The Hum Audio Devices N-Trophy was developed over a three-year period by HUM Audio Devices, with the company carrying out extensive listening tests in its own professional analogue recording studio. Its architecture is fully discrete, with a short signal path, custom transformers, discrete operational amplifiers and a ±24V power system designed to provide substantial operating headroom. Rather than reproducing the architecture of a traditional large-format desk, HUM developed the N-Trophy around a modular structure intended to accommodate recording, mixing, stem summing and mastering within the same console.
A key part of the design is HUM’s zero-loss Summing Matrix. Instead of a conventional long summing bus, channels are directly connected through the summing architecture, with the summing stages based around Jensen JE990 discrete operational amplifiers. The same discrete approach extends throughout the console, including the microphone preamplifiers and group circuitry. Power is supplied by a linear supply using a custom double-shielded toroidal transformer, with one passively cooled 3U supply capable of powering a console containing up to 32 channel strips.
The Hum Audio Devices N-Trophy is highly modular. Systems can be configured with between zero and 64 channel strips, providing up to 136 inputs at mixdown in the largest configuration. Individual eight-channel sections can be added as required, while individual channels can also be installed into available frame positions. Separate bays can be positioned independently within a control room and linked using custom connections, making very large configurations or installations in unusually shaped rooms possible.
The centre section can also operate independently as a mastering and summing console. In this configuration it provides up to 16 inputs through the group and auxiliary return paths, together with the N-Trophy’s monitoring, master processing, insert routing and summing facilities. This allows the central section to be incorporated into an existing studio without requiring a complete recording console.
Channel Strip
Each Hum Audio Devices N-Trophy channel is a fully in-line design with separate Mic/Line and Tape inputs. The main and rotary faders can exchange their signal paths, while the Tape input includes switchable 0dB, +6dB and +12dB gain. The microphone, line and instrument preamplifier provides gain from 0dB to +66dB and is based around the Jensen JE990 discrete operational amplifier. HUM based the preamplifier architecture on its RP-2 microphone preamplifier and includes a switchable custom HUM Audio Devices input transformer.
A dedicated saturation and THD stage provides several analogue distortion configurations. Asymmetrical operation can use germanium or silicon characteristics, while symmetrical operation provides Soft, Medium and Hard settings. This stage allows harmonic processing to be introduced directly within the channel rather than through external equipment.
Each channel also contains HUM’s six-band passive equaliser. The high, mid and low sections provide separate boost and cut frequency controls, with the high and low bands switchable between shelving and peak characteristics. Independent passive high-pass and low-pass filters are also included. Rotary switches are used for EQ and filter settings, assisting recall and maintaining matching between channels.
The built-in Tube Optical Compressor/Limiter employs HUM’s own detection and compression circuits and provides a continuously adjustable transition between compression and limiting. The compression action can be disabled while retaining the tube stage, or the tube itself can be switched off when not required. Dry/wet blending allows parallel compression within the channel, and adjacent channels can be linked for stereo operation. External key input and side-chain filtering are provided, while Aux 7 and Aux 8 can operate as internal side-chain buses.
The channel insert also provides dry/wet blending for parallel use of external processors. A processing-order switch allows the EQ, compressor and insert to be arranged in different sequences, while another rotary control selects the meter source from Preamp Out, Tape In, Channel Out, EQ, Compressor or Gain Reduction. A channel direct output can be sourced for recording either processed or unprocessed signals.
Faders and DAW Automation
The Hum Audio Devices N-Trophy uses 100mm precision stepped motorised analogue faders constructed around fixed resistors. Rather than employing VCA level control, HUM uses a Flying Fader-style arrangement in which the motorised fader remains part of the analogue level-control system. The stepped construction is intended to provide closely matched and repeatable positions across multiple channels, particularly for summing and mastering applications. Up to 32 channel or group faders can be assigned to automation.
Automation communicates with a DAW using the standard HUI protocol. Automation curves can therefore be written or edited within the DAW while being reproduced by the console’s motorised faders. In DAW mode, the N-Trophy faders can instead operate the virtual DAW mixer, with Solo, PFL and Mute controls also assigned to corresponding DAW functions.
Auxiliary and Group System
Each channel provides eight mono auxiliary sends which can operate pre- or post-fader. Adjacent sends can be paired for stereo use, with the odd-numbered control becoming the auxiliary pan control. The four stereo pairs can be independently assigned between the A and B fader paths. Aux 7 and Aux 8 additionally serve as global compressor side-chain buses, allowing signals from multiple channels and groups to be combined as key sources for the console’s compressors.
The centre section contains eight mono group buses. Adjacent groups can be hard-panned to create matched stereo group pairs, while each group is built around the same Jensen JE990-based Summing Matrix architecture as the main mix bus. External XLR inputs feed the group faders directly, allowing additional sources to enter the console without passing through the main channel strips.
Group inserts include dry/wet blending using rotary switches. Each stereo group also provides HUM’s Stereo Width processing, designed to alter stereo width while preserving the centre information and low-frequency energy. Eight mono auxiliary returns include level, pan and routing to the main mix or Groups 7 and 8. Each return also incorporates the same Pan Mode concept used on the channels. Eight auxiliary master sections include independent high-pass and low-pass filtering and individual switching.
Master Processing
The N-Trophy centre section incorporates a complete analogue processing chain intended for both mix-bus and mastering applications. Its processors can be rearranged within the signal path, and an M/S encoder and decoder can be inserted at different points within the chain. This makes it possible to combine conventional left/right processing with M/S processing within a single analogue signal path.
The Tube Optical Master Compressor/Limiter uses NOS Mullard valves and provides compression and limiting control, dry/wet blending, stereo linking, side-chain filtering and an external key input. Aux 7 and Aux 8 can also feed its side chain. A six-band passive Master EQ follows the same basic approach as the channel equaliser, with separate boost and cut frequency controls across high, mid and low sections. High and low bands can operate as shelving or peak filters, and the equaliser can work in either conventional L/R or M/S operation.
Both the Master EQ and Tube Compressor are available independently through the patchbay, allowing them to be used as external processors rather than exclusively within the main mix path. The Main Insert Matrix provides three external insert positions with dry/wet blending. These inserts can participate in the variable master processing order together with the compressor and equaliser. A switchable M/S Balance control is provided, together with the console’s Stereo Width processor.
Monitoring and Metering
Monitoring level is controlled by a passive relay-switched attenuator with 256 steps. Up to four pairs of monitors can be connected, while the main headphone output uses a separate 256-step passive relay-switched control. Four additional musician headphone outputs are powered by discrete Class A amplifiers. Each has independent source selection and can be fed from the console’s auxiliary buses to create separate cue mixes.
The meter bridge incorporates four Sifam VU meters with individually assignable sources for each pair, along with another pair of Sifam meters dedicated to the Master Compressor. A TC Electronic Clarity M stereo analyser is fitted as standard. Its source can be switched between analogue and digital operation, with selectable analogue meter sources and input levels. It can also operate via USB as a virtual analyser.
Routing and Connections
The Hum Audio Devices N-Trophyy provides individual connections for every channel as well as the Master Section, with these connections also accessible through the console patchbay. Each channel provides Mic In on XLR, Tape In on XLR, Line In on an XLR/jack combination socket, Insert Send on XLR, Insert Return on XLR and Direct Out on XLR.
The standard integrated patchbay uses full-size XLR combination sockets. The patchbay is constructed as removable 2U sections, allowing it to be relocated into studio furniture or another position and connected back to the console using HUM Audio Devices custom cables. A Bantam TT patchbay is also available as an alternative configuration.
Installation and Expansion
The N-Trophy frame is divided into modular bays, with each additional bay adding approximately 570mm to the overall width. Bays can be installed separately within a control room and linked using custom cabling. Servicing and expansion are designed to be accessible from the top of the console. Installing a replacement or additional channel requires four screws and two internal connectors, avoiding the central bottom motherboard and slot-connector arrangement found in many traditional large-format consoles.
The meter bridge is approximately 190mm deep and can accommodate nearfield monitors. Space is also provided within the centre section for a full-size wireless computer keyboard and mouse, with the group fader and mouse sections interchangeable between left and right positions.
Features
- Fully discrete modular analogue in-line console architecture
- Configurable with up to 64 channel strips and as many as 136 inputs at mixdown
- User-expandable channel and eight-channel bay system
- Jensen JE990-based discrete microphone preamplifiers and summing circuitry
- Switchable custom HUM Audio Devices input transformers
- Six-band passive equaliser on each input channel
- Independent passive high-pass and low-pass filters
- Adjustable analogue saturation and THD stage with asymmetrical and symmetrical modes
- Tube Optical Compressor/Limiter on each channel
- Dry/wet blending for channel inserts and compression
- Variable channel processing order for EQ, compressor and insert
- Eight mono auxiliary sends with stereo pairing
- Aux 7 and Aux 8 configurable as global compressor side-chain buses
- Eight mono group buses with external XLR inputs
- Eight auxiliary returns and eight filtered auxiliary masters
- HUM zero-loss Summing Matrix using discrete Jensen JE990 operational amplifiers
- 100mm precision stepped motorised analogue faders based on fixed resistors
- HUI-based DAW automation for up to 32 faders
- DAW control of faders, Solo, PFL and Mute functions
- Tube Optical Master Compressor/Limiter using NOS Mullard valves
- Six-band passive Master EQ with L/R and M/S operation
- Configurable M/S encoder and decoder positions within the master processing chain
- Three-position Main Insert Matrix with dry/wet blending
- Stereo Width processing on four stereo groups and the Main Mix
- Passive relay-switched 256-step monitoring control
- Connections for four pairs of studio monitors
- Four discrete Class A musician headphone amplifiers plus Main Phones output
- Four assignable Sifam VU meters plus Master Compressor metering
- TC Electronic Clarity M stereo analyser fitted as standard
- Integrated removable XLR combination-socket patchbay
- Optional Bantam TT patchbay configuration
- Passively cooled external 3U linear power supply
- Modular frame sections can be separated for flexible studio installation
- Handcrafted in Poland