{"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","url":"https:\/\/shivanshelectronics.in\/products\/recording-mixers-tascam-model-2400","provider":"Shivansh Electronics","version":"1.0","type":"link"}