Trident Series 88 Recording Console 16-Channel
The Trident Series 88 Console is a classically styled, in-line, eight-buss analog console and an advancement in lineage of the revered Series 80 mixing desks.
Designed with manufacturability in mind, the 88 is artfully constructed for ease of use and workhorse reliability.
Available in stock configurations of 16, 24, 32, and 40 channels. The model 88 is sized to fit the modern, high end facility – whether private, institutional, or professional.
Along with the pleasingly familiar routing and feel of a classic Trident desk, are modern refinements that serve to improve functionality, workflow and performance specifications.
For example, integration with outboard processors and mic pre’s, such as the 500 format, is provided simply and elegantly by means of an exclusive, switchable input. This bypasses the channel preamp circuitry and allows for insertion of external signal sources directly to the channel equalizer.
Being a Trident, the equalization is of course, wonderful, and on the 88 – it is also plentiful. Always available on the channel, monitor, effects returns and group sections.
In the area of customization, the 88 has options for VU metering, transformer I/O, automation, short loading and channel configurations exceeding 40 inputs.
Features found throughout the 88 make for a straightforward and powerful package, but paramount to all else is The Sound. Among the many styles, preferences and methods of recording exists the expectation that a board must have the ability to be pushed hard and sound big. With 27 dB of headroom, the 88 is designed to be pushed hard and sound big. This is a hallmark of the series 80 consoles and the 88 carries that tradition forward.
Bottom line: The Trident 88 was created with all of this in mind so that you can use it to make great sounding tracks.
Fully Modular Design
The Trident 88 was made from the ground up to be a rugged and reliable console. Trident went to great lengths to make sure that the 88’s are easy to build and equally easy to maintain. The 88 is designed so that the entire console can be serviced with a single screw driver. Motherboards are shock-mounted with rubber standoffs to isolate them from the chassis and provide additional protection from structure born stresses. A channel can be swapped in matter of minutes and the console will continue to function if one or more channels are removed.
- Faders, channels, groups, and master section are individually removable
- All rear connections are also removable
Having a Split/Inline console effectively will double your inputs to your stereo buss. This has become more and more a common configuration for recording consoles in today’s market. Trident took it a step further and added an EQ to the monitor path that can also be swapped with the main channel EQ.
- Dual Input to the Channels – line and monitor
- Four band, sweepable channel EQ, is switchable with monitor Tilt EQ
- Dual Inserts to each Channel at the preamp, or the main channel EQ
- 8 Auxes: 6 mono and 2 Stereo
- 27 dB of headroom
Incorporating a Discrete Class A preamp to the 88’s is a departure from previous Trident console preamps in the 80 Series. This give’s the 88’s a higher quality stock preamp from the start and also incorporates the option to add a Lundahl input transformer to any channel desired.
- Discrete Class A
- 65 dB gain
- Balanced inputs, with optional Lundahl transformers
- Full bypass insert
- Input Reverse Switch
- Mic/Line Switch
- Phantom Power Switch
Expanding the great success of 80 Series recording consoles is only logical. Taking the highly regarded 80B EQ and improving on it with the 80C EQ was a great step forward for its time. The 80C EQ took all of the great sound of the 80B and gave it even more control. Keeping the 80C EQ as the brawn of the 88’s was a decision that required no second thought. Adding more EQ to the 88 was the next step forward for a more versatile analog recording console’s progression. Having EQ to the vast majority of the inputs to the 88 console means more analog controls at your fingers.
- High and low shelving
- Low/high mid peaking
- 4 Sweepable bands boost/cut to ±15 dB
- 50 Hz high pass filter
- Insert pre/post EQ
- Monitor in: Tilt EQ
- Group FX Returns: 12 kHz and 80 Hz shelving
- Group Monitor Returns: 12 kHz and 80 Hz shelving
Keeping control of your workflow with ease and speed is the core function of an analog recording console. Your time spent setting up a mix and the ability to have tactile control with immediate effect over your work is essential and time saving.
The 88’s are designed to give you maximum control and routing options all onboard at your fingertips. Making your creative process more effective and saving you time in the process.
- 8 Subgroups
- 3 Monitor Controls
- 8 Monitor returns with high and low EQ
- 8 Auxes; 6 Mono 2 Stereo
- 8 Stereo FX Returns with high and low EQ
- 8 Stereo Aux Returns assignable to the Stereo FX Returns
- 1/8″ TRS Input Onboard
- Talkback to Auxes in pairs, Groups, or Studio
- Built in Oscillator selectable at 1k or 10k
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|Input Connectors||1/4-inch TRS, Analog XLR|
|Output Connectors||1/4-inch TRS, Analog XLR|
|Number of Buses||8|
|Number of Aux Sends||8|
|Number of Monitor Returns||8|
I was between this console, an API and a Neve Genesys. I couldn’t be happier with the choice I made. I got my trident loaded with transformers, and I LOVE the sound, workflow, and build quality of this desk. It blows away the Neve in terms of build quality, and I think tops both consoles in serviceability. I haven’t had a single problem with it yet, and personally, I think the sound is up there in the same class as Neve or API. It’s kind of a halfway between the two sonically. I hear a nice, big low end like a Neve, and those “laser beam” highs with the EQ, similar to Neve, but a bit more open on the top and with a bit more mid-range punch, similar to the API. If you push the pres or mix bus, it gets a beautiful harmonic richness that I would describe as perfect for rock or pop. Kind of like a “dirty Neve” sound when you push it. Sweetening of the top, with a little bit more grit. I heard someone describe a pushed Trident as sounding “brown.” If a Neve is blue and an API red... I can kind of hear that, but couldn’t explain it more. Haha. Thanks Taz Boghal and Alan Hyatt for making what is in my opinion, a modern classic!
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