MINDPRINT T.R.I.O.
Jun 1, 2005 12:00 PM, BY PHIL CAMPAGNA
When I first entered the world of digital audio, I was interested in producing and engineering but had no clue where to start. I knew I needed a computer and a soundcard to plug into my speakers, but it wasn't long before I started realizing I needed more. Where would I plug in my microphone or my guitar? How would I set up a headphone feed? I was confused by all the possibilities and potential problems that were quickly surfacing. And I absolutely could not find an all-in-one box that could satisfy my needs. Fortunately, it seems that the good people at MindPrint had just this scenario in mind when they designed the new T.R.I.O.
THREE IN ONE
The T.R.I.O. Total Recording Solution is designed to be the nerve center of your studio, as well as to eliminate multiple pieces of outboard gear, wall warts and a slew of messy cables. Essentially, it replaces a mixer's input and monitoring section and adds EQ and dynamics. This device is a sturdy rectangular-shape desktop unit, primarily red with black trim. The dimensions are roughly 10 by 7 by 3 inches, and it weighs in at about 3.5 pounds. Most of the 15 knobs and 13 buttons are equipped with LEDs, and they are easy to access. On the back of the device, you will find an array of inputs and outputs. The inputs include balanced XLR, ¼-inch hi-Z, ¼-inch send/return, two ¼-inch line level and stereo RCA jacks. There are two sets of stereo RCA connections for interfacing with a computer audio interface; these are labeled DAW Interface In and Out. The main output section includes line-level ¼-inch stereo outputs, two sets of stereo RCA outputs, one set of stereo RCA direct outs and two ¼-inch headphone outputs. And, finally, there are two optical S/PDIF connections that allow for digital stereo I/O at sample rates as high as 96 kHz.
The unit boasts a complete EQ and dynamics section. The EQ has two bands with Chebyshev-type filtering (vintage dip-before-boost design) that was borrowed from the MindPrint DTC. And to keep levels in check, the T.R.I.O has a soft-knee compressor that features a unique Adaptive Response mode taken directly from MindPrint's high-end DTC Dual Tube Channel. The unit also includes a full-fledged Zero Latency Monitor section with individual controls for Mic/Instr., Line and Aux levels, which is great for headphone mixes and monitoring external sources like CD players. Another welcome feature is a basic Talkback section, which enables your artist to hear you in his or her headphones, eliminating the problem of poor communication that is often abundant in home studios and adding an instant sense of professionalism — no more opening the closet door after each take! This unit also comes with an excellent manual, available in both hard copy and PDF forms. I've heard of many people taking pride in not reading manuals, but in my opinion, there are two different types of engineers: those who know what they are doing and those who hope they know what they are doing. Probably the best additions to the manual are the comments added as side notes. For just about every feature of the T.R.I.O., MindPrint has added a Tip section. These are tremendously helpful not only to new engineers but also to seasoned professionals.
INPUT AND FOLDBACK
Starting from the left front side of the unit is a vertical row of mic/instrument controls featuring a Class A mic pre with 48V phantom power and a switchable Low Cut filter button for suppressing low-frequency noise. The T.R.I.O. gain-control ranges are -56 to +4 dB for the mic and -40 to +14 dB for the instrument input. Below the Gain knob is the 2-band EQ; it has two knobs labeled HF (high frequency) and LF (low frequency). The Chebyshev-type shelving filters are fixed at 7.5 kHz and 100 Hz with a control range of ±12 dB. Just under the EQ is a knob labeled Fat. This is a soft-knee-type compressor with auto makeup gain and program-dependent adjustment of time constants, which basically means there is one knob for all the parameters of the compressor (amount, attack, release and makeup gain). This is stellar for achieving compression levels quickly but not so inviting for detailed settings. To the right is a small LED that displays the amounts of compression to the input signal: Green is for no compression, orange for normal and red for strong compression.
The last knob in the row is Rec Vol., which controls the recording level of the mic/instrument signal that is sent to the DAW (independently of monitor volume). Under this is a Mute button responsible for silencing the main input. When this button is engaged, its red LED lights up. Starting on the top of the next row are the stereo line input controls; these feature another EQ that is similar to the other except the high and low corner frequencies are fixed at 9 kHz and 120 Hz, respectively. And just like the main input, there is a Rec Vol. knob that adjusts the level of the line signal that is sent to the DAW.
Along the lower middle of the T.R.I.O. are three knobs dedicated to monitoring. This section routes input signals directly to the monitor bus for the purpose of latency-free monitoring. Essentially, with the T.R.I.O., you can completely bypass the software monitoring within your DAW and monitor from the unit itself. The unit works both as a recording front end and as analog mixer, mixing the output of the DAW and the input source. The monitor section of the T.R.I.O. is further augmented by the inclusion of aux inputs. These can be useful if you need to monitor off a CD player or add effects to a vocalist's headphone feed. For instance, you could add a “working reverb” in which the vocalist hears an effected signal over the headphones, but the actual track is recorded dry.
OUTPUT AND METERING
Along the right side are four knobs and seven buttons. The top two knobs are the headphone amps, labeled Phones A and B. Both are equipped with plenty of gain to drive even inexpensive headphones. Having independent control of two different headphone amps is tremendously convenient. Underneath this area is the control for the Talkback section, a feature that many quite possibility aren't used to. Talkback allows producers and engineers in the control room to “talk back” to the artist via a microphone built into the console, which is absolutely necessary for communication between separate rooms. The T.R.I.O. also contains three separate speaker outputs for hearing your mixes on multiple speakers, a common technique for many professionals. There is also a Mono button for checking your mixes' mono compatibility. This is a great way for detecting phase cancellations caused by reversed polarity in cables or cheap modulation effects. The last button in the row is a Dim button, which lowers the output by 20 dB. In the bottom right is the only oversize knob of the bunch, the Volume knob. And, finally, in the middle of the T.R.I.O. is the easily visible metering section. Directly underneath is a button responsible for assigning the meter level to display input or output signals.
IN USE
Because the T.R.I.O. is primarily intended for home studios, I evaluated the unit in just such a place. I put the T.R.I.O. on my desk, within arm's reach, and began connection. I was pleased by the amount of total inputs and outputs. It has not only separate connections for your DAW but also three separate stereo outputs, labeled A, B and C. I connected outputs A, B, and C directly to my two sets of monitors and my little computer speakers. The separate buttons for the output are great for toggling between speakers, enabling you to hear mixes on separate speakers. This is perfect for referencing what your mix will sound like on other systems and, increasingly important, computer speakers. The direct outputs plugged into my external CD burner, which is handy for burning a CD in real time. And then it began to get interesting.
I called over one of my top liners, Carlett Boseman (an amazing session singer), to sing on a song I was producing. I stood her in front of the mic, handed her a pair of headphones and played the track. Then, I reached for the talkback mic and asked her a question. And while she was ecstatic upon hearing me in the headphones, there was one small drawback in the form of an audible pop when you press the Talkback button. The extremely sensitive microphone seemed to pick up the sound of the button engaging. Although this is not a major problem if you press the button lightly, a solid tap could be painfully loud. Next, I turned up the gain to the preamp. The tone was clean and accurate. There was plenty of gain and very low noise. Then, I added a touch of air by increasing the high EQ slightly. The Chebyshev-type filters are extremely musical. There was a slight high-mid dip before boosting the treble — ideal for vocals by adding an airy sheen while suppressing the sibilants.
When recording digital audio, it is extremely important to record at a good level. A compressor can help catch some of the peaks and thicken up your sound; of course, you have to be careful not to overdo it. Having only one knob, this compressor is quite easy to use, giving nearly instant results. That night, a friend brought over his trusty Moog Voyager, which I plugged in directly to the line input. Once again, I was pleased with the tone. Further experimenting with all types of equalizer amounts, I found that even at extreme settings, the unit performed extremely well.
The philosophy behind the T.R.I.O. was to incorporate all of the essential features required in a typical home-recording setup into one unit. For slightly more than $500 retail and housing a studio-quality channel strip, zero-latency monitoring, multiple speaker outputs and a Talkback section, this single box is a wonderful thing. I have to agree that MindPrint has really covered all of the bases with the T.R.I.O., and I would definitely recommend this piece for any home-studio owner.
MINDPRINT
T.R.I.O. > $549
Pros: Replaces multiple boxes. Connects directly to computer's sound interface.
Cons: Talkback button pops.
Contact: www.mindprint.com
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