It was nineteen eighty something and I begged my Dad to lend me the money so I could buy a Tascam 244 Portastudio. I was in my teens and as far as I was concerned this was as good as going to Abbey Road… well not quite, but I had to have one. Here’s why.
It’s hard to imagine a time when recording wasn’t easy, both in terms of technology and money. Imagine a world where recording studios were the exclusive playgrounds of the financially well-off. Either you got a deal from a label and a ton of cash as an advance, or they paid to put you in a top studio. Or you used the local studio that, in that period, were mostly pretty crap, but better than nothing.
Then in 1979, Teac unveiled the 144 Portastudio, the first four-track recorder using standard cassette tape, heralding a revolution. But it was the Tascam 244 Portastudio, introduced in 1982, that truly captured our imaginations.
The 244 was a marvel—a compact recording studio that let musicians lay down four individual tracks on a cassette. The implications were staggering. No longer did the prospect of recording music hinge on securing costly studio time, or the local shit studio. The Tascam 244 brought the studio to the living room, the garage, anywhere, in my case, in my loft bedroom.
Specifications
Type: 2-head, single compact cassette deck
Track System: 4-track, 4-channel
Tape Speed: 9.52 cm/s
Heads: 1 x record/playback, 1 x erase
Motor: 1 x capstan, 1 x reel
Tape Type: CrO2
Noise Reduction: DBX
Frequency Response: 40Hz to 14kHz (Cr02 tape)
Signal to Noise Ratio: 90dB (DBX)
Wow and Flutter: 0.06%
Total Harmonic Distortion: 1.5%
Input: 300mV (line), 1mV (mic)
Output: 0.3V (line)
Dimensions: 455 x 120 x 370mm
Weight: 9kg
This machine was groundbreaking for its time. Its dbx noise reduction, dual/concentric sweepable EQ's, and the capability to record up to four tracks simultaneously were revolutionary. The quality it offered was unprecedented for home recording devices. The alternative was something like a Tascam 34 or 3440 and a mixer, costing a lot more money. Although I have to say that on reflection the dbx noise reduction was not as wonderful as the claims. It worked, but it pumped harder than the local water works if put under pressure.
A Real Charmer
The Tascam 244 wasn't just about functionality; it had a certain charm, it became the heartbeat of many homespun projects. I still think I did some of my best stuff on the 244, even now. Albums like Bruce Springsteen's 'Nebraska' were created using it, showing that hit records could come from anywhere, not just the confines of professional studios.
As the years rolled on, the music industry saw a digital transformation, but the Tascam 244 remained a beloved piece of many musicians' journeys. Its legacy is palpable, echoed in the lo-fi textures of modern music and in the stories of artists who found their voice through its reels. There’s even a plugin that emulates it now.
For those of us who begged their parents to help them buy one, the Tascam 244 Portastudio wasn't just a piece of equipment; it was a ticket to a world of creative freedom. Here’s a review from December 1983 “The 244 comes highly recommended and has already proven itself both reliable and popular. It is possible to achieve up to 10 good tracks without ever going further than second generation with forward planning and track economisation. The 244's adaptability and compact nature make it a very worthwhile investment for a solo musician or small group looking to get started in the world of multitrack.”
I suppose you are wondering if my Dad did lend me the money? He did, it was about £700, I was to pay him back £50 a month. It wasn’t a Christmas gift, but it certainly would have been on my fantasy list had I thought I could have swung it. Like a teenage crush, I still remember the days of my 244 with fondness.