Hold onto your hats, synth lovers! TimShoebridge takes the Sequential Trigon for a spin, diving headfirst into a world of gritty filters, screeching resonance, and unadulterated synth chaos. It’s raw, it’s dirty, and it’s absolutely exhilarating.
Introduction to the Chaos
Right, TimShoebridge kicks off this wild ride in his home studio, surrounded by the usual clutter of a creative space. Front and centre, the Sequential Trigon awaits its moment in the spotlight. No frills, no unnecessary extras; just the raw sound of the Trigon is on the menu. He’s set on showcasing a simple patch, focusing on purity and power, with a plan to delve into the heart of this synth beast. To set the scene, Tim intends to play just two notes at a time. It’s all about getting to the core of the sound, unfettered by effects, though he hints that a touch of reverb might make its way in later.
Setting the Soundstage
The Sequential Trigon flexes its muscles with three oscillators in play. TimShoebridge explains the lineup: two oscillators on sawtooth duties, one octave apart, and a third on triangle wave as a sub-oscillator two octaves down. This setup is poised to counteract the bottom-end drop-off typical of transistor ladder filters. The strategy is ingenious; with the resonance cranked to 2pm—just shy of self-oscillation—he’s skirting the edge of chaos. He adds a slow LFO modulation to the filter, a triangle wave again, to give subtle movement. Without breaking a sweat, the Trigon’s filter flaunts its Moog-like charm, a nod to classic synth heritage with an undeniably modern twist.
Driving the Beast
With oscillator gains initially dialled low, Tim gradually pushes them up to give the filter some attitude. The synth begins to purr with a dose of distortion as the oscillator gains hit the max. It’s a dramatic change, with subtle overdrive flavours enriching the sound. He turns his attention to the drive and feedback control, explaining the dual functionality. Push it one way for drive, the other for feedback. The magic happens when both are maxed out. The decision to crank the oscillators first maximises the drive effect, unleashing a potent brew of distortion that veers deliciously close to the edge.
"Look how low I've got them. I've got them really turned right down, at about 9 o'clock, so I'm hardly pushing the filter at all."
Feedback Frenzy
"Now, with all of this feedback going on, the filter is still able to self-oscillate."
In a superbly anarchic move, Tim dives headfirst into feedback territory, offering a stark contrast to the drive setting. Here, feedback is king, with minimal turning required to transform the soundscape into a whirlwind of glorious chaos. The potency is evident as feedback loops intensify, turning tame signals into wild, atonal flurries. The Trigon holds its own remarkably well. Even as feedback wrestles to overtake the mix, the filter clings to its self-oscillating spirit. What’s impressive is the control maintained even as madness unfolds, showing the strength of the Trigon’s architecture. It’s a masterclass in controlled chaos, where every turn of the dial skirts the line between beauty and bedlam, but consistently lands on its feet.
Distorted Bliss is Achieved
Proceeding to the master section, Tim reveals the secret weapon: a dedicated distortion circuit. Adding reverb from a pricey CXM78 pedal proves the cherry on this sonic sundae. The filter and feedback tame the beast within, guiding it through the complex dance of aggressive resonance and melodic distortion. With distortion maxed, the synth’s character changes significantly—mesmerisingly rich, yet charmingly gritty. As Tim shifts to playing full chords, the instrument indulges in its newfound sonic richness. It’s a celebration of everything dirty, grungy, and wondrous, as the Trigon shows off the full breadth of its capabilities. From the growl of a driven filter to the shimmer of reverb-draped chords, it’s a symphony of controlled anarchy.
"The Phrygon really is capable of sounding absolutely wonderful. Dirty, grungy and wonderful."
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Sequential Trigon
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