Korg Triton Parameter Guide

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▼ 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–

IFX5), set “IFX1” (or IFX2–IFX5) to 000: No Effect, and set the “BUS Select” (8–2a) after passing through IFX to 1/2 or 3/4.

8–1d: OSC MFX Send (Oscillator Master Effect

Send)

OSC1:

Send1 (to MFX1) [000...127]

Set the volume (send level) at which the output of OSC1 will be sent to master effect 1. This is valid when “BUS Select” (8–1c) is set to L/R or Off. If “BUS Select” is set to IFX1, IFX2, IFX3, IFX4 or IFX5, the send levels to master effect 1 and 2 are set by “Send 1” and “Send 2” (8–2a) after passing through IFX 1/2/3/4/5 of the Insert FX tabs.

Send2 (to MFX2) [000...127]

Set the volume (send level) at which the output of OSC1 will be sent to master effect 2 (

☞“Send 1 (to MFX1)”).

OSC2:

Send1 (to MFX1) [000...127] Send2 (to MFX2) [000...127]

Set the volume (send level) at which the output of OSC2 will be sent to master effects 1 and 2. These parameters will be valid when “Oscillator Mode” (1–1a) is set to Double and “BUS Select” is set to L/R or Off.

CC#93 will control the Send 1 level for OSC 1 and 2, and control change #91 will control the Send 2 level for OSC 1 and 2. These are controlled on the global MIDI channel “MIDI Channel” (Global P1: 1–1a). The actual send level is determined by multiplying these values with the send level setting of each oscillator.

4 Select the copy destination insert effect. If you check

“Post IFX Mixer Setting,” the “Chain,” “Pan#8,” “BUS Select,” “Send 1” and “Send 2” settings that follow the copy source insert effect will also be copied. If this is unchecked, only the effect type and its parameters will be copied.

5 To execute the Copy Insert Effect command, press the

OK button. To cancel, press the Cancel button.

8–1B: Swap Insert Effect

This command swaps (exchanges) insert effect settings.

1 Select this command to open the following dialog box.

2 In “Source 1” and “Source 2,” select each of the insert

effects that you wish to swap.

3 To execute the Swap Insert Effect command, press the

OK button. To cancel, press the Cancel button.

8–2: Insert FX

Here you can select the type of each insert effect, turn it on/ off, and make chain settings. The direct sound (Dry) of an insert effect is always stereo input and output. The input/output of the effect sound (Wet) will depend on the effect type (

8–2a

☞p.146).

8–1

Program

P1 P2 P3 P4 P5 P7 P8 P9

▼ 8–1: Page Menu Command

0–1A

8–1A

8–1B

8–1A: Copy Insert Effect

This command copies effect settings from Program, Combination, Song, Sampling, or Song Play mode.

1 Select this command to open the following dialog box.

2 In “From” select the copy source mode, bank, and num-

ber.

3 Select the effect that you wish to copy. You can also copy

from a master effect. If “All” is checked, all effect settings will be copied (i.e., the contents of the Insert FX tab and the effect parameters of IFX 1–5, but not “Ctrl Ch”).

If you are copying from a master effect, the result may not be identical, due to differences in the routing and level settings of a master effect.

8–2a: IFX1, 2, 3, 4, 5 (Insert Effect1, 2, 3, 4, 5)

FX Select (IFX1, 5) [000...089: name] FX Select (IFX2, 3, 4) [000...102: name]

Select the type of each insert effect. For “IFX1” and “IFX5” you can select from 90 types of effect: 000: No Effect – 089: Reverb-Gate. Double-size effects cannot be used. For “IFX2,” “IFX3” and “IFX4” you can select from 103 types of effect: 000: No Effect – 102: Hold Delay.

Category/IFX Select

When you press the popup button, a “Category/IFX Select” list will appear. Press a tab to select a category of effects, and select an effect from that category. Press the OK button to execute, or press the Cancel button to cancel.

If you select a double-size effect, the insert effect that follows will be unavailable. For example if you select a double-size effect for IFX2, IFX3 cannot be used. Up to two double-size effects can be used. (You can use a normal size effect for IFX1, and double-size effects for IFX2 and IFX4.) (

☞p.146)

ON/OFF (Insert Effect On/Off)

Switch the insert effect on/off. When this is OFF, the input will be output without change. (For 000: No Effect, on/off will produce the same result.) Each time you press this, the setting will alternate between on/off.

Separately from this setting, you can use control change #92 to turn off all insert effects together. A value of 0 will be off, and a value of 1–127 will be the original setting. This message is received on the global MIDI channel speciﬁed by “MIDI Channel” (Global P1: 1–1a).

Chain

Switch “chain” on/off for each insert effect. For example if the check box between IFX1 and IFX2 is checked, IFX1 and IFX2 will be connected in series. If “BUS Select” (8–1c) is set to IFX1, IFX1 and IFX2 will be inserted in series. A maximum of ﬁve insert effects (IFX1–IFX5) can be inserted in series. When effects are chained, the “PAN (CC#8),” “BUS Select,” “Send 1” and “Send 2” settings that follow the last IFX in the chain will be used.

Pan(CC#8) (Post IFX Panpot CC#8)

[L000...C064...R127]

Set the pan after the sound has passed through the insert effect. This setting is valid only when the following “BUS Select” is set to L/R (

CC#8 will control.

☞p.149).

8–3: IFX 1 8–4: IFX 2 8–5: IFX 3 8–6: IFX 4 8–7: IFX 5

Here you can set the effect parameters for the IFX 1/2/3/4/ 5 that were selected in the Insert FX tab (

Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (Global P1: 1-1a).

☞p.155).

BUS Sel. (BUS Select) [L/R, 1, 2, 3, 4, 1/2, 3/4, Off]

Specify the bus to which the sound will be sent after passing through the insert effect. Normally you will set this to L/R. If you wish to output to AUDIO OUTPUT (INDIVIDUAL), set this to 1, 2, 3, 4, 1/2, or 3/4. The Off setting is used when you wish to use “Send 1” and “Send 2” and in addition connect to the master effects in series.

Send1 (MFX1) [000...127] Send2 (MFX2) [000...127]

Set the send levels to the master effects 1 and 2 for the sound that has passed through the insert effect. These settings are valid when “BUS Select” (8–2a) has been set to L/R or Off.

Control change #93 will control the Send 1 level, and control change #91 will control the Send 2 level. These messages are received on the global MIDI channel speciﬁed by “MIDI Channel” (Global P1: 1–1a).

Program P9: Edit-Master Effect

☞ For details on the master effects, refer to p.150 “8. Effect

Guide.”

9–1: Master FX

Here you can select the master effect types, switch them on/ off, specify chaining, and set the master EQ.

9–1

9–1a

9–1b

Separately from this setting, you can use CC#94 to switch this on/off. A value of 0 will be off, and a value of 1–127 will be the original setting. This is controlled on the global MIDI channel “MIDI Channel” (Global P1: 1–1a).

MFX2 Effect Select [000...089: name]

Select the effect type for master effect 2 (☞“MFX1 Effect Select”).

ON/OFF

Switch master effect 2 on/off. Refer to the above explanation of “ON/OFF.” MFX2 can also be turned on/off by control change #95.

9–1b: Chain

Program

P1 P2 P3 P4 P5 P7 P8 P9

9–1c

9–1d

9–1a: Master FX (Master Effect)

The master effects do not output the direct sound (Dry). The return level (“Return”) sends the effect sound (Wet ) to the L and R bus, and this is mixed with the direct sound (i.e., the output from P8: Routing tab “BUS Select” L/R, or the L/R output from Insert FX tab “BUS Select”). The master effects are monaural input. The sound that is panned to L and R after passing through the oscillator and insert effects is mixed to a monaural signal as adjusted by the “Send 1” and “Send 2” levels, and input to the master effects.

The master effects are mono-in stereo-out. Even when a stereo-input type effect is selected, the input will be monaural.

MFX1 Effect Select [000...089: name]

Select the effect type for master effect 1. You can select from 90 types of effect: 000: No Effect–089: Reverb-Gate. (Double-size effects cannot be selected.) If 000: No Effect is selected, the output from the master effect will be muted.

Category/MFX Select

When you press the popup button, a “Category/MFX Select” menu will appear. Press a tab to select the desired category of effect, and select an effect from the list. Press the OK button to execute, or press the Cancel button to cancel.

Chain

Checked: Chain (series connection) will be turned on for MFX1 and MFX2.

Chain Direction [MFX1→MFX2, MFX2→MFX1]

Specify the direction of the connection when MFX1 and MFX2 are chained.

MFX1→MFX2: Connect from MFX1 to MFX2. MFX2→MFX1: Connect from MFX2 to MFX1.

Chain Signal [LR Mix, L Only, R Only]

When chain is On, this parameter speciﬁes how the stereo output signal of the ﬁrst master effect will be connected to the input (mono) of the next master effect.

L/R Mix: The stereo output L/R of the ﬁrst master effect will be mixed before being input to the next master effect. L Only, R only: Only the left or right channel of the output will be input to the next master effect.

Chain Level [000...127]

When chain is On, this sets the level at which the sound is sent from the ﬁrst master effect to the next master effect.

9–1c: Return Level

Return 1 [000...127] Return 2 [000...127]

Adjust the return levels from the master effects to the L/R bus (main output L/MONO, R).

9–1d: Master EQ Gain [dB]

Set the gain for the three-band EQ located immediately before the sound of the L/R bus is sent from the AUDIO OUTPUT (MAIN OUT) L/MONO and R jacks. This is linked with the various “Gain” parameters of Master EQ (9–

4).

ON/OFF (Master Effect On/Off)

Switch master effect 1 on/off. When off, the output will be muted. This will alternate on/off each time it is pressed.

Low [–18.0...+18.0] Mid [–18.0...+18.0] High [–18.0...+18.0]

The cutoff frequency for “Low,” “Mid” and “High” and the “Q” of “Mid” can be adjusted in the Master EQ tab. These settings are in “dB” units.

▼ 9–1: Page Menu Command

0–1A

9–1A

9–1B

9–1A: Copy Master Effect

This command lets you copy any desired effect settings from Program, Combination, Song, Sampling, or Song Play modes.

1 Select this command to open the following dialog box.

2 In “From,” select the copy source mode, bank, and num-

ber.

3 Select the effect that you wish to copy. If you select MFX

1 or 2, “Return” (return level) will be copied at the same

time. If you select Master EQ,” only the master EQ settings will be copied. You can also copy from an insert effect. If you check “All,” all settings of the master effects and master EQ will be copied.

If you copy from an insert effect the result may not be identical, due to differences in routing and level settings.

4 Select the copy destination master effect. 5 To execute the Copy Master Effect command, press the

OK button. To cancel, press the Cancel button.

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is used to adjust the overall tonality of the sound immediately before the L/R bus is output to the AUDIO OUTPUT (MAIN OUT) L/ MONO and R jacks (

☞p.207).

0–1A

9–1B: Swap Master Effect

This command swaps (exchanges) the settings of MFX1 and MFX2.

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

OK button. To cancel, press the Cancel button.

9–2: MFX 1 9–3: MFX 2

Make effect parameter settings for the MFX1 and 2 effects that were selected in the Master FX tab (

☞p.155).

9–1

2. Combination mode

Combination P0: Play

In this display page you can select and play Combinations.

0–1: Prog. Select (Program Select)

0–1

0–1a

0–1c 0–1d

0–1e

0–1f

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

Number

0–1b

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

The category for each combination can be speciﬁed in the “Write Combination” dialog box.

Combination Number: name [0…127: name]

This is the number and name of the combination. Here you can select the desired combination. When this parameter is selected, you can select combinations using the front panel numeric keys [0]–[9], [VALUE] dial, or [ ] [ ] keys. When you press the popup button, the “Bank/Combination Select” menu will appear. This displays combinations by bank, and allows you to select a combination. For details on other ways to select combinations such as using a foot switch or by using MIDI program change messages from an external MIDI device, refer to p.125, 114 in the Basic Guide.

Bank/Combination Select menu:

Combination

P1 P2 P3 P4 P7 P8 P9

Bank [Bank A…D]

This is the Combination bank display. Use the front panel BANK [A]–[D] keys to select the bank. On the TRITON, there are a total of 512 combination programs in four rewritable banks (A, B, C, D), each containing 128 combinations.

A, B for preset combinations

C, D (for preset combinations, and EXB-PCM series combi-

nations)

If you have selected the “Bank/Program” edit cell for a timbre 1–8 in the Prog. Select tab, BANK [A]–[D] will switch the program banks for timbres 1–8.

10’s Hold

When you press the front panel [./10’s HOLD] key, the display will indicate , and the ten’s place of the combination 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.

Category (Combination Category) [00...15: name]

This is the combination category display. You can select combinations by category. Press the popup button, and the “Category/Combination Select” menu will appear.

Category/Combination Select menu:

All combinations are grouped and displayed by their bank. When you use the tabs at left to select a bank, the combinations in the selected bank will appear. Press the OK button to execute, or press the Cancel button to cancel your selection.

0–1b: (Arpeggiator Tempo) [040...240, EXT]

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

0–1c: Selected Timbre Information

This shows information on the timbre (1–8) that is currently selected for editing.

T (Timbre) [No.: Bank No., Prog No. and name]

This shows the timbre number, and the program bank, number and name selected for that timbre.

Ch [01...16, Gch]

This is the MIDI channel number speciﬁed for the timbre.

The combinations 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 combinations in the speciﬁed category will

0–1d: Timbre Number (1, 2, 3, 4, 5, 6, 7, 8)

This is the timbre number.

0–1e: Category, Bank/Program

0–1A

0–1B

Category (Category Name) [00...15: name]

The program for each timbre can be selected by program category. When you press the popup button, the Category/ Timbre Program Select menu will show programs arranged by category, and you can select a program from this list. This is useful when you wish to ﬁnd programs in a speciﬁc category, or when you need to ﬁnd a different program in the same category (

☞p.1 “Category/Program Select menu”).

This parameter is linked with “Category” (1–1b).

Bank/Program

The program for each timbre can be selected by program bank. When you press the popup button, the Bank/Timbre Program Select menu will show the programs arranged by bank, and you can select a program from this list ( “Bank/Program Select menu”). If one of these edit cells has been selected, you can use the front panel [BANK] keys, numeric keys [0]–[9], [VALUE] dial, [VALUE] slider, or [ ] [ ] keys to make a selection. At this time, the [BANK] key LED will light to indicate the selected program bank. This parameter is linked with “Bank/Program” (1–1b).

Bank F can be selected if you have installed the separately sold EXB-MOSS option. When installed, the 128 special EXB-MOSS programs will be available.

When you select a combination on the TRITON, a MIDI program change for the selected combination number will be transmitted on the global MIDI channel “MIDI Channel” (Global P1: 1–1a). At the same time, bank select, program change, and volume (CC#7) messages will be transmitted on the MIDI channel speciﬁed for each timbre that is set to “Status” (0–1f, 2–1a) of EXT or EX2. However, these messages will not be transmitted for timbres that are set to the same MIDI channel as the global MIDI channel. In this case, EX2 timbres will show the “Bank/Program” Bank as “–”, and will transmit the bank number that was speciﬁed in “Bank Select” (2–1a). MIDI messages transmitted when you operate the TRITON are transmitted on the global MIDI channel. At the same time, timbres whose “Status” is EXT or EX2 will transmit the same messages on their own MIDI channel. If bank select and program change messages are received on a MIDI channel that matches the MIDI channel of a timbre whose “Status” is INT, the program of that timbre will change. However if the MIDI channel of the incoming message matches the global MIDI channel “MIDI Channel,” then the combination will change. If you do not want the combination to change, you can either change the global MIDI channel so that it does not match the channel on which the program change messages are being received, or you can uncheck “Enable Combination Change” (Global P1: 1–1b). Alternately, you can uncheck “Enable Bank Change” (Global P1: 1–1b) so that only the program number will change and the bank will remain the same. If you wish to change a program without changing the combination, you can also set “Enable Program Change” (3–1a) so that the program will change on certain timbres but not on others.

☞p.1

Program Name

This displays part of the program name selected for the timbre. In the case of the GM2 variation bank or the GM2 drums bank, the variation bank (1)–(9) or drums bank (d) will be indicated.

0–1f: Status

Status [INT, Off, EXT, EX2]

For each track, this speciﬁes the status of MIDI and the internal tone generator. This parameter is linked with “Status” (2–1a).

INT: When you play the TRITON, the internal tone generator will sound, and will also sound in respond to MIDI messages received from an external MIDI device. Off: The program will not sound. Nor will MIDI data be transmitted. EXT: Playing the TRITON will not cause it to sound, but will transmit data via MIDI to control external MIDI devices. EX2: Instead of the A–g(d) bank numbers that can be selected on the TRITON, the bank numbers selected in “Bank Select” (2–1a) will be transmitted via MIDI. “Bank Select” (2–1a) is valid when EX2 is selected. In other respects this is the same as EXT.

INT

EXT, EX2

▼ 0–1: Page Menu Command

MIDI IN

Tone generator

MIDI OUT

0–1A: Write Combination

This command writes an edited combination into the TRITON’s internal memory. Be sure to write any combination that you wish to keep. If the power is turned off or a different combination selected before you write an edited combination, your edits cannot be recovered.

1 Select this command to open the following dialog box.

2 The upper line shows the bank name and combination

name. To edit the combination name, press the text edit button to access the text edit dialog box, and input the desired combination name.

3 In “Category” you can assign a category to the combina-

tion you are writing. The category you specify here can be used when you search for combinations in Combination P0. With the factory settings, families of instruments are assigned as combination category names, but you can modify in Global P4–2: “Comb Cat.” (Combination Category).

4 In “To Combination,” select the writing destination. 5 To execute the Write Combination command press the

OK button. To cancel, press the Cancel button.

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

0–1B: Solo Selected Timbre

The Solo function will be switched on/off each time you select this command. If this is checked, the Solo function will be on, and only the currently selected timbre will sound. All other timbres will be muted. To solo another timbre, select a parameter for that timbre. “Selected Timbre Information” (0–1c) will indicate [Solo]. To cancel the Solo function, select the “Solo Selected Timbre ” page menu command once again. This command is not available in tabs or pages that do not contain parameters for individual timbres.

If a timbre that is muted by the Solo function has been set to a “Status” (0–1f, 2–1a) of EXT or EX2, MIDI noteon/off messages will not be transmitted by that timbre.

0–2: Mixer

Here you can set the pan and volume for each timbre 1–8.

0–1

0–1a

0–1c

0–2a

0–2b

OSC1

Left

OSC1

Left

Center

OSC2

OSC1: Amp1 Pan=L001 OSC2: Amp2 Pan=R127

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC2

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

If a mono-type insertion effect is inserted, the setting you make here will be ignored. In this case, the “Pan (CC#8)” (8–

2) parameter in Insert FX tab will adjust the panning of the sound after the insertion effect (

☞p.149 “3. Mixer”).

RND: The oscillator pan will change randomly at each noteon.

If “Status” (0–1f, 2–1a) has been set to INT, MIDI control change #10 (panpot) messages can be received to control the setting. CC#10 values of 0 or 1 will place the sound at far left, 64 at center, and 127 at far right. Pan can be controlled by messages received on the “MIDI channel” (2–1a).

Combination

P1 P2 P3 P4 P7 P8 P9

0–2c

0–2a: Program Category

Part of the program category name for the timbre program is displayed here.

0–2b: Pan (Panpot)

Pan (Panpot) [RND, L001...C064...R127]

Set the pan for each timbre 1–8. This parameter is linked with “Pan” (1–1c).

L001...C064...R127: A setting of L001 is far left and R127 is far right. A setting of C064 will reproduce the pan setting that was made for the oscillator in Program mode.

0–2c: Volume

Volume [000...127]

Adjust the volume of each timbre 1–8. This parameter is linked with “Volume” (1–1d).

The volume of each timbre is determined by multiplying this volume value with the MIDI volume (CC#7) and expression (CC#11). If “Status” (0–1f, 2–1a) has been set to INT, incoming MIDI CC#7 or CC#11 messages will control the volume of a timbre. (However these messages will not affect the setting of this parameter.) If “Status” is EXT or EX2, the value of this parameter will be transmitted as MIDI CC#7 when the combination is changed. However this will not be transmitted by a timbre that is set to the same MIDI channel as the global MIDI channel. This message is transmitted on the “MIDI channel” (2–1a) speciﬁed for each timbre.

Hold Balance

Checked: When any one of the volume sliders is moved, the volume of the other timbres will change as well. The volume balance of timbres 1–8 will be maintained. This is useful when you wish to adjust the overall volume.

0–3: Arpegg. A (Arpeggio Play A) 0–4: Arpegg. B (Arpeggio Play B)

Here you can make arpeggiator settings for the combination. A combination can run two arpeggiators simultaneously. Arpeggiator parameters can be edited in P7: EditArp., but certain major parameters can be edited in these pages as well. You can edit these parameters in realtime, for example by changing the arpeggio pattern while playing in Combination P0: Play. To save the edits you make, use “Write Combination.” The arpeggiator can also be edited in realtime by the front panel ARPEGGIATOR [TEMPO] knob, [GATE] knob, and [VELOCITY] knob.

Combination P1: Edit–Program/

Mixer

1–1: Program/Mixer

For each timbre 1–8, set the bank, program, pan and volume. These parameters are linked with the identically-named parameters in the P0: Program Select tab and Mixer tab.

0–1

1–1a

0–1A

0–1a 0–1b

0–3a

0–3b

0–3a: Arpeggiator Run A, B, Timbre assign

Arpeggiator Run A, B

Specify whether arpeggiator A and/or B will start up when the ARPEGGIATOR [ON/OFF] key is pressed. Only the arpeggiator(s) you select here will run. When the arpeggiator is on, A and B can be switched on/off. This is linked with “Arpeggiator Run A, B” (7–1b).

Timbre assign

This indicates the arpeggiator A and B assignment status for each timbre 1–8. These settings are made in “Arpeggiator Assign” (7–1b).

0–3(4)b: Arpeggiator A (B)

0–1b

1–1c

1–1d

1–1a: Bank No.: Prog No.: Prog Name

Bank No.: Prog No.: Prog Name

This shows the combination bank, number, and name selected in Combination P0: Play.

1–1b: Category, Bank/Program

☞ Link: “Category” (0–1e), Link: “Bank/Program” (0–1e)

1–1c: Pan

☞ Link: “Pan” (0–2b)

1–1d: Volume

☞ Link: “Volume” (0–2c)

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

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

Sort Latch Key Sync. (Keyboard Synchronize) Keyboard

Set the various parameters of the combination arpeggiator

☞“Program P7: Edit-arpeggiator”).

( These parameters are linked to the parameters of the identical name (and abbreviation) in “7–2(3): Arpegg. A (B).”

Combination P2: Edit–Trk Param

2–1: MIDI Channel (MIDI Ch)

Here you can make MIDI settings for each timbre.

0–1

2–1a

MSB LSB

2–1a: Status, MIDI Channel, Bank Select

Status [INT, Off, EXT, EX2]

☞ Link: “Status” (0–1f).

MIDI Channel [01...16, Gch]

Set the MIDI transmit/receive channel for each timbre 1–8.

Gch: The timbre will use the channel that has been selected as the global MIDI channel “MIDI Channel” (Global P1: 1– 1a).

When “Status” is INT, MIDI messages will be received on the channel you specify here. If this setting is the same as the global MIDI channel, the internal tone generator will sound according to the internal settings. If this is set to EXT or EX2, playing the TRITON will transmit MIDI messages on the MIDI channel speciﬁed here. (Messages will also be transmitted simultaneously on the global MIDI channel.)

Bank Select (When Status=EX2) [000:000...127:127]

Specify the bank number that will be transmitted when “Sta- tus” is set to EX2. If “Status” is not set to “EX2,” this setting has no effect.

2–2a: Force OSC Mode, OSC Select, Portamento

Force OSC Mode [PRG, Poly, MN, LGT]

Specify the Voice Assign Mode (Program P1: 1–1b) of the program selected for each timbre 1–8.

PRG: The settings of the program will be used. Poly: The timbre will play polyphonically, regardless of the

settings of the program. MN (Mono): The timbre will play monophonically, regardless of the settings of the program. LGT (Legato): The timbre will play monophonically, with single triggering (legato). With settings of MN or LGT, the note priority will be according to the “Priority” (Program P1: 1–1b) setting of the program.

OSC Select [BTH, OS1, OS2]

Specify the “Oscillator Mode” of the program selected for each timbre 1–8. If the “Oscillator Mode” (Program P1: 1–1a) is Double, you can specify that either or both oscillators sound.

BTH (Both): OSC1 and 2 will sound as speciﬁed by the set- tings of the program.

OS1: Only OSC1 will sound. OS2: Only OSC2 will sound. (If “Oscillator Mode” is Single or Drums, there will be no sound.)

Portamento [PRG, Off, 001...127]

Make portamento settings for each timbre 1–8.

PRG: Portamento will be applied as speciﬁed by the pro- gram settings. Off: Portamento will be off, even if the original program settings speciﬁed for it to be on.

001...127: Portamento will be applied with the portamento time you specify here, even if it is turned off by the program settings.

If the “Status” (0–1f, 2–1a) is set to INT, CC#05 (portamento time) and #65 (portamento switch) messages will be received to control and change this setting. (If the setting is PRG, #05 portamento time will not be received.) These messages will be received on the MIDI channel speciﬁed for each timbre by “MIDI Channel” (2–1a).

Combination

P1 P2 P3 P4 P7 P8 P9

2–2: OSC

These settings specify how each timbre will be sounded.

2–2a

0–1

2–3: Pitch

Here you can make pitch-related settings for each timbre.

2–3

2–3a

2–3a: Transpose, Detune, Bend Range

Transpose [–24…+24]

Adjust the pitch of each timbre in semitone steps. 12 units equal one octave.

When “Status” (0–1f, 2–1a) is INT, this parameter will affect the pitches sounded by the TRITON. When “Status” is EXT, this parameter will affect the note numbers of the MIDI note messages that are transmitted. For example if you make settings of +04 and +07 respectively for two timbres that are set to EXT, playing the C key will transmit a C note number on the global MIDI channel, and at the same time will also transmit E and G note numbers on the MIDI channels of those timbres.

Detune (Use BPM Adj. in Page Menu) [–1200...+1200]

Adjust the pitch of each timbre in one-cent units.

0: Normal pitch.

You can also use the “Detune BPM Adjust” page menu command to automatically make a detune setting from a calculation in BPM units.

“Transpose” and “Detune” can be controlled via MIDI RPN messages. Depending on the “Oscillator Mode” (Program P1: 1–1a) settings of the programs used by timbres 1–8, they can be controlled as follows. When “Oscillator Mode” is Single or Double MIDI RPN Coarse Tune can be received to control and change the setting of “Transpose,” and RPN Fine Tune can be received to control and change the setting of “Detune.” When “Oscillator Mode” is Drums MIDI RPN Coarse Tune and Fine Tune can be received to control and change the setting of “Detune.” The controllable range is ±1 octave for coarse tune and ﬁne tune together.

Bend Range [PRG, –24...+24]

Specify the amount of pitch change that will occur when the pitch bender is operated, in semitone units.

PRG: The pitch range speciﬁed by the program will be used. –24–+24: This setting will be used regardless of the setting in the program.

The MIDI RPN Pitch Bend Change message can be received to control this and change the setting. (However it will not be received if this parameter is set to PRG.) This message is received on the MIDI channel for each timbre set by “MIDI Channel” (2–1a).

▼ 2–3: Page Menu Command

apply to the selected timbre. When you execute the command, the selected “Detune” value will be set.

1 Select this command to open the following dialog box.

2 In “From” specify the original BPM value. In “To” specify

the desired BPM value. The appropriate “Detune” value will be calculated automatically from these two values. For example if you set “From” to 60 bpm and “To” to 120 bpm, the “Detune” parameter will be set to +1200 (one octave up).

3 To execute the Detune BPM Adjust command, press the

OK button. To cancel, press the Cancel button.

The detune value that is calculated when you execute this command will be added to “Detune” +0000. You must set the “From” BPM value to the value when

“Detune” is +0000. For example if you execute “From” 60 BPM “To ” 120 BPM, and then execute “From” 120 BPM “To” 60 BPM, will not return to the original result.

(Rather, this will set Detune= –1200, which is one octave down.)

2–4: Other

Here you can make various other settings for each timbre.

0–1

2–4a

2–4b

2–4c

2–4a: Delay [ms]

Delay [ms] (Delay Time) [0000…5000, KeyOff]

For each timbre, this speciﬁes a delay time from note-on until the sound begins.

KeyOff: The note will begin sounding at note-off. In this case, the sound will not die away if the sustain level of the program’s amp EG is other than 0. This setting is used when creating harpsichord sounds. Normally you will set this to 0.

0–1A

0–1B

2–3A

2–3A: Detune BPM Adjust

This command can be used when you wish to modify the BPM of a phrase or rhythm that uses a phrase or rhythm loop multisample or multisample that was created to match a speciﬁc BPM in Sampling mode, or that was loaded in Disk mode ( 1c). This command changes the BPM by modifying the pitch. When timbre “Detune” is selected, this command will

☞Program P1: 1–2a, 1–2b, Global P5: 5–1b, 5–

2–4b: Use Program’s Scale

Use Program’s Scale

Each timbre can use the scale that is speciﬁed by “Scale” (Program P1: 1–1c).

Checked: The scale speciﬁed by the program will be used. Unchecked: The scale speciﬁed by “Scale” (2–4c) will be

used.

2–4c: Scale

Specify the scale that the combination will use.

Type [Equal Temperament...User Octave Scale15]

Select the type of scale (☞“Type” Program P1: 1–1c).

Key (Scale Key) [C…B]

Select the tonic key of the selected scale (☞“Key” Program P1: 1–1c).

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on ( Program P1: 1–1c)

☞“Random”

Combination P3: Edit-MIDI Filter

These settings allow you to apply ﬁlters to the MIDI data that will be transmitted and received by each timbre 1–8. For example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.

Checked: Transmission and reception of MIDI data is enabled. When “Status” (0–1a, 2–1a) is INT, operations of the built-in controllers or incoming MIDI data will apply the effect of the checked item to the program of the corresponding timbre. (The effect dynamic modulation function is not affected by this setting.) When “Status” is EXT or EX2, operations of the built-in controllers will transmit MIDI data on the channel of that timbre. MIDI transmission and reception settings for the entire TRITON are made in “MIDI Filter” (Global P1: 1–1b). The MIDI 3 and MIDI 4 tabs contain MIDI ﬁlters for assignable controllers (whose function can be set by the user), and if these are assigned to MIDI control changes, the ﬁlter settings will affect those control changes. In this case, if the assignable controllers have been set to control changes that are also found in the MIDI 1 or MIDI 2 tabs, the settings in the MIDI 1 and MIDI 2 tabs will take priority. Also, if the same control change is assigned to two or more controllers in the MIDI 3 and MIDI 4 tabs, checking any one of them will enable that control change. Unchecked: Transmission and reception of MIDI data is disabled.

Combination

P1 P2 P3 P4 P7 P8 P9

3–1: MIDI 1 (MIDI Filter –1)

0–1

3–1a

3–1a: Enable Program Change, Enable After Touch,

Enable Damper, Enable Portamento SW

Enable Program Change

Specify whether or not MIDI program change messages will be transmitted and received.

Enable After Touch

Specify whether or not MIDI after touch messages will be transmitted and received.

Enable Damper

Specify whether or not MIDI control change #64 hold (damper pedal) messages will be transmitted and received.

Enable Portamento SW

Specify whether or not MIDI control change #65 portamento on/off messages will be transmitted and received.

3–2: MIDI 2 (MIDI Filter –2)

0–1

3–2a

3–2a: Enable JS X as AMS, Enable JS+Y, Enable JS–

Y, Enable Ribbon

Enable JS X as AMS

Specify whether or not MIDI pitch bend messages (the X axis of the TRITON’s joystick) will be received to control the AMS (

☞p.209 “Alternate Modulation Source (AMS)”) effect

assigned to JS X. (This is not a ﬁlter for MIDI pitch bend message reception.)

Enable JS+Y

Specify whether or not MIDI control change #1 (the +Y axis of the TRITON’s joystick, or speciﬁed as the “B” assignment of a realtime control knob) will be transmitted or received.

Enable JS–Y

Specify whether or not MIDI control change #2 (the –Y axis of the TRITON’s joystick, or speciﬁed as the “B” assignment of a realtime control knob) will be transmitted or received.

3–3a: Enable Realtime Control Knob –1...4

Enable Realtime Control Knob –1

Specify whether or not the “A” mode MIDI control message #74 (the TRITON’s low pass ﬁlter cutoff frequency) and the “B” mode MIDI control message assigned to knob [1] will be transmitted and received.

Enable Realtime Control Knob –2

Specify whether or not the “A” mode MIDI control message #71 (the TRITON’s low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) and the “B” mode MIDI control message assigned to knob [2] will be transmitted and received.

Enable Realtime Control Knob –3

Specify whether or not the “A” mode MIDI control message #79 (the TRITON’s ﬁlter EG intensity) and the “B” mode MIDI control message assigned to knob [3] will be transmitted and received.

Enable Realtime Control Knob –4

Specify whether or not the “A” mode MIDI control message #72 (the EG release time for the TRITON’s ﬁlter and ampliﬁer) and the “B” mode MIDI control message assigned to knob [4] will be transmitted and received.

3–4: MIDI 4 (MIDI Filter –4)

0–1

Enable Ribbon

Specify whether or not MIDI control change #16 (the TRITON’s ribbon controller, or speciﬁed as the “B” assignment of a realtime control knob) will be transmitted or received.

3–3: MIDI 3 (MIDI Filter –3)

Specify whether or not the effects of A and B modes for the REALTIME CONTROL knobs [1], [2], [3] and [4] will be transmitted and received. In “A” mode, the MIDI control message for each knob is ﬁxed. In “B” mode, the message for each knob can be assigned in Controller tab (4–5).

0–1

3–3a

3–4a

3–4a: Enable SW1, Enable SW2, Enable Other Con-

trol Change

Enable SW1, Enable SW2

Specify whether or not the effect of the [SW1] and [SW2] keys will be transmitted and received. The function of these keys is speciﬁed in Controller tab (4–4). This ﬁlter setting is valid for settings of SW1 Mod.:CC#80, SW2 Mod.:CC#81, or Porta.SW:CC#65.

Enable Foot Pedal/Switch

Specify whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received. The function is assigned in Global P2. This ﬁlter setting is valid when a MIDI control change is assigned.

Enable Other Control Change

Specify whether or not MIDI control messages not covered in the preceding items MIDI Filter 1–4 will be transmitted and received.

Combination P4: Edit-Zone/Ctrl

60: The volume will increase gradually as you play downward, and will reach the original volume ﬁve octaves below the top key.

4–1: Key Z (Key Zone)

These settings specify the keyboard range in which each timbre will sound. The top/bottom key parameters specify the range of notes in which timbres 1–8 will sound, and the top/bottom slope parameters specify the range over which the original volume will be reached.

By setting timbres of different sounds to ranges that do not overlap, you can play different sounds in different ranges of the keyboard (Key Split). By setting the ranges to overlap, you can play two or more sounds with a single note (Layer). If you set the slopes (the grayed portion) to overlap, the sounds will overlap, and the proportion of the overlap will change according to the keyboard location (Positional Cross-fade).

It is not possible to set the bottom key above the top key of the same timbre. Nor is it possible for the top and bottom slopes to overlap.

0–1

4–1a

4–1b

4–1c: Bottom Slope, Bottom Key

Bottom Slope [00...72]

Specify the range of keys (12 is one octave) over which the volume will be reached starting from the bottom key.

0: The volume will be at the original level from the top key. 12: The volume will increase gradually as you play upward,

and will reach the original volume one octave above the top key. 60: The volume will increase gradually as you play upward, and will reach the original volume ﬁve octaves above the top key.

Bottom Key [C–1...G9]

Specify the bottom key (lower limit) of the notes that will sound each timbre 1–8.

You can also set this parameter by holding down the [ENTER] key and playing a note.

How volume will change according to keyboard location

Volume

Bottom Slope

Bottom Key

Top Slope

Top Key

Key

Combination

P1 P2 P3 P4 P7 P8 P9

4–1c

4–1a: Zone Map

This area indicates the note and velocity ranges in which each timbre will sound. The LCD screen will display a line to indicate the range of notes and velocities that will sound, and will show the slope portion in gray.

Timbre 8

Velocity zone display

Timbre 1 Key zone display

Timbre 8 C–1~G9

Timbre 1

4–1b: Top Key, Top Slope

Top Key [C–1...G9]

Specify the top key (upper limit) of the notes that will sound each timbre 1–8.

You can also set this parameter by holding down the [ENTER] key and playing a note.

Top Slope [00...72]

Specify the range of keys (12 is one octave) over which the volume will be reached starting from the top key.

0: The volume will be at the original level from the top key. 12: The volume will increase gradually as you play down-

ward, and will reach the original volume one octave below the top key.

4–2: Vel Z (Vel Zone)

Set the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and set the Top/Bottom Slope parameters to specify the range over which the volume will change. By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play different sounds (Velocity Switch). If you set two or more timbres to velocity zones that overlap, the sounds will be heard together (Layer). If the slope ranges (gray line) overlap, different sounds will be sounded together, and your playing dynamics will determine the proportion of each sound (Velocity Cross-fade).

It is not possible to set the bottom velocity greater than the top velocity for the same timbre. Nor can the top slope and the bottom slope overlap.

0–1

4–2a

4–2b

4–2a: Top Velocity, Top Slope

Top Velocity [1…127]

Specify the maximum velocity value that will sound each timbre 1–8.

This value can also be entered by holding down the [ENTER] key and playing a note.

4–4: Controller (Control)

Here you can set the Combination mode functions of the [SW1] key, [SW2] key, and the B-mode functions of REALTIME CONTROL knobs [1]–[4].

0–1A

Top Slope [0…120]

Specify the number of velocity steps over which the original volume will be reached, starting from the Top Velocity.

0: The volume will be at the original value from the top velocity. 120: The volume will decrease as the velocity approaches the top velocity.

4–2b: Bottom Slope, Bottom Velocity

Bottom Slope [0…120]

Specify the number of velocity steps over which the original volume will be reached, starting from the Bottom Velocity.

0: The volume will be at the original value from the bottom velocity. 120: The volume will decrease as the velocity approaches the bottom velocity.

Bottom Velocity [1…127]

Specify the minimum velocity value that will sound each timbre 1–8.

This value can also be entered by holding down the [ENTER] key and playing a note.

How volume will change according to keyboard location

Volume

Bottom Slope

Bottom Velocity

Top Slope

Top Velocity

Velocity

4–3: MOSS Setup (MOSS)

This page is displayed when the separately sold EXB-MOSS option has been installed. For details refer to the owner’s manual included with the EXB-MOSS.

4–4a

4–4b

4–4a: Panel Switch Assign

These settings assign the function of the front panel [SW1] and [SW2] keys ( Since the function assignments of the [SW1] and [SW2] keys made for the program assigned to each timbre are not valid for the combination, they must be newly set by these parameters.

☞p.217 “SW1, SW2 Assign List”).

SW1 (SW1 Assign) [Off, ..., After Touch Lock] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off, ..., After Touch Lock] SW2 Mode [Toggle, Momentary]

☞ “Panel Switch Assign” (Program P1: 1–4a).

4–4b: Realtime Control Knobs B-Assign

These settings assign functions (mainly various control changes) to the “B” mode of the front panel REALTIME CONTROL knobs [1]–[4] ( B–Assign List”). The functions you specify here will be controlled when you operate the front panel REALTIME CONTROL knobs [1]–[4] in “B” mode. Since the REALTIME CONTROL knob [1]–[4] function assignments made for the program assigned to each timbre are not valid for the combination, they must be newly set by these parameters.

☞p.218 “Realtime Control Knobs

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]

☞ “Realtime Control Knobs B-Assign” (Program P1: 1–4b).

Combination P7: Edit-Arp

0–1A

0–1B

7–1A

These parameters specify how the arpeggiator will function within the combination. Two arpeggiators can be running simultaneously. This offers a variety of possibilities, such as applying separate arpeggio patterns to two sounds that have been assigned as a keyboard split, or using velocity to switch between two arpeggio patterns.

7–1: Setup

7–1

7–1a

7–1b

7–1a: (Arpeggiator Tempo) [040...240, EXT]

☞ “ (Arpeggiator Tempo)” (0–1b).

7–1b: Arpeggiator Assign, Arpeggiator Run A, B

Arpeggiator Assign [Off, A, B]

Assign arpeggiator A or B to each timbre 1–8. When the front panel ARPEGGIATOR [ON/OFF] key is on, the arpeggiator speciﬁed for each timbre will operate according to “Arpeggiator Run A, B” and these settings.

Off: The arpeggiator will not operate. A: Arpeggiator A will operate. Make settings in the Arpeg-

giator A tab to select the arpeggio pattern and set parameters. B: Arpeggiator B will operate. Make settings in the Arpeggiator B tab to select the arpeggio pattern and set parameters.

If the “Status” (0–1f, 2–1a) of the timbre is INT or BTH, each timbre 1–8 to which arpeggiator A or B is assigned will be sounded by the note data generated by the arpeggiator, regardless of the “MIDI Channel” (2–1a) setting of the timbre. If a timbre is set to EXT or EX2, MIDI note data will be transmitted on the “MIDI Channel” of each timbre. In this case, arpeggiator A (or B) will be triggered (operated) by all MIDI channels speciﬁed for the “MIDI Channel” (2–1a) parameter of any timbre 1–8 assigned to arpeggiator A or B.

If Local Control (“Local Control On,” Global P1: 1–1a) is ON, 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.

Example 1)

Set the “MIDI Channel” (2–1a) of timbres 1 and 2 to Gch, and set “Status” (0–1e, 2–1a) to INT. Assign arpeggiator A to timbre 1 and arpeggiator B to timbre 2, and check

“Arpeggiator Run A, B” (0–3a, 7–1b).

• When the front panel ARPEGGIATOR [ON/OFF] key is

off, timbres 1 and 2 will sound simultaneously (layered) when you play the keyboard.

• When the front panel ARPEGGIATOR [ON/OFF] key is turned on, timbre 1 will be played by arpeggiator A, and timbre 2 will be played by arpeggiator B.

Arpeggiator

Trigger = Gch

Arpeggiator

Pattern - A

Pattern - B

Assign

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=INT

Example 2)

The “MIDI Channel” (2–1a) of timbres 1, 2, 3, 4, and 5 are set respectively to Gch, Gch, 02, Gch, and 03. Their “Status” (0–1e, 2–1a) is set respectively to INT, Off, INT, Off, and INT. Assign arpeggiator A to timbres 2 and 3, assign arpeggiator B to timbres 4 and 5, and check “Arpeggiator Run A, B” (0-3a, 7-1b).

• When the front panel ARPEGGIATOR [ON/OFF] key is off, playing the keyboard will sound only timbre 1. (Timbres 2 and 4 are receiving the Gch, but they will not sound since their “Status” is Off.)

• When you turn on the front panel ARPEGGIATOR [ON/OFF] key, arpeggiator A will operate for timbres 2 and 3, and arpeggiator B will operate independently for timbres 4 and 5. (Arpeggiators A and B are triggered by receiving note data on any MIDI channel of an assigned timbre, but in this example they are being triggered from the Gch.) When you play the keyboard, arpeggiator A will operate for timbres 2 and 3, but only timbre 3 whose “Status” is INT will sound. Similarly, arpeggiator B will operate for timbres 4 and 5, but only timbre 5 whose “Status” is INT will sound. In this way, you can make settings so that a timbre does not sound when the arpeggiator is off, but sounds only when the arpeggiator is on.

Arpeggiator Assign

Off

Trigger = Gch, Ch2

Trigger = Gch, Ch3

Arpeggiator

Pattern - A

Pattern - B

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=Off

Timbre 3 MIDI Ch=2ch Status=INT

Timbre 4 MIDI Ch=Gch Status=Off

Timbre 5 MIDI Ch=3ch Status=INT

Sounded by normal keyboard playing

Does not sound

Pattern - A

Does not sound

Pattern - B

Arpeggiator Run A, B

☞ Link: “Arpeggiator Run A, B” (0–3a).

▼ 7–1: Page Menu Command

Pattern - A

Pattern - B

Combination

P1 P2 P3 P4 P7 P8 P9

7–1A: Copy Arpeggiator

This command copies arpeggiator settings.

1 Select this command to open the following dialog box.

2 In “From” select the copy source (mode, bank, number)

arpeggiator. If you are copying from Combination, Song, or Song Play mode, select either A or B to if you wish to copy settings from only one arpeggiator, or select A&B if you wish to copy the settings of both arpeggiators.

3 If you are copying from a Program, or are copying either

A or B from Combination, Song, or Song Play mode, select either A or B as the “To ” copy destination.

4 To execute the Copy Arpeggiator command, press the

OK button. To cancel, press the Cancel button.

7–2: Arpegg. A (Arpeggiator A) 7–3: Arpegg. B (Arpeggiator B)

The Arpegg. A tablets you make settings for arpeggiator A. The Arpegg. B tablets you make settings for arpeggiator B. You can also use the “Copy Arpeggiator” page menu command to copy arpeggiator settings from Program mode or another mode.

7–2

* These parameters are linked with the parameters of the

same name (and abbreviation) found in “0–3(4): Arpegg. A.”

▼ 7–2: Page Menu Command

☞ “0–1A: Write Combination,” “7–1A: Copy Arpeggiator”

7–4: Scan Zone (Scan Zone A/B)

These settings specify the note and velocity ranges that will operate arpeggiators A and B.

7–4

7–4a

7–4b

7–4a: Zone Map

This shows the “Scan Zone” for each arpeggiator, A and B.

Key zone of arpeggiator B

Key zone of arpeggiator A

C–1~G9

Velocity zone of arpeggiator A

Velocity zone of arpeggiator B

7–2a

7–2(3)a: Arpeggiator-A(B) Setup

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

Resolution* [   ,  ,   ,  ,   ,  ]

Gate [000...100%, Step] Velocity [001...127, Key, Step] Swing [–100...+100%] Sort* Latch* Key Sync. (Keyboard Sync.)* Keyboard*

These parameters are the arpeggiator A settings for the combination.

☞ “Program 7–1: Arpeg. Setup (Arpeggiator Setup)”

7–4b: Scan Zone A/B

Top Key [C–1...G9] Bottom Key [C–1...G9]

Specify the range of notes (keys) that will operate arpeggiator A. “Top Key” speciﬁes the upper limit, and “Bottom Key” speciﬁes the lower limit.

Top Velocity [001...127] Bottom Velocity [001...127]

Specify the range of velocities that will operate arpeggiator A. “Top Velocity” speciﬁes the upper limit, and “Bottom Velocity” speciﬁes the lower limit.

Top Key [C–1...G9] Bottom Key [C–1...G9]

Top Velocity [001...127] Bottom Velocity [001...127]

Specify the range of notes (keys) and velocities that will operate arpeggiator B (

The values of these parameters can also be entered by playing a note on the keyboard while you hold down the [ENTER] key.

☞“A”).

▼ 7–4: Page Menu Command

☞ “0–1A: Write Combination” and “7–1A: Copy Arpeggia-

tor”

Combination P8: Edit-Insert FX

Here you can make insertion effect settings. You can also specify the bus routing for the program used by each timbre 1–8.

☞ For details on insertion effects, refer to p.146 “8. Effect

Guide.”

8–1: Routing

Specify the bus to which the program used by each timbre 1–8 will be sent. Here you can also set the send levels to the master effects.

8–1

8–1a

8–1b

Combination

P1 P2 P3 P4 P7 P8 P9

8–1a: Routing Map

This shows the status of the insert effects. For each insert effect, this indicates the routing, the name of the selected effect, the on/off status, and chain status. The effect type, on/off status and chain status can be modiﬁed in the Insert FX tab (8–2).

8–1b: IFX/Indiv.Out BUS Select (BUS Select),Send1

(MFX1), Send2 (MFX2)

IFX/Indiv.Out BUS Select(BUS Select)

[DKit, L/R, IFX1...5, 1...4,1/2, 3/4, Off]

For each timbre 1–8, these parameters specify the bus to which the program oscillator(s) will be sent. The current settings can also be viewed in the “Routing Map.”

DKit: This can be selected only if the program for which settings are being made is a drum program (“OSC Mode” = Drums). With a setting of DKit, the “BUS Select” (Global P5: 5–2b) setting made for each key of the drum kit will be used. For example if the “BUS Select” settings of the drum kit have assigned Snare sounds to IFX1 and Kick sounds to IFX2, setting this parameter to DKit will send the Snare sounds to IFX1 and Kick sounds to IFX2. If you wish to modify these routings, use the page menu command “Drum Kit IFX Patch” (8–1C).

If this is set to 1/2 or 3/4, the programs of timbres 1–8 will be sent in stereo from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4. If the pan of the program oscillator is controlled by MIDI control change #10 (pan) or AMS (Alternate Modulation Source), the sound will be output with the pan setting that is in effect at the moment of note-on. Unlike the case when this parameter 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 move the pan of a sounding note in real-

time and output it from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4, you must set “BUS Select” to IFX1 (or

IFX2–IFX5), select 000: No Effect for “IFX1” (or IFX2– IFX5) (8–2), and for the sound that has passed through the IFX, set “BUS Select” (8–2) to either 1/2 or 3/4.

Send1 (MFX1) [000...127] Send2 (MFX2) [000...127]

For each timbre 1–8, these parameters set the send level to master effects 1 and 2. These settings are valid when “BUS Select” is set to L/R or Off. When IFX 1, 2, 3, 4 or 5 are selected, the send levels to master effects 1 and 2 are set by the “Send 1” and “Send 2” parameters of the Insert FX tab, after the sound has passed through IFX1–5. If “BUS Select” is set to 1, 2, 3, 4, 1/2, or 3/4, these settings are ignored.

Control change #93 can be used to control the Send 1 level, and #91 to control the Send 2, and modify their respective settings. These messages will be received on the MIDI channel speciﬁed for each timbre in the P2: MIDI Channel tab. The actual send levels are determined by multiplying this value with the send level “Send 1” and “Send 2” (Program P8: 8–1d) for each oscillator of the program selected for the timbre.

▼ 8–1: Page Menu Command

2 In the Drum Kit “IFX” popup, select the insert effect to

which you want to patch.

3 To execute the Drum Kit Insert Effect Patch command,

press the OK button. To cancel, press the Cancel button. To restore the condition of the drum kit, execute IFX1→IFX1, IFX2→IFX2, IFX3→IFX3, IFX4→IFX4, and IFX5→IFX5.

8–2: Insert Fx

Here you can select the type of each insert effect, turn it on/ off, and make chain settings etc. These parameters are the same as in Program mode ( gram mode “8–2: Insert Fx”). However, unlike the case in Program mode, “Pan (CC#8),” “Send 1 (MFX1)” and “Send 2 (MFX2)” will be controlled on the MIDI channels that are set in the IFX1–5 tabs. The control changes used are the same as in Program mode.

☞Pro-

8–2

0–1A

0–1B

8–1A

8–1B

8–1C

8–1A: Copy Insert Effect

☞ “Program P8: 8–1A: Copy Insert Effect.”

However, the MIDI control channel speciﬁed for “Ctrl Ch” of the IFX1–5 tabs will not be copied.

8–1B: Swap Insert Effect

☞ “Program P8: 8–1B: Swap Insert Effect.”

However, the MIDI control channel speciﬁed for “Ctrl Ch” of the IFX1–5 tabs will not be copied.

8–1C: DrumKit IFX Patch

This command applies a patch to the “BUS Select” settings of each key of the drum kit, allowing you to temporarily change the connections to the insert effects. This command is available only if a drum program has been selected for the timbre and the “BUS Select” (8–1b) parameter is set to Dkit. Furthermore, this command can be executed only if the “BUS Select” (Global P5: 5–2b) for the individual keys of that drum kit are set to IFX1–5.

1 Select this command to open the following dialog box.

▼ 8–2: Page Menu Command

☞ “0–1A: Write Combination,” “8–1A: Copy Insert Effect,”

and “8–1B: Swap Insert Effect.”

8–3: IFX 1 8–4: IFX 2 8–5: IFX 3 8–6: IFX 4 8–7: IFX 5

These are the parameters for IFX1, 2, 3, 4, and 5 that were selected in the Insert FX tab (

☞p.155).

0–1A 8–3a

8–3a: Ctrl Ch [Ch01...16, Gch, All Routed]

This parameter speciﬁes the MIDI channel that will be used to control effect dynamic modulation (Dmod), pan following the insert effect (CC#8), Send 1 (CC#93), and Send 2 (CC#91).

The channel number of the timbre routed through this IFX will be followed by a “*” displayed at the right of Ch01–16. If two or timbres with different MIDI channel settings are routed through the same IFX, this parameter speciﬁes which of these channels will be used to control the effect.

Gch: The global MIDI channel “MIDI Channel” (Global mode P1: 1–1a) will be used to control the effect. Normally you will set this to Gch. All Routed: The channel of any timbre routed through this effect can be used to control the effect. (Channels of each routed timbre will be indicated by “*”.)

If the “BUS Select” (8–1b) of a timbre for which a drum program is selected is set to DKit, the MIDI channel of that timbre will be valid if any IFX1–5 is set to All Routed, regardless of the “BUS Select” (Global P5: 5– 2b) settings or the settings of the “DrumKit IFX Patch” page menu command.

Combination P9: Edit-Master FX

☞ For details on master effects, refer to p.150 “8. Effect

Guide.”

9–1: Master FX

Here you can select the type of each master effect, turn it on/off, and make chain and master EQ settings. These settings are the same as in Program mode ( Master FX”).

▼ 9–1: Page Menu Command

☞“Program 9–1:

9–1

Combination

P1 P2 P3 P4 P7 P8 P9

0–1A

9–1A

9–1B

9–1A: Copy Master Effect

☞ “Program P9: 9–1A: Copy Master Effect.”

However, the MIDI control channel that is speciﬁed by “Ctrl Ch” of the MFX 1 and 2 tabs will not be copied.

9–1B: Swap Master Effect

☞ “Program P9: 9–1B: Swap Master Effect.”

However, the MIDI control channel that is speciﬁed by “Ctrl Ch” of the MFX 1 and 2 tabs will not be swapped.

9–2: MFX 1 (Master Effect1) 9–3: MFX 2 (Master Effect2)

Here you can set the parameters for the MFX 1 and 2 effects that were selected in the Master FX tab (

☞p.155).

0–1A 9–2a

9–2a: Ctrl Ch [Ch01...16, Gch]

This parameter speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master effect. With a setting of Gch, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used for control. Normally you will set this to Gch.

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is located immediately before the AUDIO OUTPUT (MAIN OUT) L/ MONO and R from the L/R bus, and adjusts the overall tonal character of the sound (

☞p.207).

0–1A 9–4a

9–4a: Ctrl Ch [Ch01...16, Gch]

This parameter speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master EQ. With a setting of Gch, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used for control. Normally you will set this to Gch.

3. Sequencer mode

In Sequencer mode you can use the built-in 16-track sequencer to play, record and edit songs. You can also record and play patterns, make settings for the RPPR (Realtime Pattern Play Recording) function, play songs that use the arpeggiators, record patterns, and create Cue Lists to playback multiple songs consecutively.

These settings and the song data you recorded are not backed up when the power is turned off. Before turning off the power, be sure to save important data on a ﬂoppy disk, external SCSI device, or a data ﬁler. Immediately after the power is turned on, memory will not contain any song data, so in order to playback the sequencer, you will need to load data from the ﬂoppy disk, or receive a MIDI bulk data dump from an external MIDI sequencer (

☞p.139, 120, refer to p.40 in the

Basic Guide).

Sequencer P0: Play/Rec

0–1: Prog. 1–8 (Program T01–08) 0–2: Prog. 9–16 (Program T09–16)

Here you can make basic settings for playback and recording of songs and select the program that will be used by each track.

0–1b

0–1a

0–1d

0–1e 0–1h 0–1k

0–1i

0–1j

0–1a: Location [001:01.000…999:15.191]

0–1c

0–1

0–1f

0–1g

record without changing the time signature.

1/4–16/4, 1/8–16/8, 1/16–16/16: This is the time signature at the current location of the song. After pressing the front panel [REC/WRITE] key, specify the time signature here. Then press the [START/STOP] key to begin recording, and the speciﬁed time signature will be recorded on the Master Track and on previously-recorded tracks. Be aware that if you press the [START/STOP] key during the pre-count to stop recording, the time signature will not be recorded.

Normally, you will specify the time signature when you record the ﬁrst track, and select **/** when recording subsequent tracks.

Recording from measure 2 of track 2

Track 1

Track 2

Track 1

Track 2

when Meter = **/**

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

1 (4/4)

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

3 (4/4)

Recording

3 (4/4)

Track 1

Track 2

Track 1

Track 2

when Meter =7/8

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

1 (4/4)

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

3 (4/4)

Recording

3 (7/8)

3 (4/4)

4 (7/8)

Changing the time signature in the middle of a measure

If you know beforehand the location at which you wish to change time signatures in the middle of a measure, use “Insert Measure” (5–1H) to specify and insert the time signature for each measure of the same time signature, and then record your musical data. Alternatively, if you wish to change the time signature in the middle of a song which already contains musical data, use “Track Select” to specify the Master Track (or any Track01–16 which contains data), and use “Event Edit” (5–1B) to modify the time signature of the Bar event. If the number of beats in a measure increases when you modify the time signature, rests will be inserted in the portion that was added. Conversely if the number of beats decreases, that portion will not be played. However if you return to the original time signature, the data that had been hidden will once again be played.





Rest is inserted



Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

This is the current location of the song. From the left, the numbers are the measure, beat, and clock. When you modify these values, the current location will change.

When “MIDI Clock” (Global P1: 1–1a) is Internal, changing the location will cause Song Position Pointer messages to be transmitted. If this parameter is set to External MIDI or External PC I/F, Song Position Pointer messages from the speciﬁed source will change the location.

The range in which the beat and clock can be modiﬁed will depend on the currently speciﬁed time signature.

0–1b: Meter [/, 1/4…16/16]

This is the time signature at the current location of the song. The time signature can be changed at each measure.

**/**: This will be displayed when you press the [REC/ WRITE] key. Specify this when you wish to use the time signature that is already recorded for that measure, and wish to

Not played

0–1c: Tempo

This sets the playback tempo of the song and the tempo of the arpeggiator.

 (Tempo) [040…240, EXT]

040...240: When the “Tempo Mode” is Manu, this tempo will

be used for recording and playback. When “Tempo Mode” is REC, this tempo will be recorded on the master track. EXT: This will appear when “MIDI Clock” (Global P1: 1–1a) is either External MIDI or External PCI/F. The tempo of the internal sequencer will synchronize with the MIDI Clock messages received from an external sequencer etc. When “MIDI Clock” is Internal, the above tempo setting (040...240) will be used.

If Te m po is selected as an alternate modulation source,

 = 120 will be the base value.

Tempo Mode [Auto, Manu, REC]

Auto: The tempo will follow the tempo of the Master Track. The tempo of the master track can be speciﬁed by using “Event Edit” (5–1B) with Master Track chosen in “Track Select,” or by the REC operation described below. When

Auto is selected, it will not be possible to modify the “

(Tempo)” setting while a song is playing or recording (or during standby).

Manu (Manual): The “ (Tempo)” setting will be used.

REC: Tempo changes will be recorded on the Master Track.

Select this after pressing the [REC/WRITE] key. When REC is selected and you are recording in realtime, modify the “Te mp o” value to change the tempo. This cannot be selected when the Preferences tab item “Recording Setup” is set to Loop All Tracks. Tempo changes can also be created using “Event Edit” (5–1B) or “Create Control Data” (5–1L).

If you wish to record only the tempo changes, set “Recording Setup” (0–7a) to OverDub, and the tempo will be recorded on the master track without being affected by the musical data of “Track Select.”

0–1d: Song No. and name [000…199: name]

Select the song that you wish to record or play. If you wish to create a new song, you can either select a number from the popup menu for which the song name is blank, or use the numeric keys [0]–[9] to directly specify the song number, then press the [ENTER] key to access the dialog box, and ﬁnally press the OK button.

If “MIDI Clock” (Global P1: 1–1a) is Internal, changing the song will cause Song Select and Song Position Pointer messages to be transmitted. If “MIDI Clock” is External MIDI or External PCI/F, Song Select messages can be received from the speciﬁed source to change songs. When the song changes, tracks whose track status is EXT, EX2 or BOTH will transmit Bank Select, Pro- gram Change, Volume, Panpot, Poramento, Send1, 2, Post IFX Pan, and Post IFX send 1, 2 messages on the MIDI channel of the respective track.

0–1f: Reso (Realtime Quantize Resolution)

[Hi, 3 …  ]

This corrects the timing of data as it is recorded in realtime. (It does not affect previously-recorded data.) Hi (High Resolution): Timing will not be corrected. Data

will be recorded at the maximum resolution (/192). 3 –  : Data will be corrected to the nearest interval of the

speciﬁed timing as it is recorded. For example if you select

3 , data will be corrected to the nearest 32nd note triplet interval. If you select , data will be corrected to the nearest

quarter note interval.

With a setting of 

Since all that musical data that is recorded will be corrected to the speciﬁed timing resolution, coarse settings of this parameter will cause continuous controllers such as pitch bend to be recorded in “stairstep” fashion. In such cases, use a setting of Hi to record, and then use “Quantize” (5–1N) to correct only the desired type of data (notes etc.). It is best to avoid recording at a stiff resolution to begin with.

 



      

0–1g: RPPR (Realtime Pattern Play/Recording) ON/

OFF

This turns the RPPR (Realtime Pattern Play/Recording) function on/off. RPPR lets you assign a pattern to each note of the keyboard, so that the pattern will playback (or be recorded) when you press the appropriate key. Checked: The RPPR function will be on. If a pattern has been assigned to each key in the P6: RPPR Setup tab, pressing that key will perform the assigned pattern ( RPPR Setup).

☞P6–3:

0–1e: Track Select

[Track01…Track16, Master Track]

Track01–Track16: Select the track(s) that will record or play song data. The track names speciﬁed in “Track Name” (5–2). When you perform realtime recording on a single track, the musical data will be recorded on the track you select here. When you perform realtime recording on two or more tracks simultaneously ( REC” (0–1j) will select the recording track, regardless of the setting you make here. Master Track: Select the master track when you wish to use the P5: Track Edit page menu commands to edit the tempo track. When using realtime recording or step recording, it is not possible to record the master track alone.

When you play the keyboard of the TRITON and operate its controllers, the internal tone generator will sound according to the settings (program, level etc.) of the tracks that are selected here (if “Status” 2–1a is INT or BOTH), and other tracks whose MIDI channels match will also sound at the same time (if “Status” is INT or BOTH). Messages will also be transmitted on the MIDI channels of these tracks (whose “Status” is EXT, EX2 or BOTH).

☞“Multi REC” 0–7a), the “PLAY/MUTE/

0–1(2)h: Selected Track Information

This shows information on the track (1–16) that is currently selected for editing.

T (Track) No.: Bank No.: Prog No. and name

This displays the track number, and the bank, number, and name of the program selected for that track.

Ch [01...16]

This shows the MIDI channel number speciﬁed for the track.

RPPR [No Assign, C#2...C8]

This shows the key number(s) that will start the RPPR pattern assigned to the track. (If there are numerous keys, not all will be shown. To view all of the assignments, use the P6– 1: Pattern Edit tab.)

0–1i: Program Track01...08 0–2i: Program Track09...16

Select the program that will be used by each track.

Category (Category name) [00...15: name]

The program to be used by the track can be selected by category. Press the popup button, and the Category/Track Program Select menu ( programs by category, allowing you to select the desired program. This is convenient when you wish to ﬁnd a speciﬁc type of program, or to select a different program of the same category.

☞Program P0: 0–1a) will show the

Bank/Program [A…F/0…127, G…g(d)/1…128]

Select the program that will be used by the track. Press the popup button, and the Bank/Track Program Select menu (

☞ Program P0: 0–1a) will display the programs orga-

nized by bank, allowing you to make your selection. When this parameter is selected, you can use the front panel [BANK] keys, the numeric keys, the [VALUE] dial, [VALUE] slider, and [ ] [ ] keys to select a program. At this time, a [BANK] key LED will light to indicate the bank from which a program was selected.

The program you select here will be used when the song is played or recorded from the beginning. If the program is changed while recording, the program change will be recorded as musical data, and the program will change during playback. You can also change the program manually during playback. However if musical data (program change data) is already recorded, the program will change at that point.

If the P2: MIDI Channel tab “Status” is either INT or BTH, programs can be selected by receiving MIDI program change messages. Also, when the song is changed or when the song returns to the beginning, tracks whose “Status” is EXT, EX2 or BTH will transmit the bank and program numbers via MIDI. Tracks whose “Status” is EX2 will show Bank as “–” and will transmit the bank number that was selected in the P2: MIDI Channel tab “Bank Select” setting.

Program Name

This displays a portion of the name of the program that is selected for the track. In the cases of a GM level 2 variation bank or the GM level 2 drums bank, this shows the variation bank (1)–(9) or drums bank (d).

0–1(2)j: PLAY/MUTE/REC, SOLO ON/OFF

PLAY/MUTE/REC [PLAY, MUTE, REC]

Here you can mute each track, and select the recording track(s) when performing multi-track recording. During playback, or for single-track recording (normal recording), it is possible only to select PLAY or MUTE for tracks (play- back tracks) other than the recording track. For multi-track recording, tracks can be set to PLAY, MUTE, or REC. The setting will alternate each time you press the PLAY/MUTE/

REC button.

PLAY: The track will play. MUTE: The track will be muted (silent). REC: This will be displayed during single-track recording

(normal recording). It cannot be selected. When you use multi-track recording (the Preferences tab “Multi REC” is on), select REC for the tracks that you wish to record.

SOLO ON/OFF [SOLO ON, SOLO OFF]

This turns the Solo function on/off. Only the track that is set to SOLO ON will sound. Other tracks will be muted.

If tracks whose “Status” (2–1a, 2a) is BTH, EXT, or EX2 are muted by Mute or by the Solo function, note on/off messages will not be transmitted on the MIDI channel selected for those tracks. (However, tracks selected by “Track Select” (0–1e) are an exception.)

When the page menu command “Solo Selected Track” (0–1B) is on, its Solo status will be given priority (if ON). When you press “SOLO ON/OFF” or the parameter of another track, only that track will be soloed, and will sound.

0–1(2)k: Track Number (1…8, 9…16)

This displays a track number.

▼ 0–1: Page Menu Command

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

0–1J

0–1A: Memory Status

This displays the remaining amount of sequencer memory.

0–1B: Solo Selected Track

The Solo function will alternate on/off each time you select this command. When checked, the Solo function will be turned on, and only the currently selected track will sound. Other tracks will be muted. To solo another track, select a parameter of the desired track. “Selected Track Information” (0–1h, 2h) will indicate [Solo]. To defeat the Solo function, select the “Solo Selected Track” page menu command once again. This function cannot be selected in tabs or pages which contain no parameters for individual tracks.

When this Solo function is on, only the selected track will be soloed and will sound when you press “SOLO ON/OFF” or a parameter of another track – even if two or more “SOLO ON/OFF” (0–1j) buttons are turned on.

If the tracks that have been muted by the Solo function have a “Status” (2–1a) setting of EXT, EX2, or BTH, the MIDI note-on/off messages of that track will not be transmitted.

0–1C: Rename Song

Here you can rename the selected song. A name of up to sixteen characters can be input.

0–1D: Delete Song

This command deletes the currently selected song.

1 Select this command to access the dialog box. 2 If you wish to execute the Delete Song command, press

the OK button. To cancel, press the Cancel button. When you execute this command, the musical data, setting data, and patterns etc. of the currently selected song will be erased, and the memory area allocated to that song will be freed.

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

0–1E: Copy From Song

This command copies all setting data and musical data from the speciﬁed song to the currently selected song.

1 Select this command to open the following dialog box.

2 In “From,” specify the copy source song number. 3 Select the data that you wish to copy. “All” will copy all

setting data and musical data (track events and patterns, etc.). “Without Track/Pattern Events” will copy only the setting data of songs, except for Play Loop and RPPR data.

4 To execute the Copy Song operation, press the OK but-

ton. To cancel, press the Cancel button. Be aware that if

you execute “All,” all setting data and musical data of the currently selected song will be erased and rewritten by the data from the copy source song. If you execute “With- out Track/Pattern Events,” song setting data other than Play Loop and RPPR will be rewritten.

0–1F: Copy From Combi (Copy from Combination)

This command copies the parameters of the speciﬁed combination to the setting data of the currently selected song.

1 Select this command to open the following dialog box.

0–1H: Save Template Song (Save as User Template

Song)

This command saves the program selections, track parameters, and effect settings etc. of the song as a user template song U00–15. The settings you save here can also be loaded in Song Play mode.

1 Select this command to open the following dialog box.

2 In “To, ” specify the user template song (U00–15) in which

the data will be saved.

3 To save the template song, press the OK button. To can-

cel, press the Cancel button. Be aware that when you execute this command, all setting data of the save destination User Template Song will be erased and rewritten.

0–1I: FF/REW Speed

This allows you to set the speed at which fast-forward or rewind will occur when you press the [FF] key or [REW] key.

1 Select this command to open the following dialog box.

2 In “Combination,” select the copy source destination. 3 If you check “with Effects,” the insertion effect, master

effect, and master EQ settings will also be copied.

4 In “To ,” select the copy destination tracks (1–8 or 9–16). 5 To execute the Copy From Combination command, press

the OK button. To cancel, press the Cancel button. Be aware that when you execute this command, the setting data of the currently selected song will be erased, and overwritten by the data of the selected combination.

0–1G: Load Template Song

This command loads a template song as a song. The built-in sequencer contains sixteen different preset tem- plate songs (P00–15) that contain preset settings for pro- grams and effects appropriate for various musical styles. You are also free to create your own favorite settings for programs, track parameters, and effects, and save them as one of sixteen user template songs (U00–15) ( Template Song” 0–1H).

1 Select this command to open the following dialog box.

☞“Save as User

2 In “Speed,” specify the speed (relative to the playback

tempo) at which fast-forward and rewind will occur. With a setting of 2, this will occur at double the playback tempo; with a setting of 3, triple the tempo; and with a setting of 4, quadruple the tempo. However in sections where the playback data is dense, the fast-forward or rewind speed may slow down.

3 If “Ignore Tempo” is checked, the playback tempo and

note length will be ignored, and fast-forward and rewind will be performed as fast as possible. The speed of fastforward and rewind will differ between sections where the playback data is dense and sections where it is sparse. If this item is unchecked, fast-forward and rewind will be performed at the speed you specify for “Speed.”

4 To execute the settings, press the OK button. To cancel,

press the Cancel button.

0–1J: Set Location (Set Location for Locate Key)

When you press the [LOCATE] key, you will move to the location speciﬁed here. Even when this dialog box is not opened, you can set this value to the current location by holding down the front panel [ENTER] key and pressing the [LOCATE] key.

1 Select this command to open the following dialog box.

2 In “From,” specify the template song that you wish to

load.

3 To load the template song, press the OK button. To can-

cel, press the Cancel button. When you execute the command, song setting data other than PlayLoop and RPPR will be copied.

2 In “Location,” specify the location to which you will

move when you press the [LOCATE] key. If you specify 001:01:000, you will move to the beginning of the song when you press the [LOCATE] key.

3 To execute the settings, press the OK button. To cancel,

press the Cancel button.

0–3: Mixer 1–8 (Mixer T01–08) 0–4: Mixer 9–16 (Mixer T09–16)

Here you can set the pan and volume of each track. The pan and volume that you specify here will be used when you playback or record from the beginning of the song. If you change the settings during recording, the changes will be recorded as musical data, and pan and volume will change during playback. You can also change the settings during playback. However when the song reaches a location where pan or volume data was recorded, the settings will change accordingly.

0–1

0–1a . . .

0–1g

0–3a

0–3b

0–3c

0–3(4)a: Program Category

This area shows a portion of the category name for the program used by the track.

0–3(4)b: Pan

Pan (Panpot) [RND, L001...C064...R127]

Set the pan of tracks 1–16.

L001...C064...R127: A setting of L001 is far left, and R127 is far right. A setting of C064 will reproduce the pan setting of the oscillator in Program mode.

OSC1

Left

Center

OSC2

OSC1: Amp1 Pan=L001 OSC2: Amp2 Pan=R127

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

If “Status” (2–1a, 2a) is INT or BTH, CC#10 Panpot can be received to control the panning. When receiving CC#10, a value of 0 or 1 is far left, 64 is center, and 127 is far right. When you change the song or return to the beginning of the song, tracks whose “Status” is EXT, EX2 or BTH will transmit the pan you specify here as a MIDI message (except for RND).

0–3(4)c: Volume

Volume [000...127]

Set the volume of tracks 1–16.

When “Status” (2–1a) is INT or BTH, CC#7 Volume can be received to control the volume. The volume of a track is determined by multiplying the MIDI Volume (CC#7) and Expression (CC#11) values. When you change the song or return to the beginning of the song, tracks whose “Status” is EXT, EX2 or BTH will transmit the volume you specify here as a MIDI Volume message.

0–5: PlyLoop 1–8 (PlayLoop T01–08) 0–6: PlyLoop 9–16 (PlayLoop T09–16)

When playing/recording a song, you can independently loop the playback of tracks 1–16.

0–1

0–1a . . .

0–1g

0–5a

0–5(6)a: Play Loop

Track Play Loop

Turn looping on/off for each track 1–16.

Checked: That track will loop between “Start Measure” and “End Measure.”

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

OSC1

Left

Center

OSC2

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

If a mono-type insertion effect is inserted, this setting will be ignored. In this case, the P8: Insert Effect Insert FX tab “Pan (CC#8)” setting will adjust the pan of the sound following the insertion effect.

RND: The sound will be panned randomly at each note-on.

Loop Start Measure [001...999]

Specify the ﬁrst measure of the loop.

Loop End Measure [001...999]

Specify the last measure of the loop.

[Example]

1 Create a basic rhythm section.

Select a drum program for track 1, and realtime-record a four-measure phrase.

2 Record the bass on track 2. Turn “Track Play Loop” on for

track 1, and set the “Start Measure to 001 and the “End Measure” to 004. Start realtime recording, and track 1 will repeatedly play measures 1–4. While listening to the drum part, record a eight-measure bass phrase on track 2.

3 We will record backing guitar riffs on track 3. Check

“Track Play Loop” for track 3, and set “Start Measure” to 001 and “End Measure” to 008. When you start realtime

recording, track 1 will repeatedly play measures 1–4 and track 2 will repeatedly play measures 1–8. While listening to these tracks playback, record the backing guitar riffs.

In this way, you can use “Track Play Loop” to make the realtime recording process more efﬁcient ( Guide).

☞p.67 in the Basic

0–7: Preference

Here you can select the method of realtime recording, and set the metronome.

0–7

0–7a

0–7b

0–7a: Recording Setup

Select the method of realtime recording. Refer to p.64 in the Basic Guide for the realtime recording.

Over Write

When recording for the ﬁrst time, you will normally select this method. To begin recording, press the [REC/WRITE] key and then the [START/STOP] key. To stop recording, press the [START/STOP] key once again. Be aware that when this method of recording is used to record on a track that already contains data, any previously existing data will be erased from the measure at which you begin recording and from all subsequent measures.

Over Dub

Select this when you wish to add data to a previouslyrecorded track. To begin recording, press the [REC/WRITE] key and then the [START/STOP] key. To stop recording, press the [START/STOP] key once again. Previously-recorded data will remain in the track, and the newly-recorded data will be added.

Manual Punch In

Select this method when you wish to use the [REC/WRITE] key or a foot switch to re-record selected portions of a previously-recorded track. Press the [START/STOP] key to playback the song. When you reach the measure at which you wish to begin re-writing the data, press the [REC/WRITE] key or the foot switch, and recording will begin. When you are ﬁnished recording, press the [REC/WRITE] key or the foot switch once again, and recording will end. The area between the points where you pressed the [REC/ WRITE] key or the foot switch the ﬁrst and second times will be replaced by the newly recorded data.

Auto Punch In

Select this method when you wish to automatically rerecord selected portions of a previously-recorded track. Before you begin, use the “M-M (Start Measure - End Measure)” ﬁelds at the right to specify the range of measures that will be rewritten. Press the [REC/WRITE] key and then the [START/STOP] key, and playback will occur until the speciﬁed measure is reached. Then, recording will occur only over the speciﬁed area (“Start Measure”–“End Measure”), rewriting it with the newly recorded data.

M–M ( Start Measure–End Measure) [001…999]

Specify the ﬁrst and last measure that will be re-recorded.

Loop All Tracks

Select this method when you wish to repeatedly record a speciﬁed area of a track, and continue adding data. This is suitable for creating drum patterns, etc. Before you begin, use the “M-M (Start Measure - End Measure)” ﬁelds at the right to specify the range of measures that will be recorded. Press the [REC/WRITE] key and then the [START/STOP] key, and playback will occur until the speciﬁed measure is reached. Then, recording will occur repeatedly over the speciﬁed area (“Start Measure”–“End Measure”). Previously-recorded data will remain, and the new data will be added. While recording, you can check “Remove Data” to delete unwanted data. If “Multi REC” is checked, this parameter will not be available.

M–M (Start Measure–End Measure) [001…999]

Specify the range of measures in which recording will be repeated.

Remove Data

This is available when Loop All Tracks is chosen in “Recording Setup.” Checked: You can delete unwanted musical data while recording with Loop All Tracks. During recording, press the key (note number) that corresponds to the musical data you wish to delete. All occurrences of that note number will be deleted for the interval that you continue holding down the key. Controller data can also be erased in a similar way. For example while you move and hold the joystick in the X (horizontal) direction, bender data will be erased. While you apply pressure to the keyboard, after touch data will be erased. Also, you can press and hold down the [REC/WRITE] key to delete all musical data for as long as the key is held.

Multi REC

Checked: Multi-track recording mode will be selected. This is not available if Loop All Tracks has been selected for “Recording Setup.” Use this mode when you wish to simultaneously record multiple tracks. When you check this box, the “PLAY/MUTE/REC” (0–1j, 2j) buttons of all tracks will simultaneously be set to REC. In this case, pressing a “PLAY/MUTE/REC” button will cycle the setting through REC→ PLAY → MUTE, allowing you to make the desired setting. Select REC for the tracks that you wish to record, and begin recording ( This mode can also be used when you wish to playback a connected multi-track sequencer, and record all of the MIDI data it transmits in one pass into the TRITON’s sequencer. Multiple channels of MIDI data can be received and simultaneously recorded onto multiple tracks. In this case, tracks whose “PLAY/MUTE/REC” setting is

☞p.73 in the Basic Guide).

REC will record MIDI data whose channel matches their own MIDI channel setting, regardless of the “Track Select” (0–1e) setting. In this case you will probably want to set “MIDI Clock” (Global P1: 1–1a) to External, and synchronize to the external sequencer. However, changes in tempo will not be recorded. Unchecked: Single track recording mode will be selected. Recording will occur on the track selected by “Track Select.”

0–7b: Metronome Setup

Here you can make metronome settings.

Sound [Only REC, REC & Play, Off]

Only REC: The metronome will sound only during recording. REC & Play: The metronome will sound during recording and playback. Off: The metronome will not sound. However, the pre-count will sound before recording begins. This parameter is linked to “Metronome Sound” (6–1b).

BUS (Output) Select [L/R, L, R, 1, 2, 3, 4, 1/2, 3/4]

Select the output destination of the metronome sound.

L/R, L, R: Output from OUTPUT (MAIN) L/Mono and/or R. 1, 2, 3, 4, 1/2, 3/4: Output from OUTPUT (INDIVIDUAL) 1, 2, 3, 4 respectively.

Sequencer P1: Cue List

1–1: Cue List

The cue list allows you to playback multiple songs in succession. You can specify a number of repetitions for each song. The TRITON allows you to create twenty cue lists. In a single cue list you can freely connect up to 99 songs. Each unit in a cue list is called a “step,” and you can specify a song number and a repeat (number of repetitions) for each step. For example you could create each part of a song (intro, melody A, melody B, break, solo backing, ending etc.) as an individual song, and use a cue list to play the intro twice, melody A four times, melody B four times, the break twice, melody A four times ... etc. to produce the entire song. In cases when you wish to change the structure of the song, this Cue List function can help you work more efﬁciently. The page menu command “Convert to Song” (1–1D) lets you convert the songs in a cue list into a single song. For example you can use a cue list to create the backing, convert the cue list to a song, and then add solo phrases on unused tracks.

1–1

1–1a

1–1b

1–1c

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

Level [000…127]

Set the volume of the metronome.

Precount [Measure] [0…2]

Specify the pre-count that will occur before recording begins. With a setting of 0, recording will begin the instant you press the [START/STOP] key (after ﬁrst pressing the [REC/ WRITE] key).

▼ 0–7: Page Menu Command

☞ “▼ 0–1: Page Menu Command”

Not selected “Solo Selected Track” (0–1B).

1–1d

1–1e

1–1a: Location, Meter, , Tempo Mode

Location [0001:01.000…9999:15.191]

This displays the current location within the selected cue list. From the left, the numbers indicate the measure, beat, and clock. The range of the beat and clock will depend on the time signature of the corresponding song.

When “MIDI Clock” (Global P1: 1–1a) is Internal, changing the location within a cue list will cause Song Position Pointer messages to be transmitted. If “MIDI Clock” is External MIDI or External PCI/F, this mes- sage can be received from the speciﬁed source to change the location within the cue list. If the location exceeds the allowable data range of a Song Position Pointer message, it will not be transmitted.

Meter (Time Signature) [1/4...16/16]

This displays the time signature of the currently-playing song.

 (Tempo) [040...240]

Specify the tempo at which the song in the cue list will be played (

☞“0–1c: Tempo”).

Tempo Mode [Auto, Manu]

Auto: Playback will use the tempo speciﬁed by the currently

playing song. During playback, the “ (Tempo)” setting can-

not be modiﬁed. Manu (Manual): Tempo speciﬁed in the song will be ignored, and playback will use the tempo speciﬁed above

for “ (Tempo).”

1–1b: Cue List No. and Name [C00...C19]

Select the cue list that you wish to play. When using a cue list to play songs, you must ﬁrst load the necessary data into internal memory, either from ﬂoppy disk, or by a MIDI data dump from an external sequencer (

☞p.40 in the Basic Guide).

When “MIDI Clock” (Global P1: 1–1a) is Internal, selecting a cue list in this page will cause a Song Select message (corresponding to the cue list number) and Song Position Pointer message to be transmitted. When “MIDI Clock” is External MIDI or External PCI/F, a Song Select message from the speciﬁed source will switch cue lists.

1–1c: Track Select, Selected Track Information

Track Select [Track01...Track16: name]

Select the track that you wish to play manually from the keyboard along with the playback. While a cue list is playing, you can play along using the track settings and musical data of the song selected by the current “Step.” The track you select here will also follow the track settings and musical data of the currently playing song. If you wish to continue using the same program to play along from the keyboard with consecutive songs, specify the same program for this track in the songs of each Step.

Selected Track Information

This area shows the program bank number, program number, and name of the track selected in “Track Select.”

1–1d: Selected Step Information, Step, Song,

Repeat, Load FX?

This creates a cue list. Immediately after the power has been turned on, two steps will be displayed by default: “Step” 01 (S000: NEW SONG is selected) and “Step” 02 (End is selected). In this condition, selecting a song for “Step” 01 will cause that song to playback once. If you set “Repeat” to 02, that song will playback twice. With “Step” 01 selected, press the Insert button to insert a step. For example, you might set “Step” 01 to “Song” S001 and “Repeat” 02, and set “Step” 02 to “Song” S002 and “Repeat” 02. When you press the [START/STOP] key, song 1 (S001) would play twice, and song 2 (S002) would play twice. In this way you can arrange multiple songs in a cue list and specify the number of repetitions for each.

Selected Step Information

This shows information on the currently selected or playing “Step.”

STEP: The xx in xx/yy is the currently-playing step number, and yy is the total number of steps (the last step is not included). SONG: This shows the number and name of the song for the currently selected/playing step.

Length: This shows the number of measures in the song for the currently selected or playing step.

Step [Measure] [01...100 (M0001...M9999)]

This shows the step number and its beginning measure. When playback is stopped, the step currently selected by “Current Step” (1–1e) will be a black triangle. When you use the [START/STOP] key to begin playback, it will begin from this step. While a cue list is playing, the playing step will be a black triangle. “Measure” shows the beginning measure of each step. It cannot be edited.

Song (Song Select) [S000...S199: name]

This selects the song for the step. It cannot be selected during playback. You can also select whether playback will end with the last step in the cue list, or whether playback will return to “Step”

01 and continue endlessly.

End: Playback will end. Continue to Step01: Playback will return to “Step” 01, and

the cue list will continue playing endlessly. To stop, press the [START/STOP] key.

Repeat [01...64, FS]

Specify the number of times that the song of this step will be repeated.

FS: A foot switch connected to the rear panel can be used to specify the point at which the song will stop repeating. When you press the foot switch, that repetition of the song will ﬁnish playing, and then playback will continue to the next step. Set “Foot Switch Assign” (Global P2: 2–1a) to Cue Repeat Control.

Load FX? (Load Effect?)

Check this box if you wish to load effect settings as well when playback moves to the song of the next step.

Depending on the effect settings, a certain amount of time may be required to switch effects. In this case, playback will not be smoothly connected from song to song. If you want to transition smoothly from song to song, check “FX Load?” in “Step” 01. For the remaining steps, do not check “FX Load?” With these settings, the effects will be set before playback begins, so there will be no time lag to interrupt the smooth transition between songs. Although it is not possible to change the effect types in the middle of a cue list, you can use the dynamic modulation function or MIDI control changes (effect control) to apply reverb more deeply to certain songs, or raise the LFO speed for other songs, etc. When using a cue list to construct a song, we recommend this method. When you execute the “Convert to Song” (1– 1D) page menu command, the effect settings of the “Step” 01 song will be speciﬁed at the beginning of the song that is created by the conversion.

Even when “Load FX?” is not checked, there may be a time lag in the transition from one song to the next, depending on the musical data in the song. There may also be cases in which the musical data at the transition between songs does not play at the correct timing. To ﬁx this, you can edit the musical data of the song, or convert the cue list to a single song. If you use “Convert to Song” (1–1D) to convert the cue list to a song, there will be no time lag at the transition, and the musical data will play at the correct timing.

1–1e: Insert, Cut, Copy, Current Step

Insert

When you press the Insert button, the step data that was temporarily saved in the buffer by the Copy button or Cut button will be inserted at the “Current Step.” (If copy or cut has not been executed, default data will be inserted.)

Cut

When you press the Cut button, the “Current Step” will be cut, and its data will be saved temporarily in the buffer. If you Insert immediately after you cut, the data will return the state in which it was before you cut.

Copy

When you press the Copy button, the data of the “Current Step” will be saved temporarily in the buffer. Press the Insert button to insert the copied step into the “Current Step.”

Current Step [01...100]

Select the step that will be inserted, cut or copied. If you wish to playback from a step in the middle of the cue list, select the desired step here, and press the [START/ STOP] key.

it will be necessary to convert a cue list to a song if you wish to write it to a ﬂoppy disk as SMF data. During the conversion, the track and effect settings of the song speciﬁed for “Step” 01 will be copied to the beginning of the resulting song, and all track and effect settings of subsequent songs will use the settings of the song for “Step” 01.

The “Convert to Song” command converts a cue list to a song as described below.

Song/Track parameters will use the settings of the “Step” 01 song.

The MIDI channel of each track will be according to the settings of the “Step” 01 song. If “Step” 02 and following songs have different settings, it may not be possible to convert the playback result of the cue list into a song. As far as possible, try to keep the MIDI channel assignments consistent between songs that you intend to use as part of a play list that will be converted into a song.

The following track parameters will not be reﬂected in the conversion. As with the MIDI channels, we recommend that you keep these settings consistent between all songs in the cue list.

PLAY/MUTE, SOLO ON/OFF, Status, MIDI Channel, Bank Select(When Status = EX2), Force OSC Mode, OSC Select, Delay, Use Programs Scale, MIDI Filter, Key Zone, Velocity Zone

Sequencer

▼ 1–1: Page Menu Command

0–1A

1–1A

1–1B

1–1C

1–1D

1–1E

0–1I

0–1J

1–1A: Rename Cue List

This command renames the selected cue list. A name of up to sixteen characters can be input.

1–1B: Delete Cue List

This command deletes the currently selected cue list.

1 Select this command to open the dialog box. 2 To execute the Delete Cue List command, press the OK

button. To cancel, press the Cancel button. When you execute this command, the data of the currently selected cue list will be deleted.

1–1C: Copy Cue List

This command copies the settings of another cue list to the currently selected cue list. Be aware that when you execute this command, the data of the currently selected cue list will be deleted, and rewritten by the copy source data.

1 Select this command to open the following dialog box.

2 In “From,” specify the copy source cue list. 3 To execute the Copy Cue List command, press the OK

button. To cancel, press the Cancel button.

1–1D: Convert to Song (Convert Cue List to Song)

This command converts a cue list consisting of multiple songs to a single song. Although it is not possible to record additional tracks into a cue list, you can convert the cue list to a song, and then record solos etc. onto open tracks. Also,

Converting Song/Track parameters into track events

Second and subsequent repeats of the “Step” 01 song, and the settings of “Step” 02 and following songs will all be converted into track events (musical data). The following data will be converted.

Track1–16 Bank/Program, Pan, Volume, Portamento, Detune,

Bend Range

Master Track Tempo, Meter

If “Pan” (0–3b, 4b) is Random, it will be converted to C064. If “Portamento” (2–3a, 4a) is PRG, or if “Bend Range” is PRG or a negative value, these will not be reﬂected in the conversion.

“Detune” (2–5a, 6a) will be divided into RPN Fine Tuning and Coarse Tuning, and converted into events. For example if the “Detune” setting of +600, Fine Tuning will be 00 and Coarse Tuning will be 6. Fine Tuning will modify the playback pitch (Detune). Coarse Tuning will change the notes that are played back (Transpose). For this reason with some programs such as drum programs, the playback result produced by a cue list may not be reproduced when the cue list is converted into a song.

Converting “Track Play Loop” (P0: PlyLoop 1–8, 9–16 tab)

If “Track Play Loop” is on, the area from “Loop Start” to “Loop End” will be expanded as far as the last measure in

the master track.

Example)

If “Track Play Loop” is M005–M008, and the master track contains 10 measures, the data will be expanded from the beginning of the track as M005, 6, 7, 8, M005, 6, 7, 8, M005, 6.

Converting patterns

Patterns in the “Step” 01 song will be copied as patterns of the converted song. If there is a second or subsequent repeat for “Step” 01, or if the tracks of “Step” 02 and subsequent songs contain patterns, they will be expanded into track events (musical data).

P1 P2 P3 P4 P5 P6 P7 P8 P9

“Transpose” settings

If the “Transpose” (2–5a, 6a) of the tracks in “Step” 02 and subsequent songs differ from the settings of the “Step” 01 song, the note numbers of the note data will be shifted.

Example)

If “Step” 01 “Transpose” = +1 and “Step” 02 “Transpose” –1, the actual note numbers of the “Step” 02 track note data will be shifted downward by 2.

If “Repeat” is set to FS (Foot Switch), it will be converted as “Repeat” 1.

When you execute “Convert to Song” to convert a cue list to a song, the repeat settings within the cue list and the pattern and track play loop settings of the songs used by the cue list will all be converted into events such as note data. For this reason, the amount of data will increase signiﬁcantly, and in some cases there may not be enough internal memory to perform the conversion. In particular if the cue list uses long songs, or if numerous repeats have been speciﬁed, or if many patterns are used by the songs, you should try executing the “Convert to Song” command from time to time as you create the cue list, in order to verify the amount of memory that will be required for the conversion.

A cue list that is longer than 999 measures cannot be converted into a song.

1 Select the cue list (C00–C19) that you wish to convert into

a song.

2 Select this command to open the following dialog box.

4 In “To Song,” specify the song into which the data will be

converted. If you select a new song, a dialog box will ask you for conﬁrmation. Press the OK button to create a new song and copy the data to that song. If you select an existing song that already contains settings and/or musical data, executing this command will erase the data of that song and rewrite it with the data from the copy source. Before you execute, be sure that you will not be losing important data.

5 If you check “Replace to original Song in Cue List” and

execute this command, the “Current Step” song will be replaced by the newly created song. If you execute without checking this box, the newly created song can be selected later for the desired step of the cue list.

6 To execute the Copy Song operation, press the OK but-

ton. To cancel, press the Cancel button.

3 In “To Song,” specify the song into which the cue list will

be converted. If you select a new song, a dialog box will ask you for conﬁrmation. Press the OK button to create a new song and convert the cue list to that song. If you select an existing song that already contains settings and/or musical data, executing this command will erase the data of that song and rewrite it with the data that was converted from the cue list. Before you execute, be sure that you will not be losing important data.

4 To execute the conversion, press the OK button. To can-

cel, press the Cancel button. After executing this command, you can press the [COMPARE] key to return to the state before execution.

1–1E: Copy Song

This command creates a song from a speciﬁed portion of a song in a cue list. For example if you have an eight-measure song and want to repeat measures 5–8, you can use this command to create a four-measure song out of that portion. Then you can assign the resulting song to a step in a cue list, and repeat it.

1 In “Current Step,” select the desired step. 2 Select this command to open the following dialog box.

3 In “From Measure,” specify the ﬁrst measure in the copy

source song. In “To End of Measure,” specify the last measure.

Sequencer P2: Trk Param

2–1: MIDI Ch 1–8 (MIDI Ch T01–08) 2–2: MIDI Ch 9–16 (MIDI Ch T09–16)

Here you can make MIDI-related settings for each track.

0–1

0–1a . . .

0–1g

2–1a

MSB LSB

2–1(2)a: Status, MIDI Channel, Bank Select

Status [INT, Off, BTH, EXT, EX2]

This sets the status of MIDI and the internal tone generator for each track.

INT: When the musical data recorded in the track is played back, or when you use “Track Select” (0–1e) to select a track that is set to INT and play the keyboard and operate the controllers, the internal tone generator of the TRITON will sound, and MIDI data will not be transmitted to an external device. Off: The program will not sound, nor will MIDI data be transmitted. BTH: The operation of both INT and EXT will be performed. When the musical data recorded in the track is played back, or when you select a track that is set to BTH and play the keyboard and operate the controllers, the internal tone generator of the TRITON will sound, and at the same time MIDI data will also be transmitted to an external device. EXT: When the musical data recorded in the track is played back, or when you select a track that is set to EXT and play the keyboard and operate the controllers, MIDI data will be transmitted to an external device, but the internal tone generator of the TRITON will not sound. When you switch songs or reset to the beginning of the song, tracks that are set to EXT will transmit program change, volume, panpot, portamento, send 1, 2, post IFX pan, and post IFX send 1, 2 MIDI messages. EX2: “Bank Select” will be enabled. Instead of the A–g(d) bank numbers that can be selected on the TRITON, the bank number you specify here will be transmitted. In other respects this is the same as EXT.

MIDI data is transmitted and received on the MIDI channel that is speciﬁed separately for each track by “MIDI Channel.”

Recorded data Keyboard and controller operations Received data

Status Internal

tone generator

INT

EXT, EX2 ×

BTH

MIDI OUT Internal

●

●●●

tone generator

●

MIDI OUT

●

× —

—

MIDI Channel [01…16]

Specify the MIDI channel that the track will use to transmit and receive musical data. The MIDI channel you specify here will be the receive channel when “Status” is INT, the transmit channel when it is EXT or EX2, and the receive/ transmit channel when it is BTH. Tracks set to INT which have the same MIDI channel will sound and be controlled identically when they receive MIDI data or data from the sequencer tracks.

Bank Select [000:000...127:127]

When “Status” is set to EX2, this sets the bank number that will be transmitted. When “Status” is other than EX2, this setting has no effect.

2–3: OSC 1–8 (OSC T01–08) 2–4: OSC 9–16 (OSC T09–16)

These parameters specify how each track will be sounded.

0–1

0–1a . . .

0–1g

2–3a

2–3(4)a: Force OSC Mode, OSC Select, Portamento

Force OSC Mode [PRG, Poly, MN, LGT]

Select the “Voice Assign Mode” (Program P1: 1–1b) of the program selected for each track 1–16 ( 2a).

OSC Select [BTH, OS1, OS2]

Specify the “Oscillator Mode” of the program selected for each track 1–16. If the “Oscillator Mode” is Double, you can use this setting to make only one or the other oscillator sound (

☞Combination P2: 2–2a).

Portamento [PRG, Off, 001...127]

Specify the portamento effect for each track 1–16 (☞Combination P2: 2–2a).

The portamento setting you make here will be used when the song is played or recorded from the beginning. If you change the setting while recording, it will be recorded as part of the musical data. (However if you set this to PRG, it will not be recorded.) You can change this setting during playback. However if you come to any Portamento On/Off data or Portamento

☞Combination P2: 2–

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

Time data that was recorded, the settings will change accordingly. When the track whose “Status” (2–1a) is INT or BTH, MIDI control change (CC) #5 (Portamento Time) and CC#65 (Portamento Switch) can be received to control this and change the setting. (If the setting is PRG, CC#05 Portamento Time will not be received.) When you switch songs or return to the beginning of the song, tracks whose “Status” is BTH, EXT, or EX2 will transmit this setting via MIDI. If this is Off, CC#65 with a value of 0 will be transmitted. If this is 000–127, a CC#65 of 127 and CC#05 of 1–127 will be transmitted. If this is set to PRG, nothing will be transmitted. This data is transmitted on the MIDI channel speciﬁed for each track by “MIDI Channel” (2–1a).

2–5: Pitch 1–8 (Pitch T01–08) 2–6: Pitch 9–16 (Pitch T09–16)

Here you can make pitch-related settings for each track.

Bend Range [PRG, –24...+24]

Specify the range of pitch change that will occur when the pitch bender is operated.

PRG: The pitch range speciﬁed by the program will be used. –24–+24: Regardless of the setting of the program, pitch bending will use the range you specify here.

This setting can be controlled and changed by received MIDI RPN Pitch Bend Range messages. (These messages will not be received if the setting is PRG.)

▼ 2–5: Page Menu Command

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

0–1J

2–5A

2–5

0–1a . . .

0–1g

2–5a

2–5(6)a: Transpose, Detune, Bend Range

Transpose [–24...+24]

Adjust the pitch of each track in semitone steps. 12 steps are one octave.

Detune (BPM Adj. in Page Menu) [–1200... +1200]

Adjust the pitch of each track in one-cent steps from the normal pitch.

0: Normal pitch. You can use the “Detune BPM Adjust” (2–5A) page menu command to make a calculation in BPM units and set Detune automatically.

“Transpose” and “Detune” settings do not affect the note data that is transmitted via MIDI. “Transpose” and “Detune” are controlled by received MIDI RPN messages. The “Oscillator Mode” (Program P1:1–1a) of the programs selected for tracks 1–16 will be controlled as follows.

• If “Oscillator Mode” is Single or Double, MIDI RPN

Coarse Tune messages can be received to control and change the “Transpose” setting, and Fine Tune messages to control and change the “Detune” setting.

• If “Oscillator Mode” is Drums, MIDI RPN Coarse

Tune and Fine Tune messages can be received to control and change the “Detune” setting. The range of control will be ±1 octave when Coarse Tune and Fine Tune are added. These messages will be received on the MIDI channel that is specified for each track by “MIDI Channel” (2–1a).

2–5A: Detune BPM Adjust

When the program selected for a track uses a phrase or rhythm loop multisample or sample that you created to match a speciﬁc BPM in Sampling mode or loaded from disk in Disk mode (

☞Program P1: 1–2a, Global P5: 5–1b, 5–1c),

you can use this command to change the BPM of the phrase or rhythm. The BPM can be adjusted by modifying the pitch. This command is available for a track when the “Detune” setting of that track is selected. When you execute this command, the selected “Detune” value will be adjusted. For the procedure, refer to “Detune BPM Adjust” (Combination P2: 2–3A).

2–7: Other 1–8 (Other T01–08) 2–8: Other 9–16 (Other T09–16)

Here you can make additional settings for each track.

0–1

0–1a . . .

0–1g

2–7a

2–7b

2–7c

2–7(8)a: Delay [ms] (Delay Time)

[0000...5000, KeyOff]

Specify a delay time from when a track receives a note-on until it actually sounds.

KeyOff: The sound will begin when note-off occurs. In this case, the sound will continue indeﬁnitely unless the amp EG Sustain Level of the program is other than 0. This setting is useful for simulating harpsichord sounds. Normally you will leave this at 0.

2–7(8)b: Use Program’s Scale

Each track can use the scale that is speciﬁed for the program by “Scale” (Program P1: 1–1c).

Checked: The scale of the program will be used. Unchecked: The scale speciﬁed by “Scale” (2–7c) will be

used.

2–7c: Scale

Specify the scale that will be used for the song.

Type [Equal Temperament...User Octave Scale15]

Select the type of scale (☞“Type” Program P1: 1–1c).

Key (Scale Key) [C…B]

Select the tonic key of the selected scale (☞“Key” Program P1: 1–1c).

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on ( Program P1: 1–1c).

☞“Random”

Sequencer P3: MIDI Filter

Here you can select whether or not to apply ﬁltering to the MIDI data received by tracks 1–16. For example even if two tracks are receiving the same MIDI channels, one can be made to respond to damper pedal activity while the other does not.

These MIDI ﬁlter settings have no effect on the MIDI messages that have already been recorded.

These MIDI ﬁlter settings do not affect the transmission of MIDI messages that have already been recorded. These settings affect the MIDI messages that are transmitted when you adjust program, pan, volume, portamento and send 1/2 parameters of a track whose

“Status” (2–1a, 2a) is set to BTH, EXT, or EX2.

Checked: Reception of MIDI data is enabled. Tracks whose

“Status” (2–1a) is INT or BTH will receive MIDI messages whose channel matches and whose types are checked. The types of effect that are checked will be applied to the program of each track when the TRITON’s controllers are operated or when MIDI data is received. (The effect dynamic modulation function is not affected by these settings.) Settings that regulate MIDI transmission/reception of the TRITON itself are made in “MIDI Filter” (Global P1: 1–1b). If the user-assignable controllers that can be ﬁltered in the MIDI 3 and MIDI 4 tabs are set to MIDI control changes, ﬁltering will be performed for these control changes. In this case, any control change ﬁltering that is being performed in the MIDI 1 and MIDI 2 tabs will be given priority. Furthermore, if the same control change is assigned to multiple controllers for which there are ﬁlter settings in the MIDI 3 and 4 tabs, checking any one of these will enable that control change. Unchecked: Reception of MIDI data is disabled.

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

3–1: MIDI 1 1–8 (MIDI Filter –1 T01–08) 3–2: MIDI 1 9–16 (MIDI Filter –1 T09–16)

0–1c 0–1e 0–1g

3–1a

3–1(2)a: Enable Program Change, Enable After

Touch, Enable Damper, Enable Portamento SW

Enable Program Change

Specify whether or not MIDI program change messages will be received.

0–1

Enable After Touch

Specify whether or not MIDI after touch messages will be received.

Enable Damper

Specify whether or not MIDI control message #64 Hold (damper pedal) will be received.

Enable Portamento SW

Specify whether or not MIDI control message #65 Portamento On/Off will be received.

3–3: MIDI 2 1–8 (MIDI Filter –2 T01–08) 3–4: MIDI 2 9–16 (MIDI Filter –2 T09–16)

3–5: MIDI 3 1–8 (MIDI Filter –3 T01–08) 3–6: MIDI 3 9–16 (MIDI Filter –3 T09–16)

Here you can specify whether the A and B-mode effects of the REALTIME CONTROL knobs [1]–[4] will be transmitted and received. The A-mode MIDI controller messages for each knob are ﬁxed. The B-mode messages can be set in Sequencer 4–7: Controller tab.

0–1c 0–1e 0–1g

3–5a

0–1

0–1c 0–1e 0–1g

3–3a

0–1

3–3(4)a: Enable JS X as AMS, Enable JS+Y, Enable

JS–Y, Enable Ribbon

Enable JS X as AMS

Allow incoming MIDI pitch bend messages (the X-axis of the TRITON’s joystick) to control the AMS ( Modulation Source”) that is speciﬁed for JS X. (This is not a reception ﬁlter for MIDI pitch bend messages.)

☞“Alternate

Enable JS+Y

Specify whether or not MIDI control message #1 (the +Y axis of the TRITON’s joystick, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

Enable JS–Y

Specify whether or not MIDI control message #2 (the –Y axis of the TRITON’s joystick, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

Enable Ribbon

Specify whether or not MIDI control message #16 (the TRITON’s ribbon controller, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

3–5(6)a: Enable Realtime Control Knob 1...4

Enable Realtime Control Knob 1

Specify whether or not the A-mode MIDI control message #74 (the TRITON’s low pass ﬁlter cutoff frequency) and the B-mode MIDI control message will be received.

Enable Realtime Control Knob 2

Specify whether or not the A-mode MIDI control message #71 (the TRITON’s low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) and the B-mode MIDI control message will be received.

Enable Realtime Control Knob 3

Specify whether or not the A-mode MIDI control message #79 (the TRITON’s ﬁlter EG intensity) and the B-mode MIDI control message will be received.

Enable Realtime Control Knob 4

Specify whether or not the A-mode MIDI control message #72 (the release time of the TRITON’s ﬁlter and ampliﬁer EG’s) and the B-mode MIDI control message will be received.

3–7: MIDI 4 1–08 (MIDI Filter –4 T01–08) 3–8: MIDI 4 9–16 (MIDI Filter –4 T09–16)

0–1c 0–1e 0–1g

0–1

3–7a

3–7(8)a: Enable SW1, Enable SW2, Enable Foot

Pedal/Switch, Enable Other Control Change

Sequencer P4: Zone/Ctrl

Enable SW1, Enable SW2

Specify whether or not the effect of the [SW1] and [SW2] keys will be received. The function of these keys can be set in Sequencer 4–7: Controller tab. This is valid when the switches are set to SW1 Mod.:CC#80, SW2 Mod.:CC#81 or Porta.SW:CC#65.

Enable Foot Pedal/Switch

Specify whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be received. The function of this switch is set in Global P2. This is valid when the switch is set to a MIDI control change.

Enable Other Control Change

Specify whether or not MIDI controller messages other than those included in MIDI Filter 1–4 will be received.

4–1: Key Z 1–8 (Key Zone T01–08) 4–2: Key Z 9–16 (Key Zone T09–16)

Here you can specify the range of keys that will be sounded by each track. Top/Bottom Key settings specify the range of notes that will be sounded by tracks 1–16, and Top/Bottom Slope settings specify the range from the top/bottom key until the original volume is reached.

These settings do not affect MIDI transmission/reception. All note data that is received will be recorded into the internal sequencer, and all note data from the internal sequencer or from the keyboard will be transmitted.

0–1

4–1a

0–1c 0–1e 0–1g

4–1b

4–1c

4–1a: Zone Map

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

This shows the range of notes and velocities that will be sounded by each track 1–16. The note and velocity ranges are shown as lines, and the slope area within the range is shown in gray.

Track 1

Key zone display

Track 16

Track 1

Velocity zone display

Track 16

4–1(2)b: Top Key, Top Slope

Top Key [C–1...G9]

Specify the top key (upper limit) that will be sounded by each track 1–16.

Top Slope [00...72]

Specify the key range (12 is one octave) from the top key until the original volume is reached.

4–1(2)c: Bottom Slope, Bottom Key

Bottom Slope [00...72]

Specify the key range (12 is one octave) from the bottom key until the original volume is reached.

Bottom Key [C–1...G9]

Specify the bottom key (lower limit) that will be sounded by each track 1–16. For details on these parameters and on the diagram, refer to “Combination P4–1: Key Z (Key Zone).”

You can also enter a value for these parameters by playing a note while you hold down the [ENTER] key.

4–3: Vel Z 1–8 (Vel Zone T01–08) 4–4: Vel Z 9–16 (Vel Zone T09–16)

Top/Bottom Velocity specify the range of velocities that will be sounded by tracks 1–16, and Top/Bottom Slope specify the range over which the volume will be adjusted.

0–1

0–1c 0–1e 0–1g

4–3a

4–3b

4–7: Controller (Controller Setup)

Here you can set the functions that the [SW1] key, [SW2] key, and the B-mode functions that the REALTIME CONTROL knobs [1]–[4] will have in Sequencer mode.

When these switches or knobs are operated during recording, the MIDI messages that you assign here will be recorded.

0–1c 0–1e 0–1g

4–7a

4–7b

4–7a: Panel Switch Assign

0–1

4–3(4)a: Top Velocity, Top Slope

Top Velocity [1…127]

Specify the maximum velocity that will be sounded by each track 1–16.

Top Slope [0…120]

Specify the range of values over which the volume will be adjusted from the top velocity until the original volume is reached.

4–3(4)b: Bottom Slope, Bottom Velocity

Bottom Slope [0…120]

Specify the range of values over which the volume will be adjusted from the bottom velocity until the original volume is reached.

Bottom Velocity [1…127]

Specify the minimum velocity that will be sounded by each track 1–16. For details on these parameters and on the diagram, refer to “Combination P4–2: Vel Z (Velocity Zone).”

You can also enter a value for these parameters by playing a note while you hold down the [ENTER] key.

4–5: MOSS 1–8 (MOSS T01–08) 4–6: MOSS 9–16 (MOSS T09–16)

This page is displayed when the separately sold EXB-MOSS option has been installed. For details refer to the owner’s manual included with the EXB-MOSS.

Assign functions to the front panel [SW1] and [SW2] keys (

☞p.217 “SW1, SW2 Assign List”).

Since the functions assigned to these switches and knobs by the program of each track will not be valid, you can make new assignments here.

SW1 (SW1 Assign) [Off, ..., After Touch Lock] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off, ..., After Touch Lock] SW2 Mode [Toggle, Momentary]

☞ “Panel Switch Assign” (Program P1: 1–4a).

4–7b: Realtime Control Knobs B-Assign

Here you can set the B-mode functions (mainly various control changes) that the front panel REALTIME CONTROL knobs [1]–[4] will have in Sequencer mode ( time Control Knobs B–Assign List”). The functions you specify here will operate when you rotate the front panel REALTIME CONTROL knobs [1]–[4] in B-mode. Since the functions assigned to these knobs by the program of each track will not be valid, you can make new assignments here.

☞p.218 “Real-

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]

☞ “Realtime Control Knobs B-Assign” (Program P1: 1–4b).

Sequencer P5: Track Edit

5–1: Track Edit

Here you can edit the settings of the currently selected track and the musical data that has already been recorded, as well as perform step recording. When you wish to edit musical data or perform step recording, ﬁrst use the tab page window to select the track and specify the desired area. Then select the appropriate page menu command.

0–1a

...

0–1g

5–1a

Track1 Display of musical data (selected track is highlighted)

Master Track

From Measure

To End of

Measure

: musical data exists : no musical data : a pattern is used

5–1a: Track Select

[Track01…Track16, Master Track]

Select the track that you wish to edit (or copy from) or record. If you wish to select all tracks, it is not necessary to specify them here. (Check the “All Tracks” item within the dialog box of the page menu command.)

Master Track: Edit the tempo or time signature of the master track.

5–1b: From Measure/To End of Measure

Specify the range of measures that you wish to edit (or copy from) or step-record.

From Measure [001…999]

Specify the ﬁrst measure.

To End of Measure [001…999]

Specify the last measure.

▼ 5–1: Page Menu Command

0–1A

5–1A

5–1B

5–1C

5–1D

5–1E

5–1F

5–1L

5–1M

5–1G

5–1H

5–1I

5–1J

5–1K

5–1A: Step Recording

Step recording allows you to specify the length and velocity of each note numerically, and to input the pitches from the keyboard. You can use the Rest button and Tie button to input a rest or tie.

5–1

5–1b

5–1N

5–1O

5–1P

0–1I

0–1J

Be aware that if you step-record onto a track which already contains sequence data, all data will be erased from the measure speciﬁed in “From Measure” and all subsequent measures.

To input data with a continuously-changing value such as pitch bend, it is best to use “Create Ctrl Data” (5–1L). To input individual data events such as program changes, use “Event Edit” (5–1B).

1 Use “Track Select” to select the track into which you wish

to input data, and use Track Edit tab item “From Measure” to specify the measure at which you wish to begin input.

2 When you select this command, the following dialog box

will appear.

Length (beats, clocks)

Time signature

measure (beat, clock)

Note numberLocation within the

Velocity

3 In “Meter,” set the time signature.

This will show the time signature that has already been set for the measure. If you change the time signature setting, the time signature data of the measures you record will change, and all tracks will change to the time signature you speciﬁed.

4 In “Step Time,” specify the length of the basic step that

you wish to input, in terms of a note value. The number of clocks in each note value is shown below.



(0:24)(0:48)(0:96)(1:00)(2:00)(4:00)



(0:36)

 

(0:72)

 

(0:144)

 

(1:96)

 

(3:00)

 

(6:00)

333333



(0:16)(0:32)(0:64)(0:128)(1:64)(2:128)

5 In “Note Duration,” specify the length that the note will

actually be held, relative to the “Step Time.” In general, 100% will be tenuto, 85% will be normal, and 50% will be staccato.

6 Use “Note Velocity” to specify the velocity value (key-

board playing strength) of the note data. With the [PAUSE] key pressed, you can hold down the [ENTER] key and play a note on the keyboard to specify the velocity value.

7 Input the note events described below by playing notes

on the keyboard or by pressing the buttons in the lower part of the dialog box.

• Inputting notes

When you press a key on the keyboard, that note number will be input as a note of the length speciﬁed in When you press a chord on the keyboard, those note numbers will be input as chords of the length speciﬁed in

4. Since each of the note numbers you press before

releasing all of the keys will be input at the same location, the notes will be input as a chord even if they are actually played at different times.

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

Each time you press and release the keyboard, the location will advance by the length speciﬁed in

• Inputting rests

Press the Rest button to input a rest of the length speciﬁed in

• Inputting a tie

If you press the Tie button without pressing the keyboard, the previously-input note will be tied, and lengthened by the amount speciﬁed in

If you press the Tie button while holding down a note, the note you are playing will be tied, and lengthened by the amount speciﬁed in

You can even input notes as shown in the following diagram.





Step Time =

Tie

Press G



Step Time =

Press E and C





Step Time =

Off

Release E (continue holding C)

• Deleting a note or rest

To delete a note or rest, press the StepBack button. The location will move backward by the amount speciﬁed in

4, and the data in that interval will be deleted.

• Auditioning the next note before input

If you wish to make sure of the next note before you actually input it, press the [PAUSE] key (the LED will light). Now when you press a key, you will hear sound but the note will not be input. Press the [PAUSE] key once again (the LED will go dark) to cancel the pause mode and resume input.

8 When you are ﬁnished with step recording, press the

Done button. If you press the [COMPARE] key, you will return to the condition of before you began step recording.

5–1B: Event Edit

Here you can edit individual events of music data that were input.

1 Use “Track Select” to select the track that you wish to

edit, and use the Track Edit tab “From Measure” ﬁeld to specify the measure at which you wish to begin editing.

2 If you selected Track01–16 in “Track Select,” selecting

this command will open the Set Event Filters dialog box. In the Set Event Filters dialog box you can select the types of events (musical data) that will appear and can be edited in the event edit window. For “Note” you can set “Bottom” and “To p” to specify the range of notes. These settings can also be entered by holding down the [ENTER] key and pressing a key. Normally you will leave these set at C–1 and G9. “Control Change” lets you specify the control change number. Normally you will leave this set at ALL.

If you selected Master Track in “Track Select,” this dialog box will not appear.

3 Press the OK button to open the Event Edit dialog box.

Measure

Index no. Location within the

measure (beat, clock)

Event data

4 In the upper part of the dialog box, “Measure” and

“Index” show the measure that you are editing and the

events of the index numbers within the measure. You can touch the scroll bar located at the right to move to the event that you wish to edit.

5 Select the event that you wish to edit, and use the

[VALUE] dial etc. to modify its value(s).

• By modifying the value of the “BT” (Beat. Tick) location within the measure, you can move the event within the measure.

• You can edit each event by modifying its data value(s). When you select a note event, it will sound.

6 You can press the buttons located at the bottom of the

dialog box to edit events as follows.

• Inserting an event

Select the location “BT” at which you wish to insert an event, and press the Insert button to insert an event.

• Deleting an event

Select the event that you wish to delete, and press the Cut button to delete the event.

• Moving an event

You can use the Cut button and Insert button to move an event (by “cut and paste”). Use the Cut button to delete the event that you wish to move, then use the Insert button to insert it at the desired location. You can also move an event by modifying its “BT” value.

• Copying an event

Select the event that you wish to copy, and press the Copy button. Then select the copy destination and press the Insert button to insert the event at that location.

7 When you are ﬁnished event editing, press the Done but-

ton. If you press the [COMPARE] key you will return the

data to the condition in which it was before you began event editing.

The following table shows the types of musical data that can be edited by “Event Edit” and the range of their values.

BAR (displayed only) (Measure line)

C–1...G9 * (Note data)

PAFT (Polyphonic after touch)

CTRL (Control change)

PROG

(Program change)

AFTT (After Touch)

BEND (Pitch bend)

V: 1...127 * (Velocity)

C–1...G9 (Note number)

C: 0...101 (Control change number)

Bank: A...F, 000...127, G, g(1)..g(9) g(d), - - (Program bank)

0...127 (value)

–8192...+8191 (value)

Meter: 1/4...16/16 * (Time signature)

L: 000.000...15984.000 (Length: beats, clocks)

0...127 (Value)

P: 0...127, 1...128 (G, g(1)...g(d)) (Program number)

*1 Be aware that since the time signature is recorded in

the master track, modifying it from any track will affect the same measure of all tracks, causing them to be played in that time signature.

*2 Note data and velocity values can also be entered by

holding down the [ENTER] key and playing a note on the keyboard.

Pattern numbers will be displayed in locations in which a pattern has been “put” (placed). At the end of the track there will be an indication of End of Track.

5–1C: Erase Track

This command erases the data from the speciﬁed track. However, it is not possible to erase the master track by itself.

1 In “Track Select,” select the track that you wish to erase. 2 Select this command to open the following dialog box.

If you check “All Tracks,” the musical data of all tracks will be erased.

3 To execute the Erase Track command, press the OK but-

ton. To cancel, press the Cancel button.

5–1D: Copy Track

This command copies musical data from the copy source track to the speciﬁed track. Be aware that when you execute the Copy Track command, any track data that was in the copy destination track will be erased.

1 Select this command to open the following dialog box.

3 To execute the Bounce Track command, press the OK

button. To cancel, press the Cancel button.

5–1F: Erase Measure

This command erases the speciﬁed type(s) of musical data from the speciﬁed range of measures. The Erase Measure command can also be used to delete only a speciﬁc type of data. Unlike the Delete Measure command, executing the Erase Measure command does not cause the subsequent measures of musical data to be moved forward.

1 Use “Track Select” to select a track. 2 Select this command to open the following dialog box.

3 In “From Measure” select the ﬁrst measure to be erased,

and in “To End of Measure” select the last measure to be erased. (By default, “From Measure” and “To End of Measure” will be set to the range that you speciﬁed in the Track Edit tab.)

4 In “Kind,” specify the type of data that will be erased.

All will erase all types of data from the track, Note will erase note data, Control Change will erase control change data, After Touch will erase both channel pres- sure and polyphonic key pressure data, Pitch Bend will erase pitch bend data, and Program Change will erase program change data.

5 If you check “All Tracks,” the speciﬁed type of data will

be erased from all tracks.

6 To execute the Erase Measure command, press the OK

button. To cancel, press the Cancel button.

Example: If measures 2–3 are erased, measures 2–3 will be blank.

Before Erase

21 543

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

2 In “From,” select the copy source track. In “To, ” select the

copy destination. (By default, “From” will be the track you selected in “Track Select.”)

3 To execute the Copy Track command, press the OK but-

ton. To cancel, press the Cancel button.

5–1E: Bounce Track

This command combines the musical data of the bounce source and bounce destination tracks, and places the combined data in the bound destination. All musical data in the bounce source will be erased. If MIDI control data existed in the bounce source track and bounce destination track, unexpected results may occur in the playback after the bounce command is executed. If this occurs, use “Event Edit” (5–1B) or “Erase Control Data” (5– 1M) to edit the MIDI control data of the two tracks before you use Bounce Track.

1 Select this command to open the following dialog box.

2 In “From,” specify the bounce source track. In “To” spec-

ify the bounce destination track. (By default, “From” will be the track you selected in “Track Select.”)

After Erase

21 543

No data

If control data extends across a line between measures that were erased and measures that were not erased, only the data within the range being erased will be erased. However if note data extends across two or more measures, deleting any of the intervening measures will delete that note data from the following measures as well.

Note data can also be erased using “Shift/Erase Note” (5–1O). Use this command when you wish to erase a speciﬁc range of notes, or to erase notes from a speciﬁc “Beat.Tick.”

Control Change data can also be erased using “Erase Control Data” (5–1M). Use this when you wish to erase a speciﬁc type of control change, or to erase control change data from a speciﬁc “Beat.Tick” range.

5–1G: Delete Measure

This command deletes the speciﬁed measures. When the Delete Measure command is executed, the musical data following the deleted measures will be moved forward in units of a measure.

1 Use “Track Select” to select the track.

2 Select this command to open the following dialog box.

3 In “From Measure” select the ﬁrst measure that you wish

to delete, and in “To End of Measure” select the last measure that you wish to delete. (By default, “From Measure” and “To End of Measure” will be the range that you speciﬁed in the Track Edit tab.)

4 If you wish to delete musical data from all tracks includ-

ing the master track, check “All Tracks.” If this is not checked, data will be deleted only from the track that was selected by “Track Select.”

5 To execute the Delete Measure command, press the OK

button. To cancel, press the Cancel button.

Example: When measures 3–5 are deleted, measures 6–8 are moved forward.

Before Delete

After Delete

1 2 3 4 5 6

If in

4 you uncheck “All Tracks” and execute this oper-

543

7 8

ation, the measures will not be deleted from the master track. Time signature and tempo data will remain unchanged, and the time signature and tempo of the measures that were moved forward as a result of the Delete operation will change.

Example: When measures 2 and 3 (3/4 time) of track 2 are deleted, the measures that were

at 4 and 5 are moved forward, and their time signature will change to 3/4.

1 (4/4) 3 (3/4) 5 (4/4)2 (3/4) 4 (4/4)

Before Delete

After Delete

If in

Track 1

1 (4/4) 3 (3/4) 5 (4/4)2 (3/4) 4 (4/4)

Track 2

Track 1

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

2 (3/4)1 (4/4) 3 (3/4) 4 (4/4) 5 (4/4)

4 you check “All Tracks” and execute this opera-

tion, the speciﬁed measures of musical data will be deleted from all tracks including the master track, and the time signature and tempo will also move forward by the number of measures that were deleted. If control data extends across a line between measures that were deleted and measures that were not deleted, only the data within the range being deleted will be erased. However if note data extends across two or more measures, deleting any of the intervening measures will delete that note data from the following measures as well.

5–1H: Insert Measure

This command inserts the speciﬁed number of measures into the speciﬁed track. When you execute the Insert Measure command, the musical data following the insert location will be moved backward. If musical data is inserted into an area across which note data has been tied, a note-off will be created immediately before the inserted measure, and the subsequent portion of the note will be deleted.

1 In “Track Select,” specify the track into which you wish

to insert.

3 In “At Measure,” specify the measure location at which

the data will be inserted. (The measure you speciﬁed in Track Edit tab “From Measure” will be set as a default.)

4 In “Length,” specify the number of measures that will be

inserted.

5 In “Meter,” specify the time signature of the measures

that will be inserted. If you want the inserted measures to match the existing time signature, specify **/**. With any setting other than **/**, the time signature of the inserted measures will change, and the speciﬁed time signature will apply to all tracks for those measures.

6 If you wish to insert measures into all tracks including

the master track, check “All Tracks.” The musical data following the inserted measures will playback in the same way it did before the measures were inserted. If “All Tracks” is unchecked, the measures will be inserted into the speciﬁed track. At this time, the musical data following the inserted location will be moved backward by the number of measures that were inserted. However, the time signature and tempo will not move.

7 To execute the Insert Measure command, press the OK

button. To cancel, press the Cancel button.

Time signature = **/**

Track 1

Before Insert

After Insert

Before Insert

After Insert

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 2

Insert two measures

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

Track 2

Track 1

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Measures 4 and 5 will use the previously specified time signature.

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 1

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 2

Insert two measures

Track 2

1 (4/4) 2 (7/8) 4 (5/4) 5 (2/4)3 (7/8)

Track 1

Measures 2 and 3 will be 7/8, and measures 4 and 5 will be the previously specified time signature.

3 (3/4)

Time signature = 7/8

5 (2/4)4 (5/4)

5 (2/4)4 (5/4)1 (4/4) 2 (7/8) 3 (7/8)

5–1I: Repeat Measure

This command repeatedly inserts the speciﬁed measures for the speciﬁed number of times. When you execute the Repeat Measure command, the measures will be inserted following the measure speciﬁed by “To End of Measure,” and musical data following the inserted data will be moved backward. It is convenient to use this command when you have a song that you playback with “Track Play Loop” (0–5a, 6a) turned on, and wish to expand it into musical data.

1 Use “Track Select” to select the track whose measures

you wish to repeat.

2 Select this command to open the following dialog box.

3 In “From Measure” and “To Measure,” specify the range

of measures that will be repeated. (By default, “From Measure” and “To Measure” will be set to the range you speciﬁed in the Track Edit tab.)

4 In “Times,” specify the number of repetitions. For exam-

ple if you set “From Measure” to 001, “To End of Measure” to 004, and “Times” to 2, the musical data of measures 1–4 will be inserted into measures 5–8. The result will be that measures 1–4 will be played twice.

5 If you wish to repeat the musical data of all tracks includ-

ing the master track, check “All Tracks.”

6 To execute the Repeat Measure command, press the OK

button. To cancel, press the Cancel button.

If you execute the Repeat Measure operation on measures 1–4 with “Time” = 2, measures 1–4 will be inserted into measures 5–8.

Before Repeat Measure

After Repeat Measure

Track 1

1 2

3 4

5 6

1 2

3 4

5 6

5–1J: Copy Measure

This command copies measures of musical data from the copy source to the speciﬁed measure location. When you execute the Copy Measure command, the track data at the copy destination will be rewritten.

1 Select the copy source song. 2 Select this command to open the following dialog box.

5–1K: Move Measure

This command moves measures of musical data to a speciﬁed destination. When you execute the Move Measure command, musical data following the move source will be moved forward according to the number of measures moved, and musical data following the move destination will be moved backward correspondingly.

1 Select this command to open the following dialog box.

2 In “From: Track,” select the move source track. (By

default, this will be the track you selected in “Track Select.”) If you check “All Tracks,” musical data of all tracks including the master track will be moved.

3 In “From Measure” and “To End of Measure,” specify the

range of measures that will be moved. (By default, “From Measure” and “To End of Measure” will be the range that you speciﬁed in the Track Edit tab.)

4 In “To: Track” (if “All Tracks” is unchecked), specify the

move destination track. In “Measure,” specify the ﬁrst measure of the move destination.

5 To execute the Move Measure command, press the OK

button. To cancel, press the Cancel button.

5–1L: Create Ctrl Data (Create Control Data)

This command gradually varies continuous-type data (e.g., control change, after touch, pitch bend, tempo) in the speciﬁed area.

1 In “Track Select,” select the track on which you wish to

perform the Create Control Data command. If you wish to create tempo data, select Master Track as the track. In this case, the step

2 Select this command to open the following dialog box.

4 item “Kind” will be set to “Tempo.”

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

3 In “From: Track,” select the copy source track. (By

default, this will be the track you selected in “Track Select.”) If you check “All Tracks,” the musical data of all tracks including the master track will be copied.

4 In “From Measure” and “To Measure,” specify the range

of copy source measures. (By default, “From Measure” and “To Measure” will be the range that you speciﬁed in the Track Edit tab.)

5 In “To: Song,” specify the copy destination song. In

“Track” (when “All Tracks” is unchecked) specify the

copy destination track. In “Measure,” specify the ﬁrst measure where the copied measures will be inserted.

6 To execute the Copy Measure operation, press the OK

button. To cancel, press the Cancel button.

Example: When you copy measures 5–7 of track 1 to the third measure of track 2,

measures 3–5 of track 2 will be rewritten.

Track 1 (source)

Track 2 (destination)

2 (4/4)1 (4/4) 5 (3/4)4 (3/4)3 (4/4)

2 (4/4)1 (4/4) 5 (3/4)4 (3/4)3 (4/4) 6 (3/4) 7 (4/4)

6 (3/4) 7 (4/4)

3 Specify the range into which the control data will be

inserted. In “From Measure” and “To End of Measure” specify the measures, and in “Beat.Tick” specify the beat and clock. “ (By default, “From Measure” and “To End of Measure” will be set to the range you speciﬁed in the Track Edit tab.)

4 In “Kind,” select the type of musical data (events) that

you wish to create: Control Change, After Touch, or Pitch Bend.

For Control Change, you can also select the control change number (

☞p.223).

5 In “Start Value,” select the starting value of the control

data. In “End Value,” select the ending value of the control data. By default, the “Start Value” will be set to the value of the existing data at the start location. If you wish to create control data that changes smoothly from the starting location, you can leave the “Start Value” unchanged, and set only the “End Value.”

6 To execute the Create Control Data command, press the

OK button. To cancel, press the Cancel button.

Example: The controller is aftertouch. Starting location is 3:48, ending location is 4:24,

and end value is set to 100. This will cause the aftertouch value to begin changing from 3:48, and reach a value of 100 at 4:24.

After touch

127 100

Start location End location

Previous data

3:00 3:24 3:48 3:72 4:00 4:24 4:48

End Value

Start Value default value

Location

When you execute Create Control Data, a large amount of sequencer memory will be consumed. For this reason it may not be possible to execute this command if there is a limited amount of memory remaining. In such cases, ﬁrst use “Quantize” (5–1N) to quantize the data and remove unnecessary control data. Alternatively, you could quantize the data that was inserted by the Create Control Data command.

5–1M: Erase Ctrl Data (Erase Control Data)

This command erases data such as control changes, after touch, pitch bend, or tempo in the speciﬁed range.

1 In “Track Select,” select the track from which you wish to

erase control data. If you wish to erase tempo data, select Master Track. In this case, the “Kind” item in step

4 will

be “Tempo.”

2 Select this command to open the following dialog box.

3 Specify the range from which you wish to erase control

data. In “From Measure” to “To End of Measure” specify the measures, and in “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be the range that was speciﬁed in the Track Edit tab.)

4 In “Kind,” select the type of musical data (events) you

wish to erase: Control Change, After Touch, or Pitch Bend.

For Control Change you can also select the control change number (

☞p.223).

5 To execute the Erase Control Data command, press the

OK button. To cancel, press the Cancel button.

If you wish to erase all control change data from speciﬁed measures, you can also use “Erase Measure” (5–1F) and set “Kind” to Control Change. However, this Erase Control Data command allows you to specify the range using “Beat.Tick,” and also to erase only speciﬁc types of control change data.

5–1N: Quantize

This command corrects the timing of musical data that has already been input. When you execute the Quantize operation, the musical data will be affected as follows.

• When you execute Quantize on note data, the timing of the note-on will be corrected, but the length (duration of the note) will not be affected.

• If the Quantize resolution is set to Hi, the timing will be

adjusted to units of the base resolution (/192), so note

data will not be affected. However, continuous controller data such as joystick or after touch which occupies a large amount of memory will be processed so that two or more data events of an identical type existing at a single interval of the timing resolution will be combined into a single event, thus conserving memory. Similarly, two or more data events of an identical type existing at the identical timing will be combined into one, also conserving memory.

1 In “Track Select,” specify the track. 2 Select this command to open the following dialog box.

3 Specify the range that will be quantized. In “From Mea-

sure” and “To End of Measure,” specify the measures. In “Beat.Tick” specify the beat and clock. (By default, “From

Measure” and “To End of Measure” will be the range that you speciﬁed in the Track Edit tab.)

4 In “Kind,” select the type of musical data (events) that

you wish to quantize: All, Note, Control Change, After Touch, Pitch Bend, or Program Change. If you select Note, you can set “Bottom” and “To p” to specify the

range of notes. This is convenient when you wish to quantize only a speciﬁc note (for example, only the snare in the drum track). “Bottom” sets the lower limit of the Note range. If you wish to quantize all notes, set this to C–1. “To p” sets the upper limit of the Note range. If you wish to quantize all notes, set this to G9. Note settings can also be entered by holding down the [ENTER] key while you press a key. If you select Control Change, you can also limit the type of control change data that will be quantized by specifying the control change number. If you wish to quantize all control change data, select All. If you select After Touch, both channel pressure and polyphonic key pressure will be quantized.

5 In “Resolution,” specify the timing resolution to which

the data will be corrected. By setting a lower resolution you can save more memory, but the timing of the playback may not be acceptable.

6 In “Offset,” specify the number of clock by which the

data will be moved forward or backward relative to the

standard timing. A setting of 96 will be  , and 48 will be  . Positive (+) settings will adjust the data forward, and

negative (–) settings will adjust the data backward. This allows you to simulate “pushing” or “dragging” the beat.

7 In “Intensity,” specify the degree of sensitivity to which

the timing will be corrected; i.e., how close to the locations speciﬁed by

5 and 6 the data will be moved.

With a setting of 0, no correction will take place. With a setting of 100, the data will be moved all the way to the timing intervals speciﬁed by

5 and 6.

8 To execute the Quantize command, press the OK button.

To cancel, press the Cancel button.

* By varying the Offset and Intensity settings you can cre-

ate quantize effects such as the following.

6 To execute the Erase Note command, press the OK but-

ton. To cancel, press the Cancel button.



Original

Quantize Resolution = Offset = 0, Intensity = 100%

Quantize Resolution =

Offset = 0, Intensity = 50%

Quantize Resolution =

Offset = +48, Intensity = 100%

Quantize Resolution = Offset = +48, Intensity = 75%

Quantize Resolution = Offset = –24, Intensity = 100%



100%

50%

100%

+48

75%

+48

100%

–24 –24 –24

100%

50%

100%

+48 +48

75%

+48 +48

100% 100%

100%

75%

5–1O: Shift/Erase Note

This command shifts (moves) or erases the speciﬁed note numbers in a speciﬁed track and range of measures.

1 In “Track Select,” select the track on which you wish to

execute the Shift/Erase Note command.

2 Select this command to open the following dialog box.

3 Specify the range in which you wish to shift or erase note

numbers. In “From Measure” and “To End of Measure,” specify the measures. In “Beat.Tick,” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be the range that you speciﬁed in the Track Edit tab.)

4 Specify the range of notes that you wish to shift or erase.

“Note Range: Bottom” speciﬁes the lower limit, and “To p” speciﬁes the upper limit. If you wish to edit all

notes, set “Bottom” to C–1 and “To p” to G9. These settings can also be made by holding down the [ENTER] key as you play a note.

Shifting notes

5 In “Shift Note,” specify the amount by which you wish to

move the note. The amount of shift is set in semitone steps over a range of –127–+127. +1 will shift the note a semitone upward.

6 Select either “Replace” to move the note numbers, or

“Create” to generate additional notes.

For example if you are editing a track that uses a drum program, you can use “Replace” to exchange a snare sound for a different snare sound, or use “Create” to add a sound effect to the snare sound. Alternatively, you can use “Create” to add an octave doubling to an existing guitar phrase, etc.

7 To execute the Shift Note command, press the OK but-

ton. To cancel, press the Cancel button.

Erasing notes

5 Check “Erase Note.”

If you wish to erase all note data in the speciﬁed range of measures, you can also use the “Erase Measure” command (5–1F) and set “Kind” to Note. However, this Shift/Erase Note command lets you specify the “Beat.Tick” range, and to erase only speciﬁc note data.

5–1P: Modify Velocity

This command modiﬁes the velocity values of notes in the speciﬁed area so that they will change over time according to a selected curve.

1 In “Track Select,” specify the track whose velocity will be

modiﬁed.

2 Select this command to open the following dialog box.

3 Specify the range in which note velocity will be modiﬁed.

“From Measure” and “To End of Measure” specify the measure, and “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be set to the range that you speciﬁed in the Track Edit tab.)

4 Specify the range of notes that will be affected by the

Modify Velocity command. Note Range “Bottom” is the lower limit, and “To p” is the upper limit. If you wish to edit all notes, set “Bottom” to C–1 and “To p” to G9. These settings can also be made by holding down the [ENTER] key as you play a note on the keyboard.

5 In “Velocity Start Value” specify the value at which the

velocity data will start, and in “Velocity End Value” specify the ﬁnal velocity value. These settings can also be made by holding down the [ENTER] key as you play a note on the keyboard.

6 In “Intensity,” specify the degree to which the velocity

data will be adjusted toward the curve you specify in With a setting of 0 [%], the velocity will not change. With a setting of 100 [%], the velocity will be exactly as described by the curve.

7 “Curve”* lets you select from six types of curve to specify

how the velocity will change over time.

8 To execute the Modify Velocity operation, press the OK

button. To cancel, press the Cancel button.

* The six curves are as follows.

For a Start Velocity of 1 and End Velocity of 127

127

Velocity

127

Velocity

Start Measure

Curve 1

Curve 4

End Measure

127

Velocity

127

Velocity

Start Measure

Curve 2

Curve 5

End Measure

127

Velocity

127

Velocity

Start Measure

Curve 3

RANDOM

Random

End Measure

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

5–2: Track Name

Here you can assign a name to each track.

0–1a . . .

0–1g

5–1a

5–2a

5–2a: Track Name

Rename the selected track. A name of up to sixteen characters can be input.

5–1

Sequencer P6: Pattern/RPPR

On the TRITON you can use preset patterns P000–149, and user patterns U00–99. One song can contain up to one hun-

dred user patterns. Preset patterns suitable for use in a drum track are provided in memory, and can be selected from any song. Preset patterns cannot be edited, but you may copy a preset pattern to a user pattern, and edit. User patterns can be created by realtime recording (including recording that uses the arpeggiator), step recording, the Get From Track command (obtaining data from a track), or the Copy Pattern command (copying from another pattern) (☞p.68 in the Basic Guide). These patterns can be assigned to each key by the RPPR (Realtime Pattern Play/Recording) function and played by pressing a single key, and the resulting performance can be recorded on the sequencer (

6–1: Pattern Edit

Here you can record a pattern, edit it, and assign it to a track in a song.

☞RPPR Setup).

6–1a

6–1b

6–1c

6–1

0–1d 0–1e

6–1a: Location

Location

This shows the current location of the selected pattern, in measure units.

6–1b: Pattern Edit

If you wish to record pattern data, use “Pattern” and “Pattern Select” to select a user pattern and pattern number. Next, use the “Pattern Parameter” page menu command to set the number of measures in the pattern and its time signature. Then you can perform realtime recording in the Pattern Edit tab, or step recording by using the “Step Recording (Loop Type)” page menu command. Finally, use page menu commands as desired to perform event editing or other types of editing.

Pattern (Pattern Type) [Preset, User]

Select the type of pattern. If Preset is selected, it will not be possible to record. You will be able to select and execute the “Copy Pattern,” “Bounce Pattern,” “Put to Track,” and “Copy to Track” page menu commands.

Pattern Select [P00...P99, U00...U99]

Select a pattern. User patterns can be renamed in the “Pattern Name” tab.

 (Tempo) [040...240]

Specify the playback tempo of the pattern. ☞“ (Tempo)” (0–

1c).

Metronome Sound [Only REC, REC & Play, Off]

Specify whether the metronome will sound during recording or playback. This setting is linked with “Sound” (0–7b). Other metronome-related parameters such as Bus Select, Level, and Pre-count are set in “Metronome Setup” (0–7b). (

☞“Metronome Setup” 0–7b)

Reso (Realtime Quantize Resolution) [Hi, 3 …  ]

Specify how the timing of the data being recorded into the pattern will be corrected. lution)” (0–1f).

☞“Reso (Realtime Quantize Reso-

Remove Data

Checked: This allows you to remove unwanted musical data while you record. During recording, hold down the key(s) (note number) corresponding to the musical data that you wish to remove, and only the data for those note numbers will be removed as long as you continue holding down the key. Controller data can also be removed in this way. For example while you move the joystick in the X (horizontal) direction, pitch bend data will be removed. While you apply pressure to the keyboard, after touch data will be removed. Alternatively, you can hold down the [REC/WRITE] key to delete all musical data for as long as you continue holding down the key.

6–1c: USED IN SONG TRACK, USED IN RPPR

USED IN SONG TRACK

This area indicates the song tracks in which the selected pattern is used.

6–1B: Event Edit

Here you can edit individual events of the musical data in a pattern. Use “Pattern” and “Pattern Select” to specify the pattern, and then select this command. The remaining steps are the same as when Event Editing a track.

☞“Event Edit” (5–1B).

6–1C: Pattern Parameter

This command speciﬁes the number of measures and the time signature of the selected pattern.

1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 Select this command to open the following dialog box.

3 In “Length,” specify the number of measures in the pat-

tern.

4 In “Meter,” specify the time signature of the pattern.

However, this time signature is only temporary, and when you “put” the pattern in a track of a song, the pattern will play according to the time signature of that measure.

5 To execute the Pattern Parameter settings, press the OK

button. To cancel, press the Cancel button.

6–1D: Erase Pattern

This command erases the musical data from the selected pattern.

1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 Select this command to open the following dialog box.

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

USED IN RPPR

This area indicates the RPPR in which the selected pattern is used. The assigned key and the speciﬁed track are shown.

▼ 6–1: Page Menu Command

0–1A

6–1A

6–1B

6–1C

6–1D

6–1E

6–1F

6–1G

6–1H

6–1I

0–1H

6–1A: Step Recording (Loop Type)

Here you can perform step recording into a pattern. This is available when a user pattern is selected.

1 In “Pattern” and “Pattern Select,” specify the pattern. By

default, the pattern length is one measure. If you wish to change the number of measures in the pattern, set the “Pattern Parameter” (6–1C).

2 The remaining steps are the same as when step recording

on a track. Refer to steps Recording” (5–1A). However, step recording a pattern differs from step recording a track in that when you reach the end of the pattern, you will return to the beginning and continue recording, in this way continuing to add more data.

2 and following in “Step

3 If you check “All Pattern,” all user patterns in the song

will be erased. If “All Patterns” is not checked, only the pattern speciﬁed in

1 will be erased.

4 To execute the Erase Pattern command, press the OK

button. To cancel, press the Cancel button.

6–1E: Copy Pattern

This command copies the settings and musical data of the selected pattern to another pattern. User patterns belong to a particular song, but you can use the Copy Pattern command to use a pattern in another song. Also, while preset patterns cannot be edited, you can copy a preset pattern to a user pattern and then edit and save it as a user pattern. Be aware that when you execute the Copy Pattern operation, the pattern settings and musical data of the copy destination will be erased.

1 Select this command to open the following dialog box.

2 In From: “Pattern,” specify the copy source pattern. (By

default, this will be the song and pattern that was selected in the tab page.)

3 In To: “Song” and “Pattern,” specify the copy destination

song and pattern. For “Pattern,” only user patterns U00– U99 can be speciﬁed.

4 To execute the Copy Pattern command, press the OK

button. To cancel, press the Cancel button.

6–1F: Bounce Pattern

This command combines the musical data of the bounce source pattern and bounce destination pattern, and places the combined musical data in the bounce destination. The time signature and length of the pattern following execution will be according to the settings of the bounce destination. Unlike the Track Bounce operation, the musical data of the bounce source will not be erased. If MIDI control data exists in the selected pattern and in the bounce destination pattern, the resulting playback following the bounce operation may produce unexpected results. We recommend that you use “Event Edit” (6–1B) to prepare the MIDI control data of the two patterns before executing the Bounce Pattern command.

1 Use “Pattern” and “Pattern Select” to specify the bounce

source pattern.

2 Select this command to open the following dialog box.

• The pattern that you “put” will playback according to the time signature that is specified by the measures of the “put” destination.

• Control data such as pitch bend etc. (but not including volume data) previously existing in the track will be reset immediately before the measure at which the pattern was “put.” If you wish to use control data such as pitch bend in the measures in which a pattern is “put,” you must ﬁrst write the control data into the pattern (

☞p.69 in the Basic

Guide).

To delete a pattern that has been placed in a track you can use “Erase Measure” (5–1F), specifying the area in which the pattern was “put,” and setting “Kind” to All.

Example: Pattern 20 has been Put at measures 2, 4, and 6 of track 10. When those measures

are reached, pattern 20 is called and its data is played.

Track 10

(Drums)

Pattern 20

3 In From “Pattern,” select the bounce source pattern. (By

default, the song and pattern that are selected in the tab page will be chosen.)

4 In “To: Song” and “Pattern,” select the bounce destina-

tion song and pattern. For “Pattern,” only user patterns U00–U99 can be speciﬁed.

5 To execute the Bounce Pattern command, press the OK

button. To cancel, press the Cancel button.

6–1G: Get From Track

This command loads musical data from a track into the speciﬁed pattern.

1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 In “Pattern Parameter” (6–1C), specify the pattern length

of the “get” destination.

3 Select this command to open the following dialog box.

4 In “Song,” select the “get” source song. 5 In “Track,” select the “get” source track. 6 In “Measure,” specify the ﬁrst measure of the “get”

source.

7 To execute the Get From Track command, press the OK

button. To cancel, press the Cancel button.

6–1H: Put To Track

This command places a pattern into a track. Unlike the Copy to Track command, this command only places the pattern number in the song, so that when playback reaches that point, the pattern will be recalled. The musical data of the pattern will not actually exist in the track. By creating patterns that contain frequently-used phrases or drum patterns, and then placing them on the tracks, you can conserve memory. Be aware that when you edit a pattern, all locations in the song where that pattern has been placed will be affected.

When you execute the Put to Track command, the musical data will be affected as follows.

• Musical data previously existing at the “put” destination will be erased.

1 Select this command to open the following dialog box.

2 In “Pattern” and “Pattern Select,” select the “put” source

pattern. (By default, this will be the pattern selected in tab)

3 In “To Track,” select the “put” destination track. 4 In “Measure,” specify the ﬁrst measure of the “put” des-

tination.

5 To execute the Put to Track command, press the OK but-

ton. When you execute the command, “Measure” will

automatically count up. If you wish to, you can continue “putting” the pattern. To exit the command, press the Exit button.

6–1I : Copy To Track

This command copies the speciﬁed area of musical data from the speciﬁed pattern to a track as musical data. Unlike the Put To Track command, this command actually writes the musical data of the pattern into the track, so that you can edit the copied data in the track. Even if you later edit the copy source pattern, the musical data of the song will not be affected. When you execute the Copy to Track command, the musical data will be affected as follows.

• Musical data previously existing in the copy destination measures will be erased.

• The musical data that is copied will playback according to the time signature specified at the beginning of the copy destination measures.

The procedure is the same as for the Put to Track command.

☞“Put To Track” (6–1H).

Example: Copy the musical data of pattern 41 to measure 2

Before Copy

After Copy

1 432

Pattern 41

1 432

6–2: Pattern Name

6–1a

6–1b

6–1

0–1d 0–1e

6–3a: Keyboard & Assigned drawing

This shows the selected key, and the keys to which a pattern has been assigned by the RPPR function. (Assignments are not possible for the keys displayed in gray.)

6–2a

6–2a: Pattern name [U00...U99: name]

Here you can rename a pattern U00–U99. A name of up to sixteen characters can be input.

6–3: RPPR Setup

Here you can make settings for the RPPR (Realtime Pattern Play/Recording) function. RPPR lets you assign a pattern from a song to each key, and then playback patterns simply by pressing individual notes on the keyboard. The results can also be recorded. For each song, you can assign either a preset pattern or a user pattern to each of the seventy two keys in the range C#2–C8. For each key, you can specify the pattern, track number, and how the pattern will be played.

The arpeggiator is not operated by patterns played back by RPPR. When RPPR is on, keys for which no pattern is assigned will sound the track selected by “Track Select.” At this time, the arpeggiator will operate if either arpeggiator A or B is selected for that track and turned on. RPPR will not be triggered by notes generated by the arpeggiator.

When Local Control is OFF (“Local Control On” Global P1: 1–1a), the keyboard will not trigger RPPR pattern playback. Notes received at MIDI IN on the channel of the track currently selected by “Track Select” will trigger patterns. If you have recorded only the trigger notes on an external sequencer and wish to playback the external sequencer to trigger RPPR patterns on the TRITON, set Local Control OFF.

If you want the note data generated by RPPR to be recorded on the external sequencer, set Local Control ON, and turn off the echo back function of the external sequencer.

In the RPPR Setup page, RPPR is turned on automatically. This will be the same result as when the RPPR check box in each page is checked.

0–1A

6–3b: RPPR Setup

KEY (Key Select) [C#2...C8]

Select the key that you wish to edit. The following parameters will apply to the key that you select here. This can also be selected by holding down the [ENTER] key and playing a note on the keyboard.

Assign

Checked: When you play the key speciﬁed by “KEY,” the pattern selected in “Pattern” will be triggered. Unchecked: That key will sound the currently selected track at the corresponding pitch, just as in normal Sequencer mode.

Pattern (Pattern Type) [Preset, User] Pattern Select [P000...149, U00...99]

Select the RPPR pattern for the key selected in “KEY.” If the selected user pattern contains no musical data, there will be no sound when you press that key.

Track [Track No. and name]

Select the track that will be used for the RPPR pattern selected for the “KEY.” When you play the key, the pattern will be played according to the settings of the track you select here. Track settings are made in P0: Song Play/REC, P2: Trk Param, P3: MIDI Filter, and P4: Zone/Ctrl. When you record in realtime with the RPPN function turned on, the data will be recorded on the track you select here. (

☞For

the recording procedure, refer to p.73 in the Basic Guide)

Mode [Once, Manual, Endless]

Specify how the pattern of the speciﬁed “KEY” will be played.

Once: When you press the key, the pattern will playback only once to the end. Manual: The pattern will continue repeating as long as you continue holding the key, and will stop when you release the key. Endless: The pattern will continue repeating even after you release the key. To stop the pattern playback, press any note below C2, or press the same key once again.

Key-on

START STOP

Once

START STOP

Manual

START STOP

Endless

Key-off

Same key, or C2 Key-off

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

6–3a

6–3b

6–3c

Shift [–12...+12]

Adjust the playback pitch of the pattern for the speciﬁed “KEY” in semitone steps over a range of ±1 octave. With a

setting of 0, the pattern will be played at its original pitch.

Sync [Off, Beat, Measure, SEQ]

Specify how the pattern playback will be synchronized when you press the speciﬁed “KEY.”

Off: The pattern will begin playing at the moment you press the note. Beat: The pattern will synchronize to the beats of the pattern that was started by the ﬁrst key (i.e., the ﬁrst note-on that occurs from a condition where no notes of the keyboard are pressed). This setting is suitable when you wish to play phrase patterns in unison. Measure: The pattern will synchronize to the measures of the pattern that was started by the ﬁrst key. This setting is suitable for rhythm, bass or drum patterns. SEQ: The pattern will synchronize to the measures of the sequencer song.

Key 2 on

Sync settings

Key 1 off

Key 1 on

Song

Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings

Sync: OFF

Pattern 1

Pattern 2

Sync: Beat

Pattern 1

Pattern 2

6–3c: Selected Track Information (Track No.: Bank

No., program No., name and Ch)

This shows the program bank, number, program name, and MIDI channel of the track selected in the RPPR Setup tab.

Sync: Measure

Pattern 1

Pattern 2

Sync: SEQ

Pattern 1

Pattern 2

• When Beat or Measure are selected, pattern playback

will begin when you press the first key. The second and subsequent patterns that are triggered from the keyboard will synchronize to the pattern that was started by the first key; with a setting of Beat they will synchronize in steps of a beat, and with a setting of Measure they will synchronize in steps of a measure.

• When SEQ is selected, the pattern will playback in

synchronization with the measures of the sequencer song. The pattern will synchronize with the currentlyplaying song, so you must start the song before you play notes on the keyboard.

• Beat, Measure, and SEQ will cause the pattern to start

immediately if you play the key within a thirty-second note of the timing of the respective beat or measure, but if you play the key later than this, the start of the pattern will be delayed by a beat.

Stopping playback of a RPPR pattern

By pressing C2 or any lower note, all the patterns being played by RPPR will stop. The patterns of keys whose “Sync” setting is Off will stop immediately, but the playback of other keys will stop at the beginning of the next beat or measure. Pattern playback of keys whose “Sync” setting is Off can be stopped immediately by rapidly pressing C2 or any lower note twice in succession.

Sequencer P7: Arpeggiator

Here you can specify how the arpeggiator will operate in Sequencer mode. These settings can be made for each song. In Sequencer mode (as in Combination mode), you can run the two arpeggiators simultaneously. This allows you to apply different arpeggio patterns to two sounds that have been split across the keyboard, or use velocity to switch between two different arpeggio patterns, etc. In Sequencer mode, the musical data generated by the arpeggiator during song track or pattern realtime-recording can be recorded. While you record, you can modify the arpeggio pattern and parameters, and adjust the [GATE] knob and [VELOCITY] knob etc.

It is not possible to set the tempo of the arpeggiator and the sequencer independently.

When “MIDI Clock” (Global P1: 1–1a) is Internal, the arpeggiator can be synchronized to the start timing of the internal sequencer.

• When you turn on the arpeggiator and press the [START/STOP] key, the arpeggiator will synchronize to the timing of the sequencer.

• When you press the [START/STOP] key, the arpeggiator and sequencer will both stop. If you wish to stop only the arpeggiator, press the ARPEGGIATOR [ON/OFF] key.

When “MIDI Clock” is External MIDI or External PC I/ F, the MIDI realtime clock messages transmitted from the external MIDI device connected to MIDI IN or the TO HOST connector can perform the same type of control. Even in this case, you can start/stop using the [START/ STOP] key of the TRITON’s sequencer.

7–1: Setup 1–8 (Setup T01–08) 7–2: Setup 9–16 (Setup T09–16)

7–1

0–1a . . .

0–1g

7–1a

7–1(2)a: Arpeggiator Assign, Arpeggiator Run A, B

Arpeggiator Assign [Off, A, B]

This assigns arpeggiator A or arpeggiator B to each track 1–

16. When the front panel ARPEGGIATOR [ON/OFF] key is turned on, the arpeggiator speciﬁed for each track will run, subject to the “Arpeggiator Run A, B” settings and setting here.

Off: The arpeggiator will not operate. A: Arpeggiator A will operate. Use the Arpeggiator A tab to

select the arpeggio pattern and set the parameters. B: Arpeggiator B will operate. Use the Arpeggiator B tab to select the arpeggio pattern and set the parameters.

For tracks that you wish to realtime-record, select either arpeggiator A or B. If you specify an arpeggiator for two or more tracks, the arpeggiator will play each of the tracks you specify. You can set A and B to two different MIDI channels, and control one from the keyboard and the other from an external MIDI device connected to MIDI IN. You can also use multi-track recording (MultiREC) to simultaneously record the note data that is generated from the two arpeggiators.

The arpeggiator cannot be triggered by the notes played by the sequencer.

If the tracks 1–16 assigned to arpeggiators A and B have a “Status” (2–1a) of INT or BTH, they will be played by the note data generated by the arpeggiator. If the “Status” is BTH, EXT, or EX2, MIDI note data will be transmitted on the “MIDI Channel” of each track.

In this case, arpeggiator A or B will be triggered by the “MIDI Channel” (2–1a) of any track 1–16 to which the corresponding arpeggiator is assigned.

If the (“Local Control On” Global P1: 1–1a) is turned OFF, the arpeggiator will not be triggered by note data from the keyboard. It will be triggered by note data received at MIDI IN. If you wish to record just the trigger notes on an external sequencer and run the TRITON’s arpeggiator in this way, turn Local Control OFF.

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 of the external sequencer.

Example 1)

On tracks 1 and 2, set “MIDI Channel” (2–1a) to 01 and “Status” (2–1a) to INT. Assign arpeggiator A to track 1

and arpeggiator B to track 2, and check “Arpeggiator Run A, B” (7–1a). In “Track Select,” choose Track01. With the front panel ARPEGGIATOR [ON/OFF] key OFF, play the keyboard and tracks 1 and 2 will sound simultaneously. When you turn on the front panel ARPEGGIATOR [ON/ OFF] key and play the keyboard, arpeggiator A will operate for track 1 and arpeggiator B will operate for track 2.

Arpeggiator

Trigger = Ch1

Arpeggiator

Pattern - A

Pattern - B

Assign

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=1ch Status=INT

Pattern - A

Pattern - B

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

Example 2)

For tracks 1, 2 and 3, set the “MIDI Channel” (2–1a) to 01, 02, and 03 respectively, and set “Status” (2–1a) to INT.

Assign arpeggiator A to tracks 1 and 2, and arpeggiator B to track 3. Check the “Arpeggiator Run A, B” (7–1a) setting.

• In “Track Select,” choose Track01.

Playing the keyboard when the front panel ARPEGGIATOR [ON/OFF] key is off will play the sound assigned to track 1. Playing the keyboard when the front panel ARPEGGIATOR [ON/OFF] key is on will cause arpeggiator A to operate for tracks 1 and 2, and produce sound for both tracks.

• In “Track Select,” choose Track02.

Playing the keyboard when the front panel ARPEGGIATOR [ON/OFF] key is off will play the sound assigned to track 2. Playing the keyboard when the front panel ARPEGGIATOR [ON/OFF] key is on will cause arpeggiator A to operate for tracks 1 and 2, and produce sound for both tracks.

• In “Track Select,” choose Track03.

Playing the keyboard when the front panel ARPEGGIATOR [ON/OFF] key is off will play the sound assigned to track 3. Playing the keyboard when the front panel ARPEGGIATOR [ON/OFF] key is on will cause arpeggiator B to operate for track 3, and play the sound assigned to track

• Alternatively, you could choose Track01 in “Track

Select” to run arpeggiator A for tracks 1 and 2, and use an external MIDI device connected to the TRITON’s MIDI IN to send note data to MIDI channel 3 to play arpeggiator B.

Arpeggiator Assign

Trigger = Ch1, Ch2

Trigger = Ch3

Arpeggiator

Pattern - A

Pattern - B

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=2ch Status=INT

Track3 MIDI Ch=3ch Status=INTB

Pattern - A

Pattern - B

Arpeggiator Run A, B

When the ARPEGGIATOR [ON/OFF] key is on, the arpeggiator(s) that are checked here will function for the track(s) to which they are assigned by “Arpeggiator Assign.” When the arpeggiator is on, A and B can be turned on/off independently.

▼ 7–1: Page Menu Command

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

7–1A

0–1I

0–1J

7–3: Arpegg. A (Arpeggiator A) 7–4: Arpegg. B (Arpeggiator B)

In the Arpegg. A tab you can make settings for arpeggiator A, and in the Arpegg. B tab you can make settings for arpeggiator B. The “Copy Arpeggiator” (7–1A) page menu command can also be used to copy arpeggiator settings from another mode such as Program mode.

7–1

0–1a . . .

0–1g

7–3a

7–3(4)a: Arpeggiator–A(B) Setup

Pattern (Pattern No.)

[P000...P004, U000(A/B)...U231(D)]

Octave [1, 2, 3, 4]

Resolution [   ,  ,   ,  ,   ,  ]

Gate [000...100(%), Step] Velocity [001...127, Key, Step] Swing [–100...+100(%)] Sort Latch Key Sync. (Keyboard Synchronize) Keyboard

These are the arpeggiator parameters for the song. (☞“Program 7–1: Arpegg. Setup (Arpeggiator Setup)”)

7–5: Scan Zone (Scan Zone A/B)

Specify the range of notes and velocities that will trigger each arpeggiator A and B.

7–1

0–1a . . .

0–1g

7–5a

7–5b

7–1A: Copy Arpeggiator

This command copies arpeggiator settings.

☞ “Combination 7–1A: Copy Arpeggiator.”

7–5a: Zone Map

This shows the “Scan Zone” settings for arpeggiators A and B (

☞Combination “Zone Map” 7–4a).

7–5b: Scan Zone A/B

Top Key [C–1...G9] Bottom Key [C–1...G9]

Specify the range of notes (keys) that will trigger arpeggiator A. “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 that will trigger arpeggiator A. “Top Velocity” is the upper limit, and “Bottom Velocity” is the lower limit.

Top Key [C–1...G9] Bottom Key [C–1...G9] Top Velocity [001...127] Bottom Velocity [001...127]

Specify the range of notes (keys) and velocities that will trigger arpeggiator B (

The value of these parameters can also be input by holding down the [ENTER] key and playing a note on the keyboard.

☞“A”).

Sequencer P8: Insert Effect

Here you can make insert effect settings, and specify the bus etc. for the program used by each track 1–16.

☞ For details on insert effects, refer to p.146 “8. Effect

Guide.”

8–1: Routing 1–8 (Routing T01–08) 8–2: Routing 9–16 (Routing T09–16)

Specify the bus to which the program oscillator(s) of each track 1–16 will be sent. You can also set the amount of signal that will be sent to the master effects.

8–1

8–1a

0–1c 0–1e 0–1g

8–1b

Sequencer

P1 P2 P3 P4 P5 P6 P7 P8 P9

8–1a: Routing Map

This shows the status of the insert effects: the insert effect routing, the names of the selected effects, the on/off status, and chaining. The effect type, on/off, and chain settings can be made in the Insert FX tab.

8–1(2)b: IFX/Indiv.Out BUS Select (BUS Select),

Send1 (MFX1), Send2 (MFX2)

IFX/Indiv.Out BUS Select (BUS Select)

[DKit, L/R, IFX1...5, 1...4, 1/2, 3/4, Off]

These settings specify the bus to which the program oscillator(s) of each track 1–16 will be sent. The status of the settings can also be viewed in the “Routing Map” (

☞Combination P8–1: Routing).

When 1/2 or 3/4 are selected, the program of the corresponding track 1–16 will be output in stereo from AUDIO OUTPUT (INDIVIDUAL) 1 and 2 or 3 and 4. If you use CC#10 (pan) or AMS (Alternate Modulation Source) to control the panning of the program oscillator, the new pan setting will be applied at the next note-on. Unlike the case when you select L/R to output the sound from (MAIN) L/MONO and R, the pan of a sounding note cannot be varied in realtime. If you wish to vary the pan of a sounding note in realtime, and output the result from AUDIO OUTPUT (INDIVIDUAL) 1 and 2 or 3 and 4, set “BUS Select” to IFX1 (or IFX2–IFX5), select 000: No Effect for “IFX1” (or IFX2–IFX5) (8–3), and select either 1/2 or 3/4 for “BUS Select” (8–3) after the signal passes through IFX.

Send1 (MFX1) [000...127] Send2 (MFX2) [000...127]

Here you can adjust the send levels from tracks 1–16 to mas- ter effects 1 and 2. This is valid when “BUS Select” is set either to L/R or Off. If IFX 1, 2, 3, 4, or 5 is selected, the send level to the master effects 1 and 2 is set by the “Send 1” and “Send 2” parameters located in the Insert FX tab, after the signal passes through IFX 1–5. These settings have no effect if “BUS Select” is set to 1, 2, 3, 4, 1/2 or 3/4. The send 1 and 2 settings you make here will be used when the song is played or recorded from the beginning. If you change the settings while recording, the change will be recorded as part of the musical data, and the send amount will change when the data is played back. You can also change these settings during playback. However if send 1 and 2 data has been recorded, the settings will change accordingly.

If “Status” (2–1a) is either INT or BTH, CC#93 and #91 can be received to control send 1 and 2 respectively and change their settings. When you switch songs or return to the beginning of a song, tracks whose “Status” is EXT, EX2 or BTH will transmit these settings via MIDI. This data will be transmitted on the MIDI channel of each track as set by “MIDI Channel” (2–1a). The actual send level is determined by multiplying the value of these parameters with the send level settings of the oscillator(s) of the program used by the track (“Send1” and “Send2,” Program P8: 8–1d).

8–3: Insert FX

Here you can select the type of the insert effects, turn them on/off, and make chain settings. These functions are the same as in Program mode. Please refer to Program mode “8–2: Insert FX.” However, unlike the case in Program mode, “Pan (CC#8), “Send 1(MFX1)” and “Send 2 (MFX2)” will be controlled by the MIDI channels speciﬁed in each of the IFX 1–5 tabs. The control changes used are the same as in Program mode. The pan (CC#8), send 1 and 2 settings you make here will be used when the song is played or recorded from the beginning. If you change the settings while recording, the changes will be recorded as part of the musical data, and the settings will change when the data is played back. You can also change these settings during playback. However if pan (CC#8), send 1, or 2 data has been recorded, the settings will change accordingly.

If “Status” (2–1a, 2a) is either INT or BTH, CC#8, #93, and #91 can be received to control the pan following the insert effect, send 1, or send 2 respectively, and change their settings. When you switch songs or return to the beginning of the song, tracks whose “Status” is BTH, EXT, or EX2 will transmit these settings via MIDI. This data will be transmitted on the MIDI channels speciﬁed in the IFX 1–5 tabs (8–4 – 8–8).

0–1e

8–1

▼ 8–1: Page Menu Command

0–1A

0–1B

8–1A

8–1B

8–1C

0–1I

0–1J

8–1A: Copy Insert Effect

☞ “Program P8: 8–1A: Copy Insert Effect.”

However, the MIDI control channel speciﬁed in “Ctrl Ch” of the IFX 1–5 tab will not be copied.

8–1B: Swap Insert Effect

☞ “Program P8: 8–1B: Swap Insert Effect.”

However, the MIDI control channel speciﬁed in “Ctrl Ch” of the IFX 1–5 tab will not be swapped.

8–1C: DrumKit IFX Patch

☞ “Combination P8: 8–1C: DrumKit IFX Patch.”

8–4: IFX 1 8–5: IFX 2 8–6: IFX 3 8–7: IFX 4 8–8: IFX 5

Set the parameters for the effects selected for IFX 1–5 in the Insert FX tab (

☞p.155).

0–1A 8–4a

8–4(–8)a: Ctrl Ch [Ch01...16, All Routed]

Select the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect (CC#8), Send 1 (CC#93), and Send 2 (CC#91).

An asterisk “*” will appear at the right of the channel number Ch01–16 for tracks that are routed through these IFX. If you have routed multiple tracks that have differing MIDI channel settings, you can specify here which of these channels will be used to control the effect.

All Routed: Control can be performed from any of the MIDI channels of the tracks that are routed.

If you have selected DKit as the “BUS Select” (8–1b) of a track for which a drum program is selected, the MIDI channel of that timbre will be valid if All Routed is selected for any one of IFX 1–5, regardless of the “BUS Select” (Global P5: 5–2b) setting of the drum kit, or of the setting of the “DrumKit IFX Patch” page menu command.

Sequencer P9: Master Effect

☞ For details on the master effects, refer to p.150 “8. Effect

Guide.”

9–1: Master FX

Here you can select the type of master effects, turn them on/ off, and make chain and master EQ settings. These parameters are the same as in Program mode. ter FX (Master Effects)”

☞“Program 9–1: Mas-

9–1

Sequencer

▼ 9–1: Page Menu Command

0–1A

9–1A

9–1B

0–1I

0–1J

9–1A: Copy Master Effect

☞ “Program P9: 9–1A: Copy Master Effect.”

However, the MIDI control channel speciﬁed in “Ctrl Ch” of the MFX 1 and 2 tabs will not be copied.

9–1B: Swap Master Effect

☞ “Program P9: 9–1B: Swap Master Effect.”

However, the MIDI control channel speciﬁed in “Ctrl Ch” of the MFX 1 and 2 tabs will not be swapped.

9–2: MFX 1 9–3: MFX 2

Here you can set the parameters of the MFX 1 and 2 effects that were selected in the Master FX tab (

☞p.155).

0–1A 9–2a

P1 P2 P3 P4 P5 P6 P7 P8 P9

9–2(3)a: Ctrl Ch [Ch01...16, Gch]

Specify the MIDI channel that will control dynamic modulation (Dmod) for the master effects. If Gch is selected, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used.

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is used to perform overall equalizing (tonal adjustment) on the sound from the L/R bus immediately before it is output to AUDIO OUTPUT (MAIN OUT) L/MONO and R (

9–4a: Ctrl Ch [Ch01...16, Gch]

☞p.207).

0–1A 9–4a

Specify the MIDI channel that will control dynamic modulation (Dmod) for the master EQ. If Gch is selected, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used.

4. Sampling mode

In Sampling mode you can record 48 kHz 16 bit samples. On the TRITON, “sampling” refers to a process in which analog audio signals from a mic or audio device connected to the AUDIO INPUT jack are converted into digital form and recorded into internal memory. The sound that is converted into digital form can be processed by an insert effect is being sampled.

The TRITON comes with 16 Mbytes of sample memory (waveform memory). This allows approximately 2 minutes and 54 seconds of monaural sampling, or approximately 1 minute and 27 seconds of stereo sampling. By installing one or two 72-pin SIMM boards you can expand the memory to a maximum of 64 Mbytes (two 32 Mbyte SIMM boards). In this case, you will be able to record up to four monaural samples that are each 2 minutes and 54 seconds long, for a total of 11 minutes 39 seconds (or four stereo samples that are each approximately 1 minute and 27 seconds long, for a total of 5 minutes 49 seconds). (For details on the 72-pin SIMM boards that can be used and on the installation procedure,

☞p.237)

In Sampling mode, samples that have been sampled or loaded from storage media can be assigned to an index (zone) to create a multisample. One multisample can contain many indexes

A multisample you create can easily be converted into a program (

☞“Convert MS To Program” 0–1G). When a multi-

sample is converted, ﬁlter, amp, and effect settings etc. will be made, and it can be played as a program. This program can also be used in Combination mode or Sequencer mode. Samples can also be used as drum samples in a drum kit.

Index001 Top Key

Multisample

Index002 Top Key

Index003 Top Key

Index004 Top Key

multisamples or samples, so you will ﬁrst need to load previously-saved data from a ﬂoppy disk or external SCSI device before you can playback or edit it.

There is no Compare function that allows you to restore edited data to the state before it was edited. If you wish to preserve the unedited state of the data, use “Copy MS” (0–1E) or “Copy Sample” (0–1B) etc. to make a copy of the multisample or sample before you begin editing. In some of the page menu commands in P1 or P2, you can uncheck the “Overwrite” item in the dialog box so that the unedited sample data will be preserved even after you execute the command (

☞1–1: Page Menu

Command “About Overwrite”).

When executing a sample edit operation or when you ﬁnish recording a stereo sample, you may hear a slight noise. This does not affect the audio data that has been edited or sampled.

Cautions regarding sample data

• The sample data memory areas Bank 1, 2, 3, and 4 each contain 16 MB. Of this 16 MB (8,388,608 samples), sixteen samples (the first and last eight samples) are used as internal work area.

• The first and last samples of each sample are used as internal work area. These two samples are added automatically when a sample is recorded or when an .AIFF or .WAVE file is loaded. This means that if you record a sample of one second, this will result in 48,000 samples of data, but four samples will be added to this, so that sampling memory will actually contain 48,004 samples of data.

Sampling P0: Recording

Sampling

P1 P2 P3 P4 P8

Index 001

0000: Sample A

Multisample

Sample

Index 002

0001: Sample B

Drum Kit

Index 003

0002: Sample C

Program OSC (Single/Double)

Program OSC (Drums)

Index 004

0003: Sample D

Sampling (sample recording) can be performed in any page P0–P8 of Sampling mode by using the [REC/ WRITE] and [START/STOP] keys (For the sampling procedure, refer to p.78 in the Basic Guide). Recording settings such as the input level can be made in P0: Recording, and these settings are also valid in the other pages.

The selected multisample or sample can be played from the keyboard in any page, allowing you to hear the results of your editing.

When you turn off the power, all multisample and sample data in Sampling mode will be lost. Before you turn off the power, be sure to save important data to ﬂoppy disk or external SCSI device (

☞p.40 in the Basic Guide).

If a separately sold EXB-SCSI option is installed, data can be saved on an external SCSI device. Immediately after the power is turned on, memory will contain no

Here you can set the input level and make other basic settings for sampling (sample recording), and make basic settings for multisamples and samples. Normally you will record samples in this page.

0–1: Recording

Here you can select the multisample that you wish to record, specify the index sample, make settings, select the memory bank, and adjust the ﬁnal level of the input signal.

0–1

0–1a

0–1b

0–1c

0–1d

0–1a: MS (Multisample), Index, Keyboard & Index

MS (Multisample) [000...999]

Select the multisample. Each multisample consists of the samples for one or more indexes (an “index” is a range or zone of keys).

This parameter is linked with the identically-named parameters in P1–P3.

To create a new multisample,

1 In the popup menu, either select a number whose multi-

sample name is blank, or use the numeric keys [0]–[9] to specify a new multisample and press the [ENTER] key to access the “Create New Multisample” dialog box.

2 If you wish to create a stereo multisample, check “Ste-

reo.”

3 To create the multisample, press the OK button. To can-

cel, press the Cancel button. A multisample will be created as follows (example). Mono type 001: NewMS_ _ _ _ _ _001 Stereo type 001: NewMS_ _ _ _ _ _001-L,

001: NewMS_ _ _ _ _ _001-R

Index [xxx (001...128)/yyy (001...128)]

Select the index for which you wish to sample. Each zone in a multisample is called an “index.” For example on the TRITON (61 note keyboard), a multisample could be divided into six zones of one octave (12 keys) each. Each of these zones is referred to as an “index.” You will assign a sample to each of these indexes.

xxx: The selected index. Choose the desired index. yyy: The total number of indexes in the multisample.

You can also select an index by holding down the [ENTER] key and playing a note on the keyboard. The index that includes that note will be selected. The key you specify will be the base key, and will be displayed in gray in “Keyboard & Index” (

This parameter is linked with the same parameter of P1: Sample Edit, P2: Loop Edit, and P3: Multisample. The sampling and editing that you perform in each page will apply to the index you select here.

Immediately after the power is turned on, this will be 001/

001. This indicates that only one index exists. To increase the number of indexes, use “Create” in this page. When you press the Create button, indexes will automatically be added from the left-most zone, as 002/002, 003/003, ... (The position, zone width, and original key location of the index that is created when you press the Create button can be set in Create Zone Preference (0–3a, 3–2a). You are also free to modify the zone width and original key location later.)

☞“Keyboard Index”).

Keyboard & Index

Original Key (currently selected Original Key is reversed)

Index zone (currently selected Index is reversed)

Lowest note of the displayed keyboard

By holding down the [ENTER] key and playing a note, you can select the corresponding index, and the specified key will be the base key and will be shown in gray.

Index02 Index03 Index04 Index05

Index01

C4 key

Keyboard range

Highest note of the displayed keyboard

This displays the zones and original keys of the selected multisample. The black triangle shows the keyboard range, and the white triangle shows the C4 key. The note numbers at left and right show the keyboard note range that is displayed.

The base key (displayed in gray)

• When you press the [START/STOP] key in P1: Sample Edit, the sample of the selected index will playback (in one-shot mode) between the “Edit Range Start” and “Edit Range End.” At this time, the playback pitch will be according to the pitch of the key specified here.

• Playback in the grid display of P1 and P2 will be according to the playback pitch of the key selected here, and the specified tempo BPM/resolution (set in P1 and P2).

• The “Pitch BPM Adjust” (3–1A) function is based on the playback pitch of the key you specify here.

You can use the “Keyboard Display” (0–1J) page menu command to change the displayed range of the keyboard.

0–1b:Sample, Original Key, Top Key, Range, Cre-

ate

Here you can set the sample, original key, and range of the selected index.

Sample [----: ---No Assign----, 0000...3999]

Select a sample that you sampled or loaded in Disk mode, and play a note within the index range to sound that sample.

This parameter is linked with the identically-named parameters in P1–P3 (Multisample tab). Sampling and editing that you perform in these pages will apply to the sample you select here.

----: ---No Assign----: No sample is assigned to the index.

There will be no sound when you play the keyboard. To record a sample, select a vacant sample such as 0000:. When you record a sample, data will be loaded into the selected sample. The sample name (such as NewSample_0000) will be shown beside the number. This sample name can be modiﬁed using the “Rename Sample” (0–1C) page menu command. You can also record a sample even when ----:---No Assign---is displayed. In this case, a sample number will be selected automatically. Even if you record to a sample that already contains data, the selected sample will not be overwritten –the data will automatically be sampled to a vacant sample, and the newly recorded sample will replace the previous sample in the index. If you wish to delete a sample, execute the “Delete Sample” (0–1A) page menu command.

OrigKey (Original Key) [C–1...G9]

Specify the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key. For example, suppose that you recorded a sample with “OrigKey” of F2. When the zone of the index is C2–B2, pressing the F2 key would playback the sample at its original pitch. Pressing F#2 would playback the sample a semitone higher. Pressing E2 would playback the sample a semitone lower. The pitch of this sampled sound will change in semitone steps between C2 and B2, centered at F2. The original key location can also be viewed in “Keyboard & Index.”

If “Constant Pitch” (3–1b) is checked, the sample will be sounded at its original pitch by all notes in the zone.

TopKey (Top Key) [C–1...G9]

Specify the highest key in the zone of the index. The zone is deﬁned by this “Top Key.” For example, suppose that you set a “Top Key” of B2 for index 001/002, and a “Top Key” of B3 for index 002/002. This means that the zone of index 001 will be B2 and lower, and the zone of index 002 will be C3– B3.

Range

This indicates the zone (area) that was determined by the “Top Key” setting. The sample selected by “Sample” will sound in this area. The zone for each index can also be viewed in “Keyboard & Index.”

Create

This creates an index. Use this when you wish to add a sample to a multisample. When you press the Create button, a new index will be created according to the Create Zone Preference (0–3a, 3–2a) parameters “Position,” “Zone Range,” and “Original Key Position.” If you wish to delete an index or exchange indexes, use P3: Multisample.

If when you execute “Create” (0–1b, 3–1c) or “Insert” (3–1c) it is not possible to create a new index according to your Create Zone Preference settings, one of the following dialog boxes will appear. If you wish to create a new index, perform the following procedure.

• Set Top Key: Select “Index” 001, set “Position” (0–3a, 3–2a) to Left (to Selected Index), and execute “Create” or “Insert” to open the dialog box. So that a new index can be created at the left of index 1, re-set the “Top Key” setting, and press the OK button.

Stereo

A “Stereo” indication will appear here if you have selected a stereo multisample or sample, or if you recorded a sample with “Sample Mode” (0–1c) set to Stereo.

About stereo multisamples and stereo samples

Stereo multisamples: Under the following conditions, two multisamples will be handled as a stereo multisample.

• If you checked “Stereo” when creating a new multisample (i.e., selected a new multisample in “MS” 0–1a)

• If you executed the “MS Mono To Stereo” (0–1H) page menu command

• If you sampled with “Sample Mode” (0–1c) set to Stereo

In these cases, a stereo multisample that meets the following conditions will be created automatically.

1. The last two characters of the two multisample names

will be -L and -R respectively, and the earlier portion of the names are identical.

2. The two multisamples will have the same number of

indexes, and their zone settings are identical.

Stereo samples: Under the following condition, two samples will be handled as a stereo sample.

• When the samples were recorded with a “Sample Mode” (0–1c) setting of Stereo.

• If you executed the “Sample Mono To Stereo” (0–1H) page menu command

In this case, a stereo sample that meets the following conditions will be created automatically.

1. The last two characters of the sample name will be -L and

-R respectively, and the earlier portion of the names are identical.

2. Two samples that satisfy condition 1. for stereo multi-

samples are selected.

Stereo multisamples and samples are distinguished internally by their multisample name or sample name. If you use “Rename MS” (0–1F) or “Rename Sample” (0–1C) etc. to modify the multisample name or sample name, please pay attention to the above conditions.

As a condition of a stereo sample, the sampling rates must be identical. You can verify the sampling rate of a sample by using the page menu command “Rate Convert” (1–1K). Be aware that if you use “Rate Convert” to convert the -L and -R samples to differing sampling rates, they will not be handled as a stereo sample.

0–1c: REC Sample Setup (Recording Sample Setup)

Here you can select the memory bank into which you will sample, specify the sampling time, and select either mono or stereo sampling.

Sampling

P1 P2 P3 P4 P8

• Set Zone Range: If you execute “Create” when it is not

possible to create a new index according to the Create Zone Preference settings, the following dialog box will appear. This dialog box will also appear if you execute “Insert” when it is not possible to create a new index with the contents of the “Cut” or “Copy” (3–1c). Re-set the “Zone Range” (0–3a, 3–2a), and press the OK button.

RAM Bank [RAM1, RAM2, RAM3, RAM4]

Select the memory bank into which you will sample. The sample data memory is organized into four banks, each with 16 Mbytes. The TRITON comes with 16 Mbytes of memory (SIMM) installed as standard. In this case, RAM1 will always be selected as the memory bank, and it will not be possible to select RAM2, 3, or 4. By installing separately sold 72-pin SIMM boards you can expand the memory to a maximum of 64 Mbytes (two 32 Mbyte SIMM boards) (

☞p.237).

Installed SIMM boards and available banks

RAM Bank Slot No. 16M-SIMM 32M-SIMM

RAM1 Slot1 16Mbyte 16Mbyte

RAM2 Slot1 16Mbyte

RAM3 Slot2 16Mbyte 16Mbyte

RAM4 Slot2 16Mbyte

The TRITON is shipped with a 16 Mbyte SIMM installed in Slot 1. In this condition, you can select only RAM1 as the “RAM Bank.” If a 16 Mbyte SIMM is installed in Slot 2, you will be able to select RAM1 (16 Mbyte) and RAM3 (16 Mbyte). If a 32 Mbyte SIMM is installed in Slot 2, you will be able to select RAM1 (16 Mbyte), RAM3 (16 Mbyte) and RAM4 (16 Mbyte). If a 32 Mbyte SIMM is installed in both Slot 1 and Slot 2, you will be able to select all banks, and the total capacity will be 64 Mbytes.

Sample Time

Specify the time that you wish to sample. This can be set in

0.001 second increments. Immediately after the power is turned on, this will show the remaining memory (available sampling time) of the selected memory bank. If you record a sample in this condition ([REC]→[START]→[STOP]), the change in time will be displayed automatically. If you have sufﬁcient memory, it is a good idea to set an ample “Sample Time,” and to use the “Truncate” (1–1A, 2– 1A) page menu command after you sample to delete unwanted portions of the sample and reduce it to the minimum size necessary. You can also press the [START/STOP] key to stop recording after you have recorded the desired material ( p.78 in the Basic Guide).

The remaining amount of memory will depend on the following conditions.

☞ For details on the sampling procedure, refer to

1. The amount of memory that is installed.

2. Whether the sample is stereo or mono. When the “Sam-

ple Mode” (0–1c) is set to Stereo, the memory capacity will be halved.

3. The time speciﬁed for “Pre Trigger REC” (0–2b: a func-

tion that automatically samples the sound even before you begin sampling) will be subtracted from the amount of memory that actually remains.

Sample Mode [L-Mono, R-Mono, Stereo]

Select the channel(s) to be sampled, to specify whether a mono or a stereo sample will be recorded. Depending on the “Audio Input (SAMPLING)” (0–2a) settings, the external source from the AUDIO INPUT 1 and 2 jacks will be sent, either as direct sound without being routed through an effect, or as effect-processed sound routed through an insertion effect, to the L/R bus and sampled from the L and R channels.

L-Mono: The sound of the internal L channel will be sampled in mono. R-Mono: The sound of the internal R channel will be sampled in mono. Stereo: The sound of the internal L and R channels will be sampled in stereo. When you sample in stereo, a stereo multisample or sample will be created.

Example 1: Sampling a monaural source connected to AUDIO INPUT 1 without applying internal effects

“Input1 Pan” (0–2a) L000 “Level” (0–2a) 127 “BUS(IFX)Select” (0–2a) L/R “Recording Level [dB]” (0–1d) as appropriate “Sample Mode” (0–1c) L-Mono

Example 2: A monaural source connected to AUDIO INPUT 1 routed through the internal insertion effect IFX 052: Reverb Hall, and sampled in stereo

“Input1 Pan” (0–2a) C064 “Level” (0–2a) 127 “BUS(IFX)Select” (0–2a) IFX1

IFX1(P8) select 052: Reverb Hall and make

settings

“Recording Level [dB]” (0–1d) as appropriate “Sample Mode” (0–1c) Stereo

Example 3: A stereo source connected to AUDIO INPUT 1 and 2, and sampling without applying internal effects

“Input1 Pan” (0–2a) L000 “Level” (0–2a) 127 “BUS(IFX) Select” (0–2a) L/R “Input2 Pan” (0–2a) R127 “Level” (0–2a) 127 “BUS(IFX)Select” (0–2a) L/R “Recording Level [dB]” (0–1d) as appropriate “Sample Mode” (0–1c) Stereo

Example 4: A stereo source connected to AUDIO INPUT 1 and 2, routed through internal insertion effect IFX1 008: St.Graphic 7EQ, and sampled in stereo

“Input1 Pan” (0–2a) L000 “Level” (0–2a) 127 “BUS(IFX)Select” (0–2a) IFX1 “Input2 Pan” (0–2a) R127 “Level” (0–2a) 127 “BUS(IFX)Select” (0–2a) IFX1

IFX1(P8) select 008: St.Graphic 7EQ and

make settings

“Recording Level [dB]” (0–1d) as appropriate “Sample Mode” (0–1c) Stereo

When you ﬁnish recording a stereo sample, you may hear a slight noise. This does not affect the audio data that has been sampled.

0–1d:Recording Level [dB]

[–inf, –72.0... 0.0...+18.0]

Adjust the ﬁnal level of the signal that will be sampled.

This is linked with the identically-named parameter in P0–2: Input/Setup.

When you press the [REC/WRITE] key you will enter sampling standby mode. Use the slider to adjust the signal level. Initially set this to 0.0, and make adjustments so that the level is as high as possible without exceeding 0 dB in the bar display. If 0 dB is exceed, the display will indicate “CLIP!” This means that the level of the sampling signal is too high, so use the slider to adjust the level.

In order to sample with the maximum dynamic range, use the rear panel [LEVEL] knob to adjust the level as high as possible without making “ADC OVERLOAD!!” appear. Then set “Level” (0–2a) to 127, and adjust “Recording Level” (0–1d, 0–2c) as high as possible without making the “CLIP!!” indication appear.

In the sampling standby condition after you press the [REC/WRITE] key, the sound that is output from the AUDIO OUTPUT L/MONO, R and from the headphones will be adjusted by the “Recording Level” slider, but when you cancel sampling standby condition or cancel sampling, the sound will be output at the 0 dB level. If you have lowered the “Recording Level” below 0 dB, please be careful of sudden changes in volume.

If the sound is still distorted even if you lower the

“Recording Level,” it is possible that distortion is occurring in the input stage of the AUDIO INPUT, or that distortion is being caused by the settings of the internal effect. Excessive signal levels in the input stage of the AUDIO INPUT can be veriﬁed in the P0: Input Setup tab. If an indication of “ADC OVERLOAD!!” appears above the “Recording Level” bar display, the distortion is due to excessive levels in the input stage of the AUDIO INPUT. Adjust the rear panel [LEVEL] knob until the "ADC OVERLOAD!!" display no longer appears. If there is still distortion even after [LEVEL] has been lowered, it is possible that the distortion is being caused by the settings of the internal effect. Lower the “(Input 1, 2) Level” (0–2a), or adjust the effect settings.

CLIP !!

L-Mono

R-Mono

"Sample Mode" (0–1c)

AUDIO INPUT

ADC OVERLOAD !!

Analog to Digital Converter

ADC

LEVEL (MIN...MAX)

"Level" (0–2a) [127=0dB]

"Pan" (0–2a)

Insert Effects

"Recording Level" (0–1d) [–inf ... 0.0dB ... +18.0dB]

If you have sampled at a low input level, you can execute Normalize in “Normalize/Level Adj.” (1–1I) to amplify the level to the maximum possible without clipping.

▼ 0–1: Page Menu Command

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

0–1J

0–1A: Delete Sample

This command deletes all samples, the currently selected sample, or samples that are not mapped to a multisample (i.e., unused samples).

1 Select this command to open the following dialog box.

Stereo

Selected: The currently selected sample will be deleted. The sample assignment for “Index” (0–1a) will change to

---No Assign---. Unmapped Samples: All samples that are not mapped

(used) in a multisample will be deleted. All Samples: All samples in memory will be deleted. The sample assignments of all multisamples will change to --No Assign---.

3 To execute the Delete Sample command, press the OK

button. To cancel, press the Cancel button.

If the sample data (waveform data) of the sample you delete is being used by another sample, the sample data itself will not be deleted. Only the sample will be deleted.

0–1B: Copy Sample

This command copies the currently selected sample to another sample.

The copy destination sample number will automatically be included in the sample name of the copy destination. If necessary, use “Rename Sample” (0–C) to rename it. When doing so, make sure that the name is not identical to any other sample name. (The sample name is used to distinguish stereo samples.

1 Select this command to open the following dialog box.

2 Specify the sample number of the copy destination.

When copying a stereo sample, specify both the L and R channels for the copy destination sample number.

3 If you check “with Sample Data”: Executing the copy

will simultaneously copy the sample data (waveform data) as well. The copy source and copy destination samples will exist as completely independent samples. For example, you would use this when you wish to start with the same sample data, and edit it separately in P1: Sample Edit to create two or more different types of sample. If you do not check “with Sample Data”: Executing the copy will not copy the sample data (waveform data). The newly created sample will share the sample data of the copy source sample. For example, you would use this when you wish to use P2: Loop Edit to create two or more versions of the same sample data with different loop addresses. Sample memory area will not be consumed by this type of copy. If you use P1: Sample Edit to edit the sample data, the results will affect all samples that share this sample data.

Sample Memory

"Copy Sample" with Sample Data

0000: NewSample_0000

0001: NewSample_0001

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Sample Data

Sampling

P1 P2 P3 P4 P8

2 Use the radio buttons to specify which samples will be

deleted.

"Copy Sample"

0000: NewSample_0000

0001: NewSample_0001

Sample Memory

Sample Data

4 To execute the Copy Sample command, press the OK

button. To cancel, press the Cancel button.

0–1C: Rename Sample

This command lets you modify the name of the currently selected sample.

1 Select this command to open the following dialog box.

When copying a stereo multisample, copy both the L and R channels of the copy destination multisample number.

3 To execute the Copy Multisample command, press the

OK button. To cancel, press the Cancel button. When a multisample is copied, the samples assigned to the multisample will also be copied at the same time. At this time, they will be automatically copied to vacant sample numbers. The sample data (waveform data) will be shared between the copy source and copy destination. (Additional sample memory area will not be consumed.)

2 Press the text edit button to open the text edit dialog box,

and input the desired sample name (up to sixteen characters).

If the multisample is stereo and a stereo sample is selected, you can input up to fourteen characters for the sample name. This is because the last two characters are reserved for -L and -R. If you rename up to fourteen characters of the sample of either the L or the R channel, the other sample will automatically be renamed.

3 To execute the Rename Sample command, press the OK

button. To cancel, press the Cancel button.

0–1D: Delete MS (Delete Multisample)

This command deletes the currently selected multisample or all multisamples.

1 Select this command to open the following dialog box.

2 All Multisamples: Check this if you wish to delete all

multisamples.

3 Delete Samples too?: Check this if you also wish to

delete the samples included in the deleted multisample(s).

4 To execute the Delete Multisample command, press the

OK button. To cancel, press the Cancel button.

Even if you also choose to delete the samples that are included in the deleted multisample(s), any sample data (waveform data) used by these samples that is shared with other samples will not be deleted. Only the sample itself will be deleted.

0–1E: Copy MS (Copy Multisample)

This command copies the selected multisample to another multisample.

The copy destination multisample number will automatically be included in the multisample name of the copy destination. If necessary, use “Rename MS” (0–1F) to rename it. When doing so, make sure that the name is not identical to any other multisample name. (The multisample name is used to distinguish stereo multisamples.

☞p.81)

1 Select this command to open the following dialog box.

2 Specify the copy destination multisample number.

0–1F: Rename MS (Rename Multisample)

This command modiﬁes the name of the currently selected multisample.

1 Select this command to open the following dialog box.

2 Press the text edit button to move to the text edit dialog

box, and input a multisample name of up to sixteen characters.

If the selected multisample is stereo, up to four-

teen characters can be input as the multisample name. This is because the last two characters are reserved for -L and -R. If you rename up to fourteen characters of the multisample of either the L or the R channel, the other multisample name will automatically be renamed.

3 To execute the Rename Multisample command, press the

OK button. To cancel, press the Cancel button.

0–1G: Convert MS To Program

(Convert Multisample To Program)

This command converts the selected multisample into a program. If you have recorded a sample or created a multisample and would like to play it in Program mode, Combination mode, or Sequencer mode, you must create a program that uses that multisample for its oscillator. It is possible to set the Program mode OSC1 and OSC2 parameters “Multisample High, Low” (Program P1: 1–2a) to select a RAM bank, so that a multisample that you created in Sampling mode can be used in the program, and then to make program settings to specify how the multisample will be sounded. However by executing this “Convert MS To Program” command, you can quickly and easily convert the Sampling mode settings into the desired program, without having to make Program mode settings as described above.

1 Select this command to open the following dialog box.

2 Press the text edit button to access the text edit dialog

box, and input a multisample name of up to sixteen characters. The name you specify here will be the program name.

3 If “Use Destination Program Parameters” is unchecked:

Executing the command will replace the multisample of the convert destination program with the multisample that is selected here, and will initialize the settings of the remaining program parameters. The sound that you hear

in Sampling mode will be accurately reproduced by the program. A monaural multisample will be converted into a program with an “Oscillator Mode” (Program P1: 1–1a) of

Single, and a stereo multisample will be converted into a Double program.

If “Use Destination Program Parameters” is checked: Executing this command will replace the multisample of the convert destination program with the multisample that is selected here, and will not initialize the settings of the remaining program parameters. Use this setting if you wish to use the parameter settings of a preset program, etc.

If you check “Use Destination Program Parameters,” be aware of the following points.

• If the selected multisample is mono, the “Oscillator Mode” of the convert destination program must be Single. Conversely, if the selected multisample is stereo, the “Oscillator Mode” of the convert destination program must be Double. If you attempt to execute this command when these conditions are not satisfied, a message will indicate “Oscillator Mode conflicts.” You will need to change the “Oscillator Mode” setting of the convert destination program.

• If the selected multisample is stereo, the stereo position of the multisample in Sampling mode can be reproduced by setting the convert destination program to the following pan settings: “Amp 1 Pan” L000, and “Amp 2 Pan” R127 (Program P4: Amp 1 Lvl/Pan tab and Amp 2 Lvl/Pan tab).

4 In “To Program,” select the convert destination program.

When the edit cell is selected, you can use the front panel numeric keys [0]–[9], the [VALUE] dial, the [VALUE] slider, and [ ] [ ] keys to make a selection. When you press the popup button, the Bank/Program Select menu will appear. Here you can select a program by bank.

It is recommended that you use bank E as the program bank for Sampling mode. You can specify any bank A–E for the convert destination program, but the factory settings and the preset programs/combinations included with the EXB-PCM series are designed for banks A, B, C and D. Specify bank E to make the most efﬁcient use of the banks.

5 To execute the Convert Multisample To Program com-

mand, press the OK button. To cancel, press the Cancel button.

0–1H: MS Mono To Stereo/MS Stereo To Mono

(Change Multisample Type)

This command converts a mono multisample to stereo, or a stereo multisample to mono. If the selected multisample is mono, the dialog box will allow you to execute “MS Mono To Stereo.” If the selected multisample is stereo, the dialog box will allow you to execute “MS Stereo To Mono.”

1 Select this command to open the following dialog box.

MS Mono To Stereo

• The selected multisample will be converted to stereo. The last two characters of the multisample name will be overwritten as -L.

• An identical multisample will be newly created, but with the last two characters of the multisample name overwritten as -R.

• Mono samples assigned to the original multisample will be assigned to both -L and -R multisamples.

• If samples assigned to the original multisample are part of a stereo pair of samples, the -L and -R samples will be assigned to the -L and -R multisamples.

: MS Stereo To Mono

• The selected multisample will be converted to mono. The -L or -R at the end of the multisample name will be deleted.

• Multisamples that are stereo pairs of the selected multisample will be deleted.

0–1l: Sample Mono To Stereo (Change Sample Type)

This command converts a mono sample to stereo. This can be executed when a mono sample is selected.

1 Select this command to open the following dialog box.

2 To execute the Change Sample Type command, press the

OK button. To cancel, press the Cancel button. When you execute this command, the sample type will change as follows.

• The selected sample will become a stereo sample. “–L” will be overwritten into the last two characters of the sample name.

• An identically named sample will be created with “–R” as the last two characters of the sample name. Also, if the selected multisample is mono, it will change to stereo.

• The last two characters of the multisample name will be overwritten as “–L”.

• A new multisample will be created with the same name, but whose last two characters are “–R”.

• The stereo sample that was created will be assigned automatically.

0–1J: Keyboard Display

This command selects the range of the keyboard display. Normally you will select 88Key Normal (A0–C8).

1 Select this command to open the following dialog box.

2 Use the radio buttons to select the displayed range. 3 To execute the Keyboard Display command, press the

OK button. To cancel, press the Cancel button.

Sampling

P1 P2 P3 P4 P8

2 To execute the Change Multisample Type command,

press the OK button. To cancel, press the Cancel button. When you execute this command, the multisample type and sample assignment will change as follows.

0–2: Input/Setup

Here you can make input level, pan, and bus settings for the rear panel AUDIO INPUT 1 and 2. Setup for recording can also be performed here.

0–1

0–2a

0–2b

0–2c

0–2a: Audio Input (SAMPLING)

Here you can make adjustments for the input stage of the audio signal received at AUDIO INPUT 1 and 2.

These settings are valid only in Sampling mode. These settings will also be valid when you move from Sampling mode to Global mode.

In modes other than Sampling mode, settings for Audio Input 1 and 2 are made in “Audio Input (COMBI, PROG, SEQ, S.PLAY)” (Global P0: 0–3a).

2 Use the “Recording Level [dB]” slider to adjust the sam-

pling level.

Be careful of changes in the monitoring volume level (

☞“Recording Level [dB]” 0–1d).

3 Adjust the “Threshold” setting. The black triangles at

both sides of the “Recording Level [dB]” level bar display will indicate the “Threshold” level. Normally, this should be set as low as possible without allowing noise to trigger sampling.

4 Press the [START/STOP] key. Sampling will automati-

cally begin when the input level exceeds the “Threshold” setting.

5 To stop sampling, press the [START/STOP] key once

again. Sampling will end automatically if you continue sampling to the end of the “Sample Time” (0–1c).

Manual: You can manually begin sampling from the sampling standby condition by pressing the [START/STOP] key.

1 Perform steps 1 and 2 above. 2 Press the [START/STOP] key, and sampling will begin.

(If you use the “Count Down REC” function, sampling will begin after a count-down sounded by the metronome.)

3 To stop sampling, perform step 5 above.

Threshold [–63dB...0dB]

When performing auto sampling (“REC Mode” Auto), this sets the level at which sampling will begin ( Auto, step

3).

☞“REC Mode”

Level [000...127]

Specify the level of the signal immediately after the analog audio signal from AUDIO INPUT 1 and 2 is converted into a digital signal. Normally you will set this to 127. If you hear distortion even after lowering this level, it is possible that the distortion is occurring before the A/D converter. Adjust the [LEVEL] knob or the output level of your external sound source so that the “ADC OVERLOAD!!” indication above the “Recording Level” display does not appear.

Pan [L000...C064...R127]

Set the panning of the analog audio signal from AUDIO INPUT 1 and 2. Normally you will set Input 1 to L000 and Input 2 to R127. This allows you to sample a stereo audio source in stereo ( Basic Guide).

☞ For example settings, refer to p.78 in the

BUS(IFX) Select [L/R, IFX1...5, Off]

Select the bus.

L/R: Select this when you wish to sample the incoming analog audio signal without applying an insert effect. Normally you will select L/R. IFX1...5: Select one of these when you wish to apply an insert effect to the incoming audio sample as you sample it (

☞For details on using the insert effects, refer to p.148).

Off: The analog audio signal will not be input.

0–2b: Recording Setup

REC Mode [Auto, Manual]

Select the method by which sampling will be started.

Auto: Sampling will begin automatically when the input level exceeds the “Threshold” setting.

1 Press the [REC/WRITE] key to enter sampling standby

mode.

Count Down REC [Off, 4, 8, 3, 6]

When sampling manually (“REC Mode” Manual), this speciﬁes whether there will be a count-down before sampling begins.

Off: Sampling will begin immediately when you press the [START/STOP] key from the recording-standby condition. 4, 8, 3, 6: When you press the [START/STOP] key from the recording-standby condition, there will be a count for the

speciﬁed number of beats at the tempo of “ (Tempo),” and

then sampling will begin. If you set this to 4, sampling will begin on the “0” count of 4–3–2–1–0.

 (Tempo) [040...240]

This sets the tempo of the count-down when “Count Down REC” is used. The tempo speciﬁed here will also be used when the LFO or delay time of the insert effect is controlled by the BPM/ MIDI SYNC function during sampling ( also be set by the [TEMPO] knob.

☞p.216). This can

Pre Trigger REC [000...500ms]

When sampling the sound that occurs before sampling is actually triggered, this setting speciﬁes the time length that will be “pre-sampled.” When sampling in auto mode (“REC Mode” Auto), sampling will begin when the input signal exceeds the speciﬁed threshold level “Threshold” (0–2b). However depending on the “Threshold” settings, the early portion of the attack sound may be lost, and in such cases you can use “Pre Trigger REC.” Also, when sampling manually (“REC Mode” Manual) and using “Count Down REC,” you may intend to play your instrument etc. at precisely the downbeat but actually be slightly ahead of the beat. In such cases, you can use Pre Trigger REC to sample without loosing the beginning of the note.

If you increase this value, you will always be sampling more than you need. Normally you should leave this set at 000ms, and set it to a minimal value only when necessary.

ADC OVERLOAD !!

The “ADC OVERLOAD!!” indication will appear if the signal level from AUDIO INPUT 1 and 2 exceeds the maximum level. If this occurs, adjust the [LEVEL] knob or the output level of the external sound source ( 0–1d).

☞“Recording Level [dB]”

0–2c: Recording Level [dB]

[–inf, –72.0... 0.0...+18.0]

☞ Link: 0–1d

0–3: Preference

0–1

0–3b: REC Sample Preference

Auto Loop On

Checked: The recorded sample will automatically be played with looping turned on (

☞“P2: Loop Edit page”).

0–3c: Count Down REC Metronome

BUS(Output) Select (BUS Select) [L/R, 1, 2, 3, 4]

Specify the output destination of the metronome sound played by “Count Down REC” (0–2b).

L/R: The metronome will be output from OUTPUT (MAIN) L/Mono, R, and the headphones. 1, 2, 3, 4: The metronome will be output from OUTPUT (INDIVIDUAL) 1, 2, 3, or 4 respectively.

Level [000...127]

Specify the level of the metronome sound played by “Count Down REC.”

0–3a

0–3b

0–3c

0–3a: Create Zone Preference

These settings determine the initial state of the indexes that are created when you press the Create button (0–1b, 3–1c). Each new index will be created according to the settings you make here, but you are free to modify the settings later.

Position [Right, Left]

Specify whether the new index will be created at the right or left of the selected index.

Right (to Selected Index): The new index will be created at the right of the currently selected index. Left (to Selected Index): The new index will be created at the left of the currently selected index.

Zone Range [1 Key...127 Keys]

Specify the key range of the zone of the newly created index.

1Key: Each individual note of the keyboard will be an index. The sample of an index will sound at its original key when you play that note. This setting allows you to trigger multiple samples across the keyboard. 2 Keys–127 Keys: The sample will change pitch in semitone steps across the speciﬁed number of keys, centered on the original key “OrigKey” (0–1b, 3–1b). If “Constant Pitch” (3– 1b) is checked, the pitch will not change.

0–4: Memory Status

0–1

0–4a

0–4b

0–4a: Free Sample Memory

This shows the remaining amount of memory (the time available for sampling, the size of the sample ﬁles that can be loaded in Disk mode, or the size available for editing) in RAM banks 1, 2, 3, and 4. The amount is shown in seconds, bytes, and a percentage (%). The display will depend on the amount of memory that is installed (

0–4b: Free Number

This shows the maximum number of samples available in Sampling mode for multisamples and samples. The remaining number is also shown as a percentage (%) of the maximum.

Multisample(MS) [0000...0999/1000 000...099%] Sample [0000...4000/4000 000...100%] Sample in MS [0000...3999/4000 000...099%]

☞“RAM Bank” 0–1c).

Sampling

P1 P2 P3 P4 P8

Original Key Position [Bottom, Center, Top]

Specify where the original key will be located in the zone (speciﬁed by “Zone Range”) for a newly created index.

Bottom: The lowest key in the zone will be the original key. Center: The middle key in the zone will be the original key. Top: The top key in the zone will be the original key.

Sampling P1: Sample Edit

Here you can edit the sample data (waveform data) that you sampled or loaded in Disk mode. Editing operations such as deleting unwanted portions of the waveform, reversing the waveform, or lowering the sampling frequency can be performed in detail while viewing the “sample waveform display.”

The editing range speciﬁed in “Edit Range Start” and “Edit Range End” (1–1c) will be played when you press the [START/STOP] key, allowing you to audition the results (

☞“Keyboard & Index” 0–1a).

1–1: Sample Edit

1–1

1–1c: Sample waveform display, Edit Range Start,

Edit Range End, Use Zero, Grid, ZOOM

Sample waveform display

This displays the waveform of the selected sample. The horizontal axis is the sample address (time axis), and the vertical axis is the sample level.

The thick line above the display border indicates the portion of the entire sample waveform that is displayed. As you zoom-in on the time axis, this will indicate which portion of the entire waveform is currently being viewed. If a stereo multisample or sample is selected, the L channel sample data of the multisample will be displayed in the upper half, and the R channel sample data in the lower half.

1–1a

1–1b

1–1c

1–1a: MS (Multisample), Index, Keyboard & Index

MS (Multisample) [000...999]

Select the multisample that contains the sample you wish to edit (

☞Link: 0–1a).

Index [xxx (001...128)/yyy (001...128)]

Select the index of the sample you wish to edit. Your editing will affect the sample of the index that you select here, and the waveform will appear in the “sample waveform display” (

☞Link: 0–1a).

An index can also be selected by holding down the [ENTER] key and playing a note on the keyboard. The index that includes this note will be selected. The key you played will be the base key, and will be displayed in gray in “Keyboard & Index” ( 0–1a).

☞“Keyboard & Index”

Keyboard & Index

(☞Link: 0–1a)

1–1b: Sample, Range

Sample [----: ---No Assign----, 0000...3999] Range [C–1...B9 — C–1...B9]

This shows the sample number and name for the selected index, and the range. If you modify “Sample,” the sample you specify here will be assigned to this index ( 1b).

☞Link: 0–

Edit Range Start [0000000...] Edit Range End [0000000...]

This speciﬁes the range (start address and end address) of the sample that will be edited by page menu commands. (This is shown in sample address units.) The range you specify here will be highlighted in the “sample waveform display.”

To audition the selected range, press the [START/ STOP] key. The sample in the area between “Edit Range Start” and “Edit Range End” will sound at the pitch of the currently selected key (displayed in gray) ( board & Index” 0–1a).

☞“Key-

Use Zero

Checked: When setting “Edit Range Start” and “Edit Range End,” it will be possible to select these only to locations where the waveform level is ±0 (i.e., where the waveform crosses the center line of the “sample waveform display”). You can use the front panel [VALUE] slider, [VALUE] dial, and [ ] [ ] keys [0]–[9] to automatically search for zerocross addresses. By using the numeric keys you can search for the zero-cross address nearest to the value that you input. Unchecked: “Edit Range Start” and “Edit Range End” can be set in increments of one. This is the normal setting.

Grid [040 BPM...480 BPM]

(☞Link: 2–1c)

This has no relation to the setting of the front panel [TEMPO] knob.

ZOOM

These buttons let you zoom-in and zoom-out the “sample waveform display” in the horizontal axis (sample addresses) or vertical axis (sample level).

Vertical zoom-in

Horizontal zoom-out

Horizontal zoom-in

Vertical zoom-out

By zooming-in on the horizontal direction, you can move from the overall display where the waveform is shown as a solid line (1X magniﬁcation) to 2X or 4X magniﬁcation.

(With 1X magniﬁcation, the display resolution of the LCD will be the same as the resolution of the sample addresses. For example if you change the sample address by one, the vertical line in the LCD that indicates the sample address will move in steps of one pixel.) In the vertical axis, you can zoom-in from 1X (full range display) to 512X (or 1024X in the case of stereo display). Zoom-In/zoom-out will occur starting at the “Edit Range Start” or “Edit Range End” points you specify. (If a different parameter is selected when you zoom-in or -out, the zoomin/out will be based on the last-selected point. If you reselect the “Edit Range Start” or “Edit Range End” points when the display is zoomed in or out, the display range will be adjusted so as to show the selected point.)

If the zoom ratio is low (1X or less), the “sample waveform display” may differ slightly from the displayed waveform before and after waveform editing, but this does not affect the playback sound. If this occurs, raising the zoom ratio will make the display accurate.

When “Overwrite” is checked: When the command is executed, the edited sample will be overwritten onto the original sample (number). The original sample will be modiﬁed.

“Loop Start Address” and “End Address” (2–1c) must be located at least eight addresses apart. If as a result of executing “Truncate” (1–1A), “Cut” (1–1B), or “Rate Convert” (1–1K), the “Loop Start Address” and “End Address” would be separated by less than eight addresses, the display will indicate “Sample length is shorter than minimum.” Please set the “Edit Range Start” and “Edit Range End” appropriately.

1–1A

1–1B

1–1C

1–1D

1–1E

1–1F

1–1G

1–1H

1–1I

1–1J

1–1K

1–1L

▼ 1–1: Page Menu Command

Before using the page menu commands “Truncate”–“Volume Ramp” to edit the waveform data of a sample, ﬁrst use “Edit Range Start” and “Edit Range End” to specify the area to be edited. Then select and execute the desired page menu command.

There is no compare function that lets you return the edited result to the state before editing. If you wish to preserve the unedited sample, uncheck the “Over-

write”

item in the dialog box of each page menu com-

mand before you execute.

For stereo samples, the L channel and R channel samples are edited simultaneously. If you wish to edit only the L channel or R channel, select a mono multisample, and select either the L channel or R channel sample for editing.

If you “Copy” a mono sample into the buffer, and then “Insert,” “Mix,” or “Paste” it to a stereo sample, the data will be inserted, mixed, or pasted into both the L and R sides. (The result will be that a stereo sample will be created.)

If you “Copy” a stereo sample into the buffer, and then “Insert,” “Mix,” or “Paste” it to a mono sample, the Land R-side data in the buffer will be mixed to mono, and then inserted, mixed, or pasted. (The result will be that a mono sample will be created.) You can also use these commands if you wish to monomix a stereo sample and use it as a mono sample. However, be aware that once a sample has been mixed to mono, it is no longer possible to return it to a stereo sample.

To edit the “Start” (start address) location at which the sample data (waveform data) will begin playing, the “LoopS” (loop start address), or “End” (end address), use P2: Loop Edit. If the above parameters are located within an area of sample addresses that are deleted or moved by your editing, they will automatically be moved.

: About “Overwrite”

When “Overwrite” is unchecked: When the command is executed, the edited sample will be saved in a different sample number. The unedited sample will remain without change.

1–1A: Truncate

This command deletes unwanted data that lies beyond the “Edit Range Start” and “Edit Range End.” Use this command when you wish to delete silence at the beginning or end of the waveform data.

If you wish to delete unneeded (unplayed) sample data after setting the start address, loop start address, and end address, use the “Truncate” page menu command found in P2: Loop Edit.

1 Use “Edit Range Start” and “Edit Range End” to specify

the editing range. The portion that will be left by the “Truncate” command can be auditioned by pressing the front panel [START/ STOP] key.

2 Select this command to open the following dialog box.

3 The editing range will be shown in “Range Start” and

“End.”

4 Use the radio buttons to select the portion that will be

deleted. Front & End: The sample data that lies before the “Edit Range Start” and after the “Edit Range End” will be deleted. Front: The sample data that lies before the “Edit Range Start” will be deleted. End: The sample data that lies after the “Edit Range End” will be deleted.

5 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

6, this can-

Sampling

P1 P2 P3 P4 P8

6 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite” (

☞1–1).

7 To execute the Truncate command, press the OK button.

To cancel, press the Cancel button.

Normally you will leave “Save to No.” at the default setting, and execute without checking “Overwrite.” When you execute, the original data and the edited data will both be preserved, and the sample number after editing will be assigned to the sample of the index.

1–1B: Cut

This command deletes the data between the “Edit Range Start” and “Edit Range End.” Sample data located after the deleted portion will be moved forward.

1 Set “Edit Range Start” and “Edit Range End” to specify

the editing range.

The data that will be deleted by “Cut” can be auditioned by pressing the front panel [START/STOP] key.

2 Select this command to open the following dialog box.

3 The range to be edited is shown by “Range Start” and

“End.”

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite”

☞1–1).

(

6 To execute the Cut command, press the OK button. To

cancel, press the Cancel button.

5, this can-

2 Select this command to open the following dialog box.

3 The range to be edited is shown by “Range Start” and

“End.”

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in

5, this can-

not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite” (

☞1–1).

6 To execute the Clear command, press the OK button. To

cancel, press the Cancel button.

1–1D: Copy

This command copies the sample data from the area between “Edit Range Start” and “Edit Range End” into the sample data buffer. This data can then be used by the “Insert,” “Mix” or “Paste” commands.

When “Copy” is executed, the data that is loaded into the buffer simply references the data of the original sample. After using “Copy,” do not delete the copy source sample until you “Insert,” “Mix” or “Paste” the copied data.

1 Use “Edit Range Start” and “Edit Range End” to specify

the editing range.

The data that will be copied can be auditioned by pressing the front panel [START/STOP] key.

2 Select this command to open the following dialog box.

1–1C: Clear

This command converts the data between “Edit Range Start” and “Edit Range End” to zero values. Sample data before and after the edited range will not move.

1 Use “Edit Range Start” and “Edit Range End” to specify

the editing range.

The data that will be converted to zero values by “Clear” can be auditioned by pressing the front panel [START/STOP] key.

3 The range to be copied is shown by “Range Start” and

“End.”

4 To execute the Copy command, press the OK button. To

cancel, press the Cancel button.

1–1E: Insert

This command inserts the sample data that was copied by the “Copy” command, beginning at the “Edit Range Start” address. The data that had originally been located at that point will be moved backward.

From the buffer

1 Use “Edit Range Start” to specify the starting address at

which the data will be inserted. (The “Edit Range End” setting has no effect.)

2 Select this command to open the following dialog box.

3 “To Start” will indicate the starting address at which the

data will be inserted.

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in

5, this can-

not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite” (

☞1–1).

6 To execute the Insert command, press the OK button. To

cancel, press the Cancel button.

If the buffer into which data was placed by the “Copy” command contains no data, the display will indicate “Source sample is empty.”

1–1F: Mix

This command mixes the sample data that was placed in the buffer by “Copy” with the selected sample data. Mixing will begin at the “Edit Range Start” address.

1 Use “Edit Range Start” to specify the starting address at

which the data will be mixed. (The “Edit Range End” setting has no effect.)

2 Select this command to open the following dialog box.

3 “To Start” will indicate the starting address at which the

data will be mixed.

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite”

☞1–1).

(

From the buffer

5, this can-

6 To execute the Mix command, press the OK button. To

cancel, press the Cancel button.

If the buffer into which data was placed by the “Copy” command contains no data, the display will indicate “Source sample is empty.”

1–1G: Paste

Beginning at the “Edit Range Start” address, this command places the sample data that was loaded into the buffer by “Copy.” The original data will be deleted, and overwritten by the sample data from the buffer.

From the buffer

1 Use “Edit Range Start” to specify the starting address at

which the data will be pasted. (The “Edit Range End” setting has no effect.)

2 Select this command to open the following dialog box.

3 “To Start” will indicate the starting address at which the

data will be pasted.

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in

5, this can-

not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite” (

☞1–1).

6 To execute the Paste command, press the OK button. To

cancel, press the Cancel button.

If the buffer into which data was placed by the “Copy” command contains no data, the display will indicate “Source sample is empty.”

1–1H: Insert Zero

This command inserts zero-level sample data (silence), beginning at the “Edit Range Start” address. The data that previously occupied that location will be moved backward.

Size

Sampling

P1 P2 P3 P4 P8

1 Use “Edit Range Start” to specify the starting address at

which the zero-level will be inserted. (The “Edit Range End” setting has no effect.)

2 Select this command to open the following dialog box.

3 “To Start” will indicate the starting address at which the

data will be inserted.

4 In “Size,” specify the length of the data that will be

inserted.

5 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in

6, this can-

not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

6 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite” (

☞1–1).

7 To execute the Insert Zero command, press the OK but-

ton. To cancel, press the Cancel button.

1–1I: Normalize/Level Adj.

This command uniformly modiﬁes the data values (volume) of the data between the “Edit Range Start” and “Edit Range End.” “Normalize” will amplify the level of the sample data as far as possible without allowing it to clip (distort). If the level of the sampled data is too low, you can execute this command to increase the dynamic range. “Level” allows you to raise or lower the level as desired.

Normalize

4 If you check “Normalize” and execute, the data will be

normalized. In this case, the “Level” setting will be ignored. If you wish to specify “Level” to modify the level of the sample data, do not check “Normalize.”

Each increase of +6 dB will approximately double the height of the waveform shown in the LCD. +12 dB will be an increase of approximately 4X, and +18 dB will be approximately 8X. Conversely, each decrease of –6 dB will halve the level, so that –6 dB will be 1/2X and –12 dB will be approximately 1/4X. Executing the "Level" command with positive (+) settings may cause the sound to clip (i.e., distort at the point that ampliﬁcation beyond the maximum level is impossible). Once the sample data has been boosted beyond the clipping point, re-executing this command with negative (–) settings of “Level” will simply lower the overall level of the clipped signal –the waveform will remain distorted. Also, if executing “Level” with negative (–) settings causes any portion of the sample data to reach a zero level, the zero data will not return to its original state even if you re-execute “Level” with positive (+) settings.

5 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in

6, this can-

not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

6 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite” (

☞1–1).

7 To execute the Normalize/Level Adjust command, press

the OK button. To cancel, press the Cancel button.

Be aware that if sample data of an extremely low level is normalized, any noise included in the sample will also be ampliﬁed.

Level Adjust –12dB

1 Use “Edit Range Start” and “Edit Range End” to specify

the range to be edited.

The data that will be normalized or level-adjusted can be auditioned by pressing the front panel [START/ STOP] key.

2 Select this command to open the following dialog box.

3 The range to be edited is shown by “Range Start” and

“End.”

1–1J: Volume Ramp

This command modiﬁes the data values (volume) between the “Edit Range Start” and “Edit Range End.” You can make the volume gradually increase (Fade In) or decrease (Fade Out) from the “Edit Range Start” to the “Edit Range End.”

Fade In

Fade Out

1 Use “Edit Range Start” and “Edit Range End” to specify

the range to be edited.

The data that will be modiﬁed by “Volume Ramp” can be auditioned by pressing the front panel [START/ STOP] key.

2 Select this command to open the following dialog box.

3 The range to be edited is shown by “Range Start” and

“End.”

4 Use the radio buttons to select the type of volume ramp.

Fade In: The volume at “Range Start” will be zero, and

will gradually increase toward “End.” Fade Out: The volume will gradually decrease from the “Range Start” volume until it reaches zero at “End.”

5 In “Curve,” specify the way in which the volume will

change. Linear: The volume will change linearly. For normal fade-in or fade-out, select Linear. Power: The volume will change non-linearly. When you use “Mix” (1–1F) to combine a faded-in waveform with a different faded-out waveform (i.e., crossfade), using a Linear fade-in/out may produce an impression that the volume has dropped in the middle of the curve. In such cases, use Power to perform the fade-in/out.

6 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

7 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite”

☞1–1).

(

8 To execute the Volume Ramp command, press the OK

button. To cancel, press the Cancel button.

7, this can-

3 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

4 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite” (

☞1–1).

5 To execute the Insert Zero command, press the OK but-

ton. To cancel, press the Cancel button.

This command cannot be executed on a sample whose sampling rate is 11.025 kHz or less.

Stereo samples must have the same sampling rate. Although it is possible to select mono multisamples for

-L and -R and convert their sampling rate separately, they can no longer be handled as a stereo sample in this case.

4, this can-

1–1L: Reverse

This command reverses the sample data (i.e., exchanges the beginning and end). The “Reverse” command is always executed on all waveform data of the selected sample, regardless of the “Edit Range Start” and “Edit Range End” settings.

1 Select this command to open the following dialog box.

Sampling

P1 P2 P3 P4 P8

1–1K: Rate Convert

This command lowers the sampling rate (frequency) of the sampled data by 2/3, 1/2, 1/3, 1/4, or 1/6. The sampling frequency of input is ﬁxed at 48 kHz, but you can use this command to create “down-sampling” effects. The sample data is thinned to convert it into sample data of a lower sampling frequency. The “Rate Convert” command is always executed on all waveform data of the selected sample, regardless of the “Edit Range Start” and “Edit Range End” settings.

1 Select this command to open the following dialog box.

2 The sampling rate of the selected sample is shown at the

right of “Rate.” At the right of the “->” you can select the desired amount of the sampling rate conversion: 2/3, 1/ 2, 1/3, 1/4 1/6. The sampling rate following conversion will be displayed in Hz.

2 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite” in not be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

3 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite” (

☞1–1).

4 To execute the Reverse command, press the OK button.

To cancel, press the Cancel button.

When you execute this command, all of the sample data will be rewritten to reverse its direction. The P2: Loop Edit also contains a “Reverse” (2–1c) command, which simply reverses the playback direction without affecting the sample data itself.

3, this can-

0–1A

0–1B

0–1C

0–1D

0–1E

0–1F

0–1G

0–1H

0–1I

0–1J

1–1M

Sampling P2: Loop Edit

2–1: Loop Edit

Here you can specify the portion of the sample that will be played back, set sample parameters, and edit the sample. Sample parameters that were loaded into internal sampling memory in Disk mode can also be edited in the same way. You can make detailed edits in single-sample steps while watching the sample waveform display.

2–1

1–1M: Grid

This command displays a grid in the “sample waveform display.” When you select On and execute this command, vertical dotted lines will appear in the “sample waveform display” according to the speciﬁed resolution and tempo (“Grid” 1–1c, 2–1c). Use the grid when you wish to cut the sample data or determine waveform starting locations based on BPM values or beats. The vertical dotted lines will be shown starting at the “Start” (when Loop is off) or “Loop Start” (when Loop is on) (P2: Loop Edit) addresses, and are calculated according to the playback when the sample is played by the currently selected key (displayed in gray) (

☞“Keyboard & Index” 0–1a).

1 Select this command to open the following dialog box.

2 Use the On/Off Radio buttons to switch the grid on or

off.

3 In “Resolution,” select the desired resolution for the grid.

The grid that appears will be determined by this setting and by the “Grid” (1–1c) setting in the page.

4 To execute the settings, press the OK button. To cancel,

press the Cancel button.

2–1a

2–1b

2–1c

2–1a: MS (Multisample), Index, Keyboard & Index

MS (Multisample) [000...999]

Select the multisample whose loop and other sample parameters you wish to edit (

☞Link: 0–1a).

Index [xxx (001...127)/yyy (001...127)]

Select the index whose loop and other sample parameters you wish to edit. Your edits will apply to the sample of the index selected here, and the waveform will appear in the “sample waveform display” ( You can also select an index by holding down the [ENTER] key and playing a note on the keyboard. The index that includes this note will be selected. The note you played will be the base key, and will be shown in gray in “Keyboard & Index.”

☞Link: 0–1a).

Keyboard & Index

(☞ Link: 0–1a)

2–1b: Sample, Range

Sample [----: ---No Assign----, 0000...3999] Range [C–1...B9 – C–1...B9]

This shows the sample number and name, and the range of the selected index. If you change “Sample,” the sample you specify will be assigned to this index. The sample you select here will appear in the “sample waveform display” ( 0–1b).

☞Link:

2–1c: Sample waveform display, Start, LoopS, End,

Loop On, Loop Tune, Reverse, Loop Lock, Use Zero, Grid, ZOOM

Sample waveform display

The waveform of the “Sample” is displayed here (☞1–1c).

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