Korg Trident / Trident MK II

Robert L's Analog Synths

Korg Trident MK II

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Robert L's Analog Synths

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Korg Trident was the top Korg polyphonic synthesizer made in 1980, and upgraded to Mark II model in 1982. After the big American leaders in synthesizer technology, like Oberheim and Sequential Circuits, made their classic but extremely expensive models (OBX, Prophet 5), Roland and Korg answered with their top models Jupiter 8 and Trident (Trident MKII) respectively. These four keyboards, with the addition of Yamaha CS-80 and CS-70M are usually considered as the top classic polyphonic analog synthesizers.
Trident MK II is an 8 voice polyphonic synth and has a standard analog architecture with 2 VCOs, 1 VCF (with separate envelope available only on the MK II) and 1 VCA (ADSR) per voice. The scaled down version of this architecture, using the same stable VCOs (Hz per Volt system for greater accuracy and stability), using the same famous SSM 2044 filters, and extremely versatile effect section was implemented also in Polysix. But with the Trident there were no corners cut like with his younger brother, in most of the things. The basic tone is a bit tougher, there is greater overall dynamics, less noise and lesser influence of the high frequency "digital" signals from the main CPU board to the audio signal.
With the Trident, especially the MK II, you get the best

Korg could offer at that time. The only thing really missing is portamento. Also some parameters maybe considered as reduced to the basics (e.g. the VCO 2 has only the sawtooth waveform), but in such cases the most functional and most practical choices were made. This fact places the Trident into the category of synths made for "playing", not for producing strange sound and effects, although you'll get some standard analog effects very easily. But when playing chords, bass lines or solos, you will most definitely enjoy the Trident's many capabilities.
The thing that always has to be emphasized with this line of Korg products is the sound of its classic four pole filters produced by the SSM 2044 chips. They are extremely warm, very Moog-like, and if a bit different from the original Moog filter, the difference is good in its own way. So when you decide to smooth down the sound it will happen in the way that will just make you smile. For the real analog fans this is usually enough to make them fall in love with an analog synth.
The existence of the second VCO becomes especially important for analog basses which will be second to none (and as you can guess not at all far from the Moog basses). With putting the second oscillator a bit out of tune you will get this extra sonic "tension" and chorusing

without making the sound too soft. The analog envelopes will do the naturally sounding attacks and decays full of warmth and life. No matter if you like it fast or slow. All in all, features that are just impossible to imitate by digital samplers.
Programming is easy by the dedicated knobs, and before soon you will fill the 32 program patches (16 on the mark I model) with the classic analog pads, juicy funky sounds, filter sweeps and a lot's, a lot's of basses. There's a cassette interface for saving this programs, which can nowadays be done by recording the analog signal as a few seconds of WAV format on your computer.
But Trident wouldn't bear its name if there was not for something more than just the synthesizer section, though, of course, it is the most important one. The saw waves from oscillators feed also the string section with its own single filter without resonance), AR (Attack Release) envelope, and some additional effects. There is also the third part, the brass section, to make the third prong of the Trident with another SSM 2044 chip, with controllable frequency, resonance and envelope modulation.

All three sections together make this remarkable synth to be a huge 8 polyphonic classic synth and in the same time a synth-brass hybrid alike some dedicated electric strings and brass keyboards from that time. Some synthesizer purist would say that this extra sections are just unnecessary and old-fashioned, but in practice you'll find that this is not true. Your pads will benefit when added a bit of warm strings with different attack or release parameters, as well as your fresh sounds can be fattened by some brassy timbres. The split/layering option makes it possible to arrange the synth, string and brass sections in many useful ways.
One more thing, which comes very handy on some sounds is the effect section with excellent phaser. The keyboard on Trident is excellent, the best on the Korg's synths from that time, and there is also the unique Korg joystick for pitch bend and modulation. And at last, did we mention that Trident was considered one of the biggest five classic polyphonic analog synths? Now you should have more precise idea why it so. (For additional info see e.g. SynthMuseum. Send your email.) (The picture is gratefully taken from Hyperreal.)