Mindprint TRIOUSB User Manual
www.mindprint.com
Manual 1.1
TRIO™ S/P-DIF TRIO™ USB
English
DeutschFrançais
MindPrint® T.R.I.O.
Important:
Please read safety instructions
on page 64 - 67 before use!
Wichtig:
Bitte lesen Sie vor der Inbetriebnahme
die Sicherheitshinweise auf Seite 64 - 67!
Important :
Avant la mise en service, prière de lire
les consignes de sécurité à la page 64 - 67 !
Importante:
Prima di utilizzare lo strumento, leggere
attentamente gli avvisi di sicurezza su pagina 64 - 67!
Importante:
¡Antes de la puesta en servicio lea por favor
las indicaciones de seguridad en la página 64 - 67!
2
Table of contents
MindPrint® T.R.I.O.
Front View. . . . . . . . . . . . . . . . . . . . . . 5
Rear Panel . . . . . . . . . . . . . . . . . . . . . . 6
Bottom View . . . . . . . . . . . . . . . . . . . . 6
Getting started . . . . . . . . . . . . . . . . . . 7
1. MIC/INSTR. input. . . . . . . . . . . . . 8-9
1.1 48 V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2 LOW CUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.3 GAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.4 HF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.5 LF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.6 FAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.7 REC VOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.8 MUTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.9 INSERT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2. Stereo LINE input . . . . . . . . . . . 10-11
2.1 L/MONO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.2 R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.3 HF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.4 LF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.5 REC VOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2.6 MUTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Zero Latency Monitor Volumes 11-12
3.1 MIC/INSTR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.2 LINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.3 AUX input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.4 MONITOR ON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3.5 DAW ON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Monitor Management Section . 12-13
4.1 VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.2 SPEAKERS A, B und C . . . . . . . . . . . . . . . . . . . . . . . . . .
4.3 DIRECT OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.4 MONO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.5 DIM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.6 SPEAKERS B LEVEL ADJUST . . . . . . . . . . . . . . . . . . . . . .
5. Metering Section . . . . . . . . . . . 13-14
5.1 METER SELECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Headphones Section. . . . . . . . . . . 14
6.1 PHONES A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6.2 PHONES B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7. Talkback Section . . . . . . . . . . . 14-15
7.1 TALKBACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7.2 TB VOLUME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7.3 TB MIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8. Daw Interface . . . . . . . . . . . . . 15-16
8.1 ANALOG OUT L/R . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8.2 ANALOG OUTPUT LEVEL ADJUST . . . . . . . . . . . . . . . . .
8.3 ANALOG IN L/R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8.4 ANALOG INPUT LEVEL ADJUST. . . . . . . . . . . . . . . . . . .
9. Digital Interface. . . . . . . . . . . . 16-17
9.1 S/P-DIF IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9.2 S/P-DIF OUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9.3 SYNC LED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9.4 44,1/48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9.5 x1/x2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9.6 MASTER/SLAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9.7 USB
10. Record/Monitor Mode Selector. . . 18
10.1 MIC/INSTR. RECORD . . . . . . . . . . . . . . . . . . . . . . . . . .
10.2 MIC/INSTR. MONITOR. . . . . . . . . . . . . . . . . . . . . . . . .
10.3 LINE RECORD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10.4 LINE MONITOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
English
11. Other Features . . . . . . . . . . . . . 18-19
11.1 POWER Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11.2 Mains Socket . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11.3 GND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12. Troubleshooting . . . . . . . . . . . . . . 19
13. Technical Specifications . . . . . . 20-21
14. Safety Instructions . . . . . . . . . . 64-67
15. Block Diagram . . . . . . . . . . . . . . . 63
3
MindPrint® T.R.I.O.
Welcome to MindPrint!
We’re delighted that you opted for T.R.I.O™! Please take the time to read this
manual. It offers detailed explanations on how to handle T.R.I.O™, provides a
wealth of helpful information, and reveals lots of tips and tricks used by pros.
Recording is taking a turn towards total convenience, and a sea of change is
sweeping over the audio workplace. Where yesterday a mondo mixing console
crowded your desktop, today a tiny laptop is perched in its place. Where 19“ racks
with outboard effects and samplers/synths once stood, you’ll now find a couple of
CD-ROMs with plug-ins and software synths. The future belongs to the mighty mite
– a small yet powerful setup that costs less, saves space, handles ergonomically,
and delivers high-end audio despite its diminutive size.
T.R.I.O™ is the nerve center of the “mixer-less” studio. It brings together the three
types of signal routing portals - inputs, outputs and interfaces - to take the place of
a mixer’s input ports and monitor section. And it offers an IN/OUT interface to your
DAW. When you make T.R.I.O™ part of your contemporary computer-based studio,
you need no other audio handling device.
Here’s wishing you tons of fun recording with T.R.I.O™!
WARRANTY
Please register your T.R.I.O™. It takes just a few minutes, and as a
reward for your effort, you’ll enjoy the added benefit of an extended warranty. Take advantage of our website’s convenient ONLINE
REGISTRATION option at www.mindprint.com
If you are unable to register online, please fill out the enclosed warranty card completely and mail or fax it to us. The registration is only
valid if the warranty registration card is filled out and returned to
MindPrint® or the device is registered via Internet within 30 days of
the date of purchase.
The registration info also affords us insight into how and by whom our
devices are used. This information will help us design future products.
Your data is of course protected by privacy laws.
Thank you!
MindPrint
®
Technical Service
Postfach 1509
D - 66595 St. Wendel, Germany
Fax: +49 6851 905 100
The Philosophy Behind T.R.I.O™
Before we get to it, allow us a few words on the philosophy behind the
T.R.I.O™: We made every effort to ensure this device’s functionality and signal
flow is easily understood and conveniently handled, even if you have never
dealt with mixers, microphone preamplifiers and compressors before:
The left side of the device handles input channels, amplifying signals and
porting them to the computer. Incoming signals returning from the computer
are routed to the right side and bussed on to the monitoring circuits. Below
these sections at the center of the panel you’ll find monitor volume controls
for the input channels. You may be happy to learn that you’re dealing with a
zero latency monitor signal. On the bottom right, you’ll find a big and very
important knob. It determines master monitor volume.
The following symbols stand for:
general information
y
pro tips and hints
g
safety relevant instructions
x
In this operating manual, we frequently employ the acronym
y
DAW (= Digital Audio Workstation); it refers to your PC/MAC HD
recording setup
Please note that in the interests of more practical and effective
y
handling, we made a conscious decision to steer clear of the
standard parameters employed by many manufacturers, tuning
the equalizers and compressor according to insight gleaned from
intensive research and long experience in the field. The knowhow of many pros flowed into T.R.I.O™, resulting in a device that
despite its exceptionally compact format, enables you to process
audio signals with pinpoint precision.
4
Front view
MindPrint® T.R.I.O.
1
2
3
24
19
20
4
5
6
7
9
10
11
12
8
26
13 14 15
Mic/Instrument Preamp
1
48 V: activates 48-volt phantom power
2
LOW CUT: activates the Low Cut Filter
3
GAIN: controls input gain
4
HF: cuts/boosts treble
5
LF: cuts/boosts bass
6
FAT: controls the compressor’s intensity
7
REC VOL.: controls to-DAW recording level
8
MUTE: silences MIC/INSTR.
Stereo LINE Preamp
9
HF: cuts/boosts treble
10
LF: cuts/boosts bass
11
REC VOL.: controls to-DAW recording level
12
MUTE: silences LINE
Zero Latency Monitor
13
MIC/INSTR.: controls the channel strip’s monitor level
14
LINE: controls the LINE channel’s monitor level
15
AUX: controls the AUX input’s monitor level
16
MONITOR ON: routes MIC/INSTR., LINE and AUX to the
monitor buss
17
DAW ON: sends the incoming signal from the Digital Audio
Workstation to the monitor buss
25
28
27
17
16
21
22
23
18
Monitor section
18
VOLUME: controls the monitor section’s master level
(but not PHONES and DIRECT OUT)
19
SPEAKERS A: routes output signal to monitor pair A
(main monitor)
20
SPEAKERS B: routes output signal to monitor pair B
(alternative monitor)
21
SPEAKERS C: routes output signal to monitor pair C
(or subwoofer)
22
MONO: configures a mono monitor signal
23
DIM: cuts the monitor’s master level 20 dB
(except Headphones)
24
PHONES A: controls the volume of headphones port A
25
PHONES B: controls the volume of headphones port B
26
TALKBACK: routes the TALKBACK microphone (MIC)
to headphones (not to SPEAKERS)
27
TB VOL: controls TALKBACK microphone volume
28
INPUTS/OUTPUTS: assigns LED indicators to the input
or output signal
English
5
MindPrint® T.R.I.O.
Rear panel
TRIO is available
in two models:
S/P-DIF
33
4345 38
44
47
46
42
394041
36
31
29
303235 3734
USB
29
MIC IN: microphone input
30
INSTR. IN: instrument input
31
INSERT: insert send and return
32
LINE IN: stereo line input
33
AUX IN: stereo aux input
34
DAW DIGITAL IN: optical S/PDIF input
35
DAW DIGITAL OUT: optical S/PDIF output
36
SYNC Board: synchronization tool
37
DAW ANALOG OUT: stereo output to the DAW
38
DAW ANALOG IN: stereo input from the DAW
53
49
52
50
51
39
DIRECT OUT: master output from DAW ON and MONITOR ON
40
SPEAKERS C: output to monitor pair C
41
SPEAKERS B: output to monitor pair B
42
SPEAKERS A: output to monitor pair A
43
PHONES: headphones ports A and B
44
AC IN: accepts the included wall wart power supply
45
POWER: mains switch
46
GROUND: earthing screw
47
USB
53
Bottom View
48
DIP switch for routing recording /monitor busses
49
Rotary knob for fine-tuning SPEAKERS B
50
48
Rotary knob for fine-tuning the DAW Interface’s analog inputs
51
Rotary knob for fine-tuning the DAW Interface’s analog outputs
52
Ventilation slots - do not cover or obstruct!
53
Vertical mounting bracket
6
MindPrint® T.R.I.O.
Getting Started
Before you fire up T.R.I.O™ for the first time, take a moment or two to
configure your rig. With our suggested setup, handling will be a pleasure
rather than a pain. If your recording rig comprises a computer, capacitor
microphone, keyboard, CD player and monitors, then a basic configuration
that lets you deal with all connected signal sources directly looks like this:
to/from computer
to monitor speakers
microphone input gain
phantom microphone power
from keyboard
from CD-player
from microphone
DAW return on
speakers on
FOR QUICK-STARTERS
If you’re accustomed to working with conventional mixers, you should
have no trouble handling T.R.I.O™ without further fuss.
However, there are a few things you should bear in mind: The two
REC VOL. knobs control the recording levels of the signals sent to
the DAW, and NOT the monitor busses’ levels! Twist the knobs at the
bottom center (in the ZERO LATENCY MONITORING section) to adjust
the monitor volume. So, don’t be surprised to hear the LINE signal
even when the LINE REC VOL. knob at the bottom left is turned all the
way down.
In most scenarios, T.R.I.O™ is connected directly to active
x
speakers or power amps that are able to put to painfully high
volume levels. Do your hearing and your speakers the favor of
always exercising utmost caution when twisting the VOLUME
knob. When in doubt, roll back the VOLUME knob rather than
cranking it wide open.
microphone
recording
level
keyboard recording level
monitor volume for:
mic keyb. CD player
master volume
control
monitor section on
Input Section
T.R.I.O™ features a full-fledged input section comprising a low-noise, class A
microphone input stage featuring switchable phantom power for capacitor
microphones, a high-impedance instrument input and a studio level line
input.
The MIC/INSTR. input and LINE input may be used and recorded
y
simultaneously.
English
7
MindPrint® T.R.I.O.
1. MIC/INSTR. Input
Connecting signal sources:
Located on the T.R.I.O™’s rear panel is an XLR port designed
to accept a microphone. It is wired in compliance with the
international standard (pin 2 = hot). Switchable 48-volt
phantom power is available for condenser microphones.
T.R.I.O™ also offers a switchable low-cut filter for suppressing lowfrequency noise.
Connect instruments such as guitar/bass to the INSTRUMENT
IN jack. When you plug a mono 6.3 mm (1/4") plug into the
high-impedance instrument input, T.R.I.O™ automatically
enables this port, and it has priority over the microphone
input.
The microphone/instrument input takes a mono signal. A dip switch on the
bottom panel of the device lets you determine whether this signal is routed
to the left recording and monitoring channel only or distributed evenly to
both channels. See 10.1. to learn more.
Handling:
THE ONBOARD CHANNEL STRIP
The MIC/INSTR. input is more than merely a preamp circuit. It comprises a full-fledged mixer channel strip offering hip features like low cut,
EQ and a compressor. It lets you process the frequencies and dynamics
of a signal before recording it.
Switch phantom power on only for microphones that require it.
x
Never feed power to unbalanced and ribbon microphones! Do not
connect line level devices to the microphone input - this can damage
T.R.I.O™.
The microphone input is automatically disabled when a plug is
g
inserted into the INSTRUMENT IN jack. This means that for the sake
of convenience, you can opt to leave a microphone cord connected
to MIC input.
INPUT SENSITIVITY
Designed to handle instrument levels, the instrument input accepts
guitar and bass signals directly. With an impedance of 1 M-ohm, it
does not load instruments’ pickups or degrade their sound. The technology that powers this input comes courtesy of MindPrint®s‘ sister
company Hughes & Kettner®, whose guitar amp know-how we have
to thank for this input’s top-drawer audio quality.
PREAMPLIFICATION
Because the T.R.I.O™’s GAIN knob has such a formative impact on
incoming signals, it’s a good idea to be very fussy about setting its
level. If the input level is too high, the signal may distort audibly. This
kind of saturation is more than annoying – it can render a great performance unusable. So, proceed judiciously, dialing in settings so that signals peaks never (or rarely and then only briefly) trigger the red LED.
1.1 48 V
Switches on +48V phantom power for the microphone input.
This buttons’ yellow LED lights up when power is activated.
Power is fed to the XLR port labeled MIC Input.
1.2 LOW CUT
Inserts a high-pass filter into the signal path; a yellow LED
indicates the given switching status. LOW CUT is located
directly behind the input stage in the signal path Linkwitz-
Riley characteristic 80Hz center frequency; 12dB/oct slope
1.3 GAIN
This knob controls the amount of increase in microphones’
and instruments’ audio signal strength. Use this knob to
adjust the level for the microphone/instrument patched into
the T.R.I.O™’s channel strip.
Control range for microphones: -56 dB to +4 dB
Control range for instruments: -40 dB to +14 dB
REFRESHING SIGNALS
Most microphones tend to deliver fairly dark signals. You can make signals such as vocals more articulate by boosting high frequencies. The
MIC/INSTR. Channel’s HF EQ is similar in design to the circuitry found
in coveted analog high-end equalizers. Its Chebyshev-type filtering was
borrowed from the MindPrint® DTC: High mids are scooped slightly
before treble frequencies are boosted. This adds a silken sheen to
vocals while suppressing hissy-sounding sibilants. The LF band of the
MIC/INSTR. EQ also features Chebyshev filtering.
8
MindPrint® T.R.I.O.
1.4 HF
Twist this knob to adjust the amount of treble in the signal.
Characteristic: Chebyshev type high shelving filter (Vintage
dip-before-boost design)
Corner frequency: 7.5 kHz
Control range: +/- 12 dB
1.5 LF
Twist this knob to adjust the amount of bass frequencies in
the signal. Characteristic: Chebyshev type low shelving filter
Corner frequency: 100 Hz
Control range: +/- 12 dB
1.6 FAT
This is a soft knee-type compressor with auto gain make
up and program-dependent adjustment of time constants.
Though that sounds pretty complicated, handling is as
easy as it is effective: Far left setting = zero compression. Twist the knob
clockwise to dial in everything from slight compression to ultra fat signals.
An LED provides visual indication of compression amounts.
SIGNAL COMPRESSION
As first impressions go, the FAT knob may not bowl you ever, but it
puts a bona fide analog compressor at your fingertips. And though it
brings considerable sound-shaping power to the T.R.I.O™, it handles
very easily. It literally lets you dial in great-sounding results for all
microphone/instrument signals at the twist of your wrist.
REC VOL. determines the level of the signal recorded to the DAW,
y
and not the monitoring level. Adjust the monitoring level using
the MIC/INSTR. knob in the monitor section.
The analog VOL. REC level depends on the setting of a trim knob
y
on the bottom panel of the device with the wordy name DAW
INTERFACE ANALOG OUT LEVEL ADJUST (see 8.1 to learn more).
MUTE comes in handy when you want to silence the mike during
g
a break or swap instruments.
TRIO is the perfect sidekick for laptop-based audio presentations
g
with a headset microphone. To conveniently switch off the microphone during breaks, simply hit the MUTE button.
LED display:
green - no compression
orange - normal compression
red - strong compression
1.7 REC VOL.
Twist this knob to adjust the recording level of the MIC/INSTR.
signal sent to the DAW (independently of monitor volume).
When turned fully anti-clockwise, no signal is sent to the DAWinterface.
1.8 MUTE
Silences the MIC/INSTR input. When this button is engaged,
its red LED lights up. MUTE affects the recording bus and
monitor bus.
1.9 INSERT
Connecting signal sources:
To insert external processors into the MIC/INSTR. circuit,
connect them to the SEND and RETURN jacks located on the
rear panel.
PHANTOM POWER
Equipped with a robust wall wart, T.R.I.O is able to provide 48 V phantom power that is stable enough to satisfy the demanding requirements of high-quality capacitor microphones.
Most condenser microphones will work with less than 48 volts.
y
However, any reduction in voltage lowers the peak gain level and
degrades sound quality.
LOW CUT attenuates bass frequencies. This feature serves to filter
y
out low-frequency noise, for example, footsteps or popping noises
associated with close-miking vocals.
The INSERT SEND may also be employed as an aux send, for
g
example, to address an external reverb unit.
What’s more, you can connect a tuning device to INSERT SEND.
g
This way, an instrument’s tuning can be checked and adjusted on
the fly without unplugging it.
The signal of an external device (for instance, EN-VOICE®) may be
g
patched into INSERT RETURN. Because INSERT RETURN is located
post EQ/compressor, this option lets you bypass the T.R.I.O™‘s
input stage and EQ/compressor. The external signal is routed
directly to the A/D converter and into the monitor section.
English
9
MindPrint® T.R.I.O.
Handling:
When a plug is inserted into the RETURN jack, T.R.I.O™ automatically
injects the incoming signal into the signal path. The SEND jack is
permanently enabled; use it as an additional signal tap, if you wish.
2. Stereo Line Input
Connect line level devices (such as keyboards, line mixers or drum
computers) to the LINE input. Equipped with a two-band EQ, it may be
configured for both mono and stereo signals. If a source signal is patched
into the L/MONO jack only, it is automatically distributed to both channels.
Connecting signal sources:
Patch line level signals into the two mono 6.3 mm (1/4“) jacks on the rear
panel. Use the four-way DIP switch on the bottom panel of the device to
configure recording and monitor routing busses. See 10.1 to learn more
about this.
The term “routing“ is studio-speak for the process of assigning
y
signals to different destinations. In other words, routing is the
process of mapping a signal from, say, a microphone via a circuit
such as input 1 or input 2 to a target such as your recording
software.
Connect line level devices equipped with a single output (mono)
y
to the LEFT/MONO jack. Then the same signal is on both channels of the Line input.
2.1 L/MONO
This jack accepts the left channel of a stereo signal or channel
1 of any line source.
2.2 R
This jack accepts the right channel of a stereo signal or
channel 2 of any line source.
Handling:
2.3 HF
Twist this knob to adjust the Line signal’s treble amount.
Characteristic: Chebyshev type high shelving filter
Corner frequency: 9 kHz
Control range: +/- 12 dB
2.4 LF
Twist this knob to adjust the Line signal’s bass amount.
Characteristic: Low shelving filter
Corner frequency: 120 Hz
Control range: +/- 12 dB
10
2.5 REC VOL.
Twist this knob to adjust the level of the Line signal recorded
to the DAW (independently of monitor volume). When turned
fully anti-clockwise, no signal is sent to the DAW-interface
2.6 MUTE
Silences the MIC/INSTR input. When this button is engaged,
its red LED lights up. MUTE affects both the recording buss
and monitor buss.
3. Zero Latency Monitor Volumes
In this section, you can route input signals directly to the monitor buss for
the purpose of latency-free monitoring. A dip switch on the bottom panel
of the device configures monitor routing busses. See 10.2 to learn more.
3.1 MIC/INSTR.
Twist this knob to adjust the MIC/INSTR. channel’s monitor
level. The signal is tapped post equalizer/compressor.
3.2 LINE
Twist this knob to adjust the Line channel’s monitor level.
The signal is tapped post equalizer.
MindPrint® T.R.I.O.
REMINDER
REC VOL. determines the level of the signal recorded to the DAW, and
not the monitoring level. Adjust the monitoring level using the MIC/
INSTR. knob in the monitor section.
The analog VOL. REC level depends on the setting of the DAW INTERFACE ANALOG OUT LEVEL ADJUST trim knob on the bottom panel of
the device (see 8.4 to learn more).
MUTE is a convenient tool for instantly silencing a keyboard
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connected to the LINE input if you want to bypass its sound
generator and use its keys to play a VST instrument.
ZERO LATENCY MONITORING
When recording to a digital medium, there is a certain amount of
latency inherent in the recorded signal. This delay is due to the time
it takes to convert the signal from analog to digital when it is patched
into the computer and vice versa when it comes back out. You can
well imagine the annoyance this causes musicians and vocalists. So
can we, which is why endowed T.R.I.O™ with a very practical DIRECT
MONITORING section.
A classic case of a fancy name for a straightforward feature, the ZERO
LATENCY MONITORING section lets you hear input signals without
delay because they are routed directly to the outputs rather than to
the computer and back via the DAW INTERFACE.
We recommend that you configure your recording software so that
the recorded signal is not routed out via the DAW’s outputs (INPUT
MONITORING = OFF ).
3.3 AUX Input
Offering an ancillary stereo feed, the AUX input serves to connect consumer
level devices (such as CD and minidisk players). This signal is routed to the
monitor section.
Connecting signal sources:
Patch consumer level devices into the two LEFT and RIGHT RCA
connector ports on the rear panel.
Handling:
AUX:
Twist this knob to adjust the level of signals sent from the
AUX inputs to the monitor section.
The AUX inputs’ signal is sent to the monitoring section only, and
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cannot be recorded. The reasoning here is that the most common
signal source connected to an aux input is a CD player. If you
want to load a CD’s audio tracks to your computer, the more convenient option is to use the computer’s CD-ROM disk drive.
You can connect other sources to the AUX input, for instance, a
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reverb unit whose dry signal is provided via INSERT SEND. Thus you
can offer the vocalist some „working“ reverb. Though the vocalist
hears the wet signal over the headphones, the actual vocal track is
recorded dry, that is, without reverb.
The AUX input is also a cool tool for tweaking T.R.I.O™’s master
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level. Simply connect a CD player and adjust the AUX knob so
that the red output LEDs illuminate briefly and intermittently.
(Somewhere around 12 o’clock, depending on the CD player’s
level.) Use this level as a reference for the monitor volume.
Want to make A/B comparisons to a reference CD? Simply switch
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back and forth between DAW ON and MONITOR ON to compare the
DAW’s signal to the reference CD’s signal.
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MindPrint® T.R.I.O.
3.4 MONITOR ON
Routes the input section’s signals as well as signals sent from the
AUX input to the monitor buss. The LED on the button lights up
to indicate MONITOR ON is active.
3.5 DAW ON
Routes the incoming signal from the DAW to the monitor
buss. The LED on the button lights up to indicate DAW ON
is active.
4. Monitor Management Section
This section lets you access a blend of monitor mix and DAW return signal,
adjust monitor volume, select monitor outputs and connect a DAT/MD
recorder to record reference or backup tracks.
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Want to make A/B comparisons to a reference CD? Simply switch
back and forth between DAW ON and MONITOR ON to compare
the DAW s signal to the reference CD s signal.
In most scenarios, T.R.I.O™ is connected directly to active
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speakers or power amps that are able to put to painfully high
volume levels. Do your hearing and your speakers the favor of
always exercising utmost caution when twisting the VOLUME
knob. When in doubt, roll back the VOLUME knob rather than
cranking it wide open.
The VOLUME knob is of extra big size making it easy to be
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accessed even in stress situations.
4.1 VOLUME
Twist this knob to adjust the master volume of the
SPEAKERS A, B and C monitor outputs. Level is equal
on all three outputs, SPEAKERS B output can be finetrimmed, see 4.5 to learn more
4.2 SPEAKERS A, B and C
Connections:
On the rear panel you’ll find three stereo outputs
for connecting monitor speakers or other
amplification systems. Output A (two 6.3 mm (1/
4“) mono jacks) serves to connect the first-choice monitor speakers; output
B (a pair of RCA connectors) serves to connect an alternative monitor pair.
Output C (a pair of RCA connectors) serves to connect a subwoofer or a
third pair of monitors.
Handling:
SPEAKERS A, B, C
Sends the monitor signal to the selected outputs. The
LED on the button lights up to indicate the given output
is active. You can opt to address several pairs of speakers
simultaneously.
If you own a pair of speakers and a subwoofer, you can connect
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the two satellites to SPEAKERS A and the subwoofer to SPEAKERS B
or C. This lets you address the speakers and subwoofer separately
and easily switch the latter off whenever you wish.
We opted to pass on a MUTE button for the simple reason that
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you can enjoy the same functionality (silencing speakers) by simply engaging the SPEAKER A/B/C buttons or turning down the
volume!
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MindPrint® T.R.I.O.
4.3 DIRECT OUT
You have a fourth stereo output at your disposal with DIRECT
OUT. This signal is tapped pre VOLUME knob (in contrast
to the SPEAKER A/B/C outputs), which means its level is not
adjustable.
4.4 MONO
Press this button to blend the left and right signals and
create a mono signal. When engaged, it affects all monitor
and headphones outputs. The LED on the button lights up
to indicate MONO is active.
4.5 DIM
Press the DIM button to cut the master volume of the
monitor outputs by 20 dB. This affects the speaker outputs
only, and not the DIRECT OUT and PHONES circuits.
4.6 SPEAKERS B LEVEL ADJUST
This stereo knob on the bottom panel of the T.R.I.O™
serves to fine-tune the SPEAKER B output’s level.
Control range: - 4 dB at the far left position, unity gain at 12 o’clock,
+ 6 dB at the far right
You can also use DIRECT OUT to connect meters such as peak
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level or correlation indicators.
If you decide to employ T.R.I.O™ at gigs, you can use the DIRECT
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OUTs to route the signal to the FOH mixer, and control your own
monitor mix via SPEAKER A/B/C.
The MONO function serves to check mono compatibility. This is
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a nifty tool for detecting phase cancellations caused by reversed
polarity in cords/connectors, poorly chosen modulation effect
settings or extreme stereo processing operations, all of which may
not be clearly audible in a stereo soundscape.
Some vocalists don’t like to hear a big stereo spread when
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tracking their parts. In this event, simply press MONO, then the
vocalist will no longer be irritated by a shaker sweeping across the
stereo soundscape or a guitar part panned hard to the left edge.
Many active monitors are very sensitive so that even low
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MONITOR LEVEL settings elicit high volume levels. The DIM
button cuts the output level, enabling you to fine-tune levels with
greater precision and enjoy a wide VOLUME knob control range
even at very low monitor volumes.
MONO and DIM do not affect DIRECT OUT. Otherwise, this
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circuit’s signal would be reduced to mono when you press MONO
and attenuated when you press DIM for monitoring purposes.
The SPEAKER B LEVEL ADJUST knob is helpful when you want
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to balance the relative levels of two speaker pairs so that you’re
dealing with similar levels when A/Bing between speaker pairs.
5. Metering Section
L (Left Meter): The left LED chain indicates the level of the
signal assigned to the left side.
R (Right Meter): The right LED chain indicates the level of
the signal assigned to the right side.
5.1 METER SELECT
Assigns the level meter to input signals or monitor signals. A corresponding
LED lights up to indicate the assignment status.
INPUTS:
When set to this position, the left LED chain indicates
the MIC/INSTR channel’s input gain. In order to make
best recording level possible, the source signal for the meter is tapped
directly behind the input stage. The right LED chain indicates the LINE
THE RIGHT INPUT LEVEL
The red level LEDs illuminate at a fairly low peak level of 1 dB. The signal
is not necessarily saturated if they light up briefly. However, it certainly is
in the red zone and on the brink of overloading the input. Your best bet is
to adjust the gain so the red LEDs light up from time to time.
If a high-level signal is sent from DAW ON and signals are played
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back via the MONITOR ON section, the LED meters may well
lunge into the red zone because signal levels add up. T.R.I.O™
has plenty of headroom to handle saturated signals such as these
without giving cause to worry about audible distortion.
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MindPrint® T.R.I.O.
channel’s input gain. If the LINE signal is mono, the LED indicates its input gain.
If the signal is stereo, the LED indicates the mono composite’s input gain.
OUTPUTS:
When set to this position, the LED chains indicate the
composite level of the monitoring section (MONITOR
ON) and the DAW return (DAW ON) signals. The source signal for the
meter is tapped pre OUTPUT VOLUME knob. In other words, it indicates
the level of the signal routed to DIRECT OUT.
6. Headphones Section
Connections:
Connect standard headphones to the two stereo 6.3 mm (1/4“) jacks on
the rear panel. The two headphones amps are equipped with plenty of
power to drive even weaker headphones and deliver enough volume to
enable satisfactory monitoring.
When set to INPUTS, the LED chains do
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not indicate the levels of the signal recorded
to the DAW. Instead, they offer a view of MIC/
INSTR. and LINE input levels. In other words,
the VOL. REC knob’s setting has no influence
on T.R.I.O™’s level meter.The reasoning here
this is that levels tend to vary depending on
the given DAW hardware/software, and level
matching will differ accordingly. All popular
recording applications feature very precise
digital input level meters. This means you can easily view and
adjust the level of the signal sent to the DAW using your recording
software‘s level meter.
When set to INPUTS, only the right LED chain indicates the Line
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input signal level, even if you re dealing with a stereo signal. Why?
Because if you re recording to multiple channels, this lets you
monitor the input levels of the MIC/INSTR. channels (on the left
LED chain) and the LINE channels (L+R on the right LED chain)
simultaneously.
We strongly suggest that you always employ headphones with an
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impedance greater than 30 ohms. Lower impedances or a short
circuit caused by mono jack plugs can do permanent damage to
T.R.I.O™’s headphones outputs.
Handling:
6.1 PHONES A
Twist this knob to adjust the first headphones output’s
volume.
6.2 PHONES B
Twist this knob to adjust the second headphones output’s
volume
7. Talkback Section
T.R.I.O™ comes with a full-fledged talkback section featuring a built-in
talkback microphone.
7.1 TALKBACK
Push this button to activate the talkback microphone. The
signal is routed to the headphones outputs until you release
the button. The monitor signal sent to the headphones
outputs is automatically cut by 12 dB.
Do not connect headphones to SPEAKERS A jacks because this can
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harm T.R.I.O™.
Smart recordists may want to use PHONES outputs for a purpose
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other than intended – to connect further speakers via Y adapters
(stereo jack on one end; two mono jacks on the other), to drive
speakers sited in the studio’s recording room. This lets you control these speakers’ volume separately and communicate with
musicians using the TALKBACK microphone. But whatever you do,
never insert mono plugs into the PHONES jack.
For a happier and more congenial recording experience, it’s a good
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idea for the vocalist and producer to don the same model of headphones when tracking vocals.
„“Talkback“ is the term used for a neat feature found on big stu-
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dio consoles that allows producers/engineers in the control room
to speak to the artist in the studio via a microphone built into the
console. To this end, the talkback microphone signal is sent to the
headphones busses.
You may have little reason to like the TALKBACK function now,
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but you may learn to love it later when you discover your recording mic capturing the rattling of your computer’s fan or other
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MindPrint® T.R.I.O.
7.2 TB VOLUME
Twist this knob to adjust the volume of signal the sent from
the built-in talkback microphone to the headphones busses.
7.3 TB MIC
The talkback microphone is sited midway between the
TALKBACK button and the TB VOLUME knob, below the
three little holes in the housing.
8. Daw Interface
Located on the T.R.I.O™’s rear panel is an interface that connects to the
DAW. Linking the T.R.I.O™ to the computer, this interface transports all
audio data to and from the DAW. You have analog and digital ports at your
disposal.
Connections:
Two pairs of RCA connectors for the inputs and the outputs, respectively,
provide analog access to the DAW. Adjust signal levels to match the levels of
the DAW using the TRIM knobs on the bottom panel of the device.
Two optical ports in TOSLINK format provide a digital link to the DAW.
In the heat of the moment, producers sometimes begin addres-
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sing the vocalist before pressing the TALKBACK button. If vocalists
can’t hear the beginning of a sentence, they won’t understand
you. Misunderstanding breeds insecurity; an insecure artist can’t
deliver a compelling performance. So in the interests of capturing
happening performances make a habit of pressing TALKBACK
FIRST, and then talking.
You’ll hear a soft “pong” sound when you press the TALKBACK
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button. This not a malfunction. The TB microphone is extremely
sensitive; indeed, it’s so delicate it transmits the sound the button
engaging. Eventually, you’ll find this to be an advantage: the
„pong“ signals to vocalists that words of wisdom are coming their
way! :o)
Do not place objects on the TB microphone or push in the micro-
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phone covering with pointed objects.
The DAW interface has the job to carry the recording signals from
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TRIO to the DAW inputs, and brings back the DAW outputs to TRIO.
The interface works in „full duplex“, so you can record in the DAW
while simultaneously playing back the DAW outputs.
8.1 ANALOG OUT L/R
Use the two RCA connectors on the rear panel to set up an
analog line to the DAW. The signals of the MIC/INSTR and LINE
busses are recorded to the DAW via these ports.
8.2 ANALOG OUTPUT LEVEL ADJUST
Twist this knob on the bottom panel of T.R.I.O™ to adjust
the level of recording signals sent to the DAW’s analog
inputs. The control range is -oo to +6dB (0 dB at the center
detent position).
8.3 ANALOG IN L/R
Use the two RCA connectors on the rear panel to return analog
signals from the DAW. Signals sent from the DAW are routed to
the monitor section via these ports.
Analog and digital outputs may be used simultaneously. Case in
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point: If you have set up a digital circuit to the DAW, you can use
the analog outputs to patch out recorded signals, say to back-up
tracks to a minidisk. You can use the same approach to set up an
aux send to an outboard signal processor.
The analog DAW INTERFACE outs may also be used as aux sends,
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for example, to add makeshift “working“ reverb to recording
signals.
Ditto for analog and digital inputs. For instance, you could use
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the DAW INTERFACE ANALOG INPUTS as an additional stereo in
for connecting a CD player or effect device. This increases the
number of simultaneously accessible analog inputs available on
T.R.I.O™ to one mono and three stereo ports.
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MindPrint® T.R.I.O.
8.4 ANALOG INPUT LEVEL ADJUST
Twist this knob on the bottom panel of T.R.I.O™ to adjust
the level of signals playback sent from the DAW’s analog
outputs. Control range: -oo to +6 dB (0 dB at the center
detent position)
9. Digital-Interface
TRIO™ S/P-DIF:
Developed by SONY and Philips and standardized by the IEC in
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1987, S/PDIF is designed for semiprofessional and home use.
Providing an unbalanced circuit, S/PDIF is today the de facto
standard worldwide.
The TRIO S/P-DIF can be integrated into an existing recording environment via
a digital interface in the optical S/P-DIF format (TOSLINK). Using S/P-DIF, TRIO
can be connected to all devices, which support this format, for example to the
Apple G5 computer, which is also equipped ex-factory via an optical S/P-DIF
interface. Numerous sound cards as well as DAT recorders, MD recorders,
digital multitrackers, digital mixers, synthesisers/samplers/workstations with
digital interfaces etc. are available using an S/P-DIF interface.
S/P-DIF optical (TOSLINK)
The optical interface has some advantages over its electrical coaxial
counterpart:
• Special optical fiber cords rules out problems associated with using
the wrong cables.
• Many devices’ optical ADAT interfaces may be set to S/PDIF optical
format.
• Galvanic separation prevents ground loops and pickup of stray
interference.
• Optical is more common than coaxial.
TRIO™ USB:
The TRIO USB can be connected directly to a computer/laptop via a USB
connection in the 1.1 format. As the audio connection takes place via the
USB interface, specific audio hardware and/or sound card for this is no longer
necessary. You will find more information about installing the driver and the
driver operation under 9.7, on the enclosed CD-ROM and on the Internet at
www.mindprint.com.
The S/P-DIF interface offers separate digital input/output ports.
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The advantage here is that this allows you to introduce other
devices into your DAW’s digital setup. For instance, you could
connect another device equipped with a digital output (say, a DIPORT for tracking with stereo microphones) to record to the DAW,
and use T.R.I.O™ for monitoring purposes only for the duration of
this little exercise in flexibility.
9.1 S/PDIF IN
The digital output of the DAW connects to this input via the
computer interface. The converted signal is sent directly to the
monitor buss.
If your DAW offers coaxial rather than optical S/PDIF ports, you’ll
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find S/P-DIF optical-to-coaxial converters in well-stocked music
stores.
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9.2 S/PDIF OUT
This port connects to the DAW’s S/PDIF digital input.
The A-to-D converted signals of the MIC/INSTR. and LINE
busses are sent to this port.
9.3 SYNC LED
This LED lights up when the S/PDIF input receives a viable
digital signal.
The SYNC LED tells you that a viable signal is patched into the
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S/PDIF INPUT. If your setup isn’t working properly, this light helps
you narrow down the cause.
MindPrint® T.R.I.O.
Synchronization
Affording flexible connections to digital studio
environments, T.R.I.O™’s digital interface features a threeway selector providing all the options you need to configure
a digital setup.
9.4 44,1/48:
This button (in combination with the neighboring „x2“ button) determines
the sampling rate for T.R.I.O™ in stand-alone mode.
Position 1 selects 44.1 kHz.
When set to position 2, T.R.I.O™ runs on 48 kHz.
9.5 x1/x2 (= Double Sampling Rate)
When this button is set to position 1, the device operates on the frequency
determined by the neighboring 44.1/48 button’s setting. In position 2, the
device works with double the sampling rate defined by the 44.1/48 button;
that is 88.2 kHz or 96 kHz.
SYNCHRONIZATION
Once digital audio devices are connected, their internal clock
frequencies must be synchronized. To this end, one device acts as the
master, dictating the sampling rate and bit rate to the rest, which are
called slaves in this type of configuration. Symptoms such as popping
noises during recording are typical indications that devices aren’t in
sync and that settings require review.
SAMPLING RATE
The sampling rate is the frequency at which digital audio signals
are measured (sampled) at discrete points in time. In the case of an
audio CD, this is 44,100 times per second, which equals a frequency
of 44.1 KHz. As a rule, the higher the selected sampling rate, the
„better“ the audio signal quality; that is, the more accurately the
original analog signal is rendered.
Note that higher sampling rates require proportionately more memory.
As both TRIO and the DAW can work in MASTER mode, audible
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interferences might occur because both units use their own
frequency. An indication for this is e.g. when the DAW playback
signal sounds dull and muddy. In case of doubt please double
check the sync settings of both units and make sure there is one
MASTER and one SLAVE.
T.R.I.O™’s digital interface processes audio at a resolution of up to
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96 kHz / 24 bits.
9.6 MASTER/SLAVE
In position 1, T.R.I.O.™ is the MASTER, and runs on the internally selected
sampling frequency. To ensure proper synchronization, the connected DAW
must be configured as „slave“ or „external“.
Today, USB on the computer is as natural as the pin socket on the
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In position 2 (=SLAVE), T.R.I.O.™ automatically slaves to an incoming digital
signal once it has determined that this signal is viable. The device runs in
sync with the DAW’s sampling rate. The SYNC LED lights to indicate it is
receiving a viable digital signal.
USB stands for Universal Serial Bus, it comes from the computing
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9.7 USB
Connection:
On the back of the TRIO USB™ on the digital module,
a USB socket is found on the “B” version. A USB
connection cable (1.8 m, A/B connector) is included in
the TRIO USB™ delivery.
Software:
So that TRIO USB™ can communicate with your computer, you need to
install the enclosed driver software. That way, the TRIO USB™ will definitely
be correctly identified and all recording options are available. You will find a
detailed description of the driver software and its installation on the CD-ROM
provided and it can also be downloaded from www.mindprint.com. Please visit
the website regularly to read up on driver updates.
The fewer USB devices that are connected to your DAW, the better
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USB 1.1 is used by many manufacturers and is absolutely
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mixer. Since first generation USB audio interfaces showed obvious
quality deficiencies and performance problems compared to
established formats such as S/P-DIF or ADAT, unfortunately USB does
not have the best reputation for audio quality. From today’s view,
however, these doubts are unfounded – technology has developed
considerably and USB as audio format is established.
world and refers to an interface, which is based on a star topology.
The transfer takes place via a 4-core cable; the 4-pin USB socket is
available in two versions: the “flat” standard Type A version (hub
socket) and the almost square Type B variation (terminal socket).
The maximum cable length of a USB connection should not exceed
5 metres. One of the main advantages of USB is the hot plugging
ability, which makes it possible to remove or add devices while the
system is running without having to reboot the computer.
the interface works. TRIO should not to be operated by a USB Hub or
behind another USB device such as a printer or terminal. Your TRIO
needs its own USB connection to the computer to ensure correct
operation.
sufficient for stereo use. The USB 1.1 interface (Full Speed USB)
is fully compatible with the USB 2 format (High Speed USB) and
consequently equipped for the future. With USB 1.1 bandwidth full
duplex operation is possible (record while playing) – a systemdependent limitation only takes places in the high resolution
24bit/96kHz mode. The possible input/output configurations can be
selected in the driver menu.
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MindPrint® T.R.I.O.
10. Record/Monitor Mode Selector
Located on the bottom panel of the T.R.I.OTM
is a miniature four-way DIP switch that serves to
configure recording and monitoring busses.
10.1 MIC/INSTR RECORD (1)
Activate this switch to send the left side (= channel 1 of the recording
software) of the MIC/INSTR. channel’s signal to the left and right sides of
the recording buss (signal is routed to both channels simultaneously).
10.2 MIC/INSTR. MONITOR (2)
Activate this switch to send the left side of the MIC/INSTR. channel’s signal
to the left and right sides (stereo center) of the monitor buss. This setting
applies to PHONES, DIRECT OUT and SPEAKERS.
10.3 LINE RECORD (3)
Activate this switch to send the right side (= channel 2 of recording
software; possibly the mono composite) of the LINE channel’s signal to the
left and right sides (stereo) of the recording buss.
Though T.R.I.O™ is a device with two input channels, the two
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channels do not automatically equate to a stereo setup. In purely
stereo devices, channel 1 is always on the left; channel 2 is always
on the right. T.R.I.O™ is more flexible: You are free to route the
mono as well as the stereo channel to the DAW input of your choosing and to determine to which side(s) of the headphones/speaker
they are sent.
In the factory default configuration, all four switches are set to ON
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= L/R. This means that the MIC/INSTR. signal as well as the LINE
signal are sent to the DAW’s input as well as to both sides of the
headphones/speaker circuits. This gives you flexible routing options for both signals, for example, by simply arming the desired
DAW inputs.
RECORD/MONITOR MODE SELECTOR settings apply to both the
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headphones, the DIRECT OUT and the speaker outputs. Depending
on DIP switch settings, you may encounter some “interesting”
monitoring scenarios, for example, where the monitor signal is
audible on the left speaker only.
Though the RECORD/MONITOR MODE SELECTOR may not mean
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much to you now, it offers some very convenient options that you
will come to appreciate later: Say a guitarist wants to double a
previously recorded track: You can let him hear the canned track
on the left side of the headphones/speaker system and the live
recording signal on the right. Another example: Say you want to
record a guitar along with a stereo effect generated by a signal
processor. Simply set all switches to ON (= default) to receive
a signal where the guitar is centered and the effect signal is
rendered in true stereo.
10.4 LINE MONITOR (4)
Activate this switch to send the right side (possibly the mono composite) of
the LINE channel’s signal to the left and right sides (stereo) of the monitor
buss. This setting applies to PHONES, DIRECT OUT and SPEAKERS.
11. Other Features
11.1 POWER Switch
Use the POWER switch on the left of the rear panel to switch
T.R.I.O™ on and off. The INPUTS or OUTPUTS LED lights
up (depending on switching status) to indicate the device is
powered up and running.
11.2 Mains Socket
Use the external power supply (wall wart) rated for 15 V
alternating current and 1700 mA power to connect T.R.I.O™ to
the mains supply.
If the wall wart is lost or damaged, replace it with an original
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MindPrint® replacement power supply only. Other power units
can damage T.R.I.O™. The original MindPrint® power supply
is available in authorized music stores and in the MindPrint®
Webshop at www.mindprint.com
A clean power supply is vital to getting great tone. This is why
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T.R.I.O™ ships with a generously sized power unit designed to
provide plenty of power for the microphone input and the two
headphones amps under any circumstances.
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MindPrint® T.R.I.O.
11.3 GND
The GROUND screw is located below the mains socket. It works
like the ground screw of a record player.
12. Troubleshooting
If you encounter problems when you’re working with T.R.I.O™, run down
the following checklist. It will help troubleshoot errors.
The LED chain lights up to indicate an incoming microphone signal, but I
can’t hear anything. Is the:
• MIC/INSTR. LEVEL knob in the monitoring section turned up? (see 3.1)
• MONITOR ON button engaged? (see 3.4)
• SPEAKERS A/B/C button engaged? (see 4.2)
• is there accidentally a jack in the INSERT RETURN? (see 1.9)
• MUTE button pressed? (see 1.6)
The microphone signal is audible, but I can’t record it. Is the:
• REC VOL. knob of the microphone channel turned up? (see 1.5)
• ANALOG OUT LEVEL ADJUST knob turned down? (applies in case of an
analog connection to the DAW only; see 8.1)
• SYNC settings to DAW checked ? (see 8.4)
• proper setting selected in the recording software?
When a grounded device is connected to T.R.I.O™ (via a three-
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terminal non-heating equipment mains cord), T.R.I.O™ grounds
itself to this circuit. You may hear a humming noise if all the
devices connected to T.R.I.O™ are powered by wall warts. For
precisely this reason, T.R.I.O™ offers the nifty option of grounding
the device’s chassis by means of a grounding cord connected to
the GND screw.
Are all external devices powered up, fully functional and
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connected correctly? Are you certain the cause is not a handling
error? Often enough, the complete service department was in big
insurrection until it turned out that a broken fuse or a wrong connection was the reason.
The microphone signal is audible on one speaker/headphones side only. Is the:
• RECORD/MONITOR MODE SELECTOR on the bottom set to the correct
position? (see 9.1)
The record signal is distorted. Is the:
• GAIN knob turned up too high? (see 1.1/5.1)
• REC VOL. knob turned down too low? (see 1.5/2.5/5.1)
The DAW’s output is inaudible although visible. Is the:
• DAW ON button engaged? (see 3.5)
• ANALOG IN LEVEL ADJUST knob turned down? (applies in case of an
analog connection to the DAW only; see 8.2)
• SPEAKERS A/B/C button engaged? (see 4.2)
• proper setting selected in the recording software?
The line signal is visible on the right LED chain only (Switch set to INPUTS):
• Only the right LED chain indicates the Line channel’s input signal, even if
it‘s a stereo signal (see 5.1).
The AUX signal is audible, but I can’t record it:
• The AUX input addresses the monitor section ONLY and cannot be
recorded – connect the source you want to record to the Line input!
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MindPrint® T.R.I.O.
13. Technical Specifications
13.1 Mechanical Data
Dimensions (w x d x h)
Device: 260 mm x 195 mm x 66 mm
Power unit: 65 mm x 128 mm x 52 mm
Weight
Device: 1550 g
Power unit: 650 g
13.2 Electrical Data
Mains input
Power unit
Primary: 230 V AC/ 100 V AC/ 117 V AC
Secondary: 15 V 1700 mA
13.3 Inputs and outputs
MIC IN:
Port: XLR ( 1 = ground; 2 = +; 3 = -)
Input type: Electronically balanced & floating
Input impedance: 10 kOhm
Min. input level: -34 dBu (GAIN at peak setting,
+12 dBu Speaker Out)
-51 dBu (GAIN at peak setting,
0 dBu Speaker Out)
Max. input level: 4 dBu (GAIN no higher than 12 o’clock)
Gain control range: -74...-14 dBu = 60 dB @SEND, -40 dBu
input with compressor
Gain control range: -74...-10 dBu = 64 dB @SEND -40 dBu
input without compressor
Peak amplification: 30 dB without compressor
Phantom power: +48 VDC switchable
Max. input level: +14 dBu (GAIN at 12 o’clock)
-18 dBu (GAIN at peak setting)
Gain control range: -�...19 dB (-10 dBu to SEND , -29 dBu
input, without compressor)
Peak amplification: 19 dB
LINE IN:
Port: 1/4“ jack ( tip = +; ring = - )
Input type: unbalanced
Input impedance: 51 kOhm
Min. input level: 0 dBu (+12 dBu Speaker Out)
-6 dBu (+6 dBu Speaker Out, -1 dBFS)
Max. input level: + 21 dB
AUX IN:
Port: RCA ( tip = +; ring = - )
Input type: unbalanced
Input impedance: 51 kOhm
Min. input level: 0 dBu (+12 dBu Speaker Out)
-6 dBu (+6 dBu Speaker Out, -1dBFS)
Max. input level: + 12 dB
DAW IN:
Port: RCA ( tip = +; ring = - )
Input type: unbalanced
Input impedance: 7 kOhm
Min. input level: 0 dBu (+12 dBu Speaker Out)
Gain control range: -�...6 dB (0 dB at 12 o’clock)
Max. input level: + 10 dB (GAIN knob at 12 o’clock)
DAW OUT:
Port: RCA ( tip = +; ring = -)
Input type: unbalanced
Max. output imp.: 7 kOhm
Output level: 0 dBu (0 dBu LINE IN)
Gain control range: -�...6 dB (0 dB at 12 o’clock)
INSTR. IN:
Port: 1/4“ jack ( tip = +; ring = -);
MIC disabled when in use
Input type: unbalanced
Input impedance: 1 MegOhm
Min. input level: -25 dBu (GAIN at peak setting,
+12 dBu Speaker Out, - 3 dBFS)
-39.5 dBu (GAIN at peak setting,
0 dBu Speaker Out, -14 dBFS)
SPEAKERS OUT:
Port: SPEAKER A 1/4“ jack ( tip = +; ring = -)
SPEAKER B RCA ( tip = +; ring = -)
SPEAKER C RCA ( tip = +; ring = -)
Input type: unbalanced
Output impedance: 47 Ohm
Output level: 1
2 dBu (0 dBu LINE IN, MASTER Gain
maxed, MONITOR Gain maxed)
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MindPrint® T.R.I.O.
Gain control range: -�...6 dB (SPEAKER B only,
0 dB at 12 o’clock)
DIGITAL INTERFACE
Format: S/P-DIF
Input: optical, Toslink
Output: optical, Toslink
Resolution: 24 bits @ 44.1, 48, 88.2, 96 kHz
Dynamic Range: >105 dB(a)
USB INTERFACE
Format: USB 1.1
Input/output: 1 USB socket Type B
Resolution: 24 or 16 Bit @ 44.1, 48, 88.2, 96 kHz
Dynamic range: >100 dB(a)
The device’s design and circuits are subject to change due to
ongoing development and improvement. Right to technical
changes reserved.
This manual is copyright protected. All rights, technical changes
and misprints reserved.
All depictions are the property of the respective brands.
Reprints or any use in electronic form in whole or in part require
the prior written consent of Music & Sales P.E. GmbH.
English
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