Bedienungsanleitung

LISH
ENG

MANUAL
MindPrint T-Comp

Dear Recording Specialist,

We are pleased that you selected the MindPrint ® T-COMP as your tool of choice
in your quest for high-quality sound.

The T-COMP is a high-quality compressor featuring stereo and dual mono modes. Among the
hallmarks of this device are certainly its ease of use and excellent tone. With the benefit of
authentic tube circuitry, it will make your tracks come with a lavish helping of analog
warmth. And with the optional digital interface, it merges seamlessly into your digital
studio environment.

The engineers of the MindPrint development team are all specialists in their chosen fields,
highly experienced hands at designing tube, audio, mixer and digital technology. These
sound "gurus" invested all of their talents and skills to do justice to the wishes of
numerous recording enthusiasts all over the world.

Modern recording equipment has achieved a very high standard over the last couple of
years and prices have dropped to fairly affordable levels. Unfortunately, many studio
recordings nonetheless fall short of what most consider desirable in audio sound.
Generally, the problem is an absence of analog audio phenomena such as tape saturation
and tube warmth.

The T-COMP puts precisely these missing qualities at your fingertips—all you have to do
is exploit them to make the most of your talents and recording equipment. A classic case of
technology driving inspiration, you will be amazed at the difference. Get ready for a more
intense, vivid and musical sonic experience.

St. Wendel, October 1999

MindPrint T-Comp

14 8 3 0 3 OVER SAT 22 16 12 10 8 7 6 5 4 3 2 1 dB ON 14 8 3 0 3 OVER SAT 22 16 12 10 8 7 6 5 4 3 2 1 dB ON

OUTPUT
INPUT
COMP A ON FILTER COMP B ON FILTER
4 4 4 12 :3.5 15 500 4 4 4 12 :3.5 15 500
3 5 3 5 3 5 8 16 :2.5 :5 10 30 300 800 3 5 3 5 3 5 8 16 :2.5 :5 10 30 300 800

DIGITAL IN :8 5 50 200 1000 :8 5 50 200 1000

2 6 2 6 2 6 4 :1.7
A B 2 6 2 6 2 6 4 :1.7

1 7 1 7 1 7 1 25 :1.2 :25 0.2 100 100 1500 1 7 1 7 1 7 1 25 :1.2 :25 0.2 100 100 1500

0 8 0 8 0 8 2 28 :1 0.1 150 5 2000 0 8 0 8 0 8 2 28 :1 0.1 150 5 2000

ANALOG IN
INPUT LEVEL OUTPUT TUBE SAT THRESHOLD dB RATIO ATTACK ms RELEASE ms ADAPTIVE LINK INPUT LEVEL OUTPUT TUBE SAT THRESHOLD dB RATIO ATTACK ms RELEASE ms ADAPTIVE

Table of contents
1 Layout of the T-COMP 7
1.1 Input and Output Section 7
1.2 Compression 7
1.3 Attack and Release Times 7
1.4 Filter 8
1.5 Tubes 8
2 Control Features 8
2.1 Input and Output Sections 8
2.2 Compressor Section 9
2.3 Tube and Mains Switch 9
3 Connections 9
3.1 Inputs 9
3.2 Outputs 9
3.3 Inserts 9
3.4 Digital Interface 10
3.5 AC Power 10
4 Applications 10
4.1 The Purpose of the T-COMP 10
4.2 The T-COMP in a Channel Insert 10
4.3 The T-COMP in a Subgroup 10
4.4 The T-COMP in a Stereo Master 11
4.5 The T-COMP in a Digital Environment 11
4.6 The T-COMP in Insert Mode 11
4.7 The T-COMP in Live Applications 11
5 Tips and Tricks 11
6 Block Diagram 29
7 Technical Specifications 12
MindPrint T-Comp

1 Layout of the T-COMP vocals and acoustic instruments are inherently extremely dynamic, so you'll find that
these won't blend nicely into the mix until you have compressed them.

To achieve compression that is as inconspicuous as possible, the T-COMP uses something

1.1 Input and Output Section called soft-knee compression. What happens here is this: as a signal's level approaches
the threshold point, the compression rate is increased continuously. When the signal level
Featuring both 1/4" jacks and XLR connectors, the T-COMP is equipped with balanced line finally exceeds the threshold value, it is compressed at the ratio that you have dialed in.
inputs and outputs designed to accept standard studio levels. You can also add a digital What this means is that even when you choose to compress signals heavily, these are not
input to the unit by installing the DI-MOD expansion module. Inserts let you patch analog "crushed" into submission, but gently "squeezed" when the signal exceeds the threshold.
devices into the T-COMP when you are using it in a digital environment, which means you
don't have to invest in external converters. Sporting a dual-channel design, each channel Soft-Knee Curve: The curve of the T-COMP's soft-knee compression is smoother and
is equipped with separate dedicated controls so that you can use the T-COMP to process a sounds more musical.
stereo signal or two separate mono signals.
Output
normal
Use the Input Gain knob to adjust the input level. The level meter, which can be switched
to display either the input or the output, provides a good visual reference you can use to
Soft Knee Characteristic
dial in suitable settings. On the one hand, you want the input signal to be as high as
possible, on the other, it should not exceed + 6 dB. Please make sure that the red LED
(Over) does not illuminate even at signal peaks.
Input

The Out Level knob controls the overall volume of the processed signal. Since a
compressor reduces signal levels, you may find that whenever you are compressing the
signal fairly drastically, you will need to compensate for that reduction by bringing the
1.3 Attack and Release Time
output signal back up. To dial in the most desirable level, switch the level meter so that it
indicates the output level and set the Out Level knob so that peak levels in the signal Attenuating the level of a signal when it crosses a given threshold is an operation that
reach, but do not exceed, the + 6 dB mark. Be sure that the red LED (Over) does not flash. controls the level of a signal, which is why in the past compressors were called leveling
or gain control amplifiers. Here a detector monitors the audio signal at all times and
Press the Comp On button to activate the compression circuitry; the status LED On will controls the amplification level of the VCA accordingly.
light to confirm that the effect is working. Whenever the effect is switched off, the input
signal is routed directly to the device's output. Since the Out Level knob influences the Any type of control operation requires some amount of time to be carried out. To avoid
wet or processed signal exclusively—it has no influence on the dry or unprocessed overshooting, the time it takes for the compression to kick in should be as short as
signal—you can, by keeping an eye on the level meter, set both signals to the same possible. On the other hand, if the compressor responds too quickly, the effect will
value. The best possible way to judge how the compressor is affecting the signal is simply generate distortion. The amount of time it takes for the compressor to respond to changes
by switching the effects off and on and comparing the dry and wet signals. in level is called attack time. For many creative applications, you'll find that a long attack
was selected to generate a special kind of effect, for instance to shape an envelope. In
any case, selecting the right type of attack time will always entail some type of
1.2 Compression compromise, one you'll have to define anew for each different application and musical
material. Much the same holds true for the release time, i.e. the amount of time it takes
You'll find that the compression which this unit delivers is impressive in its effectiveness, for the compressor to return to an amplification ratio of 1:1 after the signal level has
yet it is smooth and unobtrusive. Powered by a high-quality THAT-VCA (Voltage Controlled dropped below the defined threshold. If you select too short a release time, the signal will
Amplifier) which has been fine-tuned to interact with the tube, it generates uncolored chatter, too long a release time often produces an ugly pumping sound.
compression as well as the typical overtone structure that you would expect of a premium
tube device. Attack and release times: Selecting the right attack and release times is crucial so that
compression remain inaudible.
The compressor kicks in whenever the signal exceeds the setting determined by the
position of the Threshold knob. Adjust the compression ratio via the Ratio knob. Every Envelope
signal that exceeds the threshold value is attenuated by a certain degree, namely by the
ratio that you have set. This type of damping is also called gain reduction; the amount of
reduction is displayed in a 12-segment LED meter located above the compressor controls.

Compressor Curve: A typical compressor curve Threshold

Output
1:1
Compression

∞
Distortion

Threshold Input

When you use the compressor to shape signals, louder signals become quieter, while
softer signals remain unprocessed. After you have compressed a signal, you can tweak the
level so that the louder parts of the signal, which the effect has cut, are boosted back up
to their original level. The volume of the softer parts is then also amplified, which means
Attack Release
that the entire track will seem louder. Furthermore, since the signal's dynamics are
"squeezed" so that the difference in levels between loud and soft passages is not nearly
as drastic, you end up with a more balanced, smoother soundscape. Many signals such as
MindPrint T-Comp

Use the Attack and Release knobs to dial in the desired times. This is the biggest problem compression ratios in order to "prep" the signal optimally for the tube. When you dial in
users of conventional compressors are confronted with. To remedy it, the T-COMP works the appropriate settings, compression and tube saturation mesh to a homogeneous whole,
with a type of program-dependent control for the attack and release times, a feature that which will give your tracks just the right sheen.
you can activate by pressing the Adaptive button. The attack and release times that our
engineers chose are fast enough to handle percussive material. If certain parts of a signal The light-emitting diode located below the tube window gives you a good visual reference
fade in and out slowly—in other words, if it has certain passages with lengthy attack for the effect. When the tube enters the saturation zone, the colour of the LED will change
and release times—the T-COMP will adapt its attack and release times accordingly to from green to yellow. When you start pushing the tube harder, the LED will turn red. If at
ensure the best possible processing results. this point you drive the tube even harder, it will generate audible distortion.

Whereas the Adaptive circuit may at first glance resemble the automated mode of some of If the Ratio knob is set to the far left position, the dynamics of the signal are not
the more popular automatic compressors, in terms of functionality, it actually out-performs processed at all because the compression ratio remains at 1:1. In order to deactivate the
these by a considerable margin. When you're dealing with an automatic compressor, the compressor fully, you must also turn the Threshold knob to the far left position. Although
controls governing attack and release times are disabled. With the T-COMP on the other at a ratio of 1:1, the compressor indeed has no effect on the characteristics of the signal,
hand, these are always enabled and at your disposal. This means that you can set the the circuit mentioned earlier— the one that boosts the signal before it is routed to the
attack and release times manually so that the device will deliver exactly the kind of tube—remains active.
compression you have in mind. In addition, T-COMP automatically fine-tunes your settings
to match the given musical material. The compressor gives you the best of both worlds: Obviously, the more convenient option for deactivating the compressor is to simply switch
You have the creative leeway to define the compression as you see fit, while at the same the Comp On button off. This is a good habit to get into: When you leave the settings as
time, the automated functionality frees you of tedious technical considerations. they are, you can switch the circuitry off and on and get a good A/B comparison between
You can focus on the music that you're working with and the creative process of shaping the compressed and uncompressed signals.
it via the T-COMP.

1.4 Filter 2 Control Features

The Filter button activates a certain compression mode in which the amount of
compression generated by the device depends on the frequency content of the signal. With the exception of the input selector and the level meter buttons, each of the T-COMP's
A filter is inserted into the control circuit, usually called a sidechain, rather than the channels is equipped with a set of dedicated controls.
signal chain. It compels the compressor to respond differently to different frequencies.
The filter is not in the signal path itself, and so it has absolutely no influence on the 2.1 Input and Output Sections
frequency response or timbre of the signal; instead it just governs how the compressor
responds! While we were in the process of designing this filter, we listened carefully to 14 8 3 0 3 OVER SAT

OUTPUT
COMP A ON
the input of professional sound engineers. They made the point that in the real world, INPUT
4 4 4
3 5 3 5 3 5

bass-heavy signals tend to evoke excessive compression. For this reason, we tuned the DIGITAL IN 2 6 2 6 2 6 4
Digi In: This button activates the digital input.
filter so that the compressor responds less aggressively to lower frequencies, thereby 1 7 1 7 1 7 1
If the optional DI-MOD digital interface hasn't been
0 8 0 8 0 8

delivering results that are much closer to the way the human hear naturally ANALOG IN
INPUT LEVEL OUTPUT TUBE SAT T installed, the digital input is of course unavailable.
"compresses" signals.
Input Gain: Adjust the input level of the T-COMP here. This knob's setting affects all inputs.
When the filter is activated, you will note that the compression seems more balanced, with
silky, shimmering highs and improved top end response. The filter was optimized for vocal LED Ladder: This LED meter indicates the level of the input or output signal, depending on
signals, but if you experiment with acoustic instruments, you can also come up with great the status of the Output to Disp. button. The yellow LEDs indicate the headroom of the
results. It also works wonders for complex master mixes. T-COMP, the red LEDs the amount of distortion.

1.5 Tubes Output to Disp.: This button switches the level meter so that it displays either the input or
output signal.
The two onboard tubes definitely make up what could be called the "soul" of the
compressor; they have a considerable influence on its sound. Use the Tube Sat knob to dial Comp On: Turns the T-COMP’s compression effect on. When you switch the effect off, the
in variable saturation levels. This knob gives you precision control over the amount of input signal is routed directly to the device's output.
overtones that the tubes generate. In the lower end of the control range, few overtones
are generated. As you turn the knob clockwise, the overtone content increases slightly, Output Level: Controls the output level of the processed signal. When the effect is
which allows you to make extremely subtle adjustments. Once you turn the knob beyond switched off, this knob has no influence on the signal. Since the knob Output Level
the twelve o'clock position, the tubes really start to go to work. When you turn it wide influences the wet or processed signal exclusively, you can use it to set the processed
open, you'll definitely hear some distortion in the signal. Normally, if you compress a signal to the same level as the unprocessed signal. The best possible way to judge how
signal heavily, its level is decreased. Lower levels don't drive the tube as hard, leaving it the compressor is affecting the signal is simply by switching the effects off and on and
without the material it needs to work its magic. We compensated for this phenomenon by comparing the dry and wet signals.
installing a circuit where the compressed signal, depending on the Threshold setting that
you dial in, is automatically boosted back up to a suitable level. Tube Sat: Controls tube saturation within the compressor for all signals which exceed the
threshold value. The higher this knob is turned up, the more harmonic overtones are
When you dial in higher levels of saturation, keep this in mind: although the Tube Sat knob generated.
setting and threshold play a major role in determining the amount of harmonics that are
generated, signal level plays a key role as well. In order to achieve a consistent overtone Sat LED: This tricolor LED indicates the tube saturation status. In normal operation, it will
structure when the signal is on the verge of clipping, you should experiment with higher light up green. As soon as the tube is driven hard enough so that it is slightly saturated,
the LED changes its color to yellow. When driven too hard, the tube produces audible
distortion and the LED turns red.
MindPrint T-Comp

2.2 Compressor Section Tube: Not only does the warm red glow of the tube add a certain visual value to the
T-COMP, it is also the "secret ingredient" of its great sound. Depending on how hard you
The tube compressor gives you the best of both worlds—the precision of a high-quality drive it, the tube (type 12AX7A) can add anything from a touch of silky analog warmth to
semiconductor circuit with the silky sound that only vacuum tubes can deliver. Its unmistakable tube saturation to your tracks.
circuitry, an entirely unique and innovative design, lets you control compression and tube
saturation separately. Mains Switch: In addition to switching the AC power supply on and off, the mains switch
22 16 12 10 8 7 6 5 4 3 2 1 dB ON
also activates the hard-wired bypass of the T-COMP. When the device is switched off, the
FILTER Line In and Line Out circuits are linked directly; the signal bypasses the device
12 :3.5 15 500
8 16 :2.5 :5
:8 5
10 30
50 200
300 800
1000
completely. The hard-wired bypass is also activated automatically in case of power failure
4 :1.7
A B
1 25 :1.2 :25 0.2 100 100 1500
or a power supply defect. This feature definitely enhances the safety of the device,
2 28 :1 0.1 150 5 2000
particularly in broadcasting and live applications where you can't afford to have a circuit
THRESHOLD dB RATIO ATTACK ms RELEASE ms ADAPTIVE LINK
drop out even for a moment. In the studio, the T-COMP can be removed completely from the
signal path by simply switching the unit off.
Threshold: This knob adjusts the threshold of the compressor within a range of +2 dB to -
28 dB. Signals which exceed the threshold value are processed by the compressor. On LED: Illuminates to indicate the T-COMP is switched on.
Depending on the threshold value that you have dialed in, the signal is also boosted
before it is routed to the tube. Rotate the knob hard left to its far left position or switch
the Comp On button off to deactivate the compressor.

Ratio: This control determines the relationship between, or ”ratio” of, the input and output
3 Connections
levels of all signals which exceed the threshold value. A setting of 2:1 means that when All connectors are located on the processor’s rear panel.
the level of an input signal increases by 2 dB, the output signal level increases by just 1
dB. The control range starts at a ratio of 1:1 (no compression) and can be increased 3.1 Inputs
infinitely. The latter is basically a limiter setting—no further increase of the output level
is possible. To deactivate the compressor, rotate the knob to the far left-hand position or The inputs feature a dual connector design to accept both balanced XLR connectors and
switch the Comp On button off. balanced 6.3 mm (1/4“) plugs. You can also connect unbalanced cables to both input jacks.

LED Ladder: Indicates the amount of attenuation, or gain reduction, that the signal is being
subjected to.

On LED: Illuminates to indicate that the device's processing circuitry is enabled. The Comp
On button located in the input/output section activates the circuitry.
The pin assignments of the XLR connector comply with the international norm IEC 268-12.
Attack: Determines the amount of time it takes for the compressor to fully attenuate the In accordance with this norm, pin 1 is connected to the ground, pin 2 carries the positive
signal level once the level exceeds the defined threshold. signal and pin 3 the negative. If you are using an unbalanced circuit, be sure to bridge pin
1 and pin 3.
Release: Determines the amount of time that it takes for the amplification ratio to return
to 1:1 once the signal level has fallen below the threshold. In the stereo (tip-ring-sleeve) 1/4“ jack, the positive signal is routed via the tip, the
negative signal via the ring, and the ground via the sleeve. When you insert an unbalanced
Filter: This button switches the sidechain filter of the compressor on. When the filter is mono plug, the input automatically switches to unbalanced operating mode.
activated, frequencies lower than 300 Hz have less influence on compression, which gives
you a more balanced sound in the mid and high frequency ranges.
3.2 Outputs
Adaptive: Switches the automated, signal-dependent attack and release time control
feature on. The Attack and Release controls remain active and are used to shape how the For the line outputs, you also have separate balanced XLR connectors and 1/4“ jacks at
automated adaptive circuit responds. your disposal. When you insert an unbalanced mono plug, the input automatically switches
to unbalanced operating mode.
Link: This button switches the control circuit of the two channels to stereo mode. If you
want to process stereo signals, be sure to activate this button. If you're working with
mono signals, it must be deactivated.

Link On LED: Illuminates when the Link function is active.

You can access both jacks simultaneously, in which case the output of the T-COMP acts as
a distributor or splitter. If you want to use both outputs, you must use balanced cables.
2.3 Tube and Mains Switch Simultaneous use of the outputs in unbalanced operating mode is not permissible.

At the heart of the T-COMP are two high-quality tubes; these are responsible for the unique
sound of the compressor. 3.3 Inserts
The Insert jacks allow you to insert external devices into the signal
path for additional processing. The unbalanced 6.3 mm (1/4") TRS
jacks accept standard insert cables, the usual type of patch cord used
for mixing console inserts.
MindPrint T-Comp

The internal signal path is interrupted when you introduce a plug into the Insert jack. dynamics of signals, but thanks to its tube circuitry it also adds extremely musical analog
Instead of continuing on through the internal busses, the signal is patched out via the tip warmth to the signal.
of TRS plug (T = Tip). It is then routed through the external device that is connected to the
other end of the insert patch cord. The signal is returned to the T-COMP via the ring (R) of The T-COMP also takes on a key role in digital environments. Prices have collapsed in
the plug. The sleeve (S) of the plug is connected to ground. recent years, making digital mixers and multitrack recording systems affordable for the
amateur recordist. The majority of functions featured in pro devices, astronomically
The insert is located post-input level knob and pre-compressor. If you have installed the expensive just ten years ago, are part and parcel of every contemporary hard disk
optional digital interface, then you can connect these inserts to additional analog devices recording program. Fortunately, more and more processing operations can be performed
in a digital signal chain without the need for additional digital interfaces or external completely in the digital domain, which certainly enhances the quality of productions.
converters for those devices. Nonetheless, many musicians perceive a digital chill, a cold, sterile sound that is the
product of analytical, high-precision systems. This is where the T-COMP comes into play.
3.4 Digital Interface Powered by tube engineering, it delivers creamy analog tone and, with the help of the
digital DI-Mod option, transports it directly to the hard disk system. In the final analysis,
you can have your cake and eat it too: T-COMP delivers great analog sound and digital
If you choose to work with digital mixers or hard disk recording systems, you have the engineering prevents undesirable signal degradation when you post-process tracks.
option of retrofitting a digital interface to the expansion slot located on the rear panel of
the T-COMP.

When you equip the T-COMP with the DI-Mod module, 4.2 The T-COMP in a Channel Insert
this upgrade gives you a digital input/output in state-
of-the-art 24-bit format; it is also compatible with all If you want to process an individual instrument, simply insert the T-COMP into the
16, 18 and 20-bit devices. The sampling frequency can appropriate mixer channel. With its two channels, the T-COMP can work with two mixing
be switched between 44.1 and 48 kHz. When you console channels and process different mono signals simultaneously. In addition to
synchronize devices via the input, the DI-Mod even works with every frequency between compressing the dynamics of a signal, you can also use it to come up with an interesting
32 and 48 kHz. overtone structure and the typically warm tone with enhanced presence that only a tube
device can deliver.

3.5 AC Power 2x INSERT

The T-COMP connects to a wall outlet or mains supply via a standard power cable attached
to the T-COMP’s AC power socket.
Should you encounter a ground loop, the ground lift
switch severs the signal ground from the device's
OUT

OUT

chassis ground. A ground loop is pretty easy to

IN

IN

identify—the device emits annoying hum. If this is

T-COMP
the case, set this switch to the position where the
noise is canceled out. Connect the input and output of the T-COMP to a mixing console channel via insert patch
cables. If your mixer is not equipped with insert jacks, you can patch in the T-COMP
between the line output of a recorder, sampler or synthesizer and the mixer's input.
4 Applications Experiment with the diverse control features to get a feel for how the T-COMP operates
and responds. You'll find that it is not always desirable to dial in the shortest attack times
and a high ratio to compress a signal as drastically as possible. For instance, if you're
4.1 The Purpose of the T-COMP processing a rhythm guitar track, you'll often come up with better results if you choose a
longer attack time to allow the instrument's natural attack to remain intact. You can
attenuate the rest of the signal—the actual "body" of the sound consisting of the decay
The dynamics of instruments and the human voice can be too much of a good thing, often
and sustain phases of the signal—via the compressor. In the mix, you'll end up hearing
exceeding what you want and need for purposes of recording. If during mixdown you focus
just the pick or fingers hitting the strings, which is a great option for making it sound less
on loud passages, the softer parts would be submerged in the mix. If on the other hand,
cluttered and more transparent.
you dial in a level that allows the softer passages to be heard clearly, the louder parts
would drown everything else out. The T-COMP remedies this problem by smoothing out the
difference between loud and soft passages, giving you more manageable dynamics. This in 4.3 The T-COMP in a Subgroup
turn makes it so much easier to integrate the processed track into the mix, with much
better overall results. You can also use the T-COMP in a mixing console's subgroup inserts. For example, if you're
using subgroups to create a stereo mix for all drums, this option will let you compress the
A compressed recording also sounds louder than an uncompressed track. Even though the signals of the entire drum kit.
actual level remains the same, increasing loudness creates the kind of compact sound, Subgroups can also be used to patch a signal to a multitrack recorder. For this application,
presence and punch which makes many professional recordings sound so good. The you can use the T-COMP to compress signals while you're recording. If your mixer is not
"secret" ingredient that enables recordists to come up with this kind of up-front, punchy equipped with subgroup inserts, you can patch the T-COMP in directly between the mixer
sound is, in the vast majority of cases, a compressor. Not only do the pros process and recorder.
individual tracks with compression, they also give the stereo master signal the same If you choose to use this option, you should only compress the signal slightly to give you
treatment. The T-COMP can do both—it is designed to deal with the kind of individual some leeway when you're shaping the signal during post-processing. You’ll find that the
mono signals that you would find in the separate channels of a mixer, as well as with the T-COMP will again come in handy when you're ready to mix a recording down!
stereo signals of a master insert in stereo link mode. Not only does it process the
MindPrint T-Comp

4.4 The T-COMP in a Stereo Master A favorite trick of experienced audio engineers is to employ an equalizer before the signal
is piped through a compressor. The MindPrint PARA-Q is the ideal tool for this task—it
was designed specifically to work together with the T-COMP. A truly high-quality device, it
Once you have compressed individual tracks, you can compress the stereo master signal delivers remarkably musical results.
for an even tighter mix. Generally, a compression rate of 2:1 and gain reduction of some
6 dB delivers great results. To use the T-COMP on the final mix, insert the T-COMP between Another interesting option is to insert an analog exciter—many recordists don’t like the
the mixing console's output and the master recorder's input. If your master machine is a sound of digital exciter algorithms.
DAT recorder and you have installed the DI-Mod option, you can also work in the digital
realm via S/P-DIF.

4.7 The T-COMP in Live Applications

IN
OUT Although the T-COMP was primarily developed for recording purposes, it actually wears
T-COMP many hats—you'll find that it is an excellent tool for live applications. If you are the
OUT proud owner of a guitar rack system, you can patch it in post-preamp and pre-power amp
S/PDIF to compress your instrument's signal. For processing vocals, you can patch the T-COMP
optional
IN into a mixer insert just as you would an effects device, so that the amplified sound of your
voice enjoys the benefits of those desirable tube characteristics. Feel free to experiment
DAT RECORDER with other instruments such as electric bass guitars.

Incidentally, if you want to achieve the best possible results using this type of
configuration, you shouldn't execute fades at the end of a song manually by pulling down 5 Tips and Tricks
the mixer's master fader. The reason for this is that the threshold you have dialed in via
the Threshold knob will shift in response to the change in levels. Instead, create the fade-
out via the master recorder's level control, or better yet, during digital post-processing. 5.1 Switching noise
If you nonetheless prefer to use the master fader, patch the T-COMP into the mixer's
master insert. Unfortunately, you won't often find this feature on most The T-COMP's On button is a real hardware switch. This means that, rather than just being
lower-priced mixers. deactivated, the processing stages are actually removed from the signal path. While
removing unused electronics from the signal path enhances audio quality, these switches
sometimes cause undesirable popping noises, which are produced by sudden surges in
4.5 The T-COMP in a Digital Environment amplitude. Your best bet is to forget about switching the effect on and off while you're in
the middle of recording or processing signals with the T-COMP.
If you plan to work with a digital mixer or hard disk recording system, you can also
integrate the T-COMP via the S/P-DIF interface, provided of course you have installed the
DI-Mod option. 5.2 Over-the-top distortion
Simply route the signal that you want to process via a digital interface from the digital The tube compressor processes all signals that lie above the threshold value. Moreover,
mixer or hard disk system to the T-COMP. The processed signal will be sent back to the the level of tube saturation of course depends on the signal level. The compressor is used
mixer or hard disk system in digital form via the output of the T-COMP and, once it arrives to keep the signal level as steady as possible. If you dial in a low threshold value and a
there, can be processed or recorded to another track. At the same time, the analog output high saturation level, the tube will be driven hard enough to produce fairly heavy
is available for monitoring purposes. distortion at signal peaks. In this case, you should increase the compression ratio to limit
When you're inserting signals via the digital interface, the T-COMP (like every other digital these signal peaks. If you don't want this type of signal processing, you'll have to dial in
device) generates a slight latency—in other words, it causes a minimal delay. The delay lower threshold and saturation values.
is no more than 1.5 ms, so normally this is not a problem. However, if you are using the
dry and wet versions of a given signal simultaneously or several channels for the same 5.2 Monitoring the mix
signal, you may encounter undesirable phasing effects generated by this delay. Should you
Make a habit of monitoring the results in the context of the entire mix. Even when you're
encounter this problem, compensate for the delay produced by the T-COMP using the track
compressing the signal of a single channel, don't just judge by what you hear when you
delay of your hard disk system or the channel delay of your digital mixer.
activate the Solo button on your mixer. Get adventurous and give heavier distortion a
go—it might be just the thing to spice up a take. Often, a track might sound almost
4.6 The T-COMP in Insert Mode pathetic heard in isolation, but in the context of the mix, absolutely brilliant. For instance,
a touch of tube saturation can work really well to "fatten up" harmony vocals in the
By inserting external devices via the insert jacks, you can actually create a serial signal chorus of a song.
chain consisting of analog devices within a digital studio environment. You would patch
these additional devices into the analog signal bus of the T-COMP, so you don't need any
additional digital interfaces or external converters.
6 Block Diagram
IN
EQUALIZER
OUT
DIGITAL DIGITAL
IN INSERT OUT
T-COMP
MindPrint T-Comp

7 Technical Specifications

LINE IN FILTER: Switchable on or off

Connections: Combined XLR (pin 1 = ground; pin 2 = +; pin 3 = - ) and Frequency: 300 Hz
1/4“ phone jack (tip = +; ring = -; sleeve = ground) (Compression circuitry only affects material above 300 Hz.)
Input type: electronically balanced and floating
Input impedance: 22 kOhm DISTORTION
Sensitivity: 0 dB
Maximum input level: +20 dB Effect Section off: 0.0008%, LINE IN, 10 Hz - 22 kHz @ 0 dB input / 0dB output
0.0007%, INSERT IN, 10 Hz - 22 kHz @ -10 dB input / 0dB output
DIGITAL IN only with optional DI-Mod (see Option below)
Effect Section on: 0.06%, LINE IN, 10 Hz - 22 kHz @ 0 dB input / 0dB output
0.05%, INSERT IN, 10 Hz - 22 kHz @ -10 dB input / 0dB output
LINE OUT A/B
with TUBE SAT = 0

Connections: Combined XLR (pin 1 = ground; pin 2 = +; pin 3 = -) and

1/4“ phone jack (tip = +; ring = -; sleeve = ground)
FREQUENCY RANGE
Output type: electronically balanced & floating
Effect Section off: 10 Hz - 22 kHz, ± 0.2 dB
Output impedance: 220 Ohm
Effect Section on: 10 Hz - 22 kHz, ± 1 dB
Maximum output level: +20 dB

DIGITAL OUT only with optional DI-Mod (see Option below) DYNAMIC RANGE

INSERTS Effect Section off: 106 dB,LINE IN, 10 Hz- 22 kHz @ 0 dB input / 0dB output
108 dB, INSERT IN, 10 Hz - 22 kHz @ -10 dB input / 0dB output
INSERT A/B
Effect Section on: 92 dB, LINE IN, 10 Hz - 22 kHz @ 0 dB input / 0dB output
Connection: 1/4“ phone jack (tip = Return; ring = Send; sleeve =
92 dB, INSERT IN, 10 Hz - 22 kHz @ -10 dB input / 0dB output
ground)
All values A-weighted
Input type: unbalanced (Return)
Input impedance: 4.7 kOhms with Gain control at 0
47 kOhms with Gain control at 10 BYPASS
Sensitivity: 0 dB
Maximum input level: +20 dB When power is removed from the unit, LINE IN is hardwired to LINE OUT.
Output type: unbalanced (Send)
Output impedance: 220 Ohm
Maximum output level: +20 dB
GENERAL SPECIFICATIONS

EFFECT SECTION Versions 230-volt, 117-volt, and 100-volt, Protection Class 1

Switchable on or off Power supply fuse, internal:

230 volts/160 mA slo-blo
TUBE SECTION 117 volts/315 mA slo-blo
100 volts/315 mA slo-blo
TUBE SAT
max. current draw: 113 mA (133 mA with DI- MOD)
Distortion: adjustable between 0.1% and 10%
max. power consumption: 31 VA
Treble boost: from 0 dB to 2 dB between 4 kHz and 22kHz (Tube Sat control)
Dimensions: 19” wide (482 mm) by 1.75” high (44 mm) by
COMPRESSOR SECTION
9.4” deep (238 mm)
Rack dimensions: 19 ", 1 U
THRESHOLD: adjustable from +2dB to -28 dB
Depth in rack: 8.75" (222 mm)
RATIO: adjustable from 1:1 to 1:infinity
Protrusion of controls: 5/8" (16 mm)
Attack: adjustable from 0.1 ms to 150 ms
Weight: 7.6 lbs (3.44 kg); with DI-Mod installed 7.8 lbs. (3.55 kg)
Release: adjustable from 5 ms to 2000 ms
Adaptive: automatically sets the attack and release times, based on
Option DI- MOD: S/P-DIF I/O card, stereo
settings

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