If Trident is the band, the Effects are the sound engineer with a truckload of toys, ready to push the mix into excess. Think of them less as icing on an already great sound and more as rocket fuel to launch it into new territory.
Where the original Korg Trident offered just a lone flanger (and a built-in ensemble effect for Strings), Cherry Audio’s Trident piles on 17 different effects you can arrange into chains of up to five effects per section: Synthesizer, Brass, and Strings. On top of that, there’s a Global effects chain that processes all three sections together. That’s a whole lot of sonic firepower at your fingertips.
Each effect can be tweaked, bypassed, reordered, copied, soloed, duplicated, or saved for use in other presets. You can even modulate entire chains with a dedicated Effect Modulator.
Quick Tip:The mini FX panel is always visible, but click the Effects tab at the bottom right for the full parameter view and deeper editing. Alternatively double-click the effects "footer" (the part with the always-visible mod and mix controls) to toggle the view from mini to full.
Quick Controls (Always Available)
Even if you’re in Keyboard View, the most essential FX controls are always within reach, sitting neatly under the chain:
All FX On/Off – Instantly bypasses the entire chain.
Level – Adjusts the overall level of the chain.
Stereo – Widens (or narrows) the stereo field after processing.
Section Selectors (Color-Coded)
At the bottom of the panel you’ll see four colored squares. These pick which section’s effects chain you’re editing:
Red – Synthesizer
Green – Brass
Blue – Strings
Gray – Global (affects all three sections)
Click the color, build your chain, and get creative. Each section’s chain is fully independent, so yes, you can have phasers on Strings, tape echo on Brass, and distortion on the Synthesizer, all at once.
Per-Effect Controls
Each effect block in a chain has its own set of mini-controls:
On/Off – Toggle the effect.
Solo – Bypass all other effects to hear just this one.
Remove (X) – Delete the effect from the chain.
Menu – Copy, paste, duplicate, move, or save.
Modulation Amount – From the Effect Modulator.
Wet/Dry Mix – Blend processed vs. dry signal.
The Effect Modulator
Sometimes you may want to wobble a delay time or a phaser sweep for extra movement or touch of weirdness. Enter the Effect Modulator. It's a dedicated LFO just for the effects. It can target one parameter per effect, across the whole chain if you wish.
Controls include:
Speed – 0.01 Hz to 20 Hz, or tempo-syncable from 1/64T to 8 beats. LED above flashes in time.
Waveform – Ramp, sawtooth, triangle, sine, square, or random.
Delay – Fade-in time for modulation (0–5000 ms).
Sync – Locks modulation speed to host tempo.
Mod Wheel – Lets your MIDI Mod Wheel scale the modulation depth in real time.
Key Reset – Restarts the waveform with each key press.
Managing Effects Chains
Building and wrangling effects and effect chains straightforward. Use the Effects menu dropdown (the triangle) to save and move effects and chains.
Add an Effect – In the Effects View, select a section (Synth, Brass, Strings, Global). Click the Select Effect dropdown to pick your effect, then tweak away.
Delete an Effect – Click the “X” next to its name.
Save a Chain – Display the Full Effects view → Use the Click Here To Save dropdown menu → Save As. Name it, reuse later.
Recall a Chain – Load from the same dropdown.
Solo an Effect – Hit the “S” button; all others mute.
Reorder – Drag the effect by its top “grip” edge to rearrange.
Numerical Edit – Double-click a knob/slider, type a value, press Enter.
Copy Effect to Another Section – Click the triangle dropdown → Copy To → pick section.
Copy or Move Entire Chain – Click the triangle dropdown → Copy/Move Effect Chain To → pick section.
Duplicate an Effect – Click the triangle dropdown → Duplicate (places a copy right next to it).
Align Effects – Click the triangle dropdown → Align All Effects to automatically shift all effects to the left, closing any empty slots in between.
Lock All FX – Click the padlock icon to keep the current effects chain in place when switching presets. Any new preset you load will use your locked chain instead of its own, making it easy to carry your favorite effect setup from sound to sound.
Practical Tips
Don’t overlook the Global chain. A touch of reverb or EQ here can glue all three sections together.
The Effect Modulator + Mod Wheel combo is excellent for live performance. Map it, and suddenly your phaser swoops in only when you push the wheel.
Try saving a few favorite chains and re-using them across presets. Treat them like your personal pedalboards.
Extreme stereo widening can be fun in headphones, but keep an ear on mono compatibility if you’re making tracks.
The Effects
There are 17 effects in total to add potency to any Trident sound. Whether you’re after subtle polish, full-throttle grit, or spacey atmospheres, these effects add even more character to any patch.
Digital Delay
Delay pedals and tape echoes have been a keyboardist’s sidekick for decades. The Digital Delay offers three classic flavors:
Digital – Clean, pristine repeats that would’ve cost a fortune back in the ’70s.
Tape – Warm, saturated echoes without the hassle of splicing worn-out loops.
Ping Pong – Echoes that bounce between left and right for instant stereo drama.
Controls:
Delay Time – Sets the gap between repeats (1 ms to 2000 ms). With Sync on, times follow the beat (1/64T to 8 bars). Can be modulated.
Feedback – Controls how many repeats you get. Low values = slapback echo; high values = infinite runaway.
Spread – Adjusts the stereo width of the delayed signal.
Damp – Softens repeats by filtering highs, making echoes darker and rounder.
Mod Rate / Mod Depth – Adds modulation to delay time. Subtle settings = chorus shimmer; extreme = pitch warbles and glitching.
Tip: Try Digital mode with high feedback and a little modulation depth for a psychedelic wash that hovers on the edge of chaos.
Tape Echo
Few effects are as iconic as tape echo. Originally created with loops of magnetic tape and multiple playback heads, these machines defined the sound of countless dub records, psychedelic jams, and experimental soundscapes. Trident’s Tape Echo captures all that vintage character without the headaches of demagnetizing heads or replacing tape loops.
Controls:
Mode Selector – Chooses which playback heads are active. Each mode offers different rhythmic subdivisions and textures, from simple single repeats to multi-head cascades.
Repeat Rate – Sets the delay time. Lower values = slower, spaced-out repeats; higher values = rapid-fire echoes. With Sync engaged, rates lock to host tempo. Modulation can be applied here for even more vintage spaciness and psychedelic vibes.
Intensity – Controls feedback (how much of the echo feeds back into itself). Low settings = quick fadeouts; higher values = dense, self-oscillating repeats and greater sonic mayhem.
Heads Indicators (1–3) – Lights show which tape heads are active for the selected mode.
Practical Tip: For classic dub-style echo, select multiple heads with Intensity cranked high, then ride the Repeat Rate knob during playback for wild pitch sweeps. For more subtle use, stick to a single head and moderate intensity to add depth without overwhelming the mix.
Digital Reverb
Back in the ’70s, reverb meant spring tanks or giant plates welded into studio walls. Digital reverbs were exotic, studio-only beasts. Trident gives you a compact, modern reverb with three classic models:
Room – Tight, natural ambience.
Hall – Expansive, lush decay.
Plate – Smooth, metallic sheen.
Controls:
Predelay – Time before the reverb kicks in (0–150 ms). Longer predelays create a sense of bigger space.
Decay – Length of the reverb tail, from short and snappy to cavernous. Modulation target.
Highpass / Lowpass Filters – Shape the tone of the reverb by trimming boomy lows or harsh highs.
Mod Routing Switch – Chooses whether modulation affects Predelay or Decay.
Tip: Use a short Room reverb on Strings to glue them into a mix, or a long Plate on Brass for cinematic grandeur.
Galactic Reverb
When you need more than a room, hall, or plate to launch your sound into the stratosphere, reach for Galactic Reverb. Designed for cavernous, cosmic spaces, it excels at ambient washes, cinematic swells, or simply making your synth sound like it has left the building (and maybe the planet).
Controls:
Predelay – Sets the time before the reverb begins (0–150 ms). Short settings keep things tight; longer values create separation between the dry attack and the wash of reverb. Can be modulated.
Decay Time – Determines how long the reverb tail lingers. Dial it short for manageable ambience, or long for infinite, space-drifting sustain.
High Freq – Adjusts the tonal brightness of the reverb by shaping the high-frequency response. Higher settings yield shimmering, airy tails; lower settings make the reverb darker.
Low Freq – Sets how much low end is preserved in the reverb. Keep it up for a massive, bass-heavy wash, or pull it back to avoid muddiness.
Damp Amount – Controls the damping of reflections over time. Higher values cause the reverb tail to lose brightness as it decays, simulating natural absorption in real spaces.
Tip: For lush pads, combine a long Decay Time with a rolled-back Low Freq and moderate Damp Amount to create a deep but clear ambient space. On leads, try adding a touch of Predelay so the note speaks clearly before the reverb bloom takes over.
Spring Reverb
Spring reverb is one of the most distinctive ambience effects in music history. From surf guitar twang to vintage organs to early synths patched through amps, its metallic, splashy character has a charm all its own. Trident’s Spring Reverb recreates the sound of physical springs housed in tanks, complete with extra controls that let you shape it far beyond the originals.
Controls:
Drive – Pushes the input signal into the springs. Higher settings increase saturation and grit, adding vintage bite to the reverb.
Predelay – Sets the time gap before the reverb begins (0–150 ms). Useful for keeping the dry attack clear before the spring kicks in.
Decay – Adjusts how long the spring vibrations last. Low values yield short, splashy bursts; higher settings give longer, ringing tails.
Highpass / Lowpass – Filters that trim unwanted lows or highs from the reverb signal. Use them to tame muddiness or harsh metallic overtones.
Tension – Simulates the tightness of the springs. Looser = wobblier, more boingy character. Tighter = more controlled, refined response.
Tip: For vintage organ vibes, set Decay short and Tension loose to get that splashy, percussive spring burst. For a more modern twist, roll back the Lowpass, tighten the Tension, and add a touch of Drive for a darker, thicker ambience.
Distortion & EQ
Sometimes clean just won’t cut it. Distortion adds grit, attitude, and warmth. Trident’s Distortion offers four modes:
Tube – Smooth overdrive like a cranked guitar amp.
Fuzz – Aggressive, buzzy saturation modeled after germanium fuzz pedals.
Sat – Tape-style saturation for warmth and compression.
EQ – A standalone 3-band equalizer without added drive.
Controls:
Drive – Amount of gain/saturation (active in Tube, Fuzz, and Sat modes).
Level – Output volume to balance the effect.
Bass / Middle / Treble – ±15 dB gain for tone shaping.
Mid Band Frequency – Selects which frequencies the Middle control boosts/cuts.
Modulation Target – In Tube, Fuzz, and Sat modes, Drive is modulatable. In EQ mode, the Mid Band frequency can be modulated.
Tip: A touch of tape saturation can add body to Strings or Brass without sounding distorted. Crank Fuzz on the Synth section, though, and you’re in snarling lead territory.
Dual Phaser
Phase shifters were everywhere in the ’70s, and the legendary Mu-Tron Bi-Phase set the standard. Trident’s Dual Phaser brings that same rich, sweeping character times two.
Each phaser has its own controls, but you can sync them together or let them run wild independently.
Controls (per phaser):
Speed – Sweep rate (0.01 Hz–8 Hz, or tempo-synced from 1/64T to 8 beats).
Depth – Intensity of the phasing effect.
Stages – Number of filters in the phaser circuit. More stages = deeper, more pronounced sweeps.
Phaser 1: 4 or 8 stages.
Phaser 2: 6 or 12 stages.
Resonance – Emphasizes the notches for sharper, more hollow tones.
Mix – Balances between Phaser 1 and Phaser 2. Can be modulated.
Sync - the Sync switch determines whether the two phaser stages run free and independent or whether one is locked to (synchronized with) the other:
Off (unsynced): Each phaser has its own LFO running freely. This means they can drift in and out of alignment, creating evolving, swirling movement and complex stereo textures.
On (synced): The second phaser’s sweep is locked to the first. Instead of moving independently, both phasers cycle together, so you get a more unified, rhythmic phase motion. This setting is tighter and more predictable, useful when you want a consistent pulse or groove.
Tip: Try syncing both phasers at different stage settings (e.g., 4 vs. 12) for complex, evolving sweeps.
Flanger & Chorus
These two modulation effects use short delays to create movement and depth. Flanging mixes dry and very short-delayed signals for a sweeping “jet plane” comb-filter sound. Chorus uses slightly longer delays to thicken tones, simulating multiple instruments playing together.
Flanger Controls:
Speed – LFO rate of the sweep (0.01 Hz–8 Hz, or tempo-synced).
Depth – Amount of sweep applied.
Delay – Sets the base delay time (1–13 ms). Shorter = brighter notches.
Resonance – Boosts the notches, producing the classic jet-flange effect.
Chorus Controls:
Speed – LFO rate of the sweep (0.01 Hz–8 Hz, or tempo-synced).
Depth – Amount of sweep applied.
Waveform – Shape of the LFO (sine, triangle, saw, ramp). Each yields a different flavor of movement.
Shared Control:
Mix – Balances Flanger and Chorus. Can be modulated.
Tip: Use a slow, shallow chorus on Brass to add width without getting in the way, or crank up flanging on a lead synth for unapologetic ’70s sci-fi drama.
Envelope Filter
The Envelope Filter is a triggered modulation effect. Every time you play a key, it generates a filter sweep. Unlike a traditional envelope follower that reacts to signal volume, this one gives you consistent, predictable sweeps. Great for auto-wah effects, synth zaps, and funky textures.
Envelope Section:
Shape – Pick an envelope contour (ramp, triangle, square, etc.). Shapes determine how the filter cutoff moves over time. Square acts more like an LFO.
Length – Duration of the envelope sweep. Short = snappy; long = slow evolving.
Envelope Amount – Sets how far the filter cutoff moves in response to the envelope.
Filter Section:
Cutoff – Base frequency of the filter. The envelope adds/subtracts from this point.
Resonance – Boosts frequencies at the cutoff, making sweeps more dramatic.
Drive – Adds gain before the filter for extra grit and presence.
Other Controls:
Gain (Trimmer) – Balances the output level.
MOD Slider – Adjusts how much modulation is applied.
MIX Slider – Balances dry vs. processed.
Tip: Set a long ramp-up shape with high resonance on Strings for dramatic sweeps that bloom with each note, or go short and snappy on Synth for funky auto-wah leads.
Tip 2: Filters on Filters
You don’t have to trigger the Envelope Filter with an envelope at all. Just leave the sensitivity low and it becomes a fixed filter instead. This essentially gives you an extra paraphonic filter that you can apply to the Synthesizer, Brass, or Strings individually, or drop in the global FX chain for the whole mix. Stack it with the section’s built-in filters, and the multiple filters line up in series to carve out shifting bands of tone. This technique is an excellent way to shape formant-like textures, focus a patch more narrowly, or take Trident into realms that its hardware predecessor never imagined.
Seven Band EQ
Equalization is one of the most fundamental tools in shaping sound, and Trident’s Seven Band EQ makes it straightforward and musical. Modeled after classic graphic equalizers, this effect lets you boost or cut seven key frequency ranges to sculpt tone, tame problem areas, or bring out character in any sound.
Controls:
Frequency Bands (100, 200, 400, 800, 1.6k, 3.2k, 6.4k Hz) – Each vertical slider boosts or cuts its band by up to ±15 dB. Push up to emphasize, pull down to reduce.
100 Hz – Sub-bass and low-end weight.
200 Hz – Warmth or muddiness.
400 Hz – Body and thickness (or boxiness if overdone).
800 Hz – Midrange punch.
1.6 kHz – Presence and edge.
3.2 kHz – Clarity and attack.
6.4 kHz – Brightness and air.
Bandwidth – Adjusts how wide or narrow each band’s effect is. Lower values = broader, smoother curves. Higher values = tighter, more surgical adjustments.
As with all other effects in Trident, the Seven Band EQ can be modulated — opening the door to rhythmic tone-shaping or evolving filter-like sweeps across multiple bands.
Tip: Use gentle boosts or cuts across a few bands for natural tone shaping. For example, trimming a little 200 Hz mud while boosting 3.2 kHz clarity on Brass. Or crank up 100 Hz and 6.4 kHz together to give synth basses both thump and sparkle.
Ring Modulator
Ring modulation is the sound of science fiction ray guns, metallic clangs, and otherworldly textures. By multiplying your signal with an internal oscillator, it creates sum and difference frequencies that often sound inharmonic, robotic, or downright alien. Trident’s Ring Modulator gives you full control over how wild (or subtle) things get.
Controls:
Gain – Adjusts the input level sent into the modulator. Higher gain means a stronger, more pronounced effect.
Range (High/Low) – Switches the oscillator’s frequency range. Low is better for tremolo-like modulation; High ventures into bell tones and metallic territory.
Freq – Sets the frequency of the carrier oscillator. Lower settings = slow, throbbing tremolo. Higher = clangorous sidebands.
Wave – Selects the oscillator’s waveform: sine for smooth, or square for harsher, edgier modulation.
Rate – Controls oscillator speed when in Low range (essentially tremolo rate). Syncs to tempo when Sync is enabled.
Amount – Sets the depth of modulation, from subtle shimmer to total signal disintegration.
Drive – Adds gain and harmonic grit after the modulation stage, thickening or dirtying up the output.
Tip: For classic sci-fi “flying saucer” tones, set Range to High, pick a sine wave, and crank Freq into the audio range. For more musical use, try Low range with Rate synced to tempo and it becomes a tempo-locked tremolo that adds groove without going completely alien.
Lushverb
If you want your sounds to swim in ambience, Lushverb is your go-to. As the name suggests, it’s built for wide, dreamy reverberation that can be subtle and supportive or massive and enveloping. With tone-shaping filters and built-in modulation, it excels at everything from natural roominess to lavish, evolving textures.
Where Galactic Reverb reaches for infinite, cosmic expanses, Lushverb focuses on silky smoothness and animated depth. It's the kind of reverb that flatters synths, vocals, and pads by wrapping them in a liquid halo.
Controls:
Predelay – Time before the reverb kicks in. Short = immediate wash; longer = clearer separation between dry sound and reverb bloom.
Early Reflections – Shapes the very first echoes you hear when a sound bounces off walls. Low settings keep things tight and intimate, like you’re in a smaller space. Higher values push those reflections further forward, adding presence, punch, and a sense of real room before the tail blooms. Great for adding dimension without always using longer decay times.
Decay – Sets the length of the reverb tail, from short ambience to cavernous sustain. Can be modulated.
Highpass / Lowpass – Trim low-end rumble or high-end fizz in the reverb signal to keep mixes clean.
Damp – Determines how much brightness is lost over time. Higher values = tails that darken as they fade.
Mod Rate / Mod Depth – Add movement to the reverb tail by modulating its delay lines. Subtle settings = gentle shimmer; extreme settings = chorus-like animation.
Sync – Locks modulation to host tempo for rhythmic effects.
Mod Switch (Predelay/Decay) – Chooses whether modulation applies to the Predelay or Decay parameter.
Tip: For ambient pads, set a long Decay, roll off some lows with the Highpass, and add a touch of Mod Depth for evolving shimmer. For tighter mixes, use shorter Predelay and keep Decay moderate, adding just enough Damp to sit naturally under the dry sound.
Lo-Fi
Sometimes perfection is the enemy of vibe. Lo-Fi is designed to rough up your sound with the kinds of imperfections that make old recordings feel warm and gritty. From dusty vinyl crackle to wobbly tape warble, this effect can take Trident’s pristine tones and throw them straight into the basement of a 1970s record store.
Controls:
Vinyl – Adds record-like crackle and pops. Higher settings = more frequent, louder artifacts.
Wow – Simulates the slow pitch drift of a warped record or stretched tape.
Flutter – Adds faster, jittery pitch variations, like a worn cassette transport.
Hiss – Introduces broadband noise, reminiscent of tape or cheap electronics.
Hum – Injects mains hum into the signal, with a switch for 50 Hz / 60 Hz to match regional power noise flavors.
Random (center knob) – Introduces unpredictable fluctuations across the effect parameters, enhancing the chaotic, analog feel.
Noise Gate – To help keep the grit under control, Lo-Fi includes a Gate. Think of it as an automatic volume control. It lets your instrument through when you’re playing, and slams the door shut when things go quiet, keeping hiss, hum, and crackle from hanging around between notes.
Enable Button: Switches the gate on and off.
ATT (Attack): How quickly the gate opens when you play a note. A fast attack gives you sharp, immediate entrances; a slower attack eases the noise in more gently.
REL (Release): How quickly the gate closes after the sound drops below the threshold. A short release cuts noise instantly. A longer release lets things fade more naturally.
Gate Tip: When using long-decay sounds (especially with reverb or delay), you might hear “chatter,” that sputtering, open-close-open stutter as the gate struggles to decide whether the tail is loud enough to keep. If that happens, try increasing the Release for smoother fades, or dial back your effect tails slightly. A touch of balance here makes the difference between vintage character and sounding like a broken speaker.
Lo-Fi Tip: For subtle retro flavor, add a touch of Wow and Hiss to synth pads. For full-on grit, crank Vinyl and Hum and let the Random knob do its thing. It's great for lo-fi hip-hop or downtempo textures that need a worn, nostalgic character.
Dual Ensemble
The lush, swirling sound of ensemble effects is a hallmark of vintage string machines and poly synths. The original Korg Trident only offered an ensemble circuit hardwired to the Strings section. Trident’s Dual Ensemble goes far beyond that limitation, giving you two fully independent ensemble units you can use on any section, or blend together for everything from subtle shimmer to deep, swirling motion.
Controls (for each Ensemble A & B):
Rate – Sets the speed of the modulation (how fast the pitch/phase shifts). Slow = gentle drift; fast = warbly motion.
Depth – Controls how far the pitch is detuned by the modulation. Low = subtle thickening; high = seasick wobble.
Time – Adjusts the base delay time of the effect. Longer times = looser, more chorus-like feel; shorter times = tighter, phase-like coloration.
Feedback – Feeds the delayed signal back into itself for resonance and more pronounced movement.
Shared Control:
Mix – Balances between Ensemble A and Ensemble B. Use it to layer two different modulation speeds and depths for a rich, evolving chorus.
Tip: For classic string-machine shimmer, set both ensembles with slow Rates and low Depths, then balance them with the Mix slider. For a more psychedelic wash, give one ensemble a slow, deep drift and the other a faster, shallower variation. The interaction creates a lush, animated stereo field.
Note: If you’re torn between Dual Ensemble and Chorus/Flanger, think of it this way: Ensemble excels at smooth, swirling textures with a vintage string-machine flavor, while Chorus/Flanger covers more dramatic sweeps, jet whooshes, and thicker doubling effects.
Dual Delay
Why settle for one echo when you can have two? Trident’s Dual Delay lets you run two independent delay lines side by side for everything from tight rhythmic interplay to wide, spacious echoes. Each delay has its own controls, and you can sync them to tempo, run them free, or send them bouncing across the stereo field in ping-pong mode.
Controls (per Delay Line 1 & 2):
Time – Sets the delay length. With Sync engaged, times lock to tempo divisions; in Free Run they’re adjustable in milliseconds.
Feedback – Determines how many repeats occur. Low = quick slapback; high = long echoes or self-oscillation.
Damp – Applies high-frequency damping to the repeats, making them darker and more natural as they fade.
Shared Controls:
Mix (1/2) – Balances between Delay 1 and Delay 2.
Sync/Free Run Switch – Toggles between tempo-synced and free-running time modes.
Spread – Adjusts stereo spacing of the delays. Low = centered echoes; high = wide, panned echoes.
Ping-Pong – Sends repeats alternating left and right for a classic stereo bounce.
Tip: For rhythmic complexity, set Delay 1 to dotted eighths and Delay 2 to quarters, then spread them wide for instant “U2-style” echo textures. For ambient sound design, keep both delays long, add plenty of Damp, and engage Ping-Pong for endless stereo wash.
Note: If you’re wondering whether to reach for Dual Delay or Digital Delay, here’s the difference: Digital Delay is quick and straightforward, with classic single-line flavors (digital, ping-pong). Dual Delay offers more flexibility, stereo interplay, and rhythmic layering. This is great when you want echoes to become part of the composition.
Compressor
Compression is a powerful tool for shaping the dynamics of your synths. It can make basses hit harder, leads sit firmly in a mix, and pads feel more even and controlled. Trident’s Compressor keeps things simple, with just the essential controls you need to add punch, presence, or smoothness to your patches. It operates with a fixed threshold of –12 dB and built-in auto makeup gain, ensuring consistent levels without extra balancing work, making it very plug-and-play. Dial in Attack and Release to taste, push the Input until you like what you hear, and you’re good. There's no need to trouble with gain staging or threshold hunting.
Controls:
Ratio (slider at top) – Sets how much the signal is reduced once it passes the threshold. Lower ratios (4:1) = gentle smoothing. Higher ratios (12:1, 20:1) = firm control.
Input – Adjusts how much signal is pushed into the compressor. More input = more compression.
Output – Balances the overall level after compression so the processed signal matches or exceeds the bypassed sound.
Attack – Controls how quickly the compressor reacts, measured in milliseconds (ms). Fast = tight and snappy; slow = allows more of the transient bite through.
Release – Sets how quickly the compressor recovers, measured in milliseconds (ms). Fast = punchier feel; slow = smoother, sustained leveling.
VU Meter – Shows how much gain reduction is being applied, so you can see the effect as well as hear it.
Auto Makeup Gain – One common side effect of compression is that the overall signal level can drop as peaks are reduced. Normally you’d compensate for this with an Output (or Makeup Gain) control, nudging the level back up by ear. Trident’s Compressor saves you that step by including built-in auto makeup gain that you can switch on or off. With it on, as you increase compression, it automatically boosts the signal so your processed sound stays roughly as loud as the uncompressed version. The benefit is that you can focus on shaping punch and dynamics without constantly juggling output levels, making the Compressor faster and more intuitive to use.
Compressor Specs:
Input: -20dB to +20dB
Output: -20dB to +20dB
Attack: .1ms to 200ms
Release: 5ms to 3000ms
Detector HP: 100Hz
Threshold: -12dB
Soft Knee (-3dB below threshold)
Tip: For synth bass, use a medium Attack and fast Release to keep the low end solid without losing punch. On pads, slower Attack and Release settings even out the dynamics, giving you a warm, flowing texture that sits perfectly under leads and arpeggios.
BBD Flanger
Flanging is all about mixing a signal with a very short, modulated delay, creating swooshing comb-filter effects. The Flanger effect was one of the most treasured parts of the original Trident, but was limited in that it could only be assigned to one section at a time. The BBD Flanger replicates the original Trident Flanger and nails the character of vintage bucket-brigade analog units, known for their warm, slightly gritty sound compared to pristine digital models. This makes it ideal for thickening synths, adding movement to pads, or creating the classic jet plane sweep.
Controls:
Speed – Sets the LFO rate that modulates the delay time. Slow = gradual sweeps; fast = rapid, shimmering motion.
Intensity – Adjusts how much the LFO affects the delay time. Subtle settings = gentle movement; higher = deeper sweeps.
Manual – Manually offsets the flanger’s delay time. Use it to set the starting point of the sweep or to park the flanger for static comb-filter tones.
Feedback – Feeds part of the output back into the input. Low = smooth, subtle flange. High = resonant, metallic sweeps with that signature jet-like sound.
Sync – Locks the modulation rate to host tempo for time-synced sweeps.
Tip: For classic “jet whoosh” effects, set Feedback high, Speed slow, and Intensity deep. For subtler chorus-like thickening, keep Intensity low, Manual slightly offset, and just a touch of Feedback.
Note: If you’re deciding between BBD Flanger and Flanger/Chorus, here’s the distinction: BBD Flanger delivers darker, warmer, more organic sweeps. This is perfect for vintage-style movement. Flanger/Chorus offers cleaner, brighter modulation and the flexibility to switch into chorus mode.
