User Manual

Triangle II is a top-quality Virtual Instrument which uses many technologies from our award-winning Pentagon I Performance Synthesizer, acclaimed in most music publications and with a myriad of positive feedback comments from users all over the world.

Triangle II also introduces new experimental technologies from rgc:audio, like its new ultra-smooth filters, tuned-noise generator, extended effects section and others. Most of those technologies are still unique to rgc:audio instruments, and particularly to Triangle II.

As a result, we think T2 is the ultimate bass-lead tool for contemporary music production, no matter the price.
Just hear it, tweak it, make music with it.

T2 has a one-panel Graphical User Interface, and the signal flow is exactly as standard English reading: Left to Right, Top to Bottom. After a few minutes of programming, you can discover 99% of the possibilities of it. However, the 1% remaining is really the best part, which will make your music and sounds unique/different, and it can only be obtained by fully reading this brief manual. You are free to choose what is best for your music.

There are 2 waveform selectors, 67 knobs, 14 ON/OFF lights, three Text Selectors (Filter Mode, Chorus MONO/STEREO, Delay STEREO/PING), plus a Options Menu.

The main Options Menu will appear by clicking the Triangle II logo:

Knob mode can be selected via Options Menu, to be Linear or Circular, with or without inertia. Setting will be remembered and used in all subsequent T2 instances.

At the bottom, there is the Preview Ribbon. It allows playing the full MIDI note range (0-127) by clicking and dragging on it. This allows for adjusting release/portamento times very easily.

Programs can be selected by right-clicking anywhere on screen. At the top-right corner, there is a up-down arrow selector to increase/decrease the program number. Clicking on the Program Name you can enter/change the name.

There will appear a menu by shift-right clicking any knob for MIDI Learn. Check 'MIDI Operation' for more details.

T2 features three very sophisticated oscillators based in wavetables.
The use of one wavetable per MIDI note for most used waveforms like Saw and Square allows for uncompromised quality, with every note representing a exact model (zero transposing artifacts), at same time that allows using "vintage" modeled waveforms, as opposite as "perfect/trivial" waveforms which sounds too bright and lacking any warmness.

Each oscillator can use one of the following seven waveforms:

1 - SAW (vintage-model)
2 - SQUARE (vintage-model)
3 - HARMONICS 2
4 - HARMONICS 3
5 - HARMONICS 4
6 - HARMONICS 5
7 - SINE

Saw and Square are the most traditional synth waveforms, in this case calculated with a complex model which recreates every imperfection due exponential charge/discharge and coupling capacitors in Vintage Synthesizers.
Harmonics 2-5 are mathematically calculated waveforms with only harmonics multiple of n, being n a number between 2.5 and 5. Sine is a typical sine wave.

The interval between Osc1 and Osc2 can be adjusted with the OSC2 TRANSPOSE knob, in a ±24 semitone range.
The DETUNE knob controls the amount of detuning for oscillator 2. It's a common programming practice to increase detuning a bit to create more complex (fat) sounds.

Suboscillator
The suboscillator will follow the Oscillator 1, at a one octave lower pitch. It will have the same waveform, except that it won't do PWM nor MULTI. With its own mixer control, its volume can be adjusted or even turned fully off.

PWM
SAW and SQUARE can be chosen to use PWM.
When SQUARE waveform is selected and PWM is On, the pulse width can be manually adjusted using the FILTER LFO PWM knob, from 0 to 100% (normal square). If Filter LFO is turned On, the PWM will be controlled by the Filter LFO, and FILTER LFO PWM knob will control the modulation amount.

When SAW waveform is selected, no pulse will happen, but a very interesting phase shift will affect the SAW waveform.

OSC1 MULTI
Oscillator 1 can be turned to MULTI mode with the OSC1 MULTI On/Off light.
When OSC1 MULTI is On, oscillator 1 will behave as eight individual oscillators with same waveform. The detune amount of the MULTI mode can be adjusted with the MULTI DETUNE knob, to create unison oscillator effects.

NOTE: When OSC1 MULTI and PWM are both on, you will have eight pwm'ed oscillators, plus osc2 and subosc. While this might lead to very interesting textures, keep an eye on your CPU meter.

SYNC
When SYNC mode is on, oscillator 2 will restart its phase cycle at same time as oscillator 1. With a fixed frequency for oscillator 2, this effect is not interesting generally. That's why when SYNC mode is On, the Pitch Envelope Generator will only affect Oscillator 2.
Interesting new and typical sync effects can be obtained this way.

Table Shift
This control will shift the tables used to generate the waveforms down from 0 to 24 tables. Imagine this as a "filter without a filter". Different effects can be obtained adjusting this control for different waveforms.
NOTE: Effect will be more noticeable with high cutoff settings.

Portamento
When Portamento is On, the transition between subsequently played notes will be continuous and slow instead of instantaneous. There are four portamento modes in T2:

Portamento Time can be adjusted with the PORTA TIME knob from 0 to 2s, with the first (most used) 0.2 seconds at the half of the knob.
NOTE: Portamento Time for fixed and variable will be equal with a one-octave interval (12 semitones).

Pitch Bend, Random Tune, Main Tune
T2 responds to Pitch Bend messages, and the range for Pitch Bend can be adjusted from 0 to 12 semitones.
The Pitch Bend can be affected by the Portamento effect, when the Portamento/Bend option in Options Menu is On.
This mode is also useful for wind/guitar controllers to smooth the bend operation, by setting this control on and choosing a very fast Portamento Time.

Random Tune will generate a new random tuning every Note On, emulating the tuning unstabilities of early analog synthesizers. The higher this control is set, the more dramatic unstabilities.

Main Tune control is used to tune T2 to match the other instruments in your set. As the DETUNE control only affects Oscillator 2, it's also a common practice to turn Main Tune a bit down to center the detune interval.

DC Burst
DC Burst is a model which recreates the exponential capacitor load which happen in analog drum machines on Note On.
This classic "pop" sound, results in a punchy attack when added to leads/basses, which is very useful in many circumstances.

Pitch Envelope Generator
This is the classic T1/S1/P1 pitch envelope generator, featuring Start Level, Attack Time, Decay Time, Release Time and Release Level controls, plus Envelope amount and Velocity amount controls.

Pitch LFO
Pitch LFO will add a "vibrato" effect by shifting the main oscillators center frequency. It features following controls:

Decimator
Decimator is a effect which will make the sound like being out of a old/cheap digital sampler, with reduced samplerate. There is no such thing as "good" aliasing... so we call this one "well-known" aliasing. Particularly useful for dark basslines.

The multiple filters on T2 ranges from very soft 2-pole 12dB/oct filters to the new ultra-smooth 4-pole 24dB/oct filters. A dedicated Envelope Generator with Amount and Velocity controls plus a dedicated LFO for cutoff control offers all the typical possibilities in a subtractive synth, with a new quality level.

Filter Type
There are 6 different filter types in T2, which can be selected by clicking on the FILTER label. We assume you are already familiar with a filter functionality, so we won't explain here what is the difference between Low Pass, High Pass and Band Pass.

Cutoff, Resonance
The cutoff control in T2 covers the full audible frequency range, without any "hidden" or "darkened" high end, due there is absolutely no aliasing to hide coming from oscillators section. So, it's equally possible to create powerful basslines or bright leads/hoover-like sounds.
Cutoff knob center point is 400 Hz.

Resonance control adjust how much the frequencies in the neighborhood of the cutoff will be affected, higher settings resulting in a more aggressive boost. The new 4-pole filters will very this setting dynamically with cutoff in a very complex way, which results in more average output level when sweeping.

Filter Envelope Generator, Keyboard Scaling
The Filter Envelope Generator consist of the typical Attack, Decay, Sustain and Release controls, plus the Envelope amount and Velocity amount controls.

The keyboard scaling control (Keyb), adjusts how much the cutoff is affected by note number, from 0 to 200 cents.

Filter Aftertouch, Modulation
The cutoff of the filter can be directly affected via Aftertouch or/and Modulation wheel messages in a selected amount:

Aftertouch: Adjusts the cutoff variation with Aftertouch messages. A special aftertouch curve is used to fit most keyboards response.
Modulation: Cutoff variation with Modulation Wheel messages, from 0 to full spectra, in logarithmic form.

Filter LFO
Filter LFO will add move the cutoff frequency in a cyclical way. The Filter LFO features the following controls:

Filter LFO waveshape is Sine.

Tuned Noise Generator
T2 features a new Tuned Noise Generator, which is a noise generator followed by a special filter which will follow the played note. In this way, the noise generator becomes a very useful tool for percussive effects, not a "wind-and-sea-only" noise generator anymore. Naturally, the wind and sea can still be obtained.

Mixer
The Mixer has controls for the two main oscillators, the suboscillator, and the tuned noise generator. With it you can mix the components to suit the specific needs of any particular sound.

Amplifier Envelope Generator
The Amplifier Envelope Generator is composed by the 4-stage Attack, Decay, Sustain and Release typical generator:

Velocity, Aftertouch
The volume variation with velocity can be adjusted in T2 using the Vel knob.
Aftertouch will regulate how the volume is affected by Aftertouch Messages.

NOTE: Aftertouch operation is completely smoothed, no clicks will occur when controlling volume via Aftertouch.

Amplifier LFO
Amplifier LFO is generally used to generate a tremolo effect, variating the volume in a cyclical way.
T2 includes the ability to route the Amplifier LFO to a AutoPanner, to move the sound in the stereo field in a cyclical way.

rgc:audio was one of the first VSTi manufacturers who introduced built-in effects in its synthesizers. However, we are not the owners of the innovation here... this is just a replica of what hardware synthesizers have been doing during years.
Naturally, the effects could be added by adding external plugin processors, with even more expanded sonic possibilities.
The built-in effect section in T2 has the following advantages though:

- Some module interaction isn't possible (ie Reverb lines modulated by Amplifier EG Attack, or Chorus EG mode).
- Several (6) plugins would be needed to emulate the T2 built-in multieffect unit.
- Parameters of the built-in effect unit are stored in a per-preset basis.
- Effect parameters can be MIDI programmed, which would only be possible if all the external plugins would have this capability.
- Sharing songs doesn't require the other party having the same full set of effects installed.
- Real-time performance via stand-alone host doesn't need extern effect processing.
- Automation of parameter variation on a song much simplified. Notice that some effect plugins still don't have this possibility.
- Replacing of effect settings on MIDI Program Change instantaneous.
- It isn't needed to navigate among several windows to tweak the sound.
- Timing precision due buffer filling much increased.
- CPU usage decreased, no inter-dll function calls, etc.

The effect section in T2 is a step forward in this integration concept. All effects can be turned fully off, saving all CPU usage.

Keep in mind that for most field-useful programs, most components of the Effects Section should be turned off. The factory presets just show you the capabilities of the instrument, but most of them use extreme settings for this, just a creative exercise. We suggest to keep the fx processing to a minimum for multiinstance work.

Bass Eq
Bass Eq allows tuning precisely the low frequency contents of the sound. It includes:

Chorus/Flanger
The Chorus/Flanger unit in T2 is a 6-voice unit which allows for simple dubbing/flange effects to high feedback chorus effects. It features following controls:

Bass sounds get particular benefits with MONO chorus, leads and others with STEREO.
The factory preset 'eged' shows the chorus effect applied only to non-legato attacks, giving a incredible range of expression possibilities.

Stereo/Ping Delay
The delay in T2 consist of two fully independent L and R delay lines, with following controls:

Clicking on the DELAY label, the delay effect can be sync'ed to host tempo, in following divisions:

1 = 1 BPM. So if host tempo is 120 BPM, there will be 120 delay taps per minute (2 / sec).

Multiples (Slower, t = triplet, d = dotted): 2t, 2, 2d, 4t, 4, 4d, 8t, 8, 8d, 16t, 16, 16d
Sub Multiples (faster): 1/2d, 1/2, 1/2t, 1/4d, 1/4, 1/4t, 1/8d, 1/8, 1/8

NOTE: While maximum delay time in no-sync mode is 1 sec, times up to 4 second can be obtained by synchronizing the delay with very low divisions (ie 16) and setting the host BPM to a low value. This long delay times allows for Sample-Delay effects.

Stereo Reverb
T2 includes a built-in basic Stereo Reverb effect which adds spaciousness and dimension to the sound, as if it were performed in a real environment. T2 reverb features the following controls:

Stereo Spread, Main Volume
The Stereo Spread introduces a phase shift between Left and Right channels, to spread the effect in the stereo field.
The Main Volume control allows setting the volume for the whole program.

Notes on Reverb Utilization
Surely there will be perfect occasions for using T2 during live performance with the included microhost.
This fact, the convenience of storing Reverb parameters inside the program, plus a few interactions between the Reverb and the Envelope Generators to generate spread when big sizes are used are the main reason for having a reverb onboard.

However, if you plan to use T2 in a multiinstance environment for sequencing, one reverb in every instance will overload your CPU very soon, making the song un-playable, or will lead to unrelated reverbs present in the same song, a very non-pro sound practice, generally speaking.

T2 features four playing modes, to suit all the tracking/sequencing and live performance needs:

T2 holds 128 programs, which are saved in a .fxb bank file called 'default.fxb' inside your '\rgcaudio Triangle II\Presets\' file.
You can freely modify this bank, and save it with a different name to manually reload it when needed, or you can name it default.fxb, so T2 will reload it automatically when inserted.

Banks with the 128 programs or individual Programs can be Loaded or Saved using the built-in menu in the Options Menu, or via the microhost. Those banks/program files are fully cross-compatible with the ones saved by any Steinberg application, and some other hosts too.

T2 has one of the best MIDI implementations in a Virtual Instrument, due it was 'stolen' from his Big Bro. Pentagon I.
Every simple knob or light indicator in the Front Panel can be assigned to any MIDI continuous controller, in direct or reverse mode and with adjustable minimum and maximum values.

To assign a MIDI controller to a control, Shift-Left Click on the control. A menu will appear with following options:

It is possible to assign the same MIDI continuous controller to several knobs in the front panel (in fact, it would be possible to assign one controller to all knobs if desired). To get this, just Shift-Left Click on several controls and select MIDI Learn, and then send a MIDI CC to T2. All selected controls will be assigned to it.

Also, is possible to assign more than one MIDI CC to a simple T2 control by repeatedly selecting MIDI Learn and sending different MIDI CCs to it.
Both Aftertouch and Pitchbend can be used as MIDI Controllers. When pitchbend is assigned as controller, the assigned control will have a bipolar movement and the center will be calculated as the average between min and max assigned value.

NOTE: T2 will show only the first learned controller for every control when Shift-RClicking the control again.
MIDI Controls #120 (All sounds off), #123 (All note off), and #32 (Bank Change) have special functions, so they can’t be assigned.
MIDI Controls #1 (Modulation Wheel) and #64 (Sustain Switch) will be learned, but they will keep their assigned function.

Notice that in the case of Modulation Wheel assignment in the front panel (Pitch LFO, Filter LFO, Amp LFO, Filter), these are remembered for every program, while MIDI Learned controls are global (all programs).

ASIO card owners will be able to play T2 in stand-alone mode. The microHost is a file called Triangle II.exe, which must be in same folder as Triangle II.dll to work. This host features:

	ASIO and MIDI selector. Last configuration will be remembered.
	Selectable samplerates: 44.1/48/88.2/96 kHz. Selectable with (F3/F4 and shift-F3/F4).
	Output selector for ASIO
	Load/Save bank/preset files (.fxb/.fxp)
	A Virtual keyboard which allows to play T2 with the PC keyboard
	Keys ZSXDCVGBHNJM,L.Ñ-Q2W3E4RT6Y7UI9O0P'`+ are used as note on/off
	Spacebar = Aftertouch (0 and 127)
	Left-Right arrows = Pitchbend (Left -8192, Right 8192)
	Up arrow = Modulation Wheel (0 and 127)
	Down arrow = Breath (0 and 127)
	ESC = All note off
	F11-F12 = Previous-Next preset
	F5-F8 = Octave down-up (up to ±3 octaves)
	F6-F7 = Transpose down-up (up to ±36 semitones)
	Saves 16-bit and 32-bit standard wave files to disk.
	Only 100k size.

v1.01, 06-04-2002
BUGFIX: Selection passing program 128 crashes some hosts.
BUGFIX: Graphic redraw on SONAR/fxpansion DX-VST adapter.
MINCHG: CC#7 is not hardwired to Volume anymore, and can be learned.

v1.1, 31-05-2003
DXi: Fixed a bug that crashed SONAR on audio rendering.
DXi: Added IMediaParams Automation, NRPN support.