Trident
Trident Studios was originally started in 1967 by Norman and Barry Sheffield as the in house studio for the Centredisc label. Following the first major hit to come out of the studio, “My Name is Jack” by Manfred Mann, Trident Studios would establish itself as one of the few top studios in the world.Trident 78 Console
The new Series 78 all analog consoles (8, 16, 24 & 32 channels)
The new Series 78 all analog consoles are all Trident through and through. The Trident Series 78 is a cost effective mixing console tailored for engineers, studio owners, educational facilities, houses of worship, and live sound applications. The 78’s are Split/lnline consoles with individual channels in 4-way panels. Using an 8 subgroup configuration and incorporating 6 Aux sends, its routing options are vast and simple to use. Connections are fast and easy with DB-25’s throughout the board and XLR’s for speaker and main outputs.
With the 80B EQ at its core, including selectable channel inserts and discrete preamps driving the inputs, the Series 78 consoles offer a wide array of summing and mixing options. The uncompromised sonic quality and compact footprint of the 78’s are able to meet any demand.
Features found throughout the 78 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. This is a hallmark of the series 80 consoles and the 78 carries that tradition forward.
Bottom line: The Trident 78 was created with all of this in mind so that you can use it to make great sounding tracks.
Modularity Throughout
The 78’s by design are manufactured to be a more cost effective variant of the fully modular 88’s. Incorporating a similar chassis design and the same meter bridge, the 78’s have a rugged and proven core. Using a simi-modular design the 78’s are able to effectively reduce their overall costs without a significant sacrifice to serviceability.• All input channels are individual boards, faders included, each in a 4 channel pack.
• Subgroups are individual boards, faders included, each in a 4 channel pack.
• Master Channel is an individual channel separated from all others.
Split/Inline Console
Since the inception of this configuration by Trident Audio on the A-Range console in the late 1960’s it has been adopted throughout the industry and remains a standard configuration for our consoles today.
• Dual Inputs to the channels with line and monitor inputs
• 4 Band EQ with sweeping mid bands and selectable low and high bands
Microphone Preamp:The 78’s incorporate the same high quality Class A Discrete preamp as the 88’s. These preamps have lots of headroom and high gain fully capable of driving ribbon microphones.•60dB gain discrete preamp
• Balanced inputs
• Balanced inserts with full bypass
Powerful EQ
The 78’s incorporate the iconic Series 80B console EQ as the main channel EQ throughout the console. This EQ is known throughout the industry for its musicality and ease of use.• Selectable high bands at 8k and 12k
• Sweepable High and Low Mids
• Selectable low bands at 60Hz and 120Hz
• 50Hz High Pass Filter
• Selectable Channel Insert
Master Section
The master section of the 78’s are laid out for ease of use and have all the necessary features to manage your monitors, talkback, and stereo returns.
The 78’s master section is an independent channel from the rest of console to ensure that your console’s master output functions can be easily and quickly serviced with little or no downtime.• 8 Subgroups
• Subgroup Monitor Returns
• 2 Mono and 1 Stereo AUX
• Subgroup Stereo FX Returns
• 1/8″ TRS Selectable Input
• Onboard Talkback
• Selectable Output Transformer Option
Input Section Feature Highlights
Mic and Line Gain Control
Mic or Line levels on each channel.
I/P Reverse Switch
Flips channel input to the monitor section.
Meter Select Switch
Allows you to choose metering from the Direct Out or Monitor Return.
Mic Pre
A fully discrete Class A design mic pre.
EQ
The Series 78 incorporates the classic four band equaliser which is identical to that employed in the Trident Series 80B console. It consists of frequency switchable high and low pass shelving sections, coupled with two swept low and high mid range bands and a switchable 50Hz, 12dB per octave filter. Furthermore the EQ has its own independent Insert. Either bypass the EQ or use any other outboard EQ or device in conjunction with each other.
Master and Aux Section Highlights
Master Section
The master section features 6 AUX Masters each with Solo. AFL/PFL Master with level adjustment. In addition to the main speaker outputs there is also a separate ALT Monitor, each with level control, DIM, and on/off switches. The Monitor section allows the return of 2 separate stereo signals direct into the master section with level and mute. Or plug your portable device directly into the panel with a top mounted 1/8th inch TRS input. Through Talkback control you can talkback to the Auxes or the groups. Using either the onboard talkback mic or an external mic.
Monitor Section
The Trident 78 is a split in-line console. This means you can switch the inputs on each channel providing an easy workflow when tracking and mixing.
Aux Section
The Trident 78 features 6 Aux sends all with pre or post fade selection, accessible on every channel. Stereo Aux 5/6 can also be sent to the Monitor section.
Trident 88 Console
Classically styled, in-line, eight-buss analog console (8, 16, 24, 32 & 40 channels)
The Trident 88 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 8, 16, 24, 32, 40 channels and beyond. 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 500 format, is provided simply and elegantly by means of an exclusive, switchable input, which 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, on the channel, monitor, effects returns and group sections.
In the area of customizability, the 88 has options for vu metering, transformer I/O, automation, short loading and channel configurations exceeding forty 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. 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. We 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.
Split/Inline Console
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. We took it a step further and add 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.
Microphone Preamp
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 transformer to any channel desired.
• Discrete Class A
• 60dB gain
• Balanced input, with optional Lundahl LL1538 transformer
• Full bypass insert
Console EQ
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 decision that required no second thought.
• High and low shelving
• Low/high mid peaking
• 4 Sweepable bands boost/cut to +/-15dB.
• 50Hz high pass filter
• Insert pre/post eq
• Monitor in: Tilt
• Group FX Returns: 12kHz and 80hz shelving
• Group Monitor Returns: 12kHz and 80hz shelving
Master Section
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
• Monitor returns with high and low EQ
• FX Returns with high and low EQ
• 1/8″ TRS Input Onboard
• Talkback to Auxes in pairs, Groups, or Studio
• Built in Oscillator selectable at 1k or 10k
Input Section Feature Highlights
Separate Mic and Line Gain Control
Independently set your Mic and Line levels on each channel.
I/P Reverse Switch
Flips channel input to the monitor section.
Meter Select Switch
Allows you to choose metering from the Direct Out or Monitor Return.
Mic Pre
A fully discrete Class A design mic pre with the option to add a Lundhal transformer to as many channels as you like. In addition the preamp has a full bypass post fader insert point that allows you to easily incorporate any external preamp from your collection or 500 Series rack.
EQ
A 4 band fully sweepable Trident EQ is at the core of this console. Every channel not only has a full EQ but also a Tilt EQ on the Monitor section. In addition there is the ability to switch the full EQ from the Input path to the Monitor path. Furthermore the EQ has its own independent Insert. Like the preamp you can also insert to the EQ path and either bypass the EQ for any other outboard EQ or use them in conjunction with each other.
Master and Aux Section Highlights
Master Section
The master section features 8 AUX Masters each with Solo. AFL/PFL Master with level adjustment. In addition to the main speaker outputs there are also 2 separate ALT Monitors, each with level control and on/off switches. Easy studio playback through Mono Auxes 1&2, as well as stereo over Aux 7/8. The Monitor section allows the return of 2 separate stereo signals direct into the master section with level and mute. Or plug your portable device directly into the panel with a top mounted 1/8th inch TRS input. Through Talkback control you can talkback to the Auxes in pairs, or the groups, or to the studio. Either through the onboard talkback mic or an external mic.
Monitor Section
The Trident 88 is a split in-line console. This means you can switch the inputs on each channel providing an easy workflow when tracking and mixing. On top of that, all the of the Monitor inputs have their own Tilt EQ. This means you have 2 separate inputs per channel, both with versatile EQ.
Aux Section
The Trident 88 features 8 Aux sends all with pre or post fade selection, accessible on every channel. AUX 1/2 and 7/8 can be sent to the Monitor section. AUX 5/6 & 7/8 are both stereo with pan control for each.
A-Range 500
The legendary A-Range® equalizer in a 500 module format
The legendary A-Range® equalizer holds a unique place in audio history, with a stunningly musical sound that resulted from its all-discrete transistor circuitry and the use of inductors in the upper and lower mid bands. The A-Range® is a faithful re-creation of the original four band Trident A-Range® equalizer in a 500 module format, that will add the unique Trident signature to any programme material.
The mid frequency EQ sections are “peaking”, while the high and low frequency sections are “shelving”. A distinguishing feature of both the original A-Range® console and this module, is the use of faders for level adjustment, rather than rotary potentiometers.
These faders feature a useful centre detent at mid travel to denote zero boost or cut of the selected frequency. The use of faders makes it very easy to see not only how much equalisation is being applied. Each band is rotary-switch-selectable to one of four frequencies, while individual push buttons engage the three high pass and three low pass filters. An LED peak level indicator is included to warn when levels get too high. The Line level input and output are balanced for maximum signal integrity & high output levels with minimum distortion.
The difference between shelving and peaking equalisers are as follows. A shelving equaliser boosts or cuts all frequencies equally, above or below a certain frequency, usually the point where it effectively reaches its “shelf” state. A “high shelf” EQ boosts or cuts high frequencies and a “low shelf” type boosts or cuts low frequencies. This type of circuit is very popular in hi-fi systems but is also actually highly musical when applied in a recording environment. In contrast, a peaking equaliser is one that, as its name implies, has a centre frequency that is boosted or attenuated more than others. The frequency range over which it reaches its peak and then falls down is known as the bandwidth (or “Q”). Because this type of design reaches a peak and then falls away, it is possible with this type of circuit to “home in” on particular frequencies and make adjustments without affecting those around them. This can be particularly useful when working with instruments such as bass guitars and snare drums. By incorporating both shelving and peaking equalisers into the design of the versatile A-Range®, it is possible to get the best of both types of design.
A-Range Dual Channel Strip
2 channel Trident A-Range rack unit exact replica
The Original Trident A-Range Console
Trident was undoubtedly positioned at the pinnacle of UK recording desks during the golden years of rock. Trident’s designs have certainly made an indelible impact on the sound of record making that is nearly impossible to gauge. The desks made for Trident Studios, and other studios fortunate enough to acquire them, were legendary in breakthrough flexibility and huge sound. During this time period, every record made on a Trident desk was uniquely and quite positively altered by the sonic imprint of their distinctive designs.
With only 13 consoles ever built of this model, the Trident A-Range has attained near-mythic status in the professional recording industry—particularly noted for its fantastic preamps and unusual and colorful EQ. It is interesting to note that the original desks all came in the beautiful aubergine (“eggplant”) color, which was ultimately selected by legendary producer Roy Thomas Baker.
A-Range History
The first Trident A-Range console was originally built by and for Trident Studios in 1971. When word spread about this revolutionary new multitrack recording console design, other studios became interested. In 1972, Trident Audio Developments was formed, and consoles were soon delivered. Later orders also started pouring in from America. Cherokee Studios in Los Angeles was an early recipient of one of the first production models, and ultimately purchased four new desks from Trident. David Bowie, Rod Stewart, and Frank Sinatra are among the first artists to record hits on Cherokee’s first A-Range console.
East West Studios, formerly Cello, still operates their original A-Range in Studio 3.
The smallest but arguably the most famous of their studios, the design of Studio 3 has been copied over and over by recording studios across the globe. Some of the most iconic hits of the 60s were born there. The Mamas and the Papas recorded “California Dreaming” and “Monday, Monday” in this studio, along with Scott McKenzie’s classic “San Francisco”. But one album recorded here stands above all the rest – The Beach Boy’s 1966 masterpiece Pet Sounds.
Some of the hits just from Studio Three Include
- 1963 The Beach Boys “Surfin USA”
- 1964 Jan and Dean “Everybody Loves Somebody”
- 1964 Barry McGuire “Eve of Destruction”
- 1965 The Beach Boys “California Girls”
- 1965 The Beach Boys “Sloop John B”
- 1965 The Mamas & the Papas “California Dreamin’”
- 1965 The Turtles “It Ain’t Me Babe”
- 1966 Scott Mackenzie “San Francisco”
- 1966The Mamas & the Papas If You Can Believe Your Eyes and Ears
- 1966 The Mamas & the Papas “Monday, Monday”
- 1966 The Mamas & the Papas “I Call Your Name”
- 1966 The Beach Boys “Good Vibrations”
- 1966 The Beach Boys “God Only Knows”
- 1966 The Beach Boys Pet Sounds
- 1966 The Beach Boys Smile Sessions
- 1966 Johnny Rivers Poor Side of Town
- 1966 The Mamas & the Papas “Dancing in the Street”
- 1966 The Turtles You Baby
- 1966 The Sunrays Andrea
- 1966 The Association Renaissance
- 1967 The Association Windy
- 1967 Johnny Rivers “Baby I Need Your Lovin’“
- 1967 The Grassroots Feelings
- 1967 The Mamas & the Papas Deliver
- 1967 The Mamas & the Papas “Creeque Alley”
- 1968 The Association Time for Living
- 1968 5th Dimension “Stone Soul Picnic”
- 1968 The Cowsills “Hair”
- 1969 The Grassroots Leaving It All Behind
- 1971 Hamilton Joe Frank & Reynolds Ain’t No Woman
- 1973 America “Goodbye, Goodbye”
- 1974 The DeFranco Family Save The Last Dance For Me
- 1976 Herb Pedersen Southwest
- 1979 Herbie Hancock Monster
- 1980 Blondie “The Tide is High”
- 1980 Blondie “Rapture”
- 1980 Dolly Parton “9 to 5”
- 1983 Bow Wow Wow When the Going Gets Tough, The Tough Get Going
- 1984 Donna Summers Cats Without Claws
- 1985 Stevie Knicks “Rock A Little”
- 1997 The Rolling Stones Bridges to Babylon
- 2001 Blink-182 Take Off Your Pants and Jacket
- 2001 Natalie Merchant Motherland
- 2001 System of a Down Toxicity
- 2002 Muse Absolution
- 2002 AFI Sing the Sorrow
- 2003 The Mars Volta De-Loused in the Comatorium
- 2003 Jimmy Eat World Futures
- 2004 Ryan Adams Love Is Hell
- 2009 Rihanna Rated R
- 2009 Band of Horses Infinite Arms
- 2010 Rihanna Loud
- 2011 Frank Ocean Channel Orange
- 2011 Nas Life is Good
- 2011 Jimmy Cliff Rebirth
- 2012 Richie Sambora Aftermath of a Lowdown
- 2012 Kelly Rowland Talk A Good Game
- 2012 Kate Nash Girl Talk
- 2012 Music for the film Behind the Candelabra
- 2012 Music for the TV Show American Horror Story
- 2012 Demi Lovato Demi
- 2012 Music for the TV Show The New Normal
- 2012 Ariana Grande Yours Truly
- 2013 Janelle Monáe The Electric Lady
- 2013 Music from the film Oblivion
- 2014 Lea Michele Louder
80B 500 Series EQ
Classic four band equaliser of the Trident Series 80 console.
The Series 80B 500 Series EQ incorporates a classic four band equaliser which is identical to that employed in the Trident Series 80 console. It consists of frequency switchable high and low pass shelving sections, coupled with two swept low and high mid range bands and a switchable 50Hz, 12dB per octave filter. Both swept midranges have been carefully chosen for maximum effect on music programme and a good degree of overlap is provided.
Begin with all boost/cut controls – those with centre detents, set to their mid way (‘0’) positions. Adjust the low and high mid frequency sweep controls to their minimum positions (fully anticlockwise). The50Hz high pass ‘Filter‘ switch should be in the out position. Set the frequency select switches controlling the high and low shelving sections, to 120Hz and 12kHz respectively. Lastly, set the ‘EQ’ switch to the ‘in’ position (the associated LED will illuminate).
Rotation of the high frequency shelving control in a clockwise direction emphasises high frequencies, while turning the control in an anti-clockwise direction from centre attenuates high frequencies.
Operating the ‘frequency select’ switch in the high frequency section introduces a subtle change of emphasis to the affected high frequencies, as the shelving ‘knee’ is changed from 12kHz to 8kHz. Likewise, rotating the low frequency shelving control in a clockwise direction will emphasise low frequencies, while turning the control in an anti-clockwise direction from centre attenuates low frequencies. Adjusting the ‘frequency select’ switch in the low section introduces a subtle change of emphasis on the affected low frequencies by altering the shelving point from 120Hz down to 60Hz.
The ‘low mid’ and ‘high mid’ equaliser sections are peaking filters. Adjustment of their parameters is achieved by use of the boost/cut knob and its associated frequency sweep knob. Boost or cut of a given frequency is performed by moving that control from its centre detent position: clockwise for boost, anti-clockwise to cut. The frequency to be boosted or cut is selected by the frequency sweep control knob. The range of frequencies of the ‘low mid’ control extends from 100Hz up to 1.5kHz.
For the ‘high mid’ sweep, the frequency range begins at 1kHz (overlapping with the low mid section) and continues up to 15kHz.
The Series 80B 500 Series EQ incorporates a classic four band equaliser which is identicalto that employed in the Trident Series 80 console. It consists of frequency switchable high and low pass shelving sections, coupled with two swept low and high mid range bands and a switchable 50Hz, 12dB per octave filter. Both swept midranges have been carefully chosen for maximum effect on music programme and a good degree of overlap is provided.
Finally, selecting the ‘Filter’ switch introduces a smooth, 50Hz, 12dB/octave roll-off to effectively eliminate ‘rumble’ caused by, among other things, someone’s feet moving about near a microphone stand, nearby traffic noise and AC systems. The amount of boost (accentuation) or cut (attenuation) that is applied to the audio signal is entirely dependent on the programme content and it is not our intention to advise on this. Application of equalisation is a very subjective matter and is best learned by experiment. The equaliser bypass switch ‘EQ’ is a useful facility for comparing the signal before and after the application of equalization.
The Series 80B-500EQ is derived from the legendary Series 80B Consoles designed by Trident Audio Developments in the late 1970’s. It incorporates an exact replica of the equalizer design that gave the original console its unique sound. These consoles have been used to record just about every major artist in the past three decades, including Elton John, Dire Straits, David Bowie, Rod Stewart and Stevie Wonder to name but a few. More recently they have been used to record artists such as Radiohead and Pavarotti.
The Trident Audio Developments Series 80B-500EQ unit brings with it a historic pedigree and is offered at a price that is now affordable to all studios and home recordists.
The sound and the circuitry of the consoles used to record countless hit records
In the late ’70s Trident Audio developed a new series of recording consoles to update Trident’s sound for a new generation of musical talent. The result was the Trident Series 80, the sound of which quickly became a favorite among the top artists. The Series 80B doesn’t just capture the sound of these legendary consoles, it is the exact same painstakingly re-created circuitry.
The Series 80B iconic 4-band equalizer lets you tune your sound to perfection
The Series 80B-500EQ is one of Trident’s most sought after 4-band equalizers. Loaded with frequency-switchable high and low shelving sections, as well as sweepable low-mid and high-mid bands and a switchable 50Hz, 12dB per octave filter, the Series 80B gives you an exceptional degree of control over your sound. The Series 80B’s highly resonant Q peaks are particularly favored by many top engineers for tuning instrument tones.
Series 80B Dual Channel
Two channel rack-mountable version of the legendary Series 80B console
The Series 80B® is a two channel rack-mountable version of the legendary Series 80B console. Comprising two independent channels, each with a microphone/line amplifier andThe Series 80B is a two channel rack-mountable version of the legendary Series 80B console. it is designed to process incoming signals from a microphone or line level instrument and output to a recording device, such as a digital audio workstation or analogue multi-track tape recorder.
The Series 80B rack unit is derived from the legendary Series 80B Consoles designed by Trident Audio Developments in the late 1970’s. It incorporates an exact replica of the mic preamp and equalizer design that gave the original console its unique sound.
These consoles have been used to record just about every major artist in the past three decades, including Elton John, Dire Straits, David Bowie, Rod Stewart and Stevie Wonder to name but a few. More recently they have been used to record artists such as Radiohead and Pavarotti.
The Trident Audio Developments Series 80B rack unit brings with it a historic pedigree and is offered at a price that is now affordable to all studios and home recordists.
The sound and the circuitry of the consoles used to record countless hit records
In the late ’70s Trident Audio developed a new series of recording consoles to update Trident’s sound for a new generation of musical talent. The result was the Trident Series 80, the sound of which quickly became a favorite among the top artists. The Series 80B doesn’t just capture the sound of these legendary consoles, it is the exact same painstakingly re-created circuitry.
Equipped with preamps that are great for both microphones and outboard gear
True to the original design the 80B channel strip incorporates transformer coupled microphone preamps designed to achieve professional results from a wide range of sources. Which is why the Series 80 consoles originally were built to handle signal levels from -60dBu to +15dBu. Despite its extreme gain range, the Series 80B preamp sounds amazingly smooth, accommodating a wide range of input levels with a frequency response that extends to above 20kHz – all with near-theoretical-minimum noise performance. It’s the kind of sound quality that’s inspired many engineers and artists to create better-sounding music.
Trident Series 80B Features
- The original discrete, transistor-balanced circuitry developed in the late ’70s for the Trident Series 80 recording consoles
- Balanced inputs and outputs ensure the highest sound quality
- Independent preamplifiers that are perfect for both microphones and line-level sources
- Switchable 48-volt phantom power available on both preamps
- 4-band equalizers with classic Series 80 console resonance
- Selectable pre-/post-EQ insert point lets you incorporate your outboard gear wherever you want it in the signal path
- LED peak meter lets you keep an eye on your overall gain to prevent distortion
The Series 80B iconic 4-band equalizer lets you tune your sound to perfection
The Series 80B rack comes equipped with one of Trident’s most sought after 4-band equalizers. Loaded with frequency-switchable high and low shelving sections, as well as sweepable low-mid and high-mid bands and a switchable 50Hz, 12dB per octave filter, the Series 80B gives you an exceptional degree of control over your sound. The Series 80B’s highly resonant Q peaks are particularly favored by many top engineers for tuning instrument tones. There’s no limit to what you can create with this classic channel strip in your rig!
Deca Dent 500 Series Chassis
10 space 500 Series rack mount chassis from Trident Audio Developments
The Deca-Dent is a new 10 space 500 Series rack mount chassis from Trident Audio Developments. This 500 series chassis is unique because it features the most versatile set of connections on the market, along with features not found on other 500 Series chassis.
The Deca-Dent is a new 10 space 500 Series rack mount chassis from Trident Audio Developments. This 500 series chassis is unique because it features the most versatile set of connections on the market, along with features not found on other 500 Series chassis.
Connecting to the Deca-Dent is both simple and versatile. Each channel can be connected via a combi jack which supports both XLR or 1/4” input. The output for each channel is XLR. In addition to this the first 8 channels of the 10 space rack are also accessible via a DSub (DB-25) connection for even simpler connections.
Beyond the connections of the rack, there are also very powerful linking features. Each pair of channels from left to right can be set to feed the Output of the left channel into the Input of the right channel, without the need to physically do this with cables. In addition to the Feed feature, the channels are also stereo linkable via the “Stereo Link” switch. This ties pins together on Odd/Even pairs of modules, and if the modules already support a Stereo Link function this switch will additionally activate that feature. This makes stereo linking of compressors or limiters extremely simple and there is no need to physically link the units with cables.
The Deca-Dent is powered externally by a switch mode power supply that can operate in any country without having to change any voltage settings. The power supply provides 32 Volts via a +/- 16V rails and a separate +48V rail for phantom power. Each slot get’s the full 130mA requirements when under a full 10 unit load.
Trident Deca-Dent 500 Rack Features
• 10 Spaces of 500 Slots
• Stereo Link funtion in pairs
• Input to Output Feed Switch in pairs
• Connections via XLR, 1/4″, and D-Sub
• External Power Supply