So tonight I had a bit of an epiphany while have the Trident hooked up to the tape machine. We were running into feedback while input monitoring on the tape machine while in line input on the trident. Well, I've been viewing this console as more of an inline console rather than a split.
The way those great analog consoles were meant to work is you directly hear your inputs channels while recording. Then once recorded, you hear the playback of the recorded channels through the monitor row while using the inputs to record more stuff. Example: After recording the drums & bass we could hear the playback of the kick from channel #1 of the tape machine on the monitor-row while using input channel #1 on the desk for recording an overdub.
I see that now. I guess it just wasn't viewing this the way I was hoping it would.
This may take a bit for me and Brian to chat about this. Because the trident has 16 channels, but only 8 group outputs that are really only 4 (group 1/5, 2/6, etc). It's severely limiting if you ask me. But maybe that's just me being used to unlimited channels via protools.
I understand. Back in the day, we made big-use out of the direct outputs. Not all signals need go through the busses. Many times I would take a signal, let’s say the kick again, into the console and direct out of that channel patching to an outboard EQ then patch out of the EQ into a limiter and directly out of the limiter and patch into a channel of the tape machine… You can also use your FX sends as outputs to the recorder.
There really are more in's & outs than 8 X 4. You can always use two of the monitor-row channels for many channels of Pro Tools playback into the studio Monitors and headphones. That console gives you warm fat EQ for recording and warm fat EQ for mixing stems too. I wouldn’t get your mind into a "severely limiting” mode. Only think a little differently and let that console help the sounds of your music.
That old English board has more soul that all the unlimited channels at 96K that Pro Tools rig dream of…