The MTC combines volume level control, source switching and loudspeaker management for stereo monitoring with comfortable talkback and cue mixing functions. A fully analog design dispenses with VCAs, DACs, etc., providing loss-free signal processing. The I/O section includes six rear-panel stereo inputs (four balanced, two unbalanced sources), balanced XLR outputs for three loudspeaker pairs and a slave output.
The organizational focus that such essential services bring, coupled with an extraordinary tonal quality, makes possible an unrivaled convenience in DAW-based monitor management – in all areas of stereo audio production from recording studios over movie and video post production to game/multimedia production.
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.
Cue Mix and Talkback
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.
"Super sound quality. Great ergonomics. All the key facilities you need". Review in SOS (UK)
- Musician input (balanced jacks)
- Mix input (balanced jacks)
- 2-Track A to D (2 x bal. jacks, 2 x unbal. jacks)
You are not alone.
Pianist, keyboarder, producer,
After studies in jazz piano, classics, orchestration and composition, Lillo
is in professionell music business since 1993. He was band member and/or musical
director for Joy Denalane, Max Herre, Die Fantastischen Vier and is also
connected to artists like Ernie Watts, Turntable Rockers, Raw Artistic Soul,
Nils Landgren, Tom Gäbel and many more. Together with Jun Märkl he manages the
Dresden Soul Symphony, an engagement which gets him together with international
soul stars like Bilal, Tweet, Dwele und Joy Denalane. As if this would not be
enough, Lillo Scrimalli is also the musical director of Germany's most
successful TV show "Deutschland sucht den Superstar".
SPL Equipment: Channel One, Charisma,
Achim Kleist and Wolfgang von Webenau,
from Syndicate Musicproduction, have written and produced (songs) for artists
such as Brosis, No Angels, Lou Bega (Mambo No.5), DJ Bobo, Max Raabe, Worlds
Apart, Right Said Fred, DJ Ötzi, and Cuban singer Compay Segundo from the Buena
Vista Social Club.
They have received over 60 gold and platinum awards for
various productions and have had more than 70 Top 10 hits in the international
In the field of advertising their music is featured in TV and
commercials with clients such as Toyota, BMW, Mac Donalds, Burger King or
Syndicate Songs can be found in many Hollywood blockbusters like
Madagascar or Stuart Little as well as being featured in German Films like „der
Wixxer“, „der Schuh des Manitu“ or „Bang Boom Bang“, to name just a few.
"So what to do if your nearly
1000kg, 80-channel analog console is getting a sort of cumbersome touch when it
is exclusively used as a 16-channel monitoring matrix? You switch to a 4kg/2U
Over the years, our production methods have moved towards a
DAW based systems. Our big analog console was degraded to an insert box to keep
the benefits from our analog outboard gear. However, it has never been a
satisfying solution, as DAW desk and the console's monitoring could not be
combined perfectly. So the console had to go, but the question was how to keep
our analog treasures and their sound?
With the MixDream we got a more than
just satisfying solution. The high-grade technology delivers an outstanding
audio quality. Despite it is a "one-knob" concept, the integrated limiter is
incredibly efficient and provides additional loudness. Compared to other digital
solutions, the stereo expansion is second to none. And last but not least: we
can insert our analog equipment very easily through the inserts, while each unit
also can be taken out of the signal path by the push of a button.
Now we are
looking forward to getting the Monitor & Talkback Controller MTC 2381 –
together with the MixDream it is the DreamTeam for digital
Musician and Producer
"There's no console in my studio
"... I use the Goldmike MK2 preamps
instead, together with Transient Designer, DynaMaxx, SPL De-Esser and Charisma.
They are all stripped together like a big channel strip and directly routed to
my DAW – sounds amazing!
And the Transient Designer is an extremely efficient
live tool - especially to get a tight cajon or bass drum sound in seconds.”
Thomas "Cap" Gier studied double bass at
the Cologne University of Music and is a demanded musician. He also works as a
producer for various band, TV and avantgarde projects.
Charisma 8, Transient Designer 4, Goldmike MK2, MTC, SPL De-Esser, DynaMaxx, and
a Vitalizer MK2
TwinTube, EQ Ranger Vol 1.0, Transient Designer