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TRIDENT 88 OWNERS MANUAL2

Introduction/Specifications....3

Input Module............................4-9

Group Module.....................10-14

Master..........................15-19

Connections..........................20

Patchbay.................................21-23

Power Supply.............................23

Warranty.............................24

Mail In Registration.................25

Signal Flow Diagrams........26-28

Cautions.............................29

Recall Sheets........................30-32

Table of Contents

The Trident 88 is a split inline console that builds on the Trident heritage. The 88 consoles possess the

highest sonic quality components and are equipped with eight busses and the renowned Trident Series

80 EQ. This incarnation by Trident Audio Developments is built with modern integrated circuits that use a

combination of through-hole and surface mount parts. These consoles feature options such as custom

transformer installation, VU Meters and more. The quality construction and modular design make the

Trident 88 a highly serviceable unit with unparalleled value.

TRIDENT 88 OWNERS MANUAL 3

Input Impedance

Output Impedance

Frequency Response

Distortion/Noise

Noise

Crosstalk

Maximum Input

Maximum Output

Phase

Trident 88 Specifications

1 Width Depth Height

Width Depth Height

Width Depth Height

Width Depth ( Height

Module width is 1.25"

Dimensions:

The TRIDENT 88 Input module is an extremely sophisticated and

flexible channel that can be used for recording, mixing and

monitoring multi-track recordings. It will accept a signal from a

low impedance balanced microphone, high or low level balanced

line input, or even the output from a musical instrument.

It provides the user with state of the art fully discrete

microphone preamps, with the option to add transformers to as

many channels as you like. A four band fully sweepable Trident

EQ is at the core of this console, every channel also has a Tilt EQ

on the Monitor section with the ability to swap the full EQ and Tilt

EQ from the Input path and the Monitor path.

Access to the channel is available through means of a

switchable post Mic preamp insert and a switchable pre/post EQ

insert point. This allows the user to insert their favourite external

Mic Preamp (or Line output device) into the channel and remove

the internal preamp and additionally insert an effects device via

the standard channel insert.

Eight Auxiliary sends are provided, four mono and two stereo

sets, each can be switched pre or post the channel fader. Aux 1,

Aux 2 and Aux 7/8 can also be selected between the channel

and monitor path, greatly adding to the flexibility of the module.

Each module incorporates a monitor section with the Tilt EQ

which is used to monitor a replay channel from a multi-track

recording device. This is, in effect, a separate signal path which

ultimately feeds the master Left/Right outputs. By making the

channel EQ and Auxiliary sends 1,2 and 7/8 to this path , this

becomes an extremely versatile feature of the console. When

monitoring the output of a multi-track recording device, it is

possible to create a monitor mix with equalisation and reverb ef-

fects completely independently from the channel. These effects

would also remain when the recording is played back through

the same monitor section.

When the module is used for mixing purposes, the monitor sec-

tion functions as an additional line input return to the main

Left/Right mix, again with the Tilt EQ and Auxiliary 1,2 and 7/8

available through the monitor section. This effectively doubles

the number of inputs per input module that are available on mix

down mode. This, with additional inputs on the master section,

greatly increases the inputs available, even on the

smallest console.

The input channel is provided with a switchable non destructive

mono pre fader listen (PFL) and stereo after fader listen (AFL)

SOLO system, the monitor input is provide with an AFL SOLO

only. It is possible then to hear the selected signal in isolation (or

mixed with other “soloed” sources) separately in the main moni-

tors, without effecting the main Left/Right mix.

The images on the following pages give a brief description of the

controls on the Input module:

The Input Module


1-2 Group AssignmentAssigns the Channel post-fader signal to

the Group 1 and 2 mix buses through the Channel Pan Control. With the Channel

Pan control in mid position, the signal will be fed to Group 1 and 2 in equal

amounts. If the Channel Pan Pot Control is positioned fully anti-clockwise (ACW)

the channel signal will only feed Group 1. When positioned fully clockwise (CW) the

signal will feed only Group 2..

5-6 Group AssignmentAssigns the Channel post-fader signal to

Group 5 and 6 mix buses through the Channel Pan Control. Operation is the

same as the 1-2 Group assignment.

3-4 Group AssignmentAssigns the Channel post-fader signal to Group 3 and 4 mix buses through the Channel Pan Control. Operation is the same as the 1-2 Group assignment.

7-8 Group AssignmentAssigns the Channel post-fader signal to Group 7 and 8 mix buses through the Channel Pan Control. Operation is the same as the 1-2 Group assignment.

L-R MixAssigns the Channel post-fader signal to

the Left and Right mix buses through the Channel Pan Control. Operation is

the same as the 1-2 Group assignment.Sometimes referenced as the Main mix

or Remix bus assignment. In a multi-track studio environment, this L-R Mix assignment and the Channel Monitor

Input allow the user to have two sepa-rate external inputs (Channel Mic/Line and Monitor return) that can be sent to

the Left and Right mix busses, effec-tively doubling your inputs on

mixdown (Remix)

+60+10 MIC

MIX

1-2

+48V

LINE

POL

MTR

I/P REV

+20-20 LINE

MIC INSRT

0

+-

+-0

Hz

15k1k

ON

INSERT

INSERT

PRE EQ

+15-15

+-0 10k700

+15-15

+-0

1.5k100

+15-15

+-0

65040LOW

50 Hz

HPFFILTER

EQ IN

PRE

AUX 1

AUX 2 TO MON

AUX 3

AUX 4

AUX 5/6

LEVEL

TO MON

MON PAN

L R

MONTILT EQ

EQ TOMON

MONITORMUTE

MON LEVEL

MONAFL

PAN

DIR OP

MON RET

AFL

PFL

SOLO

MUTE

+10

-20SIGNAL

Hz

Hz

Hz

PAN

LEVEL

PAN AUX 7/8

L R

TO MON

dB

dB

dB

HIGHMID

+15-15 dB

HIGH+-

+-

+-

=

MONTILT EQ

LOWMID

3-4

5-6

7-8

PRE

PRE

PRE

PRE

PRE

Trident 88 Input ChannelGroup Assignment

G Trident

G A it 88 Input C

t Channel

is p amou

an coPCha

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positioned fully anti clockwise t Coan Punts. If the Channel P

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When the ch

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o eed only Grsignal will f feed only Grn positioned fully clockwise (CW) the

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oup assignsame as the 1-2 Grol. Operation is the an Contrhannel P

oug oup 5 and 6 mix buses thrrader sig gns the Channel post-f

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oup assignmGrOperation is t

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Operation is t

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Assigns the C oup Assignment7-8 Gr

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ol. an Contr Channel P

he same as the 1-2 ol. an Contr hannel P

up 7 and 8 mix buses ader hannel post-f

signment

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oup assignm ame as the 1-2 Grol. Operation is an Contre Channel P

t and Right mix buses thre Lefader sig ns the Channel post-f

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- multi n mix

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Trident 88 Input ChannelMic/Line Options

MIC INSRTSelects between the Mic input source on the XLR / ¼” Combination connector and the line level input (labelled Ext MIC) that feeds the Channel. Allows the user to connect a line source (external Mic Preamp) and be able to bypass the Channel Mic pre-amp stage or switch between them.

+48VWhen depressed , provides +48 Volt phantom power to the XLR portion of the MIC input connec-tor. Note: +48V will NOT appear on the ¼” part of the MIC input connector. Phantom power is required for operation of many condenser microphones. See your microphone instructions to see if phantom power is required or should not be activated (some microphones require phantom power NOT to be activated or they may be damaged).

MIC GainThis control adjusts the amount of gain of the signal connected to the MIC XLR / ¼” Combination connector. For low impedance balanced micro-phone plugged into the XLR the gain varies from +5dB min to approximately +60dB. For a line level plugged into the ¼” part of the MIC combination connector the gain varies from -15dB to +40dB, effectively providing a 20dB pad to the microphone preamp.Note: This gain is independent from the Line Gain.

Line GainThis control adjusts the amount of gain of the signal connected to the TRS LINE jack. In the mid position the gain is unity (0dB).

Line SwitchWhen depressed, it switches source from Line Input to Mic Input.

POLWhen depressed, it reverses the electrical input polarity of any microphone or line level input signal which has been selected as the channel source. Use of this control may alter the sound quality of an input relative to other channels when multiple microphones are picking up the same sound.

CHAN MTRThis button selects the signal that is fed to the relevant channel meter situated on the meter bridge. In the up position the Channel Direct Output feed is displayed.[The Channel Direct Output can be user defined by a selectable option on the Input module, it can be selected either Channel post fader or Channel Insert Return (signal appearing on ring contact of Channel INSERT TRS jack.]When this button is depressed the channel meter is fed from the signal on the Channel MONITOR I/P TRS jack. In a multi-track studio environment where the Chan-nel Direct Output is fed to the recording device and the output of this device is connected to the MONITOR I/P, it is possible to see on the Channel meter what is sent to or received from the recording device.

I/P REVThe Input Reverse switch when depressed flips the Line Input signal and the Monitor Input signals. In effect this switch determines the Line input source that is available to the channel. Combining this with the Line Switch above allows the user to source the channel signal from the Channel Monitor Return TRS jack and to use the full channel strip resources for the Monitor return signal. Alternatively depressing this switch selects the Line Input TRS source for the Channel Monitor section.

Trident 8 88 Input Ch hannelMic/Line Trident 8

e Options 88 Input Ch hannel

th (la ¼ Se M

c a line souro connect e user teeds the Channel. Alloat f f abelled Ext MIC) th

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IC INSRT

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put el inv the line lece on the XLR / sour

60dB Fo aries frv

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l l d i li l Fely ximatoo apprm +5dB min t

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. or / ¼” Combination connecto the ed t e signal connect

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48V

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of the sign o This contr

Line Gain

Gain.om s gain is independent fr

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Trident 88 Input ChannelThe Equaliser

+-0

15k1k

ON

INSERT

INSERT

PRE EQ

+15-15

+-0 10k700

+15-15

+-0

1.5k100

+15-15

+-0

65040LOW

50 Hz

HPFFILTER

EQ IN

Hz

Hz

Hz

dB

dB

dB

HIGHMID

+15-15 dB

HIGH+-

+-

+-

LOWMID

CHANNEL EQUALISERA four band fully sweepable Trident EQ with overlapping ranges is provided with a switchable high pass filter. The HIGH and LOW sections of the equaliser have a shelving response and the mids have a peaking (bell) response.

HIGH Frequency Section – ShelvingAdjusts the high frequency shelving EQ response. The Frequency control selects the corner frequency of the shelving filter (between 1kHz and 15kHz) and the Level control adjusts the cut/boost between +/- 15dB. The centre “0” position of the Level control has a detent to indicate that it is having no effect on the associated channel signal. Cut or boost of the high frequency level control is usually used for minor tonal adjustments.

HIGH - MIDAdjusts the high-mid frequency EQ response. The Frequency control selects the centre frequency of the filter (between 700Hz and 10kHz) and the Level control adjusts the cut/boost between +/- 15dB. The centre “0” position of the Level control has a detent to indicate that it is having no effect on this frequency band. The bandwidth of this filter is approximately one octave. The high-mid frequency controls are used for minor tonal adjustment or repair of a specific band of frequencies.

LOW –MID Frequency SectionAdjusts the low-mid frequency EQ response. The Frequency control selects the centre frequency of the filter (between 100Hz and 1.5kHz) and the Level control adjusts the cut/boost between +/- 15dB. The centre “0” position of the Level control has a detent to indicate that it is having no effect on this frequency band. The bandwidth of this filter is approximately one octave. The high-mid frequency controls are used for minor tonal adjustment or repair of a specific band of frequencies.

LOW Frequency Section – ShelvingAdjusts the low frequency shelving EQ response. The Frequency control selects the corner frequency of the shelving filter (between 40Hz and 650Hz) and the Level control adjusts the cut/boost between +/- 15dB. The centre “0” position of the Level control has a detent to indicate that it is having no effect on the associated channel signal. Cut or boost of the low frequency level control is usually used for minor tonal adjustments.

EQ INThis switch inserts the 4-band EQ and High Pass Filter into the channel/monitor (see EQ TO MON switch description below) signal path. When not in use, it is suggested that the EQ be kept in the OUT position for best phase performance.

INSERT ONWhen depressed, this switch places the rear panel channel TRS insert connector in line with the signal path. "This insert point is by default after the channel EQ (unless it is selected pre EQ below). By routing the signal through this connector, the insert may be used for applications such as an effect that can be switched in/out. In the event the user wants to patch in his/her favourite external EQ, it can be connected to the Channel insert TRS and activated with this switch, it could be used in conjunction with/without the Trident EQ.

HPFWhen selected inserts a high-pass (or Low- Cut) filter with a corner frequency 50Hz and a roll off rate of 18dB per octave into the signal path. This control is used to remove unwanted signal content below 50Hz. The result is usually improved signal quality of the associated input signal, while decreasing the low frequency amplification demand of the audio systems amplifier and speaker combination. Mainly for use with micro-phones, this helps remove low frequency rumble and handling noise.

Trident 8 88 Input Ch n l hann l HIGH - MID

The EquTrident 8

S HIGH F

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Trident 88 Input ChannelAux Sends

AUX 1 Pre SwitchThis switch determines the signal source for Aux 1 bus, between Post (Up) or Pre (Down) Channel fader/Monitor level (as determined by Aux 1 To Mon switch below).

AUX 1 Level ControlAdjusts the mix level of

Channel/Monitor (as determined by Aux 1 To Mon switch below) into the

Aux 1 bus.

AUX 1 To MonWhen depressed selects the channel monitor input as the source to the Aux 1 Level control. In the up position sources the Channel signal.

AUX 2 Pre SwitchThis switch determines the signal source for Aux 2 bus, between Post (Up) or Pre (Down) Channel fader/Monitor level (as determined by Aux 2 To Mon switch below).

AUX 2 Level ControlAdjusts the mix level of

Channel/Monitor (as determined by Aux 2 To Mon switch below) into the

Aux 2 bus.AUX 2 To MonWhen depressed selects the Channel monitor input as the source to the Aux 2 Level control. In the up position sources the Channel signal.

AUX 3 Pre SwitchThis switch determines the signal source for Aux 3 bus, between Post (Up) or Pre (Down) Channel Fader.

AUX 3 Level ControlAdjusts the mix level of Channel into

the Aux 3 bus.

AUX 4 Pre SwitchThis switch determines the signal source for Aux 4 bus, between Post (Up) or Pre (Down) Channel Fader.

AUX 4 Level ControlAdjusts the mix level of Channel into

the Aux 4 bus.

AUX 5-6 PAN ControlAdjusts the balance of the Channel signal being fed to Aux 5 bus (ACW)

and Aux 6 bus (CW). In the centre (=) position equal signal level is sent to

both Aux 5 and Aux 6 buses.AUX 5-6 Pre SwitchThis switch determines the signal source for Aux 5 and Aux 6 buses, between Post (Up) or Pre (Down) Channel Fader.

AUX 5-6 Level ControlAdjusts the stereo mix level of Channel

into the Aux 5 and Aux 6 buses.

AUX 7-8 PAN ControlAdjusts the balance of the

channel/monitor signal (as determined by Aux 7-8 To Mon switch below) being fed to Aux 7 bus (ACW) and Aux 8 bus (CW). In the centre (=) position equal signal level is sent to both Aux 7 and

Aux 8 buses.

AUX 7-8 Level ControlAdjusts the stereo mix level of Channel


AUX 7-8 Pre SwitchThis switch determines the signal source for Aux 7 and Aux 8 buses, between Post (Up) or Pre (Down) channel fader/monitor level (as determined by Aux 7-8 To Mon switch below).

AUX 7-8 To MonWhen depressed selects the channel monitor input as the source to the Aux 7-8 Level control. In the up position sources the Channel signal.

Trident 8

88 Input Ch

hann

hUX 1 Pre SwitcA

Aux SenTrident 8

nds 88 Input Ch

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ol Contr

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put as the souror inmonitWhen depressed selects

o MonUX 1 T o A

w). beloermined tel (as dev e

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ces the position sourux 1 o the Ace t ur

s the channel

ux Aw) ino Mon switch beloux 1 T To Mon switch beloA

u Aw) o Mon switch beloux 2 T To Mon switch beloA

erm tor (as deChannel/Monitdjusts the mix A

el vUX 2 LeA

el vUX 3 LeA

1 bus.o the nt

ux 2 bus.o the int

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oll Contr

oll Contr

Channel signal.

o Mon switch beloux 2 Ty Abor leader/MonitChannel fost (Ueen Ptwux 2 bus, beA

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w). beloermined tel (as dev e

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ux 2 o the Ace t ur s the Channel

u the Ael of Chan vdjusts the mix leA

ux the Ael of Chan vdjusts the mix leA

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ux 5 bu o Aed tsignal being fdjusts the balance of the Channel A

AN UX 5-6 P A A

ux 3 bus.o nnel int

x 4 bus.o nel int

ol Contr

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ol Contr

Channel signal.ol. In the up p el contrvLe

put as the souror inmonit

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Trident 88 Input ChannelMonitor SectionThe Monitor section of the channel module allows the user to feed the signal on the Monitor Return TRS jack to the Left and Right buses with level, pan and EQ control.

MON PAN

L R

MONTILT EQ

EQ TOMON

MONITORMUTE

MON LEVEL

MONAFL

PAN

AFL

PFL

SOLO

MUTE

+10

-20SIGNAL

L R

=

MONTILT EQ

MON TILT EQ ControlA single control level which simultaneously adjusts the

low and high frequency gain of the signal. In the full counter clockwise position the low frequencies are boosted whilst the high frequencies are cut, in the

centre position there is no effect on the signal and in the full clockwise position the low frequencies are cut

and the high frequencies are boosted. Note: There is no TILT EQ on/off switch and the TILT EQ

is always in circuit.

MON PAN (Monitor Pan) ControlThis control blends the post monitor level signal between

the Left and Right buses. When at the centre, detented position, both Left and Right buses are fed equal

amounts of signal (each down by 3dB).

MONITOR LEVEL ControlAdjusts the monitor signal level to the

Left/Right bus

EQ to MONAssigns the 4 band channel EQ to the Monitor Section, the TILT EQ is then inserted to the Channel path. Note: this switch is not illuminated.

SOLO (AFL)When pressed, routes the monitor (post level and pan) signal to the Solo bus. Additionally this switches the Main Monitor Output (normally fed the Left/Right Mix) to source the signal from the AFL/PFL Master Level in the Master section as well as to trigger LED indicators in the Master section and Meter-Bridge stating a solo has been pressed.

MONITOR MUTEWhen pressed will Mute the monitor signal to the Left/Right bus. It is recommended when the monitor section is not being used that it be mutedChannel Signal Indicators

+10 – Indicates RED when the channel signal level has reached +14dBu (+10 VU)

-20 – Indicates GREEN when the channel signal level has reached -16dBu (-20 VU)

The channel indicator signal source can be selected pre or post the channel fader through an option available on the

input module circuit board.(Note: Signal headroom available on the input module is

+22dBu and when the +10 indicator illuminates the signal level is approaching 6 to 8 dB before clipping when just

flashing red with signal peaks).These are extremely useful features and provide a constant

indication that a signal is present in the module (green LED) and that the signal peak is being reached (red LED).

AFL/PFL SelectSelects the channel source feed that will be fed to solo bus when the Channel SOLO is pressed.UP - solo system is fed from the channel post fader/post pan pot point and is a stereosignal that follows the pan pot. This allows the user to monitor the channel in the solo system and to see its contribution to the mix.Down - solo system is fed from the channel pre fader point and is a mono source. Thisallows the user to monitor the signal in the solo system before the channel fader/mute, allowing the user to check the signal in the channel without being routed to any output buses.

Channel PAN ControlThis control blends the channel post-fader/post mute signal between any of the assigned bus pairs (L-R Mix, Group 1-2,

Group 3-4, Group 5-6 and Group 7-8) located at the top of the module. When at the centre, detented position, both sides are

fed equal amounts of signal (each down by 3dB).

SOLO (Channel)When pressed, routes the channel AFL or PFL (see AFL/PFL Select above) signal to the Solo bus. Additionally this switches the Main Monitor Output (normally fed the Left/Right Mix) to source the signal from the AFL/PFL Master Level in the Master section as well as to trigger LED indicators in the Master section and Meter-Bridge stating a solo has been pressed.

MUTE (Channel)When pressed will mute the aassigned outputs of the

channel (Group1 – 8 and L-R Mix) and all post Aux sends. The Mute does not affect the channel’s solo PFL feed, but WILL affect the channel metering in the Meter Bridge, the

Trident 8

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The Group section of the console greatly enhances

the flexibility of the TRIDENT 88 console and pro-

vides a number of different functions. There are 8

Group modules provided on the console, each

controlling the associated group mix bus outputs.

The groups can be used as audio subgroups for

combining and processing a collection of input

channels. Each group bus has its own TRS Insert

jack and TRS balanced Output jack on the rear

Master Connector panel.

The Group module also provides a method of

monitoring, equalising and panning the group

output on the control room speakers. By using

these controls it is possible to build up a monitor

mix of the recorded tracks and any that are about

to be recorded. A fader reverse facility swaps the

Monitor Level control and the Group fader to gain

greater control of the monitor mix. To enhance this

monitor facility, the full complement of all Auxiliary

sends (1 to 8) are available making it possible to

send a headphone mix from the groups together

with reverb and effects and since all Auxiliary

sends are switchable to Pre the monitor level

control, they can be used to create a separate

auxiliary mix independent of the monitor level.

The images on the following pages give a brief

description of the controls on the Group module:

The Group Section


Trident 88 GroupMonitor Section

12-Segment Bargraph MeterDisplays one of 3 sources as determined

by the switches below (MON SOURCE and AUX TO MTR). The meter is a peak

responding meter with a fast attack and slower release. It is very useful when used with complex dynamic waveforms and able

to display sharp transient responses and greatly assist the engineer when it comes

to avoiding distortion during recording.

MON SOURCEThis switch determines the signal source to the Group Monitor section; additionally it displays the signal shown on the bargraph meter above. In the UP position the signal fed to the group Monitor section and bargraph meter is the Group output. When depressed (DOWN) the signal fed is derived from the associated rear MONI-TOR RETURN TRS jack.

AUX TO MTRPressing this switch assigns the associated Aux Output (post the Aux Master Level on the master module) to the bargraph meter above. This allows the user to check Auxiliary outputs signal levels from the console on the meter. Note: When this switch is pressed the Auxiliary signal sourced to the bargraph meter overrides any other signal to the bargraph selected by the MON SOURCE above. The switch combinations below explain the various signal flows:

MON SOURCE (UP) - AUX to MTR (UP) – Associated Group output feeds monitor section and also the bargraph.

MON SOURCE (UP) - AUX to MTR (DOWN) – Associated Group output feeds monitor section. Associated Aux Output feeds bargraph.

MON SOURCE (DOWN) - AUX to MTR (UP) – Associated Monitor Return TRS feeds monitor section and also the bargraph.

MON SOURCE (DOWN) - AUX to MTR (DOWN) – Associated Monitor Return TRS feeds monitor section. Associated Aux Output feeds bargraph.

EFX To AUXAUX 7-8 Level Control

Adjusts the stereo mix level of Effects Return into the Aux 7 and Aux 8 buses.

AUX 7-8 PAN ControlAdjusts the balance of the stereo Effects Return signal being fed to Aux 7 bus and

Aux 8 bus. In the centre (=) position the left stereo

signal is fed to Aux 7 (pre level control) and the right signal is fed to Aux 8 (pre level

control) and both are attenuated by 3dB. With the balance control fully anticlockwise

the Left Effects Return signal is fed unattenuated to Aux 7 (pre level control)

and the right signal is fed fully attenuated to Aux 8 (pre level control)

With the balance control fully clockwise the Left Effects Return signal is fed fully

attenuated to Aux 7 (pre level control) and the right signal is fed unattenuated to Aux 8

(pre level control).

AUX 7-8 Pre SwitchThis switch determines the signal source for Aux 7and Aux 8 buses,

between Post (Up) or Pre (Down) Effects Return level

Trident 8 88 Group

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Trident 88 GroupEFX EQ

HIGH Frequency Section – ShelvingAdjusts the high frequency shelving EQ response. The corner frequency of the shelving filter is 12 kHz and the Level

control adjusts the cut/boost between +/- 15dB. The centre “0” position of the

Level control has a detent to indicate that it is having no effect on the associ-ated channel signal. Cut or boost of the

high frequency level control is usually used for minor tonal adjustments.

EQ INThis switch inserts the 2-band EQ into the Effects Return signal path. When not in use, it is suggested that the EQ be kept in the OUT position for best phase performance.

LOW Frequency Section – ShelvingAdjusts the low frequency shelving EQ response. The corner frequency of the

shelving filter is 80 Hz and the Level control adjusts the cut/boost between

+/- 15dB. The centre “0” position of the Level control has a detent to

indicate that it is having no effect on the associated channel signal. Cut or

boost of the low frequency level control is usually used for minor tonal

adjustments.

EFX RTN PAN ControlThis control blends the EFX post-

level/post mute signal between the Left and Right buses. When at the

centre, detented position, both sides are fed equal amounts of signal

(each down by 3dB).

EFX LEVEL ControlAdjusts the Effects Return signal level

to the Left/Right bus.

EFX RTN SOLO (AFL)When pressed, routes the stereo Effects Return (post level and pan) signal to the Solo bus. Additionally this switches the Main Monitor Output (normally fed the Left/Right Mix) to source the signal from the AFL/PFL Master Level in the Master section as well as to trigger LED indicators in the Master section and Meter-Bridge stating a solo has been pressed.

EFX RTN MUTEWhen pressed will Mute the Effects Return signal to the Left/Right bus. It is recommended when the EFX RTN section is not being used that it be muted.

Trident 8 88 GroupEFX EQTrident 8

5dB. +/- 1ol a contr

shelving response djusts th A

HIGH

88 Group

The centre “0” position of the een tw adjusts the cut/boost be

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EQ IN

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Trident 88 GroupMonitor AUX Sends

AUX 1 Pre SwitchThis switch determines the signal source for Aux 1 bus, between Post (Up) or Pre (Down) Monitor level.




AUX 5-6 PAN ControlAdjusts the balance of the Monitor

signal being fed to Aux 5 bus (CCW) and Aux 6 bus (CW). In the centre (=)

position equal signal level is sent to both Aux 5 and Aux 6 buses.

AUX 1 Level ControlAdjusts the mix level of Monitor

Input into the Aux 1 bus.







AUX 7-8 Level ControlAdjusts the stereo mix level of Effects Return


AUX 7-8 Pre SwitchThis switch determines the signal source for Aux 7and Aux 8 buses, between Post (Up) or Pre (Down) Effects Return level.

AUX 7-8 PAN ControlAdjusts the balance of the stereo

Effects Return signal being fed to Aux 7 bus and Aux 8 bus.

In the centre (=) position the left stereo signal is fed to Aux 7 (pre level control) and the right signal is fed to Aux 8 (pre level control) and both are attenuated by 3dB. With the balance control fully anticlockwise the Left Effects Return

signal is fed unattenuated to Aux 7 (pre level control) and the right signal is fed

fully attenuated to Aux 8 (pre level control)

With the balance control fully clockwise the Left Effects Return signal is fed fully attenuated to Aux 7 (pre level control) and the right signal is fed

unattenuated to Aux 8 (pre level control).

AUX 5-6 Pre SwitchThis switch determines the signal source for Aux 5 and Aux 6 buses, between Post (Up) or Pre (Down) Monitor Level.

AUX 5-6 Level ControlAdjusts the mix level of Monitor Input


Trident 8 88 GroupMonitor Trident 8

A

d A

AUX Send 88 Group

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ux 6 buseux 5 and Ath Aboel is sent vual signal letion eq

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Trident 88 GroupMonitor EQ

HIGH Frequency Section – ShelvingAdjusts the high frequency shelving

EQ response. The corner frequency of the shelving filter is 12 kHz and the Level control adjusts the cut/boost between +/- 15dB. The centre “0” position of the Level control has a

detent to indicate that it is having no effect on the associated channel

signal. Cut or boost of the high frequency level control is usually used

for minor tonal adjustments.

EQ INThis switch inserts the 2-band EQ into the Monitor Input signal path. When not in use, it is suggested that the EQ be kept in the OUT position for best phase performance.

LOW Frequency Section – ShelvingAdjusts the low frequency shelving

EQ response. The corner frequency of the shelving filter is 80 Hz and

the Level control adjusts the cut/boost between +/- 15dB. The

centre “0” position of the Level control has a detent to indicate that it is having no effect on the associ-

ated channel signal. Cut or boost of the low frequency level control is

usually used for minor tonal adjustments.

MONITOR PAN ControlThis control blends the Monitor Input post-level/post mute signal between the Left and Right buses. When at the centre, detented position, both sides are fed equal amounts of signal (each down by 3dB).

MONITOR FADER REVERSEWhen depressed, swaps the Monitor Level Control with the Group Fader Control. The Monitor signal level to the Left/Right bus is now controlled by the Group fader, addition-ally the Group output level is now controlled by the Monitor Level Control. Note: SOLO and Mute functions below remain with the Monitor signal path.

MONITOR SOLO (AFL)When pressed, routes the Monitor signal (post level and pan) signal to the Solo bus. Additionally this switches the Main Monitor Output (normally fed the Left/Right Mix) to source the signal from the AFL/PFL Master Level in the Master section as well as to trigger LED indicators in the Master section and Meter-Bridge stating a solo has been pressed.

MONITOR MUTEWhen pressed will Mute the Monitor Input signal to the Left/Right bus. It is recom-mended when the Monitor section is not being used that it be muted.

MONITOR LEVEL ControlAdjusts the Monitor input signal level

to the Left/Right bus

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The Master section of the 88 console contains all of the controls

that affect the overall functionality of the console. An accurately

matched 100mm stereo fader controls the level of the master

stereo balanced outputs. Housed in the master module is the 8

master auxiliary sends level controls and associated SOLO

switches.

A comprehensive talkback system is provided which incorporates

an internal high quality electret microphone with an option to

switch over to an external microphone, this is plugged into the rear

of the console via a balanced XLR connector (phantom volts avail-

able on XLR). Easy switching to an oscillator source in the talkback

section allows the use of the on board 1kHz or 10kHz sine wave

generator. The signal can be routed to the auxiliary buses in pairs,

the 8 subgroups and to the studio outputs. When the ‘TALK TO

GROUPS’ button is used, the monitor signal is dimmed to avoid

feedback in the control room monitor speakers.

The main monitor system is very comprehensive. The engineer can

monitor anyone of three stereo playback devices. ‘2TK 1 RET’ and

‘2TK 2 RET’ are conventional analogue connections located on the

master connector section so that the playback of a stereo device

such as a cd player or output of a computer sound card can be se-

lected to the control room monitor speakers and a 3.5mm TRS

mini jack available on the module allows the user to plug in his ex-

ternal portable audio source too (e.g. iPod). The monitor system is

provided with a SUM MONO control which combines the left/right

monitor signals so that it is possible to check mono compatibility.

It should be noted that the mono facility is purely a monitor

unction and does not affect the main stereo left/right output which

remains as a true stereo image.

A very useful further facility in this section is the provision of two

alternate monitor outputs (Alt MONITOR 1 and 2) with their indi-

vidual level controls and ON switches. When switched ON routes

the monitor signal to associated set of output jacks on the rear of

the master section so that an alternative monitor system can be

set up. This makes it possible to listen to the signal on (for exam-

ple), a different set of monitor speakers so that comparisons can

be made.

A headphone jack with a high quality stereo amplifier is provided

which allows the engineer to monitor the console only on head-

phones if required. A separate stereo volume control is provided

so that the headphones can be adjusted independently from the

main monitor control level.

A stereo master level control is also provided so that the volume

of the AFL/PFL system can be adjusted into the control room mon-

itor speakers. This comes combined with indicator LED that noti-

fies the user that a console SOLO switch has been pressed and

that the AFL/PFL signal is now being fed to the control room

monitors.

A separate studio playback section is available, with its own level

control and ON switch. The Studio Playback is fed the left right mix.

This can be changed to listen to the mono Aux 1&2 mix, or the

stereo mix of Aux7/8.

The images on the following pages give a brief description of the

controls on the Master module:

The Master Module


Trident 88 Master ModuleAux

AUX 1 MASTER LEVELThis control adjusts the Aux

1 bus mix level that appears on the Aux 1

Output TRS jack.

AUX 1 SOLOAssigns the post Aux 1 Master Level signal to the Solo system for display on the Master meters and into the monitor/headphone systems. This signal feed to the solo system in mono.

AUX 2 thru 8 Master ControlsThe level controls and the solo switches function in the same way as Aux 1 controls.

Trident 8 88 Master M Module

This

Aux

ux 1 s on the Aappearel that v1 bus mix le

ux ol adjusts the A contrUX 1 MASTER LEVELA

o the Solo systsignal tux 1 Assigns the post A

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same solo s The le

UX 2 A

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s and erter methe Masto the Solo systsignal t

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Trident 88 Master ModuleStudio Playback

AUX1-2Assigns the Aux 1 and Aux 2 mixes to the Studio Playback Left and Right outputs respectively.Note: When selected replaces the default control room monitor feed to the Studio Playback outputs.

PLAYBACK LEVEL CONTROLThis control adjusts the stereo level fed to the Studio Playback Output TRS jacks. The source

for the Studio Playback is determined by the state of the Aux1-2 and Aux7-8 switches above.

ONWhen depressed, switches the signal to the Studio Playback outputs on.

AUX7-8Assigns the Stereo Aux 7 / 8 mix to the Studio Playback Left and Right outputs.Note: Priority is given to this over Aux1-2 selection above, and when selected replaces either the Aux1-2 mix (if selected) or the default control room monitor feed to the Studio Playback outputs.

SOLO ACTIVE LEDWhen this LED is illuminated, it indicates that one or more SOLO switches have been pressed on the console. The console monitor output is now being fed from the solo left/right mix buses. Additionally the console main Left/Right meters are switched to monitor the solo left/right mix and an additional meter bridge indicator flashes to show the console is in a “SOLO” state.

SOLO MASTER LEVEL CONTROLThis control adjusts the level of the solo

left/right mix fed to the control room monitors when one or more SOLO switches are selected

on the console. This presets the SOLO signal level and enables the engineer to balance the

signal levels to the control room monitors from the main mix and the solo mix. Note: Main Left

Right meters always show the solo signal pre this level control (unaffected by this control).

ALT MONITOR 1 ONWhen this switch is depressed the main Left/Right Monitor feed is diverted to the ALT MONITOR 1 output TRS jacks. In doing so, the console main Left /Right signal is switched OFF.This allows the engineer to set up a separate monitor feed (say to another set of monitor speakers) and be able to A/B the systems for comparison.Note: ALT MONITOR 2 ON switch, when depressed, will override ALT MONITOR 1 ON i.e. the ALT Montior 1 output will be switched OFF if ALT MONITOR 2 ON is enabled and signal will be diverted to ALT Monitor 2 output TRS jacks.

ALT MONITOR 2 ONWhen this switch is depressed the main Left/Right Monitor feed is diverted to the ALT MONITOR 2 output TRS jacks. Note: ALT MONITOR 2 ON switch has priority over ALT MONITOR 1 ON switch.

ALT MONITOR 1 LEVEL CONTROLThis adjusts the level of the console control room monitor signal is fed to the ALT Monitor 1 output

TRS jacks when ALT MONITOR 1 is turned ON.

ALT MONITOR 2 LEVEL CONTROLThis adjusts the level of the console control room monitor signal is fed to the ALT Monitor 2 output

TRS jacks when ALT MONITOR 2 is turned ON.

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Trident 88 Master ModuleMonitor Section

STEREO IN JACK (3.5mm, 1/8”)This jack allows the engineer to plug

in an external stereo signal via a standard 1/8” wire cable ( i.e IPOD)

which can then be selected to the main Control Room Monitors. To assign this signal into the main

monitors, the user has to depress the 2-TRK 1 switch.

2-TRK 1When depressed this selects either the signal from the stereo 2-TRK 1 Return TRS jacks (on the rear master connector panel) or the stereo signal plugged in the STEREO IN JACK (above) and feeds it to the control room monitors. The stereo 2-TRK 1 return signal from the TRS jacks is normalled to the STEREO IN JACK signal and if a signal wire is plugged into the STEREO IN JACK it replaces the signal from the 2-TRK 1 Return TRS jacks and that is the signal that is switched to the main monitors. Note: When this switch is depressed, the main Left/Right mix is disconnected from the control room monitors, also if 2-TRK 2 switch is depressed (below) this kills the 2-TRK 1 signal to the control room monitors. For monitoring signals into control room monitors the Priority is SOLO

mix.

2-TRK 2When depressed this selects the signal from the stereo 2-TRK 2 Return TRS jacks (on the rear master connector panel) to the control room monitors. This switch has priority over 2-TRK 1 switch above. (see description 2 TRK 1 above)

SUM MONOCombines the Left and Right signals feeding the control room monitors to produce and summed (L+R) mono signal that feeds both Left and Right monitor outputs. Note: The SUM MONO facility is purely a monitor function and does NOT affect the main stereo Left/Right output which remains as a true stereo image.

MONITOR LEVEL CONTROLThis control adjusts the level of the

stereo signal feeding the control room monitors.

MONITOR MUTEWhen depressed this switch kills the signal being fed to the Control Room

Monitors.

HEADPHONE LEVELThis control adjusts the level of

signal fed to the headphone jack below. The signal fed to the

Control Room Monitors also feeds the headphone jack and this

Headphone level control can be adjusted independently of the

main MONITOR CONTROL LEVEL.

HEADPHONE JACK (3.5mm, 1/8”)To monitor the console on headphones the engineer can plug them into this jack. The headphones jack is driven by a dedicated high quality, high current stereo amplifier.

Trident 8 88 Master M ModuleMonitor

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which c d standar

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STER

r Section

o the main gn this signal into s. Toroom Monitol R Contr

o the ed t can then be select 1/8” wire cable ( i.e IPOD)

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CK (3.5mm, 1/8”)AREO IN J

s p t 1 it p r fW 2

turn eTRK 1 Rom the 2-signal frATEREO IN Jo the Splugged int

CK signal and if a signal wire is ATEREO IN Jhe Som the TRS ja turn signal fr1 re

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or panel) o er connectear masttur eTRK 1 Rereo 2-om the str

When depressed this selects either the signal TRK 12-

n TRS jacks and CK it replaces the A

d if a signal wire is o acks is normalled t

TRK ereo 2-s. The steeds e) and fvK (abo

ereo signal or the stn TRS jacks (on the

either the signal

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el of the vol adjusts the le ntrOLOR LEVEL CONTRMONIT

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o the main gn this signal int

m

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mix.

s the oroom monitol ro contrntor s. Foroom monitol rhe contr

w) this kills the depressed (belos, also if 2oroom monitol rcontr

t/Right mix is disconnecthe main Lefe: When this swit ts. Noormonit

hat is the signal that is switched tturn eTRK 1 Rom the 2signal fr

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o TRK 1 signal t e 2-TRK 2 switch is 2-

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HEADPHONE LEVEL

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pressed this switch kills the OR MUTEMONIT

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s mmsW 2

o ps toroom monitol rhe contrt and Right signals fCombines the Lef

SUM MONO

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OL LEVEL.OR CONTR MONITed independently of the ust

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output which remains as a true stere ect the main stf T afdoes NO

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Trident 88 Master ModuleTalkback/Oscillator

TO AUX 1-2Momentary switch, which when depressed assigns the talkback signal (post the talkback LEVEL Control) to the Aux 1 and Aux 2

mix.

TO AUX 3-4Momentary switch, which when depressed assigns the talkback signal (post the talkback LEVEL Control) to the Aux 3 and Aux 4 mix.

TO AUX 5-6Momentary switch, which

when depressed assigns the talkback signal (post the

talkback LEVEL Control) to the Aux 5 and Aux 6

mix.

TO AUX 7-8Momentary switch, which when depressed assigns the talkback signal (post the talkback LEVEL Control) to the Aux 7 and Aux 8 mix.

TO GROUPSMomentary switch, which when depressed assigns the talkback signal (post the talkback LEVEL Control) to the all the group buses. Addition-ally when depressed the signal to the control room monitor is dimmed (attenuated) by approx 30 dB to avoid a feedback situation in the control room monitor speaks.

TO STUDIOMomentary switch, which when depressed assigns the talkback signal (post the talkback LEVEL Control) to the Studio Output TRS jacks. Additionally when depressed the signal to the control room monitor is dimmed (attenuated) by approx 30 dB. The original signal source that was feeding the studio output (main Left/Right mix or Aux 1/2 or Aux 7/8) is muted when talking to the studio outputs.

TALKBACK LEVEL CONTROLThis control adjusts the level of

the talkback source (microphone or oscillator) to the

talkback destinations above.

TB MIC/OSC switchThis selects the source to use in

the talkback section. In the UP position this is the Talkback

microphone (internal or external) and in the DOWN position this is

the internal oscillator.

1k/10kThis switch selects the frequency of the internal oscillator from 1kHz (UP) and 10kHz (DOWN)

TALKBACK MICDirectly behind this location is

situated the internal high quality electrets microphone.

EXTERNAL MICWhen depressed switches the talkback microphone

source from the internal electrets above or the external microphone plugged into the XLR situated on the rear master connector panel. Note: the rear

panel XLR talkback microphone connector is supplied with +48V phantom voltage and feeds into

an internal high quality preamp stage.

Trident 8 88 Master M ModuleTalkbac

Cs d M

ck/Oscillato

mix ux 2 ux 1 and Ao the Aol) tContr

signal (post the talkback LEVE epressed assigns the talkbac

y switch, which whe MomentarUX 1-O AT

or

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L k

n 2

y switch, which when MomentarUX 7-8O AT

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when

ux 4 mix. A

al (post the talkback when depressed

C

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mix ux ux 5 and Ao the Aol) tContr

talkback LEVE talkback signal (post th

when depressed assigns th y switch, whic Momentar

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L

x. 6

EL he

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ally when depressed the s ou o the all the grol) tContr

talkback LEVEL assigns the talkback signal (post the

y switch, which when depressed MomentarOUPSO GRT

ux 7 and Ao the Aol) tContr(post the talkback LEVEL depressed assigns the talkback signal

y switch, which when Momentar

ol o the contr ignal t-dditionp buses. A

al (post the when depressed

ux 8 mix. A

kback signal when

m

Th

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T

erna xternal or eophone (inticralkbac position this is the T

the talkback section. In the U o use i ce this selects the sour

TB MIC/OSC switc

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ce the talkback sourel o vol adjusts the leThis contr

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e f

L

o the Studio Out ol) tContrtalkback LEVEL assigns the talkback signal (post the

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put TRS jacks.

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an m

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Directly behind this location CK MALKBATTALKBA

oernal oscillatthe intWN position this i nd in the DO

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This switch selects the freq0k1k/1

studio outputs.ed when t ux 7/8) is mutA

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Wh

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Trident 88 Rear ConnectionsMaster Connector

Input Connector


Pa t ch Bay

1. Mic Input

2. Mic Insert

3. Line Input

4. Monitor Input

5. Direct Output

6. Monitor Returns (sub groups)

7. Sub Group Outputs

8. Auxiliary Outputs

9. Main Outputs

10. Studio Play back

11. Main Monitor output

1. Channel Inserts (+4dBu)

2. Stereo EFX Returns (+4dBu)

3. Stereo 2 Track Returns (+4dBU)

4. Alternate Speakers (+4dBu)

5. Group Inserts (-2dBu)

6. Stereo Buss / Main Insert (-2dBu)

The Trident 88 has the following unbalanced connections. Again, the wiring diagrams can be seen for each of the connectors

on the console rear connector panels.

The Trident 88 uses a combination of XLR and 1/4" jack connections. This provides plenty of flexibility when connecting the

console to either an existing or new studio setup.

Provided, are a combination of balanced and unbalanced connections. All connections are wired, pin 2 hot. For convenience,

wiring diagrams can be seen for each of the connectors on the console rear connector panels.

The following are balanced connections.

Pa t ch Bay (Continued)


The balanced Connections are wired per the following diagram below:

The Unbalanced Connections will hook up via the following diagrams. The first picture (fig. a) shows an example of how the

inserts would be wired.

The second picture (fig. b)shows an example of the Stereo EFX Returns, Alternate Speakers, 2 Track Returns. This is where you

are sending Left and Right from a Single TRS Point much like one would do for headphones Channel Insert, Group Inserts, Mas-

ter Insert.

fig.a

fig.b

Trident 88 Power Supply


Outside of the balanced connections and unbalanced connec-

tions it is highly recommended that the outputs of the main

multitrack connections are wired in a mult so that you can have

the output feeding both the monitor input and line input at the

same time. This will allow for the following, pre fader level me-

tering while mixing through the line input on the channel path.

Do note, however, that once you patch via the patch bay into the

monitor patch while mixing for extra returns at mix down, this

will be

defeated and the patched in signal will then show up on the

meters.

Patch bay connections hooking up the Trident 88 to a patch bay

allows for flexibility. The following chart shows a basic patch bay

layout and description where the normal would go. For starters

here is diagram showing the various patch bay normal one finds

in a studio:

Half normal Connections:

1. Multitrack Return – Line In

2. Channel Insert Send – Return

3. Direct output – Multitrack Input

4. Multitrack Return – Monitor Input

Full normal connections:

1. Mic Panel – Line In

The last 2 patch bays the master section will be a combination

of the three normal types

1. Group output / Group Monitor returns

Open

2. Mic inserts

Half Normal

1. Group Insert Send – Return

2. Auxiliary Outputs – End User options

3. End user options – Stereo FX returns

4. Main Output – 2 Track Device

5. Main Insert Send – Main insert return

6. 2 Track Device – 2 track Return

Full Normal

1. Monitor Out - Speaker In

2. Alternate Speaker – Speaker in

3. Studio Playback – Studio Speakers

4. Ext Tb – Mic

The patchbay layout for a console would be as follows:

PMI AUDIO LIMITED WARRANTY STATEMENT

The following outlines the warranty periods for The Trident 88 Analogue console.

All extended coverage is based on the timely registration of said products within

the 30 days of purchase to the original purchaser from the date of Proof Of Pur-

chase. Proof of purchase is the original Bill Of Sale or Sales Invoice from an

authorized dealer.

Inquire about extended warranty.

Trident Audio Developments is covered by a limited warranty against defects in

materials and workmanship (parts and labor) for a period of Two (2) Years from

the date the unit is sold to the Dealer or original purchaser only.

Receive an additional free year warranty covering parts and labor with the

registration of your console!

Acceptable registration is met by filling out and returning to the factory the warranty

card attached to this general warranty statement, along with a copy of the original

sales receipt as proof of the original date of purchase. Or you may register online

at http://trident-audio.com/registerT88.html. Another acceptable method is

registration is by email or phone.

[email protected]

UK +44 (0)1803 612 700 • US +1 (310) 323-9050

The terms and conditions of this limited warranty are:

1. The warranty applies to Trident Audio Developments purchased from PMI Audio

or authorized PMI Audio dealers. The authorized dealers of PMI Audio products are

listed at each brands websites, or on the main page at www.pmiaudio.com

2. The warranty covers any defects in materials and workmanship, and is limited

to the repair or replacement of the original registered product. In its sole discretion,

PMI AUDIO may either repair or replace the product with a product of the same

model, or replace the product with a new model of a similar specification, when

the same model is no longer available.

3. The warranty does not cover any of the following: damage caused by the user;

spillages or moisture damage; neglect, abuse or misuse, including but not limited

to the failure to use the products for its normal purpose in accordance with the

manufacturer’s instructions for use, failure to properly maintain the product in ac-

cordance with the manufacturer’s instructions, and/or the failure to use the prod-

ucts in accordance with the manufacturer’s specifications; normal wear and tear;

use of products with incompatible or faulty equipment; unauthorized modifications;

repairs conducted by unauthorized persons or service center’s; the model and/or

serial number being altered, removed or made illegible; accidents; or acts of God

or any cause beyond the control of PMI AUDIO. It does not cover damage caused

by connecting to improper power voltage supply, cosmetic defects, such as paint

finish, and general wear and tear, as well as certain consumables not covered

under warranty such as fuses, meter bulbs and component shelf life on pots, faders

and switches. Products sold in AS IN condition are not covered.

4. The warranty is applicable to the original purchaser throughout the warranty pe-

riod as stated above or until original owner resells product. If a unit is received for

warranty repair, and after complete examination and testing, no problem is found

with the unit, customer will be charged for time labor plus return shipping costs,

presuming initial user error falsely caused the unit to be determined faulty.

5. The warranty does not affect any statutory rights the original purchaser may

have in accordance with the law applicable in the jurisdiction where the product

was purchased, or any rights the original purchaser may have against the author-

ized dealer pursuant to their original purchase agreement. This warranty gives you

specific legal rights and you may also have other rights, which vary from state to

state, and or country to country.

6. Any claim pursuant to this warranty from the date of purchase of any Trident

Audio Developments product must be returned, together with the original proof of

purchase, to the authorized PMI Audio dealer that sold the product, or to the PMI

Audio service center in either the USA or the UK. All returns to PMI Audio, PMI Audio

UK or any PMI Audio Service Center must be in the original packing, accompanied

by the issued Repair Authorisation, and must be shipped to the address specified

on the Return Authorisation via insured freight at the customer's own expense. Fac-

tory original packaging can be ordered from PMI Audio, Inc. Customer will be

charged for new factory original packaging if customer fails to ship product to PMI

Audio in the original factory packaging. PMI Audio will not pay for express or

overnight freight service nor will PMI Audio pay for shipments to locations outside

the USA. Charges for unauthorized service and transportation costs are not reim-

bursable under this warranty

7. Once the product has been received, the authorized PMI Audio service center

will assess the warranty claim and arrange to either repair or replace in accordance

with the warranty procedure prescribed by PMI Audio for their authorized service

center network. The warranty replacement will be conducted by the authorized PMI

Audio service center as promptly as possible and within a reasonable time from

the date of submission of the warranty claim.

In all circumstances, a claimant under this warranty will be liable for all costs in

delivering their PMI Audio brand product to the authorized service center for war-

ranty replacement and for all costs in collecting the repaired/replacement PMI

Audio product from that authorized PMI Audio service center. PMI Audio service

center may waive the cost of return shipping after full inspection to determine

cause of warranty.

8. PMI Audio will not accept any warranty replacement without the original proof

or purchase of the PMI Audio product, and without the registration of the PMI Audio

product within 30 days of purchase by mail, or online. It is the original purchaser’s

responsibility to keep the original proof or purchase safe at all times, as PMI Audio

is not obliged to provide a replacement of the original proof or purchase. (Contin-

ued on next page)

9. The warrantor assumes no liability for property damage or any other incidental

or consequential damage whatsoever which may result from failure of this prod-

uct.

10. A PMI Audio product that was not purchased through an authorized and legit-

imate sales channel is considered "Grey Market". Warranties for PMI Audio Products

purchased outside the USA will be covered by PMI Audio UK for that specific country

or region, or by local PMI Audio distributors. PMI Audio product originally sold to

the USA market and consequently resold overseas forfeits its warranty. American

PMI Audio Dealers are forbidden to export PMI Audio Products. Non-American deal-

ers are forbidden to export to the USA. "Grey Market" purchases are not covered

by any warranty. In the case that a PMI Audio Product must be returned, it should

be returned to the original place of purchase, or the PMI Audio factory, with proper

return authorisation. Returns from outside the USA, customer shall adhere to

specific shipping, customs, and commercial invoicing instructions given with the

Return Authorisation. PMI Audio will not be responsible for transportation costs or

customs fees related to any importation or re-exportation charges whatsoever.

11. PMI Audio shall not be liable for damages in excess of the purchase price of

the PMI Audio product arising out of the use or inability to use the PMI Audio prod-

uct insofar as allowed to be disclaimed by law in the jurisdiction where the PMI

Audio product was purchased.

Governing Laws

If the purchaser acquired a Trident Series 88 originating from the PMI USA office

direct, or through any Authorized US Dealer, then any order or contract to which

these terms and conditions apply and all matters arising there under shall be con-

strued according to and governed by the Laws of The State of California.

If the purchaser acquired a Trident Series 88 originating from the UK office direct,

or through any Authorized European Dealer, then any order or contract to which

these terms and conditions apply and all matters arising there under shall be con-

strued according to and governed by the Laws of England(UK).

For Tech Support and Repair Authorisation, please contact:

PMI Audio Group USA

1845 W. 169th Street

Gardena, CA 90247

tel: 310-323-9050 fax: 310-323-9051

PMI Audio Group UK

4, Minerva Court, Woodland Close,

Woodlands Industrial Estate,

Torquay, Devon. TQ2 7BD

tel: +44 01803 612700 fax: +44 01803 612009


Trident 88 Warranty Information


Registration

STATEMENT OF RoHS COMPLIANCE

PMI Audio Group manufactures complete electronic products which are covered by the European Union’s “Removal ofHazardous Substances” directive 2002/95/EC (RoHS). This directive seeks to eliminate toxic substances from themanufacturing process, such that when equipment is disposed of at the end of its life cycle, the materials it contains do not contaminate the environment and pose health risks. Banned substances are lead, mercury, cadmium, hexavalentchromium, polybrominated biphenyls (PBB) and polybrominated diphenyl ethers (PBDE). Lead is used together with tin in solder connections to reduce the melting point of solder. Lead-free solder requires higher soldering temperatures which in turn places greater thermal stress on components.

PMI Audio Group takes seriously its obligations under the RoHS directive and insists that its factories use only components that are certified RoHS compliant, as well as leadfree solder. In a very few cases the necessary components may not yet be available to the world market but we work continuously to eliminate any such exceptions at the earliestopportunity. Our printed Circuit Boards (PCB’s) and all soldered joints have been lead-free since 2005.

STATEMENT OF WEEE POLICY

PMI Audio Group manufactures many complete electronic products which are covered by the European Union’s “WasteElectric and Electronic Equipment” directive 2002/96/EC (WEEE). This directive seeks to ensure that waste electric andelectronic equipment is disposed of in an environmentally responsible manner, at the end of its life cycle. PMI AudioGroup takes seriously its obligations under this directive to take back WEEE-a�ected products and, from 13th August2005, will mark all such proVducts with the crossed-out wheeled bin symbol.

Business to Business products: PMI Audio Group will cost-neutrallytake back WEEE-a�ected electric and electronicequipment in this category, from 1st January 2006. PMI Audio Group will work with disposal and recycling partners working within the EU. The waste electric and electronic equipment can then be turned over to a disposal and recycling companies inthe countries concerned.

Business to Customer products: emerging electric andelectronic equipment will be disposed of by local authorities’ collection systems. Dual Use products: this equipment will be disposed of by local authorities’ collection systems.

which in turn place tin in solder connec chromium, polybro not contaminate th manufacturing proc Hazardous Substan PMI Audio Group m

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Trident 88 Input Channel Recall Sheet Date________ Artist_______ Engineer________ Page__of__

Session Notes

Trident 88 Group Channel Recall Sheet Date________ Artist_______ Engineer_______ Page__of__

Session Notes

Trident 88 Master Channel Recall Sheet Date________ Artist_______ Engineer______ Page__of__

Session Notes Session Notes

Documents

UK +44 (0)1803 612 700 - US +1 (310) 323-9050 *( !%*a+tridentaudiodevelopments.com/images/t88_pdfs/trident88_manual_v10.… · The quality construction and modular design make the

UK +44 (0)1803 612 700 - US +1 (310) 323-9050 ( !%a+tridentaudiodevelopments.com/images/t88_pdfs/trident88_manual_v10.… · The quality construction and modular design make the