Trident Polyphonic Keyboard Synthesizer

Back in 1980, this synth arrived as one of the early polyphonics that let players stack lush chords without compromise, blending string machine vibes with proper analog synthesis in a way that felt revolutionary for live performance.

Its three distinct sections—Synthesizer with dual VCOs offering sawtooth, square, and PWM waveforms feeding a resonant 24dB/oct lowpass filter and ADSR envelope; Brass mirroring that setup for punchy leads or horns with its own ADR envelope; and Strings using a single oscillator with unique EQ, AR envelope, and bowing effect—deliver 8 voices of pure analog subtractive tone. A 61-note keyboard supports layering all sections or splitting for dual zones, with per-section volume knobs, on/off switches, and 16 programmable memories plus presets like Piano and Clavi. Global effects include a self-oscillating flanger with speed, feedback, intensity, and manual controls, plus delay vibrato and ensemble, all enhanced by CV/gate inputs for filter cutoff/trigger and expression pedals per section. Measuring 1012 x 524 x 52 mm at 21 kg, it packs mono section outs, hi/lo mix outs, and headphone jack into a hefty, roadworthy chassis.

Players have long praised its warm, silvery filter sweeps and versatile layering for pads, basses, and orchestral swells—think Joe Zawinul or Rick Wakeman territory—though some note the Strings section's paraphonic nature and lack of full MIDI as era-typical limits that modders often address.