In addition to the other recommendations it can be helpful to try and reverse-engineer presets you like. See how they are laid out, how they are using modulation and envelopes. The software editor can help with this as it shows the values of every parameter all at once.

I’d start by reading the manual and experimenting with things as you go. When you read about the oscillator parameters, try them out and listen to what happens. If you stumble upon something interesting, save it, and then experiment with other changes. See if it sounds better with chorus, reverb, maybe some additional modulation, etc.

I learned mostly from experimentation and youtube videos. A lot of synth reviews include tips for interesting things you can do on that synth, and Ricky Tinez in particular has a lot of videos about the Peak.

With big, complex synthesizers made for sound design(which the Peak counts as - generally that’s going to be the case if you have a modulation matrix) you have to approach the programming with a layer of philosophy behind it, because while you can get a result by turning knobs, that’s relying on your muscle memory, which tends to result in just remaking the same go-to bread and butter sounds over and over. The muscle memory is what you’re using for performance with a synth as a live instrument. Knowing what parts you’re intending to make be muscle memory, and what you’re more likely to approach with the manual and note paper, is an important factor in being at ease with a sound design synth. It also explains why people are so happy with simpler synth architectures, since they avoid putting you in that position and let you use every knob performatively.

To start a patch in a more logical way, you can go at it by brainstorming a few elements to focus on(pitch, rhythm, and other fundamentals) and then doing a Venn diagram of that with the synth features that could emphasize those elements. There are plenty of video tutorials around on synthesizer fundamentals, but the problem is in motivating yourself to actively explore them, which the diagram can help with. Remaking famous patches is also a common way to go about the learning process, and you can get a lot of intuition for what things to try by doing remakes, just following a tutorial for another synth and adapting it to yours.

Even though you have plenty of architectural power to work with, you may run into limitations in your remake because every synth has slightly different character, usually manifested in how fast the envelopes are, the style of filter or oscillators. This can also tell you something about “what the synth does well”.

Id say start with basic synth tutorial together with the manual maybe. Sometimes they got really good tricks. Next stage, just program a few sounds by playing around and use them in some songs and then go deeper into sound design with specific classic sounds to learn from. Not sure if there any useful books out there.

Its lots of experience mostly and understanding what happens to the wave when using the parameters.

Just make tracks?

Isn’t this the easiest way?

The only difference I know between programming a mono or a poly is that you have more modes available besides legato and portamento, so you can play more than one note at a time.

Congrats. I love mine - such great sounds.

For inspiration I recommend the excellent videos by Ricky Tinez on YouTube. He’s done a bunch with the peak.

I can’t really help you, but congrats!

The internet is generally very positive about the Peak and I’m sure you’ll love it for many years.

I’m not a menu diver and can only just cope with the shallow paddling on my Subsy37. There are few modern polys that I could do justice to, most of my experience was with a Juno 106 and a Korg Polysix.

Which is all to say that I now chose to use plugins for poly synth duties and while that’s best for me, I would use a 106 or Polysix in a heartbeat if I could.

Enjoy your Peak, if you get anywhere near the enjoyment I had from my polys you’ll be having a great time.