Trident 88 User manual
Trident 88 Owners Manual1
Trident 88 Owners Manual 3
Table of Contents
Introduction & Specific tions............................................4
Input Module.....................................................................5-10
Group Module...................................................................11-15
Master Module................................................................16-20
Rear Connections..........................................................21-22
DB25 Pin Out.........................................................................23
Patchbay.....................................................................24-26
Power Supply..................................................................27-28
Signal Flow Diagrams..................................................29-31
Recall Sheets.................................................................32-34
Fader Care & Maintenance...............................................35
Warranty Information........................................................36
Warnings & Policies...........................................................37
Project Notes........................................................................38
Product Regsitration.........................................................39
Trident 88 Owners Manual4
The Input ModuleIntroduction & Specific tions
The Trident 88 is a split inline console that builds on the Trident heritage. The 88 consoles possess the highest
sonic quality components and are equipped with eight buses and the renowned Trident Series 80 EQ. This
incarnation by Trident Audio Developments is built with modern integrated circuits that use a combination
of through-hole and surface mount technology. These consoles feature options such as custom transformer
installation, VU meters and more. The quality construction and modular design make the Trident 88 a highly
serviceable console of unparalleled value.
Trident 88 Specific tions
Input Impedance
Microphone: >2KΩ electronically balanced
Line: >10KΩ electronically balanced
Output Impedance
Left/Right, Monitor O/P, Group & Auxes <60Ω (Outsmarts® Drive)
All other Outputs <100Ω
Frequency Response
Mic Input to Mix Output <+0, -0.3dB 20Hz to 80KHz
@ 6-40 dB gain.
Line Input to Mix Output <0, -0.3dB 20Hz to 60KHz
@ 0 dB gain.
Distortion/Noise
(T.H.D +Noise) at +15dBu Output
Mic XLR Input to any Output (-20dBu input) <0.005%
Line Input to any Output <0.003%
Monitor/Tape Return Input to any Output <0.003%
Noise
Mic EIN (20-20KHz, 150Ω source, 60dB gain) <-128.5 dBu
Residual Bus Noise (Output fader at min) <-95 dBu
Bus Noise (40 inputs continually assigned) <-81 dBu
(24 Input Mon/Tape Returns, 8 EFX Returns
and 8 Master Tape Returns) Bus Noise (24
inputs routed equiv. to 64 Inputs) <-77 dBu
Crosstalk
Adjacent Channel: < -90dB (@20KHz)
<-110dB (@1KHz)
Channel Fader Mute <-95dB (20Hz to 20KHz)
Monitor/Tape Return Mute <-85dB (20Hz to 20KHz)
Mix/Bus Assign <-80dB (20Hz to 20KHz)
Aux to Aux <-80dB (20Hz to 20KHz)
Maximum Input
Mic (XLR) Input (at min gain) +17dBu
Mic (1/4”) Input (at min gain) +42dBu
Line (at min gain) +42dBu
Channel Insert Return +22dBu
All Output Insert Returns +28dBu
Maximum Output
Mix, Group, Aux, Monitor Outputs +26.5dBu (Into 60Ω Ohms)
Insert Send, Studio, Alt Outputs +22dBu (Into 2KΩ)
Phase
Mic Input to Direct Out +17º to -8º 20Hz to 20KHz
Mic In to Mix Output +25º to -17º 20Hz to 20Khz
Line In to Mix Output +25º to -20º 20Hz to 20Khz
Monitor/Tape Return to Mix Output +15º to -20º 20Hz to 20Khz
Trident 88 Dimensions
Width Depth Height
16 Channel: 33.37” (84.759cm) 36.679” (93.164cm) 13.481”(34.241cm)
24 Channel: 43.37” (110.159cm) 36.679” (93.164cm) 13.481”(34.241cm)
32 Channel: 53.37” (135.559cm) 36.679” (93.164cm) 13.481”(34.241cm)
40 Channel: 63.37” (160.959cm) 36.679” (93.164cm) 13.481”(34.241cm)
Module width 1.25” (3.175cm)
10º
13.481”
34.24cm
36.679”
(93.164cm)
1.466” 3.72cm
10.789”
27.404cm
4.716”
11.97cm
Trident 88 Owners Manual 5
The Input Module
The TRIDENT 88 Input module is an extremely sophisticated and
fl xible channel that can be used for recording, mixing and mon-
itoring multi-track recordings. It will accept a signal from a low
impedance balanced microphone, high or low level balanced line
input, or even the output from a musical instrument.
It provides the user with the state of the art fully discrete Class-A
design microphone preamp with the option to add transformers
to any number of channels desired. A four band fully sweepable
Trident EQ is at the core of this console, every channel also has a
Tilt EQ on the monitor section with the ability to swap the full EQ
and Tilt EQ from the input path and the monitor path.
Access to the channel path is available through the means of a
switchable post microphone preamp insert and a switchable pre/
post EQ insert point. This allows the user to insert his/her favourite
external microphone preamp (or line level output device) into the
channel and remove the internal preamp, and additionally, insert an
eects device via the standard channel insert.
Eight Auxiliary sends are provided, four mono and two stereo sets,
each can be switched pre or post the channel fader. Aux 1, Aux 2
and Aux 7/8 can also be selected between the channel and moni-
tor path, greatly adding to the fl xibility of the module.
Each Input module incorporates a monitor section with the Tilt
EQ which is used to monitor a replay channel from a multi-track
recording device. This is in eect a separate signal path which ulti-
mately feeds the master Left/Right outputs. By making the chan-
nel EQ and Auxiliary sends 1,2 and 7/8 to this path, this becomes
an extremely versatile feature of the console. When monitoring
the output of a multi-track recording device, it is possible to cre-
ate a monitor mix with equalisation and reverb eects completely
independently from the channel. These eects would also remain
when the recording is played back through the same monitor section.
When the module is used for mixing purposes, the monitor section
functions as an additional line input return to the main Left/Right
mix, again with the Tilt EQ and Auxiliary 1, 2 and 7/8 available
through the monitor section. This eectively doubles the number
of inputs per input module that are available on mix down mode.
This with additional inputs on the master section greatly increases
the inputs available, even on the smallest console.
The Input channel is provided with a switchable nondestructive
mono pre fader listen (PFL) and stereo after fader listen (AFL)
SOLO system, the monitor input is provided with an AFL SOLO
only. It is then possible, to hear the selected signal in isolation (or
mixed with other “soloed” sources) separately in the main monitors,
without eecting the main Left/Right mix.
The following gives a brief description of the controls on the Input
module.
Introduction & Specific tions
Trident 88 Owners Manual6
Trident 88 Input Channel Mic/Line Options
Trident 88 Input Channel Group Assignment
1-2 Group Assignment
Assigns the channel post-fader
signal to the Group 1 and 2 mix
buses through the channel Pan
control. With the channel Pan
control in mid position, the sig-
nal will be fed to Group 1 and 2
in equal amounts. If the channel
Pan Control is positioned fully
anti-clockwise (left) the channel
signal will only feed Group 1 and
when positioned fully clockwise
(right), the signal will only feed
Group 2.
5-6 Group Assignment
Assigns the Channel post-fader
signal to Group 5 and 6 mix buses
through the channel Pan control.
Operation is the same as the 1-2
Group assignment.
L-R Mix
Assigns the channel post-fader
signal to the Left and Right mix
buses through the channel Pan
control. Operation is the same
as the 1-2 Group assignment.
Sometimes referenced as the Main
Mix or Remix bus assignment.
In a multi-track studio environ-
ment, this Left and Right mix as-
signment and the channel Mon-
itor Input allow the user to have
two separate external inputs
(channel Mic/Line and Monitor
Return) that can be sent to the
Left and Right mix busses, ef-
fectively doubling your inputs
on mixdown (Remix).
3-4 Group Assignment
Assigns the channel post-fader
signal to Group 3 and 4 mix buses
through the channel Pan Control.
Operation is the same as the 1-2
Group assignment.
7-8 Group Assignment
Assigns the channel post-fader
signal to Group 7 and 8 mix buses
through the channel Pan control.
Operation is the same as the 1-2
Group assignment.
Trident 88 Owners Manual 7
Trident 88 Input Channel Mic/Line Options
Mic Gain
This control adjusts the amount
of gain of the signal connected
to the MIC XLR / 1/4” combination
connector. For low impedance
balanced microphones plugged
into the XLR, the gain varies
from +5dB minimum to approx-
imately +60dB. For a line level
device plugged into the 1/4”
part of the MIC combination
connector, the gain varies from
-15dB to +40dB, eectively pro-
viding a 20dB pad to the micro-
phone preamp.
Note: This gain is independent
from the Line gain.
Line Gain
This control adjusts the amount
of gain of the signal connected
to the TRS LINE Jack.
MIC INSERT
Selects between the Mic input source
on the XLR / 1/4” combination
connector and the line level in-
put (labeled Ext MIC) that feeds
the channel. This allows the user
to connect a line source (exter-
nal mic preamp) and be able to
bypass the channel Mic preamp
stage or switch between them.
+48V
When depressed, provides +48
volt phantom power to the XLR
portion of the MIC input con-
nector. Note: +48V will NOT ap-
pear on the 1/4” part of the MIC
input connector. Phantom pow-
er is required for operation of
many condenser microphones.
See your microphone instruc-
tions to see if phantom power
is required or is to be defeated
(some - though few – micro-
phones require phantom pow-
er NOT to be activated or they
may be damaged).
I/P Rev
The Input Reverse switch when
depressed flips the Line Input
signal and the Monitor Input
signals. In eect this switch de-
termines the Line Input source
that is available to the channel.
Combining this with the Line
switch above allows the user to
source the channel signal from
the channel Monitor Return TRS
jack and to use the full channel
strip resources for the Monitor
Return signal. Alternatively de-
pressing this switch selects the
Line Input TRS source for the
channel Monitor section.
Line Switch
When depressed, it switches source
from Line Input to Mic Input.
POL
When depressed, reverses the
electrical input polarity of any
microphone or line level input
signal selected as the channel
source. Use of this control may
alter the sound quality of a input
relative to other channels when
multiple microphones are pick-
ing up the same sound.
CHAN MTR
This button selects the signal that is
fed to the relevant channel meter sit-
uated on the meter bridge. In the up
position the channel Direct Output
feed is displayed.
[The channel Direct Output can be
user defined by a selectable option on
the Input module, it can be selected
either channel post fader or channel
Insert Return (signal appearing on ring
contact of channel INSERT TRS jack.]
When this button is depressed the
channel meter is fed from the signal on
the channel MONITOR I/P TRS jack.
In a multi-track studio environment
where the channel Direct Output is
fed to the recording device and the
output of this device is connected to
the MONITOR input, it is possible to
see on the channel meter what is sent
to or received from the recording de-
Trident 88 Input Channel Group Assignment
Trident 88 Owners Manual8
Trident 88 Input Channel Aux Sends
Trident 88 Input Channel The Equaliser
HIGH Frequency
Section – Shelving
Adjusts the high frequency shelving
EQ response. The Frequency con-
trol selects the corner frequency of
the shelving fil er (between 1kHz and
15kHz) and the Level control adjusts
the cut/boost between +/- 15dB. The
centre “0” position of the Level con-
trol has a detent to indicate that it is
having no eect on the associated
channel signal. Cut or boost of the
high frequency Level control is usually
used for minor tonal adjustments.
LOW – MID
Frequency Section
Adjusts the low-mid frequency EQ
response. The Frequency control
selects the centre frequency of the
fil er (between 100Hz and 1.5kHz)
and the Level control adjusts the cut/
boost between +/- 15dB. The centre
“0” position of the Level control has
a detent to indicate that it is having
no eect on this frequency band. The
bandwidth of this fil er is approxi-
mately one octave. The low-mid fre-
quency controls are used for minor
tonal adjustment or repair of a specif-
ic band of frequencies.
LOW Frequency
Section – Shelving
Adjusts the low frequency shelving
EQ response. The Frequency control
selects the corner frequency of the
shelving fil er (between 40Hz and
650Hz) and the Level control adjusts
the cut/boost between +/- 15dB. The
centre “0” position of the Level con-
trol has a detent to indicate that it
is having no eect on the associated
channel signal. Cut or boost of the
low frequency level control is usually
used for minor tonal adjustments on
mixdown (remix).
HIGH – MID
Frequency Section
Adjusts the high-mid frequency EQ
response. The Frequency control
selects the centre frequency of the
fil er (between 700Hz and 10kHz)
and the Level control adjusts the cut/
boost between +/- 15dB. The centre
“0” position of the Level control has
a detent to indicate that it is having
no eect on this frequency band. The
bandwidth of this fil er is approxi-
mately one octave. The high-mid fre-
quency controls are used for minor
tonal adjustment or repair of a specif-
ic band of frequencies.
INSERT ON
When depressed, this switch places
the rear panel channel TRS insert con-
nector in line with the signal path. This
insert point by default is after the chan-
nel EQ (unless it is selected pre EQ be-
low). By routing the signal through this
connector, the insert may be used for
applications such as an eect that can
be switched in/out. In the event the
user wants to patch in his/her favourite
external EQ, it can be connected to the
channel insert TRS and activated with
this switch, it could be used in conjunc-
tion with or without the Trident EQ.
Channel Equaliser
A four band fully sweepable
Trident EQ with overlapping ranges
is provided with a switchable high
pass fil er. The HIGH and LOW
sections of the equaliser have a
shelving response and the MID have
a peaking (Bell) response.
HPF
When selected, inserts a high-pass (or
low-cut) fil er with a corner frequency
50Hz and a roll off rate of 18dB per oc-
tave into the signal path. This control is
used to remove unwanted signal con-
tent below 50Hz. The result is usually
improved signal quality of the associ-
ated input signal, while decreasing the
low frequency amplific tion demand
of the audio systems amplifier and
speaker combination. Mainly for use
with microphones, this helps remove
low frequency rumble and handling
noise.
EQ IN
This switch inserts the 4-band EQ
and High Pass Filter into the channel/
monitor (see EQ TO MON switch de-
scription below) signal path. When not
in use, it is suggested that the EQ be
kept in the OUT position for best phase
performance.
Trident 88 Owners Manual 9
Trident 88 Input Channel Aux Sends
AUX 1 Level Control
Adjusts the mix level of Channel/
Monitor (as determined by Aux
1 To Mon switch below) into the
Aux 1 bus.
AUX 2 Level Control
Adjusts the mix level of Channel/
Monitor (as determined by Aux
2 To Mon switch below) into the
Aux 2 bus.
AUX 3 Level Control
Adjusts the mix level of Channel
into the Aux 3 bus.
AUX 4 Level Control
Adjusts the mix level of Channel
into the Aux 4 bus.
AUX 5-6 PAN Control
Adjusts the balance of the chan-
nel signal being fed to Aux 5
bus (CCW) and Aux 6 bus (CW).
In the centre (=) position equal
signal level is sent to both Aux 5
and Aux 6 buses.
AUX 5-6 Level Control
Adjusts the stereo mix level of
channel into the Aux 5 and Aux
6 buses.
AUX 7-8 PAN Control
Adjusts the balance of the channel/
monitor signal (as determined by
Aux 7-8 To Mon switch below)
being fed to Aux 7 bus (CCW) and
Aux 8 bus (CW). In the centre (=)
position equal signal level is sent
to both Aux 7 and Aux 8 buses.
AUX 7-8 Level Control
Adjusts the stereo mix level of
Channel into the Aux 7 and Aux
8 buses.
AUX 1 Pre Switch
This switch determines the signal source
for Aux 1 bus, between Post (UP) or
Pre (DOWN) Channel fader/Monitor
level (as determined by Aux 1 To Mon
switch below).
AUX 1 To Mon
When depressed selects the channel
Monitor input as the source to the Aux 1
Level control. In the up position sources
the channel signal.
AUX 2 Pre Switch
This switch determines the signal source
for Aux 2 bus, between Post (UP) or
Pre (DOWN) Channel fader/Monitor
level (as determined by Aux 2 To
Mon switch below).
AUX 2 To Mon
When depressed selects the channel
Monitor input as the source to the Aux 2
Level control. In the up position sources
the channel signal.
AUX 3 Pre Switch
This switch determines the signal source
for Aux 3 bus, between Post (UP) or Pre
(DOWN) channel fader.
AUX 4 Pre Switch
This switch determines the signal source
for Aux 4 bus, between Post (UP) or Pre
(DOWN) channel fader.
AUX 5-6 Pre Switch
This switch determines the signal source
for Aux 4 bus, between Post (UP) or Pre
(DOWN) channel fader.
AUX 7-8 Pre Switch
This switch determines the signal source
for Aux 7 and Aux 8 buses, between
Post (UP) or Pre (DOWN) Channel fad-
er/Monitor level (as determined by Aux
7-8 To Mon switch below).
AUX 7-8 To Mon
When depressed selects the channel
monitor input as the source to the Aux
7-8 Level control. In the UP position
sources the channel signal.
Trident 88 Owners Manual10
Trident 88 The Group Section
Trident 88 Input Channel Monitor Section
MON PAN
(Monitor Pan) Control
This control blends the post moni-
tor level signal between the Left and
Right buses. When at the centre de-
tented position, both Left and Right
buses are fed equal amounts of signal
(each down by 3dB).
MONITOR LEVEL Control
Adjusts the monitor signal level to
the Left/Right bus.
SOLO (AFL)
When pressed, routes the monitor
(post level and pan) signal to the solo
bus. Additionally this switches the Main
Monitor Output (normally feeding the
Left/Right mix) to source the signal
from the AFL/PFL Master Level in the
Master section as well as to trigger LED
indicators in the Master section and
meter-bridge stating a solo has been
pressed.
MONITOR MUTE
When pressed will mute the monitor
signal to the Left/Right bus. It is rec-
ommended when the monitor section
is not being used that it be muted.
AFL/PFL Select
Selects the channel source feed that
will be fed to solo bus when the chan-
nel SOLO is pressed. UP - solo system
is fed from the channel post fader/post
pan pot point and is a stereo signal
that follows the pan pot. This allows
the user to monitor the channel in the
solo system and to see its contribution
to the mix. DOWN - solo system is fed
from the channel pre fader point and is
a mono source. This allows the user to
monitor the signal in the solo system
before the channel fader/mute, allow-
ing the user to check the signal in the
channel without being routed to any
output buses.
EQ to MON
Assigns the 4 band channel EQ to the
Monitor Section, the TILT EQ is then
inserted to the Channel path. Note:
this switch is not illuminated.
MON TILT EQ Control
A single control level which simulta-
neously adjusts the low and high fre-
quency gain of the signal. In the full
counter clockwise position the low
frequencies are boosted whilst the
high frequencies are cut, in the centre
position there is no eect on the sig-
nal and in the full clockwise position,
the low frequencies are cut and the
high frequencies are boosted. Note:
There is no TILT EQ on/off switch and
the TILT EQ is always in circuit.
The Monitor section of the channel
module allows the user to feed the
signal on the Monitor Return TRS
jack to the Left and Right buses
with Level, Pan and EQ control.
Channel Signal Indicators
+10 – Indicates RED when the chan-
nel signal level has reached +14dBu
(+10 VU). -20 – Indicates GREEN-
when the channel signal level has
reached -16dBu (-20 VU). The chan-
nel indicator signal source can be se-
lected pre or post the channel fader
through an option available on the
input module circuit board. (Note:
Signal headroom available on the in-
put module is +22dBu and when the
+10 indicator illuminates the signal
level is approaching 6 to 8 dB before
clipping when just flashing red with
signal peaks). These are extremely
useful features and provide a con-
stant indication that a signal is pres-
ent in the module (green LED) and
that the signal peak is being reached
(red LED).
Channel PAN Control
This control blends the channel post-
fader/post mute signal between any of
the assigned bus pairs (L-R Mix, Group
1-2, Group 3-4, Group 5-6 and Group
7-8) located at the top of the module.
When at the centre detented position,
both sides are fed equal amounts of
signal (each down by 3dB).
SOLO (Channel)
When pressed, routes the channel AFL
or PFL (see AFL/PFL Select above)
signal to the Solo bus. Additionally this
switches the Main Monitor Output (nor-
mally fed the Left/Right mix) to source
the signal from the AFL/PFL Master
Level in the Master section as well as
to trigger LED indicators in the Master
section and meter-bridge stating a solo
has been pressed.
MUTE (Channel)
When pressed will mute the assigned
outputs of the channel (Group 1 – 8 and
L-R Mix) and all post Aux sends. The
Mute does not aect the channel’s solo
PFL feed, but WILL aect the channel
metering in the meter bridge, the Direct
Output of the channel (if selected as
post fader by option on module) and
the channel’s solo AFL feed (which is
post fader and post this mute).
Trident 88 Owners Manual 11
Trident 88 The Group Section
The Group section of the console greatly enhances the fl xibility
of the TRIDENT 88 and provides a number of dierent functions.
There are 8 Group modules provided on the console, each con-
trolling the associated group mix bus outputs. The groups can be
used as audio subgroups for combining and processing a collec-
tion of input channels. Each group bus has its own TRS Insert jack
and TRS balanced Output jack on the rear Master Connector pan-
el.
The Group module also provides a method of monitoring, equalising
and panning the group output on the control room speakers. By
using these controls it is possible to build up a monitor mix of the
recorded tracks and any that are about to be recorded. A fad-
er reverse facility swaps the Monitor Level control and the Group
fader to gain greater control of the monitor mix. To enhance this
monitor facility, the full complement of all Auxiliary sends (1 to 8)
are available, making it possible to send a headphone mix from
the groups together with reverb and eects, and since all Auxil-
iary sends are switchable to pre the monitor Level control, they
can be used to create a separate auxiliary mix independent of the
Monitor level.
Individual MONITOR SOURCE switches make it possible to select
either the Group Output or the balanced Line Input (MONITOR
RETURN) into the monitoring system. The bargraph metering
and Auxiliary sends follow this switch so that they automatically
switch according to the position of the MONITOR SOURCE switch.
Note: the bargraph meters additionally can be assigned to monitor
the console Auxiliary outputs with the AUX to MTR control allowing
the user to check the associated number Auxiliary output level if
needed.
A further useful feature is that the MONITOR RETURN inputs to
the groups are also connected to the LINE INPUT jacks of input
channels 1 to 8. This means that when you want to mix from an 8
track DAW/Recording device on channels with full channel equal-
isation and additional features, selecting “LINE” on input channels
1 to 8 will automatically connect the 8 track source to these chan-
nels (assuming nothing is plugged into the Line input TRS jacks of
the input channels).
Each of the 8 Group channels is also provided with a SOLO push-
button. This makes it possible to listen to the signal on any select-
ed Group in isolation and in stereo through the consoles SOLO
system. Since the SOLO function is post the Group MONITOR
LEVEL control, this makes it possible to solo a number of Group
channels and create a balanced mix of the soloed signals.
A separate facility on each Group channel is the inclusion of a
Stereo Eects Return section. Individual TRS inputs are provided
on the Master Connector Panel and are wired in stereo. These feed
the Eects Return section on the associated Group channel. This
adds the ability to send a signal (from the EFX Return TRS jacks)
with equalisation, Level and Pan control to the master Left/Right
mix. The availability of stereo auxiliary send makes the Eects Re-
turn another fl xible stereo input to the console and comes with
solo monitoring capability. The following gives a brief description
of the controls on the Group module.
Trident 88 Input Channel Monitor Section
Trident 88 Owners Manual12
Trident 88 Group Monitor Section
AUX 7-8 PAN Control
Adjusts the balance of the stereo Ef-
fects Return signal being fed to Aux 7
bus and Aux 8 bus. In the centre (=)
position the left stereo signal is fed
to Aux 7 (pre Level control) and the
right signal is fed to Aux 8 (pre Level
control) and both are attenuated by
3dB. With the balance control fully
anticlockwise, the left Eects Return
signal is fed unattenuated to Aux 7
(pre Level control) and the right sig-
nal is fed fully attenuated to Aux 8
(pre Level control) With the balance
control fully clockwise, the left Ef-
fects Return signal is fed fully attenu-
ated to Aux 7 (pre Level control) and
the right signal is fed unattenuated to
Aux 8 (pre Level control).
EFX To AUX
AUX 7-8 Level Control
Adjusts the stereo mix level of Eects
Return into the Aux 7 and Aux 8 buses.
MON SOURCE
This switch determines the signal
source to the Group Monitor section;
additionally it displays the signal
shown on the bargraph meter above.
In the UP position the signal fed to
the Group Monitor section and bar-
graph meter is the Group output.
When depressed (DOWN) the signal
fed is derived from the associated
rear MONITOR RETURN TRS jack.
AUX TO MTR
Pressing this switch assigns the asso-
ciated Aux output (post the Aux Mas-
ter Level on the Master module) to the
bargraph meter above. This allows the
user to check Auxiliary output signal
levels from the console on the meter.
Note: when this switch is pressed the
Auxiliary signal sourced to the bar-
graph meter overrides any other signal
to the bargraph selected by the MON
SOURCE above. The switch combina-
tions below explain the various signal
fl ws:
MON SOURCE (UP) - AUX to MTR
(UP) – Associated Group output feeds
monitor section and also the bargraph.
MON SOURCE (UP) - AUX to MTR
(DOWN) – Associated Group output
feeds monitor section. Associated Aux
Output feeds bargraph.
MON SOURCE (DOWN) - AUX to MTR
(UP) – Associated Monitor Return TRS
feeds monitor section and also the bar-
graph.
MON SOURCE (DOWN) - AUX to MTR
(DOWN) – Associated Monitor Return
TRS feeds monitor section. Associated
Aux output feeds bargraph.
EFX To AUX
AUX 7-8 Pre Switch
This switch determines the signal
source for Aux 7 and Aux 8 buses,
between Post (Up) or Pre (Down) Ef-
fects Return level.
12-Segment
Bargraph Meter
Displays one of 3 sources as deter-
mined by the switches below (MON
SOURCE and AUX TO MTR). The me-
ter is a peak responding meter with
a fast attack and slower release. It is
very useful when used with complex
dynamic waveforms, able to display
sharp transient responses and greatly
assist the engineer when it comes to
avoiding distortion during recording.
Trident 88 Owners Manual 13
Trident 88 Group EFX EQ
EQ IN
This switch inserts the 2-band EQ
into the Eects Return signal path.
When not in use, it is suggested that
the EQ be kept in the OUT position
for best phase performance.
EFX RTN SOLO (AFL)
When pressed, routes the stereo Ef-
fects Return (post Level and Pan) sig-
nal to the Solo bus.
Additionally this switches the Main
Monitor output (normally feeding the
Left/Right Mix) to source the signal
from the AFL/PFL Master Level in the
Master section as well as to trigger LED
indicators in the Master section and
meter-bridge stating a Solo has been
pressed.
EFX RTN MUTE
When pressed will mute the Eects
Return signal to the Left/Right bus. It
is recommended when the EFX RTN
section is not being used that it be
muted.
LOW Frequency
Section – Shelving
Adjusts the low frequency shelving
EQ response. The corner frequency
of the shelving fil er is 80 Hz and the
Level control adjusts the cut/boost
between +/- 15dB. The centre “0”
position of the Level control has a
detent to indicate that it is having no
eect on the associated channel sig-
nal. Cut or boost of the low frequency
level control is usually used for minor
tonal adjustments.
EFX RTN PAN Control
This control blends the EFX post-level/
post mute signal between the Left
and Right buses. When at the centre
detented position, both sides are fed
equal amounts of signal (each down
by 3dB).
HIGH Frequency
Section – Shelving
Adjusts the high frequency shelving
EQ response. The corner frequency
of the shelving fil er is 12 kHz and the
Level control adjusts the cut/boost
between +/- 15dB. The centre “0” po-
sition of the Level control has a detent
to indicate that it is having no eect
on the associated channel signal. Cut
or boost of the high frequency level
control is usually used for minor tonal
adjustments.
EFX LEVEL Control
Adjusts the Eects Return signal level
to the Left/Right bus.
Trident 88 Group Monitor Section
GROUP INSERT ON
When depressed, this switch places the
rear panel Group insert in the signal
path. The Insert point is directly after
the Group mix stage and before the
Group Fader and allows the user to
connect an external device in the
signal path and to be able to switch
it in and out from the font panel.
Trident 88 Owners Manual14
Trident 88 Group AUX Sends
AUX 2 Level Control
Adjusts the mix level of Monitor Input
into the Aux 2 bus.
AUX 5-6 PAN Control
Adjusts the balance of the Monitor sig-
nal being fed to Aux 5 bus (CCW) and
Aux 6 bus (CW). In the centre (=) po-
sition equal signal level is sent to both
Aux 5 and Aux 6 buses.
AUX 1 Pre Switch
This switch determines the signal
source for Aux 1 bus, between Post
(UP) or Pre (DOWN) Monitor Level.
AUX 1 Level Control
Adjusts the mix level of Monitor Input
into the Aux 1 bus.
AUX 3 Level Control
Adjusts the mix level of Monitor Input
into the Aux 3 bus.
AUX 4 Level Control
Adjusts the mix level of Monitor Input
into the Aux 4 bus.
AUX 5-6 Level Control
Adjusts the mix level of Monitor Input
into the Aux 5 and Aux 6 buses.
AUX 7-8 PAN Control
Adjusts the balance of the Monitor sig-
nal being fed to Aux 7 bus (CCW) and
Aux 8 bus (CW). In the centre (=) po-
sition equal signal level is sent to both
Aux 7 and Aux 8 buses.
AUX 7-8 Level Control
Adjusts the stereo mix level of Monitor
Input into the Aux 7 and Aux 8 buses.
AUX 2 Pre Switch
This switch determines the signal
source for Aux 2 bus, between Post
(UP) or Pre (DOWN) Monitor Level.
AUX 3 Pre Switch
This switch determines the signal
source for Aux 3 bus, between Post
(UP) or Pre (DOWN) Monitor Level.
AUX 4 Pre Switch
This switch determines the signal
source for Aux 4 bus, between Post
(UP) or Pre (DOWN) Monitor Level.
AUX 5-6 Pre Switch
This switch determines the signal
source for Aux 5 and Aux 6 buses,
between Post (UP) or Pre (DOWN)
Monitor Level.
AUX 7-8 Pre Switch
This switch determines the signal
source for Aux 7 and Aux 8 buses,
between Post (UP) or Pre (DOWN)
Monitor Level.
Trident 88 Owners Manual 15
Trident 88 Group EQ
EQ IN
This switch inserts the 2-band EQ
into the Eects Return signal path.
When not in use, it is suggested that
the EQ be kept in the OUT position
for best phase performance.
LOW Frequency
Section – Shelving
Adjusts the low frequency shelving
EQ response. The corner frequency
of the shelving fil er is 80 Hz and the
Level control adjusts the cut/boost
between +/- 15dB. The centre “0”
position of the Level control has a
detent to indicate that it is having no
eect on the associated channel sig-
nal. Cut or boost of the low frequency
level control is usually used for minor
tonal adjustments.
MONITOR
LEVEL Control
Adjusts the Monitor input signal level
to the Left/Right bus.
HIGH Frequency
Section – Shelving
Adjusts the high frequency shelving
EQ response. The corner frequency
of the shelving fil er is 12 kHz and the
Level control adjusts the cut/boost
between +/- 15dB. The centre “0” po-
sition of the Level control has a detent
to indicate that it is having no eect
on the associated channel signal. Cut
or boost of the high frequency level
control is usually used for minor tonal
adjustments.
MONITOR
PAN Control
This control blends the Monitor Input
post-level/post mute signal between
the Left and Right buses. When at the
centre detented position, both sides
are fed equal amounts of signal (each
down by 3dB).
MONITOR
FADER REVERSE
When depressed, swaps the Monitor
Level control with the Group fader
control. The Monitor signal level to
the Left/Right bus is now controlled
by the Group fader, additionally the
Group output level is now controlled
by the Monitor Level Control. Note:
SOLO and Mute functions below re-
main with the Monitor signal path.
MONITOR SOLO (AFL)
When pressed, routes the Monitor
signal (post Level and Pan) signal to
the Solo bus. Additionally this switch-
es the Main Monitor output (normally
feeding the Left/Right mix) to source
the signal from the AFL/PFL Master
Level in the Master section as well as
to trigger LED indicators in the Mas-
ter section and meter-bridge stating
a Solo button has been pressed.
MONITOR MUTE
When pressed will mute the Monitor
input signal to the Left/Right bus. It
is recommended when the Monitor
section is not being used, that it be
muted.
Trident 88 Group AUX Sends
Trident 88 Owners Manual16
Trident 88 Master Module Aux
Trident 88 The Master Module
The Master section of the TRIDENT 88 console contains all of the
controls that aect the overall functionality of the console. An accurately
matched 100mm stereo fader controls the level of the master stereo
balanced outputs.
Housed in the Master module are the 8 master Auxiliary Send level
controls and associated SOLO switches.
A comprehensive talkback system is provided which incorporates
an internal high quality electret microphone with an option to
switch over to an external microphone, this is plugged into the rear
of the console via a balanced XLR connector (phantom volts avail-
able on XLR). Easy switching to an oscillator source in the talkback
section allows the use of the on board 1kHz or 10kHz sine wave gen-
erator. The signal can be routed to the auxiliary buses in pairs, the 8
subgroups and to the studio outputs. When the ‘TALK TO GROUPS’
button is used, the monitor signal is dimmed to avoid feedback in
the control room monitor speakers.
The main monitor system is very comprehensive. The engineer can
monitor anyone of three stereo playback devices. ‘2TK 1 RET’ and
‘2TK 2 RET’ are conventional analogue connections located on the
master connector section, so that the playback of a stereo device
such as a cd player or output of a computer sound card can be
selected to the control room monitor speakers, and a 3.5mm TRS
mini jack available on the module allows the user to plug in his ex-
ternal portable audio source too (e.g. iPod). The monitor system is
provided with a SUM MONO control which combines the Left/Right
monitor signals, so that it is possible to check mono compatibility.
It should be noted that the mono facility is purely a monitor func-
tion and does not aect the main stereo Left/Right output which
remains as a true stereo image.
Another very useful facility in this section is the provision of two Al-
ternate Monitor Outputs (Alt MONITOR 1 and 2) with their individ-
ual Level controls and ON switches. When switched ON, this routes
the monitor signal to associated set of output jacks on the rear of
the master section so that an alternative monitor system can be set
up. This makes it possible to listen to the signal on (for example), a
dierent set of monitor speakers so that comparisons can be made.
A headphone jack with a high quality stereo amplifier is provided
which allows the engineer to monitor the console only on head-
phones if required. A separate stereo volume control is provided so
that the headphones can be adjusted independently from the Main
Monitor control level.
A stereo Master Level control is also provided so that the volume of
the AFL/PFL system can be adjusted into the control room monitor
speakers. This comes combined with indicator LED that notifies the
user that a console SOLO switch has been pressed and that the
AFL/PFL signal is now being fed to the control room monitors. A
separate studio playback section is available, with its own level con-
trol and ON switch. The Studio Playback is fed the Left and Right
mix. This can be changed to listen to the mono Aux 1&2 mix, or the
stereo mix of Aux7/8.
The following gives a brief description of the controls on the Master
module.
Trident 88 Owners Manual 17
Trident 88 Master Module Aux
AUX 1 SOLO
Assigns the post Aux 1 Master Level
signal to the Solo system for display
on the Master meters and into the
monitor/headphone systems. This sig-
nal feeds to the solo system in mono.
AUX 2 through 8
Master Controls
The Level controls and the Solo
switches function in the same way
as Aux 1 controls.
AUX 1 MASTER LEVEL
This control adjusts the Aux 1 bus mix
level that appears on the Aux 1 output
TRS jack.
Trident 88 The Master Module
Trident 88 Owners Manual18
Trident 88 Master Module Monitor Section
Trident 88 The Master Module Studio Playback
AUX1-2
Assigns the Aux 1 and Aux 2 mixes to
the Studio Playback Left and Right
outputs respectively. Note: When
selected replaces the default con-
trol room monitor feed to the Studio
Playback outputs.
PLAYBACK LEVEL
CONTROL
This control adjusts the stereo level
fed to the Studio Playback output TRS
jacks. The source for the Studio Play-
back is determined by the state of the
Aux1-2 and Aux7-8 switches above.
AUX7-8
Assigns the Stereo Aux 7 / 8 mix to
the Studio Playback Left and Right
outputs. Note: Priority is given to
this over Aux1-2 selection above, and
when selected replaces either the
Aux1-2 mix (if selected) or the default
control room monitor feed to the Stu-
dio Playback outputs.
SOLO MASTER
LEVEL CONTROL
This control adjusts the level of the
solo Left/Right mix fed to the con-
trol room monitors when one or more
SOLO switches are selected on the
console. This presets the SOLO sig-
nal level and enables the engineer to
balance the signal levels to the control
room monitors from the main mix and
the solo mix. Note: Main Left Right
meters always show the solo signal
pre this Level control (unaected by
this control).
ALT MONITOR 1
LEVEL CONTROL
This adjusts the level of the console
control room monitor signal fed to the
ALT Monitor 1 output TRS jacks when
ALT MONITOR 1 is turned ON.
ALT MONITOR 2
LEVEL CONTROL
This adjusts the level of the console
control room monitor signal fed to the
ALT Monitor 2 output TRS jacks when
ALT MONITOR 2 is turned ON.
ALT MONITOR 2 ON
When this switch is depressed the
main Left/Right Monitor feed is di-
verted to the ALT MONITOR 2 output
TRS jacks. Note: ALT MONITOR 2 ON
switch has priority over ALT MONI-
TOR 1 ON switch.
ON
When depressed, switches the signal
to the Studio Playback outputs on.
SOLO ACTIVE LED
When this LED is illuminated, it indi-
cates that one or more SOLO switch-
es have been pressed on the console.
The console monitor output is now
being fed from the solo Left/Right
mix buses. Additionally the console
main Left/Right meters are switched
to monitor the solo Left/Right mix
and an additional meter bridge indi-
cator flashes to show the console is
in a “SOLO” state.
ALT MONITOR 1 ON
When this switch is depressed the
main Left/Right Monitor feed is di-
verted to the ALT MONITOR 1 output
TRS jacks. In doing so, the console
main Left /Right signal is switched
OFF. This allows the engineer to set
up a separate monitor feed (say to
another set of monitor speakers) and
be able to A/B the systems for com-
parison. Note: ALT MONITOR 2 ON
switch, when depressed, will override
ALT MONITOR 1 ON i.e. the ALT Mon-
tior 1 output will be switched OFF if
ALT MONITOR 2 ON is enabled and
signal will be diverted to ALT Monitor
2 output TRS jacks.
L-R INSERT ON
When depressed, this switch places the
rear panel Left & Right insert in the
signal path. The insert point is directly
after the Left/Right mix stage & before
the Left/Right stereo Fader. This allows
the user to connect an external device
in series with the Left/Right signal path
and be able to switch it in and out from
the front panel.
Trident 88 Owners Manual 19
Trident 88 Master Module Monitor Section
2-TRK 1
When depressed this selects either
the signal from the stereo 2-TRK 1
Return TRS jacks (on the rear master
connector panel) or the stereo sig-
nal plugged in the STEREO IN JACK
(above) and feeds it to the control
room monitors. The stereo 2-TRK 1 re-
turn signal from the TRS jacks is nor-
malled to the STEREO IN JACK signal
and if a signal wire is plugged into the
STEREO IN JACK, it replaces the sig-
nal from the 2-TRK 1 Return TRS jacks
and that is the signal that is switched
to the main monitors. Note: When this
switch is depressed, the main Left/
Right mix is disconnected from the
control room monitors, also if 2-TRK 2
switch is depressed (below), this kills
the 2-TRK 1 signal to the control room
monitors. For monitoring signals into
control room monitors, the priority is
SOLO mix -—> 2-TRK 2 —> 2-TRK 1 —>
main Left/Right mix.
STEREO IN JACK
(3.5mm, 1/8”)
This jack allows the engineer to plug
in an external stereo signal via a stan-
dard 1/8” wire cable ( i.e iPod) which
can then be selected to the main
control room monitors. To assign this
signal into the main monitors, the user
has to depress the 2-TRK 1 switch.
MONITOR LEVEL
CONTROL
This control adjusts the level of the
stereo signal feeding the control room
monitors.
MONITOR MUTE
When depressed this switch kills the
signal being fed to the control room
monitors.
HEADPHONE LEVEL
This control adjusts the level of sig-
nal fed to the headphone jack below.
The signal fed to the Control Room
Monitors also feeds the headphone
jack and this Headphone level control
can be adjusted independently of the
main MONITOR CONTROL LEVEL.
2-TRK 2
When depressed this selects the sig-
nal from the stereo 2-TRK 2 Return
TRS jacks (on the rear master con-
nector panel) to the control room
monitors. This switch has priority over
2-TRK 1 switch above. (see description
2 TRK 1 above)
SUM MONO
Combines the Left and Right signals
feeding the control room monitors
to produce a summed (L+R) mono
signal, that feeds both Left and Right
monitor outputs. Note: The SUM
MONO facility is purely a monitor
function and does NOT aect the
main stereo Left/Right output which
remains as a true stereo image.
STEREO HEADPHONE
JACK (3.5mm, 1/8”)
A headphone jack with a high quality
stereo amplifier is provided, so that if
the engineer wishes to monitor the
console only on headphones, they can
be connected to the jack socket in the
master section. A separate stereo vol-
ume control is provided, so that the
level of the headphones can be ad-
justed independently.
Trident 88 The Master Module Studio Playback
DIM
When depressed, this reduces the level
of the main monitor outputs by approx
30dB.
Note: this has no eect on the main
Left/Right outputs of the console.
Trident 88 Owners Manual20
Trident 88 Rear Connections
Trident 88 The Master Module Talkback/Oscillator
TO AUX 3-4
Momentary switch, which when de-
pressed assigns the Talkback signal
(post the Talkback level control) to the
Aux 3 and Aux 4 mix.
TO AUX 1-2
Momentary switch, which when de-
pressed assigns the Talkback signal
(post the Talkback level control) to the
Aux 1 and Aux 2 mix.
TO AUX 5-6
Momentary switch, which when de-
pressed assigns the Talkback signal
(post the Talkback level control) to the
Aux 5 and Aux 6 mix.
TALKBACK LEVEL
CONTROL
This control adjusts the level of the
Talkback source (microphone or oscilla-
tor) to the Talkback destinations above.
TB MIC/OSC switch
This selects the source to use in the
Talkback section. In the UP position
this is the Talkback microphone (in-
ternal or external) and in the DOWN
position this is the internal oscillator.
TO AUX 7-8
Momentary switch, which when de-
pressed assigns the Talkback signal
(post the Talkback level control) to the
Aux 7 and Aux 8 mix.
TO GROUPS
Momentary switch, which when de-
pressed assigns the Talkback signal
(post the Talkback level control) to the
all the group buses. Additionally, when
depressed, the signal to the control
room monitor is dimmed (attenuated)
by approx 30 dB to avoid a feedback
situation in the control room monitor
speakers.
TO STUDIO
Momentary switch, which when de-
pressed assigns the Talkback signal
(post the Talkback level control) to the
Studio Output TRS jacks. Additionally
when depressed the signal to the con-
trol room monitor is dimmed (atten-
uated) by approx 30 dB. The original
signal source that was feeding the
studio output (main Left/Right mix
or Aux 1/2 or Aux 7/8) is muted when
talking to the studio outputs.
TALKBACK MIC
Directly behind this location is situ-
ated the internal high quality electret
microphone.
EXTERNAL MIC
When depressed switches the Talk-
back microphone source from the
internal electret above or the exter-
nal microphone plugged into the XLR
situated on the rear master connec-
tor panel. Note: the rear panel XLR
Talkback microphone connector is
supplied with +48V phantom voltage
and feeds into an internal high quality
preamp stage.
1k/10k
This switch selects the frequency of
the internal oscillator from 1kHz (UP)
and 10kHz (DOWN)
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