{"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","url":"https:\/\/shivanshelectronics.in\/products\/recording-mixers-tascam-model-24","provider":"Shivansh Electronics","version":"1.0","type":"link"}