Just got this Otari...

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I bought the complete Service Manual from Ebay for $25.00 and the same amount for shipping. Seems like a lot to ship a book, but what could I do? I am new to the forum, so I will try to do some searching before asking a bunch of questions that you guys have already heard a million times. But if you want to make any suggestions for a first time R2R owner...
I do not have a mixer for it yet. Will probably record to tape and then hopefully A/D to a friends computer to finish the process.
I just paid $400.00 from Craigslist. The guy had been using it, but said it is easier for him to use his 1/4" Tascam. Whatever, maybe by the end of the year I will have figured everything out. Too new to post pictures I guess. :)
Thank You
 
Talldog said:
Which Otari did you get? How many tracks?
Click to expand...

Sorry about that. I tried to post a bunch of pictures that would have addressed those types of questions. But as I found out, a new member can't post photos. Ssssssooooo...

Otari 50/50
1/2"
8 track
It powers up and records. I just need to get a few things for it, and also learn about alignment, calibration, degaussing, etc. etc.
Thanks Again
 
That's a nice one. I think you need 5 or 10 posts before you can put up a picture. You are really going to need a mixer to make this work.
 
Hey Talldog, looks like its just you and me.
But yes, you are absolutely correct. A mixer it is. Talked to the guys at Sweetwater a couple of times and I ordered one of these. (can't post a link :mad:)
For better or worse, 'till death do us part, I bought a Soundcraft MFX8


Jumping in head first. Wish me luck.
Thank You
 
you need cabling too. watch out cuz the MX5050-8 has unbalanced XLRs with pin 3 hot. threw me for a loop at first, I had to re-solder all my snakes.

more people may jump in if you ask more specific questions.
 
Hi_Flyer said:
you need cabling too. watch out cuz the MX5050-8 has unbalanced XLRs with pin 3 hot. threw me for a loop at first, I had to re-solder all my snakes.

more people may jump in if you ask more specific questions.
Click to expand...

Thanks for the reminder . I had just recently read about that condition, and then promptly forgotten all about it. My machine did come with a snake, but it is XLR(F) to RCA(M).
But back to the Pin 3 Hot... I imagine this will affect me with any XLR going from my mixer to the Otari, and also any XLR from the Otari to some kind of A/D converter when going into a computer?
Man-O-Man. There is a lot to think about here. In all honesty, I figure it will take me the rest of 2008 to learn my way through this, and also to acquire all cables, schematics, gadgets, that I will need.
I would welcome any and all suggestions/comments. I do not even know what kind of tape to get, or where to get it. We have a large assortment of dynamic, "vocal" mics and one entry level condenser mic (Rode NT1-A or something like that). But I guess mics are a different discussion area than Analog, I definitely will not ask those types of questions on this forum.
Was considering sending the heads to JRF Analog to see what they think of the condition.
Thanks for all of the help so far. I really do appreciate it.
Thank You
 
Backline, welcome. Glad to have you here!

As soon as you get another post or two you can attach pictures to your posts, two each post at up to 64kb (or you can link larger pictures in greater quantity if you have a place to put them up on the internet). Take some pics of the heads and post them up. Between the regulars here we can, depending on the quality of the pics :p probably give you a pretty good idea of what condition your tape path and heads are in okay? That will save you the time and expense of sending them to JRF. That's no knock on JRF by any means...awesome, awesome outfit, its just that if your heads are in decent shape you'll save some bones for when it truly is time. If we can't figure it out than pull the headblock and send 'em on their way. ;)

You are exactly where I was 2 years ago, though I think you have more experience and knowledge at this stage than I did back then.

Can I recommend a thread for you to read? Not trying to shirk real-time direct involvement with you here, but it might have some insights for you.

You say "the rest of 2008"...I started in the fall of 2006 and I'm still working on it :D:rolleyes::o. But its been more learning than anything else and moonlighting at that, and I think I've taken it to some extremes, but it has been worth it. Your Otari deck is too.

So with that, read, skim, whatever this thread on my journey with my Tascam 58. I hope it gives you some perspective, but keep this thread here going. We'd love to see your deck up and running. ;)
 
sweetbeats said:
Backline, welcome. Glad to have you here!


So with that, read, skim, whatever this thread[/URL] on my journey with my Tascam 58. I hope it gives you some perspective, but keep this thread here going. We'd love to see your deck up and running. ;)
Click to expand...

Fourteen Pages!!!!
Guess I will have my secretary "hold all calls". ;)
But yes, thanks for that link. I will give it a good going over. Just got back from UPS. My heads are on their way to JRF. They seem like honest guys. The heads may not have "needed" to go there, but whatever. At least I will be starting from ground zero as far as the heads are concerned.
I do have one question, and it may be answered in Sweetbeats link. But, I bought a "Service Manual" from Ebay which turned out to be a bunch of schematics. Those might prove to be worth their weight in gold some day. But right now I could really use a manual that explains all the functions, cleaning, calibration, degaussing etc. etc. Is a book like that available from somewhere?
Thank You
 
OK, no closeups per say. But this is the best I can do with a camera. Guess I need to read the manual.















 
c-o-o-l deck, backline...

One thing I learned on this forum for taking shots of the heads is to slide an index card up to them. It keeps things nice and bright but reduces the glare and reflection of the flash so you can really see what's going on there, but your pictures are telling.

If you have the funds you can't go wrong sending your heads to JRF Magnetics. They are top notch from everything I have read and you will, at the very least get a reliable head report, and at the most you'll have them lap and align the heads...you sent them the whole headblock with all the heads mounted to it right?

If you figure that camera out (although your pictures were not bad) and you can get a macro shot or something in close to one of the heads, especially the repro head (the one on the right), I'd be interested to see that. You definitiely have some hours on that deck, and I wanted to see if the head gaps were opening up at all as presented very well on this page.

I can see its going to need some cleaning up and some repairs, but it is a cool deck. :cool:

I bought a "Service Manual" from Ebay which turned out to be a bunch of schematics. Those might prove to be worth their weight in gold some day. But right now I could really use a manual that explains all the functions, cleaning, calibration, degaussing etc. etc.
Click to expand...

So are there just schematics in the Service Manual you got (which, depending on far down the rabbit hole you go with this, they will be very special...I had no idea what to do with them when I started, but I'm comfortable with them now...don't know what everything does but I can use them to do basic troubleshooting and at least they help me ask a lot of rookie questions :D)??

Usually, at least with the Tascam manuals and the Fostex manuals I have the Service Manual includes all the maintenance/adjusting/servicing information along with PCB layouts, parts lists and schematics. Tell us more about what you got.

Sounds like you are, at the very least, needing an Owner's or Operations Manual.

Have to see what other Otari owners have to say about that. Tascam is a great source for their gear, but I don't know about Otari. I'm sure you can find one by Googling.

I'd say step one would include getting the manuals, a demag unit (get the Han-D-Mag...$60-80, but worth every penny and others will agree), some 91% or 99% anhydrous isopropyl alcohol or good quality denatured alcohol and cotton swabs and 100% cotton makeup remover pads for cleaning the tape path, and rolling tape to see what you've got. I see you have some tape...what kind is it??

I hate to be the bearer of a negative opinon, but I think your selection of a mixer is going to be an exercise in frustration and disappointment for what you are wanting to do. It is a fine mixer. I'm sure it sounds nice and it has some nice features, but since it is not an "inline" mixer (no way to independently switch between or route line and mic inputs with them connected simultaneously), and no direct outs (an output on each channel strip that sources directly after each channel fader...without it you have no way to push your levels going to tape...you can use a modified insert cable to use the insert jacks as direct sends but they are pre-fader pre-eq...you'll clip your head amp before you are pushing your level to tape to take advantage of that nice harmonic tape distortion), you'll be limited to recording 4 tracks at a time and micky-mousing the patching for tape returns.

Fine mixer, but $500 of gear that is not really built for what you are doing. You'd be better off with something like this IMHO. It is what we technically call a recording or inline mixer. You can take the $300-400 you save and get your MRL calibration tape, demag unit and such. The guys at Sweetwater didn't do you any favors or didn't understand what you needed the mixer for.
 
Yeah, that mixer. One of our amp techs was just saying the same thing, so I canceled it. I am still having a hard time understanding exactly what a in line mixer is. Not sure if I can afford a new one. Would have no problem buying used, if I new it was in good shape under all those knobs and sliders. Oh Well, the journey continues. Thanks for the tip on the Han-D-Mag. Will have to get one of those in the near future. Recording is "cheap, fun, and easy".:rolleyes:
 
Inline mixer...

Look at that eBay listing for the Tascam 1508...each channel strip features the following inputs and outputs:

  • Mic in (XLR)
  • Line in (1/4")
  • Tape in (RCA)
  • Direct out (1/4")
  • Insert I/O (1/4")

The MFX8 features

  • Mic in (XLR)
  • Line in (1/4")
  • Insert I/O (1/4")

The Soundcraft lacks that post-fader direct out for each channel strip, and the additional line-level TAPE input. Here's the real trick. Look at the picture below from the 1508 listing...at the top left of the picture you can see a TAPE switch right below the TRIM knob...this is a convenience feature of an inline mixer that allows you to have your tape returns (one for each channel strip) permanently hooked up for the mixdown stage or for monitoring during overdubbing. When you want to "listen" to a track from the deck you simply depress the switch and now the signal going to the TRIM knob is no longer the MIC or LINE input, but the TAPE input. You can still leave all your other input sources connected, but you've switched in the TAPE input with that switch...multiple sources connected "inline" to one channel strip...the other thing is down in the AUX section...The aux sends on this mixer can be switched to source their input either pre-fader or post-fader from the MIC or LINE input, OR the TAPE input. This makes it possible to have mics or line-level sources connected to a channel strip and be mixing those to the direct outs or group or master outs and independently sourcing the TAPE inputs at the aux sends for monitor mixes during overdubbing. Does that make sense?

The biggie that the Souncraft is missing though is the direct outputs. Your TRIM knob boosts the source signal to a nominal operating level so that it is as high as possible over the noise floor of the mixer. Then at the end of the channel strip is the fader which sets the level of the signal as it leaves the strip, either to the direct out or on to the mix buss(es). In this way your level control is independent where it comes into the mixer and where it leaves the channel strip. This is important. Group and master faders give even further control of the level if needed. The only way for the signal to come out of an individual channel strip on the MFX8 is to make or buy a special cable that turns the INSERT jack into a direct out, but the source of the INSERT jack is typically in between the TRIM pot and whatever comes directly after the TRIM pot in the signal path, so your only level control is the same as that which you use to set the nominal level coming into the channel. That is typically going to be around 0dBu or maybe +3 or +6...depends on the mixer...something like that. That is clipping level for the head amp that the TRIM pot controls. Well, sourcing the send to the tape deck right at that point is going to be a much lower level than a typical tape deck can handle...think tape hiss and missing out on all that juicy harmonic distortion. Tape sounds good in part because of that harmonic distortion and that's why you want to have the flexibility to control your levels to tape...maybe your peaks are +9, +12...+18...depends on the deck, the tape, the setup, and the source material and what sound you want to reach but you get the point. The MFX8 has 4 group outputs, so that is why I'm saying you'd only be able to send 4 good signals to the deck at a time by routing 4 channels individually to groups 1 ~ 4...the group out jacks are all post-fader...direct outs for the groups if you will. Yes you can get 8 channels to the deck at a time with the MFX8, but they would all be pre-eq, pre-fade and so on. Very limited. That is more appropriate for DAW work since converters distort at 0dBu anyway, and most do their mixing in the DAW anyway so pre-fade, pre-eq is no big deal. Its different with tape.

If I were you, I'd try to find a Tascam M-308, M-312, M-1508 or M-1516 local to you. The M-300 series mixers have a particular following because they were heartily built, relatively good sounding mixers and really were feature packed for their size. The 1500 series are great as well, and may be less problematic at this age just because they are newer, but I don't consider them to be as ruggedly constructed. Equally impressive in features though, and good sounding. All of them were well-built though and don't assume that it will automatically have problems due to its age. For any of these mixers you will spend 100's less than what you were looking at on the MFX8, and they are built for what you are doing.

Good luck finding a new small-format inline mixer truly built for 8 or more track recording, and if you do find it its gonna be $$$.

My 2p.
 

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wow, I have never seen an MX5050-8 that looks like that. what year is it? If you don't know, there is a way to date it using the serial number.

what is your budget on the mixer?
 
Hi_Flyer said:
wow, I have never seen an MX5050-8 that looks like that. what year is it? If you don't know, there is a way to date it using the serial number.

what is your budget on the mixer?
Click to expand...

I have no idea when it was made. I just assumed it was mid 80's.
Serial#1800Y058Q

Budget? Well, i was going to spend $500.00 on the wrong mixer.;)
 
Sweetbeats -
Once again, thank you for all of the great info and help. I appreciate your time.
 
Hi_Flyer said:
wow, I have never seen an MX5050-8 that looks like that. what year is it? If you don't know, there is a way to date it using the serial number.
Click to expand...
It's a Mk1. It came in two units, the transport and the electronics. This one has been put in a fancy trolley, but otherwise looks like a regular 5050 to me. The mk2 and mk3 were integrated into a single unit.
 
OK, so its an older model. good look. that serial number indicates it was made in 1980, right?

hungovermorning- You can use any snakes (I have Hosa) but you should switch pin 2 and pin 3.
 
Hi_Flyer said:
wow, I have never seen an MX5050-8 that looks like that. what year is it? If you don't know, there is a way to date it using the serial number.

what is your budget on the mixer?
Click to expand...
Hi everyone, this is my first post. please forgive any newbie mistakes.

That deck is an Otari MX-5050 8 SHD. I know this because I have just acquired one myself and I'm cleaning it up. My serial number is 17806132N. I am the caretaker of this as my friends recently had a baby and could not keep this in the babies room any longer. Lucky me.
Anyway, I'm searching for documentation on this myself and I started by contacting Otari first.

My deck is great except for one problem. The bigger wheel after the tape passes all the heads is not moving normally. I assume that when stopped or rewinding or F.Forwarding, this wheel is supposed to move up which causes the metal pins between the heads to lower and move the tape away from the heads so you can wind the tape and not listen to speed past the heads.

I can manually push the wheel into its top most position and rewind or forward. As soon as I hit play you can see it lower itself until a click is heard at which point the reels finally spin (which seems sluggish- I'd expect it to be little quicker). Anyway this is the only thing that seems to need to be addressed. As for the pre's they all function great! all the heads work on playback but until I get a new tape, I can't tell if the repro head is working yet.

Luckily I live in Austin and there is a huge tape community here.

Anyway, just thought I'd make my first post here and at least clear up his model of deck.
 
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