"I've had a portastudio at home for a few years, the TEAC 144, which is handy."

In this 1981 Jools Holland interview with Sting in Montserrat, he does a demonstration of "Message In The Bottle" with a TEAC portastudio and "Dennis" the drum machine at around the 3:11 mark.

Featured in an article on Tascam's own website (& mentioned within the albums booklet) , Bruce's classic 'Nebraska' was recorded on the 'Teac Tascam Series 144 Portastudio'

Mentioned by Fatboy Slim in this Sound on Sound "Classic Tracks" interview about "Praise You". It is visible in this photo from the same article.

And so it was almost in secret, or at least with no intention of releasing the results, that Cook started conducting his own dance music experiments at home using a TEAC 144 Portastudio and Roland S10 sampling keyboard.

Discussed in this 2014 TASCAM article.

You've been a TASCAM user since the beginning.

Yeah, for me and I would think a lot of us musicians, the TASCAM Portastudio [Model 144 - 1979] was our first introduction to having 4 good analog tracks to record your ideas too. It even got to the point that sometimes when you recorded on this machine it actually wound up on the 2 inch recording of the real record, simply because the performance you did on the 4 track was more authentic and felt better than when you had a chance to practice it and get good. But then you loose the passion and drive that you had in that moment with the 4 track. I loved this machine. Then the 8 track came out sometime in either the late 80's or early 90's, I recorded the whole album of "The Zillatron" and "Bucketheadland" on my then new 688 MidiStudio [1989] with MIDI and sync code. It was truly awesome. Then the DA-88's came out [1993], I made sure I had 24 tracks because I felt like this is going to be my core of recording at my home studio. Being replayed by its big brother the 24-bit DA-78HR. It’s what I have now as back ups for my TASCAM X-48, which works flawlessly with Pro Tools, and any of my other gear. I also have the TASCAM DM-4800 digital board. When TASCAM made their first DAT machines, you'd better believe that I had one and then the next newest one. Now I got the DV-RA1000 DVD Recorder which is amazing. I carry my new DP-008, which is the digital 8 track portable recorder. I have the new DR-05 stereo mic recorder for recording rehearsals and things on the fly.

As you can see, TASCAM gear has been a key for me. Just so you know, all of my old TASCAM gear I still got and it all sits at the ready when and if I need them. That should tell you something about my gear and how it was built to last, they all still work. The people at TASCAM customer support was always there for me and I stayed up on keeping my equipment ready to rock-funk & roll because you never know when that creative bug jumps on you. When you hear the horn blow, you'd better be ready to go your nearest TASCAM dealer and say, Bootsy said y'all can help funk me up!

"For the actual tune, whilst any additional harmonies would be added afterwards using a tape with the basic piece on it. I use a Revox ½-track machine to sing along with — I never put it down though at this stage — I just sing with it to see if it works. Really, it's for playback to help me, and I would use an 8-track studio for demos. I've also been using the Teac Portastudio 144 which I find useful."

One of their first "instruments" used to make electronic music. Visible in the video at 1:00 minutes.

Mentioned by Stewart in this Sound on Sound "Classic Tracks" interview about "Sweet Dreams (Are Made of This)".

On the same trip, in a hotel room in Wagga Wagga, New South Wales, Stewart began playing around with EDP’s Wasp synthesizer, accidentally stumbling upon the future, more electronic direction that he and Lennox were to pursue as Eurythmics. “I could actually get some interesting things happening,” he says. “Y’know, like, sequenced little sort of random hold patterns that sounded very exciting to us, even though it was just coming out of the plastic speaker in a crappy hotel room in Wagga Wagga. We weren’t even writing songs, I was just messing about on it.”

(...) Soon after, Lennox travelled to her native Scotland to visit her parents, leaving Stewart with time alone to further his experiments with the Wasp, pairing it with EDP’s matching proto-sequencer the Spider, and a TEAC 144 Portastudio. “I kind of voraciously learned how to use that really quickly,” he says of the latter, “and I realised it was little miracle. I had done things before, even before I met Annie actually, where I’d managed to get my hands on a Revox tape recorder, and I’d bounce things in a really crappy way, back and forth, and make a kind of montage of stuff.

“But with this Portastudio and the Wasp and the Spider sequencer, and then the [Roland TR-606] Drumatix, in one way or another I managed to manipulate the drums and the sequenced keyboard together. Then I was able to choose which sections I’d sequenced and sort of fly them over and bounce them. So I’m recording on track one with the sequencer, but then I’d sort of send it to track three or four and then I could switch it in and out when I didn’t want it. I could drop in if I wanted to change to a different chord or note or sequence. So I kinda built a track, kept bouncing back and forth. Some of them became the actual tracks on the Sweet Dreams album.”

"I put down the three-note piano riff first when I was writing the tune on my Portastudio, and the two guitar rhythms seemed to go well with the piano. I use the 144 Portastudio, the first one, with a cheap drum box and any effects I can get hold of. One thing I find with my 144 is that when you re-record over something you've already done you can hear the previous track breaking through. But it was a good 500 quid's worth. The track didn't really happen until David Lord got hold of it. A local girl came in and sang the 'choir', tracked up a load of times."

Paul says he bought the very first Portastudio of the country all the way back in 1979

"Yeah, I used to do that. Two tape recorders. Bung it all onto one. Play it back into the other one with a 'live overdub'. I used to get some really weird sounds doing that. Not good sounds, just weird. Things would get so hissed up and distorted they'd take on a whole new character. Eventually I thought, 'this is ridiculous, how can I have a career in music when all I've got is two cassette recorders?' So I saved up all my money and bought a Teac 144 Portastudio which in comparison was like an SSL. God knows what I'd do with one now. I've got an ACES 24 channel desk now which isn't the best desk in the world but it gets me by."

Teac 144 Grabadora a Cinta Tascam en el Instagram de LLP