The Top 5 Best Multitrack Recorders For Making Music In 2024

The Tascam Model 24 main panel has 17 input channel strips, 16 of which have mic preamps. Meanwhile, the last strip is for an RCA/stereo source. That said, four of those 16 channels can also be used with stereo sources, leaving you with a total of 22 analog inputs. Now, add the L/R channels of the main mix, and you’ve got 24 possible tracks that you can record simultaneously.

If you want to route a guitar or a bass directly into the recorder, though, you’ll have to use the first or second channel since they’re the only ones with high-impedance inputs. But on the end of the panel, you get two main XLR outputs alongside a dedicated sub out (good for bouncing tracks). Tascam also included control room outputs, one headphone out, and three aux sends (two pre-faders and one post).

The LiveTrak L-20 can record 20 tracks along with the master stereo signal. Out of the 20 channel strips, 16 correspond to the staggered XLR/combo inputs, while the remaining are for stereo lines. The first 16 channels are split into four blocks, each controlled by one phantom power button. Two out of the 16 XLR inputs are high-impedance for direct connection to electric guitars. The rest? They have switchable 26dB pads instead of the Hi-Z buttons.

You have balanced XLR outs for the master. But in the monitoring section, you also get six TRS outputs for headphones or stage monitors. The nifty thing here is that you can toggle master or cue mixes on each one.

The metallic Bluebox is ideal for recording up to six stereo tracks from synths, keyboards, and drum machines. The output options let you monitor a cue mix while sending the main mix to a PA system. However, it’s worth noting that the Bleubox is branded as a compact mixer first and foremost. So, its recording capabilities aren’t as impressive as its mixing features (like the four-band parametric EQ). For instance, it doesn’t support punching-in or phantom power for external condenser mics.

The MICRO BR-80 is a hand-held digital recorder and audio interface that runs in three modes. First up, we have the two-tracked Live Rec mode that uses the built-in stereo mics. Any recordings you capture on Live Rec can be imported to the eight-tracked MTR mode as a foundation for your song production. Finally, the eBand mode is made for backing tracks and phase training.

It’s worth noting that while the built-in mics are condensers, the external mic should be a monaural dynamic mic. Of course, you can hook up a guitar or bass into the ¼” jack instead. If you do, remember to shift to high impedance using the Guitar/Mic switch on the bottom panel.

The handheld R4 is designed with musicians in mind, which is abundantly clear in the track-bouncing feature that you can repeat and layer. However, without bouncing, you can only record four tracks directly from external mics (with optional phantom power) or instruments. It’s also possible to stereo-link two adjacent tracks by connecting the L/R channels of the output device (ex. synth) to inputs A and B, respectively.