Fil Steve gaits ATABLE OF CONTENTS PAGE CONGRATULATIONS! 1 PURPOSE BEHIND THE TRILOGY'S DESIGN. 1 CONNECTING THE TRILOGY TO AMPLIFICATION. 2 HOW THE FRONT PANEL CONTROLS WORK AND WHAT THEY DO______2-6 ‘TRYING THE PATCHES IN THIS MANUAL ( and helpful Kits.) 7 PATCHES WITH SOUND EXAMPLES THAT USE THE DIFFERENT FUNCTIONS ______ 8-20 ADDITIONAL NOTES (the outputs, using outboard accessories, recording notes ) 21 WHAT THE PEDALS Do. 22 ALL ABOUT THE PRESETS 23 BLANK PATCHES FOR YOUR OWN SOUNDS AND NOTES. 26-END ‘MASTER'S TOUCH WIND CONTROLLER ACCESSORY. Back Page SNTRILOGY REFERENCE MANUAL CONGRATULATIONS! Your purchase of the TRILOGY synthesizer oens up « new world of polyphonic laying, once affordatte by only @ few people. Not only are you wot limited to the mumber of keys yon can depress at one time, but you also have the abiity to have more than one musical event lake place 45 each key goes down!’ Each hey can trigger a synthesizer sound, a cathedral organ note, and strings, giving you the Layering capability that doesn't even exist on most synthesizers that cost @ whole lol move! This manual has been written f0 allow sou to get to the most important points of operation QUICKLY, You ‘can achieve a complete operational grasp of the TRILOGY by understanding the PURPOSE BEHIND THE DESIGN NOW TO CONNECT THE TRILOGY TO AMPLIFICATION OW THE FRONT PANEL CONTROLS WORK, AND WHAT THEY DO PATCHES THAT SOUND GOOD, AND MAKE USE OF THE FUNCTIONS TAYERING TECHNIQUES USE OF ACCESSORIES z BLANK PATCH SHEETS FOR YOUR OWN SOUNDS PURPOSE BEHIND TH SIGH There are many different features available on synthesizers. Some lend themselves to lead Kine playing, others to chordal or " polyphonic " playing. Nauuvally some features are more useful than others, The best features of both lead Une and polyphonic synthesizers ave seldom on the same instrument, but that is exactly what the lunireds of musictans we consulted wanted. They asked for the ability to make sounds ‘hat show up on the most popular recordings. They asked for features that would provide some new. and sauique sounds that contd be sed often, not just once in a while, They said they needed lead line sounds ‘hat could cut through. They said they needed polyphonic textures that could provide " fat " sounds. They ail asked for controts that would allow them fo play EXPRESSIVELY. They suggested only those effects ‘hat could de used often. Unique....Ful... Expressive. Light. ...Easy fo play... Pew controls. But, they asked for more. ..they wanted to add layers of sounds one over the other. Polyphonic orchestral STRINGS, Full cathedral ORGAN. AU going on af once! That's what we ieanted loo, when we designed the TRILOGY. SIX SETS of filters and envelopes that would let you play all. the keys, along with the very suggestions you made. It was designed for musicians by musicians. Tf tis designed for YOU! Enjay it! Dene Se Bg THOMAS D. PIGGOTTCONNECTING THE TRILOGY TO AMPLIFICATION 1, Plug your ixstrument in, using the power cord supplied with it. The power receptacle ts on the ‘ret panel of the TRILOGY, and comects to a standard electrical outlel. Switch the instrument ‘on with the power switch also located on the roar panel. In a few seconds you should ee the Yed Dilot Hakt go on, indicating that you have power. 12, Connect a patch cord (guitar cable ) from the potysynth output , which 4s also the main output , ‘From the back of the TRILOGY to.a musical instrument amplifier channel, or 10 a Chanel of ai micer. Be sure there is Power In your amplification system too, ‘Set the tone and volume ‘controls at moderate levels. Using hts output from the TRILOGY only, will pass the strings ‘ind ove fo Dual amplification channel too. If sou prefer steveo ov separate channel treatment Of the TRILOGY's sections, 301 can connec! a second and third guitar cable from the string and organ ‘puts marked on the back of the instrument, 10 anather to chamels of your amplifier oF mixer, NOTE ON AMPLIFICATION: A reasonable quality amplifier or full ronge PA system with tone controls ‘and reverb are ideal for TRILOGY sound veproduction.. Your misie dealer can sugies! models and fypes of amplification that will suit your needs and applications. (Tf you happen to be using 2 gutta amplifier, foe aware that overtoading the tnbul stage will couse disioyuion....gvea! Jor sultars...nol for synthesizers!) ‘The following sections will graphically point out the various functions and usage of the front panel controls, Placement of any of these controls in a particular position, fo make a certain sound ‘quality, is called a PATCH, The first few patches will give you @ functional knowledge to hel Jou understand how The electronics work fogether to make sound. ‘This knowledge con then be applied ‘ making your own sound creations. Then sou will be able o expand the possibilities ferthur, by looking over the section on ACCESSORIES and SPECIAL WAYS TO CONNECT THE TRILOGY. Above all, ENJOY YOURSELF. Theve {s a lotto learn, but you can apply many of the materials in ‘manual to other synthesizers too. Sound Synthesis can be as mitch fin as Performing tt front of a ‘“pprectative audience. [t's 2 lot easier when you have a food instrument. The TRILOGY 1s among the VERY BEST! |HOW TUB FRONT PANEL CONTROLS WORK AND WHAT THEY DO Volume relationship between the four micable organ footages: These are” square waves " that ‘can also be combined fo create ADDITIONAL WAVEFORMS! VOLTAGE CONTROLLED FILTERS ARE USED TO SHAPE SOUNDS ENVELOPE amount lets you determine how much effect the envelope [generators have on the filters. When moved clockwise, the filters Start in a closed position and open to the maximum seiting of this control. When moved counterelockutsc, the fillers are in an open but silent position, ‘and are allowed to close down from the starting place. UTOFF ts the silent position ofthe fillers before the envelope generators ‘have an effect on them. ( 5= half opened 10-~ fill open 0 jully closed ) + RESQNANCE leis you emphasize harmonics. It is responsible for the "'wop " sounds associated with synthesizers. In a high position it lets you fear each of the harmonics as you sweep ihe filter with the envelope igenchators or the filter foot pedal accessory. 3 ourpur volumes Jor the synthesizer, Strings, and organ. FPBDAL lets you control the filter sweep by Pedal or envelope generators by choice «HOW THE FRONT PANEL CONTROLS WORK AND WHAT THEY DO OSCILLATOR GLIDE ts used to bend the pitch of the oscillators (pitch producing devices.) It serves as an * Gltomatic Bitch bend and porlamento finction. 11 is effective in exagserating atacks and producing ensemble effects. AMOUNT determines the 5 SPEED determines how fast or NABLE' fn MONO position, ‘degree of pitch bend. STow the bending oscillator moves, jogato playing will not activate the pitch bend, Detached Playing of keys will. bu MULTI position every hey depressed will actioale lhe pitch bend, regardless of eyboard technique. 2 ENVELOPE GENERATORS Tet you determine the speed { DIRECTION: A causes both oscillators to which the ters are opened. They are activated by bend up to center pitch. depressing 4 KEY. This atlows you to match the way B cailses only one oscillator JOU want Sounds to begin and end, oF stort and stop. fo bond up to conter pitch ATTACK is how the sound begins. A "0" attack tlhe agains! the ather, causing 4 Plano, while as" is like @ brass attack." 10" gives ensemble effects @ very slow opening of the filler, great for synthesizer {C causes one oscillator to bend effects, DECAY’ lets sow determine hos quickly the fitter own’ lo center pitch against the loses down afer the attack. SUSTAIN represenis the volume other. levet maintained as you hold a Rey dou, and at what ott the 1D cinises both oscillators to bend jflleris held open, XELEASE determines how long i! takes for down fo center pitch ‘he sound to die oui affer yow've released the key Eee ‘elHOW THE FRONT PANEL CONTROLS WORK AND WHAT THEY DO + PITCH CONTROL allows you to tune and slightly detime «LOW FREQUENCY OSCILLATOR causes lie oscillators using the inc and coarse tuning controls. Strsos omelet er fremelos and filer sweeps or The " PHASE " LED lets you see the phase 0f one oscillator's ‘modulations. ROUTING determines sohich fuming against the other, OCTAVE lets you select between 2 SynthesizeNéection is effected by the LFO, ‘ctave ranges for each or both of the oseillalors. OCTAVE FM = vibrato\ VCF = filter modulation MODULATION causes an octave trill of oscillator 2 when syn VGA ~tremeld\ RESET lets you reset the 4s off. SYNC_tunes both osctitators to perfect wmison for lead delay time with each bey down ( line piaying nd thinner tone quality that ts not choraste weaves xX § WAVEFORM SELECT ON ets you choose from the brassy + MoviLaTion Suicfooti., nollow squaye ware, or mix of both 1 RATE ts the speed of motuaton. * SLOPE slings you fo determine the 4 ALTERNATE, SAU/S@ teem euomaically go rm one motion ft ad ral or ‘taseorm ttre tothe other. Ths te grat for sequen Come on alla once, subject othe dey. founding tines oe 1 “DELAY determines how tong wil fake NABEE ets you chooee from mono (in which detached {pr the moduation fo Bog once & bey fe Dlesing wil alow for the change fo take piace, legato wl Aepressed and held. not) or multi (every hey down changes the waveform ) 44 DEPTH represents the degree of modulation modes, -A JOYSTICK control for expressive playing has been added to the Left ‘side of the keyboard. Moving i axeay from you gradually introduces FILTER MODULATION. Toward you will introduce VCA MODULATION (tremelo.) Both of these are at the RATE set in the MODULATION Section. Moving the joystick to the left will gradeally cae the itch to bend down of " flat" Moving it to the right will gradually cause the Pitch to go up or " sharp." Subtle use of any of these effects can matte the difference between good sounds ad fantastic and expressive Sounds. You should practice using the JOYSTICK as much as possible, (0 make your lines smooth and interesting. 2 STRING ENSEMBLE alloice you to choose 3 PRESETS“ Preset number 1 places the synthesizer 16%, 5° or mixture of hese octaves of lhe VARIABLE mode, where all synthesizer funct Strings. The TIMBRE contvol adds an ‘are freed up for creation of your own sounds. Presets txmoduiated sawtooth wave to the strings 2 through 8 ave the most popular synthesizer sounds ‘This allows you to add an acoustical ‘ready to be played at a fick of a switch. In these dimension that helps to cut through during resets, the fillers, envelopes, and waveforms are ‘solos. The ATTACK dnd RELRASE (ow ‘iready chosen for you. You simply add the degree the strings start and stop ) are separate Of detuning, ociave ranges, oscillator glide and from the synthesizer envelopes. This allows ‘modulation you wish to use. Of course, these can ‘you to delay the strings, mate ther: sustain be played along with the strings and organ sections. Tonger, and " react differently " than the ‘Synthesizer section.‘TRYING THE BEFORE you try the patches in this manual, there are a few things to remember. Due to subtle calibration differences, feet free to brighten or darken the filter settings 10 sull your ears. Experiment with the controls ‘fler sou sel up cach patch. Try different balances Between the volumes of he sections. Mark any setting ‘changes sou prefer right on the original sheet. Remember you can alter the detunings, octaves, modulations, ‘and otler controls to experiment with the patch, PAgcH 1 This patch places the controls of the TRILOGY tn a NEUTRAL posttion of all sound off, ‘and aff musical effects cleared. This is @ good patch to start off with, since tt clears all sounds, and gives ‘you the chance to start fresh each time. Simply maich the control settings with the markings on the patch Sheet, Sliders and rotary pots ave marked with tes. The LED switches are ON and LIGHTED when the Switch is darkened. Anything no! marked will wt effect the sound regardless of position. Eventually you will become familiar enough with the controls and what they ‘do that you will be able to "hear "what és going on even wien there ts no ‘one playing. Try to accomplish this by memorizing the ftions, When you fan close your ayes avd call ont the function ncones as yon Sum your hands ver ‘he panel, you will have maximized jour ability 10 make quick changes when doing from patch to patch. This not only makes for perforjuance efficiency tehon playing in low light situations, But it Tooks great on stage to spectators, MELPEUL HIN ‘THE COARSE TUNE CONTROL HAS A CENTER DETENT THAT IS CALIBRATED AT A-40, USE THE FINE TUNE CONTROL FOR THE SLIGHT DETUNINGS THAT GIVE THE FAT BNSEMBLE SOUNDS, LEARN TO USE THE PHASE LED FOR REFERENCE AS 70 THE DEGREE OF DETUNINGPATCH 2 ORGAN sounds and mtxable waveforms are ackteved by mixing the organ footages as desired. ‘Try experimenting with different combinations of footages. For example, placing the orgon sliders in this arrangement will yleld @ rich sawiooth waveform. The arrangement fin the pateh wit give |” a more hollow quality organ. To give you an idea of the possibilities you may apply to eack patch, here is a Hist of the fenctions that ‘can be added to this patch to give more Intevesting variations and sound. These will be a part of other batches as we form new sounds later in the mal: PITCH CONTROLS { all, including oelaves }, ORGAN VOLUME, OSCILLATOR GLIDE, LOW FREQUENCY OSCILLATOR ( FM position.) Nores: eC eePATCH 2A STRINGS are an important part of your TRILOGY. After you have set the patch as shown here, fry changing the attack (turn it clockwise } so the stringe build up slowly. Turn the release. contro! clockwise and the strings will de away more slowly. Playing quick lines usually requires a quick attack and_ a brighter sound. You can make the strings brighter and more cutting, by adding the Kmbre foatere {to your patch. Experiment with all the controts in the string section. THEN add the organ section from aich 2 on the previous page to hear the first example Of sound layering, strings «on organ. NOTE: YOU CAN ADD THE STRINGS AND ORGAN TO ANY OF THE FOLLOWING PATCHES WHENEVER YOU WISH! TO HAVE MORE LAYERS OF SOUND!40 PATCH 3: FAT BRASS ALWAYS use these two controls to make the sound ‘Turn off for bigher range. ‘darker or brighter, as desired, NOTE: Detime the Phasé eutil slighily flashing. (Use fine Tune .) Choose the octave ranges you wish, ‘ut try all combinations of both off, bath on, oF one of each. Notes:n PATCH 4: BAT GLIDE. Try different combinations of the glide controls. Try adding strings to this patch, Experiment with different attacks. Then change the waveform 1 square for a completely different sound, ores:2 | PATCH § : STRINGS FROM THE SYNTHESIZER 1 NOT: PLAY lighfly and use simple chords in a ‘String Uke Jashion. Adjust vibrato to ult NOTES: laste, Use LOTS of REVERB. DETUNING EFFECTS THE QUALITY OF STRING ENSEMBLE. ‘TRY MIXING WITH THE STRING SECTION, Dr STRINGS WITH STRINGS. IT's A DYNAMIC COMBINATION?2B PATCH 7: HARPTRICORD Nores: Turn the SYNC on and off for solo or chorus effects. PATCH 8: TRIPCORD“ PATCH 9: MULTI-FILTER-SWEEP Play a hey, let tt build up, add another, Tet it build up and s0 on, ‘Try veleasing one hey ata time and you'll hear the separate {iliors closing down independently. NorEs:as PATCH 10: SQUATOOTH ( alternating waveforms ) ores,PATCH 12; LEAD SYNTH #1 NOTE: Use joystick pitchbend for expression, Lead Hines are ustally more effective with subile Pitchbends (as a gutarist does when he bends Strings.) . ores: PATCH 13: LEAD SYNTH #2” PATCH 14: PIANO NOTES: USE SYNC for chorus or solo effect. ADD Premelo by increasing depth tx ‘modulation section. ores. PATCH 15: CHORUS CHOIR NOTE: timbre of voices. USE LOTS OF REVEREPATCH 16; GROSS MODULATIONPATH 18: FADE AWAY AND RETURN ‘Be sure to hold chord down for effect? PATCH 19; SWEEP DELAY20 PATCH 20: PORTOGLIDE NOTES:a ADDITIONAL NOTES The rear panel has four outputs. The POLYSYNTH ouput can be used as a main output for all the TRILOGY's ‘sounds. The ORGAN and STRING outputs can be fod to separate channels for stereo and spatial separation, When used this way, the POLYSYNTH output carries only the synthesizer signal. ‘The SIGNAL output is a raw sewiooth output that cam be processed through phase shifters, delay lines, flengers, and other outboard effects devices, adding a fourth layer to the TRILOGY . ‘There are no Limits 10 the possible sous then ths output is connected to the effects devices you provabty own atready! The SIGNAL output just described was also designed for use with the MASTER's TOUCH, pictured on the back of this marual. This is ax effects device thal ts actually a wind controller. It lets you articulate ‘the signal ouput , producing powerful brass sounds and lead horn sounds, complete with the expressive nuances thai a solo horn player would give to his sound, The TM connection on the Year panel fe also designed for the MASTER's TOUCH, providing the capability (o make pitch bends and vibrates that fare very" human," This i8 achieved using the mouth articulator tube supplied with the MASTER's TOUCH. After you have become familiar with the TRILOGY, you may wish to put all three of the outputs ( gan, Strings and synthesizer ) into other effects devices foo. For example, many artvets use phase shifters ‘on their string sounds, producing a great string treatment, Strings are aleo made effective when used ‘with digital delays and professional reverb systems. NOTE on RECORDING: Laying down tracks with the TRILOGY is a treat, especially when you realize Tow quiet itis. The separate outputs are also a blessing, since you can lake the oulputs to separate tracks of a madti track recorder, then EQ the tracks during the mix as you ish ‘The true power of the TRILOGY lies in your ability lo master the controls, then put them to work for you. Even those with five and siz thousand dollar tnstraments wil not be able to compete with the massive Sound layering you can achieve By combining the strings ond organ with the synthesizer section. We hope ‘You will get years of musical satisfaction sith It. We designed it to give you years of service,2 Inserting the jack of the smatt momentary footswitch int the ‘back panel jack with the" SYNC" abet, wil it you go quickty from the detimed chorus effegj'Io the SYNC tunison effects withouptating your hasds ‘teay from the keypdrd. This is great for multi keybogrd players! WHAT THE PEDALS Do. Inserting the VCF (larger ) pedal into the back Duet jack with the same babel, and placing the ‘Front panel rotary in the PEDAL ON position {WIT allow you to sweep the Ali with your foot. This ts used to increase brightness, {to aidd expression, and add effects like the sah wak pedals provide. Inserting the jack from the momentary pedal {nto the rear panel where it 1s marked release ‘ teil provide you with a” piano Hike " sustain pedal, that actually controls the release section of the ENVELOPE GENERATORS.‘THe PRESETS 2s ‘The presets are factory set synthesizer sounds, carefully chosen to give you a range of musically wsefid sounds, Simply press Die switch of the preset desired ( numbers 2 through ® and Yow can hear and play that sound, Try to get a feel " for them by phrasing them as they " sound.” Play them lone, ther ‘ny each one in combination with the organ and strings. This gives you many combinations of LAYBRINGS to experiment with; that's something most synthesizers canmot dot Ifyou ever wish to change the presets to some of your own, a service center com set up new sounds for you. CRUMAR will provide them with a" LIBRARY "" of sound possibilities, and the calibyations required to ‘mabe new prosets. In many cases, you will find the existing presets to be just right, and you sll! have tke {first switch as your oun variable mode. auehesee ere ave a few notes about the existing presets #2 good sinihesizer brass" 43 good syublesizer lead #4 =a pianotike quality _#5 is ¢ short clavicord Sold that is best when Die SYNC sitich 1s on #0.» great [ead square syuthesiz07 sound #72 a esera envelope string sonnd thal 15 Yekrific when blended wDk the separate srg section filter sweeps tt work best when holding ad releasing chords slowly, This [ast ove really $= fan Shows off the independent fillers of the TRILOGY, as they sieep with different resonant points of the filter, REMEMBER: You can add the LFO for vibrato, detune the oscillators, change actave ranges , add orgam, ‘aud add strings to aut of the Presets. Que usefid way fo get more from your TRILOGY ts fo Teave a large anoint of detaning ( the LED flashes quickly next to the word ‘plase?) ad use the SYNC stitch for the unison sound, In this way you have twice as many presets, half of the solo and cutting type when the SYNC is on, and the other half rick and chorus like when the SENC tS off.TRILOGY REFERENCE MANUAL The MASTER's TOUCH és designed to allow any sustaining keyboard or any synthesizer to be ‘Warliculatod " by breath control. The musical result is the production of brass and synthesteey sounds i addition to the instrument's already exhisting sound qualities. Connections dat will Qpply to almost any synthesizer are on the MASTER'S ‘ToucH itself ‘Signal input, tnvoe outputs, Voltage Controtted Filter, fo triggers out, three transducer voltages out, Touch Modutator pad, bite ‘and breath attenuators, and Sensitivity adjustments. Comes with connection cables ‘and Breath tube, Information about the MASTER's TOUCE, ‘déitional oumer's manus for the Trilogy , axa ‘additional blank patch sheets can be purchased at any Masie Dealer selling the Trilogy STEINER (i _ — EEE