I worked directly for Otari during the halcyon days when these were sold from new and have a soft spot for them as a result. I had an ongoing commercial relationship with the company after I left their direct employ as I represented their machines in the northwest until they ceased distribution through their pro channel. Those are my caveats and proformas but it has been quite some time since.
Typical S/N ratios hovered in the mid 60s for new machines so I immediately suspected a problem with Amir’s sample. Not Amir’s measurements of course but rather with the deck.
This could be down to any number of variables including age, calibration of eq or bias, tape age and or compatibility with existing settings, worn heads or the like And there are plenty of other potential problem areas for a machine as old as any of these are at this point.
Regarding heads, these were typically supplied by Nortronics for the MX5050 series although 1/2” 8 track units received heads made in house by Otari. The standard 1/4“ heads were typically replaced when worn rather than being relapped as this was most cost effective and generally results in faster, more convenient and generally more satisfying repair. For instance, the standard heads must be relapped with care since they aren’t exceptionally meaty and require a light touch with the abrasives if one doesn’t want to overcook the end product. At the time, getting new heads for Otari or Teac semi pro machines was not prohibitively expensive. New and remanufactured heads for most Otari models are still available from JRF Magnetics (John French) who supplied service and spares even when Otari was still in the business. A reliable source, that’s where I’d go to find replacement heads for this and other quality recorders.
By the way, the 5050 series was the entry level for Otari recorders, this including Amir’s unit. 5050s were made across three generations with many sub variants in between and some final production that might loosely be considered a fourth generation but was really a repackaging. Silver front units are the oldest with the rest of the one box 5050 two tracks generally being black. This is just an easy way to recognize the earliest units which are less fully featured and IMO are a little less desirable than later production.
All 5050 series however hewed to the same design philosophy which, broadly speaking, attempted to provide a full range of pro features at an acceptably sensible premium over lesser, more consumer focused decks. Common features include front panel bias and eq controls, 1kHz oscillator to set bias, splicing block on head cover, pro level inputs/outputs on xlr connectors-not all of which models were truly delivered truly balanced, transformers being an option on many early 5050s including the well regarded 1/2 inch eight track (8D). If you get a 5050 don’t automatically assume the XLR connector means you have true balanced ins and outs. Some do, some don’t depending on vintage and options specified for the particular model and the original buyer’s choice of transformers.
it’s been many years since I or anybody else for that matter has worked for Otari in the capacity of supplying tape machines but i will keep an eye on this thread and stand by especially if I can answrer any questions (big if!) owners may have about the many variations these machines were originally sold in.
