The internal digital mixer's 36 channels are sufficient to enable mixing of the 24 replay tracks, the eight 'live' inputs, the onboard MIDI tone generator, and the internal effects processor. For most of the intended users though - novice recordists - these limitations will rarely be restrictive in practice. Having said that, the 2488 does have provision for two external effects sends, and the eight input channels can be used as effects returns on mixdown, so there's nothing to prevent the user from adding high-quality outboard effects if required. The configuration options for the internal effects processors are also rather convoluted, and the effects - although adequate - do not really compete with the best multi-effects and reverb processors available. The most pertinent factors, which are immediately apparent from a cursory examination of the control surface, are that the 2488 can record only up to eight sources simultaneously, and it has just twenty physical (and non-motorised) faders for mixdown - the last six each control stereo channel pairs. Like most products of this type and price, there are inherent compromises and constraints in its design and operation that make it a little less flexible than the high-end equivalents, but for the vast majority of practical purposes in its intended market these will largely be irrelevant. This enables MIDI files to be loaded and used as backing tracks, for example. Among the more unusual features for a machine of this type, the 2488 also incorporates a 16-part, 64-voice General MIDI tone generator, complete with an onboard Standard MIDI File player and metronome. In addition to the 24 real tracks, the system also provides up to 250 virtual tracks to enable multiple takes and comping of vocals, for example. The 2488 enters the market as the most affordable integrated and transportable 24-track workstation, combining a 24-track hard disk recorder, operating at 24-bit resolution and 44.1kHz sampling rate (although there is a 16-bit mode, if required) a 36-input digital mixer, with four phantom-powered mic/line inputs and four additional mic/line inputs, one of which has a dedicated DI input versatile built-in effects and a CD-RW burner. The new Tascam 2488 has been launched exactly 25 years after the original cassette Portastudio and, while the basic concepts of multitrack recording are similar, the detailed operation of the latest model is a revolution in comparison. With many modern musical styles comprising complex layers of loops, guitar overdubs, synth lines, and effects, 24 tracks is rapidly becoming a common requirement even in home studios, and while computers have their advocates, for many musicians a dedicated hardware recorder is a simpler and less frustrating way into music recording. Their latest product is intended to bring to that market a simple-to-use, yet professional-quality, 24-track hard disk Portastudio, with some unusual extra facilities. However, times have changed and technology has moved on in leaps and bounds, but Tascam have neither forgotten nor ignored the needs of the home recordist.
Tascam also maintained an interest in the professional side of the industry too, and were influential in the standardisation of the 24-track two-inch analogue multitrack. Many of us cut our recording teeth on the original four-track cassette Portastudio in the early '80s, before moving on to four- or eight-track reel-to-reel recorders - usually still bearing the Tascam logo. To home recordists of a certain age, Tascam will always be associated with the Portastudio. In our exclusive hands-on review, we find out how easy it is to use, and whether its sound is as impressive as its track count. Tascam's new Digital Portastudio is now the most affordable 24-track workstation on the market.