will let you know how hard it's working. I found the EQ to be intuitive, as well as musical enough to get what I needed out of it. The 10 kHz band helped tame the overheads without making them sound dull, and the sweepable midrange worked well in carving out proper space for both the kick and snare. I was impressed enough with how well the Compressor and EQ worked on kick and snare that I decided to print each with the effects on the SD card during tracking.

For bass, I plugged directly into channel 1's instrument input, which – with a little massaging from the compressor and EQ – proceeded to capture a nice, full-range DI signal. I liked the sound I was getting on bass, but I decided to patch in some outboard gear using the channel inserts – that's why they're there! Sending the bass signal out to an old rack-mount Tech 21 SansAmp RPM proved to be just the ticket for adding a bit of grit and character. After levels and tones were set, getting a headphone mix dialed for drums (that emphasized the Model 2400's onboard click) and bass was a snap using the available Aux channels. With drums, bass, and a scratch guitar down, overdubs began with two tracks of electric guitar: One using channel 2's DI; the second mic'ing up an amp. I simultaneously tracked a Moog soft synth via USB with a laptop and MIDI controller. The 2400's ability to blend live instruments and USB audio made it incredibly easy to work with in a modern way while keeping tracks flowing through the console like a traditional recording setup. Zero-latency monitoring allowed me to track without worrying about latency, and the ability to switch between USB, SD card, and live inputs on each channel worked perfectly for quick overdubs and seamless routing. I was also having a lot of fun, with no computer glitches or errors to distract me. This cannot be overstated: Removing the computer screen changes the recording experience. Though it certainly takes some getting used to, I found myself focusing on playing, making decisions, and listening rather than staring at a screen. The "commit and go" pace reminded me of working with my old multitrack tape machine, but the 2400's workflow was much easier and faster, with excellent results!

I pulled up a recent session tracked with Pro Tools to test the mix capabilities of the Model 2400 and its ability to be used as a USB audio interface. Here is where I think this mixer shines, as it provides the best of both worlds: digital flexibility and analog hands-on control. After a bit of I/O setup within the DAW, I soon had my session up and routed out to multiple channels of the 2400's onboard compression, EQ, multi-FX, and through the master bus processor section. With the addition of some extra cabling, I also took advantage of the unit's channel inserts, which allowed me access to a rack of outboard effects and guitar pedals. This was awesome! Once again, just like during my tracking session, I was having fun working in this hybrid workflow while using the 2400 (for the most part) like a traditional analog desk. Relatively quickly, I was able to get an excellent mix of the drums using a combination of DAW-based gating (thanks to Black Salt Audio's Silencer plug-in [Tape Op #165]). The 2400's onboard channel compressors and EQs – along with an inserted Drawmer 1978 compressor [#130] and an old Lexicon LXP-15 – made for a nice squashed and roomy parallel drum bus. The use of all these options for processing proved not only sonically awesome, but the tactile experience was much more enjoyable and provided results faster than noodling around with countless plug-ins.

With further mix exploration, I used the board's four stereo subgroups that allowed me to sum multiple tracks, providing more outboard mix choices while giving me quick group options. After getting a mix I was happy with, I added the final touches via the Model 2400's master bus processor section. With its 4-band parametric EQ followed by a full-featured compressor, I was able to make a few slight adjustments to the top and bottom end while having the stereo bus compressor provide just enough glue to pull the mix together. Though not a replacement for a dedicated mix bus compressor, the 2400 worked well for me – if I wanted more aggressive coloration the I could take advantage of its stereo mix bus inserts. Overall, I found the TASCAM Model 2400's mix experience to be excellent, providing all the tools necessary to fine-tune sources, shape tones, control dynamics, and do it all in a way that felt more intuitive than with a DAW and plug-ins alone. The ability to integrate seamlessly with Pro Tools as both a multi-channel audio interface and an analog console made the entire mixing process feel hands-on and refreshingly old school without ever losing the convenience of modern digital flexibility. I dig it.