{"title":"Recording Mixers","description":"\u003cp\u003eShop recording mixers for studio and live sound — analog and digital consoles from top professional audio brands, built for reliable performance.\u003c\/p\u003e","products":[{"product_id":"recording-mixers-tascam-model-12","title":"TASCAM MODEL 12","description":"\u003cdiv class=\"product-description-container\" style=\"font-family: 'Helvetica Neue', Arial, sans-serif; color: #1A1A2A; max-width: 900px; margin: 0 auto; line-height: 1.65;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e1. PRODUCT OVERVIEW\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe TASCAM Model 12 is a hybrid desktop production console that combines a 10-channel analogue mixer, a 12-track internal digital multitrack recorder (MTR), and a 12-in\/10-out USB audio interface into a single compact chassis. Rather than functioning as a conventional standalone mixer or a conventional standalone audio interface, the Model 12 is engineered as an integrated production ecosystem where all three roles — analogue mixing, multitrack recording to SD card, and computer connectivity — operate simultaneously and interchangeably. This makes it a genuinely flexible centrepiece for solo musicians, podcasters, streamers, and content creators who need professional-grade signal handling without assembling a rack of separate boxes.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eAt the core of the input stage are eight XLR microphone inputs, each fitted with TASCAM's proprietary Ultra HDDA (High Definition Discrete Architecture) preamplifier design. These preamps are built around a fully discrete circuit topology rather than an integrated-chip gain stage, and they deliver up to 74 dB of gain from the MIC input to the MAIN OUT — enough headroom to bring even low-output broadcast dynamic microphones to a healthy recording level without an external inline booster. The preamps measure an Equivalent Input Noise (EIN) of -128 dBu and a Total Harmonic Distortion (THD) figure of 0.003%, placing them well within professional broadcast and studio tolerances for a console in this price and size class.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eDigital conversion runs at a sampling frequency of 44.1 kHz or 48 kHz with a choice of 16-bit or 24-bit quantisation, and the internal recorder writes standard WAV files directly to SD, SDHC, or SDXC media, with no proprietary format or licensing step required to retrieve a session. Because the Model 12's digital engine handles all internal routing, processing, and recording via its own onboard DSP, small studio and podcast setups can operate the unit entirely without external analogue-to-digital converters — the console itself is the conversion stage.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eWhat distinguishes the Model 12 from a purely analogue mixer-recorder is its depth of modern multimedia integration. It provides native HUI\/MCU protocol emulation, which converts the physical hardware faders, pan pots, and mute switches into a genuine tactile control surface for any HUI- or MCU-compatible DAW — turning a compact desktop mixer into a hands-on mixing controller for software like Pro Tools, Logic, or Ableton Live. Connectivity extends to Bluetooth 5.0 for wireless audio streaming, 5-pin MIDI In\/Out ports for synchronising external hardware sequencers and synthesisers, and a dedicated 3.5mm TRRS input built specifically to bring a smartphone call into the mix with proper mix-minus routing — a feature purpose-built for remote-guest podcasting that would otherwise require a separate telephone hybrid device.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e2. INPUT ARCHITECTURE \u0026amp; PREAMPLIFICATION\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e2.1 Ultra HDDA Microphone Preamps\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 12 provides a total of 10 analogue inputs: eight mono mic\/line channels and two stereo\/line channels. All eight mono channels are built around XLR connectors with TASCAM's Ultra HDDA preamp circuit and +48V phantom power switching, and each of these eight channels doubles as a Hi-Z instrument input, meaning a guitar, bass, or other high-impedance direct source can be plugged straight into any of the first eight channels without a separate DI box. Channels 1 and 2 additionally carry TRS insert points, allowing an external hardware compressor, gate, or EQ to be patched into the signal path before it reaches the internal converters — a feature not commonly found on consoles at this size and price point.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eGain staging on the Ultra HDDA circuit is engineered for headroom and clarity in equal measure: a nominal mic input level of -10 dBV combined with a 10 kΩ input impedance gives the preamps a wide, forgiving operating window suitable for both quiet condenser sources and hot dynamic microphones. Because the maximum available gain reaches 74 dB from MIC to MAIN OUT, the Model 12 is equally comfortable capturing a whispering podcast host on a low-sensitivity broadcast dynamic mic and tracking a loud brass instrument on a large-diaphragm condenser.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003ePREAMP AND CONVERTER SPECIFICATIONS\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMaximum Gain\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e74 dB (MIC to MAIN OUT)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eNominal Input Level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e-10 dBV (Mic IN)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eEquivalent Input Noise (EIN)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e-128 dBu (Rs: 150 Ω, Max Gain)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eInput Impedance (Mic)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e10 kΩ\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eTotal Harmonic Distortion (THD)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e0.003% (MIC IN to MAIN OUT, +2 dBu, 1 kHz)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eSignal-to-Noise Ratio\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e103 dB (MAIN OUT, nominal fader position)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eSampling Rate\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e44.1 kHz \/ 48 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eBit Depth\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e16-bit \/ 24-bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e3. MULTIMEDIA \u0026amp; PODCASTING INTEGRATION\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e3.1 Mix-Minus TRRS Input and Bluetooth Streaming\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 12 sets itself apart from conventional small-format mixers with a 3.5mm TRRS input engineered specifically to integrate a smartphone into a live mix. This is not a simple auxiliary jack: the TRRS input carries hardware mix-minus routing, meaning the host's own microphone can be fed back to a remote caller while that caller's own voice is automatically subtracted from the feed sent to them, eliminating the double-talk echo that plagues any naive phone-to-mixer connection. Combined with Bluetooth 5.0 for wireless streaming of music beds, intro\/outro cues, or a second wireless call source, the Model 12 is built to function as a self-contained remote-interview and podcast production hub without any additional call-handling hardware.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003eMULTIMEDIA AND CONNECTIVITY SPECIFICATIONS\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMultimedia Inputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eBluetooth 5.0, 3.5mm TRRS smartphone input with hardware mix-minus\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eDigital \/ MIDI\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eUSB Type-C, 5-pin MIDI In\/Out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eDAW Control\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eHUI\/MCU emulation supported\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eUSB Interface\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e12-in \/ 10-out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e4. INTERNAL RECORDING \u0026amp; SD MEDIA\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 12's internal multitrack recorder captures 12 simultaneous tracks — the ten discrete analogue inputs plus the stereo main mix — directly to SD card as standard WAV files, with 10 simultaneous tracks available on playback. This DAWless recording capability means a podcast, band rehearsal, or live acoustic set can be captured as a full multitrack session with zero computer involvement, and the resulting WAV files can be pulled straight off the card and imported into any DAW later for editing or mixdown. Because the format is uncompressed standard WAV rather than a proprietary project file, there is no compatibility risk when moving a session between the Model 12 and a desktop editing environment.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003eRECORDING AND DIGITAL AUDIO TRANSPORT SPECIFICATIONS\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMedia Supported\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eSD Card\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eSimultaneous Record\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e12 tracks (10 discrete analogue inputs + 2 stereo mix tracks)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003ePlayback Tracks\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e10 simultaneous tracks\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eFile Format\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eStandard WAV\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e5. PHYSICAL FORM FACTOR\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eProduct Type\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eDesktop hybrid mixer \/ recorder \/ interface\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e343 mm (W) × 98.8 mm (H) × 360 mm (D)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eWeight\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e4.3 kg \/ 9.48 lb\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e6. IDEAL APPLICATIONS \u0026amp; USE CASES\u003c\/h5\u003e\n\n\u003cul style=\"margin: 14px 0; padding-left: 22px;\"\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003ePodcast Production with Remote Guests:\u003c\/strong\u003e Hardware mix-minus on the TRRS smartphone input eliminates call echo without a separate telephone hybrid; 74 dB of preamp gain drives low-output broadcast mics cleanly\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eElectronic Music and DAWless Sequencing:\u003c\/strong\u003e 5-pin MIDI In\/Out synchronises hardware synths and drum machines to the Model 12's internal clock for fully DAWless production\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eLive Video Streaming:\u003c\/strong\u003e Adjustable output delay of up to 2,000 ms in 1 ms increments aligns audio to camera-processed video before it hits the encoder\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eSmall Live Acoustic Performances:\u003c\/strong\u003e Dual headphone outputs provide discrete in-ear monitoring while the internal recorder captures a 12-track multitrack archive to SD\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eAudio Post-Production and Video Editing:\u003c\/strong\u003e HUI\/MCU emulation turns the physical faders into a tactile jog\/transport\/fader controller for Premiere Pro or DaVinci Resolve\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eSolo Content Creators:\u003c\/strong\u003e A single compact chassis replaces a mixer, an audio interface, and a standalone recorder for a creator working without a dedicated engineer\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e7. PRODUCT CONTEXT: MODEL 12 VS. SIBLING MODELS\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eWithin TASCAM's Model series, the Model 12 occupies the compact entry point beneath the Model 16, Model 24, and flagship Model 2400. Its defining distinction from the larger models in the range is the pairing of HUI\/MCU DAW control with a genuinely pocket-sized 10-channel footprint — a combination the Model 16 and Model 24 do not offer, since those two models trade DAW transport control for a wider analogue channel count and deeper mixing features instead. The Model 12 is therefore the natural choice for a buyer who values tactile DAW control and multimedia integration (Bluetooth, TRRS mix-minus, MIDI sync) in the smallest possible chassis, rather than raw input count. Engineers who need more than eight microphone preamps or a larger analogue mixing surface should look to the Model 16 or Model 24; those who specifically want DAW control in a desktop footprint will find the Model 12 the only model in the lower tier that offers it.\u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"Shivansh Electronics","offers":[{"title":"Default Title","offer_id":53397034697071,"sku":"tascam-model-12","price":64000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0964\/4766\/0399\/files\/TASCAM-MODEL-12-SHIVANSH-ELECTRONICS-KOLKATA-MAIN.png?v=1787961260"},{"product_id":"recording-mixers-tascam-model-16","title":"TASCAM MODEL 16","description":"\u003cdiv class=\"product-description-container\" style=\"font-family: 'Helvetica Neue', Arial, sans-serif; color: #1A1A2A; max-width: 900px; margin: 0 auto; line-height: 1.65;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e1. PRODUCT OVERVIEW\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe TASCAM Model 16 scales up the hybrid analogue-digital console concept of the Model series to accommodate a larger working band or ensemble, combining a 14-channel analogue mixer, a 16-track internal digital recorder, and a 16-in\/14-out USB audio interface in a single desktop chassis. Designed for project studios, band rehearsal spaces, and small-to-medium live venues, the Model 16 makes a deliberate trade against its smaller sibling: it sets aside the Model 12's HUI\/MCU DAW control features in favour of a deeper, more tactile analogue routing workflow and a substantially larger channel count.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe preamplification stage is built around 10 Ultra HDDA microphone preamps — eight on Channels 1 through 8, plus two further stereo-paired preamps on Channels 9\/10 and 11\/12 — each characterised by very low noise and high transparency. Combined with the two stereo-paired TRS line inputs, the console's total input capacity reaches 14 analogue channels, giving a working band enough simultaneous inputs to track a full rehearsal or live set without submixing sources together before they reach the console.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eWhere the Model 16 distinguishes itself most clearly is in its channel-strip processing, which is entirely analogue rather than DSP-emulated. The first eight channels carry intuitive one-knob compressors, and every channel offers a 3-band EQ with a sweepable mid-range for surgical frequency shaping — features aimed squarely at an engineer who wants to shape a mix by ear at the console rather than inside a plug-in window. This analogue processing sits ahead of a purely digital-transport back end: the internal SD card recorder captures 16 simultaneous tracks (the 14 discrete analogue inputs plus the main left\/right stereo mix) directly to SDHC or SDXC media at a choice of 16-bit or 24-bit depth and 44.1 kHz or 48 kHz sample rates.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eFor studio integration, the Model 16's USB audio interface uses TASCAM's dedicated driver to achieve extremely low latency, configurable down to a 4-sample buffer, making it viable for real-time tracking directly into an external DAW. A per-channel Mode switch lets engineers route USB returns from a connected computer back through the console's analogue EQs and 100mm faders, enabling tactile analogue summing of digital stems — effectively turning the Model 16 into an analogue mixing surface for a DAW-based session whenever that workflow is preferred over mixing entirely in the box.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e2. INPUT ARCHITECTURE \u0026amp; PREAMPLIFICATION\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e2.1 Ten Ultra HDDA Preamps Across 14 Analogue Inputs\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 16 provides 14 total analogue inputs: 10 monaural XLR\/TRS balanced channels and two stereo-paired TRS balanced channels. Ten of these carry TASCAM's Ultra HDDA preamp circuit — eight independent mono preamps on Channels 1–8, plus the two stereo pairs on 9\/10 and 11\/12 — giving the console enough independently gain-staged inputs to mic a full drum kit and band without doubling sources onto a shared channel. Channels 1 and 2 additionally provide Hi-Z instrument inputs, so a bass or guitar can be plugged in directly, and the same two channels carry TRS insert send\/return points for patching in outboard hardware processing ahead of the analogue-to-digital conversion stage.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eGain on the Ultra HDDA preamps is adjustable across a 0 to 50 dB range, with a maximum input level of +10 dBu and a nominal input level of -8 dBu at the mic input, and an input impedance of 1.8 kΩ. This gain range and impedance profile is tuned for a wide variety of live and studio microphones, from dynamic drum and guitar-amp mics through to condensers on vocals and overheads.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003ePREAMP AND CONVERTER SPECIFICATIONS\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eGain Adjustable Range\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e0 to 50 dB (Mic IN)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMaximum Input Level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e+10 dBu (Mic IN)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eNominal Input Level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e-8 dBu (Mic IN)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eInput Impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e1.8 kΩ (Mic IN)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eSampling Rate\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e44.1 kHz \/ 48 kHz\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eBit Depth\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e16-bit \/ 24-bit\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e3. ANALOGUE CHANNEL PROCESSING\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e3.1 One-Knob Compressors and Sweepable 3-Band EQ\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eEvery channel on the Model 16 offers a 3-band EQ with a sweepable mid-range, tunable from 100 Hz to 8 kHz, giving an engineer a genuinely surgical tool for finding and taming problem frequencies at the console rather than after the fact in software. The first eight channels add a one-knob compressor — a single-control dynamics processor designed for fast, intuitive gain control on sources like drums and vocals during a live set or a rehearsal capture, without requiring the engineer to dial in attack, release, ratio, and threshold individually under time pressure.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eAt the master bus level, a 4-band sweepable EQ shapes the overall mix, and an onboard bank of 16 editable multi-effects (reverb, delay, chorus, and flange) is available via a dedicated FX send bus, letting the console add polish to vocals or overall ambience without any outboard rack gear.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003eONBOARD DSP AND EQ SPECIFICATIONS\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eChannel EQ\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e3-band with mid-sweep (100 Hz to 8 kHz variable)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMaster EQ\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e4-band sweepable EQ\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eDynamics\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e1-knob compressors (Channels 1–8)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eInternal Effects\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e16 editable multi-effects (Reverb, Delay, Chorus, Flange)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e4. INTERNAL RECORDING, USB INTERFACE \u0026amp; ANALOGUE SUMMING\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e4.1 16-Track SD Recording and 4-Sample Buffer USB Latency\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe internal SD card recorder writes 16 simultaneous tracks — the 14 discrete analogue inputs plus the main left\/right stereo mix — directly to SDHC (FAT32) or SDXC (exFAT) media, and it supports punch-in and punch-out recording across up to 8 tracks simultaneously, a genuinely useful feature for overdub sessions where a band wants to redo a specific section without re-recording an entire take. On the digital transport side, the 16-in\/14-out USB 2.0 High-Speed, Audio Class 2.0 interface uses TASCAM's dedicated driver to reach a latency figure configurable down to a 4-sample buffer, putting the Model 16 in genuinely low-latency territory for direct DAW tracking.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eA per-channel Mode switch allows any of the 14 channels to be flipped between \"LIVE\" (accepting the physical analogue input) and \"USB\" (accepting a returning digital stem from the connected computer). This means an engineer can print a mix into a DAW, then route the individual stems back out through the console's own analogue EQ and compression on the way to the faders — analogue summing without needing a separate summing mixer.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003eRECORDING AND DIGITAL AUDIO TRANSPORT SPECIFICATIONS\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMedia Supported\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eSD, SDHC (FAT32), SDXC (exFAT)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eSimultaneous Record\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e16 tracks (14 inputs + 2 stereo mix)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003ePunch In\/Out\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eUp to 8 tracks simultaneously\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eUSB Interface\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e16-in \/ 14-out (USB 2.0 High-Speed, Audio Class 2.0)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e5. AUXILIARY INPUTS \u0026amp; OUTPUTS\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eAuxiliary Inputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eBluetooth 5.0 (A2DP), 3.5mm Stereo Mini, RCA\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eOutputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eMain L\/R (XLR), Sub\/Monitor\/FX (TRS), Phones\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e6. PHYSICAL FORM FACTOR\u003c\/h5\u003e\n\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eProduct Type\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eMid-format hybrid console mixer\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e430 mm (W) × 112.9 mm (H) × 463 mm (D)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eWeight\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e7.0 kg\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e7. IDEAL APPLICATIONS \u0026amp; USE CASES\u003c\/h5\u003e\n\n\u003cul style=\"margin: 14px 0; padding-left: 22px;\"\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eMid-Sized Band Rehearsal Capture:\u003c\/strong\u003e Ten mic preamps and two Hi-Z instrument inputs let drums, bass, and guitar all track live; 16-track SD recording provides fully DAWless multitrack capture\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eProject Studio Analogue Summing:\u003c\/strong\u003e Per-channel Mode switch returns DAW stems through the analogue EQs and 100mm faders, glued together by the 4-band Master EQ\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eHouse of Worship Live Sound:\u003c\/strong\u003e Integrated Bluetooth 5.0 for walk-in music; internal effects engine applies plate reverb to choir mics via the dedicated FX send bus\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eLive Performance with Backing Tracks:\u003c\/strong\u003e Per-channel input selection between \"LIVE\" and \"MTR\" mixes live vocals and hardware synths with pre-recorded backing stems from the SD card\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eInstitutional Recording and Playback:\u003c\/strong\u003e Simple SD recording engine lets non-technical staff capture 24-bit audio safely without troubleshooting computer drivers\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e8. PRODUCT CONTEXT: MODEL 16 VS. SIBLING MODELS\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 16 sits directly between the Model 12 and the Model 24 in TASCAM's hybrid console range, and the trade-off it makes is deliberate: it sacrifices the Model 12's HUI\/MCU DAW transport control to provide a substantially wider analogue footprint — 10 mic preamps and 14 analogue inputs against the Model 12's 8 preamps and 10 inputs — along with genuinely analogue channel processing (one-knob compressors, sweepable 3-band EQ) rather than the Model 12's more DAW-integration-focused feature set. Compared with the Model 24, the Model 16 offers a smaller footprint and lower channel count (16-track versus 24-track recording, 14 versus 22 analogue inputs) at a correspondingly smaller physical size and lower weight, making it the natural choice for a band or small venue that needs more inputs than the Model 12 provides but does not require the Model 24's full-band, large-ensemble I\/O capacity.\u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"Shivansh Electronics","offers":[{"title":"Default Title","offer_id":53402631995759,"sku":"tascam-model-16","price":88000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0964\/4766\/0399\/files\/TASCAM-MODEL-16-SHIVANSH-ELECTRONICS-KOLKATA-THUMBNAIL.png?v=1788086050"},{"product_id":"recording-mixers-tascam-model-24","title":"TASCAM MODEL 24","description":"\u003cdiv class=\"product-description-container\" style=\"font-family: 'Helvetica Neue', Arial, sans-serif; color: #1A1A2A; max-width: 900px; margin: 0 auto; line-height: 1.65;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e1. PRODUCT OVERVIEW\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe TASCAM Model 24 is the largest-format console in TASCAM's Model series of hybrid analogue-digital production systems, combining a 22-channel analogue mixer, a 24-track internal digital multitrack recorder, and a 24-in\/22-out USB audio interface into a single desktop chassis. It is the direct scale-up of the Model 12 and Model 16 architecture, engineered specifically to solve the one limitation that smaller consoles cannot: capturing an entire large ensemble — a full band, a horn section, a large praise team — in a single simultaneous pass, with enough microphone preamplification and channel count that no performer or instrument has to be left off the board.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 24 occupies the top of the standard Model tier — above the Model 12 and Model 16 in channel count, preamp count, and physical scale, and positioned as a large-format analogue mixing console first and a recording\/interface system second. Where the Model 12 emphasises DAW control and multimedia integration for solo creators, and the Model 16 balances analogue tone-shaping against moderate channel count for bands and rehearsal spaces, the Model 24 is built around raw I\/O capacity and a classic, tactile large-format mixing experience: 100mm faders across the entire channel strip, dedicated per-channel EQ and dynamics, and a 7-band graphic EQ on the master bus for acoustic room tuning. It is designed for large live ensembles, professional rehearsal facilities that need to track full bands without exception, and expansive tracking studios.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThree figures define the Model 24's technical position within its category. First, its preamplification: 16 TASCAM Ultra HDDA (High Definition Discrete Architecture) microphone preamps — twice the count of the Model 16 — deliver low-noise, transparent gain across the entire input array, with 50 dB of adjustable gain range and headroom to +10 dBu before clipping. Second, its total channel capacity: 22 analogue inputs (12 monaural, 4 stereo-paired, plus a dedicated stereo auxiliary input for Bluetooth and RCA sources) feed a 24-track simultaneous recorder, calculated as the 22 discrete analogue inputs plus the main left\/right stereo mix — meaning a full ensemble performance and the finished stereo mix are captured in the same pass, with no separate bounce-down step required. Third, its digital transport: the console functions as a complete 24-in\/22-out USB Audio Class 2.0 interface, delivering the entire analogue mix desk directly into a DAW over a single USB connection, alongside — not instead of — its standalone SD-card recording capability.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eUnlike the flagship Model 2400, the Model 24 does not include HUI\/MCU DAW transport control; it is positioned as a dedicated analogue mixer and audio transport interface rather than a tactile DAW controller. This is a deliberate design distinction within TASCAM's own product family: the Model 24 is optimised for the workflow of mixing and capturing a live performance or a large tracking session on its own tactile analogue surface, while DAW-integrated mixdown control is reserved for the Model 2400 above it. Firmware enhancements have added compatibility with the TASCAM Model Mixer Settings Panel application, which projects a scalable digital meter bridge onto a connected computer monitor — giving engineers visual peak-hold monitoring across all 24 channels of input, MTR, or USB signal without needing a dedicated outboard meter bridge.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e2. CHASSIS, FORM FACTOR \u0026amp; PHYSICAL SCALE\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 24 is a large-format desktop console mixer measuring 576 mm (W) × 112.5 mm (H) × 513 mm (D) and weighing 10.2 kg (22.49 lbs) — substantially larger and heavier than the Model 16, reflecting the doubled preamp count, wider fader bank, and additional master-section processing. As a desktop unit rather than a rack-mount design, the Model 24 is intended to sit on a console stand, a dedicated mixing desk, or a stage riser at the mix position, where the operator has direct hands-on access to all 100mm faders and channel controls simultaneously — the defining ergonomic advantage of a large-format tactile mixer over a rack-mounted interface controlled purely through software.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe physical scale of the Model 24 is a direct function of its channel count: 16 Ultra HDDA microphone preamps, 22 total analogue inputs, 100mm faders across the channel strips, a 3-band sweepable EQ on the first 12 channels, one-knob compressors on select inputs, and a dedicated 7-band graphic EQ on the master output all require physical panel space that a compact interface cannot provide. This is the trade-off the Model 24 is built around: it sacrifices portability and desktop footprint in exchange for simultaneous tactile access to every channel — a design priority for live sound engineers and studio operators who need to make rapid, simultaneous adjustments across many channels during a performance or tracking session, rather than navigating a software mixer one channel at a time.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e3. MICROPHONE PREAMPS \u0026amp; ANALOGUE INPUT ARCHITECTURE\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eAt the heart of the Model 24 sit 16 TASCAM Ultra HDDA microphone preamps — the same discrete, low-noise preamp architecture used across the professional TASCAM Model series, scaled here to its highest channel count within the standard tier. Each preamp offers a 50 dB adjustable gain range, a maximum input level of +10 dBu, and a minimum input level of -58 dBu, giving the operator a wide practical window for gain-staging everything from quiet ambient microphones to hot, close-miked sources. Input impedance on the microphone path is 1.8 kΩ, a specification consistent with the Model 16's preamp architecture and appropriate for a wide range of dynamic and condenser microphones. All 16 mic inputs are on XLR connectors with +48V phantom power, switchable as needed for condenser microphones while dynamic and ribbon microphones on other channels remain unaffected.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eBeyond the 16 XLR microphone inputs, the Model 24's total analogue input count reaches 22 channels: 12 monaural inputs, 4 stereo-paired inputs, and a dedicated stereo auxiliary input accommodating both Bluetooth wireless streaming and unbalanced RCA connections. This configuration is deliberately built for the realities of large-ensemble mixing — the monaural channels absorb the bulk of the individually-miked sources (drums, horns, vocals, instrument DIs), while the stereo-paired channels are purpose-built for stereo keyboard rigs, stereo room microphone pairs, stereo playback sources, or any other paired signal that should move together on a single fader rather than being split across two independent monaural strips. Insert points on channels 1 and 2 (balanced TRS send\/return) allow an outboard compressor, gate, or equaliser to be patched directly into the analogue signal path on the two channels most likely to need dedicated outboard processing — typically the lead vocal or a featured instrument.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e4. ONBOARD DSP, CHANNEL PROCESSING \u0026amp; MASTER-BUS EQ\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 24's signal processing is built around a channel-strip architecture that mixes classic analogue tone-shaping with selective digital signal processing on the master output. The first 12 channels each include a 100 kHz low-cut filter — engaged to remove sub-sonic rumble, stage vibration, HVAC noise, and microphone handling noise before it reaches the mix bus — paired with a 3-band sweepable EQ, giving the operator surgical control over the frequency content of the console's highest-priority individually-miked channels. This channel-level low-cut and EQ combination is a standard large-format mixing console feature that smaller Model-series consoles either omit or implement in reduced form, and it reflects the Model 24's positioning as a genuine live-sound and tracking mixing desk rather than a compact all-in-one interface.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eOn the master bus, the Model 24 provides a dedicated 7-band graphic EQ — a tool specifically intended for acoustic room tuning rather than individual-channel tone-shaping. In live sound reinforcement, a graphic EQ on the master output is the standard tool for taming a venue's resonant frequencies (feedback-prone room modes, boomy low-frequency buildup, harsh high-frequency reflections) before the mix ever reaches the audience — a task that per-channel EQ cannot efficiently solve because it must be corrected once, globally, on the summed signal. Sixteen preset digital effects (reverbs and other time-based processing) round out the onboard DSP, available for send-based application to any channel without requiring outboard effects units or additional rack space.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e5. AUXILIARY SEND ARCHITECTURE \u0026amp; MONITOR MIXING\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 24 provides three auxiliary sends — Monitor 1, Monitor 2, and FX — giving the front-of-house engineer the routing flexibility to construct two independent stage monitor wedge mixes for performers plus a dedicated external effects loop, all without touching the main house mix. This three-aux architecture is a meaningful step up from smaller consoles in the Model series and reflects a genuine large-ensemble live-sound requirement: a nine- or ten-piece band routinely needs more than a single shared monitor mix, and separating drummer\/vocalist wedges from a guitarist\/keyboardist wedge — while independently routing reverb or delay sends to an outboard or internal effects unit — is standard professional practice that the Model 24's aux bus count directly supports.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eBecause each aux send operates pre- or post-fader per channel (standard console routing practice) and each of the 16 preamp channels can be routed into any combination of the three aux buses, the Model 24 supports genuinely independent monitor mixes without requiring a separate monitor console — a meaningful cost and complexity reduction for mid-sized venues and touring productions that cannot justify a dedicated monitor engineer and monitor desk.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e6. INTERNAL MULTITRACK RECORDER \u0026amp; SD MEDIA\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 24's internal recorder captures 24 simultaneous tracks — calculated as the 22 discrete analogue inputs plus the main left\/right stereo mix — directly to SD, SDHC, or SDXC media (supporting cards up to 512GB, Class 10 or faster) at 24-bit\/48 kHz resolution. This DAWless recording capability is central to the console's value proposition for live sound engineers: by pressing a single button, the entire ensemble performance is captured as a full multitrack archive, with the mixed stereo programme recorded alongside it in the same pass, entirely independent of any connected computer. For touring and rental applications in particular, this means a reliable multitrack safety recording exists even if the connected laptop crashes, the USB connection drops, or no computer is present at all.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eSample rate on the recorder spans 44.1 kHz and 48 kHz, with bit depth selectable between 16-bit and 24-bit — standard professional recording parameters that balance file size against fidelity depending on the intended use (live multitrack archiving typically favours 24-bit\/48 kHz for maximum post-production flexibility). Because the recorder captures all 22 inputs simultaneously alongside the stereo mix, engineers gain the ability to revisit and remix a performance in a DAW after the fact, using the mixed stereo file as a reference while individually processing the raw tracks — a workflow impossible on consoles without full-channel-count simultaneous recording.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e7. USB AUDIO INTERFACE \u0026amp; COMPUTER CONNECTIVITY\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eBeyond its standalone mixing and recording capability, the Model 24 functions as a complete 24-in\/22-out USB Audio Class 2.0 interface, transporting the entire analogue channel array directly into a DAW on a connected Mac or PC over Mass-storage\/USB Audio Class 2.0 connectivity. This dual-mode operation — simultaneous SD-card multitrack recording and live USB streaming to a DAW — is a defining architectural feature of the Model series: engineers are never forced to choose between DAWless reliability and computer-based recording flexibility, because both capture paths operate concurrently from the same analogue signal chain.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eA significant workflow enabled by the USB return path is analogue summing: stems mixed digitally in a DAW can be routed back out of the computer and into the Model 24's analogue channels via the USB returns, allowing engineers to sculpt a final mix using the console's tactile 100mm faders, per-channel EQ, and analogue signal path — injecting analogue headroom and hands-on control into an otherwise fully digital production before printing the summed mix back into the DAW as a stereo file. Because the Model 24 does not include HUI\/MCU DAW transport emulation, this USB interface functions purely as an audio transport and analogue-summing path rather than a tactile DAW controller — a distinction that separates it from the Model 12 and the flagship Model 2400, both of which include DAW control alongside their audio interface function.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e8. MULTIMEDIA CONNECTIVITY \u0026amp; MONITORING\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 24's dedicated stereo auxiliary input accommodates both Bluetooth wireless streaming and unbalanced RCA connections, providing a straightforward path for walk-in music, pre-service playback, or presentation audio to be mixed into the house feed without consuming a channel strip or requiring an additional cable run to the console. This is a practical, everyday feature for house-of-worship and event production environments, where a phone, tablet, or laptop frequently needs to be brought into the mix on short notice.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe console's monitoring path benefits from the same large-format design philosophy applied throughout: the master section provides the controls necessary for a front-of-house engineer to manage the house mix, the three aux sends, and the master 7-band graphic EQ simultaneously from a single ergonomic position, without needing to navigate software menus mid-performance for the console's core mixing functions.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e9. MODEL MIXER SETTINGS PANEL \u0026amp; VISUAL METERING\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eFirmware enhancements to the Model 24 introduced compatibility with the TASCAM Model Mixer Settings Panel application, a software companion that bridges the console's onboard 24-channel signal chain to a connected computer monitor as a scalable, projectable digital meter bridge. This addresses a genuine physical limitation of the Model 24's compact channel-strip design: with 22 analogue channels on a desktop-format console, per-channel dedicated hardware metering for every input is a significant panel-space cost, and the Settings Panel application recovers that visibility by projecting comprehensive peak-hold metering for input, MTR (recorder), or USB signal paths onto any external display.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eIn practice, this means a commercial studio or touring production can connect a large studio monitor or a stage-side display directly to a laptop running the Settings Panel software, giving the engineer — or anyone else in the room, such as an assistant engineer or a client — a highly visible, real-time overview of signal levels and clipping across all 24 channels simultaneously, without requiring the engineer's eyes to leave the mix position or the console to carry additional dedicated meter hardware.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e10. PRODUCT FAMILY CONTEXT — MODEL 24 WITHIN THE TASCAM MODEL SERIES\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe TASCAM Model family is a tiered, progressive ecosystem of hybrid analogue\/digital consoles that scale linearly in physical footprint, I\/O capacity, and professional feature depth. The Model 12 is the compact, highly integrated entry point, unique in the lower tier for HUI\/MCU DAW transport emulation, 5-pin MIDI I\/O, and Bluetooth 5.0 — an ideal tactile hub for podcasters, solo creators, and electronic music producers, with 8 mic preamps and 12-track SD recording. The Model 16 steps up to 10 mic preamps, 14 analogue inputs, and 16-track SD recording, trading DAW control for a wider analogue footprint, 1-knob compressors, and analogue sweepable EQs suited to small bands and rehearsal spaces.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 24 expands this analogue architecture to its largest standard-tier scale: 16 mic preamps, 22 total inputs, and 24-track SD recording, serving as a massive analogue summing engine and 24-channel USB interface purpose-built for larger bands and live-sound front-of-house deployment. Above it, the Model 2400 retains the Model 24's 24-track architecture and 22-channel analogue layout but critically re-integrates the HUI\/MCU DAW control found on the Model 12, adds a fifth aux send, 4 stereo subgroups, and insert points across the first 12 channels — reclassifying it from a live-sound tool into a dedicated commercial studio console. As a buyer moves up the Model range, channel count and preamp availability increase linearly, but DAW control capability skips the middle tier entirely, existing only on the highly integrated Model 12 and the flagship Model 2400 — with the Model 24 positioned deliberately as the pure large-format analogue mixing and multitrack capture solution between them.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003eTASCAM MODEL SERIES — KEY DIFFERENTIATORS\u003c\/h5\u003e\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 13.5px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eFEATURE\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eMODEL 12\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eMODEL 16\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eMODEL 24\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eMODEL 2400\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMic Preamps (Ultra HDDA)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e8\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e10\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e16\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e16\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eTotal Analogue Inputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e10\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e14\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e22\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e22\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eSimultaneous SD Tracks\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e12\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e16\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e24\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e24\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eUSB Interface\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e12-in\/10-out\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e16-in\/14-out\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e24-in\/22-out\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e24-in\/22-out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eHUI\/MCU DAW Control\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eYes\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eNo\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eNo\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eYes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eAux Sends\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eFX bus\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e3 (Mon 1, Mon 2, FX)\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e5 (4 Aux + FX)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMaster EQ\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e4-band sweepable\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e7-band graphic\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eStereo Subgroups\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e11. SPECIFICATION CROSS-VALIDATION\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e11.1 Simultaneous Track Count vs. Analogue Input Count\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eTASCAM specifies 24 simultaneous recorded tracks against 22 total analogue inputs. The arithmetic is: 22 discrete analogue inputs (12 mono + 4 stereo-paired + 1 dedicated stereo aux, counted as individual channels) plus the main stereo (left\/right) mix bus, printed to its own pair of tracks = 24 total tracks captured simultaneously. This is the same calculation pattern used across the entire Model series (Model 12: 10 inputs + 2 mix = 12; Model 16: 14 inputs + 2 mix = 16), and it confirms that the Model 24's 24-track figure is not a discrepancy but the standard Model-series convention of counting the printed stereo mix as two additional simultaneous tracks alongside the raw input tracks. No discrepancy.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e11.2 USB Interface Channel Count vs. Analogue I\/O\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe USB interface is specified as 24-in\/22-out. The 24-in figure matches the simultaneous recording track count exactly (22 analogue inputs + stereo mix = 24), meaning the same 24-channel payload available to the internal recorder is also available to a connected DAW over USB. The 22-out figure corresponds to the 22 analogue input channels being available for USB return\/summing purposes (rather than including the stereo mix bus as a separate return path, since the mix bus return would create a feedback loop if summed back into itself). This asymmetry between 24 inputs and 22 outputs is consistent and expected given the console's analogue summing workflow, where USB returns feed back into the 22 individual channel strips rather than the master bus. No discrepancy.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e11.3 Preamp Gain Range vs. Maximum\/Minimum Input Level\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 24's preamp specifies a 50 dB adjustable gain range alongside a maximum input level of +10 dBu and a minimum input level of -58 dBu. The difference between the maximum and minimum input levels is +10 − (−58) = 68 dB, which exceeds the specified 50 dB adjustable gain range. This is expected and consistent with standard preamp specification practice: the 50 dB figure describes the adjustable gain control range (how much boost the gain knob itself provides), while the 68 dB spread between max and min input level additionally reflects the preamp's total usable input headroom window at the extremes of that gain range — a wider figure than the gain control alone, because it also accounts for the preamp's noise floor and clipping point at each end of the gain range rather than the control range in isolation. No discrepancy.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e12. IDEAL APPLICATIONS \u0026amp; USE CASES\u003c\/h5\u003e\n\n\u003cul style=\"margin: 14px 0; padding-left: 22px;\"\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eLarge Live Ensemble Front-of-House:\u003c\/strong\u003e 16 mic preamps for a full band with horns, three aux sends for dual monitor wedges plus an FX loop, 7-band graphic EQ for room tuning.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eCommercial Studio Drum and Band Tracking:\u003c\/strong\u003e 16 simultaneous mic inputs for a complex drum kit or full-band session, direct USB feed into Pro Tools or Logic Pro, 100 kHz low-cut filters on the first 12 channels.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003ePost-Production Analogue Summing:\u003c\/strong\u003e 22 stems returned from a DAW via USB, summed through the analogue channel strips and 100mm faders, printed back as a finished stereo master.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eHouse of Worship Live Sound and Streaming:\u003c\/strong\u003e Bluetooth\/RCA stereo aux for walk-in music and slides, simultaneous USB feed to OBS for live streaming, internal SD backup recording.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eInstitutional Rehearsal and Ensemble Archiving:\u003c\/strong\u003e 24-track SD capture with punch in\/out on up to 8 tracks, SDXC media up to 512GB for extended session logging.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eTouring and Rental Production:\u003c\/strong\u003e DAWless multitrack safety recording independent of any connected computer, Model Mixer Settings Panel for visual meter-bridge monitoring on any external display.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eBroadcast and Live Stream Audio Mixing:\u003c\/strong\u003e 24-channel USB feed direct to streaming software, dedicated stereo aux for presenter media playback, master EQ for consistent programme tone.\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003c\/div\u003e","brand":"Shivansh Electronics","offers":[{"title":"Default Title","offer_id":53403366588783,"sku":"tascam-model-24","price":118000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0964\/4766\/0399\/files\/TASCAM-MODEL-24-SHIVANSH-ELECTRONICS-KOLKATA-THUMBNAIL.png?v=1788117444"},{"product_id":"recording-mixers-tascam-model-2400","title":"TASCAM MODEL 2400","description":"\u003cdiv class=\"product-description-container\" style=\"font-family: 'Helvetica Neue', Arial, sans-serif; color: #1A1A2A; max-width: 900px; margin: 0 auto; line-height: 1.65;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e1. PRODUCT OVERVIEW\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe TASCAM Model 2400 is the flagship console of TASCAM's Model series, combining a 22-channel analogue mixer, a 24-track internal digital multitrack recorder, and a 24-in\/22-out USB audio interface into TASCAM's largest and most professionally equipped hybrid analogue-digital production system. While it shares the 24-track recording ceiling and 22-channel analogue mixing layout of the Model 24 directly beneath it, the Model 2400 introduces a set of professional-grade enhancements that reclassify it from a live-sound and tracking tool into a dedicated commercial studio console — most notably reinstating the HUI\/MCU DAW transport and recording control that the Model 24 omits, effectively merging massive analogue I\/O capacity with deep digital DAW integration in a single chassis.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 occupies the top of the entire TASCAM Model family. Where the Model 24 is built around raw channel count and a classic tactile large-format mixing experience for live sound and tracking, the Model 2400 adds the studio-specific infrastructure that a live console does not need: a fifth aux send, four stereo subgroups for parallel bus processing, insert points across the first twelve channels rather than just the first two, dedicated talkback communication, MIDI synchronisation with a click output for drummers, and — critically — HUI\/MCU protocol emulation that turns the console's physical faders into a tactile control surface for any HUI- or MCU-compatible DAW. This combination of channel capacity, documented audiophile-grade preamp performance, and DAW integration is what separates a genuine commercial studio centrepiece from a large-format live-sound desk.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThree figures anchor the Model 2400's technical position. First, its preamplification: 16 TASCAM Ultra HDDA microphone preamps deliver a rigorously documented 74 dB of maximum gain (mic to main out) with an Equivalent Input Noise (EIN) of -128 dBu — figures that rival dedicated standalone boutique microphone preamplifier units, confirming the console's studio-grade front end. Second, its routing depth: insert points span the first twelve channels (rather than the first two, as on the Model 24), five aux sends (four discrete analogue buses plus an internal FX send) provide genuinely independent monitor and effects routing, and four stereo subgroups allow entire instrument sections to be bused together for parallel analogue processing before reaching the main mix. Third, its DAW integration: dedicated HUI\/MCU transport and REC READY control means an engineer can arm tracks, trigger playback, and control recording entirely from the console surface, without touching a computer mouse — restoring the tactile DAW-control workflow found on the entry-level Model 12 to TASCAM's largest-format console.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 is positioned explicitly for commercial recording studios, mix engineers integrating vintage or modern outboard hardware, and any facility where 24-track SD capture, deep analogue routing, and hands-on DAW control need to coexist on a single console. Where the Model 24 asks \"how do I mic and mix a large ensemble,\" the Model 2400 asks \"how do I run a complete professional studio session — tracking, overdubbing, mixing, and DAW-integrated recording control — from one large-format desk.\"\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e2. CHASSIS, FORM FACTOR \u0026amp; PHYSICAL SCALE\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 is a large-format flagship desktop console measuring 680.5 mm (W) × 132.5 mm (H) × 568.0 mm (D) and weighing 14.0 kg — the largest and heaviest console in the entire Model series, exceeding the Model 24's footprint and mass by a meaningful margin. This additional scale is a direct consequence of the console's expanded feature set: insert points across twelve channels rather than two, a fifth aux send, four stereo subgroup buses, dedicated talkback and MIDI hardware, and comprehensive monitoring infrastructure including dual headphone jacks and dedicated control room outputs all require physical panel real estate that the Model 24's more compact layout does not allocate.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eAs with the Model 24, the Model 2400 is a desktop unit intended to sit at a dedicated mixing position where the engineer has simultaneous hands-on access to the full channel strip array. The larger chassis reflects the console's studio-first design brief: a commercial studio installation has the fixed desk space and permanent placement that a large-format console demands, in exchange for the complete tactile control surface that a rack-mounted interface cannot replicate.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e3. MICROPHONE PREAMPS — DOCUMENTED AUDIOPHILE-GRADE PERFORMANCE\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 is engineered with 16 Ultra HDDA (High Definition Discrete Architecture) preamps and boasts the most rigorously documented specifications of any console in the Model series. The preamp delivers a maximum gain of 74 dB from mic input to main output — a substantially wider gain window than the Model 24's 50 dB adjustable range — giving the console the headroom to handle both the quietest ribbon microphones and distant ambient sources without an external gain-boosting device. Nominal input level is specified at -8 dBu (at LEVEL \"MIN\"), and input impedance is documented separately for mono and stereo paths: 22 kΩ for mono channels and 11 kΩ for stereo-paired channels.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe preamp's noise performance is exceptionally low: an Equivalent Input Noise (EIN) of -128 dBu (measured at 150 Ω source impedance, maximum gain, A-weighted) means that even the most sensitive microphone placements — distant room mics, quiet acoustic instruments, whispered vocal takes — will not encounter audible preamp self-noise. Total Harmonic Distortion (THD) measures 0.003% (mic in to main out, +2 dBu, 1 kHz), a figure that places the Model 2400's preamp performance in the same tier as dedicated standalone boutique preamplifier units costing several times the console's price. This is a meaningful distinction from the Model 24, whose published specifications do not include a documented THD or EIN figure — the Model 2400's documentation reflects its positioning as a console for engineers who need to specify and defend preamp performance in a commercial studio context.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e4. INSERT POINTS \u0026amp; OUTBOARD HARDWARE INTEGRATION\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eWhere the Model 24 provides insert points on only channels 1 and 2, the Model 2400 extends balanced TRS send\/return insert points across the first twelve channels — a substantial expansion that reflects the console's studio-integration design brief. Twelve simultaneous insert points mean an engineer can patch outboard compressors, equalisers, gates, or other analogue processors directly into the signal path of an entire drum kit, a full vocal session with multiple backing singers, or any combination of individually-miked sources that benefit from dedicated hardware processing before the signal reaches the analogue-to-digital converter — a workflow that would require constant re-patching on a console with only two insert points.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThis insert architecture is what allows the Model 2400 to function as a genuine hub for a studio's outboard hardware collection — vintage compressors, boutique equalisers, tube-driven processors, and other analogue gear that many engineers consider essential to a professional sound — rather than confining outboard processing to only the one or two channels most consoles in this format allocate for it.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e5. BUS ARCHITECTURE — 5 AUX SENDS \u0026amp; 4 STEREO SUBGROUPS\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400's routing matrix is vastly expanded over the Model 24, featuring five aux sends — four discrete analogue auxiliary buses plus an internal FX send — alongside four stereo subgroups and the Main L\/R bus. This is a genuine large-format studio console bus architecture: four independent aux sends allow the engineer to construct multiple simultaneous headphone or monitor cue mixes for performers (a drummer's mix, a vocalist's mix, a full-band cue mix, and a producer's reference mix, for example) while the internal FX send remains dedicated to reverb, delay, or other time-based processing, entirely separate from the performer monitor buses.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe four stereo subgroups add a capability the Model 24 does not offer at all: the ability to bus entire instrument sections — all drum microphones to Sub 1\/2, all vocal channels to Sub 3\/4, for example — for parallel analogue compression, shared EQ, or simplified fader-group control during a mix. This subgrouping is standard large-format console practice in professional studios, where an engineer frequently wants to apply a single compressor or EQ setting across an entire drum kit's summed signal rather than processing each microphone individually, or wants a single fader to control an entire backing-vocal stack's level without adjusting each channel independently.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e6. HUI\/MCU DAW CONTROL \u0026amp; REC READY INTEGRATION\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400's reinstatement of HUI\/MCU DAW transport control is its single most significant differentiator from the Model 24. HUI (Human User Interface) and MCU (Mackie Control Universal) are the two dominant control-surface protocols supported natively by virtually every major DAW — Pro Tools, Logic Pro, Cubase, Studio One, Ableton Live, and others — and a console offering native emulation of both means an engineer can arm tracks, trigger transport (play, stop, record, rewind, fast-forward), jog the timeline, and control REC READY status for individual channels directly from the console's physical controls, without reaching for a mouse or keyboard.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThis capability is what allows the Model 2400 to function simultaneously as a large-format analogue mixing desk and as the primary tactile control surface for an entire DAW session — a combination that neither the Model 24 (which omits DAW control) nor a typical dedicated control surface (which typically omits large-format analogue mixing) can offer alone. For an engineer moving fluidly between tracking, comping, and mixing within a single session, this means the physical console remains the single point of interaction throughout the entire production process.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e7. TALKBACK, MIDI \u0026amp; STUDIO COMMUNICATION INFRASTRUCTURE\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 includes a dedicated talkback XLR input — a studio-standard feature for control-room-to-live-room communication that the Model 24 does not include. In a professional studio context, talkback is not a convenience feature but a core operational requirement: it allows the engineer to speak directly to performers in the live room through their headphone monitor mix, without needing a separate intercom system or shouting through a closed control-room door, and it is standard equipment on virtually every commercial studio console at this format tier.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eMIDI In\/Out ports provide synchronisation and control connectivity for hardware sequencers, drum machines, or other MIDI-equipped studio equipment, while a dedicated 1\/4-inch audio click output feeds a metronome click directly to a performer's headphones or in-ear monitors — a specific, practical feature for sessions where a live drummer needs to stay locked to a programmed tempo grid alongside MIDI-sequenced instrumentation, a common requirement in modern hybrid production that blends live performance with electronic or sequenced elements.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e8. PRE\/POST EQ ROUTING \u0026amp; COMPRESSOR\/EQ BYPASS\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 supports selectable pre\/post EQ routing independently for both the USB recording stream and the MTR (SD card) recording stream — a routing-flexibility feature that gives the engineer explicit control over whether a channel's analogue EQ processing is captured in the recorded signal or applied only to the monitored\/mixed output. This distinction matters significantly in professional tracking sessions: an engineer may want completely clean, unprocessed signal captured to the DAW (pre-EQ routing) so that all tonal decisions remain fully reversible in post-production, while simultaneously wanting the EQ'd, processed signal feeding the headphone monitor mix so performers hear a pleasing, controlled sound while tracking.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eFurthermore, the console supports compressor and EQ bypass functions specifically for the multitrack (MTR) return paths — meaning that when previously recorded tracks are played back through the console for mixing or further processing, the engineer can choose whether the channel's compressor and EQ are engaged on that returning signal or bypassed entirely. This granular control over exactly where and when analogue coloration is applied during a hybrid digital\/analogue mixdown is a defining feature of a professional studio console, and it is not present on the Model 24's more streamlined signal path.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e9. MONITORING INFRASTRUCTURE — CONTROL ROOM OUTPUTS \u0026amp; DUAL HEADPHONES\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 rounds out its studio credentials with comprehensive monitoring infrastructure absent from the Model 24: dedicated control room outputs (a separate signal path from the main mix bus, allowing the engineer to monitor at different levels or through different processing than what is being recorded or sent to performers), dual headphone jacks (supporting two simultaneous headphone monitoring positions — useful when an assistant engineer, a producer, or a visiting artist needs an independent headphone feed alongside the primary engineer), and a built-in talkback XLR input feeding into the overall monitoring signal chain.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThis monitoring architecture reflects standard commercial studio console design, where the control room's own listening environment is treated as a distinct signal path from whatever mix is being recorded or sent to the live room — a separation of concerns that becomes operationally important once a session involves multiple listeners with potentially different monitoring needs simultaneously.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e10. INTERNAL RECORDER, USB INTERFACE \u0026amp; DIGITAL TRANSPORT\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eFunctionally, the Model 2400 shares its core recording and interface architecture with the Model 24: 24 simultaneous tracks (22 discrete analogue inputs plus the main left\/right stereo mix) captured to SDXC media at 24-bit resolution, with the console's sample rate spanning 44.1 kHz and 48 kHz. SDXC support explicitly includes punch in\/out capability, allowing a specific passage of a performance to be re-recorded without disturbing the surrounding already-approved material on the other tracks — a standard professional overdubbing workflow.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe console simultaneously functions as a 24-in\/22-out USB audio interface, transporting the full analogue channel array to a connected computer over USB Audio Class 2.0 connectivity — the same dual-mode operation found on the Model 24, meaning the Model 2400 never forces a choice between DAWless SD-card reliability and computer-based DAW recording. What distinguishes the Model 2400's USB implementation from the Model 24's is the addition of HUI\/MCU control data running alongside the audio transport, giving the connected DAW both the full audio channel array and complete transport\/REC READY control from the same physical console.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e11. CONVERTER PERFORMANCE \u0026amp; FREQUENCY RESPONSE\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400's converter section operates at 44.1 kHz or 48 kHz with 24-bit resolution throughout — a fixed 24-bit path rather than the 16-bit\/24-bit selectable option found on the Model 24, reflecting the console's studio-first positioning where maximum bit-depth fidelity is assumed as the default rather than offered as a storage-saving option. Crosstalk between channels measures -80 dB (1 kHz, band-pass filtered), and frequency response across the analogue signal path spans 20 Hz to 30 kHz (+0.5\/-1.0 dB) — a wide, well-controlled response that extends comfortably beyond the audible range on both ends, ensuring the console does not impose its own tonal signature on material passing through it.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThese figures, published explicitly by TASCAM for the Model 2400 and absent from the Model 24's own specification sheet, are consistent with the console's positioning as the technically documented flagship of the Model series — a console engineers can specify with confidence in a commercial studio proposal or technical rider, where documented converter and analogue-path performance figures are frequently a client or venue requirement.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e12. PRODUCT FAMILY CONTEXT — THE MODEL 2400 WITHIN THE TASCAM MODEL SERIES\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe TASCAM Model family is a tiered, progressive ecosystem of hybrid analogue\/digital consoles that scale linearly in physical footprint, I\/O capacity, and professional feature depth. The Model 12 is the compact, highly integrated entry point — 8 mic preamps, 12-track SD recording, and unique in the lower tier for HUI\/MCU DAW transport emulation, 5-pin MIDI I\/O, and Bluetooth 5.0. The Model 16 steps up to 10 mic preamps, 14 analogue inputs, and 16-track SD recording, trading DAW control for a wider analogue footprint suited to small bands and rehearsal spaces. The Model 24 expands this architecture to 16 mic preamps, 22 total inputs, and 24-track SD recording, serving as a large-format analogue summing engine and live-sound front-of-house console — but without DAW control.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 sits at the top, retaining the Model 24's 24-track architecture and 22-channel analogue layout while critically re-integrating the HUI\/MCU DAW control found on the Model 12, and adding capabilities present on no other console in the family: insert points across twelve channels rather than two, a fifth aux send, four stereo subgroups, dedicated talkback, MIDI I\/O with click output, dual headphone jacks, control room outputs, and selectable pre\/post EQ routing with compressor\/EQ bypass on MTR returns. As a buyer moves up the Model range, channel count and preamp availability increase linearly — but DAW control capability skips the middle tier entirely, existing only on the highly integrated Model 12 and the flagship Model 2400, with the Model 2400 uniquely combining that DAW control with the series' maximum channel count and its most extensively documented preamp and converter performance.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003eTASCAM MODEL SERIES — KEY DIFFERENTIATORS\u003c\/h5\u003e\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 13.5px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eFEATURE\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eMODEL 12\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eMODEL 16\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eMODEL 24\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 12px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eMODEL 2400\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMic Preamps (Ultra HDDA)\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e8\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e10\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e16\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e16\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eTotal Analogue Inputs\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e10\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e14\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e22\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e22\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eSimultaneous SD Tracks\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e12\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e16\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e24\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e24\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003ePreamp Max Gain\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e74 dB\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e0–50 dB\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e50 dB adj.\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e74 dB\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eDocumented EIN \/ THD\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e-128 dBu \/ 0.003%\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eNot published\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eNot published\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e-128 dBu \/ 0.003%\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eHUI\/MCU DAW Control\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eYes\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eNo\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eNo\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eYes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eInsert Points\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eCh 1–2\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eCh 1–2\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eCh 1–2\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eCh 1–12\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eAux Sends\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eFX bus\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e3 (Mon 1, Mon 2, FX)\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e5 (4 Aux + FX)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eStereo Subgroups\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eTalkback\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eXLR input\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMIDI I\/O + Click Out\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e5-pin MIDI\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003e—\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 12px; border: 1px solid #E0E0E0;\"\u003eYes, + click out\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e13. SPECIFICATION CROSS-VALIDATION\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e13.1 Simultaneous Track Count vs. Analogue Input Count\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eTASCAM specifies 24 simultaneous recorded tracks against 22 total analogue inputs. As with the Model 24, the arithmetic is: 22 discrete analogue inputs (12 mono + 4 stereo-paired + dedicated stereo aux) plus the main stereo (left\/right) mix bus = 24 total tracks captured simultaneously. This is the consistent Model-series convention across every console in the family, and confirms the Model 2400's 24-track figure is not a discrepancy but the standard counting method that includes the printed stereo mix as two additional simultaneous tracks. No discrepancy.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e13.2 Preamp Gain vs. Nominal Input Level\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400 specifies 74 dB of maximum gain (mic to main out) alongside a nominal input level of -8 dBu (at LEVEL \"MIN\"). These two figures describe different points in the signal chain and are not directly comparable as a subtraction: the 74 dB figure is the total gain available from the mic preamp through to the main output bus at unity fader and pan settings, while the -8 dBu nominal input level describes the reference input level at the gain control's minimum setting — the starting point from which the 74 dB of additional gain can be applied. This is standard preamp specification practice, consistent with how the Model 12's identical 74 dB gain figure is documented, and there is no internal inconsistency between the two published numbers.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e13.3 Frequency Response Asymmetry (+0.5\/-1.0 dB)\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Model 2400's frequency response is specified as 20 Hz–30 kHz with an asymmetric tolerance of +0.5\/-1.0 dB. This asymmetric figure — a tighter positive tolerance than negative tolerance — is a normal characteristic of analogue circuit design across a wide frequency band: most analogue signal paths exhibit a very slight roll-off at the frequency extremes (contributing to the larger -1.0 dB figure at the band edges) while rarely exhibiting significant peaking above the nominal response (keeping the +0.5 dB figure tight). This is a standard, expected specification pattern for a professional analogue console and does not indicate any design flaw or inconsistency. No discrepancy.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e14. IDEAL APPLICATIONS \u0026amp; USE CASES\u003c\/h5\u003e\n\n\u003cul style=\"margin: 14px 0; padding-left: 22px;\"\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eCommercial Recording Studio Centrepiece:\u003c\/strong\u003e 16 preamps for full-band tracking, pre-EQ USB routing for clean DAW stems, custom headphone mixes via 5 aux sends, HUI\/MCU for mouse-free session control.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eAnalogue Summing with Outboard Hardware:\u003c\/strong\u003e 12 insert points for vintage compressors and EQs, 4 stereo subgroups for parallel drum\/vocal bus processing.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eLive Broadcasting with Multitrack Archiving:\u003c\/strong\u003e Compressor\/EQ bypass on MTR returns for raw post-production stems alongside a processed broadcast feed.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eMIDI-Synchronised Hybrid Production:\u003c\/strong\u003e MIDI Out for hardware sequencer clock, dedicated click output for a live drummer locked to a programmed grid.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eSolo Overdubbing and Self-Production:\u003c\/strong\u003e Punch in\/out support for precise re-recording, 4 stereo subgroups for internal vocal-stack bouncing.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003eMix Engineer Working with Session Vocalists\/Bands:\u003c\/strong\u003e Dual headphone jacks for engineer plus producer\/artist, dedicated talkback for live-room communication.\u003c\/li\u003e\n\u003cli style=\"margin: 8px 0;\"\u003e\n\u003cstrong style=\"color: #0D1B3E;\"\u003ePost-Production Facility with Outboard Racks:\u003c\/strong\u003e Control room outputs separate from recording\/broadcast feed, documented -80 dB crosstalk for critical multitrack isolation.\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003c\/div\u003e","brand":"Shivansh Electronics","offers":[{"title":"Default Title","offer_id":53403392672111,"sku":"tascam-model-2400","price":175000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0964\/4766\/0399\/files\/TASCAM-MODEL-2400-SHIVANSH-ELECTRONICS-KOLKATA-THUMBNAIL.png?v=1788120744"},{"product_id":"recording-mixers-tascam-studio-bridge","title":"TASCAM Studio Bridge","description":"\u003cdiv class=\"product-description-container\" style=\"font-family: 'Helvetica Neue', Arial, sans-serif; color: #1A1A2A; max-width: 900px; margin: 0 auto; line-height: 1.65;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e1. PRODUCT OVERVIEW\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe TASCAM Studio Bridge is a physical, 19-inch rack-mountable hardware device engineered to act as a modular bridge between traditional analog mixing consoles and digital audio environments. TASCAM's own documentation flags this explicitly as a point of clarification: preliminary or secondary materials sometimes describe the Studio Bridge in software-adjacent language because of how deeply it integrates with a connected computer, but the official technical specifications confirm it is a standalone hardware unit — not an application. Functionally, the Studio Bridge operates as two devices in one chassis: a 24-channel standalone multitrack recorder, and a 24-in\/24-out USB Audio\/MIDI interface.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe defining engineering decision behind the Studio Bridge is what it deliberately omits: it features exactly zero microphone preamps. Every one of its 24 inputs and 24 outputs is line-level, transmitted over standard 25-pin balanced D-sub (DB-25) connectors that comply with the AES59-2012 standard. This is not a limitation so much as a design philosophy — the Studio Bridge exists to provide massive AD\/DA conversion and recording capacity without introducing a second, redundant stage of preamplification into a signal chain that already has one it doesn't want replaced.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThat philosophy points directly at its intended buyer: audio engineers who already own high-end, vintage analog mixing consoles — classic SSL, Neve, or API desks among them — and want to bolt a DAWless 24-track SD recorder and a 24-channel USB interface onto that console's own direct outputs and tape returns, without disturbing the console's distinct analog coloration and preamplification. Beyond its role as a transparent recording and interfacing bridge, the Studio Bridge also functions as a synchronization hub, outputting MIDI Time Code (MTC) and MIDI clock with Song Position Pointer so that vintage analog sequencers and tape machines can slave accurately to a modern digital timeline. A dedicated Settings Panel software application, running on a connected computer, acts as a virtual meter bridge for the unit.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e2. LINE-LEVEL I\/O AND DB-25 CONNECTIVITY\u003c\/h5\u003e\n\n\u003ch5 style=\"font-size: 15px; font-weight: 700; color: #006D77; margin-top: 20px;\"\u003e2.1 A 24-Channel Signal Path Built on DB-25\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Studio Bridge's entire analog signal path runs through six DB-25 connectors on the rear panel: three carrying the 24 inputs (channels 1–24) and three carrying the 24 outputs. Each DB-25 connector breaks out to eight discrete channels via a standard TASCAM\/AES59-2012 pinout, meaning the Studio Bridge patches directly into the same snake and breakout-cable infrastructure already common in consoles and outboard racks fitted with DB-25 I\/O — no proprietary cabling required.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eBecause there is no preamp stage to manage, the input specifications are those of a pure line-level receiver: a maximum input level of +24 dBu gives the Studio Bridge substantial headroom above a typical +4 dBu professional line level, which matters when it's fed directly from the hot direct outputs of a busy analog console rather than from a calibrated line source. Input impedance is rated at 10 kΩ or greater, and output impedance at 200 Ω on the DB-25 line outputs — both consistent with transparent, load-tolerant professional line-level design.\u003c\/p\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003eDB-25 I\/O SUMMARY\u003c\/h5\u003e\n\u003ctable style=\"width: 100%; border-collapse: collapse; margin: 18px 0; font-size: 14px;\"\u003e\n\u003cthead\u003e\n\u003ctr style=\"background-color: #0D1B3E;\"\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eSPECIFICATION\u003c\/th\u003e\n\u003cth style=\"text-align: left; padding: 10px 14px; color: #FFFFFF; border: 1px solid #0D1B3E;\"\u003eDETAILS\u003c\/th\u003e\n\u003c\/tr\u003e\n\u003c\/thead\u003e\n\u003ctbody\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eTotal channels\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e24 inputs \/ 24 outputs\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eConnectors\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e3× DB-25 in (ch. 1–24), 3× DB-25 out, AES59-2012 standard\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003ePreamps\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003eNone — line-level only, by design\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eMaximum input level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e+24 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eNominal input level\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e+4 dBu\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eInput impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e≥ 10 kΩ\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"background-color: #F7F7F7;\"\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0; font-weight: 600;\"\u003e\u003cstrong\u003eOutput impedance\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd style=\"padding: 9px 14px; border: 1px solid #E0E0E0;\"\u003e200 Ω\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e3. CONVERTER PERFORMANCE AND SIGNAL INTEGRITY\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eBecause the Studio Bridge's entire value proposition rests on being an inaudible, transparent middleman between an analog console and a digital recording chain, its converter specifications are built around low coloration rather than headline loudness or gain. The internal converters operate at 44.1 kHz or 48 kHz with a selectable bit depth of 16-bit or 24-bit. Total harmonic distortion plus noise (THD+N) is rated at 0.003% or better, measured at 1 kHz at maximum input level, while crosstalk between channels is held to -100 dB or better at 1 kHz (band-pass filtered) — a figure that matters directly when 24 independent channels share the same chassis and power supply.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eDynamic range is rated at 100 dB or greater (22 kHz low-pass filter, A-weighted), giving the conversion stage enough headroom to capture the hot, sometimes unpredictable direct-out levels of a vintage console without audible noise intruding on quiet passages. Taken together, these figures describe a converter designed to disappear: the goal is for whatever analog coloration the source console already has to reach the digital domain unchanged, rather than adding a second, competing sonic signature of its own.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e4. STANDALONE SD RECORDING\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eIndependent of any connected computer, the Studio Bridge writes all 24 input channels directly to SD media as standard WAV (Broadcast Wave Format) files, supporting cards up to 512 GB. TASCAM specifies a file capacity of approximately 2 hours 33 minutes of 24-bit\/48 kHz, 24-track audio per 32 GB of card capacity — a figure that scales roughly linearly with card size, putting a 512 GB card at somewhere in the neighborhood of 40 hours of full 24-track recording before the card fills.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThis standalone recording capability is what allows the Studio Bridge to function entirely without a host computer in the room: a location recording rig, a backup capture path for a live console, or a DAWless multitrack recorder patched straight off a vintage desk's direct outputs can all run from the Studio Bridge alone, with the SD card as the only storage medium and no operating system, driver, or software crash anywhere in the signal path.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e5. MIDI SYNCHRONIZATION AND VINTAGE GEAR INTEGRATION\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eBeyond audio, the Studio Bridge is engineered as a synchronization hub for facilities that still run analog sequencers or tape machines alongside modern digital tools. Its 5-pin DIN MIDI In\/Out ports output MIDI Time Code (MTC) and MIDI clock with Song Position Pointer, giving external analog sequencers and tape machines — the kind of hardware that has no native way to reference a DAW's timeline — a reliable way to slave to the digital session's clock and locate to the correct position on the fly, rather than simply free-running at a fixed tempo.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eTwo further control features round out the Studio Bridge's role as a hands-on hub: a dual footswitch jack for hands-free transport or punch control, and a dedicated 1\/4-inch audio click output for feeding a metronome reference directly to a performer's headphone or in-ear monitor system — useful in exactly the kind of hybrid analog\/digital sessions the unit is built for, where a human performance needs to stay locked to a machine-generated grid.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e6. USB INTERFACE, MONITORING AND CONTROL SOFTWARE\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eWhen a computer is part of the workflow, the Studio Bridge presents itself as a 24-in\/24-out USB Audio\/MIDI interface over a USB Type-B connection, giving a DAW direct access to all 24 channels simultaneously — the same channel count as the standalone SD recorder, so nothing is lost moving between DAWless and computer-connected operation. A dedicated Settings Panel software application, installed on the connected computer, functions as a virtual meter bridge, giving the engineer visual confirmation of levels across all 24 channels without needing physical meter hardware on the unit itself.\u003c\/p\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eFor local monitoring at the unit, the Studio Bridge includes a 1\/4-inch stereo headphone\/local monitor jack rated at 80 mW + 80 mW, allowing an engineer working directly at the rack — during a location recording setup, for instance — to check signal without routing back through a separate monitor system.\u003c\/p\u003e\n\n\u003chr style=\"border: none; border-top: 1px solid #E8E8E8; margin: 28px 0;\"\u003e\n\n\u003ch5 style=\"font-size: 18px; font-weight: 700; color: #0D1B3E; border-bottom: 2px solid #006D77; padding-bottom: 8px; margin-top: 32px;\"\u003e7. PHYSICAL SPECIFICATIONS AND RACK INTEGRATION\u003c\/h5\u003e\n\n\u003cp style=\"margin: 14px 0;\"\u003eThe Studio Bridge is built as a 19-inch rack-mountable unit measuring 446.5 × 114.6 × 269.5 mm (W × H × D, including rear-panel protrusions) and weighing 4.5 kg. An optional AK-RMSTBG rack-mount kit is available for facilities that want to permanently integrate the unit into a machine room or outboard rack, alongside the vintage console and outboard gear it's designed to interface with.\u003c\/p\u003e\n\n\u003c\/div\u003e","brand":"Shivansh Electronics","offers":[{"title":"Default Title","offer_id":53403501363567,"sku":"tascam-model-studio-bridge","price":98000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0964\/4766\/0399\/files\/TASCAMSTUDIOBRIDGE-SHIVANSHELECTRONICS-KOLKATA-AUTHORISEDPARTNER-THUMBNAIL.png?v=1788122844"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0964\/4766\/0399\/collections\/RECORDING_MIXER.jpg?v=1787946770","url":"https:\/\/shivanshelectronics.in\/collections\/recording-mixers.oembed","provider":"Shivansh Electronics","version":"1.0","type":"link"}