FIG. 1: The MindPrint TRIO combines input and monitoring functions that might otherwise be missing from a mixerless personal studio.

MINDPRINT

An audio-routing nerve center for your mixerless studio. By Orren Merton
udio-hardware manufacturer MindPrint first established its reputation with the well-regarded, tube-based EnVoice channel strip. More recently, MindPrint introduced the TRIO, which stands for Total Recording solutIOn. Resembling a tabletop navigation console on the Federation Starship Enterprise, the TRIO serves as an input and monitoring station for studios that dont have a mixing console, oering all the analog and digital I/O that the budget-minded recordist might need. The TRIO functions as a channel strip and as an instrument preamp, and it has talkback
to multiple destinations, which might include a pair of powered monitors, a subwoofer, a cassette recorder, and a home-stereo receiver.

TRIO I/O

Despite its novel appearance, the TRIOs layout is straightforward and logical. The front panels left side houses all the controls relating to the input and signal-processing functions, and the middle and right side allow access to monitoring functions (see Fig. 1). The rear panel supplies jacks for all the I/O connections, which follow the layout of the frontpanel controls: the input jacks line up with the input controls, and the output jacks line up with the monitor controls. Between the rear panel and TRIOs underside are two sets of DIP switches and three recessed screws to make additional adjustments to the S/PDIF, speaker, analog I/O, and recordmonitor sections. The TRIO has a generous complement of input and output connectivity (see Fig. 2). In addition to a ClassA XLR mic input, it has a 1 M, a -inch instrument

WWW.EMUSICIAN.COM

The TRIO has a far more robust metering system than many other units.
communication, headphone monitoring, computer DAW connectivity, and more. Four pairs of outputs allow it to simultaneously route stereo signals
132 ELECTRONIC MUSICIAN SEPTEMBER 2005
FIG. 2: The TRIOs rear panel has jacks for connecting two pairs of headphones, three pairs of speakers, a tape recorder, a computer audio interface, an outboard processor, a stereo keyboard, a guitar, and a microphoneall at the same time.
input designed by Hughes & Kettner that, according to MindPrint, avoids loading or degrading the signal from guitar and bass pickups. When I plugged in my Gretsch Duo Jet with Filtertron pickups, the signal was strong and noise free. Because the instrument input has priority over the mic input, you can leave a mic plugged in, and the TRIO will automatically switch to the other input when you plug in a guitar. You can set the DIP switches on the units underside to either distribute the signal evenly to both channels or route the mic and instrument signals to the left recording and monitoring channel. In addition to the mic and instrument inputs, the TRIO supplies a pair of unbalanced -inch line-level inputs. The input section has unbalanced -inch send and return jacks, which let you insert a signal that bypasses the TRIOs processing. Although it would have increased the cost, having balanced inputs would have been preferable, because many signal processors and line-level sound modules have balanced outputs. A stereo auxiliary input on unbalanced RCA jacks accommodates consumer-level devices such as CD players. I prefer -inch jacks for the auxiliary inputs, so I wouldnt need TRS-toRCA adapters to connect additional instruments, mics, and so on, but RCA jacks are more typical for devices such as CD players. The TRIO can interface with your computers DAW software using either optical S/PDIF I/O on Toslink

connectors or stereo analog I/O on unbalanced RCA jacks, both of which you can use simultaneously. DIP switches on the rear panel let you select the sampling rate (44.1-, 48-, 88.2-, or 96 kHz) and internal or external sync. I wish MindPrint had used coaxial S/PDIF connectors (which are more common on pro gear) or had oered ADAT Lightpipe connectivity. The TRIOs output section has two -inch stereo headphone jacks, three pairs of speaker outs, and a pair of Direct Out jacks. The Speaker A output is on a pair of unbalanced -inch jacks, whereas Speaker A and Speaker B are on RCA jacks. The main volume knob aects all three outputs. Speaker As outputs are the only monitor outs connected to the Volume control. Speaker Bs outputs are on RCA jacks, and you can adjust the level with a screw on the units underside. Speaker C and the Direct Out are also on RCA jacks and dont have any level control. The TRIOs monitoring section is almost perfect for some recordists. For my studio, which has balanced connections throughout, I prefer balanced TRS outputs for at least the Speaker A outputs and for the Direct Out jacks as well.

All Hands to the Bridge

The leftmost column of buttons and dials on the TRIOs front panel control the mic and the instrument input signals. When engaged, the 48V button supplies phantom power to the mic input. The Low Cut button inserts a highpass lter into
the signal path, centered at 80 Hz with a 12 dB-per-octave slope. A steeper slope would be more eective at removing rumble and hum. The Gain knob controls how much preamplication is applied, adding as much as 60 dB of gain to the mic signal or 54 dB to an instrument-level signal. The preamp has low noise and a neutral sound, though it is noisier at the highest gain settings. I compare it favorably with the preamps on M-Audios FW1814 and other interfaces, but it didnt have quite enough gain to power my Royer R-121 ribbon mic. The TRIO furnishes two bands of equalization. On the mic/ instr ument inputs, the highfrequency shelving filter is centered at 7.5 kHz, and the lowfrequency shelving lter is centered

at 100 Hz. Both have 12 dB of boost or cut and a vintage frequency-dipbefore-boost design. The EQ section cannot be removed from the signal path; luckily, each knob features a detent at 0 dB. The high-frequency EQ was surprisingly good at adding sheen to vocals, but it was less eective on acoustic or electric guitar. I used the low-frequency EQ to eectively cut boominess from vocals, electric, and acoustic guitars. I didnt like using it to add lows, however, because it was too pronounced, even at low boost settings. After the EQ section, the TRIO features a soft-knee compressor with an automatic-gain makeup stage and program-dependent attack and release. The compressors only user control is a single knob labeled Fat, which simultaneously

TRIO SPECIFICATIONS

balanced XLR mic with 48V phantom power, " unbalanced high-impedance instrument, (2) " unbalanced line, " unbalanced insert return, (2) RCA unbalanced auxiliary, (2) RCA unbalanced DAW (2) unbalanced " monitor, (4) unbalanced RCA monitor, (2) unbalanced RCA DAW, (2) unbalanced RCA direct; " unbalanced insert send, (2) " stereo headphones 24-bit optical S/PDIF 44.1-, 48-, 88.2-, 96 kHz 4 dBu (mic), 14 dBu (instrument), 21 dBu (line), 12 dB (aux) 74 dBu to 14 dBu (with compressor), 74 dBu to 10 dBu (without compressor) to +19 dB 2 dBu >105 dBa 10.24" (W) 2.60" (H) 7.68" (D) 3.42 lbs.

Analog Inputs

Analog Outputs
Digital I/O Sampling Rates Maximum Input Levels
Mic Input Gain Instrument Input Gain Maximum Output Level Dynamic Range Dimensions Weight
controls the amount of compression and the timedependent parameters. You cant remove the compressor from the signal path, but turning the Fat knob fully to the left turns o the compression. The compressor was useful for taming vocal and guitar dynamics, but it was definitely not transparent. It sounded like a midrange boost when turned up higher than halfway. If you want an easy, one-knob approach, you cant go wrong with MindPrints method, but I prefer the control that I get with outboard compressors. The Rec Vol (record volume) knob controls the mic/instrument level sent to your computers DAW, independent of the signal sent to the monitors. That control is a welcome feature that is missing from many comparably priced units. The second column of buttons on the TRIOs left side has two EQ controls and a Rec Vol knob for the stereo line inputs. The shelving filters in for the line inputs function similarly to the mic/instrument EQ filters, with the high-frequency shelving filter centered at 9 kHz and the low-frequency filter centered at 120 kHz. I ran a soft synth from my RME Firefaces line output to the TRIOs line input. The high-frequency EQ sounded almost too high; it would have sounded better if it had the same frequency as the mic/instruments high EQ. The low-frequency EQ did a good job of fattening up synth bass sounds without making them muddy, and it was also effective at removing boominess in the low end of a lead patch. Next to the line-level controls is a Talkback button that cuts the monitor signal by 12 dB, as well as a small talkback microphone that is routed to the headphone outputs. The usefulness of the talkback section depends on how you work. If you have a large room or recording booth, it is a welcome addition thats well implemented. If youre recording a singer or an acoustic musician whos wearing headphones, its a great convenience even if you have only one room. If you record only yourself or someone in the same room that is not wearing headphones, however, you wont need talkback.

PRODUCT SUMMARY

multifunction audio I/O $549 OVERALL RATING [1 THROUGH 5]: 3.5
PROS: Lots of inputs and outputs. Excellent
metering. Zero-latency hardware monitoring. Well-written manual. Good value.
CONS: No balanced line inputs or outputs.
Too little control over the compressor. No separate headphone mix.

MANUFACTURER

MindPrint www.mindprint.com
ELECTRONIC MUSICIAN SEPTEMBER 2005

Over and Output

At the front panels bottom center is the Zero Latency Monitor section, which has three knobs for controlling mic/instrument, line, and auxiliary levels sent to the monitors. On the right, separate buttons engage the three speaker banks, collapse the signal to mono, attenuate the master volume by 20 dB, and switch between the monitor and computer return signals. A large Volume knob adjusts the master level, and the TB Vol and Phones A and B knobs adjust the talkback and headphone levels, respectively. You cannot send separate mixes to the headphone outputs. Considering that most audio interfaces give you zero-latency hardware monitoring, the ability to send a separate headphone mix would have helped the TRIO stand out from the crowd. The TRIOs stereo 10-segment LED meters have a button to switch between metering the input or the output. In Input mode, the left channel shows the mic/instrument level, and the right channel shows the summed level of both line inputs. Although it might not seem ideal, the TRIO has a far more robust metering system than many other units in this price range. Anyone using an audio interface without meters will appreciate the TRIOs excellent metering.

The Final Frontier

The TRIO is part channel strip, part DI box, part monitor and output router, part talkback unit, part headphone amp, and part A/D/A converter. Its affordable price, flexibility, solid construction, and excellent manual make it compelling. It isnt designed for everyone, and it isnt necessarily the best device for any single task, but it does furnish a broad range functions for anyone who needs them. Unless your computer already has built-in S/PDIF I/O, it does not eliminate the need for a dedicated audio interface, and many interfaces provide at least some of the TRIOs capabilities. By adding so many features to the TRIO, MindPrint had to make compromises in order to keep the price attractive to nonprofessional recordists. Unbalanced analog I/O (other than the XLR input) might keep the TRIO out of some better-equipped project studios. Nonetheless, for personal-studio recordists who want all its functionality, the TRIO is in a league of its own. Orren Merton recently coauthored Logic 7 Ignite! (Muska & Lipman, 2005), and has authored Logic Pro 7 Power! and GarageBand Ignite! (Muska & Lipman, 2004).

Front view

Mic/Instrument Preamp

Monitor section

Stereo LINE Preamp
HF: cuts/boosts treble LF: cuts/boosts bass REC VOL.: controls to-DAW recording level MUTE: silences LINE

Zero Latency Monitor

MIC/INSTR.: controls the channel strips monitor level LINE: controls the LINE channels monitor level AUX: controls the AUX inputs monitor level MONITOR ON: routes MIC/INSTR., LINE and AUX to the monitor buss DAW ON: sends the incoming signal from the Digital Audio Workstation to the monitor buss
48 V: activates 48-volt phantom power LOW CUT: activates the Low Cut Filter GAIN: controls input gain HF: cuts/boosts treble LF: cuts/boosts bass FAT: controls the compressors intensity REC VOL.: controls to-DAW recording level MUTE: silences MIC/INSTR.
VOLUME: controls the monitor sections master level (but not PHONES and DIRECT OUT) SPEAKERS A: routes output signal to monitor pair A (main monitor) SPEAKERS B: routes output signal to monitor pair B (alternative monitor) SPEAKERS C: routes output signal to monitor pair C (or subwoofer) MONO: configures a mono monitor signal DIM: cuts the monitors master level 20 dB (except Headphones) PHONES A: controls the volume of headphones port A PHONES B: controls the volume of headphones port B TALKBACK: routes the TALKBACK microphone (MIC) to headphones (not to SPEAKERS) TB VOL: controls TALKBACK microphone volume INPUTS/OUTPUTS: assigns LED indicators to the input or output signal

Rear panel

TRIO is available in two models:

S/P-DIF

MIC IN: microphone input INSTR. IN: instrument input INSERT: insert send and return LINE IN: stereo line input AUX IN: stereo aux input DAW DIGITAL IN: optical S/PDIF input DAW DIGITAL OUT: optical S/PDIF output SYNC Board: synchronization tool DAW ANALOG OUT: stereo output to the DAW DAW ANALOG IN: stereo input from the DAW
DIRECT OUT: master output from DAW ON and MONITOR ON SPEAKERS C: output to monitor pair C SPEAKERS B: output to monitor pair B SPEAKERS A: output to monitor pair A PHONES: headphones ports A and B AC IN: accepts the included wall wart power supply POWER: mains switch GROUND: earthing screw USB

Bottom View

DIP switch for routing recording /monitor busses Rotary knob for fine-tuning SPEAKERS B Rotary knob for fine-tuning the DAW Interfaces analog inputs Rotary knob for fine-tuning the DAW Interfaces analog outputs Ventilation slots - do not cover or obstruct! Vertical mounting bracket

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:

FOR QUICK-STARTERS If youre 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, dont be surprised to hear the LINE signal even when the LINE REC VOL. knob at the bottom left is turned all the way down. most scenarios, T.R.I.O is x In speakers or power amps thatconnectedtodirectly to active high are able put to painfully 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.
to/from computer to monitor speakers
from keyboard from microphone

from CD-player

microphone input gain phantom microphone power
DAW return on speakers on
microphone recording level
monitor volume for: mic keyb. CD player
master volume control monitor section on

keyboard recording level

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.
y The MIC/INSTR. input and LINE input may be used and recorded simultaneously.

1. MIC/INSTR. Input

Connecting signal sources:
Located on the T.R.I.Os 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.
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. on only for microphones that require x Switch phantom powerunbalanced and ribbon microphones! it. not Never feed power to Do connect line level devices to the microphone input - this can damage T.R.I.O. when a plug g The microphone input is automatically disabledmeans that for is sake inserted into the INSTRUMENT IN jack. This the of convenience, you can opt to leave a microphone cord connected to MIC input.

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.

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
the recorded the DAW, y REC VOL. determines the level ofAdjustsignalmonitoringtolevel using and not the monitoring level. the the MIC/INSTR. knob in the monitor section. depends setting of a trim knob y The analog VOL. REC levelthe deviceon thethe wordy name DAW on the bottom panel of with INTERFACE ANALOG OUT LEVEL ADJUST (see 8.1 to learn more).

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.
in handy when you g MUTE comesswap instruments. want to silence the mike during a break or laptop-based audio presentations gTRIO isathe perfect sidekick forTo conveniently switch off the microwith headset microphone. phone during breaks, simply hit the MUTE button.

LED display:

green orange red - no compression - normal compression - strong compression
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. microphones will work with less than 48 y Most condenser reduction in voltage lowers the peak gainvolts. and However, any level degrades sound quality. bass serves to y LOW CUT attenuatesnoise,frequencies. This featureor poppingfilter out low-frequency for example, footsteps noises associated with close-miking vocals.
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.

2.4 LF

Twist this knob to adjust the Line signals bass amount. Characteristic: Low shelving filter Corner frequency: 120 Hz Control range: +/- 12 dB

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
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).

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.
g MUTE is a convenient tool for instantly silencing a keyboard connected to the LINE input if you want to bypass its sound
generator and use its keys to play a VST instrument.
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.
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 DAWs outputs (INPUT MONITORING = OFF ).

3.1 MIC/INSTR.

Twist this knob to adjust the MIC/INSTR. channels monitor level. The signal is tapped post equalizer/compressor.

3.2 LINE

Twist this knob to adjust the Line channels monitor level. The signal is tapped post equalizer.

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.
is sent to the y The AUX inputs signal The reasoningmonitoring section only, and cannot be recorded. here is that the most common signal source connected to an aux input is a CD player. If you want to load a CDs audio tracks to your computer, the more convenient option is to use the computers CD-ROM disk drive.

to the AUX input, for a y You can connect other sources is provided via INSERTinstance,Thus you reverb unit whose dry signal SEND. 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.
Patch consumer level devices into the two LEFT and RIGHT RCA connector ports on the rear panel.
is also tweaking master g The AUX input connecta acool tool forand adjustT.R.I.Osknob so level. Simply CD player the AUX that the red output LEDs illuminate briefly and intermittently. (Somewhere around 12 oclock, depending on the CD players level.) Use this level as a reference for the monitor volume.
AUX: Twist this knob to adjust the level of signals sent from the AUX inputs to the monitor section.
make A/B comparisons to reference CD? Simply switch g Want toand forth between DAW ONaand MONITOR ON to compare the back DAWs signal to the reference CDs signal.

3.4 MONITOR ON

Routes the input sections 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.
g 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.

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.
most scenarios, T.R.I.O is x In speakers or power amps thatconnectedtodirectly to active high are able put to painfully 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. is of y The VOLUME knob stressextra big size making it easy to be accessed even in 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 youll 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.
you own a pair subwoofer, you can g If the two satellitesoftospeakers andA aand the subwoofer toconnect B SPEAKERS SPEAKERS or C. This lets you address the speakers and subwoofer separately and easily switch the latter off whenever you wish.
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.
opted on a MUTE button for the simple reason y Weyou can to passthe same functionality (silencing speakers) thatsimenjoy by ply engaging the SPEAKER A/B/C buttons or turning down the volume!

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.
y You canoralso use DIRECT OUT to connect meters such as peak level correlation indicators.

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.
at gigs, you can use the DIRECT y If you decide to employ T.R.I.O FOH mixer, and control your own OUTs to route the signal to the monitor mix via SPEAKER A/B/C. MONO to check mono compatibility. This is g Thenifty toolfunction servesphase cancellations caused by reversed a for detecting 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. to y Some vocalists dont like thishear a big stereo spread whenthen the tracking their parts. In event, simply press MONO, vocalist will no longer be irritated by a shaker sweeping across the stereo soundscape or a guitar part panned hard to the left edge. even low g Many active monitors are very sensitive so thatlevels. The DIM MONITOR LEVEL settings elicit high volume 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. do not affect DIRECT OUT. this y MONO and DIMwould be reduced to mono Otherwise,press MONO circuits signal when you and attenuated when you press DIM for monitoring purposes.

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 outputs level. Control range: - 4 dB at the far left position, unity gain at 12 oclock, + 6 dB at the far right
B you want y The SPEAKER theLEVEL ADJUST knob is helpful when so that youre to balance relative levels of two speaker pairs 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.
ON and signals are y If a high-level signal is sent from DAW the LED meters mayplayed back via the MONITOR ON section, 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.

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 channels 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.
channels input gain. If the LINE signal is mono, the LED indicates its input gain. If the signal is stereo, the LED indicates the mono composites input gain.

to y When set theINPUTS,ofthe LED chains do not indicate levels the signal recorded to the DAW. Instead, they offer a view of MIC/ INSTR. and LINE input levels. In other words, the VOL. REC knobs setting has no influence on T.R.I.Os 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 softwares level meter.

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.
xWhen set to INPUTS, only the right LED chain indicates the Line

6. Headphones Section

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.
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.
strongly employ headphones x Weimpedancesuggest that you always Lower impedances orwith an greater than 30 ohms. a short circuit caused by mono jack plugs can do permanent damage to T.R.I.Os headphones outputs. not x Doharm connect headphones to SPEAKERS A jacks because this can T.R.I.O.

6.1 PHONES A

Twist this knob to adjust the first headphones outputs volume.
y Smart recordists may want to use PHONES outputs for aYpurpose other than intended to connect further speakers via adapters
(stereo jack on one end; two mono jacks on the other), to drive speakers sited in the studios 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. a experience, its y Forideahappier and more congenial recordingthe same model aofgood for the vocalist and producer to don headphones when tracking vocals.

6.2 PHONES B

Twist this knob to adjust the second headphones outputs volume

7. Talkback Section

T.R.I.O comes with a full-fledged talkback section featuring a built-in talkback microphone.
found on big g Talkback is the term used for a neat feature in the control studio consoles that allows producers/engineers 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.

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.
y You may have little reason toitlike the TALKBACK function now, but you may learn to love later when you discover your recording mic capturing the rattling of your computers fan or other

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.
the heat of the sometimes begin g Insing the vocalist moment, producers TALKBACK button.addresbefore pressing the If vocalists cant hear the beginning of a sentence, they wont understand you. Misunderstanding breeds insecurity; an insecure artist cant deliver a compelling performance. So in the interests of capturing happening performances make a habit of pressing TALKBACK FIRST, and then talking. a soft press the TALKBACK y Youll hearThis notpong sound when youmicrophone is extremely button. a malfunction. The TB sensitive; indeed, its so delicate it transmits the sound the button engaging. Eventually, youll find this to be an advantage: the pong signals to vocalists that words of wisdom are coming their way! :o) not the TB x Dophoneplace objects onpointed microphone or push in the microcovering with objects.

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.Os 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.
the y The DAW interface has the job to carrybackrecording signals fromTRIO. TRIO to the DAW inputs, and brings the DAW outputs to The interface works in full duplex, so you can record in the DAW while simultaneously playing back the DAW outputs.
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.
Case in g Analog and digital outputs amay be used simultaneously.you can use point: If you have set up digital circuit to the DAW, 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. may also be used aux sends, g The analog DAW INTERFACE outsworking reverb toasrecording for example, to add makeshift signals.

y The S/P-DIF interface offers separate digital input/output ports. The advantage here is that this allows you to introduce other
devices into your DAWs 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.
DAW offers coaxial rather than optical youll y If your S/P-DIF optical-to-coaxial converters in S/PDIF ports, music find well-stocked stores.

9.2 S/PDIF OUT

This port connects to the DAWs 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.
LED you that viable signal is patched into the g The SYNCINPUT.tellsyour setupaisnt working properly, this light helps S/PDIF If you narrow down the cause.

Synchronization

Affording flexible connections to digital studio environments, T.R.I.Os digital interface features a threeway selector providing all the options you need to configure a digital setup.
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 arent 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.

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 buttons 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.
both TRIO DAW in MASTER mode, x Asinterferencesand the occur can workboth units use theiraudible might because 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.
y T.R.I.Os/ digital interface processes audio at a resolution of up to 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. 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 DAWs sampling rate. The SYNC LED lights to indicate it is receiving a viable digital signal.
the as as the pin socket y Today, USB on rst computer isUSBnatural interfaces showedon the mixer. Since generation audio obvious quality deciencies 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 todays view, however, these doubts are unfounded technology has developed considerably and USB as audio format is established. it comes from y USB stands for Universal Serial Bus,which is based the acomputing world and refers to an interface, on star topology.

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.

The transfer takes place via a 4-core cable; the 4-pin USB socket is available in two versions: the at 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. devices that are connected to your DAW, better x The fewer USB works. TRIO should not to be operated bytheUSB Hub or the interface a behind another USB device such as a printer or terminal. Your TRIO needs its own USB connection to the computer to ensure correct operation. by many and is absolutely y USB 1.1 is usedstereo use.manufacturersinterface (Full Speed USB) sufcient for The USB 1.1 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 congurations can be selected in the driver menu.

Software:

So that TRIO USB can communicate with your computer, you need to install the enclosed driver software. That way, the TRIO USB will denitely be correctly identied and all recording options are available. You will nd 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.
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.
a device with two input y Though T.R.I.O isautomatically equate to a channels, the two channels do not 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.

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.
is lost or damaged, replace it original x If the wall wartreplacement power supply only.with an power units MindPrint Other 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

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.
vital to getting y A clean power supply is generously sizedgreat tone. This is whyto T.R.I.O ships with a power unit designed provide plenty of power for the microphone input and the two headphones amps under any circumstances.

11.3 GND

The GROUND screw is located below the mains socket. It works like the ground screw of a record player.
y When a grounded device is connected to T.R.I.O (via a threeterminal 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 devices chassis by means of a grounding cord connected to the GND screw.

12. Troubleshooting

If you encounter problems when youre 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 cant 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 cant 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? 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 DAWs 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 channels input signal, even if its a stereo signal (see 5.1). The AUX signal is audible, but I cant 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!