Tracks 1+2: Record stereo drum machine while playing bass along with it. Here is an example of how my final 234 recording statik 3 fit 7 tracks of audio into 4 without bouncing: After all, I started off as a piano and sax player accustomed to playing in front of audiences so in theory I should be able to lay down takes as if they were live, no? Through experimentation (and a kind of arcane torture) I kept to my word. The recordings had to be as HiFi as possible with the limited resources at hand. When I purchased the 234 in 1987 with hard-earned cash from mowing hundreds of suburban lawns with partner in crime Wili Vorticez C00 of Xarrier, I made a vow to myself: Never bounce tracks as this will degrade the sound. Moreover most of the Xarrier archives were recorded on this very same 234, most notably the Wept albums including some of my personal favorites. Only animus was recorded on the inferior but still admirable tascam 4-track portastudio. As of this writing, all my work on this site was recorded on the 234 including statik 3, statik 2, 1616, statik 1, and resonance. The 234 was the central brain in my ‘studio’ from 1987-1993 and it allowed me to develop not only as a semi-competent recording engineer but inadvertently turned me into a song-writer and performer. The double speed added immense fidelity and headroom over its predecessors and its built-in dBx noise reduction was a key step forward allowing home recording enthusiasts to begin approaching studio quality sound. It ran at 3-3/4 ips (rather than the standard 1-7/8 ips) using both sides of the tape which meant the recommended 60 min cassette would fly by and be done after only 15 minutes of recording. 
Just as home DAWs have revolutionized recording today, the 234 did the same by bringing affordable HiFi sound to the masses. When the Tascam 234 came out in 1983 it had no equal, even up until the next decade. Now that my final 4-track effort statik 3 has been uploaded I want to pay homage to the cassette 4-track recorder that liberated the imagination of a generation of home-grown musicians.
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