A complete production studio for dynamic acoustic recordings

The  TASCAM TRACKPACK 4x4 includes a US-4x4 interface, mics, headphones, and DAW software – everything musicians need to make great-sounding studio recordings of acoustic instruments.

The US-4x4 is a 4-in/4-out USB interface with four Ultra-HDDA mic preamps. These preamps provide up to 57dB of gain and the best noise and distortion specs in their class. The audio design features high-performance, musical components like NE5532 op amps for rich sound quality without coloring the source. In addition to the four balanced line outputs, two headphone outputs are provided for monitoring while recording talent.

A pair of great-sounding TM-80 condenser microphones is also included. These cardioid mics include shockmounts, tabletop mic stands, and XLR cables to help you start recording right away. The mic pair is perfect for acoustic sources like acoustic guitar, drums, or recording a singer while performing with an instrument.

To assist you while recording, two sets of TH-02 headphones are included. Use the US-4x4’s two headphone outs to monitor a performer while they play along with the track. The full-range, closed-back studio headphones are perfect for recording without bleed as well as perfecting your mix.

Also included with the interface are your choices of two DAW applications. Both Steinberg Cubase LE and Cakewalk SONAR LE are included, as well as gigabytes of loops, instruments, and effect plug-ins to start a production studio.

For anyone looking to jumpstart their studio environment, the TASCAM TRACKPACK 4x4 is like a studio in a box.

Main Features

For more detail on the US-4x4, please see US-4x4 product page.

US-4x4 product page :Click here

Easy to carry, fold-away headphones

The ear cups can be rotated 90 degrees and folded-up completely into the headband for easy storage. Once folded away, they can be easily carried around while on the go for recording outside the studio.

These comfortable, closed-back headphones are perfect for monitoring

The build of this closed headphone model is perfect for monitoring performances while recording. Encorporating comfortable, sound-proof ear pads, there’s no need to worry about the mic picking up sound bleed from the headphones. With a wide frequency response of 18Hz to 22kHz, you can also use these headphones for monitoring during mixdown for clear, uncolored sound.

Unidirectional condenser mic with an 18mm aluminum diaphragm

A unidirectional condenser mic is perfect for vocal and instrument recording because of its cardioid pickup pattern and rejection of sound from the rear of the mic. The TM-80 has an 18mm aluminum diaphragm and a wide frequency response. With a maximum sound pressure rating of 136dB SPL, you can safely use the TM-80 with guitar amps, drums and other percussion instruments.

Package includes shock-absorbing suspension, table-top mic stand and mic cable

Included are essential recording accessories - a shock-absorbing suspension (Screw diameter:5/8 inch) used for professional recording, as well as a XLR mic cable and table-top mic stand - allowing you to set up at your desktop and record straight away.

Recording Setups Using the TASCAM TRACKPACK 4x4

Place one microphone about 8 inches from the neck/body joint of the guitar. This is referred to as the 'on-mic' position. Make sure the microphone diaphragm is parallel to the guitar. If the sound is bright, shift the microphone further away or closer to the bridge.

Place the second microphone about 5 feet in front of the guitar, and at a height of 5 feet off the floor. This is referred to a the 'off-mic' position. Make sure the diaphragm is facing the guitar. Another option is to have someone play the guitar while you place the mic where the guitar sounds the best in the room.

Connect the microphones to the balanced inputs on the US-4x4, then turn-on the +48V switch to supply phantom power. The TM-80 microphones require phantom power for operation.

Create two tracks in your DAW software in order to record each mic on its own track. Adjust the recording levels by using the GAIN controls of the US-4x4. Gradually increase the level without lighting the PEAK LED. Setting the DAW software to standby allows you to check the level from the computer.

While in standby mode, listen to the sound of each microphone. You may need to make fine adjustments to the positions of the microphones. The closer the mic is to the sound source, the larger and more dynamic the low-pitched tones become. This phenomenon is called proximity effect. On the contrary, the farther away the microphone is, the smaller and milder the sound becomes.

After the mics are placed, start recording. Whether you choose to monitor the performance through headphones or not, the balance of the on-mic and off-mic can be changed later.

Another option is to use two mics as a 'stereo pair' in both the on-mic and off-mic positions. Using four mics in this manner provides a rich, fuller stereo sound. The capsules are placed as close together as possible - one mic is panned left, and the other panned right.

In some cases, vocals and instruments are recorded separately. Here we will show an example of how to use two mics to capture the live feel of a vocal and guitar performance.

For the guitar, place the mic in the 'on-mic' position as described previously.

For the vocal, place the second mic about 8 inches fraom the mouth (a commercially available pop-guard is recommended to reduce p-popping).

Note that the vocal microphone can pick up the sound of the guitar as well as the vocal. To reduce the sensitivity to the guitar, adjust the angle of the microphone as pictured. The TM-80 microphone has a directional pickup pattern (cardioid), and turning the front of the mic away from the guitar will lessen the sensitivity and volume of the guitar.

The stereo recording of an acoustic piano exemplifies the sonic quality and overall beauty of the instrument.

Basically, a stereo pair of microphones is used for recording a piano performance.
Connect the left microphone to IN1 and the right one to IN2. We recommend you to create one track in the DAW software and set it to stereo.

In most cases, a grand piano is recorded with its lid open. There are several ways to effectively record the piano, but here we will focus on recording the piano from a short distance.

By opening the lid and placing a microphone outside of the piano, you can record the entire sound of the piano including sounds reflected by the lid. On the right from the player's side (open side of the lid), place the left and right microphones with a distance of 8 inches or around between them. Leave a space of 8 inches or around from the edge of the piano. By placing the microphone at half the height of the lid, the microphone can pick up sounds including reflected ones well. Due to the structure of the piano, the left microphone picks up a large portion of high-pitched tones.

Set the input levels while the piano is being played, and start recording. Check the recording to determine if the mic positions need adjusted - for a more pronounced attack, move the microphones closer. For more of a room sound, move the microphones further away. To enhance the stereo effect and increase the width, increase the distance between the two microphones.

Additional mics can be used in combination with the TM-80 mics for on-mic recording of the piano. Two more mics placed under the lid and closer to the strings is used for a clearer sound. Also, placing mics under the piano and close to the sound board is used for yet another quality of the piano's sound.

There are many ways to record drums, but here we will focus on using two TM-80 microphones for a stereo track.

The typical drum kit consists of a bass drum, snare drum, hi-hat cymbals, one or more tom drums, and other cymbals (crash, ride, etc). It is important to capture the drums and cymbals in balance.

Often, a pair of microphones are seen positioned above the drum kit. These situations are usually multi-microphone recordings where all drums and cymbals have their own track. When using just a pair of microphones, it is better to place them in front of the drum kit for a balanced sound.

A shown in the picture, place two microphones spaced approximately 8 inches apart at the height of the bass drum. Because the snare drum is off-center, place the pair of mics so that the bass drum and snare drum are aligned in the center of the pattern (as pictured) for a balanced stereo sound - the bass drum and snare drum are reproduced in the center of the stereo field.

Set the input levels and check the recording. The mics can be adjusted upward to reduce the bass drum in the track - or moved lower to increase the response of the bass drum.

You can add two additional mics specifically for on-mic recording of the the bass and snare drums. This technique will provide a tighter drum kit sound. In this case, place the stereo mics above the drum kit to capture cymbal sounds and other drums as well.

You can add two additional mics specifically for on-mic recording of the the bass and snare drums. This technique will provide a tighter drum kit sound. In this case, place the stereo mics above the drum kit to capture cymbal sounds and other drums as well.

US-4x4 USB Audio/MIDI Interface

• Ultra-HDDA (High Definition Discrete Architecture) mic preamps with −127dBu EIN
• Four Ultra-HDDA mic preamplifiers
• Four XLR or TRS (MIC/LINE) inputs with full +48V phantom power
• NE5532 op-amps used at the audio input and output stages
• Up to 96kHz/24-bit recording
• Support for Windows and Macintosh
• USB 2.0 computer connection
• Connect with iPads and other iOS devices
• +48V phantom power for all inputs
• High-impedance inputs available
• Input level specifications boast a range of 57 dB for using dynamic mics
• Direct monitoring function for zero-latency monitoring
• Tough all-metal casing for durability
• Angled design provides excellent usability on a desktop
• Balanced analog four TRS output jacks suitable for connection to powered monitors
• Two headphone outputs that has 40mW/ch output power
• Separate controls for line and headphones output volumes
• MIDI input and output
• Output sources can be selected in the setting panel
• Input sound monitoring can be set to stereo or mono
• Input muting function eliminates noise from unused inputs
• USB class compliant 2.0 support
• License cards included for SONAR X3 LE and Cubase LE
• Confirmed operation with major DAW software（SONAR, ProTools, Cubase, Live, Studio One, Garage Band）
• RoHS certified
• Dedicated AC adapter is included

TH-02 Stereo Monitor Headphones

• Foldable design for compact storage and transport
• Tightly-stitched, padded headband and ear pads for stylish comfort
• Closed-back dynamic design featuring rich bass response and crisp highs
• Snap-on 1/8" (3.5mm) to 1/4" (6.3mm) adapter
• Driver diameter: 50mm
• Impedance: 32 Ohms
• Sensitivity: 98 dB +/- 3dB
• Frequency response: 18 Hz to 22 kHz
• Max input power: 600 mW
• Cable length: 9.8ft (3m) when fully extended
• Dimension (W×H×D) : 180mm×240mm×90mm / 7.1 inch×9.5 inch×3.5 inch
• Weight : 298g / 0.7 lb

TM-80 Condenser Microphone

• Condenser microphone utilizes precisely designed electronic circuitry.
• Microphone capsule assembly features an 18mm pure aluminum diaphragm
• Cardioid polar pattern
• Frequency response: 20Hz to 20kHz
• Sensitivity : -38dB +/-2dB (0dB=1V/Pa at 1kHz)
• Phantom power requirement: 9 - 48V DC
• Output impedance : 200ohm +/-30% (at 1kHz)
• Load impedance : >1k ohm
• Max SPL : 136dB (at 1kHz=1% THD)
• S/N ratio : 77dB
• Housing : Die cast zinc
• Dimensions (W×H×D) : 48mm×165mm×48mm / 1.9 inch×6.5 inch×1.9 inch
• Includes : shock mount, mini desk stand, mic cable (1.8m XLRM – XLRF)