A few months ago, we publisher a First Impression article on the Tascam Model 24 analog mixer (along with its smaller siblings, the Model 16 and Model 12) and gave some initial thoughts regarding their capabilities and how they may fit into a church organization. Since that time, however, we have had the opportunity to get our hands on a Model 24 for evaluation, allowing us to get a true first hand impression of the product.The Model 24 (List Price: $1,299.99) is a 22-input mixer with 16 phantom power microphone preamps (the Model 16 and Model 12 have 14 inputs and 10 inputs, respectively) that also happens to be a 24-channel digital multi-track recorder and audio interface. Each channel 1-12 makes use of a Tascam Ultra-HDDA Mic Pre-amp, three-band EQ (with sweepable-mid), low cut filter, single knob compressor, and 100-mm long-throw faders. Channels 13-20 are mono/stereo channels, with channels 21/22 comprised of a stereo input that supports RCA, 1/8-inch TRS (tip ring sleeve), as well as Bluetooth connections. Channels 1-20 support direct input, with channels 1 and 2 also supporting instrument inputs for direct use with guitars and other instruments.
The Model 24 family provides a portable and easy-to-use method of setting up a studio anywhere you want to make music or generate content.
As a digital recorder and interface, the unit is capable of capturing 24 channels of audio (48 kHz/24-bit audio in .WAV format) sourced from its 22 inputs and its main L/R output. This capture can be saved to an onboard SD, SDHC, or SDXC card. Alternatively, using its built-in USB interface, the console is also able to send that audio directly to your favorite DAW, acting as a digital interface for your studio. Each input of the mixer allows its source to be selected from its analog input, the USB input, or the onboard SD card, though it should be noted that the USB and SD card capabilities are not usable simultaneously, which in practice, should not be an issue.
The unit has a main stereo output as well as two monitor busses (all of which are supported by a seven-band graphical EQ), and a stereo subgroup that is routable directly to the mains or usable as an additional stereo aux. The unit also has an effects bus with built-in digital effects (independently assignable to mains and monitors) providing 16 effects programs each of which are somewhat customizable.
The digital integration of the Model 24 is where we start seeing its character traits as a Swiss army knife.
First impressions of the unit after unboxing were that it was compact, solidly built, and had been laid out quite well. With this much functionality in one place it can sometimes be difficult to put it all into a small form factor while retaining usability. In this area Tascam did a very good job. Additionally, the solid feel and intelligent use of materials in construction (i.e. strong metal casing, robust faders, etc.) sends the message that this desk was made to be moved around and not just safely stuck into a facility somewhere.
Used strictly as an analog console the Model 24 offers no surprises and provides exactly what you would expect it to; an easy to use small form factor console that can be used for any small venue or traveling group. The console will support multiple monitor setups, mains, and even an additional aux or subgroup if necessary. Audio was of good quality and the on board graphic EQ provides additional control of the overall mix above what is provided by the three-band channel strip EQ’s. Speaking of channel strip EQ’s, the channel strip EQ's are made up of high and low shelves with a sweep-able mid-band. Implementation of this EQ was surprisingly pleasant in that it left us wanting a fourth band much less often than some other three-band implementations which don’t quite seem do the job.
On board effects capabilities were generous with varied effects options, many of them combinations of different effects such as delays and reverbs. In our testing we tended to land on the delay and reverb combinations most often as they were pleasant and quite usable.
Getting into the digital integration of the Model 24 is where we started seeing its character traits as a Swiss army knife. Using the console as an audio interface was quite simply simple. After plugging it into a laptop via a USB port the laptop immediately recognized the console as an audio interface and made it available to any DAW running on the laptop. Selecting which channels from the console should be made available to the DAW was as simple as moving the selector switch associated with each channel. That was it.
Once this was done, we were immediately able to playback pre-recorded sessions through the console mixing them with live inputs, as well as also simultaneously recording those live inputs back into the DAW session. In this mode of operation, you have the ability to record live sessions, play back tracks in support of live sessions, or even overdub live audio into an already existing session. Adding in the console’s monitoring capabilities allows a DAW session to provide musical information to performers including click track and cues.
If for some reason you don’t have a laptop or other computer handy, all of these functions can be performed with the onboard SD recorder where the console itself replaces the tracking and playback functions of the DAW. Management of this function was through a fairly easy-to-use (though a bit clunky) menu system accessed through the onboard display. This capability was robust enough to, not only allow playback and recording, but allowed for both manual and automated punch-in with pre-roll. You can even use a footswitch if you want to.
The only area of capability that is a bit lacking in these modes of operation was that the single-knob compressors for the channel strips are part of the mic-pre circuitry. This means that the single-knob compressors do not affect signal that is played back from the computer or the SD card. It also means that when recording an input channel to SD card or computer that the compressor is recorded with the signal. In certain production situations users will have to be cognizant of their signal flow and may need to use DAW-based compressors for playback.
So where does this leave us? With options, and quite a few of them. Effectively the Model 24 family provides a portable and easy-to-use method of setting up a studio anywhere you want to make music or generate content. Whether it be a live event that you want to capture, a remote location where you want to do some recording, or a combination of both, this family of products will do it well and do it at an incredible price point.
For churches specifically, the Model 24 and its smaller siblings could be the perfect centerpiece for organizations looking to start building out new studio capability or to capture and distribute worship and other organizational activities. This seems exceptionally apropos with the current migration to streaming services as a result of the recent pandemic. If you need an easy way to capture live audio for streaming or pre-recorded services you should look here during your research.
