MINDPRINT DTC Especificaciones descargar pdf (Pagina 3)

Welcome!

Today the secret of “expensive” sound no longer lies in tape machines or

costly mixing consoles. The key to unlocking the secret of sophisticated

sound and getting top-notch tone in the can is translating all the

intricacies 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 microphone

preamps, equalizers and compressor/limiters in one unit, giving you all the functionality of a

fully-loaded high-end channel strip. Its unique pairing of tried-and-true analog components

with the audio fidelity of today’s advanced circuit designs will lend your recordings

unparalleled 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 experience

from the fields of pro audio, tube circuitry, and digital technology. In this new MindPrint

product, 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 of

quality at continually improving prices. Often, however, much of the real potential of the

recording is unfortunately lost due to inadequacies at either the input stage, the digital

conversion 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, bypassing

unneeded components completely.

All in all, the very effective filtering, the opto/tube-compressor and the optional digital inputs

and outputs (24-bit/96 kHz) combine to make the DTC™ a universal processing center for

every kind of audio signal.

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

St. Wendel, Germany

December 2001

MindPrint-DTC

INFO

In the digital age achieving a higher level of quality is

something that is nearly impossible to do with just

higher sampling rates or bit depths. Digital

processing quality is better than ever, and has

reached a level (with the new DVD standard) that

meets even the highest sonic and dynamic

requirements. With a sampling rate of 96 kHz we can

reproduce frequencies that are more than double the

highest frequencies man's hearing mechanism is

capable of perceiving. A resolution of 24 bits offers us

a dynamic range that can capture sound at pressure

levels that go far beyond the threshold of pain of

human hearing. In the past, our attempt to

reproduce all the perceptible nuances of a sound was

severely limited by the available technology; today

we are much closer to capturing all the details of a

sound in its full glory.

QUESTION: Since digital technology today is capable

of such high resolution, one would think that the best

and shortest connection would be a pure analog-

to-digital converter. So why is MindPrint now

developing high-end analog technology?

ANSWE R : Even more important than the quality of

the digital converter itself is the quality of the analog

circuitry preceding the converter. Today the only part

of the signal chain that is subject to loss is the analog

section that prepares the signal right before it hits

the digital realm. The task of the DTC™ is to make

this part of the path as good and as short as possible.

The thing to keep in mind is that the sound of

instruments and microphones occur in the analog

realm, as waves and current, and not as bits and

samples. And waves and current are very sensitive as

to how they react to physical quantities such as

impedance, capacitance, and induction. And only

when we pay proper attention to these quantities,

and waves and current are turned into the "right

form," do we stand a good chance of performing a

proper conversion to digital. Technically speaking, the

job of the DTC™ is to take a very weak modulating

electrical signal with a very broad frequency range

and amplify it and "shape" it. But this electrical signal

has its own peculiarities: depending on whether the

induction and the capacitance is set up in the circuit

to run in parallel or in series, these can have a

damping effect on the bass and treble. With all

analog sound sources, whether pickup or

microphone, or even a normal cable, the capacitance

and inductance play a role and influence the sound.

The special input circuitry of the DTC™ respects them

in a very special way, so that they do have the

necessary "raw form" required for the subsequent

frequency and dynamics processing.

ENGLISH

Table of Contents:

1. The Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2. Equalization: Frequency Processing . . . . . . . . . . . . . 10

3. Compressor/Limiter: Dynamics Processing. . . . . . . . 14

4. The Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

5. Technical Specifications . . . . . . . . . . . . . . . . . . . . . . 18

6. Appendix: The Digital Option . . . . . . . . . . . . . . . . . 19

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