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If you want 8 discreet signals going out, use the direct outs instead of the buss outs. Use the busses only if are combining signals to go to a given channel or pair of channels.

Can you describe your entire signal chain from source to monitor? What is your source - music or a tone or tones?

Are you using new tape? Also, the XLR in/outs on this machine have no bearing on the signal that get recorded on the tape. They are an added feature for easy compatibility with equipment operating @ +4. In short, it's a built-in bump box.

Old or new tape? If old, try reformatting it to see if it makes a difference.

RADAR 24 user for years now. I do sessions on it but edit in Audition 3. Final mixes are done through an analog console.

A totally complete recording console has many discreet functions in a single package. Mic preamps, eq, cue, effects mixes & returns, machine monitoring, & mixdown capabilities. The typical small-foot print mixer is not capable of all of this. The combination of something like a TASCAM Model 1...

What about this scenario: Discreet preamps for getting signal into your 38. An 8X2 line-level mixer with foldbacks for monitoring the machine. (Plenty of TASCAM & Fostex units are out there.) An 8 or more input Mackie or similar mixer for final mix downs to whatever device with analog inputs...

I have a 3-Zigma with their 67 & C12 caps. of the 2, the 67 is my favorite, especially for vocals.

You are making assumptions that are causing most of your problems. You really need to read the manual for both units.

Has your 38 been calibrated? What kind of tape are you using? Do you have the user manuals for the mixer and machine? Are you aware that once a 38 is calibrated, ALL work is to be done in sync mode?

I've had a M-2600-32 since the early 1990's and like everything about it except the mic pres. To get around this, outboard units are exclusively used. I seriously doubt that the 2400's front end will perform significantly better than what you already have. Unless you need the extra features of...

Analog console - I've never mixed any other way.

1s place all function switches in “record.” Then engage the switch that actually says “input.” Then apply your signal. Chances are you will need the input level on the 40-4to be set @ 7 or 8 to match “0" coming from your Model 3.

Output source should probably be on "input."

I was always told that it was high capacitance that caused hi frequency loss. The original TASCAM LO-CAP cable made a significant improvement over typical hi-fi shop/Radio Shack interconnects. HOSA was Fostex's answer to Tascam's cable and proved to be a worthy competitor.

Not true. Hanging damping material on the wall weakens reflection down once. Away from the wall weakens reflection twice.

What's wrong with yours?

I've used HOSA cables and have had no problems with them. They pass signal without high frequency loss and are very robust. FYI - I think you've underestimated the number of cables you'll need. And do yourself a favor by laying your 38 on it's back. The capstan bearing will last longer and...

Bad tape with sticky shed syndrome most likely. Toss it. Clean you entire tape path and use newly made tape. Forget NOS stuff. It's a false economy that could possibly ruin your machine.

Can you enter an offset on 1 of the devices to negate the difference?