Sequential TRGON-6 Operation Manual
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Sequential TRGON-6 Operation Manual

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  • Page 1 Operation Manual ®...
  • Page 2 THE SEQUENTIAL CREW Dave Smith, Art Arellano, Gerry Bassermann, Gus Callahan, Fabien Cesari, Bob Coover, Carson Day, Sally Decker, David Gibbons, Chris Hector, Tony Karavidas, Mark Kono, Justin Labrecque, Andy Lambert, Karl Lee, Michelle Marshall, Andrew McGowan, Joanne McGowan, Julio Ortiz, Steve Starkweather, Brian Tester, Tracy Wadley, Gabby Wen, and...
  • Page 3 Operation Manual Version 1.1 November, 2022 Sequential LLC 1527 Stockton Street, 3rd Floor San Francisco, CA 94133 2022 © Sequential LLC. All rights reserved www.sequential.com...
  • Page 4 For Technical Support, email: support@sequential.com Trigon-6 is a registered trademark of Sequential Synths Limited in the UK and other territories. CALIFORNIA PROP 65 WARNING This product may expose you to chemicals including BPA, which is known to the State of California to cause cancer and birth defects or other reproductive harm.

  • Page 5: Table Of Contents

    Table of Contents Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Sound Banks .
  • Page 6 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Main Parameters .
  • Page 7 Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 Using Chord Memory .

  • Page 8: Getting Started

    Getting Started The Trigon-6 is a six-voice, polyphonic analog synthesizer with discrete voltage-controlled oscillators and filters, and voltage-controlled ampli- fiers. It was designed to provide all of the warmth and presence of a vintage-era, ladder filter-equipped synth with the added convenience and stability of a state-of-the-art, modern instrument.

  • Page 9: Sound Banks

    1. Then release the button. bank bank 2. Hold and press 2. Then release the button. tens tens 3. Press button 3. program selector It’s not always necessary to enter all 3 digits of a program number to recall it. Getting Started Sequential...

  • Page 10: Stepping Through Presets Using The Inc/Dec Buttons

    For example: • If the current program is 100 and you want to recall program 101, simply press “1.” • If the current program is 100 and you want to recall program 110, hold down the button and press “1.” tens •...

  • Page 11: How To Check A Parameter Setting In A Preset

    The sound is saved. 7. Alternatively, if you want to cancel saving and continue editing, press button. It stops flashing and saving is canceled. write Getting Started Sequential...

  • Page 12: Creating A Program From Scratch

    Creating a Program from Scratch An existing program can be very useful as a jumping off point for new sounds. But it’s also useful (and educational) to create a new sound from scratch. The Trigon-6 makes this easy by providing a “Basic Preset” that you can quickly recall at any time.

  • Page 13: Saving A Program

    “tens” digit of the program. 4. Press a button (0-9) to specify the “ones” digit of the program selector program. 5. The button LED stops blinking and the program is saved. write Getting Started Sequential...

  • Page 14: Canceling Save

    Canceling Save Sometimes you may want to cancel saving a program before you commit. To cancel the Save process before you commit: • If the button LED is flashing, press it again. The LED stops flash- write ing and saving is canceled. You can return to editing if you want. Comparing Before You Save Before saving a program to a new location, it’s a good idea to listen to the program in the target location to make sure you really want to overwrite it.

  • Page 15: Using Poly Chain

    The two synths are now poly chained. You can now play up to twelve notes simultaneously. Another advantage of this arrangement is that notes with long release times are less likely to be cut off as you play additional notes. Getting Started Sequential...

  • Page 16: Moving To The Next Level

    Moving to the Next Level The Trigon-6 is filled with possibilities for sound creation. Although we realize that you’d rather spend your time exploring its capabilities, we’d like to point you toward a few things that will help you tailor the instrument to your needs.

  • Page 17: Connections

    Normally Open)—The Sustain pedal polarity parameter affects both the sustain pedal and sequencer jack input ports. There are two types of momentary footswitches, normally open and normally closed. Either type can be used with the Trigon-6. Not sure which type you have? If Connections Sequential...
  • Page 18 the behavior of the footswitch is the opposite of what is expected — that is, down is off and up is on — changing this setting will correct that.” on page 16 for more information. Accepts a standard expression pedal 7.

  • Page 19: Global Settings

    Param Xmit Param Rcv MIDI Control MIDI SysEx MIDI Out Alt Tuning Vel Response AT Response Stereo/Mono Pgm Dump Beat Sync Globals 5-9 Use the Bank and Tens buttons to scroll forward and backward, respectively, through parameter settings Global Settings Sequential...

  • Page 20: Globals - Top Row

    To set a Global parameter: 1. Press the button. Pressing it once activates the upper set of globals parameters. Pressing it a second time enables the lower set of param- eters. 2. Press the program selector button (0 - 9) that corresponds to the desired parameter.
  • Page 21 Trigon-6. When off, the controls are transmitted via MIDI but do not directly affect the “local” synth (that is, the Trigon-6). This is primarily useful for avoiding MIDI data loops that can occur with some external sequencers. Global Settings Sequential...
  • Page 22 Selects the 1. Seq Jack: NOR, Tri, Gat, T-g (Normal, Trigger, Gate, T-G)— mode for signals received on the rear-panel Sequencer jack. • With selected, a footswitch will start sequencer playback. normal • With selected, an audio signal connected to the jack will trig sequencer...
  • Page 23 (both user and factory) in SysEx format via the selected MIDI port. (See: “MIDI Sysex.”) Dumped programs will load back into the same bank and program location in memory when received by the Trigon-6 via MIDI. Global Settings Sequential...

  • Page 24: Oscillators

    9. Arp Beat Sync: Off, On---When set on, Arpeggiator note playback occurs only on the beat (relative to the current clock divide setting) regardless of when you press a key on the keyboard. Oscillators Oscillators provide the raw building blocks of the Trigon-6’s sound by producing waveforms, each of which has its own inherent sound charac- ter based on its harmonic content.

  • Page 25: Oscillator Parameters

    Changes the width of the pulse wave from a square wave Pulse Width: when the knob is at center position, to a zero duty cycle pulse width pulse (off) at counter clockwise, and a narrow pulse when the pulse knob is fully clockwise. width Oscillators Sequential...
  • Page 26 Applying pulse width modulation using or the poly mod low frequency oscillator is a great way to add movement and thickness to a sound, especially when creating pad or string-like sounds. —Turns Oscillator 2 hard sync on. s forces Sync Osc 2: Off, On Oscillator 2 to restart its cycle every time Oscillator 1 starts a cycle.

  • Page 27: Volume

    In simple terms, a lowpass filter cuts high frequencies. The Trigon-6’s 2/4-pole switchable lowpass filter allows for a wide range of sonic possi- bilities, with a classic sound. Just like in historic 4-pole lowpass filter circuits, when is increased some bass is lost from the signal. resonance Volume Sequential...

  • Page 28: Filter

    The Filter section. Sets the filter’s cutoff frequency. A lowpass filter removes Cutoff: frequencies from high to low — cutting the high frequencies and passing the low, hence the name “lowpass.” Emphasizes a narrow band of frequencies around the cutoff Resonance: frequency.

  • Page 29: Filter Envelope

    (the attack stage) and grow mellower as they die out (the decay and release stages). In other words, their harmonic content changes over time. This is exactly what the filter envelope is designed to emulate. Filter envelope Filter Envelope Sequential...
  • Page 30 time A typical 4-stage envelope Sets the attack time of the envelope. The higher the setting, the Attack: note on note off slower the attack time and the the longer it takes for the filter to open from the level set with the filter knob to the level set by the filter cutoff envelope amount.
  • Page 31 Low-Pass Filter , and different Attack, Decay, env amount Sustain, and Release settings on the Filter Envelope. The interaction of these controls is worth exploring for greater flexibility and control of the Filter Envelope. Filter Envelope Sequential...

  • Page 32: Amplifier Envelope

    Amplifier Envelope After passing through the filters, a synthesized sound goes into an analog voltage controlled amplifier or VCA, which controls its overall loudness. The VCA has a dedicated four-stage envelope generator. The Amplifier Envelope is used to shape the volume characteristics of a sound over time by giving you control over its attack, decay, sustain, and release stages.

  • Page 33: Effects

    The effects path is fully digital, even with only a single effect active. The switch enables and disables both Effect A and Effect B, using a true bypass, ensuring a pure analog signal path with effects off. Effects Sequential...
  • Page 34 Effects settings are saved individually with each program. Time-based effects such as the Delays can be synchronized to the arpeggiator, sequencer, or MIDI clock to produce repeats that occur on the beat. The Effects section Effects are divided into sets A and B. You can choose a single effect from each set.
  • Page 35 6. Finally, adjust the knob to optimize the amount of the effect. A value of 0 is completely dry, while a value of 127 is completely wet (a 100% processed signal). 7. Repeat as needed to add a second effect. Effects Sequential...

  • Page 36: Main Parameters

    Main Parameters Turns both effects, A and B, on and off. The switch uses a On/Off: true bypass, ensuring a pure analog signal path. —Selects either effect A or B for editing. Once selected, all Effect: A, B adjustments apply to that effect. —Selects the effect Type: Off, bbd, ddl, CHO, PH1, PH2, HAL, rOO, PLA, SPr type.
  • Page 37 Adjustable parameters are rate and depth. This is a vintage phaser emulation with high resonance. Use it to PH1: add a deep, sweeping, swirling resonant effect to a sound. Adjustable parameters are rate and depth. Effects Sequential...
  • Page 38 This is a vintage phaser emulation with lower resonance. Use it to PH2: add a swirling resonant effect to a sound. Adjustable parameters are rate and depth. This is a faithful emulation of Tom Oberheim’s original phaser PH3: design. Use it to add a swirling resonant effect to a sound. Adjustable parameters are rate and depth.

  • Page 39: Low Frequency Oscillator

    The LFO can be free-running or synced to the arpeggiator, sequencer, or MIDI clock for tempo-synced effects such as filter sweeps, tremolo, and so on. Sets the frequency of the LFO waveshape routed to the Frequency: destination. See also “LFO Sync” below. Low Frequency Oscillator Sequential...
  • Page 40 When on, the LFO synchronizes with the arpeggiator, LFO Sync: sequencer, or MIDI clock. By default, the LFO wave cycle is reset when you press a key (but is not reset if you press a key while other notes are held). —The Shape: Triangle, Sawtooth, Reverse Sawtooth, Square, Random wave shape of the LFO.

  • Page 41: Poly Mod

    Use Poly Mod to create complex harmonic effects ranging from FM (frequency modulation) to audio-rate filter modulation and beyond. Many classic sounds can be created through clever use of Poly Mod. Poly Mod Sequential...

  • Page 42: Poly Mod Parameters

    Poly Mod Parameters Selects Oscillator 1 frequency as a modulation destination. Freq 1: Choose as a modulation source to produce FM effects with their characteristic complex harmonics and metallic timbre. Choose filter env as a destination source to sweep Oscillator 1’s frequency. Selects Oscillator 2 frequency as a modulation destination.

  • Page 43: Arpeggiator

    4. Adjust settings such as mode octave value 5. To synchronize a delay effect to the Arpeggiator, turn on clock sync the Effects section, choose a delay, and adjust its delay time setting as desired. Arpeggiator Sequential...

  • Page 44: Arpeggiator Beat Sync

    Arpeggiator Beat Sync This feature quantizes keyboard performance of the arpeggiator so that notes are quantized to the current clock divide setting. With this option enabled, arpeggiator note onset is quantized to the current divide value — regardless of the precision of your playing. To enable Arpeggiator Beat Sync: 1.

  • Page 45: Sequencer

    This makes it possible to tempo sync the sequencer (or arpeggiator) to a recorded drum track or other audio source. See “Seq Jack” on page 15 for more information about choosing the appropriate mode for these behaviors. Sequencer Sequential...

  • Page 46: Programming The Sequencer

    Programming the Sequencer Though programming the sequencer is simple, you can create sequences that are rhythmically and melodically complex by combining a repeating phrase or bass line with chords, ties, and rests. You can play up to 64 steps with up to 6 notes held simultaneously per step.

  • Page 47: Correcting Notes When Recording A Sequence

    The display indicates the current step as you play. 2. Press the button. This will step back to the bank select decrement previous step so that you can re-record it. Stepping back erases the step. Sequencer Sequential...

  • Page 48: Midi Note Output From The Arpeggiator And Sequencer

    MIDI Note Output from the Arpeggiator and Sequencer The Trigon-6’s arpeggiator and sequencer can output MIDI note numbers. Any notes that you hold on the Trigon-6 keyboard will be arpeggiated according to the current settings of the arpeggiator and output over MIDI (or USB) as MIDI notes. Similarly, any notes output by the sequencer will be output over MIDI (or USB) as MIDI notes.

  • Page 49: Sequencer Parameters

    8th T BPM x 3 Eighth note triplets 16th BPM x 4 Sixteenth note 16th S BPM x 4 Sixteenth note, full swing timing 16th T BPM x 6 Sixteenth note triplets 32nd BPM x 8 Thirty-second note Clock Sequential...

  • Page 50: Master Volume/Program Volume

    Master Volume/Program Volume The master output level of the Trigon-6 is controlled by the front-panel knob. In addition, the volume of an individual program can master vol be set with the knob in the Additional Parameters section. This prgm vol is useful for ensuring that your sounds have roughly the same volume from program to program.

  • Page 51: Distortion

    , the volumes of the oscillators, or the parameter of the filter. volume resonance P Whl Range Selects the range in semitones when moving the 0...12 Semitones— Pitch Wheel forward or backward. Twelve semitones equals 1 octave. Distortion Sequential...

  • Page 52: Key Mode

    Key Mode Low Note (LO), High Note (Hi), Last Note (Las), Low Note Retrigger Selects the (LOr), High Note Retrigger (Hir), Last Note Retrigger (LAr)— key priority when more than one key is played simultaneously when in Unison mode. are monophonic low note high note last note...

  • Page 53: Glide

    Glide mode. 2. To select a different mode, continue to hold down the switch then glide press the switches to step through bank decrement tens increment the other choices. 3. When finished, release the switch. glide Glide Sequential...

  • Page 54: Unison

    Unison When is on, the Trigon-6 functions like a monophonic synthesizer unison in that only 1 note can be played at a time. However, that one note can be powered by as many as six voices, depending on how many you choose to use.

  • Page 55: Using Chord Memory

    • High note (Hi) and high retrigger (Hir) are similar to the low note settings, except that the highest note is given priority. • Last note (LAS) and last retrigger (LAr) give priority to the last note played. Unison Sequential...

  • Page 56: Write

    To choose the Key Assign mode: 1. Press and hold in the section. The numeric key mode misc parameters display shows the currently selected mode. 2. To select a different mode, continue to hold down the switch key mode then press the switches to step bank decrement...

  • Page 57: Canceling Save

    2. Press the button. Both LEDs on the button light up, indicating global mode. compare 3. Use the program buttons to navigate to the sound you want to compare and play the keyboard to hear the sound. Write Sequential...

  • Page 58: Comparing Before You Save

    4. To disable the compare function and go back to the edited sound, turn off the button. Programs can’t be written while in compare global mode. 5. If you want to save the edited sound, the button is still flashing write and ready to save, so enter a location with the program buttons.

  • Page 59: Preset

    In the same way that guitar players use note bends and vibrato to give their playing expressiveness and character, these two controls can really help you define your sound as a performer and take you beyond just playing notes on the keyboard. Preset Sequential...

  • Page 60: Pitch And Mod Wheels

    The Pitch and Modulation wheels Pitch Wheel You can set a range in semitones for the Pitch wheel, depending on your playing preference. The range is up to 12 semitones (1 octave). Many musicians use a range of 2 semitones (a whole step) since this is the bend range of many acoustic instruments.

  • Page 61: Aftertouch

    Conversely, if you select the Low-Pass Filter as destination ( ), set a filter negative amount of aftertouch, then press the keys harder, the filter cutoff frequency will be lowered, making the filter close more and the sound become more muted. Aftertouch Sequential...
  • Page 62 The Trigon-6 provides 8 different aftertouch response settings for your conve- nience. The default setting provides a linear response. To choose a different response curve, use the button in the section. See page 16 for more at response globals details. The Aftertouch controls Selects the amount of aftertouch applied to an active destina- Amount:...
  • Page 63 FX Mix B : effects b dry modulation destination. With a positive setting, pressing the keys amount harder will increase the amount of Effect B’s mix. With a negative setting, pressing the keys harder will decrease the level of amount mix. Aftertouch Sequential...

  • Page 64: Exporting Programs And Banks

    Exporting Programs and Banks You can use the to transmit the command in the section pgm dump globals current program, bank, or all banks in SysEx format via the selected MIDI port. This allows you to save your programs so that you can share them or archive them.

  • Page 65: Calibrating The Trigon-6

    0. preset 2. The front panel LEDs and display begin flashing as the Trigon-6 performs its auto-calibration procedure. 3. When finished, the front panel controls will return to normal and you can play the Trigon-6 again. Calibrating the Trigon-6 Sequential...

  • Page 66: Calibrating The Pitch And Mod Wheels

    Calibrating the Pitch and Mod Wheels In general, the Pitch and Mod wheels shouldn’t require re-calibration. However, if you experience what seems like a persistent problem with either of them, the Trigon-6 has built-in auto-calibration procedure that you can use to remedy the problem. To calibrate the Pitch and Mod wheel’s low position: 1.

  • Page 67: Using Usb

    — and clicking OK. If Trigon-6 Keyboard is no longer listed in the Device Manager, power the Trigon-6 down and back up again while it is connected via USB. It should be detected on power up. Using USB Sequential...

  • Page 68: Support

    Support Troubleshooting Here are a few suggestions for resolving problems that may occur. The sequencer or arpeggiator has stopped running. Check the Clock settings (Global button 3) to ensure the Trigon-6 is set or, if set to , make sure the Trigon-6 is receiving MIDI clock. Some of the programs sound different than before.

  • Page 69: Recovering From A Failed Os Udate

    999. When it gets to 0, another countdown will begin between the main display and the parameter 1 display. Do not power down until effects this countdown has finished. The Trigon-6 will restart itself when it is done. Support Sequential...

  • Page 70: Contacting Technical Support

    Please contact support@sequential.com to determine the best course of action for getting your Trigon-6 repaired. For your own protection, as well as ours, please do not return any product to Sequential without a return authorization (RA) number. To issue an RA number, Technical Support needs: •...
  • Page 71 If you need to return your instrument for repair, you are responsible for getting it to Sequential. We highly recommend insuring it and packing in the original packaging. Damage resulting from shipping a product with insufficient packaging is not covered by warranty.

  • Page 72: Appendix A: Alternative Tunings

    Appendix A: Alternative Tunings By default, the Trigon-6 is set to standard, chromatic western tuning. Additionally, it supports up to 63 additional alternative tunings, which you can access using the parameter in the menu. alt tunings global These 64 alternative tunings range from Equal temperament to Indo- nesian Gamelan tunings.
  • Page 73 10. 3-5 Lattice in A A pure 3 and 5-limit tuning which resolves to very symmetrical derived relationships between notes. A=1/1 (440 Hz) 1/1 16/15 10/9 6/5 5/4 4/3 64/45 3/2 8/5 5/3 16/9 15/8 Appendix A: Alternative Tunings Sequential...
  • Page 74 11. 3-7 Lattice in A A pure 3 and 7-limit tuning which resolves to very symmetrical derived relationships between notes. Some of the intervals are very close together, offering several choices for the same nominal chords. A=1/1 (440 Hz) 1/1 9/8 8/7 7/6 9/7 21/16 4/3 3/2 32/21 12/7 7/4 63/32 12.
  • Page 75 64 = Cents +355 65 = Cents +498 66 = Cents +649 67 = Cents +702 68 = Cents +853 69 = Cents +906 70 = Cents +996 71 = Cents +1057 72 = Cents +1200 Appendix A: Alternative Tunings Sequential...
  • Page 76 18. 12 Out of 19-tET Scale from Mandelbaum’s Dissertation An interesting non-just 12 tone scale that has some unusual relationships. note 0=0 note 1=63 note 2=189 note 3=253 note 4=379 note 5=505 note 6=568 note 7=695 note 8=758 note 9=884 note 10=947 note 11=1074 note 12=1200...
  • Page 77 67 = Cents +696.578 Ratio: 7876/5267 68 = Cents +793.157 Ratio: 14771/9342 69 = Cents +889.735 Ratio: 11718/7009 70 = Cents +986.314 Ratio: 17561/9934 71 = Cents +1082.892 Ratio: 18204/9739 72 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 78 22. J.S. Bach “well temperament”, Acc. to Jacob Breetvelt’s Tuner 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +92.18 Ratio: 10472/9929 62 = Cents +200. Ratio: 5252/4679 63 = Cents +296.09 Ratio: 11781/9929 64 = Cents +390.225 Ratio: 9638/7693 65 = Cents +500.
  • Page 79 14 = Cents +1092. Ratio: 12599/6705 15 = Cents +1170. Ratio: 18593/9459 16 = Cents +1248. Ratio: 14957/7274 17 = Cents +1326. Ratio: 8049/3742 18 = Cents +1404. Ratio: 9617/4274 19 = Cents +1482. Ratio: 1111/472 Appendix A: Alternative Tunings Sequential...
  • Page 80 25. Wendy Carlos’ Beta Scale with Perfect Fifth Divided by Eleven. 23-Tone Cycle Octaves are stretched, and the tuning is quite microtonal (First repeat shown.) 0 = Cents 0. Ratio: 1/1 (JUST) 1 = Cents +63.8 Ratio: 6191/5967 2 = Cents +127.6 Ratio: 9725/9034 3 = Cents +191.4 Ratio: 7739/6929...
  • Page 81 31 = Cents +1088.069 Ratio: 11918/6357 32 = Cents +1123.168 Ratio: 13310/6957 33 = Cents +1158.267 Ratio: 17050/8733 34 = Cents +1193.366 Ratio: 14586/7321 35 = Cents +1228.465 Ratio: 13368/6575 36 = Cents +1263.564 Ratio: 1276/615 Appendix A: Alternative Tunings Sequential...
  • Page 82 27. Carlos Super Just 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +104.95541 Ratio: 17/16 (JUST) 62 = Cents +203.910002 Ratio: 9/8 (JUST) 63 = Cents +315.641287 Ratio: 6/5 (JUST) 64 = Cents +386.313714 Ratio: 5/4 (JUST) 65 = Cents +498.044999 Ratio: 4/3 (JUST) 66 = Cents +551.317942 Ratio: 11/8 (JUST)
  • Page 83 68 = Cents +813.686286 Ratio: 8/5 (JUST) 69 = Cents +918.641696 Ratio: 17/10 (JUST) 70 = Cents +1017.596288 Ratio: 9/5 (JUST) 71 = Cents +1111.199302 Ratio: 19/10 (JUST) 72 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 84 31. John Chalmers JI-4, 15 16 17 18 19 20 on 1/1, same on 4/3, + 16/15 on 16/9 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +111.731285 Ratio: 16/15 (JUST) 62 = Cents +216.686695 Ratio: 17/15 (JUST) 63 = Cents +315.641287 Ratio: 6/5 (JUST) 64 = Cents +409.244301...
  • Page 85 68 = Cents +733.721654 Ratio: 55/36 (JUST) 69 = Cents +884.358713 Ratio: 5/3 (JUST) 70 = Cents +989.314122 Ratio: 85/48 (JUST) 71 = Cents +1088.268715 Ratio: 15/8 (JUST) 72 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 86 35. Colonna 2 - Second 12 Note Subset of the Colonna Scale 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +70.672427 Ratio: 25/24 (JUST) 62 = Cents +203.910002 Ratio: 9/8 (JUST) 63 = Cents +315.641287 Ratio: 6/5 (JUST) 64 = Cents +386.313714 Ratio: 5/4 (JUST) 65 = Cents +498.044999...
  • Page 87 67 = Cents +701.955001 Ratio: 3/2 (JUST) 68 = Cents +794.133717 Ratio: 405/256 69 = Cents +903.911282 Ratio: 2048/1215 70 = Cents +998.043719 Ratio: 3645/2048 71 = Cents +1107.821284 Ratio: 256/135 72 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 88 39. Ellis’s Just Harmonium 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +111.731285 Ratio: 16/15 (JUST) 62 = Cents +203.910002 Ratio: 9/8 (JUST) 63 = Cents +315.641287 Ratio: 6/5 (JUST) 64 = Cents +386.313714 Ratio: 5/4 (JUST) 65 = Cents +498.044999 Ratio: 4/3 (JUST) 66 = Cents +519.551289 Ratio: 27/20 (JUST)
  • Page 89 Ratio: 3/2 (JUST) 68 = Cents +794.133717 Ratio: 405/256 69 = Cents +905.865003 Ratio: 27/16 (JUST) 70 = Cents +996.089998 Ratio: 16/9 (JUST) 71 = Cents +1088.268715 Ratio: 15/8 (JUST) 72 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 90 43. Euler - Monochord (1739) 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +70.672427 Ratio: 25/24 (JUST) 62 = Cents +203.910002 Ratio: 9/8 (JUST) 63 = Cents +274.582429 Ratio: 75/64 (JUST) 64 = Cents +386.313714 Ratio: 5/4 (JUST) 65 = Cents +498.044999 Ratio: 4/3 (JUST) 66 = Cents +590.223716...
  • Page 91 69 = Cents +996.089998 Ratio: 16/9 (JUST) 70 = Cents +996.089998 Ratio: 16/9 (JUST) 71 = Cents +1126.319346 Ratio: 23/12 (JUST) 72 = Cents +1200. Ratio: 2/1 (JUST) 73 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 92 47. Kraig Grady’s 7-limit “Centaur” Scale, 1987. See Xenharmonikon 16. 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +84.467193 Ratio: 21/20 (JUST) 62 = Cents +203.910002 Ratio: 9/8 (JUST) 63 = Cents +266.870906 Ratio: 7/6 (JUST) 64 = Cents +386.313714 Ratio: 5/4 (JUST) 65 = Cents +498.044999 Ratio: 4/3 (JUST)
  • Page 93 71 = Cents +590.223716 Ratio: 45/32 (JUST) 72 = Cents +609.776284 Ratio: 64/45 (JUST) 73 = Cents +680.448711 Ratio: 40/27 (JUST) 74 = Cents +701.955001 Ratio: 3/2 (JUST) 75 = Cents +772.627428 Ratio: 25/16 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 94 76 = Cents +792.179997 Ratio: 128/81 (JUST) 77 = Cents +884.358713 Ratio: 5/3 (JUST) 78 = Cents +905.865003 Ratio: 27/16 (JUST) 79 = Cents +976.537429 Ratio: 225/128 80 = Cents +996.089998 Ratio: 16/9 (JUST) 81 = Cents +1088.268715 Ratio: 15/8 (JUST) 82 = Cents +1107.821284 Ratio: 256/135 83 = Cents +1178.49371...
  • Page 95 67 = Cents +692. Ratio: 13439/9011 68 = Cents +782. Ratio: 6031/3839 69 = Cents +883. Ratio: 6793/4079 70 = Cents +997. Ratio: 4863/2734 71 = Cents +1092. Ratio: 12599/6705 72 = Cents +1207. Ratio: 15117/7528 Appendix A: Alternative Tunings Sequential...
  • Page 96 54. 7-limit 12-tone Scale 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +111.731285 Ratio: 16/15 (JUST) 62 = Cents +203.910002 Ratio: 9/8 (JUST) 63 = Cents +266.870906 Ratio: 7/6 (JUST) 64 = Cents +386.313714 Ratio: 5/4 (JUST) 65 = Cents +498.044999 Ratio: 4/3 (JUST) 66 = Cents +582.512193 Ratio: 7/5 (JUST)
  • Page 97 Ratio: 729/448 73 = Cents +905.865003 Ratio: 27/16 (JUST) 74 = Cents +996.089998 Ratio: 16/9 (JUST) 75 = Cents +1059.050902 Ratio: 448/243 76 = Cents +1137.039096 Ratio: 27/14 (JUST) 77 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 98 58. 11-limit ‘prime row’ from Ben Johnston’s “6th Quartet”. Not octave repeating, with some very narrow intervals. These are the first 30 pitches: 0 = Cents 0. Ratio: 1/1 (JUST) 1 = Cents +70.672427 Ratio: 25/24 (JUST) 2 = Cents +182.403712 Ratio: 10/9 (JUST) 3 = Cents +274.582429 Ratio: 75/64 (JUST)
  • Page 99 68 = Cents +813.686286 Ratio: 8/5 (JUST) 69 = Cents +884.358713 Ratio: 5/3 (JUST) 70 = Cents +1017.596288 Ratio: 9/5 (JUST) 71 = Cents +1088.268715 Ratio: 15/8 (JUST) 72 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...
  • Page 100 61. Persian santur tuning. 1/1=E in Original Here it is set to C. Note that scale is 8 notes per octave, so it will not map normally to a 12 note keyboard. 60 = Cents 0. Ratio: 1/1 (JUST) 61 = Cents +129.99971 Ratio: 10727/9951 62 = Cents +345.
  • Page 101 Ratio: 3/2 (JUST) 68 = Cents +737.651813 Ratio: 49/32 (JUST) 69 = Cents +968.825906 Ratio: 7/4 (JUST) 70 = Cents +941.561815 Ratio: 441/256 71 = Cents +1172.735908 Ratio: 63/32 (JUST) 72 = Cents +1200. Ratio: 2/1 (JUST) Appendix A: Alternative Tunings Sequential...

  • Page 102: Appendix B: Midi Implementation

    Appendix B: MIDI Implementation The Trigon-6 receives MIDI data according to the settings you have chosen in the settings. In addition, there is interaction between global some of the Program parameters that determine the overall response of Trigon-6 to MIDI data. Following are the Global parameters that affect response to MIDI: Selects which MIDI channel to send and MIDI Channel: All, 1…16—...

  • Page 103: Midi Messages

    1110 nnnn 0vvvvvvv 0vvvvvvv Pitch Bend LS Byte then MS Byte Notes: 0kkkkkkk Note number 0 — 127 nnnn Channel number 0 to 15 (MIDI channel 1-16). Ignored if MIDI channel set to ALL 0vvvvvvv Value Appendix B: MIDI Implementation Sequential...
  • Page 104 Received Controller Messages Status Second Third Description 1011 nnnn 0vvvvvvv Mod Wheel: directly assignable controller 1011 nnnn 0vvvvvvv Foot Controller: directly assignable controller 1011 nnnn 0vvvvvvv Volume: Combined with Master Volume and Voice Volume 1011 nnnn 0vvvvvvv Brightness: Added to low-pass filter cutoff frequency 1011 nnnn 0vvvvvvv Bank Select: 0 - 4 select user banks 0 - 4;...
  • Page 105 0100 0000 0vvvvvvv Damper pedal: Sends 0 if off, 0111 1111 when on 1011 nnnn 0000 0111 0vvvvvvv Volume knob See sections that follow for additional Continuous Controller (CC) and Non-registered Parameter Number (NRPN) messages transmitted. Appendix B: MIDI Implementation Sequential...
  • Page 106 Additional Continuous Controllers Transmitted/Received The following table details how MIDI Continuous Controllers (CCs) are mapped to Trigon-6 controls. They are transmitted when Param Xmit is set to CC, and recognized/received when MIDI Rcv Receive is set to CC. Param Param Osc 1 Pulse On Bank Select MSB Osc 1 Pulse Width...

  • Page 107: Nrpn Messages

    Increment and Decrement commands, which some controllers utilize. Finally, it responds to one RPN (Registered Parameter Number) command, the RPN/NRPN Reset command, which can be handy for resetting the currently selected parameter to a known state. 100 Appendix B: MIDI Implementation Sequential...
  • Page 108 Received NRPN Messages Status Second Third Description 1011 nnnn 0110 0011 0vvvvvvv NRPN parameter number MSB CC 1011 nnnn 0110 0010 0vvvvvvv NRPN parameter number LSB CC 1011 nnnn 0000 0110 0vvvvvvv NRPN parameter value MSB CC 1011 nnnn 0010 0110 0vvvvvvv NRPN parameter value LSB CC 1011 nnnn...
  • Page 109 LFO Sync On/Off 0-127 Vintage 0-255 LFO Amount 0-164 Filter Cutoff LFO Osc 1 Freq 0-127 Filter Resonance Dest LFO Osc 2 Freq Filter Keyboard Dest FEnv Velocity LFO Osc 3 Freq Dest Filter 2-Pole 102 Appendix B: MIDI Implementation Sequential...
  • Page 110 NRPN Value Description NRPN Value Description LFO PW 1 Dest Arp Hold LFO PW 2 Dest Sequencer On/Off LFO PW 3 Dest Sequencer Rec On LFO Filter Dest 137-200 0-127 Seq Step 1-64 Vel 3 LFO Amp Dest 201-264 12-108 Seq Step 1-64 Note 4 0-254...

  • Page 111: Control Nrpn Data

    Trigon-6 ID (Family LS) 0000 0001 Family MS 0000 0000 Family Member LS 0000 0000 Family Member MS 0jjj nnnn Main Software version: jjj - Minor rev; nnnn - Major rev 1111 0111 End of Exclusive (EOX) 104 Appendix B: MIDI Implementation Sequential...
  • Page 112 Request Program Dump Status Description 1111 0000 System Exclusive (SysEx) 0000 0001 DSI ID 0010 1101 Trigon-6 ID 0000 0101 Request Program Transmit 0000 00vv Bank Number, 0 - 9 0vvv vvvv Program Number, 0 - 99 1111 0111 End of Exclusive (EOX) The Trigon-6 will respond by sending out the Program Data in the format described below in Program Data Dump.
  • Page 113 50 nibbles (LS then MS) for 25 Global parameters 1111 0111 End of Exclusive (EOX) The Global Parameters Data Dump is not recognized when received; it is only transmitted when requested. NRPN messages are used to change Globals. 106 Appendix B: MIDI Implementation Sequential...

  • Page 114: Packed Data Format

    Packed Data Format Data is packed in 8 byte “packets”, with the MS bit stripped from 7 param- eter bytes, and packed into an eighth byte, which is sent at the start of the 8 byte packet. Example: Input Data Packed MIDI data 1 A7 A6 A5 A4 A3 A2 A1 A0 00 G7 F7 E7 D7 C7 B7 A7...
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