Otari MX5050 questions

[Muckelroy]

Sorry to bug you guys again, but rest assured I have done my homework, and have not found the answer to these questions so far. So here goes

My Otari MX5050 1/2" 8 track model number is not followed by a MKII, or MKIII in the model name, and I see NO identification on the machine that says MK-anything on it. So would that mean that it's a MKI? Anything corky about that? (All is says is MX5050.)

Also, i've noticed that the in's and outs of the machine each have a line level "Hi and Lo" level switch. So, does "HI" mean that it's accepting a balanced input level, or does HI mean that it's accepting an unbalanced +4dB level? And how about for the outs?

OK, and here's my last concern -- I intend to use a balanced patch bay setup. The unbalanced direct-outs of the M-308 will be normalled to the tape-inputs of the Otari via the patch bay. However, the inputs of the tape-ins are balanced.

So, if the patch bays, and the patch cables, and the cables running from the patch bay to everything else were all TRS (balanced,) would that cause a dropoff of signal level once the signal gets to the tape ins? If so, can that be fixed by the Hi-lo input level buttons?

(now bear with me.) I also would have the PGM outs running to the patch bay. The PGM outs (buss outs) are switchable from balanced to unbalanced. If I kept them switched to balanced, and sent the balanced PGM out to the balanced tape-in, would that level be significantly hotter than the direct-out unbalanced level, keeping all variables the same? Could it be matched back down if I switched the PGM outs to unbalanced?


ok, sorry for all the question marks. I'm just wondering what does what before I get all these cables. I'm not sure if I should use TS or TRS cables for the direct outs, or if that would make a difference in level consistency for the tape-ins.

-callie-

 

[jpmorris]

My Otari MX5050 1/2" 8 track model number is not followed by a MKII, or MKIII in the model name, and I see NO identification on the machine that says MK-anything on it. So would that mean that it's a MKI? Anything corky about that? (All is says is MX5050.)
-callie-

What's it look like? I'm not sure, but I believe the MK1 came as two units, with separate transport and electronics, like this:

http://cgi.ebay.co.uk/OTARI-MX-5050...yZ109002QQssPageNameZWDVWQQrdZ1QQcmdZViewItem

I'm pretty sure the Mk3 is the one that sits on its back. I don't know about the MK2.

 

[Muckelroy]

No, this one sits on its back, much like the MK III's.

Anywho, I've done some experimenting. Because the direct outs are unbalanced, they provide a poor level of signal to the Otari ins. Even with the switch turned to "lo level input", I still had to crank the input knob all the way up on the otari to get healthy levels, which by that point were polluted with preamp noise.

So I'm left with two options: Outboard mic pre's straight to tape-in, or use the PGM-outs, and kinda mix-n-match while tracking. I think the latter will work great

 

[Bloodbone]

Do you have the manual?

I use a Focusrite pre on mine.It is necessary.

 

[Muckelroy]

Nope, no manual yet.

At first, I thought that the Otari had mic preamps built in, but after trial and error that obviously is not the case. So, I now have three methods of getting mic signal to the Otari: direct out from mixer, PGM (buss) out, or direct mic-pre out.

The latter 2 methods should work great. The only problem with the direct-outs is that they are unbalanced. I ran a TS cable from the direct out, through a DI, and into the Otari in, and even then the signal was significantly lower than through the PGM out. I had to crank the line level on the otari to get any healthy levels.

So, to use the direct-outs, I can either run the direct outs through eight individual output transformers ( ), or try something else. What I'm wondering is, what could that something else be? If, for example, I used TRS cabling from the direct outs, all the way to tape-in, and shorted the tip and the ring leads, say, in the patch bay somewhere, would that even out the signal level and vamp it back up to "balanced" level? My only worry about doing that is that once it reaches the otari input, it will do like any other balanced circuit does, and flip the phasing of the tip and the ring, and cancel out the signal altogether. Would that happen if I shorted tip and ring, without using a bal-unbalanced output transformer?

That's why I'm thinking -- SCREW IT! I'll just use the PGM outs, and/or the mic pre outs for tape inputs. forget the direct outs. (But if there's a way to make the direct-outs work without getting 8 balanced transformers (DI's), I'll do it.)

-callie-

 

[Bloodbone]

If you use the Search function,you will find several threads here that address this.
The manual shows diagrams of how the wiring should be attached to the connectors.I'm no authority on this,but am assuming this is some oddball proprietary way Otari did this.
I do recall that my first attempts yielded unacceptable results.Contacted the seller and bought the Input cables he had built for the unit,and that solved the problem.
Since then I have used my 4 channel Focusrite pre,straight in to the Otari,and had excellent results.

Here is one of the threads:
https://homerecording.com/bbs/showthread.php?t=152753&highlight=otari+cable

 

[Muckelroy]

OK, IT'S OFFICIAL. I'M INSANE

I tore apart my Otari, took out all the I/O cards, just so I could hold the mother card, and look at the circuit print for the inputs.

Here's the verdict.

Pin 3 (tip) --- Signal
Pin 2 (ring) --Ground
Pin 1 (sleeve) --Ground


How frikin wierd. Why would a machine have XLR jacks that aren't even pseudo-balanced? they're sure as hell unbalanced. Does a double-ground really do anything to reduce noise? OK enough ranting. Now I know .

Who needs schematics? They're printed on the circuit cards!

This will certainly change my WHOLE outlook on what cables to buy, and configuration of this setup.