Owner`s manual

STT-1

STT-1 FRONT PANEL — FRONT END

(1) FRONT-END AMPLIFIER SELECT SWITCH - TWIN TOPOLOGY

Pushbutton switch which selects the front-end gain amplifier as either entirely vacuum tube (VT) or en-

tirely 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 record-

ing 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 Mil-

lennia 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 criti-

cal 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 MIT-

01 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 (mi-

crophones, 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 resis-

tors 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 micro-

phones which do not require phantom power. Use care, as well, not to insert or extract mic cables from