Mindprint T-Comp B-stock

2-Channel classic Tube Compressor

€ 399,00
Op Voorraad

If you own recording equipment of high quality, you want precise control over dynamics during recording, mixing and mastering. You want a tool that will help perfect the quality of your recordings not just in technical terms, but also in the sense of preserving the true musical nature of the recorded performance. With the MindPrint T-Comp, you are opting for an entirely new class of compressor. And you will enjoy innovative, practical features that deliver the kind of top-notch audio results that to date only a very few extremely expensive compressors have been able to match.

The ultra-fast attack and release times of the T-Comp are extremely responsive and recognize even the most fleeting transients. The automated "adaptive circuitry" of the T-Comp not only takes the pulse frequency and amplitude of the incoming signal into account, but your settings as well, thus allowing you greater freedom and creativity than any standard compressor can. A switchable side-chain filter ensures that the full dynamic range of bass impulses remain intact. The two channels feature a Link mode that allows true stereo mastering.

Offering variable saturation levels, the integrated tube circuitry adds the kind of liveliness and warmth to your sound that modern high-tech recording gear ordinarily lacks. And if you care to, you can retrofit the T-Comp with a digital module featuring 24-bit inputs and outputs.


  • The T-COMP in a Channel Insert If you want to process an individual instrument, simply insert the T-COMP into the appropriate mixer channel. With its two channels, the T-COMP can work with two mixing console channels and process different mono signals simultaneously. In addition to compressing the dynamics of a signal, you can also use it to come up with an interesting overtone structure and the typically analog tonal characteristics that only a tube device can deliver.
  • The T-COMP in a Subgroup You can also use the T-COMP in a mixing console's subgroup inserts. For example, if you're using a pair of subgroups to create a live stereo mix for all drums, this option will let you compress the signals of the entire drum kit.
    Similarly, if you�re using the subgroups to patch a signal to a multi-track recording machine, you can use the T-COMP to compress signals while you're recording.
  • The T-COMP in a Stereo Master Once you have compressed individual tracks, you are free to compress the stereo master signal for an even tighter-sounding mix. To do so, simply insert the T-COMP between the mixing console's output and the master recorder's input. If your master machine is a DAT recorder and you have installed the digital DI-Mod option, you can also work in the digital realm via S/P-DIF.
  • The T-COMP in a Digital Environment Whenever you want to work with a digital mixer or hard-disk recording system, you can take advantage of the DI-Mod upgrade option to integrate the T-COMP into your digital system via the S/P-DIF interface.
    Simply route the signal that you want to process via a digital interface from the digital mixer or hard disk system to the T-COMP. The processed signal is transported back to the mixer or hard disk system in digital form via the output of the T-COMP and, once it arrives there, can be processed or recorded to another track. You can, at the same time, use the analog output of the T-Comp for monitoring purposes
  • The T-COMP in Insert Mode The T-Comp has its own set of inserts, allowing you to connect external devices to these insert jacks and thereby create a serial signal chain of analog devices within a digital studio environment. These additional devices are patched into the analog signal bus of the T-COMP itself, so you don't need any additional digital interfaces or external converters for those devices.
  • The T-COMP in Live Applications Although the T-COMP was developed primarily for recording purposes, its fantastic sound and intuitive operation also make it well suited for live applications.
  • Input and Output Section Featuring both 1/4" jacks and XLR connectors, the T-COMP is equipped with balanced line inputs and outputs designed to accept standard studio levels. You can also retrofit a digital input by installing the DI-Mod expansion module. Inserts let you patch analog devices into the T-COMP when you are using it in a digital environment, which means you don't have to invest in external converters for the rest of your analog devices. Each of the two channels is equipped with its own set of controls so that you can use the T-COMP to process a stereo signal or two separate mono signals.
  • Compression You'll find that the compression which this unit delivers is impressive in its effectiveness, yet it is smooth and unobtrusive. Powered by a high-quality THAT-VCA (voltage controlled amplifier) tuned to interact with the tube, it generates uncolored compression as well as the typical overtone structure that you would expect from a premium tube device.
    To achieve compression that is as inconspicuous as possible, the T-COMP uses something called "soft-knee" compression. As a signal's level approaches the threshold point, the compression rate is increased continuously. When the signal level finally exceeds the threshold value, it is compressed at the ratio that you have dialed in. What this means is that even when you choose to compress signals heavily, these are not "crushed" into submission, but gently "squeezed" when the signal exceeds the threshold.
    Filter The Filter button activates a certain compression mode in which the amount of compression depends on the frequency content of the incoming signal. The filter is inserted into the control circuit (as a side-chain) rather than the signal path itself, so it has absolutely no influence on the frequency response or timbre of the signal; instead it just governs how the compressor responds! While designing this filter, we listened carefully to the input of professional sound engineers, who made the point that in the real world, pronounced bass frequencies tend to evoke excessive compression. For this reason, we tuned the filter so that the compressor responds less aggressively to lower frequencies, thereby delivering results that are much closer to the way the human ear naturally compresses signals, more balanced, with silky, shimmering highs and crisp top end response.
  • Attack and Release Time The Attack and Release knobs are used to dial in the desired times. The biggest problem with which users of conventional compressors are confronted is selecting the right attack and release times. To remedy it, the T-COMP works with a type of program-dependent control for the attack and release times, a feature that you can activate by pressing the Adaptive button. The attack and release times that our engineers chose are fast enough to handle percussive material. If certain parts of a signal fade in and out slowly, the T-COMP will adapt its attack and release times accordingly to ensure the best possible audio results. In contrast to conventional automatic compressors, here you can set the attack and release times manually and the T-COMP automatically fine-tunes your settings to match the given musical material.
  • Tubes The two onboard tubes definitely make up what could be called the soul of the compressor; they have a considerable influence on its sound. Use the Tube Sat knob to dial in variable saturation levels. This knob gives you precision control over the amount of overtones that the tubes generate. In the lower end of the control range, few overtones are generated. As you turn the knob clockwise, the overtone content increases slightly, which allows you to make extremely subtle adjustments. Once you turn the knob beyond the twelve o'clock position, the tubes really start to go to work. When you turn it wide open, you'll definitely hear some distortion in the signal. The level of the signal coming out of the tube stage is automatically set to a suitable level depending on the Threshold setting that you have dialed in.

Features :

  • combined XLR/1/4" Jack and line input
  • adjustable Tube-Saturation
  • Threshold, ratio, attack, and release adjustable
  • low-cut sidechain-filter, 300Hz, 6dB/Octave
  • Adaptive mode
  • Stereo-link
  • Balanced insert
  • Optional 24-bit digital input and output
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