Millennia TD-1 Recording System
The Millennia TD-1 Recording System is the ultimate recording front-end for the engineer or musician on-the-go. The Millennia TD-1 is a half-rack, single channel Class A recording system offering dual REAMP outputs, selectable impedances, nine outputs, fully parametric EQ, Speaker Soak , HV-3 mic preamp with 65 dB gain, nine outputs, three transformers.
The Millennia TD-1 Recording System is a powerhouse for guitar recording, allowing the discriminating recording engineer a myriad of options for tracking and re-amplifying DI signals. First up, the TD-1 offers a Twin Topology DI - giving you the best of both worlds in TUBE and FET Direct Injection for guitar, bass, keyboards and more. But things get interesting with Guitar power amp inputs, featuring Millennia's Speaker Soak technology. With this switch engaged, you're able to take a parallel feed from a guitar amplifier or speaker cabinet during live or studio performance and record it in the best possible fashion (A speaker cabinet MUST still be connected - The TD-1 is not a speaker load! Read the Manual FIRST!). And when it's time to reamp, the TD-1 really struts it's stuff with magnetic emulation of either single-coil (REAMP I) or humbucker (REAMP II) pickups to provide the right impedance relationship with the amplifier. And if all of that is not enough, there is an onboard "Millennia-quality" headphone amplifier for direct monitoring.
As you can see, the Millennia Millennia TD-1 Recording System is not just a compact or feature-limited SST-1 Origin, the TD-1 is a full-on task-specific studio tool for engineers and musicians who demand the best quality and performance in the studio or on stage, with a maximum of flexibility and usability. The TD-1 is yet another piece of Millennia gear that makes us here at Front End Audio proud to offer Millennia's wares!
Millennia TD-1 Recording System Features
- Four distinct inputs can be optimized for any source
- Instruments - Twin Topology DI channel; dual-triode 12AT7 vacuum tube or discrete FET solid state
- Microphones - discrete solid state HV-3 microphone preamplifier
- DAW or tape outputs - Discrete solid state line level amplifier
- Guitar power amp inputs - Speaker Soak technology
- Powerful yet musical tonal shading
- Two bands of mastering-grade NSEQ-2 parametric Eq; 20 Hz to 20 kHz center frequency, 0.4 to 4.0 Q
- Optimized DI input for any instrument with variable 470 k / 2 M / 10 M impedance
- Nine outputs for unlimited functionality
- Patented Re-Amp outputs with custom-designed magnetics emulate Les Paul and Strat pickups
- Audiophile headphone output
- Balanced and unbalanced monolithic outputs
- Balanced and unbalanced discrete FET outputs
- Microphone level output with large-geometry DIT-01 transformer: -3 dB 3 Hz - 300 kHz
- Effortlessly musical performance at all dynamic levels
- Input headroom >100 V, output headroom > 30 V
- 100% effective hum removal with numerous ground lifts & isolations
- Built for critical professional applications
- Ultra-clean toroid power supply: internal sub-chassis
- Gold connectors, OFC audio wiring, silver Teflon power wiring
Millennia TD-1 Recording System Specifications
- Preamplifiers and General:
- Instrument / DI Input Amplifier / Twin Topology
- TUBE: Selected twin triode vacuum tube amplifier (200 V)
- SOLID STATE: Selected all discrete HV-3 J-FET amplifier (50 V)
- THD + Noise
- 20 Hz - 30 kHz (35 dB Gain): 0.0005% typical mic / line, 0.03% typical vacuum tube
- Intermodulation Distortion: 0.0009% typical mic / line, 0.03% typical vacuum tube
- Frequency Response @ -3 dB points: 3 Hz to 300 kHz, typical. Varies with routing & topology
- Maximum Balanced Line Input Level: +23 dBu (+43 dBu with Pad engaged or >110 Volts rms)
- Maximum DI Input Level (Both Tube & SS): +18 dBu (+26 dBu with Pad engaged or >15 Volts rms)
- Maximum Output Level: +32 dBu active balanced outputs, +26 dBu unbal outputs
- Maximum System Gain: +65 dB with HV-3 mic preamp
- Input Impedance (DI): Switchable: 470 kilohms / 2 megohms / 10 megohms
- Noise (Mic) (60 dB gain): -128 dB EIN, 150 ohm source, -130 dB EIN common source
- Noise (Line) (10 dB gain): -105 dBu
- Noise (DI) (10 dB gain): -90 dBu (solid state)
- Phase Error (EQ out): Less than +/- 5 degrees 50 Hz to 20 kHz
- Instrument / DI Input Amplifier / Twin Topology
- Parametric Equalizer:
- Maximum Boost and Cut: +/- 15 dB (21 step detent
- "Q" Range: Q+ 0.4 to 4.0 sweepable
- Low Freq sweep - Switch In: Pure Class-A Discrete J-FETs
- Hi Freq sweep - Switch Out: Pure Class-A Triode Tubes
- Power Consumption: 35 watts maximum
- Power Requirements: Selectable: 100-120, 200-240 V ac, 50/60 Hz
- Dimensions: 8.5" W x 3.5" H x 13.0" D
- Shipping Weight: 20 lbs.
Millennia TD-1 Recording System Downloads
- Millennia TD-1 Manual / User Guide (PDF)
- Millennia TD-1 Specifications / Data Sheet (PDF)
- Millennia TD-1 Recall Template (PDF)
- How to Change Voltage Between 120V and 240V (PDF)
What People Are Saying About The Millennia TD-1...
"I love the TD-1 and have been using it a lot. On the new (Mark) Knopfler album we are ignoring the bass players' rack and using the TD-1. I've used the TD-1 mic pre and found it to be outstanding, and I've used it to Re- Amp the bass DI on an album I mixed for a new group called Sugarland."
"Didn't think I'd be using TD-1 as much as I do. Using it on the way in on bass and then inserted as Eq on mix down. Used the mic pre for acoustic guitar for the first time today - very nice indeed. Thanks for the superb results."
Kelly, producer, engineer, bass player
"The TD-1 is amazing: what a Swiss army knife."
"I love the TD-1. The studio has Neve and API modules but I can't seem to get the engineer to use anything but the Millennia TD-1. The only thing that could make him happier is a pair."
Doug Cronin, Harborsound
"The Millennia TD-1 really is as good as the rave reviews have indicated. When it comes to that hard-to describe concept we call "air," nothing can touch the TD-1 - it sounds as if the world's best Eq was used to boost just the right frequencies to really open up both the source and the room sound. The BIG surprise was that the TD-1 was definitely improving the sound: when I walked into the live room, I was surprised at how much "air" the TD-1 was adding."
Steve Pogact, Lexington Location Recordings, (GearSlutz Forum, 19 June 2004)
"I've gone on record here: I think this little TD-1 is amazing. I use it all the time on bass and clean guitar. I've used it as a mic pre too. I'm a Millennia fan. With the TD-1, I now have 13 glorious channels of HV-3. The EQ is great. It's essentially the same as can be found in their larger NSEQ-2 or on their Origin, but this has only 2 bands. It's kind of the Origin "mini me" with a lot more pluses, minus the compressor. ReAmp for instance, and nine output configurations."
Henry Robinett (GearSlutz Forum, 16 June 2004)
BTW, John Vanderslice was talking up the TD-1 again a few weeks back. He said it makes his Neve 1084 "sound like a toy". Last time I talked to Myles Boisen, his comment on the TD-1 was "That thing sounds so damn good it's almost beyond belief." I concur.
Ian Swanke, Producer/Engineer
"The TD-1 is one of the most outrageous (in a good way) devices I've run across: a recording front-end that offers several different signal paths, an audio router featuring REAMP technology, a world-class equalizer, a SPEAKER SOAK power amp input, ultra-high quality headphone amp, [HV-3 mic preamp], and Class-A discrete DC-coupled output section... For its relatively small size, it is packed with connections, controls, and features... This gives you an extraordinary number of ways to route audio into this machine... My first impression was 'solid' -- the sound was full and crystal clear... Plugging in an electric bass was equally satisfying. [The HV-3 mic preamp] was clear and ultra-focused, with a depth that was amazing... When you start adding up all the applications handled with the TD-1, the price begins looking reasonable. If you have the opportunity to hear it, the decision morphs into a no-brainer -- in every application, the unit produces world-class results."
Darwin Grosse, Recording Magazine, Aug 2004, pg 78-80
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