Softube Trident A Range
EQ
Okay, so let’s get the company promo and description out of
the way first:
‘Softube is shipping the Trident A-Range for native
(VST/AU/RTAS) and TDM. Trident A-Range is available today at the Softube web
shop and at authorized Softube dealers at an introductory price of $229
(Native) or $329 (TDM/Native), excl. VAT. The introductory offer will last
through out February, thereafter the
price will be $279 and $449, respectively.
The Trident A-Range plug-in is a model of a channel
equalizer from the legendary Trident A-Range console, a holy grail for sound
engineers and producers since the seventies when hit records by David Bowie,
Elton John and others were recorded at Trident Studios in London.
As only thirteen A-Range consoles were ever built, it's a very
exclusive piece of equipment that now is available in a plug-in format. The
sound is continuously referred to as "colorful" and
"musical" and will provide you with a very unique way of shaping your
sound.’
Make sure to watch the Trident
A-Range plug-in video!
Note: There is no stereo version of the TDM plug-in, due to DSP constraints. Please use multi-mono instead.
Review
Review
So, for those who are not too console geeky and basically
just want to know if the plugin sounds good then ‘Hell, yes it does’. For those who want to know a little more
about why and what then a little revisit to the age of flares, dodgy moustaches
and some incredible records is a must.
The Trident A range consoles were built by Trident and,
strangely enough, for Trident Studios although they were installed in a few
damn lucky and select studios, Cherokee being one of the first.
The console itself had that huge ‘get your pants moist’
British sound which was directly related to the EQ and filter design.
The high pass and low pass filters work off fixed cut-offs
but can also be engaged in unison which allows for more scope and variety in
sound sculpting chores. Additionally, the design and implementation of the
filters means that they do not solely operate in isolation but ‘complement’
each other. A sensible slope of 12dB is offered for smoothness and consistency
but make no mistake this EQ can misbehave!
Softube have been generous and offered us a useful phase
invert switch and, excitedly, a saturation knob. The idea behind a saturation
function is to duplicate the harmonic distortion available in analogue consoles
when driven. Those that have pushed the ‘gain ceiling’ and eaten into any
sensible headroom will know what I am talking about. The driven aspect of a
console can be critical in determining the sound that the console imparts and
although the original console that this plugin is based on had no such
‘saturation’ knob Softube, via their clever coding, have emulated this feature
beautifully.
You have the standard output volume knob which, trust me, can be handy when you
unleash the saturation.
I have experienced nothing short of ‘EQ porn’ whilst testing
this well designed minimum phase EQ on various material. Fixed frequency
designs tend to be a little constrictive and limited when trying to EQ
broadband material and can also be static when dealing with certain static
sounds. But I did not find this to be the case with the A. Whether driven or
used conservatively this plugin can really leave a mark on the any material.
The acid test for me was when I ran a dead and clinical sampled Rhodes through
it. It shimmered and sounded rich and not in the ‘smearing frequencies’ kind of
way but in the ‘harmonically structured’ kind of way.
I rarely recommend vsts, particularly EQs, as I always end
up with the run of the mill surgical Linear Phase designs that leave me
soulless, and when it comes to minimum phase designs and standard emulators,
well, I am always left wanting. BUT,
Softube seemed to have cracked it. This particular plugin is now one of my favourites
and standard ‘go to when needing life’ EQs.
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