By changing their manufacturing approach, Trident aim to offer their big-console sound and facilities at a much lower price.

The Trident Audio Developments brand has a long and unusually complicated (and contentious) history, which has been detailed in many previous reviews in SOS, so I'll not dwell on it here. Suffice to say the original British brand dates back to the beginnings of multitrack recording in the early 1970s, and the name is now owned by the American pro-audio company PMI. Of course, despite the change in ownership, key features of the famous British consoles' unique circuit topologies have been incorporated in various current Trident outboard products, and they have also heavily influenced their large-format mixing consoles — indeed, the designer of the current family of Trident consoles was an engineer with the original Trident Audio Developments company back in the mid-'80s, and is intimately familiar with all that makes those early consoles special.

Less Is More

Sitting as the flagship model in this range is the Trident 88, which Paul White reviewed in SOS January 2016. I reviewed its more cost-effective sibling, the Trident 78, in December 2017, but now there is a third, even more affordable model: the new Trident 68. Launched at this year's Winter NAMM show, this latest console retains all of the style, the workflow, and most of the features of its larger siblings, but the cost-reducing techniques introduced in the Trident 78 console have been further extended and several other aspects re-imagined, so that the price of this new Trident 68 is about 30 percent lower than the equivalent sized Trident 78.

Available in two frame sizes, with either 16 or 24 input channels (each with main and monitor input paths, as in the sibling consoles), the Trident 68 retains the eight mono subgroups, eight mono monitor returns, and eight stereo effects returns, plus stereo master and monitor section of its siblings. All that I/O means that a 16-channel console can accommodate a total of 56 inputs for mix-down, while the 24-channel version manages a whopping 72 inputs.

The console's channel strip layout has been altered slightly in response to user feedback, and is much to the better, in my view, but the overall configuration and signal paths remain very similar to those in the other Trident consoles. Physically, the input channels and groups are now constructed with eight to a module, instead of four-channel modules of the Trident 78, or the single-channel approach of the Trident 88, and this obviously helps to lower the production costs. That said, each channel's electronics are still contained on individual circuit cards, suspended vertically beneath the panel's controls in the traditional way.

The most obvious visual difference between the Trident 68 and the previous models is that the meter upstand features LED bar graphs instead of moving-coil VUs for the channel metering (mechanical VU meters are still used for the main stereo outputs). Less immediately obvious is that the bus routing buttons have moved — previously they were placed above the input section, whereas now they sit alongside the faders — and the channel strip aux and EQ sections have been swapped over too, making the EQ easier to reach.

These adaptations are largely in response to feedback from customers of the previous consoles. It makes good sense to me to have the EQ section closer to hand because it tends to be used all the time, whereas the auxes are often more 'set and forget' controls. I'm not personally quite so convinced about moving the routing switches, though; I've never liked buttons adjacent to the faders, as I find they tend to get in the way and can be activated accidentally when mixing... but, to be fair, a lot of other consoles are built in exactly this way and I have a feeling more than one person would feel differently!

All of the console's I/O is balanced and accessed via AES59 (Tascam) 25-pin D-sub connectors, with XLRs only provided for the master and monitor outputs. Each eight-channel input module has six D-subs to handle the mic inputs, line inputs, monitor inputs, direct outputs, and the insert sends and returns. Similarly, the master section has nine D-subs (plus the four XLRs mentioned above), two carrying stereo effects returns (1-4 and 5-8), one for the aux outputs, two for the group insert sends and returns, one for the group outputs, another for the monitor external inputs, and then two more for the master inputs (monitor inputs plus main stereo insert returns) and master outputs (main stereo insert sends, duplicated main stereo outputs, duplicated main monitor outputs, and monitor alt outputs).

Signal Path

Working through the input channel signal path, the mic and (padded down) line inputs share a new IC-based mic preamp with a 55dB gain range. Previous models have employed a discrete transistor preamp, alluding back to the original classic Trident design, but the Trident 68 uses a THAT 1580 low-noise preamp IC, supported by a THAT 1250 balanced line receiver and an Analog Devices OP07 op-amp. The claimed benefits include low noise and distortion, high slew rate, wide bandwidth and generous headroom. Most of the console's circuitry is built using surface-mount devices (SMD), of course.

As far as the user is concerned, though, the input section controls feature the same phantom power, polarity reverse, and input reverse buttons, albeit in a different order (input reverse swaps the line and monitor inputs so that the line input feeds the monitor path and the monitor return goes to the channel path, which is useful for mixdown). Moved from the input section is the button which selects whether the upstand meters show the post-fade channel or monitor return input signals — it's now found on the channel pan section, just above the fader.

Below the input controls is the aux send section, which is identical to that of the Trident 78. Level knobs and pre/post buttons are present for four mono auxes, followed by a pan, level control, and pre/post button for the stereo aux 5/6 send, which can also be switched independently into the monitor path.

One of the most significant changes for this new console is that the EQ section has been configured as a three-band plus high-pass filter affair. So there is a single swept mid-band instead of two as on previous models; it covers 200Hz to 3kHz with a ±15dB range. Some will bemoan the lack of a second swept mid-band, but the single section here is more versatile than most. Partly that's thanks to a switchable Q, which reduces the bandwidth to 1/3-octave for precise tonal correction. The high- and low-shelf bands have also been upgraded, with continuously tunable corner frequencies ranging between 1-15 kHz, and 40-650 Hz, respectively, while retaining the ±15dB range. A switchable third-order high-pass filter also retains the fixed 50Hz turnover frequency and, as in the other consoles, the entire EQ section (including the HPF) can be allocated to either the main or monitor signal paths.

The adjustable high- and low-shelf bands proved very versatile. In particular, I found the low band was almost Pultec-like in managing to add low-end weight without muddying up the mid-range.

Following the EQ section, the signal is dispatched via the (impedance-balanced) insert send, with the switchable balanced insert return feeding the fader and pre-fade aux sends. The (impedance-balanced) channel direct out can be derived either from the post-insert return, or post-fader, via internal jumpers.

I've already described the auxes, but I should mention that while post-fade channel auxes are silenced by the channel mute button, if Auxes 5/6 are switched across to the monitor path these are not killed by the monitor mute button.

Five buttons determine the channel output routing (after the channel pan control) to the main stereo mix bus or the eight groups in stereo pairs, while the monitor path output always feeds directly into the main stereo mix bus (with its own pan control). The channel fader is a standard linear long-throw type, but configured with 5dB of gain above the unity mark instead of the more usual 10dB, and the monitor fader is a rotary knob. A button on each channel strip allows the solo button to operate either as a standard channel PFL or a stereo AFL, and the bar-graph metering in the upstand can be switched to display either the channel path's post-fader output level, or the monitor return input level, as mentioned earlier.

Subgroups

The eight mono subgroups are located to the right of the master/monitor section and the structure is very similar to the related consoles, but a little simpler. After the group bus summing amp, the signal is dispatched via the (impedance-balanced) group send, with the selectable insert return feeding the group fader, which has 5dB gain in hand like the channel faders. The output from the fader is made available at the active symmetrical balanced group output, and can also be routed through the monitor return path instead of the dedicated balanced monitor input.

An LED bar-graph meter at the top of the group strip shows the level going into the monitor path before the rotary monitor level control, and a pan pot feeds the main stereo mix bus directly. The monitor path can feed the stereo aux 5/6 bus via a pan pot and rotary level control, with a switch to select the feed pre or post the monitor level knob. The solo button provides an AFL of the monitor output.

Built into the same group strip is the corresponding aux master, which comprises a simple rotary level control feeding an active symmetrical balanced output. Sadly, as part of the cost-saving exercise, there is no AFL button here so it is no possible to audition what is actually being sent from any aux send. Each group strip also carries a stereo effects return, with balanced inputs feeding a stereo level control, balance knob, and mute button.

Masters & Monitors

Again, the master/monitor strip is very similar to that of the Trident 78, and the only facility I can see that is missing is a mute button for the monitor outputs. The stereo mix bus summing amp drives an (impedance-balanced) insert send, with the selectable balanced return feeding the master fader (with 5dB in hand again). The active symmetrical balanced main outputs appear on both rear–panel XLRs and a D-sub connector.

The monitor section normally conveys the stereo main outputs, but it can be switched to either of a pair of external stereo two-track inputs. Both have balanced connections on a rear-panel D-Sub, but the first can also be over-ridden via a 3.5mm socket on the strip itself, for convenient playback from a phone or mp3 player. If the solo bus is activated that signal is automatically selected instead, and there is a separate volume control for the solo signal.

The monitoring controls comprise buttons to select a mono sum and/or dim, and a rotary volume control with routing to an alternative secondary set of monitor speakers. A separate volume control sets the level for headphones, which can be connected either on the monitor strip itself (3.5mm socket) or under the armrest (with quarter-inch and 3.5mm sockets). All three sockets are wired in parallel.

A built-in talkback microphone with a rotary gain control is provided, and features separate routing buttons to all six auxes or all eight groups, the latter activating the monitor dim function to avoid howlrounds.

Impressions

At the time of writing there was only one Trident 68 console here in the UK — it had just been installed in Cherry Tone Studios in Folkstone, run by Andrew Thomas, who extended a very kind and helpful invitation to visit and have a play with it! So I trekked down to the South coast to gain some hands-on experience of this new console, and to run some test measurements using my trusty Audio Precision test system.

The split/in–line structure and the control-surface layout of the Trident 68 feels very familiar, and the signal paths are simple and logical to understand, yet provide versatile and convenient workflows. Integration with a DAW is also very straightforward, using the channel direct outputs and monitor returns to hook up with a multichannel interface. The controls feel solid and reliable, and everything falls to hand nicely — especially the channel EQ sections, which are much less of a stretch than on the sibling consoles.

I ran a conventional set of measurements to assess the console's technical performance, and my figures agreed very closely with the published specifications in most regards. The gain range of the mic preamp (measured at the insert send) was from +9 to +66 dB, meaning that a nominal +4dBu output can be achieved with input levels between -62 and -5 dBu (with faders at their unity positions). At minimal gain, the mic input clips with an input of +13dBu, delivering +22dBu at the insert send, which agrees with the specifications. The maximum level from all the actively balanced outputs measured a tad over +26dBu, and +22dBu from the impedance balanced outputs. The maximum input level at the monitor and insert returns was also +22dBu, while the channel line inputs could handle more than the AP test set could deliver (the specifications claim a whopping +37dBu)!

I measured the THD figures for a variety of input and output routings at a consistent 0.001 percent, which is actually slightly better than the published spec, and the harmonic content remained very even at all levels up to within about 1dB of clipping, where the third harmonic becomes more prominent. Crosstalk between adjacent channels was below 92dBu at 20kHz, which is a fine result.

The mic EIN figure I captured was 2dB worse than the published figure, at -126dBu with a 150Ω source and 20Hz-20kHz measurement bandwidth. However, I subsequently discovered that the published spec is for 60dB of preamp gain, whereas I measured with the preamp running flat out at 66dB — and that could easily explain this apparent discrepancy. Residual output noise measured -96dBu with the main fader closed, rising to -77dBu with everything routed to the main outputs; both figures are again slightly better than the published specs.

The channel pan pots are configured with 3dB attenuation at the centre, providing a consistent acoustic sound level as a source is panned across the full stereo width, but a 3dB rise at the centre for a mono–summed output. Phantom power measured within spec both when unloaded and fully loaded, and the mic preamp's input impedance measured a fairly typical 2.2kΩ.

Although my time with the desk was obviously limited, I was able to run some familiar audio tracks through the channels and test out the EQ and other facilities. Additionally, I was able to question Andrew about his experiences — both initially, and subsequently, after he had run a few commercial tracking projects through the desk.

The Trident 68 is a very easy desk to work with in the context of a tracking session, allowing zero-latency artist cue sends to be set up quickly using the auxes from live channels and monitor returns from the DAW, and the ability to flip the channel meters individually to show the direct send outputs or monitor return levels is very useful. Being able to move the entire EQ section from the channel path during tracking to the monitor return is also very convenient, and while the EQ has only a single parametric mid-band section, it is a very good-sounding EQ and one which is remarkably versatile.

I suspect most people will now use their DAW's plug-ins for corrective surgical EQ work anyway, but the console EQ certainly works very well for general musical shaping duties like paring the spectrum of one source to let another shine through, and the switchable Q options are also very helpful in that respect. I also suspect that having a single parametric mid-band will actually help many users focus on what they're trying to achieve and deliver workable results quicker and more easily than when working with a four-band EQ — it's a case where less really is more in my view (and it certainly worked very well for Mr Neve's early designs!). The adjustable high- and low-shelf bands also proved very versatile. In particular, I found the low band was almost Pultec-like in managing to add low-end weight without muddying up the mid-range.

Unfortunately I couldn't try out the mic preamps with any real live sources, but I did test them — they sound good, the noise level is very low, and it's clear that there's a decent amount of gain available. Andrew tells me that he thinks the mic preamps have a 'big' sound which he likes a lot, and he has achieved very good results with a wide range of dynamic and ribbon mics without any noise problems.

Naturally, at this price, the Trident 68 lacks some features of the more expensive models in the range, but the omissions seem to be well-judged and perfectly reasonable trade-offs given the cost savings. None of them impact on the sound quality of the console, and few have any significant effect on workflows: the Trident 68 is undoubtedly a very powerful and impressive console for the money.

Conclusion

When I reviewed the Trident 78, I liked it very much, and I found myself liking the Trident 68 for all the same reasons — it is a very nice console to work with and, importantly, it sounds very good. It also shares some of the same (minor) foibles as its siblings, but none that get in the way. Despite a completely different technology, the mic preamp of the Trident 68 sounds excellent and retains the generous headroom characteristics of its siblings, while the EQ, although again a different design, still sounds innately musical and brings that big Trident sound character to bear. If the budget can't quite stretch to an 88 or 78, there's a much better chance a 68 will be within reach — and without leaving you wishing you'd saved up a bit longer. The Trident 68 will definitely get the job done in a very pleasing and efficient way.