Korg Trinity, Trinity V3 Pro, Trinity Plus, Trinity ProX, Trinity Pro Parameter Manual

5E

IMPORTANT SAFETY INSTRUCTIONS

WARNING

— When using electrical products, basic precautions should be followed, including the following:

1. Read all the instructions before using the product.

2. Do not use this product near water — for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool, or the like.

3. This product should be used only with the cart or stand that is recommended by the manufacturer.

4. This product, either alone or in combination with an ampliﬁer and headphones or speakers, may cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist.

5. The product should be located so that its location or position does not interfere with its proper ventilation.

6. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat.

7. The product should be connected to a power supply of the type described in the operating instructions or as marked on the product.

8. The power-supply cord of the product should be unplugged from the outlet when left unused for a long period of time.

9. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

10.The product should be serviced by qualiﬁed personnel when:

A. The power-supply cord or the plug has been

damaged; or

B. Objects have fallen, or liquid has been spilled

into the product; or C. The product has been exposed to rain; or D. The product does not appear to operate

normally or exhibits a marked change in

performance; or E. The product has been dropped, or the

enclosure damaged.

11.Do not attempt to service the product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualiﬁed service personnel.

SA VE THESE INSTRUCTIONS

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF

ELECTRIC SHOCK, DO NOT REMOVE

COVER (OR BACK). NO USER-SERVICEABLE

PARTS INSIDE. REFER SERVICING TO

QUALIFIED SERVICE PERSONNEL.

GROUNDING INSTRUCTIONS

This product must be grounded (earthed). If it should malfunction or breakdown, grounding a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged into an appropriate outlet that is properly installed and grounded in accordance with the local codes and ordinances.

DANGER

result in a risk of electric shock. Check with a qualiﬁed electrician or serviceman if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with the product – if it will not ﬁt the outlet, have a proper outlet ﬁtted.

– Improper connection of the equipment-grounding conductor can

The lightning ﬂash with the arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufﬁcient magnitude to constitute a risk of electric shock.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

i

THE FCC REGULATION WARNING

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help. Unauthorized changes or modiﬁcation to this system can void the user’s authority to operate this equipment.

CE mark for European Harmonized Standards

CE mark which is attached to our company’s products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).

And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC).

Also, CE mark which is attached to our company’s products of Battery operated apparatus means it conf orms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).

IMPORTANT NOTICE FOR THE UNITED KINGDOM

WARNING—THIS APPARATUS MUST BE EARTHED As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings

identifying the terminals in your plug,proceed as follows:

• the wire which is coloured green and yellow must be connected to the terminal in the plug which is marked with the letter E or by the earth symbol , or coloured green or green and yellow.

• the wire which is coloured blue must be connected to the terminal which is marked with the letter N or coloured black.

• the wire which is coloured brown must be connected to the terminal which is marked with the letter L or coloured red.

Back-up Battery

The TRINITY uses a back-up battery to prevent memory loss when the po wer is turned off. If the display shows “Battery Low”, the battery should be replaced. Consult the nearest K org Service Center or dealer .

TRINITY Series Precaution

Data in memory may sometimes be lost due to incorrect user action. Be sure to save important data to ﬂoppy disk.

Korg will not be responsible for damages caused by data loss.

Trademarks

MS-DOS is a registered trademark of Microsoft Corporation. All trademarks or registered trademarks are the property of their respective holders.

ii

About the TRINITY’s manuals

How the TRINITY’s manuals are organized and how to use them

This page explains the contents of each manual, and how to use them. First you should read the

Basic Guide

These manuals assume that you have a basic knowledge of synthesizers and MIDI.

* In the TRINITY’s manuals, parameter names, values are merely examples and may not always match the

Basic Guide

“

STEP 1

tion, and how each mode operates. “

STEP 2

and convenient performance functions). “

STEP 3

Other information on troubleshooting and MIDI is also provided.

☛

After you ﬁnish reading operation. To take full advantage of the TRINITY, you will need to thoroughly understand the contents of the B to learn for yourself how the sounds change.

, and learn the basic ideas and procedures that you need to know.

The

TRINITY’s manuals

V3 proX

. If the Solo synthesizer option is installed in your instrument, read any references to

“bank M” as “bank S.”

actual display you are working on.

” explains each item on the front and rear panels, how to make connections, basic opera-

” explains the basics of playing the

” explains the basics you need to know before editing your own sounds.

asic Guide

discusses the

STEP 2

, and then get plenty of hands-on experience, operating the TRINITY

TRINITY, TRINITY V3, TRINITY V3 pro

, read

TRINITY

STEP 3

(selecting sounds, playing the demo songs,

as necessary. The

Basic Guide

, and

explains the basics of

TRINITY

Parameter Guide

The Parameter Guide explains the operation, settings, and points that you need to be aware of for each parameter, organized by the tab pages of each mode.

☛

Refer to this guide when an unfamiliar parameter appears, or when you want to learn about the functions of the

TRINITY series

in more detail.

Effect Guide

For each of the effects, this guidebook explains the parameter settings and points that you need to be aware of.

☛

Refer to the Effect Guide when an unfamiliar parameter appears, or when you want to learn about the function of the selected effect in more detail.

MOSS-TRI DSP Synthesizer Guide

This explains the setting and operation of the

TRINITY V3 pro

and

TRINITY V3 proX

bank M

, organized by each tab page.

program parameters on the

Solo Synthesizer Guide

This explains the setting and operation of the

TRINITY V3 pro

and

TRINITY V3 proX

bank S

, organized by each tab page.

program parameters on the

Voice Name List, Voice Name List for V3

This contains name lists of the preloaded (factory preset) combinations, programs, multi-samples, and drum samples.

☛

Refer to these lists when you wish to see a list of the preloaded sounds.

TRINITY V3,

iii

How to use this Parameter Guide

The explanatory material in this manual is formatted as follows.

(Example)

• Other symbols used in this manual This symbol appears at the left of explanatory material related to MIDI. This mark appears at the right of the parameter name for parameters which can be

selected as a source for Alternate Modulation.

• In this manual, “CC#” is an abbreviation of Control Change Number.

• Numbers related to MIDI messages in square brackets [ ] are in hexadecimal notation.

iv

1. Program Play mode

Program Play P1

1–1: Program Play

The programs available for selection on the on whether the Playback Sampler/Flash ROM option has been added, and on whether the MOSSTRI option is installed. For details refer to the Basic Guide, page 9, “[BANK] key”. If no optional items have been installed, the

TRINITY V3

each bank A and B, and 0–63 in bank M). A list of the factory preset programs is given in the

, the

TRINITY V3 pro

TRINITY

provides

, and the

TRINITY series

256 programs

TRINITY V3 proX

Voice Name List

will depend on the model you have,

(0–127 in each bank A and B). The

provide

320 programs

.

1–1: Program Play

Here you can select programs and make simple edits. The center of the LCD shows the functions of the front panel SW1/SW2 switches, the program category, and information about the selected program (oscillator mode, etc.). When you select a Performance Editor function (1–1c), Performance Editor information will appear in the center right of the LCD.

In Program Play mode, all MIDI data is transmitted on the Global mode “1–1c: MIDI Channel/Local Control On/Note Receive” (

1–1a 1–1b

Information on the selected program

1–1c

Global MIDI Channel

☞

page 130 in this manual).

Page Menu

speciﬁed in

1–1A 1–1B

(0–127 in

1–1a: Bank [Bank A…M]

Use the front panel [BANK] key to select the bank. Banks A, B, C, and D are the

generator programs

On the

TRINITY series

option is installed. Bank M can be selected only if the MOSS-TRI option is installed.

ACCESS tone generator programs

.

, banks C and D can be selected only if Playback Sampler/Flash ROM

, and bank M is for the

MOSS tone

1–1b: Program Number/Program Name [0…127]

Use the VALUE controller or a foot pedal to select programs. For details on using a foot pedal to select programs, or using Program Change messages from an external MIDI device to select programs, refer to Basic Guide page 13 “2. Select and play a program.”

If the MOSS-TRI option is installed, you can select programs 0–63 from bank M. If the Playback Sampler/Flash ROM option is installed as well, you can select programs 0–127 from bank M.

1–1c: Performance Editor

The Performance Editor allows you to edit major parameters without having to move to Program Edit mode. This is a “macro” editing function which simultaneously modiﬁes multiple parameters

1

1–1: Program Play

within a program, and provides an easy way to shape the overall character of the sound. This can be used when you wish to adjust the sound as you play, or to make rough settings when creating an original sound. Edits you perform here will affect the values of the program parameters in the edit buffer. When you select a Performance Editor function (1–1c), the Performance Editor data will be displayed in the center right of the LCD, and you can see the value changes that result from your editing. If you want to keep your edits, use the Program Write operation. (

☞

Basic Guide, page 23)

The Performance Editor adjusts the values that are set for the program parameters. The Performance Editor cannot modify a value beyond the range of the program parameters. Since these are rough edits, the balance between parameters may sometimes be affected.

If you check the Global mode “2–1a: Filter” (

☞

page 136 in this manual) parameter Enable Exclusive, parameter changes will be transmitted as MIDI Exclusive messages each time you operate the Performance Editor. If these messages are received by another

TRINITY series

instrument (on which the Enable Exclusive parameter is checked), that instrument will execute the corresponding Performance Editor operations.

Octave [–3…0…+3]

A setting of +1 will raise the pitch 1 octave. It is not possible to raise the pitch above 4', or to lower the pitch below 32'.

Filter Freq. (Filter Cutoff Frequency) [–10…0…+10]

A setting of +1 will raise the cutoff frequency value by 5.

Filter EG Int. (Filter EG Intensity) [–10…0…+10]

With a setting of +1, the value of the parameters that adjust the depth of modulation applied by the Filter EG to the cutoff frequency will each be increased by 5, causing the Filter EG to have a greater inﬂuence on the cutoff frequency. This parameter will not change the polarity (sign) of the parameter values. For example, if the Performance Editor value is set to –2, the parameter values will be decreased by 10, but if the original parameter value is 8, the resulting parameter value will be 0 and not –2.

Amp Level [–10…0…+10]

A setting of +1 will increase the output level value by 5, producing a louder volume.

Attack Time [–10…0…+10]

A setting of +1 will increase the Amp EG attack time values by 5. For your refer ence, the LCD will also display the attack time of the ﬁlter EG.

Release Time [–10…0…+10]

A setting of +1 will increase the Filter EG and Amp EG release time values by 5.

Insert FX Bal. (Insert Effect Dry/FX Balance) [–10…0…+10]

A setting of +1 will increase the value of the FX side by 5, so that the insert effect will be applied more deeply.

Master FX Bal. (Master Effect Dry/FX Balance) [–10…0…+10]

A setting of more deeply.

Octave Octave of Oscillator 1, 2 Filter Freq. Cutoff Freq of Filter 1A, 1B, 2A, 2B

Filter EG Int.

Amp Level Output Level of Amp 1, 2 Attack Time Attack Time of Amp 1, 2

Release Time

Insert FX Bal. Dry/FX Balance of Insert Effect Master FX Bal. Dry/FX Balance of Master Effect

+1

will increase the value of the FX side by 5, so that the master effect will be applied

Filter EG Intensity of Filter 1A, 1B, 2A, 2B Filter EG Int Mod By Velocity of Filter 1A, 1B, 2A, 2B Alternate Modulation Intensity of Filter 1, 2

EG Release Time of Filter 1, 2 EG Release Time of Amp 1, 2

2

1–1: Program Play

▼

Page Menu Command

1–1A: Update Program

This writes the edited program into the currently selected program number. Be sure to write important programs. If you turn the power off or select another program before writing the data, it cannot be recovered. Refer to Basic Guide page 23, “9. Writing a Program or Combination”.

1–1B: Select By Category

This allows you to select programs using the categories that were speciﬁed in Program Edit mode. For details refer to Basic Guide page 26, “11. Selecting by category.”

3

1–1: Program Play

4

1–1: Prog Basic (Program Basic)

2. Program Edit mode

Program Edit P1

Here you can make basic settings for a program, and make basic settings for the oscillator(s) that will be used.

1–1: Prog Basic (Program Basic)

1–1a

1–1b

1–1c

1–1d

1–1e

1–1f

Page Menu

1–1A 1–1B 1–1C

1–1a: Program Name

The name of the program selected in Program Play mode will be displayed. Press the text edit button to access a screen in which you can change the program name (☞ Basic Guide, page 6).

If you wish to write the renamed program, be sure to use the Write Program operation ( Basic Guide, page 23). If you select another program or turn the power off, your renamed program name will be lost.

☞

1–1b: Category

You can assign two categories to each program. In Program Play mode, Combination Play mode, and Sequencer mode you can search for a program using these categories.

A (Category A) [Keyboard…Drums/Perc.]

With the factory settings, this will be the instrument name, but you can modify it in Global mode “4–1: Category Program A” (

☞

page 141 in this manual).

B (Category B) [User Category P01…P16]

The factory set category names can be modiﬁed in Global mode “4–2: Category Program B” ( page 141 in this manual).

☞

1–1c: Oscillator Mode [single/double/drums]

Select the basic type of the program; whether it will use 1 oscillator, 2 oscillators, or a drum kit.

If you modify this setting, you may need to re-select the multisample (or drum kit) in “1–2: OSC Basic.”

If

single

is selected, the program will use 1 oscillator (Oscillator 1, Filter 1, Ampliﬁer 1). The pro-

gram will be able to

double

If This allows you to create a more complex sound, but the program will only be able to

16 notes simultaneously

is selected, the program will use 2 oscillators (Oscillator 1/2, Filter 1/2, Ampliﬁer 1/2).

play up to 32 notes simultaneously

.

play up to

5

1–1: Prog Basic (Program Basic)

If

drums

used instead of a multisample for Oscillator 1.

1–1d: Assign/Hold

Assign

Mono

If Mono is If Mono is Monophonic means that the program will produce only 1 note at a time. Polyphonic means that chords can be played.

Legato

This setting will be available only if Mono is checked. If Legato is If Legato is

If single triggering is used, there may be cases in which the correct pitch is not produced, depending on the multisample and the keyboard position.

Priority

This setting will be available only if Mono is checked. It determines which note will sound when two or more keys are pressed simultaneously. Priority will be given to the lowest note for a setting of

High

, and to the last-pressed note with a setting of

Single Trig (Single Trigger)

This setting will be available only if Mono is not checked (i.e., for a If this is turned off, meaning that notes will not overlap.

is selected, the program uses 1 oscillator as when single is selected, but a drum kit will be

checked

, the program will be monophonic.

not checked

checked not checked

checked

, the program will be polyphonic.

, the program will be single-triggered.

, the program will be multi-triggered.

Low

, to the highest note with a setting of

Last

.

, repeated strikes of the same note will be sounded only after the previous note is

polyphonic

program).

Hold [On/Off]

If Hold is If Hold is When is released. Unless the “5–2 (5–4): Amp 1(2) EG” setting for Amp EG Sustain Level is set to 0, the sound will continue sounding. This setting is appropriate for drums, so if you have selected “drums” for “1–1c: Oscillator Mode” you should set

checked not checked

Hold is On

Hold On

, Hold will be On.

, Hold will be Off.

, the sound will continue as though the key remained pressed even after the key

. For normal programs, set

Hold Off

.

1–1e: Scale

Type (Scale Type) [Equal Temperament…All Range User Scale]

This selects the basic scale of the internal tone generator. Settings for the User Scales can be made in Global mode 3–1: User Scale” (

Equal Temperament

interval.

Pure Major

tune.

Pure Minor

tune.

Arabic Pythagoras

melodic playing.

Werkmeister Kirnberger Slendro

When the Scale Key is set to C, use the notes C, D, F, G, and A. (The other keys are tuned to equal temperament.)

Pelog

When the Scale Key is set to C, use the white keys. (The black keys are tuned to equal temperament.)

Octave User Scale

manual) the tuning of each note in an octave. The default setting is the scale used for combination A054: Real Harp Gliss.

is a scale in which the principal major chords of the selected key will be perfectly in

is a scale in which the principal minor chords of the selected key will be perfectly in

is a scale that includes 1/4 tones and is used in Arabian music.

is a scale derived from musical theories of ancient Greece, and is especially suitable for

is a scale that was developed in the 18th century, and used mainly by harpsichords.

is a scale which divides the octave into 5 notes, and is used in Indonesian Gamelan music.

is a scale which divides the octave into 7 notes, and is used in Indonesian Gamelan music.

is the most commonly used scale. Each chromatic step is spaced at an equal

is an equal tempered scale that was used in the later Baroque period.

allows you to specify in Global mode “3–1b: Octave Notes” (☞ page 140 in this

6

☞

page 140).

1–1: Prog Basic (Program Basic)

Stretch

is a tuning for acoustic piano.

All Range User Scale

manual) the tuning of each note in the entire range (C–1 to G9).

allows you to specify in Global mode “3–1a: All Notes” (☞ page 140 in this

Key (Scale Key) [C…B]

Specify the tonic note of the selected scale.

Random [0…7]

As this value is increased, the pitch at which a note is sounded will become increasingly erratic. Normally you will set this to This setting is useful when you wish to simulate instruments which tend to have a naturally inaccurate pitch, such as analog synthesizers or acoustic instruments.

0

.

1–1f: Panel Switch Assign

These settings assign the functions of the front panel switches SW1 and SW2 (assignable panel switches 1 and 2).

SW1 [JS(X)Lock…Modulation (CC #80)]

SW2 [JS(X)Lock…Modulation (CC #81)]

The same functions are available for assignment to SW1 and SW2 (except for Modulation), as follows. If you use one of these switches to touch, the selected controller will lock (LED lit) or unlock (LED unlit) each time you press SW1 (or SW2). If you press SW1 (or SW2) while operating a controller, the controller value will be ﬁxed at the current value, and will not change further. For example if you select JS(+Y) Lock, and press SW1 (or SW2) when the joystick has been moved away from you, the joystick (+Y) movement will be locked (held) at that position, so that modulation will continue to apply even after the joystick is returned to its normal position. By moving the joystick in the (–Y) direction you can then apply two types of modulation at once.

When a controller is locked, that controller will not transmit MIDI messages, but the corresponding MIDI message will still be received.

With a setting of and the normal pitch (LED unlit) each time you press SW1 (or SW2). With a setting of lit) and the normal pitch (LED unlit) each time you press SW1 (or SW2).

With a setting of lit) each time you press SW1 (or SW2). This is available only for the bank M programs.

CC#65 will be transmitted each time this is turned on/off (OFF value is 0, ON value is 127). If

Modulation

Dynamic Modulation. This is the only function which differs between SW1 and SW2; SW1 is CC#80, and SW2 is CC#81.

CC#80 (or CC#81) will be transmitted each time the switch is turned on/off (OFF value is 0, ON value is 127).

Portamento Off

Program Play mode). On a mento OFF is just to turn portamento on/off on an external device.

Octave Up

Octave Down

Portamento Off

is selected, the switch can be the source for Alternate Modulation or Effect

will have no effect unless you are using a program from bank M (selected in

Lock

a controller such as the joystick, ribbon controller, or after-

, the pitch will alternate between a pitch of one octave higher (LED lit)

, the pitch will alternate between a pitch of one octave lower (LED

, the portamento effect will alternate on (LED unlit) and off (LED

TRINITY

in which the MOSS-TRI option is not installed, the Porta-

7

1–1: Prog Basic (Program Basic)

▼

Page Menu Command

1–1A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

1–1B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

1–1C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

8

1–2: OSC Basic (Oscillator Basic)

Here you can select the multisample or drum kit (the basic waveform that is the core of the program) used by oscillators 1 and 2. able for selection. The screen on the left shows the LCD when “1–1c: Oscillator Mode” is set to “ is selected, “1–2b: OSC2 Multisample” will not be displayed. The screen on the right shows the drum kit display that appears when “1–1c: Oscillator Mode” is set to “

drums

.”

375 types

of multisamples and

12 types

of drum kits are avail-

double

.” If “

single

”

1–2a

1–2b

1–2c

Page Menu

1–2d

1–2a: OSC1 Multisample

This selects the multisample. Y ou can select differ ent multisamples for High and Low, and use velocity to switch between them. You can also adjust the sample’s start point and level for High and Low.

High [0…374]

The multisample selected here will be sounded by velocities greater than the OSC1 Switch setting in “1–2c: Velocity Switch.” If you do not wish to use velocity to switch multisamples, set “OSC1 Switch” to

Low [0…374]

The multisample selected here will be sounded by velocities less than the OSC1 Switch setting in “1–2c: Velocity Switch.”

1

, and select only the High multisample.

Since each multisample has an upper limit for the range that it can sound, playing very high notes may sometimes produce no sound.

1–2A 1–2B 1–2C

Start Offset

This determines the point from which a multisample will be started when it is played. If this is

checked

If this is

, the multisample will be started from the point ﬁxed for each multisample.

unchecked

, the multisample will be started from the beginning of the waveform.

Level (Multisample Level) [0…127]

This sets the level of the multisample.

For some multisamples, high settings of this value may cause the sound to distort when chords are played. In such cases, lower the level.

Delay (Delay Time) [0ms…5000ms, KeyOff]

This sets the delay from the Note-on until the sound begins. With a setting of

KeyOff

, the sound will begin at Note-off. This is useful for recreating certain nuances such as the sound of the keys being released on a harpsichord. In this case, set the Sustain Level of the Amp EG to 0.

Octave [32'…4']

This sets the basic pitch in steps of one octave. The standard octave of each multisample is 8'.

9

1–2: OSC Basic (Oscillator Basic)

Transpose [–12…+12]

Sets the pitch in chromatic steps over a range of ±1 octave.

Tune [–1200…+1200]

Adjusts the pitch in units of 1 cent (a chromatic step = 100 cents) over a range of ±1 octave. To change the pitch more than a chromatic step, you will normally use the However if you wish to produce an intentionally “stretched” sound (like the sound produced by using pitch bend to raise the pitch), use the

1–2b: OSC2 Multisample

Tune

setting.

Transpose

setting.

These parameters will appear if “1–1c: Oscillator Mode” is set to not sound for velocity values less than the value speciﬁed in “1–2c: Velocity Switch” for OSC2 Bottom. For the function and settings of these parameters, refer to “1–2a: OSC1 Multisample”.

double

. This multisample will

1–2c: Velocity Switch

OSC1 Switch (OSC1 Velocity Switch) [1…127]

This velocity value will determine the point at which the High and Low multisamples speciﬁed for oscillator 1 in “1–2a: OSC1 Multisample” will be switched. Velocities above the value speciﬁed here will sound the High multisample.

OSC2 Switch (OSC2 Velocity Switch) [1…127]

This parameter will be displayed if “1–1c: Oscillator Mode” is set to This velocity value will determine the point at which the High and Low multisamples speciﬁed for oscillator 2 in “1–2b: OSC2 Multisample” will be switched. Notes with velocity values higher than this setting will sound the multisample speciﬁed for High.

double

.

OSC2 Bottom (OSC2 Velocity Switch Bottom) [1…127]

This parameter will be displayed if “1–1c: Oscillator Mode” is set to Velocities above the value speciﬁed here will sound the multisample of oscillator 2.

If this value is set higher than the OSC2 Switch setting, the Low multisample of oscillator 2 will never sound.

double

.

1–2d: OSC1 Drumkit

Drumkit [0…12]

Selects the drumkit.

10

Delay (Delay Time) [0ms…5000ms, KeyOff]

This sets the delay time from note-on until when the note sounds. With a setting of sound will begin at note-off. In this case, set the Amp EG Sustain Level to 0.

KeyOff

, the

Octave [4'…32']

Specify the basic pitch of the oscillator in steps of one octave. When using a drumkit, be sure to set this parameter to

When editing a drumkit program, be absolutely sure to set this parameter to tings, the keyboard assignments of the drumkit will be thrown off.

8'

.

8'

. With other set-

Transpose [–12…+12]

This will adjust not the pitch but the location of the assigned drum kit. If you do not need to change this, leave it set at

0

.

Tune [–1200…+1200]

This adjusts the pitch in units of 1 cent. Pitch settings for each drum sound in a drum kit can be made in Global mode “5–1: Drumkit” ( page 143 in this manual).

☞

1–2: OSC Basic (Oscillator Basic)

▼

Page Menu Command

1–2A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

1–2B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

1–2C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

11

2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation)

Program Edit P2

The

TRINITY series

oscillators 1 and 2.

2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation)

These settings determine the relation between keyboard position and the pitch of oscillator 1 (“2– 1a”), and make settings for six controllers that can affect the pitch of oscillator 1 (“2–1b” through ”2–1g”). “2–1b” through ”2–1e” adjust the depth of pitch control for each controller. “2–1f” adjusts the amount of pitch change produced by the oscillator EG. “2–1g” controls the amount of pitch change produced by the oscillator LFO.

contains two oscillators. Here you can make pitch modulation settings for

2–1a

2–1b

2–1c

2–1d

2–1e

2–1f

2–1g

Page Menu

2–1A 2–1B 2–1C

2–1a: Pitch Slope [–1.0…+2.0]

Normally this will be set at With positive

(+)

settings, playing higher on the keyboard will produce increasingly higher pitches. With negative lower pitches. With a setting of

0

, keyboard position will not affect the pitch, and all keys will play the C4 pitch.

+1.0

.

(–)

settings, playing higher on the keyboard will produce increasingly

Keyboard tracking settings and the resulting pitch

2oct

Pitch

1oct 1oct

+2

+1

0

12

–1

C4 C5

Key

2–1b: Ribbon (X) [–12…+12]

This determines how the ribbon controller will affect the pitch. One octave is 12 units. Pressing on the right half of the ribbon controller will raise the pitch with positive lower the pitch for negative

(–)

settings. For example, if this is set to +12 and you press the right

end of the ribbon controller, the pitch will rise one octave. If this is set to –12 and you press the right end of the ribbon controller, the pitch will fall one octave. Since the pitch will be normal at the center of the ribbon controller, you can press and release on the right half of the ribbon controller to simulate the hammering-on techniques used by a guitarist.

(+)

settings, and

2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation)

2–1c: JS (+X)

These settings determine how the pitch will change when the joystick is moved toward the right.

Intensity [–60…+12]

12 units are equal to one octave. For example if this is set to +12 and you move the joystick all the way to the right, the pitch will rise one octave.

Step [Continuous, 1/8…12]

Each unit of 1 is a semitone. Normally this will be set to Continuous. If Continuous is selected, the pitch will change smoothly when the joystick is moved toward the right. If a setting other than Continuous is selected, the pitch will change in increments of the speciﬁed interval.

Since the Intensity parameter determines the range of pitch change, there will be no pitch change if the Step setting is larger than the Intensity setting.

2–1d: JS (–X)

These settings determine how the pitch will change when the joystick is moved toward the left.

Intensity [–60…+12]

12 units are equal to one octave. For example with a setting of –60, moving the joystick all the way to the left will lower the pitch ﬁve octaves. This produces an effect similar to pressing the vibrato arm of a guitar (be sure to set Step to Continuous).

Step [Continuous, 1/8…12]

Each unit of 1 is a semitone. Normally this will be set to Continuous. For details refer to “2–1c: JS(+X).”

2–1e: Alternate Modulation

These settings determine how the Alternate Modulation Source will modulate the pitch.

AMS (Alternate Modulation Source) [OFF…Tempo]

Select the source which will modulate the pitch of oscillator 1. With a setting of OFF, modulation will not be applied.

Intensity [–12.00…+12.00]

This determines the depth of the modulation applied to pitch. With a setting of 0, no modulation will be applied. If AMS is set to Tempo and this parameter is set to +12.00, the pitch will rise one octave when the tempo which is input ( q =120 is standard) is increased to twice its speed. If AMS is set to EG or LFO, the pitch can be modiﬁed to a maximum of ±1 octave. (The LFO can add an additional ±1 octave of adjustment to the offset.) For example if AMS is set to Filter LFO, you can apply vibrato that is synchronized to the ﬁlter wah effect, and this parameter will control the depth of vibrato. If AMS is set to a controller (Joy Stick (+Y), etc.), positive (+) settings of Intensity will raise the pitch, and negative (–) settings will lower the pitch. The range of this pitch change is a maximum of 1 octave. In this way, AMS and Intensity work together to determine how the pitch is modulated. For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

13

2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation)

2–1f: Oscillator EG

These settings (Intensity, Velocity, and Alternate Modulation) affect the depth of the pitch modulation produced by the oscillator EG settings of “2–5: OSC EG.”

Intensity [–12.00…+12.00]

With a setting of 12.00, the change will be a maximum of ± one octave.

Velocity [–99…+99]

With positive (+) settings, the pitch change will increase beyond the width speciﬁed by Intensity as you play more strongly (maximum ±1 octave). With negative (–) settings, the pitch change will decrease below the width speciﬁed by Intensity as you play more strongly (maximum ±1 octave). Regardless of whether this parameter is set to a positive (+) or a negative (–) value, the settings of Intensity will be approached as you play more softly.

Pitch change (level)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Softly played notes (Intensity settings)

Strongly played with negative (–) settings

Strongly played with positive (+) settings

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Tempo]

Select the source that will control the depth of the pitch modulation produced by the oscillator EG. With a setting of OFF, there will be no modulation.

Intensity [–12.00…+12.00]

If AMS is set to Controller, setting this parameter to a positive (+) value will deepen the pitch modulation produced by the oscillator EG. Negative (–) values will invert the effect. If AMS is set to SW1 or SW2, you can turn the switch On to apply modulation only when desired. If the value of this parameter plus the value of the above Oscillator EG Intensity totals 0, modulation will be turned off when you turn the switch On. If AMS is set to Tempo, setting this parameter to a positive (+) value will cause modulation to deepen as the tempo is increased. However if the tempo is decreased below 120 ( q =120), modula- tion will be applied with inverted polarity. If you do not want to apply modulation with inverted polarity, make adjustments to the above (Oscillator EG) Intensity as well. With negative (–) settings, the effect will be reversed. If AMS is set to Note Number, setting this parameter to a positive (+) value will cause modulation to deepen as the note number increases (as you play higher notes). However if the note number decreases below C4 (lower notes), modulation will be applied with inverted polarity. If you do not want to apply modulation with inverted polarity, make adjustments to the above (Oscillator EG) Intensity as well. With negative (–) settings, the effect will be reversed.

If AMS is set to Controller and this parameter is set to +12.00, you can apply ±1 octave of pitch modulation when the oscillator EG is not applying pitch modulation. If AMS is Note Number, ±1 octave of pitch modulation will be applied when you move two octaves (if AMS is Note Number) or when the tempo doubles (if AMS is Tempo).

For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

14

2–1g: Oscillator 1 LFO

These settings (Intensity, JS(+Y), After Touch, and Alternate Modulation) affect the pitch modulation produced by the oscillator 1 LFO settings of “2–2: OSC1 LFO.”

Intensity [–12.00…+12.00]

With a setting of 12.00, a maximum of ±1 octave of pitch modulation will be applied.

2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation)

JS(+Y) (Joy Stick (+Y)) [0…99]

Higher settings of this value will cause more modulation to be applied by the oscillator 1 LFO when the joystick is pushed away from you.

Aftertouch [0…99]

Higher settings of this value will cause more pitch modulation to be applied by the oscillator 1 LFO when pressure is applied to the keyboard.

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Filter1 LFO]

Select the source that will control the depth of the pitch modulation produced by oscillator 1 LFO. With a setting of OFF, there will be no modulation.

Intensity [–12.00…+12.00]

If AMS is set to EG or LFO, the depth of modulation can be controlled over the full range. If the EG or LFO level passes into the negative (–) range, the polarity of the modulation will be inverted. If AMS is set to Controller, setting Intensity to a positive (+) value will make modulation deeper, and to a negative (–) value will make it shallower. If AMS is set to SW1 or SW2, setting this parameter to a positive (+) value and turning the switch On will allow you to apply modulation only when desired. If the sum of this value and the Intensity value of the Oscillator 1 LFO Intensity of the previous page is 0, modulation will be turned off when the switch is turned on. If AMS is set to Tempo, setting this parameter to a positive (+) value will cause modulation to deepen as the tempo is increased. However if the tempo is decreased below 120 ( q =120), modula- tion will be applied with inverted polarity. If you do not want the polarity to be inverted, you must also make adjustments to the Oscillator 1 LFO Intensity on the previous page. With negative (–) settings, this will be reversed. If AMS is set to Note Number and this parameter is set to a positive (+) value, modulation will deepen as the note number increases (i.e., as you play higher notes). However if the note number is below C4, modulation will be applied with inverted polarity. If you do not want the polarity to be inverted, you must also make adjustments to the Oscillator LFO Intensity on the previous page. With negative (–) settings, this will be reversed.

If AMS is set to Note Number, ±1 octave of pitch modulation will be applied when you move two octaves. If AMS is set to Tempo, ±1 octave of pitch modulation will be applied when the tempo doubles.

For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

▼ Page Menu Command

2–1A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

2–1B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

2–1C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

15

2–2: OSC1 LFO (Oscillator 1 LFO)

Here you can make settings for the LFO that applies cyclic changes (vibrato) to the pitch of oscillator 1. The depth of the effect that these LFO settings will have on the pitch of oscillator 1 is adjusted in “2–1g: Oscillator 1 LFO” (☞ page 14 in this manual).

2–2a

2–2b

2–2c

2–2a: Waveform/Freq (Frequency)/Offset

Waveform [Triangle 0…Random6]

Selects the LFO waveform. The numbers at the right of each waveform name indicate the phase (height) at which the wave-

form starts (except for Random). Random 1–3 are sample & hold waveforms. Random 1 is a conventional sample & hold waveform that changes level randomly at ﬁxed intervals. Random 2 will change level randomly at random intervals. Random 3 will change between the maximum level and the minimum level at random intervals (i.e., a pulse wave with random width). Random 4–6 are smoothed versions of Random 1–3. They can be used to simulate the natural instability of acoustic instruments.

Page Menu

2–2A 2–2B 2–2C

16

LFO waveforms

180

270

180

0

90

Triangle wave

0

Sawtooth wave

0

Sawtooth wave

Rectangle

Sine

Guitar

Random Random Random Random Random Random

180

0

Square wave

0

1 2 3 4 5 6

Sine wave

Guitar vibrato

Random

Triangle

Up Saw

Down Saw

Freq (Frequency) [0…99]

Specify the LFO frequency. A setting of 99 is the fastest.

2–2: OSC1 LFO (Oscillator 1 LFO)

Offset [–99…+99]

With a setting of 0, vibrato will be applied while keeping the original frequency (at Note-on) at the center of the vibrato. With a setting of +99, vibrato will be applied only in the upward direction, similar to the way in which vibrato occurs on a guitar. For the Guitar waveform, the modulation will be only in the positive direction even if the Offset is set to 0.

Offset settings and vibrato pitch change

offset = –99 offset = 0 offset = +99Pitch

Original pitch at

Note-on

2–2b: Start/KeySync/Delay/Fade

Start [Key On, Key Off, Both]

This speciﬁes the time at which the LFO will take effect. This setting is closely dependent on the Fade setting, so refer to the explanation for Fade as well.

If Key On is selected, the LFO will begin taking effect at note-on. Normally you will set this to Key On. If Key Off is selected, the LFO will begin taking effect at note-off. If Both is selected, the LFO will begin taking effect at note-on, and will stop taking effect at noteoff.

KeySync (Keyboard Sync) [On/Off]

If this is checked it will be On; the LFO will start each time you play a note, and an independent LFO for each key will be used. If this is un-checked it will be Off; the LFO effect begun by the ﬁrst-played note will continue to apply to subsequently played notes. (In this case, Delay and Fade will apply only to the ﬁrststarted LFO.)

Delay [0…99]

This determines the time from the Note-on (or Note-off) until the LFO begins to take effect. If KeySync is Off, the Delay setting will affect only the ﬁrst-started LFO.

Fade [–99…+99]

With positive (+) settings, this will set the LFO Fade In Time; i.e., the time from when the LFO begins to take effect until it reaches maximum amplitude. With negative (–) settings, this will set the LFO Fade Out Time; i.e., the time over which the LFO amplitude decreases from maximum down to 0. If KeySync is Off, this will affect only the ﬁrst-started LFO.

How the LFO is affected by Start and Fade settings (with KeySync On)

Fade

+ Values

– Values

Start

Key On

Note-on Note-off

Fade

Note-on Note-off Note-on Note-off Note-on Note-off

Fade

Key Off Both

Note-on Note-off Note-on Note-off

Fade

Fade Fade

DelayDelayDelay Delay

Fade

Delay

DelayDelayDelay

17

2–2: OSC1 LFO (Oscillator 1 LFO)

2–2c: Frequency Modulation

These settings (KeyTrack, JS(+Y), Alternate Modulation) affect the speed of the oscillator 1 LFO.

KeyTrack (Keyboard Tracking) [–99…+99]

With positive (+) settings, the oscillator 1 LFO will become faster as you play higher on the keyboard. With a setting of +33, the LFO speed will double as you play one octave higher on the keyboard, and will be halved as you play one octave lower on the keyboard. Similarily, with a setting of +66, the LFO speed will be increased to 4 times (decreased to 1/4th), and with a setting of +99 to 8 times (decreased to 1/8th). With negative (–) settings, the oscillator 1 LFO will become slower as you play higher on the keyboard. The relation between the parameter value and the change in speed will be the opposite from positive values. With a “1–2: OSC” setting (☞ page 9 in this manual) of 8' the center key will be C4.

JS (+Y) (Joy Stick (+Y)) [0…99]

The higher this value is set, the faster the oscillator 1 LFO speed will become when you push the joystick away from you. With a setting of 99, the LFO speed will be increased by appr oximately 64 times when the joystick is pushed all the way forward.

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Tempo]

Select the source that will control the frequency of the oscillator 1 LFO. With a setting of OFF, there will be no modulation.

Intensity [–99…+99]

The time-related parameters of the LFO (“2–2a: Freq”, “2–2b: Delay, Fade”) can be temporarily changed by the selected Alternate Modulation Source. With settings of 16, 33, 49, 66, 82, and 99, the LFO time-related parameters will be multiplied respectively by up to 2, 4, 8, 16, 32, and 64 times (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/

64). If AMS is set to EG or LFO, the maximum available range of control allows the time-related parameters to be modiﬁed over a range from 1/64th to 64 times their original values. (The LFO allows an additional offset to be speciﬁed.) If AMS is set to Controller, positive (+) values of this parameter will allow time-related parame- ters to be shortened, to a maximum of 1/64th of their original time values. With negative (–) val- ues, time-related parameters will be lengthened, to a maximum of 64 times the original values. If AMS is set to SW1 or SW2, the time-related parameters can be shortened to as little as 1/64th or lengthened to as great as 64 times their original value. If AMS is set to Tempo, a setting of +16 for this parameter will cause the time-related parameters to be shortened to half their original value when the tempo is doubled. This allows LFO speed to track the tempo.

For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

18

2–2: OSC1 LFO (Oscillator 1 LFO)

▼ Page Menu Command

2–2A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

2–2B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

2–2C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

19

2–3: OSC2 Pitch Mod (Oscillator 2 Pitch Modulation)

This page will be displayed if “1–1c: Oscillator Mode” is set to double. Makes settings related to keyboard and pitch, and for the six controllers which can affect the pitch of oscillator 2. For details on the parameters, refer to “2–1: OSC1 Pitch Mod.”

2–4: OSC2 LFO (Oscillator 2 LFO)

This page will be displayed if “1–1c: Oscillator Mode” is set to double. Makes settings for the LFO that will cyclically modulate the pitch of oscillator 2. Settings in “2–3g: Oscillator LFO” will determine the depth of the effect that the LFO will have on the pitch of oscillator 2. For details on the parameters, refer to “2–2: OSC1 LFO.”

20

2–5: OSC EG (Oscillator Envelope Generator)

This page contains settings for the oscillator EG that creates time-variant changes in the pitch of oscillators 1 and 2. The depth of the pitch change produced by this EG is adjusted in “2–1f(2–3f): Oscillator EG.”

Page Menu

2–5a

2–5b

2–5a: OSC EG

Makes Level and Time settings to specify how the pitch will change over time.

Level

The operation of this parameter depends on the setting of “2–1f(2–3f): Oscillator EG” Intensity . For example with a setting of +12.00, a setting of +99 will raise the pitch one octave, and –99 will lower the pitch one octave.

Start (Start Level) [–99…+99]

Sets the pitch level at which the sound will begin at the time of Note-on.

Attack (Attack Level) [–99…+99]

Sets the pitch level that will be reached when the Attack Time has elapsed.

Release (Release Level) [–99…+99]

Sets the pitch level that will be reached when the Release Time has elapsed.

2–5A 2–5B 2–5C

Time

Speciﬁes the times over which the pitch will change.

Attack (Attack Time) [0…99]

Sets the time from note-on until the pitch speciﬁed by the Attack Level is reached.

Decay (Decay Time) [0…99]

Sets the time from when the Attack Level is reached until the normal pitch is reached.

Release (Release Time) [0…99]

Sets the time from note-off until the pitch speciﬁed by the Release Level is reached.

Settings for time-variant pitch change (when EG Intensity = +12.00)

+99 = approximately one octave

0 = the pitch reached when the key remains pressed

–99 = approximately one octave

Start Level

Note-on

Attack Time

Attack Level

Note-off

Time

Release Level

Decay Time

Release Time

21

2–5: OSC EG (Oscillator Envelope Generator)

2–5b: Time Modulation

Speciﬁes how the OSC EG Times set in “2–5a: OSC EG” will be affected by Velocity and Alternate Modulation.

Velocity [–99…+99]

With positive (+) settings, Oscillator EG times will become shorter as you play more strongly. With negative (–) settings, Oscillator EG times will become longer as you play more strongly. Regardless of whether the value is positive (+) or negative (–), the Oscillator EG Times set for OSC EG will be approached as you play less strongly.

Pitch change (time)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Softly played (OSC EG setting)

Strongly played with (+) setting

Strongly played with (–) setting

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Filter1 LFO]

Select the source that will affect Oscillator EG Times. If OFF is selected, Oscillator EG Times will not be affected.

Intensity [–99…+99]

EG Times between each point will be determined by the Alternate Modulation value at the moment that each point is reached. For example, the Alternate Modulation value at the moment that the Attack Level is reached will determine the Decay Time. If this parameter is set to values of 16, 33, 49, 66, 82, and 99, the EG times will be multiplied r espectively by 2, 4, 8, 16, 32, and 64 (or 1/2, 1/4, 1/8, 1/16, 1/32, and 1/64).

If AMS is set to EG or LFO, the maximum available range of control allows the EG times to be modiﬁed over a range from 1/64th to 64 times their original values. (The LFO allows an additional offset to be speciﬁed.) If AMS is set to Controller, positive (+) settings of this parameter will allow EG times to be short- ened, to a maximum of 1/64th of their original time values. With negative (–) settings, EG times will be lengthened, to a maximum of 64 times the original values. If AMS is set to SW1 or SW2, the EG times can be shortened to as little as 1/64th or lengthened to as great as 64 times their original value. If AMS is set to Tempo, setting this parameter to +16 will cause the EG times to be shortened to half their original value when the tempo is doubled. This allows EG speed to track the tempo.

For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

22

2–5: OSC EG (Oscillator Envelope Generator)

▼ Page Menu Command

2–5A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

2–5B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

2–5C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

23

3–1: Filter 1 A/B (Filter 1A/Filter 1B)

Program Edit P3

The TRINITY series provides two ﬁlters; ﬁlter 1 for oscillator 1, and ﬁlter 2 for oscillator 2. Each of these ﬁlters actually consists of two ﬁlters; i.e., ﬁlter 1A and 1B, and ﬁlter 2A and 2B. If “1–1c: Oscillator Mode” is set to single, ﬁlter 1 will be used. If it is set to double, ﬁlters 1 and 2 will be used. Filter settings are made in Program Edit P3 and P4.

3–1: Filter 1 A/B (Filter 1A/Filter 1B)

Here you can specify the connections for ﬁlters 1A and 1B, and make basic settings.

3–1a 3–1b

3–1c

3–1A 3–1B 3–1C

3–1D 3–1E

3–1a: Routing (Filter Routing) [parallel/serial/single/thru]

Speciﬁes how ﬁlters 1A and 1B will be connected (refer to the diagram below). If you wish to use Band Pass ﬁlters to create two peaks, select parallel. If you wish to use Band Reject ﬁlters to create two valleys, select serial. In this case, setting ﬁlters 1A and 1B to the same settings will cause the cutoff slope to be more narrow. If you wish to use only ﬁlter 1A, select single.

Page Menu

parallel

Filter 1A

Filter 1B

serial

single

thru

Filter 1A

Filter 1B

24

Filter 1A Filter 1B

3–1b: Filter 1A

Makes basic settings for ﬁlter 1A.

Type (Filter Type) [Low Pass, High Pass, Band Pass, Band Reject]

Selects the ﬁlter type.

Frequency (Cutoff Frequency) [0…99]

Sets the cutoff frequency.

Filter Type and Cutoff Frequency

3–1: Filter 1 A/B (Filter 1A/Filter 1B)

Level

Low Pass

High Pass

Band Pass

Band Reject

Cutoff Frequency

This filter cuts the frequencies higher than the cutoff frequency. This is the most commonly used type of filter, and can brighten or darken the sound by cutting the overtones.

Frequency

This filter cuts the frequencies lower than the cutoff frequency. By cutting the lower frequencies, this filter can make the sound thinner.

Frequency

This filter cuts all frequencies other than in the region of the cutoff frequency.

Frequency

This filter cuts only the frequencies in the region of the cutoff frequency.

Frequency

Trim [0…99]

Sets the level at which the audio signal output from oscillator 1 is input to ﬁlter 1A.

With high settings of this value, or if the Resonance value is high, or when chords are played, the sound may be distorted. Adjust the volume in “5–1a: Ampliﬁer Level.”

Resonance [00…31]

This setting emphasizes the overtones in the region speciﬁed by Frequency, adding tonal character to the sound. Higher settings will produce a stronger effect.

Resonance Mod By Vel (Resonance Modulation By Velocity) [–99…+99]

This determines how velocity will control the amount of Resonance. With positive (+) settings, playing more strongly will cause the resonance effect to become closer to the effect speciﬁed by the Resonance setting, and playing more softly will decrease the resonance effect. With negative (–) settings, playing more strongly will decrease the resonance effect, and playing more softly will cause the resonance effect to become closer to the amount speciﬁed by the Resonance setting.

25

3–1: Filter 1 A/B (Filter 1A/Filter 1B)

Low Pass

The result of applying Resonance

Level

High Pass

Band Pass

Band Reject

Level

Low Resonance setting

High Resonance setting

3–1c: Filter 1B

These parameters will be displayed if “1–1c: Oscillator mode” is set to double, and “3–1a: Routing” is set to parallel or serial. For details refer to “3–1b: Filter 1A.”

26

▼ Page Menu Command

3–1A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

3–1B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

3–1C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

3–1: Filter 1 A/B (Filter 1A/Filter 1B)

3–1D: Copy Filter

This command copies the settings of ﬁlter 1A to ﬁlter 1B, or the settings of ﬁlter 1B to ﬁlter 1A.

3–1E: Sync Filter AB (check command)

If this is checked, ﬁlters 1A and 1B will be edited simultaneously. (When you edit one ﬁlter, the settings of the other ﬁlter will also change.) By setting “3–1a: Routing” to serial and making the same settings for ﬁlters 1A and 1B, you can create a sharper ﬁlter cut.

27

3–2: Filter 1 Mod (Filter 1 Modulation)

Here you can modify the sound by applying modulation to the cutoff frequency of ﬁlter 1 (oscillator 1). This tab page will be displayed if “3–1a: Routing” has a setting other than thru. If this setting is single, the parameters for ﬁlter 1B will not be displayed.

3–2a

3–2b

3–2c

3–2d

Page Menu

3–2A 3–2B 3–2C

3–2D 3–2E

3–2a: Filter 1A Modulation

These settings specify how Keyboard Tracking, Joy Stick (X), Aftertouch, and Alternate Modulation will affect the cutoff frequency of ﬁlter 1. (This will produce a “wah” effect.)

Cutoff Freq Key Track (Cutoff Frequency Keyboard Track)

The following Key and Ramp parameters will specify how keyboard position affects the cutoff frequency (refer to the diagram on the next page).

Key (Keyboard Track Keys)

Specify the note numbers at which keyboard tracking will begin to apply. Between the Low and High settings, the cutoff frequency will change in correspondence to the keyboard location (pitch).

• Low (Low Key) [C–1…G9]

Keyboard tracking will apply to the range below the speciﬁed note number. The note number can also be speciﬁed from the keyboard.

• High (High Key) [C–1…G9]

Keyboard tracking will apply to the range above the speciﬁed note number. The note number can also be speciﬁed from the keyboard.

Ramp (Ramp settings)

Specify the angles of the keyboard tracking.

• Low (Lower Ramp) [–99…+99]

• High (Higher Ramp) [–99…+99]

With a setting of +62, the angle of change (i.e., slope or tilt) for the cutoff frequency will be the same as the keyboard location (pitch). This means that the oscillation that occurs when the resonance (“3–1b: Filter 1A”) is raised will track the keyboard position. With a setting of –43, the cutoff frequency will have no slope; i.e., the cutoff frequency will be the same for all notes.

28

3–2: Filter 1 Mod (Filter 1 Modulation)

How keyboard position and the Ramp settings affect the cutoff frequency

Cutoff Frequency

Low Ramp=–99 Low Ramp=–43 Low Ramp=0 Low Ramp=+62

Low Ramp=+99

Low Key

High Key

High Ramp=+99

High Ramp=+62

High Ramp=0

High Ramp=–43

High Ramp=–99

Key

JS (X) (Joy Stick (X)) [–99…+99]

With positive (+) settings, moving the joystick to the right will raise the cutoff frequency and brighten the sound. With negative (–) settings, moving the joystick to the right will lower the cutoff frequency and darken the sound.

Aftertouch [0…99]

The operation of this parameter will depend on the ﬁlter selected by the T ype setting of “3–1: Filter 1 A/B.” For example with a Low Pass ﬁlter, positive (+) settings of this parameter will cause the cutoff frequency to be raised when you press down on the keyboard, brightening the sound. With a setting of Low Pass, negative (–) settings of this parameter will cause the cutoff frequency to be lowered when you press down on the keyboard, darkening the sound.

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Tempo]

Select the source which will control cutoff frequency modulation for ﬁlter 1A. With a setting of OFF, modulation will not be applied.

Intensity [–99…+99]

Alternate Modulation can modify the cutoff frequency over a range nearly equivalent to the range of human hearing. If AMS is set to EG or LFO, the pitch can be modiﬁed to a maximum of ±8 octaves. (The LFO can add an additional ±8 octaves of adjustment to the offset.) If AMS is set to a controller, positive (+) settings of this parameter will raise the cutoff frequency, and negative (–) settings will lower the cutoff frequency. The range of this change is a maximum of 10 octaves. If AMS is set to SW1 or SW2, the cutoff frequency can be modiﬁed up to 10 octaves. If AMS is set to Tempo, an Intensity setting of +10 will raise the cutoff frequency 1 octave when the tempo doubles in speed.

For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

3–2b: Filter 1B Modulation

These parameters will be displayed if “1–1c: Oscillator mode” is set to double, and “3–1a: Routing” is set to parallel or serial. These settings specify how Keyboard Tracking, Joy Stick (X), Aftertouch, and Alternate Modulation will affect the cutoff frequency of ﬁlter 1B. For details refer to “3–2a: Filter 1A Modulation.”

3–2c: Filter 1 EG

These settings specify the depth of the effect produced by the ﬁlter 1 EG (make settings in “4–1: Filter 1 EG”) that creates time-variant changes in the cutoff frequency of ﬁlter 1A and 1B.

29

3–2: Filter 1 Mod (Filter 1 Modulation)

Velocity To 1A [–99…+99]

With positive (+) settings, the Filter 1 EG will change the cutoff frequency more greatly as you play more strongly. With negative (–) settings, the Filter 1 EG will operate in inverted polarity to change the cutoff frequency more greatly as you play more strongly.

Velocity To 1B [–99…+99]

Refer to the above explanation for “Velocity To 1A.”

Change in cutoff frequency (for positive (+) settings)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Softly played note

Settings of EG Intensity to 1A

Strongly played note

Intensity To A [–99…+99]

Adjust the depth with which the Filter EG (set in “4–1: Filter 1 EG”) will affect the cutoff frequency of ﬁlter 1A and 1B. With positive (+) settings, positive (+) EG levels set in “4–1a: Filter 1 EG Level/Time” will brighten the sound, and negative (–) levels will darken the sound. With negative (–) settings, positive (+) EG levels set in “4–1a: Filter 1 EG Level/Time” will darken the sound, and negative (–) levels will brighten the sound.

Intensity To B [–99…+99]

Refer to the above explanation for “Intensity To A.”

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Tempo]

Select the source which will control modulation depth of the cutoff frequency of ﬁlter 1A and 1B. With a setting of OFF, modulation will not be applied.

Intensity [–99…+99]

Refer to “2–1f: Oscillator EG.” The operation is essentially the same. For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

3–2d: Filter 1 LFO

These settings adjust the depth of the cyclic change applied by the LFO (set in 4–2: Filter 1 LFO) to the cutoff frequency of ﬁlters 1A and 1B.

30

JS(–Y) (Joy Stick (–Y)) [0…99]

As this setting is increased, moving the joystick toward you will cause the ﬁlter 1 LFO to have an increasingly greater effect.

Change in cutoff frequency

Lower values

Higher values

Aftertouch [0…99]

As this setting is increased, pressing down on the keyboard will cause the ﬁlter 1 LFO to have an increasingly greater effect.

3–2: Filter 1 Mod (Filter 1 Modulation)

Intensity To A [–99…+99]

Adjust the depth with which the Filter 1 LFO will affect the cutoff frequency of Filter 1A. With negative (–) settings, the polarity will be inverted.

Intensity To B [–99…+99]

Refer to the above explanation for “Intensity To A.”

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Filter1 LFO]

Select the source which will adjust the depth of cutoff frequency modulation for both ﬁlters 1A and 1B. With a setting of OFF, modulation will not be applied.

Intensity [–99…+99]

Refer to “2–1g: Oscillator LFO.” The operation is essentially the same. For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

▼ Page Menu Command

3–2A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

3–2B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

3–2C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

3–2D: Copy Filter

This command copies the settings of ﬁlter 1A to ﬁlter 1B, or the settings of ﬁlter 1B to ﬁlter 1A.

3–2E: Sync Filter AB (check command)

If this is checked, ﬁlters 1A and 1B will be edited simultaneously. (When you edit one ﬁlter, the settings of the other ﬁlter will also change.) By setting “3–1a: Routing” to serial and making identical settings for ﬁlters 1A and 1B, you can create a sharper ﬁlter cut.

31

3–3: Filter 2 A/B (Filter 2A/Filter 2B)

This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can make settings to specify how ﬁlters 2A and 2B are connected, and their basic settings. Refer to “3–1: Filter 1 A/B.”

3–4: Filter 2 Mod (Filter 2 Modulation)

This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can make settings to specify how modulation is applied to ﬁlter 2 (for oscillator 2) to affect the sound. Refer to “3–2: Filter 1 Mod.”

32

4–1: Filter 1 EG

Program Edit P4

The TRINITY series provides a Filter EG and a Filter LFO that can modulate the cutoff frequency of the ﬁlters in ﬁlter 1 and 2. Filter settings are made in Program Edit P3 and P4.

4–1: Filter 1 EG

Makes settings for the EG that will modify the cutoff frequencies of ﬁlters 1A and 1B. These settings are adjusted by the settings in “3–2c: Filter EG” to determine the depth of the effect on ﬁlter 1 cutoff frequency.

Page Menu

4–1a

4–1b 4–1c

4–1A

4–1B

4–1C

4–1D

4–1a: Filter 1 EG

Makes settings for Level and Time to specify how the ﬁlter 1 EG will produce time-variant contr ol.

Level

The operation of this parameter will depend on the ﬁlter Type selected in “3–1: Filter 1 A/B.” For example if a Low Pass ﬁlter is selected, positive values of EG Intensity will cause the sound to brighten with positive (+) settings of this parameter, or darken with negative (–) settings of this parameter.

Start (Start Level) [–99…+99]

Speciﬁes the amount of change to the cutoff frequency that will be in effect at Note-on.

Attack (Attack Level) [–99…+99]

Speciﬁes the amount of change to the cutoff frequency that will be in effect after the Attack Time has elapsed.

Break (Break Point Level) [–99…+99]

Speciﬁes the amount of change to the cutoff frequency that will be in effect after the Decay Time has elapsed.

Sustain (Sustain Level) [–99…+99]

Speciﬁes the amount of change to the cutoff frequency that will be in effect after the Slope Time has elapsed until Note-off.

Release (Release Level) [–99…+99]

Speciﬁes the amount of change to the cutoff frequency that will be in effect after the Release Time has elapsed.

Time

Makes time-related settings.

Attack (Attack Time) [0…99]

Speciﬁes the time from Note-on until the Attack Level is reached.

Decay (Decay Time) [0…99]

Speciﬁes the time from when the Attack Level is reached until the Break Point Level is reached.

33

4–1: Filter 1 EG

Slope (Slope Time) [0…99]

Speciﬁes the time from when the Decay Time elapses until the Sustain Level is reached.

Release (Release Time) [0…99]

Speciﬁes the time from Note-off until the Release Level is reached.

Slope Time

Note-off

Release Time

Release Level

Time

Specified cutoff frequency

Start Level

Note-on

Attack Level

Attack Time

Sustain Level

Break Point Level

Decay Time

4–1b: Time Modulation

Speciﬁes how the EG times of ﬁlter 1 speciﬁed in “4–1a: Filter 1 EG” will be modiﬁed by Keyboard Tracking, Velocity, and Alternate Modulation.

Keyboard Track

With positive (+) settings, EG times will become shorter as you play notes increasingly above C4. With negative (–) settings, EG times will become longer as you play notes increasingly above C4. With a setting of 0, the EG times will be as speciﬁed in “4–1a: Filter 1 EG.”

At (Attack Time) [–99…+99]

Adjusts the Attack Time.

Dc (Decay Time) [–99…+99]

Adjusts the Decay Time.

Sl (Slope Time) [–99…+99]

Adjusts the Slope Time.

Rl (Release Time) [–99…+99]

Adjusts the Release Time.

Changes in Time (all four parameters with positive (+) settings)

Note-on

Note-off

Note-on Note-on

Note-off

34

Filter EG settings

A low note

A high note

Velocity

With positive (+) settings, EG times will be shortened as you play more str ongly. With negative (–) settings, EG times will be lengthened as you play more strongly. With a setting of 0, the EG times will be as speciﬁed in “4–1a: Filter 1 EG.”

At (Attack Time) [–99…+99]

Adjusts the Attack Time.

Dc (Decay Time) [–99…+99]

Adjusts the Decay Time.

Sl (Slope Time) [–99…+99]

Adjusts the Slope Time.

Rl (Release Time) [–99…+99]

Adjusts the Release Time.

Changes in Time (all four parameters with positive (+) settings)

Note-on

Note-off

Note-on Note-on

Note-off

4–1: Filter 1 EG

Note-off

Filter EG settings

Softly played note

Strongly played note

Alternate Modulation

Unlike the modulation settings that allow Keyboard Tracking and Velocity to affect EG times, Alternate Modulation cannot be set independently for each EG Time (Attack/Decay/Slope/ Release Time).

AMS (Alternate Modulation Source) [OFF…Tempo]

Selects the source which will control ﬁlter 1 EG times. With a setting of OFF, modulation will not be applied.

Intensity [–99…+99]

Refer to “2–5b: Time Modulation.” For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

4–1c: Level Modulation

Speciﬁes how the ﬁlter 1 EG levels set in “4–1a: Filter 1 EG” will be modiﬁed.

Velocity

With positive (+) settings, EG levels will be raised as you play more str ongly. With negative (–) settings, EG levels will be lowered as you play more strongly. With a setting of 0, the EG levels speciﬁed in “4–1a: Filter 1 EG” will be used.

St (Start Level) [–99…+99]

Adjusts the Start Level.

At (Attack Level) [–99…+99]

Adjusts the Attack Level.

Br (Break Point Level) [–99…+99]

Adjusts the Break Point.

Changes in Filter 1 EG (with all four at positive (+) settings)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Settings of 4–1a: Filter 1 EG

Softly played note

Strongly played note

35

4–1: Filter 1 EG

▼ Page Menu Command

4–1A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

4–1B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

4–1C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

4–1D: Sync Both EGs (check command)

If this is checked, the ﬁlter 1 EG and the ﬁlter 2 EG will be edited simultaneously. (When you edit one EG, the settings of the other EG will also change.)

36

4–2: Filter 1 LFO

Here you can make settings for the LFO that applies cyclic changes to the cutoff frequency of ﬁlter 1 (wah effect). The depth of the effect that these LFO settings will have on the cutoff frequency of ﬁlter 1 is adjusted in “3–2d: Filter LFO”.

Page Menu

4–2a

4–2b

4–2c

4–2a: Waveform/Freq/Offset

Waveform [Triangle 0…Random6]

Selects the LFO waveform. For the LFO waveforms that are available, refer to the explanation in “2–2a: OSC1 LFO”.

4–2A 4–2B 4–2C

Freq (Frequency) [0…99]

Speciﬁes the LFO frequency. A setting of 99 is the fastest.

Offset [–99…+99]

For details refer to the explanation of Offset in “2–2a: OSC1 LFO”.

If the setting is +99 and the cutoff frequency is fully raised, there will be no wah effect.

4–2b: Start/KeySync/Delay/Fade

For details on these settings, refer to “2–2b: Start/KeySync/Delay/Fade”.

Start [Key On, Key Off, Both]

This speciﬁes the time at which the LFO will take effect. This setting is closely dependent on the Fade setting, so refer to the explanation for Fade as well.

If Key On is selected, the LFO will begin taking effect at note-on. Normally you will set this to Key On. If Key Off is selected, the LFO will begin taking effect at note-off. If Both is selected, the LFO will begin taking effect at note-on, and will stop taking effect at noteoff.

KeySync [On/Off]

If this is checked it will be On; the LFO will start each time you play a note, and an independent LFO for each key will be used. If this is un-checked it will be Off; the LFO effect begun by the ﬁrst-played note will continue to apply to subsequently played notes. (In this case, Delay and Fade will apply only to the ﬁrststarted LFO.)

Delay [0…99]

This determines the time from Note-on (or Note-off) until when the LFO begins to take effect. If KeySync is Off, the Delay setting will affect only the ﬁrst-started LFO.

Fade [–99…+99]

With positive (+) settings, this will set the LFO Fade In Time; i.e., the time from when the LFO begins to take effect until when it reaches maximum amplitude.

37

4–2: Filter 1 LFO

With negative (–) settings, this will set the LFO Fade Out Time; i.e., the time over which the LFO amplitude decreases from maximum down to 0. If KeySync is Off, this will affect only the ﬁrst-started LFO.

4–2c: Frequency Modulation

These settings allow Alternate Modulation to affect the speed of the ﬁlter 1 LFO.

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Filter1 LFO]

Selects the source that will control the frequency of the oscillator 1 LFO. With a setting of OFF, there will be no modulation.

Intensity [–99…+99]

Refer to “2–2c: Frequency Modulation.” For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

▼ Page Menu Command

4–2A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

4–2B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

4–2C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

38

4–3: Filter 2 EG

This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can make settings for the ﬁlter EG that will create time-variant changes in the cutoff frequency of ﬁlter 2. Refer to “4–1: Filter 1 EG”.

4–4: Filter 2 LFO

This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can make settings for the LFO that will create cyclic changes in the cutoff frequency of ﬁlter 2 (a wah effect). Refer to “4–2: Filter 1 LFO”.

39

5–1: Amp 1 Mod (Amplifier 1 Modulation)

Program Edit P5

The TRINITY series provides two amps; amp 1 for oscillator 1, and amp 2 for oscillator 2.

5–1: Amp 1 Mod (Ampliﬁer 1 Modulation)

Here you can make settings for the volume of oscillator 1 and how it will change.

5–1a 5–1b

5–1c

5–1a: Ampliﬁer Level [0…127]

Page Menu

5–1A 5–1B 5–1C

Sets the volume of oscillator 1.

5–1b: Ampliﬁer Modulation

Speciﬁes how the volume of oscillator 1 will be affected by Keyboard Tracking, Velocity, Aftertouch, and Alternate Modulation.

Ampliﬁer Keyboard Tracking

The following Key and Ramp parameters specify how keyboard position will affect the volume (refer to the diagram on the following page).

Key (Keyboard Tracking Keys)

Specify the note numbers at which keyboard tracking will begin to apply. Keyboard tracking will not affect the volume of the notes between Low and High.

• Low (Low Key) [C–1…G9]

Keyboard tracking can be speciﬁed for the range below the speciﬁed note number. Note numbers can also be input from the keyboard. For details refer to Basic Guide page 8 “5. Setting a parameter”.

• High (High Key) [C–1…G9]

Keyboard tracking will apply to the range above the speciﬁed note number. Note numbers can also be input from the keyboard. For details refer to Basic Guide page 8 “5. Setting a parameter”.

Ramp (Ramp settings)

Specify the angles of the keyboard tracking.

• Low (Lower Ramp) [–99…+99]

With positive (+) settings, playing below the speciﬁed Low note number (Keyboard Track Key) will produce progressively louder levels, and with negative (–) settings will produce pr ogressively quieter levels.

40

5–1: Amp 1 Mod (Amplifier 1 Modulation)

• High (Higher Ramp) [–99…+99]

With positive (+) settings, playing above the speciﬁed High note number (Keyboard Track Key) will produce progressively louder levels, and with negative (–) settings will produce progressively quieter levels.

The effect of keyboard position and Ramp settings

Amplitude

Low Ramp=–99

Low Ramp=0

Low Ramp=+99

Low Key

High Key

High Ramp=+99

High Ramp=0

High Ramp=–99

Key

Velocity [–99…+99]

With positive (+) settings, the volume will become louder as you play more strongly. With negative (–) settings, the volume will become quieter as you play more strongly.

Changes in volume (with positive (+) settings)

Note-on

Softly played notes

Note-off

Note-on

Strongly played notes

Note-off

Aftertouch [–99…+99]

With positive (+) settings, the volume will become louder as you press on the keyboard. With a setting of +99, you can produce a change of up to 8 times the volume. However if the EG settings etc. have already set the volume at maximum, it will not be possible to increase the volume further. With negative (–) settings, the volume will decrease as you press on the keyboard.

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Tempo]

Selects the modulation source. With a setting of OFF, modulation will not be applied.

Intensity [–99…+99]

Since the volume is determined by multiplying the volume change produced by the Amp EG with the values of Alternate Modulation, etc., low levels of the Amp EG will mean that the modulation applied by Alternate Modulation will also be low.

If AMS is EG or LFO, a maximum of 8 times the amount of change can be applied from a volume of 0. (The LFO allows an additional offset.) If you wish to use another EG (pitch EG or ﬁlter EG) to control the volume, set each of the Amp EG levels to the maximum value (99). If AMS is set to a controller, positive (+) settings of this parameter will raise the volume, and neg- ative (–) settings will lower the volume. The range is a maximum of 8x. If AMS is set to SW1 or SW2, the volume can be adjusted by a maximum of 8x. If AMS is Tempo and the Intensity is +33, doubling the tempo will raise the volume 2x (double). However if the EG settings etc. have already set the volume at maximum, it will not be possible to increase the volume further.

For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

41

5–1: Amp 1 Mod (Amplifier 1 Modulation)

5–1c: Send/Pan

Send and Pan values are applied at each Note-on.

Send

Send 1/Send 2 [0…127]

This sets the input level for the master effects when an insert effect is not used. If you are using an insert effect, set the master effect input level using the “6–1b: Width/Send 1,2” Send 1,2 parameter.

Pan (Panpot) [OFF, L000…C064…R127]

This sets the panning for input to the insert effect. If you are not using an insert effect, this sets the panning to output jacks 1/L/MONO and 2/R. With a setting of OFF, the sound will not be output to 1/L/MONO and 2/R. L is left, C is center, and R is right.

Alternate Modulation

AMS (Alternate Modulation Source) [OFF…Tempo]

Selects the modulation source that will move the panning of amp 1 relative to the Pan setting. With a setting of OFF, pan will not be modulated.

Intensity [–99…+99]

If AMS is set to a controller, positive (+) settings of this parameter will move the pan toward the right, and negative (–) settings will move it toward the left. If AMS is set to SW1 or SW2, positive (+) settings of this parameter will allow sounds normally sounded at the left to be sounded at the center or right. Negative (–) settings of this parameter will allow the opposite movement, toward the left. In either case, positive (+) settings will move the sound toward the right, and negative (–) settings toward the left. The amount of movement is 90 degrees for a setting of 50, and 180 degrees for a setting of 99. If AMS is set to Tempo, positive (+) settings of this parameter will cause the sound to move toward the right as the tempo is sped up. However if the tempo is slower than 120 ( q =120), the sound will move toward the left. Negative (–) settings of this parameter will reverse this movement. For example with a setting of +99, a sound that was located at the far left will be at the far right when the tempo is doubled ( q =240). If AMS is Note Number, positive (+) settings of this parameter will cause the sound to move toward the right as the note number rises (i.e., as you play higher notes). However note numbers below C4 (lower notes) will move the sound toward the left. Negative (–) settings of this parameter will produce the opposite movement. For example with a setting of +99, a sound that was located at the far left will be at the far right when a note two octaves above (C6) is played.

For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

42

5–1: Amp 1 Mod (Amplifier 1 Modulation)

▼ Page Menu Command

5–1A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

5–1B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

5–1C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

43

5–2: Amp 1 EG (Amplifier 1 EG)

5–2: Amp 1 EG (Ampliﬁer 1 EG)

These settings determine how the volume of oscillator 1 will change over time.

5–2a: Ampliﬁer EG

Makes Level and Time settings to specify the time-variant change produced by the amp EG.

Level

Start (Start Level) [0…99]

This is the volume level at Note-on. If you want the sound to have an immediate attack, set this parameter to a high value.

Attack (Attack Level) [0…99]

Speciﬁes the volume level reached when the Attack Time has elapsed.

Break (Break Point Level) [0…99]

Speciﬁes the volume level reached when the Decay Time has elapsed.

Sustain (Sustain Level) [0…99]

Speciﬁes the volume level maintained from when the Slope Time has elapsed until Note-off.

5–2a

5–2b

5–2c

Page Menu

5–2A

5–2B 5–2C

5–2D

44

Time

Attack (Attack Time) [0…99]

Speciﬁes the time over which the volume will change from Note-on to the Attack Level. If the Start Level is 0, this setting will determine how quickly the sound begins.

Decay (Decay Time) [0…99]

Speciﬁes the time over which the volume will change from the Attack Level to the Break Point Level.

Slope (Slope Time) [0…99]

Speciﬁes the time over which the volume will change from the Break Point Level to the Sustain Level.

Release (Release Time) [0…99]

Speciﬁes the time from Note-on until the volume reaches 0.

Amplifier EG

Volume

Note-on

Start Level

Attack Level

Attack Time

Break Point

Decay Time

Slope Time

Sustain Level

Note-off

Time

Release Time

5–2: Amp 1 EG (Amplifier 1 EG)

5–2b: Time Modulation

Speciﬁes how the EG times of amp 1 EG speciﬁed in “5–2a: Ampliﬁer EG” will be modiﬁed by Keyboard Tracking, Velocity, and Alternate Modulation.

Keyboard Tracking

With positive (+) settings, amp EG times will become shorter as you play notes higher than C4. With negative (–) settings, EG times will become longer as you play notes higher than C4. With a setting of 0, the settings made in “5–2a: Ampliﬁer” will apply.

At (Attack Time) [–99…+99]

Adjusts the Attack Time.

Dc (Decay Time) [–99…+99]

Adjusts the Decay Time

Sl (Slope Time) [–99…+99]

Adjusts the Slope Time.

Rl (Release Time) [–99…+99]

Adjusts the Release Time.

Changes in Time (all four parameters with positive (+) settings)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Amplifier EG settings

A low note

A high note

Velocity

With positive (+) settings, EG times will be shortened as you play more str ongly. With negative (–) settings, EG times will be lengthened as you play more strongly. With a setting of 0, the settings made in “5–2a: Ampliﬁer” will apply.

At (Attack Time) [–99…+99]

Adjusts the Attack Time.

Dc (Decay Time) [–99…+99]

Adjusts the Decay Time.

Sl (Slope Time) [–99…+99]

Adjusts the Slope Time.

Rl (Release Time) [–99…+99]

Adjusts the Release Time.

Changes in Time (all four parameters with positive (+) settings)

Note-on

Amplifier EG settings

Note-off

Note-on

Softly played note

Note-off

Note-on

Strongly played note

Note-off

Alternate Modulation

Unlike the modulation settings that allow Keyboard Tracking and Velocity to affect EG times, Alternate Modulation cannot be set independently for each EG Time (Attack/Decay/Slope/ Release Time).

AMS (Alternate Modulation Source) [OFF…Filter1 LFO]

Selects the source which will control amp 1 EG times. With a setting of OFF, modulation will not be applied.

Intensity [–99…+99]

For details refer to the explanation of Intensity in “2–5b: Time Modulation”.

45

5–2: Amp 1 EG (Amplifier 1 EG)

For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide.

5–2c: Level Modulation

These settings affect the amp 1 EG levels that are set in “5–2a: Ampliﬁer EG”.

Velocity

With positive (+) settings, volume levels will be raised as you play more strongly. With negative (–) settings, volume levels will be lowered as you play more strongly. With a setting of 0, the settings made in “5–2a: Ampliﬁer” will be used.

St (Start Level) [–99…+99]

Adjusts the Start Level.

At (Attack Level) [–99…+99]

Adjusts the Attack Level.

Br (Break Point Level) [–99…+99]

Adjusts the Break Point Level.

Changes in volume (with all three at positive (+) settings)

Note-on

Note-off

Volume

Note-on

Note-off

Note-on

Note-off

Settings of 5–2a: Amplifier EG

Softly played note

Strongly played note

▼ Page Menu Command

5–2A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

5–2B: Copy Oscillator

This command copies the settings of oscillator 1 or 2 from the speciﬁed program to the oscillator of the program being edited. You may also select a program from another bank as the copy source.

When copying Oscillator 2 to Oscillator 1, if Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is selected for Oscillator 2 AMS, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

5–2C: Swap Oscillator

This command exchanges the settings of oscillator 1 and 2 within the program being edited.

If an Oscillator 2 with AMS settings of Filter 1 EG, Amp 1 EG, Oscillator 1 LFO, or Filter 1 LFO is used for Oscillator 1 as a result of a Swap Oscillator command, the settings will be automatically converted from Filter 1 EG to Filter EG, from Amp 1 EG to Amp EG, from OSC 1 LFO to OSC LFO, and from Filter 1 LFO to Filter LFO.

5–2D: Sync Both EGs (check command)

If this is checked, the Amp 1 EG and the Amp 2 EG will be edited simultaneously. (When you edit one EG, the settings of the other EG will also change.)

46

5–3: Amp 2 Mod (Amplifier 2 Modulation)

5–3: Amp 2 Mod (Ampliﬁer 2 Modulation)

This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can specify the volume of oscillator 2.

5–4: Amp 2 EG (Ampliﬁer 2 EG)

This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can specify how the volume of oscillator 2 will change over time.

47

7–1: Insert Effects

Program Edit P7

7–1: Insert Effects

Here you can make settings for the insert effects. The graphic at left is the LCD screen when “1–1c: Oscillator Mode” is set to single or double. The graphic at right is the LCD screen when “1–1c: Oscillator Mode” is set to drums.

7–1a

7–1b

7–1c 7–1d

7–1a: Insert Effect Setting

Page Menu

7–1A

7–1B 7–1C

Selects the Insert Effects that the program will use.

Size [0, 1, 2, 4]

The Size you select will determine the insert effects that will be available. A setting of 0 is “No Effect” and effects cannot be selected. A setting of 1–4 allows you to select an insert effect in Effect Select.

The Size settings of [E1]–[E3] must total 4 or less. (It is not possible to make settings that total 5 or more.)

Effect On/Off [OFF/ON]

Turn the effect on/off. With a setting of OFF, effects will be bypassed. If a size 1 effect is selected, the dry sound will also be mono. If you want the pan setting (“5–1c: Send/Pan”) of a stereo oscillator to be effective, set the Size parameter to 2 or greater.

Independently from this setting, you can turn off all insert effects using the MIDI message Effect 2 Control (CC#92). The effects will be off for a value of 0, and on for values of 1–127.

Effect Select

Selects the insert effect. The effects that can be selected will depend on the Size setting. The parameters of the effect you select here can be set in “7–2: Edit E1” through “7–5: Edit E4”. For details on each effect, refer to the separate Effect Guide.

7–1b: Pan/Width/Send 1, 2

Pan (Panpot) [L000…C064…R127]

Adjusts the pan after the sound passes through the insert effects.

Width [0…127]

Adjusts the left/right spread of the sound after passing through the insert effects. Higher values will spread the effect wider to left and right.

48

Send 1,2 [0…127]

Adjusts the send level to the master effects.

7–1: Insert Effects

7–1c: Insert Effect Setting

Selects the insert effects used by the drumkit. Settings for each drum sound for insert effect on/off and Inst 1–4 (these will be the [E1]–[E4] inputs) are made in Global mode “5–1: Drumkit” (page 143 in this manual). The check boxes in the left of the LCD screen specify the connections of [E1]–[E4]. If a box is checked, the effects immediately above and below it are connected in series.

Size [0,1,2,4]

The size will determine the insert effects that can be selected. If 0 is selected, the display will indicate No Effect, and effects cannot be selected. If 1–4 is selected, you can select insert effects in Effect Select.

The size settings for [E1]–[E4] must total 4 or less. (It is not possible to make settings that total 5 or more.

Effect On/Off [OFF, ON]

Turns the effect on/off. With a setting of OFF, effects will be bypassed. If a size 1 ef fect is selected, the drum sounds will be mono. If you want the pan setting (Global mode “5–1e: Drumsample Setup”) to be effective, set the Size parameter to 2 or more.

Independently of this setting, the MIDI message Effect 2 Control (CC#92) to turn all insert effects off. The effects will be off with a value of 0, and will have their original settings with values of 1–

127.

Effect Select

Selects the insert effect. The effects available for selection will depend on the Size setting. The parameters of the effect you select here are set in “7–2: Edit E1” through ”7–5: Edit E4.” For details on each effect, refer to the separate “Effect Guide.”

7–1d: Pan/Width/Send 1,2

Makes settings for each effect [E1]–[E4]. However if the effects are connected in series, these settings affect the signal after the effects.

Pan (Panpot) [L000…C064…R127]

Adjusts the pan of the sound after passing through the insert effect.

Width [0…127]

Adjusts the left/right spread of the sound after passing through the insert effect.

Send 1,2 [0…127]

Adjusts the send level to the master effects.

▼ Page Menu Command

7–1A: Write Program

This command writes an edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select a differ ent program befor e writing, the data cannot be recovered. For details refer to Basic Guide page 23, “9. Writing a program or combination.”

7–1B: Copy Insert Effect

This command copies insert effect settings from a speciﬁed program, combination or song to the insert effect of the program currently being edited.

7–1C: Swap Insert Effect

This command exchanges insert effect settings within the program currently being edited.

49

7–2: Edit E1 (Edit Insert Effect 1)

7–2: Edit E1 (Edit Insert Effect 1) 7–3: Edit E2 (Edit Insert Effect 2) 7–4: Edit E3 (Edit Insert Effect 3) 7–5: Edit E4 (Edit Insert Effect 4)

These pages will be displayed if an insert effect is selected in “7–1a: Insert Effect Setting”. Here you can make settings for insert effect parameters. For details on the effect parameters, refer to the separate Effect Guide.

Effect Dynamic Modulation will be controlled on the Global MIDI channel.

Effect Name

Page Menu

7–2A

▼ Page Menu Command

7–2A: Write Program

This writes the edited program into the speciﬁed program number of the speciﬁed bank. Be sure to write important programs. If you turn the power off or select another program before writing the data, it cannot be recovered. Refer to Basic Guide page 23, “9. Writing a Program or Combination”.

50

8–1: Master Effects

Program Edit P8

8–1: Master Effects

Here you can make master effects settings, and set the levels of the effects that are output fr om the output jacks of the TRINITY (1/L/MONO, 2/R, 3, 4). Pan L and Pan R are the pan settings set in “7–1: Insert Effect”. The Send 1, 2 displayed at left are the send levels that were set in “7–1b”. However if insert effects [E1], [E2], [E3], and [E4] are all set to a Size of 0, this will be the send setting of “5–1c: Send/Pan”.

Page Menu

8–1A

8–1a

8–1b

8–1c

8–1d

8–1B

8–1a: Master Effect Setting

Makes settings for modulation-type effects and delay/reverb-type effects. The check box at the left of the LCD screen sets the connections of [Modulation] and [Reverb/ Delay]. When the box is checked, [Modulation] and [Reverb/Delay] are connected in series. In this case, the right output of [Modulation] will be sent to [Reverb/Delay].

Effect On/Off [ON/OFF]

Turns the master effects on/off. Independently of this setting, [Modulation] can be turned off by the MIDI message Effect 4 Con-

trol Change (CC#94) and [Reverb/Delay] can be turned off by Effect 5 Control Change (CC#95). In both cases, a value of 0 is off. With values of 1–127, the original settings will be used. The Global MIDI channel is used for these messages.

Effect Select

Selects the master effects. A modulation-type effect can be selected for [Modulation], and a reverb/delay-type effect can be selected for [Reverb/Delay]. The settings for the effects selected here are made in “8–2: Edit E1” and “8–3: Edit E2”. For details on the effects, refer to the separate Effect Guide.

8–1b: Pan 1/2 [OFF, L…50:50…R]

Adjust the panning of output jacks 3, 4. With a setting of OFF, the sound will not be sent to output jacks 3 and 4.

8–1c: Return 1, 2 [0…127]

Adjust the level of the audio signal sent from [Modulation] and [Reverb/Delay] to output jacks 1/ L/MONO and 2/R. Output jacks 1/L/MONO and 2/R will output the audio signals from Pan L and Pan R mixed with the output of [Modulation] and [Reverb/Delay] adjusted by these Return 1, 2 settings.

51

8–1: Master Effects

8–1d: Low/High Gain

Adjust the tone of the audio signals output from the output jacks 1/L/MONO and 2/R, in [dB].

Low Gain [–18.0…+18.0]

Adjusts the level of the low frequency range.

High Gain

Adjusts the level of the high frequency range.

▼ Page Menu Command

8–1A: Write Program

This writes the edited program into the currently selected program number. Be sure to write important programs. If you turn the power off or select another program before writing the data, it cannot be recovered. Refer to Basic Guide page 23, “9. Writing a Program or Combination”.

8–1B: Copy Master Effect

This command copies the master effect settings from a speciﬁed program, combination or song to the master effect of the program currently being edited.

52

8–2: Edit E1 (Edit Master Effect 1 [Modulation])

8–2: Edit E1 (Edit Master Effect 1 [Modulation]) 8–3: Edit E2 (Edit Master Effect 2 [Reverb/Delay])

Here you can make settings for master effect parameters. This will be displayed when you have selected a modulation-type or reverb/delay-type effect for [Modulation] or [Reverb/Delay] in “8–1a: Master Effect Setting”.

Effect dynamic modulation is controlled on the Global MIDI channel. For details on the effect parameters, refer to the separate Effect Guide.

Effect Name

Page Menu

8–2A

▼ Page Menu Command

8–2A: Write Program

This writes the edited program into the currently selected program number. Be sure to write important programs. If you turn the power off or select another program before writing the data, it cannot be recovered. Refer to Basic Guide page 23, “9. Writing a Program or Combination”.

53

8–2: Edit E1 (Edit Master Effect 1 [Modulation])

54

1–1: Combination Play

3. Combination Play mode

Combination Play P1

In Combination Play mode you can select factory set (pre-loaded) combinations. The number of combinations available on the back Sampler/Flash ROM option is installed. For details refer to page 9 of the Basic Guide. If no options have been installed, the each bank A and B). A list of the factory preset combination names is included in the separate

1–1: Combination Play

TRINITY

TRINITY series

allows you to select

will depend on whether the Play-

256 combinations

Voice Name List

(0–127 for

.

1–1a

1–1b Timbre No.

1–1c

1–1d

1–1e

Page Menu

1–1A 1–1B

1–1a: Bank (Bank Select) [Bank A…D]

Use the front panel [BANK] key to select the bank. If the Playback Sampler/Flash ROM option is installed, you can select from banks C and D.

1–1b: Combination Number/Combination Name [0…127]

Use the VALUE controllers or a pedal switch to select combinations. For details on selecting combinations using a foot switch or using MIDI Program Change messages from an external device, refer to Basic Guide page 15, “3. Select and play a combination”.

1–1c: Bank/Program

Selects the program for each timbre 1 through 8.

A bank M program can be selected only for one timbre.

This parameter is also displayed in Combination Edit mode “1–1: Timb Param 1” ( this manual), and can be set from either location.

If “1–1d: Timbre Mode” is INT, you can change programs via MIDI. When you change combinations, timbres whose Timbre Mode is EXT will transmit MIDI messages indicating the bank and program number that you have selected here.

page 57 in

☞

Bank [A…M]

Selects the Bank for the program assigned to each timbre 1 through 8. Bank M can be selected if the optional MOSS-TRI board is installed.

Program [0…127]

Selects the program for each timbre 1 through 8. If the optional MOSS-TRI board is installed, you can select bank M programs 0–63. In addition, if the Playback Sampler/Flash ROM option is installed, you can select bank M programs 64–127.

55

1–1: Combination Play

1–1d: Pan (Panpot) [OFF, L000…C064…R127]

1–1e: Volume [0…127]

Sets the pan position for timbres 1–8. This parameter is also displayed in Combination Edit mode “1–2: Timb Param 2” (

With a setting of With a setting of

When a Pan message (CC#10) is received, the pan will be L000 for a value of 0, C064 for a value of 64, and R127 for a value of 127. (Pan messages will not be received if the setting is PRG or OFF.)

Adjusts the volumes of timbres 1–8. This parameter is also displayed in Combination Edit mode “1–2: Timb Param 2” and can be set from either location.

The volume is determined by the product of the volume setting and the Expression value. If the Combination Edit mode parameter “1–1d: Timbre Mode” ( MIDI Expression messages (CC#11) will be received. If the Combination Edit mode parameter “1–1d: Timbre Mode” is set to EXT, the volume settings will be transmitted as MIDI Volume messages (CC#07) each time you change the combination.

☞

page 59 in this manual) and can be set from either location.

OFF

, there will be no output of the direct dry signal.

PROG

, the pan settings of the program assigned to that timbre will be used.

☞

page 58 in this manual) is set to INT,

Hold Balance [On/Off]

If this is

checked

the volume sliders proportionately, preserving the volume balance of timbres 1–8. This pr ovides a convenient way to adjust the volume balance of a combination in relation to other combinations. If this is

When you select a combination on the TRINITY, the combination number will be transmitted on the Global MIDI channel you speciﬁed for program changes in the Global mode setting “1–1c: MIDI Channel”. At the same time, timbres whose “1–1d: Timbre Mode” parameter is set to EXT will transmit their Program Number and Volume (CC#7) on their MIDI channel as speciﬁed in Combination Edit mode “1–1e: MIDI Channel” (

Operations you perform on the TRINITY (using the keyboard, joystick, ribbon controller, aftertouch, switches, pedals) will transmit messages on the Global MIDI channel. At the same time, timbres whose Timbre Mode is set to EXT will transmit the same messages on their own MIDI channel.

If the MIDI channel of an incoming Bank Select or Program Change message matches the MIDI channel of a timbre whose Timbre Mode is INT, that timbre will change programs. However if the channel of an incoming Program Change matches the Global MIDI channel of the TRINITY, the combination will change.

If you do not want the combination to change, either make settings so that the Global MIDI channel does not match the MIDI channel of the incoming Program Change, or make settings for Enable Combination Change in Global mode “2–1a: Filter” ( combinations are not changed.

Y ou can also make ﬁlter settings in Global mode “2–1a: Filter” ( eter Enable Bank Change so that only program numbers are changed without affecting the bank.

to turn it On, raising or lowering the volume sliders of any timbre will adjust all

un-checked

to turn it Off, the volume of each timbre can be adjusted separately.

☞

page 58 in this manual).

☞

page 136 in this manual) so that

☞

page 136 in this manual) param-

56

Page Menu Command

▼

1–1A: Update Combination

This command writes (saves) an edited combination into the currently selected combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing programs and combinations”.

1–1B: Select By Category

This command allows you to select programs or combinations using the categories speciﬁed in Program Edit mode or Combination Edit mode. For details refer to Basic Guide page 26, “11. Selecting by category”.

1–1: Timb Param1 (Timbre Parameter 1)

4. Combination Edit mode

Combination Edit P1

1–1: Timb Param1 (Timbre Parameter 1)

Here you can make basic settings for a combination, and make basic settings for the program used by each timbre.

1–1a

1–1b

Data for the selected timbre

Timbre No.

1–1c 1–1d 1–1e

Page Menu

1–1A

1–1a: Combination Name

The name of the combination selected in Combination Play mode will be displayed. If you press the text edit button, a display page will appear in which you can rename the combination (

☞

Basic Guide, page 6). The Combination Name is displayed in pages “1–1: Timb Param1”

through “1–3: Timb Param3”, and can be edited from any of these pages.

If you wish to keep the new combination name that you assign, be sure to use the Write Combination operation (

bination or turn the power off before writing, the new combination name will be lost.

☞

Basic Guide, page 23) to write it into memory . If you select another com-

1–1b: Category

Two categories can be assigned to each combination. When selecting combinations in Combination Play mode, you can search for combinations by category. The Combination Category is displayed in pages “1–1: Timb Param1” through “1–3: Timb Param3”, and can be edited from any of these pages.

A (Category A) [Pad&Lead…Drums/Special FX]

With the factory settings, this will be the name of the instrument group, but you can modify it in “4–3: Category Combination A” of Global mode Timb Param3 (

☞

page 142 in this manual).

B (Category B) [User Category C01…C16]

The factory set category names can be modiﬁed in “4–4: Category Combination B” of Global mode (

☞

page 142 in this manual).

1–1c: Bank/Program

Select the program which will be assigned to each timbre 1–8. Note that a bank M program can be selected only for one timbre. This parameter will also be displayed in Combination Play mode “1–1: Combination Play” ( page 55 in this manual) and can be set from either location.

☞

57

1–1: Timb Param1 (Timbre Parameter 1)

If “1–1d: Timbre Mode” is INT, programs can be selected via MIDI. When a combination is selected on the TRINITY, timbres whose Timbre Mode is set to EXT will transmit the bank and program number selected here via MIDI.

Bank [A…M]

Selects the bank for each timbre 1–8. Bank M can be selected if the optional MOSS-TRI board is installed.

Program (Program Select) [0…127]

Selects the program for each timbre 1–8. If the optional MOSS-TRI board is installed, programs 0–63 can be selected for bank M. In addition, if the Playback Sampler/Flash ROM option is installed, programs 64–127 can be selected for bank M.

1–1d: Timbre Mode [OFF/INT/EXT]

This sets the Timbre Mode for timbres 1–8.

OFF:

The program will not sound. (Nor will MIDI data be transmitted.)

INT:

Playing the TRINITY’s keyboard will sound the internal tone generator , and the internal tone

generator will also sound in response to MIDI messages from external MIDI devices.

EXT:

Playing the TRINITY’s keyboard will not sound the internal tone generator , but will transmit

MIDI messages to control an external MIDI device.

INT

MIDI IN

Tone generator

EXT

MIDI OUT

1–1e: MIDI Channel [01…16, Gch]

This sets the MIDI transmit and receive channel for each timbre 1–8.

Gch

is selected, the MIDI channel of the timbre will always match the MIDI channel setting

If speciﬁed in Global mode “1–1: Global Setup” ( If “1–1d: Timbre Mode” is INT, the timbre will transmit MIDI messages on the channel speciﬁed by this setting. If the setting is the same as the Global MIDI channel, the TRINITY’s keyboard will play the internal tone generator. If “1–1d: Timbre Mode” is EXT, playing the TRINITY’s keyboard will transmit MIDI messages on the MIDI channel speciﬁed here. (The same messages will simultaneously be transmitted on the Global MIDI channel as well.)

Page Menu Command

▼

1–1A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing programs and combinations”.

☞

page 129 in this manual).

58

1–2: Timb Param2 (Timbre Parameter 2)

Here you can make settings related to the output of each timbre.

Refer to “1–1: Timb Param1”

Data for the selected timbre

Timbre No.

1–2c 1–2d 1–2e 1–2f

Page Menu

1–2A

1–2c: Pan (Panpot) [OFF, L000…C064…R127, PROG]

Speciﬁes the pan for each timbre 1–8 (the rear panel output jacks 1/L/MONO and 2/R). If an insert effect is being used, make the pan setting in “7–2: Insert Effects.” This parameter is also displayed in Combination Play mode “1–1: Combination Play” (

☞

page 55

in this manual), and can be set from either location. If “1–1d: Timbre Mode” is INT, receiving a Panpot message (CC#10) in Combination Play mode

will cause the pan setting to change. (However, only if this setting is L000–R127.)

1–2d: Volume [0…127]

Speciﬁes the volume for timbres 1–8. This parameter is also displayed in Combination Play mode “1–1: Combination Play” ( in this manual), and can be set from either location.

If “1–1d” Timbre Mode” is INT, receiving a Volume message (CC#7) in Combination Play mode will cause the volume setting to change. If “1–1d: Timbr e Mode” is EXT, the volume setting will be transmitted when you select a combination.

☞

page 55

1–2e: Send 1 [0…127, PROG]

Speciﬁes the send level (the input level to the master effects) for timbres 1–8. This will also determine the output level to the rear panel outputs 3 and 4.

If the TRINITY receives a MIDI Effect 3 Level message (CC#93) in Combination Play mode when “1–1d: Timbre Mode” is INT, this setting will change. (But only if this parameter is set to 0–127.)

1–2f: Send 2 [0…127, PROG]

Speciﬁes the send level (the input level to the master effects) for timbres 1–8. This will also determine the output level to the rear panel outputs 3 and 4.

If the TRINITY receives a MIDI Effect 1 Level message (CC#91) in Combination Play mode when “1–1d: Timbre Mode” is INT, this setting will change. (But only if this parameter is set to 0–127.)

Page Menu Command

▼

1–2A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing programs and combinations.”

59

1–3: Timb Param3 (Timbre Parameter 3)

Here you can make settings that affect how each timbre will sound.

Refer to “1–1: Timb Param1”

Data for the selected timbre

Timbre No.

1–3c 1–3d 1–3e

Page Menu

1–3A

1–3c: Hide OSC2

Speciﬁes whether or not oscillator 2 of each timbre 1–8 will be used. This parameter will only affect Double-oscillator programs. If this is

checked

If this is

, OSC2 will not sound.

un-checked

, the program will sound according to its own settings.

1–3d: Force Poly

Speciﬁes whether or not the Key Assign of each timbre 1–8 will be forced to polyphonic. This parameter will only affect Mono programs If this is

checked

If this is

, the program will be polyphonic.

un-checked

, the program will use its own Key Assign setting.

1–3e: Delay [ms] (Delay Time) [0…5000, KeyOff]

60

Speciﬁes a delay time between Note-on and when each timbre 1–8 will sound. If this is set to

KeyOff

, the timbre will sound at Note-off. At this time, if the Amp EG Sustain Level is other than 0 for the program being used, the sound will not disappear. Normally this is set to 0. This setting is useful for recreating certain nuances such as the sound of the keys being released on a harpsichord.

Page Menu Command

▼

1–3A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing a program or combination”.

Combination Edit P2

2–1: Pitch

Here you can make settings for pitch and scale.

2–1: Pitch

2–1a

Data for the selected timbre

Timbre No.

2–1b 2–1c 2–1d 2–1e

Page Menu

2–1A

2–1a: Scale

Selects the scale used by the combination.

Type (Scale Type) [Equal Temperament…All Range User Scale]

Selects the scale type. For details refer to Program Edit mode “1–1: Program Basic” (☞ page 5 in this manual).

Key (Scale Key) [C…B]

Speciﬁes the tonic of the selected scale.

Random [0…7]

Higher settings of this value will produce increasing irregularity in the pitch when a note is sounded. This is useful when you wish to simulate instruments that have natural instability in the pitch, such as analog synthesizers or acoustic instruments. Normally you will set this to 0.

2–1b: Use Program’s Scale

Speciﬁes the scale used by each timbre 1–8. If this is

checked

Program Basic” ( If this is

, each program will use its own scale as speciﬁed in Program Edit mode “1–1:

☞

un-checked

page 5 in this manual).

, the combination scale speciﬁed in “2–1a: Scale” will be used.

2–1c: Transpose [–24…+24]

Adjusts the pitch of timbres 1–8 in chromatic steps. A setting of 12 equals one octave. If “1–1d: Timbre Mode” is INT, the pitch sounded by the TRINITY will be affected. If “1–1d: Tim-

bre Mode” is EXT, the note number of the MIDI Note message that is transmitted will change. For example if two timbres set to EXT are given settings of +4 and +7, playing a C note on the keyboard will cause E and G (on the MIDI channels of each timbre) to simultaneously be transmitted in addition to C (on the Global MIDI channel).

2–1d: Detune [–99…+99]

Adjusts the pitch in steps of 1 cent from the normal pitch. With a setting of As this value is increased, the pitch will deviate from the normal pitch.

0

, the pitch will be normal.

61

2–1: Pitch

2–1e: Bend Range [PRG, –24…+24]

Speciﬁes the range (in chromatic steps) of the pitch change that will occur when the pitch bender is operated. With a setting of With a setting of of the program.

▼

Page Menu Command

2–1A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing a program or combination”.

PRG

, the pitch bend range speciﬁed by the program will be used.

–24

to

+24

, the pitch bend range will be as speciﬁed here, regardless of the setting

62

Combination Edit P3

Here you can make settings for the keyboard range in which each timbre will sound.

3–1: Key Zone

The Top/Bottom Key settings specify the keyboard range in which timbres 1–8 will sound, and the Top/Bottom Slope settings specify how the volume will change. The LCD will show a line to indicate the range in which each timbre will sound, and the area of the slope will be greyed.

If two or more timbres playing different sounds ar e set so that their ranges do not overlap, you can play different sounds from different ranges of the keyboard. (Key Split)

If you make settings so that the sounds overlap, a single key will produce more than one sound. If you make settings so that the slopes (the greyed portions) overlap, the sounds will overlap, and the mix of the sounds will change as you play across the keyboard. (Positional Crossfade) On the

TRINITY, TRINITY V3

C7, on the

TRINITY proX

TRINITY V3 pro, TRINITY pro

in the range of A0–C8 (when transpose etc. is not used).

These settings have no effect on MIDI transmission or reception.

It is not possible to set the Bottom Key above the Top Key within a single timbre. Nor is it possible to make settings that would cause the Top Slope and Bottom Slope to overlap.

and the

TRINITY plus

, you can specify areas in the range of C2–

in the range of E1–G7, and on the

TRINITY V3 proX

3–1: Key Zone

,

Timbre1 Key Zone display Timbre8

C–1~G9

Data for the selected timbre

Timbre No. 3–1a

3–1b 3–1c

Page Menu

3–1A

3–1a: Top Key [C–1…G9]

Speciﬁes the top key of the range in which timbres 1–8 will sound. The key setting can also be input from the keyboard.

3–1b: Top Slope [00…72]

Speciﬁes the key range (12 is one octave) over which the volume will reach the original volume from the Top Key. This is not effective for the timbres that use Bank M programs. With a setting of With a setting of Key will sound at the original volume. With a setting of Key will sound at the original volume.

0

, the Top Key will sound at the original (maximum) volume.

12

, the volume will gradually increase until the key one octave below the Top

60

, the volume will gradually increase until the key ﬁve octaves below the Top

3–1c: Bottom Slope [00…72]

Speciﬁes the key range (12 is one octave) over which the volume will reach the original volume from the Bottom Key. This is not effective for the timbres that use Bank M programs. With a setting of

0

, the Bottom Key will sound at the original (maximum) volume.

63

3–1: Key Zone

With a setting of 12, the volume will gradually increase until the key one octave above the Bottom Key will sound at the original volume. With a setting of

60

, the volume will gradually increase until the key ﬁve octaves above the Bot-

tom Key will sound at the original volume.

3–1d: Bottom Key [C–1…G9]

Speciﬁes the bottom key of the range in which timbres 1–8 will sound. The key setting can also be input from the keyboard.

Volume change as affected by keyboard position

Volume

Key

▼

Page Menu Command

Bottom

Bottom Key

Slope

Top

Slope

Top Key

3–1A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing a program or combination”.

64

3–2: Velocity Zone

Here you can set the Top/Bottom Velocity to specify the range of velocities at which each timbre 1–8 will sound, and set the Top/Bottom Slope to specify the range in which the volume will change. The LCD will show a line to indicate the range of velocities at which each timbre will sound, and the area of the slope will be greyed.

If two or more timbres playing different sounds are set so that their velocity ranges do not overlap, you can play different sounds with notes of different playing strengths. (Velocity Switch) If you make settings so that the ranges that sound will overlap, different sounds will be mixed (layered). In addition, if the slopes (the greyed portions) overlap, the sounds will overlap, and the volume balance of the sounds will change as you vary your playing strength. (Velocity Crossfade)

These settings have no effect on MIDI transmission or reception.

It is not possible to set the Bottom Velocity above the Top Velocity. Nor is it possible to make settings that would cause the Top Slope and Bottom Slope to overlap.

Velocity Zone display

Page Menu

3–2A

Timbre8

Data for the selected timbre

Timbre No. 3–2a 3–2b 3–2c 3–2d

Timbre1

3–2a: Top Velocity [1…127]

Speciﬁes the highest velocity value which will sound each timbre 1–8. The velocity can also be speciﬁed from the keyboard.

3–2b: Top Slope [0…120]

Speciﬁes the range of velocities over which the volume will reach the original volume from the Top Velocity. This is not effective for the timbres that use Bank M programs. With a setting of With a setting of

0

, the note will sound at the original volume for the top velocity.

120

, the volume will decrease as the Top Velocity is approached.

3–2c: Bottom Slope [0…120]

Speciﬁes the range of velocities over which the volume will reach the original volume from the Bottom Velocity. This is not effective for the timbres that use Bank M programs. With a setting of With a setting of

0

, the note will sound at the original volume.

120

, the volume will decrease as the Bottom Velocity is approached.

65

3–2: Velocity Zone

3–2d: Bottom Velocity [1…127]

Speciﬁes the lowest velocity value at which each timbre 1–8 will sound. The velocity can also be speciﬁed from the keyboard.

Volume change as affected by velocity

Volume

Top

Slope

Velocity

Top Velocity

▼

Page Menu Command

Bottom

Slope

Bottom Velocity

3–2A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing a program or combination”.

66

Combination Edit P4

4–1: Filter

Here you can make settings for the assignable switches 1 and 2 located on the front panel, and specify how MIDI messages transmitted and received by timbres 1–8 will be ﬁltered. Filter settings are made separately for each timbre, so even if two timbres are receiving the same MIDI channel, you can make settings so that (for example) pitch bend will apply to one timbre but not the other.

4–1: Filter

4–1a

Timbre No. 4–1b 4–1c 4–1d 4–1e

Page Menu

4–1A

4–1a: Panel Switch Assign

Specify the function of the front panel SW1 and 2 (assignable switches 1,2). When a combination is being used, the assignable panel switch assignments of each program are ignored, so you need to make settings here.

SW1 [JS (X) Lock…Modulation (CC#80)]

For details refer to Program Edit mode “1–1f: Panel Switch Assign” (☞ page 7 in this manual).

SW2 [JS (X) Lock…Modulation (CC#81)]

For details refer to Program Edit mode “1–1f: Panel Switch Assign” (☞ page 7 in this manual).

4–1b: Enable Program Change

This setting determines whether or not timbres 1–8 will transmit and receive MIDI Program Change messages.

If this is

checked

gram Change messages are received. When “1–1d: Timbre Mode” is EXT, Program Change messages will be transmitted on the MIDI channel of each timbre when you select a combination. If this is The MIDI Program Change message transmit/receive settings for the entire TRINITY ar e made in Global mode “2–1: Filter, Protect & Data Dump” (

, when “1–1d: Timbre Mode” is INT, programs will be selected when MIDI Pro-

un-checked

, MIDI Program Change messages will neither be transmitted nor received.

☞

page 136 in this manual).

4–1c: Enable Control Change

This setting determines whether or not timbres 1–8 will transmit and receive MIDI Control Change messages.

If this is

checked

control vibrato or volume etc. When “1–1d: Timbre Mode” is EXT, MIDI controller messages will be transmitted on that timbre’s MIDI channel when you operate the TRINITY’s controllers. If this is The MIDI controller message transmission and reception settings for the entire TRINITY ar e made in Global mode “2–1: Filter, Protect & Data Dump” (

, when “1–1d: Timbre Mode” is INT, MIDI controller messages will be r eceived to

un-checked

, MIDI controller messages will neither be transmitted nor received.

☞

page 136 in this manual).

67

4–1: Filter

4–1d: Enable Aftertouch

This setting determines whether or not timbres 1–8 will transmit and receive MIDI Aftertouch messages.

If this is

checked

1d: Timbre Mode” is EXT, MIDI Aftertouch messages will be transmitted on that timbre’s MIDI channel when you apply pressure to the TRINITY’s keyboard. If this is The MIDI Aftertouch message transmission and reception settings for the entire TRINITY are made in Global mode “2–1: Filter, Protect & Data Dump” (

, when “1–1d: Timbre Mode” is INT, MIDI Aftertouch will be received. When “1–

un-checked

, MIDI Aftertouch messages will neither be transmitted nor received.

☞

page 136 in this manual).

4–1e: Enable Sustain Pedal

This setting determines whether or not timbres 1–8 will transmit and receive MIDI Sustain (Damper Pedal) messages.

If this is checked, when “1–1d: Timbre Mode” is INT, MIDI Sustain messages will be received to control sustain. When “1–1d: Timbre Mode” is EXT, Sustain messages will be transmitted on that timbre’s MIDI channel when you operate the TRINITY’s damper pedal. If this is un-checked, MIDI Sustain messages will neither be transmitted nor received. The MIDI Sustain message transmission and reception settings for the entire TRINITY are included in the Control Change settings made in Global mode “2–1: Filter , Protect & Data Dump” (☞ page 136 in this manual).

▼ Page Menu Command

4–1A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing programs and combinations.”

68

7–1: Effect Grouping

Combination P7

In this page you can make insert effect settings for timbres 1 through 8.

7–1: Effect Grouping

Here you can specify effect grouping. The actual insert effects for each timbr e are speciﬁed in “7–2: Insert Effects” which follows.

When you specify insert effects in a combination, the total Effect Size for all timbres must be 8 or less. That is, if you wish to use a different insert effect for each timbre, all timbr es must be set to an effect size of 1.

It is possible to input the audio signal of a timbre into the insert effect speciﬁed for a different timbre. That is, the insert effect of a timbre can be used by two or more timbres; this is called the Grouping function.

We recommend that you make a group for each set of timbres that use similar insert effects, select a timbre to act as the source for the group, and make insert effects for each group. For details refer to the separate Effect Guide.

Timbre1

Effect Grouping display

Timbre8 Data for the

selected timbre Timbre No.

7–1a

Effect in use ( Effect Size1 Effect Size2 Effect Size4 for a timbre program that uses a drumkit)

Page Menu

7–1A

7–1a: FX Size [OFF, 1, 2, 4, 8, T–1…T–8]

Speciﬁes the Effect Size of the insert effect used by each timbre. For settings of 1, 2, 4 or 8, make insert effect settings in “7–2: Insert Effects”.

The timbres selected here will be affected by these settings, so ﬁrst select the timbres here, then specify the insert effects in “7–2: Insert Effects,” and ﬁnally set effect parameters in “7–3: Effect Parameter.” However the total for timbres 1–8 must be 8 or less. For example if two timbres are set to an Effect Size of 4, it will not be possible to make Effect Size settings for any other timbres. (It will not be possible to specify different insert effects for other timbres.) For settings of T–1 through T–8, you can group timbres with effects speciﬁed for another timbre. For example if you are using a ﬂanger on timbre 3, you could set the Effect Size of timbre 5 to T–3. This would mean that timbre 3 is the grouping source, and the audio signals of timbre 3 and timbre 5 would be input to the ﬂanger speciﬁed by timbre 3. This status is also displayed in the LCD.

Incoming MIDI control messages on a channel that matches the MIDI channel of a timbre will control the insert effect of that timbre. Thus if you wish to use incoming MIDI messages to control an insert effect, match the MIDI channel of the messages to the MIDI channel of the timbre. For details refer to Basic Guide page 64.

69

7–1: Effect Grouping

▼ Page Menu Command

7–1A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing programs and combinations”.

70

7–2: Insert Effects (Timbre 1–8 Effects)

In this page you can make insert effect settings.

Page Menu

7–2A

7–2a

7–2b

7–2B 7–2C

7–2a: Insert Effect Settings

Select the insert effect used by the timbre.

Size [0,1,2,4]

The size will determine the insert effects that can be selected. A setting of 0 is No Effect, and insert effects cannot be selected. For settings of 1–4, you can specify the insert effect in “Effect Select.” However the total size of [E1], [E2]… must be less than the value of “7–1a: FX Size.”

Effect On/Off [Off, On]

Turn the effect on/off. With a setting of Off, the effect will be bypassed. If an effect of Size 1 is selected, the dry sound will also be in mono. If you want the pan settings (Program Edit mode “1–2c: Pan”) of timbres being used in stereo to be valid, set “Size” to a setting other than 1.

Independently of this setting, a MIDI Effect 2 Control message (CC#92) can turn off the insert effects for all timbres. They will be turned off by a value of 0, and will be returned to the original setting by values of 1–127. The Global MIDI channel is used for these messages.

Effect Select

Select the insert effect. The effects that can be selected will depend on the “Size” setting. Parameter settings for the effects selected here are made in “7–3: T1 E1” through ”7–6: T1 E4". For details on each effect, refer to the separate Effect Guide.

7–2b: Pan/Width/Send 1, 2

Pan (Panpot) [L000…C064…R127]

Adjusts the pan after the effects.

Width [0…127]

Speciﬁes the left/right width of the sound that has passed through the effects. Higher settings will produce a wider left/right spread for the effects.

Send 1, 2 [0…100]

Sets the send level to the master effects.

71

7–2: Insert Effects (Timbre 1–8 Effects)

▼ Page Menu Command

7–2A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing a program or combination”.

7–2B: Copy Insert Effect

This command copies insert effect settings from a speciﬁed program, combination or song to the currently selected timbre.

7–2C: Swap Insert Effect

This command exchanges insert effect settings within this page.

72

7–3: T1 E1 (Timbre 1–8 Edit Insert Effect 1)

7–3: T1 E1 (Timbre 1–8 Edit Insert Effect 1) 7–4: T1 E2 (Timbre 1–8 Edit Insert Effect 2) 7–5: T1 E3 (Timbre 1–8 Edit Insert Effect 3) 7–6: T1 E4 (Timbre 1–8 Edit Insert Effect 4)

These pages will be displayed if insert effects are selected in “7–2a: Insert Effect Setting.” Here you can make settings for insert effect parameters. For details on effect parameters, refer to the separate Effect Guide.

Effect dynamic modulation occurs on the MIDI channels speciﬁed for each timbre.

Effect Name

Page Menu

7–3A

▼ Page Menu Command

7–3A: Write Combination

This command writes an edited combination into the speciﬁed combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing a program or combination”.

73

8–1: Master Effects

Combination Edit P8

8–1: Master Effects

In this page you can make settings for the master effects, and adjust the level of the audio signals that are output from the TRINITY’s output jacks (1/L/MONO, 2/R, 3, 4).

The Send 1, 2 parameters displayed at the left are the send levels speciﬁed in “7–1: Effect Grouping.” Pan L and Pan R are the pan settings speciﬁed in “7–1: Effect Grouping.”

However when “7–1a: FX Size” is OFF or if the total Size of the insert effects is 0, these will be the send levels and pan settings made in “1–2: Timb Param2” and in Combination Play mode “1–1: Combination Play” (☞ page 55 in this manual).

For details refer to the separate Effect Guide.

Page Menu

8–1A

8–1a

8–1b

8–1c

8–1B

8–1d

8–1a: Effect 1/Effect 2 Setting

Here you can make settings for Effect 1 ([Modulation]) and Effect 2 ([Reverb/Delay]). The check box in the left of the LCD determines how [Modulation] and [Reverb/Delay] will be connected.

If this is checked, [Modulation] and [Reverb/Delay] will be connected in series. The right output of [Modulation] will be sent to [Reverb/Delay].

Effect On/Off [OFF, ON]

Turns the master effects on/off. Independently of this setting, [Modulation] can be turned off by the MIDI message Effect 4 Con-

trol (CC#94), and [Reverb/Delay] can be turned off by Effect 5 Control (CC#95). In both cases, the effect will be turned off by a value of 0, and will be restored to its original settings by values of 1–

127. The Global MIDI channel is used for these messages.

Effect Select

Selects the master effects. For [Modulation] you can select a modulation–type effect and for [Reverb/Delay] you can select a reverb/delay-type effect. Settings for the effects you select here are made in “8–2: Edit E1” and “8–3: Edit E2.” For details on each effect, refer to the separate Effect Guide.

8–1b: Pan 1/2 [OFF, L…50:50…R]

Adjusts the pan of output jacks 3 and 4. With a setting of OFF, the sound will not be output to output jacks 3 and 4.

74

8–1c: Return 1/2 [0…127]

Adjusts the level of the audio signals sent from [Modulation] and [Reverb/Delay] to output jacks 1/L/MONO and 2/R. The audio signals from Pan L and R will be mixed with the [Modulation] and [Reverb/Delay] outputs adjusted by these Return 1 and 2 levels, and sent from output jacks 1/L/MONO and 2/R.

8–1: Master Effects

8–1d: Low/High Gain

Adjusts the tonal character of the audio signal that is output from output jacks 1/L/MONO and 2/R. The units are [dB].

Low Gain [–18.0…+18.0]

Adjusts the level of the low frequency range.

High Gain [–18.0…+18.0]

Adjusts the level of the high frequency range.

▼ Page Menu Command

8–1A: Write Combination

This command writes an edited combination into the currently selected combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing a program or combination”.

8–1B: Copy Master Effect

This command copies master effect settings from another program or combination into the master effects of the currently selected combination.

75

8–2: Edit E1 (Edit Master Effect 1 [Modulation])

8–2: Edit E1 (Edit Master Effect 1 [Modulation]) 8–3: Edit E2 (Edit Master Effect 2 [Reverb/Delay])

Here you can make parameter settings for the master effects. These pages will be displayed when you select a modulation-type or reverb/delay-type effect for [Modulation] and [Reverb/Delay] in “8–1a: Master Effect Setting”. For details on effect parameters, refer to the separate Effect Guide.

Effect dynamic modulation occurs on the Global MIDI channel.

Effect Name

Page Menu

8–2A

▼ Page Menu Command

8–2: Write Combination

This command writes an edited combination into the currently selected combination number. Be sure to write important combinations. If you turn the power off or select another combination before writing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9. Writing a program or combination”.

76

1–1: Track Play/Rec (Track 1–8)

5. Sequencer mode

In sequencer mode you can playback and record a song, and edit the recorded data. You can also record and edit patterns.

Sequencer P1

1–1: Track Play/Rec (Track 1–8) 1–2: Track Play/Rec (Track 9–16)

Here you can make basic settings for the entire song, and set the main parameters for each track. For the basic procedure of realtime recording, refer to Basic Guide page 43, “About recording”.

1–1a

1–1b 1–1c 1–1d 1–1e Track No. 1–1f 1–1g 1–1h 1–1i

1–1A

1–1B 1–1C 1–1D 1–1E

1–1a: Location [001:01.000…999:15.191]

Page Menu

This indicates the current location in the selected song, in units (from left to right) of measures, beats, and clocks. Y ou can modify this value to move the current location. The display will change during playback, and also in response to the [FF], [REW], and [RESET] keys located on the front panel.

This parameter will be displayed in pages “1–1: Track Play/Rec” to “1–7: Preference,” and can be set from any page.

Each time the location is changed, a Song Position Pointer message will be transmitted. This message can also be received by the TRINITY to change the location of its sequencer.

The range of beats and clocks will depend on the currently speciﬁed time signature.

1–1b: Song No. [00…19]

Selects the song that you wish to record or playback. When the power is turned on, song 0 will be displayed (other songs cannot be selected at ﬁrst—see below). You may record on wish.

When you select a new song, a dialog box will appear. If you wish to record that song, press the OK button to allocate memory for the song and initialize its settings.

When the power is turned on, the song memory will be empty . In or der to playback the sequencer, you must load data from a ﬂoppy disk, or transmit MIDI dump data from an external MIDI sequencer. For details refer to Basic Guide page 56, “9. Saving data”.

Each time you select a song, a Song Select message and a Song Position Pointer message will be transmitted. If there are tracks whose Track Status is set to EXT or BOTH, MIDI Bank Select, Program Change, V olume, and Panpot messages will also be transmitted simultaneously on the MIDI channels of those tracks.

song 0

if you

77

1–1: Track Play/Rec (Track 1–8)

When the TRINITY receives a Song Select message, it will change songs. The song number will be displayed in pages “1–1: Track Play/Rec” to “1–7: Preference,” and can

be changed from any page.

1–1c: Tempo

Tempo [40…240]

Sets the playback tempo of the song. If the Global mode “1–1d: MIDI Clock/System Clock” setting (

nal, the tempo will be displayed as a numerical value, and you can set it as desired. If the setting is External, the display will indicate EXT, and the playback tempo of the TRINITY’s sequencer will be synchronized to the MIDI Clock messages received from an external sequencer, etc.

Tempo settings will be affected by the Tempo Mode as explained in the following paragraph. The tempo is displayed in pages “1–1: T rack Play/Rec” through “1–7: Preference” and can be set from any of these pages.

If you select Tempo as an Alternate Modulation source,

Tempo Mode [Manual, Auto, Rec]

Manual:

above will determine the tempo.

Auto:

tempo cannot be adjusted by the Tempo setting described above.)

Rec:

This parameter can be selected after you press the [REC/WRITE] key. Changing the “Tempo” value during real-time recording will allow you to record tempo changes on the master track. (You can also use “5–1C: Event Edit” or “5–1L: Create Control Data” to record tempo changes.)

page 132 in this manual) is Inter-

☞

q

=120 will be the central value.

The tempo data of the master track will be ignored, and the Tempo setting described

The playback tempo will change according to the tempo data of the master track. (The

1–1d: Track [T01…T16, MTR]

Selects the recording destination track that will be used for single-track recording. This parameter will be displayed in pages “1–1: Track Play/Rec” through “1–7: Preference” and can be changed from any page.

When you play the keyboard or operate the controllers of the TRINITY, the internal tone generator will sound according to the settings (program, level, etc.) of the track you select here (if Track Status is INT or BOTH). Other tracks with a matching MIDI channel will also sound simultaneously (if Track Status is INT or BOTH). These messages will also be transmitted on the MIDI channel speciﬁed for that track.

For single-track realtime recording, the musical data will be recorded on the track you select here. For multi-track realtime recording, the “1–1i: PLAY/MUTE/REC” settings will determine for each track whether or not recording will take place, regardless of this setting. Select MTR (Master Track) to edit the master track in the “5–1: Track Edit“ page.

1–1e: Meter/Metronome/Resolution/Multi Rec/Remove Data

Meter (Time Signature) [**/**, 1/4…16/4, 1/8…16/8, 1/16…16/16]

Speciﬁes the time signature. This parameter will be displayed in pages “1–1: Track Play/Rec” through “1–7: Preference” and can be changed from any page.

The time signature can be speciﬁed for each measure, and the display will change according to the settings.

During recording, the time signature speciﬁed here will be recorded in the master track. If this is set to **/**, the time signature already recorded in those measures (the time signature speciﬁed when recording other tracks) will be used.

Normally you will set the time signature when recording the ﬁrst track, and set **/** when recor ding subsequent tracks. If you are recording a song that contains changes in time signature, ﬁrst use Event Edit (“5–1: Track Edit” page menu) to insert time signature data into the measure whose time signature you wish to change, and then record the musical data for each track.

78

Recording from measure 2 of track 2

when Meter = **/**

Track 1

Track 2

1 (4/4) 2 (3/4)

1 (4/4)

3 (4/4)

Recording

Track 1

Track 2

1–1: Track Play/Rec (Track 1–8)

when Meter =7/8

1 (4/4) 2 (3/4)

1 (4/4)

3 (4/4)

Recording

3 (4/4)

Track 1

Track 2

1 (4/4) 2 (3/4)

3 (4/4)

Track 1

Track 2

1 (4/4) 2 (7/8)

3 (7/8)

4 (7/8)

If changing the time signature of previously-recorded data causes extra space to appear in a measure, a rest will be inserted at the end of the measure. If changing the time signature causes a note to fall outside of a measure, that note will not be played. However the musical data is not erased, and if you change the time signature back to the previous setting, it will once again be played.

qqqq

˛

Rest is inserted

qqqq

Not played

Metronome [OFF, ON, REC]

OFF:

The metronome will not sound. However the pre-count when recording will sound.

ON:

The metronome will sound constantly.

REC:

The metronome will sound during recording, but not during playback.

Resolution (Realtime Quantize Resolution) [HI, r3 … q ]

Speciﬁes how timing will be corrected during realtime recording. With a setting of HI (High Resolution), timing will not be corrected. Data will be recorded at the maximum resolution ( With settings of a setting of

r3

, data will be moved to the nearest 32nd note triplet interval. With a setting of q, data

will be moved to the nearest quarter note.

q

/192).

r3

to q , data will be recorded at intervals of the speciﬁed timing. For example with

With a setting of e

eeeeeee e

e

e e e e e e e

Since all recorded data is moved to the speciﬁed timing interval, rough settings of resolution will mean that continuous controllers such as pitch bend will be recorded with a “stair-step” effect. (The timing of previously-recorded data is not affected.) T o avoid such problems, you can use a Resolution setting of HI for recording and then use “5–1N: Quantize” to adjust the timing only for the desired types of data (Note data, etc.). Alternatively, you can avoid using an excessively rough Resolution setting.

Multi Rec

If this is

checked

If you have selected Loop in “1–7h: Recording Setup”, this cannot be checked.

, Multi-track Recording mode will be selected.

79

1–1: Track Play/Rec (Track 1–8)

MIDI data of two or more different MIDI channels will be received and recorded simultaneously on separate tracks. In this case, MIDI data of each channel will be recorded on the track of the matching channel whose “1–1i: T rack PLAY/MUTE/REC” setting is REC, regardless of the “1–1d: Track” settings.

Use this mode when you are playing back an external multi-track sequencer and wish to record all the MIDI data in one pass. In this case, we recommend that you set the Global mode “1–1d: MIDI Clock/System Clock” setting (

☞

changes in tempo will not be recorded. If you set the Global “1–1d: MIDI Clock” to Internal, synchronization will not take place; the data will be recorded “blindly,” meaning that changes in tempo will be preserved but that the r ecor ded data will not be aligned with measures or time signatures, and will therefore be difﬁcult to edit later.

If this is Recording will take place on the track selected by “1–1d: Track.” Use this mode when you wish to

record by playing the keyboard and controllers of the TRINITY.

Remove Data

This will be displayed if Loop is selected in “1–7h: Recording Setup.” If this is

recording, you can press notes on the keyboard that you wish to erase, and the speciﬁed note(s) will be erased from the data that plays back while you hold down the note(s). In a similar way, pitch bend data can be erased while you move the joystick in the X (horizontal) direction, or aftertouch data can be erased while you apply pressure to the keyboard.

page 132 in this manual) to External, and synchronize to the external sequencer. However,

un-checked

checked

, Single-track Recording mode will be selected.

, undesired musical data can be erased from a track. For example during loop

1–1f: Bank/Program [A000…M063]

Selects the program used by each track. If the MOSS-TRI option is installed, you can select programs 0–63 from bank M. In addition, if the Playback Sampler/Flash ROM option is installed, you can select programs 64–127 from bank M and programs 0–127 from banks C and D.

Bank M programs can be used only by a single track.

The programs you specify here will be selected when playback is started. By inserting Bank Select or Program Change messages in the playback data, you can switch programs during a song.

If “2–1d: Track Status” is EXT or BOTH, the program you specify here will be transmitted as a Bank Select and Program Change message when you select the song or when you reset to the beginning of the song. Also, if the setting is INT or BOTH, program selection will be affected by the Program Change messages that are received.

1–1g: Pan [OFF, L000…C064…R127, PRG]

Speciﬁes the pan setting (stereo location) of each track.

OFF

With a setting of have the same pan setting as that of C064.) With a setting of Pan messages (CC#10) in the musical data. In this case, the panning of already-sounding notes will not be affected, but will take effect from the next note that is played. If this is set to

If “2–1d: Track Status” is EXT or BOTH, the pan setting you specify here will be transmitted as a Panpot message (CC#10) when you select the song or when you reset to the beginning of the song. If the setting is INT or BOTH, these messages can also be received to set the pan location.

, there will be no output of the direct dry signal. (Programs in Bank M will

L000–C064–R127

PRG

, the pan settings of the program used by that track will apply.

, you can change the pan setting during the song by inserting

80

1–1: Track Play/Rec (Track 1–8)

1–1h: Volume [0…127]

Sets the volume of each track. If “2–1d: Track Status” is EXT or BOTH, the volume setting you specify here will be transmitted as

a Volume message (CC#7) when you select the song or when you reset to the beginning of the song.

The MIDI Volume messages (CC#7) used to modify this setting are for adjusting the volume balance between tracks at the beginning of the song, and should not be used in the main body of the song data. If you wish to modify the volume during the song, use the Expression message (CC#11). In other words, Volume messages (CC#7) should appear in a track only at the beginning of the song (to set the starting volume). Subsequent changes in volume (during playback) should be made using Expression messages (CC#11). On the

TRINITY series

ume (CC#7) and Expression (CC#11) values.

, the volume of the tone generator is determined by the product of the Vol-

1–1i: Track PLAY/MUTE/REC [PLAY, MUTE, REC]

This setting allows each track to be temporarily muted, or used for multi-track recording. During playback and Single Track recording, you can select either PLAY or MUTE. During multi-track recording, you can select either PLAY, MUTE, or REC. For details on recording procedure, refer to Basic Guide page 43, “About recording”.

PLAY:

If the track contains musical data, it will playback during playback or recording.

MUTE:

The track will not playback during playback or recording.

REC:

Recording will take place on the track.

Page Menu Command

▼

1–1A: Memory Status

This command displays the remaining amount of sequencer memory.

1–1B: Delete Song

This command deletes the currently selected song. When this command is executed, the musical data, settings, and patterns of the currently selected song will be erased, and the memory area that had been occupied by the song will be freed.

When this command is executed, the dialog box shown at

1

right will appear. To execute the Delete Song command, press the

2

ton

. To cancel without executing, press

Cancel

OK but-

.

1–1C: Copy From Song

This command copies all setting data and musical data from a speciﬁed song to the currently selected song. When this command is executed, all setting data and musical data of the current song will be erased, and overwritten by the data of the copy source. Before executing, be sure that you are not overwriting important data.

1

When this command is executed, the dialog box shown at right will appear.

2

Specify the copy source song number.

3

To execute the Copy Song command, press the

ton

. To cancel without executing, press

Cancel

OK but-

.

81

1–1: Track Play/Rec (Track 1–8)

1–1D: Copy From Combination

This command copies the parameters from the speciﬁed combination to the setting data of the currently selected song. When this command is executed, the setting data of the currently selected song will be erased, and overwritten by the setting data of the combination. Before executing, be sure that you are not overwriting important data.

1

When this command is executed, the dialog box shown at right will appear.

2

Specify the bank number of the copy source combination.

3

Specify the number of the copy source combination.

4

Select the copy destination track.

5

To execute the Copy From Combination command, press the

cel

The Timbre Mode will be copied as the Track Status, so if you copy a combination that includes a timbre whose Timbre Mode is EXT, that track will transmit its data via MIDI each time it is selected or played back.

Combination settings that use bank M cannot be copied to both tracks 1–8 and tracks 9–16.

1–1E: Select By Category

This command allows you to select programs for a track using the categories speciﬁed in Program Edit mode. For details refer to Basic Guide page 26, “11. Selecting by category.”

OK button

.

. To cancel without executing, press

Can-

82

1–3: Mixer (Track 1–8)

1–3: Mixer (Track 1–8) 1–4: Mixer (Track 9–16)

In these pages you can make basic settings for the entire song, and specify how each track will be played and output.

Page Menu

Refer to “1–1: Track Play/

Rec” Track No.

1–3f

1–3g 1–3h

1–3i

1–3f: Send 1 [0…127, PRG]

Speciﬁes the Send 1 level of each track.

PRG

With a setting of With a setting of data, allowing the setting to be modiﬁed during the song. In this case, the output of the notes already sounding will not change, but the new setting will apply from the next-played note.

If “2–1d: Track Status” is EXT or BOTH, the send levels you specify here (except when PRG is selected) will be transmitted as Effect 3 Control messages (CC#93) whenever the song is selected or reset to the beginning. If the setting is INT or BOTH, Effect 3 Control messages (CC#93) can be received to change the send levels.

, the Send 1 level setting of the program used by each track will be used.

0–127

, an Effect 3 Control message (CC#93) will be inserted into the playback

1–3A

1–3B 1–3C 1–3D

1–3g: Send 2 [0…127, PRG]

Speciﬁes the Send 2 level of each track.

PRG

With a setting of With a setting of

, the Send 2 level setting of the program used by each track will be used.

0–127

, an Effect 1 Control message (CC#91) will be inserted into the playback data, allowing the setting to be modiﬁed during the song. In this case, the output of the notes already sounding will not change, but the new setting will apply from the next-played note.

If “2–1d: Track Status” is EXT or BOTH, the send levels you specify here (except when PRG is selected) will be transmitted as Effect 1 Control messages (CC#91) whenever the song is selected or reset to the beginning. If the setting is INT or BOTH, Effect 1 Control messages (CC#91) can be received to change the send levels.

1–3h: Hide OSC2

This setting is available only for tracks which are using a program that is set to double mode (using two oscillators). If this setting is gle mode.)

checked

, only oscillator 1 will sound. (i.e., the program will temporarily be in sin-

83

1–3: Mixer (Track 1–8)

1–3i: Force Poly

▼

This setting is available only for tracks which are using a program that is set to mono mode (which plays only single notes). If this setting is be set to polyphonic.) Mono mode settings are made in Program Edit mode “1–1d: Assign/Hold” ( ual).

checked

, the program will play polyphonically. (i.e., the program will temporarily

☞

page 6 in this man-

Page Menu Command

1–3A: Memory Status

This command displays the remaining amount of sequencer memory.

1–3B: Delete Song

This command deletes the currently selected song. When this command is executed, the musical data, settings, and patterns of the currently selected song will be erased, and the memory area that had been occupied by the song will be freed. For details refer to “1–1B: Delete Song.”

1–3C: Copy From Song

This command copies all setting data and musical data from a speciﬁed song to the currently selected song. When this command is executed, all setting data and musical data of the current song will be erased, and overwritten by the data of the copy source. Before executing, be sure that you are not overwriting important data. For details refer to “1–1C: Copy From Song.”

1–3D: Copy From Combination

This command copies the parameters from the speciﬁed combination to the setting data of the currently selected song. When this command is executed, the setting data of the currently selected song will be erased, and overwritten by the setting data of the combination. Before executing, be sure that you are not overwriting important data. For details refer to “1–1D: Copy From Combination.”

84

1–5: for Audio Track

1–5: for Audio Track 1–6: for Audio Track

Here you can record audio to the hard disk recorder, and control the audio signal that was recorded. This is available on For details on recording using the hard disk recorder, refer to the separate manual for the

TRI

.

TRINITY series

models in which the HDR-TRI option is installed.

HDR-

85

1–7: Preference

Here you can make basic settings that affect the entire song, and settings relating to sequencer operation. For more information on settings that affect the entire song, refer to “1–1: Track Play/ Rec.”

Page Menu

Refer to “1–1: Track Play/ Rec”

1–7f

1–7g

1–7h

1–7i

1–7f: Metronome

Metronome settings.

Precount [0…2]

Speciﬁes the number of count-in measures that the metronome will sound before recording begins. With a setting of

0

, recording will begin immediately when you press the [PLAY] key.

1–7A

1–7B 1–7C 1–7D

Output [L, L+R, R, Send1, Send1+2, Send2]

Speciﬁes the output for the metronome sound. With a setting of L, the metronome sound will be output from the 1/L/MONO output jack. With a setting of

L+R

, it will be output from the 1/L/MONO and the 2/R jacks. With a setting of R, it will be output from the 2/R jack. With a setting of

Send1, Send1+2

, or

Send2

, it will be output to the master effects, so if you do not

want effects to be applied to the metronome sound, turn off the effect in “8–1: Master Effect.”

Level [0…99]

Sets the volume of the metronome.

1–7g: Next Song

Speciﬁes whether or not another song will be selected and played back automatically when the currently selected song ﬁnishes playback.

Chain To Song

Speciﬁes whether another song will be selected when the current song ﬁnishes playback. If this is

checked

, the speciﬁed song will be selected after the current song ﬁnishes playback.

If you want playback to continue automatically with the next song, check the Continue box. If the Continue box is un-checked, the next song will be ready to playback, but will not start playback automatically.

Song [S00…S19]

Selects the song that will playback after the currently selected song.

Continue

Speciﬁes whether playback will continue automatically with the next selected song. If this box is In this case if the Chain To Song box is also checked, the next speciﬁed song will be selected and played back automatically. If the Chain To Song box is un-checked, it will not be played back automatically.

checked

, playback will continue automatically.

86

1–7: Preference

1–7h: Recording Setup

Use the radio buttons to select one of the ﬁve methods of realtime recording. For the procedur e of each method, refer to Basic Guide page 43, “About recording”.

Overwrite

Newly recorded musical data will be written over previously recorded data. Data existing in the measures at and following the location where you begin recording will be erased, so make sure that you are not erasing important data. Normally you will use this mode of recording.

Overdub

Newly recorded musical data will be added to the previously recorded data. Data existing in the measures at and following the location where you begin recording will not be erased, but will be combined with the newly recorded data.

Auto Punch In

When a previously-recorded track contains an area of measures that you wish to re-record, use this method to re-record only the speciﬁed measures.

M (Measure) [1…999]

Speciﬁes the starting and ending measures of the area in which auto punch recording will take place.

Manual Punch In

This is similar to Auto Punch In, in that it allows you to re-recor d an ar ea in a pr eviously-recor ded track. However, you must manually specify (by pressing the [REC] button or a pedal switch) the area in which new recording takes place as you listen to the playback.

Loop

This method allows you to repeatedly play back a speciﬁed area of a previously-recorded track, adding or erasing musical data while you listen to the accumulation of previous recording passes. As with Overdub recording, keyboard and controller operations will be added to the previously recorded data.

If you check the Remove Data box in “1–1e: Meter/Metronome/Resolution/Multi Rec/Remove Data,” you can erase speciﬁed musical data in the area. If Multi Rec is checked, this parameter can not be selected.

M (measure) [1…999]

Speciﬁes the starting and ending measures of the area in which loop recording will take place.

1–7i: FF/REW Speed

This setting determines the speed of the fast-forward and reverse that occurs when you press the [FF] or [REW] keys.

Speed [x2, x3, x4]

Speciﬁes the speed at which fast-forward and reverse will occur relative to the playback tempo. A setting of x2 is twice the playback speed, speed. However if the playback data is dense, the fast-forward and rewind speeds may be slower.

Ignore Tempo

If this is

checked

rewind will be done at the maximum speed. The fast-forward and rewind speeds will differ for areas with dense data and areas with sparse data. If this is ting.

, the playback tempo and note length etc. will be ignored, and fast-forward and

un-checked

, fast-forward and rewind will occur at the speed speciﬁed by the Speed set-

x3

is three times, and

x4

is four times the playback

87

1–7: Preference

▼

Page Menu Command

1–7A: Memory Status

This command displays the remaining amount of sequencer memory.

1–7B: Delete Song

This command deletes the currently selected song. When this command is executed, the musical data, settings, and patterns of the currently selected song will be erased, and the memory area that had been occupied by the song will be freed. For details refer to “1–1B: Delete Song.”

1–7C: Copy From Song

This command copies all setting data and musical data from a speciﬁed song to the currently selected song. When this command is executed, all setting data and musical data of the currently selected song will be erased, and overwritten by the data of the copy source. Before executing, be sure that you are not overwriting important data. For details refer to “1–1C: Copy From Song.”

1–7D: Copy From Combination

This command copies the parameters from the speciﬁed combination to the setting data of the currently selected song. When this command is executed, the setting data of the currently selected song will be erased, and overwritten by the setting data of the combination. Before executing, be sure that you are not overwriting important data. For details refer to “1–1D: Copy From Combination.”

88

2–1: Track Parameter (Track 1–8)

Sequencer P2

2–1: Track Parameter (Track 1–8) 2–2: Track Parameter (Track 9–16)

Here you can make settings for the song name, scale, and the MIDI channel of each track.

2–1a 2–1b

Information for the selected track

Track No. 2–1c 2–1d 2–1e

Page Menu

2–1A

2–1B 2–1C 2–1D

2–1a: Song Name

Assigns a name to the song. When you press the text edit button, the song name display will appear (☞ Basic Guide, page 6). This parameter is also displayed in “2–2: T rack Parameter,” and can be edited fr om either display.

The song name you assign here will be displayed in page 1 (“1–1: Track Play/Rec” to “1–7: Preference”) and page 5 (“5–1: Track Edit” and “5–2: Track Name”). The song name will be the ﬁlename used when the song data is saved to disk as a Standard MIDI File.

The ﬁlename can be modiﬁed at the time of saving, but by default it will be the ﬁrst 8 characters of the song name. Characters that can be used in a ﬁlename are uppercase letters, numbers, and the underline character “_”, so if the song name contains lowercase letters they will be converted to uppercase, and symbols other than the underline character will be converted to the underline character. Be aware that the ﬁlename will use three characters following a period “.” as the ﬁlename extension.

2–1b: Scale

Settings for the scale used by the song. The scale actually used by each track can be either the scale you specify here, or the scale used by the program assigned to each track. The settings in “2–3c: Use Program’s Scale” specify whether tracks 1–8 will use their program’s scale or the scale you specify here. The settings in “2–3c: Use Program’s Scale” specify whether tracks 9–16 will use their program’s scale or the scale you specify here. This parameter will also be displayed in “2–2: Track Parameter” and can be changed from either location.

Type (Scale Type) [Equal Temperament…All Range User Scale]

For details refer to Program Edit mode “1–1: Program Basic” (☞ page 5 in this manual).

Key (Scale Key) [C…B]

Speciﬁes the tonic key of the selected scale.

89

2–1: Track Parameter (Track 1–8)

Random [0…7]

Higher settings of this value will produce increasing irregularity in the pitch when a note is sounded. This is useful when you wish to simulate instruments that have natural instability in the pitch, such as analog synthesizers or acoustic instruments. Normally you will set this to 0.

2–1c: Track Status [INT, EXT, BOTH]

This setting determines how tracks will operate. When a sequence is playing back, this setting determines whether the musical data in each track will play the internal tone generator of the TRINITY, or will play an external tone generator.

INT: Musical data recorded in the track will play the internal tone generator, and MIDI messages will not be transmitted to external devices. If you select a track that is set to INT and operate the keyboard and controllers of the TRINITY, that data will control only the internal tone generator and will not be transmitted via MIDI.

EXT: Musical data recorded in the track will be sent via MIDI, and will not play the internal tone generator. If you select a track that is set to EXT and operate the keyboard and controllers of the TRINITY, the corresponding MIDI data will be transmitted, but the internal tone generator will not sound. When you select songs or reset to the beginning of the song, tracks which are set to EXT will transmit Program, Volume (CC#7) and Pan (CC#10) messages.

BOTH: The operations of INT as well as EXT will occur. (The internal tone generator will sound.) Data recorded on the track will sound the internal tone generator, and simultaneously be transmitted via MIDI. If you select a track that is set to BOTH and operate the keyboard and controllers of the TRINITY, the internal tone generator will sound, and the corresponding messages will simultaneously be transmitted via MIDI.

MIDI messages are transmitted and received on the MIDI channel speciﬁed for each track in “2– 1d: MIDI Channel.” When MIDI messages are received from an external device, messages on the same MIDI channels as the MIDI channels of tracks set to EXT will not be sounded.

Status

INT

EXT

BOTH

Recorded data Operations on the TRINITY

Internal tone

generator

MIDI OUT

Received data

Internal tone

generator

MIDI OUT

— — —

: Active : Inactive

90

2–1d: MIDI Channel [1…16]

Speciﬁes the MIDI channel on which the track will transmit and receive musical data. The MIDI channel speciﬁed here will be the Receive channel if “2–1c: Track Status” is INT, the Transmit channel if the Track Status is EXT, and the Transmit and Receive channel if the Track Status is BOTH.

Tracks which are set to INT and have the same MIDI channel will be played by the same musical data (i.e., the same note and controller messages will play two or more tracks). Even if the note data and the controller data are recorded in separate tracks, the notes will be affected by the controller data if the MIDI channels are the same for the two tracks.

2–1e: Delay [0…99]

Speciﬁes the time delay before the internal tone generator will sound after the keyboard is played, the sequencer plays back a note-on event, or a note-on message is received. Normally you will leave this set to 0. This setting is valid if “2–1c: Track Status” is INT or BOTH.

2–1: Track Parameter (Track 1–8)

▼ Page Menu Command

2–1A: Memory Status

This command displays the remaining amount of free sequencer memory.

2–1B: Delete Song

This command deletes the currently selected song. When this command is executed, the musical data, settings, and patterns of the currently selected song will be erased, and the memory area that had been occupied by the song will be freed. For details refer to “1–1B: Delete Song.”

2–1C: Copy From Song

This command copies all setting data and musical data from a speciﬁed song to the currently selected song. When this command is executed, all setting data and musical data of the currently selected song will be erased, and overwritten by the data of the copy source. Before executing, be sure that you are not overwriting important data. For details refer to “1–1C: Copy From Song.”

2–1D: Copy From Combination

This command copies the parameters from the speciﬁed combination to the setting data of the currently selected song. When this command is executed, the setting data of the currently selected song will be erased, and overwritten by the setting data of the combination. Before executing, be sure that you are not overwriting important data. For details refer to “1–1D: Copy From Combination.”

91

2–3: Pitch (Track 1–8)

2–3: Pitch (Track 1–8) 2–4: Pitch (Track 9–16)

Here you can specify the song name, the scale, and the pitch of each track. For details on the song name and scale, refer to “2–1: Track Parameter” (☞ page 89 in this manual).

Refer to “2–1: Track Parameter”

Information for the selected track

Track No.

2–3c 2–3d 2–3e 2–3f

Page Menu

2–3A

2–3B 2–3C 2–3D

2–3c: Use Program’s Scale

This setting determines the scale used by each track. If this is checked, the scale speciﬁed in Program Edit mode “1–1e: Scale” (☞ page 6 in this manual) will be used. If this is un-checked, the scale speciﬁed for the song in “2–1b: Scale” will be used.

2–3d: Transpose [–24…+24]

Adjusts the pitch of each track in semitone steps. This setting has no effect on the MIDI note data that is transmitted.

This setting will change if a MIDI RPN Coarse Tune message is received.

2–3e: Detune [–99…+99]

92

Adjusts the pitch of each track in steps of one cent. This setting has no effect on the MIDI note data that is transmitted.

This setting will change if a MIDI RPN Fine Tune message is received.

2–3f: Bend Range [PRG, –24…+24]

Speciﬁes the range of pitch change (in semitone steps) that will occur in response to pitch bend messages. With positive (+) settings, the pitch will rise when the joystick is moved to the right, and will fall when the joystick is moved to the left. With negative (–) settings, the opposite will occur.

With a setting of PRG, the pitch bend range will be determined by the setting of Program Edit mode “2–1: OSC1 Pitch Mod” and “2–3: OSC2 Pitch Mod” (☞ page 12, 20 in this manual); i.e., the setting of the program used by that track. With a setting of other than PRG, pitch bend messages will affect the pitch within the speciﬁed range. This setting will change if a MIDI RPN Pitch Bend Range message is received.

Korg Trinity, Trinity V3 Pro, Trinity Plus, Trinity ProX, Trinity Pro Parameter Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

1. Program Play mode

Program Play P1

1–1: Program Play

1–1: Prog Basic (Program Basic)

2. Program Edit mode

Program Edit P1

1–2: OSC Basic (Oscillator Basic)

2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation)

Program Edit P2

2–2: OSC1 LFO (Oscillator 1 LFO)

2–4: OSC2 LFO (Oscillator 2 LFO)

2–5: OSC EG (Oscillator Envelope Generator)

3–1: Filter 1 A/B (Filter 1A/Filter 1B)

Program Edit P3

3–2: Filter 1 Mod (Filter 1 Modulation)

3–3: Filter 2 A/B (Filter 2A/Filter 2B)

3–4: Filter 2 Mod (Filter 2 Modulation)

4–1: Filter 1 EG

Program Edit P4

4–2: Filter 1 LFO

4–3: Filter 2 EG

4–4: Filter 2 LFO

5–1: Amp 1 Mod (Amplifier 1 Modulation)

Program Edit P5

5–2: Amp 1 EG (Amplifier 1 EG)

5–3: Amp 2 Mod (Amplifier 2 Modulation)

7–1: Insert Effects

Program Edit P7

7–2: Edit E1 (Edit Insert Effect 1)

8–1: Master Effects

Program Edit P8

8–2: Edit E1 (Edit Master Effect 1 [Modulation])

1–1: Combination Play

3. Combination Play mode

Combination Play P1

1–1: Timb Param1 (Timbre Parameter 1)

4. Combination Edit mode

Combination Edit P1

1–2: Timb Param2 (Timbre Parameter 2)

1–3: Timb Param3 (Timbre Parameter 3)

Combination Edit P2

2–1: Pitch

Combination Edit P3

3–1: Key Zone

3–2: Velocity Zone

Combination Edit P4

4–1: Filter

7–1: Effect Grouping

Combination P7

7–2: Insert Effects (Timbre 1–8 Effects)

7–3: T1 E1 (Timbre 1–8 Edit Insert Effect 1)

8–1: Master Effects

Combination Edit P8

8–2: Edit E1 (Edit Master Effect 1 [Modulation])

1–1: Track Play/Rec (Track 1–8)

5. Sequencer mode

Sequencer P1

1–3: Mixer (Track 1–8)

1–5: for Audio Track

1–5: for Audio Track 1–6: for Audio Track

1–7: Preference

2–1: Track Parameter (Track 1–8)

Sequencer P2

2–3: Pitch (Track 1–8)