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A food dehydrator works best. Do not try to play anymore of these tapes as they are now. You can ruin a machine trying to play them. There are tutorials on line about how tapes should be baked.

Are you using new tape that isn't subject to sticky-shed syndrome?

If you a When using an outboard preamp, you should route it through either a line in or accessory receive. Not only will the signal path be cleaner but phantom is then a non-issue whether on or off.

Gadd: Paul Simon's "50 Ways to Leave Your Lover." Jim Keltner: Johnny Rivers' version of "Slow Dancing." Bernard Purdie: Steely Dan's "Babylon Sisters," "Home At Last," & "Deacon Blues." Mike Botts was Bread's drummer who also did stunning outside session work. Case in point, Linda...

Bernard Purdie, Jim Keltner, Steve Gadd, the late Mike Botts.

I've used them (EV CS15 or Sennheiser mkh 405) on occasion. Placement was super critical but the results suited the track just fine.

The TASCAM DA series machines were great in their day but keeping them running this long after production has ended will be challenge.

It sounds to me like a doubled vocal with one track being pitch shifted through an auto-tune device or plugin.

Assuming machine & meters are calibrated, playback a 1kHz tone @ Ovu. The level should not change more than +-1 whether dbx is in or out. Then record a your own 1kHz tone and make the same comparison on both input and playback from both heads. I used dbx I for decades and tended to print no...

Re: DBX - Align your machine with the dbx in bypass. Don't record too hot and you should get results that rival digital when it comes to being noiseless.

Atlantic was the 1st pop & jazz label to issue stereo lp's because Tom Dowd insisted on recording everything in both mono & stereo well before CBS Labs developed the industry standard stereo disc. While other labels were marketing faux-stereo product from their back catalogs, Atlantic just got...

According to Tom Dowd, it became the norm after Atlantic Records made it their policy to place bass and kick in the center. The decision was driven because they were bouncing too many unplayable pressings when those instruments were panned off to one side or the other.

It's possible you have a 48 with the wrong faceplate which is the exact same machine minus the +4 in/outs. The performance of the 2 machines should be identical. If you must have it operate @ +4, matching outboard matching devices are available.

When I had an HD24, I set all songs to 24 tracks. If you don't use them all, you haven't lost any available recording time. If you don't already have one, the manual can be found here: https://homerecording.com/bbs/threads/question-about-alesis-hd24.419378/. There is also a support group...

If you are lucky, it's moisture on the capsule. Place the mic over a low watt incandescent lightbulb, power it up and leave it there for 12 or more hours. Then check to see if the problem diminishes or goes away completely.

Because Tom Dowd, Atlantic Records' head engineer, leaned hard on the company to mix everything in mono & stereo, they were the only pop label that was ready for stereo lp's. They were also the 1st to place the bass & kick drum up the center so as to have consistently playable stereo discs.

I never liked that kind of placement either.

I've a number of "odd ball" mics not usually discussed for recording. Among them, EV RE55 omnis that get used for kick drums when I want lots of "smack" without proximity effect & RE15's when multiple amps are in the room and good isolation is needed.

I'd suggest upsampling the 44.1 track to match the others.

Yes, I've tried it and it yields nothing I'd want to use. Just because a signal can be heard doesn't mean the signal is any good.