Here’s another extended audio demo, via Perfect Circuit, of the new Sequential Circuits Trigon-6 synthesizer.
“It’ll make a great choice for any keyboardist looking for a quality analog synth that covers a lot of ground, especially those who need an instrument that will hold up to the rigors of touring/performing life. For studios looking for a fresh take on a Moog-like sound, it’ll easily meet and exceed their needs,” they note in their review. “But best of all, it truly does open up its own unique avenues of exploration: sounds with deep modulation, drifting Vintage detuned textures, bone-rattling unison bass sounds, whistling overtones, and just absolutely solid leads and chord tones. Sequential has already proven that the analog polyphonic synthesizer as a concept has plenty of room for instrument-by-instrument variation; and now, the Trigon-6 pushes new boundaries in this otherwise familiar paradigm.
The Trigon-6 is a new 6-voice analog synth that offers the company’s take on the classic Moog 3-VCO-plus-ladder-filter tone, in a modern polyphonic instrument design. It was the last design that the late company founder Dave Smith contributed to.
Maybe is just me, but I think the Vst Instruments that we have today , produce better sounds … With a good midi controller … Sky is the limit …
I tend to agree.
In some cases they’re pretty close.
but the whole breathing analog circuitry, the da-stage in digital synths and all the analog parts involved or the dedicated DSPs make it a much more organic instrument.
in the context of a nice mix it’s almost irrelevant and it’s convenient.
But when I just play few (v)analog synths together (let’s say 0coast + virusb + braids) and push my analog outboard gear real good – still nothing comes close!!
What I love in a software synth is if it’s concept is original. And then there is the ease of use factor – recall and presets. – In the heat of day to day work that matters almost the most nowadays. I’ll give this one a pass. the sequential pro 3 I am much more interested in – although I read here and there it can be quite buggy.
you can ride from los angeles to san francisco in a rolls royce or in a volkswagen. while the result is identical, the process is quite different. i find graphic UIs incredibly uninspiring. i love knobs. but this is just me. others want to make music while on the go. or use 200 different synths.
“With a good midi controller … ”
I keep hoping for that really great controller to close the gap between hardware and software synths in terms of hands-on experience. It doesn’t exist yet.
I was in the same boat and have found the Roland system 8 to be a great controller that (to me) closes that gap. I don’t even use the onboard sound engine (its like lifetime insurance against Roland cloud support or price for some of my fav Roland synths) it has a good keybed, tons of knobs and sliders etc and is pre-mapped to most Roland cloud stuff and works easily with most other vsts esp those w a learn function.
I think you are wrong.
Kept waiting for something to happen with that Zebra and Lemon. Nothing.
this will get boring pretty quick without a 2nd multimode filter
ymmv
i wish it had 12 multimode filters
Personally, I think that this particular demo sucks. It doesn’t hive the listener any idea of what the synth sounds like when it’s not making annoying sequencer runs or blips and bleeps. The only part I found even remotely useful was that short part about 1/3 the way in when the oscillators were set to triangle and the playing was legato. It is clear, now, that I’m going to have to get my hands on one to evaluate it for my needs. I notice that there’s no demo video at the Sweetwater site. With any luck, Daniel Fisher will give this thing a thorough review. His Sweetwater video that demonstrated the oscillators on the Behringer Model D was one of the main reasons I ordered one before they were even available.
Perhaps it’s already being discussed in a previous topic…but, since this a 6 voice synth…why would somebody spend 800,- more, with -1 octave compared with the polybrute?
I’m not considering buying one but it is just curiousity…
because counting the keayboards octaves is not that important with synths …
… perhaps an 88 keys stagepiano with 128 voices is what you looking for?
it is when you can play more than one key at a time. 5 oct’s minimum for me for a performance instrument. I don’t have 6 foot arms to reach desktops and rack mounts – I like all my controls right next to the keys Im playing.
stage pianos – by themselves – are great.
That isn’t what paul said, and you are replying to someone that replied to paul. paul made it sound like nobody should pay for a synth below a certain amount of voices and octaves. The respondent, Schubert, basically said that’s not universal criteria. Then you, John, drop an anecdotal plop about how you need “5 oct’s minimum”…
I knew you guys like pianos, they have lotta keys and a high voice count 😉
On synths you play with one hand and turn knobs with the other one.
Plus you can sculpt a sound that spreads over more octaves by itself.
Thus on synths the key and voice count has lower relevance then on a piano.
My preferred numbers for synths: 6 voices 3 oscillators each, 4 octaves keyboard.
So the Trigon6 hits exactly this sweetspot.
However all of the Trigon6 demos, so far, sound rather dull to be honest.
Especially when thinking of the spectacular things done with the Take 5.
this demo doesn’t seem to do justice to this synth
The Trigon has been very lackluster to me. I tried one in a store and kept thinking, “I much prefer my Virus Ti 2 to this”. Swing and a miss on this one.
One major drawback: its $3499! I’ll bet its worth it overall, being one of Dave’s last hurrahs. Its very Moog-y to my ears. The 3rd osc. does the trick. 2-osc. synths are a bit crappy at doing TRIADS! 😛 I appreciate the 2/4-pole option, even if I generally crave a HPF.
I usually end up seeing a synth like this and wondering where the line is between people who can buy one casually vs. how someone applies it if its a near-centerpiece of their rig. Its a different outlook if you had to sweat for months to save up the bucks.
While its going to sell decently no matter what, I think a lot of newer buyers are considering wavetables and CV connections so their main instrument will ‘do it all’ in one sense. Its a loose see-saw between hands-on Wakemanism and tabletop rigs.
I have found mine very useful. I almost passed on it, because I have a heavy Sequential footprint in my studio (everything but Take 5 and Mopho x4), but after talking to a well known artist that authors presets for Sequential that normally talks me out of buying new synths urged me to get one. I listened to him, and I have not been disappointed, but that is just me. If you are trying to compare it to a Virus Ti (which I also have and love), it’s like expecting a donkey to bark like a dog.
Nothing new under the sun. Another analog synth with bad presets. In the 80’s, everyone was bored by the lack of versatility of analog synths, and now…
we learned to appreciate them