INTRODUCTION (see block diagram)
The STT-1 Origin is a collection of Millennia's essential product line combined into one box. You might
call it our "greatest hits" compilation. The STT-1 is a single channel (mono) processing chain with various
signal path topologies (vacuum tubes, discrete transistors, audio transformer, transformerless) all
selectable at various functions. The STT-1 offers an entirely discrete, entirely Class-A direct signal path
from input to output. The signal path can be variously selected to use vacuum tubes or transistors, transformer or non-transformer coupling. The STT-1 also offers additional monolithic utility outputs. We
show (yes, we counted) at least 134 different product combinations available in the STT-1 Origin —
ranging from the most musically transparent, sonically accurate, and dynamically stable audio circuits, to
sublime levels of vacuum tube and transformer 'euphony', and everything in between. The possibilities
afforded the creative engineer, producer, and musician are virtually endless. The STT-1 includes the
following functions, employing the essential topology of Millennia products as noted by name:
1.) HV-3 discrete hybrid solid state microphone preamplifier -or-
2.) M-2 vacuum tube microphone preamplifier
3.) Vacuum tube instrument DI input, routable into M-2 vacuum tube -or- HV-3 solid state gain amplifiers
4.) Balanced line level (+4) input, routable into M-2 vacuum tube -or- HV-3 solid state gain amplifiers
5.) NSEQ four-band parametric EQ, selectable via vacuum tube -or- discrete solid state audio topology
6.) TCL opto-compressor/limiter/de-esser, selectable via vacuum tube, solid state, or non-amplifier topology
7.) All paths selectable via transformer -or- transparent transformerless input signal path
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The STT-1 Origin has three available audio inputs.
1.) Line Input (XLR or 1/4" phone, rear panel)
2.) Mic Input (XLR, rear panel)
3.) Instrument DI Input (1/4" phone, front panel)
A user must select one of the above three inputs via the "SOURCE" rotary switch. The above inputs cannot
be combined or mixed internally. Polarity of any input can be flipped 180 degrees, if desired. The mic
input can also receive +48V Phantom power, if required.
All input sources (mic, line, DI) are routed directly to the front-end gain amplifiers. A front-end gain
amplifier is selectable as either vacuum tube (M-2) or solid state (HV-3). Each front-end gain amplifier has
its own gain adjustment potentiometer (approximately +10 dB to +50 dB solid state range and +20 dB to
+40 dB vacuum tube range). A user can select one front end gain amplifier, only (VT or SS) — front end
gain amplifiers cannot be mixed or used simultaneously. Additionally, a Millennia MIT-01 audio-path
transformer is selectable at all inputs (mic, line, DI) to the gain amplifiers. Use the transformer when you
want to add an enhanced, "in-your-face" euphonic personality to high-level input signals. The MIT-01 input
transformer remains relatively uncolored and sonically neutral with nominal signal levels.
The front-end amplifiers feed two areas simultaneously: (1) a direct utility ouput and (2) the EQ/Dynamics
section. The direct output is placed before the EQ and Dynamics sections. The direct output is FET-based,
monolithic, balanced, and always active. The EQ and Dynamics sections can share the same amplifier stage
(selectable as vacuum tubes or field effect transistors), which opens up some interesting operational features. The ORIGIN's Dynamics functions can be used with vacuum tube amplfication, solid state amplification, or with no amplification whatsoever. See this manual's specific operating sections for important detail
on EQ and Dynamics co-operation.
The STT-1 has three other 'main' outputs: (1) monolithic XLR balanced, (2) discrete pure Class-A 1/4"
unbal, and (3) discrete pure Class-A XLR unbalanced. Main outputs sit at the back end of the STT-1,
following all functions. An additional RCA phono jack provides a linking function for stereo operation of
two STT-1 Dynamics sections. The Selco VU meter is a true audio responding level meter which can be
selected to measure the main output level or Dyanamics gain reduction.
STT-1
6
STT-1 REAR PANEL
(1) MICROPHONE INPUT "MIC INPUT"
Conventional 3-pin female XLR input jacks for use with all standard balanced microphones, both phantom
and non-phantom powered. Provides +48 Volts DC Phantom powering via front panel switch. Input
impedance is approximately 6,200 ohms with phantom power switched in. Microphone input is selected
via a front panel rotary switch marked "Source - MIC." Pin 2 is positive polarity. Pin 3 is negative polarity.
Connector contacts are Neutrik Galvatronic gold plated. It is suggested that XLR cable connectors used
with the STT-1 employ identical plating. This input feeds either the vacuum tube gain amplifier (M2) or
solid state gain amplifier (HV-3), with or without transformer coupling, depending on the status of front
panel Twin Topology "TT" and "XFMR" switches. With non-transformer coupling, the maximum microphone input levels are +3 dBu (vacuum tube) and +14 dBu (solid-state). For reference, a Neumann U87Ai
directly in front of a screaming vocalist (127 dB SPL) will output approximately -6 dBu. (NOTE: Do not let
the front panel "overload indicator" LED fool you. It begins to turn on with a mic preamp output of +6
dBu. When you first see the red LED turn on dimly, you have 20 dB of output headroom remaining!)
(2) LINE LEVEL INPUT "LINE INPUT"
Conventional 3-pin female XLR connector for use with balanced line level audio signals. A line level signal
is defined here as nominal +4 dBu operating level. Pin 1 is ground. Pin 2 is positive polarity. Pin 3 is
negative polarity. A 1/4" phone jack is wired in parallel with the XLR (Tip=pin 2, Ring=pin 3, Sleeve=pin
1). Input impedance is approximately 2,200 ohms (x2). Line level input is selected via a front panel rotary
switch marked "Source - LINE." This input feeds either the vacuum tube gain amplifier (M-2) or solid state
gain amplifier (HV-3), with or without transformer coupling, depending on the status of front panel Twin
Topology "TT" and "XFMR" switches. Minimum line input gain is achieved when amplifier gain controls
are set fully counter-clockwise. Maximum line level input level is +30 dBu into the solid state gain
amplifier and +19 dBu into the vacuum tube gain amplifier. Unbalanced "semi-pro" (-10 dBv) signals should
be tried in both the front panel DI input and the line level input — select the input which sounds best. Line
level input XLR connector contacts are Neutrik Galvatronic gold plated. It is suggested that XLR cable
connectors used with the STT-1 employ identical plating.
(3) FRONT END DIRECT OUTPUT "DIRECT OUT"
Conventional three pin male XLR connector providing balanced, line level output directly from the front-end
amplifiers (MIC, LINE, DI). This output is configured before the EQ, Compressor, De-esser, and main
outputs. This direct output is essentially equivalent to the output on an HV-3 micamp and can be used in
addition to the main outputs (below). Pin 1 is ground. Pin 2 is positive polarity. Pin 3 is negative polarity.
This line level output is capable of driving <600 ohm loads and long, high capacitance cables. Outputs
may be configured in an unbalanced configuration by grounding pin 3, or taking pin 2 directly as an
unbalanced signal while floating pin 3. In the former configuration, the output is automatically increased by
6 dB. Connector contacts are Neutrik Galvatronic gold plated. It is suggested that XLR cable connectors
used with the STT-1 employ identical plating.
(4) MAIN OUTPUT #1 "MAIN OUT - BAL"
Conventional three pin male XLR connector providing balanced, line level output from all stages of the STT-1.
Can be used simultaneously with all other outputs. Pin 1 is ground. Pin 2 is positive polarity. Pin 3 is negative
polarity. This monolithic-based, balanced line level output is capable of driving <600 ohm loads and long, high
capacitance cables and has a maximum output level of +32 dBu. Outputs may be configured in an unbalanced pin-2-hot configuration by either grounding pin 3, or taking pin 2 directly as an unbalanced signal
while floating pin 3. In the latter configuration, the output is decreased by 6 dB relative to the former
configuration. Connector contacts are Neutrik Galvatronic gold plated. It is suggested that XLR cable
connectors used with the STT-1 employ identical plating.
STT-1
7
STT-1
8
(5) MAIN OUTPUT #2 "MAIN OUT - UNBAL"
Conventional three pin male XLR connector providing unbalanced, line level output from all stages of the
STT-1. Can be used simultaneously with all other outputs. Pin 1 is ground. Pin 2 is positive polarity. Pin 3
is ground. This output is all discrete, pure Class-A, and is capable of driving < 600 ohm loads and long,
high capacitance cables. This output should drive a balanced destination with no interface concerns. In the
rare instance where a balanced destination exhibits difficulty with an unbalanced source, use the balanced
output (#4 above). Connector contacts are Neutrik Galvatronic gold plated. It is suggested that XLR cable
connectors used with the STT-1 employ identical plating.
(6) MAIN OUTPUT #3 "MAIN OUT - UNBAL"
Conventional 1/4" female phone connector providing unbalanced, line level output from all stages of the
STT-1. Can be used simultaneously with all other outputs. Tip is signal positive polarity, Sleeve is ground.
This output is all-discrete, pure Class-A and is capable of driving < 600 ohm loads and long, high capacitance cables. This output should drive a balanced destination with no interface concerns. In the rare
instance where a balanced destination shows difficulty with an unbalanced source, use the balanced output
(#4 above). This output is paralleled with Output #5 (above).
(7) DYNAMICS LINK "Dyn Link"
Conventional RCA-style phono jack providing a connection to the dynamics side chain circuit. Use to link dual
STT-1 units for stereo operation. Any conventional RCA phono cable should work appropriately.
(8) EARTH/AUDIO GROUND JUMPER
A barrier terminal which ties earth ground to audio ground. If ground "hum" loops are experienced when using
the STT-1, removing this jumper may help. Using this jumper to lift ground, the integrity of the chassis/earth
ground connection is never compromised. Do not defeat the earth grounding pin on the AC plug.
(9) AC VOLTAGE MAINS SELECTION "100-120" or "200-240"
A power entry module with a removable fuse holder block. This fuse holder block is selectable for 100 120 Volt or 200 - 240 Volt worldwide mains powering. The fuse block contains two fuses — one fuse is in
series with the hot power line while the other fuse is in series with the neutral power line. Both fuses must
be installed. To change the mains voltage selection, remove IEC power connector and assure that the STT-1
is not connected to mains power. With a non-conductive tool, gently pry the fuse block away from the
power entry module. Remove the two fuses and replace both with type as shown below. Slide out the
internal PC Board, turn it over, and reinsert the PCB so that the desired AC mains voltage appears in the
viewing window. Double check that the fuses installed correspond to the AC mains voltage range which
appears in the viewing window. Gently push the fuse block back until flush and snug.
FUSES:
For 100-120 VAC mains, use two 5 x 20 mm, 1A, slow blow, 250 V, Littelfuse 218 or equiv.
For 200-240 VAC mains, use two 5 x 20 mm, 500 mA, slow blow, 250 V, Littelfuse 218 or equiv.
(10) POWER ENTRY "IEC Power Receptacle"
An IEC-type AC line-power receptacle for use with removable cords. Use only the power cord provided with the
STT-1 unit or equivalent U/L approved type SV, SVT, SJ, or SJT AC power supply cord. Do not defeat the third pin
earth ground. If ground lifting is desired, remove the Earth/Audio Ground Jumper strap (topic number 8 above).
STT-1
STT-1 FRONT PANEL — FRONT END
(1) FRONT-END AMPLIFIER SELECT SWITCH "TWIN TOPOLOGY"
Pushbutton switch which selects the front-end gain amplifier as either entirely vacuum tube (VT) or entirely
solid state (SS). When used as a microphone preamp, the solid state amplifier is essentially identical to the
front-end found on Millennia's acclaimed HV-3 — used by a who's who in critical acoustic recording
worldwide. The vacuum tube amplifier is essentially identical to the front-end of Millennia's sublime M2b. The DI instrument input uses a tested and selected low noise, high voltage (300+ Volts) 12AT7 vacuum
tube for impedance buffering, which then feeds either the VT or SS gain amplifiers. There's also an unusual
twist here. To further enhance the Origin's sonic palate, we have included something that Millennia has
historically avoided — a switch selectable audio path transformer. Here's why...
Audio designers know that audio transformers add various types of sonic color (distortion) to an audio path
— especially at high dynamic levels and wide frequency excursions. This is why, to date, Millennia has
avoided audio path transformers. In our opinion, audio transformers simply have no place in a critical
signal path when acoustic realism and dynamic stability are primary objectives.
That said, it is also widely known that audio transformer distortion can add "artistic personality" to audio
signals. For decades, creative engineers and producers have selected various transformer-coupled audio
paths to achieve a marked sonic signature. A good example is found in Rupert Neve's original Class-A, alldiscrete designs from the 1960s. Mr. Neve's early console modules (1272, 1073, etc.) are in demand today
due to their ability to "cut through" a mix and present a "bigger than life" sonic signature. Hugely unnatural,
and delightfully so! What causes these audio artifacts? It's predominantly the transformers. We can thank
Rupert's old audio path transformers for most of that familiar euphonic coloration and pleasing distortion.
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Millennia enjoys a fine collection of these 1960's era console modules. We use them on pop recording dates
(by choice, however, more than 90% of our recording schedule remains acoustic classical, jazz, and ethnoeclectic; where we use HV-3 and M-2b micamps exclusively). We know intimately the "sound" that a
purposefully designed audio path transformer can deliver. It is with this understanding and mission that
Millennia presents our first product with (gasp!) an audio path transformer.
Numerous listening tests were performed on a wide range of off-the-shelf transformers. We couldn't find a
stock transformer that had the particular "sound" we were searching for. We then embarked upon a design
effort to create our own unique transformer. Developed for its ability to deliver a "bigger than life" sonic
signature when hit hard (high input levels), the new Millennia MIT-01 audio input transformer is not
intended for acoustic reality nor accuracy. Rather, when used with higher input levels, the MIT-01 offers a
colorful sonic personality that engineers and producers of popular music will likely find both highly artistic
and eminently useful. This transformer can be switched in and out of the front-end audio path; selectable
via a front panel switch (see #4). The transformer can be used with all input types (microphones, line-level,
and instrument-DI). When used with nominal input levels, the transformer exhibits minimal sonic coloration. The remaining functional areas of the STT-1, including the vacuum tube or solid state EQ, dynamics,
and output sections, remain inherently transformerless.
(2) PHANTOM POWER SELECT SWITCH ("+48V")
Pushbutton switch which provides phantom power (+48 Volts DC) to the microphone. When this switch is
depressed (illuminated red), phantom power is applied simultaneously through dual 6.81k ohm resistors to pins 2
and 3 of the three pin female XLR mic input. Use phantom power with condensor and other microphones
requiring traditional phantom supply. CAUTION: Applying phantom power to ribbon microphones could
damage them. Do not use phantom with ribbons, moving coil, and other microphones which do not require
phantom power. Use care, as well, not to insert or extract mic cables from the STT-1 when phantom power
is active. This could damage both the microphone and the sensitive HV-3 front end.
STT-1
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(3) POLARITY REVERSE SWITCH "POL REV"
A pushbutton switch which, when depressed and illuminated, reverses the polarity (180 degree inversion) of all
input signals, including the DI, mic input, and line input.
(4) TRANSFORMER SELECT SWITCH "XFMR IN"
A pushbutton switch which, when depressed and illuminated, places the Millennia MIT-01 audio path transformer in the front-end circuit. When used with high level signals, such as when using a pair of STT-1 units for
mixdown applications, the engineer may notice a marked 'enhancement' in sonic signature when the transformer
is inserted. We have designed this transformer to provide a unique, "fat" sonic coloration which gives the
engineer a richer, fuller, 'bigger-than-life' image when used with aggressive sources such as drums and electric
bass.
(5) OVERLOAD INDICATOR "OL"
A single red LED (light emitting diode) which begins turn-on (most dim) around +16 dBu and becomes fully
illuminated at +24 dBu at the direct output. The gradual illumination feature offers better indication of
approximate direct output level when compared with a typical "on/off" LED.
(6) VACUUM TUBE GAIN CONTROL "VACUUM TUBE GAIN"
A potentiometer which offers a front-end vacuum tube gain range of approximately 18 dB, being an absolute gain
range of approximately +22 dB to +40 dB at the direct output. When Line Input is used, it is recommended that
this Gain Control remain fully CCW with the Output Master Level control set between 12 o'clock and 3
o'clock as a starting point. If less gain is required, lower the Master Level. If additional gain is required for line
level signals (such as unbalanced "-10" signals), raise the level using use the Vacuum Tube Gain Control. Line
level signals sound fantastic in the Origin, but for optimized performance of EQ and Compressor with line level
sources, the stand-alone NSEQ-2 and TCL-2 Twincom stereo products offer slightly improved specifications.
This is due to the additional (and required) interface circuitry found in the Origin. NOTE: We did not attempt
to unify the rotational position or resolutions of the SS and VT gain controls. That is, the user cannot place each
gain potentiometer at the same angular setting and expect the same gain. Rather, we have optimized each gain
amplifier unto itself, not in relation to the other gain amplifier.
(7) SOLID STATE GAIN CONTROL "SOLID STATE GAIN"
A potentiometer which offers a front-end solid state gain range of 40 dB, being an absolute gain range of
approximately +10 dB to +50 dB at the direct balanced output. The Origin is optimized for mic-level and
instrument-level signals. When Line Input is used, it is recommended that this Gain Control remain fully CCW
with the Output Master Level control set between 10 o'clock and 2 o'clock as a starting point. If additional gain
is required for line level signals, raise the level using use the Gain Control. Line level signals sound fantastic in
the Origin, but for optimized performance of EQ and Compressor with line level sources, the stand-alone
NSEQ-2 and TCL-2 Twincom stereo products offer slightly improved specifications. This is due to the additional (and required) interface circuitry found in the Origin. NOTE: We did not attempt to unify the rotational
position or resolutions of the SS and VT gain controls. That is, the user cannot place each gain potentiometer at
the same angular setting and expect the same gain. Rather, we have optimized each gain amplifier unto itself, not
in relation to the other gain amplifier. NOTE: An approximate 20 dB of additional solid state gain is available if
necessary. Contact Millennia for customization information.
(8) SOURCE SELECT SWITCH "SOURCE: MIC - LINE - DI"
Rotary switch (Grayhill, military-spec, gold plated) which selects the front-end input source as either microphone, line level, or 1/4" DI (instrument, keyboard, etc.). Mic, Line, and DI inputs all feed the same front-end
amplifiers (selectable via switches as either vacuum tube or solid state, transformer-coupled or transformerless). When used as a solid state amplifier, the circuit is essentially identical to the front-end found on
Millennia's acclaimed HV-3. When used as a vacuum tube amplifier, the circuit is essentially identical to
Millennia's sublime and musically euphonic M-2b front-end. The DI input offers a very high input impedance
via a single 12AT7 vacuum tube circuit.
STT-1
PARAMETRIC EQUALIZER SECTION
(9) BAND IN/OUT SWITCH "IN"
Pushbutton switch which places its associated EQ band in circuit or out of circuit. There are
four bands of equalization on the STT-1 Origin. The four frequency bands are labeled LF (low
frequencies), LM (low-mid frequencies [20 Hz - 2.5 kHz]), HM (high-mid frequencies [250
Hz - 25 kHz]), and HF (high frequencies). An EQ band is in circuit when its associated band
switch is depressed and LED is illuminated. Because of the equalizer's unique shunt design, EQ
bands should have no detectable sonic signature when they are in circuit as long as the boost/
cut control is set at zero. Band In/Out switches are provided both for comparing a single EQ
band setting versus flat-band response, and for bypassing the EQ entirely.
(10) FREQUENCY SELECT SWITCH
Rotary switch (Grayhill, gold contacts, military spec) which selects fixed high and low band
frequencies. LF control center frequencies are set to 20, 34, 56, 100, 180, and 270 Hz. HF
control center frequencies are set to 4.8k, 5.8k, 8.0k, 10k, 16k, and 21 kHz.
(11) PEAK/SHELF SELECT SWITCH
Pushbutton switch which selects LF band and HF band curve shape. When switch is depressed
and LED is illuminated, EQ is shelving at 6 dB per octave. When switch is not depressed, EQ is
peaking with a fixed "Q" of 1.0.
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(12) BOOST/CUT CONTROL
Conductive plastic rotary potentiometer offering up to +15 dB of boost and -15 dB of cut.
Boost/Cut potentiometer has 21 detented positions for accurate repeatability and session
logging.
(13) PARAMETRIC FREQUENCY CONTROL
Conductive plastic rotary potentiometers (2) which sweep all center frequencies from 20 Hz to
25 kHz. The low-mid band ("LM") sweeps 20 Hz to 220 Hz -or- 220 Hz to 2.5 kHz, depend-
ing on the status of Frequency Range Switch (below). The high-mid band sweeps 250 Hz to 2.5
kHz -or- 2.5 kHz to 25 kHz, depending on the status of Frequency Range Switch (below). This
control is optionally available with 21-step detents for accurate repeatability and logging.
(14) PARAMETRIC FREQUENCY RANGE SELECT SWITCH "10X"
Pushbutton switch which selects 1X or 10X parametric frequency range. When switch is
depressed and corresponding LED is illuminated, frequencies as shown on front panel legend
are multiplied by 10X. When switch is not depressed and LED is not illuminated, frequencies
are as shown on front panel legend.
(15) PARAMETRIC QUALITY CONTROL "Q"
Conductive plastic rotary potentiometer which sweeps "Q" (Quality factor) from 0.4 to 4.0.
"Q" is defined as the ratio of the center frequency to the bandwidth. For example, a filter
setting with center frequency of 315 Hz with 3 dB down points near 100 Hz and 1000 Hz
exhibits a "Q" of approximately 0.4. This control is optionally available with 21-step detents
for accurate repeatability and session logging.
STT-1
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STT-1
(16) EQUALIZER IN/OUT SELECT SWITCH "EQ IN"
Pushbutton switch which places the four-band parametric EQ 'on' the signal path. Because of this
equalizer's unique design, the four bands of active filters are not technically 'in' the direct audio
signal path. An active filter is only effecting audio when its associated Boost/Cut control is in a
position other than "0" — that is, when a Boost/Cut control is boosting or cutting. If all Boost/Cut
controls are set to "0" (12:00 o'clock position), even though the EQ IN switch and all four EQ
Band switches are engaged, there will be no noticeable sonic difference until a Boost/Cut control
is adjusted away from its "0" position.
(17) TWIN TOPOLOGY SELECT SWITCH "EQ/COMP TT"
Pushbutton switch which selects the amplifier topology to be used by the equalizer and compressor, vacuum tube or solid state. When switch is depressed and LED is illuminated, EQ and
compressor are routed via a pure Class-A solid state FET amplifier. When switch is not depressed and LED is not illuminated, EQ and compressor are routed via a pure Class-A vacuum
tube amplifier. EQ and compressor amplifier topologies cannot be selected separately. Not a
gimmick, Twin Topology is designed around two world class, musically optimized amplifiers —
one amplifier is based on twin triode 300+ Volt vacuum tubes, while the other is based upon
all discrete pure Class-A J-FET servo amplifiers. Like having two distinctly different equalizer
path amplifiers and two distinctly different opto-compressor path amplifiers in one chassis.
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COMPRESSOR / LIMITER SECTION
(18) THRESHOLD CONTROL "THRESH"
Conductive plastic rotary potentiometer offering a continuously variable compression threshold adjustment range of approximately -20 dBu to +20 dBu. Threshold is most sensitive when
control is turned fully CW.
(19) ATTACK TIME CONTROL "ATTACK"
Conductive plastic rotary potentiometer offering a continuously variable attack timing. When
fully CCW, the fastest attack time is achieved (2 mS). When fully CW, the slowest attack time
is achieved (100 mS). Opto-resistive gain reduction, as found in the Origin STT-1, is ideal for
virtually all program material, including tracking of vocals, guitars, keyboards, and most
acoustic music. Moreover, when a pair of STT-1 units are combined, the opto-compressor can
be used for stereo program mixing, post production, and so forth. Opto-electronic gain reduction is not the fastest known method of compression attack, but based on many years of
listening experience with every gain reduction technology, we feel that correctly designed optoresistive compression is the most sonically transparent method.
(20) RELEASE CONTROL "RELEASE"
Conductive plastic rotary potentiometer offering continuously variable compression release
timing. When fully CCW, the fastest release is achieved (20 mS). When fully CW, the slowest
release is achieved (3 seconds). Note that release times below 80 mS are normally used only
during de-essing. It is recommended that broadband compression use >80 mS release times.
STT-1
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(21) RATIO CONTROL "RATIO"
Conductive plastic rotary potentiometer offering continuously variable compression ratio.
When fully CCW, the lowest and most gentle compression ratio is achieved (1.4:1). When fully
CW, the highest and most pronounced compression ratio is achieved (30:1). A compression
ratio of approximately 10:1 or higher is typically called "limiting" hence the STT-1 dynamics
section is properly called a "compressor/limiter."
(22) PRE / POST DYNAMICS SELECT SWITCH "FLIP DYNAMICS"
Pushbutton switch which determines the order in which the dynamics section is placed in the
audio signal path. When switch is depressed and LED is illuminated, the dynamics section
precedes the EQ section. When switch is not depressed, the dynamics section follows the EQ
section. Use this switch to achieve desired sonic objectives. In some cases, compressing equalized program can offer an "effect" not achievable with pre-EQ compression. When the Equalizer is not enabled (EQ IN switch is disabled), pre/post selection is also disabled.
(23) DE-ESSER SELECT ROTARY SWITCH "DE-ESSER"
Rotary switch which selects the notching frequency of an opto-electronic de-esser. De-esser
provides selective filtering of particularly "sibilant" frequencies, such as found on overly
breathy singers, RF "hissing" artifacts encountered with certain wireless mic receivers during
dropout, and so forth. Compressor/limiter "dynamics" switch (#24) must be active to achieve
de-essing function.
Origin's de-essing function employs the same opto-resistive gain reduction elements used by
the broadband compressor/limiter. The de-essing function can be used simultaneously with the
parametric equalizer (pre or post), and can be used with the additional solid-state audio path
amplifier, vacuum tube audio path amplifier, or with no additional amplifier in the audio path.
The de-esser and broadband compressor/limiter cannot be used simultaneously.
When the “Comp/Lim In” switch (#24) is active and illuminated, and the de-essing rotary
switch is fully counter-clockwise, the broadband compressor/limiter is active and the de-essing
function is off. As the de-essing switch is rotated clockwise, the broadband compressor/limiter
is disabled and the de-esser becomes active at the center frequency noted on switch. When any
de-essing frequency is selected, the meter Gain Reduction function is disabled.
The de-esser works in conjunction with the compressor/limiter’s dynamics controls (threshold,
attack, release, ratio) and signal input level. At lower input, threshold, and ratio levels, the deessing function is less prominent. At higher levels, de-essing becomes more pronounced. The
de-esser in the Origin is intended for modest de-essing duties. For more aggressive sibilance, a
dedicated de-essing unit with greater flexibility is suggested.
At low settings (fully CCW) of threshold and ratio, the de-esser function is essentially off. For
instance, at 1.4:1 ratio, the de-essing notch is very broad with minimal cut. As the ratio and
threshold controls are increased clockwise, the de-essing notch becomes more pronounced
with an apparent tighter “Q”. It is recommended that the fastest attack and release be used as
a starting point; the user should then experiment with different settings of attack and release
to achieve optimal de-essing performance.
STT-1
(24) DYNAMICS IN/OUT SWITCH "COMP + LIM IN"
Pushbutton switch which places an opto-compressor/limiter into the signal path. When switch is
depressed and LED is illuminated, opto-electronic gain reduction elements are activated. When
pushbutton switch is not depressed, gain reduction is not in circuit. Opto-compressor/limiter can
be used with or without additional active amplifier stage (vacuum tube or solid-state).
(25) MUTE SELECT SWITCH "OUTPUT MUTE"
Pushbutton switch which mutes all main outputs, balanced and unbalanced. When switch is
depressed and LED is illuminated, audio signal is muted at the main outputs. Does not effect
Direct Output from the front end amplifiers. When switch is not depressed, muting is not
active.
(26) VU METER FUNCTION SELECT SWITCH "METER GR"
Pushbutton switch which determines the VU meter function. When switch is depressed and
LED is illuminated, VU meter indicates the amount of dynamics gain reduction. When switch
is not depressed, VU meter indicates the actual output level of the balanced main outputs. A
meter reading of 0 VU is equivalent to a balanced output of +4 dBu. NOTE: Unbalanced main
output is 6 dB lower output than shown on VU meter. Gain reduction metering is disabled
when de-esser is enabled.
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(27) MASTER LEVEL CONTROL "OUTPUT MASTER"
Master output level control. Fully CCW is fully off. Fully CW offers an additional 10 dB of
gain relative to the front-end amplifier circuits. Unity output level is achieved when this control
is approimately 2:00 o'clock (at the tip of the right "bat wing").
(28) VU METER ADJUSTMENT "METER ZERO"
Inset multi-turn trimmer potentiometer which adjusts the VU meter zero point when meter is
set to Gain Reduction. Use insulated "wand" tool designed for trimpot adjustment. Allow ample
time (1/2 hour recommended) for the STT-1 Origin circuits and chassis to 'warm up' and reach
a stable operating temperature before attempting to set the GR zero point of VU meter.
(29) VU METER
True analog-level meter providing indication of output level or gain reduction. Meter is backlit.
Meter backlighting also serves as operational 'pilot' light.
(30) POWER SWITCH "POWER"
Rocker switch for switching AC line power on and off.
(31) TEMPLATE
(not shown) A logging template for use with the STT-1 Origin is available for download on the
Millennia web site at: http://www.mil-media.com/origin.html
STT-1
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COMPRESSOR T/T OPERATION
Please review the STT-1 block diagram. You'll note that the opto-compressor gain reduction
"shunt" elements, both pre-EQ and post-EQ, are passive. This means that no additional audio
path amplifiers are required for dynamics control. However, in some cases, an engineer may
prefer the sound of an additional Class-A discrete FET or all vacuum tube amplifier in the
dynamics signal path. The STT-1 ORIGIN offers all these options. The opto-compressor may
be used:
1.) With vacuum tube signal path amplifier, or
2.) With solid-state signal path amplifier, or
3.) Without any associated signal path amplifier
The Compressor and EQ share the same signal path amplifier. To use the compressor with the
additional signal path amplifier, assure that the "EQ IN" switch is depressed and illuminated. If
no EQ is desired (dynamics only), simply assure that all four "EQ Band" switches are disabled
— this will effectively remove all EQ function while allowing the compressor to traverse the
vacuum tube or solid state amplifier signal path.
We feel this design approach offers maximum flexibility in achieving the widest range of
dynamics sonic possibilities, from straight-wire 'minimalist' design to variously applied Class-A
amplification paths. EQ and compressor control switches give visual indication of the functions
described above.
SUMMARY
The STT-1 ORIGIN could very quickly become among the only front-end analog paths you'll
ever need. With over 130 different product and topology combinations in one 2U rack chassis,
and the inherent range of sonic possibilities, the STT-1 is designed for the producer/engineer/
musician who doesn't have large amounts of time to spend patching and repatching racks of
analog front-end gear trying to achieve "that sound." Now, in one chassis, it's possible to easily
and quickly patch vacuum tube equipment with discrete solid state Class-A equipment, transformer-coupling and non-transformer coupling, various inputs and outputs, even dispensing
with certain signal path amplifiers altogether if not desired. It's —all— here in one compact
chassis. The STT-1 vastly expands the range of every artist's sonic pallette at a price/performance level previously unknown in professional audio. STT-1 — Straight to Tape. Or for
those no longer using tape, Straight to Track!
STT-1
17
STT-1
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TYPICAL SPECIFICATIONS
Instrument DI Input Buffer Selected 12AT7 dual triode vacuum tube
Solid State Input Amplifier Discrete NPN Transistor Hybrid (HV-3 PAM-01)
Vacuum Tube Input Amplifier Selected 12AX7 & 12AU7 vacuum tubes
EQ and Dynamics Amplifiers Selected 12AX7 & 12AU7 vacuum tubes
— or FSA-01 J-FET all-discrete semiconductors
Total Vacuum Tubes Five (5)
Total Discrete Transistors (FET & NPN) Twenty five (25) in audio path
THD + Noise, 20 Hz - 30 kHz .005% typical SS, .05% typical VT
Frequency Response -3 dB points 3 Hz to 200 kHz, typical. varies with topology
Frequency Response, +/- 0.5 dB 10 Hz to 100 kHz typical. varies with topology
Maximum Balanced Mic Input Level +14 dBu (SS), +3 dBu (VT), non-xfmr
Maximum Balanced Line Input Level +30 dBu (SS), +19 dBu (VT), non-xfmr
Maximum Mic Input to Transformer +1 dBu @ 30 Hz, +20 dBu @ 1 kHz (3% THD)
Maximum Output Level +32 dBu, main balanced output
Maximum System Gain 60 dB, main balanced output
Input Impedance 6,200 ohms, nominal, microphone input
2,200 (x2) ohms, line input
> 1 megohm, instrument DI input
Output Impedance 24.3 (x2) ohms balanced. 49.9 ohms unbalanced
Noise (Common source, mic in) -71 dB @ 50 dB gain (-131 dB EIN), solid state
(30 ohm source, mic in) -68 dB @ 50 dB gain (-128 dB EIN), solid state
(150 ohm source, mic in) -66 dB @ 50 dB gain (-126 dB EIN), solid state
Noise (Line in, EQ in, dynamics in) better than -90 dB, varies with topology
Common Mode Rejection Ratio, mic in > 50 dB, 100 mV CM, varies with topology
> 80 dB typical @ 60 Hz. varies with topology
Three-pin XLR Polarity Pin 2 = positive polarity, Pin 1 = ground
1/4" Phone Polarity Sleeve = ground, Tip = positive polarity unbal
DYNAMICS SPECIFICATIONS
Threshold Range 40 dBu, Continuously Adjustable
Attack Range 2 mS to 100 mS, Continuously Adjustable
Release Range 20 mS to 3.0 S, Continuously Adjustable
Compression Ratio Range minimum 1.4:1 (6:1 at 12 o'clock pot setting)
maximum 30:1 Continuously Adjustable
De-essing Frequencies Off, 4.9k, 6.8k, 8.2k, 10.7k, 12.0 kHz
Dynamics pre/post EQ selection? Yes
Twin Topology Selection (EQ In) TT Switch In = FET Signal Path Amplifier
TT Switch Out = Vacuum Tube Signal Path
Amplifier
EQ Select Switch Out "Passive" Opto-Compression Shunt Network
(see instructions for details on EQ and Dynamics
co-operation)
STT-1
EQUALIZER SPECIFICATIONS
Maximum Boost & Cut +/- 15 dB (21 step detent)
Parametric "Q" Adjustment Range Q = 0.4 to 4.0, sweepable
Low-Mid (LM) Parametric Sweep Freqs 20 Hz to 220 Hz -or- 200 Hz to 2.2 kHz
High-Mid (HM) Parametric Sweep Freqs 250 Hz to 2.5 kHz -or- 2.5 kHz to 25 kHz
Low (LF) Range Fixed Frequencies 20, 34, 56, 100, 180, 270 Hz
High (HF) Range Fixed Frequencies 4.8, 5.8, 8.0, 10, 16, 21 kHz
Low/High Range Fixed "Q" Q = 1.0
Parametric Frequency Multiplier (10X?) Yes
Peak/Shelf Selection on Hi & Lo bands? Yes
Bypass Selection on Each Band? Yes
Twin Topology Selection Switch In = FET Signal Path Amplifier
Switch Out = Vacuum Tube Signal Path Amplifier
ELECTRO-MECHANICAL
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SPECIFICATIONS
Power Consumption 50 Watts, nominal
Power Requirements 100VAC to 240VAC, 50/60Hz, selectable
Fuses (2 required) 2 ea 1A with 100-120VAC mains (5x20mm,
slow-blow, 250V)
2 ea 500mA with 200-240V mains (5x20mm,
slow-blow, 250V)
Internal DC Power +350V, +50V, +25V, -25V, +18V,
-18V, +12V, +5V
Dimensions 19" W x 15.5" D x 3.5" H
Net Weight aproximately 27 pounds
Millennia Media reserves the right to change specifications, delivery, and pricing without notice.
STT-1
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WARRANTY
Millennia Media will repair this product, free of charge, in the USA, in the event of defect of
materials or workmanship for one (1) year following date of purchase. This warranty is extended
only to the original purchaser. This limited warranty covers failures due only to defects in materials
and workmanship which occur during normal, intended use and does not cover damage which
occurs in shipment or failures which are caused by products not supplied by Millennia Media. This
limited warranty does not cover failures which arise from accident, misuse, abuse, neglect, mishandling, misapplication, faulty installation, improper adjustment, alteration or modification of
product, incompatibilities, line-power surges, acts of God, or service performed by anyone other
than Millennia Media or its authorized agent. Vacuum tube failures are not covered under warranty.
LIMITS AND EXCLUSIONS
There are no express warranties except as listed above. Millennia Media shall not be liable for
special, subsequent, incidental, consequential, or punitive damages, including, but not limited to:
damage to recordings, broadcasts, microphones, mixing consoles, or any associated equipment,
downtime costs, loss of goodwill, or claims of any party dealing with purchaser for such damages
resulting from the use of this product. All warranties, express and implied, including the warranties
of merchantability and fitness for a particular purpose are limited to the applicable warranty
period set forth above.
Some states do not allow the exclusion or limitation of incidental or consequential damages, or
length of time an implied warranty remains in effect. As such, the above exclusions may not apply.
This warranty gives you specific legal rights and you may also have other rights which can vary
from state to state.
MILLENNIA MUSIC & MEDIA SYSTEMS
Millennia Media, Inc.
4200-B Day Spring Court
Placerville, CA 95667-9500
T 530-647-0750
F 530-647-9921
info@mil-media.com
http://www.mil-media.com
The STT-1 Origin is hand-crafted in USA
Manual printed in USA
STT-1
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