||Tascam DP24/32 sync.
I’m thinking of getting one of the above recorders. Now that Tascam have dropped the MIDI ports of the SD versions I’d like to know how you can sync up one track to another. Can you line them up with the accuracy of your average DAW?
Given that the DP’s can record up to 8 tracks at once it might not be such a big deal.
I’ve got an ancient Roland MC50 with tape sync in/out that I’ve thought I might be able to stripe a track with and then use that. Don’t know much more about striping though.
Any other suggestions would be greatly appreciated.
MtD. br> br>
| br>I have the older DP-24, still with MIDI OUT and clock sync. It's useful, but far from perfect, so I don't always use it. It is better to record first all the tracks with critical timing (drum machines, sequencers, etc, all in sync), and then lay the rest of the tracks playing them yourself.
On the other hand, you can probably use one external aux send to send clock pulses for analog gear, maybe by recording the device's own metronome. I wish there was a way to monitor just the metronome for this purpose. br> br>
| br>I have the new DP-32SD.
There are a couple of strategies.
The first is to pre-sequence everything with MIDI sequencers and then just record it all - if necessary with outboard mixers generating submixes that are then recorded in the Portastudio as one. The upside is that the timing is tighter than a politician's grin. The downside is that you can only do what you sequence, and the submixing can constrain post-processing options.
The second is to do it old-school, recording a couple of live performances at a time. Of course, the sync is only as good as the performances, but you can comp and overdub and all the rest of it. This is good stuff, as far as live performers are concerned because it's what they're used to, but it's a bit painful for people who are used to protools (or whatever) and like to tweak and snip like plastic surgeons. The good news is that you can use the Portastudio as a tool for recording the stems, then exporting them and tweaking to your heart's content on computer.
The third approach is sort of hybrid. I like to do, for example, drum and bass and pad tracks sequenced, then add solo and vocals recorded on top afterwards. That way I get tight timing off one MIDI-sequenced batch, and all the humanisation that I require on the rest.
If you have to synchronise multiple sequenced takes, I suggest following Phil Tipping's idea and adding a soft synchronisation click to the beginning of each track so that you can use that to get them coordinated. br> br>
| br>I think some have had success with recording a track of 808-style rimshots as a clock at the desired tempo, and sending that out an aux to clock a sequencer. I've never had the need so not tried it, but even if you're recording all mono tracks that still means 19 usable on the DP-32SD. br> br>
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