Millennia Articles and Reviews
About Client List News Resources Support Contact Us

HV-3 Series Microphone Preamplifier

"My jaws fell open when I first switched to the HV-3B. Its presence and clarity were outstanding. A solo voice sounded extremely immediate, and had an almost palpably "real" quality. The low end was very tight, showed good extension and "slam," while the high end was detailed in the extreme, without the least amount of harshness...I'll be saving my pennies to replace my [current solid-state reference]."
Pro Audio Review Magazine, Feature Review, Dr. Fred Bashour Recording Magazine (HV-3)

"Of all the instruments we tested, the Millennia Media HV-3B was the hands down winner in the category of accuracy. On acoustic guitar, the HV-3B lent a clear, uncolored, neutral, and detailed sound. Piano sounded the most realistic to our ears through the HV-3B. Furthermore, the ride cymbal was more transparent and detailed... "The Millennia preamp would be our hands down first choice for recording a classical ensemble straight to two-track. It was the most accurate (i.e., it sounded the least colored) on acoustic guitar, vocal, and piano."
Recording Magazine, Feature Article, Blind listening test of nine professional preamps.

"This is an outstanding mic preamp. I've never heard our mics sound this clean on piano. We've been using our [52 channels of] Millennia preamps on everything..."
Jack Renner, President, Telarc International

"Over a period of months, I used the HV-3 on all types of sessions, ranging from stereo-miked chamber ensembles to multi-track pop sessions. In all cases, the HV-3 provided an absolutely faithful rendition of the microphone's sound, without imparting any coloration of its own... An excellent value offering impeccable audio specs, first-rate construction, and sonic transparency under any conditions. The Millennia Media HV-3 is...for those who seek absolute purity in reproduction."
MIX Magazine, Feature Review By George Petersen, Editor

"The Millennia HV-3B sounds best of the units evaluated. We found the be transparent in the extreme. The security of such a large dynamic range, excellent quality, etc. will be hard to beat...."
Studio Sound Magazine, U.K. Sam Wise Feature article comparing "accurate" mic preamps

"The best-sounding piano recording I've ever done. The detail and sense of immediacy was phenomenal. It was hard to believe that a set of omni mics so far back from the piano could get such string detail, while still sounding warm... the coolest, quietest vocal chain I've ever hooked up in my studio. There was no end to the headroom."
EQ Magazine, October 1999, Mike Sokol

For sonic accuracy, transparency, and realism (i.e. least amount of coloration), the HV-3B leads the pack. This is the unit I'd choose for live stereo recordings of jazz, classical, or any other style of music for which sonic realism is desirable. The precisely stepped gain controls make it a snap to match stereo levels, and the high headroom allows for dynamic surprises...the last word in clean, accurate, transparent audio.
Electronic Musician Magazine, 6/97 and 1/98 issues. Excellent in-depth blind listening test on numerous mic preamps

"Just to let you know, the recording we did of the Penderecki Credo won this year's Grammy for "Best Choral Recording". We used 16 channels of Millennia pre-amps on stage." THANKS FOR THE GREAT SOUND!!
Don Harder, Chief Audio Engineer, Canadian Broadcasting Company (March 2001)

STT-1 ORIGIN Recording System with Twin Topology

"The Millennia Media Origin offers so many choices it is almost overwhelming at first. But, like a fine musical instrument, the different sonorities and sounds possible became more easily realized with each session, and the STT-1 offers the user a convenient and high-quality tool that provides both tube and solid-state sounds on demand."
Barry Rudolph, MIX Magazine, July 2001 Review

I can't get over how great the Origins are. I have to admit... I may even like them better than the EQ and compressor separately... I think it's the added gain stage. Just yesterday, I had some tapes from Fantasy [Studio] with a bad choice of mic on a vocal. I ran in and out of the Origin and YIKES!!!! Even the artist noticed how much better it sounded. Pure gold! If only i had more $$$$$$ I'd buy LOTS of these things.
Cookie Marenco, (FIVE Grammy nominations: Jean Luc Ponty, Taj Mahal, Alex DeGrassi, Windham Hill, etc..)

John: We have had the use of your Origin piece for several weeks now, and I have to commend you on it. Each of the sections sounds good, and as both an all-in-one and a "demonstrator" unit for the circuits it is exemplary....Really, I think you've done a remarkable job with this thing.
Steve Albini, Recording Engineer (Nirvana, etc..)

Just a quick note to let you know how much I'm enjoying using the STT1. I've already had the opportunity of using it on a variety of sources, from vocals to electric guitar, and it has handled everything with dramatically outstanding results. There is a very noticeable improvement in the clarity and overall polish in my recorded vocal takes using the STT1 that I would never have expected to be so significant, even if the path is practically untreated. In addition, the ease with which a recorded signal can be enhanced using the STT's impeccably transparent EQ and compression offers a superbly powerful and flexible recording tool, without in any way detracting from the quality of the source.

My preference for vocals is currently the Solid State pre-amp, although I can see the benefits of the Telefunken tubes under certain circumstances. I'm using the valve stages elsewhere in the chain and find they add some very subtle but satisfyingly mellow tints to everything I record. The transformer is simply wonderful for less 'mission critical' tracks. I've used it extensively on guitar and love the 'umph' it seems to introduce into the picture.

The STT is also being put to work on mixdown, often to give vocals more dramatic processing when needed, and it handles this with almost unidentifiable transparency and consummate ease. I've even used the EQ on snares during mixing and can get sheen and bite that none of my other Eqs will permit without sounding artificial.

Suffice it to say I am over the moon and already trying to allocate funds for my next Millennia purchase!!
Kind regards, Jules Bromley, Trailermen, England

Hey John, A friend asked me to bring the STT-1 to a pre-production meeting for a new artist on a major label here. She has a huge dynamic range and they were having problems with the xxxxxx compressor not covering it and having to ride the gain with the singer. They'd been trying a xxxxxx pre amp and some refurbished Telefunkens. They loved the STT-1 on the woman's voice. She said "It's not squashing me!!" When in fact it was cutting 9db on her loud notes. We had to look over at the needle to verify that it was compressing her. Very transparent. It retained the integrity of her voice over the full dynamic range of the compressor. The engineer's comment was "I've got to get one of these things." The change was dramatic when we first switched on the STT-1 from the xxxxxx, very big and open. We were trying the STT-1 with a U67 and a Shure SM7. It's kind of a folk rock album. The engineer liked the xxxxxx for the 'in your face' presence but it lacked 'front to back' depth, whereas the Telefunkens had front to back depth but he was missing the presence of the xxxxxx. The STT-1 had both depth and presence. Anyway, just thought I'd pass on the continuing good news.
Jim Mayer, Bass & Vocals, Jimmy Buffet Band

The equalizer is simply wonderful on everything we ran through it, whether you¹re cutting or boosting. You might find a particular character EQ (maybe a Pultec) you like better for a given application, and there are digital equalizers that are more surgical, but it's hard to imagine any processor on the planet that can shape the sound more unobtrusively and sweetly than this one. You can crank bands way up (the range is 15db) without it sounding the least bit electronic or harsh. Likewise subtle cuts, boosts, or shelving sound completely natural

The STT-1 Origin is a fantastic recording channel that can be amazingly versatile. This level of gear requires a substantial investment, but in this case the price is appropriate and it's an investment in something that won't become obsolete and lose half its value before you get it home. Nick Batzdorf, Editor, Recording Magazine Review 2001

Firstly I want to recommend that every recording school or university with a recording program immediately purchase an STT-1. Nowhere else can you get so many different signal paths and sounds in one box. The STT-1 is like some kind of educational audio science fair project on steroids. First let's look at the signal path(s), which are almost all Class A. The mic or line input preamp can be switched between either a tube or solid state preamp, each with their own gain control. There's also a tube instrument DI that can be used before either of the preamps. To add further options, there is a transformer that can be switched in or out of the signal path. Ignoring the instrument DI, that's four completely different sounding mic pres that you can easily switch between and hear the differences in how each type of electronics sounds. As a further option, there are some "hot-rod" options on the tubes available from Millennia. The unit ships stock with Sovtek tubes, which are super-clean and reliable. Our unit was hot-rodded with Telefunken tubes, which are a bit dirtier for more of a "rock" sound. Of course, 48 volt phantom power and phase reversal is also available. If desired, you can stop right here as there's a direct out that bypasses the rest of the unit and uses only the mic pres. Otherwise you hit the four band EQ section next. All bands have (stepped) selectable frequencies while the middle two also have a bandwidth (Q) control, while the outer two can be switched between peaking or shelving. Like the preamps, you can choose between solid state or tube circuits. Whichever path you choose, it will also be the same for the compressor, which is the next part of the chain. Actually, even that's an option as the EQ can be switched to be either pre or post dynamics. The opto-compressor is next and has the expected threshold, attack, release and ratio (1.4 to 30:1) controls. There's also a de- esser with five selectable frequencies. Finally, there's an output control. We've had this unit in our studio for a few weeks, and every engineer who's used has been raving about it. I've used it on kick, snare, vocals and acoustic guitars all with excellent results. The many different signal routing possibilities put this into a class of its own and actually being able to just hit a button and change the entire architecture is great. Using the STT-1 gives you a better understanding of how different amplification circuits sound in not only this, but other pieces of gear. Whether you've got a bunch of nice pres or not, this is very much worth checking out. If you're just getting started (and can afford the hefty price), this would be a great first channel strip. The price is steep ($2895 list), but the device is deep.
John Baccigaluppi, Chief Editor, Tape Op Magazine, Mini-Review, Sept 2001

I love my pair of Origins, John! Major league sound - clean, crisp and the tubes are marvelous, just really love 'em! What a sound! Best compressors and EQ I've ever heard! Blows away anything I've heard so far, no wonder Ludwig, Katz, Jung and the rest of the bunch likes 'em. I'm truly very happy with them, wouldn't trade them for anything! I also feel the fact that everything is in one box makes it better than having to patch from one box to the other. The only drawback is having to tweak a pair of knobs all the time but I'd rather that than having to patch. For Classical Music, there couldn't be anything finer! Bravo John!
Dr. Alexander Lim, DMA / Musica Records, NYC

NSEQ-2 Twin Topology Parametric Equalizer

...this is an excellent machine capable of very fine results irrespective of the of the technology in the amplification. Although, like most sane people, I would normally find it difficult to enthuse about a simple equalizer, this really is something very special and I have only come across one other similar device which I found as audibly exciting. I would expect [the NSEQ-2] to become a very common entry in the equipment inventory of most mastering houses and top-end studios over here once the word gets out."
Hugh Robjohns, Sound on Sound Magazine July 1999 Review

"I believe the NSEQ is, audibly, the most perfect analog equalizer I have ever had the pleasure to use."
Dr. Fred Bashour, Pro Audio Review

"I have been using a prototype J-FET version of this equalizer for some time now and believe it to be the most transparent equalizer I've heard to date."
Tom Jung, DMP Records(who later purchased five NSEQ-2 units)

"...the transparency of the signal path is remarkable, and the smooth musicality of the EQ bands as they are adjusted is something special. both [vacuum tube and solid state topologies] are astonishingly clean."
Richard Foister, Studio Sound Magazine

"...Since adding the NSEQ-2 to our mastering rack, about 90% of our customers have preferred it against all other parametric equalizers in our mastering chain..
Denny Purcell, Chief Engineer, Georgetown Masters, Nashville, TN

"Using the Millennia NSEQ-2 has made me completely re-think how I use EQ. Where I used to avoid using EQ at all, the NSEQ-2 has been employed to put just the right touch in a recording. The NSEQ-2's transparency and musicality is stunning! I don't know of an EQ, digital or analog, that could approach its qualities."
Michael Bishop, Multiple Grammy Award Winning Engineer, Telarc International

"The dearth of amplifiers in the audio path is no doubt one of the reasons this box sounds so incredibly transparent and quiet. It's a design philosophy you will wholeheartedly endorse as soon as you hear the first strains of music through this world-class equalizer. And the Twin Topology design gives you essentially two different units for the price of one. The bottom line: For mission critical EQ applications where transparency is a paramount necessity, the NSEQ-2 is king. Prepare to be thrilled."
Michael Cooper, Michael Cooper Recording, Sisters Oregon

"The NSEQ joins the ranks of the world's premier equalizers. It has a top end like I've never heard before."
Bob Ludwig, Founder, Gateway Mastering

"You've heard of the mythical 'straight wire with gain.' Well, the NSEQ-2 is as close to an analog 'straight wire with gain' as I have heard in 27 years of audiophile and professional engineering work."
Bob Katz, Chief Engineer, Digital Domain Mastering, Florida

I receive the EQ, I bring it to my studio, and.... I'll never give back to [our dealer], IT'S SIMPLY FANTASTIC !! We in studio are astonished about the transparency of the sound comes out!!! We have a xxxx in one room with xxxx and in the other room we have xxxx xxx, your EQ is second to none !!!. We all are very enthusiastic about it. If I should ever say something I would prefer with the same rotary knobs even for frequencies and Q factor ( but this is our mastering crazy mind !!!). Very compliments for the work !! We'll place probably an order for at least 2 other units." [ed. which they did.]
FABRIZIO DE CAROLIS, Reference Mastering Studios, Rome, Italy

"You've made a believer of me, and redefined the concept of "neutral" Eq. The clarity and transparency of your EQ is much greater than the AD/DA converted DAT sources that comprise the bulk of our work today. It's truly a breakthrough product, and redefines clean, neutral tonal control in the analog domain."
Dave Davis, QCA Mastering / Ultrainteractive

TCL-2 "TWINCOM" Twin Topology Compressor / Limiter

"We've been using our [eight channels of] TCL-2 Twincoms for a number of stereo and six channel surround mastering projects with great results. The ability of each unit to sound either as transparent as the Class A solid state electronics or as warm as the vacuum tube electronics is a big advantage. The Twincom has become our reference analog dynamics mastering processor."
Bob Ludwig, Gateway Mastering & DVD

"The Millennia Media TCL-2 sounded nothing short of fabulous on voices (especially male voices), guitars (electric and acoustic), and most keyboards. It does a great job of controlling the dynamics of sustained, high energy programme material, and it bestows interesting dynamic effects on more transient audio. I was often surprised that sources I expected to benefit from the valve amplifier chain actually worked better with the solid-state path, and vise versa."
Hugh Robjohns, Sound on Sound, Review, January 2000 Issue

"The Millennia Media TCL-2 is an amazing dynamics processor. The subtle differences between the two circuit topologies allow me to be much more precise when choosing the appropriate character for a signal, and the purity of the signal path preserves more of the original signal than any other compressor I've used. This is the way that high end audio equipment is supposed to be -- well designed, well built and with a wonderful sound."
Dave Martin, Audio Media Magazine (U.S. Edition), May 2000 Issue

This is a clean, great sounding compressor. The two topologies both sound pure, transparent, and, in most circumstances, remarkably similar, with the J-FET circuit sometimes marginally more detailed...For the purist, this is a good value, high-performance compressor."
George Shilling, Studio Sound Magazine, Review, 9/99 Issue

The TCL-2 is beautifully constructed and is as sonically neutral as anything I have heard.
Joe Palmaccio, Senior Recording Engineer, Sony Music, NYC

M-2 Series Microphone Preamplifier

The [M2A mic preamp] captured the variety, beauty and depth of each ensemble without adding any sounds of its own. It is empirically accurate yet musical. Compared to every other preamplifier I know, it sounds clearer, gentle and beautifully warm without veiling or fuzzing up the sound. It certainly sounds like the acoustic instruments on stage -- the [M2A] is as transparent a preamp as I have ever heard... I think the sound of the [M2A] is unbeatable.
Pro Audio Review, 3/97 issue. As reviewed by Bob Katz during recording sessions for Chesky Records.

I've been using my M-2b mic preamps on just about everything, with great results. Most recently the Academy Awards pre records. I used them on vocals for four of the five nominated songs. The artists were Enya (Lord of the Rings), Faith Hill (Pearl Harbor), Sting (Kate & Leopold), and Randy Newman (Monsters Inc.). They just sound so great! Thanks again.
Bob Fernandez, Film Scoring Engineer, Hollywood, March 2002

MIXING SUITE Analog Mixing System

If you are looking for a console with any kind of coloration whatsoever, look elsewhere. The virtues of this product are clean, quiet, open, and natural. The balance of sonic purity and features is a very delicate one, and it takes real design chops along with good ears to come up with this kind of first class product. A no-compromise parts and design philosophy coupled with a true passion for quality audio place the Millennia Media Mixing Suite in a quality class by itself.
Pro Audio Review, 1/98 issue. As reviewed by Tom Jung, who used the Mixing Suite for mixing the first Sony DSD recordings in late 1997 and has recently purchased two bus-linked Mixing Suites for his Ambient Studios (2000).

TD-1 TWIN DIRECT Recording Channel

Succinctly put, the TD-1's DI input, when used on electric guitar, exhibited a smoother spectral balance and far greater realism, warmth, body and depth than that of any specialized DI box I've used. Comparing DI'ed electric bass tracks recorded via the TD-1 and then using my [high end DI box], the TD-1 lent a slightly bigger bottom and greater presence, clarity and depth... The TD-1's EQ is simply the best I've heard. It sounds incredibly warm, full-bodied and silky... I've never heard a mic preamp that sounds more pristine and revealing than the HV-3... The TD-1 sounds truly superb, is highly versatile, looks gorgeous and has gobs of headroom. Moderately priced at $1,495 list, this box sets a new standard for recording channels and gets my very highest recommendation.
Michael Cooper, MIX Magazine, Feb 2004, pg. 110

"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

index sitemap advanced
site search by freefind

Home || Privacy Policy || Copyright || Legal || Contact Us