Recording - January 2013 - 28
BY LORENZ RYCHNER
Trident HG3 Close Field Monitoring System
Trident Audio Developments is a venerable name that has always been linked to that of Malcolm Toft, who worked at Trident Studios in London as far back as 1968. The Trident website tells us that Toft mixed “Hey Jude” which was recorded at Trident because it had an 8-track recorder... That’s quite some history. Toft founded Trident Audio Developments in 1971, and soon the A Range split-design console came about, these days still available as a 2-channel rack-mountable version. Another console followed, the B-Range, also still available as a rackmountable 2-channel version, and in 1980 the Series 80 followed, a modular live console. Malcolm Toft also designed the currently available Series 82 24-bus recording console. So why do I hark back to those iconic products? To point out that Trident doesn’t just come out with any old short-lived product, and that in all these years Trident has never produced a studio monitor—until now. This one is not Malcom Toft’s baby, it is the brainchild of another industry veteran, Harvey Gerst of Indian Trail Recording Studios. Was it worth the wait? You bet, as long as your room and budget are up for it. Facing you This active monitor is black and beautiful, with a shiny grand piano-like finish. It is larger than most nearfield monitors we’ve reviewed, and its most striking feature is something we’ve never seen elsewhere: a
RECORDING January 2013
rotating module containing both a midrange speaker and a tweeter, almost separated from the remainder of the box. Take a look at the product picture: There is a vertical gap between the bass speaker and the module; that module can rotate more than 90 degrees, from a slight “toe-in” towards the bass speaker to the opposite direction, literally “looking around the corner”. The literature from Trident calls the bass speaker a subwoofer, which would make the midrange element the woofer. To avoid confusion among those who are used to twoway systems and separate subs, I’ll call the big guy the bass speaker, and the other the midrange and tweeter units. Fair enough? The movable module has a silk dome tweeter above a midrange speaker, and each element has its own pot that’s calibrated from –2 dB attenuation to 2 dB boost. Straight up (12 o’clock) is flat, and turning the pot full left turns the drivers off. The tweeter measures 11/8"; there are no speaker dimensions given for the other two, the midrange speaker is roughly 4" across, the bass speaker roughly 7". In the top corner above the bass speaker is the port hole; the only other two visual items on the front are a green LED, signifying power-on and turning red if distortion should be sensed, and the logo. The rear and more Around back there’s a volume knob that can completely silence the unit. It shows
–10 at the top and has four dots on either side of that—the pot is not stepped and moves smoothly. The inputs are so versatile as to leave no user in the lurch: Dual-purpose XLR–1/4", accepting balanced XLR and TRS or unbalanced TS, and an unbalanced RCA phono connector. Power comes via a regular 3prong IEC AC cord, the correct voltage needs to be selected for the user’s country, and the brochure warns that the heat sink will get hot. Really. With three speaker units you’d expect three power amps, right? Well, there are indeed three power amps inside, but two of them are powering the bass speaker, while the third serves both the midrange and the tweeter elements. Placement That unusual swivel unit begs the question of how to place the monitor. If the monitor’s somewhat larger than usual dimensions make you want to place it further than the equilateral triangle suggests (equal distance from your ears to the tweeters and from tweeter to tweeter), thinking that you can compensate by angling the swivel unit, think again. I found that these speakers served me best when I ignored their heft and placed them exactly where I would place smaller ones. They only look like midfield speakers, and while they can certainly be placed farther away, you would lose a lot of the fine precision that they have to offer.
Table of Contents for the Digital Edition of Recording - January 2013
Recording - January 2013
Table of Contents
2012 AES Convention Report.
Universal Audio Apollo.
ADAM Audio F5 and F7 Monitors.
Earthworks ZDT 1022 Mic Preamp.
Trident HG3 Close Field Monitoring System.
AKG K702 65th Anniversary Edition Headphones.
Grace Design m903 Reference Headphone Amplifier.
Monitors & Monitoring.
Lauten Atlantis FC-387 Condenser Microphone.
Recording Fundamentals. Chapter 13: Monitors Part 2.
PreSonus BlueTube DP V2.
Getting Into Your Head.
Shure SE215 Sound Isolating Earphones.
iOS Music Tools: Last-Minute Audio Gifts!
Sennheiser HD800 Headphones.
2012 Annual Index.
Recording - January 2013 - Recording - January 2013
Recording - January 2013 - Cover2
Recording - January 2013 - 1
Recording - January 2013 - 2
Recording - January 2013 - 3
Recording - January 2013 - Fade In.
Recording - January 2013 - 5
Recording - January 2013 - Table of Contents
Recording - January 2013 - 7
Recording - January 2013 - Talkback.
Recording - January 2013 - 9
Recording - January 2013 - 2012 AES Convention Report.
Recording - January 2013 - 11
Recording - January 2013 - 12
Recording - January 2013 - 13
Recording - January 2013 - 14
Recording - January 2013 - 15
Recording - January 2013 - 16
Recording - January 2013 - 17
Recording - January 2013 - 18
Recording - January 2013 - 19
Recording - January 2013 - Universal Audio Apollo.
Recording - January 2013 - 21
Recording - January 2013 - 22
Recording - January 2013 - 23
Recording - January 2013 - ADAM Audio F5 and F7 Monitors.
Recording - January 2013 - 25
Recording - January 2013 - Earthworks ZDT 1022 Mic Preamp.
Recording - January 2013 - 27
Recording - January 2013 - Trident HG3 Close Field Monitoring System.
Recording - January 2013 - 29
Recording - January 2013 - AKG K702 65th Anniversary Edition Headphones.
Recording - January 2013 - 31
Recording - January 2013 - 32
Recording - January 2013 - 33
Recording - January 2013 - Grace Design m903 Reference Headphone Amplifier.
Recording - January 2013 - 35
Recording - January 2013 - Monitors & Monitoring.
Recording - January 2013 - 37
Recording - January 2013 - 38
Recording - January 2013 - 39
Recording - January 2013 - Lauten Atlantis FC-387 Condenser Microphone.
Recording - January 2013 - 41
Recording - January 2013 - Recording Fundamentals. Chapter 13: Monitors Part 2.
Recording - January 2013 - 43
Recording - January 2013 - PreSonus BlueTube DP V2.
Recording - January 2013 - 45
Recording - January 2013 - Getting Into Your Head.
Recording - January 2013 - 47
Recording - January 2013 - 48
Recording - January 2013 - 49
Recording - January 2013 - Shure SE215 Sound Isolating Earphones.
Recording - January 2013 - 51
Recording - January 2013 - 52
Recording - January 2013 - 53
Recording - January 2013 - 54
Recording - January 2013 - 55
Recording - January 2013 - Readers’ Tapes.
Recording - January 2013 - 57
Recording - January 2013 - iOS Music Tools: Last-Minute Audio Gifts!
Recording - January 2013 - 59
Recording - January 2013 - 60
Recording - January 2013 - 61
Recording - January 2013 - Sennheiser HD800 Headphones.
Recording - January 2013 - Advertiser Index.
Recording - January 2013 - 64
Recording - January 2013 - 65
Recording - January 2013 - 66
Recording - January 2013 - 67
Recording - January 2013 - 68
Recording - January 2013 - 69
Recording - January 2013 - 2012 Annual Index.
Recording - January 2013 - 71
Recording - January 2013 - Fade Out.
Recording - January 2013 - Cover3
Recording - January 2013 - Cover4