I did it, I bought a Trigon. Gorgeous synth, inside and out. I wasn't convinced by the blonde wood in pics and vids online, but in real life, it's lovely. I'd planned to sell my Prophet 6 to cover the cost of the Trigon, but the Trigon made me realize how attached I am to the P6. The P6 isn't the be-all of synths for me (that'd be the Prophet 5), but the thought of letting it go reminded me of so many things I love about it, things that the Trigon can't do. But enough about the P6...

The Trigon just sounds massive, right? Effort has to be made to tone it down... it has so many features that build the sound up and up. The 3 oscs that easily overdrive the filter, the Drive knob, the Feedback function, the Vintage knob... being able to use all available waveforms per osc, as on the P5... Like I said, the energy goes towards trying to rein this synth in. The low end is, as I'd pictured, proper ladder low. I like the Distortion on this more than that on the P6.

I've got the Trigon downstairs in my basement studio. It's in front of the sofa, away from any other gear. As I did when I first got the P6, I'm enjoying just finding my way around the front panel, and playing and listening. The Sequential 6 series, even at 4 octaves, are such playable instruments. Anyway, I love this thing and have tricked myself into not selling it, cash and studio space be damned.

I can confirm a similar result - hooked my Prophet 5 via CV/Gate to the Pro One. No pitch bend info sent. The Grandmother CV/Gate out into the Pro One does send pitch bend info.

This came up previously somewhere (probably this forum, possibly my own post?!) some time back, but I can't find the post and have no guess as to why the P5 doesn't send bend info other than "it just doesn't." Curious if anyone from Sequential might read this and chime in...

Got my T-6 this week and was playing around and came across a (probably noob) question:

Preset 172 is a unison patch. When I change it to poly, though, I experience a weird behavior:

Every 5th note doesn't sound. I thought it might be a modulation thing... Nope, not as far as I can tell. It doesn't seem to be the envelopes. I'll play a scale and no matter how I fiddle with it it basically drops every 5th out of 6 notes. It does not do this on other patches so I'm just scratching my head trying to figure out what setting is affecting this.

Any ideas? This is less about using this particular patch and more about trying to understand what's under the hood. Thanks!

I noticed a lot of popping I haven't experienced on any other synthesizer when first playing my new Trigon.

After a lot of troubleshooting, I have narrowed it down to 2 voices. The attack of each emits a pop (not a click). It's even present when turning the volume of every oscillator down to 0. Successive key presses will emit a pop each time the key presses reach the same two voices. Seems to be linked to the variability between voice cards that is often described as normal behavior, but this sound isn't normal. It isn't something anyone I know would accept on a recording. As I said, it sounds like I'm clipping, just not as loud. shell shockers

Turning the vintage knob up makes it worse. Turning the attack knob to 9 o'clock or further relieves the issue most of the time. I've calibrated the unit around 20 times since I got it yesterday. Any advice is much appreciated. I love this instrument, so I'm really hoping there's a fix here. Thanks!

Ensure that the voices exhibiting the popping issue are not being over-triggered or stolen by other voices. Voice stealing can sometimes cause this type of artifact.

Quote from: VicKorfTron on May 30, 2024, 06:03:48 AM

Quote from: Elric on May 30, 2024, 04:39:38 AM

Quote from: VicKorfTron on May 30, 2024, 03:13:20 AM

Just checking if there a way to modulate a destination at 100% with the LFO.

Ex: I use Square wave LFO to modulate the OSC1 Shape. If OSC1 Shape knob is at Triangle, LFO will only modulate the shape between Triangle and Saw. If I move the Shape knob at Saw, LFO modulate between half Triangle Half Square.

Thanks

Which oscillator?  -  Hmm, I actually get different responses from Osc1 Shape (seems to be full amount? Sine to Square.), or from Osc3 Shape (LFO affects shape at Amount 0 [wth?], and I have to turn it below zero to get it to not change the shape... (?))

And I get some effect on Osc1 Shape when the LFO is at Amount 0 if the Shape knob is at 50% (sawtooth).

Weird.  I'm confused.

Edit:  Oh, I was gonna say...   Can you double the amount with an extra slot in the Mod Matrix?
- I can "undo" the LFOs effect with an extra entry set to -127.

Like I said, It's OSC1. I didn't try the other one. I'm just wondering if it's normal? If yes, how can I get 100% modulation.

When I turn the LFO amount, it doesn't change anything. I have no change, only the Modulation amount will affect up to 50% only

Try this:

Add a mod lane with DC as source and direct that to the wave shape. Set its amount to zero. Then modulate that mod slot with the same LFO that you are directing at the wave shape. That should hopefully increase the range but only when the square wave LFO is at its peak; when at its trough, it should add nothing.

Right!
And then you could turn the DC Mod entry down to -127 and then modulating that mod slot could get 100% control? (Didn't try it.)  But yea, I was kinda thinking that way (use the matrix to do it).  But I do get an unexpected response at Amount 0 on the LFO. (Hmm, probably won't end up looking into that later.)
--  But that brings up a thing...  At the bottom of the mod matrix list are the 5 locked controls. (LFOs 1, 2, 3, and Env Aux 1 and 2). Do they act different for some reason?

I know, he found his solution! Cool!  Just thinking.
-- Like, when the Filter Cutoff is too hot from Matrix and Sequence control, you can turn the Filter Cutoff down further than the knob will get you with   "DC >>  -##  >> Cutoff"   entry.
Anyway...   Gotta love that Mod Matrix!