The description of the Trident Series 90 is very detailed. To enable you to reach a particular section quickly, please click on one of the following headings.
Up Click where you see this icon to
return here.
Up or select from
Intro / I/O module /
Central facilities / Frame /
Automation + Machine control / Dynamics
/ Specs /
Other web pages.
A few years ago, designing a mid range console was a relatively simple proposition. Sophisticated signal routing, fully parametric EQ, large numbers of Auxiliary sends and Automation were all the preserve of large, expensive consoles and were mostly unavailable to those working within the financial constraints of an independent studio. Consoles such as Trident's Series 80 range were ideally suited to the needs of such studios, as its enormously successful track record shows. In recent times, the proliferation of Midi equipment with multiple outputs and the adoption of multitrack tape formats with ever increasing number of tracks have stretched even large consoles to their limits. At the same time, recording budgets have shrunk and projects have been forced to move away from the larger studios, creating a demand for a console which provides many of the large console facilities but at a much lower price. Several manufacturers have attempted to provide this, but even the most recent designs, while on the surface appearing to succeed, will in reality impose quite severe operational limits on the user.
In the Ninety, Trident has produced a console which, while maintaining our commitment to sonic excellence and straightforward operation, sets new standards in flexibility, features, ergonomics and automation, even when compared to much larger and more expensive consoles. A standard 40 way console provides the user with up to 120 input paths to the Main stereo buss, each of which has EQ, Aux sends, Multitrack routing and automated Cut available to it. 80 of these inputs also have fully automated faders, which may be arranged as 80 VCA's, or as 40 VCA's and 40 moving faders if desired. Trident's unique, Inline plus, architecture allows the user to reconfigure individual modules, making for greater efficiency and flexibility in performing the complex tasks associated with today's recording process. The ease and speed with which the console performs these tasks is further enhanced by the provision of comprehensive patchbay facilities and a fully integrated console automation and machine control package.
In keeping with Trident's long established policy, the outstanding value for money offered by the Ninety does not entail any short cuts in quality. The frame utilises materials and techniques from the aerospace industry, and all components used are the finest of their type available. All of the above, coupled with excellent technical specifications, superb build quality and support of our world wide dealer network ensure that the Trident Ninety fulfils the operational and business needs of today's studios and their clients.
Up or select from
Intro / I/O module /
Central facilities / Frame /
Automation + Machine control / Dynamics
/
Specs / Other web pages.
The Ninety I/O module provides all the features of a 'standard' inline module, but with the addition of a second Channel Line Input, and additional, 2 band, EQ which can be switched between the Monitor and Line 2 paths and 12 automated switches per module. The Line 2 path may be routed independently to the main Stereo Buss thus providing 3 input paths per module in mixdown situations: Channel Line 1, Channel Line 2 and Monitor Group, Tape. Each of these paths may have EQ and Auxiliaries assigned to it, and each is provided with Level and Pan controls and an automated Cut switch. The Long and Short faders are also VCA automated as standard, with a moving fader optional in the Long fader position. The facilities and functions of the module are described in more detail below.
The output of the module may be sent to any combination of the 24 Multitrack Group busses using the 12 Routing and 2 bank select, 1 to 12 and 13 to 24, switches at the top of the module.
If 1 to 12 is pressed, selecting the top left routing button, 1 to 13, will send the signal to Group 1. If 13 to 24 is also pressed, the signal will be sent to Groups 1 and 13, and if only the 13 to 24 switch is pressed the signal will be sent to Group 13 alone. Some consoles utilise a single switch to change from one set of busses to the other, but this means that only one set may be selected at a time. The routing section is normally fed from the outputs of the Channel Panpot, left being sent to the odd numbered busses and right to the even numbers. The feed to the routing may however be selected from the Monitor Panpot using the MON TO MTK button, or from the Aux 5 and Aux 6 level controls. In this case, Aux 5 will feed the odd numbers. Aux 6 the even.
Although only the first 24 modules require the circuitry for the Group mix amplifiers, trim controls and output amplifiers, it is included in all. For modules 1 to 24, the GROUP trim control sets the output level of the group bearing the same number as the module. Pressing the DIRect switch of any module will send the pre Panpot, post fader Channel path signal directly to the module's Group Output jack, bypassing the mix amp etc. and therefore shortening the signal path to produce the highest quality recording with minimal degradation.
Most inline modules have a Microphone Input and a Line Input, either of which may be selected to the Channel path. The Ninety also provides a second Line input, LINE 2. This is a truly separate input with its own patchbay jack, gain control etc, NOT, as in some designs, a change of gain, impedance of the normal Mic or Line input. A Phase Reverse switch acts on both Mic and Line Input. A fourth input is also available to the Channel path of modules 1 to 24, this being selected by the SUBGRP switch. This replaces any other selection with the output of the module's Group Trim control. The Channel path and all its facilities therefore become available as master controls for that group. The output may then be routed as a normal Channel path signal.
The Microphone input is provided with a GAIN control, a PAD switch, -30dB, and a plus 48v phantom power switch. An individual channel may be selected to Mic or Line input using the module FLP switch, or all modules may be controlled by the CHANNEL INPUT FLIP switch in the Centre Section. If the push-push switch in the Line 2 GAIN control is pressed, the module will be isolated from the master switch and the ISO LED will illuminate. Thus channels being used for FX Returns, live keyboards etc. may be permanently set to line input.
Line Inputs 1 and 2 are both provided with GAIN controls The Channel may be switched between Line 1 and Line 2 using the 1 and 2 button, or both may be selected using 1 plus 2, the GAIN controls being used to balance them. The 2 band EQ and Auxiliaries 5 and 6 may be assigned to the Line 2 input signal and the Aux 5 and 6 outputs may be fed to the Multitrack Groups. See below.
The final button of this section is the L2 TO MIX switch, which is one of the most powerful on the console. When L2 TO MIX is pressed the Channel path defaults to Line 1, or Mic, regardless of the settings of the 1 and 2 and 1 plus 2 switches. Whatever source is currently feeding the Aux 9 and 10 LEVEL, PAN and CUT controls is replaced by the output of the Line 2 GAIN control, and the outputs of the Aux 9 and 10 PAN pot are disconnected from the Auxiliary mix busses and routed to the main Stereo Mix Buss. L2 TO MIX thus creates a secondary Channel path with its own Level and Pan controls and an automated CUT switch to the main Stereo Mix. The 2 band EQ and Auxiliaries are still available to the Line 2 path when L2 TO MIX is pressed, the EQ being placed between the GAIN and LEVEL controls, and auxiliaries 5 and 6 being switchable pre or post the level CONTROL and cut SWITCH.
A 40 way console thus has 120 inputs available for mix down, each with Level, Pan, automated Cut, EQ and Auxiliary sends. If the Line 2 paths are used as returns for any FX keyboards, samplers etc. which require minimal extra treatment, the whole of the conventional console is still available for use.
10 Auxiliary sends are provided, 1 to 6 being configured for mono operation, while 7, 8 and 9,10 are stereo pairs. Separate LEVEL controls and automated CUT switches allow independent operation of each mono send, since we feel that the compromises caused by pairing these functions are not acceptable. The mono sends may be sourced in pairs from the MONitor path, and may also be sourced from PRE or post their current fader.
Sends 5 and 6 may also be sourced from the Line 2 input. This feed will always be taken after the Line 2 GAIN control and EQ, if selected. In normal Line 2 operation, the PRE switch is disabled, but if L2 TO MIX is pressed, the Aux 5,6 PRE switch will select the source PRE or post the Aux 9,10 Level control. Now the Line 2 path fader. The outputs of sends 5,6 may be sent to the Group Routing switches instead of the Auxiliary busses by pressing the MTK button, thus allowing the Groups to be used as extra Auxiliary sends. This function is available regardless of which source is currently selected for sends 5,6 and Line 2 may thus also be routed to the multitrack.
This facility is available whether or not Line 2 is selected to the Channel path and the Line 2 input, with its EQ, can therefore be utilised even if the Channel and Monitor paths of the module are already being used to send signals to the other auxiliaries or the Main Buss.
The two stereo sends are each provided with LEVEL, PAN, PRE fader, source from MONitor and automated CUT switches. Since sends 9,10 become the Line 2 controls when L2 TO MIX is selected, an AFL L2 switch is provided to enable quality checking etc. on this path. If the console is placed into PFL mode from the centre section, the AFL L2 feed is taken from before the Aux 9,10 level control, after the EQ.
The variable high and low pass filters, 12dB per octave, may be switched in and out of the Channel path. Two equalisers are provided. The main four band EQ is normally in the Channel path, while a simple two bank shelving EQ defaults to the Monitor path. The two Mid bands of the Channel EQ may be switched to the Monitor path, and two band Monitor EQ which is of the same design as that of Trident's legendary TSM range, may be assigned to Line 2. The EQ combinations available are as shown in the (graphic) table below.
An electronically balanced, pre fade insertion point is provided in the Channel path. This is normally situated post the EQ, but may be switched to a position PRE the EQ. The Insert Send is always active, the Return being switched in and out of circuit by the IN button, which is automated.
A long travel, 100mm, fader is normally situated in the channel path, and a short, 52mm fader in the monitor. Each fader has SOLO and CUT switches associated with it.
If FDR REV is pressed, the faders will be swapped, the Long fader moving to the Monitor path and the short fader to the Channel. The SOLO and CUT switches follow their associated fader into the alternative path so that a particular fader is always used with the same switches. BOTH faders are automated using high quality VCA's. A moving fader is optional in the Long fader position.
The default Solo mode is AFL, switches being provided in the Centre Section to globally change this to either Solo in Place or PFL mode. A SaFE switch isolates the module from the destructive SIP switching from other modules. The fader CUT switches are controlled by the console automation system.
Channel and Monitor paths are provided with individual PAN controls and Stereo Buss Routing switches. Centre Section Master buttons allow global operation of both CHN MIX and MON MIX routing switches. As previously mentioned, the Group Routing switches will normally be fed from the Channel PAN control, but may be switched to the Monitor PAN using the MON MTK button. This allows easy bouncing of tracks using an existing Monitor balance.
The Monitor path input is selectable between GROUP and TAPE. The Group signal monitored by a module will be the Group associated with that module number, or its Channel path Direct output. In the case of modules above 25, which have no Group outputs, only the Direct signal will be available without over patching.
The default Monitor status is TAPE. This can be changed to Group on an individual module using the GRP button. If the TAPE button is also pressed, both inputs will be summed for ease of over dubbing. Levels are internally compensated. A global ALL GROUP switch forces all the Monitor paths to Group, disabling the module switches.
A switch and LED are provided to allow the control of tape machine Ready, Safe switching. The switches and LED's are isolated from each other and the console, and may therefore be used for other low voltage remote control functions if desired.
Up or select from
Intro / I/O module /
Central facilities / Frame /
Automation + Machine control / Dynamics
/ Specs /
Other web pages.
The Trident Ninety Central Facilities section contains all the master controls expected of a top line console and these, combined with the superior ergonomics carried over from the I/O module, will allow the engineer to control a session in an efficient and relaxed fashion. The Central Facilities section also houses the Automation, Machine Control computer keyboard and trackball controller. The facilities provided are :
MONITOR MASTERS Outputs are provided for three pairs of control room speakers. These outputs may be Cut, Dimmed by a selected amount, or placed in Mono, and their level may be controlled by the large MAIN MON CONTROL. An additional level control is provided for the ALT 1 and ALT 2 selections, so that their level may be trimmed against the main speakers. The source for the monitors may be selected between the console Main Buss and a combination of six external tape machines, a further external source and the Studio Playback mix. This section also contains the master controls for the console solo systems. The I/O module SOLO switches may function as AFL, PFL and Solo in Place, destructive solos, the selection being made by the PFL and SIP switches below the monitor source select switches. If SIP is selected, pressing a long fader SOLO switch on an I/O module will cause all other long faders to be cut unless they are themselves soloed.
Similarly, pressing a short fader SOLO switch will cut all other short faders. SOLO LINK will combine the two systems, so that soloing a long fader will cut all short faders in addition to the other long faders. This can be especially useful in complex mixes. If both SIP and PFL switches are pressed, the console defaults to PFL mode.
TALKBACK MASTERS The TALK TO FB and TALK TO AUX master switches allow the user to send the output of the console Talkback Microphone, mounted in the meterbridge support pillar, to the destination selected in the Talkback control section at the top of the Central Facilities panel. TALK TO STUDIO sends the signal to the Studio Playback speakers and TALK TO SLATE sends it to the Multitrack Group and Stereo Mix busses.
Further control over the TALK TO FB function is provided by the AUTO TB switch. If this is pressed, TALK TO FB will be activated whenever the tape machine connected to the Multitrack Remote switches is not in Play or Record.
Up or select from
Intro /
I/O module / Central facilities /
Frame / Automation + Machine control /
Dynamics /
Specs / Other web pages.
The Ninety frame is constructed mainly in steel, on a base of aluminium honeycomb. This material is normally used in the construction of aircraft and racing cars and combines exceptional rigidity with low weight. All external connections are housed within the console frame and are hidden in normal use. Audio connections are made via standard, EDAC Multipin connectors, remote control interfacing is via 25 way D Type connectors.
All inputs and outputs are electronically balanced, and balanced bussing is used throughout. Gold plated contact connectors are used wherever practical.
The patchbay utilises high quality Bantam style jack sockets, which are PCB mounted for ease of servicing. All relevant module and centre section inputs and outputs are available at the patch.
Up or select from
Intro /
I/O module / Central facilities /
Frame / Automation + Machine control /
Dynamics /
Specs / Other web pages.
Possibly the largest breakthrough achieved in the development of the Trident Ninety is the integration of a full Automation and Machine Control system into a console of this class, giving the user unparalleled power and flexibility in the running and operation of their sessions. The console automation controls BOTH I/O module faders, Long and Short, and 12 switches per module, Aux Cuts 1 to 6, 7,8 and 9,10, Long and Short fader Cuts, Insert In and Channel EQ In, the centre section Auxiliary master and FX Return and, optionally, the Main Stereo fader. Faders may be selected between modes individually and switch modes may be changed on a per module or, Switch Bank, basis. All mix data may be stored as a unique file at the end of each pass, reducing the risk of inadvertently over writing a favourite mix. Mixes may be joined, spliced and merged and sophisticated off line edit modes allow precise manipulation of faders and switches. The data associated with faders and switches may be copied and swapped both within and between modules.
The Machine Control system gives full operation and synchronisation of two tape transports and a Midi virtual machine. Cue lists, tracksheets, notes etc. are all catered for and locates may be performed to timecode or to cue names or musical bars. Cycles and automated, drop ins, may be programmed into the system and a unique, Tracksheet Solo, facility allows the user to perform Solo in Place operations on the I/O modules by selecting a track name from the list. The system works with all standard timecode formats and integrates fully with the console automation. All automation and Machine Control data is stored to hard disc, and the system is controlled by a trackball and keyboard situated within the Central Facilities section. An external colour video monitor provides clear but comprehensive displays of all relevant information for both Automation, fader levels, status etc. and Machine Control, Cue and Track lists, machine status, timecode, cycle times etc.
An optional extra is a virtual dynamics system (see below) which users will be able to fit to existing consoles or purchase as a factory fitted option. This allows the user to assign powerful signal processing modules to the Channel or Monitor paths of every I/O module and to the Main Buss. These modules will be controlled via the trackball, keyboard and screen display of the automation Machine Control computer, in addition to a dedicated dynamics controller panel in the central facilities section.
Up or select from
Intro /
I/O module / Central facilities /
Frame / Automation + Machine control /
Dynamics /
Specs / Other web pages.
TRIMIX DYNAMICS BASIC OPERATION. The dynamics Master Controller, illustrated above, replaces the panel situated immediately below the automation keyboard in the console Central Facilities unit. The controls consist of six rotary shaft encoders and six switches, which may be used to vary the settings of various parameters and to switch the compressor and gate in and out of circuit. Assigning the controller to a particular fader path is a simple matter of pressing the DYNS key on the automation system keyboard and then pressing the fader status button on the desired fader. Alternatively, selection can be made from the Tracksheet window of the Cue screen using the trackball. Once a fader has been selected, the Dynamics Control window will open and the various parameters currently set for that path will be displayed and can be adjusted using the controls provided.
The COMP,GATE button switches the controls between compressor and gate i.e. if the controls are selected to COMP, the GAIN,FILTERS encoder will determine the amount of make up gain after compression has taken place. If the controls are selected to GATE, the same encoder will be setting the roll off frequency of the High Pass or Low Pass filter, selected by the HP,LP switch. LED's on the panel indicate whether COMP or GATE is selected and also the current status of the RATIO,RANGE AND GAIN,FILTERS encoders. The name of the currently active control is displayed at the top of the window and the bar display for that control will be highlighted on screen. The METER switch toggles the module bargraph meter to show either dynamics gain reduction or the audio level of the currently selected module meter source, Channel or Monitor, pre or post EQ etc. The LED in the switch illuminates to show that the meter is reading gain reduction. These meter sources are also selectable as the Side Chain input to the dynamics, so that the channel path dynamics, for instance, can be triggered from the signal in the monitor path. The side chain input is also available at the patch. When the meter is displaying gain reduction, the bar starts at the top of the meter and moves downward. A LINK facility allows the two dynamics channels within the card to operate as a stereo pair.
Although only one set of parameters, compressor OR gate, can be adjusted at any one time, both devices can be operational at once, so that simultaneous compression and gating of both Long and Short faders can be carried out. LED's in the appropriate switches show the current in/out status of the compressor, the gate and the filters.
Trimix Dynamics can be fitted to both VCA and Moving Fader versions of the Trimix Automation system fitted to Series Ninety and Vector 432 consoles.
Up or select from
Intro / I/O module /
Central facilities / Frame /
Automation + Machine control /
Dynamics /
Specs / Other web pages.
Microphone Input 0.01% at 40Hz
0.01% at 1kHz
0.04% at 10kHz.
Channel Line Input 0.01% at 40Hz
0.01% at 1kHz
0.03% at 10kHz.
Monitor Group and Tape 0.01% at 40Hz
0.01% at 1kHz
0.02% at 10kHz.
All figures are typical measurements from specified input to Main Stereo Buss Output, gain set at unity, plus 20dBu
Group to Group -83dB at 1kHz
-73dB at 20kHz.
-100dB Ch or Mon to Stereo Buss 20Hz - 20kHz.
The technical specifications quoted are the results of tests carried out on a randomly selected console and should therefore represent those obtainable from a typical Trident 90.
Since our products are constantly updated and improved, the manufacturers reserves the right to amend these specifications at any time.
PLEASE NOTE Whilst every effort has been made to ensure the accuracy of the contents of this document, the manufacturer reserves the right to alter or amend the product described at any time and with no prior notification. This document does not constitute an offer for sale of any product.
Up or select from
Intro / I/O module /
Central facilities /
Frame / Automation + Machine control /
Dynamics /
Specs / Other web pages.
Trident's Home Page Last updated 29th Jan 96
Please Click here for Trident Email Enquiry Form