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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.

Without a matching transformer, a low z mic's signal would be lower than the noise from all that gain.

The 57 & 58 are electronically the same. The 58 has an internal foam shield inside the ball end to make it less susceptible to plosives.

You need a device like this with any low impedance mic if you intend to use it with your guitar amp.

Any signal obtained that way would be so anemic that it would be useless.

They look like this.

You need a matching transformer to convert the loZ output of the mic to hiZ @ the input.