The iconic Trident brand is well represented with these plug-in versions of the 500 series version of the console EQ from the Trident 80B desk and Trident's 1U rack mount parametric equalizer, the enigmatic CB9066.

The 500 Trident 80B Equalizer module's four bands are exactly copied here. They are: low shelf with switchable 60/120Hz frequencies, low mid-range is sweepable from 100 to 1500Hz, high midrange sweepable from 1 to 15kHz, and the high shelving EQ is selectable between 8 and 12kHz. All EQ bands offer +/- 15dB of boost/cut and there is a switchable 50-Hz high pass filter.

The hardware Trident CB9066 three-band parametric EQ is compared in some ways to Trident's top-of-the-line, A-Range equalizer. Silo Soundlabs did a good job of emulating it with their CB9066 plug-in. There are three bands plus high and low pass filters.

As in the 80B EQ, the different bands use color-coded knobs that mimic the actual Trident console's aluminum knobs. So the CB9066 has five different colored knobs!

The high pass filter (light blue knobs) sweeps from 100 to 400Hz with adjustable slope from 0 (or off) to 22dB/Oct. The low pass filter (green knobs) is sweepable from 4kHz to 15kHz also with an adjustable slope from 0 to 22dB.

Silo SoundLabs Trident Audio Trident 80B EQ Plug-in

The three-band parametric section starts with gold knobs controlling the low frequency band that's sweepable 60 to 700Hz and adjustable Q. On this EQ, Boost/Cut is adjustable from +/- 16dB on each of the three EQ bands. Like the hardware version, each section has its own bypass switch.

The black knobs control the Mid-range EQ section with sweepable 600 to 7kHz range and adjustable Q. And the red knobs control the high frequency section EQ with 3.5kHz to 14kHz and adjustable Q.

In a Pro Tools mix, I had great success using these two plugins on individual electric guitar and bass guitar tracks. The challenge with many electric guitars stacked up is to sound cohesive with some individuality so they are distinct and clear. Each part was double-track with two distorted rhythm parts, two 12-string electrics and two colorful accent tracks.

I used the CB9066 on two electric 12-string Rickenbackers where I did some clean up in the bottom and top frequencies using the high pass and low pass filters. Individually I would put the Slope controls to max at 22dB/Oct and then sweep the frequency. Once I targeted what frequencies, I then would back the Slope way down. Then could 'carve' some of the mid-range honk out them using the three-band section.

I found the 80B EQs perfect for a chorus fuzz bass for cleaning up and tailoring it to fit the track better. In the past, I've used the Trident A-Range, 80B and TSM consoles and these plugins have the same wide range of possible sounds--from aggressive to subtle--that I remember about the EQs in those boards.