Introduciendo el Preamp de la serie 80B en formato serie 500, la solución perfecta para aquellos que buscan el legendario sonido de la consola Trident Series 80B en el formato de Serie 500. Con un preamplificador de micrófono acoplado a un transformador Lundahl y una entrada de línea electrónicamente balanceada, este preamplificador cuenta con un amplio rango de frecuencia y puede acomodar una variedad de niveles de señal con facilidad. Además, un transformador de salida Lundahl de alta calidad garantiza una calidad de sonido excepcional. Con su medidor LED, el preamplificador de la serie 80B-500 es una herramienta esencial para cualquier estudio de grabación.

El sonido y la electrónica de las consolas utilizadas para grabar innumerables éxitos.

A finales de los años 70, Trident Audio desarrolló una nueva serie de consolas de grabación para actualizar el sonido de Trident para una nueva generación de talento musical. El resultado fue la Trident Serie 80, cuyo sonido rápidamente se convirtió en uno de los favoritos entre los mejores artistas. 

El preamplificador de la serie 80B-500 es una recreación fiel del legendario preamplificador de la consola Trident Serie 80B de principios de la década de 1980. Cuenta con un diseño único que puede manejar niveles de señal desde -60dBu hasta +15dBu sin necesidad de un interruptor de atenuación separado. Su ajuste de ganancia suave, especialmente en niveles de señal altos, lo distingue de otros diseños que tienden a tener un ajuste de nivel apretado al final del control. Con un mínimo nivel de ruido y una respuesta de transientes extremadamente rápida, puedes estar seguro de que tus grabaciones serán nítidas y sin distorsiones.

Actualiza al preamplificador 80B-500 hoy mismo y experimenta el sonido clásico del preamplificador de la consola Trident Serie 80B en un formato moderno y conveniente

Este módulo incorpora una réplica exacta del diseño de preamplificador que le dio a la consola original su sonido único. Estas consolas han sido utilizadas para grabar prácticamente todos los artistas principales en las últimas tres décadas, incluyendo a Elton John, Dire Straits, David Bowie, Rod Stewart y Stevie Wonder, por nombrar solo algunos. Más recientemente, se han utilizado para grabar artistas como Radiohead y Pavarotti.
Este preamplificador aporta un pedigree histórico y se ofrece a un precio ahora asequible para todos.

Con una respuesta de frecuencia que se extiende por encima de los 40 kHz, el preamplificador de la serie 80B-500 es perfecto para su uso con micrófonos de condensador de alta calidad. Pero también saca lo mejor de los micrófonos dinámicos y de cinta, gracias a su alta ganancia y bajo ruido. Esto es especialmente útil cuando se trabaja con micrófonos de cinta, que a menudo tienen un nivel de salida inherentemente bajo.

Además de su diseño único, el preamplificador de la serie 80B-500 también incluye una serie de características que lo convierten en una herramienta indispensable para ingenieros de grabación y entusiastas de estudios caseros. Estas características incluyen un amplificador de micrófono acoplado a transformador de alta calidad, phantom power conmutable de 48 volts, un transformador de salida de alta calidad, un amplificador de entrada de línea electrónicamente balanceado, controles separados de nivel de micrófono y línea, una entrada de línea frontal (Hi Z) de ¼", un Low Pass Filter variable (LPF), un High Pass Filter variable (HPF), un control de fase/polaridad conmutable y un medidor LED de salida.

El preamp 80B serie 500 no solo captura el sonido de estas legendarias consolas, sino que recrea exactamente la misma electrónica. lo que hace que destaque EN TODO!

Características:

• Amplificador de micrófono acoplado a transformador de alta calidad
• Phantom Power conmutable de 48 voltios
• Transformador de salida de alta calidad
• Amplificador de entrada de línea electrónicamente balanceado
• Controles separados para micrófono y nivel de línea
• Entrada de línea frontal de ¼" (Hi-Z)
• Filtro paso bajo variable (LPF)
• Filtro paso alto variable (HPF)
• Control de fase conmutable (polaridad)
• Indicador LED de medidor de salida

Hi-Lo Dynamic Filtering.

The Hi-Lo is not just a filter. Trident Audio has created an analog adaptive filtering circuit for the 500 Series format.

The Trident Hi-Lo, an adaptive Hi-Cut/Lo-Cut frequency filtering module that responds dynamically to program material, providing a high degree of control and signal enhancement, unavailable in any modern-day 500 series package.

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.

Specifications

Input Impedance 10 kilohms
Max Input +27dBu
Max Output +27dbu (Into 600ohms)
Distortion (+10dBu Out) 0.0031% (20Hz to 20kHz)
(Hi Enabled Max Freq)
(Lo Enabled Min Freq)

Distortion (+20dBu Out) 0.0069% (20Hz to 20kHz)
Frequency Response 15Hz to 60kHz (-3dB)

Noise (20Hz to 20kHz bandwidth limited)

No Filters in circuit (Residual Noise) -95dBu

High Cut Enabled
Freq Max -83.5dBu
Freq Min -90dBu

Freq Max – 24dB/Oct Slope Enabled -80dBu
Freq Min – 24dB/Oct Slope Enabled -90dBu
Freq Max – Res Enabled, Resonance Min -83.5dBu
Freq Max – Res Enabled, Resonance Max -72dBu
Freq Max – 24dB, Res Enabled, Res Max -71dBu
Freq Min – Res Enabled, Resonance Min -90dBu
Freq Min – Res Enabled, Resonance Max -90dBu
Freq Min – 24dB, Res Enabled, Res Max – 90dBu

Low Cut Enabled
Freq Max -83dBu
Freq Min -86dBu

Freq Max – 24dB/Oct Slope Enabled -83dBu
Freq Min – 24dB/Oct Slope Enabled -90dBu

Freq Max – Res Enabled, Resonance Min -84dBu
Freq Max – Res Enabled, Resonance Max -72dBu
Freq Max – 24dB, Res Enabled, Res Max -73dBu

The Trident A-Range 500 EQ is a faithful recreation of one of the most beloved equalizers of all time. It’s simple controls and smooth sound can add power to the low end and open up the higher frequencies on any source you run through it. Now this beloved EQ is available in the convenient 500 series format.
Choose between four selectable frequencies per channel, then use the fader to boost of cut up to 15dB. Having a fader rather than a stepped potetiameter is what sets the A-Range apart from any other EQ in its class, it has the precision and feel that we’re used to when fine tuning a mix on a large format console.
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 center 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 equalization 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.

• Input impedance: 10 kohm balanced
• Common mode rejection: 70 dB
• Equivalent input noise: -85 dBu (unweighted, no boost or cut)
• Distortion: 0.05% (+4 dBu output, 1 kHz)
• Frequency response: 20 Hz to 20 kHz (-1 dB)
• Boost / Cut range: ±15 dB (variable)
• Filter Q value: 1.3 (1 octave)
• Maximum input level: +22 dBu
• Max output before clip: +28 dBu (10 k load)
• Nominal output level: +4 dBu (electronically balanced)
• Output impedance: 100 ohms
• Output noise floor: -85 dBu (typical, unweighted)
• Peak LED threshold: +16 dBu
• I/O connections XLR: pin 2 +, pin 3 -, pin 1 ground
• Current requirement: 130 mA (maximum) per rail

Begin with all boost/cut controls – those with centre detents, set to their mid way (‘0’) positions. Adjust the low and high mid frequency sweep controls to their minimum positions (fully anticlockwise). The50Hz high pass ‘Filter‘ switch should be in the out position. Set the frequency select switches controlling the high and low shelving sections, to 120Hz and 12kHz respectively. Lastly, set the ‘EQ’ switch to the ‘in’ position (the associated LED will illuminate).

Rotation of the high frequency shelving control in a clockwise direction emphasises high frequencies, while turning the control in an anti-clockwise direction from centre attenuates high frequencies.

Operating the ‘frequency select’ switch in the high frequency section introduces a subtle change of emphasis to the affected high frequencies, as the shelving ‘knee’ is changed from 12kHz to 8kHz. Likewise, rotating the low frequency shelving control in a clockwise direction will emphasise low frequencies, while turning the control in an anti-clockwise direction from centre attenuates low frequencies. Adjusting the ‘frequency select’ switch in the low section introduces
a subtle change of emphasis on the affected low frequencies by altering the shelving point from 120Hz down to 60Hz.

The ‘low mid’ and ‘high mid’ equaliser sections are peaking filters. Adjustment of their parameters is achieved by use of the boost/cut knob and its associated frequency sweep knob. Boost or cut of a given frequency is performed by moving that control from its centre detent position: clockwise for boost, anti-clockwise to cut. The frequency to be boosted or cut is selected by the frequency sweep control knob. The range of frequencies of the ‘low mid’ control extends from 100Hz up to 1.5kHz.

For the ‘high mid’ sweep, the frequency range begins at 1kHz (overlapping with the low mid section) and continues up to 15kHz.

The Series 80B 500 Series EQ incorporates a classic four band equaliser which is identicalto 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.

Finally, selecting the ‘Filter’ switch introduces a smooth, 50Hz, 12dB/octave roll-off to effectively eliminate ‘rumble’ caused by, among other things, someone’s feet moving about near a microphone stand, nearby traffic noise and AC systems. The amount of boost (accentuation) or cut (attenuation) that is applied to the audio signal is entirely dependent on the programme content and it is not our intention to advise on this. Application of equalisation is a very subjective matter and is best learned by experiment. The equaliser bypass switch ‘EQ’ is a useful facility for comparing the signal before and after the application of equalization.

The Series 80B-500EQ is derived from the legendary Series 80B Consoles designed by Trident Audio Developments in the late 1970’s. It incorporates an exact replica of the equalizer design that gave the original console its unique sound. These consoles have been used to record just about every major artist in the past three decades, including Elton John, Dire Straits, David Bowie, Rod Stewart and Stevie Wonder to name but a few. More recently they have been used to record artists such as Radiohead and Pavarotti.

The Trident Audio Developments Series 80B-500EQ unit brings with it a historic pedigree and is offered at a price that is now affordable to all studios and home recordists.

The sound and the circuitry of the consoles used to record countless hit records.

In the late ’70s Trident Audio developed a new series of recording consoles to update Trident’s sound for a new generation of musical talent. The result was the Trident Series 80, the sound of which quickly became a favorite among the top artists. The Series 80B doesn’t just capture the sound of these legendary consoles, it is the exact same painstakingly re-created circuitry.

The Series 80B iconic 4-band equalizer lets you tune your sound to perfection.

The Series 80B-500EQ is one of Trident’s most sought after 4-band equalizers. Loaded with frequency-switchable high and low shelving sections, as well as sweepable low-mid and high-mid bands and a switchable 50Hz, 12dB per octave filter, the Series 80B gives you an exceptional degree of control over your sound. The Series 80B’s highly resonant Q peaks are particularly favored by many top engineers for tuning instrument tones.

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