Tape Project Forum
Tape Machines => Reel to Reel Tape Machines => Topic started by: JB3 on November 22, 2008, 06:55:07 PM
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Hi, I hope this will clear up some of the questions that have been raised about the Otari MX-50/55/5050 Master Recorder Series.
The basics can be found at http://www.otari.com/company/index.html.
The MX-55 predates the MX-5050 Series by three years. The build quality is generally the same on all of these fine units and is quite good, essentially military tank quality.
The MX-55 was introduced in 1987 as a 1/4", three speed (two speeds available front panel), two track plus timecode track 'Master Recorder' and can handle tape reels from 3 inch to NAB 10 1/2 inch reels.
It was followed by the MX-50 in 1988 (no timecode) and the venerable MX-5050 in 1990.
The MX-5050 was shipped in various minor model configurations (BII, BIII, BIV) depending on features, but is basically an updated MX-55/50 - It is a 1/4", two track 'Master Recorder' without timecode (and brother to the venerable MX-5050 MK III 1/2" 8 track recorder), capable of recording speeds of 3 3/4, 7 1/2, and 15 IPS, with both NAB and IEC EQ.
In addition, most of the MX-5050 machines contain a fourth head mounted in the headstack which allows play (but not recording) of 1/4" stereo (four track stereo) tapes of the era.
All machines featured direct drive motors (no belts) and some of the smoothest transport servo technology around (really nice for handling old tapes for restoration or transfer to digital).
I hope this answers some of the questions I've seen around the internet regarding these machines, which are frequently found for sale at very reasonable prices. I wouldn't class the electronics to be up there with the Ampex mastering recorders of the same ilk, but their cost and maintainability are certainly attractive in comparison. (Otari also manufactures the MTR-12 Mastering Recorder and it's brother the MTR-90 Multitrack.)
I hope this helps some of you who have tried to find this information.
...JB
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JB do you know anything about improving the sound quality, by changing out some of the electronics? Like caps and op amps etc.
Jay
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Hi JB, welcome to the forum. Thanks for the info on the Otari's. I always wondered where those models fell in their timeline. Do you know where the MTR10/15 sit in the line?
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Sorry about the delay in responding...
First, to JCMusic: The short answer is no. I haven't done any modifications to my 5050-8 track or to the 55 that I use. My primary usage for either of these units has been primarily archival transfers to digital and thus I have had no need to go after the sounds associated with saturating, using high-bias tape, or improving the electronics in the machines that I have, although I have had the 5050-8 recapped once.
Ironbut, according to Otari's timeline, the MTR10 Master Tape Recorder (MTR) was introduced in 1981, the MTR 15 followed 8 years later in 1989. (Does that indicate that the MTR 10 had a good nine year run before it was upgraded to the 15?)
Other notes regarding these machines might be to add that the 50/5050 series were introduced, if I am not mistaken, into the market as broadcast or semi-pro machines, of a smaller dimension than their 'big brothers' the MTR series, despite their eventual uses in many 'pro' studios and projects. It might also be noted that the original MX-5050 was introduced in 1974, before the wide distribution of the MX-5050 B (1977)/BII (1982)/BIII (1990) machines which became quite prevalent in broadcast and studio usage later on.
As a historical note and perspective, Otari Electric had been founded in Mitaka, Tokyo in 1965, Otari Corporation, USA being founded in 1973.
Hope this is accurate and helps...
...JB
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I'll just throw in that there was an MTR-12 too, and that the MTR-15 is still available in a playback only format for archival use. After having a conversation with Otari's head engineer in LA I am interested in getting hands on an MTR-15. By his description it is rather ATR-100ish.
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docB: Funny you should mention this. I would tend to agree that the quality of these machines has been underrated.
Additionally, I'm sorry to say, I think you just missed two MTR-15's that were for sale on Craigslist LA when I made my original posting.
...JB
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Thanks for the info about the craigslist posting. Not a big deal, as I am just interested in getting my hands on one to see how it works, not necessarily in buying one. Out of curiosity, what were the asking prices?
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Thank JB, here's a link with some Otari pictures and the main site has parts and some info (always under construction it seems). Do you work for an institution or is your archiving done out of your own business? If you have a web site, I'd like to check it out.
Doc, you might want to check out the picture on that gallery of the APD 1620 under "Strange and Rare Machines" on page 2. Kinda hard to see if it has pinch rollers. Another link in the isolink trail.
http://analogrules.com/Gallery/albums.php?set_albumListPage=1
BTW It takes a long time to get this link loaded so be patient.
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I'll just throw in that there was an MTR-12 too, and that the MTR-15 is still available in a playback only format for archival use. After having a conversation with Otari's head engineer in LA I am interested in getting hands on an MTR-15. By his description it is rather ATR-100ish.
Doc,
Were you quoted a price for the MTR-15 that you can share?
It is not listed on the Otari site.
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First, to JCMusic: The short answer is no. I haven't done any modifications to my 5050-8 track or to the 55 that I use. My primary usage for either of these units has been primarily archival transfers to digital and thus I have had no need to go after the sounds associated with saturating, using high-bias tape, or improving the electronics in the machines that I have, although I have had the 5050-8 recapped once.
JB what type of caps did you use when you recaped?
Jay
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Hi David,
I was not given much info at all about the MTR-15 except the chance to look at a block diagram for a few minutes.
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Any info on the "HD" designation? I picked up two decks in need of repair / restoration, and one of them is "HD" (Otari 5050 BII-2HD I believe). I am new to this level of tape involvement and restoration, and am soaking everything in. This site is amazing.
Thanks
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Hi, I hope this will clear up some of the questions that have been raised about the Otari MX-50/55/5050 Master Recorder Series.
The basics can be found at http://www.otari.com/company/index.html.
The MX-55 predates the MX-5050 Series by three years. The build quality is generally the same on all of these fine units and is quite good, essentially military tank quality.
The MX-55 was introduced in 1987 as a 1/4", three speed (two speeds available front panel), two track plus timecode track 'Master Recorder' and can handle tape reels from 3 inch to NAB 10 1/2 inch reels.
It was followed by the MX-50 in 1988 (no timecode) and the venerable MX-5050 in 1990.
The MX-5050 was shipped in various minor model configurations (BII, BIII, BIV) depending on features, but is basically an updated MX-55/50 - It is a 1/4", two track 'Master Recorder' without timecode (and brother to the venerable MX-5050 MK III 1/2" 8 track recorder), capable of recording speeds of 3 3/4, 7 1/2, and 15 IPS, with both NAB and IEC EQ.
In addition, most of the MX-5050 machines contain a fourth head mounted in the headstack which allows play (but not recording) of 1/4" stereo (four track stereo) tapes of the era.
All machines featured direct drive motors (no belts) and some of the smoothest transport servo technology around (really nice for handling old tapes for restoration or transfer to digital).
I hope this answers some of the questions I've seen around the internet regarding these machines, which are frequently found for sale at very reasonable prices. I wouldn't class the electronics to be up there with the Ampex mastering recorders of the same ilk, but their cost and maintainability are certainly attractive in comparison. (Otari also manufactures the MTR-12 Mastering Recorder and it's brother the MTR-90 Multitrack.)
I hope this helps some of you who have tried to find this information.
...JB
I am looking for a Otrai MX 55 to try mixing to. I have to say if the dates above are correct how come I bought and owned a recording studio in San Diego that had an Otari 5050 in 1980? You say that it was not out until 1990 did you mean 1980?
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Yes, I think these dates are off by ten years. IIRC the MX-5050 appeared around 1980
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I am new here but not to R2R. What year was the MX5050BIII-2 started? I have my late dad's 1978 Revox A-77 MK IV Dolby I had restored and now I am hooked. Looking for a 1/2 track 15 IPS that will play and record both 1/4 (7 1/2) and 1/2 track like the BIII-2 if I can find one with both head stacks.
Thanks
Louis
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Hi Louis,
Welcome to the forum.
I can't recall seeing a quarter track record head on an MX5050. You probably already know that a quarter track playback head was available as an option for the BIII and most of the earlier 5050's came stock with one. I don't doubt that you could find a 1/4 track or 4 track record head that would fit in a spare headblock.
I'm not sure if you could simply change the headblock to record from a 1/2 track to 1/4 track and still get optimal performance. I remember when I switched an A77 I had back in the 70's, from a quarter track to half track, I had to change some components in the record circuit (I think one was the bias oscillator). I'd think that you'd have to make adjustments at least.
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Hi,
I am planning to buy an OTARI MX-5050 BIII but I found an MX55 and the seller send me the pictures of the machine. I didnot see any bias, eq adjustment switch like 5050 on the front panel. How the bias, eq adjustments are made on MX55 ? I've checked the OTARI web site for discontinued products but there is only a presentation of the deck. Any information will be appreciated.
Best regards.
Ural
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Hi Ural,
Don't worry, all these machines capable of recording have bias and eq adjustments somewhere. It's actually unusual for a machine to have fine adjustments on the front panel. Many have switches for "pre-set" adjustments but it's best to have these presets adjusted internally to the exact tape you plan to record with.
I always advise guys who aren't veterans of magnetic tape to take their machines to a qualified service tech and have it cleaned, lubed and adjusted (which includes bias and eq to a current production tape, RMGI or ATR Magnetics). This will give you a baseline for how the machine works when everything is right. Otherwise, if something doesn't seem quite right, how will you know if something is wrong?
Most of the adjustments don't need regular adjustments. If your machine is adjusted to the tape you wish to use, it's very likely that it doesn't need adjusting. If it isn't and you have someone with all the equipment to do the adjustments for you, you'll probably never have to do it again.
The only adjustments that will need adjusting are the heads. Because of the normal wear experienced by the head surface as well as the guides, minor tweaks of the head adjustment are needed over the life of the heads.
If you haven't already and you are new to magnetic tape, check out the "Beginners Guide" located in a sticky above the General Forum.
In the meantime, you can download the service manual and schematics here (free after you register with the site).
http://www.hifiengine.com/library.shtml
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Thank you Steve. I am familiar to open reel decks I have a Technics RS1500 and ordered a tape path modification kit. I can do only this kind of mechanical things but not the electronics. I have also calibrated the Technics according to RMGI tapes it is good when the bias and eq at 2/2 position. 1500 has at least 3 modes for bias and eq. But 1520 have fine tune knobs additionally to these 3 modes.
Regards.
Ural