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

...

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.

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.

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.

Table of Contents

1. Program Play mode

Program Play P1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

1–1: Program Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

2. Program Edit mode

Program Edit P1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

1–1: Prog Basic (Program Basic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

1–2: OSC Basic (Oscillator Basic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Program Edit P2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation). . . . . . . . . . . . . . . . . . . . . . . .12

2–2: OSC1 LFO (Oscillator 1 LFO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

2–3: OSC2 Pitch Mod (Oscillator 2 Pitch Modulation) . . . . . . . . . . . . . . . . . . . . . .20

2–4: OSC2 LFO (Oscillator 2 LFO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

2–5: OSC EG (Oscillator Envelope Generator) . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Program Edit P3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

3–1: Filter 1 A/B (Filter 1A/Filter 1B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

3–2: Filter 1 Mod (Filter 1 Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

3–3: Filter 2 A/B (Filter 2A/Filter 2B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

3–4: Filter 2 Mod (Filter 2 Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Program Edit P4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

4–1: Filter 1 EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

4–2: Filter 1 LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

4–3: Filter 2 EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

4–4: Filter 2 LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Program Edit P5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

5–1: Amp 1 Mod (Amplifier 1 Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

5–2: Amp 1 EG (Amplifier 1 EG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

5–3: Amp 2 Mod (Amplifier 2 Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

5–4: Amp 2 EG (Amplifier 2 EG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Program Edit P7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

7–1: Insert Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

7–2: Edit E1 (Edit Insert Effect 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

7–3: Edit E2 (Edit Insert Effect 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

7–4: Edit E3 (Edit Insert Effect 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

7–5: Edit E4 (Edit Insert Effect 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Program Edit P8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

8–1: Master Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

8–2: Edit E1 (Edit Master Effect 1 [Modulation]) . . . . . . . . . . . . . . . . . . . . . . . . . . .53

8–3: Edit E2 (Edit Master Effect 2 [Reverb/Delay]). . . . . . . . . . . . . . . . . . . . . . . . .53

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

3. Combination Play mode

Combination Play P1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

1–1: Combination Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

4. Combination Edit mode

Combination Edit P1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

1–1: Timb Param1 (Timbre Parameter 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

1–2: Timb Param2 (Timbre Parameter 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

1–3: Timb Param3 (Timbre Parameter 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Combination Edit P2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

2–1: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Combination Edit P3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

3–1: Key Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

3–2: Velocity Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Combination Edit P4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

4–1: Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Combination P7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Table of Contents

7–1: Effect Grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

7–2: Insert Effects (Timbre 1–8 Effects) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

7–3: T1 E1 (Timbre 1–8 Edit Insert Effect 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

7–4: T1 E2 (Timbre 1–8 Edit Insert Effect 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

7–5: T1 E3 (Timbre 1–8 Edit Insert Effect 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

7–6: T1 E4 (Timbre 1–8 Edit Insert Effect 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Combination Edit P8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

8–1: Master Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

8–2: Edit E1 (Edit Master Effect 1 [Modulation]). . . . . . . . . . . . . . . . . . . . . . . . . . .76

8–3: Edit E2 (Edit Master Effect 2 [Reverb/Delay]). . . . . . . . . . . . . . . . . . . . . . . . .76

5. Sequencer mode

Sequencer P1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

1–1: Track Play/Rec (Track 1–8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

1–2: Track Play/Rec (Track 9–16) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

1–3: Mixer (Track 1–8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

1–4: Mixer (Track 9–16) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

1–5: for Audio Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

1–6: for Audio Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

1–7: Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

Sequencer P2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

2–1: Track Parameter (Track 1–8). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

2–2: Track Parameter (Track 9–16). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

2–3: Pitch (Track 1–8). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

2–4: Pitch (Track 9–16). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

Sequencer P3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

3–1: Key Zone (Track 1–8). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

3–2: Key Zone (Track 9–16). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

3–3: Velocity Zone (Track 1–8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96

3–4: Velocity Zone (Track 9–16) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96

Sequencer P4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

4–1: Filter (Track 1–8). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

4–2: Filter (Track 9–16). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Sequencer P5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

5–1: Track Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

5–2: Track Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114

Sequencer P6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

6–1: Pattern Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

6–2: Pattern Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120

Sequencer P7. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122

7–1: Effect Grouping (Track 1–8) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122

7–2: Effect Grouping (Track 9–16) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122

7–3: Insert Effects (Track 1–16 Effects) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123

7–4: T1 E1 (Track 1–16 Edit Insert Effect 1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

7–5: T1 E2 (Track 1–16 Edit Insert Effect 2). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

7–6: T1 E3 (Track 1–16 Edit Insert Effect 3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

7–7: T1 E4 (Track 1–16 Edit Insert Effect 4). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

Sequencer P8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

8–1: Master Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

8–2: Edit E1 (Edit Master Effect 1 [Modulation]). . . . . . . . . . . . . . . . . . . . . . . . . .128

8–3: Edit E2 (Edit Master Effect 2 [Reverb/Delay]). . . . . . . . . . . . . . . . . . . . . . . .128

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

6. Global mode

Global P1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

1–1: Global Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Global P2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

2–1: Filter, Protect & Data Dump. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Global P3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

3–1: User Scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

Global P4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Table of Contents

4–1: Category Program A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

4–2: Category Program B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

4–3: Category Combination A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

4–4: Category Combination B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142

Global P5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

5–1: Drumkit (Drumkit Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143

7. Disk mode

Files, directories, and icons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

1–1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

1–2: Save. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

1–3: Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155

8. Appendix

About Alternate Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

About Alternate Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

Alternate Modulation settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158

Examples of using Alternate Modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158

About Dynamic Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159

Various messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160

MIDI Implementation Chart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164

MIDI Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165

Using MIDI exclusive messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

Specifications and options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

Options (sold separately). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

vii

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: 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

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

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.”

1–1: Program Play

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.”

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

1–1: Prog Basic (Program Basic)

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

☞

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.

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-

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.

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.”

, 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'.

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.

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.

. 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

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

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.

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.

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

, 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

–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.

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.

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

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.

2–1C: Swap Oscillator

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

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

LFO waveforms

180

270

180

Triangle wave

Sawtooth wave

Rectangle

Sine

Guitar

Random Random Random Random Random Random

180

Square wave

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

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.

2–2: OSC1 LFO (Oscillator 1 LFO)

▼ Page Menu Command

2–2A: Write Program

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.

2–2C: Swap Oscillator

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

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.”

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

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.

+ 164 hidden pages

Korg Trinity, Trinity V3 Pro, Trinity Series, Trinity Plus, Trinity ProX 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)