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Thread: Ramsa WRT 820 Vs Trident 78

  1. #11
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    Also another thing is I like the inline design and need something that can be great for overdubbing etc.

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    Quote Originally Posted by Ken in Midland View Post
    Another option...add an 8 channel sidecar, giving you your 24 channels. Presumably you aren’t using automation, etc...

    Another option...I’ve heard som stunning releases done on Toft ATB things. They’re (kinda) based on Trident 80Bs, and that’s real good company
    The Toft ATB line and the new Trident 68/78/88 line is all from the same company - PMI Audio Group.

    The 68/78/88 is supposed to be a higher-end version of their Toft stuff...but IMO, it's just a revamping, because the managed to buy the "Trident" name, and all the intellectual property...where before, they just had Malcolm Toft design the ATB based on his approach.
    How true to the original Trident boards are either of these lines...mmm...maybe some portions, but I don't think either of them are identical to the 80 Series or the TSM vintage boards. I think the new Trident line sticks more to the originals than the Toft stuff...but that's just based on what I've read.

    That doesn't necessarily make the new lines any worse (or better) than the original Tridents...just pointing out who is actually making them and how it came about that we again have Trident in production.

    You could probably find some people who have used the new Tridents, and know first hand how they compare to the vintage Tridents.
    AFA the Toft ATB stuff...there have been plenty of folks using them over the last bunch of years...who also have done comparisons to the vintage stuff.
    Go do some searches on Gearslutz or on R/E/C forums.
    I always felt the Toft ATB stuff was way overpriced...and people who have had their hands inside them, agreed...that they really didn't have great buikd quality...though they had a decent sound.
    I think the new Trident stuff attempts to correct the build quality issues of the Toft...so now there are like multiple levels of consoles people can get into from Toft/Trident.



    Trident 68 - 24-channel: $16k
    Trident 78 - 24-channel: $25k
    Trident 88 - 24-channel: $38k

    Toft ATB - 32-channel: $7k (looks like they dropped the price...use to be over $9k...oh, and it looks like they dropped the 24-channel, but there is a 16).
    Last edited by miroslav; 4 Days Ago at 16:47.

  3. #13
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    Quote Originally Posted by AllenM View Post
    Also another thing is I like the inline design and need something that can be great for overdubbing etc.
    If you don't mind sharing...what kind of "good deal" price are you paying for a new 32-channel?
    (you can PM me if you prefer not to post publicly...I will keep it private).

  4. #14
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    Very interesting thread. As I get ready to get a new studio space running I'm leaning toward the Audient boards, with the ASP4816, or a used ASP8024. The price is tough to beat.. and the reliability even harder to beat.

    I won't offer any opinion on the Toft/Trident stuff since I've never had 'hands on faders' but I think Audient does inline console design very well and they offer a lot of advanced features right across the product range. Plenty of routing options, split-able EQs, large and small faders.. not just long faders and a set of knobs.

    Audient isn't a 'colorful' brand which seems to be the current fad in pro-audio, like tube gear was 10 years ago. Butm for my money, I'd rather have a clean and reliable console and patch in color as needed instead of something filled with transformers and well suited to a more narrow band of musical styles.

    I'd be curious, AllenM and Miro, if either of you have/had considered something from Audient in your console hunts.

    That being said, I'm sure that Trident is keeping you very happy these days Miro

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    Quote Originally Posted by sr71rules View Post

    I'd be curious, AllenM and Miro, if either of you have/had considered something from Audient in your console hunts.

    That being said, I'm sure that Trident is keeping you very happy these days Miro
    Oh I've very much admired the Audient stuff...and would not hesitate getting one, if I was still looking.
    Right now though, I'm staying with the Trident London 24, since it's been heavily upgraded in the power distribution, and with custom PS units, plus massive new grounding scheme. In addition to that...I did a complete recap, with high-end Panasonic capacitors, and then a complete re-chip of the 28 input channels and the 24 monitor channels. Plus I modified both the High and Low shelf EQs for better functionality, and I also went over each channel strip with a fine tooth comb.
    The console sounds great. Yes...it has "color"...but that's what I wanted, instead of a clinical, transparent console. It's not like real intense, but certainly not a vanilla flavor. For me, it works well with outboard processing...so it's not like the console provides the lion's share of "color", or where it makes it harder to add in outboard flavors.
    for Rock/Pop music...it works great....and that's mostly what I am doing with it. If I want transparency...I can just stay ITB for those things.
    If I was running more of a commercial studio, doing a wide variety of music styles, then maybe something else might be better suited...but it would be more for the routing/mixing flexibility...multiple stereo busses, etc...and not really because the Trident is too colorful.

    Even my tape deck, while certainly having some of that "tape" sound thing...it's not extreme. The Otari MX80 can be pretty transparent with the right tape...or, it can have some more color with a tape/bias change...but otherwise, the thing is a workhorse.

    I may at some point consider a different console...but I probably would still prefer something vintage with balls...though, I do also have a certain love for boards that are more modern, with that "high-tech" vibe. The Audient 8024 is very nice console.
    What's funny though...is with my Trident...I don't know if it's the big wood armrest and side-panels, or the colorful buttons...but when you walk in and look at it...it just makes you smile. It definitely has some kind of mojo going on...I mean, it just oozes "analog".

    That said...there's also a great feeling buying something that doesn't need anything...something new/current and well-built, or at least something used that's still in production and/or with factory support.
    It's a real PITA looking for parts for older gear that's been out of production for 20-30+ years.
    With both my Otari MX80 and my Trident...I managed to acquire enough parts to keep them going well into the future.

  6. #16
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    Yeah I've done a LOT of that...buying a complete and ancient train-wreck...seers around me saying "don't do it, man" and I do it anyway. And then when I got my Studer console and realized it needed almost nothing. Like, it just works. Its a weird concept for me, but I like it. And @sr71rules that's kind of how my console fits in...its really clean and quiet and pretty much transparent, but the EQ is sweet sounding on it, so that adds something, and the group and master outputs do something nice when pushed...the output amps are aneat design that are a hybrid opamp/transformer output...a high quality custom transformer with a third winding that is incorporated into the feedback loop of the opamp. And so when pushed they do something that sounds non-linear and less transparent, like a really useful edge or bite to the mid-range definition of the program, and the low and high frequencies stay clear and defined. So that's really fun and useful...it has gobs of drive though which is great to mate with the tape machine. So its nice that the desk is relatively transparent and clean so when I want something with more character that's where the tape machine comes in, and the 2" 16-track Ampex fits that bill. These are things I didn't think too hard about before I had the Studer desk...I was kind of bent on everything analog having character to it, but in a hybrid setup where the analog console is still the centerpiece it makes sense to me for the console to be able to function transparently...you can add character either in outboard gear (or also if the console is capable of morphing when pushed), but you pretty much can't take something with character and make it transparent when you need that.

  7. #17
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    Great perspectives. Love it!

  8. #18
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    So I finally heard some examples of the trident 78 online. One project it was used with tape so I was able to get a good idea of it. There are a few workarounds I have to get used to. For example the Ramsa has a button on the master section that allows you to listen to just the sends 1 and 2 (headphone mix) On the trident 78 you have to solo sends 5 and 6. And the trident monitor section. Which I think may be compared to PGM MIX on the ramsa. But on the trident you can flip the tape monitor to feed the input channel to have access to busses, eqs, etc.

    I like that on the 78 32 channel I am gaining:
    +4 balanced on everything (yay, no more rca to trs converters lol)
    better pres (?? I think ??)(class a- does that mean anything? lol)
    More headroom (supposedly)
    better eq's (probably)
    more channels (32) + monitor inputs and group inputs
    Option for automation in the future!!!!! (trimix will work with 78 model) - now to figure out how to work with tape smpte
    fx returns!! (I love this)
    Transformer on Master out + Monitor out (idk if this will benefit the sound but o.k)
    Inserts!!! on the group outputs and Master L/R!!!!! (super amazing ha)
    An option to monitor through 2 track returns (x2 of them!!)
    3 year warranty, a NEW console (no scratchy faders or crackling mutes)

    I am also gaining more time ,creative options, and flexibility with my workflow of tracking, bouncing, and mixing on tape.
    The ramsa due to lack of inputs had me re patching and planning just to free up some channels for tracking. Plus I hated using a side car mixer (soundcraft efx 12) it had no headroom or busses.

    Drawbacks: I had to sell my tascam ms16 and ramsa wrt 820 to help pay for downpayment. but Im still using a otari mtr 90 2" which I like anyways because of the 24 tracks.
    The 78 doesn't have as many features as the 88 but Its still ALOT more flexible than the ramsa.
    board is kinda expensive but I think i'm getting a good deal.
    Last edited by AllenM; 7 Hours Ago at 10:11.

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