Korg Triton Parameter Guide

▼ 5–1: Page Menu Command

0–1A

5–1A

5–1A: Swap LFO 1&2

1 2 3

☞ p. ■ , ☞■

■

About this manual

This “Parameter Guide” contains explanations and other information regarding the operations of the parameters and settings on the TRITON proX, TRITON pro, and TRITON. The explanations are organized by mode, page, and tab. Explanations and other information on the effects and their parameters are also provided for each effect. Refer to this guide when an unfamiliar parameter appears in the display, or when you need to know more about a particular function.

Conventions in this manual

References to the TRITON proX, TRITON pro, and TRITON

The TRITON proX, TRITON pro, and TRITON are collectively referred to in this manual as the TRITON.

Switches and knobs [ ]

References to the switches, dials, and knobs on the TRITON’s panel are enclosed in square brackets [ ]. References

buttons or tabs indicate objects in the LCD display

to screen.

Parameters in the LCD display screen “ “

Parameters displayed in the LCD screen are enclosed in double quotation marks “ “.

Boldface type

Parameter values are printed in boldface type. Content that is of particular importance is also printed in boldface type.

Procedure steps

Steps in a procedure are listed as

...

–

These indicate pages or parameter numbers to which you can refer.

Link

–

Link indicates a linked parameter on a different page that

has the same name or an abbreviated name.

–

indicates

the parameter numbers.

Symbols , , , , ,

These symbols respectively indicate cautions, advice, MIDIrelated explanations, a parameter that can be selected as an alternate modulation source, a parameter that can be selected as a dynamic modulation source, and a parameter that can use the BPM/MIDI Sync function.

Example screen displays

The values of the parameters shown in the example screens of this manual are only for explanatory purposes, and may not necessary match the values that appear in the LCD screen of your instrument.

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages,

brackets [ ]

always indicate hexadecimal numbers.

numbers in square

How to read the “Parameter Guide”

(example)

Mode name

Page No.

Tab No.

Tab name (1)

Parameter number

Parameter name

Program P5: Edit-Common LFO

Here you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter, and Amp of oscillators 1 and 2. There are two LFO units for each oscillator. By setting the LFO1 or LFO2 Intensity to a negative (–) value for Pitch, Filter, or Amp, you can invert the LFO waveform.

5–1: OSC1 LFO1 ( )

Make settings for the “OSC1 LFO1,” which is the first LFO that can be used for oscillator 1.

5–1a

5–1b

5–1c

5–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vector)]

Select the LFO waveform.

Page menu command

Tab name (2)

5–1

Range of possible parameter values

Page menu command No.

Page menu command name

This command exchanges the settings of LFO1 and 2. If LFO2 has been selected as Frequency Modulation AMS1 or 2 of LFO1, that setting will be cancelled for LFO2 after the LFO1 and 2 settings have been exchanged. If this is selected from the OSC1 LFO1 or OSC1 LFO2 tab, the LFO1 and LFO2 of OSC1 will be exchanged.

1 Select this command to open the dialog box. 2 Press the OK button.

5–2: OSC1 LFO2

Here you can make settings for the OSC1 LFO2, which is the second LFO that can be applied to oscillator 1. (☞“5–1: OSC1 LFO1”) However in “Frequency Modulation” (5–1b), the LFO cannot be selected as a modulation source in “AMS1” or “AMS2.”

5–3: OSC2 LFO1

This can be used when “Oscillator Mode” (1–1a) is set to

Double.

Here you can make settings for the OSC2 LFO1, which is the first LFO that can be applied to oscillator 2. (☞“5–1: OSC1 LFO1”)

iii

Table of Contents

1. Program mode . . . . . . . . . . . . . . . . 1

Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

0–1: Perf. Edit (Performance Edit) . . . . . . . . . . . . . . .1

0–2: Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Program P1: Edit – Basic . . . . . . . . . . . . . . . . . . . . . . . . . .4

1–1: Program Basic. . . . . . . . . . . . . . . . . . . . . . . . . . . .4

1–2: OSC Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

1–3: Velo. Zone (Velocity Zone). . . . . . . . . . . . . . . . .7

1–4: Controller (Controller Setup) . . . . . . . . . . . . . . .8

Program P2: Edit – Pitch . . . . . . . . . . . . . . . . . . . . . . . . . .8

2–1: OSC1 P.Mod (OSC1 Pitch Mod.) . . . . . . . . . . . .8

2–2: OSC2 P.Mod (OSC2 Pitch Mod.) . . . . . . . . . . .10

2–3: Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . .10

Program P3: Edit – Filter . . . . . . . . . . . . . . . . . . . . . . . . .12

3–1: Filter1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

3–2: Filter1 Mod.. . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

3–3: Filter1 lfo Mod (Filter1 LFO Mod.) . . . . . . . . .14

3–4: Filter1 EG . . . . . . . . . . . . . . . . . . . . . . . . .15

3–5: Filter2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

3–6: Filter2 Mod.. . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

3–7: Filter2 lfo Mod (Filter1 LFO Mod.) . . . . . . . . .16

3–8: Filter2 EG . . . . . . . . . . . . . . . . . . . . . . . . .16

Program P4: Edit -Amp . . . . . . . . . . . . . . . . . . . . . . . . . .17

4–1: Amp1 Lvl/Pan (Amp1 Level/Pan). . . . . . . . .17

4–2: Amp1 Mod.. . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

4–3: Amp1 EG . . . . . . . . . . . . . . . . . . . . . . . . .18

4–4: Amp2 Lvl/Pan (Amp1 Level/Pan). . . . . . . . .20

4–5: Amp2 Mod.. . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

4–6: Amp2 EG . . . . . . . . . . . . . . . . . . . . . . . . .20

Program P5: Edit-Common LFO . . . . . . . . . . . . . . . . . .20

5–1: OSC1 LFO1 . . . . . . . . . . . . . . . . . . . . . . .20

5–2: OSC1 LFO2 . . . . . . . . . . . . . . . . . . . . . . .21

5–3: OSC2 LFO1 . . . . . . . . . . . . . . . . . . . . . . .21

5–4: OSC2 LFO2 . . . . . . . . . . . . . . . . . . . . . . .22

Program P7: Edit-Arpeggiator . . . . . . . . . . . . . . . . . . . .22

7–1: Arpeg. Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . .22

7–2: Scan Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Program P8: Edit-Insert Effect . . . . . . . . . . . . . . . . . . . . 24

8–1: Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

8–2: Insert FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

8–3: IFX 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

8–4: IFX 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

8–5: IFX 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

8–6: IFX 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

8–7: IFX 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Program P9: Edit-Master Effect . . . . . . . . . . . . . . . . . . .27

9–1: Master FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

9–2: MFX 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

9–3: MFX 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

9–4: Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

2. Combination mode . . . . . . . . . . . . .29

Combination P0: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

0–1: Prog. Select (Program Select). . . . . . . . . . . . . . 29

0–2: Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

0–3: Arpegg. A (Arpeggio Play A) . . . . . . . . . . . . . 32

0–4: Arpegg. B (Arpeggio Play B). . . . . . . . . . . . . . 32

Combination P1: Edit–Program/Mixer . . . . . . . . . . . . 32

1–1: Program/Mixer . . . . . . . . . . . . . . . . . . . . . . . . . 32

Combination P2: Edit–Trk Param . . . . . . . . . . . . . . . . . 33

2–1: MIDI Channel (MIDI Ch). . . . . . . . . . . . . . . . . 33

2–2: OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

2–3: Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

2–4: Other . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Combination P3: Edit-MIDI Filter. . . . . . . . . . . . . . . . . 35

3–1: MIDI 1 (MIDI Filter –1) . . . . . . . . . . . . . . . . . . 35

3–2: MIDI 2 (MIDI Filter –2) . . . . . . . . . . . . . . . . . . 36

3–3: MIDI 3 (MIDI Filter –3) . . . . . . . . . . . . . . . . . . 36

3–4: MIDI 4 (MIDI Filter –4) . . . . . . . . . . . . . . . . . . 36

Combination P4: Edit-Zone/Ctrl . . . . . . . . . . . . . . . . . 37

4–1: Key Z (Key Zone) . . . . . . . . . . . . . . . . . . . . . . . 37

4–2: Vel Z (Vel Zone) . . . . . . . . . . . . . . . . . . . . . . . . 37

4–3: MOSS Setup (MOSS). . . . . . . . . . . . . . . . . . . . . 38

4–4: Controller (Control) . . . . . . . . . . . . . . . . . . . . . 38

Combination P7: Edit-Arp . . . . . . . . . . . . . . . . . . . . . . . 39

7–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

7–2: Arpegg. A (Arpeggiator A) . . . . . . . . . . . . . . . 40

7–3: Arpegg. B (Arpeggiator B). . . . . . . . . . . . . . . . 40

7–4: Scan Zone (Scan Zone A/B) . . . . . . . . . . . . . . 40

Combination P8: Edit-Insert FX. . . . . . . . . . . . . . . . . . . 41

8–1: Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

8–2: Insert Fx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

8–3: IFX 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

8–4: IFX 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

8–5: IFX 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

8–6: IFX 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

8–7: IFX 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Combination P9: Edit-Master FX . . . . . . . . . . . . . . . . . 43

9–1: Master FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

9–2: MFX 1 (Master Effect1). . . . . . . . . . . . . . . . . . . 43

9–3: MFX 2 (Master Effect2). . . . . . . . . . . . . . . . . . . 43

9–4: Master EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

3. Sequencer mode . . . . . . . . . . . . . . .45

Sequencer P0: Play/Rec . . . . . . . . . . . . . . . . . . . . . . . . . 45

0–1: Prog. 1–8 (Program T01–08). . . . . . . . . . . . . . . 45

0–2: Prog. 9–16 (Program T09–16). . . . . . . . . . . . . . 45

0–3: Mixer 1–8 (Mixer T01–08) . . . . . . . . . . . . . . . . 49

0–4: Mixer 9–16 (Mixer T09–16) . . . . . . . . . . . . . . . 49

0–5: PlyLoop 1–8 (PlayLoop T01–08) . . . . . . . . . . . 49

0–6: PlyLoop 9–16 (PlayLoop T09–16) . . . . . . . . . . 49

0–7: Preference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Sequencer P1: Cue List . . . . . . . . . . . . . . . . . . . . . . . . . . 51

1–1: Cue List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Sequencer P2: Trk Param . . . . . . . . . . . . . . . . . . . . . . . . 55

2–1: MIDI Ch 1–8 (MIDI Ch T01–08) . . . . . . . . . . . 55

2–2: MIDI Ch 9–16 (MIDI Ch T09–16) . . . . . . . . . . 55

2–3: OSC 1–8 (OSC T01–08) . . . . . . . . . . . . . . . . . . . 55

2–4: OSC 9–16 (OSC T09–16) . . . . . . . . . . . . . . . . . .55

2–5: Pitch 1–8 (Pitch T01–08) . . . . . . . . . . . . . . . . . .56

2–6: Pitch 9–16 (Pitch T09–16) . . . . . . . . . . . . . . . . .56

2–7: Other 1–8 (Other T01–08) . . . . . . . . . . . . . . . . .56

2–8: Other 9–16 (Other T09–16) . . . . . . . . . . . . . . . .56

Sequencer P3: MIDI Filter . . . . . . . . . . . . . . . . . . . . . . . .57

3–1: MIDI 1 1–8 (MIDI Filter –1 T01–08). . . . . . . . .57

3–2: MIDI 1 9–16 (MIDI Filter –1 T09–16). . . . . . . .57

3–3: MIDI 2 1–8 (MIDI Filter –2 T01–08). . . . . . . . .58

3–4: MIDI 2 9–16 (MIDI Filter –2 T09–16). . . . . . . .58

3–5: MIDI 3 1–8 (MIDI Filter –3 T01–08). . . . . . . . .58

3–6: MIDI 3 9–16 (MIDI Filter –3 T09–16). . . . . . . .58

3–7: MIDI 4 1–08 (MIDI Filter –4 T01–08). . . . . . . .58

3–8: MIDI 4 9–16 (MIDI Filter –4 T09–16). . . . . . . .58

Sequencer P4: Zone/Ctrl. . . . . . . . . . . . . . . . . . . . . . . . .59

4–1: Key Z 1–8 (Key Zone T01–08) . . . . . . . . . . . . .59

4–2: Key Z 9–16 (Key Zone T09–16) . . . . . . . . . . . .59

4–3: Vel Z 1–8 (Vel Zone T01–08). . . . . . . . . . . . . . .60

4–4: Vel Z 9–16 (Vel Zone T09–16). . . . . . . . . . . . . .60

4–5: MOSS 1–8 (MOSS T01–08) . . . . . . . . . . . . . . . .60

4–6: MOSS 9–16 (MOSS T09–16) . . . . . . . . . . . . . . .60

4–7: Controller (Controller Setup) . . . . . . . . . . . . . .60

Sequencer P5: Track Edit. . . . . . . . . . . . . . . . . . . . . . . . .61

5–1: Track Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

5–2: Track Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Sequencer P6: Pattern/RPPR . . . . . . . . . . . . . . . . . . . . .68

6–1: Pattern Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

6–2: Pattern Name . . . . . . . . . . . . . . . . . . . . . . . . . . .71

6–3: RPPR Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Sequencer P7: Arpeggiator . . . . . . . . . . . . . . . . . . . . . . .73

7–1: Setup 1–8 (Setup T01–08) . . . . . . . . . . . . . . . . .73

7–2: Setup 9–16 (Setup T09–16) . . . . . . . . . . . . . . . .73

7–3: Arpegg. A (Arpeggiator A) . . . . . . . . . . . . . . .74

7–4: Arpegg. B (Arpeggiator B) . . . . . . . . . . . . . . . .74

7–5: Scan Zone (Scan Zone A/B) . . . . . . . . . . . . . . .74

Sequencer P8: Insert Effect . . . . . . . . . . . . . . . . . . . . . . .75

8–1: Routing 1–8 (Routing T01–08) . . . . . . . . . . . . .75

8–2: Routing 9–16 (Routing T09–16) . . . . . . . . . . . .75

8–3: Insert FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

8–4: IFX 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

8–5: IFX 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

8–6: IFX 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

8–7: IFX 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

8–8: IFX 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

Sequencer P9: Master Effect . . . . . . . . . . . . . . . . . . . . . .77

9–1: Master FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

9–2: MFX 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

9–3: MFX 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

9–4: Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

4. Sampling mode . . . . . . . . . . . . . . . 79

Sampling P0: Recording . . . . . . . . . . . . . . . . . . . . . . . . .79

0–1: Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

0–2: Input/Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

0–3: Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

0–4: Memory Status . . . . . . . . . . . . . . . . . . . . . . . . . .87

Sampling P1: Sample Edit . . . . . . . . . . . . . . . . . . . . . . . 88

1–1: Sample Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Sampling P2: Loop Edit . . . . . . . . . . . . . . . . . . . . . . . . . 94

2–1: Loop Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Sampling P3: Multisample . . . . . . . . . . . . . . . . . . . . . . . 96

3–1: Multisample . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

3–2: Preference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Sampling P4: Controller Setup . . . . . . . . . . . . . . . . . . . 98

4–1: Controller Setup . . . . . . . . . . . . . . . . . . . . . . . . 98

Sampling P8: Insert Effect . . . . . . . . . . . . . . . . . . . . . . . 99

8–1: Insert FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

8–2: IFX 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

8–3: IFX 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

8–4: IFX 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

8–6: IFX 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

8–5: IFX 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

5. Song Play mode . . . . . . . . . . . . . .101

Song Play P0: Program/Mix . . . . . . . . . . . . . . . . . . . . 101

0–1: Prog. 1–8 (Program T01–08). . . . . . . . . . . . . . 101

0–2: Prog. 9–16 (Program T09–16). . . . . . . . . . . . . 101

0–3: Mixer 1–8 (Mixer T01–08) . . . . . . . . . . . . . . . 103

0–4: Mixer 9–16 (Mixer T09–16) . . . . . . . . . . . . . . 103

0–5: Preference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Song Play P1: Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

1–1: Status 1–8 (Status/Scale T01–08) . . . . . . . . . 104

1–2: Status 9–16 (Status/Scale T09–16) . . . . . . . . 104

1–3: MOSS 1–8 (MOSS Setup T01–08) . . . . . . . . . 104

1–4: MOSS 9–16 (MOSS Setup T09–16) . . . . . . . . 104

Song Play P2: Controller Setup . . . . . . . . . . . . . . . . . . 105

2–1: Controller Setup (Preference) . . . . . . . . . . . . 105

Song Play P3: Select Directory/Jukebox . . . . . . . . . . 106

3–1: Select Directory . . . . . . . . . . . . . . . . . . . . . . . . 106

3–1: Jukebox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Song Play P7: Arpeggiator . . . . . . . . . . . . . . . . . . . . . . 107

7–1: Setup 1–8 (Setup T01–08) . . . . . . . . . . . . . . . . 107

7–2: Setup 9–16 (Setup T09–16) . . . . . . . . . . . . . . . 107

7–3: Arpegg. A (Arpeggiator A) . . . . . . . . . . . . . . 108

7–4: Arpegg. B (Arpeggiator B). . . . . . . . . . . . . . . 108

7–5: Scan Zone (Scan Zone A/B) . . . . . . . . . . . . . 108

Song Play P8: Insert Effect . . . . . . . . . . . . . . . . . . . . . . 109

8–1: Routing 1–8 (Routing T01–08). . . . . . . . . . . . 109

8–2: Routing 9–16 (Routing T09–16). . . . . . . . . . . 109

8–3: Insert FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

8–4: IFX 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

8–5: IFX 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

8–6: IFX 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

8–7: IFX 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

8–8: IFX 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Song Play P9: Master Effect . . . . . . . . . . . . . . . . . . . . . 111

9–1: Master FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

9–2: MFX1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

9–3: MFX2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

9–4: Master EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

6. Global mode . . . . . . . . . . . . . . . . 113

Global P0: Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . .113

0–1: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

0–2: System Pref. (System Preference) . . . . . . . . .115

0–3: Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Global P1: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

1–1: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

Global P2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . .121

2–1: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121

Global P3: User Scale . . . . . . . . . . . . . . . . . . . . . . . . . . .121

3–1: User Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121

Global P4: Category Name . . . . . . . . . . . . . . . . . . . . . .122

4–1: Program Cat.. . . . . . . . . . . . . . . . . . . . . . . . . . .122

4–2: Comb Cat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122

Global P5: Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . .123

5–1: Sample Setup . . . . . . . . . . . . . . . . . . . . . . . . . .123

5–2: Voice/Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . .125

Global P6: User Arpeggio . . . . . . . . . . . . . . . . . . . . . . .126

6–1: Pattern Setup . . . . . . . . . . . . . . . . . . . . . . . . . .126

6–2: Pattern Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

7. Disk mode. . . . . . . . . . . . . . . . . . 131

Files, directories, and icons. . . . . . . . . . . . . . . . . . .131

0–1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

0–2: Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139

0–3: Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

0–4: Media Info (Media Information) . . . . . . . . . . . . .143

8. Effect Guide. . . . . . . . . . . . . . . . . 145

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

Insert Effects (IFX 1, 2, 3, 4, 5). . . . . . . . . . . . . . . . . . . .146

Master Effects (MFX1, 2) . . . . . . . . . . . . . . . . . . . . . . . .150

Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Individual Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

Filter/Dynamic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155

Filter and dynamics control effects . . . . . . . . . . . .155

000: No Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155

001: St. Amp Simulation

(Stereo Amp Simulation) . . . . . . . . . . . . . . . .155

002: Stereo Compressor. . . . . . . . . . . . . . . . . . . . . .155

003: Stereo Limiter . . . . . . . . . . . . . . . . . . . . . . . . . .155

004: Multiband Limiter . . . . . . . . . . . . . . . . . . . . . .156

005: Stereo Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

006: OD/Hi.Gain Wah

(Overdrive/Hi.Gain Wah) . . . . . . . . . . . . . . .157

007: St. Parametric 4EQ

(Stereo Parametric 4-Band EQ) . . . . . . . . . . .158

008: St. Graphic 7EQ

(Stereo Graphic 7 Band EQ) . . . . . . . . . . . . . .159

009: St. Wah/Auto Wah

(Stereo Wah/Auto Wah) . . . . . . . . . . . . . . . .159

010: St. Random Filter

(Stereo Random Filter) . . . . . . . . . . . . . . . . . .160

011: St. Exciter/Enhncr

(Stereo Exciter/Enhancer) . . . . . . . . . . . . . . .161

012: St. Sub Oscillator

(Stereo Sub Oscillator). . . . . . . . . . . . . . . . . . .161

013: Talking Modulator . . . . . . . . . . . . . . . . . . . . . 162

014: Stereo Decimator . . . . . . . . . . . . . . . . . . . . . . . 163

015: St. Analog Record

(Stereo Analog Record) . . . . . . . . . . . . . . . . . 163

Pitch/Phase Mod. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Pitch/phase modulation effects . . . . . . . . . . . . . . 164

016: Stereo Chorus. . . . . . . . . . . . . . . . . . . . . . . . . . 164

017: St. Harmonic Chorus

(Stereo Harmonic Chorus). . . . . . . . . . . . . . . 164

018: Multitap Cho/Delay

(Multitap Chorus/Delay) . . . . . . . . . . . . . . . 165

019: Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

020: Stereo Flanger . . . . . . . . . . . . . . . . . . . . . . . . . 166

021: St. Random Flanger

(Stereo Random Flanger) . . . . . . . . . . . . . . . . 166

022: St. Env. Flanger

(Stereo Envelope Flanger) . . . . . . . . . . . . . . . 167

023: Stereo Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . 167

024: St. Random Phaser

(Stereo Random Phaser). . . . . . . . . . . . . . . . . 168

025: St. Env. Phaser

(Stereo Envelope Phaser) . . . . . . . . . . . . . . . . 168

026: St. Biphase Mod.

(Stereo Biphase Modulation). . . . . . . . . . . . . 169

027: Stereo Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . 169

028: St. Auto Fade Mod.

(Stereo Auto Fade Modulation) . . . . . . . . . . 170

029: 2Voice Resonator. . . . . . . . . . . . . . . . . . . . . . . 170

030: Doppler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

031: Scratch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Mod./P.Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Other modulation and pitch shift effects. . . . . . . 173

032: Stereo Tremolo. . . . . . . . . . . . . . . . . . . . . . . . . 173

033: St. Env. Tremolo

(Stereo Envelope Tremolo) . . . . . . . . . . . . . . 173

034: Stereo Auto Pan. . . . . . . . . . . . . . . . . . . . . . . . 174

035: St. Phaser + Trml

(Stereo Phaser + Tremolo) . . . . . . . . . . . . . . . 174

036: St. Ring Modulator

(Stereo Ring Modulator) . . . . . . . . . . . . . . . . 175

037: Detune. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

038: Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

039: Pitch Shift Mod.

(Pitch Shift Modulation). . . . . . . . . . . . . . . . . 177

040: Rotary Speaker . . . . . . . . . . . . . . . . . . . . . . . . 177

ER/Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Early reflection and delay effects . . . . . . . . . . . . . 178

041: Early Reflections . . . . . . . . . . . . . . . . . . . . . . . 178

042: Auto Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . 179

043: L/C/R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . 179

044: Stereo/Cross Delay. . . . . . . . . . . . . . . . . . . . . 180

045: St. Multitap Delay

(Stereo Multitap Delay) . . . . . . . . . . . . . . . . . 180

046: St. Modulation Delay

(Stereo Modulation Delay) . . . . . . . . . . . . . . 181

047: St. Dynamic Delay

(Stereo Dynamic Delay) . . . . . . . . . . . . . . . . . 181

048: St. Auto Panning Dly

(Stereo Auto Panning Delay). . . . . . . . . . . . . 182

049: L/C/R BPM Delay . . . . . . . . . . . . . . . . . . . . . 182

050: St. BPM Delay (Stereo BPM Delay) . . . . . . . .183

051: Sequence Delay . . . . . . . . . . . . . . . . . . . . . . . .183

Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

Reverb effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

052: Reverb Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

053: Reverb SmoothHall . . . . . . . . . . . . . . . . . . . . .184

054: Reverb Wet Plate . . . . . . . . . . . . . . . . . . . . . . .184

055: Reverb Dry Plate . . . . . . . . . . . . . . . . . . . . . . .184

056: Reverb Room . . . . . . . . . . . . . . . . . . . . . . . . . .185

057: Reverb BrightRoom . . . . . . . . . . . . . . . . . . . . .185

Mono – Mono Chain . . . . . . . . . . . . . . . . . . . . . . . . . . .185

Effects that combine two mono effects connected in

series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185

058: P4EQ – Exciter

(Parametric 4-Band EQ – Exciter) . . . . . . . . .185

059: P4EQ – Wah

(Parametric 4-Band EQ – Wah/Auto Wah).186

060: P4EQ – Cho/Flng

(Parametric 4-Band EQ – Chorus/Flanger) .186

061: P4EQ – Phaser

(Parametric 4-Band EQ – Phaser) . . . . . . . . .187

062: P4EQ – Mt. Delay

(Parametric 4-Band EQ – Multitap Delay) . .187

063: Comp – Wah

(Compressor – Wah/Auto Wah). . . . . . . . . .188

064: Comp – Amp Sim

(Compressor – Amp Simulation) . . . . . . . . .188

065: Comp – OD/HiGain

(Compressor – Overdrive/Hi.Gain) . . . . . . .188

066: Comp – Param4EQ

(Compressor – Parametric 4-Band EQ) . . . .189

067: Comp – Cho/Flng

(Compressor – Chorus/Flanger). . . . . . . . . .189

068: Comp – Phaser

(Compressor – Phaser) . . . . . . . . . . . . . . . . . .190

069: Comp – Mt. Delay

(Compressor – Multitap Delay). . . . . . . . . . .190

070: Limiter – P4EQ

(Limiter – Parametric 4-Band EQ). . . . . . . . .191

071: Limiter – Cho/Flng

(Limiter – Chorus/Flanger) . . . . . . . . . . . . . .191

072: Limiter – Phaser . . . . . . . . . . . . . . . . . . . . . . . .192

073: Limiter – Mt. Delay

(Limiter – Multitap Delay) . . . . . . . . . . . . . . .192

074: Exciter – Comp (Exciter – Compressor) . . . .193

075: Exciter – Limiter . . . . . . . . . . . . . . . . . . . . . . . .193

076: Exciter – Cho/Flng

(Exciter – Chorus/Flanger) . . . . . . . . . . . . . .193

077: Exciter – Phaser . . . . . . . . . . . . . . . . . . . . . . . .194

078: Exciter – Mt. Delay

(Exciter – Multitap Delay) . . . . . . . . . . . . . . .194

079: OD/HG – Amp Sim

(Overdrive/Hi.Gain – Amp Simulation) . . .195 080: OD/HG – Cho/Flng

(Overdrive/Hi.Gain – Chorus/Flanger) . . .195 081: OD/HG – Phaser

(Overdrive/Hi.Gain – Phaser). . . . . . . . . . . .196

082: OD/HG – Mt. Delay

(Overdrive/Hi.Gain – Multitap Delay) . . . .196

083: Wah – Amp Sim

(Wah/Auto Wah – Amp Simulation) . . . . . 197

084: Decimator – Amp

(Decimator – Amp Simulation). . . . . . . . . . . 197

085: Decimator – Comp

(Decimator – Compressor). . . . . . . . . . . . . . . 197

086: Amp Sim – Tremolo

(Amp Simulation – Tremolo) . . . . . . . . . . . . 198

087: Cho/Flng – Mt. Dly

(Chorus/Flanger – Multitap Delay). . . . . . . 198

088: Phaser – Cho/Flng

(Phaser – Chorus/Flanger) . . . . . . . . . . . . . . 199

089: Reverb – Gate. . . . . . . . . . . . . . . . . . . . . . . . . . 199

Double Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Double-size effects (Available for Insert Effects

IFX2, 3, and 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

090: Piano Body/Damper

(Piano Body/Damper Simulation) . . . . . . . . 200

091: St. Mltband Limiter

(Stereo Multiband Limiter) . . . . . . . . . . . . . . 200

092: OD/HyperGain Wah

(Overdrive/Hyper Gain Wah) . . . . . . . . . . . 200

093: Vocoder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

094: Multitap Cho/Delay

(Multitap Chorus/Delay) . . . . . . . . . . . . . . . 202

095: St. Pitch Shifter (Stereo Pitch Shifter) . . . . . . 202

096: Rotary Speaker OD

(Rotary Speaker Overdrive) . . . . . . . . . . . . . 203

097: Early Reflections . . . . . . . . . . . . . . . . . . . . . . . 204

098: L/C/R Long Delay . . . . . . . . . . . . . . . . . . . . . 204

099: St/Cross Long Dly

(Stereo/Cross Long Delay) . . . . . . . . . . . . . . 204

100: LCR BPM Long Dly

(L/C/R BPM Long Delay). . . . . . . . . . . . . . . 205

101: St. BPM Long Delay

(Stereo BPM Long Delay) . . . . . . . . . . . . . . . 205

102: Hold Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Master EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

9. Appendices. . . . . . . . . . . . . . . . . .209

Alternate Modulation Source (AMS) . . . . . . . . . . . . . 209

About Alternate Modulation. . . . . . . . . . . . . . . . . 209

About Alternate Modulation Sources . . . . . . . . . 209

AMS (Alternate Modulation Source) List . . . . . . 210

Alternate Modulation settings . . . . . . . . . . . . . . . 212

The effect of alternate modulation on various

parameters, and example applications . . . . . . . . 212

Dynamic Modulation Source (Dmod) . . . . . . . . . . . . 214

Dynamic Modulation Source List. . . . . . . . . . . . . 215

About the BPM/MIDI SYNC function . . . . . . . . 216

SW1/2 Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

SW1, SW2 Assign List. . . . . . . . . . . . . . . . . . . . . . . 217

Knob 1...4 B-Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Realtime Control Knobs B–Assign List . . . . . . . . 218

Foot Switch Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Foot Switch Assign List . . . . . . . . . . . . . . . . . . . . . 219

Foot Pedal Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Foot Pedal Assign List . . . . . . . . . . . . . . . . . . . . . . 220

vii

MIDI transmission/reception when the TRITON’s

controllers are operated. . . . . . . . . . . . . . . . . . . . . . . . .221

TRITON operations when control changes are

transmitted/received. . . . . . . . . . . . . . . . . . . . . . . . . . .223

Disk mode information . . . . . . . . . . . . . . . . . . . . . . . . .226

Chunks that are supported. . . . . . . . . . . . . . . . . . .226

About KORG format files . . . . . . . . . . . . . . . . . . . .226

Various messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229

TRITON-SERIES MIDI IMPLEMENTATION . . . . . .234

Option boards/memory . . . . . . . . . . . . . . . . . . . . . . . .237

About option boards and memory . . . . . . . . . . . .237

Please note when installing an option

board/memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . .238

Checking after installation . . . . . . . . . . . . . . . . . . .238

Caution when purchasing DRAM SIMM

modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238

Option board/memory installation

procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244

viii

* Company names, product names, and names of formats etc.

are the trademarks or registered trademarks of their respective owners.

→

A , B , C , D

☞

1. Program mode

Program P0: Play

In this display page you can select and play programs.

All MIDI data in Program P0: Play is transmitted and received on the Global MIDI Channel “MIDI Channel” (Global P1: 1–1a).

0–1: Perf. Edit

0–1a

0–1c

0–1d

0–1a: Bank, 10’s Hold, Category, Program Number

Bank (Bank Select) [Bank A...F, G, g(1)...g(9), g(d)]

This is the program bank display. Use the front panel BANK [A]–[G] keys to select the bank. Bank G will cycle as follows each time you press the BANK [G] key. G

g(1) → g(2) → g(3) → g(4) → g(5) → g(6) → g(7) → g(8) → g(9) →

g(d) → G

Bank F can be selected if you have installed the sepa-

rately sold EXB-MOSS option. When installed, the 128 special EXB-MOSS programs will be available.

The TRITON series provides rewritable banks and

, each containing 128 programs (total 640). As nonrewritable program areas, it provides banks grams for GM2), banks bank

g(d) (drums).

provided in the separate booklet

(Performance Edit)

0–1

0–1b

(capital pro-

g(1)–g(9) (variation programs), and

A list of the factory-set programs is

Voice Name List .

Category [00...15: name]

This is the program category display. You can select programs by category. Press the popup button, and the “Category/Program Select” menu will appear.

Category/Program Select menu:

The programs of all banks can be organized using up to 16 categories. Use the tabs located at left and right to select a category, and the programs in the speciﬁed category will appear. Press the

button

to cancel your selection. The category for each program can be speciﬁed in the “Write Program” (0–1A) dialog box.

OK button to execute, or press the Cancel

Program Number: name

[(A…F)0…127: name, (G…g(d))1…128: name]

This is the number and name of the program. Here you can select the desired program. When this parameter is selected, you can select programs using the front panel numeric keys [0]–[9], [VALUE] dial, or [ ] [ ] keys. When you press the popup button, the “Bank/Program Select” menu will appear. This displays programs by bank, and allows you to select a program. For details on other ways to select programs such as using a foot switch or by using MIDI program change messages from an external MIDI device, refer to p125, 114 in the

Guide

Bank/Program Select menu:

Basic

Program

P1 P2 P3 P4 P5 P7 P8 P9

A, B for preset programs

C, D (for preset programs, and EXB-PCM series programs)

E (for user programs such as programs that use multi-

samples from Sampling mode)

F (for EXB-MOSS programs)

G GM2 capital bank

g(1)–g(9) GM2 variation banks

g(d) GM2 drums bank

10’s Hold

When you press the front panel [./10’s HOLD] key, the display will indicate , and the ten’s place of the program number will be ﬁxed. By pressing a numeric key [0]–[9], you can change the one’s place in one keystroke. Use the [ ] and [ ] keys to change the 10’s place. To exit, press the [./10’s HOLD] key once again.

All programs are grouped and displayed by their bank. When you use the tabs at left and right to select a bank, the programs in the selected bank will appear. Press the

button

to execute, or press the Cancel button to cancel your selection.

0–1b: (Tempo) [040...240, EXT]

This sets the tempo of the arpeggiator (Link: “Arpeggio Tempo



” 7–1a). The tempo can also be adjusted by the front panel ARPEGGIATOR [TEMPO] knob. A display of indicates that the “MIDI Clock” setting (Global P1: 1–1a) has been set to arpeggiator will synchronize to MIDI Clock messages received from an external MIDI device.

External MIDI or External PCI/F , and that the

EXT

☞

0–1c: Program Information

Information on the selected program is displayed here. This shows the functions that are assigned to the [SW1] and [SW2] keys and to the B mode of REALTIME CONTROL knobs [1], [2], [3], [4], and the names of the effects that are selected for the insertion effects and the master effects.

0–1d: Performance Editor

The Performance Editor lets you edit major program parameters without moving to the Program P1–P9 Edit pages. This edits multiple program parameters within the currently selected program, allowing you to make broad adjustments easily. You can use the Performance Editor when you wish to adjust the depth of effects etc. while you are playing, or to make the initial rough settings to begin the process of creating a new sound. Editing that you do here will affect the values of the program parameters in the edit buffer. If you wish to keep the results of your editing, you must write (save) the program (

Editing done by the Performance Editor takes place within the valid range of the applicable parameters. If you use the Performance Editor to modify a value, then move to another page or mode, and ﬁnally return to Program mode, the previously-edited state will be maintained, but the Performance Editor sliders in the LCD screen will return to a value of Since the Performance Editor is provided as a way of making approximate edits, the balance between parameters may be lost in some cases.

If the “Enable Exclusive” (Global P1: 1–1b) setting is checked, MIDI exclusive parameter changes will be transmitted whenever you operate the Performance Editor. If these messages are received by a TRITON whose “Enable Exclusive” setting is checked, the Performance Editor corresponding to that message will be modiﬁed.

p.38 in the Basic Guide ).

+00 .

Octave [–03…00…+03]

An adjustment of +01 will raise the pitch one octave. An adjustment of However, this setting cannot adjust the pitch higher than 4' (feet) or lower than 32' (feet).

–01 will lower the pitch one octave.

Pitch Stretch [–12...+00...+12]

This simultaneously adjusts the Transpose and Tune of the oscillator. This lets you produce a variety of tonal changes and variations without loosing the character of the original sound.

+00 setting, the value of the program parameters will

At the be unchanged. An adjustment of and simultaneously raise the Tune value by 100. An adjustment of and simultaneously lower the Tune value by 100. However, it is not possible for the Transpose value to exceed the range of

1200.

This Performance Editor function cannot be used with

bank F .

+01 will lower the Transpose value by 1,

–01 will raise the Transpose value by 1,

12, nor the Tune value to exceed the range of

OSC Balance [–10…0…+10]

This adjusts the level balance between oscillators 1 and 2.

+00 setting, the value of the program parameters will

At the be unchanged.

Positive (+) settings will lower the oscillator 2 level.

With an adjustment of The oscillator 1 level will not change.

Negative (–) settings will lower the oscillator 1 level.

With an adjustment of The oscillator 2 level will not change.

For programs whose “Oscillator Mode” (1–1a) setting is

Single , oscillator 2 will not sound. Only the level of

oscillator 1 will change. For a formance editor will have no effect.

+10 , the oscillator 2 level will be 0.

–10 , the oscillator 1 level will be 0.

Drums program, this per-

Amp Level [–10…0…+10]

This adjusts the amp level. With an adjustment of eters will be unchanged.

Positive (+) settings will increase the amp level above the

value that was set. With an adjustment of mum).

Negative (–) settings will lower the amp level below the

value that was set. With an adjustment of

+00 , the value of the program param-

+10 , the amp level will be 127 (maxi-

–10 , the amp level will be 0.

Attack Time [–10…0…+10]

This adjusts the amp times of the ﬁlter EG and amp EG. With an adjustment of eters will be unchanged.

Positive (+) settings will lengthen the attack times beyond

the values that were set. With an adjustment of

Negative (–) settings will shorten the attack times.

With an adjustment of

When you modify “Attack Time,” the EG Start Level, Attack Level, Start Level Modulation, and Attack Time Modulation of the amp EG will also be adjusted simultaneously, to allow the maximum effect to be obtained.

+00 , the value of the program param-

+10 , the attack times will be 90.

–10 , the attack times will be 0.

Decay Time [–10…0…+10]

This adjusts the Decay Time and Slope Time of the ﬁlter EG and amp EG. With an adjustment of eters will be unchanged.

Positive (+) settings will lengthen the Decay Time and Slope

Time beyond the values that were set. With an adjustment of

+10, the times will be 99. Negative (–) settings will shorten the Decay Time and Slope Time. With an adjustment of –10, the times will be 0.

+00 , the value of the program param-

IFX Balance [–10…0…+10]

This adjusts the “Wet/Dry” setting of insertion effects 1–5 as a whole. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will raise the Wet levels above the program setting, and lower the Dry levels. With an adjustment of +10, the setting will be “Wet.” Negative (–) settings will lower the Wet levels below the program setting, and raise the Dry levels. With an adjustment of –10, the setting will be “Dry.”

MFX Balance [–10…0…+10]

This adjusts the master effect “Return 1” and “Return 2” (9– 1c) settings as a whole. With an adjustment of +00, the value of the program parameters will be unchanged.

Positive (+) settings will raise the return levels above the program setting. With an adjustment of +10, the setting will be 127 (maximum). Negative (–) settings will lower the return levels below the program setting. With an adjustment of –10, the setting will be 0.

Octave Octave of OSC 1 and 2

Pitch Stretch Transpose and Tune of OSC 1 and 2

OSC Balance

Amp Level Amp Level of Amp 1 and 2

Attack Time Amp EG Attack Time, Start Level, Attack Level, Level

Decay Time AmpEG Decay Time, Slope Time of Amp 1 and 2; Fil-

IFX Balance Wet/Dry balance of the IFX1/2/3/4/5 effects

MFX Balance Master Effect Return 1, 2

For the F bank programs that can be used when the separately sold EXB-MOSS option is installed, different program parameters will be adjusted. For details refer to the EXB-MOSS owner’s manual.

▼ 0–1: Page Menu Command

High Multisample, Low Multisample Level of OSC 1 and 2

Modulation St, Time Modulation At of Amp 1 and 2, and Filter EG Attack Time of Filter 1 and 2

ter EG Decay Time and Slope Time of Filter 1 and 2

0–1A

0–1A: Write Program

This writes the edited program into internal memory. If you wish to keep a program, be sure to write it. An edited program cannot be recovered if you fail to write it before turning off the power or selecting another program.

1 When you select this command, the following dialog box

will appear.

0–2: Arpeggio

Arpeggiator parameters are edited in P7: Edit - Arpeggiator, but major parameters can be edited here as well. When you are playing in Program P0: Play, you can edit the arpeggiator in realtime, such as changing the arpeggio pattern etc. To write (save) the results of your editing, use “Write Program” or “Update Program.” You can also use the front panel [TEMPO], [GATE], and [VELOCITY] knobs to edit the arpeggio in realtime (

0–1a

0–2a

0–2a: Arpeggiator

Pat (Pattern No.) [P00...P04, U00(A/B)...U231(D)] Octave [1, 2, 3, 4]

Reso (Resolution) [  ,  ,   ,  ,   , ]

Sort Latch Key Sync. (Keyboard Synchronize) Keyboard

These parameters are linked with the parameters of the same name (and abbreviation) in “7–1b: Arpeggio Setup”

☞“P7: Edit-Arpeggiator”).

(

☞p.29, 30 in the Basic Guide).

0–1

0–1b

Program

P1 P2 P3 P4 P5 P7 P8 P9

2 The upper line shows the bank name and program name.

If you wish to modify the program name, press the text edit button to move to the text edit dialog box, and input the desired program name.

3 In “Category,” specify the category of the program that

you are writing. The category selected here can be used to ﬁnd this program when selecting a program in Program, Combination, Sequencer, or Song Play modes. With the factory settings, the program categories have been given the names of instruments etc., but you can use “Program Cat.” (Global P4: 4–1) to modify these category names.

4 Press “To Program” to specify the writing destination.

It is not possible to write to banks G–g(d). If you have edited a program from banks G–g(d) and wish to write it, you must write to banks A–E.

5 To execute the Write Program operation, press the OK

button. To cancel, press the Cancel button.

When you press the front panel [REC/WRITE] key, the “Update Program” dialog box will appear. Here too, you can write to the currently selected program.

Program P1: Edit – Basic

Here you can make basic settings for the program, such as basic oscillator settings and the scale.

When legato is off, multiple note-on’s will retrigger the voice at each note-on. The oscillator sound, envelope, and LFO will be reset (and retriggered) according to the settings of the program.

If “Legato” is checked, certain multisamples or keyboard locations may produce an incorrect pitch.

1–1: Program Basic

1–1

1–1a

1–1c

1–1a: Oscillator Mode [Single, Double, Drums]

Specify the basic program type; whether it will use one or two oscillators, or a drum kit.

Single: The program will use one oscillator (Oscillator 1, Filter 1, Ampliﬁer 1). In this case the program will have a

maximum of 62-note polyphony.

Double: The program will use two oscillators (Oscillator 1/

2, Filter 1/2, Ampliﬁer 1/2). In this case the program will have a maximum of 31-note polyphony.

Drums: The program will use one oscillator (as when Single is selected), but Oscillator 1 will be assigned a drum kit

instead of a multisample. In this case the program will have a maximum of 62-note polyphony.

1–1b: Voice Assign Mode

Poly/Mono [Poly, Mono]

Poly: The program will play polyphonically, allowing you play chords. Mono: The program will play monophonically, producing only one note at a time.

Single Trigger

This is available when the “Poly/Mono” setting is set to

Poly.

Checked: When the same note is played repeatedly, the pre-

vious note will be silenced before the next note is sounded, so that the notes do not overlap.

Legato

This is available when the “Poly/Mono” setting is set to

Mono.

Checked: Legato is on. When multiple note-on’s occur, the

ﬁrst note-on will retrigger the sound, and the second and subsequent note-on’s will not retrigger. Unchecked: Legato is off. Notes will always be retriggered when note-on occurs. When legato is on, multiple note-on’s will not retrigger the voice. If one note is already on and another note is turned on, the ﬁrst voice will continue sounding. The oscillator sound, envelope, and LFO will not be reset, and only the pitch of the oscillator will be updated. This setting is effective for wind instrument sounds and analog synth-type sounds.

1–1b

Priority [Low, High, Last]

This parameter is valid when “Poly/Mono” is set to Mono. It speciﬁes which note will be given priority to play when two or more notes are played simultaneously.

Low: Lowest note will take priority. High: Highest note will take priority. Last: Last note will take priority.

Hold [On, Off]

Checked: Hold is On. Even when you take your ﬁnger off of the key, the note will continue sounding as if it continued to be held. Unless the “Amp1 EG”, “Amp2 EG” (4–3a, 4–6) “Sustain (Sustain Level)” is set to 0, the sound will continue playing. This is ideal for playing drum sounds, and when you set

“Oscillator Mode” (1–1a) to Drums, you should turn Hold On. Unchecked: Hold is Off. Except for drum programs, you

should normally set Hold Off.

If you turn “Hold” On for a drum program, keys of the selected drum kit whose “Enable Note Off” parameter (Global P5: 5–2a) is unchecked will be set to Hold On. Keys that are checked will be set to Hold Off. If you select Hold Off, the keys will be set to Hold Off regardless of their “Enable Note Off” setting.

1–1c: Scale

Type [Equal Temperament…User Octave Scale15]

Select the basic scale for the internal tone generator.

Equal Temperament: This is the most widely used scale, where each semitone step is spaced at equal pitch intervals.

Pure Major: In this temperament, major chords of the selected tonic will be perfectly in tune.

Pure Minor: In this temperament, minor chords of the selected tonic will be perfectly in tune.

Arabic: This scale includes the quarter-tone scale used in Arabic music.

Pythagoras: This scale is based on ancient Greek musical theory, and is especially effective for playing melodies.

Werkmeister (Werkmeister III): This is an equal tempered scale that was used since the later Baroque period.

Kirnberger (Kirnberger III): This scale was created in the 18th century, and is used mainly to tune harpsichords.

Slendro: This is an Indonesian gamelan scale in which an octave consists of ﬁve notes. When “Key” is set to C, use the C, D, F, G and A notes. (Other keys will sound equal-tempered pitches.)

Pelog: This is an Indonesian gamelan scale in which an octave consists of seven notes. When “Key” is set to C, use the white keys. (The black keys will sound the equal tempered pitches.)

Stretch: This tuning is used for acoustic pianos.

User All Notes Scale: This is the full-range scale (C–1 – G9) that was speciﬁed in “User All Notes Scale” (Global P3).

User Octave Scale 00–15: These are the single-octave scales that were speciﬁed in “User Octave Scale” (Global P3).

(1–1a) has been set to Double. If this is set to Single, the “OSC2 Multisample” (1–2b) will not appear and cannot be set.

1–2

Key (Scale Key) [C…B]

Select the tonic note of the speciﬁed scale. This setting is not valid for Equal Temperament, Stretch, and User All Notes Scale.

Random [0…7]

As this value is increased, a greater variance will be applied to the pitch when each note is sounded. Normally you will set this to 0. This parameter is used when simulating instruments that have natural instability in pitch, such as tapemechanism organs or acoustic instruments.

If a scale other than Equal Temperament is selected, the combination of the selected scale and the “Key” setting may skew the tuning of the base key (for example A=440 Hz). If this occurs, use “Master Tune” (Global P0: 0–1a) to correct the pitch.

▼ 1–1: Page Menu Command

0–1A

1–1A

1–1B

1–1A: Copy Oscillator

This command copies oscillator settings.

1 Select this command to open the following dialog box.

1–2a

1–2b

1–2c

The following illustration shows the display when “Oscillator Mode” (1–1a) has been set to Drums.

1–2

1–2d

1–2a: OSC1 Multisample

Here you can select a multisample. You can select different multisamples for High and Low, and use velocity to switch between the two multisamples. Start Offset, Reverse, and Level can be adjusted independently for the High and Low multisamples.

Program

P1 P2 P3 P4 P5 P7 P8 P9

2 In “From” specify the oscillator to copy, and in “Pro-

gram” specify the bank and number of the copy source program.

3 In “To ,” specify the copy destination oscillator. 4 To execute the Copy Oscillator command, press the OK

button. To cancel, press the Cancel button.

1–1B: Swap Oscillator

This command exchanges the settings of oscillators 1 and 2.

1 Select this command to open the dialog box. 2 To execute the Swap Oscillator command, press the OK

button. To cancel, press the Cancel button.

1–2: OSC Basic

The multisample(s) (waveform) or drum kit on which the program will be based can be selected here for oscillator 1 and/or oscillator 2. Internal ROM contains 425 different multisamples (preset multisamples) and 73 drum kits. By selecting a RAM multisample, you can use a multisample that you created in Sampling mode or that you loaded in Disk mode. If an EXBPCM series option has been installed, you will be able to select multisamples from the installed option. The following illustration shows a LCD screen where “Oscillator Mode”

High:

Bank [ROM, RAM, EXB*, EXB*] Multisample Select [000...999]

Specify the bank and multisample number of the High multisample. The multisample you select here will sounded by velocities greater than the value of the “Velocity M.Sample SW Lo→Hi” (1–2c) parameter “OSC1.” If you do not wish to use velocity switching, set “OSC1” to a value of 001, and select only the High multisample.

ROM: Select a preset multisample. Use “Multisample Select” to select from 000–999. RAM: Select a multisample that you created in Sampling mode or that you loaded in Disk mode. Use “Multisample Select” to select from 000–999. EXB*: Multisamples from a separately sold EXB-PCM series option board can be selected. This can be selected only if an option board containing multisamples is installed. “*” will indicate the type of installed option.

The EXB* display will differ depending on the type of option board.

If a program that uses a multisample from a separately sold EXB-PCM series board is selected, but the necessary multisample is not available because the corresponding EXB-PCM (expansion board) is not installed, the “Bank” ﬁeld will indicate ROM. In this case, the program will not sound. By re-selecting the multisample bank, you can make the program sound.

When you press the “Multisample Select” popup button, a list of multisamples will appear. If ROM is selected as “Bank,” use the dialog box to select the tab for the desired category of instruments, and select a multisample from that category. In the case of other banks, select a multisample from the list in the dialog box.

Each multisample has an upper limit, and may not produce sound when played above that limit.

Octave [–2[32’], –1[16’], +0[8’], +1[4’]]

Adjust the pitch in octave units. The normal octave of the multisample is 8' (feet).

Transpose [–12…+12]

Adjust the pitch in semitone steps over a range of ±1 octave.

Tune [–1200…+1200]

Adjust the pitch of the sample in one-cent steps (a semitone is 100 cents) over a range of ±1 octave.

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

Specify a delay time from note-on until the note will sound. With a setting of KeyOff, the sound will begin when note-off occurs. This is used to create sounds such as the “click” that is heard when a harpsichord note is released. In this case, set the “Amp1 EG”, “Amp2 EG” (4–3a, 4–6) “Sustain” parameter to 0.

S.Offset (Start Offset)

This speciﬁes the point at which the multisample will begin sounding. For some multisamples this parameter will have no effect.

Checked: The sound will start from the start offset location that is pre-determined for each multisample.

However when a RAM bank is selected, this will depend on the selected multisample. If you select a multisample that includes one of the following types of sample, checking this item will cause playback to start from the Loop Start Address.

• A sample that was recorded (sampled) in Sampling mode

• A sample whose Loop Start Address was edited in Sampling mode after the sample was loaded in Disk mode

• A sample whose Loop Start Address was specified automatically when it was loaded as an AKAI, AIFF, or WAVE file in Disk mode

Unchecked: The sound will start from the beginning of the multisample waveform.

Rev (Reverse)

The multisample will be played in reverse. In the case of ROM or optional (EXB-PCM series) multisamples that were originally speciﬁed to loop, or in the case of multisamples that were set to loop in Sampling mode, the multisample will be played back in “one-shot” reverse mode. If the multisample was originally set to reverse, it will playback without change.

Checked: The multisample will playback in reverse. Unchecked: The multisample will playback normally.

Lvl (Multisample Level) [0…127]

Specify the level of the multisample.

Depending on the multisample, high settings of this parameter may cause the sound to distort when a chord is played. If this occurs, lower the level.

Low:

Bank [ROM, RAM, EXB*, EXB*] Multisample Select [0...999]

The multisample you select here will sounded by velocities less than the value of the “Velocity M.Sample SW Lo→Hi” (1–2c) parameter “OSC1 (OSC1 Velocity Switch).” For details on “S.Offset,” “Rev,” and “Lvl,” refer to “High.”

1–2b: OSC2 Multisample

This will appear when “Oscillator Mode” (1–1a) is set to Double. For details on the settings and function of the parameter, refer to “1–2a: OSC1 Multisample.”

1–2c: Velocity M.Sample SW Lo → Hi

(Velocity Multisample Switch Low → High)

OSC1 (OSC1 Velocity Switch) [1…127]

The High and Low multisamples selected for oscillator 1 in “OSC 1 Multisample” (1–2a) will be switched around the velocity value that you specify here. Notes played with a velocity stronger than this value will be sounded by the High multisample.

OSC2 (OSC2 Velocity Switch) [1…127]

This will appear when “Oscillator Mode” (1–1a) is set to Double. The High and Low multisamples selected for oscillator 2 in “OSC 2 Multisample” (1–2b) will be switched around the velocity value that you specify here. Notes played with a velocity stronger than this value will be sounded by the High multisample.

1–2d: Drum Kit

Drum Kit [00 (A/B)...63 (User), 64 (GM)...72 (GM)]

Select a drum kit.

00 (A/B)–15 (A/B) Preset drum kits.

16 (C)–31 (C) (for user drum kits, EXB-PCM series drum kits)

32 (D)–47 (D) (for user drum kits, EXB-PCM series drum kits)

48 (User)–63 (User) (for user drum kits)

64 (GM)–72 (GM) ROM preset drum kits compatible with GM2.

Octave [–2[32’], –1[16’], +0[8’], +1[4’]]

Adjust the pitch in octave units. When using a drum kit, set the Octave to 8'.

When editing a drum program, you must set this parameter to 8'. With other settings, the sounds of the drum kit will be assigned to the wrong notes of the keyboard.

Transpose [–12…+12]

This adjusts the location of the instruments in the selected drum kit. Unless you need to change this, leave it at 0.

Tune [–1200…+1200]

This adjusts the pitch in one-cent units. The pitch of each drum kit can be adjusted in Global P5: Drum kit.

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

This speciﬁes a delay time from note-on until the sound will begin. With a setting of KeyOff, the sound will begin when noteoff occurs. In this case, set the “Amp EG” (4–3a) parameter

“Sustain” to 0.

“Pitch” (Sampling P3: 3–1b). The value that was speciﬁed

in Sampling mode will be displayed here. Attack: Adjust the attack times of the ﬁlter EG and amp EG. This adjustment will be added to the “(Time) Attack” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG” (3–4a, 3–8, 4–3a, 4–6). Decay: Adjust the decay times of the ﬁlter EG and amp EG. This adjustment will be added to the “(Time) Decay” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG” (3–4a, 3–8, 4–3a, 4–6).

4 Press the Done button to execute, and close the dialog

box.

Please be aware that the Compare function is not available for this command.

Program

P1 P2 P3 P4 P5 P7 P8 P9

▼ 1–2: Page Menu Command

0–1A

1–1A

1–1B

1–2A

1–2A: Sample Parameters

This command lets you adjust the sample playback level, cutoff, resonance, pitch, attack, and decay for each index of a RAM multisample. This command is available when the “Oscillator Mode” (1–1a) is Single or Double, and you have selected either the “Bank” (RAM)” or “Multisample Select” edit cell of either the High or Low sample of OSC1 Multi Sample or OSC2 Multi Sample. The setting will apply to the selected multisample. The setting will also be used when that multisample is selected by another oscillator or program.

1 Select this command to open the following dialog box.

2 Index: Specify the index for which you wish to make set-

tings. The number following “/” is the total number of indexes in the selected multisample. Sample: indicates the sample number and name for the index.

3 For each index, you can make the following settings.

Level: Adjust the volume. Relative to the settings of “Lvl” (1–2a) and “Amp Level” (4–1a, 4–4), negative (–) values will decrease the levels, and positive (+) values

will increase the levels. A setting of +99 will double the volume, and at a setting of –99 there will be no sound. This parameter is linked to the “Level” (Sampling P3: 3– 1b). The value that was speciﬁed in Sampling mode will be displayed here. Cutoff: Adjust the ﬁlter cutoff. This adjustment will be added to the value speciﬁed for “(Filter A) Frequency” (3–1b, 3–5) of Filter 1 and 2. Resonance: Adjust the resonance level of the ﬁlter. This adjustment will be added to the value speciﬁed for “(Filter A) Resonance” (3–1b, 3–5) of Filter 1 and 2. Pitch: Adjust the playback pitch in one-cent steps. A setting of +12.00 raises the pitch one octave, and a setting of –12.00 will lower the pitch one octave. This parameter is linked with the Sampling P3: Multi Sample parameter

1–3: Velo. Zone (Velocity Zone)

Here you can specify the velocity ranges for which oscillators 1 and 2 will sound. In conjunction with the “Velocity M.Sample SW Lo → Hi” (1–2c) settings, these settings will determine how velocity will switch between the High and Low multisamples of the OSC1 Multisample and the OSC2 Multisample, and the range in which a drum kit will sound.

It is not possible to set the Bottom Velocity greater than the Top Velocity, nor the Top Velocity less than the Bottom Velocity.

1–3

1–3a

1–3a: OSC 1/2 Velocity Zone

OSC1 Top [001...127]

Set the maximum velocity value that will sound oscillator 1.

OSC1 Bottom [001...127]

Set the minimum velocity value that will sound oscillator 1.

OSC2 Top [001...127]

Set the maximum velocity value that will sound oscillator 2.

OSC2 Bottom [001...127]

Set the minimum velocity value that will sound oscillator 2.

You can also input a value by playing a note on the keyboard while you hold down the [ENTER] key.

▼ 1–3: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

1–4: Controller (Controller Setup)

These settings specify the functions of the [SW1] key, the [SW2] key, and the B-mode functions of REALTIME CONTROL knobs [1]–[4] in Program mode.

1–4

1–4a

1–4b

1–4a: Panel Switch Assign

These settings assign functions to the front panel [SW1] and [SW2] keys (

SW1 [Off, ..., After Touch Lock]

Assign a function to the [SW1] key. The on/off status of the switch is saved when the program is written. When you change the function, it will be reset to the “off” state.

Toggle/Momentary [Toggle, Momentary]

Specify how the on/off state of the [SW1] key will change when it is pressed.

Toggle: On/off will alternate each time the switch is pressed. Momentary: The function will be on only as long as the switch remains pressed.

SW2 [Off, ..., After Touch Lock] Toggle/Momentary [Toggle, Momentary]

Assign a function to the [SW2] key. The functions that can be assigned to SW2 are the same as for SW1, except that SW2 Mod.:CC#81 is available instead of SW1 Mod.:CC#80.

1–4b: Realtime Control Knobs B–Assign

Assign functions (mainly various types of control change) to the “B” mode of the front panel REALTIME CONTROL knobs [1]–[4] ( List”). The functions you set here will take effect when you operate the front panel REALTIME CONTROL knobs [1]–[4] in “B” mode.

Knob 1–B [Off, ..., MIDI CC#95] Knob 2–B [Off, ..., MIDI CC#95] Knob 3–B [Off, ..., MIDI CC#95] Knob 4–B [Off, ..., MIDI CC#95]

▼ 1–4: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

☞p.217 “SW1, SW2 Assign List”).

☞p.218 “Realtime Control Knobs B–Assign

Program P2: Edit – Pitch

Here you can make pitch modulation settings for oscillators 1 and 2.

2–1: OSC1 P.Mod (OSC1 Pitch Mod.)

These settings specify how keyboard location will affect the pitch of oscillator 1, and select the controllers that will affect the oscillator 1 pitch and specify the depth of control. Here you can also specify the amount of pitch change produced by the Pitch EG and by LFO1 and LFO2. You can also switch portamento on/off and specify how it will apply.

2–1

2–1a

2–1b

2–1c

2–1a: Pitch

Pitch Slope [–1.0…+2.0]

Normally you will leave this at +1.0. Positive (+) values will cause the pitch to rise as you play

higher on the keyboard, and negative (–) values will cause the pitch to fall as you play higher on the keyboard. With a value of 0, there will be no change in pitch, and the C4 pitch will sound regardless of the keyboard location you play.

How the Pitch Slope and pitch are related

2oct

1oct 1oct

Pitch

C4 C5

–1

Key

Ribbon [–12…+12]

Specify how greatly the pitch will be changed when you press the ribbon controller. With a value of 12, the pitch can be changed a maximum of one octave. Positive (+) values will cause the pitch to rise when you press the ribbon controller to the right of center, and nega- tive (–) values will cause the pitch to fall. For example with a setting of +12, pressing the far right edge of the ribbon controller will raise the pitch one octave. With a setting of –12, pressing the far right edge of the ribbon controller will lower the pitch one octave. At the center of the ribbon controller, the original pitch will remain, so you can use this in conjunction with pressing the ribbon at its right edge to simulate the “hammering-on” techniques used by guitarists.

2–1d

JS (+X) [–60…+12]

Specify how the pitch will change when the joystick is moved all the way to the right. A setting of 12 produces 1 octave of change. For example if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch.

JS (–X) [–60…+12]

Specify how the pitch will change when the joystick is moved all the way to the left. A setting of 12 produces 1 octave of change. For example if you set this to –60 and move the joystick all the way to the left, the pitch will fall ﬁve octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the tremolo arm.

AMS (Alternate Modulation Source)

[Off, (FEG, AEG, EXT)]

Select the source that will modulate the pitch of oscillator 1 (

☞p.210 “AMS (Alternate Modulation Source) List”).

With a setting of Off, no modulation will be applied.

Intensity [–12.00…+12.00]

Specify the depth and direction of the effect produced by “AMS.” With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave. For example if you set “AMS” to After Touch and apply pressure to the keyboard, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative (–) value. The range is a maximum of one octave (

☞p.212).

“Intensity” (Pitch EG) and AMS will be added to determine the depth and direction of the pitch modulation applied by the pitch EG.

2–1c: Portamento

This turns the portamento effect (smooth change in pitch from one note to the next) on/off, and speciﬁes how it will be applied. If SW 1 or 2 are set to Porta.SW:CC#65, turning SW1 or SW2 on/off will apply portamento ( nate Modulation Source) List” SW1:CC#80, SW2:CC#81, Porta.SW:#65).

Portamento will also be switched when CC#65 (Portamento SW) is received.

☞p.210 “AMS (Alter-

Enable

Checked: Portamento will be applied. Unchecked: Portamento will not be applied.

Fingered

This parameter is available when “Enable” is checked.

Checked: Portamento will be applied when you continue holding the previous note as you press the next note (legato playing). Unchecked: Portamento will always be applied, regardless of how you play.

Time (Portamento Time) [000…127]

This parameter is available when “Enable” is checked. This sets the portamento time. Increasing the value will produce a slower change in pitch.

Program

P1 P2 P3 P4 P5 P7 P8 P9

2–1b: Pitch EG

Intensity (Pitch EG)[–12.00…+12.00]

Specify the depth and direction of the modulation that the pitch EG speciﬁed in “Pitch EG” (2–3) will apply to the pitch. With a setting of 12.00, the pitch will change a maximum of ±1 octave.

AMS (Alternate Modulation Source) [Off, (KT, EXT)]

Select the source that will control the pitch modulation applied by the pitch EG ( tion Source) List”). With a sampling of Off, no modulation will be applied.

☞p.210 “AMS (Alternate Modula-

Intensity (AMS) [–12.00…+12.00]

Specify the depth and direction of the effect that “AMS” will have. For example if you set “AMS” to Velocity and set this value to +12.00, the velocity will control the range of pitch change produced by the pitch EG in a range of ±1 octave (☞p.212). As you play more softly, the pitch change will draw closer to the pitch EG levels.

Pitch change (level)

Note-on

Note-off

Softly played (Intensity (Pitch EG) setting)

Note-on

Note-off

Strongly played with a positive (+) value

Note-on

Note-off

Strongly played with a negative (–) value

2–1d: LFO1/2

LFO1 Intensity [–12.00…+12.00]

Specify the depth and direction of the pitch modulation applied by the OSC 1 LFO1 settings you made in “OSC1 LFO1” (5–1). With a setting of 12.00, a maximum of ±1 octave of pitch modulation will be applied. Negative (–) values will invert the LFO waveform.

JS+Y (JoyStick +Y) [–12.00…+12.00]

Specify the depth and direction of the effect that joystick movement in the +Y direction (away from yourself) will have on the pitch modulation applied by the OSC1 LFO1. As this value is increased, moving the joystick in the +Y direction will cause the OSC1 LFO1 to produce deeper pitch modulation. With a setting of 12.00 a maximum of ±1 octave of pitch modulation will be applied. Negative (–) values will invert the LFO waveform.

AMS (Alternate Modulation Source)

[Off, (PEG, FEG, AEG, KT, EXT)]

Select the source that will control the depth of pitch modulation produced by the OSC1 LFO1 ( Modulation Source) List”).

☞p.210 “AMS (Alternate

Intensity [–12.00…+12.00]

Specify the depth and direction of the effect that “AMS” will have. With a setting of 0, modulation will not be applied. With a setting of 12.00, the OSC1 LFO1 will apply a maximum of ±1 octave of pitch modulation. Negative (–) settings will invert the LFO waveform.

For example if “AMS” is set to After Touch and you apply

pressure to the keyboard, a positive (+) setting of this parameter will cause the pitch modulation created by OSC1 LFO1 to be applied with the normal phase, and a negative (–) setting will cause the LFO to be applied with inverted phase. The “LFO1 Intensity,” “JS+Y” and “AMS” settings will be added to determine the depth and direction of the pitch modulation applied by OSC1 LFO1 (

☞p.212).

LFO2 Intensity [–12.00…+12.00] JS+Y (JoyStick +Y) [–12.00…+12.00] AMS (Alternate Modulation Source)

[Off, (PEG, FEG, AEG, KT, EXT)]

Intensity [–12.00…+12.00]

Refer to the above “LFO1 Intensity”–“Intensity.”

▼ 2–1: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

2–3a: Pitch EG

These settings specify how the pitch will change over time.

Level:

These parameters specify the amount of pitch change. The actual amount of pitch change will depend on the “Pitch EG” (2–1b, 2–2) parameter “Intensity.” For example with an “Intensity” setting of +12.00, a “Level” setting of +99 would raise the pitch one octave, and a “Level” setting of –99 would lower the pitch one octave.

Start (Start Level) [–99…+99]

Specify the amount of pitch change at note-on.

Attack (Attack Level) [–99…+99]

Specify the amount of pitch change when the attack time has elapsed.

Release (Release Level) [–99…+99]

Specify the amount of pitch change when the release time has elapsed.

2–2: OSC2 P.Mod (OSC2 Pitch Mod.)

These settings specify how keyboard location will affect the pitch, and select the controllers that will affect the oscillator 2 pitch and specify the depth of control. They also specify the depth at which the pitch EG will affect the pitch of oscillator 2, and the depth of pitch change produced by LFO1 and LFO2. Portamento on/off settings etc. are also found here.

For details on the functions of these parameters, refer to the preceding section “2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation).”

2–3: Pitch EG

Here you can make settings for the pitch EG, which creates time-variant changes in the pitch of oscillators 1 and 2. The depth of pitch change produced by these EG settings on oscillator 1 (2) is adjusted by “Pitch EG” (2–1b, 2–2).

2–3

2–3a

2–3b

2–3c

Time:

These parameters specify the time over which the pitch change will occur.

Attack (Attack Time) [0…99]

Specify the time over which the pitch will change from noteon until it reaches the pitch speciﬁed as the attack level.

Decay (Decay Time) [0…99]

Specify the time over which the pitch will change after reaching the attack level until it reaches the normal pitch.

Release (Release Time) [0…99]

Specify the time over which the pitch will change from noteoff until it reaches the pitch speciﬁed as the release level.

Time-varying pitch settings (when Pitch EG Intensity = +12.00)

+99 = approximately 1 octave

0 = pitch when key is held (sustained)

Start Level

–99 = approximately 1 octave

Note-on

Attack Time

Attack Level

Decay Time

Note-off

Release Time

Time

Release Level

2–3b: Level Modulation

These settings allow the pitch EG “Level” parameters to be controlled by alternate modulation.

AMS1 (Alternate Modulation Source 1) [Off, (KT, EXT)]

Select the source that will control the pitch EG “Level” parameters (

☞p.210 “AMS (Alternate Modulation Source)

List”).

Intensity (AMS1 Intensity) [–99…+99]

Specify the depth and direction of the effect applied by “AMS1.” With a setting of 0, the levels speciﬁed by “Pitch EG” (2–3a) will be used. For example if “AMS1” is SW1:CC#80, pressing the [SW1] key to turn it on will change the “Level” parameters of the Pitch EG. (Set “Panel SW Assign” (1–4a) to SW1 Mod.CC#80.) As the absolute value of “Intensity” is increased, the pitch EG levels will change more greatly

when the [SW1] key is turned on. The direction of the change is speciﬁed by “St” and “At.” When the [SW1] key is turned off, the pitch EG levels will return to their own settings. If “AMS1” is set to Velocity, increasing the absolute value of “Intensity” will produce increasingly wider change in pitch EG levels for strongly-played notes. The direction of the change is speciﬁed by “St” and “At.” As you play more softly, the pitch change will draw closer to the pitch EG levels.

Pitch EG change (level) (AMS=SW1/Velocity, Intensity= positive (+) value

Note-on

A note played softly with St set at 0, At set to +, and SW1 turned on (the settings of 2–3a: Pitch EG)

Note-off

Note-on

A note played strongly with St set to 0, At set to +, and SW1 turned on

Note-off

Note-on

A note played strongly with St set to 0, At set to –, and SW1 turned on

Note-off

direction of the change is speciﬁed by “At” and “Dc.” As you play more softly, the pitch EG times will more closely approach the actual settings of the pitch EG.

Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

Note-on

A note played softly with At set to + and Dc set to + (settings of 2–3a: Pitch EG)

Note-off

Note-on

A note played strongly with At set to + and Dc set to +

Note-off

Note-on

A note played strongly with At set to – and Dc set to –

Note-off

At (AMS SW to Attack) [–, 0, +]

Specify the direction in which “AMS” will affect the “Attack (Attack Time).” With positive (+) values of “Intensity,” a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.

Program

P1 P2 P3 P4 P5 P7 P8 P9

St (AMS1 SW to Start) [–, 0, +]

Specify the direction of change in “Start (Start Level)” caused by “AMS1.” If “Intensity” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change.

At (AMS1 SW to Attack) [–, 0, +]

Specify the direction of change in “Attack (Attack Level)” caused by “AMS1.” If “Intensity” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change.

AMS2 (Alternate Modulation Source 2) [Off, (KT, EXT)] Intensity (AMS1 Intensity) [–99…+99] St (AMS2 SW to Start) [–, 0, +] At (AMS2 SW to Attack) [–, 0, +]

Refer to the preceding paragraphs “AMS1”–“At.”

2–3c: Time Modulation

These parameters let you use alternate modulation to control the “Time” parameters of the pitch EG.

AMS (Alternate Modulation Source) [Off, (KT, EXT)]

Select the source that will control the “Time ” parameters of the pitch EG ( List”).

☞p.210 “AMS (Alternate Modulation Source)

Dc (AMS SW to Decay) [–, 0, +]

Specify the direction in which “AMS” will affect the “Decay (Decay Time).” With positive (+) values of “Intensity,” a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.

▼ 2–3: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

Intensity [–99…+99]

Specify the depth and direction of the effect that “AMS” will have. With a setting of 0, the pitch EG times will be just as speciﬁed by the “Pitch EG” (2–3a) settings. The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next. For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached. When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the speciﬁed EG times will speed up as much as 2, 4, 8, 16, 32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time). For example if “AMS1” is set to Velocity, increasing the absolute value of “Intensity” will allow strongly-played notes to increase the changes in pitch EG “Time” values. The

Program P3: Edit – Filter

Here you can make settings for the ﬁlters that will be used by oscillators 1 and 2. You can select either a 24 dB/octave low pass ﬁlter with resonance, or a series connection of a 12 dB/octave low pass ﬁlter and a 12 dB/octave high pass ﬁlter. When “Oscillator Mode” (1–1a) is set to Single, ﬁlter 1 will be used, and when it is set to Double, ﬁlters 1 and 2 will be used. When Single is selected, tabs relating to ﬁlter 2 cannot be selected.

3–1: Filter1

Here you can specify the basic type for ﬁlter 1 (used by oscillator 1), and set the cutoff frequency and resonance.

3–1

3–1a

3–1b

Resonance Mod. by AMS

[Off, (PEG, FEG, AEG, LFO, KT, EXT)]

Select the source that will control the “Resonance” level (

☞p.210 “AMS (Alternate Modulation Source) List”).

Intensity (AMS Intensity) [–99…+99]

Specify the depth and direction of the effect that “Resonance Mod. by AMS” will have on the resonance level speciﬁed by “Resonance.” For example if Velocity has been selected, changes in key- board velocity will affect the resonance. With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the “Resonance” setting. With negative (–) values, the resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the “Resonance” setting. The resonance level is determined by adding the “Resonance” and “Intensity (AMS Intensity)” values.

The effect of resonance

Low Pass

Level

3–1c

3–1a: Filter Type

Filter Type

[Low Pass Resonance, Low Pass & High Pass]

Select the type for ﬁlter 1.

Low Pass Resonance: 24 dB/octave low pass filter with resonance

Low Pass & High Pass: 12 dB/octave low pass filter and 12 dB/octave high pass filter in series



Trim [00…99]

Adjust the level at which the audio signal output from OSC1 is input to ﬁlter 1A.

If this value is raised, the sound may be distorted if Resonance is set to a high value or when you play a chord.

3–1b: Filter A

Frequency (Cutoff Frequency) [00…99]

Specify the cutoff frequency of ﬁlter 1A.

Low Pass

Level

12dB/oct

24dB/oct

Frequency

This is a filter that cuts the highfrequency region above the cutoff frequency. This is the most common type of filter, and is used to cut part of the overtone components, making an originally bright timbre sound more mellow (darker). When the “Filter Type” is Low Pass Resonance, the cutoff will have a steeper slope.

Low resonance value High resonance value

3–1c: Filter B

Frequency (Cutoff Frequency) [00…99]

Specify the cutoff frequency of ﬁlter 1B. This parameter will be displayed when “Type” (3–1a) is set to Low Pass & High Pass.

High Pass

Level

12dB/oct

▼ 3–1: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

This filter cuts the low-frequency range that lies below the cutoff frequency. By cutting the lower overtones, it lightens the tone.

Frequency

Resonance [00…99]

This emphasizes the overtone components that lie in the region of the cutoff frequency speciﬁed by “Frequency,” pro- ducing a more distinctive sound. Increasing this value will produce a stronger effect.

3–2: Filter1 Mod.

These settings let you apply modulation to the cutoff frequency (“Frequency”) of ﬁlter 1 to modify the tone. When “Filter Type” (3–1a) is Low Pass Resonance, parame- ters for ﬁlter B will not be displayed.

3–2

3–2a

3–2b

3–2c

3–2a: Keyboard Track

(Filter Cutoff Frequency Keyboard Track)

These settings specify keyboard tracking for the cutoff frequency of ﬁlter 1. The way in which the cutoff frequency is affected by the keyboard location you play can be speciﬁed by the “Key Low,” “Key High,” “Ramp Low” and “Ramp High” parameters.

Key (Keyboard Track Key):

Specify the note numbers at which keyboard tracking will begin to apply, and set the “Intensity to A” and “Intensity to B” parameters to specify the depth and direction of the change applied to ﬁlter 1 A and B. For the range of notes between “Key Low” and “Key High,” the cutoff frequency will change according to the keyboard location (pitch).

Note numbers can also be entered by holding down the [ENTER] key while you press a note on the keyboard.

Key Low [C–1…G9]

Keyboard tracking will apply to the range below the speciﬁed note number.

Key High [C–1…G9]

Keyboard tracking will apply to the range above the speciﬁed note number.

How cutoff frequency is affected by keyboard location and the Ramp setting (“Intensity to A” and “Intensity to B” = +50)

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

Intensity to A [–99…+99]

Specify the depth and direction of the effect that the keyboard tracking speciﬁed by “Key Low,” “Key High,” “Ramp Low” and “Ramp High” will have on ﬁlter 1A. With positive (+) values, the effect will be in the direction speciﬁed by keyboard tracking, and with negative (–) val- ues the effect will be in the opposite direction.

Intensity to B [–99…+99]

Specify the depth and direction of the effect that keyboard tracking will have on ﬁlter 1B (

☞“Intensity to A”).

3–2b: Filter EG

Velocity to A [–99…+99]

This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter 1 EG (as set by “Filter 1 EG” 3–4) to control the ﬁlter 1A cutoff frequency. With positive (+) values, playing more strongly will cause the ﬁlter 1 EG to produce greater changes in cutoff frequency. With negative (–) values, playing more strongly will also cause the ﬁlter 1 EG to produce greater changes in cutoff frequency, but with the polarity of the EG inverted.

Velocity to B [–99…+99]

This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter 1 EG to control the ﬁlter 1B cutoff frequency ( “Velocity to A”).

Changes in cutoff frequency

Note-on

Note-off

Note-on

Note-off

Note-on

☞

Note-off

Program

P1 P2 P3 P4 P5 P7 P8 P9

Ramp (Ramp Setting):

Specify the angle of keyboard tracking.

Ramp Low [–99…+99] Ramp High [–99…+99]

If “Intensity to A” and “Intensity to B” are set to +50, “Ramp Low” is set to –62 and “Ramp High” is set to +62, the angle of the change in cutoff frequency will correspond to the keyboard location (pitch). This means that the oscillation that occurs when you increase the “Resonance” (3–1b) will correspond to the keyboard location. If you set “Ramp Low” to +43 and “Ramp High” to –43, the cutoff frequency will not be affected by keyboard location. Use this setting when you do not want the cutoff frequency to change for each note.

Softly played (The setting of Intensity to A (3–2b))

Strongly played Setting to +

Strongly played Setting to –

Intensity to A [–99…+99]

Specify the depth and direction of the effect that the timevarying changes created by the ﬁlter 1 EG will have on the ﬁlter 1A cutoff frequency. With positive (+) settings, the sound will become brighter when the EG levels set by Filter 1 EG “Level” and “Time” parameters (3–4a) are in the “+” area, and darker when they are in the “–” area. With negative (–) settings, the sound will become darker when the EG levels set by Filter 1 EG “Level” and “Time” parameters (3–4a) are in the “+” area, and brighter when they are in the “–” area.

Intensity to B [–99…+99]

Specify the depth and direction of the effect that the timevarying changes created by the ﬁlter 1 EG will have on the ﬁlter 1B cutoff frequency (

☞“Intensity to A”).

AMS (Alternate Modulation Source) [Off, (EXT)]

Select the source that will control the depth and direction of the effect that the time-varying changes produced by the ﬁlter 1 EG will have on the cutoff frequency of ﬁlters 1A and 1B (

☞p.210 “AMS (Alternate Modulation Source) List”).

Int to A (AMS Intensity to A) [–99…+99]

Specify the depth and direction of the effect that “AMS” will have on ﬁlter 1A. For details on how this will apply, refer to “Intensity to A.”

Int to B (AMS Intensity to B) [–99…+99]

Specify the depth and direction of the effect that “AMS” will have on ﬁlter 1B. For details on how this will apply, refer to “Intensity to A.”

The sum of the settings for “Velocity to A (B),” “Intensity to A (B),” and “(AMS) Int to A (B)” will determine the depth and direction of the effect produced by the ﬁl- ter EG.

3–3: Filter1 lfo Mod (Filter1 LFO Mod.)

Here you can use the ﬁlter 1 LFO to apply cyclic modulation to the cutoff frequency of ﬁlter 1 (for oscillator 1) to create cyclical changes in tone.

3–3

3–3a

3–3b

3–3a: LFO 1

Intensity to A [–99…+99]

Specify the depth and direction of the modulation that OSC1 LFO1 (set by “OSC1 LFO1” 5–1) will have on the cutoff frequency of ﬁlter 1A. Negative (–) settings will invert the phase.

3–2c: Filter A/B Modulation

Filter A:

AMS1 (Alternate Modulation Source1)

[Off, (PEG, AEG, EXT)]

Select the source that will control modulation of the ﬁlter 1A cutoff frequency ( Source) List”).

☞p.210 “AMS (Alternate Modulation

Intensity [–99…+99]

Specify the depth and direction of the effect that “AMS1” will have. When “AMS1” is JS X, a positive (+) value for this parameter will cause the cutoff frequency to rise when the joystick is moved toward the right, and fall when the joystick is moved toward the left. With a negative (–) value for this parameter, the opposite will occur. This value is added to the setting of the Filter A “Frequency” (3–1b).

AMS2 (Alternate Modulation Source2)

[Off, (PEG, AEG, EXT)]

Intensity [–99…+99]

Select “AMS2,” and specify the depth and direction of the effect that the selected source will have ( sity”).

☞“AMS1,” “Inten-

Filter B:

This will be displayed when “Filter Type” (3–1a) is Low Pass & High Pass.

Two alternate modulation sources can be used to modulate the cutoff frequency of ﬁlter 1B (

▼ 3–2: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

☞“Filter A”).

Intensity to B [–99…+99]

Specify the depth and direction of the modulation that OSC1 LFO1 will have on the cutoff frequency of ﬁlter 1B ( sity to A”).

Change in cutoff

Low setting High setting

☞“Inten-

JS–Y Intensity to A [–99…+99]

By moving the joystick in the Y direction (toward yourself), you can control the depth at which OSC1 LFO1 modulates the cutoff frequency of ﬁlter 1A. This parameter speciﬁes the depth and direction of the control. Higher settings of this parameter will produce greater increases in the effect of OSC1 LFO1 on ﬁlter 1 when the joystick is moved toward yourself.

JS–Y Intensity to B [–99…+99]

By moving the joystick in the Y direction (toward yourself), you can control the depth at which OSC1 LFO1 modulates the cutoff frequency of ﬁlter 1B. This parameter speciﬁes the depth and direction of the control (

☞“JS-Y Intensity to A”).

AMS (Alternate Modulation Source)

[Off, (PEG, FEG, AEG, KT, EXT)]

Select a source that will control the depth and direction of cutoff frequency change for both ﬁlters 1A and 1B ( “AMS (Alternate Modulation Source) List”).

☞p.210

Intensity to A [–99…+99]

Specify the depth and direction of the effect that “AMS” will have on ﬁlter 1A. For example if “AMS” is After Touch, higher settings of this parameter will allow greater change to be applied to OSC1 LFO1 when you apply pressure to the keyboard.

Intensity to B [–99…+99]

Specify the depth and direction of the effect that “AMS” will have on ﬁlter 1B (

☞“Intensity to A”).

Sustain (Sustain Level) [–99…+99]

Specify the change in cutoff frequency that will be maintained from after the slope time has elapsed until note-off occurs.

3–3b: LFO 2

Adjust the depth of the cyclic modulation applied by OSC1 LFO2 (set by “OSC1 LFO2” 5–2) to the cutoff frequency of ﬁlters 1A and 1B (

☞“LFO 1” 3–3a).

Intensity to A [–99…+99] Intensity to B [–99…+99] JS–Y Intensity to A [–99…+99] JS–Y Intensity to B [–99…+99] AMS (Alternate Modulation Source)

[Off, (PEG, FEG, AEG, KT, EXT)] Intensity to A [–99…+99] Intensity to B [–99…+99]

▼ 3–3: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

3–4: Filter1 EG

Here you can make settings for the EG that will produce time-varying changes in the cutoff frequency of ﬁlters 1A and 1B. The depth of the effect that these settings will have on the ﬁlter 1 cutoff frequency is determined by “Filter EG” (3–2b).

3–4

Release (Release Level) [–99…+99]

Specify the change in cutoff frequency that will occur when the release time has elapsed.

Time:

These parameters specify the time over which each change will occur.

Attack (Attack Time) [00…99]

Specify the time over which the level will change from noteon until the attack level is reached.

Decay (Decay Time) [00…99]

Specify the time over which the level will change from the attack level to the break point level.

Slope (Slope Time) [00…99]

Specify the time over which the level will change after the decay time has elapsed until the sustain level is reached.

Release (Release Time) [00…99]

Specify the time over which the level will change after noteon occurs until the release level is reached.

Note-off

Break Point Level

Decay Time

Sustain Level

Slope Time

Release Time

Release Level

Time

The specified cutoff frequency

Start Level

Note-on

Attack Level

Attack Time

Program

P1 P2 P3 P4 P5 P7 P8 P9

3–4a

3–4b

3–4c

3–4a: Filter1 EG

Specify the time-varying change produced by the ﬁlter 1 EG.

Level:

The result will depend on the ﬁlter that was selected in “Filter Type” (3–1a). For example with the Low Pass Resonance ﬁlter, positive (+) values of EG Intensity will cause the tone to be brightened by positive (+) levels, and darkened by negative (–) levels.

Start (Start Level) [–99…+99]

Specify the change in cutoff frequency at the time of note-on.

Attack (Attack Level) [–99…+99]

Specify the change in cutoff frequency after the attack time has elapsed.

Break (Break Point Level) [–99…+99]

Specify the change in cutoff frequency after the decay time has elapsed.

3–4b: Level Modulation

These settings let you use alternate modulation to control the “Level” parameters of the ﬁlter 1 EG.

AMS (Alternate Modulation Source) [Off, (KT, EXT)]

Select the source that will control the “Level” parameters of the ﬁlter 1 EG (

☞p.210 “AMS (Alternate Modulation Source)

List”).

Intensity [–99…+99]

Specify the depth and direction of the effect that “AMS” will have. For example if “AMS” is Velocity, and you set “St,” “At” and “Br” to + and set “Intensity” to a positive (+) value, the EG levels will rise as you play more strongly. If “Intensity” is set to a negative (–) values, the EG levels will fall as you play more strongly. With a setting of 0, the levels speciﬁed by “Filter 1 EG” (3– 4a) will be used.

St (Start Level) [–, 0, +]

Specify the direction in which “AMS” will affect “Start (Start Level).” When “Intensity” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.

At (Attack Level) [–, 0, +]

Specify the direction in which “AMS” will affect “Attack (Attack Level).” When “Intensity” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.

Sl (Slope Time) [–, 0, +]

Specify the direction in which “AMS1” will affect the slope time. With positive (+) values of “Intensity,” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Br (Break Point Level) [–, 0, +]

Specify the direction in which “AMS” will affect “Break (Break Point Level).” When “Intensity” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Softly played note with St, At, and Br set to + (setting of 3–4a: Filter 1 EG)

Note-off

Note-on

Strongly played note with St, At, and Br set to +

Note-off

Note-on

Strongly played note with St, At, and Br set to –

Note-off

3–4c: Time Modulation

These settings let you use alternate modulation to control the “Time” parameters of the ﬁlter 1 EG.

AMS1 (Alternate Modulation Source1) [Off, (KT, EXT)]

Select the source that will control the “Time ” parameters of the ﬁlter 1 EG (

☞p.210 “AMS (Alternate Modulation Source)

List”).

Intensity [–99…+99]

Specify the depth and direction of the effect that “AMS1” will have. For example if “AMS1” is set to Flt KTr +/+, the EG “Ti me” parameters will be controlled by the Keyboard Track (3–2a) settings. With positive (+) values of this parameter, positive (+) values of “Ramp (Ramp Setting)” will lengthen the EG times, and negative (–) values of “Ramp (Ramp Setting)” will shorten the EG times. The direction of change is speciﬁed by “At,” “Dc,” “Sl,” and “Rl.” With a setting of 0, the times speciﬁed by “Filter 1 EG” (3– 4a) will be used. If “AMS1” is set to Velocity, positive (+) values of this parameter will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the times speciﬁed by “Filter 1 EG” (3– 4a) will be used.

At (Attack Time) [–, 0, +]

Specify the direction in which “AMS1” will affect the attack time. With positive (+) values of “Intensity,” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Rl (Release Time) [–, 0, +]

Specify the direction in which “AMS1” will affect the release time. With positive (+) values of “Intensity,” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Softly played note with At, Dc, Sl and Rl set to + (setting of 3–4a: Filter 1 EG)

Note-off

Note-on

Strongly played note with At, Dc, Sl and Rl set to +

Note-off

Note-on

Strongly played note with At, Dc, Sl and Rl set to –

Note-off

AMS2 (Alternate Modulation Source2) [(EXT, KT)] Intensity [–99…+99] At (Attack Time) [–, 0, +] Dc (Decay Time) [–, 0, +] Sl (Slope Time) [–, 0, +] Rl (Release Time) [–, 0, +]

These parameters are the settings for “AMS2” to control the “Time” parameters of the ﬁlter 1 EG (

☞“AMS1”–“Rl”).

▼ 3–4: Page Menu Command

0–1A

1–1A

1–1B

3–4A

3–4A: Sync Both EGs

When this is checked, the ﬁlter 1 EG and ﬁlter 2 EG can be edited simultaneously. (Editing either one will modify the other as well.)

3–5: Filter2 3–6: Filter2 Mod. 3–7: Filter2 lfo Mod

(Filter1 LFO Mod.)

3–8: Filter2 EG

These are the ﬁlter 2 parameters (for oscillator 2) (☞“3–1: Filter 1”–“3–4: Filter 1 EG”). These will appear when “Oscillator Mode” (1–1a) is Double.

Dc (Decay Time) [–, 0, +]

Specify the direction in which “AMS1” will affect the decay time. With positive (+) values of “Intensity,” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Program P4: Edit -Amp

Here are the volume-related settings. Amp 1 controls oscillator 1, and amp 2 controls oscillator 2.

4–1: Amp1 Lvl/Pan (Amp1 Level/Pan)

These parameters control the volume and pan of oscillator 1.

4–1

4–1a

4–1b

Intensity [–99…+99]

Specify the depth of the effect produced by “AMS.” For example if “Pan” is set to C064 and “AMS” is Note Number, positive (+) values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note (i.e., as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative (–) values of this parameter will have the opposite effect.

▼ 4–1: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

4–2: Amp1 Mod.

These settings allow you to apply modulation to amp 1 (for oscillator 1) to modulate the volume.

4–2

Program

P1 P2 P3 P4 P5 P7 P8 P9

4–1a: Amp Level (Ampliﬁer Level)

Amp Level [0…127]

Set the volume of oscillator 1.

The volume of a program can be controlled by CC#7 (volume) and #11 (expression). The resulting level is determined by multiplying the values of CC#7 and #11. The Global MIDI channel “MIDI Channel” (Global P1: 1–1a) is used for control.

4–1b: Pan (Panpot)

Pan [Random, L001…C064…R127]

Set the pan (stereo location) of oscillator 1. A setting of L001 places the sound at far left, C064 in the center, and R127 to far right.

Random: The sound will be heard from a different location at each note-on.

This can be controlled by CC#10 (panpot). A CC#10 value of 0 or 1 will place the sound at the far left, a value of 64 will place the sound at the location speciﬁed by the “Pan” setting for each oscillator, and a value of 127 will place the sound at the far right. This is controlled on the global MIDI channel “MIDI Channel” (Global P1: 1–1a).

Use DKit Setting

This is valid when “Oscillator Mode” (1–1a) is set to Drums.

Checked: The sound will be output at the “Pan” setting that

has been made for each key of the drum kit (Global P5: 5– 2b). When “Oscillator Mode” is Drums, you will normally use this setting.

Unchecked: All notes will be output as speciﬁed by the “Pan” setting (4–1b).

AMS (Alternate Modulation Source)

[Off, (PEG, FEG, AEG, LFO, KT, EXT)]

Select the source that will modify pan (☞p.210 “AMS (Alternate Modulation Source) List”). This change will be relative to the “Pan” setting.

4–2a

4–2b

4–2c

4–2a: Keyboard Track

These parameters let you use keyboard tracking to adjust the volume of oscillator 1. Use the “Key” and “Ramp” parameters to specify how the volume will be affected by the keyboard location that you play.

Key (Keyboard Track Key):

Specify the note number at which keyboard tracking will begin to apply. The volume will not change between “Key Low” and “Key High.”

The note number can also be input by holding the [ENTER] key and playing a note on the keyboard.

Key Low [C–1…G9]

Keyboard tracking will apply to the range of notes below the note number you specify here.

Key High [C–1…G9]

Keyboard tracking will apply to the range of notes above the note number you specify here.

Ramp (Ramp Setting):

Specify the angle of the keyboard tracking.

Ramp Low [–99…+99]

With positive (+) values of this parameter, the volume will increase as you play notes below the “Key Low” note number. With negative (–) values, the volume will decrease.

Ramp High [–99…+99]

With positive (+) values of this parameter, the volume will increase as you play notes above the “Key High” note number. With negative (–) values, the volume will decrease.

Volume change produced by keyboard location and Ramp settings

Volume

Ramp Low=+99

Ramp Low=0

Ramp Low=–99

Key Low

Key High

Ramp High=+99

Ramp High=0

Ramp High=–99

Key

4–2b: Amp Modulation (Ampliﬁer Modulation)

AMS (Alternate Modulation Source)

[Off, (PEG, FEG, AEG, KT, EXT)]

Select a source that will control the depth by which “OSC1 LFO1” will modulate the volume of oscillator 1 (

☞p.210

“AMS (Alternate Modulation Source) List”).

Intensity [–99…+99]

As the absolute value of this setting is increased, the effect of “AMS” on “OSC1 LFO1” will increase. Negative (–) values will invert the LFO waveform.

LFO2 Intensity [–99…+99] AMS (Alternate Modulation Source)

[Off, (PEG, FEG, AEG, KT, EXT)]

Intensity [–99…+99]

Specify the depth and direction of the effect that “OSC1 LFO 2” will have on the volume of oscillator 1. Refer to the preceding sections “LFO1 Intensity”–“Intensity.”

These parameters specify how the volume of oscillator 1 will be affected by velocity.

Velocity Intensity [–99…+99]

With positive (+) values, the volume will increase as you play more strongly. With negative (–) values, the volume will decrease as you play more strongly.

Volume change (with positive (+) values of this parameter)

Note-on

Softly played

Note-off

Note-on

Strongly played

Note-off

AMS (Alternate Modulation Source)

[Off, (PEG, FEG, EXT)]

Select the source that will control the volume of amp 1 (

☞p.210 “AMS (Alternate Modulation Source) List”) (EXT)

Velocity cannot be selected.

Intensity [–99…+99]

Specify the depth and direction of the effect that “AMS” will have. The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp EG are low, the modulation applied by Alternate Modulation will also be less.

For example if “AMS” is set to After Touch, positive (+) val- ues of this parameter will cause the volume to increase when pressure is applied to the keyboard. However if the EG settings etc. have already raised the volume to its maximum level, the volume cannot be increased further. With negative (–) values of this parameter, the volume will decrease when pressure is applied to the keyboard.

▼ 4–2: Page Menu Command

☞ “0–1A: Write Program,” “1–1A: Copy Oscillator,” and “1–

1B: Swap Oscillator.”

4–3: Amp1 EG

These parameters let you create time-varying changes in the volume of oscillator 1.

4–3

4–3a

4–3b

4–3a: Amp1 EG (Ampliﬁer1 EG)

These parameters specify how the amp 1 EG will change over time.

Level:

Start (Start Level) [00…99]

Specify the volume level at note-on. If you want the note to begin at a loud level, set this to a high value.

Attack (Attack Level) [00…99]

Specify the volume level that will be reached after the attack time has elapsed.

4–3c

4–2c: LFO 1/2

These parameters let you use “OSC1 LFO1” (5–1) and “OSC1 LFO 2” (5–2) to control the oscillator 1 volume.

LFO1 Intensity [–99…+99]

Specify the depth and direction of the effect that “OSC1 LFO1” will have on the volume of oscillator 1. Negative (–) values will invert the LFO waveform.

Break (Break Point Level) [00…99]

Specify the volume level that will be reached after the decay time has elapsed.

Sustain (Sustain Level) [00…99]

Specify the volume level that will be maintained from after the slope time has elapsed until note-off occurs.

Time:

Attack (Attack Time) [00…99]

Specify the time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound.

Decay (Decay Time) [00…99]

Specify the time over which the volume will change from when it reaches the attack level until it reaches the break point level.

Br (Break Point Level) [–, 0, +]

Specify the direction in which “AMS” will change “Break (Break Point Level).” If “Intensity” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Program

Slope (Slope Time) [00…99]

Specify the time over which the volume will change from when it reaches the break point level until it reaches the sustain level.

Release (Release Time) [00…99]

Specify the time over which the volume will change after note-off until it reaches 0.

Volume

Amplifier EG

Note-on

Attack Level

Start Level

Attack Time

Break Point

Decay Time

Slope Time

Sustain Level

Note-off

Time

Release Time

4–3b: Level Modulation

These parameters let you use an alternate modulation source to modify the amp 1 EG levels that were speciﬁed in “Amp 1 EG” (4–3a).

AMS (Alternate Modulation Source) [Off, (KT, EXT)]

Select the source that will control the “Level” parameters of the amp 1 EG (

☞p.210 “AMS (Alternate Modulation Source)

List”).

Intensity [–99…+99]

Specify the depth and direction of the effect that “AMS” will have. For example if “AMS” is Velocity, setting “St,” “At,” and “Br” to + and setting “Intensity” to a positive (+) value will cause the amp 1 EG volume levels to increase as you play more strongly. Setting “Intensity” to a negative (–) values will cause the amp 1 EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as speciﬁed in “Amp 1 EG” (4–3a).

St (Start Level) [–, 0, +]

Specify the direction in which “AMS” will change “Start (Start Level).” If “Intensity” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

At (Attack Level) [–, 0, +]

Specify the direction in which “AMS” will change “Attack (Attack Level).” If “Intensity” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

Softly played note when St=0 and At and Br are set to + (settings of 4–3a: Amp 1 EG)

Strongly played note when St=0 and At and Br are set to +

Strongly played note when St=0 and At and Br are set to –

4–3c: Time Modulation

These parameters let you use an alternate modulation source to modify the amp 1 EG times that were speciﬁed in “Amp 1 EG” (4–3a).

AMS1 (Alternate Modulation Source 1) [Off, (EXT, KT)]

Select the source that will control the “Time ” parameters of the amp 1 EG (

☞p.210 “AMS (Alternate Modulation Source)

List”). With a setting of Off, there will be no modulation.

Intensity (AMS1 Intensity) [–99…+99]

Specify the depth and direction of the effect that “AMS1” will have. For example if “AMS1” is Amp KTrk +/+, the (Amp) Key- board Track settings (4–2a) will control the EG “Time” parameters. With positive (+) values of this parameter, posi- tive (+) values of “Ramp (Ramp Setting) will cause EG times to be lengthened, and negative (–) values of “Ramp (Ramp Setting)” will cause EG times to be shortened. The direction of the change is speciﬁed by “At,” “Dc,” “Sl,” and “Rl.” When “AMS1” is Velocity, positive (+) values will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the EG times will be as speciﬁed in “Amp1 EG” (4–3a).

At (Attack Time) [–, 0, +]

Specify the direction of the effect that “AMS1” will have on “Attack (Attack Time).” With positive (+) values of “Inten-

sity,” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Dc (Decay Time) [–, 0, +]

Specify the direction of the effect that “AMS1” will have on “Decay (Decay Time).” With positive (+) values of “Inten-

sity,” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Sl (Slope Time) [–, 0, +]

Specify the direction of the effect that “AMS1” will have on “Slope (Slope Time).” With positive (+) values of “Inten-

sity,” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

P1 P2 P3 P4 P5 P7 P8 P9

Rl (Release Time) [–, 0, +]

Specify the direction of the effect that “AMS1” will have on “Release (Release Time).” With positive (+) values of “Inten-

sity,” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Amp 1 EG changes (Time) (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track (4–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value)

Note-on

Settings of 4–3a: Amp 1 EG

Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

Note-on

Softly played note with At, Dc, Sl and Rl at + (settings of 4–3a: Amp 1 EG)

Note-off

Note-on

Low-pitched note played with At, Dc, Sl, and Rl at +

Note-on

Strongly played note with At, Dc, Sl and Rl at +

Note-off

Note-on

High-pitched note played with At, Dc, Sl, and Rl at –

Note-on

Strongly played note with At, Dc, Sl and Rl at –

Note-off

AMS2 (Alternate Modulation Source 2) [Off, (EXT, KT)] Intensity (AMS2 Intensity) [–99…+99] At (Attack Time) [–, 0, +] Dc (Decay Time) [–, 0, +] Sl (Slope Time) [–, 0, +] Rl (Release Time) [–, 0, +]

These parameters specify how “AMS2” will control the amp 1 EG “Time” parameters (

☞“AMS1”–“Rl”).

▼ 4–3: Page Menu Command

0–1A

1–1A

1–1B

4–3A

4–3A: Sync Both EGs

When this is checked, the amp 1 EG and amp 2 EG can be edited simultaneously. (Editing either one will also modify the other.)

4–4: Amp2 Lvl/Pan (Amp1 Level/Pan) 4–5: Amp2 Mod. 4–6: Amp2 EG

These are the parameters for amp 2 (used for oscillator 2). (

☞ “4–1: Amp 1 Level / Pan”–“4–3: Amp 1 EG.”)

These will appear when “Oscillator Mode” (1–1a) is Double.

Program P5: Edit-Common LFO

5–1: OSC1 LFO1

Make settings for the “OSC1 LFO1,” which is the ﬁrst LFO that can be used for oscillator 1.

5–1

5–1a

5–1b

5–1c

5–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vector)]

Select the LFO waveform.

The numbers that appear at the right of some of the LFO waveforms indicate the phase at which the waveform will begin.

Triangle 0

Triangle 90

Triangle Random

Saw 0

Saw 180

Square

Sine

Guitar

Exponential Triangle

Exponential Saw Down

Exponential Saw Up

Triangle wave

Phase will change randomly at each key-in

Sawtooth down↓

Square wave

Sine wave

Guitar vibrato

Frequency [00…99]

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

Offset [–99…+99]

Specify the central value of the LFO waveform. For example with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar. When “Waveform” is set to Guitar, the modulation will occur only in the positive (+) direction even if you set “Offset” to 0.

Step Triangle – 4

Step Triangle – 6

Step Saw – 4

Step Saw – 6

Random1 (S/H):

Conventional sample & hold (S/H) in which the level changes randomly at fixed intervals of time

Random2 (S/H):

Both the levels and the time intervals will change randomly.

Random3 (S/H):

The maximum level and minimum level will alternate at random intervals of time (i.e., a square wave with random period).

Random4 (Vector) Random5 (Vector) Random6 (Vector)

These types cause Random 1–3 to change smoothly. They can be used to simulate the instability of acoustic instruments etc.

Offset settings and pitch change produced by vibrato

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

Pitch at note-on

Key Sync. (Keyboard Synchronize)

Checked: Key Sync. will be On. The LFO will start each time you play a note, and an independent LFO will operate for each note. Unchecked: Key Sync. will be Off, and the LFO effect that was started by the ﬁrst-played note will continue to be applied to each newly-played note. (In this case, Delay and Fade will be applied only to the LFO when it is ﬁrst started.)

Fade [00…99]

Specify the time from when the LFO begins to apply until it reaches the maximum amplitude. When “Key Sync.” is Off, the fade will apply only when the LFO is ﬁrst started.

How “Fade” affects the LFO (when “Key Sync.” is On)

Note-on Note-off

Fade

Delay

Delay [0…99]

Specify the time from note-on until the LFO effect begins to apply. When “Key Sync.” is Off, the delay will apply only when the LFO is ﬁrst started.

AMS2 (Alternate Modulation Source2)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Intensity (AMS2 Intensity) [–99…+99]

Make settings for a second alternate modulation source that will adjust the frequency of the oscillator 1 LFO1. (

☞“AMS1,” “Intensity (AMS1 Intensity)”)

5–1c: Frequency MIDI/Tempo Sync.

MIDI/Tempo Sync. (MIDI/Tempo Synchronize)

Checked: The LFO frequency will synchronize to the tempo (MIDI Clock). In this case, the values you speciﬁed for “Frequency” (5–1a) and “Frequency Modulation” (5–1b) will be ignored.

Base Note [ ,   ,  ,   ,  ,   ,  , ]

Times [01...16]

When “MIDI/Tempo Sync.” is checked, these parameters

set a note length relative to “ (Tempo)” and the multiple

(“Times”) that will be applied to it. These parameters will determine the frequency of the OSC1 LFO1. For example if

“Base Note” is  (quarter note) and “Times” is 04, the LFO

will perform one cycle every four beats.

Even if you change the “ (Tempo)” setting of the arpeggia-

tor or sequencer, the LFO will always perform one cycle every four beats.

▼ 5–1: Page Menu Command

0–1A

5–1A

Program

P1 P2 P3 P4 P5 P7 P8 P9

5–1b: Frequency Modulation

You can use two alternate modulation sources to adjust the speed of the OSC1 LFO1.

AMS1 (Alternate Modulation Source1)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Select the source that will adjust the frequency of the oscillator 1 LFO1 ( List”). OSC1 LFO1 can be modulated by OSC1 LFO2.

☞p.210 “AMS (Alternate Modulation Source)

Intensity (AMS1 Intensity) [–99…+99]

Specify the depth and direction of the effect that “AMS1” will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively). For example if “AMS1” is Note Number, positive (+) values of this parameter will cause the oscillator 1 LFO to speed up as you play higher notes. Negative (–) values will cause the oscillator 1 LFO to slow down as you play higher notes. This change will be centered on the C4 note. If “AMS1” is set to JS +Y, raising the value of this parameter will cause the oscillator 1 LFO1 speed to increase as the joystick is moved away from yourself. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times.

5–1A: Swap LFO 1&2

1 Select this command to open the dialog box. 2 Press the OK button.

5–2: OSC1 LFO2

Here you can make settings for the OSC1 LFO2, which is the second LFO that can be applied to oscillator 1. ( OSC1 LFO1”) However in “Frequency Modulation” (5–1b), the LFO cannot be selected as a modulation source in “AMS1” or “AMS2.”

☞“5–1:

5–3: OSC2 LFO1

This can be used when “Oscillator Mode” (1–1a) is set to Double. Here you can make settings for the OSC2 LFO1, which is the ﬁrst LFO that can be applied to oscillator 2 ( LFO1”).

☞“5–1: OSC1

5–4: OSC2 LFO2

This can be used when “Oscillator Mode” (1–1a) is set to Double. Here you can make settings for the OSC2 LFO2, which is the second LFO that can be applied to oscillator 2 ( LFO1” and “5–2: OSC1 LFO2”).

☞“5–1: OSC1

Program P7: Edit-Arpeggiator

Here you can make settings for the arpeggiator used by the program. These arpeggiator settings can be linked when you switch programs. To link, check the Program item in “Auto Arpeggiator” (Global P0 : 0–1c). The arpeggiator can be switched on/off by the front panel ARPEGGIATOR [ON/OFF] key. When on, the key LED will light.

The settings of the front panel ARPEGGIATOR [TEMPO] knob, [GATE] knob, [VELOCITY] knob, and [ON/OFF] key can be saved for each program.

These settings will be valid when “Auto Arpeggiator” Program is checked.

If Local Control (“Local Control On,” Global P1: 1–1a) is OFF, the keyboard will not trigger the arpeggiator. The arpeggiator will be triggered via MIDI IN. Turn Local Control OFF if you have recorded only the trigger notes on an external sequencer, and wish to playback the external sequencer to trigger the TRITON’s arpeggiator.

If you want the note data generated by the arpeggiator to be recorded on the external sequencer, turn Local Control ON, and turn off the echo back function on your external sequencer.

7–1: Arpeg. Setup

7–1

7–1a

7–1b

7–1a: Arpeggiator Tempo

Arpeggiator Tempo  [040...240, EXT]

Set the tempo (Link: “  ” 0–1b).

This can also be set by the front panel [ARPEGGIATOR TEMPO] knob. When “MIDI Clock” (Global P1: 1–1a) is either External MIDI or External PCI/F, this will indicate EXT, and the arpeggiator will synchronize to MIDI Clock messages received from an external MIDI device.

7–1b: Arpeggiator Setup

Refer to p.96 in the Basic Guide.

Pattern (Pattern No.) [P00...P04, U00(A/B)...U231(D)]

Select the arpeggio pattern.

P00: UP (Preset Arpeggio Pattern)

P01: DOWN (Preset Arpeggio Pattern)

P02: ALT1 (Preset Arpeggio Pattern)

P03: ALT2 (Preset Arpeggio Pattern)

P04: RANDOM (Preset Arpeggio Pattern)

U00 (A/B)...U199 (A/B) (for User Arpeggio Pattern)

U200 (C)...U215 (C) (for EXB-PCM series, User Arpeggio Pattern)

U216 (D)...U231 (D) (for EXB-PCM series, User Arpeggio Pattern)

P00–P04 are preset arpeggio patterns, U00 (A/B)–U231 (D) are user arpeggio patterns. User arpeggio patterns can be created in Global P6.

Arpeggio patterns U000 (A/B)–U231 (D) can be selected using the numeric keys [0]–[9] and the [ENTER] key.

Octave [1, 2, 3, 4]

Specify the number of octaves in which the arpeggio will be played (Link: “Octave” 0–2a).

If a user arpeggio pattern is selected, the range of the arpeggio will depend on the “Octave Motion” (Global P6: 6–1b) setting.

Resolution [   ,  ,   ,  ,   ,  ]

Specify the timing resolution of the arpeggio. The notes of

the arpeggio will be played at the interval you specify:   ,  ,  ,  ,   , or  . The speed of the arpeggio pattern is determined by the “Arpeggiator Tempo ” and the “Resolu-

tion” (Link: “Reso” 0–2a).

Gate [000...100(%), Step]

Specify the length (gate time) of each note in the arpeggio.

000–100(%): Each note will be played with the speciﬁed gate time.

Step: This is available when an user arpeggio pattern U00 (A/B)–U231 (D) is selected for “Pattern.” When this is

selected, the gate time speciﬁed for each step will be used. The gate time can also be controlled by the front panel ARPEGGIATOR [GATE] knob. Rotating the knob toward the left will shorten the gate time, and rotating it toward the right will lengthen the gate time. When the knob is at the 12 o’clock position, the gate time will be as speciﬁed here.

Velocity [001...127, Key, Step]

Specify the velocity of the notes in the arpeggio.

001–127: Each note will sound with the speciﬁed velocity value. Key: Each note will sound with the velocity value at which it was actually played.

Step: This is available when an user arpeggio pattern U00 (A/B)–U231 (D) is selected for “Pattern.” When this is

selected, the velocity speciﬁed for each step will be used. The velocity can also be controlled by the front panel ARPEGGIATOR [VELOCITY] knob. Rotating the knob toward the left will decrease the velocity, and rotating it toward the right will increase the velocity. When the knob is at the 12 o’clock position, the velocity will be as speciﬁed here.

Sort

This speciﬁes the order in which the notes you press will be arpeggiated (Link: “Sort” 0–2a).

Checked: Notes will be arpeggiated in the order of their pitch, regardless of the order in which you pressed them. Unchecked: Notes will be arpeggiated in the order in which you pressed them.

Latch

Specify whether or not the arpeggio will continue playing after you take your hand off of the keyboard (Link: “Latch” 0–2a).

Checked: The arpeggio will continue playing after you remove your hand from the keyboard. Unchecked: The arpeggio will stop when you remove your hand from the keyboard.

Key Sync. (Keyboard Synchronize)

Specify whether the arpeggio pattern will begin when you press a key, or whether it will always follow the “Arpeggia-

tor Tempo ” (Link: “Key Sync.” 0–2a).

Checked: The arpeggio pattern will start playing from the beginning when a note-on occurs from a condition where no keys are pressed. This setting is suitable when you are playing in realtime and want the arpeggio to play from the beginning of the measure. Unchecked: The arpeggio pattern will always play accord-

ing to the “Arpeggiator Tempo  .”

Keyboard

This speciﬁes whether the notes you play on the keyboard will be sounded as usual in addition to being sounded as part of the arpeggio (Link: “Keyboard” 0–2a).

Checked: The notes you play will be sounded on their own, in addition to being sounded as part of the arpeggio. For example if you simultaneously press two or more notes, they will be sounded as usual in addition to being played as arpeggiated notes. Unchecked: Only the arpeggiated notes will be heard.

▼ 7–1: Page Menu Command

0–1A

7–1A

7–1A: Copy Arpeggiator

This command copies arpeggio settings.

1 Select this command to open the following dialog box.

Program

P1 P2 P3 P4 P5 P7 P8 P9

Swing [–100...+100(%)]

This parameter shifts the timing of the odd-numbered notes of the arpeggio.

When Resolution =

Step

123456789

–50 –25 +25 +25

Swing

2 In “From” specify the copy source arpeggio settings

(mode, bank, number).

3 If you are copying from Combination, Song, or Song Play

mode, specify whether you wish to copy from A or B.

4 To execute the Copy Arpeggio operation, press the OK

button. To cancel, press the Cancel button.

7–2: Scan Zone

7–2a

Program P8: Edit-Insert Effect

7–1

☞ For details on insertion effects, refer to p.146 “8. Effect

Guide.”

7–2b

7–2a: Zone Map

This shows the “Scan Zone” setting.

7–2b: Scan Zone

Top Key [C–1...G9] Bottom Key [C–1...G9]

These parameters specify the range of notes (keys) for which the arpeggiator will function. “Top Key” is the upper limit, and “Bottom Key” is the lower limit.

Top Velocity [001...127] Bottom Velocity [001...127]

Specify the range of velocities for which the arpeggiator will function. “Top Velocity” is the upper limit, and “Bottom Velocity” is the lower limit.

Note number and velocity can also be input by holding down the [ENTER] key and playing a note on the keyboard.

8–1: Routing

These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the master effects. The following diagram shows the LCD screen when “Oscillator Mode” (1–1a) is set to Single or Double.

8–1

8–1a

8–1b

8–1c

8–1d

8–1a: Routing Map

This shows the status of the insert effects. The insert effect routing, effect name, on/off status, and chain is shown. The types of insert effect, on/off, and chain settings are made in the Insert FX tab (8–2).

8–1b: Use DKit Setting

This will be available when “Oscillator Mode” (1–1a) is set to Drums.

Checked: The “BUS Select” (Global P5: 5–2a) setting for each key of the selected drum kit will be used. Check this when you want to apply an insert effect to an individual drum instrument, or to output an individual drum instrument to one of the AUDIO OUTPUT (INDIVIDUAL) jacks. If the “Oscillator Mode” is Single or Double, this setting has no effect. Unchecked: The setting of the “BUS Select” (8–1c) parame- ter described below will be used. All drum instruments will be sent to the speciﬁed bus.

8–1c: BUS Select (IFX/Indiv.Out Assign)

All OSCs to (BUS Select)

[L/R, IFX1...5, 1...4, 1/2, 3/4, Off]

Specify the bus to which oscillators 1 and 2 will be sent.

If this is set to 1/2 or 3/4, the oscillator pan settings (4– 1b, 4–4) will be used to output the sound in stereo from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4. When the oscillator pan is controlled by CC#10 (pan) or AMS (Alternate Modulation Source), the sound will be output with the pan setting that is in effect at note-on. Unlike the case when this is set to L/R to output the sound from (MAIN) L/MONO and R, the pan of a sounding note will not change in realtime. If you wish to adjust the pan in realtime during a note and output the sound from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4, set “BUS Select” to IFX1 (or IFX2–

+ 225 hidden pages

Korg Triton Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Conventions in this manual

How to read the “Parameter Guide”

(example)

1. Program mode

0–1a: Bank, 10’s Hold, Category, Program Number

0–1b: (Tempo) [040...240, EXT]

0–1c: Program Information

0–1d: Performance Editor

0–2: Arpeggio

0–2a: Arpeggiator

1–1: Program Basic

1–1a: Oscillator Mode [Single, Double, Drums]

1–1b: Voice Assign Mode

1–1c: Scale

1–2a: OSC1 Multisample

1 Select this command to open the dialog box. 2 To execute the Swap Oscillator command, press the OK

1–2: OSC Basic

1–2b: OSC2 Multisample

1–2d: Drum Kit

1–3: Velo. Zone (Velocity Zone)

1–3a: OSC 1/2 Velocity Zone

1–4: Controller (Controller Setup)

1–4a: Panel Switch Assign

1–4b: Realtime Control Knobs B–Assign

2–1: OSC1 P.Mod (OSC1 Pitch Mod.)

2–1a: Pitch

2–1c: Portamento

2–1b: Pitch EG

2–1d: LFO1/2

2–3a: Pitch EG

2–2: OSC2 P.Mod (OSC2 Pitch Mod.)

2–3: Pitch EG

2–3b: Level Modulation

2–3c: Time Modulation

3–1: Filter1

3–1a: Filter Type

3–1b: Filter A

3–1c: Filter B

3–2: Filter1 Mod.

3–2b: Filter EG

3–3: Filter1 lfo Mod (Filter1 LFO Mod.)

3–3a: LFO 1

3–2c: Filter A/B Modulation

3–3b: LFO 2

3–4: Filter1 EG

3–4a: Filter1 EG

3–4b: Level Modulation

3–4c: Time Modulation

3–5: Filter2 3–6: Filter2 Mod. 3–7: Filter2 lfo Mod

3–8: Filter2 EG

4–1: Amp1 Lvl/Pan (Amp1 Level/Pan)

4–2: Amp1 Mod.

4–1b: Pan (Panpot)

4–2a: Keyboard Track

4–3: Amp1 EG

4–2c: LFO 1/2

4–3b: Level Modulation

4–3c: Time Modulation

4–4: Amp2 Lvl/Pan (Amp1 Level/Pan) 4–5: Amp2 Mod. 4–6: Amp2 EG

5–1: OSC1 LFO1

5–1a: OSC1 LFO1

5–1c: Frequency MIDI/Tempo Sync.

5–1b: Frequency Modulation

1 Select this command to open the dialog box. 2 Press the OK button.

5–2: OSC1 LFO2

5–3: OSC2 LFO1

5–4: OSC2 LFO2

7–1: Arpeg. Setup

7–1a: Arpeggiator Tempo

7–1b: Arpeggiator Setup

7–2: Scan Zone

7–2a: Zone Map

7–2b: Scan Zone

8–1: Routing

8–1a: Routing Map

8–1b: Use DKit Setting