If you're not replacing the control24, and you don't intend on using it as a back-end mixer instead of PT internal mixer, I recommend variety. You can get [[url=http://[/URL]="http://www.tridenta…"]Trident channels 2 at a time brand new from John Oram[/]="http://www.tridenta…"]Trident channels 2 at a time brand new from John Oram[/], and mix & match pre's from others to give yourself more tonality options. I'm a big fan of matching pre's with mic's with placement with soundsources with ________. you limit your options when all you have is 48 of the same pre.

Thanks for the reply. I couldn't agree more about options. It seems to be an ongoing game of combinations, room, mic, pre. My interest would be in breaking out perhaps 8 pre, eq strips and using them as front end options. This would cost me quite a bit less than the new ones being made, although they look quite beautifully made. How does this sound?

You have to ask yourself honestly whether THAT model Trident is worth getting all excited about vis a vis pre quality. Frankly to be honest, I dont recall it being a 'golden' model..(Like the series A or B models)

So, then there is the size of it, the hassle of choping it up..

What anyone with a C24 is missing is EQ's, I bet the Trident is more fun to get a band into PT with than flat/no eq via the C24's pre's so why not hook it up to one side of you as a 'side car'. If you have clients they may be impressed with the brand name & you get EQ on the way into PT saving you from doing stuff ALL with plug ins - (which is a no-no IMHO). Worth keeping - very perhaps, chopping up - no.

Do you have the room for it? If so what the hell! any excuse for more knobs and lights is good.

Thing for anyone to do is to be gradualy getting a mic pre / EQ collection together as Angelo suggests..Many folks get by very well with 2 "golden" channels. Classic being. a Brent Avrill Neve 1272 mic pre pair.

:)

I have a control24 and although a the pres are nice and neutral. Everytime I do a A/B they loose out to all my outboard pres. I know a few people that use them for most of there pres and they are not bad. I A/B then to my mackie and liked them more.
I have a UA 2-610, Buzz dual, 9098 dual, quad neve broadcast line amp thingy.
I like having the different colors, for important things,
Have a good xmas

Originally posted by Randy Crafton:
My interest would be in breaking out perhaps 8 pre, eq strips and using them as front end options. This would cost me quite a bit less than the new ones being made, although they look quite beautifully made. How does this sound?

If you could see yourself using 8 at a time, sure. That'd be pretty cool. Again, I prefer more diversity. I would use that pre on one mic at a time, not likely for stereo pair in most cases, so it would take a pretty large band for me to find need for more than a few at a time. Two channels, or 4 at the most, would do me just fine. But that's me. If I was stuck with a whole console full of em it wouldn't ruin my day either.

The pres in the Series 16/24 weren't anything special, same goes for the Series 65/75. You have to go back a generation to the Series 80/70/Trimix consoles for the cool tranny coupled pres, or all the way to the original A range/B range for class A discrete pre/EQs. I'd pass and look for some of these earlier modules if your not going to use the board for mixing through.

Hey, you're in luck... those are the 80 series modules in that [[url=http://[/URL]="http://www.tridenta…"]Oram piece[/]="http://www.tridenta…"]Oram piece[/].

Happy Holidays Everyone! :D

Unless you need a whole bunch of pres I don't think it would be worth it. The pres on my 65 sound OK but I still use outboard pres wherever I can. Now if you were going to mix through the console as well that would be worth considering.

John also has newer pres and eqs he's designed that have a great sound to them--it might be worth checking them out. The HiDef 35 EQ is a killer!

Merry mic pre Xmas!

On the subject of seperate pre's for everything... It has occured to me, operating in just that way for a few years or so.. That the old schoool 'use one console' way would contribute to a recording having a solid 'sound signature' ie a

Totally Neve recording
Totally API Mix
Totally SSL mix
Totally Trident recording & mix

etc

Now dont get me wrong here, I dig the mix and match way, but surely SOME (many old) recordings MUST have as part of their magic, the sonic signature of THE WHOLE CONSOLE!

:)

Originally posted by Julian Standen:
Now dont get me wrong here, I dig the mix and match way, but surely SOME (many old) recordings MUST have as part of their magic, the sonic signature of THE WHOLE CONSOLE!

Interesting. I hadn't thought of it but you may be right. Also, how much bland "radio ready sounds the same as" music can be blamed on having the same 5 people mixing every album on MTV and K-Rock on the same console and the same gear? I'm sure your stuff has a signiture to it. I know my recordings didn't change all that drasticly when I moved from the Mackie console to the Tridnet with all outboard pres. They sound a lot better but they still have a common thread.

Merry Christmas,

Thank you all for you thoughtful feed back and sharing of experience. Please keep it coming. I am planning to go give it a listen tomorrow with my tech and let the ears be the judge. Will keep you posted. Even if this Trident is, (as it seems may be the case) not worth the trouble and I continue with collecting rack mounted front end, I am glad my search led me to this list. Looking forward to future dialogues, and will keep you posted as to the final outcome.

Merry Xmas

On the subject of seperate pre's for everything... It has occured to me, operating in just that way for a few years or so.. That the old schoool 'use one console' way would contribute to a recording having a solid 'sound signature' ie a

This is very true Jules. I work at a studio where we have custom neve 8024 and its the primary reason that clients and record companies come to the studio. The idea of classic console such an a neve, API or Trident really gives the recording a sence of cohesiveness and sonic continuity. It's like putting a signate or satamp on the sessions ..especially if you track and mix thorugh such a console as the Neve we have. These consoles are very sought after becuase of their supperioe circuitry, Eq/mic-pre's and most importantly in the digitial domain is the headroom. Alishad mix bus suck nuts really hard. By mixing Alsishad outputs to a nice console with headroom the mix tends not too sound so digital and "Insert favourite verbose digital hypebole". If you are able to find any Trident desks the Cheapest and best one for money is the Trimix. THey were a cheper version of the series 80b and have virtually the same EQ/mic-pre as the re-issues that ORam are selling for a hefty price tag. They are also fully transformer coupled which will make your recording a little bit fatter and closer to god! This will give users a console that will give them the geadromo to really make thier mixes real, 3d and full of perspective.

hope it helps

Peace
Wiggy
2" till I die (regrettably stared using Alishad)

Well, it seems my seller has bagged out, so nothing to listen to. Thanks for everyones input. It has been interesting and educational, even though there is no grand finale to the discussion.

Happy New Year

Randy