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I think you mean 996. Regardless, if a tape has sticky-shed, don't use it for production even after baking. It's a false economy. Get new tape.

If you are losing top end with dbx, you are probably printing too hot. It's a common mistake and the primary one that has given dbx a bad name.

Neither dbx nor dolby for that matter, will reduce hiss that is already part of a recording. IMHO and experience, not using your internal dbx II on your multitrack is a bad idea. I'll never understand the romance with saturation. Even if you like it, it's temporary. The more passes of the...

Wrong. The unit only has 1/4" inputs but there is enough gain at the input stage for adequate if not stellar performance.

The Warm EQP-WA has 1/4" in/outs so there's no need for a an XLR to TS cable or adaptor. As I recall, the M3500 has rca jacks for the send/receives so a pair of rca to 1/4" adaptors will suffice.

If all else fails, copy the track, paste it to another in your session, & nudge it to where you like it. Then put the gain where it fits your desired mix.

If you're lucky, it's just crud on the switch contacts. Try some contact cleaner & exercising it. Welcome to the world of recording consoles.

A ribbon mic typically has lower output than condensers and modern dynamics. If you don't have enough quiet gain from your preamp, the results may be disappointing.

You have to assign a channel to an output to hear it. Do you have the owner's manual? It's all explained in there.

The 90-16 repro and R/P heads were identical with regard to playback specs.

I was told by a TASCAM tech that the repro heads on all of their multitrack machines made after the 70 series were in fact, R/P heads that didn't meet spec on the record side of things. With this info, I wouldn't swap heads unless it was the only way to get a machine up and & running again.

I know the TASCAM DTRS MDM's had that but I don't recall it on my MX-2424.

Should you not be able to fix the repro head problem, you still have a viable working machine. The repro head is there primarily for ease of alignment. Once done, all work is supposed to done off the record/sync head. Its playback response is the same as the the repro head.

Just because a tape can take +9 520@nWb/m doesn't mean you have to set your machine to that level. With dbx, I'd set up for +3 @ 250 nWB/m and not, I repeat, not hit the tape all that hard. With proper alignment, you'll get s/n that rivals digital with no artifacts other than what tape...

PB-64? I have the prototype. It's configured to attach to the side of a table or panel rather than in a rack.

It looks like your amp has a sensitivity switch for the send/receive loop. Send +4 to the dbx and then bring it back to the receive. Preamp shouldn't be needed at all.

I've always found the opposite. Easier to thread tape and the only way to edit accurately.

A TASCAM tech told me ages ago that when a machine is upright, the capstan bearing is supporting at least in part, the weight of the motor which accelerates bearing wear. If I were you, I'd just operate your unit on its back.

A wise old engineer once told me, "If you don't like the sound on the way in, you're not gonna like it any better on the way out so fix what's not right when you hear it. If that means grabbing the eq, so be it."