facebook Twitter Linkedin Youtube
Both Analog and Digital professional inputs and outputs providing the most pristine sound quality

Connect the processor via Ethernet and/or Midi and host the most popular protocols to communicate with all your equipment

A zero latency Switching Matrix to route all signals easily and make any patch set in seconds

An internal Mixer which can create various sums of stems, main or aux mix, discrete inputs that comes in

The amazing Optimizer® to make the perfect tuning of the loudpseaker sets to the studio acoustics

The D-Mon Control Panel
Mobile Remote Controller


Once the D-Mon® Processor is hooked up to your studio, you can jump to the D-Mon® Control Panel (DMCP) that you have simply installed within your DAW. In fact, any device running an Internet browser may connect to the D-Mon® Processor and become your mobile remote controller. Have you a console which works with Eucon®, Midi or most of the other protocols? You’ll be able to use your console switches, faders and pots to act remotely into the D-Mon® Processor.

FULLY FLEXIBLE


The D-Mon® internal setup will fit exactly to your very own studio configuration. Whatever your speaker sets may be, whether you play in stereo, 5.1 or 7.1 and their possible combinations, the right D-Mon® model can handle it. The Control Panel will display only what you use, including the multiple sets of cabinets you may need to declare. Once the Optimizer has calibrated all the loudspeakers, you’re just done: let’s welcome the sessions!

FULLY FLEXIBLE again


Never a session is like another one, so you’ll be setting the D-Mon® Processor to carry exactly what you need. Just declare whether your Main Mix is made out of a stereo or a surround feed, choose which inputs make your Alternate 1 and 2, which can be in various format too. You can add up to 8 Mono/Stereo Cues (D-Mon|8®) which you can attach to whichever signals need to be probed: physical inputs or a mix bus. Moreover, you’ll be able to assign any physical outputs with a name, decide which sources, cues, and outputs you want to display in the different tabs of the control panel. Mark up the outputs you want to address with your talkback mic, and there you’re just ready to set your routing up.

COMBINING SUMMING and ROUTING

We always have to make the special routing of the day when it’s about recording or mixing a program. Convert an analog reel suddenly necessary, plug the producer’s smartphone who wants to get you listening to his latest hit, insert that special valve ‘RevCompEq’ mandatory for the singer’s headphones . . .  And right now, please! That’s where the D-Mon® is good at even when no rec/mix software is running; he keeps you ready to route anything to anywhere instantly. But now that you also have an internal mixer, it’s a magical thing to mix few studio mics to make a rich listen-back feed that you would attach as a Cue in your list, to recall instantly. A dubbing vocal foldback is just the appropriate stems to get together, without sacrificing another aux send in your DAW.
And should you be short of converting I/Os for your DAW, you can return any mix or input signal down to the session, along with the digital outputs. All of these setups can be saved and restore as Session Profiles, getting back in a previous session instantly.

IN & OUT FOR NOW AND THE FUTURE
  • Up to 16 Digital IOs (AES), enabling any surround sound engineer, drive not only his main mix but also all feeds (like aux sends, sub-groups or stems) within the best possible resolution and sample rate (up to 96kHz)
  • A switchable 8-channel Digital Insert to hook up an external processing and make instant A/B comparisons or the mastering final cut
  • Up to 8 Analog Inputs able to be assigned as a Cue, the Talk-back or just used as external sources to be converted to digital for whatever reason
  • From 12 to 16 Analog Outputs offer all possibilities to address multiple sets of loudspeakers, headphones and outboard gears, all at the same time
THE MULTI-PURPOSE I/O CONNECTOR
  • Midi, Headphones output, Talk-Back input are wired just like the famous Icon control surfaces, allowing to replace an X-Mon® in a completely seamless way
  • Time-Code is available as an LTC input when you’re running the SmartMeter® to make a Loudness metering session never more effective than ever
  • GPIOs are located there too, so linking to other equipment for synchronizing switches, lights or a simple pedal is immediate and easy
MANUAL & AUTOMATIC PROCESSING
  • Several layers of 31 bands Graphic EQ, FIR EQ, gains, polarity and delays available for every channel
  • Total delay given in meters/milliseconds/frames for the listening point and adjustable global delay for accurate Lip Sync; Front / Surround / Top balance
REMOTE & LOCAL PARAMETERS
  • Source Selection : 4 Cues/TB/LB, 6 Cues/TB/LB, 8 Cues/TB/LB, 8 Cues/TB/LB
  • Monitor Selection : upon programmable presets & profiles
  • Switching Matrix : any physical input, mix bus or Optimizer® output to any physical output
  • Summing Matrix : (Mono/ST) 12 in / 8 bus, 12 in / 12 bus, 18 in / 16 bus, 18 in / 16 bus
AUDIO SPECIFICATIONS
  • ADC Resolution / Sampling Rate: 24 Bits/96 Khz
  • DAC Resolution / Sampling Rate: 24 Bits/96Khz
  • A/D Signal-To-Noise Ratio: 119 Db (A-Weighted)
  • D/A Signal-To-Noise Ratio: 118 Db (A-Weighted)
  • Analog Input Impedance: Balanced: 20 Kohms
  • Reference Level: +18Dbu @ 0Dbfs (Balanced)
  • Clock / Jitter: Top Performance Clock Recovery (Jitter Attenuation > 50 Db Above 100Hz)
PHYSICAL CHARACTERISTICS

Dedicated linear power supply with a toroidal transformer on the analog audio circuit.

Dedicated PSU / switch-mode power supply on the digital audio circuit.

Power supply: 240V AC / 50-60 Hz. Option: 130V AC

Consumption: 90 W max.Weight: ∼14.5kg  Chassis: 3.5U

D-mon dimensions
THE
D-mon_Series_logo
pro_symbolb

MUCH MORE THAN JUST ANOTHER MONITORING CONTROLLER

Monitor control could look very simple to many, but when it comes to managing all the various mixing situations that a sound engineer has to face day after day, he has to get as much power and flexibility as possible.

Trinnov Optimizer
All along the last ten years, Trinnov Audio has developed the world-unique algorithms which prove that most of the acoustic problems can be solved at last.

The Optimizer loudspeaker/room optimization technology is at the heart of Trinnov’s products for professional studios, movie theaters, high-end Hi-Fi and home theaters. With its modern approach to acoustic measurements, analysis, and processing, it solves the Loudspeaker/Room acoustic equation.

Our research into capturing and reproducing complex three-dimensional sound fields began in 2001.In fact, the company name derives from “Tri” and “Innovation.” Hence, Trinnov Audio has meant “Innovation in 3D Audio” from when we first incorporated in 2003.One of the first things we discovered in our research is that complex 3D sound fields do not blend together seamlessly unless the sound heard from all of the speakers is extremely well-matched in both the amplitude and time domains.Our Optimizer was developed to achieve this goal with any combination of quality loudspeakers and has become recognized as the most advanced and powerful technology of its kind.

Hank Linderman

Even if you have an unlimited budget for speakers and room treatment, there are specific phase issues you can't get rid of, and for me, the Trinnov fixes those. So even if your room and speakers are state of the art, I believe you would see some serious improvement using a Trinnov.

The Eagles, Chicago, Diana Krall, America

Steve Kaplan (Score Mixer)

The most important thing is that my Trinnov saves me a lot of time, by letting me listen at a much lower volume it preserves my ears and lowers my ear fatigue, I now find myself getting more work done over shorter working days: truly a life saver.

God of War, Star Wars: Battlefront II, Battlestar Galactica, The Walking Dead

James F Reynolds : Writer/Composer (London)

There was a hole where I sit, and the Trinnov has sorted this out. The correlation between the main and small speakers is much easier to jump between now. The Trinnov has fixed it: brilliant! The phase correction is great because you can pan a high hat 2 or 3 degrees to the left and you can hear it going to the left and that's because the phase is bang on. What's brilliant about the Trinnov Is that it makes my Job easier.

Calvin Harris, Tinchy, Stryder

David Hachour : Mastering Engineer (Color Sound Mastering)

This processor finally allowed us to work professionally. It has solved our frequency response problem and provided us with the sound we had in mind and even beyond since the correction also compensated the phase response.On a daily basis, the Trinnov processor gives us confidence in our work since we know our monitoring system is perfectly aligned and reliable.

Mark Ronson, David Guetta, Kanye West, Nouvelle Vague, Avicii

Top