The Series 68 analog consoles have been developed to deliver the core feature set most often needed for analog recording. The 68’s are Split/lnline consoles with individual channels in 8-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 Master and Main outputs. With a flexible yet powerful 3 band EQ at its core, including selectable channel inserts and monolithic preamps driving the inputs, the Series 68 consoles offer a wide array of summing and mixing options. The sonic quality and compact footprint of the 68’s are able to meet any demand. Modularity Throughout The 68’s by design are manufactured to be a more cost effective variant of the fully modular 78’s. Incorporating a similar chassis design and the LED meter bridge, the 68’s have a rugged and proven core. Using a simi-modular design the 68’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 8 channel pack. Subgroups are individual boards, faders included, each in a 8 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 3 Band EQ with sweeping mid bands and selectable low and high bands 27dB of headroom Channel Inserts Selectable EQ Path Microphone Preamp: The 68’s incorporate a new high-quality wide bandwidth preamp design. These preamps have lots of headroom with very low noise, low distortion, a high slew rate, and high gain fully capable of driving ribbon microphones. 65dB gain preamp Balanced inputs Balanced inserts with full bypass Input Reverse Switch Mic/Line Switch Phantom Power Switch Flexible EQ: The 68’s incorporate an all-new 3 Band EQ derived from the Series 80 Console EQ. As the main channel EQ throughout the console. A three band Trident EQ with overlapping frequency ranges is provided along with a switchable high pass filer. The HIGH and LOW sections of the equalizer have a shelving response and the MID has a peaking (bell) response with two selectable bandwidth settings. Sweepable high band between 1k and 15k Sweepable mid band between 200Hz and 3k Sweepable low band between 40Hz and 650Hz Selectable mid bandwidth between 1 and 1/3rd octave50Hz High Pass Filter Master Section: The master section of the 68’s are laid out for ease of use and have all the necessary features to manage your monitors, talkback, and stereo returns.The 68’s master channel is an independent 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. Main & Alt Monitor Control Mute, Dim & Mono Controls Onboard Headphone with Gain 8 Subgroups Two 2 Track Returns Subgroup Monitor Returns 1 Stereo AUX 8 Stereo FX Returns 1/8″ TRS Selectable Input Onboard Talkback Selectable Insert Return

The Series 68 analog consoles have been developed to deliver the core feature set most often needed for analog recording. The 68’s are Split/lnline consoles with individual channels in 8-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 Master and Main outputs. With a flexible yet powerful 3 band EQ at its core, including selectable channel inserts and monolithic preamps driving the inputs, the Series 68 consoles offer a wide array of summing and mixing options. The sonic quality and compact footprint of the 68’s are able to meet any demand. Modularity Throughout The 68’s by design are manufactured to be a more cost effective variant of the fully modular 78’s. Incorporating a similar chassis design and the LED meter bridge, the 68’s have a rugged and proven core. Using a simi-modular design the 68’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 8 channel pack. Subgroups are individual boards, faders included, each in a 8 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 3 Band EQ with sweeping mid bands and selectable low and high bands 27dB of headroom Channel Inserts Selectable EQ Path Microphone Preamp: The 68’s incorporate a new high-quality wide bandwidth preamp design. These preamps have lots of headroom with very low noise, low distortion, a high slew rate, and high gain fully capable of driving ribbon microphones. 65dB gain preamp Balanced inputs Balanced inserts with full bypass Input Reverse Switch Mic/Line Switch Phantom Power Switch Flexible EQ: The 68’s incorporate an all-new 3 Band EQ derived from the Series 80 Console EQ. As the main channel EQ throughout the console. A three band Trident EQ with overlapping frequency ranges is provided along with a switchable high pass filer. The HIGH and LOW sections of the equalizer have a shelving response and the MID has a peaking (bell) response with two selectable bandwidth settings. Sweepable high band between 1k and 15k Sweepable mid band between 200Hz and 3k Sweepable low band between 40Hz and 650Hz Selectable mid bandwidth between 1 and 1/3rd octave50Hz High Pass Filter Master Section: The master section of the 68’s are laid out for ease of use and have all the necessary features to manage your monitors, talkback, and stereo returns.The 68’s master channel is an independent 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. Main & Alt Monitor Control Mute, Dim & Mono Controls Onboard Headphone with Gain 8 Subgroups Two 2 Track Returns Subgroup Monitor Returns 1 Stereo AUX 8 Stereo FX Returns 1/8″ TRS Selectable Input Onboard Talkback Selectable Insert Return

The Trident 78 all analog consoles are all Trident through and through. The Trident 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 Trident 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 panel. 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 27dB of headroom Channel Inserts Selectable EQ Path 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 Input Reverse Switch Mic/Line Switch Phantom Power Switch 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. Main & Alt Monitor Control Mute, Dim & Mono Controls 2 On board Headphone connections with Gain 8 Subgroups 8 Stereo FX Returns Two 2 Track Returns Subgroup Monitor Returns 2 Mono and 1 Stereo AUX Subgroup Stereo FX Returns 1/8″ TRS Selectable Input Onboard or External Talkback Mic Selectable Output Transformer Option

The Trident 78 all analog consoles are all Trident through and through. The Trident 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 Trident 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 panel. 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 27dB of headroom Channel Inserts Selectable EQ Path 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 Input Reverse Switch Mic/Line Switch Phantom Power Switch 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. Main & Alt Monitor Control Mute, Dim & Mono Controls 2 On board Headphone connections with Gain 8 Subgroups 8 Stereo FX Returns Two 2 Track Returns Subgroup Monitor Returns 2 Mono and 1 Stereo AUX Subgroup Stereo FX Returns 1/8″ TRS Selectable Input Onboard or External Talkback Mic Selectable Output Transformer Option

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. Features Four Band Eq Sweepable Mid Bands Lo Freq can be switched between 60 and 120Hz Hi Freq switchable between 8 and 12KHz Lo Mid sweepable from 100 to 1.5KHz Hi Mid sweepable from 1 to 15KHz 50Hz Hi Pass Switch Peak Overload LED Bypass Switch

A Trident Console for Your 500 Series Rack. The Trident Audio Developments 80B packs the sound of the company's storied '80s-era consoles into a full-featured 500 Series module. This pristine-sounding, transformer-coupled mic pre captures sources with an ultra-fast transient response, near-imperceptible self-noise, and minimal distortion. For added studio flexibility, the 80B includes a balanced line input and a front-panel hi-Z input, along with separate microphone and line-level controls.

Trident 88 Console Overview 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 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 27dB 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: Designed with manufacturability in mind. 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 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 27dB of headroom 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 input transformer to any channel desired. Discrete Class A 65dB gain Balanced inputs, with optional Lundahl transformers Full bypass insert Input Reverse Switch Mic/Line Switch Phantom Power Switch 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 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 +/-15dB. 50Hz high pass filter Insert pre/post eq Monitor in: Tilt EQ 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 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

Trident 88 Console Overview 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 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 27dB 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: Designed with manufacturability in mind. 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 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 27dB of headroom 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 input transformer to any channel desired. Discrete Class A 65dB gain Balanced inputs, with optional Lundahl transformers Full bypass insert Input Reverse Switch Mic/Line Switch Phantom Power Switch 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 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 +/-15dB. 50Hz high pass filter Insert pre/post eq Monitor in: Tilt EQ 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 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

Trident 88 Console Overview 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 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 27dB 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: Designed with manufacturability in mind. 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 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 27dB of headroom 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 input transformer to any channel desired. Discrete Class A 65dB gain Balanced inputs, with optional Lundahl transformers Full bypass insert Input Reverse Switch Mic/Line Switch Phantom Power Switch 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 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 +/-15dB. 50Hz high pass filter Insert pre/post eq Monitor in: Tilt EQ 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 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

Overview 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. Introduction The legendary A-Range® equaliser 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® s a faithful re-creation of the original four band Trident A-Range® equaliser 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.

Overview The A-Range is a 2-channel rack-mountable version of the legendary Trident ‘A’ Range console. Comprising two independent channels, each with a microphone/line amplifier and four band equaliser, it is designed to process level instrument and incoming signals from a microphone or line level instrument and output to a recording device, such as a digital audio workstation or analog multi-track tape recorder. In 1972 Trident Studios decided to buy a new recording console and decided to build one themselves. The first console was designed purely for Trident Studios and was designated the A-Range. It was hand-built to the standards Trident set. In those days, the integrated circuit (or ‘chip’) had not been invented, so all of the circuits used individual transistors (known nowadays as ‘discrete’ design). This and the use of inductors in the lower and upper mid equaliser sections are said to account for much of the unique sound of the A-Range. From this first successful design was born Trident Audio Developments Ltd, which went on to become a leading manufacturer of music recording consoles. One of the company’s earliest advertising slogans was ‘designed by recording engineers for recording engineers’. This became a key component of what made the ‘Trident Sound’ unique. The 2-channel A-Range rack unit is an exact replica of the original all-discrete transistor circuitry and faithfully follows the original console’s design. So much so that it has taken three years of circuit analysis and testing by PMI Audio Group who undertook the mammoth task of recreating the circuitry. Trident Audio Developments and PMI Audio are extremely pleased and proud to offer this unique piece of recording history. Only thirteen A-Range consoles were ever built and a number are still in use today despite being nearly forty years old. This says a lot about the heritage of these iconic items of recording equipment and the artists that have used them, which include Elton John, Dire Straits, David Bowie, Rod Stewart and Stevie Wonder to name but a few. 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. About Studio Three. @ East West Studioshttp://www.eastweststudios.com/studio3/ 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 Another of the legendary studios to use the A-Range consoles was Chreeokee Recoding Studios in Hollywood. Cherokee studios owned at one time 4 A-Range consoles. Many bands and artisits have recorded on A-Range consoles at Chreeokee over the years including the following; David Bowie With Cameron Crowe documenting the recording sessions for Rolling Stone, David Bowie came to Cherokee Studios in 1975 to record his platinum album Station to Station. Motley Crue Mötley Crüe recorded the platinum selling albums Theatre of Pain and Shout at the Devil at Cherokee Studios. Harry Nilsson Harry Nilsson recorded his final album Flash Harry at Cherokee Studios between 1978 and 1980. Produced by Steve Cropper and engineered by Bruce Robb, the album has a very clean, soulful sound and features a who’s-who of collaborators including Ringo Starr, Paul Stallworth, Eric Idle and Mac Rebennack. Bonnie Raitt While living in one of the West Hollywood apartment complexes directly behind Cherokee Studios, Bonnie Raitt would pick up backup singing recording gigs with music producers Bruce Robb and Steve Cropper. Frank Sinatra Frank Sinatra recorded the Sinatra Christmas Album at Cherokee in 1975. Ringo Starr While he was recording Stop and Smell the Roses at Cherokee Studios in 1980, Ringo Starr invited George Harrison, Paul McCartney and Linda McCartney to guest on the album; Paul McCartney and Harrison also produced some of the tracks. Starr had approached John Lennon to help out as well, had received two demos of songs which eventually wound up on the posthumous Lennon album Milk and Honey, and reportedly, Lennon had agreed to come to Los Angeles in January 1981 and take part in the recording; the album then would have been a modest Beatles reunion. The assassination of Lennon prevented those plans from coming to fruition. Ronnie Wood of the Rolling Stones also collaborated with Starr on the album at Cherokee, adding guitar, bass, saxophone, keyboards, and back-up vocals. Weird Al Yankovic Weird Al Yankovic recorded his first album at Cherokee in 1982. The album sold over 500,000 copies. Warren Zevon In 2002, a terminally ill Warren Zevon came to Cherokee Studios to record what would be his final album, The Wind. Nick Read filmed Zevon’s final recordings at Cherokee for the documentary,Warren Zevon: Keep Me In Your Heart. Bruce Springsteen joined Zevon at Cherokee for the single “Disorder in the House,” Cherokee owner Bruce Robb provided lead guitar on the first track of The Wind and support vocals on two other tracks. Michael Jackson Michael Jackson‘s 1979 album Off the Wall was recorded at Cherokee Studios. The album is among the best-selling albums of all time. Acts that have recorded at Cherokee Studios also include: Aerosmith Alice Cooper Automatic 7 Barbra Streisand Bliss 66 The Cars Concrete Blonde Dave Matthews Band David Bowie Device Devo Diana Ross Dokken Donovan (Lady of the Stars) Elis Regina Fear The Go-Go’s Toto Guns N’ Roses Sammy Hagar JetSet Journey Lillian Axe Korn Lenny Kravitz Lita Ford Rollins Band Steely Dan Stryper Stylus Automatic Suicidal Tendencies The Choirboys Thirty Seconds to Mars Van Halen X The Broken Homes Radio Active Cats Bihlman Bros

The Hi-Cut This is a sweepable low pass filter with unity gain in the selected passband and a selectable (12dB per octave or 24dB per octave) roll-off outside the passband. The cutoff frequency can be set from 75Hz to 24kHz. In addition, a RESONANCE control can be switched into circuit, to introduce a resonant peak at the selected cutoff frequency. The size of this peak, which is dependant on the elected frequency selected on the front panel, can be varied from zero to approximately +12dB. At maximum setting, RESONANCE stops just short of self-oscillation. A HI-CUT ENABLE switch allows each individual frequency band or filter to be assessed, while a red PEAK warning indicator will illuminate at approximately +16dBu, approximately 12dBu below clipping. To allow adequate headroom, avoid boosting the signal by more than an amount which just causes this LED to flash on occasional peaks. Hi-Cut Dynamic Tracking Using the TRACK SIGNAL function enables the Hi-Cut filter to be used for dynamic noise reduction. This is a technique that relies on the psychoacoustic effect of ‘masking’, in which a louder signal will cover up a quieter signal of the same frequency. In this mode, the cutoff frequency tracks dynamically the high frequency content of the music, with the FREQUENCY control setting the frequency to which the filter will close down in the absence of any high-frequency content. With a noisy signal applied (e.g. from analog tape or other material with a high background noise content), start with the FREQUENCY control at maximum (fully clockwise) and back off the control until the noise just disappears. Use of higher resonant settings will result in the movement of the filter becoming audible and indeed, combined with the lower settings of the FREQUENCY control, this can be the basis of some unique special effects. Further possibilities The sweep range of the Hi-Cut filter is extremely wide, from effectively subsonic, right up to full audible bandwidth. This suggests the possibility of fading tracks in and out, not in the amplitude domain as is usual, but in the frequency domain. The Lo-Cut This is a sweepable high pass filter with unity gain in the selected passband and selectable (12dB per octave or 24dB per octave) roll-off outside of the passband. The cutoff frequency can be set manually, anywhere from 15Hz to 16kHz. In addition, a RESONANCE control can be switched into the circuit, to introduce a resonant peak at the selected cutoff frequency. The size of this peak, which is dependant on the elected frequency selected on the front panel, can be varied from zero to approximately +12dB. At maximum setting, RESONANCE stops just short of self-oscillation. A LOW-CUT ENABLE switch allows each individual frequency band or filter to be assessed, while a red PEAK warning indicator will illuminate at approximately +16dBu, approximately 12dBu below clip-ping. To allow adequate headroom, avoid boosting the signal by more than an amount which just causes this LED to flash on occasional peaks. Lo-Cut Dynamic Tracking Using the TRACK SIGNAL function, enables the Lo-Cut filter to be used for a dynamic hum or rumble reduction. This is a technique that relies on the psychoacoustic effect of ‘masking’, in which a louder signal will cover up a quieter signal of the same frequency. In this mode, the cut-off frequency tracks dynamically the low frequency content of the music, with the FREQUENCY control setting the frequency to which the filter will open up in the absence of any low-frequency content. With a noisy signal applied (e.g. from a record deck or other material with a high background noise content), start with the FREQUENCY control at minimum (fully anticlockwise) and advance the control until the hum or rumble just disappears. In practice, this technique demands a trade-off between noise reduction and loss of some low-frequency content of the program material. However, using the steepest (24dB per octave) slope maximizes the amount of low-frequency content retained. In addition, discreet use of the RESONANCE control to introduce a small peak of a few dB at the cutoff frequency can psychoacoustically enhance the apparent bandwidth of the filtered signal. Use of higher resonant settings will result in the movement of the filter becoming audible and indeed, combined with higher settings of the FREQUENCY control, this can be the basis of some unique effects. Further possibilities The sweep range of the Lo-Cut filter is extremely wide, from effectively ultrasonic to right down to full audio bandwidth. This suggests the possibility of fading tracks in and out, not in the amplitude domain as usual, but in the frequency domain. Hi-Lo Peak Indicators The Trident Hi-Lo includes LED peak indicators on the outputs of both the Hi-Cut filter section and the Lo-Cut filter section. Since the filters are in series (the Hi-Cut circuitry before the Lo-Cut), the Hi-Cut Peak LED monitors the Hi-Cut filter stage only, and the Lo-Cut Peak LED monitors to signal thru both stages, and as such, the output of the unit. This gives the most flexibility for clip monitoring in the unit. The Output of the Hi-Lo can drive approximately 27.5 dB into a 600 Ohm load. The clip levels are approximately 12 dB below the actual signal Clip (so we have this occur at +16dBu) and allow for tweaks in resonance which may exceed that but allow for headroom after the clip indicator has just reached active. It should also be noted, that if neither the Hi-Cut or Lo-Cut switches are enabled, the peak LED indicators are actively monitoring the incoming signal level. Dynamic Linking Linked Stereo Tracking The Trident Hi-Lo module also offers the option of linked stereo tracking when paired with a second Trident Hi-Lo module. Ordinarily, most 500 Series racks offer paired slots by default. The Trident Hi-Lo provides an on-board stereo link switch (S9) for use in this instance. With both modules, stereo link switches selected to on, and the modules fitted in the pre-paired slots, the modules are now paired together. By enabling both Hi-Lo modules TRACK SIGNAL switches, and setting the FREQUENCY controls to identical positions, the left and right signals are now summed together, and the automatic tracking follows both the left and right signal sources. When using a 500 Series rack with selectable stereo pairing on the rear of the rack, such as with the Trident Deca-Dent, by releasing the on-board stereo link switches, both modules can be used as separate mono units without the need to access the rear of the rack. API Radial Workhorse An onboard jumper is available for use when the Trident Hi-Lo is used in conjunction with the API Radial Workhorse. When selected, this allows the Hi-Lo to send its output to the Workhorse mix bus (pin 11), which is fed to the Workhorse mixer section. This can be used in conjunction with the on-board stereo link switch, thus enabling stereo use on the Workhorse. Up to 48dB Per Octave Slope (Wired In Series) When two Hi-Lo modules are connected in series, slopes of 12, 24, 36, and 48dB can be achieved, in any combination, by selecting the appropriate SLOPE buttons on the front of each Hi-Lo module. For example, by engaging both of the Hi-Lo modules Hi-Cut filters, and setting both modules to 24dB slope, the program material will be subject to a 48dB slope. By adjusting one of the Hi-Cut filters to 12dB, the program material will be subject to a 36dB slope. The introduction of a third Hi-Lo in series with the first two Hi-Lo modules, would provide for yet steeper slopes, again in increments of 12dB. If fact, because they can be connected in series, you’re only limited by the number of Hi-Lo’s that you have to hand.