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I ran the recording through Spectralayers. The software wasn't able to consistently distinguish between the guitar and mandolin. Sometimes it would appear on a separate track, sometimes it would stay mixed with the guitar.

In this case, he's trying to sync up things recorded on tape and digitized separately. It's not so much about being perfect but about making the error of one match the error of the other. Also, there are different kinds of imperfection. Tape speed is a different thing from frequency response or...

You suggested that doing digital processing that affects pitch was a bad thing, but you seem to be okay with analog effects that do exactly the same thing (except that the analog effect makes it less like the original performance while the digital process makes it more like the original...

Could you send me, or post, the original file? I want to try something.

When you play analog audio and the speed changes, it's causing pitch changes. Using stretch or squeeze to compensate exactly reverses what happened in the analog playback, including correcting the pitch changes. If you cut and shift clips of audio, you're failing to correct the pitch alterations...

It might be better to stretch/squeeze the tracks rather than cut and shift them.

I just keep my H5 on 48/24 wave. It has literally never been set to record mp3 format. You've got two additional inputs. Next time, perhaps you could have supplemental guitar and vocal mics. Or just place the mic to compensate for the loud mandolin.

Or The Rack.

Well, the mic probably picked up how it sounded. A few years ago that would have been that, but now there is some potential to use software to unmix the recording. Hopefully you recorded it as a 24 bit wave file. Mp3 is not good for music production. It was developed for music delivery in a...

One nice thing about the H5 (and H6) is that the mics are on a removable module that can be replaced with a dual XLR input module (or a mid-side or shotgun mic). I'm using mine right now to record a play for the videographer. Overhead mic is on one channel, sound effects are on a stereo pair.

The H4 and H4n are notoriously bad at 44.1 kHz, but known to be pretty good at 48 kHz. The H4n Pro evidently corrected that. My H5 is pretty good, but even my cameras vary. My Sonys are seem to line up for an hour or more, but my GoPros drift a little over an hour. Since the GoPros produce a...

The reason he's using external preamps is that his AI has four line inputs that don't have mic preamps. The line inputs have two gain settings, +4 and Lo Gain. It looks to me like on the +4 setting +4 dBu = -9 dBFS (+4 dBu + 9 dB = +13 dBu = 0 dBFS), and on the Lo Gain setting +4 dBu = -15 dBFS...

Looking at the manual, the +4 setting seems like it might be a bit hot. What I'd do is get a source going on a mic preamp, set it so the preamp's meter is reading 0 dBVU (which on most gear means +4 dBu), then set the line input gain on the RME to whatever makes the DAW's digital meter read as...

Maybe it would be a good idea to tell us what interface and preamps you have. For the most part, set your preamp to make the signal around -18 dBFS in the DAW.

Right, I'll edit my post. Thanks. I just got so used to it as it is that I forgot about the variations.

If anyone is interested in a Tascam M-2600 MkII, one is likely to be available soon near Boulder, Colorado. It's a one owner unit that hasn't moved more than a few feet since it was installed in 1993. It could use some maintenance on pots and switches, but is otherwise in excellent condition. A...

Pretty much always wave file. Many streaming services will convert whatever file you upload to their own compressed format, and it's best not to do that from a file that's already been compressed. Some will accept a high quality file, like 24/48, but others (CD Baby?) require CD quality (16/44.1).

If it doesn't work, you can get an inline phantom power supply. But I'd just get something with 48v. I saw a 286s on Reverb for $100.

If they process the audio for loudness, loud things just get reduced in volume. In order to bring things with more dynamics up to spec, they would have to apply limiting.

You can get away with a lot more assertive compression in a mix than you can on a solo guitar, and that's a context where you might need it more.