manual - mindprint .1. the input section the dtcâ„¢ has a comprehensive input...

Download MANUAL - Mindprint .1. The Input Section The DTCâ„¢ has a comprehensive input section consisting of a line-level input, an instrument input and a microphone input. You can add

Post on 05-Feb-2018




1 download

Embed Size (px)

















  • Important:Please read safety instructions (on page 32) before use!

    Wichtig:Bitte lesen Sie vor der Inbetriebnahme die Sicherheits-hinweise auf Seite 32!


  • Welcome!Today the secret of expensive sound no longer lies in tape machines orcostly mixing consoles. The key to unlocking the secret of sophisticatedsound and getting top-notch tone in the can is translating all theintricacies of signals into the digital world. And that, in a nutshell, is what the new MindPrint DTC does.

    The MindPrint Dual Tube Channel signal processor combines two high-quality microphonepreamps, equalizers and compressor/limiters in one unit, giving you all the functionality of afully-loaded high-end channel strip. Its unique pairing of tried-and-true analog componentswith the audio fidelity of todays advanced circuit designs will lend your recordingsunparalleled vividness and warmth. And with the optional digital interface in place, the DTC will seamlessly fit into your digital studio environment.

    The people who have joined forces to comprise the MindPrint team share years of experiencefrom the fields of pro audio, tube circuitry, and digital technology. In this new MindPrintproduct, they have applied their collective know-how to meet the expressed wishes of countless studio engineers the world over.

    Over the past several years, modern recording equipment has achieved a very high level ofquality at continually improving prices. Often, however, much of the real potential of therecording is unfortunately lost due to inadequacies at either the input stage, the digitalconversion stage, or the analog circuitry used around the converter.

    The DTC provides precisely this missing link in the signal chain, delivering those very elements and features that bring out the best of your other recording equipment. The resulting sound is more dimensional, more vivid and more truly musical.

    One of the underlying design principles behind the DTC is optimization of the signal paths.In each and every design decision the shortest possible signal path was chosen, bypassingunneeded components completely.

    All in all, the very effective filtering, the opto/tube-compressor and the optional digital inputsand outputs (24-bit/96 kHz) combine to make the DTC a universal processing center forevery kind of audio signal.

    We wish you a great deal of enjoyment and success with your new DTC!

    St. Wendel, GermanyDecember 2001



    INFOIn the digital age achieving a higher level of quality issomething that is nearly impossible to do with justhigher sampling rates or bit depths. Digitalprocessing quality is better than ever, and hasreached a level (with the new DVD standard) thatmeets even the highest sonic and dynamicrequirements. With a sampling rate of 96 kHz we canreproduce frequencies that are more than double thehighest frequencies man's hearing mechanism iscapable of perceiving. A resolution of 24 bits offers usa dynamic range that can capture sound at pressurelevels that go far beyond the threshold of pain ofhuman hearing. In the past, our attempt toreproduce all the perceptible nuances of a sound wasseverely limited by the available technology; todaywe are much closer to capturing all the details of asound in its full glory.

    QUESTION: Since digital technology today is capableof such high resolution, one would think that the bestand shortest connection would be a pure analog-to-digital converter. So why is MindPrint nowdeveloping high-end analog technology?

    ANSWER: Even more important than the quality ofthe digital converter itself is the quality of the analogcircuitry preceding the converter. Today the only partof the signal chain that is subject to loss is the analogsection that prepares the signal right before it hitsthe digital realm. The task of the DTC is to makethis part of the path as good and as short as possible. The thing to keep in mind is that the sound ofinstruments and microphones occur in the analogrealm, as waves and current, and not as bits andsamples. And waves and current are very sensitive asto how they react to physical quantities such asimpedance, capacitance, and induction. And onlywhen we pay proper attention to these quantities,and waves and current are turned into the "rightform," do we stand a good chance of performing aproper conversion to digital. Technically speaking, thejob of the DTC is to take a very weak modulatingelectrical signal with a very broad frequency rangeand amplify it and "shape" it. But this electrical signalhas its own peculiarities: depending on whether theinduction and the capacitance is set up in the circuitto run in parallel or in series, these can have adamping effect on the bass and treble. With allanalog sound sources, whether pickup ormicrophone, or even a normal cable, the capacitanceand inductance play a role and influence the sound.The special input circuitry of the DTC respects themin a very special way, so that they do have thenecessary "raw form" required for the subsequentfrequency and dynamics processing.




    Table of Contents:

    1. The Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62. Equalization: Frequency Processing . . . . . . . . . . . . . 103. Compressor/Limiter: Dynamics Processing. . . . . . . . 144. The Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175. Technical Specifications . . . . . . . . . . . . . . . . . . . . . . 186. Appendix: The Digital Option . . . . . . . . . . . . . . . . . 19

  • 1. The Input Section

    The DTC has a comprehensive input sectionconsisting of a line-level input, an instrumentinput and a microphone input. You can add a digital input by installing the MindPrint DI-Mod 24/96 expansion module.

    1.1 Microphone input

    Connections:An XLR jack is provided on the back of the DTCfor each channel for microphones of all types. To accommodate condenser microphones, 48-volt phantom power can be applied from a switch on the front panel. Impedance is 5 kOhms.

    Operation:MIC IN: switches on the microphone input. Thisswitch has priority over all other input switches.

    MIC GAIN: adjusts the input sensitivity of themicrophone signal within a range of +20 dB to+72 dB.

    -20 db: switches a passive pad of -20 dB beforethe microphone channel preamp stage to avoiddistortion from high-output microphones.

    48 V: applies phantom power to the channel.

    Warning: DO NOT turn on the 48Vphantom power with unbalancedmicrophones or ribbon mics, as these can be damaged by the phantom power!



    High-Zensitivity Transformer

    The complex interplay of impedance, capacitanceand induction in the input transformer is responsiblefor the optimal matching of the microphone'sdiaphragm to its electronics, and aids considerably inenabling the microphone to reproduce sound in anatural manner. MindPrint has researched thesephenomena and collaborated with the companyHauffe to develop a new transformer. This sophisticated transformer possesses theadvantageous sound characteristics known from oldermodels, but avoids their common side effects, such asphase distortion in the treble region. It can do sobecause it has such an extremely broad frequencyrange (up to 127 kHz) that the phase distortionoccurs out of the range of human hearing. Furthermore, because it has a turns ratio of 1:5 thetransformer makes life easier for the subsequentamplifier stage, thereby reduces distortion and makes it possible to achieve an extremely goodsignal-to-noise ratio.

    Inner workings of the High-Zensitivity Transformer

    QUESTION: At 5 kOhms, the impedance of themicrophone input is considerably higher thannormal. Why does MindPrint deviate so greatly from the 600-Ohm standard?

    ANSWER: The impedance of microphones is not aconstant but is frequency dependent. Within thefrequency range of microphones there exist certainimpedance peaks which can far exceed 1000 Ohms. If the input impedance of a microphone preamp isless, these peaks are damped, which in effectautomatically changes the frequency response. Sincethese peaks occur especially in the treble region, theautomatic damping of low-impedance preamps leadsto a loss of brilliance. The DTC, due to its high-impedance design, can handle even extreme peaksand thereby avoids losses in the highs. This especiallymakes dynamic microphones sound more transparentand natural. Condenser microphones also soundbetter, since their amplifiers, which are not loadeddown as much, can operate with less distortion.

    MIC IN A


  • 1.2 Line Input

    Connections:On the rear panel, the DTC includes a SENDand RETURN jack on each channel for insertingexternal signal processors into the DTC signalpath. The connectors are stereo-style balancedTip-Ring-Sleeve jacks, with the Tip hot (positive)and the Ring cold (negative). The Sleeve isconnected to ground. When you insert anunbalanced mono 1/4-inch plug, the RETURNautomatically switches to unbalanced operating mode.

    Operation:LINE/INSTR GAIN: adjusts the preamplificationlevel of LINE IN, INSTRUMENT IN, and DIGITAL IN.

    Note: Ensure that the MIC IN button isnot pressed in.

    1.3 Instrument Input

    Connections:A 1/4-inch mono input jack for connectinginstruments is located on the front panel of theunit. When you insert a plug into this jack, theLine input and the Digital input are automaticallyswitched off. The sensitivity of the Instrumentinput was chosen so that electric guitars and bassguitars could be connected directly.

    Operation:LINE/INSTR GAIN: adjusts the preamplificationlevel of LINE IN, INSTRUMENT IN, and DIGITAL IN.



View more >