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Post by mobeach on Jan 10, 2015 8:28:40 GMT -6
Which Trident console is this? One of my old bands recorded on it back in 94. I really liked the sound. www.mdi-productions.com/ |
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Post by jcoutu1 on Jan 10, 2015 8:33:21 GMT -6
Which Trident console is this? One of my old bands recorded on it back in 94. I really liked the sound. www.mdi-productions.com/I think that's a Series 65. Not highly regarded like the A-Range or 80B, but I would like to put my hands on one. |
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Post by Bob Olhsson on Jan 10, 2015 18:58:40 GMT -6
My understanding is that the Sound Techniques sounded great but had reliability problems which led studio manager Toft and the studio's technician Barry Porter to design their own larger replacements.
The new console modules were compared to the previous consoles and developed over a period of time until Toft, Porter, Robin Geoffrey Cable, Ken Scott and Roy Thomas Baker all agreed that it beat what they had been using. That's one hell of a console design team!
I've been told Daking's benchmark is the A-Range and there's no reason not to believe it. I've never met anybody who has used a Trident A-Range and didn't think it was the best sounding console ever. I'm sorry I never had the chance.
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Post by jimwilliams on Jan 13, 2015 10:20:54 GMT -6
I used to service the A range at Group 4 Recording in LA, Angel Balister's old place. He did a lot of TV and film work there. It was a 40 input A range. The EQ faders were a headache as they would cut out and create all sorts of weird EQ curves on my Audio Precision analyzer.
THD was ok for a discrete design, about .05%. Where it shined was the bandwidth, 200k hz through the line input to mix out. The mic pre's were nothing special but that playback bandwidth was different from the rest at that time. It had a breathing quality about it.
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Post by jcoutu1 on Jan 13, 2015 10:46:58 GMT -6
I used to service the A range at Group 4 Recording in LA, Angel Balister's old place. He did a lot of TV and film work there. It was a 40 input A range. The EQ faders were a headache as they would cut out and create all sorts of weird EQ curves on my Audio Precision analyzer. THD was ok for a discrete design, about .05%. Where it shined was the bandwidth, 200k hz through the line input to mix out. The mic pre's were nothing special but that playback bandwidth was different from the rest at that time. It had a breathing quality about it. Hey Jim, how about that MTA reissue that I just picked up (pictured above)? Garbage or what?  |
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