MindPrint T-Comp stereo tube compressor

—————M I N D P R I N T

-——————-—T-COMP

Transparent dynamics processing with tube-saturation circuitry

by Michael Cooper

The MindPrint T-Comp stereo tube compressor is a hybrid design employing both solid-state and tube circuitry. Additionally, the unit provides a control for adjusting the amount of drive sent to the tube, letting you fine-tune the tube saturation and thus dial in a range of tones from clean to distorted.

The 1U rack-mountable T-Comp uses THAT VCAs to control gain levels. It is also strictly a soft-knee compressor. You can use the T-Comp as either a stereo or dual-mono processor, and it provides both manual and semiautomatic modes of operation.

Channel Crossing

The MindPrint T-Comp stereo tube compressor offers a tube-saturation circuit in addition to its VCA-based, solid-state topography )click for larger image).

The T-Comp crams a host of useful controls and LEDs onto its nicely organized and attractive front panel. Each channel offers separate, continuously variable rotary knobs (without detents) for input and output levels, threshold, ratio, and attack- and release-time settings. The knob settings, though, are hard to discern in low light or at more than an arm’s length away.
A Link button enables stereo operation, in which the left channel’s threshold, ratio, attack, and release settings control the processing for both channels. This feature works well and keeps stereo imaging rock solid. An LED illuminates whenever you depress the Link button.

Each channel also sports its own bypass switch. When a channel is bypassed, the input control remains active; however, the output-level control is disabled, as it should be. When the unit is turned off, the inputs become hardwired directly to the outputs—a nice safety net for live and broadcast applications.

The T-Comp’s rear panel provides Neutrik combo balanced XLR/1/4-inch TRS input jacks, both balanced XLR and unbalanced 1/4-inch output jacks, and balanced/unbalanced 1/4-inch inserts (click image for larger view).

With processing switched in, the processed signal’s output level can be increased to roughly equal that of the unprocessed signal. This operation, called makeup gain, allows critical A/B comparisons of your starting material with what you ended up with. (The input-level controls are active regardless of whether the unit is bypassed.)

Maximum input and output levels are 20 dB, which is a little on the wimpy side. However, input (and output) knobs attenuate to negative infinity in full counterclockwise position, allowing plenty of compensation for use with hotter equipment (although possibly at the expense of signal-to-noise ratio). I wish the level knobs were screened in decibels instead of in arbitrary numerals of 1 to 8, to assist in proper gain staging. There are no unity-gain hash marks on these knobs, either. My tests with an oscillator, though, indicated that unity was roughly at the noon position for both knobs.

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