So you think you want to play with tape: An Otari Story

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dotneck335

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Joined 2012
kevinkr: "My MX-5050s are long, long gone. These days I primarily use a Studer A810 and very occasionally one of my two MX-50s; an N and an NII. Glad the thread lives on."
Refresh my memory---is the MX-50 older or newer than the MX-5050? What is better about the MX-50 over the MX-5050?
 
kevinkr

kevinkr

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kta-hifi.net
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The MX-50 is a contemporary of the MX-5050 series but is an entirely different machine. Only available in 2 track format. Mine are 1988 (N) and 1992 NII series MX-50s. There is a DIN version as well. The transport is very different from the MX-5050, reel tables and nails are conventional locking types - no clamps needed. The unit does not support sound on sound, but will play/record IEC and NAB EQ tapes. The signal path is more direct, but not particularly simple. 3 Head only. While not quite a match sonically to an A810, it is the Otari I generally recommend to friends looking for an affordable 2 track machine, quite nice, and somewhat gentler on tape. It lacks the sophisticated tape tension servo of the A810 amongst other things. (The electronicss are more sophisticated than MKIII and BII series MX-5050, more less the same as BIII and MKIV) The MX-55 is a bit nicer, but generally a lot more money - I don't currently have one.

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anatech

anatech

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I don't think any other brand is more gentle in tape handling than a Studer.

The Tascam BR-20 (had one) and 52 machines also handle tape very nicely. Sound quality is also up there. These are solid recommendations.
 
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dotneck335

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Joined 2012
"I don't think any other brand is more gentle in tape handling than a Studer."
Studers are FINE machines and among the VERY best. HOWEVER, IMO, the best tape handling machine in the world of analog audio is the Ampex ATR-100. The best tape handling machine ever built would be the Ampex AVR-1, a quadraplex video machine---built in the early 70s when it cost $250,000!
 
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anatech

anatech

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Well, the Ampex AVR-1 is video product. Audio guys would never see one. At that time to get the HF response you'd need extremely good tape handling and head contact. Tensions would be critical in video. This has just linear tape travel doesn't it? Or did it have a rotating head like VTRs I used?

Anyway, entirely different application and the audio response on even rough machines blow that one away. Still, pretty amazing and expensive for the time. I can't imagine any recording studio paying near $250K for a machine, and they needed two locked 24 track machines for 46 tracks at times. I didn't see Ampex too much, but Studer A-800 machines ruled. I honestly have no idea how tape could be handled more gently. Tape was never jerked, startup being extremely smooth.

Too bad I didn't get a chance to see an ATR-100 in operation.
 
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Mister Audio

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Joined 2013
tom31415926 said:
In the 1980's I worked at a studio that had two MX5050s. It was my job to align them, replace heads (we used them a lot), and generally make sure they were meeting spec. I also maintained Ampex 350s, Ampex 440s, and even an old MR70 (huge!).

The 5050s did a great job on location recording, and were a go-to machine for voice-over original recordings (we did a lot of radio spots). I recall they had a switchable playback head, usually used for 1/4 track playback. We used the 440s for in-studio high-quality mastering.

It was a lot of fun working there (while a grad student in EE). Glad to see someone using them. Good job getting them running! I hope you can get tape!

Tom
Click to expand...
How amazingly nostalgic for me >
In the 80's I worked in the technical/service dept. of the sole importer-distributor of all Otari products in Australia.
I was the guy that aligned & calibrated machines to any tape / SRL & EQ requirements. We had some big orders for the ABC.
I was also replacing worn heads + alignment. ( height, wrap, zenith, azimuth )
The 2 Ch. MX 5050's were indeed an industry 'work hoarse', always a pleasure to work on due to good Japanese quality.
After passing years, in a mastering position it became apparent that for old-decaying-shedding master tapes there was
one definite shortcoming of the MX machines, and that was the lack of rotating tape guides. Except for the 'counter wheel'
they are all fixed guides. This played havoc for tape-shed and is also why machines like the Studer A80 is superior for the
purpose of archival transfer re-mastering. I found it interesting that regarding age, two of the very best tapes were >
3M Scotch tape and EMI tape. (good luck for the Beatles) There was a very bad period of time for Ampex tape.
Years later I was the service & maintenance technician for a high-speed tape duplication plant > also Otari machines.
I was always a little amazed that tape bias frequencies were full-on radio frequency > The 32 X speed was 1 Mhz.
From memory, the 64 X speed was 4 Mhz. ( can you imagine the head-gap required for 15Khz becoming 960Khz ? )
Once again, the Master-drive and slave recorders were a pleasure to work on due to great Japanese quality & parts.

Anyway, this is a highly nostalgic thread for me :)
 
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