Tascam 58 or Otari MX-5050-8?

sweetbeats

Reel deep thoughts...
Random question...curious about opinions please...

If somebody were to offer you your choice of a Tascam 58 or an Otari MX-5050-8 in equal condition for free which would you choose and why?

And no, I'm not in such a situation; just one of those goofy things I think about.
 
I think the 5050-8 is a newer vintage, and it has a great rep overall.
Not that the 58 is "bad"...I just don't think it came close to seeing the commercial use action the 5050 has over the years of production...the 5050 has a proven track record.

Funny you mention it...there's a dingle berry on eBay just listed a 5050-8...asking $2500 for it. :D
I mean...even in top shape, that's a bit overpriced seeing you could probably find an MX-80 or even maybe an MTR 90 for that price.
 
Random question...curious about opinions please...

If somebody were to offer you your choice of a Tascam 58 or an Otari MX-5050-8 in equal condition for free which would you choose and why?

And no, I'm not in such a situation; just one of those goofy things I think about.

Never owned or used an Otari. Just have gotten the impression they are good machines. I've had a lot of tascam gear over the years and have developed a fondness and a sense of trust in the brand.
In this scenario, given the choice (for free), I'd take the Otari. For no other reason than to own one, since I never have. Of course this would hinge on both machines being in good workable condition.
 
The individually selectable sel-rep and repro output is a nice Otari feature if you're into tape effects like ADT or flanging. Also, the Otari's built-in oscillator is very handy in some situations (you can do a record alignment without patching into a console oscillator).

OTOH Otari MX5050 series machines are very prone to getting corroded relays (not too hard to replace, but they add up $$).

One other interesting difference is the azimuth adjustment. The Tascam 58 has a weird two screw azimuth adjustmust that it a little trickier to dial in IMO. But I *suspect* it's unusually stable and locked in (a good thing if you're not receiving outside tapes to work on where the azimuth needs to be matched to the printed tones). The later 5050-8s have a very standard azimuth screw (tho the earlier ones have a very weird scheme where you add shims--they presume you'll accept a pretty big error and compensate with the eq adjustments).
 
Thanks for the thoughts, gents.

Interesting in the individually selectable mode control on the Otari. Never noticed that before. That's pretty cool.

I'm really familiar with the 58. The Otari not so much. Reading through the manual for the Otari it looks to me like the 5050-8 does not feature a conprehensive servo constant tension system? Am I seeing that right? The tension system looks much more sophisticated on the 58. And the 58 (and MS16) have a cool discrete transistor amp stage in the repro amp that eliminates the need for coupling capacitance...pretty neat. And also am I seeing it right there is no scrape flutter idler in the Otari headblock?
 
Regarding the per-channel mode switching...it's more important to have that feature on the 5050-8, because unlike the Tascam, the Otari sync and repro heads do not have identical response. The ideal head gap for a record head and a reproduce head are not the same. Historically head construction technology demanded the record and reproduce heads be of different design to maximize frequency response performance when recording and reproducing. Eventually, manufacturing capability and head design reached a point the gap size could be a compromise for both record and reproduce and still have excellent response. That's like the Tascam. The record/sync head stack and reproduce head stack are identical parts, so it is less critical whether you are monitoring all tracks from the record head or from the reproduce head...global mode switching is fine here. The Otari has different parts for the record/sync headstack and the reproduce headstack...there maybe need to monitor some tracks from the reproduce head while monitoring or recording from/to the record/sync head, even though there would be a time delay between tracks monitored from the reproduce headstack and tracks monitored from the record head. So outside of the ability to do some effects on the Otari you can't do on the Tascam, the per-channel mode switching is unnecessary on the Tascam.
 
Ive had 5050s and a 38 or two. I know, the 38 isnt the same but its genetics are pretty similar.

38 hands down for me (and I still own pristine example even though dont use it). Neither would be mistaken for a pro machine, more pro-sumer. I dont like the tape path on the Otari or the goofy transport logic board on them. Im not anti-Otari either, as I own a couple, a MTR-10 and an MTR-12, both of which have been fantastic machines. Comparing the MTRs to the 5050, you wouldnt even know they come from the same manufacture.
 
The 38 and 58 are very different machines. I get what you are saying about genetics, but they don't share really anything aside from the heads and the reel adapters and tables...

So for you if its hands down 38 against the 5050, I think you'd slam both your fists down forcefully for the 58.

Revox 278?? Never knew they existed until now. Wow! Cool!
 
Should I buy Tascam 58?

Hey,

This question is mainly directed at sweetbeats for obvious reasons, but anybody with a passionate take on the matter please chime in!

There is a Tascam 58 for sale online for $799 OBO that would require shipping. I'm a little new to the game, but suffice it to say I have two broken Tascam 38's that I'm trying to get operational, and I've been trolling all the sites for about a year or so in this regard. I have asked for help many times on this forum. So what I'm saying is: I never see Tascam 58's for sale, I know that they are the top of the line for this line (of Tascam 1/2 8-tracks!), I also think (correct me if I'm wrong) that some of the 38 parts are compatible with the 58? i.e. tape heads, reel motors?...

Since I have no idea if the machine works properly, how likely is it that i will find parts for this machine, and is it worth the attempt? Keep in mind I have a mental illness when it comes to RTR tape machines. The only reason I chose the 38, is because there seems to be quite a lot of spare parts out there. Is there any good chance that I could fix this thing?(the 58)...or is it to rare and obscure at this point to bother? My goal is just to have a smooth running machine that works for a long time, but boy oh boy would i love to have that 58. Conversely, I know that "shipping" can literally destroy these machines.

-Ash
 
There is a Tascam 58 for sale online for $799 OBO that would require shipping.

Yeah I saw that one. That’s a good price for a 58 in the current market...which is way inflated compared to a number of years ago. That would be a good price even if it didn’t include the CS-607 rack and the Rocktron noise reduction...and reel of RMGI tape.

I'm a little new to the game, but suffice it to say I have two broken Tascam 38's that I'm trying to get operational, and I've been trolling all the sites for about a year or so in this regard. I have asked for help many times on this forum. So what I'm saying is: I never see Tascam 58's for sale, I know that they are the top of the line for this line (of Tascam 1/2 8-tracks!), I also think (correct me if I'm wrong) that some of the 38 parts are compatible with the 58? i.e. tape heads, reel motors?...

The “top of the line” for Tascam 1/2” 3-head 8-track machines I consider to be the ATR60-8, though it’s not really a tabletop machine. The 38 and 58 share very little as far as parts. The reel adapters, reel tables and the heads themselves are identical (same as 38, 48, ATR60-8, TSR-8), but the headblock assembly is not compatible at all...reel motors are different. They look the same but they are not compatible. The servo system, though it operates on similar principles is completely different as are the R/P amps...tape path is different, etc.

Since I have no idea if the machine works properly, how likely is it that i will find parts for this machine, and is it worth the attempt?

Just accept 58 parts are rare. Expect if you have one you will be on the hunt for a parts machine which may cost more than $799.

Keep in mind I have a mental illness when it comes to RTR tape machines. The only reason I chose the 38, is because there seems to be quite a lot of spare parts out there. Is there any good chance that I could fix this thing?(the 58)...or is it to rare and obscure at this point to bother?

The 38 is FAR more common. If you are concerned about getting it running and keeping it running, and you’ve been struggling with the 38s, the 58 is probably not a good direction to go in. I will say the seller of the 58 states what amounts to me to describe a fully functional machine, but there were no actual audio-based record or playback tests...the machine reportedly works in record and play modes, and the VU meters respond in play, but you have no idea what’s actually coming off the output jacks, or if anything makes to to tape from the input jacks; definitely not comprehensively tested and the seller is clear about that, and that’s why it’s cheap. So I usually just assume if the deal looks too good there’s a reason. Maybe the seller knows something isn’t right, but it’s over her/his head and to clear her/his conscience it’s being sold for cheap, buyer beware. So that’s why I’m saying assume it needs some work. We also have NO detail as to head condition, so there’s that too. Maybe you can transplant heads from your 38s, but then you still will need to have them setup and maybe relapped before the perform right in the 58 tape path.

My goal is just to have a smooth running machine that works for a long time, but boy oh boy would i love to have that 58. Conversely, I know that "shipping" can literally destroy these machines

And there’s the big rub. I would not have that machine shipped unless the seller could assure me it would be double-boxed and properly dampened, preferably with that expanding foam material. I would rather drive hundreds of miles than worry on top of spending $300+ to ship (which is about what it would be if packed correctly).

Also note this is the unbalanced only 58, not the 58-OB with balanced and unbalanced I/O. Not sure if that matters to you or not but just wanted to make sure you caught that. Also, the addition of the Rocktron noise reduction is nice, but you’re not likely to find anybody else using it if you need to collaborate...it’s a proprietary noise reduction, so that’s done if it’s only you using it, and if you do you will want to hunt for a backup unit for when that one goes belly up, otherwise all your projects tracked using the Rocktron will be nigh unplayable.
 
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