Sony DTC-57ES

The DTC-57ES (aka DTC-67ES in the US) was the replacement for the DTC-55ES (aka DTC-75ES in the US) which was a fairly troublesome deck and also Sony's first deck sporting the well remembered SCMS "feature".

Besides being safer for one's recordings, the DTC-57ES added the date/hour/minutes/seconds recording feature.

The DTC-57ES was also pared down to become the DTC-750, losing along the way its coaxial digital output, its optional "champagne" dressing and sideburns.

Above in the lineup was the DTC-77ES, below were the DTC-670 and the half-sized DTC-P7, the latter being also available under the Aiwa brand.

More importantly, the DTC-57ES had a professional version, PCM-2300, with added professional features like XLR i/os, better boards and mostly... defeatable SCMS.

Analog input recording at 44.1Khz is possible on the professional PCM-2300 but not on its consumer version ; the useless "music scan / AMS" is replaced on the PCM-2300 by the much more useful goodbye to SCMS.
Otherwise, inside, with the exception of the added XLR i/os it is the same deck - kif kif bourricot.

Whether consumer (DTC-57ES) or professional (PCM-2300), three motors were at hand alongwith a Crystal AK5339 for the a/d (in 1bit HDLC fashion) and two dual-channel CXD-2561M for the digital to analog section.
On standard tests, the DTC-57ES had better specs, linearity and s/n ratios than its professional brother :)

Although 44,1Khz analog recording wasn't yet offered (for the consumer version), let alone Super Bit Mapping, Sony sold plenty of DTC-57ES and siblings : Digital Audio Tape in 1991 still had a bright future.