- A fully discrete, analog design dispenses with VCAs, DACs, etc., providing loss-free signal processing
- Six rear-panel stereo inputs (four balanced and two unbalanced sources), balanced XLR outputs for three loudspeaker pairs, slave output
- Monitoring: source and loudspeaker selection, mono, dim, mute, switchable headphone output
- Talkback: built in microphone, separate output, footswitch input
- Cue-Mix: separate output, musician level, mix level and volume controls
- SPL‘s custom-made balancing stages for the MTC‘s I/O architecture ensure extended frequency range up to 100 kHz, exceptional dynamic spectrum and excellent common mode rejection
- The rugged and ergonomic desktop enclosure with slanted front panel harmonizes perfectly with the desktop production environment
The advantages of the MTC become especially apparent in combination with modern audio and video production tools such as ProTools™, Nuendo™, Cubase™, Logic™, Deck™ etc. Monitor levels and source management can be handled independently of the software and with virtually no loss in quality. You no longer need to set up additional aux sends for monitoring. In addition, you won‘t have to worry about over- or underdriving the converters due to monitor levels.
The latency-free cue mix signal for the musician can be composed of the musician’s track and the track mix. The Talkback communications option via built-in microphone provides a footswitch input for remote control and a separate output with the dry talkback signal. These features mean that monitoring in any DAW-based studio now can be expanded to include the kind of essential functionality that to now has only been available in large analog consoles.
An LED over each front panel switch indicates activity by illuminating when its corresponding switch is turned on.
If the Talkback function is activated by an external switch, the Talk LED will nonetheless illuminate.
The master volume potentiometer globally controls volume for up to three stereo speaker pairs. This analog control regulates the audio signal directly to avoid any coloration/distortion typical of VCAs, DCAs, etc., which require higher inter-channel tolerances and tend toward higher distortion figures. Moreover, this potentiometer possesses an optimal rotational torque and “feel” for precise hand control.
The MTC dispenses with speaker output trims, as they would unnecessarily stress the signal pathes—all active speakers and also power amps have input trims. The adjustment process should begin with the quietest monitor pair (smallest sound pressure level) with the input sensitivity at maximum level. Leaving the MTC Master Volume control as set, you then perform the same adjustment for the other monitor/speaker pairs until each produces the same sound level as the first pair. Lacking an sound pressure level meter, you may still accomplish this adjustment well enough by ear.
This 1/4 inch footswitch input can accept an on/off switch or key that allows remote control of the Talkback function. Any sort of switch or key (including footswitches familiar to keyboard players) can be used here.
The balanced 1/4 inch "Slave Out" jacks provide for summed output of all active 2Tr inputs (Mix, 2TrA to 2TrD). As an example, the monitor signal may also be routed to a recording medium, or, while one listens to a CD player, the output may simultaneously be routed to a DAW. You may likewise connect stereo metering equipment.
The musician‘s signal (coming from the Musician input) is not routed to the Slave Out, as it is only used for latency-free monitoring, but not for recording.
The "Talk Out" connection routes the dry talkback mic signal through its balanced 1/4 inch jack to create an alternative listening option (for example, to another room).
This function is particularly useful when, for instance, the engineer wishes to avoid forcing all performers in the recording room to wear headphones. Also advertising narrators are not often happy wearing headphones. Routing through the "Talk Out" circuit, the engineer can communicate directly to narrators or musicians over an active monitor placed in the recording room.
This is where your headphone can be connected for monitoring the control room mix—in parallel to the chosen loudspeaker monitor pair. The headphone output can be toggled in or out with the HP On switch, so muting is possible without having to detach it each time.
- Musician input (TRS bal.)
- Mix input (TRS bal.)
- 2-Track A to D (2 x TRS bal., 2 x RCA)
- Frequency Range: 10 Hz - 100 kHz (+/- 3 dB)
- Input Impedance balanced via TRS: 50 kOhm/unbalanced via RCA: › 10 kOhm
- Output Impedance balanced via RCA: ‹600 Ohm
- THD + N: 0,006 %
- Noise (A-weighted): › 80 dBu
- Overload Resistance: +22 dBu
- Dynamic Range: 110 dB CMRR: › 70 dBu
- Phase: -20°@20 kHz
- Crosstalk L-R: › -70 dB@1 kHz/0 dBu
- Dimensions: H x B x T (mm): 91 x 272 x 220
- Weight 2,3 kg