Name: John Dexter Marston and Mike Franz Novak aka Dexter + Franz
Nationality: American
Current release: Dexter+Franz's Flamingo Heights is out via Nudie or from the Dexter+Franz bandcamp.

Tool of Creation: Otari MX5050
Type of Tool: Reel to Reel Tape Deck
Designed by: Otari Inc.
Country of origin: Japanese
Years produced: 1978 /early 80s

If you enjoyed these thoughts by Dexter + Franz about the Otari MX5050 and would like to find out more about their music, visit them on bandcamp.

For a deeper dive, read our earlier Dexter+Franz interview.



What was your first encounter with the Otari MX5050?

Franz: I first became aware of this tape machine while I was interning at a recording studio when I moved to Chicago. The engineer was using it for tape slap back, and I immediately became interested in the process.

Just like any other piece of equipment, the Otari MX5050 has a rich history. Are you interested in it? And if so, what are some of the key points from this history for you personally?

Franz: I don’t know much about the history of this machine. It seemed to be quite cutting edge for when it came out (early 80s).

For an eight track 1/2” tape recording, it is very compact, but no corners are cut and the quality feels amazing.

What, to you, are some of the most interesting recordings made with the Otari MX5050?

Franz: Flamingo Heights by Dexter+Franz ;)

What interests you about the Otari MX5050 in terms of it contributing to your creative ideals?

Franz: It’s all about the limitations!

Working on tape, you have a certain number of tracks to fill up (8 in our case) and a certain amount of recording time. You have to be very intentional with what you end up keeping.

What are some of the stand-out features from your point of view?

Franz: The MX5050 features handy toggle switches on the front panel which makes it perfect for recording yourself. Switching and arming tracks is a breeze.

It also has vari-speed functionality which is fun to play with.

Prior to using it for the first time, how did you acquaint yourself with the Otari MX5050? Will you usually consult a manual before starting to work with a new device – and what was that like for the Otari MX5050?

Franz: I learned how to use this machine by making a record on it. You get the hang of it after a while.

When I eventually bought my own machine, it did come with a manual which I have referenced, especially for the calibration notes.

Tell me about your use of the Otari on Flamingo Heights?

Franz: For our desert session, we borrowed an Otari from another LA musician named Joey Quinones. He was generous enough to trust us with it. Even though we didn’t know what we would be recording, we knew we wanted to use a tape machine.

This was the same model I have at my studio in Chicago, so I was already very familiar with it. The machine had such a strong impact on our work flow that Dexter ended up buying one shortly after our session!

How would you describe the sonic potential of the Otari MX5050?

Franz: It’s a recorder, so by design the potential is only limited by your input.

Dexter: Although I have heard about Love Magnet Electronics in LA who can mod MX5050s to sync via control voltage. The idea is you can tempo sync tape loops live with other synths, drum machines or sequencers.

So it really opens up the MX5050 to be more like a composition tool and not just a recorder.

In which way does the Otari MX5050 influence musical results and what kind of compositions does it encourage / foster?

Dexter: I always use mine now for any sort of ambient or improvisational music.

If you’re working on a computer, it’s very easy to just keep adding layer after layer but with the Otari, you have to be very methodical and intentional with your instrument and arrangement choices.

More generally, how do you see the relationship between your instruments and the music you make?

Dexter: I’ve spent my entire life slowly curating the collection of instruments that inspires me and at this point the collection is quite large! Now I’m at the point where I might not touch something for years but when I’m looking for a new idea I’ll open the closet, brush of the dust and come back to something that I haven’t used in years.

There is something magical about coming back to one of your instruments you haven’t used it a long time. Almost like there is a ghostly memory of your past musical ideas still inside the instrument, but time has passed and you’re a different person with maybe new tastes or skills so the old now feels familiar but new again.

Some see instruments and equipment as far less important than actual creativity, others feel they go hand in hand. What's your take on that?

Franz: Instruments can inspire creativity.

For our work on the Flamingo Heights record, we had a small selection of instruments on hand and those shaped the sonic palate of album.

In the light of picking your tools, how would you describe your views on topics like originality and innovation versus perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

Franz: I think both are important. Looking forward with a reverence to the past.

I’m a self described vintage gear nut. I like tactile things and find them more inspiring than looking at a screen for hours on end.

However, using the old to create the new has always been the goal.

How does the Otari MX5050 interact with some of the other tools in your studio?

Franz: For our desert sessions, the Otari was the heart of the operation. Everything ended up on the tape machine.

Dexter: At my home studio I have all of my synths and keyboards wired into a central patch bay which can then either be patched into my computer interface or directly into the MX5050.

Working with a tape machine can be a bit cumbersome, so I try to do my best to make it as easy as possible to get recording quickly.

Are there other artists working with the Otari MX5050 whose work you find inspiring? What do you appreciate about their take on it?

Dexter: Jamie Lidell had his MX5050 modded with CV. The video demonstration he did for his “Hanging Out With Audiophiles” podcast is pretty wild.



I’m not sure how it all works, but the possibilities seems pretty intriguing for anyone making instrumental ambient music. Maybe some day I’ll mod mine!