ORIGINAL TWIN

Millennia STT1 Origin Recording Channel
Published in SOS April 2001
Hugh Robjohns tests Millennia's flagship STT1 recording channel, which offers elements of their entire product line all in one ultraflexible box.
high-end signal processing boxes. I reviewed the NSEQ2 equaliser in July 1999 and the TCL2 compressor in January 2000 both systems featuring Millennia's famed dual-topology Class-A circuitry allowing the user to select between solid-state or vacuum tube active stages with an otherwise identical signal path. The quality of both of these units was absolutely stunning and the ability to choose the most creatively appropriate amplification technique for the specific source material was a very welcome luxury. I remember being surprised at just what a difference switching between amplifier topologies could make with some sources, and preconceptions of which source would suit which amplification type often proved completely wrong! Millennia's latest product is the STT1 Origin an all-in-one recording channel housed in a substantial 2U rackmounting box. It is a single-channel processing chain, optimised for microphone sources, but with the ability to accommodate line or instrument inputs too. There are a number of signal-path options, including transformer or transformerless input coupling, and Class-A discrete solid-state or valve input amplification. The machine also incorporates a four-band parametric equaliser derived from the NSEQ, and an opto-compressor similar to the TCL, the latter being switchable pre- or post-EQ. The equaliser and dynamics sections share a second selectable solid state or valve amplification stage, although this may be bypassed completely if desired. Finally, the STT provides a plethora of I/O options with a direct first-stage preamp output, as well as both unbalanced and balanced main outputs. The flexibility of the STT1 is awesome and the guys at Millennia claim 134 possible signal-path combinations, though I lost count long before that!
Millennia have featured in the pages of Sound On Sound several times in the recent past with their various

Solid As A Rock

The Origin is a solid piece of machinery the unit measures 394mm deep and weighs over 12kg. That is a lot to hang from the rack ears, even though the front panel is milled from a very substantial lump of metal, so it is not surprising that Millennia recommend supporting the rear of
the machine as well. As all the amplification operates fully in Class A, and there are five dualtriode valves in the system, a considerable amount of heat is produced. Consequently, the user is also advised to allow 1U of rack space above and below the STT1, and to ensure there is a good flow of air over the rear-panel heat sink. A quick look at the rear panel hints at the exceptional flexibility of this product. Starting on the right hand side, the balanced microphone input is accommodated with an XLR socket, while a second XLR and a TRS quarter-inch jack socket cater for line-level input. A third input option is provided on the front panel in the form of a quarter-inch tip-sleeve instrument input socket. This is buffered by a 12AT7 dual-triode valve to provide a very high input impedance of over 1M.

MILLENNIA STT1 pros

Fabulous sound quality. Configurable and versatile. Choose between valve and solidstate on a whim. Selectable transformer coupling. Expensive Ergonomics less than perfect Many users will require an A-D converter to complete the package.
A male XLR provides a balanced direct output feed, derived after the input amplification stage but before the equalisation or compression stages, and is buffered by a monolithic output driver. All the XLRs are Neutrik Galvatronic gold-plated types which should, ideally, be mated with gold-plated connectors to avoid damaging the conductive surfaces. Following the equaliser and dynamics sections, the Origin provides three main outputs. Two are unbalanced (via a paralleled XLR and quarter-inch socket) and driven by a discrete Class-A transistor buffer, while a third XLR output is balanced and driven by another monolithic integrated circuit. A gold-plated phono socket provides a side-chain linking facility for the dynamics circuit, enabling stereo operation with a second STT1, if required. A sizeable portion of the rear panel is taken up with a heat sink area to cool the power supply voltage regulators the STT1 draws around 50W of power, a decent proportion of which comes out as heat! An IEC mains inlet contains an integral voltage selector and fuse holder, and an adjacent barrier strip provides a ground lift facility allowing the chassis earth to be isolated from the audio ground, if necessary, to cure hum-loops.

summary

The highest of highend producer channels with a little of everything equalisation, opto-dynamics, solid-state precision, valve warmth, and even transformer coloration. Every element can be introduced or dismissed with the push of a button, providing the ultimate in sonic control. This unit represents the integrated collection of Millennia's greatest hits!

Black & Blonde

The front panel of the review model was finished in a piano-lacquer black with clear white legends, although an alternative 'platinum blond' finish, like that on the TCL2 and NSEQ2, is available as an option. A lot of controls are packed onto this front panel, though the differently sized knobs and coloured buttons help with navigating around it. That being said, the controls are packed very densely, essentially because a large moving-coil VU meter occupies virtually a third of the panel real estate! I realise the meter is the same as that employed on the TCL2 and other Millennia products, so there is a consistency of style here, but a smaller meter would have allowed a less cluttered feel and made using the Origin a tad easier. As usual, the layout of the front-panel controls broadly reflects the signal path through the machine. Starting at the left-hand side of the
panel, a column of four buttons and a rotary selector determine the input conditions. The rotary switch selects the signal input source to be one of the rear-panel inputs, or the front instrument input. The four buttons select the vacuum tube or solid-state input amplifier, provide 48V phantom power, reverse the input polarity, and engage the input transformer. The solid-state input amplifier is based on that used in Millennia's acclaimed HV3B microphone preamp, whereas the valve topology is derived from the company's M2B mic preamp. Having both of these fabulous options on board the STT1 makes this an impressively equipped machine indeed, allowing the initial signal amplification to be optimised to suit virtually any source with the casual press of a button. The nature of the solid-state input, however, warrants the warning in the Owner's Manual to avoid plugging the microphone input while phantom power is switched on, as the resulting voltage spikes can damage the bipolar input transistors. Historically, Millennia have avoided input transformers, since they inevitably introduce distortion products. The company has always deemed this as inappropriate in a critical signal path where 'acoustic realism and dynamic stability' are the primary objectives. However, Millennia also recognise the value of transformer distortion as a key element in creating a 'bigger than life' sonic signature it is, after all, the reason why the early Neve consoles sound the way they so famously do. The result of this dichotomy is that Millennia have, for the first time, developed their own input transformer specifically to introduce a 'colourful sonic personality' as an optional element in the signal path of the STT1. When accuracy is required, the transformer can be bypassed, but when switched into circuit ahead of either the solid-state or valve amplifier, it adds a sonic character which increases with signal level. At nominal levels it remains fairly neutral but becomes a very significant part of the overall sound when driven hard imposing a kind of 'fat', heavy coloration which certainly helps to give the signal a larger-than-life feel.

Mix & Match

The next column of controls on the front panel includes separate gains for the solid-state and valve input amplifiers. The instrument input socket is at the bottom and an overload LED at the top starts to illuminate when the direct output reaches +18dBu, increasing in brightness to be fully on at +26dBu. This gradual brightening gives a much better impression of available headroom than the usual on-off peak-overload LED. The valve amplifier provides gain ranging from 22 to 40dB from its 350V supply rail whereas the solid-state amplifier spans 10 to 50dB from its 36V rail. Millennia can also provide a modification to provide an additional 20dB of microphone gain for the solid-state amplifier, if required, bringing the maximum input gain up to 70dB. As already mentioned, these input stages have been optimised specifically for microphone and instrument levels and the line input is accommodated by reducing the gain controls to their lowest settings, possibly with the output level control also being backed off. Millennia recommend the TCL2 and NSEQ2 units for line-level processing, as these are optimised for this function.
The equaliser section of the Origin is a four-band parametric design with adjustable resonance on the two centre sections, and switchable shelf responses for the outer bands. There is an overall EQ bypass button, as well as individual bypass buttons for each of the four sections. By engaging the equaliser, a second amplifier stage is also introduced again, selectable between solid-state or thermionic. Both of these amplifiers operate in Class A, with the valve design based around a pair of triode valves on a 350V rail and the solid-state version using JFET transistors in a servo-amplifier configuration on a 50V supply rail. The equaliser electronics are arranged in the feedback loop of the selected amplifier stage and so, when the gain controls are set to the 0dB position, the EQ has negligible effect on the signal path. The four 15dB gain controls are arranged in a row along the bottom of the panel, with their corresponding frequency selectors directly above. Associated buttons select the shelf response for the top and bottom bands, and shift the centre frequency by a factor of ten for each of the two middle bands. The LF section is provided with six preset frequencies from 20 to 270Hz. The lower mid-section has a continuously variable frequency control from 20 to 220Hz (or 200Hz to 2.2kHz with the x10 button depressed), while the upper mid-control spans 250Hz to 2.5kHz (or 2.5 to 25kHz). Both of the mid-section Q controls span a range of bandwidths from 0.4 (broad) to 4.0 (narrow). The HF band can be switched between six frequencies, ranging from 4.8 to 21 kHz, and both the outer sections have a fixed resonance.

Dynamics Duo

Below the buttons for master EQ bypass and amplifier topology selection is a third which can activate either of the two passive optical gain-control elements controlled from the front-panel's compressor section either that before the equaliser or the one after it. These are employed in a shunt configuration (shorting a portion of the output signal to ground) and so don't require an amplifier in the signal path. Thus, you can either have an entirely passive dynamics section by bypassing the EQ or you can choose between solid-state or valve amplification when the EQ is in circuit. A column of four rotary controls adjust the compressor functions: Threshold spans +20 to 20dB; Attack ranges from 2 to 100mS; Release covers a broad range from 20mS to 3S; and Ratio can be set between 1.4:1 and 30:1. It's worth remembering that, while compressors based around shunt-connected opto-resistors usually sound extremely good and provide a degree of level control which works well within the context of the musical performance, they cannot provide absolute precision in catching brief peaks and transients. If you wish, you can switch the compressor to act as a de-esser, which focuses the gain reduction on a selected frequency region in order to tame sibilance. Five sensibly spaced centre frequencies are available between 4.9 and 12 kHz, and the width of the de-esser's notch is effectively linked to the settings of the Threshold and Ratio controls: when they are increased, the Q becomes higher, providing narrower, more selective control. The VU output meter can be switched to show gain reduction for the broad-band compressor mode, but this facility is disabled for the de-essing function. The final column of user controls consists of three more buttons and another rotary knob. The buttons respectively bypass the dynamics, mute all the main outputs (though not the direct output), and switch the meter to indicate gain reduction rather than output level. The rotary control is a continuous output attenuator, setting the level anywhere from fully off to +10dB. Just above this control is a recessed trimmer, which allows adjustment of the meter zero point for the

gain reduction display. The the mains on/off rocker switch in the bottom right-hand corner completes the controls.

Gold-plated Specs

There are clearly a lot of high-specification components in the STT1. For example, Grayhill military-grade gold-plated switches are used for the rotary selectors and conductive plastic potentiometers are employed for the signal path controls. All other signal-path switching is through sealed low-voltage relays, presumably with gold-plated contacts. As mentioned earlier, the instrument input is buffered with a 12AT7 dual-triode valve for a very high input impedance. The thermionic input amplifier is based around a pair of 12AX7 and 12AU7 valves (ECC82 and ECC83 equivalents), whereas the solid-state input amplifier employs a discrete NPN bipolar transistor in concert with a potted JFET hybrid amplifier, a configuration referred to as the PAM01. As a result of all this, the effective input noise for a 150 microphone is -126dB EIN, or -131dB for a shorted input, while the overall noise from the line input is better than 90dB. The equaliser and dynamics signal amplifiers comprise another pair of 12AX7 and 12AU7 valves, along with an FSA01 potted module discrete JFETs in a hybrid module for the solid-state option. The specifications suggest that, in total, there can be up to twenty five transistors (in a combination of NPNs and JFETs) in the signal path with the solid-state amplifier options selected throughout, or five valves with the tube amplifiers engaged. The various monolithic output drivers (all standard eight-pin op amp packages) have had their markings scraped away and replaced with hand-written codes A, B or C! The quoted figures for THD and noise indicate that the solidstate signal path, at 0.005 percent, is ten times better than the valve path. The frequency response typically extends between 10Hz and 100kHz at the -0.5 dB points, although this obviously varies with the machine's settings. The valve input stage provides around 6dB less headroom than the transistor design, but still accommodates peak microphone input levels of +9dBu, with +24dBu for the line input. These figures are without the transformer in circuit, however. This reaches low-frequency saturation by +1dBu for the microphone input the reason why it asserts its character most when driven hard. This custom input transformer is a very compact design with its screening case measuring just 20mm in diameter and 35mm high. Bespoke line-level transformers need to be considerably larger if such distortion is to be minimised, but this transformer has been designed specifically to introduce the characteristic for the benefit of the signal what Millennia call 'euphonic coloration'. The main balanced output is capable of driving up to +32dBu from a low 50 source impedance. The circuit design is such that if the balanced output is used in an unbalanced mode, grounding pin three ensures the full output level is retained whereas leaving pin three floating (in other words taking the signal between pin two and pin one only) reduces the output level by 6dB. The unbalanced outputs should also be perfectly capable of feeding balanced inputs (with appropriately wired cables) and in many ways, these provide the preferred option as they are driven by discrete Class-A buffers.

Catching The Millennia Bug
The STT1 needs a little time to warm up before critical use again unlikely to be a problem and I found 15 minutes ample. The equaliser section generally sounds clean and precise, but never clinical or 'digital'. When used with the solid-state amplifier it sounded cleaner and slightly leaner than with the valve option, which was a little 'dirtier' and warmer in comparison. Even though these differences are all fairly subtle, they can take on considerable significance within a mix. I would classify the equaliser very much as a creative tool to enhance a source. Although the midbands have adjustable resonance, I found their ability to cure 'difficult' tonal problems, such as strong resonances, room tones and the like, to be limited. That is not surprising with this kind of design and certainly not intended as a criticism, merely to highlight the creative rather than corrective aspect of this facility. The compressor is ideally suited to smoothing out a lone instrument or voice input, in a very complementary way typical of an opto-compressor. Its relatively weak transient control becomes readily apparent on complex mixed sources but, once again, this is unlikely to become an issue in the prescribed applications for the Origin. The parameter ranges for Attack, Release and Ratio afford excellent flexibility, allowing the STT1 to accommodate everything from bass guitar to voice with ease both gentle dynamic control and powerful effects can be obtained. The deesser mode is effective once set up, and certainly a useful adjunct to the system, but a side-chain listen facility would have been helpful in setting up the controls. The larger machined knobs on the STT1 feel solid and robust, but I found the thinner ones to feel altogether more flimsy not what is expected of a product at this price. Also, the length of the controls, whilst making them easy to hold, tends to obscure their legends, especially at less-than-ideal viewing angles. I found this to be a difficulty when trying to identify the four compressor controls and the two different input gain knobs. However, greater familiarity with the unit

doubtless eases this.

The Price Of Fame
These niggles aside, the crux of the matter is whether the STT1 is worthy of its high UK price tag. In its chosen role as a specialist high-end producer package, I really don't see any direct competition. The Focusrite ISA430 provides broadly similar core facilities and is a little cheaper here in the UK, but there's no choice between solid-state and thermionic amplification. This is, of course, what makes the Millennia Origin unique, and what must surely justify its asking price. But even if it had only a single signal-path format, the quality of the mic preamp, the sublime sound of the equaliser and the musicality of the compressor would still comfortably warrant its price tag. There are a large number of people working with digital systems these days, and thus I imagine that many potential users of the STT1 will be faced with having to invest in a separate A-D converter and one which will not compromise the sound that this unit can convey. Given that there seems to be plenty of space inside the STT1, it seems a little bit of a shame that there is no option to add a really good A-D card. While I understand that the Millennia folk are probably heavily biased towards traditional analogue recording processes (and there is certainly nothing wrong with that!), I think that there would be potential for increasing this machine's market share if a high-quality converter were built in. This aside, if you wanted to buy just one front-end processor for your recording system, the STT1 could well be the one to go for. It makes a fabulously flexible and sonically excellent input conditioner wherever analogue sources are recorded individually. It manages to combine the best attributes of the company's dedicated mic preamps with their twin-topology equaliser and compressor systems, all in one compact box. The resulting package affords huge scope for experimentation, and sounds utterly fantastic. Published in SOS April 2001

Dedicated to the lives, memory, and families of Chris Camacho and Gabe Weiner two young men who shared a passion for great audio, and who left us much too soon. Gabe Chris 1970-1997 1959-1999

READ THIS FIRST!

Any changes or modifications not expressly approved by MILLENNIA MEDIA, INC. could void your authority to operate this equipment under the EC or FCC rules. 1.Copyright: You acknowledge that no title to the intellectual property in the STT-1 is transferred to you. 2. Inspection: Inspect packing box(es), STT-1, and cable(s) for damage, unusual marks, or shortages. It is your responsibility to report damage, shortage, or misshipments in a timely manner. Millennia Media and/or its dealers will not be responsible for claims arising from damage in shipping, nor will claims for shortage or misshipments be honored, more than 10 days after ship date. 3. Read this manual carefully and completely before attempting to use the STT-1. Improper operation could result in damage to product. It is the user's responsibility to understand the safe use and operation of this device. 4. The shipping box of the STT-1 system will include (1) Owner's Manual, (2) STT-1, (3) a UL approved power cord, (4) Owner's Registration Card. Fill out the Owner's Registration Card and return to Millennia Media at your earliest ability. The material contained in this manual consists of information that is property of Millennia Media, Inc. and is intended solely for use by the purchasers of the equipment described in this manual. Millennia Media, Inc. expressly prohibits the duplication of any portion of this manual or the use thereof for any purpose other than the operation and/or maintenance of the equipment described in this manual without the express written permission of Millennia Media, Inc. Under copyright laws, this manual may not be duplicated in whole or in part without the written consent of Millennia Media, Inc. STT-1 and Origin are trademarks of Millennia Media, Inc. All other trademarks are property of their respective holders. Serial numbers are located on the rear left side of each unit. We suggest that you record the serial numbers in the space provided below. Refer to it whenever you call an authorized Millennia Media repair facility or the manufacturer. Make sure that you return your completed warranty card immediately. Features and specifications subject to change without notice. 2001-2002 Millennia Media, Inc., All rights reserved Serial Nos. ______________________________________________________________ Purchase Date ___________________________________________________________ Where Purchased _________________________________________________________

SAFETY PRECAUTIONS

For your safety and the safety of others, be sure to read and understand all safety and operational instructions before attempting to use the STT-1. WARNING: The STT-1 internal circuitry carries lethal voltages. Carefully observe all warnings, precautions, and instructions on the STT-1 and as described in the instructions supplied with the unit. 1. WATER, MOISTURE, AND SPILLAGE Do not attempt to use the STT-1 in, near, or around water or in unusually moist environments, such as near a sink or swimming pool. Prevent liquids or any other materials or objects from spilling or falling into the STT-1 unit. 2. HEAT AND VENTILATION Be sure to allow adequate ventilation to STT-1 and avoid using or installing unit in close proximity to heat sources, such as heaters, stoves, radiators, power amplifiers, spotlights, or other heatproducing appliances or equipment. 3. POWER SOURCES AND POWER CORD PROTECTION The STT-1 Power Supply should be connected to a power source only of the type described in the operating instructions or as marked on the Power Supply. Route the power cord so that it is not likely to be walked on or pinched by having objects placed on it. Pay particular attention to plugs, receptacles, and the point where the AC power cord exits the STT-1. 4. GROUNDING For your safety, it is extremely important that the grounding pin of the 3-wire power cable (included with unit) be inserted into a grounding type 3-pin power outlet. If you are unable to insert the plug into an existing outlet, contact an electrician to install a properly grounded 3-pin power outlet, preferably that with OFI protection, if available. 5. DAMAGE REQUIRING SERVICE This unit should be repaired or serviced by qualified personnel whenever: The AC power cord has been damaged, or A microphone cable has been damaged, or Objects have fallen or liquid has spilled into any STT-1 unit, or The unit does not function properly or exhibits a marked change in performance, or The unit has been abused, dropped, or damaged, or The unit has been exposed to rain or moisture 6. SERVICING Deadly voltages are found inside the STT-1 chassis. The user should not attempt to repair or service this unit. All servicing and/or repairs should be referred to Millennia Media. If, after reading all instructions, precautions, and warnings, you have remaining questions, please contact Millennia Media directly before attempting to use your STT-1. Retain this owners manual as a record of your purchase to aid positive identification in the event of loss.

QUICK START

READ THIS!! The STT-1 operates with lethal operating voltages the voltage inside the STT-1 can kill you. Never, under any circumstances, remove the top cover. Refer to a qualified electronics technician any and all servicing and other operations which require the top cover to be removed.
Congratulations on your purchase of the Millennia Media STT-1 Origin tracking and post system. The STT-1 is the culmination of meticulous listening tests on innumerable circuit, topology, and packaging designs over many years of product design and development. Your STT-1 is a finely tuned instrument intended for critical professional applications we feel it offers the world's most sonically versatile "all-in-one channel strip" audio signal path, with the added benefits of selectable transformer-coupling and vacuum tubes when "euphonic enhancement" is desired. With the emergence of 24+ bit digital audio, recording engineers are faced with a new requirement for undistorted dynamic range. The STT-1 meets this challenge exceptionally well. Before connecting power to the STT-1, assure that the rear panel voltage selection fuse block switch is set correctly. In the USA, the STT-1 is shipped with the voltage selection block set to 100-120 VAC. If you change the voltage selection block to 200-240 VAC usage, be sure to change both fuses to the correct types. See "Rear Panel" instructions for proper fuse requirements. The STT-1 enclosure measures approximately 19" wide x 3.5" high x 15.5" deep and is designed for mounting into a standard 2U, 19" equipment rack. If the STT-1 is mounted in a road case or other rack which is prone to strong vibration or shock, it is highly recommended that the rear of the STT-1 be supported or otherwise reinforced to withstand such conditions. The STT-1 contains a significant number of high voltage vacuum tubes and discrete transistors, all running in pure Class-A mode. As such, the STT-1 Origin runs warm and should be mounted with at least one rack screw space open above and below the unit. The rear panel heat sink should also be given adequate exposure to unrestricted air movement. The STT-1 is designed on a common ground topology. For high quality operation, and for your own safety and the safety of others, do not defeat the purpose of the earth grounding pin.

STT-1 FRONT-END PROTECTION
Millennia Media enjoys a reputation for what many top engineers and producers call the world's most musically accurate and dynamically consistent microphone preamplifier the HV-3. But this unique design is not achieved without certain operating criteria. Back-to-back Zener diodes protect the super-matched discrete bipolar input transistors against high transient energy spikes common when inserting and extracting XLR connectors. To maintain top performance and protect the STT-1's sensitive HV-3 front-end, it is advised that you do not insert or extract XLR connectors with phantom power on. Get in the habit of turning phantom power off and waiting about thirty seconds for the phantom power to ramp down before inserting or removing a microphone. This is good advice for protecting a microphone, as well.
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. There are (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 -or2.) 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

(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

PUSH PUSH

ORIGIN STT-1

STT-1 Origin Rear Panel

(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. This XLR sits directly above the 1/4" unbalanced output connector. 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
STT-1 FRONT PANEL FRONT END
(1) FRONT-END AMPLIFIER SELECT SWITCH - TWIN TOPOLOGYtm
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 M-2b. 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, all-discrete 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. 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 ethno-eclectic; 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 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 high input levels, the new Millennia MIT-01 audio input transformer is not intended for acoustic reality nor musical accuracy. Rather, when used with higher input levels, the MIT01 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), but will likely be most sonically pronounced when used with condensor microphones. When used with nominal input levels, the transformer exhibits modest 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
(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 with condensor microphones which gives the engineer a richer, fuller, 'bigger-than-life' image when used with aggressive sources such as drums and electric bass. Read more about this transformer in section (1).
(5) OVERLOAD INDICATOR "OL"
A single red LED (light emitting diode) which begins turn-on (most dim) around +18 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.

(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.

(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- 200 Hz to 2.2 kHz, depending 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 boost setting 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.

INPUT TT

VT OUT

EQ/COMP TT

THRESH

1.4k 1.6k 2.1k 1.0

VT OUT SS IN 2.0

ATTACK

(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.
(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"). At 10:00 o'clock, output level is attenuated approximately -16 dB.
(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" (31) TEMPLATE
Rocker switch for switching AC line power on and off. (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

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, though an additional 10 dB of "make up gain" can be achieved via the master output buffer amplifiers if required. In some cases, the sound of an additional Class-A biased amplifier in the dynamics signal path may be preferred. As such, the STT-1 ORIGIN opto-compressor can be selected to use three different signal paths, follows: 1.) With vacuum tube signal path amplifier, or 2.) With solid-state signal path amplifier The opto-compressor and parametric equalizer can share the same Class-A signal path amplifier (selectable as vacuum tube or solid-state). 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 (compressor only), assure that all four "EQ Band" switches are disabled this will effectively remove all EQ function while allowing the dynamics processing to traverse an additional vacuum tube or solid state amplifier signal path. In practice, this additional amplifier would usually be selected as a vacuum tube path for heightened sonic coloration. 3.) Without any additional signal path amplifier The opto-compressor function is passive, meaning that no additional signal path amplifiers are required for dynamics operation. Passive opto-resistive elements are oriented as "variable resistors" to ground, achieving broad levels of gain reduction. To use passive opto-compression, whether pre-EQ or post-EQ, simply assure that the "EQ IN" switch is not depressed. We feel this unique 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. Note that 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!

MIC 36V

Millennia MIT-01 Audio Transformer
PHANTOM HV-3 SOLID STATE INPUT SELECT (ROTARY) XFMR POLARITY REVERSE (PASSIVE) XFMR T/T T/T AMPLIFIER MAX:+50 dB MIN: +10 dB

FEMALE

+48V Phantom

DYNAMICS

DYNAMICS POST EQ LEVEL/GR OPTO-GAIN VU METER REDUCTION SHUNT CELL POST-EQ COMPRESSOR IN/OUT OPTO-GAIN DYNAMICS PRE EQ
M-2B VACUUM TUBE AMPLIFIER

FEMALE 350V

12AT7 VACUUM TUBE AMPLIFIER
Millennia Media STT-1 Origin Block Diagram Copyright 2000 Millennia Media, Inc.

MIN: +20 dB MAX:+40 dB

1/4 PHONE 50V OVERLOAD INDICATOR
MONOLITHIC SOLID-STATE AMPLIFIER

JACK (front panel)

DIRECT

MALE 50V

FSA-01 DISCRETE SOLID-STATE AMPLIFIER

VACUUM TUBE AMPLIFIER

MUTE EQ IN T/T
FOUR-BAND PARAMETRIC EQUALIZER CONTROLS
FSA-1 DISCRETE SOLID-STATE AMPLIFIER
COMPRESSOR / LIMITER DYNAMICS CONTROLS

INTERNAL DC POWER

REDUCTION SHUNT CELL PRE-EQ

TYPICAL SPECIFICATIONS

Instrument DI Input Amplifier 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 24.3 (x2) ohms balanced. 49.9 ohms unbalanced Output Impedance Noise (Common source, mic in) -71 dB @ 50 dB gain (-121 dB EIN), solid state (30 ohm source, mic in) -68 dB @ 50 dB gain (-118 dB EIN), solid state (150 ohm source, mic in) -66 dB @ 50 dB gain (-116 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 Attack Range Release Range Compression Ratio Range De-essing Frequencies Dynamics pre/post EQ selection? Twin Topology Selection (EQ In) EQ Select Switch Out 40 dBu, Continuously Adjustable 2 mS to 100 mS, Continuously Adjustable 20 mS to 3.0 S, Continuously Adjustable minimum 1.4:1 (6:1 at 12 o'clock pot setting) maximum 30:1 Continuously Adjustable Off, 4.9k, 6.8k, 8.2k, 10.7k, 12.0 kHz Yes TT Switch In = FET Signal Path Amplifier TT Switch Out = Vacuum Tube Signal Path Amplifier "Passive" Opto-Compression Shunt Network (see instructions pg 16 for details on EQ and Dynamics co-operation)

EQUALIZER SPECIFICATIONS

Maximum Boost & Cut Parametric "Q" Adjustment Range Low-Mid (LM) Parametric Sweep Freqs High-Mid (HM) Parametric Sweep Freqs Low (LF) Range Fixed Frequencies High (HF) Range Fixed Frequencies Low/High Range Fixed "Q" Parametric Frequency Multiplier (10X?) Peak/Shelf Selection on Hi & Lo bands? Bypass Selection on Each Band? Twin Topology Selection +/- 15 dB (21 step detent) Q = 0.4 to 4.0, sweepable 20 Hz to 220 Hz -or- 200 Hz to 2.2 kHz 250 Hz to 2.5 kHz -or- 2.5 kHz to 25 kHz 20, 34, 56, 100, 180, 270 Hz 4.8, 5.8, 8.0, 10, 16, 21 kHz Q = 1.0 Yes Yes Yes Switch In = FET Signal Path Amplifier Switch Out = Vacuum Tube Signal Path Amplifier
ELECTRO-MECHANICAL SPECIFICATIONS
Power Consumption Power Requirements Fuses (2 required) Internal DC Power Dimensions Net Weight 50 Watts, nominal 100VAC to 240VAC, 50/60Hz, selectable 2 ea 1A with 100-120VAC mains (5x20mm, slow-blow, 250V) 2 ea 500mA with 200-240V mains (5x20mm, slow-blow, 250V) +350V +50V +25V -25V +18V , , , , , -18V +12V +5V , , 19" W x 15.5" D x 3.5" H approximately 25 pounds
Millennia Media reserves the right to change specifications, delivery, and pricing without notice.

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 Day Spring Court Placerville, CA 95667-9500 T 530-647-0750 F 530-647-9921 sales@mil-media.com http://www.mil-media.com The STT-1 Origin is hand-crafted in USA Manual printed in USA