You can connect an analog master compressor to the inserts of the AN/DI PRO. If however
your mixer features master inserts in its master section, you'll be better served by
connecting the compressor there. With the compressor located before the master fader, the
degree of compression would remain the same even when the master fader is pulled down,
for example when you're fading a track out. Incidentally, for the best possible results,
when you wish to execute a fade at the end of a song, don’t do it manually by pulling
down the master fader; instead, create the fade-out afterwards on your computer.
4.3 Input Converter in a Digital Studio
In a digital signal processing system—in other words, when you're using a digital mixer,
hard-disk recorder or virtual studio environment such as Cubase VST or Logic Audio—
signals are converted into the digital realm at the very beginning of the signal chain.
Consequently, connect the line output of your instrument or microphone to the appropriate
input of the AN/DI PRO and route its digital output signal to a digital input of your system.
In many cases, microphone signals should be compressed during recording. To this end,
tube devices have become increasingly popular with audiophiles. The object here is to
lend the signal a warm analog touch before it is processed exclusively in the digital
domain. You can connect this breed of device to the inserts of the AN/DI PRO's
two channels.
There's no hard and fast rule stating that you must use the two channels of the AN/DI PRO
exclusively for stereo signals. Since the input sections can be handled completely
independently of one another, you can patch in any two single-channel signals
simultaneously. For example, you could convert your vocal signal routed in via the
microphone input of the one channel, while at the same time feeding the line output of
your guitar amp to the other channel. With this option, you can record vocals and guitar
simultaneously to two different tracks on your computer.
For utmost flexibility, your best bet is to route all outputs and microphone signals that you
want to record to a patchbay. If you install this patchbay to a rack located above or below
the AN/DI PRO, you can use short patch cords to send the signals to the inputs of the
AN/DI PRO. This is yet another reason—maximum convenience—why the inputs are
located on the front panel!
4.4 Live Recording
Should you choose to deploy this device as a digital front end, here's an application option
you might find interesting: live recording via a classic two-microphone setup.
The AN/DI PRO in combination with a 24-bit DAT recorder constitutes a top-notch mobile
recording system. With the benefit of the high-quality microphone preamplifier and—
immediately thereafter in the signal chain—post-preamp 24-bit conversion, this setup
delivers the best possible signal-to-noise ratio, and leaves you with plenty of reserves for
copying and post-processing the signal in your studio. Particularly in the field of classical
music, many systems are quick to overstep their limitations—AN/DI PRO makes the
decisive difference here.
4.5 Analog Microphone Preamp
Although the AN/DI PRO was primarily designed as a converter, upon hearing what a great
job the microphone preamp does, some users may want to use it in connection with an
analog mixing console. If you agree, feel free to go for it—you can use the Send jacks
for this purpose. Simply connect the Sends to two inputs of your mixer. With this option,
not only do you have an amazing converter at your disposal, you also enjoy the benefits
and impressive qualities of a Class-A microphone preamplifier.
MindPrint-AN/DI PRO
MIC IN
DIGITAL RECORDER
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AES - S/PDIF
SAMPLING FREQ.
MIC GAIN
48 V -20 dB
MIC/LINE
LINE GAIN
LINE IN
MIC IN
DIGITAL OUT
DIGITAL IN
COMPUTER • DIGITAL CONSOLE
OR ANY DIGITAL RECORDING DEVICE
DIGITAL RECORDER
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MIC IN
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x2
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AES - S/PDIF
SAMPLING FREQ.
MIC GAIN
48 V -20 dB
MIC/LINE
LINE GAIN
LINE IN
MIC IN
DIGITAL OUT
DIGITAL IN
COMPUTER • DIGITAL CONSOLE
OR ANY DIGITAL RECORDING DEVICE
LINE IN
MIC IN
DIGITAL RECORDER
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MIC/LINE
LINE GAIN
LINE IN
MIC IN
96
44.1
48
44.1
48
x2
WORD
AES - S/PDIF
SAMPLING FREQ.
MIC GAIN
48 V -20 dB
MIC/LINE
LINE GAIN
LINE IN
MIC IN
DIGITAL OUT
DIGITAL IN
COMPUTER • DIGITAL CONSOLE
OR ANY DIGITAL RECORDING DEVICE
MIC IN
