Ask.when i download backtrack wav and want thuis record to tascam 32sd WhatsApp about effects becaus the song is ready for record singin but effects tascam gomes toeter on track one no stereo bus but ownly track one and track two for mic for singing!

@jaapgroen1 Good morning to you. I don't understand your question - sorry. I think the translation into English is not quite right. If you can try and re-phrase it, I'll get back to you.

@DorisDay-lw4xs I've used the SCSI socket on the back to connect external SCSI drives, but as you say, these can be very noisy, even assuming you can find them nowadays :) I currently use internal 2.5" IDE drives on mine, and one of them uses a special docking bay to allow swapping the drive to/from a computer but I don't know if they still exist. More details on my website here: www.philizound.co.uk/freebies/emu-scsi-wiring/emu-scsi-wiring.html www.philizound.co.uk/freebies/emu-ide-discs/emu-ide-discs.html The best option would be a solid-state drive, or sd-card with adapter. I've not tried these, but there should be info or help on the SamplersOnAcid forum madlabz.info/samplersonacid/index.php The forum also hosts all the posts & info from the old legacy EmusOnAcid forum. Good luck.

@posteraddict Thank you Greg; means a lot.

@AmazingaminG001 haha yes I've also seen "no tipping here" and "it's tipping down with rain" :) Glad you like the videos and thanks for stopping by.

@posteraddict Hi Greg, just seen this *after* sending the email, so thanks again for the donation, and I'll reply to your email later. Phantom power depends on the type of microphone. You need to check the user manual (look up the make & model number on the internet if you don't have one). If the mic requires phantom power, then absolutely you need to turn it on otherwise you won't hear anything. Some mics have the option of an internal battery to provide phantom power for convenience. If the mic does *not* require it, then leave it off; phantom power will not boost the sound and may even damage the mic in some circumstances. Most modern mics are tolerant to this, but I would always turn it off for piece of mind.

@warriskportfolio240 I've just had a quick look at the MTS-30 manual and it should work ok, and you should be able to switch from record to playback modes without having to move the cables. There's no slide switch like the Yamaha unit, but the TAPE button does the same thing. Which part are you having problems with? Are you able to record a timing guide track? Get back to me if you still have problems.

@richardcloudbase Great news; thanks for sharing :)

@@philtipping fitted now and holding mem

@richardcloudbase Thank you for the update; glad it worked ok.

@anti-hyperv4797 There's a section on moving tracks in my Step-by-Step PDF guide: www.philizound.co.uk/freebies/dp24-32/dp24-32.html There are many Track Edit functions, but they all work in a similar way. You select the start & end times of the 'slice' to operate on (these are the IN & OUT points), then if the function needs a destination start time (called the TO point), you set that by moving the transport to the required position. This isn't at all obvious, and fooled me for a while, so don't be too hard on yourself re. IQ :) It's only obvious once you know the answer :) The destination also has a 'track number' setting, so you can perform some functions from one track to another, or from one track to itself. You can even scroll to the end of the track number list and select 'all tracks'. There is a minimum limit on the time between the IN & OUT points, but this can be overcome by thinking laterally and performing operations on the slices before and/or after the region you are interested in. More details and screen shots are in the guide mentioned above. Hope that helps.

@JosephMcIntosh-jc7zr yes it's a common problem if you are not following all the recommendations. Of course, it could just be something as simple as the write-protect switch on the card has been moved to the lock position, so check this first :) If it's not this, there are several culprits, such as incompatible sd-card, out-of-date firmware, not running 'delete unused' regularly, not powering-off correctly, etc. If the card contents are important to you, make a full backup of it before doing anything else. If the song still loads ok, try doing a delete-unused. As a last resort, if your computer shows a zero-length wave file whose datestamp corresponds to your attempted recording, try deleting the file. After you've fixed the problem, I would do a full reformat of the card as soon as possible. This will clear out any other corrupted files and re-test all blocks on the card. Please report back if you find anything. Good luck.

@janpieternieman5295 thank you Jan. It's a bit of a distraction from the music hobby, but it's great fun. Have managed to get BASIC running on it, and am now having a crack at FORTH; a language I never understood back in the 70s, so this will be another nice bit of 'closure' :)

@janpieternieman5295 It has a variety of Track Edit functions such as copy/paste, move/paste etc. so you can build up a song structure that way. Sections of audio can also be copied to different parts of different tracks, so you can fade them in & out at relevant times during a mixdown or bounce. I don't know much about the X32 apart from noticing it is a lot more expensive and looks to have better integration with a DAW. The DP-24/32 machines are complete studios in a box, so you only need a computer for backup purposes. The Tascam Model series removes some of the studio functions but provides live 2-way multi-track transfers to a computer via USB, so I guess this is closer to the X32. I don't know if the X32 has studio functions like the DP-24/32 such as assigning inputs to different tracks, bouncing, editing etc. but you can easily compare all the products by downloading the user manuals. You could also try asking in the Tascam forum as I think a few members have the X32. Good luck, and thanks for stopping by.

@@philtipping thanx for the explanation! :) So I can record my korg prologue Jupiter x cobalt8x Gaia juno ds microfreak and rd8 simultanously? Hows the build of this unit? How can it be so dirt cheap?

@janpieternieman5295 You can record up to 8 inputs simultaneously. All inputs are mono, so you'll need to use 2 of these if you want to record a stereo source. The Assign feature is like a patch panel which allows you to connect/route any input to any of the tracks for recording, so there's no need to plug/unplug inputs in order to record overdubs. The build is very substantial - it's a heavy device and feels solid, and was one reason I chose it over the Zoom machines. The DP-32 has more tracks than the DP-24 (obviously!), but it also has a little-publicised feature of being able to switch any of its stereo tracks into mono mode. You only get one mono (not 2), but this still gives a lot more flexibility, and was my main reason for choosing the DP-32. I guess the price is reflected in the pre-amps and hardware controls, and the built-in FX which are all done in firmware. The pre-amps are perfectly adequate but it depends how critical you are. You may find they are ok for your requirements. They're obviously not going to compare with a single pre-amp which could cost the same as (or more than) the whole machine, and they won't have the 'colouration' of some of the more esoteric ones. But if you are really critical about pre-amps, there's nothing to stop you using one or more high-quality external pre-amps just for the inputs which need it. In practice, that's what I would tend to do anyway, even with a high-quality mixing desk; just use an external unit on those critical signals which need it at that time. Same applies to FX; the internal ones may be ok for you, but it's flexible enough for you to add your own extemal units; either in series with the inputs, or via the Send system - there are 2 sends to use how you like. The other cost-saving is having the EQ, panning, sends, and FX controls shared between all the inputs and tracks. It's easy to operate though; you just press the track select button or input source button before turning any of those knobs. Contrary to some comments I've seen re. this being a hassle, you don't need to open the mixer screen first in order to do this. You get a small pop-up window showing the knob's position as you turn it. The main drawback is that you cannot see the settings for all the tracks at the same time; the mixer screen only shows the settings for the currently selected track. Your comments are on the video about MIDI sync, so I'm assuming you are aware of the differences between the DP-24/32 and DP-24SD/32SD re. MIDI. If you want to sync, you either need the older DP-24/32 machine or use a sync box as shown in the video. The description lists a few different types of sync box. Hope that helps. I would still ask on the Tascam forum and download the manuals for all the contenders before making a decision.

@user-bf8ki9tc8j Agreed, it could have been a bit easier, but it's a complete studio in a box so I guess it's like walking into a real studio without a recording engineer to help you, so you have to perform that role yourself :) If you take things slow and follow the videos bit by bit, while trying things out on the machine in between (i.e. don't binge-watch them!), you'll gradually pick it up... and you'll end up with a much better understanding. If you prefer a list of buttons to press without the background details, check out the Step-by-Step PDF guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html It complements the videos by using a completely different approach - no block diagrams, just simple numbered steps, with screen-shots, to do various functions. Good luck, and thanks for stopping by.

@estrangeibanez3051 Take it slow and just use the basic features at first to get to grips with the controls. If you get stuck, the Step-by-Step PDF guide may help. There are a few hints and tips to get the best out of the machine before you start using it for important work, including checking/updating the firmware, using a recommended sd-card, and using the 'delete-unused' function. Good luck, and have fun :)

@stephenedwardleemusic8997 thanks for stopping by.

@@philtipping the instructions for these machines suck !! Im so grateful for you taking the time

@stephenedwardleemusic8997 no worries Stephen. If you need more info, the Step-by-Step PDF guide may be of some use. Great vocals and guitar work on your channel btw :)

I’m grateful Phil thanks

@sainteloistanoe5372 Bonjour. Voici le lien pour la version française du manuel d'utilisation:- www.tascam.eu/fr/downloads/ J'espère que cela pourra aider.

@dosvidaniya397 I replied to this question in an email to you yesterday, but here's a copy in case you didn't get it, or if anyone else is interested... There are 3 types of effects - here's a summary if you haven't already seen it: www.philizound.co.uk/freebies/dp24-32/FX-Summary.pdf They are configured in different ways due to how they are 'pre-wired' into the signal paths. If you're specifically after reverb & delay, these are in both the Insert(Guitar) effect and the Send effect. It's the send effect which causes all the problems as the return/output from this effect goes directly into the stereo bus, which is where all the tracks and inputs are mixed together. This mix is normally what you hear in the monitors/headphones so the effect is audible during recording, but that signal is not routeable to a track for recording there unless you are in bounce mode. This means a send effect can only be recorded during a mixdown, where it appears in the master file (as opposed to an individual track file), or during a bounce, where you nominate a target track for the bounce. Normally, bouncing is done after the recording (tracking) stage, but you can record live during bounce mode if you really want to - see video #11 for an example. You don't have these complications if you use the reverb & delay in the Insert(Guitar) effect, as this can be inserted into any track record path.... but the catch is there is only one effect block so you can only record it onto one track at any one time. I'm not quite clear on the last part of your question as once you've recorded an effect onto a track, the effect is permanently embedded in that track's audio, so the effect is free to assign for any other purpose without impacting the effect applied to the original track. It's not like automation in a DAW, where effects can be added non-destructively. The normal way of overcoming the limitations with assigning multiple effects is to use bouncing, so it's well worth learning the bounce process. As shown in the videos, there is no degradation no matter how many bounces you do. It just needs patience to run through the process multiple times :) This is where having lots of tracks is a bonus; many people ask why would they need so many tracks as they only record one thing at a time. But you can bounce whichever tracks you like and apply effects and/or pan, fades, eq etc, and the result will go to a separate track. You can repeat this as many times as you like, then choose which combinations of tracks you want to use in the final mixdown. You can even adjust the track faders in real-time during the mix to vary the combinations on-the-fly. An even if you still run out of tracks, you can 'park' some into the virtual tracks, or do a bounce of a few of them to free up tracks. The possibilities are endless. Hope this helps.

@@philtipping Hi Phil, thank you - I'll reply to your email this evening.

@JoelReesonmars Good question Joel. I've never used that technique so don't know what the advantages are, although I noticed some BASICs such Microsoft 8K use fixed point as well as floating point. The underlying PleX ISA already supports floating point so it was fairly easy to just use that in the interpreter and have a separate variant for integers. I think there are also BASIC variants where you can prefix/suffix the variable name to force a specific number format, so I might add this later, although it does mean more complexity as you then need an algorithm for handling mixed formats in expressions. It's certainly an eye-opener developing a non-standard computer system as you have to write every bit of code yourself... but this was exactly what I wanted as it really makes you appreciate the problems faced by the early pioneers :) Thanks for stopping by.

@warriskportfolio240 no problem, thanks for stopping by.

@mussguito thanks for stopping by

@JimPerdue14 Well the design does make it harder to do some things, but then everyone's requirements (and budget) are different. There's no such thing as a 'perfect' system, so the skill is in working around the limitations of whatever gear you have, e.g. look at what was produced on old-school systems with noisy analogue tape and a handful of tracks. There are users making money from recordings they've done on this machine, so not sure what the definition of "serious music production" is. Would a "serious" user be looking at a 400 dollar system in the first place?

@@philtipping I suppose you're right on all points. Thanks for the reply!

@Haze763 That's great news, thanks for sharing. Yes, it's a lot to take in if you're not familiar with some of the concepts, so well done for persevering. Learning how the send & return system works will open up a load of new possibilities. Thanks for stopping by, and good luck with your recordings. Best wishes from West Wales to Detroit :)

@collinstanton Thank you Collin, glad they're still useful. The machine is certainly one to 'grow into'; I'm sure it's under-exploited in a lot of cases. Good luck with your recordings.

@davidgari3240 I remember the old Sinclair Spectrum even had BASIC keywords printed on its qwerty keys, so I guess it entered bytecodes directly. I was surprised to find so many variants out there; seems like every machine offered its own flavour. I never really got into the language, having cut my teeth on Pascal, but it's been an interesting project. Thanks for stopping by.

@michaelclaxton4111 There are several cut/copy/paste functions - see Track Edit in the user manual. You can do this from one track to another or within the same track. Old-school delay effects are certainly possible, although there are already built-in effects for some of these. There is a lower limit on the section size you can select, but this can be overcome by lateral thinking and selecting sections either side of the point of interest. All track edit functions are instantaneous, and they can be undone with the UNDO function. There is no time-stretching, but you can export tracks to a computer, process with a DAW, then import back into the song. As long as you use the Export/Import functions, they will remain in sync.

@kevinpike3962 No, the normalise process does not use a real-time recording pass, so it won't pass through the EQ or Compressor (and obviously you should not press Record to normalise)... although I would recommend you try and keep the effects off when you've finished using them to avoid confusion. Whenever you press Play, the master file signal will still pass through those effects if they are left on, so you will be hearing a different sound to the actual master file. This is a common cause of a 'complaint' where users say their master file sounds different when they transfer it to a computer.

@rickyhughes93 Reverb is available in the Send effects and also in the Amp section of the Insert(Guitar) effects. They are configured in different ways. The Send effects use the Eff Send controls to tap off a signal into the effect, then it returns onto the stereo bus for mixing at mixdown, or the bounce bus when bouncing. The Insert(Guitar) effect is simply inserted into the required track signal path. This summary may help: www.philizound.co.uk/freebies/dp24-32/FX-Summary.pdf If you want step-by-step instructions, see the Step-By-Step PDF guide, available here: www.philizound.co.uk/freebies/dp24-32/dp24-32.html

@markusrichterfotografie7484 thank you Markus; much appreciated. The machine is capable of making excellent quality music, but the limitations are really in the skill & patience of the user :) There are many examples on the Tascam forum: www.tascamforums.com/forums/song-mixes-tracks-for-review-and-critique.44/ and the Facebook groups: facebook.com/groups/568801276550339 facebook.com/groups/1955384361425770 plus other streaming sites such as reverbnation, spotify & soundcloud etc. A few random examples are: Neutral Earth kzbin.info/www/bejne/rp6pZKukms1mi68 Wyshwood Studio www.youtube.com/@wyshwood/videos Rick Nehrkorn kzbin.info/www/bejne/moKQeXqBhceZkK8 Bruce Graml www.reverbnation.com/brucegraml George Jenereaux kzbin.info/www/bejne/amaqmHR9Z62Hm5I Ocean's Resurrection kzbin.info/door/i-qO9Bq0sXaojPshH40-2g Michael Brooks open.spotify.com/artist/7lyoClvt9xxpmBQ8jpG9rO Peter Williams www.youtube.com/@peterwilliams568 www.peterwilliamsguitar.co.uk/ Hope that helps. Thanks for stopping by.

@stef276 Well 'complex' is relative, but the machine is a complete recording studio in one box... but there's no recording engineer included so *you* have to take on that role. If you go through the videos slowly, and follow along using your machine, it will become a lot easier to use. You don't have to use all the features at first. The machine does not have any MP3 capability; it only handles audio files in WAVE format, starting at the standard CD quality of 16 bit, 44.1KHz, and going up to 24 bits at 48KHz. This export/import video shows how you can transfer any tracks to/from a computer. The mix/master file is even easier as you can simply 'copy' this to the computer without using the 'export' function. You can then convert them to whatever format you like using free tools such as audacity. If you really want step-by-step instructions, I have a written Step-by-Step guide which may help; full details here:- www.philizound.co.uk/freebies/dp24-32/dp24-32.html Btw - some great music on your channel; you have a great voice :) Thanks for stopping by.

@@philtipping Thanks a lot ! Will check it and thanks for compliments :)

Thank !! it workds using AUDACITY ! :) You change my life ! Also is it possible to keep several songs on the SD card or simply one by one on the TASCAM ? When a now song is loaded, needs to reset all volumes for each track ?

@stef276 Thanks for the follow-up, and glad you got it sorted :) Yes you can have multiple songs on a card, although make sure you have a good backup strategy in place. The machine is 100% reliable if you are using the latest firmware and a recommended sd-card... but accidents can happen and there are many ways you can corrupt the data on the card, so it's highly recommended to back it up regularly, and also use the 'delete unused' function every now & again, especially if you do lots of retakes or edits. Some people use small cards with one song per card, but the choice is yours. You need to allow space for processing and/or mixing each song, so don't fill the card up to the limit. The card structure and tips about the correct procedures to follow are in my Step-by-Step guide www.philizound.co.uk/freebies/dp24-32/dp24-32.html You're right, the fader positions are not saved in the song settings, although everything else is. If the positions are important to you, you can either take a photo of it, or write them down... the exact value in dB is shown in the mixer screen; just open the mixer and press each track select button in turn.

@abeme0_0 Could be a few reasons. I'm not an expert, but here are some of my thoughts... There's a 'quick start' mode which, if set, turns on the camera when the door is opened. If your battery is low, this may cause it to shut down instead. You could check this by using an external power supply. If the problem is still there, it may be a mechanical issue, such as a loose cable or connection, or a fractured cable. When you open the door, this moves the cables and could cause a break or short which shuts the power down. You'd have to take it apart to check this. There are several cables inside so it could be any one of them. The flexible cable shown in this video is a likely culprit as it gets flexed every time you open or rotate the door/screen, so maybe yours is cracked like mine. In my case, the camera stayed switched on, but the screen was blank. Maybe other types of fracture can cause it to shut down? Good luck.

@@philtipping thank you so much

@@philtipping i want to thank you once more since now i actually disassembled the camera and the cable was actually completely torn off, and now thanks to your tutorial i can install back a new cable with no problem. I absolutely love your video🙏

@abeme0_0 That's great news :) thanks for the follow-up.

@fabriziocapecchi The Tascam inputs can handle a range of levels. The 1/4" jack inputs are for line-level signals so use these as opposed to the 3-pin XLR sockets. Not sure what the audio connection is for a Mac, but if it's similar to a PC with an 1/8" (3.5mm) stereo socket, and you want to record stereo, you'll need a splitter cable to separate the left & right signals from the 1/8" plug to 2 separate 1/4" (6.35mm) TS mono jack plugs. Connect these to 2 adjacent inputs on the Tascam, such as A & B or C & D etc. and assign these to a stereo track.

@charlesspringer4709 thank you Charles; that's a clever way of distributing code. I remember some of the old computer mags printing program code in hex format, sometimes tucked away as an afterthought in unused sections of the pages, but it was a real pita typing it in by hand... and they were prone to misprints so it was best to wait for the next issue in case there were any corrections. I think checksums were only added later, but we must have a lot more patience in those days :) Re. Tiny BASIC, I might try re-writing some of it to replace the commands with single tokens as the source is read in, and to strip out REM statements; should speed up the processing a bit. I'll post the PleX code on the website later. Thanks for stopping by.

@tyhendrix7921 Thank you Ty, much appreciated. Please spread the word :)

@myguitarjoe Maximum card size on the DP-24/32 machines is 32GB. If you see comments on social media like "My 24 takes 64GB", they mean the newer Model series; there's one called a Model 24, which is very confusing if you don't use the full name :) Thanks for the feedback... nice to see those old plasma ball lamps on your channel... not to mention the great guitar playing :)

@@philtipping Thank You very much,Mister.Have a good times.I like ambient lights.

@jcisme Yes the outputs are both mono (unbalanced) using TS jacks (the spec section in the manual lists all the socket types), but they are taken from the signal path before the pan control, so any panning will be ignored. Even if you send a stereo track, the left & right signals are mixed to mono when they are routed to either of the sends, so am not sure if there is an easy way to apply both panning and reverb to individual tracks all in one pass. A long-winded way is to bounce each mono track to a stereo track, panned as required, and using one of the sends to route the mono track through the reverb unit (assuming it can handle mono-in, stereo-out), and back into the target track. You can then mix these stereo tracks together during mixdown. Not sure if all these reverbs would sound too cluttered. If may be better to use mono reverb on each track, and apply a stereo reverb later during the mix. Maybe someone else can chime in with some better ideas... or you try asking on the Tascam forum.

@@philtipping Thanks Phil.. The way I would envisage using this unit is basically having the 1st 8 tracks as a work area that I would then create up to a dozen stereo submixes on the remaining tracks. Lets use the example of 8 mono drums tracks on track 1-8. I have a tom panned at 9 oclock. If I set the send level of send 1 (left) to 75 and send 2 (right) to 25 do you think this would give me an aproximation going into a stereo external effects unit that I would then return in stereo ?

@jcisme That's a great idea. Using the 2 sends to create the individual panning sounds much simpler than my suggestion :)

@markmccafferty6515 Thank you Mark, much appreciated.

@jcisme thank you Jeremy, much appreciated.

@genoekenfloeken thank you Volker, much appreciated.

@PlanetRuncorn Yes, it's certainly not for the faint-hearted :) ... but you should be able to get at the data with a suitable adapter so you can plug it into a standard size docker. From memory, the HDD is a 1.8" drive, and adapters for these do exist, e.g. www.ebay.co.uk/itm/254968556532 Note that I can't confirm this specific one is compatible, but they're not very expensive. The service manual is also available online so you could double-check the HDD is definitely 1.8" SATA before buying anything. From memory, that cable was just for the display, so I don't think a fault in that would stop the unit turning on. Maybe you disturbed a connection when you took the cover off? Good luck, and hope you manage to retrieve the data. Fwiw, mine is still working fine after the fix. I just noticed the upload date - it was 7 years ago! :)

@sivoltage thanks for stopping by.

@nickprive7012 thanks for the info Nick. Nice to hear these old machines are still working :)

@corytrevor9180 no worries Cory, thanks for stopping by.

@christopherdunn317 Hi. There are a few ways. The quickest is to use the Export function on the stereo track. This creates separate left & right files in AudioDepot. You can then use the Import function to put these files into mono tracks of your choosing, or even into different left & right sides of another stereo track. This is mentioned later in the video series. Another way is to bounce the stereo track to a pair of mono tracks, but this has to be done in real-time, and you have to adjust playback and record levels, so is more cumbersome than the export/import trick which is much faster and no adjustments are needed. Note the caveats shown in video 9 re. bouncing if you want to convert a stereo to mono, i.e. *mix* left & right to mono as opposed to splitting it. If you know up-front that you want to record mono tracks, then a DP32 is a more versatile machine than the DP24 as it allows any or all of the stereo tracks to be converted into mono tracks *before* recording. You only get one mono, not two, but it avoids the hassle of splitting stereo tracks later. The question of 24 vs 32 gets asked a lot on social media, and sadly the myth is still being spread that the only difference is the number of tracks, which is a shame as this is a very useful feature - in my opinion anyway :) ... and was my main reason for choosing the 32.

@@philtipping Hi phil thanks very much for the insight ! that really helped ,ya i wish i knew this or i would have bought the dp32, but ya yesterday i read that in the manual of the dp32 you can split it but only get one track too bad they didn't make a button so you would record individually and ping back in forth but oh well ! take care thanks again !

@steffosteffolino absolutely... from the days when we had lots more patience :)

@isabelluengo3098 thanks for stopping by Isabel.