Korg TRITON User Manual

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IMPORTANT SAFETY INSTRUCTIONS

1) Read these instructions.

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Do not use this apparatus near water.

6) No objects filled with liquids, such as vases, shall be placed on the apparatus.

7) Clean only with dry cloth.

8) Do not block any ventilation openings, install in accordance with the manufacturer’s instructions.

9) Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

10) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. (for U.S.A. and Canada)

11) Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

12) Only use attachments/accessories specified by the manufacturer.

13) Unplug this apparatus during lightning storms or when unused for long periods of time.

14) Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15) Do not install this equipment on the far position from wall outlet and/or convenience receptacle.

16) Do not install this equipment in a confined space such as a box for the conveyance or similar unit.

17) Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with this apparatus. When a cart is used, use caution when moving the cart/ apparatus combination to avoid injury from tip-over.

CAUTION

Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type.

THE FCC REGULATION WARNING (for U.S.A.)

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

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

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

• Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modiﬁcation to this system can void the user’s authority to operate this equipment.

CE mark for European Harmonized Standards

CE mark which is attached to our company’s products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark Directive (93/ 68/EEC) and Low Voltage Directive (73/23/EEC). Also, CE mark which is attached to our company’s products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).

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

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

Data handling

Incorrect operation or malfunction may cause the contents of memory to be lost, so we recommend that you save important data on a ﬂoppy disk or other media. Please be aware that Korg will accept no responsibility for any damages which may result from loss of data. Also, when digitally recording copyrighted audio material from a DAT or CD etc., you must obtain permission for use. Please be aware that Korg will accept no responsibility for any copyright violations which may occur through your use of this product.

Handling of the internal hard

drive

Do not apply physical shock to this device. In particular , you must never move this device or apply physical shock while the power is turned on. This can cause part or all of the data on disk to be lost, or may damage the hard disk or interior components.

When this device is moved to a location where the temperature is radically different, water droplets may condense on the disk drive. If the device is used in this condition, it may malfunction, so please allow several hours to pass before operating the device.

Do not repeatedly turn the power on/off. This may damage not only the TRITON STUDIO, but also any SCSI devices that are connected.

This device begins to access the hard drive immediately after the power is turned on. Never turn off the power while the hard drive is being accessed. Doing so can cause all or part of the data on the disk to be lost, or may cause malfunctions such as damage to the hard drive.

If the hard drive has been damaged due to incorrect operation, power failure, or accidental interruption of the power supply, a fee may be charged for replacement even if this device is still within its warranty period.

COPYRIGHT WARNING

This professional device is intended only for use with works for which you yourself own the copyright, for which you have received permission from the copyright holder to publicly perform, record, broadcast, sell, and duplicate, or in connection with activities which constitute “fair use” under copyright law. If you are not the copyright holder, have not received permission from the copyright holder, or have not engaged in fair use of the works, you may be violating copyright law, and may be liable for damages and penalties. If you are unsure about your rights to a work, please consult a copyright attorney.

FOR ANY INFRINGEMENT COMMITTED THROUGH USE OF KORG PRODUCTS.

KORG TAKES NO RESPONSIBILITY

* Company names, product names, and names of for-

mats etc. are the trademarks or registered trademarks of their respective owners.

iii

Thank you for purchasing the Korg TRITON STUDIO music workstation/sampler . To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed.

About this manual

The owner’s manuals and how to use them

The TRITON STUDIO come with the following owner’s manuals.

• Basic Guide

• Parameter Guide

• Voice Name List

Basic Guide

First read this manual carefully to gain a basic understanding of the instrument and to learn basic operation.

“Introduction” explains the function of each part, how

to make connections, basic operation, and gives an overview of each mode. “ Quick Start ” explains the basics of playing the TRITON STUDIO (how to listen to the demo songs, select sounds, and use convenient performance functions), and describes examples of how to perform sampling and use the sequencer. If you wish to begin playing immediately, read this section ﬁrst.

“Basic Functions”

tions of what you need to know to edit sounds, record using the sequencer, and to record samples. This section also explains how to use the arpeggiator, effects, and MIDI. “

Appendices

ing, speciﬁcations, and various other information.

Parameter Guide

The Parameter Guide contains explanations and other information regarding the operations of the parameters and settings on the TRITON STUDIO. The explanations are organized by mode, and page. 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.

Voice Name List

This lists the multisamples and drumsamples that are built into the TRITON STUDIO, and the factory preset combinations, programs, drum kits, and user arpeggio patterns. Refer to these lists when you wish to know more about the preloaded sounds.

contains mode-by-mode explana-

” contains information on troubleshoot-

Conventions in this manual

References to the TRITON STUDIO

The TRITON STUDIO is available in 88-key, 76-key and 61-key models, but all three models are referred to without distinction in this manual as “the TRITON STUDIO.” Illustrations of the front and rear panels in this manual show the 61-key model, but the illustrations apply equally to the 88-key and 76-key models.

Abbreviations for the manuals BG, PG, VNL

References to the manuals included with the TRITON STUDIO are abbreviated as follows in this document.

BG:

Basic Guide

PG:

Parameter Guide

VNL:

Voice Name List

Keys and knobs [ ]

References to the keys, dials, and knobs on the TRITON STUDIO’s panel are enclosed in square brackets [ ]. References to the LCD display 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 1 2 3 ...

Steps in a procedure are listed as 1 2 3 ...

☞p.■

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

Symbols

These symbols respectively indicate cautions, advice, and MIDI-related explanations.

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#

In explanations of MIDI messages,

brackets [ ]

, ,

is an abbreviation for Control Change Number.

buttons

always indicate hexadecimal numbers.

tabs

indicate objects in

numbers in square

Data handling...............................................................iii

Handling of the internal hard drive .........................iii

About this manual.......................................................iv

Introduction........................ 1

Main features.................................................................1

Front and rear panel ......................................3

Front panel.....................................................................3

Rear panel......................................................................6

Names and functions of objects in the LCD screen ..8

Connections .............................................. 10

1. Connecting the power cable.................................11

2. Analog audio output connections.......................11

3. Analog audio input connections .........................11

4. Digital audio input/output connections............ 11

5. Connecting pedals................................................. 11

6. SCSI device connections .......................................12

7. Connections to MIDI equipment/computers ...12

8. Installing options................................................... 12

Basic concepts........................................... 13

Overview of the modes..............................................13

About polyphony .......................................................15

Tone generators and oscillators...........................15

Number of voices in each mode..........................15

Basic operation............................................................16

1. Selecting modes .................................................16

2. Selecting pages...................................................16

3. Setting a parameter ...........................................17

Quick Start........................19

Turning the power on/off ............................... 19

1. Turning the power on........................................... 19

2. Turning the power off........................................... 19

Listening to a demo song .............................. 20

1. Loading the demo song data in Disk mode....... 20

2. Selecting and playing a demonstration song in

Sequencer mode.....................................................21

Playing a cue list....................................................21

Using controllers to modify the sound ................25

Joystick......................................................................... 25

Ribbon controller........................................................ 25

SW1, SW2 .................................................................... 25

REALTIME CONTROLS [1], [2], [3], [4]................. 26

[VALUE] slider........................................................... 27

Keyboard..................................................................... 27

Foot pedals/Switch.................................................... 28

ARPEGGIATOR [TEMPO] knob, [GATE] knob,

[VELOCITY] knob................................................. 28

Using the arpeggiator while you play.................29

Using the arpeggiator in Program mode................ 29

Settings using controllers..................................... 29

Settings in the LCD screen................................... 30

Using the arpeggiator in Combination mode........ 31

Settings in the LCD screen................................... 31

Playing with the RPPR (Realtime Pattern Play/

Recording) function......................................33

Simple program editing.................................34

Performance Edit........................................................ 34

Realtime controls........................................................ 34

Simple combination editing............................35

An example of editing............................................... 35

Sampling (recording a sample)........................37

Sampling a vocal from a mic, and playing it as a

“one-shot” sample................................................. 37

Applying an insert effect to the audio input and

sampling the result ............................................... 39

Assigning a name to the sample or multisample.. 40

Saving sample data.................................................... 41

Converting a multisample into a program............. 41

Sampling and looping a drum phrase .................... 42

Resampling an arpeggiated phrase in Program

mode........................................................................ 45

Sample an arpeggiated drum phrase together with

an externally-input guitar.................................... 46

Producing a song.........................................49

Creating the basic song ............................................. 49

Naming the song and tracks..................................... 53

Saving the song........................................................... 54

Selecting and playing a program ..................... 22

Selecting a program....................................................22

Selecting and playing a combination ................ 24

Selecting a combination.............................................24

Basic functions .................. 55

Saving data ...............................................55

Types of data that can be saved ............................... 55

Writing to internal memory...................................... 56

Writing a program or combination.....................56

Writing global settings, user drum kits, and user

arpeggio patterns .................................................. 58

Saving on media......................................................... 59

Types of media that can be used.........................59

Formatting media..................................................60

How to save data................................................... 60

MIDI data dump......................................................... 62

Loading data and restoring the factory settings.....63

Loading data...............................................................63

Types of data that can be loaded ........................ 63

Loading data/Restoring the factory settings....63

Loading .PCG files and .SNG files from the floppy disks included with the EXB-PCM series and

EXB-MOSS options ............................................... 65

Program settings.........................................67

How a program is organized.................................... 67

Basic program editing................................................ 67

Oscillator settings P1: Edit-Basic......................... 68

Pitch settings P2: Edit-Pitch................................. 70

Filter settings P3: Edit-Filter ................................ 71

Amplifier settings P4: Edit-Amp......................... 72

LFO settings P5: Edit-Common LFO.................. 74

Arpeggiator settings P7: Edit-Arpeggiator........ 74

Insert Effect settings P8: Edit-Insert Effect ........ 74

Master Effect settings P9: Edit-Master Effect....74

More about Alternate Modulation........................... 74

Combination settings....................................75

How a combination is organized............................. 75

Basic combination editing......................................... 75

Timbre 1–8 program, pan and volume

P1: Edit-Program/Mixer......................................76

Settings for status, MIDI channel, and pitch

parameters P2: Edit-Trk Param........................... 77

MIDI filter settings P3: Edit-MIDI Filter............ 78

Layer, split, and velocity switch settings/

Controller settings P4: Edit-Zone/Ctrl .............. 78

Arpeggiator settings P7: Edit-Arp......................79

Insert Effect settings P8: Edit-Insert FX.............. 79

Master Effect settings P9: Edit-Master FX ......... 79

Song editing methods.................................................88

1. Copying a song..................................................88

2. Naming a song ..................................................88

3. Setting the number of measures in the song.88

4. Changing the key

(transposing/modulating)...............................89

Creating and playing a Cue List...............................90

Converting a song..................................................92

Creating and recording RPPR (Realtime Pattern

Play/Record) ..........................................................92

Creating RPPR data...............................................92

RPPR playback.......................................................93

Realtime-recording an RPPR performance........94

Recording the sounds of a combination..................95

Caution and other functions in Sequencer mode...97

Sampling settings ....................................... 99

Features of sampling on the TRITON STUDIO......99

How Sampling mode is organized.........................100

Samples and Multisamples.................................101

Preparations for sampling .......................................102

1. Connecting an input device and making

settings..............................................................102

2. Setting the recording level (Recording Level

[dB]) ..................................................................103

3. Specifying the recording method (Recording

Setup/Sampling Setup) .................................104

4. Making settings for the sample to be recorded

(REC Sample Setup/Sampling Setup).........104

Sampling and editing in Sampling mode..............106

Creating multisample indexes and sampling..106 Applying an insert effect to a sample and

resampling it.........................................................107

Ripping..................................................................108

Loop settings.........................................................110

Sample (waveform data) editing.......................111

Multisample editing ............................................111

Converting a multisample to a program..........112

Using Time Slice to divide a sample, and playing

it in Sequencer mode...........................................112

Sampling in Program, Combination, or Sequencer

modes.....................................................................115

Record an external audio input source while a song plays, and create event data at the same time

(In-Track Sampling function).............................115

Resampling the song playback to create a WAVE

file on the hard drive...........................................116

Input

Producing songs .........................................80

Features of the sequencer.......................................... 80

The structure of Sequencer mode ............................ 81

Songs.......................................................................81

Patterns...................................................................81

Cue List................................................................... 81

Preparations for recording........................................ 82

Recording methods.................................................... 83

Realtime recording on a track ............................. 83

Step recording........................................................ 86

Event Edit and Create Control Data...................86

Realtime-recording to a pattern..........................86

Creating an audio CD from WAVE files sampled to hard

disk .......................................................118

SMF (Standard MIDI File) playback .................120

The structure of Song Play mode........................... 120

Playing SMF data......................................................121

Playback using the Jukebox function ....................122

Saving a Jukebox list...........................................122

Playing along with SMF data..................................123

Settings for the entire TRITON STUDIO (Global

settings)..................................................124

Tuning to another instrument/Transposing........124

Adjusting the way in which velocity or after touch

will affect the volume or tone............................124

Bypassing the effects................................................124

Recalling the last-selected mode and page at power-

on ...........................................................................125

Specifying the function of the ASSIGNABLE Switch

and ASSIGNABLE Pedal.................................... 125

Creating original scales.......................................126

Drum kit settings .......................................127

About drum kits .......................................................127

Editing a drum kit ....................................................128

Arpeggiator settings ...................................130

Arpeggiator settings for a program....................... 130

Arpeggiator on/off ............................................. 130

Arpeggiator settings............................................130

Arpeggiator settings in Combination and Sequencer

modes....................................................................132

Arpeggiator on/off ............................................. 132

Arpeggiator settings............................................132

Creating an user arpeggio pattern.........................134

About user arpeggio patterns............................134

Editing a user arpeggio pattern......................... 134

Dual arpeggiator editing.........................................137

Synchronizing the arpeggiator...............................138

Synchronization between arpeggiators A

and B......................................................................138

Synchronization between the arpeggiators and

sequencer in Sequencer or Song Play mode....138

Synchronization with an external sequencer in

Program, Combination, or Sequencer modes . 138

Other functions ......................................... 145

Setting the function of [SW1] and [SW2].............. 145

Setting the B-mode functions of REALTIME

CONTROLS [1]–[4]............................................. 145

Adjusting the contrast (brightness) of the LCD

screen .................................................................... 145

Sounding a beep when the LCD screen is

pressed.................................................................. 146

Using the TRITON STUDIO as a data filer .......... 146

Setting the calendar function.................................. 146

Shortcuts.................................................................... 146

Appendices .....................147

Troubleshooting........................................ 147

Power supply............................................................ 147

LCD screen................................................................ 147

Audio input and output.......................................... 147

Program, Combination............................................ 149

Song............................................................................ 149

Sampling.................................................................... 149

Drum kits................................................................... 150

Arpeggiator............................................................... 150

Effects......................................................................... 150

MIDI........................................................................... 151

Media ......................................................................... 151

WAVE files................................................................ 152

Other .......................................................................... 152

Specifications and options............................ 153

Specifications ............................................................ 153

Options ...................................................................... 154

MIDI implementation chart........................... 155

Index .....................................................156

Effects settings..........................................139

Effects in each mode.................................................139

Routing settings and effect settings....................... 140

Effect settings for a program..............................140

Effect settings in Combination, Song, and Song

Play modes ...........................................................141

Effect settings in Sampling mode......................142

Effect settings for AUDIO INPUT.....................143

About dynamic modulation (Dmod).....................144

vii

viii

Introduction

Main features

Overview

The TRITON STUDIO is a music workstation/sampler that features the as its tone generator. It provides high-quality preset multisamples/programs/ combinations and an effect section, and functions such as sampling, sequencer, song play, dual polyphonic arpeggiator, RPPR, six audio outputs and can support up to six audio inputs. A rich array of controllers such as the joystick, ribbon controller, assignable switches [SW1] & [SW2], assignable/ preset knobs REALTIME CONTROLS [1]–[4], ARPEGGIATOR [TEMPO], [GATE], [VELOCITY] knobs, and a variety of optional pedals can be used to modify the sound while you play. You can further expand the potential of the TRITON STUDIO by installing options such as a MOSS tone generator, PCM expansion boards, additional sampling memory, ADAT digital output, mLAN interface board, and a CDR/RW drive. ( The TRITON STUDIO music workstation is a powerful tool for music production or live performance.

HI (Hyper Integrated) synthesis system

The HI (Hyper Integrated) synthesis system is a PCM tone generator system with full digital signal processing that guarantees pristine sound, and featuring enormous ﬂexibility in musical expression, modulation, and effect routing.

Tone generator section:

• 48 Mbytes of preset PCM ROM contains 429 multisamples and 417 drumsamples. By installing optional EXB-PCM series PCM expansion boards (16 Mbytes PCM ROM), you can expand the PCM data to a maximum of 112 Mbytes.

• 16 Mbytes of RAM is standard (expandable to a maximum of 96 Mbytes). Samples or multisamples that you sampled or resampled in Sampling mode or other modes (or that you loaded in Disk mode) can be used as sound sources.

• The sampling frequency is 48 kHz, and the maximum polyphony is 60 voices (a maximum of 120 voices can be used depending on the PCM sounds you use).

☞

p.15

Filter/synthesis section:

• Either a 24 dB/oct Resonant Low Pass or a 12 dB/oct Low Pass & High Pass type filter can be used. A wide variety of filter effects can be achieved, from active sounds with aggressive resonance to subtle tones using a high pass filter.

• A broad range of editing parameters gives you precise control over every aspect of the sound.

HI (Hyper Integrated) synthesis system

☞

PG p.286)

Effect section:

• Five insert effects (stereo-in/stereo-out), two master effects (mono-in/stereo-out), and a three-band master EQ (stereo-in/stereo-out) can all be used simultaneously. You can select and edit any of 102 types of effect algorithms.

• The effect routing is highly flexible. Effects can be routed freely to the individual inputs and outputs.

Alternate Modulation and Effect Dynamic Modulation:

• The synthesis section (filter etc.) provides Alternate Modulation capabilities, and the effect section provides Effect Dynamic Modulation. This allows you to freely apply modulation to parameters that affect the pitch, filter, amp, EG, LFO, and effects etc.

• LFO, delay time and other effect parameters can be synchronized to an external MIDI clock. You can also synchronize sounds and effects to the tempo of the internal sequencer or the arpeggiator.

Programs and combinations

• In preset ROM, the TRITON STUDIO provides 1,536 user programs, and 256 programs + 9 drumsets for GM2 compatibility. When shipped from the factory, it contains high-quality preload programs (512) that cover a wide range of musical needs. The 1,536 user programs can be modiﬁed by adjusting the numerous editing parameters, the effects and the arpeggiator, to create your own original programs. When the EXB-MOSS option is installed, 128 programs for use with the Korg MOSS tone generator will also be available.

• The TRITON STUDIO provides 144 user drum kits as well as 9 ROM drum kits compatible with GM2. The factory settings contain 20 preloaded drum kits that cover a wide range of musical styles. You can create your own drum kits by assigning each key to any one of the 417 drum samples or to an original sample that you sampled or loaded in from media. For the sound assigned to each key , you can make ﬁlter and amp settings, and even route the sound to effects or individual audio outputs.

• A multisample or sample that was sampled or resampled in Sampling mode or other modes (or loaded in from media using the Disk mode) can be easily used to create a program. These programs can also be used in a combination or song. Samples can also be used as drum instruments in a drum kit.

• The TRITON STUDIO provides 1,536 user combinations. With the factory settings, these contain a wide variety of preload combinations (512). A combination allows you to use layers, splits, or velocity switches to combine up to eight programs together with effects and two arpeggiators, in order to create complex sounds that could not be produced by a single program. You can also make settings that include external tone generators.

Introduction

FeaturesFront &

rear panel

LCD screenConnectionsBasics

Sampling

The TRITON STUDIO features an Open Sampling System that allows sampling and resampling to be performed not only in Sampling mode, but also in Program, Combination, or Sequencer modes. You can perform 48 kHz 16-bit linear mono or stereo sampling; 16 Mbytes of sample memory (RAM) as well as a hard drive are factory-installed. (For the capacity of the hard drive, refer to p.154.)

Sample memory (RAM) of 16 Mbytes is factory-installed,

allowing approximately 2 minutes 54 seconds of mono sampling (or approximately 1 minute 27 seconds of stereo sampling). Sample memory can be expanded to a maximum of 96 Mbytes, which allows you to record up to six samples of approximately 2 minutes 54 seconds each (mono) or approximately 1 minute 27 seconds each (stereo), for a total 17 minutes 28 seconds of sampling time.

hard drive lets you record up to 80 minutes as a sin-

The gle sample ﬁle in either mono or stereo (monaural: approximately 440 Mbytes, stereo: approximately 879 Mbytes). This will create a WAVE ﬁle. (In order to play a hard disk sample from the TRITON STUDIO’s keyboard, it must be able to be loaded into the sampling memory (RAM). Sample ﬁles of up to 16 Mbytes (mono) or 32 Mbytes (stereo) can be loaded into RAM.)

For more on the sampling features of the TRITON STUDIO (

☞

p.99).

Sequencer

A sophisticated 16-track MIDI sequencer is built in. The sequencer can be used in conjunction with other functions such as the dual arpeggiator and RPPR, making it an even more powerful music production tool than a stand-alone sequencer. In addition, you can sample while listening to sequencer tracks play back – just as if you were recording an audio track (In-Track Sampling).

☞

For more on the TRITON STUDIO’s sequencer (

p.80).

Song Play

In Song Play mode, SMF (Standard MIDI File) songs can be played back directly from ﬂoppy disk or other media. You can also play the keyboard along with the SMF playback. You can play along on the keyboard as you listen to the SMF playback, and even play the arpeggiator in sync with the playback tempo of the SMF.

• Formats 0 and 1 are supported.

• A jukebox function lets you edit the order in which songs are played back.

Dual polyphonic arpeggiator

• Five preset arpeggio patterns (UP, DOWN, ALT1 ALT2, RANDOM) and 507 user arpeggio patterns are provided. With the factory settings, these contain a wide variety of preload user patterns (367). In addition to providing conventional arpeggiator functions, the polyphonic arpeggiator of the TRITON STUDIO can respond to the pitches or timing at which you play the keyboard, and produce a diverse range of chords or phrases. This can be used to play a variety of drum phrases (using the “Fixed Note Mode” that is ideal for drums), bass phrases, or guitar and keyboard backing riffs. The arpeggiator is also effective for use with subtly moving pads, synth sounds, or sound effects.

In Combination mode, Sequencer mode, and Song Play mode, the TRITON STUDIO provides dual arpeggiators that can simultaneously play two arpeggio patterns. You can apply separate arpeggio patterns to drum and bass programs, or use keyboard splits or velocity to switch between arpeggio patterns for an even more dynamic performance.

RPPR

The TRITON STUDIO features Korg’s RPPR (Realtime Pattern Play/Recording) function. In Sequencer mode, this function allows you to assign preset patterns or user patterns (with a speciﬁed playback track) to individual notes of the keyboard, and playback that pattern in realtime simply by pressing the assigned note. Numerous preset patterns, including patterns ideal for drum tracks, are built into the internal memory.

6-channel audio input/6-channel audio output

• Both analog (2 channel) and digital (2 channel) audio inputs are standard, allowing you to record stereo samples. (If the EXB-mLAN option is installed, two more input channels will be added.) The analog inputs have a MIC/LINE level select switch and a level knob, accommodating a wide range of audio sources from mic level to line level. The digital inputs support S/P DIF format. Audio inputs can also be routed to the effects. You can apply effects while sampling, and use the TRITON STUDIO as a 6-in/6-out effect processor or even create a vocoder effect in conjunction with internal sounds.

• 6 channels of audio output are standard: four individual audio outputs in addition to the L/MONO and R main stereo audio outputs. Oscillators, drums, timbres/tracks, and the insert effect outputs can all be freely routed to any output. As analog outputs, the TRITON STUDIO provides AUDIO OUTPUT (MAIN) L/MONO, R, and (INDIVIDUAL) 1, 2, 3, and 4.

As digital output, you can use S/P DIF (2 channels: L/ MONO and R), ADAT (when the EXB-DI option is installed), and mLAN (6 channels: when the EXB-mLAN option is installed).

• S/P DIF input and output support 48 kHz/96 kHz sampling frequencies. You can interface directly to a 96 kHz sampling frequency digital recording system.

TouchView user interface

The TRITON STUDIO uses a TouchView user interface that lets you operate the instrument directly by touching a large 320 in ease of operation and user friendliness. When selecting programs, combinations, multisamples, drumsamples, or effects in the LCD screen, you can also view and select by categories such as types of instrument.

240 pixel LCD screen, for a revolutionary leap

CD-RW drive

When the CDRW-1 (CD-R/RW drive) option is installed, you can create original CD’s, back up your data, or play back and sample from audio CD’s without the need to connect any external equipment.

Front and rear panel

Introduction

Front panel

1 2

18 1917

1. [SW1] key, [SW2] key

These keys are on/off switches, their function can be assigned in Program, Combination, Sequencer, Song Play, and Sampling modes. When on, the LED will light

☞

p.25).

(

2. Joystick

This controls pitch and modulation. Move the joystick up/down and left/right (+Y, –Y, –X,

☞

+X) to vary the effect ( Various program parameters and effect parameters will determine what is being controlled by the joystick.

3. Ribbon controller

Slide your ﬁnger to the left or right on this ribbon controller to control the pitch or modulation (☞p.26). Various program parameters and effect parameters will determine what is controlled by the ribbon controller.

p.25).

7 10 11

13 1514

Use the [REALTIME CONTROLS] key to select A or B mode for the realtime controllers, and use knobs [1]–[4] to control the tone, effects, and MIDI control changes etc. in realtime (☞p.26).

[REALTIME CONTROLS] key

This key selects either A or B mode for the realtime controllers. The selected mode will light.

[1] knob, [2] knob, [3] knob, [4] knob

In A mode, the function of each knob is ﬁxed. [1] is the low pass ﬁlter cutoff frequency, [2] is the ﬁlter resonance level or the cutoff frequency of the high pass ﬁlter, [3] is the ﬁlter EG intensity, and [4] is the ﬁlter/amp release time. In B mode, each knob will control the function that was assigned to it in the Program, Combination, Sequencer, Song Play, or Sampling modes.

FeaturesFront &

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LCD screenConnectionsBasics

4. [VOLUME] slider

This adjusts the volume that is output from the AUDIO OUTPUT (MAIN) L/MONO, R jacks and the headphone jack.

5. REALTIME CONTROLS

6. Mode keys

Use these keys to enter the desired mode. When you press a key, the LED will light, and you will enter the mode whose key you pressed (☞p.16).

[COMBI] key

Combination mode will be selected.

[PROG] key

Program mode will be selected.

[SEQ] key

Sequencer mode will be selected.

[SAMPLING] key

Sampling mode will be selected.

[S.PLAY] key

Song Play mode will be selected.

[GLOBAL] key

Global mode will be selected.

[DISK] key

Disk mode will be selected.

7. [COMPARE] key

Use this key when you wish to compare the sound of the program or combination that you are currently editing with the un-edited sound already in memory . You can also use this key to make “before and after” comparisons when recording or editing in Sequencer mode (☞p.17).

8. VALUE controllers

The following V ALUE controllers ar e used to set the value of the selected parameter (☞p.17).

[VALUE] slider

Use this to modify the value of a parameter. This controller is convenient when you wish to make large changes in the value. This slider can also be used as a modulation source.

9. LCD screen

The TRITON STUDIO features a Touch-View system that uses a touch-panel LCD screen. By touching on objects that are shown in the LCD screen, you can select pages, tabs, and parameters, and set values (☞p.8).

10. [EXIT] key

When a dialog box is open, this key will cancel the settings made in the dialog box and close the dialog box (corresponds to the Cancel button). If a popup menu or page menu is open, pressing [EXIT] will close the menu. When in P (page) 1–9 of each mode, pressing the [EXIT] key will move to P (page) 0 of that mode.

11. [MENU] key

Use this key to move between pages. When you press the [MENU] key, a list of the pages in the mode will appear in the LCD screen. Press the desired page, and you will move to that page. You can also move to a page by holding down the [MENU] key and pressing the corresponding numeric key [0]–[9] (☞p.16).

12. BANK keys

These keys are used to switch the program/combination bank.

[ ][ ] keys

These are used to increase or decrease the parameter value in steps of one. It is convenient to use these to make ﬁne adjustments.

[VALUE] dial

Use this dial to modify the value of the parameter.

Numeric keys [0] – [9], [ENTER] key, [–] key [./10’s HOLD] key

Use these keys to numerically input a parameter value. Use numeric keys [0]–[9], the [–] key, and the [./10’s HOLD] key to enter the value, and press the [ENTER] key to conﬁrm it. The [./10’s HOLD] key lets you input a value with a decimal point. The [–] key inverts the sign (+/–) of the parameter value.

The [./10’s HOLD] key is also used when you wish to hold the 10’s place while selecting programs or combinations.

By holding down the [ENTER] key and pressing a numeric key [0]–[9], you can select up to ten page menu commands in the current page.

PROG BANK: [INT-A], [INT-B], [INT-C], [INT-D], [INT-E] (SMPL), [INT-F] (MOSS), [INT-G] (GM), [EXB-A], [EXB-B], [EXB-C], [EXB-D], [EXB-E], [EXB-F], [EXB-G]

COMBI BANK: [INT-A], [INT-B], [INT-C], [INT-D], [INT-E], [EXB-A], [EXB-B], [EXB-C], [EXB-D], [EXB-E], [EXB-F], [EXB-G]

In Program mode, these keys select the program bank. In Combination mode, these keys select the combination

bank. When assigning a program to the various timbres in a combination, then these keys will select the program bank. In this case, the LED of the program bank selected for the timbre will light.

In Sequencer and Song Play modes when the edit cell (highlighted area) is located at the program of each track, these keys select the program bank just as in Combination mode.

If you repeatedly press the [INT-G] key when selecting a program, the bank selection will cycle through all of the GM(2) banks and drum banks in the order of G, g(1), g(2)– g(8), g(9), g(d), G ... each time you press the key.

The [INT-F] bank can be selected in Program mode only if the EXB-MOSS option is installed.

13. SEQUENCER

[PAUSE] key

In Sequencer mode, this key pauses the playback of the song or cue list. In Song Play mode, this key pauses SMF playback. When paused, the LED will light. Press [PAUSE] once again to resume playback; the LED will turn off.

[<<REW] key

In Sequencer mode, this key will rewind the song or cue list. When you press and hold this key, the LED will light, and the playback will rewind. (This key will not function during recording.)

[FF>>] key

In Sequencer mode, this key will fast-forward the song or cue list. When you press and hold this key, the LED will light, and the playback will fast-forward. (This key will not function during recording.)

[LOCATE] key

In Sequencer mode, this key will advance or rewind the song or cue list playback to a speciﬁed point. In Song Play mode, this key returns the playback location of the SMF to a speciﬁed point.

SEQUENCER [REC/WRITE] key

In Sequencer mode, pressing this key will make the LED light, and if you then press the SEQUENCER STOP] key, recording will begin (☞p.84). In Program, Combination and Global modes, pressing this key will open a dialog box, and if you then press the OK button, the edited contents will be written (☞p.57, 59).

[START/

SEQUENCER [START/STOP] key

This is the start/stop key for song or cue list recording and playback in Sequencer mode, and SMF playback in Song Play mode. (During recording and playback, the LED will blink at the current tempo.)

These keys are also used to play an audio CD in the CDRW-1 option or in a SCSI-connected CD-R/RW drive.

SEQUENCER [START/STOP] key : Play/Stop

[FF>>] key : Fast-forward [<<REW] key : Rewind [PAUSE] key : Pause [LOCATE] key : Return to the beginning of

the track

14. ARPEGGIATOR

These knobs control the performance of the arpeggiator in realtime (☞p.29).

[TEMPO] knob

This adjusts the base tempo of the arpeggiator and sequencer. The LED will blink at quarter-note intervals of the current tempo.

[GATE] knob

This adjusts the gate time (note duration) of the arpeggiated notes. At the center position (12 o’clock), the gate time will be the same as the “Gate” parameter of the arpeggiator. Rotating the knob toward the left will shorten the gate time, and rotating it toward the right will lengthen the gate time.

[VELOCITY] knob

This adjusts the velocity (playing strength) of the arpeggiated notes. At the center position (12 o’clock), the velocity will be the same as the “Velocity” parameter of the arpeggiator. Rotating the knob toward the left will decrease the velocity, and rotating it toward the right will increase the velocity.

[ON/OFF] key

This switches the Arpeggiator function on/off. When on, the LED will light.

15. SAMPLING

SAMPLING [REC] key

In Sampling, Program, Combination, and Sequencer modes, pressing this key will make the LED light, and when you continue by pressing the SAMPLING [START/ STOP] key, sampling will either begin or you will enter the sample-ready mode. (☞p.37)

SAMPLING [START/STOP] key

In Sampling, Program, Combination, and Sequencer modes, pressing this key after pressing the SAMPLING [REC] key will either cause sampling to begin, or it will access the sample-ready mode.

In the Sampling P1: Sample Edit page, pressing this key will sound the selected sample.

This key is also used to play back a WAVE ﬁle from the internal hard disk. This function can be used in the directory window of various Disk mode pages, in the Disk mode Make Audio CD page, and in the “Select Directory” page menu dialog box of the Program, Combination, Sequencer, and Sampling modes.

Introduction

FeaturesFront &

rear panel

LCD screenConnectionsBasics

16. EXB-PCM/sample memory (RAM) slot cover

Open this cover to install EXB-PCM option boards, or to install SIMMs to increase the sampling memory (RAM). Up to seven EXB-PCM option boards can be installed, and up to three SIMM sampling memory (RAM) boards can be installed. (☞PG p.286)

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17. Headphone jack

A set of headphones can be connected here (stereo 1/4" jack). This allows stereo monitoring of the same signal as the OUTPUT L/MONO and R jacks.

18. Floppy disk drive

3.5 inch 2DD (double-side double-density) or 2HD (double-side high-density) ﬂoppy disks can be inserted here, allowing you to save your edited data, or to load factoryset data, SMF data, or multisample/sample data, etc...

Rear panel

For details on handling ﬂoppy disks, refer to “Cautions when handling ﬂoppy disks” (☞p.62).

Eject button

To remove a ﬂoppy disk, make sure that the disk access indicator is dark, and then press this button. If the disk is not ejected when you press this button, do not attempt to forcibly remove the disk, but contact your Korg distributor.

Eject button

Disk access indicator

19. CDRW-1 drive bay

The CDRW-1 (CD-R/RW drive) option can be installed in this bay. (☞PG p.286)

7 9810 12

1. AC power supply connector

Connect the included power supply cable here. After connecting the power supply cable to the TRITON STUDIO, connect the other end to an AC outlet (☞p.11).

2. [POWER] switch

This switch turns the power on/off (☞p.19).

3. AUDIO OUTPUT

Connect these outputs to the input jacks of your amp or mixer. In addition to the L/MONO and R main stereo audio outputs, the TRITON STUDIO provides four individual audio outputs. The sound from each oscillator, drum, timbre/track, or insert effect can be freely routed to any output (☞p.139–).

(MAIN) L/MONO, R

These are unbalanced phone jacks. These are the main audio output jacks. By setting “Bus Select” to L/R, the output from an oscillator, an insert effect, an individual drum part, or the metronome can be output to the (MAIN) L/MONO and R jacks. When making connections in stereo, use L/MONO and R. When making connections in mono, use the L/MONO jack.

(INDIVIDUAL) 1, 2, 3, 4

These are unbalanced phone jacks. These are individual (independent) audio output jacks. By setting the “Bus Select” to 1, 2, 3, 4, 1/2, or 3/4, an oscilla-

345 611

tor, an insert ef fect, an individual drum part, or the metronome etc. can be assigned to be output from the (INDIVIDUAL) 1, 2, 3, 4, jacks. The output from the 1, 2, 3, 4 jacks is not affected by the [VOLUME] slider.

4. AUDIO INPUT

These two audio inputs are used when recording a mono/ stereo sample from a mic or external audio source (☞p.37), or when applying the TRITON STUDIO’s internal effects to an external audio source (☞p.143). The MIC/LINE level select switch ([MIC/LINE] switch) and the level adjustment knob ([LEVEL] knob) allow you to use a wide range of external audio sources, ranging from mic level to line level.

AUDIO INPUT 1/2 jacks

These are unbalanced phone jacks.

[LEVEL] knob

This adjusts the input level of the AUDIO INPUT 1/2 jacks.

[MIC/LINE] switch

This switches the input level of the AUDIO INPUT 1/2 jacks.

5. S/P DIF OUT(MAIN) jack

This is an optical type S/P DIF format (IEC60958, EIAJ CP-1201) digital output jack. It outputs a digital version of the same audio signal as the AUDIO OUTPUT (MAIN) L/MONO and R jacks, at sampling rates of 48 kHz or 96 kHz (☞PG p.138). Use an optical cable to connect this to the optical digital input jack of a DAT or MD, etc. The [VOLUME] slider does not adjust the output level of this jack.

IN jack

This is an optical S/P DIF format (IEC 60958, EIAJ CP-

1201) digital input jack. Digital audio at a sample rate of 48 kHz or 96 kHz can be input here. 96 kHz audio will be converted to 48 kHz. (☞PG p.138) Use an optical cable to connect this jack to the optical digital output jack of a DAT or other device.

6. SCSI connector

This is a D-sub half-pitch 50 pin SCSI connector. An external hard disk drive can be connected here and used to sample or to save/load data in the same way as the internal hard disk drive. A CD-R/RW can also be connected here to create an audio CD or to save/load data. (☞p.59, 118)

7. MIDI MIDI THRU connector

Musical data and sound settings etc. that are received at the MIDI IN connector are re-transmitted without change from the MIDI THRU connector. You can use this to connect multiple MIDI devices (☞PG p.258).

MIDI OUT connector

Musical data and sound settings etc. are transmitted from this connector. Use this to control another MIDI device connected via this port to the TRITON STUDIO (☞PG p.258).

MIDI IN connector

Musical data and sound settings etc. are received at this connector. Use this to play the TRITON STUDIO from another MIDI device connected to this port (☞PG p.258).

8. DAMPER jack

An optional switch-type pedal such as the Korg DS-1H damper pedal can be connected here. If a DS-1H is connected, it will function as a half-damper pedal. If another switch-type pedal is connected, it will function as a damper switch. In order to ensure that the pedal functions correctly, please adjust the polarity and the half-damper sensitivity (☞p.11, PG p.137, 146).

9. ASSIGNABLE SWITCH jack

An optional on/off foot switch such as the Korg PS-1 foot switch can be connected here (☞p.11). Its function can be assigned in Global mode, allowing you to use the foot switch as a modulation controller, to select

programs or combinations, or to start/stop the sequencer (☞p.125).

PEDAL jack

An optional Korg EXP-2 or XVP-10 expression pedal can be connected here (☞p.11). Its function can be assigned in Global mode, allowing you to use the pedal to control the volume etc. (☞p.124)

10. [Contrast adjustment] knob

This adjusts the contrast of the LCD screen. The optimal setting will depend on the height or angle from which you view the screen display, so please adjust as necessary.

11. EXB-DI (option) OUT jack

This is an ADAT optical format digital output connector. It outputs the six channels of the TRITON STUDIO’s AUDIO OUTPUT jacks (MAIN) L/MONO, R, (INDIVIDUAL) 1, 2, 3, 4 (analog audio outputs) as digital audio with a sampling rate of 48 kHz. These signals are output as channels 1 through 6 of the ADAT optical format. By connecting this to the DIGITAL IN jack of an ADAT Optical format compatible mixer, amp, or recorder, you can output the audio signal of the TRITON STUDIO in digital form. Use an optical cable made by the Alesis Corporation or an optical cable for CD/DAT (both sold separately) to make this connection (☞p.11, PG p.286, 300). The [VOLUME] slider does not adjust the output level of this connector.

48 kHz WORD CLOCK IN jack

Connect this to the WORD CLOCK OUT jack of an ADAT Optical format compatible mixer or remote controller. Use this when you want the connected device to be the word clock master and the TRITON STUDIO to be the word clock slave for synchronization. Use an BNC coax cable made by the Alesis Corporation or a video BNC cable (both sold separately) to make this connection.

12. EXB-mLAN (option)

A special cable is used to connect mLAN-compatible devices or computers. (☞p.12, PG p.286)

mLAN (IEEE 1394) 1, 2, 3 jacks SERIAL I/O connector

For details refer to the manual included with the EXBmLAN option.

What is mLAN?

mLAN is a new standard for musical instruments that uses the general-purpose IEEE 1394 (“FireWire”) interface (a general-purpose interface with a wide range of uses including current and digital AV devices) with a special transmission protocol for musical data. It allows high quality digital audio and MIDI data to be simultaneously transmitted and received over a single cable. At a transmission speed of 200 Mbps, approximately 100 channels of audio data or 256 ports of MIDI data (i.e., 16 channels x 256 connectors) can be transmitted and received over a single cable. mLAN provides unprecedented ﬂexibility, allowing you to daisychain up to 63 devices, and even to reconﬁgure the input and output connections between devices without actually disconnecting the mLAN cable. Even sophisticated setups in the studio or on stage are made easy by mLAN.

Introduction

FeaturesFront &

rear panel

LCD screenConnectionsBasics

Names and functions of objects in the LCD

screen

The TRITON STUDIOuses Korg’s TouchView graphical user interface. By touching on objects displayed in the LCD screen, you can select pages, set parameter values, rename programs and combinations, write data, and perform many other operations.

References in the TRITON STUDIO’s owner’s manual to the “... button” or “... tab” refer to objects displayed on the LCD screen. References to the “[...] key,” “[...] knob,” “[...] dial,” or “[...] slider” refer to controls on the front or rear panel of the TRITON STUDIO.

a: Current page

b: Edit cell

d: Popup button (2)

f: Check box c: Popup button (1)

g: Radio buttons

h: Tab

i: Page menu buttone: (category) Popup button

a: Current page

This indicates the selected page within the current mode. From the left, this shows the mode name, page number, and page name.

Mode name Page namePage number

* Popup menu

Scroll bar

This switches the popup menu display between locked and unlocked. When locked, the pin will be shown closed, and the popup menu will remain displayed even after you press a parameter value. When unlocked, the pin will be shown opened, and the popup menu will close immediately when you press a parameter value.

Scroll bar

Use this when you wish to see parameter values that extend beyond what can be displayed in the screen at one time.

Press here to scroll to left or right.

Press here and slide to left or right to scroll to the desired location.

Press here to scroll to the corresponding location.

b: Edit cell

When you press a parameter in the LCD screen, the parameter or parameter value will sometimes be highlighted (displayed in inverse video). This is called the edit cell, and the highlighted item will be subject to editing. The parameter value of the edit cell can be modiﬁed using the VALUE controllers (☞p.17) or by using a popup button in the LCD screen. For parameters that accept a note number or a velocity value, you can also hold down the [ENTER] key and play a note on the keyboard to enter the note number or velocity value.

c: Popup button (1)

When this button is pressed, a popup menu will appear, showing the parameter values that are available for selection. To input the parameter value, press the desired value in the popup menu. When a popup menu is displayed, operating a VALUE controller (☞p.17) will close the popup menu. If the popup menu is unlocked (☞“Pin”), it will close if you touch a location outside the popup menu.

d: Popup button (2)

When you press this button, a tabbed popup menu will appear, allowing you to perform the following selections.

• “Bank/Program Select,” “Bank/Combination Select”: Select programs or combinations by bank

• “Multisample Select”: Select a multisample for a program oscillator by category (ROM multisamples only)

• “Category/Effect Select”: Select an insert effect or master effect by category To close the tabbed popup menu, press the OK button or Cancel button.

e: (Category) popup button

When you press this button, a tabbed popup menu will appear, allowing you to perform the following selections.

• “Category/Program Select,” “Category/Combination Select”: Select programs or combinations by category To close the tabbed popup menu, press the OK button or Cancel button.

f: Check box

Each time you press a check box, a check mark will be added or removed. When checked, the parameter will function; when unchecked, the parameter will not function.

* Page jump menu

Introduction

g: Radio buttons

Press a radio button to select one value from two or more choices.

h: Tab

Press the tab to select a page.

i: Page menu button

When this button is pressed, a list of page menu commands will appear.

The page menu commands that appear will depend on the currently selected page. You can also select up to ten page menu commands by holding down the [ENTER] key and pressing a numeric key [0]–[9]. The page menu will close when you press the LCD screen at a location other than the page menu, or when you press the [EXIT] key.

* Dialog box

The dialog box that appears will depend on the currently selected page menu command. When selecting a program or combination number in a dialog box, use the VALUE controllers (☞p.17) to input the number. T o execute, pr ess the OK button. To cancel without executing, press the Cancel button. (The operation will occur when you press and release the button.) The dialog box will close. The [EXIT] key corresponds to the Cancel button, Done button, and Exit button.

Text edit button

In Combination, Program, Sequencer, Sampling, Song Play, or Global modes, you can press the front panel [MENU] key to view a list of the pages in that mode. (As a reminder, the page you were in before you pressed the [MENU] key will have its top right corner bent over.) By pressing one of the pages shown, you can move to that page. (You can also move to the corresponding page by pressing a numeric key [0]–[9].) When you press the [EXIT] key, P0 will be displayed.

* Other objects

To modify the parameter value of an object shaped like a slider or knob, press it to move the edit cell to that object, and use the VALUE controllers to modify the value. In addition, there are also buttons similar to the OK button and Cancel button explained in “* dialog box” which execute an operation when they are pressed and released, such as the Done button, Copy button, and Insert button.

Toggle buttons

This type of button will change its function or switch on/ off each time it is pressed.

PLAY/MUTE/REC button in Sequencer and Song Play mode SOLO ON/OFF button in Sequencer and Song Play mode ON/OFF button for Insert Effect and Master Effect

FeaturesFront &

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LCD screenConnectionsBasics

Cancel button OK button

After some commands are executed, the previouslylocked page menu will be unlocked automatically, and the page menu will be closed.

* Text edit button

When you press this button, a text edit dialog box will appear. Here you can rename text (such as the name of a program, combination, or song etc.) (☞p.40, 57).

Connections

Connections must be made with the power turned off. Please be aware that careless operation may damage your speaker system or cause malfunctions.

If a passive type guitar (a guitar without an internal preamp) is connected, it will not be possible

3. Analog audio input connections

to sample at an appropriate level due to the impedance mismatch. Such instruments must be connected via a preamp or effect unit.

CD player, analog record player, etc.

Power Switch

AC power supply

1. Connecting the power cable

Power cable (Option)

to an AC outlet

MIDI cable

7. Connections to MIDI equipment/computers

Effect processor etc.

5. Connecting pedals

MIDI OUT

DAT etc.

ASSIGNABLE

S/P DIF

SWITCH PEDAL

DAMPER

OUT(MAIN) IN

EXB-DI

Option

DIGITAL IN

EXB-mLAN

Option

AUDIO INPUT 1, 2

SCSI

Hard disk, Removable disk, CD-R/RW etc.

AUDIO OUTPUT

6. SCSI device connections

AUDIO OUTPUT/ AUX OUT etc.

Mic

8. Installing options

(INDIVIDUAL) (MAIN) 4 3 2 1 R L/MONO

MIDI IN

4. Digital audio input/output connections

DIGITAL OUT

Powered monitors, etc.

2. Analog audio output connections

Monitor OUTPUT

INPUT

Mixer

MIC1

BAL

UNBAL

LINE IN 3

LINE IN 2

LINE IN 1

LOW CUT

75Hz

18dB/OCT

+10dB

-40dB

TRIM

AUX

MON/

EFX

+15

EFX

+15

12kHz

-15

+15

-15 +15

MID

2.5kHz

-12

+12

LOW

80Hz

+15

-15

PAN

MUTE

ALT 3–4

SOLO

LEFT(1/MONO)

RIGHT

BAL

MONO

UNBAL

LINE IN 4

LINE IN 6

LINE IN 5

BAL

LOW CUT

75Hz

UNBAL

18dB/OCT

LEVEL +4

-10

+10dB

-40dB

+10dB

-40dB

+10dB

-40dB

TRIM

LINE IN 7-8

TRIM

AUX

MON/

EFX

+15

EFX

+15

12kHz

-15 +15

-15

-15 +15

+15

-15 +15

+15

MID

2.5kHz

-12 +12

-12

-12 +12

+12

LOW

80Hz

+15

-15 +15

+15

-15

+15

PAN

7–8

MUTE

ALT 3–4

SOLO

INPUT

STEREO AUX RETURNS

MIC4

MIC6

MIC3

MIC5

MIC2

PHONES

MAIN OUTS

TAPE

AUX SEND

OUTPUT

INPUT

MICRO SERIES 1402-VLZ

14-CHANNEL MIC/LINE MIXER

BAL/UNBAL

ALL BAL/UNBAL

MONO

BAL

UNBAL

LEVEL

PHONES

-10

LINE IN 13-14

LINE IN 9-10

LINE IN 11-12

AUX

MON/

EFX

+20

+10

+15

NORMALLED

+15

-15 +15

-12 +12

+15

-15

9–10

MUTE

ALT 3–4

40 50 60

AUX 1 MASTER

PRE

POST

EFX

AUX

EFX TO

AUX 1

+20

MONITOR

+15

SELECT

+15

RETURNS

SOURCE

LEFT RIGHT

MAIN

12kHz

MID

2.5kHz

LOW 80Hz

PAN

SOLO

CLIP+28

12kHz

MIX

+10

-15 +15

ALT

3-4

MID

2.5kHz

-12

+12

TAPE

-2

LOW

80Hz

-4

+15

-15

-7

ASSIGN

PAN

-10

TO MAIN MIX

-20

NORMAL(AFL)

-30

LEVEL SET(PFL)

0dB=0dBu

SOLO

MODE

13–14

11–12

MUTE

POWER

RUDE SOLO LIGHT

PHANTOM

ALT 3–4

CONTROL

/ PHONES

MAIN MIX

ROOM

SOLO

1. Connecting the power cable

Connect the included power cable to the AC power supply inlet of the TRITON STUDIO, and then connect the other end of the cable to an AC outlet.

2. Analog audio output connections

Connect a set of ampliﬁed monitor speakers or your audio system to the TRITON STUDIO.

If you play back the TRITON STUDIO through your stereo audio system, be aware that high volumes may damage your speakers. Be careful not to raise the volume excessively.

Connecting the AUDIO OUTPUT (MAIN) L/MONO, R, (INDIVIDUAL) 1, 2, 3, and 4 jacks to the INPUT jacks of your mixer or powered monitor system.

L/MONO and R are the main outputs. If you are outputting in stereo, make your connections using the (MAIN) L/MONO jack and the R jack. If you are outputting in mono, make your connection to the (MAIN) L/MONO jack.

The (INDIVIDUAL) 1, 2, 3, and 4 jacks are used to output speciﬁc sounds independently. For example, you can use these to apply an external effect to the snare sound of a drum kit. When you are sampling, and want to hear the sounds played by the TRITON STUDIO’s sequencer while you sample only the external audio source, send the source to (INDIVIDUAL) 1 and 2. If you want to monitor this sound, you can connect (INDIVIDUAL) 1 and 2 jacks to your mixer, and monitor the sound via your mixer. (☞For details on routing methods, refer to p.140–)

Headphones

If you are using headphones, connect them to the headphone jack of the TRITON STUDIO.

The TRITON STUDIO’s headphone jack will output the same signal as (MAIN) L/MONO and R.

If you are using (INDIVIDUAL) 1, 2, 3, and 4, connect these jacks to your mixer, and use the headphone jack of your mixer to monitor the sound.

3. Analog audio input connections

You can input external analog audio sources, and sample them or process them with the internal effects and output them from the OUTPUT jacks.

Connect mics or the OUTPUT jacks of your external audio equipment to the AUDIO INPUT 1 and 2 jacks.

4. Digital audio input/output connections

Digital audio output

The same audio signal present at the TRITON STUDIO’s AUDIO OUTPUT (MAIN) L/MONO and R jacks can be output in digital format to a DAT, MD, or digital multitrack recorder that can accept a digital audio input with a sample frequency of 48 kHz or 96 kHz.

Use an optical cable to connect the S/P DIF OUT (MAIN) jack to the optical digital input jack of your DAT, MD, or digital multitrack recorder.

The [VOLUME] slider does not affect the volume of this output jack.

Digital audio input

TRITON STUDIO can accept a digital audio input from a DAT or other digital device that can output digital audio at a sampling frequency of 48 kHz or 96 kHz. This signal can be input to the L and R channels, then sampled or processed by the internal effects and output from the OUTPUT jacks.

Use an optical cable to connect the optical digital output jacks of your DAT etc. to the S/P DIF IN jack.

If the EXB-mLAN option is installed, digital audio can be input/output via the mLAN connector. If the EXB-DI option is installed, digital audio can be output via the DIGITAL OUT jack. (☞PG p.286)

5. Connecting pedals

Foot pedal connections

A foot pedal can be used to control various synthesis and effect parameters. Connect an optional expression pedal such as the Korg XVP-10 or EXP-2 to the rear panel ASSIGNABLE PEDAL jack. The function controlled by the foot pedal is speciﬁed in Global: P2 “Foot Pedal Assign” (☞p.125, PG p.146, 252)

Foot switch connections

A foot switch controls sostenuto, soft pedal on/off, arpeggiator on/off, to select programs or combinations, and to start/stop the sequencer etc. Connect an optional foot switch such as the Korg PS-1 to the rear panel ASSIGNABLE SWITCH jack. The function assigned to the foot switch and the polarity of the foot switch can be set in Global: P2 “Foot Switch Assign,” and “Foot Switch Polarity” (☞p.125, PG p.146,

251)

Damper pedal connections

This pedal applies a piano style damper effect as you play . Connect an optional footswitch to the DAMPER jack of the TRITON STUDIO. If a Korg DS-1H is connected, halfdamper effects can be produced. The polarity of the pedal is set in Global P2: Controller “Damper Polarity” and the sensitivity is set in Global P0 “Half Damper Calibration.” (☞PG p.137, 146)

Introduction

FeaturesFront &

rear panel

LCD screenConnectionsBasics

6. SCSI device connections

7. Connections to MIDI equip-

By connecting an external SCSI device such as a hard disk drive or CD-R/RW drive to the SCSI connector, you can manage large amounts of data on devices other than the internal hard drive. If a hard disk drive is connected, it can also be speciﬁed as the destination when sampling.

☞ For details on connecting SCSI devices, refer to PG

p.298.

About SCSI devices that can be used with the TRITON STUDIO

• To store data, the TRITON STUDIO can use either DOS-formatted SCSI disks or UDF-formatted CD-R/ RW discs.

• In some cases it will not be possible to use a DOSformat or UDF-format disk that was formatted on a personal computer. As far as possible, please use the TRITON STUDIO to format the disc.

• The TRITON STUDIO can use MO disks of 128 Mbytes, 230 Mbytes, 540 Mbytes, 640 Mbytes, and 1.3 Gbyte capacities.

ment/computers

Connections to MIDI equipment

The keyboard, controllers, and sequencer etc. of TRITON STUDIO can be used to control an external MIDI tone generator. Conversely, another MIDI keyboard or sequencer can control the tone generator of TRITON STUDIO to produce sound.

Use MIDI cables to connect the MIDI connectors of TRITON STUDIO with the MIDI connectors of your external device.

☞ PG p.258 “MIDI applications – Connecting MIDI

deveices/computers”

Connections to a computer

Your performance on the TRITON STUDIO, as well as controller and sequencer data, can be sent to a computer (connected via MIDI interface), and the tone generator of TRITON STUDIO can be played from the computer.

Use a MIDI interface to connect the MIDI connectors of TRITON STUDIO to the MIDI connectors of your computer.

☞ PG p.258 “MIDI applications – Connecting MIDI

deveices/computers”

Some USB-MIDI interfaces may not be able to transmit or receive the TRITON STUDIO’s MIDI exclusive messages.

If the EXB-mLAN option is installed, MIDI messages can be exchanged via the mLAN connector between the TRITON STUDIO and an external mLAN-compatible MIDI device or a FireWire-capable Macintosh computer. For details on connections, refer to the “EXB-mLAN owner’s manual” included with the EXB-mLAN option.

At present, a TRITON STUDIO MIDI data dump sent via the EXB-mLAN option to a computer cannot be recorded or played back by an OMS-compatible application. (The same applies to the TRITON-Rack.)

8. Installing options

The functionality of the TRITON STUDIO can be extended by installing option boards and/or sample memory. The following six types of options can be installed. For details on installation, refer to PG p.286.

• EXB-MOSS (DSP synthesizer board)

• EXB-DI (Digital interface board)

• EXB-mLAN (mLAN interface board)

• CDRW-1 (CD-R/RW drive)

• EXB-PCM series (PCM expansion boards)

• DRAM SIMM (Memory boards for sample data)

Basic concepts

Introduction

Overview of the modes

The TRITON STUDIO has a large number of functions that let you play and edit programs and combinations, record and play sequence data, record and play back samples, and manage data on disk. The largest unit used to organize these functions is called a mode. The TRITON STUDIO has seven modes.

Program mode

• Select and play programs You can choose programs from rewritable banks INTA–INT-F and EXB-A–EXB-G which contain a total of 1,664 programs, and non-rewritable bank INT-G (256 programs compatible with the GM2 standard, and nine drum programs). (The 128 programs of bank INT-F can be selected only if the EXB-MOSS option has been installed.)

• Sample or resample. For example you can sample an external audio source while listening to the performance of the arpeggiator, or resample a performance you play using a program.

• Edit a program Make settings for the oscillator, ﬁlter, amp, EG, LFO, effects, and arpeggiator.

The following multisamples are available for the oscillator.

• 429 internal multisamples (ROM, Piano)

• Expanded multisamples (when one or more EXBPCM series board are installed)

• Multisamples (RAM) that you sampled on the TRITON STUDIO or loaded in from media

• Create drum programs using a drum kit (created in Global mode)

Combination mode

• Select and play combinations A combination is a set of two or more programs (a maximum of eight), and allows you to produce complex sounds that could not be created by an individual program. You can choose combinations from rewritable banks INT-A–INT-E and EXB-A–EXB-G which contain a total of 1,536 combinations.

• Sample or resample. For example you can sample an external audio source while listening to the performance of the arpeggiators, or resample a performance you play using a combination.

• Edit a combination Make settings for volume, pan, layer/split etc. for each timbre (program), and make settings for effects and the two arpeggiators.

FeaturesFront &

rear panel

LCD screenConnectionsBasics

Analog Audio

CDRW-1

CD-ROM Write Audio CD

Ripping

SAMPLING MODE

Resampling

AUDIO INPUT

S/P DIF IN

mLAN IN

Insert Effect

IFX 1 IFX 2 IFX 3

Sample

AUDIO INPUT

S/P DIF IN

mLAN IN

Sample

IFX 4 IFX 5

GLOBAL MODE

DISK MODE

Multisample

Sample

DRUM KIT

Key

Drumsample / Sample - H

Assign

Drumsample / Sample - L

ARPEGGIATOR PATTERN

Preset Arpeggio

Pattern: P0 - 4 User Arpeggio

Pattern: U00 - 231

Hard Disk

PROGRAM

OSC 1

Multisample - H

Drum Kit

Multisample - L

FILTER1 AMP1

PITCH1

OSC 2

Multisample - H

Multisample - L

FILTER2

PITCH2

COMBINATION

TIMBRE 1

PROGRAM

TIMBRE 2

PROGRAM

TIMBRE 3

PROGRAM

TIMBRE 4

PROGRAM

TIMBRE 5

PROGRAM

TIMBRE 6

PROGRAM

TIMBRE 7

PROGRAM

TIMBRE 8

PROGRAM

SEQUENCER / SONG PLAY

TRACK 1

TRACK 2

TRACK 3

TRACK 4

TRACK 5

TRACK 6

TRACK 7

TRACK 8

PROGRAM

TRACK 9

TRACK 10

TRACK 11

TRACK 12

TRACK 13

TRACK 14

TRACK 15

TRACK 16

AMP2

PROGRAM

Insert / Master Effect IFX 1 IFX 2 IFX 3 IFX 4 IFX 5

Arpeggiator

Insert /Master Effect IFX 1

IFX 2

IFX 3 IFX 4 IFX 5

Arpeggiator - A

Arpeggiator - B

Insert /Master Effect IFX 1 IFX 2 IFX 3 IFX 4 IFX 5

Arpeggiator - A

Arpeggiator - B

MFX 1 MFX 2

MEQ

MFX 1 MFX 2

MEQ

MFX 1 MFX 2

MEQ

Only SEQ

Sequencer mode

• Use the 16-track sequencer to record and playback songs.

• Sample or resample. You can sample an external input source while listening to the song play back. You can also cause a corresponding note event to automatically be created at this time, allowing you to sample an external source just as if you were recording an audio track. (The In-Track Sampling function.) The playback of a song can also be resampled. After resampling one or more songs to the hard disk, you can use Disk mode to create an audio CD from those songs.

• Make effect settings for the song.

• You can record a performance that uses the arpeggiator(s) into a song or pattern.

• You can use a cue list to create an arrangement using individual songs for each verse, chorus, bridge, etc., and specify the number of repeats for each song.

• You can use a maximum of 20 cue lists, 200 songs, and 100 preset patterns. One song can use as many as 100 patterns.

• The TRITON STUDIO can be used as a 16-track multitimbral tone generator.

• Record patterns and assign them to individual keys, using the RPPR (Realtime Pattern Play/Recording) function.

• Perform using the RPPR (Realtime Pattern Play/ Recording) function, and adjust the various settings.

• Create drum kits using the 417 internal drumsamples (ROM). You can also use drumsamples from an optional EXB-PCM series board (if installed), or samples (RAM) that you created in Sampling mode.

• Rename program and combination categories.

• Set the function of the assignable pedals and assignable switches.

• Transmit data dumps of MIDI exclusive data.

Disk mode

• Data of each mode can be saved and loaded using the floppy disk drive, the internal hard drive, the CDRW-1 option or an external SCSI device.

• Format the above types of media. You can also manage data by copying it, etc.

• Korg, AKAI, AIFF, and WAVE format sample data can be loaded. Sample data can also be saved in Korg format, or exported in AIFF or WAVE formats.

• Songs that you created in Sequencer mode can be saved in SMF format. SMF files can be loaded as Sequencer mode songs.

• You can use the Data Filer function (to save/load MIDI exclusive data).

• WAVE files can be edited (arranged in the desired song order) to create an audio CD. Audio CDs can also be played.

Song Play mode

• SMF (Standard MIDI File) data can be played back from a floppy disk, the internal hard drive, or an external SCSI device, and you can perform along with the playback.

• Make effect settings for use in Song Play mode.

• The arpeggiator can be used while you play along with the SMF playback.

• SMF songs can be played back in succession. You can use the jukebox function to playback songs in any speciﬁed order.

Sampling mode

• Sample external audio sources (i.e., record samples). Insert effects can be applied to the external input sound while you sample.

• Edit the waveform data you sampled or waveform data that you loaded in from media, and set loop points etc.

• Edit multisamples consisting of two or more samples.

• A multisample can be converted into a program, so that a multisample created in Sampling mode can be used in the Program, Combination, Sequencer, or Song Play modes.

• Sample digital data (“rip”) directly from an audio CD. You can also play back audio CDs.

Global mode

• Make settings that affect the entire TRITON STUDIO, such as master tune and global MIDI channel.

• Create user drum kits (144 kits), user arpeggio patterns (507 patterns), and user scales (16 one-octave scales and 1 all-note scale).

About polyphony

Tone generators and oscillators

The oscillators of the TRITON STUDIO are sounded by two Tone Generators.

Each tone generator is connected to the various PCM memories as shown in the diagram below.

Tone Generator 1

• ROM: Internal PCM ROM (32 Mbytes)

• RAM: User sample memory (16 Mbytes, expandable

to a maximum of 96 Mbytes)

Tone Generator 2

• Piano: Internal Piano PCM ROM (16 Mbytes)

• EXB-PCM: Expansion PCM ROM (16 Mbytes each;

maximum of 7 boards totaling 112 Mbytes)

PCM memory

ROM (Internal PCM ROM) 32 Mbytes

RAM (User sample memory)

96 Mbytes*

* = Expandable to a maximum.

Tone Generator 1

Maximum 60 oscillators

Factory settings is 16 Mbytes

PCM memory

Piano (Internal Piano PCM ROM)

EXB-PCM (Expansion PCM ROM Slot1)

EXB-PCM (Expansion PCM ROM Slot2)

EXB-PCM (Expansion PCM ROM Slot3)

EXB-PCM (Expansion PCM ROM Slot4)

EXB-PCM (Expansion PCM ROM Slot5)

EXB-PCM (Expansion PCM ROM Slot6)

EXB-PCM (Expansion PCM ROM Slot7)

Tone Generator 2

Maximum 60 oscillators

16 Mbytes

Number of voices in each mode

The maximum number of voices that can be played simultaneously will depend on the oscillator mode of the program.

• For a Single/Drum-mode program, 1 oscillator = 1 voice

• For a Double-mode program, 2 oscillators = 1 voice

Program mode

Single/Drum-mode

Normally, 60 voices can be used. However a maximum of 120 voices will be available if, for example, ROM or RAM is used for the High MS, and Piano or EXB-PCM is used for the Low MS, and you use velocity switching to play the two tone generators.

Double mode

Normally, 30 voices can be used. However if OSC1 is sounded by one tone generator and OSC2 is sounded by the other tone generator (e.g., OSC1=ROM, OSC2=Piano), a maximum of 60 voices can be used. If OSC1 and OSC2 use one tone generator (e.g., OSC1=ROM, OSC2=ROM), then a maximum of 30 voices can be used. This can also be increased by velocity switch and velocity zone settings.

Combination, Sequencer, and Song Play modes

Depending on the oscillator mode of the programs you are using, the maximum number will vary between 60 voices and 120 voices.

(Example)

For single-mode programs that use ROM or RAM, a total maximum of 60 voices For single-mode programs that use Piano or EXB-PCM, a total maximum of 60 voices Total 120 voices

For double-mode programs that use ROM or RAM, a total maximum of 30 voices For double-mode programs that use Piano or EXB-PCM, a total maximum of 30 voices Total 60 voices

Introduction

FeaturesFront &

rear panel

LCD screenConnectionsBasics

Total maximum 120 oscillators

Each tone generator is able to simultaneously sound up to 60 oscillators (i.e., to play the PCM data connected to that tone generator). Together, the two tone generators are able to sound up to 120 oscillators. However, it is not possible, for example, to simultaneously play 61 or more oscillators from only the internal PCM ROM.

Sampling mode

Tone generator 1 is always used in Sampling mode.

Mono samples/multisamples

60 voices.

Stereo samples/multisamples

30 voices.

Basic operation

1. Selecting modes

In order to use a particular function on the TRITON STUDIO, you must ﬁrst select the appropriate mode. Press one of the front panel mode keys ([COMBI] key – [DISK] key) to enter the corresponding mode.

[COMBI] key: Combination mode [PROG] key: Program mode [SEQ] key: Sequencer mode [SAMPLING] key: Sampling mode [S.PLAY] key: Song Play mode [GLOBAL] key: Global mode [DISK] key: Disk mode

3 In the LCD screen, press the desired page.

You will jump to the selected page, and it will appear in the display. As an example here, press P1: Edit-Basic.

• As a reminder, the page that was selected before you pressed the [MENU] key will have its top right corner bent over.

• You can also jump to the corresponding page by pressing a numeric key [0]–[9]. (P0–P9 correspond to numeric keys [0]–[9].)

• By holding down the [MENU] key and pressing a numeric key [0]–[9], you can jump directly to the corresponding page without displaying the page jump menu.

2. Selecting pages

Each mode has a large number of parameters, which are grouped into pages. These are further subdivided by tabs into up to eight tab pages.

1 Make sure that the desired mode is selected.

To select a mode, press the appropriate mode key ([COMBI] key – [DISK] key). Here we will use Program mode as an example for our explanation. Press the [PROG] key.

2 Press the [MENU] key.

The page jump menu will appear.

In Disk mode there is only one page, so the page jump menu will not appear.

When you press the [EXIT] key, you will return to P0 from any page.

4 Press one of the tabs located at the bottom of the

page.

As an example here, press the OSC Basic tab which is the second from the left.

• Some pages have no tabs.

5 To move to a page with a different ‘P’ number, press

the [MENU] key and continue from step 2 of this procedure.

3. Setting a parameter

The parameter value in the edit cell can be set by using the front panel VALUE controllers ([VALUE] slider, [ ][ ] keys, [VALUE] dial, numeric keys [0]–[9], [–] key, [ENTER] key, and [./10’s HOLD] key). As necessary, you can also use the [BANK] keys and the [COMPARE] key. For some parameters, the value can be set by pressing a popup button to display the popup menu and then selecting a parameter value, or by holding down the [ENTER] key and playing a note on the keyboard to input a note number or velocity value.

VALUE controllers

[VALUE] slider

Use this when you wish to make major changes in the value. In Program mode and Combination mode, this slider can also be used as a control source for alternate modulation or dynamic modulation. (This is active in Program or Combination P0: Play when the “Program Select” or “Combination Select” (the large characters in the upper part of the LCD) is selected).

[ ][ ] keys

Use these when you wish to make small changes in the value.

[VALUE] dial

Use this when you wish to make large changes in a value.

Numeric keys [0]–[9], [ENTER] key, [–] key, [./10’s HOLD] key

Use these when you know the parameter value that you wish to input. After using the numeric keys [0]–[9] to input a number, press the [ENTER] key to ﬁnalize the parameter value. Use the [–] key to enter negative numbers. Use the [./10’s HOLD] key to enter a decimal point. In Program and Combination mode P0: Play page other than the Sampling page, the [./10’s HOLD] key performs the 10’s Hold function. (☞p.23, 24)

BANK [INT-A]–[INT-G], [EXB-A]–[EXB-G] keys

The BANK [INT-A]–[INT-G], [EXB-A]–[EXB-G] keys are used in Program mode to select the program bank and in Combination mode to select the combination bank. In combination, Sequencer and Song Play modes, these keys are used to select the bank of the program used by each timbre/track.

[COMPARE] key

Use this key when you wish to compare the edits you have made to a program or combination’s sound with the un-edited original (i.e., the sound that is written into memory).

When editing a program or combination, press this key. The LED will light, and the last-written settings for that program number or combination number will be recalled. When you press the [COMP ARE] key once again, the LED will go dark and you will return to the settings that you were editing. If you edit the settings that are recalled by pressing the [COMPARE] key (i.e., the settings that are written into memory), the LED will go dark, and it will not be possible to return to the previous edits by pressing the [COMPARE] key again.

In Sequencer mode, you can use the [COMPARE] key to make “before and after” comparisons immediately after using realtime recording or step recording to record a song, or after performing a track edit operation. For example, this can be used effectively when realtimerecording a track for a song.

1 Realtime-record a track. (Take 1) 2 Once again, realtime-record on the same track. (Take 2) 3 Press the [COMPARE] key. The LED will light, and

take 1 will be recalled.

4 Press the [COMP ARE] key once again. The LED will go

dark, and take 2 will be recalled.

5 If at step 3 you once again realtime-record on the

same track (take 3), the object of the Compare function will now be take 1. If at step 4 you once again realtime-record on the same track (take 3), the object of the Compare function will be take 2.

In this way, the Compare function lets you recall the previous recording or the previous state of event editing.

The Compare function is not available Sampling, Song Play, Global, or Disk modes.

Introduction

FeaturesFront &

rear panel

LCD screenConnectionsBasics

Popup buttons and popup menus

You can press a popup button to access a popup menu, and then set parameter values (☞p.8).

Keyboard input

When inputting a note number or a speciﬁc velocity as the value of a parameter, you can use the keyboard to input the setting. Hold down the [ENTER] key and play the note that you wish to enter as a value. The note number or velocity value will be input. When the Global P5: Drum Kit page is displayed, you can hold down the [ENTER] key and play a note to recall the settings that have been assigned to that note. In Sampling mode, you can hold down the [ENTER] key and play a note to recall the index that is assigned to that note.

Quick Start

Turning the power on/off

Before you turn on the power, make sure that the desired connections have been made as described in “Connections” (☞p.10).

1. Turning the power on

1 Press the rear panel [POWER] switch to turn on the

power.

The LCD screen will display the name of your model, and the software version.

(The following graphic shows the factory-set LCD screen. The version number is subject to change without notice.)

2 Turn on your powered monitors or stereo amp. 3 Raise the TRITON STUDIO’s [VOLUME] slider to an

appropriate level, and adjust the volume of your powered monitors or stereo amp.

If an external SCSI device is connected, turn on the power of the external SCSI device and then wait ten seconds or longer before you turn on the power of the TRITON STUDIO.

2. Turning the power off

1 Set the front panel [VOLUME] slider and the volume

of your powered monitor or stereo amp to zero.

2 Turn off the power of your powered monitor or stereo

amp.

3 Press the TRITON STUDIO’s [POWER] switch to

turn off the power.

Never turn off the power while data is being written into internal memory. If the power is turned off while processing is being performed, memory write operations will not be completed correctly. If this occurs, TRITON STUDIO will automatically initialize its internal memory so that it will operate correctly. This is not a malfunction.

While data is being written, the LCD screen will indicate “Now writing into internal memory.” Data is written into internal memory by the following operations.

• Writing (updating) a Program, Combination, Global Setting, Drum Kits, or Arpeggio Patterns

• Loading Program, Combination, Global Setting, Drum Kit, or Arpeggio Patterns data in Disk mode

• Receiving a MIDI data dump for Program, Combination, Global Setting, Drum Kit, or Arpeggio Patterns

• When using Sampling mode page menu commands (“Move Sample,” “Move MS,” “Convert To Program,” “Time Slice,” etc.) to simultaneously modify programs or drum kits.

• When sampling to RAM in Program, Combination, or Sequencer mode, if you simultaneously convert the sample to a program.

Never turn off the power while the hard disk or other media is being accessed. If you turn off the power while media is being accessed, the media may become unusable.

You can set the “Power On Mode” (Global P0: System Preference page) so that the mode and page that had been selected when you turned the power off will appear when the power is turned on. (

☞p.125

)

Information displayed in the LCD screen when various options or SIMM modules are installed

The TRITON STUDIO allows you to install separately sold options or sample memory (RAM) boards. When the power is turned on, the type of installed options will be displayed. After installing an option, be sure to check this display to verify that the option was installed correctly. If the option is not displayed here even though it was installed, it was not installed correctly. Turn off the power and re-install the option. (☞For details on installing an option, refer to PG p.286)

OPTIONS

CDRW-1: The CDRW-1 option is installed. EXB-MOSS: The EXB-MOSS option is installed. EXB-DI: The EXB-DI option is installed. EXB-mLAN: The EXB-mLAN option is installed.

SIMM

Slot 1...3 (** MB): Sample memory (RAM)’s are installed in SIMM slots 1–3. The capacity of each SIMM is shown in parentheses. When shipped from the factory, a 16 MB SIMM is installed in SIMM slot 1.

EXB-PCM

Slot 1...7 (****): PCM expansion boards are installed in EXB-PCM series slots 1–7. The model number of each board is shown in parentheses.

Quick Start

Power on/offDemo songPlaying

programs

Playing

combinations

Using

controllers

ArpeggiatorRPPRProgram

editing

Combination

SamplingSong

Listening to a demo song

Here’s how to listen to demo songs on the TRITON STUDIO. This section explains how the demo song data can be loaded from the internal hard drive using the Disk mode, and played back in Sequencer mode. We will explain how to play back songs individually, or consecutively using the Cue List function.

1. Loading the demo song data in Disk mode

1 Press the [DISK] key (the LED will light).

You will enter Disk mode.

2 Press the Load tab.

The Disk, Load page will appear.

3 Press the drive select popup button, and select HDD:

(internal hard drive) which is the second from the bottom in the popup menu.

File information for the internal hard disk will be displayed.

4 Press the FACTORY directory, and then press the

Open button.

You will move to the next lower directory.

5 Press “PRELOAD.SNG.”

The display will be highlighted. This is the demo song data.

3

Drive Select

8 Check the data that you want to load along with the

song.

In this case, make the settings shown below.

• Check “Load PRELOAD.PCG too”

If this is checked, the .PCG ﬁle will be loaded along with the .SNG ﬁle when you execute the Load operation.

• Check “Load PRELOAD.KSC too”

If this is checked, the .KSC ﬁle will be loaded along with the .SNG ﬁle when you execute the Load operation.

The “Select .SNG Allocation” radio buttons specify how the song data will be loaded into internal memory. For this example, select Clear.

The “Select .KSC Allocation” radio buttons specify how the sample data will be loaded into sample memory (RAM). For this example, select Clear.

If you load with “Select .KSC Allocation” set to Clear, the sample data will be loaded from the beginning of the sample memory (RAM) area.

If you load with “Select .KSC Allocation” set to Append, the sample data will be loaded into the unused portion of the sample memory (RAM).

If sample memory (RAM) already contains sample data that you do not wish to lose, either select Append, or save the sample data to a internal hard disk (☞p.59).

9 Press the OK button.

The data will be loaded in the order of PRELOAD.PCG, PRELOAD.SNG, and PRELOAD.KSC.

6 Press the page menu button.

The page menu commands will be displayed.

7 Press “Load selected.”

A dialog box will appear.

2. Selecting and playing a demonstration song in Sequencer mode

1 Press the [SEQ] key (the LED will light).

You will enter Sequencer mode.

Song Select

Popup button

2 Access the P0: Play/REC, Program T01–08 page.

If this is not already displayed, press the [EXIT] key and then press the Prog. 1–8 tab.

3 Select the demonstration song that you want to play

back.

Press the “Song Select” area to highlight the song name. Use the numeric keys to input a song number, and press the [ENTER] key. For example to select the second song, press numeric key [1] and then press the [ENTER] key. (Song “S001” will be selected.)

Alternatively, you can select a song from the popup menu.

Press the “Song Select” popup button to access the popup menu. In the popup menu, press the song that you want to play back. The popup menu will close, and the selected song will be displayed.

4 Press the SEQUENCER [START/STOP] key.

The LED will blink and the selected song will play.

5 If you wish to stop playback, press the SEQUENCER

[START/STOP] key once again.

Playing a cue list

Here’s how to playback the demonstration cue list. A cue list allows you to playback multiple songs in succession, and specify the number of times that each song will be repeated.

1 Press the [MENU] key.

The LCD screen will show a list of the pages in Sequencer mode.

2 Press either “P1: Cue List” or numeric key [1].

The P1: Cue List page will appear.

3 Press the SEQUENCER [START/STOP] key. 4 To stop playback, press the SEQUENCER [START/

STOP] key once again.

If the last step is End, playback will stop automatically when it reaches that point. If the last step is Continue to Step01, playback will return to the ﬁrst step and continue.

Contents of the disk

The internal hard drive contains the following data. The included TNSFD-00P ﬂoppy disk contains the same data as the PRELOAD.PCG ﬁle in the internal hard drive.

PRELOAD.PCG

• Preloaded data (programs, combinations, drum kits, arpeggio patterns, global settings)

• Program data (programs using the sampling function) used by the demonstration songs

When you load PRELOAD.PCG, it will be written into internal memory. This data is preserved even if the power is turned off.

When you load PRELOAD.PCG, the data existing in the TRITON STUDIO before loading this data will be replaced. If you wish to keep this data, you must ﬁrst save it before loading PRELOAD.PCG. (☞p.59)

PRELOAD.SNG

• Demonstration song and demonstration cue list data

When you load PRELOAD.SNG, it will be written into internal sequencer memory. This memory is volatile, and the data will be lost when the power is turned off.

Whether or not previously-written data will be erased when you load PRELOAD.SNG is determined by the “Select .SNG Allocation” setting. Refer to step 8 of the procedure on p.20.

PRELOAD.KSC

• Sample program data used by the demonstration songs

When you load PRELOAD.KSC, its multisample/ sample data will be written into the TRITON STUDIO’s sample memory (RAM). This data will be lost when the power is turned off.

Whether or not previously-written data will be erased when you load PRELOAD.KSC is determined by the “Select .KSC Allocation” setting. Refer to step 8 of the procedure on p.20.

Quick Start

Power on/offDemo songPlaying

programs

Playing

combinations

Using

controllers

ArpeggiatorRPPRProgram

editing

Combination

SamplingSong

Selecting and playing a program

In Program mode you can select and play a program from banks INT-A–EXB-G. Here we will show how to select preset programs. Try selecting various programs and hear how they sound.

Selecting a program

1 Press the [PROG] key (the LED will light).

You will enter Program mode. Make sure that the upper line of the LCD screen indicates “PROGRAM P0: Play.” If this is not selected, press the [EXIT] key.

Category popup button

Program Select

Popup button

Selecting the program bank

In Program mode, you can switch banks to select programs from another bank. With the factory settings, banks INT-A–INT-D contain preloaded programs, and banks G, g(1)–G(9), and g(d) contain preset programs. (☞table below)

5 Press a PROG BANK [INT-A]–[EXB-G] key to select a

bank.

The LED will light, and the selected bank will be displayed in the left of the LCD screen. For example to select bank INT-B, press the BANK [INT-B] key. (The [INT-B] key’s LED will light, and the upper left of the LCD screen will indicate Bank INT-B.)

Bank Prog. No. Explanation

INT-A...INT-D (I-A...I-D) 000...127 Preloaded programs (☞VNL) INT-E (I-E) 000...127 User programs (e.g., pro-

grams that use samples you created)

INT-F (I-F) 000...127 EXB-MOSS programs G 001...128 GM2 basic programs

(☞VNL)

g(1)...(9) (☞VNL) GM2 variation programs g(d) (☞VNL) GM2 drum programs EXB-A...EXB-H (E-A...E-H) 000...127 User programs, EXB-PCM

series programs

Selecting a program number

2 Make sure that “Program Select” is selected.

If this is not selected, press “Program Select” to highlight it.

3 Use the VALUE controllers to select the program that

you wish to play.

Y ou can use the following methods to select a program.

• Turn the [VALUE] dial.

• Press the [ ] or [ ] key.

• Use numeric keys [0]–[9] to specify the number, and press the [ENTER] key.

4 Audition the sound.

Play a note on the keyboard to hear the sound you selected.

Try operating various controllers to hear how the sound will change. (☞p.25)

INT-A...INT-D

With the factory settings, these banks contain a wide variety of preloaded programs that use the internal PCM ROM multisamples, effects, and arpeggio patterns.

INT-E

This bank is used to store programs that you created, for example from samples that you created.

INT-F

This can be selected only if the EXB-MOSS option is installed. If the option is not installed, INT-F cannot be selected.

G, g(1)...g(9), g(d)

These banks contain 128 capital programs, 128 variation programs, and 9 drum programs, all compatible with the GM sound map. The programs of these banks are all read-only. These programs are preset programs. Each time you press the [G] key, the bank will change in the following order. G→g(1)→g(2)→g(3)→g(4)→g(5)→g(6)→g(7)→g(8)→ g(9)→g(d)→G... (The LED will light, and the corresponding bank G, g(1)–g(9), g(d) will be displayed in the upper left of the LCD screen.)

EXB-A...EXB-G

With the factory settings, these banks do not contain programs. These banks are used to load programs for the EXB-PCM series options, or they can be used to hold programs that you create.

128 programs can be written or rewritten to each bank INT-A–INT-E, EXB-A–EXB-G (for a total of 1,536).

☞ For details of the program names etc., refer to “VNL”

(Voice Name List).

Selecting programs by category

You can select programs by category such as keyboard, organ, bass, and drums. With the factory settings, the preloaded programs and preseted program are organized into sixteen categories. You can choose a category, and then select from the programs in that category.

1 Press the Category popup button.

A tabbed “Category/Program Select” popup menu will appear.

In the above graphic, category 15: Drums is selected. The center area shows the programs contained in that category.

2 Press the tabs located at the left and right to select a

different category.

The name of the selected category will be displayed in full in the upper right.

3 Press a program name in the center area to select a

program.

The selected program will be highlighted.

If you wish to change a program to be in a different category, you can choose the new category in the dialog box when writing the program (☞p.56). Category names can be changed in “Category Name” (Global P4).

4 When you are satisﬁed with the selected program,

press the OK button to close the popup menu.

If you press the Cancel button, the selection you made here will be discarded, and you will return to the program that had been selected before you opened the popup menu.

Selecting programs from the “Program Select” popup menu

Y ou can select programs from a list or ganized by program bank.

1 Press the “Program Select” popup button.

A tabbed “Bank/Program Select” popup menu will appear.

In the graphic, bank G is selected. The center area shows the programs contained in that bank.

The Variation button will be displayed only when bank G is selected. Each time you press this button, the bank will change in the order of G→g(1)→g(2)...g(8)→g(9)→G...

2 Press the tabs located at the left and right to select

banks.

3 Press program names in the center area to select pro-

grams.

The selected program will be highlighted.

4 When you are satisﬁed with the selected program,

press the OK button to close the popup menu.

If you press the Cancel button, the selection you made here will be discarded, and you will return to the program that had been selected before you opened the popup menu.

Using 10’s HOLD to select programs

If you press the [./10’s HOLD] key to turn on the 10’s Hold function (the LCD screen will indicate ), the ten’s place of the program number will be ﬁxed, and you will be able to switch programs simply by pressing a single numeric key . Each time you press a numeric key, the one’s place will change. You can also use the [ ][ ] keys to change the value of the ten’s place.

1 Press the [./10’s HOLD] key to make the display indi-

cate .

The ten’s place of the program number will be held (ﬁxed).

2 By pressing a numeric key [0]–[9], you can input the

one’s place in a single action.

3 You can use the [ ][ ] keys to change the value of

ten’s place.

4 To cancel the 10’s HOLD function, press [./10’s

HOLD] to erase the

display.

Using a connected switch to select programs

An optional on/off-type switch (such as the Korg PS-1) can be connected to the rear panel ASSIGNABLE SWITCH jack, and assigned a program select function. (☞p.125)

Quick Start

Power on/offDemo songPlaying

programs

Playing

combinations

Using

controllers

ArpeggiatorRPPRProgram

editing

Combination

SamplingSong

Selecting programs from a MIDI device

MIDI program change messages can be transmitted from an external MIDI device, and received by TRITON STUDIO to select programs.(☞PG p.260)

Selecting and playing a combination

In Combination mode you can select and play a combination from banks INT-A–EXB-G. Try selecting various combinations and hear how they sound.

Selecting a combination

1 Press the [COMBI] key (the LED will light).

You will enter Combination mode. Make sure that the upper line of the LCD screen indicates “COMBINATION P0: Play.” If this is not selected, press the [EXIT] key.

Category popup button

Combination Select

Popup button

Bank/Program (Program Select)

Selecting a combination number

2 Make sure that “Combination Select” is selected.

If this is not selected, press “Combination Select” to highlight it.

3 Use the VALUE controllers to select the combination

that you wish to play.

“Selecting a program” ☞p.22 3

4 Audition the sound.

Play a note on the keyboard to hear the sound you selected. Try operating the various controllers and listen to how the sound changes. (☞p.25)

Selecting the combination bank

In Combination mode, you can switch banks to select combinations from another bank. With the factory settings, banks INT-A–INT-D contain combinations. (☞table below)

5 Press a COMBI BANK [INT-A]–[EXB-G] key to select

a bank.

The LED will light, and the selected bank will be displayed in the left of the LCD screen. For example to select bank INT-C, press the BANK [INT-C] key. (The [INT-C] key will light, and the upper left of the LCD screen will indicate Bank INT-C.)

Bank Prog. No. Explanation

INT-A...INT-D (I-A...I-D) 000...127 Preloaded combinations INT-E (I-E) 000...127 User combinations, EXB-

EXB-A...EXB-G 000...127 User combinations, EXB-

MOSS combinations

PCM series combinations

INT-A...INT-D

With the factory settings, these banks contain a wide variety of preloaded combinations that use multiple programs, effects, and arpeggio patterns.

INT-E

With the factory settings, this bank does not contain combinations. This bank can be used to load combinations that use programs of the EXB-MOSS option, or to store combinations that you created.

EXB-A...EXB-G

With the factory settings, these banks do not contain combinations. These banks can be used to load combinations that use programs of the EXB-PCM option boards, or to store combinations that you have created.

128 programs can be written or rewritten to each bank INT-A–INT-E, EXB-A–EXB-G (for a total of 1,536).

☞ For details of the combination names etc., refer to

“VNL” (Voice Name List).

Selecting combinations by category

You can select combinations from any of the sixteen categories in the same way as for programs. With the factory settings, all the preloaded combinations are organized into sixteen categories. You can choose a category, and then select from the combinations in that category.

“Selecting programs by category” ☞p.23

Using 10’s HOLD to select combinations

You can ﬁx the ten’s place of the combination number, so that a combination can be selected simply by pressing a numeric key once to change the one’s place.

“Using 10’s HOLD to select programs” ☞p.23

Using a connected switch to select combinations

An optional on/off type foot switch such as the Korg PS-1 can be connected to the rear panel ASSIGNABLE SWITCH jack, and used to select combinations. (☞p.125)

Selecting combinations from a MIDI device

MIDI program change messages can be transmitted from an external MIDI device, and received by TRITON STUDIO to select combinations. (☞PG p.260)

Using controllers to modify the sound

＋

The TRITON STUDIO provides various controllers – a joystick, the ribbon controller, the SW1 and SW2 switches, and the REALTIME CONTROL [1], [2], [3], [4] knobs – that let you modify the tone, pitch, volume, or effects in realtime while you play. Each time you select a program or combination, try out these controllers to hear how they affect the sound.

Tonal changes etc. produced by these controllers can be recorded on the internal sequencer or on an external MIDI sequencer.

Joystick

＋Y＋Y

−X−X ＋

X＋X

Ribbon controller

−X−X ＋＋X＋X0

Move your ﬁnger to the left and right on the ribbon controller to apply an effect. Normally, this is used to control pitch, volume or ﬁlter etc.

Y ou can use the Lock function of [SW1] or [SW2] keys to hold the effect even after you release your ﬁnger from the ribbon controller . For the pr ocedur e, refer to “The Lock function” on the following page.

You can use the ribbon controller as a source for alternate modulation or effect dynamic modulation, to control program parameters or effect parameters.

Quick Start

Power on/offDemo songPlaying

programs

Playing

combinations

−Y

JS(+X): Move the joystick toward the right to apply an

effect. Normally this is used to control the pitch (bend up).

JS(–X): Move the joystick toward the left to apply an

effect. Normally this is used to control the pitch (bend down).

JS(+Y): Move the joystick away from yourself to apply

an effect. Normally this is used to control the oscillator LFO (vibrato).

JS(–Y): Move the joystick toward yourself to apply an

effect. Normally this is used to control ﬁlter LFO (wah).

Y ou can use the Lock function of [SW1] or [SW2] keys to hold the effect in the current position of the joystick. For the procedure, refer to “The lock function” on the following page.

Y ou can use the joystick as a source for alternate modulation or effect dynamic modulation, to control program parameters or effect parameters.

SW1, SW2

Y ou can use these keys as sources for alternate modulation or effect dynamic modulation to control program parameters or effect parameters.

These switches can also be used to switch the octave, to turn portamento on/off, or to lock the position of the ribbon controller or after touch lock function (☞p.26).

You can specify the way in which the [SW1] and [SW2] keys will operate: either Toggle, when the assigned func- tion will be switched between on and off each time the key is pressed, or Momentary, when the assigned function will be active on only as long as you hold down the switch.

In Program mode, the function of the [SW1] and [SW2] keys can be checked in the P0: Play, Performance Edit page. (☞p.27)

When you write a program or combination, the on/ off status of the [SW1] and [SW2] keys is saved.

For details on making these settings, refer to “Setting the function of [SW1] and [SW2]” (☞p.145).

Using

controllers

ArpeggiatorRPPRProgram

editing

Combination

SamplingSong

The Lock function

Joystick

1 Select program bank INT-A001: Acoustic Piano, and

play the keyboard.

T o select a program, make sure that you are in Pr ogram mode, and press the BANK [INT-A] key, numeric key [1], and then the [ENTER] key.

2 Move the joystick toward yourself (the –Y direction).

The modulation will deepen, and at the same time, resonance will be applied to give a unique character to the sound.

3 While holding the joystick toward yourself, press the

[SW2] switch (The [SW2] key LED will light).

The modulation effect at this point will be maintained. (Lock function)

The Lock function can also be applied to aftertouch. If the [SW1] or [SW2] switch is assigned to After Touch Lock, the effect produced by pressing down on the keyboard can be held by turning on the [SW1] or [SW2] switch. For details on the [SW1] and [SW2] switch functions, refer to PG p.249.

REALTIME CONTROLS [1], [2], [3], [4]

These knobs can be used to control the ﬁlter cutoff frequency and resonance, the amp and ﬁlter EG, volume, portamento time, pan, pitch LFO, or the send levels to the master effects, etc.

1 Press the [REALTIME CONTROLS] key to

switch the function of the realtime controllers to Amode or B-mode.

Each time you press the key , A-mode or B-mode will be alternately selected, and the corresponding LED will light.

4 Release the joystick, and play the keyboard.

The modulation will stay the same as it was when the [SW2] key was pressed. Moving the joystick toward yourself will not affect the sound.

5 Press the [SW2] key once again to release the Lock

function.

Ribbon controller

Make sure that the INT-A001: Acoustic Piano program is selected.

1 Press the [SW2] key. (The [SW2] key LED will light.) 2 Touch the ribbon controller, and move your ﬁnger to

left and right.

Movement in the +X direction will brighten the tone, and movement in the –X direction will darken the tone.

3 Take your ﬁnger away from the ribbon controller.

The sound will remain as it was before you removed your ﬁnger. (Lock function)

4 Press the [SW2] key once again to release the Lock

function.

In the LCD screen, SW2 indicates JS–Y & Ribbon Lock. This means that the [SW2] key is assigned to

control the Lock function for the joystick –Y direction and the ribbon controller (☞PG p.249). The key will operate in Toggle mode. If you move the joystick in the –Y direction, press the [SW2] key to turn on the Lock function, then operate the ribbon controller, and ﬁnally release both controllers, the sound you modiﬁed by the two controllers will be maintained.

In many programs and combinations, the [SW2] key is assigned to control the Lock function for the joystick –Y direction and the ribbon controller.

2 Rotate the desired knob to control the sound, etc.

A-mode controls

In A-mode, knobs [1]–[4] will control/edit the following functions.

Placing the knobs in the center (12 o’clock) position will produce the values speciﬁed by the program parameters.

Knob [1]: LPF CUTOFF

Adjusts the cutoff frequency of the low pass ﬁlter. When you adjust the cutoff frequency of the ﬁlter, the brightness of the sound will change. The effect will depend on the settings of the program parameters, but normally , r otating the knob toward the left will darken the sound, and rotating it toward the right will brighten it.

Level

LPF

Frequency

Cutoff frequency

Knob [2]: RESONANCE/HPF

Adjust the resonance level of a low pass ﬁlter or the cutoff frequency of a high pass ﬁlter. The content that is controlled will depend on the ﬁlter type speciﬁed by the program. By adjusting the ﬁlter resonance level, you can increase or decrease the resonance level to add a unique character to the sound.

HighLow

Adjusting the cutoff frequency of the high-pass ﬁlter will modify the fullness of the sound from which the low frequency range has been ﬁltered out.

Level

LPF HPF

Cutoff frequency

Knob [3]: EG-INTENSITY

Adjust the ﬁlter EG intensity (the depth at which the ﬁlter EG is applied). Rotating the knob will affect the depth of the ﬁlter EG. Normally, rotating the knob toward the left will make the ﬁlter EG apply less deeply , and rotating it toward the right will make the ﬁlter EG apply more deeply. Since the ﬁlter EG will operate based on the cutoff frequency of the ﬁlter, knobs [1] and [3] will work together to control the tonal changes produced by the ﬁlter.

Level

Time

Viewing the parameters that are assigned to [SW1], [SW2] keys, and the REALTIME CONTROLS B-mode

In Program mode, the B-mode functions of the REALTIME CONTROLS knobs [1], [2], [3], and [4] and [SW1]/ [SW2] keys can be veriﬁed in the P0: Play, Performance Edit page.

Functions assigned to the B-mode knobs [1]–[4]

Functions assigned to the [SW1] and [SW2] keys

[VALUE] slider

When a program number is selected in Program P0: Play page, or when a combination number is selected in Combination mode page P0: Play page, you can use the [VALUE] slider as a source for alternate modulation or effect dynamic modulation, and control program parameters or effect parameters.

Quick Start

Power on/offDemo songPlaying

programs

Playing

combinations

Using

controllers

ArpeggiatorRPPRProgram

Knob [4]: EG-RELEASE

Adjusts the release times of the ﬁlter EG and the amp EG. This will determine the amount of time from note-off until the sound disappears. When you adjust the knob, the release times of the ﬁlter EG and the amp EG will change. Normally, rotating the knob toward the left will shorten the release time, and rotating it toward the right will lengthen the release time.

note-on

Level

Attack Level

Decay Time

Attack Time

Start Level

Break Level

Sustain Level

Slope Time

note-off

Release Level

Release Time

Time

B-mode controls

Using these knobs, you can control parameters such as volume, portamento time, pan or ﬁlter and amp EG, pitch LFO, and master effect send levels etc. The B-mode function settings are made for each individual program, combination, or song. In Sampling mode and Song Play mode, the B-mode functions are set for the entire mode (☞p.145).

Keyboard

Velocity

The force with which you initially strike a note can apply an effect. Normally this is used to control volume, or the speed or sensitivity of the EG.

After Touch

This effect can be applied by varing the pressure on a key that is already being held down. Normally this is used to control volume, tone (cutoff frequency), or LFO sensitivity etc.

Note Number

Varing amounts of an effect will be applied depending on the position of the key on the keyboard. Normally this is used to control volume, tone (cutoff frequency), LFO sensitivity, and EG sensitivity etc.

This can be used as a source for alternate modulation or effect dynamic modulation, to control program parameters or effect parameters.

editing

Combination

SamplingSong

Foot pedals/Switch

Damper Pedal

An optional switch-type damper pedal such as the Korg DS-1H can be connected to TRITON STUDIO. If a DS-1H is connected, it will function as a half-damper pedal. The half-damper function cannot be controlled by other pedals.

Assignable Foot Switch

If an optional foot switch such as the Korg PS-1 is connected to the rear panel ASSIGNABLE SWITCH jack, an assigned function can be switched on/off using the foot switch. The function of the foot switch is assigned in Global P2: Controller “Foot SW Assign” (☞p.125).

Assignable Foot Pedal

An optional expression pedal such as the Korg EXP-2 foot controller or Korg XVP-10 EXP/VOL pedal can be connected to the rear panel ASSIGNABLE PEDAL jack, and used to apply an effect.

The function of the foot pedal is assigned in Global P2: Controller “Foot Pedal Assign” (☞p.125).

ARPEGGIATOR [TEMPO] knob, [GATE] knob, [VELOCITY] knob

These knobs control the arpeggiator in realtime. For details on operation, refer to the following page.

Using the arpeggiator while you play

The arpeggiator is a function that automatically generates arpeggios (broken chords). Most arpeggiators produce an arpeggio when you play a chord on the keyboard.

The chord you played on the keyboard is sounded as an arpeggio (broken chord)

In addition to this, the TRITON STUDIO’s arpeggiator is a polyphonic arpeggiator that is able to produce a variety of chordal transformations or phrases based on the pitch or timing of the notes you play on the keyboard. These functions let you use the arpeggiator to play a wide range of patterns including drum or bass phrases, and guitar or keyboard backing riffs. It is also effective to use the arpeggiator as part of the sound-creating process when creating subtly-moving pads, synth-sounds, or sound effects.

The TRITON STUDIO features a Dual Arpeggiator that lets you simultaneously use two arpeggio patterns in Combination mode, Sequencer mode, and Song Play mode. You can take advantage of this in many ways, such as applying separate arpeggio patterns to a drums program and a bass program, or using a keyboard split or velocity to switch between two arpeggio patterns.

The TRITON STUDIO provides ﬁve preset arpeggio patterns (the standard UP, DOWN, ALT1, ALT2, and RAN- DOM), and lets you program and store 507 user arpeggio patterns. With the factory settings, these contain a wide variety of preloaded user arpeggio patterns (☞VNL). An arpeggio pattern that you create can also be stored as a user arpeggio pattern (☞p.134).

Using the arpeggiator in Program mode

1 Press the [PROG] key to enter Program mode, and

select a program. (“Selecting and playing a program”

☞p.22) As you select various programs, you will notice that

the ARPEGGIATOR [ON/OFF] key LED will light for some programs. (“Linking the arpeggiator to program, combinations” ☞p.32) When you press the keyboard, the arpeggiator will start. For other programs, you can press the ARPEGGIA T OR [ON/OFF] key (the LED will light) to turn on the arpeggiator. Arpeggios will begin sounding when you play the keyboard.

2 As described in the following sections “Settings

using controllers” and “Settings in the LCD screen,” move the controllers or modify the parameters to change the way in which the arpeggios are played.

Settings using controllers

Arpeggiator on/off

Each time you press the ARPEGGIATOR [ON/OFF] key, the arpeggiator will be switched on/off.

When the arpeggiator is turned on (the LED will light) and the selected arpeggio pattern will begin sounding when you play the keyboard.

Quick Start

Power on/offDemo songPlaying

programs

Playing

combinations

Using

controllers

ArpeggiatorRPPRProgram

editing

Combination

The on/off status is saved when you write each program.

In Combination, Song, and Song Play mode, depending on the arpeggiator A, B settings, the arpeggio may not start when you press the ARPEGGIATOR [ON/ OFF] key to turn it on (☞p.31).

Adjusting the arpeggiator tempo

Rotate the ARPEGGIATOR [TEMPO] knob to adjust the tempo.

The “ =” display in the upper right of the LCD will change. The tempo can be adjusted over a range of 40–

240. Y ou can also set the tempo by selecting “ =,” using numeric keys [0]–[9] to enter a tempo, and pressing the [ENTER] key. The tempo can also be set by the [VALUE] slider, [VALUE] dial, or [ ][ ] keys. The LED will blink in time with the speciﬁed tempo.

The knob setting is saved when you write each program.

SamplingSong

The arpeggio playback speed is affected by the “Reso” setting (Program P0: Play, Arpeggio page), or “Resolution” (P7: Edit-Arpeggiator, Arpeg. Setup page).

If “MIDI Clock” (Global P1: MIDI) is set to External MIDI or External mLAN, the display will indicate “ =” EXT. The tempo will be synchronized to an external MIDI device, and it will not be possible to adjust the tempo on the TRITON STUDIO.

Adjusting the length of the arpeggiated notes

Rotate the ARPEGGIATOR [GATE] knob to adjust the length of the arpeggiated notes.

Rotating the knob toward the left will shorten the duration of the notes, and rotating it toward the right will lengthen the duration of the notes. At the center position (12 o’clock), the note length will be as speciﬁed by the program parameter “Gate” (Program P7: Edit-Arpeggiator, Arpeg. Setup page).

The knob setting is saved when you write each program.

It is effective to control this function in conjunction with the REALTIME CONTROLS A-mode knob [4] (EG RELEASE).

Adjusting the strength of the arpeggio notes

Rotate the ARPEGGIATOR [VELOCITY] knob to adjust the strength of the arpeggio notes.

Rotating the knob toward the left will make the notes softer, and rotating the knob toward the right will make the notes stronger. At the center position (12 o’clock), the velocity will be as speciﬁed by the program parameter “Velocity” (Program P7: Edit-Arpeg- giator, Arpeg. Setup page).

The knob setting is saved when you write each program.

It is effective to control this function in conjunction with the REALTIME CONTROLS A-mode knobs [1]

(LPF CUTOFF), [2] (RESONANCE/HPF), and [3] (EG- INTENSITY).

Settings in the LCD screen

Selecting an arpeggio pattern

An arpeggio pattern can be selected from preset arpeggio patterns P000–P004 and user arpeggio patterns U000(I-A/ B)–U506(User). With the factory settings, U000(I-A/B)– U199(I-A/B), U312(User)–U506(User) contain a wide variety of preloaded user arpeggio patterns. For the arpeggio pattern names (☞VNL).

Choose “Pat (Pattern Select),” and use the [VALUE] slider, [VALUE] dial, [ ][ ] keys, and popup menu to select an arpeggio pattern.

User arpeggio patterns can also be selected by using the numeric keys [0]–[9] to input the pattern number and then pressing the [ENTER] key. (☞p.130)

Changing the note value of the arpeggiated notes

The “Reso (Resolution)” parameter in the LCD screen lets you set the note value of the arpeggiated notes, over a range from  3 –  .

Press “Reso,” and use the [VALUE] slider, [VALUE] dial, [ ][ ] keys, or popup menu to select the desired arpeggio note interval.

Selecting the octave range in which the arpeggio is sounded

Use the “Octave” radio buttons in the LCD screen to specify the range of octaves in which the arpeggio will be sounded (☞p.131).

Press an “Octave” radio button to make your selection.

Sounding an arpeggio in the order of the pitches in the chord you played

You can select whether the notes of the arpeggio will be sounded in the order of the pitches in the chord you played (regardless of the order in which you actually played the notes), or in the order in which you played the notes.

Press the “Sort” check box in the LCD screen to make this setting.

Checked: the arpeggio will sound each note in the

order of its pitch, regardless of the order in which you actually played the notes. Unchecked: the arpeggio will sound each note in the order in which you actually played the notes.

In Program P0: Play, press the Arpeggio tab.

Setting the arpeggio to continue playing even after you have taken your hand off the keyboard

Y ou can select whether the arpeggio will continue playing when you take your hand off the keyboard, or whether the arpeggio will stop.

Press the “Latch” check box in the LCD screen to make this setting.

Checked: The arpeggio will continue playing even

after you remove your hand from the keyboard. Unchecked: The arpeggio will stop playing when you remove your hand from the keyboard.

Synchronizing the arpeggiator to your keyboard timing

You can specify whether the arpeggio will begin at the moment you play the keyboard, or whether it will always play in synchronization to the MIDI clock tempo.

Press the “Key Sync.” check box in the LCD screen to make this setting.

Checked: When you take your hand completely off of

the keyboard and then play the ﬁrst note-on, the arpeggio pattern will start from the beginning. This setting is suitable when you want the arpeggio to start from the beginning of the measure as you are playing in realtime. Unchecked: The arpeggio will always be synchronized to the MIDI clock tempo.

Sounding both the arpeggio notes and the notes you play

Press the “Keyboard” check box to make this setting. Checked: The notes you play on the keyboard and the

notes played by the arpeggiator will both sound. Unchecked: Only the arpeggiated notes will sound.

Using the arpeggiator in Combination mode

In Combination mode the TRITON STUDIO provides dual arpeggiators, allowing you to run two arpeggio patterns simultaneously.

1 Press the [COMBI] key to enter Combination mode,

and select a combination. (“Selecting and playing a combination” ☞p.24)

As you select various combinations, you will notice that the ARPEGGIA T OR [ON/OFF] key LED will light for some combinations. (“Linking the arpeggiator to program, combinations” ☞p.32) When you press the keyboard, the arpeggiator will start. For other combinations, you can press the ARPEGGIATOR [ON/OFF] key (the LED will light) to turn on the arpeggiator.

2 As described in the preceding section “Settings using

controllers” and the following section “Settings in the LCD screen,” move the controllers or modify the parameters to change the way in which the arpeggios are played.

The ARPEGGIA TOR [ON/OFF] key, ARPEGGIA TOR [TEMPO] knob, ARPEGGIATOR [GATE] knob, and ARPEGGIATOR [VELOCITY] knob will apply to both arpeggiators A and B. Their state is saved when the combination is written.

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Settings in the LCD screen

In Combination P0: Play, press the Arpegg. A tab.

Timbre Assign

Select the arpeggiator(s) that will run

Use the “Arpeggiator Run” check boxes to specify the arpeggiator(s) that you want to have running. The arpeggiator(s) that are checked here will operate when the ARPEGGIATOR [ON/OFF] key is on. However, the arpeggiator will play a timbre only if the table displayed next to the check boxes assigns arpeggiator A or B to a T (timbre) 1–8. These settings are made in Combination P7: Edit-Arp., Setup page “Arpeggiator Assign” (☞p.132).

Arpeggiator-A, Arpeggiator-B

For each arpeggiator A and B, you can make settings for “Pat (Pattern Select),” “Reso (Resolution),” “Octave,” “Sort,” “Latch,” “Key Sync,” and “Keyboard.” (☞p.130)

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Checking the structure of a user arpeggio pattern

Let’s see how combination INT-B097: Try Some Tekno is constructed.

Select combination INT-B097: Try Some Tekno, and look at the Arpeggio Play A page and Arpeggio Play B page.

Other settings for the arpeggiator

You can also set “Gate,” “Velocity,” “Swing,” and “Scan Zone.” These parameters are set in Program P7: EditArpeggiator, Arpeg. Setup Page, Combination P7: EditArp., Arpeggiator A, B page. (☞p.131).

Linking the arpeggiator to program, combinations

You can specify whether the arpeggiator settings written in a program or combination will also be selected when you switch programs or combinations, or whether the arpeggiator status will not change when you switch programs or combinations. With the factory settings, the former is selected. Use the latter when you want to keep the same arpeggio pattern running, and change only the program sound. This setting is made in “Auto Arpeggiator” (Global P0: Basic Setup, Basic page).

Creating a user arpeggio pattern

Arpeggio patterns that you create can be written to U000 (I-A/B)–U506 (User). These can be created in Global P6: User Arpeggio (☞p.134).

• As you can see from the “Timbre Assign” table, arpeggiator A is assigned to timbre 7 and 8, and arpeggiator B is assigned to timbre 6.

When you play the keyboard the U453 (User): DrTechno arpeggio pattern will play the program INTC004: Trance/GrageKit of timbre 7 (Timbre 8 is a dummy timbre used to operate Timbre 7. ☞p.133). The P000: UP arpeggio pattern will play the program INT-C122: Synchro Science of timbre 6.

• If you uncheck “Arpeggiator Run A” or “Arpeggiator Run B,” the unchecked arpeggiator will stop.

If you check it once again and play the keyboard, the arpeggiator will begin running.

• Look at the Combination P7: Edit-Arp., Scan Zone A/ B page, and you will see that the A keys “Top Key” and “Bottom Key” are set so that arpeggiator A will operate only for keys B3 and lower, and that the B “Top Key” and “Bottom Key” are set so that arpeggiator B will operate only for keys C4 and higher.

Playing with the RPPR (Realtime Pattern

Play/Recording) function

TRITON STUDIO’s Sequencer mode provides an RPPR (Realtime Pattern Play/Recording) function.

Using the RPPR function, each note of the keyboard can be assigned to a preset pattern or user pattern and a track that will play the assigned pattern. You can then playback the assigned pattern in realtime (and record it, if desired) simply by playing the corresponding note. (Preset patterns suitable for playing by the drum track are already provided in the internal memory.)

Here we will explain how to use the RPPR function to play a demo song.

1 Load the demo song data as described in “1. Loading

the demo song data in Disk mode” (☞p.20).

2 Press the [SEQ] key (the LED will light) to enter

Sequencer mode, and access the P0: Play/REC, Program T01–08 page.

3 In “Song Select,” select S005: Midnight Sun.

Select the song as described in “2. Selecting and playing a demonstration song in Sequencer mode” (☞p.21).

Shutdown Keys:

When you play a key in the range of C–1 – C2, the currently-playing pattern will stop.

Pattern Assignable:

A pattern and track can be assigned to each of the 72 keys in the range of C#2–C8. If you do not assign a key, it can be used to play as usual.

As in the example shown in the following diagram, you can make one key play a drums pattern, another key a bass phrase, and yet another key play guitar chords, all by specifying a different pattern and track for each key.

88 Keys 76 Keys 61 Keys

C-1

Shutdown Keys

C-1 ... C2

Pattern Assignable

C#2 ... C 8

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4 Make sure that the “RPPR” check box is checked.

Checked: The speciﬁed RPPR (set in Sequencer P6: Pat-

tern/RPPR, RPPR Setup) will function. Unchecked: RPPR will not function. Operation will be as in normal Sequencer mode.

5 Press a key.

The pattern assigned to that key will playback. In some cases, the pattern will continue playing after you release your hand from the keyboard. You can stop playback either by pressing that key again, or by pressing a key in the area of C2 or below.

Pattern P000 Track01 (Drums Program) Pattern U000 Track02 (Bass Program) Pattern P001 Track01 (Drums Program) Pattern U001 Track02 (Bass Program) Pattern U002 Track03 (Guitar Program)

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Simple program editing

By operating the performance editor and the realtime controllers you can easily and intuitively modify the sound of a program.

Program editing refers to the process of modifying the parameters that make up a program, in order to modify the sound or change the controller, effect settings etc.

More detailed editing can be performed in Program P1: Edit-Basic – P9: Edit-Master Effect.

Performance Edit

By using the eight sliders of the Performance Editor, you can make overall adjustments to the sound. When you edit the setting, multiple program parameters are adjusted simultaneously.

1 Press the [PROG] key (the LED will light) to enter

Program mode.

2 Press the Perf. Edit tab.

The Performance Edit page will appear.

Functions assigned to [SW1] and [SW2] keys

Type of Insert effect

For programs whose “Oscillator Mode” (Program P1: Edit-Basic, Program Basic page) setting is Single, oscillator 2 will not sound. Only the level of oscillator 1 will change. For a Drums program, this performance editor will have no effect.

• Amp Level: Indicates the amp level. This will adjust

the volume of the entire program.

• Attack Time: Indicates the attack time of the filter EG

and amp EG. This will adjust the speed of the attack from note-on.

In order to maximize the effect of the Attack Time adjustment, the amp EG Start Level, Attack Level, Start Level Modulation, and Attack Time Modulation parameters are also adjusted.

• Decay Time: Indicates the decay time and slope time

of the filter EG and amp EG.

• IFX Balance: This simultaneously adjusts the “Wet/

Dry” balance of all insert effect.

• MFX Balance: This simultaneously adjusts the Return

1 and 2 parameters of the master effects.

Depending on the settings of the program parameters, the result may not be noticeable.

Type of Master effect

Performance editor

Parameters assigned to B-mode of the realtime editor

3 Select the Program. 4 Select the Performance Editor, and use the VALUE

controllers to edit the settings.

If you want to reset the value to the value saved with the selected program, press numeric key [0] and then press the [ENTER] key to restore the previous setting.

• Octave: Indicates the octave setting.

• Pitch Stretch: Simultaneously adjusts the transpose and tune settings of the oscillator. This allows you to produce a variety of tonal changes without losing the character of the original sound.

This is particularly effective for acoustic-type programs such as guitar, bass, or piano. Select various programs and try this out.

“Pitch Stretch” cannot be used with bank INT-F.

• OSC Balance: Adjusts the level balance between oscillators 1 and 2.

Realtime controls

The REALTIME CONTROLS [1]–[4] knobs can be used to edit parameters such as the ﬁlter cutoff frequency, resonance, the amp and ﬁlter EG, release, volume, portamento time, pan, pitch LFO, and master effect send level etc. (☞p.26).

If CC#70–79 are assigned to REALTIME CONTROLS A-mode or B-mode, the sound edited by knobs [1]–[4] can be saved by the Program Write operation.

Writing a program

The edited content will be lost if you select another program or turn off the power before saving.

If you want to save the modiﬁed sound, select the page menu command “Write Program,” and write the program. (☞p.56)

It is best to write your own edited programs into an initial (initialized) program of bank INT-E or EXB-A– EXB-G. You should also give a new name to the program you are writing.

If you want to overwrite the program using the same program number, press the SEQUENCER [REC/ WRITE] key and then press the OK button.

Simple combination editing

A combination is a set of multiple (up to eight) programs, and allows you to create complex sounds that could not be produced by a single program.

Combination editing refers to the process of modifying the sound of a combination by changing the program selected for each timbre or by adjusting each timbre’s keyboard range and velocity range, or by modifying the controller, and effect settings.

You can edit a combination in Combination P1: Edit-Program/Mixer–P9: Edit-Master FX, but can also make settings for “Program Select, “Pan,” and “Volume” in Combination P0: Play as well.

An example of editing

As an example, here’s how to do some simple editing on combination Bank INT-C086: Shiny DigiPiano.

1 Press the [COMBI] key (the LED will light) to enter

Combination mode.

2 Select INT-C086: Shiny DigiPiano.

Timbre 2 Timbre 1

Selecting the program for a timbre

3 Press the Prog. Select tab.

When a timbre’s “Status” is turned Off, the program assigned to that timbre will not sound. If the “Status” is set to INT, the program will sound. Try setting timbres 1 and 2 alternately to INT and Off, and listen to the result.

Only timbre 1 will sound

Only timbre 2 will sound

After you have listened to the sound, set the “Status” for timbres 1 and 2 to INT.

As an alternative to changing the “Status” setting, you can select the page menu command “Solo Selected Timbre” to hear the sound of an individual timbre.

4 Now let’s change the program of timbre 2 to a differ-

ent program. Press the timbre 2 “Bank/Program (Program Select)” switch (it will be highlighted).

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This combination layers (simultaneously sounds) the programs of timbre 1 and timbre 2. A typical electric piano INT-D017: Pro-Stage EP is assigned to Timbre 1, and a digital-type electric piano INT-D049: Classic Tines is assigned to Timbre 2. These two programs are layered to create a frequently-heard type of electric piano sound.

A timbre consists a of program together with multiple parameters that control that program. A combination can use up to eight of these timbres.

Use the BANK [INT-A]–[EXB-G] keys, and VALUE controllers to select a program.

Alternatively, you can select a program from a popup menu. Press the popup button, and select the desired program from the popup menu that appears.

5 You can also select programs by category. Press Cate-

gory popup button for timbre 2.

The “Category/Timbre2 Program” select menu will appear. In this combination, a program from the “Keyboard” category is selected for both timbres 1 and 2.

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If you wish to select a different program from the same category, press the desired program. That program will be highlighted. Press the scroll bar to see other programs in the same category.

If you wish to select a program from a different category , press one of the tabs located to the left and right to select the desired category. The full name of the selected category will appear in the upper right.

Let’s select the 04: Vocal/Airy category. Press the 04 Vocal/Airy electric tab, and then press the desired program to select it. The program you pressed will be highlighted. Press the scroll bar to see other programs in the same category. For this example, select INT-C027: Dream Voices. This will produce a layered combination consisting of a piano and voice.

Adjusting the stereo position

7 Press the Mixer tab.

8 Press “Pan” for timbre 2 (it will be highlighted), and

use the VALUE controllers to edit the setting.

With a setting of C064 the sound will be located in the center. A setting of L001 places the sound at the far left, and R127 at the far right. With a setting of RND, the sound will move randomly between left and right each time a note is played.

Adjusting the volume

9 Press “Volume” for timbre 2 (it will be highlighted),

and use the VALUE controllers to edit the setting.

If you check “Hold Balance” and adjust the “Volume” value, the volume balance between the timbres

at the time that “Hold Balance” was checked will be maintained while the volume of all timbres is adjusted.

6 If you are satisﬁed with the selected program, press

the OK button to close the popup menu.

If you press the Cancel button, your selection will be discarded, and you will return to the program that had been selected before the popup menu was opened. For this example, press the OK button.

Writing a Combination

The edited content will be lost if you select another Combination or turn off the power before saving.

If you want to save the modiﬁed sound, select the page menu command “Write Combination,” and write the program. (☞p.56)

It is best to write your own edited Combinations into an initial (initialized) combination of bank INT-E or EXB-A–EXB-G. Y ou should also give a new name to the combination you are writing.

If you want to overwrite the combination using the same combination number, press the SEQUENCER [REC/WRITE] key and then press the OK button.

Sampling (recording a sample)

The TRITON STUDIO can record 48 kHz stereo 16-bit samples. Sampling can be performed in Sampling, Program, Combination, and Sequencer modes. (Open Sampling System)

The various functions of each mode can be used while sampling.

Here are some examples.

• Sample a vocal from a mic, and play it back using “one-shot” playback.

• Apply insert effects to the audio input, and sample the result.

• Name multisamples or samples.

• Save the data you sampled.

• Convert a multisample into a program.

• Sample and loop-playback a drum phrase, etc.

• In Program mode, resample a phrase played by the arpeggiator.

• In Program mode, listen to drum phrases played by the arpeggiator while you sample the external input from a guitar.

The example procedures described here begin from the initial settings of the TRITON STUDIO immediately after power-on.

For other procedures and more detailed explanations, refer to p.99 or PG p.87.

Sampling a vocal from a mic, and playing it as a “one-shot” sample

1. Connect a mic and make input settings

(Input)

1 Connect a mic to the AUDIO INPUT 1 jack located on

the rear panel. Set the AUDIO INPUT [MIC/LINE] switch to the MIC

position, and set the [LEVEL] knob to the center.

3 Press the Input Setup tab to select the P0: Recording,

Input/Setup page.

4 Set “Input” to Analog. 5 In the Input1 area, set “BUS” to L/R, specifying the

bus to which the AUDIO INPUT 1 jack will be input.

Make sure that the Input1 level (“Level”) is 127, and the “Pan” is L000.

Be aware that when “BUS” is changed from Off to L/ R or IFX1–5, the volume level to the AUDIO OUT L/ MONO and R jacks or to the headphones may rise abruptly.

2. Set the recording level (Recording Level [dB])

1 Speak into the mic at the volume that you will use for

recording.

If the display indicates “ADC OVERLOAD !!” (AD converter input overload), turn the rear panel [LEVEL] knob toward MIN to adjust the level appropriately.

The best audio quality will be obtained at the highest possible level that does not cause an overload; i.e., a level that is slightly below the point where “ADC OVERLOAD !!” is displayed.

2 Press the SAMPLING [REC] key.

Speak into the mic at the volume that you will use for recording.

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Mic

2 Press the [SAMPLING] key to enter Sampling mode.

The level meter will show the input volume. If the display indicates “CLIP!!,” use the VALUE controller to lower the “Recording Level” slider (located in the right of the display) from the +0.0 setting down to an appropriate level.

3 When you have ﬁnished making adjustments, press

the SAMPLING [REC] key again.

3. Specify the recording method (Recording Setup)

1 Set “Source BUS” to L/R.

Now you can sample the sound of the L/R channels, which is output from the headphones and from AUDIO OUTPUT (MAIN) L/MONO and R.

2 Set “Trigger” to Threshold, and set “Level” to –30.

With this setting, recording will begin automatically when the audio input reaches –30 dB or higher in record-ready mode.

3 Set “Pre Trigger” to 005 ms.

With this setting, sample recording will begin 5 ms earlier than (i.e., immediately before) sampling is actually triggered, so that the very beginning of the sound is not lost.

In Sampling mode, the “Trigger” parameter which speciﬁes how recording will begin can be set to various settings other than the Threshold setting used above. You can choose Sampling START SW so that recording will begin when you press the SAMPLING [START] key, or Note On so that recording will begin when you play the keyboard. (☞p.43, 45)

5. Create a multisample and indexes

1 In the upper left of the P0: Recording, Recording

page, make sure that 000 is selected for “MS” (multisample).

When you want to create a new multisample, press the “MS (Multisample Select)” popup button, press a Multisample No. (or use the numeric keys to input a number) for which there is no name in the list, and then press the [ENTER] key. (☞p.106)

2 Set “OrigKey (Original Key)” and “TopKey” to C2.

When you play the key designated by “OrigKey,” the sample will sound at the same pitch at which it was sampled.

Y ou can make this setting easily by holding down the [ENTER] key and pressing the C2 key. If you want to use the numeric keys to input this setting, press [3], [6], and [ENTER].

3 Press the Preference tab to access the P0: Recording,

Preference page.

4. Settings for the sample that will be recorded (REC Sample Setup)

1 Press the Recording tab to access the P0: Recording,

Recording page.

2 Set “Save to” to RAM.

The sample you record will be written into sample memory (RAM). (☞For details on the DISK setting, refer to p.105)

3 Set “Sampling Mode” to L-Mono.

With this setting, the internal L channel will be sampled in mono.

4 Set “Zone Range” to 1 Key.

When you create a new index, the width of the zone will be set to one key.

5 Press the “Auto Loop On” check box to uncheck it.

Looping will automatically be turned off for the sample that is recorded.

6. Record a sample

1 Press the Recording tab to access the P0: Recording,

Recording page.

2 Press the SAMPLING [REC] key.

Press the SAMPLING [START/STOP] key to enter record-ready mode.

Speak the word that you want to sample. (Example: “It’s”) Recording will start when the input exceeds the “Level” –30dB level.

When you ﬁnish speaking, press the SAMPLING [START/STOP] key to stop sampling.

A sample has now been created. The sample you recorded is automatically assigned to “Sample (Sam- ple Select).”

Applying an insert effect to the audio input and sampling the result

1 In step 5 of the preceding section “1. Connect a mic

and make input settings,” set the Input1 “Pan” to C064, and “BUS” to IFX1.

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Press the “OrigKey” note (C2 in this case), and you will hear the sound that was sampled.

3 Press the Create button to create a new index. 4 Press the SAMPLING [REC] key.

Press the SAMPLING [START/STOP] key. Speak the word that you want to sample. (Example: “So”) When you ﬁnish speaking, press the SAMPLING [START/STOP] key to stop sampling.

5 Repeat steps 3 and 4 to record additional samples.

(Example: “Easy,” “To,” “Sample,” “With” “TRITON STUDIO”)

6 Play consecutive notes on the keyboard.

Play a chromatic scale upward, starting at the C2 key. The samples you recorded will be played one after another. (In this example, playing notes C2 through F#2 in sequence will produce “It’s So Easy To Sample With TRITON STUDIO”)

2 Press the [MENU] key to access the Jump page, and

press P8: Insert Effect.

The P8: Insert Effect page will appear. Press the Insert FX tab to access the Insert FX page.

3 Select “IFX1,” use the numeric keys to enter [5], [2],

and press the [ENTER] key to conﬁrm 052: Reverb Hall.

Press “IFX1 On/Off” to turn it ON.

4 Speak into the mic, and verify that reverb is applied

to the sound.

Y ou can adjust the effect settings in the IFX1 page (IFX1 tab).

5 After pressing the [EXIT] key, press the Recording

tab to access the P0: Recording, Recording page.

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6 Set “Sample Mode” to Stereo.

Now the sound of the internal LR channels can be sampled in stereo.

7 Press the Create button to create a new index.

8 Press the SAMPLING [REC] key.

Press the SAMPLING [START/STOP] key, and speak the word(s) that you want to sample.

Speak the word that you want to sample. (Example: “It’s”) Recording will start when the input exceeds the “Level” –30dB level.

Press the SAMPLING [START/STOP] key to stop.

9 Play the keyboard.

When you play the “OrigKey” note, you will hear the sound that was sampled.

Assigning a name to the sample or multisample

The TRITON STUDIO allows you to create up to 4,000 samples and 1,000 multisamples (limited by the amount of memory). It is a good idea to assign names so that you can distinguish individual samples and multisamples.

Naming a multisample

1 Press the Recording tab to access the P0: Recording,

Recording page.

2 In “MS,” select the multisample that you want to

name.

3 Press the page menu button to access the page menu,

and press “Rename MS.”

Press the Clear button.

Press the Shift button to switch to uppercase letters, and press S, M, P, L, –, and D in that order.

Press the Shift button once again to switch to lowercase letters, and press e, m, and o in that order.

Press the OK button to close the text dialog box. If you do not need to make any corrections, press the OK button to execute “Rename Multisample” and complete the procedure.

A stereo multisample will have a -L and -R displayed at the end of the name, meaning that you will be able to input 14 characters. (The -L and -R are ﬁxed.) You can input 16 characters for a mono multisample. This also applies to samples.

Naming a sample

1 Press the Recording tab to access the P0: Recording,

Recording page.

2 Select “Index,” and use the [ ][ ] keys to select

the sample to which you want to assign a name.

For this example, select “Index” 001.

A dialog box will appear.

Press the text dialog button to display the text dialog box, and assign a name of SMPL-Demo (☞p.56).

It is also possible to select a sample in “Sample (Sample Select),” but since the sample assigned to each

index can change, you should use “Index” to select a sample.

3 Press the page menu button to access the page menu,

and press “Rename Sample.” When the dialog box appears, press the text edit but-

ton to access the text dialog box, and assign the desired

sample name. (Example: “Its”) Refer to step 3 of “Naming a multisample.”

4 Select “Index,” select the next sample that you want

to name, and use the page menu command “Rename Sample” to assign a name to that sample.

Saving sample data

Converting a multisample into a

Here’s how to save a sample or multisample that you created.

All samples and multisamples in the TRITON STUDIO will be lost when the power is turned off.

Sample data can be saved on a ﬂoppy disk, the internal hard drive, the CDRW-1 option, or external SCSI storage media (hard disk, MO, Zip, Jaz, ORB, CD-R/RW, etc.).

1 Insert the media and/or make the appropriate set-

tings for the connected external SCSI device so that it is ready to save data.

2 Press the [DISK] key to select Disk mode. 3 Press the Save tab.

Drive select

4 If you want to save to a different device, use the drive

select setting to select the device on which you want to save the data.

5 Press the page menu button to access the page menu,

and press “Save Sampling Data.”

6 When the dialog box appears, press the text edit but-

ton to access the text dialog box, assign a ﬁlename of SMPL_DM1, and press the OK button.

7 Make sure that the All radio button is selected, and

press the OK button to save the data.

When saving is completed, a ﬁle with an extension of .KSC together with the .KMP and .KSF ﬁles (in folders) will be saved. For details on each ﬁle, refer to PG p.162 “About Korg format PCM data ﬁles.”

program

A multisample you create can be converted into a program. If a sample or multisample is converted into a program, it can be played in Program mode or used in Combination mode and Sequencer mode.

1 Press the [SAMPLING] key to enter Sampling mode. 2 Create a multisample.

Refer to “Sampling a vocal from a mic, and playing it as a “one-shot” sample” (☞p.37).

3 Press the [EXIT] key to select the P0: Recording page. 4 Press the page menu button to access the page menu,

and press “Convert MS To Program.”

The following dialog box will appear.

5 In the To “Program:” ﬁeld, select the program into

which the data will be converted.

We recommend that you select one of the initialized programs in bank I–E.

When you execute the Convert operation, the program in the conversion destination location will be overwritten and replaced by the converted program.

6 Set the “Use Destination Program Parameters” set-

ting. For this example, leave this unchecked. If you execute

the conversion with this unchecked, the program will be created using the sound that you heard in Sampling mode.

If you want to use the program parameters of a preloaded program (INT-A000–INT-D127), copy that program to bank INT-E before you perform this operation. Use the To “Program:” ﬁeld to select that program, and check “Use Destination Program Parameters” before you perform the conversion. However if you want to convert a stereo multisam-

ple with “Use Destination Program Parameters” checked, you must change the “Oscillator Mode”

(☞PG p.7) to Double for the conversion destination program (To “Program”) before executing the conversion.

7 As necessary, press the text edit button to access the

text dialog box and assign a program name.

8 Press the OK button. A dialog box will ask you for

conformation. Press the OK button once again, and the conversion will begin.

9 Listen to the converted program.

Switch to Program mode, select the program (INT-E100 in the above example), and play the keyboard to hear the sound.

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The converted program settings will automatically be stored in the internal memory, but the sample data you created will be lost when the power is turned off. In order to reproduce the sound of the program after the power is turned on again, you must ﬁrst load the previously-saved sample data back into the TRITON STUDIO, using the Disk mode. When loading, it is best to set “.KSC Allocation” to Clear.

When saving, it is a good idea to execute “Save All” (☞PG p.166) to save the samples and multisamples along with the converted program, and then load all of this data together. (☞PG p.157, 162)

Sampling and looping a drum phrase

Here’s how you can sample a drum phrase (or similar phrase) from an audio CD, and loop the playback.

You will need to provide a drum rhythm loop sample. Initially, it is a good idea to begin with a rhythm loop sample that has a fairly simple beat. As an example, we will sample one measure of a 140 BPM drum phrase in a 4/4 time signature. In this example we will use a CD player. For details on how you can digitally sample or “rip” from the CDRW-1 option or from a SCSIconnected CD-ROM or CD-R/RW, refer to p.108.

This explanation assumes that you are starting from the default state immediately after power-on.

1. Connect your external audio device and adjust the input settings (Input)

1 Connect the AUDIO INPUT 1, 2 jacks on the rear

panel to the LINE OUT L and R jacks of your CD player.

Set the AUDIO INPUT [MIC/LINE] switch to the LINE position, and set the [LEVEL] knob near the center.

AUX OUT

If the CDRW-1 option is installed, the analog audio will be internally connected to the AUDIO INPUT 1 and 2 jacks. Y ou can also “rip” digital audio data via the CDRW-1 option or a SCSI-connected CD-R/RW. (☞p.108)

2 Press the [SAMPLING] key to enter Sampling mode. 3 Press the Input Setup tab to select the P0: Recording,

Input/Setup page.

CD player

4 Set the various parameters so that the signal from the

AUDIO INPUT jacks will be input to the TRITON STUDIO.

Set the following parameters as shown.

Input 1: “Level” 127, “Pan” L000, “BUS” L/R Input 2: “Level” 127, “Pan” R127, “BUS” L/R

When you change the Bus setting from Off to L/R or IFX, the volume level of the AUDIO OUT L/MONO

and R jacks or the headphone volume may rise abruptly. Please use caution.

2. Set the recording level (Recording Level [dB])

1 Play back the audio source that you want to record.

If the display indicates “ADC OVERLOAD !!” (AD converter input overload!), lower the level by turning the rear panel [LEVEL] knob to an appropriate position. Alternatively, lower the level of the output source.

The best audio quality will be obtained at a level slightly lower than when the “ADC OVERLOAD !!” indication appears (i.e., the highest level that does not cause an input overload).

2 Press the SAMPLING [REC] key.

The level meter allows you to check the volume of the input.

If the display indicates “CLIP!!,” use the VALUE controller to lower the “Recording Level” slider (located in the right of the display) from the +0.0 position to an appropriate level.

3 When you have ﬁnished making adjustments, once

again press the SAMPLING [REC] key. Also stop the playback of your audio source.

3. Specify the recording method (Recording)

1 Set “Source BUS” to L/R.

This setting lets you sample the sound of the L/R channels; i.e., the sound that is output from the headphones and the AUDIO OUTPUT (MAIN) L/MONO and R jacks.

2 Set “Trigger” to Sampling START SW.

With this setting, you can press the SAMPLING [REC] key to enter record-ready mode, and then press the SAMPLING [START/STOP] key to start recording.

4. Settings for the sample that will be recorded (REC Sample Setup)

1 Press the Recording to access the P0: Recording,

Recording page.

2 Set “Save to” to RAM.

The recorded sample will be written into sample memory (RAM). (☞For details on the DISK setting, refer to p.105)

3 Set “Sample Mode” to Stereo.

With this setting, the sound of the internal LR channels can be sampled in stereo.

5. Record the sample

1 Press the SAMPLING [REC] key to enter record-

ready mode.

2 At the moment that you wish to start sampling, press

the SAMPLING [START/STOP] key.

Sampling will start.

It is a good idea to allow a bit of extra time before you start and after you stop sampling.

3 At the moment that you wish to stop sampling, press

the SAMPLING [START/STOP] key.

Sampling will stop. A 140 BPM drum phrase has now been sampled. The

sample will automatically be assigned to “Sample (Sample select).”

Sampling will stop automatically if the remaining amount of memory reaches zero.

4 Listen to the sampled sound, and assign a name to

the sample.

Y ou can play the “OrigKey” note to hear the sound that was sampled. After you have veriﬁed the sound, assign a name to the sample (☞p.40) (e.g., LOOP1-140 BPM). Up to 14 characters can be input as the name of a stereo sample (the two characters -L and -R at the end are ﬁxed). When you assign a name to either the L or R channel, the other sample will be named automatically.

6. Make loop settings

Next we will delete unwanted portions from the sample, and adjust the settings so that the sample will be looped smoothly.

By default when the power is turned on, sampled sounds will be looped automatically. (P0: Recording, Preference page “Auto Loop On” On)

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1 Press the [MENU] key to access the page menu, and

press P2: Loop Edit.

The P2: Loop Edit page will appear.

2 Notice that 0000: LOOP1-140BPM-L is selected for

“Sample (Sample Select),” and that the sample waveform data is displayed.

The selected sample is a stereo sample. The L and R waveforms will be shown in the upper and lower parts of the sample waveform display.

3 Use “Start” to set the start address, “LoopS (Loop

Start)” to set the loop start address, and “End” to set the end address.

The sample will sound as follows. When looping is on: S → E → LoopS → E → (continue repeating LoopS → E) When looping is off: S → E

Select “Start” (highlighted), and use the [VALUE] dial etc. to specify the location at which the sample will begin sounding. The vertical line in the display will move accordingly.

If necessary, you can press the ZOOM buttons to expand or shrink the waveform display. Zoom will expand or contract the display beginning at the “Start,” “LoopS (Loop Start),” or “End” point that is selected.

Zoom-in vertically

Select the page menu command “Grid” to access the dialog box.

Check “Grid,” set “Resolution” to  , and press the OK button.

Set “Grid” to 140. With these settings, vertical dotted lines will be displayed at 140 BPM quarter note intervals.

Set “End.”

When “Loop” is On, the dotted vertical “Grid” lines will start at “LoopS (Loop Start).” If you want to set “End” at the end of one 4/4 measure, the fourth vertical line from the “LoopS (Loop Start)” line will be the end of the ﬁrst measure. Place “End” at this vertical line.

Zoom-out horizontally

Maximum horizontal zoom-out

Zoom-out vertically

Zoom-in horizontally 1x horizontal zoom-in

If you check “Use Zero,” locations where the waveform is at zero will automatically be found and selected when you use the [VALUE] dial etc. to set “Start,” “LoopS (Loop Start),” or “End” points. This

makes it easy to set these points to addresses that will not produce clicks or noise in the loop.

For this example, set “LoopS (Loop Start)” and “Start” to the same value.

If desired, you can make a dotted vertical line appear in the sample waveform display to indicate the BPM. If you use this function with waveforms that have a speciﬁc BPM, it will be easier to make accurate settings for “End.”

4 Use “Truncate” to delete the unwanted data that is

outside of the start (or loop start) and end addresses.

Select the page menu command “Truncate” to access the dialog box.

Select the Front & End radio button. In this example, we will not change the settings of the “Save to No.” and “Overwrite” check boxes, so press the OK button to execute. When you execute the operation, the truncated samples 0002: LOOP1-140B0002-L and 0003: LOOP1-140B0002-R will be automatically assigned to Index 1.

Please refer to “A note on saving samples” (☞p.111) for a cautionary note regarding the “Save to No.” and “Overwrite” check boxes.

Resampling an arpeggiated phrase in Program mode

You can play a program or combination, using the arpeggiator if desired, and resample your performance as audio data (sound).

As an example, this section explains how to sample an arpeggiated phrase in Program mode. Sampling can be performed in the same way in Combination or Sequencer modes as well.

The procedure here assumes that the TRITON STUDIO is in the default state immediately after turning on the power.

1. Select the program that you want to resample

1 Press the [PROG] key to enter Program mode, and

select program INT-A028: Rezbo.

3. Specify the recording method (Sampling Setup)

1 In the P0: Play, Sampling page, make the following

settings for Sampling Setup. “Source BUS”: L/R

This lets you sample the sound of the L/R channel; i.e., the sound that is output from the headphones and the AUDIO OUTPUT (MAIN) L/MONO and R jacks.

“Trigger”: Note On

With this setting, sampling will begin the instant you play the keyboard.

“Save to”: RAM

The sample will be written into sample memory (RAM).

“Mode”: Stereo

The sound will be sampled in stereo.

If desired, you can set “Sample Time” a bit longer than necessary, and then after sampling, use editing commands in Sampling mode (such as TRUNCATE) to delete any unwanted portion at the beginning or end of the sample. If the tempo “” is 120 and the time signature is 4/4, it will take two seconds to play one measure. If you want to sample one measure, a sampling time of 00 min 02.000 sec will be the exact length.

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2 Turn the arpeggiator on (ARPEGGIATOR [ON/OFF]

key LED is lit), and play the keyboard to verify that a phrase is produced.

Make sure that the arpeggio tempo “” is set to 120.

2. Adjust the recording level (Recording Level [dB])

1 Press the Sampling tab to access the P0: Play, Sam-

pling page.

2 Press the SAMPLING [REC] key.

The level meter will indicate the volume of the phrase to be sampled.

4. Make settings for the sample that will be recorded

1 Select the page menu command “Select Bank & Smpl

No.” to access the dialog box.

2 Set “Bank,” “Sample No.(L),” and “(R)” to specify the

sample memory (RAM) and sample number into which the sample will be written.

If the above “Mode” is Stereo, specify (L) and (R).

3 In the Convert to area, specify the number of the pro-

gram (into which the sample will be converted), the multisample name, and the key assignment.

Check the check box and select one of the bank INT-E

initialized programs as the conversion-destination program number.

4 Press the OK button to ﬁnalize the settings.

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Adjust the recording level as necessary, using the “Recording Level” slider located at the right of the dis- play.

The power-on default setting is –12 dB. With a setting of –12 dB, CLIP will not be displayed even if the program is played at the maximum level.

3 When you have ﬁnished adjusting the level, press the

SAMPLING [REC] key.

Press the ARPEGGIATOR [ON/OFF] key to turn off the arpeggiator.

5. Record the sample

1 Press the ARPEGGIATOR [ON/OFF] key to turn it

on.

Press the SAMPLING [REC] key. Press the SAMPLING [START/STOP] key to enter record-ready mode.

2 Play the keyboard. Recording will begin at the

instant you play a note.

All of the sounds you play from the keyboard and controllers will be recorded in the sample.

3 Press the SAMPLING [START/STOP] key to stop

recording.

Sampling will end automatically when the speciﬁed “Sample Time” is reached.

6. Listen to the sample and edit it

1 Press the Perf. Edit tab to select the P0: Play, Perfor-

mance Edit page, and select the program into which the newly-recorded sample was converted.

INT-E: 101 was selected in the example shown here, so press the [INT-E] key, then numeric keys [1], [0], and the [1] key.

2 Play the C3 note on the keyboard to hear the sound

that was resampled.

REALTIME CONTROLS knobs 1–4, the Performance Editor, and the various parameters in P1: Edit-Basic– P9: Edit-Master Effect can be used to edit the program for the sound you resampled, for example by adjusting the ﬁlter, EG, or effects. (☞p.34, 67)

If you want to adjust the loop point or other settings of the sample, edit these parameters in Sampling mode. (☞p.43)

Sample an arpeggiated drum phrase together with an externally-input guitar

Here’s how you can resample an arpeggiated performance together with an external audio input source.

In this example, we will explain how a guitar connected to the AUDIO INPUT jack can be played along to a drum pattern played by the TRITON STUDIO, and how both can be sampled together.

Sampling can be performed in a similar way in Combination and Sequencer modes as well as in Program mode.

The procedure given here assumes that you are starting from the default state immediately after poweron.

1. Select the program that you want to sample

1 Press the [PROG] key to enter Program mode, and

select the INT-B020: Processed Kit program.

2 Turn on the arpeggiator (ARPEGGIATOR [ON/OFF]

key LED is lit), and play the keyboard to make sure that a drum phrase is sounded.

Press the Arpeggio tab, and make sure that “Latch” is checked.

Also adjust the arpeggiator tempo “” as desired.

3 Press the ARPEGGIATOR [ON/OFF] key to turn off

the arpeggiator.

2. Connect your guitar and make input settings

1 Connect your guitar to the rear panel AUDIO INPUT

1 jack.

Set the AUDIO INPUT [MIC/LINE] switch to the LINE position, and set the [LEVEL] knob to approximately the center position.

Guitar

If you are using a guitar with passive pickups (i.e., without an internal pre-amp), the mismatch of impedance levels will make it difﬁcult to sample at an appropriate level. You should route the signal from the guitar through a pre-amp or effect unit.

2 Press the Sampling tab to access the Sampling page.

3 Set the parameters so that the signal from the AUDIO

INPUT 1 jack will be sent to the L channel.

Make the following settings.

“Input”: Analog Input 1 “Level”: 127, “Pan”: as desired, “BUS Select”: L/R

3. Set the recording level (Recording Level [dB])

1 Play your guitar at the volume that you will be

recording.

If the display indicates “ADC OVERLOAD !!” (AD converter input overload), turn the rear panel [LEVEL] knob toward MIN to adjust the level appropriately.

The best audio quality will be obtained at the highest possible level that does not cause an overload; i.e., a level that is slightly below the point where “ADC OVERLOAD !!” is displayed.

2 Press the SAMPLING [REC] key.

Play your guitar, and the level meter will indicate the volume at which the guitar will be sampled.

Press the ARPEGGIATOR [ON/OFF] key to turn it on, play the keyboard to start the arpeggio, and play your guitar while adjusting the ﬁnal volume.

Adjust the recording level as necessary, using the “Recording Level” slider located at the right of the dis- play.

The power-on default is –12 dB. With a setting of –12 dB, CLIP will not be displayed even if the program drum pattern and the guitar are played at the maximum level.

If the balance between instruments is not to your liking, use the [LEVEL] knob or the performance editor “Amp Level” to adjust the balance.

3 When you have ﬁnished making adjustments, press

the SAMPLING [REC] key.

Press the ARPEGGIATOR [ON/OFF] key to turn off the arpeggiator.

4. Specify the recording method (Sampling Setup)

1 In the Sampling page, set the following Sampling

Setup parameters. “Source BUS”: L/R

“Trigger”: Sampling START SW “Metronome Precount”: 4 “Save to”: RAM “Mode”: Stereo “Sample Time”: as desired

With these settings, if you press the SAMPLING [REC] key to enter recording-standby mode and then press the SAMPLING [START/STOP] key, recording will begin after a four-beat count.

5. Specify the sample that will be recorded

Make settings as described in “4. Make settings for the sample that will be recorded” (☞p.45). If you omit making settings at this point and simply continue with the settings of p.45, the sample will be assigned to the next higher key of the same program number.

6. Record the sample

1 Press the ARPEGGIATOR [ON/OFF] key to turn it

on.

2 Press the SAMPLING [REC] key to enter record-

ready mode.

When you press the SAMPLING [STAR T/STOP] key, a count-down will begin. Play the keyboard during the

count-down. After a four-beat count-down, recording will start.

Play your guitar. The arpeggiator will also start after the count-down.

3 Press the SAMPLING [START/STOP] key to stop

recording.

Sampling will also end automatically when the speciﬁed “Sample Time” is reached.

4 Press the ARPEGGIATOR [ON/OFF] key to turn it

off.

7. Listen to the sample

Now you can listen to the sample that was recorded. (“6. Listen to the sample and edit it” ☞p.46)

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Examples of sampling settings

Resampling only the sound of the TRITON STUDIO (e.g., arpeggiator and/or keyboard performance)

“Input”: Analog

Input1 “BUS Select”: Off Input2 “BUS Select”: Off

“Source BUS”: L/R “Recording Level”: –12.0

“Auto +12dB On”: On (chacked) ☞PG p.5, 57

Resampling the sound of the TRITON STUDIO (arpeggiator and/or keyboard performance) together with the input sound from the AUDIO INPUT 1 jack

“Input”: Analog

Input1 “BUS Select”: L/R, “Pan”: C064 or as desired Input2 “BUS Select”: Off

“Source BUS”: L/R “Recording Level”: –12.0

“Auto +12dB On”: On (chacked) ☞PG p.5, 57

Sampling only the stereo input sound from the AUDIO INPUT 1 and 2 jacks while you listen to the sound of the TRITON STUDIO (arpeggiator etc.)

“Input”: Analog

Input1 “BUS Select”: 1/2, “Pan”: L000 Input2 “BUS Select”: 1/2, “Pan”: R127

“Source BUS”: Indiv.1/2 “Recording Level”: 0.0

“Auto +12dB On”: Off (unchacked) ☞PG p.5, 57 In this case, the sound that is input to AUDIO INPUT 1

and 2 will be output only to AUDIO OUTPUT (INDIVIDUAL) 1 and 2.

Using the metronome

It is convenient to use the metronome when you want to play a program or combination at a speciﬁc tempo and sample your performance. To access the metronome settings, use the Program or Combination P0: Play, Sampling page menu command “Metronome Setup.” We recommend that you set “BUS (OUTPUT) Select” to either 3 or 4, and connect the (INDIVIDUAL) 3 or 4 jack to your mixer so that the metronome can be monitored via your mixer.

Producing a song

This section explains how to use the TRITON STUDIO’s internal sequencer. The example procedures described here will cover realtime recording and step recording, as well as various convenient functions provided by the internal sequencer, such as template songs, preset patterns, and the arpeggiator.

There are many other recording methods and functions (☞p.80), but working through this section will give you a basic understanding of the song production process.

This explanation assumes that you are starting from the default state immediately after power-on.

Creating the basic song

1. Loading a template song, and copying preset patterns (drum phrases)

1 Press the [SEQ] key to enter Sequencer mode.

Check the “Copy Pattern to Track too?” check box. If this is checked, a drum pattern will be copied to the song after the template song is loaded.

Press the OK button to load the template song.

A dialog box will appear.

Make sure that Preset, P109: AcidJazz 1/Std2 is selected at the right of “Pattern.” If not, use the VALUE controller to select it.

Y ou can pr ess the SEQUENCER [START/STOP] key to hear the selected pattern. To stop, press the [START/ STOP] key once again.

Press the OK button to copy the pattern.

The “Measure” value will change from 001 to 009. This indicates that the pattern has been copied from measure 1 to measure 8, and that the next time you press the OK button, the pattern will be copied from measure

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2 Load a template song.

Press the page menu button to access the page menu, and press “Load Template Song.”

A dialog box will appear.

Press the popup button located at the right of “From,” and select P13: Acid Jazz from the menu.

There are 16 template songs, each containing program, pan, volume, and effect settings suitable for various styles of music. By loading a template into a song, you can begin recording immediately without having to make the same frequently-used settings each time. If you want to specify the program and volume settings yourself from scratch, refer to “Preparations for recording” (☞p.82).

Press the Exit button. In the Sequencer P0: Play/REC, Program T01–08 page,

the “Song Select” ﬁeld will indicate S000: Acid Jazz.

Track Select

Preset patterns can be used in a song at any time. This can be done by using the page menu commands “Put To Track” or “Copy To Track” (Sequencer P6: Pattern/RPPR, Pattern Edit page) (☞PG p.77).

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3 When you play the keyboard, you will hear the drum

program for track 1 of the template song.

4 Press the popup button located at the left of “Track

Select,” and select Track 02: Bass. When you play the keyboard, you will hear a bass sound.

“Track Select” is the track that will be used to record/ play song data. Normally, the track selected here can be played from the keyboard, and during recording, your performance will be recorded on this track (in cases other than Multi REC or Master Track).

Next select T03–T08 in order, and play them from the keyboard. (The TRITON STUDIO has sixteen sequence tracks, but this template song speciﬁes only tracks 1–8.)

Select Track03: Elec. Piano.

5 Press the SEQUENCER [START/STOP] key to play

back the preset pattern that you copied. Play the keyboard while you listen to the drum pattern.

6 Press the SEQUENCER [START/STOP] key to stop.

2. Repeatedly playing speciﬁc measures of a track (Track Play Loop)

Here’s how to use Track Play Loop to repeatedly play back a drum phrase.

1 Press the PlyLoop tab to access the P0: Play/REC,

PlayLoop T01–08 page.

2 Check track 1 “Track Play Loop,” leave “Loop Start

Measure” as it is, and set “Loop End Measure” to 008.

3 When you press the SEQUENCER [START/STOP]

key, the drum phrase will be played back repeatedly.

When the playback has repeated for the number of measures in the song as speciﬁed by “Length” (the power-on default is 64 measures), it will stop automatically.

By using “Play Intro” you can begin the loop after adding an introduction (☞PG p.55).

Track Play Loop will continue repeating for the number of measures speciﬁed by “Length.” If you want to limit the number of repetitions or place other performance data (e.g., a drum ﬁll-in) in that track, you will need to expand the pattern into actual performance data. Use the page menu command “Repeat Mea- sure” P5: Edit, Track Edit page to specify the number of playback repetitions and expand the pattern as playback data. In the sample illustration below, performance data will be created to play measures 1–8 of track 1 for four times (i.e., 32 measures).

3. Recording the bass track

1 If playback is occurring, press the SEQUENCER

[START/STOP] key to stop playback. Press the [LOCATE] key to return to the beginning of

the song.

The location will indicate 001:01.000.

2 Press the [EXIT] key, and then press the Prog. 1–8 tab

to access the P0: Play/REC, Program T01–08 page.

3 Use “T rack Select” to select the track that you want to

record. In this example, select Track02: Bass.

Press the SEQUENCER [START/STOP] key to start playback, and practice playing the phrase that you want to record.

When you are ﬁnished rehearsing, press the SEQUENCER [START/STOP] key to stop playback.

Press the [LOCATE] key.

When the power is turned on, the Recording Setup of the TRITON STUDIO will be set to Over Write recording, in which newly recorded data will be overwritten. For details on other recording modes, refer to p.83 and PG p.57.

When recording rapid or difﬁcult phrases, you can slow down the tempo and record at a more comfortable tempo. Simply adjust the “ (Tempo).” After recording, restore the original tempo.

You can use the Quantize and Resolution functions to correct the timing of your performance as it is recorded. For example during realtime recording, suppose that you input eighth notes at slightly inaccurate timing, as shown in line 1 of the diagram below. If you set “Reso” (Resolution) to  and performed realtime recording, the timing would automatically be corrected as shown in line 2. With a setting of Hi, the performance will be recorded with the exact timing at which it was played.

 



      

Independent of this function, there is also a page menu command “Quantize” (P5: Track Edit, Track Edit page) that can be used to correct the timing of performance data that has already been recorded. If data (recorded without using Realtime Quantize) falls at the timings shown in the above ﬁgure 1, then when played back, it will be corrected to the timings shown in ﬁgure 2 if you set “Quantize” to a “Resolution” of  and press the OK button.

4 Press the SEQUENCER [REC/WRITE] key.

You will hear the metronome. The TRITON STUDIO will be in record-ready mode. (☞Refer to PG p.58 for details on metronome settings.)

5 Press the SEQUENCER [START/STOP] key.

After a two-measure count, recording will begin. Play the keyboard for about 16 measures, and record

your performance. If you make a mistake or decide to re-record, press the

[START/STOP] key to stop recording, and press the [COMPARE] key.

When you press the [COMPARE] key to execute the Compare function, you will return to the state prior to recording. (☞Refer to p.97 for the content that can be compared in Sequencer mode.)

6 When you are satisﬁed with your performance, press

the SEQUENCER [START/STOP] key to stop recording.

For example if your performance in measures 5–8 was the best take, you can use the Track Play Loop function to repeatedly play back just this portion. In the P0: Play/REC, PlayLoop T01–08 page, check “Track Play Loop” for track 2, set “Loop Start Mea-

sure” to 005, and set “Loop End Measure” to 008.

When you press the SEQUENCER [START/STOP] key, repeated playback will begin.

After you press the SEQUENCER [START/STOP] key to stop playback, we recommend that you press the [LOCATE] key to return to the beginning of the song. After recording, you will automatically return to the measure at which recording began.

4. Recording arpeggio patterns

The performance of an arpeggio pattern can be recorded into a song. With the settings of this template song, the arpeggiator will function on track 4.

1 In “Track Select,” choose Track04: Guitar.

2 Press the ARPEGGIATOR [ON/OFF] key. 3 Press the SEQUENCER [START/STOP] key and play

single notes or chords.

Verify that arpeggios are sounded in synchronization with the tempo of the drum and bass performance, and rehearse your performance.

4 Press the SEQUENCER [START/STOP] key to stop

playback. Then press the [LOCATE] key to move the location to

the beginning of the song.

5 Start recording.

Press the SEQUENCER [REC/WRITE] key, and then press the SEQUENCER [START/STOP] key.

If you play notes on the keyboard during the count-in, the arpeggio will begin at the same time that recording begins, and then that pattern will be recorded.

Play the keyboard for about 16 measures and record your performance.

Press the SEQUENCER [START/STOP] key to stop recording.

If you made a mistake or would like to re-record, you can use the Compare function (press the [COMPARE] key) to re-record as many times as you wish.

The note data that was generated by the arpeggio pattern will be recorded. If you change the ARPEG- GIATOR [GATE] or ARPEGGIATOR [VELOCITY] knob settings while recording an arpeggio pattern, this data will also be recorded, but it will not be possible to add changes by overdubbing [GATE] or [VELOCITY] data afterward for those notes.

Quick Start

Power on/offDemo songPlaying

programs

Playing

combinations

Using

controllers

ArpeggiatorRPPRProgram

editing

Combination

SamplingSong

5. Recording other tracks

1 As described in “Recording the bass track,” use

“Track Select” to select Track03: Elec. Piano, and record about 16 measures.

6. Step recording

The TRITON STUDIO provides two main methods of recording a song. The ﬁrst is realtime recording, in which your performance on the keyboard and operation of the joystick and other controllers are recorded in realtime. This is how we recorded the bass and electric piano tracks in the preceding sections.

The second method is step recording, in which you can specify the timing, note length, and velocity of each note. in the LCD screen, and use the keyboard to input the pitch of the note. Only the note-on/off data is recorded. Step recording is suitable when you want to create a distinctive mechanical feel, or when you want to record phrases that would be impossible or too rapid to play “live.”

Rapid phrases can also be recorded in realtime by temporarily slowing down the sequencer tempo.

Here’s the procedure for step recording.

1 Press the [MENU] key to access the Jump menu, and

press P5: Track Edit.

The P5: Track Edit, Track Edit page will appear.

2 Set “Track Select” to Track 08: Lead Synth.

For this example we will input a lead performance using an analog synthesizer sound.

3 Set “From Measure” to 001.

With this setting, step recording will begin from measure 1.

4 Press the page menu button to access the page menu,

and press “Step Recording.”

A dialog box will appear.

5 Set “Step Time” to specify the basic timing value at

which you will input notes and rests.

In the popup menu at left, you can specify a value in the range of  (whole note)– (32nd note). For this example, select  (16th note). If you want to input triplets or dotted notes, use the popup menu at the right to select “3” for triplets, or “.” for dotted notes. Select “–” if you want to use the unmodiﬁed length of the note that is selected at the left.

“Note Duration” indicates the length that the note itself will sound. Smaller values will produce a staccato note, and larger values will produce a legato note. For this example, leave this setting unchanged.

“Note Velocity” is the velocity (playing strength), and larger values will produce a louder volume. Set this to about 090. If you select Key for this parameter, the velocity with which you actually play the keyboard will be input.

6 On the keyboard, press and then release the ﬁrst note

that you want to input.

The data you input will appear in the LCD screen as numerical values. In the upper right, M001 01.000 will change to M001 01.048. The next note you input will be placed at this location.

Continue pressing notes to input a melody. You can also delete notes or rests, or input rests or ties.

• To delete a note or rest that you input, press the Step Back button. The previously-input note will be deleted.

• To input a rest, press the Rest button. This will input a rest of the “Step Time” value.

• To modify the length of a note, you can modify the “Step time” value before you input the note. However if you want to extend the length (tie) of the note, press the Tie button. At this time, the previously-input note will be extended by the length of “Step time.”

If you want to check the note that you will input next, press the [PAUSE] key. In this state, playing a key will produce sound, but will not input a note. Press the [PAUSE] key once again to cancel the record-pause state, and resume input.

To input a chord, simultaneously press the notes of the desired chord. Even if you do not press them simultaneously, notes that were pressed before you took your hand off of all keys will be input at the same location. However in the above example, the program of track 8 will not sound chords. This is because the program is set to mono mode, and the song follows the setting of the program.

7 When you are ﬁnished inputting, press the Done but-

ton.

8 Press the SEQUENCER [START/STOP] key to play

back.

When you begin step recording, all data that follows the measure where you began recording will be erased from that track. You need to be aware of this if you begin step recording from a measure mid-way through the song. If you want to re-input data into a measure that already contains data, perform step recording in another un-recorded track, and execute “Move Measure” or “Copy Measure” (☞PG p.72). If you want to edit or add to the recorded data, you can use the “Event Edit” function (☞PG p.69).

7. Using controllers to record tonal changes

Let’s try using the realtime controllers and the joystick to add effects to the performance that we just step-recorded on track 8.

1 Press the [EXIT] key, and then press the Preference

button to move to the P0: Play/REC, Preference page.

2 Set the “Recording Mode” to Over Dub.

Over Dub allows you to add to a previously-recorded

track.

3 For “Track Select,” make sure that Track08: Lead

Synth is selected.

Press the SEQUENCER [START/STOP] key to start playback, and operate the realtime controllers and joystick to rehearse. When you are ﬁnished rehearsing, press the SEQUENCER [START/STOP] key to stop. Press the [LOCATE] key.

4 Start recording.

Press the SEQUENCER [REC/WRITE] key, and then press the SEQUENCER [START/STOP] key.

After a two-measure count-in, recording will begin. Operate the LFO CUTOFF or RESONANCE/HPF real-

time controllers or the joystick (±Y axis) to record their movements.

When you are ﬁnished performing, press the SEQUENCER [START/STOP] key.

If you make a mistake or want to re-record, press the [COMPARE] key to execute the Compare function, and then re-record.

Recording the drum part

In this explanation, we used the TRITON STUDIO’s builtin patterns to create the drum part, but if you want to input the drum part yourself, it will be convenient to set “Recording Mode” to Over Dub for recording. (☞p.84) It is best to use realtime recording (“3. Recording the bass track” ☞p.50) to record the rhythm instruments in the order of bass drum, snare, and hi-hat.

Naming the song and tracks

It’s a good idea to assign a name to each song and track so that they can be easily identiﬁed.

Naming a song

1 Press the [EXIT] key to access P0: Play/REC.

The “Rename Song” page menu command can also be selected from P2, P3, P4, or P7, as well as from P0.

2 Press the page menu button to access the page menu,

and press “Rename Song.”

3 A dialog box will appear. Press the text edit button

and input the desired song name.

For the procedure of inputting a name, refer to p.40, 56.

4 When you are ﬁnished inputting the name, press the

OK button twice to ﬁnish the procedure. (☞p.40)

Naming a track

1 Press the [MENU] key to select P5: Track Edit, and

press the Track Name tab.

The P5: Track Edit, Track Name page will appear.

2 Press the text edit button for the track whose name

you want to edit, and input the desired name for that track.

For the procedure of inputting a name, refer to p.40, 56.

3 When you are ﬁnished inputting the name(s), press

the OK button.

You can also assign a name to each cue list and user pattern.

Quick Start

Power on/offDemo songPlaying

programs

Playing

combinations

Using

controllers

ArpeggiatorRPPRProgram

editing

Combination

SamplingSong

Saving the song

Remember to save the song you created.

Begining on page 88 is a description of how you can perform further editing on the song you created here in “Quick Start” and how you can assign it to a cue list, so we recommend that you save the song you created here for further use.

On the TRITON STUDIO, this data will be lost when the power is turned off.

1 Perform steps 1–4 of “Saving sample data” (☞p.41). 2 Press the page menu button to access the page menu,

and press “Save SEQ.”

The Save Songs and Cue Lists Data dialog box will appear.

3 When the dialog box appears, press the text edit but-

ton to access the text dialog box, input a name for your song.

Assign a ﬁlename of SEQ_DM1 to the song you created in this “Quick Start” section, and press the OK button.

4 Press the OK button to save the data.

If you have assigned the name described above, a ﬁle named SEQ_DM1.SNG will be created.

Basic functions

Saving data

Types of data that can be saved

On the TRITON STUDIO, there are three ways to save data: writing to internal memory, saving on media

(ﬂoppy disk, internal hard drive, CD-R/RW, hard disk and other removable media etc.), and MIDI data dump.

Writing to internal memory

The following types of edited can be written into the internal memory.

• Program

Programs 0–127 in banks INT-A–INT-F, EXB-A–EXB-G (However, bank INT-F is available only if the EXBMOSS option is installed.)

• Combination

Combinations 0–127 in banks INT-A–INT-E, EXB-A– EXB-G

• Global settings

(Global P0: Basic Setup–P4: Category Name)

• User drum kits 00 (I-A/B)–143 (User)

• User arpeggio patterns U000 (I-A/B)–U506 (User)

• User template songs U00–U15

Song settings such as the song name and tempo, track settings (☞p.81), arpeggiator settings, and effect settings can be saved (written) to internal memory. However, the musical data for song tracks and patterns are not saved to internal memory. Furthermore, settings that govern how the musical data is played back such as “Meter,” “Metronome,” “Play/Mute,” “Track Play Loop (including Start/End measure),” and RPPR settings will not be saved either. Use the Sequencer mode page menu command “Save Template Song” to write this data (☞PG p.54).

If multisamples or samples from the RAM bank are used in the Multisample or Drum Kit of a program, you should be aware that these multisamples or samples cannot be written into memory. This means that if you turn the power of and then on once again, programs or combinations that use such multisamples or samples will not sound as intended. To reproduce such programs or combinations, the necessary multisamples or samples must be saved on media (such as ﬂoppy disk, hard disk, CD-R/RW and removable disk etc.), and then reloaded.

Data that you edit in Sequencer, Song Play, or Sampling cannot be saved in internal memory by the Write operation.

Saving to various types of media

The following data can be saved to various types of media.

• .PCG file:

Programs, combinations, global settings, user drum kits, user arpeggio patterns (The data that was checked in the check boxes of the Save dialog box will be saved.)

• .SNG file: Song and cue list data

• .KSC, .KMP, .KSF files:

Lists of sample and multisamples (.KSC ﬁle), multisamples (.KMP ﬁle), samples (.KSF ﬁle).

• .MID file:

Saves a Sequencer mode song in Standard MIDI File (SMF) format.

• .EXL file:

System exclusive data from an external device that was saved on the TRITON STUDIO (This allows the TRITON STUDIO to be used as a data ﬁler.)

• .JKB file:

Jukebox lists are saved in Song Play mode (☞p.122). All other types of ﬁle are saved in Disk mode.

• .WAV and .AIF files:

A sample you recorded can be exported (written) as a WAVE ﬁle or AIFF ﬁle.

• .KCD file:

Audio track list

MIDI data dump

The following types of data can be transmitted as a MIDI data dump and saved on an external data ﬁler or other device.

• Programs, combinations, global settings, user drum kits, and user arpeggio patterns

• Songs, cue lists

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

About preloaded data and preset data

“Preloaded data” refers to the data that is loaded in the TRITON STUDIO when it is shipped from the factory . You are free to rewrite this data, and with the exception of the demo songs, the data will be written to the location listed in “Writing to internal memory.” This data is also stored in the internal hard disk and on the included ﬂoppy disk (except for the demo songs).

• Program banks INT-A–INT-D: 000–127

• Combination banks INT-A–INT-D: 000–127

• User drum kits 000 (I-A/B)–015 (I-A/B), 128 (User)–

131 (User)

• User arpeggio patterns U000 (I-A/B)–199 (I-A/B),

U312 (User)–U478 (User)

• Demo songs S000–S006 Preset data is data that cannot be rewritten by the Write

operation. This includes the following data.

• Program banks G, g(1)–g(9), g(d): 001–128

• Preset drum kits 144 (GM)–152 (GM)

• Preset arpeggio patterns P000-P004

• Preset template songs P00–P15

• Preset patterns P000–P149

Writing to internal memory

Writing a program or combination

The programs or combinations that you create by using the Performance Editor or by editing parameters in the various Edit pages can be saved in the internal memory of the TRITON STUDIO. This action is referred to as “writing a program” or “writing a combination.” If you want your edited data to be preserved after the power is turned off, you must write it.

There are two ways to write a program or combination.

Before you write data into memory , you must turn off the memory protect setting in Global mode. (☞“Memory protect”)

A combination does not contain the actual program data for each timbre, but simply remembers the number of the program used by each timbre. If you edit a program that is used by a combination, or exchange it with a different program number, the sound of the combination will also change.

Using a page menu command to write

1 Select the page menu command “Write Program” or

“Write Combination.”

The Write Pr ogram/W rite Combination dialog box will appear.

You can also access the same dialog box by holding down the [ENTER] key and pressing the [0] key.

The screen shown is for Program mode

2 Check the program/combination name displayed in

the upper line (the writing source).

3 If you wish to change the name of the program/com-

bination, press the text edit button.

The text dialog box will appear. Input the name of the program/combination. ☞“Assigning a name (Rename)”

After you have input the name, press the OK button to return to the Write Program/Write Combination dialog box.

4 In “Category,” specify the category of the program/

combination.

In the case of a program, the category you specify here will be used when you select a program by category in Program P0: Play “Category” (Category/Program Select). Program categories can also be used when selecting programs in Combination P0: Play, in P1: Edit-Program/Mixer “Category” (Category/Timbre Program Select), or in Sequencer P0: Play/REC “Category” (Category/Track Program Select).

In the case of a combination, the category you specify here will be used when you select a combination by category in Combination P0: Play “Category” (Category/Combination Select).

5 Use “To” to specify the bank and number of the writ-

ing destination program/combination.

Use the VALUE controllers or the BANK keys to make your selection.

6 To execute the Write operation, press the OK button.

To cancel without executing press the Cancel button.

When you press the OK button, the display will ask “Are you sure?” When you press the OK button once again, the data will be written.

Using the (SEQUENCER) [REC/WRITE] key to write

This method can only be used to re-write (update) the selected program/combination number.

1 Press the SEQUENCER [REC/WRITE] key.

The following Update Program/Update Combination dialog box will appear.

The screen shown is for Program mode

File Disk Save: Sav e All...Sa v e Audio CD Track List,

mLAN Nick Name

Utility page menu command: Rename Global P0: Nick Name (if the EXB-mLAN is

installed)

Press the text edit button to access the text edit dialog box.

For an example of how to input a name, refer to p.40.

Text

Cursor buttons

Move the cursor to left or right.

Cursor

Clear button

Delete all characters of the text.

Space button

Insert a space at the cursor location.

Character Set

Selects the type of character.

Character buttons

Shift button

Switches between uppercase and lowercase

Delete button

Deletes the character to the left of the cursor.

Cancel button, OK button

If you are satisfied with the text that you input, press the OK button. If you wish to discard your input and exit the text edit box, press the Cancel button.

Basic functions

Saving dataLoading dataProgram

2 To write the data, press the OK button. To cancel

without writing, press the Cancel button.

Assigning a name (Rename)

You can modify the name of an edited program, combination, song, drum kit, user arpeggio pattern, multisample or sample etc.. Y ou can also modify the category names for programs and combinations.

These renaming operations can be performed in the following pages.

Progaram Program P0...9 page menu command: Write

Combination Combination P0...9 page menu command:

Song Sequencer P0, 2...4, 7 page menu command:

Cue List Sequencer P1 page menu command: Rename

Track Sequencer P5: Track Name Pattern Sequencer P6: Pattern Name Multisample Sampling P0...4 page menu command:

Sample Sampling P0...4 page menu command:

Drum Kit Global P5 page menu command: Rename

User arpeggio pattern

Program category

Combination category

Progaram

Write Combination

Rename Song

Cue List

Rename MS

Rename Sample

Drum Kit Global P6 page menu command: Rename

Arpeggio Pattern Global P4: Program Cat.

Global P4: Combination Cat.

Memory protect

To prevent programs, combinations, songs, user drum kits, and user arpeggio patterns from being overwritten accidentally, the TRITON STUDIO provides a Memory Protect setting that prohibits writing to memory.

Before you save edited data or load data from ﬂoppy disk, hard disk or other external media, use the following procedure to turn the memory protect off (uncheck the appropriate check box). You must also turn memory protect off before loading the above data from media or via a MIDI data dump, or before recording in Sequencer mode.

1 Press the [GLOBAL] key to enter Global mode. 2 After pressing the [MENU] key, press either P0: Basic

Setup or the [0] key.

3 Press the System Pref. tab.

The System Preference page will appear.

4 Press the “Memory Protect” check box for the type of

data you wish to write to internal memory, so that the box is unchecked. When the box is unchecked, Memory Protect is off, and data of this type may be written to internal memory.

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

About the Edit Buffer

When you select a program or combination in Program P0: Play and Combination P0: Play , the pr ogram or combination data is called into the “edit buffer.” When you modify the parameters in P0: Play or in the Edit pages P1–P9 of Program mode or Combination mode, the changes you make will affect the data in the edit buffer. If you wish to save this modiﬁed data into internal memory, you must perform the Write operation. When you perform the Write operation, the data in the edit buffer is written to the speciﬁed program number or combination number of the speciﬁed bank. If you select another program or combination without writing, the data of the newly selected program or combination will be called into the edit buffer, and your changes will be lost.

When you press the [COMPARE] key in Program mode or Combination mode, the data from memory (i.e., the contents that were written into memory) will be temporarily called into the edit buffer. This allows you to compare the settings you are editing with the original un-edited settings.

Editing applies to the data in the edit buffer. Programs or combinations will play according to the data in the edit

When you write, the program or combination settings will be saved in internal memory.

Program

Bank INT-A 0...127

Bank EXB-A 0...127

Edit Buffer

Write

Internal Memory

Program

buffer.

Select

Combination

Bank INT-A 0...127

Edit

When you select a program or combination, its data is called from internal memory into the edit buffer.

Combination

Bank EXB-A 0...127

Writing global settings, user drum kits, and user arpeggio patterns

The settings you edit in Global mode can be written into internal memory. This is done using the operations Write

Global Setting, Write User Drum Kits, and Write User Arpeggio Patterns. If you wish to use these edited set-

tings after you turn the power off, be sure to write the data ﬁrst. There are two ways to write global settings, user drum kits, and user arpeggio patterns.

Before you write a user drum kit or user arpeggio pattern, the Global mode memory protect setting must be turned off (☞“Memory protect”).

The user arpeggio pattern parameter settings “Tempo,” “Pattern,” “Octave,” “Resolution,” “Sort,” “Latch,” “Key Sync,” and “Keyboard” are set independently in the Program, Combination, and Song modes. These settings are not saved when you perform the Write operation described here. If you have edited these parameters in Program or Combination mode you must return to that mode to write them.

Using a page menu command to write

1 To write global settings (the various settings in Glo-

bal P0–P4), press the page menu command “Write Global Setting” in Global P0–P4.

The Write Global Setting dialog box will appear.

To write user drum kits, press the page menu command “Write Drum Kits” in Global P5.

The Write Drum Kits dialog box will appear.

To write user arpeggio patterns, press the page menu command “Write Arpeggio Patterns” in Global P6.

The Write Arpeggio Patterns dialog box will appear.

The same dialog box will also appear if, in each of the above pages, you hold down the [ENTER] key and press the [0] key.

2 To execute the Write operation, press the OK button.

To cancel, press the Cancel button.

When you press the OK button, the display will ask “Are you sure?” Press the OK button once again to write the data.

Using the (SEQUENCER) [REC/WRITE] key to write

1 In the following pages, press the SEQUENCER [REC/

WRITE] key.

A dialog box will appear.

Global settings: Global P0–P4 User drum kits: Global P5 User arpeggio patterns: Global P6

The example shown is for Update Arpeggio Patterns

2 To execute the Write operation, press the OK button.

To cancel, press the Cancel button.

Saving on media

For details on the data that can be saved on storage media. (“Types of data that can be saved” ☞p.55).

Song data and cue lists in the TRITON STUDIO’s Sequencer mode, as well as multisamples and samples cannot be written into internal memory. This data will disappear when the power is turned off. If you want to keep this data, you must save it on a ﬂoppy disk, the internal hard drive, the CDRW-1 option, or an externally-connected SCSI CD-R/RW or other storage device (hard disk, removable disk etc.). Other types of data can also be saved on storage media. Even if you later modify this data, you will always be able to reload the original settings. It is a good idea to save your settings whenever you have created something that you like.

Basic functions

Memory in Global mode

When the power is turned on, the Global mode data is called from internal memory into the Global mode memory area. Then when you modify the parameters in Global mode, the data in the memory area will be modiﬁed. If you wish to save this modiﬁed data in internal memory, you must Write it. When you write, the data in the memory area will be written into the global settings, drum kits, and arpeggio patterns of internal memory. If you turn off the power without writing, the modiﬁed data in the memory area will be lost.

Editing will affect the data that has

When you Write, the various Global mode settings will be saved in internal memory.

Global Setting

been called into the memory area.

Memory Area

Write

Power On

Internal Memory

Drum Kit

Edit

When the power is turned on, the settings are called into the memory area.

Arpeggio

Pattern

Types of media that can be used

Floppy disks

You can use MS-DOS format 3.5 inch 2HD and 2DD ﬂoppy disks. The formatted capacity of a ﬂoppy disk is

1.44 MB for a 2HD disk (18 sectors/track), and 720 KB for

a 2DD disk (9 sectors/track).

Internal hard drive

This supports MS-DOS format FAT16 and FAT32.

CDRW-1 option (CD-R/RW)

This supports UDF format. UDF format CD-R/RW discs can be written or read. (Packet writing is supported ☞PG p.299). You can also record/play CD-DA (audio CD), and load ISO 9660 (level 1) format data.

External SCSI storage media

Data can be stored on external SCSI storage media such as a hard disk, MO, Zip, JAZ, or ORB disk. For details on CD-R/RW, refer to the above “CDRW-1 option (CD-R/RW).”

When you insert media for the ﬁrst time after turning on the power, or when you exchange disks, touch the LCD screen. so that the TRITON STUDIO will detect the media. When the media has been detected, the LCD screen will display information for that media.

If two or more media are detected, use “Drive select” to switch between media.

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

Formatting media

You can format a ﬂoppy disk, the internal hard drive, external SCSI media, or CD-R/RW media. Newly purchased media or media that has been used by another device cannot be immediately used by the TRITON STUDIO. In order to use such media on the TRITON STUDIO, you must ﬁrst format it. For the formatting procedure, refer to “Format” (☞PG p.170).

The internal hard drive has already been formatted when it is shipped from the factory.

It is not necessary to format a CD-R/RW disc that you will use to create an audio CD.

Media must be formatted by the TRITON STUDIO. It may not be possible to recognize media that was formatted on a device other than the TRITON STUDIO.

How to save data

As an example, we will explain how to save the following data.

• Internal memory programs, combinations, global settings, user drum kits, user arpeggio patterns

• Songs, cue lists

• Multisamples and samples created in Sampling mode etc.

If you are saving this data on ﬂoppy disk, more than one disk may be necessary.

1 Prepare the media on which you want to save the

data. If you want to save data on a ﬂoppy disk, insert the

ﬂoppy disk into the ﬂoppy disk drive of the TRITON STUDIO.

For details on handling ﬂoppy disks, please be sure to read “Cautions when handling ﬂoppy disks” (☞p.62).

If you want to use the CDRW-1 option to save data on a CD-R/RW disc, insert a CD-R/RW disc into the drive.

For details on handling CD-R/RW discs, please be sure to read “Cautions when handling CD-R/RW discs.” If you will be using the disc to save data, it must be formatted. (☞PG p.170, 295)

If you want to save data on external media such as a SCSI-connected hard disk, make sure that the external SCSI drive is connected. (☞PG p.298)

Format the media if necessary. (☞PG p.170)

2 Press the [DISK] key to enter Disk mode.

Drive select

3 Press the Save tab to access the Save page. 4 Press Drive Select to select the save-destination

drive.

5 If the media contains directories, select the directory

in which you want to save the data.

To move to a lower level, press the Open button. To move to a higher level, press the Up button.

If you are saving data on high-capacity media, we recommend that you create directories to organize the media into sections. To create a new directory, move to the level at which you want to create the directory, and execute the Utility page menu command “Create Directory.”

6 Press the page menu button to access the page menu,

and press “Save All.”

A dialog box will appear. The contents, settings, and operations for the dialog box will depend on the type of data that you are saving. For details refer to PG p.166.

7 Press the text edit button and input a ﬁlename for the

ﬁle you want to save. (☞p.40, 56)

8 Press each Selection button to access the dialog box,

and use the check boxes to uncheck any items that you do not need to save.

In order to accurately reproduce the data you created, we recommend that you check all of the boxes.

9 Press the OK button to execute the Save operation.

If the data ﬁts on one volume of media

The data will be saved on the speciﬁed media, and you will return to the Save page.

If the data does not ﬁt on one volume of media (ﬂoppy disk)

The “No space available on medium” dialog box will appear. (☞PG p.166)

You can divide the ﬁle and save the data on multiple volumes of media. If you do not want to divide the data, press the Cancel button, and re-save the data on media that has more free area or on a different drive.

1) Make sure that you have a sufﬁcient number of ﬂoppy disks, and press the OK button. Saving will begin.

2) When the disk is full, the following dialog box will appear.

3) Insert the next ﬂoppy disk into the TRITON STUDIO’s ﬂoppy disk drive.

4) Press a function key etc. to make the TRITON STUDIO detect the next ﬂoppy disk.

5) Press the Select button. Saving will begin.

6) If the “No Space available on medium” dialog box appears again, repeat steps 1)–5).

If you decide to cancel the Save operation, press the Cancel button.

The dialog box of step 2) will appear. Press the Cancel button again.

The display will ask “Are you sure?” Press the OK button. This will cancel the Save operation.

7) When saving is complete, you will return to the Save page.

0 When saving ends and you return to the Save page,

the LCD screen will show the ﬁle that was saved.

The data will be saved to the media, and you will return to the Save page. The amount of time required will depend on the amount of data.

If a ﬁle with the same name already exists on the ﬂoppy disk, you will be asked whether you want to overwrite. If you wish to overwrite, press the OK button. If you wish to save without overwriting, press the Cancel button, re-do the operation from step 6, and rename the data in step 7 before saving it. The LCD screen will show the ﬁles that were saved.

The various types of data are saved as the following ﬁles.

.PCG ﬁle

Programs, combinations, user drum kits, user arpeggio patterns, and global settings that were saved in internal memory

.SNG ﬁle

Sequencer songs and cue lists

.KSC ﬁle

A ﬁle which lists the multisamples and samples used

MIDI data dump

The programs (INT-A–INT-E, EXB-A–EXB-G), combinations (INT-A–INT-E, EXB-A–EXB-G), user drum kits, user areggio patterns and global settings of internal memory, and sequencer songs, cue lists, can be transmitted as MIDI exclusive data and saved on a connected MIDI data ﬁler, computer, or another TRITON STUDIO. (☞PG p.145)

Write prohibit: Move the tab so that the write protect hole is open.

Write permit: Move the tab so that the write protect hole is covered.

Inserting a ﬂoppy disk

With the label of the ﬂoppy disk facing upward, insert it into the disk drive. Press the disk inward until it clicks into place. Malfunctions will occur if you use excessive force to insert the disk. Disks must be inserted gently, and straight in.

Disk access indicator

Loading data and

restoring the factory settings

Loading data

Types of data that can be loaded

The types of data that can be loaded from media (ﬂoppy disk, etc.) are shown in the diagram below. (☞For details on each type of data, refer to PG p.155)

Loading data/Restoring the factory settings

When you want to use programs, combinations, samples, or songs that you saved, you will have to load them from media. You will also load data when you want to restore all programs, combinations, and other settings to the factory-set condition. In this case, you will load the PRELOAD.PCG ﬁle (contained in the included ﬂoppy disk and on the internal hard drive).

When loading programs, combinations, songs, user drum kits, or user arpeggio patterns, you must make sure that the Global mode memory protect setting is unchecked. (☞p.57)

The procedure for restoring the factory settings is described below. Here we will explain how to load the PRELOAD.PCG ﬁle from the included ﬂoppy disk.

A .PCG ﬁle contains programs, combinations, drum kits, user arpeggio patterns, and global settings.

When you load a .PCG ﬁle, the data in the TRITON STUDIO’s internal memory will be overwritten by the data from the .PCG ﬁle (programs, combinations, drum kits, user arpeggio patterns, and global settings). If you want to keep the data that is currently in internal memory, you must ﬁrst use “Save All” or “Save PCG” to save the current data.

1 Insert the “TNSFD-00P” ﬂoppy disk into the TRI-

TON STUDIO’s ﬂoppy disk drive.

For details on ﬂoppy disk handling, please be sure to read “Cautions when handling ﬂoppy disks” (☞p.62).

Basic functions

Saving dataLoading dataProgram

settings

Combination

DOS directory

Undefined DOS file

Files that can be loaded

DOS files

.PCG file

.SNG file

Up Open

All programs

All combinations

All drum kits

All user arpeggio

patterns

Global settings

Cue list

1 song

[000–199]

1 program

bank I-A...I-F, E-A...E-G

1 combination

bank I-A...I-E, E-A...E-G

1 drum kit group

I-A/B, E-A...E-G, User

1 user arpeggio

pattern group

I-A/B, E-A...E-G, User

Track

1 user pattern

[00–99]

1 program

1 combination

1 drum kit

1 user arpeggio

pattern

DOS file

.JKB file

.MID file

.EXL file

.KMP file

.KSF file

.KSC file

.AIF file

.WAV file

.KCD file

AKAI format program file

AKAI format

sample file

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

2 Enter Disk mode, and touch the LCD screen to make

the TRITON STUDIO detect the disk.

3 Press the Load tab to access the Load page.

The LCD screen will display ﬁle information.

4 Use “Drive select” to select the FDD. 5 Select the PRELOAD.PCG ﬁle.

The selected ﬁle will be highlighted.

6 Select the page menu command “Load Selected.”

A dialog box will appear.

8 Press the OK button to load the data.

Never remove the media while data is being loaded.

Loading individual banks from a .PCG ﬁle

In the dialog box for step 6 of “Loading data/Restoring the factory settings,” it is also possible to set “.PCG Contents” to specify an individual bank to load, and set the “To” ﬁeld to select the bank into which that data will be loaded. When you execute loading, only the programs, combinations, drum kits, and user arpeggio pattern data of the selected bank will be loaded into the load-destination bank you specify. Global setting data will not be loaded.

If you set “.PCG Contents” to Bank I-A, and “To” to Bank I-A, data will be loaded as follows.

The contents and settings of the dialog box will differ depending on the type of ﬁle that you are loading.

7 In “.PCG Contents,” specify the data that you want to

load. If you want to load all data from the .PCG ﬁle, select

All.

Since in this example we want to restore all settings to the factory-set condition, we will select All. If you load PRELOAD.PCG from the included ﬂoppy disk with All selected, all data of the .PCG ﬁle will be loaded as follows.

Programs

• Bank I-A file: loaded into bank INT-A

• Bank I-B file: loaded into bank INT-B

• Bank I-C file: loaded into bank INT-C

• Bank I-D file: loaded into bank INT-D

• Bank I-E file: loaded into bank INT-E

Combinations

• Bank I-A file: loaded into bank INT-A

• Bank I-B file: loaded into bank INT-B

• Bank I-C file: loaded into bank INT-C

• Bank I-D file: loaded into bank INT-D

Drum Kits

• 000–015 (I-A/B) file: loaded into bank I-A/B

• 128–143 (User) file: loaded into bank User

Arpeggio Patterns

• 000–199 (I-A/B) file: loaded into bank I-A/B

• 312–506 (User) file: loaded into bank User

Programs

• Bank I-A file: loaded into bank INT-A

Combinations

• Bank I-A file: loaded into bank INT-A

Drum Kits

• 00–15 (I-A/B) file: loaded into bank I-A/B

Arpeggio Patterns

• 000–199 (I-A/B) file: loaded into bank I-A/B

When data is loaded into a bank that is different than its original bank, the data (bank, program, pattern, and kit numbers, etc.) will automatically be reconﬁgured so that after loading, the various types of data will correspond correctly in each mode.

The following data will also be reconﬁgured automatically if you have checked “Load .SNG too” (so that song data is loaded at the same time), in order to ensure that the song data plays back correctly.

• The bank of each program used by combinations

• The pattern number of each user arpeggio pattern used by the combinations/programs/songs

• The kit number of the drum kit used by each program

• The bank of the program used by each track of the song

• If the song contains track/pattern events, the program banks within these events

Loading data by individual item or bank

The TRITON STUDIO lets you load programs and combinations individually or by individual banks. Drum kits and arpeggio patterns can also be loaded individually or as a group. This allows you to restore just an individual item to its factory setting, or to rearrange combinations (for example) in the order in which they will be played during a concert.

Be aware that if you change the order of programs, the sounds played by combinations may also be affected. (☞p.149)

As an example, here’s how to load the combination INTD024: Rock Organ into INT-A000.

1 From the “Bank I-A” directory, and select “Rock

Organ.” (PRELOAD.PCG/Combinations/Bank I-D/)

The procedure is as follows.

1) Perform steps 1–4 of the preceding procedure, press “PRELOAD.PCG’ to highlight it, and press the Open button.

2) Press “Combinations” to highlight it, and press the Open button.

3) Press “Bank I-D” to highlight it, and press the Open button.

4) Press the scroll bar to ﬁnd “Rock Organ,” and press “Rock Organ” to highlight it.

Alternatively, you could select any ﬁle, since the desired ﬁle can be selected later from the dialog box.

When you press the keyboard of the TRITON STUDIO, the selected combination will sound. However, the internal programs will be used as the program of each timbre.

2 Press the page menu button and select the “Load

Selected” page menu command.

The dialog box will appear.

3 Use the “Combination” (upper line) to select the

load-source combination, and use “(To) Combination” (lower line) to specify the destination combination. For this example, select A000: Combi I-A000.

4 Press the OK button to load the data. A000 will now

be Rock Organ.

Contents of the included ﬂoppy disk

The TRITON STUDIO comes with one ﬂoppy disk (TNSFD-00P). The disk contains the following data.

TNSFD-00P

PRELOAD.PCG (already loaded when the TRITON STUDIO is shipped)

• Programs (bank I-A, I-B, I-C, I-D, I-E)

• Combinations (bank I-A, I-B, I-C, I-D)

• Drum Kits (000–015 (I-A/B), 128–143 (User))

• Arpeggio Patterns (000–199 (I-A/B), 312–506 (User)) This is the preloaded data (programs, combinations, drum kits, arpeggio patterns, global settings).

Loading .PCG ﬁles and .SNG ﬁles from the ﬂoppy disks included with the EXBPCM series and EXB-MOSS options

The ﬂoppy disk included with each EXB-PCM series option and the EXB-MOSS option contains .PCG ﬁles and .SNG ﬁles that match the bank structure of the TRITON/ TRITONpro/TRITONproX. (As of March 2002)

EXB-PCM series

EXB-PCM01–05

In each disk, C_BANK.PCG (.SNG) and D_BANK.PCG (.SNG) contain the same data, but use different banks.

EXB-PCM08

The data contained on the EXB-PCM08 is already included in the TRITON STUDIO’s Piano PCM ROM.

EXB-PCM06/07

C_BANK.PCG and D_BANK.PCG contain different programs, combinations, drum kits, and arpeggio patterns.

When loading these TRITON/TRITONpro/TRITONproX format ﬁles from the EXB-PCM series disks into the TRITON STUDIO, you should load bank I-C of C_BANK.PCG or bank I-D of D_BANK.PCG, and not load banks I-A and I-B. We also recommend that you select EXB-A–EXB-G as the bank into which this data will be loaded. Here is an example of how various ﬁles from the ﬂoppy disks included with the EXB-PCM01–07 can be loaded into banks EXB-A–EXB-G of the TRITON STUDIO.

• EXB-PCM01: file for bank C → load to bank EXB-A

• EXB-PCM02: file for bank C → load to bank EXB-B

• EXB-PCM03: file for bank C → load to bank EXB-C

• EXB-PCM04: file for bank C → load to bank EXB-D

• EXB-PCM05: file for bank C → load to bank EXB-E

• EXB-PCM06/07: file for bank C → load to bank EXB-F

• EXB-PCM06/07: file for bank D → load to bank EXB-G

The loading destination banks need not be in the above order. Load the data into any bank (EXB-A– EXB-G) that will make it easy for you to keep your data organized.

EXB-PCM boards can be installed in any slot 1–7. (☞PG p.286)

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

1 If you have modiﬁed the program settings or the

order of the programs in banks INT-A or INT-B, load banks I-A and I-B from the internal hard disk or the included ﬂoppy disk.

Combinations (except for those of the EXB-PCM03) are created using the EXB-PCM programs and the bank INT-A and INT-B preloaded programs. This means that when loading data (other than EXB-PCM03 data), you must load banks I-A and I-B of the preloaded programs. (“Loading data/Restoring the factory settings” ☞p.63)

2 Insert the included ﬂoppy disk, and select the .PCG

ﬁle.

For the EXB-PCM01–05:

As described in steps 1–5 of “Loading data/Restoring the factory settings,” select C_BANK.PCG.

For the EXB-PCM06/07:

As described in steps 1–5 of “Loading data/Restoring the factory settings,” select C_BANK.PCG. After loading C_BANK.PCG, use the same procedure to select D_BANK.PCG. Load both ﬁles.

3 Select the page menu command “Load Selected.”

A dialog box will appear.

4 As described in “Loading individual banks of data

from a .PCG ﬁle,” set “.PCG Contents” and “To.” Make the settings shown below.

EXB-PCM01: “.PCG Contents”: bank I-C, “To”: bank E-A EXB-PCM02: “.PCG Contents”: bank I-C, “To”: bank E-B EXB-PCM03: “.PCG Contents”: bank I-C, “To”: bank E-C “Load C_BANK.SNG too”: On (checked) “.SNG Allocation”: Clear EXB-PCM04: “.PCG Contents”: bank I-C, “To”: bank E-D “Load C_BANK.SNG too”: On (checked) “.SNG Allocation”: Append

EXB-PCM05: “.PCG Contents”: bank I-C, “To”: bank E-E

EXB-PCM06/07, C_BANK.PCG: “.PCG Contents”: bank I-C, “To”: bank E-F

EXB-PCM06/07, D_BANK.PCG: “.PCG Contents”: bank I-D, “To”: bank E-F

Because you checked “Load C_BANK.SNG too” for EXB-PCM03 and 04, the RPPR settings and patterns will be loaded into Sequencer mode. Because you set “.SNG Allocation” to Append for EXB-PCM04, the CBANK.SNG (song data) that you had loaded for EXBPCM03 will be preserved (i.e., not overwritten).

5 Press the OK button to load the data.

If you execute with “.PCG Contents” set to All, the bank INT-A, INT-B, and INT-C (or INT-D) programs and combinations, all drum kits, all user arpeggio patterns, and global settings will be overwritten.

If you want to keep the data that is currently in the internal memory, you must execute “Save All” or “Save PCG” to save the current data before you perform the procedure described here.

EXB-MOSS

If you want to load the ﬂoppy disk included with the EXB-MOSS into the TRITON STUDIO, load program bank I-F and combination bank I-B (000...063) from the MOSS.PCG ﬁle, and load the MOSS.SNG ﬁle. As described for the EXB-PCM series, you will not normally load bank I-A and I-B. Program bank I-F should be loaded into bank INT-F, which is the program bank for the MOSS tone generator. We recommend that you select INT-E as the loading destination for combination bank I-B.

The optional EXB-MOSS board must be installed. (☞PG p.286)

1 If you have modiﬁed the program settings or the

order of the programs in banks INT-A or INT-B, load banks I-A and I-B from the internal hard disk or the included ﬂoppy disk.

The EXB-MOSS combinations are created using the EXB-MOSS programs and the bank INT-A and INT-B preloaded programs. This means that you must load banks I-A and I-B of the preloaded programs. (“Loading data/Restoring the factory settings” ☞p.63)

2 Insert the included ﬂoppy disk, and select the pro-

gram bank I-F and combination bank I-B ﬁle.

Selecting program bank I-F:

Select MOSS.PCG as described in steps 1–5 of “Loading data/Restoring the factory settings.” Press the Open button to select the Programs folder, and press the Open button once again to select the bank I-F folder.

Selecting combination bank I-B:

Select MOSS.PCG as described in steps 1–5 of “Loading data/Restoring the factory settings.” Press the Open button to select the Combinations folder, and press the Open button once again to select the bank I-B folder.

3 Select the page menu command “Load Selected” to

load the data.

If program bank I-F is selected, the Load Program Bank F dialog box will appear. Press the OK button to load the data. If combination bank I-B is selected, the Load Combination Bank I-B will appear. Set “To” to Bank I-E, and press the OK button to load the data.

If you want to keep the data that is currently in the internal memory area, use “Save All” or “Save PCG” to save the current data before you perform the procedure described here.

To load the demo song data for the MOSS tone generator, select MOSS.SNG, and use “Load Selected” to load it. For details on “Select SNG Allocation,” refer to the note at the end of step 4 of the preceding section.

Program settings

Program editing is performed in Program mode, just as programs can be selected and played in Program mode.

Program mode consists of the P0: Play–P9: Edit-Master Effect pages.

In P0: Play, you can select and play programs. You can also perform simple editing of the program, make arpeggiator settings, and make settings for audio input and sampling. (☞p.22, 34, 45) In P1: Edit-Basic–P9: Edit-Master Effect, you can edit the parameters of the program you selected in P0: Play. When shipped, the TRITON STUDIO contains numerous preloaded programs. You can edit the settings of these preloaded programs to create your own original programs. You can also create original programs that use sampled waveforms and multisamples that you sampled on the TRITON STUDIO or loaded into the internal sample memory (RAM) in Disk mode.

You can perform sampling/resampling in Program mode (☞p.45). You can also apply the TRITON STUDIO’s effects to an external audio input, for a wide range of possibilities. (☞p.143)

All transmission and reception of MIDI data in Program mode is performed on the global MIDI channel. The global MIDI channel is set in Global P1: MIDI “MIDI Channel.”

How a program is organized

A program consists of the many parameters of P1: EditBasic–P9: Edit-Master Effect. The diagram below shows the structure of a program.

Basic program editing

You can edit the preloaded programs (banks INT-A–INTD) that the TRITON STUDIO is shipped with, or you can start with an initialized program (banks INT-E, EXB-A– EXB-G) to create an original program.

The P1: Edit-Basic–P5: Edit-Common LFO parameters, which are set independently for oscillators 1 and 2, can be copied using the page menu command “Copy Oscillator.” This is useful when you want to make the same settings for both oscillators, or when you want to copy settings from another program.

If you wish to save an edited program into internal memory, be sure to Write the program. (☞p.56)

In this section we will give examples of how to modify representative parameters in each page.

For details on all parameters, refer to in the PG p.1–. Programs you edit or create can be written into the 1,536

program memory areas of banks INT-A–INT-E, EXB-A– EXB-G. Y ou can also save and manage programs on various types of media. (☞p.59)

If the EXB-MOSS option is installed, you will be able to use the special bank INT-F. The parameter structure of bank INT-F programs is different than that of the other banks. Refer to the EXB-MOSS owner’s manual.

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Program Basic : P1 - 1

OSC Basic : P1 - 2,3

OSC1 Pitch Mod. : P2 - 1

Pitch EG : P2 - 3

Oscillator / Pitch

OSC1 LFO1 : P5 - 1

Filter1 Mod. : P3 - 2

Filter1 LFO Mod. : P3 - 3

Filter1(A/B) : P3 - 1

Filter1 EG : P3 - 4

Filter

OSC1 LFO2 : P5 - 2

Amp1 Mod. : P4 - 2

Amp1 Level/Pan : P4 - 1

Amp1 EG : P4 - 3

Amplifier

OSC 1 OSC 2

Routing : P8-1

OSC1,2

Insert Effect Master Effect Individual Output

Controller Setup:

P1 - 4

Arpeggiator : P7

Master Effect 1, 2 :

Insert Effect 1 ... 5 :

P1–1 and P2–2 etc. indicate the page tab screens used when editing on the TRITON STUDIO.

Effect

MasterEQ : P9

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1,2,3,4

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

The three elements of sound

Sound can be broken down into three elements: pitch, tone, and volume.

On TRITON STUDIO, these elements correspond to the Pitch, Filter, and Ampliﬁer settings of a program. In other words you would adjust the Pitch settings to modify the pitch, the Filter settings to modify the tone, and the Ampliﬁer settings to modify the volume.

In Oscillator (Oscillator: P1: Edit-Basic settings) you select the waveform multisample that determines the basic sound, and specify its pitch. This sound is then modiﬁed by the pitch settings (Pitch: P2: Edit-Pitch), ﬁlter set- tings (Filter: P3: Edit-Filter), and amp settings (Ampliﬁer: P4: Edit-Amp) to create the basic sound of the program.

This basic sound can then be modiﬁed further by using the insert effects (P8: Edit-Insert Effect settings), master effects, and master EQ (P9: Edit-Master Effect settings) to apply ﬁnishing touches.

When arpeggiator settings (P7: Edit-Arppeggiator.) and controller settings (P1: Edit: Basic) are added to this, the ﬁnal result is called a “program.”

A program that is usen in the Combination, Sequencer or Song Play modes will have insert effect, master effect, master EQ, arpeggiator, and controller settings that are separate from those it has in the Program mode.

The Compare function

When P1–P9 are selected, pressing the [COMPARE] key (the LED will light) will recall the sound that was written before you edited it. Pressing [COMPARE] again (the light goes dark) returns you to the version you are editing.

If you edit while the [COMPARE] key LED is lit, the key will go dark. That previous sound will now become be the sound that is recalled when the [COMPARE] key LED is dark.

Oscillator settings P1: Edit-Basic

Basic settings for the oscillator are made in the P1: EditBasic page. The TRITON STUDIO provides two oscillators, and for each oscillator you can select a basic waveform (“multisample”) and set the pitch. The multisamples provided by the TRITON STUDIO include waveforms for musical instruments such as pianos, as well as special waveforms unique to synthesizers. Multisamples reproduce the complex overtone structure and frequency characteristics that allow us to identify a sound as being “piano-like” or “guitar-like” etc...

Program Basic page

Oscillator Mode

This sets the mode of the oscillator. Single uses one oscillator and Double uses two oscillators. In the case of Sin- gle the maximum polyphony is 60 notes, and in the case of Double the maximum polyphony is 30 notes. If you wish to use a Drum Kit to create a drums program, select

Drums. In the case of Drums, the polyphony is normally 60 notes.

Depending on the multisamples that are selected for each oscillator, the maximum polyphony can be up to 120 notes for Single, up to 60 notes for Double, and up to 120 notes for Drums. (☞p.15)

Voice Assign Mode

Select whether the program will sound in Poly (polyphonically) or Mono (monophonically). If this is set to Poly, you will be able to play chords using the program. If this is set to Mono, only one note will sound even if you play a chord. Normally you will set this to Poly, but it is effective to use Mono when you are playing sounds such as a solo instrument, an analog-synth bass or a synth lead. Try switching between Poly and Mono, and listen to the results.

OSC Basic page

In this page you can select the multisample for each oscillator. The TRIT ON STUDIO provides 429 multisamples in its internal ROM memory (☞VNL).

Additional multisamples can be added by installing EXBPCM series options. Data sampled on the TRITON STUDIO can also be used as a multisample.

Selecting a multisample

The multisample will determine the basic character of the program.

Use “High MS Bank” to select the multisample bank, and use “High Multisample” to select the multisample.

If the “High MS Bank” is ROM, you can select preset multisamples. “High Multisample” can be selected from a range of 000–424. (☞VNL) If “High MS Bank” is RAM, you can select multisamples that were sampled on the TRITON STUDIO or loaded in from media. Select from 000–999 for “High multisample.” If “High MS Bank” is Piano, you can select one of the large preset piano multisamples. Select from 000–003 for “High Multisample.”

If “High MS Bank” is set to ROM, pressing the “High Multisample” popup button will display all internal ROM multisamples, organized into 15 categories. Use the tabs located at the left and right to select the desired category, and select a multisample from within that category.

High Multisample and Low Multisample

If you specify a High and Low multisample for an oscillator, either the High or the Low multisample will sound depending on the velocity of the note (i.e., the strength at which you play the keyboard). This function is called velocity multisample switching.

1 Specify different multisamples for “High Multisam-

ple” and “Low Multisample.”

2 Specify a velocity value for “Velocity M.Sample SW

Lo→Hi.”

Notes played on the keyboard at a velocity less than the value you specify will sound the Low multisample; velocities at or above this velocity value will sound the High multisample. For example if you set “Velocity M.Sample SW Lo→Hi” to 100, playing the keyboard softly will sound the “Low multisample,” and playing strongly will sound the “High multisample.”

3 Adjust the “Lvl” (Level) for High and Low multisam-

ples to set their volume balance. If you do not wish to use this function, set the “Veloc-

ity M.Sample SW Lo→ Hi” value to 001. Only the

High multisample will sound.

Rev (Reverse) check box

If this is checked, the multisample will be played backward. This can produce interesting results when used on sound-effects, etc. Normally you will not check this.

When “Oscillator Mode” = Double

To use OSC2, set “Oscillator Mode” to Double in the Program Basic page. In the same way as for OSC1, you can set High and Low multisamples for OSC2.

The playback pitch can be set independently. By using the same multisample with slightly different “Tune” settings, you can “detune” the oscillators to produce a richer sound.

It will be convenient to use the page menu command “Copy Oscillator” to make the oscillator settings match each other.

When “Oscillator Mode” = Drums

In the Program Basic page, set “Oscillator Mode” to Drums. When this is set to Drums, you will be able to cre-

ate a drum program. This will select a drum kit instead of a multisample. TRITON STUDIO provides twenty factory preset drum kits that are suitable for a wide variety of music. (☞VNL) Here you can only select a drum kit. To edit or create a drum kit, use Global P5: Drum Kit (☞p.128).

The following multisamples or drum kits can be used for the oscillator.

• 425 internal multisamples (ROM)

• Multisamples that you sampled (RAM) (Programs can be created from multisamples/samples that you sampled in Sampling mode etc. or loaded from media in Disk mode.)

• Four internal piano multisamples (Piano)

• Expansion multisamples (if a EXB-PCM option is installed)

• Nine internal drum kits (ROM)

• 144 user drum kits created in Global mode (Drum samples can be freely assigned to each key to create a drum kit. For the sound of each key, you can make ﬁlter and amp settings, and specify routing to the effects and to the individual audio outputs.)

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

Velocity Zone page

Here you can specify the range of velocities for each oscillator. In the example shown above, the velocity ranges are as follows.

• OSC1 will sound at all velocity values.

• OSC2 will sound only on strongly played notes (64 and above).

• You can use Velocity Multisample Switching in addition to this parameter (☞“High Multisample, Low Multisample”). For this example, set “OSC1” in “Velocity M.Sample SW Lo→Hi” to 32 and “OSC2” to

096. The settings are shown as vertical lines in the velocity zone display.

In this example, the multisamples will sound over four levels.

Velocity values 001–031: sounds only the OSC1 Low

multisample.

Velocity values 032–063: sounds only the OSC1 High

multisample.

Velocity values 064–095: sounds the OSC1 High multi-

sample and the OSC2 Low multisample.

Velocity values 096–127: sounds the OSC1 High multi-

sample and the OSC2 High multisample.

Controller Setup page

For each program, this tab lets you make settings for the [SW1] and [SW2] key, and for the B-mode of REALTIME CONTROLS knobs [1]–[4] (☞p.145, PG p.12, 249, 250)

Pitch settings P2: Edit-Pitch

Here you can specify how the pitch of the multisample assigned to each oscillator will change. Pitch EG and LFO settings allow the pitch to varied over time. The OSC1 P.Mod page is valid when “Oscillator Mode” is set to Sin- gle or Drums.

OSC1 Pitch Mod. page

Pitch

The “JS (–X)” and “JS(+X)” settings specify the amount of pitch change (in semitones) that will occur when MIDI pitch bend messages are received or when the joystick is moved to left or right. A setting of +12 allows the pitch to be controlled a maximum of one octave upward; a setting of –12 allows the pitch to be controlled a maximum of one octave downward.

“Ribbon” speciﬁes the amount of pitch change (in semitones) that will occur when MIDI control change (CC) #16 messages are received or when the ribbon controller of a TRITON STUDIO or other MIDI-connected instrument is moved to left or right. With a setting of +12, the pitch will be raised one octave at the far right of the ribbon controller, and will be lowered by one octave at the far left of the ribbon controller.

Pitch EG

When the “Intensity” value is set to +12.00, the pitch EG speciﬁed in the Pitch EG page will produce a maximum of ±1 octave of pitch change.

Portamento

If “Enable” is checked, portamento will be applied. Portamento makes the pitch change smoothly when you play the next note before releasing the previous note. The “Time” parameter speciﬁes the portamento time. As this value is increased, the pitch will change over a longer time. With a value of 000, there will be no portamento.

If Porta.SW CC#65 is assigned as the function of [SW1] or [SW2] key, the portamento effect can be switched on/off by [SW1] or [SW2] key.

LFO 1/2

An LFO can be used to cyclically modulate the pitch (a “vibrato” effect).

“LFO 1/2 Intensity” sets the depth to which the LFO spec- iﬁed in P5: Edit-Common LFO will affect the pitch. With a setting of +12.00, vibrato will produce a maximum of ±1 octave of pitch change.

“JS+Y Int” speciﬁes the amount of vibrato that the LFO will produce when the joystick is pushed away from yourself.

“Intensity (AMS Intensity)” speciﬁes the depth of vibrato that will be applied by the LFO when an AMS (Alternate Modulation Source) is used. For example if “AMS (LFO1 AMS)” is set to After Touch and you set an appropriate value for “Intensity (AMS Intensity),” vibrato will be applied when you apply pressure to the keyboard or when MIDI aftertouch messages are received.

Pitch EG page

Here you can adjust the settings for the pitch EG. When you wish to create sound effects etc., set the pitch EG to make major changes in pitch over time. To realistically simulate the slight change in pitch that occurs when a string is plucked or at the attack of a brass or vocal sound, you can use the EG to create a subtle change in pitch at the attack (☞PG p.12).

EG and LFO

By using an EG (envelope generator) to apply time-varying change or by using an LFO (Low Frequency Oscillator) to apply cyclic change to pitch, ﬁlter, or amp, you can create changes in the pitch, tone, or volume.

EG (Envelope Generator)

TRITON STUDIO provides a Pitch EG, Filter EG, and Ampliﬁer EG, which produce time-varying changes in pitch, tone, and volume respectively.

Attack Level

note-on note-off

Level

Break Level

Filter settings P3: Edit-Filter

The ﬁlter allows you to diminish or emphasize speciﬁed frequency areas of the multisample selected for the oscillator.

The tone of the sound will depend signiﬁcantly on the ﬁlter settings.

TRITON STUDIO provides Filter 1 for OSC1 and Filter 2 for OSC2. For each of these ﬁlters, you can select from two types (Low Pass Resonance or Low Pass & High Pass). Filter 2 can be used if “Oscillator Mode” is set to Double.

Level

Filter1 page

Overtones included in the original multisample

Frequency (pitch)

Level

Filter

Filter characteristics

This area of overtones will be diminished

Overtones after passing through the filter

Frequency (pitch)

Basic functions

Saving dataLoading dataProgram

settings

Decay Time

Attack Time Start Level

Sustain Level

Slope Time

Release Time

Release Level

Time

LFO (Low Frequency Oscillator)

For each oscillator, TRITON STUDIO provides two LFO’s that can be used to apply cyclical change in pitch, tone, and volume. Examples of this are vibrato (cyclical change in pitch), wah (cyclical change in tone), and tremolo or auto-pan (cyclical change in volume).

Filter Type, Filter A, Filter B

Selects the type of ﬁlter, and specify the “Frequency” (cutoff frequency) and “Resonance” (resonance level).

• Low Pass Resonance (24 dB/oct low pass filter with

resonance): Make settings for filter A.

• Low Pass & High Pass (12 dB/oct low pass filter and

12 dB/oct high pass filter in series connection): Make low pass filter settings in filter A, and high pass filter settings in filter B.

Low pass ﬁlter

This is the most common type of ﬁlter, which allows the low frequency range to pass and cuts the high frequency range. When the overtones of the high range are cut, a bright sound will become darker (more mellow). 24 dB/oct and 12 dB/oct refer to the steepness of the cut. 24 dB/oct means that the gain will decrease 24 dB in one octave (i.e., as the frequency doubles). A 12 dB/oct ﬁlter would decrease the gain 12 dB in one octave. The 24 dB/ oct ﬁlter produces a steeper cut.

Low Pass

Level

12dB/oct

24dB/oct

Frequency

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

High pass ﬁlter

This type of ﬁlter allows the high frequency range to pass and cuts the low frequency range. Use this when you wish to make the sound thinner. However if the cutoff frequency (Frequency) is raised excessively high, the volume will become very low.

High Pass

Level

12dB/oct

Frequency

Filter EG

Adjusts the effect produced by the ﬁlter EG, whose settings are made in the EG page.

• Use the “Velocity to A” and “Velocity to B” settings to

specify the effect of velocity on the filter EG.

• Use the “Intensity to A” and “Intensity to B” settings

to specify the depth of the filter EG.

•“Into A (AMS Int. to A)” and “Into B (AMS Int. to A)”

adjust the effect that AMS will have on the filter EG depth. These three settings will determine the depth of the tonal change produced by the ﬁlter EG.

Resonance

When “Resonance” is set to a higher value, the overtones in the region of the cutoff frequency will be boosted as shown in the diagram below, giving a distinctive character to the sound.

When resonance is applied

Low Pass

Level

Low resonance value High resonance value

Filter1 Mod. page

Filter A/B Modulation

Set this when you wish to produce tonal change by using controllers etc. to vary the cutoff frequency.

Filter1 LFO Mod. page

Indicates settings that allow the LFO to produce cyclic changes in tone (a “wah” effect).

“Intensity to A (LFO Int. to A)” and “Intensity to B (LFO Int. to B)” specify by how much the LFO will change the tone. “JS-Y Intensity to A” and “JS-Y Intensity to B” specify the depth of the wah effect that will be produced by the LFO when the joystick of TRITON STUDIO is moved toward yourself, or when CC#2 is received. “Intensity to A (LFO1 AMS Int.to A)” and “Intensity to B (LFO1 AMS Int. to B)” specify the depth of the wah effect that will be produced by the LFO when “AMS (LFO1 AMS)” is used. For example if “AMS (LFO1 AMS)” is set to After Touch, applying pressure to the keyboard of the TRITON STUDIO, will produce a wah effect.

Filter1 EG page

Indicates settings for the ﬁlter EG, which controls timevariant changes in tone. Make settings for the EG here, and set the depth of its effect in the Filter1 Mod. page Fil- ter EG parameter (☞PG p.19).

Controllers and the ﬁlter EG can be used to modulate the ﬁlter cutoff frequency that was speciﬁed in the Filter1 page. By using a controller to vary the tone or by using an EG to create time-varying changes, you can add a rich variety of tonal change to the sound.

Keyboard Track

This varies the cutoff frequency according to the position of the key on the keyboard that you play.

• When “Ramp Low” is set to a positive (+) value, the cutoff frequency will rise as you play lower on the keyboard, making the sound brighter. When set to a negative (–) value, the cutoff frequency will fall as you play lower on the keyboard, making the sound darker.

• When “Ramp High” is set to a positive (+) value, the cutoff frequency will rise as you play higher on the keyboard, making the sound brighter. When set to a negative (–) value, the cutoff frequency will fall as you play higher on the keyboard, making the sound darker.

•“Intensity to A” and “Intensity to B” adjust the effect that keyboard tracking will have on filters A and B (☞PG p.17).

Filter EG and Ampliﬁer EG

When the Filter EG changes the cutoff frequency, the tone will change. However depending on the volume changes produced by the Ampliﬁer EG, this can be heard in different ways. For example by changing the speed at which the tone and volume begin (attack) or decay, you can signiﬁcantly vary the character of the tonal change. It is a good idea to adjust the changes of both the Filter EG (tone) and the Ampliﬁer EG (volume) as you proceed with editing. (☞“Amp1 EG page)

Ampliﬁer settings P4: Edit-Amp

These settings affect the volume. Here you can adjust the way in which the Amp EG and LFO produce time-varying and cyclic changes in volume, and how the controllers etc. will affect the volume. Amp1 applies to OSC1, and Amp2 applies to OSC2. Amp2 can be used if “Oscillator Mode” is set to Double.

For example, the volume of a piano note begins at a high volume the instant you play the note, and then decreases gradually. The volume of an organ note remains constant as long as you continue pressing the key. The volume of a note on a violin or wind instrument can be varied during the note by the musician (i.e., by regulating the amount of pressure on the bow or the force of the breath).

Volume

Piano

Volume decays gradually

Volume

Organ

Volume remains constant until note is released

Amp Mod. page

Time

Amp1 Level/Pan page

Amp Level

Adjusts the volume of the sound that has passed through the oscillator, ﬁlter, and amp.

Pan

Speciﬁes the pan (stereo position) after the signal has passed through the oscillator, ﬁlter, and amp. Normally you will set this to C064. If “Oscillator Mode” is Double and you wish to create a sense of stereo, set the Amp1 Level/Pan page and Amp2 Level/Pan page parameter “Pan” to left and right for oscillators 1 and 2 respectively. With a setting of Random, the pan will change randomly each time you play a note on TRITON STUDIO, producing an interesting effect.

AMS (Pan AMS), Intensity

“Intensity” speciﬁes the depth of the panning effect that will occur when “AMS (Pan AMS)” is in use.

If you set “AMS (Pan AMS)” to Note Number, the pan will change according to the keyboard position at which you play a note on a TRITON STUDIO. With a setting of LFO1 or 2, the sound will sweep from side to side (auto pan). Other settings allow you to move the oscillator pan by operating a controller.

Use DKit Setting

This is valid when “Oscillator Mode” is set to Drums. If this is checked, the pan location speciﬁed by the Drum Kit for each drum sound will be used. If this is unchecked, all drum sounds will sound at the same location. Preload and GM drum kits are set to stereo settings. Normally you will leave this checked.

Keyboard Track

This lets you vary the volume relative to the position of the key you are playing on the keyboard.

• When “Ramp Low” has a positive (+) value, the

volume will increase as you play lower on the keyboard. With a negative (–) value, the volume will decrease as you play lower on the keyboard.

• When “Ramp High” has a positive (+) value, the

volume will increase as you play higher on the keyboard. With a negative (–) value, the volume will decrease as you play higher on the keyboard.

Amp Modulation

“Velocity Intensity” is used by most programs to decrease the volume of softly played notes and increase the volume of strongly played notes, and the Amp Modulation parameter adjusts the depth of this control. Normally you will set Amp Modulation to positive (+) values. As this setting is increased, there will be greater volume difference between softly played and strongly played notes.

LFO1/2

Speciﬁes how the LFO’s will produce cyclic changes in volume (tremolo effect). The volume will be affected by the LFO(s) for which you set an “LFO1 Intensity”, “LFO2 Intensity” value. “Intensity (AMS Intensity)” adjusts the depth by which the tremolo effect produced by the LFO will be affected when you assign an “AMS (LFO1 AMS, LFO2 AMS).” For example if you set “AMS” to JS-Y: #02, tremolo will be applied when you move the joystick of TRITON STUDIO toward yourself, or when CC#02 is received.

Amp1 EG page

Here you can make settings for the amp EG, which changes the volume over time.

Every instrument has its own characteristic curve of volume change. This is part of what gives each instrument its identiﬁable character. Conversely, by applying a stringstype Amp EG curve to an organ-type multisample, you can produce a sound with a character unlike a typical organ.

Piano

Organ

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Strings

Other

functions

LFO settings P5: Edit-Common LFO

For each oscillator, you can use two LFO (Low Frequency Oscillator) units: LFO1 and LFO2. You ar e free to select the type of each LFO and set its speed. The depth of the LFO1 and LFO2 that you specify here is adjusted by the settings of the P2: Edit-Pitch, P3: Edit-Filter and P4: Edit-Amp pages.

OSC1 LFO1, OSC1 LFO2, OSC2 LFO1, OSC2 LFO2

“Waveform” selects the type of LFO. You can choose from a variety of waveforms, including standard waveforms such as Triangle, Saw, Square, and Sine, as well as Step or Random PG waveforms that produce a sample-andhold effect (☞PG p.25). You can create a wide variety of effects by adjusting the “Offset,” “Fade,” and “Delay” settings, and by changing the sign (+/–) of the “Intensity” setting in the P2: EditPitch, P3: Edit-Filter and P4: Edit-Amp pages. “Fre- quency” speciﬁes the speed of the LFO.

Frequency Modulation

“AMS” can be used to vary the LFO speed. This lets you change the LFO speed by operating a controller, or by the EG or Keyboard Track settings.

Master Effect settings P9: Edit-Master Effect

Here you can select master effects and make settings for them. The master EQ is also set here (☞p.141).

More about Alternate Modulation

Alternate Modulation is a type of modulation that can be used to control various aspects of the sound.

AMS (Alternate Modulation Source) refers to any of the numerous sources that can provide alternate modulation, and includes controllers that you operate physically such as the joystick and realtime controllers, incoming MIDI data, as well as modulators such as the EG or LFO. Since TRITON STUDIO allows you to apply modulation to a modulator, this type of control is referred to as “alternate modulation.”

Intensity is a parameter that sets the degree (speed or depth) to which AMS will control alternate modulation.

Combinations of modulations that are frequently used in synthesizer performance (such as using the joystick to vary the pitch) are also provided as special parameters separate from alternate modulation.

TRITON STUDIO provides 29 types of alternate modulation. In single mode you can use 29 alternate modulation destinations of 29 types, and in double mode you can use 55 alternate modulation destinations of 29 types. There are 42 AMS sources. (However depending on the type of modulation, some sources cannot be selected.) For details on alternate modulation and AMS, refer to PG p.241.

Frequency MIDI/Tempo Sync.

If “MIDI/Tempo Sync” is checked, the “Frequency” set- ting will be ignored, and the LFO will synchronize to the tempo of the sequencer and arpeggiator. This lets you produce vibrato, wah, auto-pan, or tremolo effects that are synchronized to the playback speed of the sequencer or arpeggiator.

Arpeggiator settings P7: Edit-Arpeggiator

Here you can make arpeggiator settings (☞p.130).

Insert Effect settings P8: Edit-Insert Effect

Here you can select insert effects and make settings for them. You can also specify the oscillator routing (the signal sent to the insert effects, master effects, and independent outputs) (☞p.140).

Suggestions on using alternate modulation

When making settings for alternate modulation, think of the effect that you wish to produce, what type of modulation will be necessary to produce that effect, and what parameter of the oscillator, ﬁlter, or ampliﬁer needs to be controlled. Then select a source (“AMS”) and set the “Intensity.” If you proceed logically in this way, you will achieve the desired effect. For example if you want to “control a guitar-like sound so that it appears to be approaching feedback when the joystick is moved away,” you will make settings so that the joystick controls ﬁlter modulation or the resonance level.

Combination settings

Combination editing is performed in Combination mode, just as combinations can be selected and played in Combination mode.

Combination mode consists of the P0: Play–P9: Edit-Master FX pages. In P0: Play, you can select and play combinations. You can also perform simple editing, make arpeggiator settings, and make settings for audio input and sampling. (☞p.24, 31, 35) In P1: Edit-Program/Mixer–P9: Edit-Master FX, you can edit the parameters of the combination you selected in P0: Play.

You can perform sampling/resampling in Combination mode (☞p.45, 102). You can also apply the TRITON STUDIO’s effects to an external audio input, for a wide range of possibilities. (☞p.143)

How a combination is organized

A combination consists of a variety of parameters that can be accessed in P1: Edit-Program/Mixer–P9: Edit-Master FX. The diagram below shows how a combination is structured.

Basic combination editing

You can edit the preloaded combinations (banks INT-A– INT-D) with which the TRITON STUDIO is shipped, or start with an initialized combination (banks INT-E, EXBA–EXB-G) to create your own original combination.

Original programs using sample waveforms/multisamples you sampled on the TRITON STUDIO (or loaded into memory via Disk mode) can also be used in a combination.

If you wish to save an edited combination in internal memory, you must write it. (☞p.56)

If a program being edited in Program mode is used in a combination, it will sound according to the settings being edited.

In the following pages, we will explain how to edit some of the major parameters, and explain their functions.

For a more detailed explanation of the parameters, refer to PG p.33 and following.

Combinations that you edit or create from scratch can be written into the 1,536 combination memory areas (internal memory) of banks INT-A–INT -E and EXB-A–EXB-G. They can also be stored and managed on various types of media. (☞p.59)

Suggestions for editing procedure

The parameters of each timbre are set in P1: Edit-Program/Mixer–P9: Edit-Master FX. This is where you create the basic combination consisting of the programs you select here. First use P1: Edit-Program/Mixer to select the program for each timbre, and then use P4: Edit-Zone/Ctrl to specify the range in which each program will sound (layer, split, velocity switch, etc.). Then adjust the volume of each timbre, and set various other parameters. To add ﬁnishing touches to the sound, you can assign insert effect settings (in P8: Edit-Insert FX) and master effect and master EQ settings (in P9: Edit-Master FX) that are different from the effect settings of Program mode. In addition, you can make arpeggiator settings (in P7: EditArp.) and controller settings (in P4: Edit-Zone/Ctrl) to create the ﬁnished combination.

By using the page menu command “Solo Selected Timbre”, you can listen only to the selected timbre. This is a convenient way to audition individual sounds of timbres that are layered. (☞PG p.35)

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

Timbre1

Program

Timbre2

Program

Timbre3

Program

Timbre4

Program

Timbre8

Program

Parameters

Routing : P8-1

Timbre

Insert Effect Master Effect Individual Outputs

Insert Effect 1 ... 5 : P8

Controller Setup : P4- 4

Arpeggiator : P7

Master Effect 1, 2 : P9

MasterEQ : P9

P1–1 or P2–2 etc. indicate pages or tab screens used on this instrument for editing.

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1,2,3,4

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

Layer, split, and velocity switch

Within a combination, you can use key position and velocity to determine which program will sound. The programs assigned to each timbre can sound in three ways: as part of a layer, a split, or a velocity switch. A combination can be set to use any one of these methods, or to use two or more of these methods.

Layer

Layer refers to settings which cause two or more programs to sound simultaneously when a note is played.

Program A Program B

Layer: Two or more programs sound simultaneously.

Split

Split refers to settings which cause different programs to sound on different areas of the keyboard.

Program A

Program B

Split: Different programs will sound in different areas of the keyboard.

Velocity switch

Velocity Switch refers to settings which cause different programs to sound depending on the velocity (keyboard playing dynamics).



Program B Program A

On TRITON STUDIO, you can use a different program for each of up to eight timbres, and combine two or more of the above methods to create even more complex setups.

Program A

Program B

Program D Program C

As an additional possibility , you can set the slope for a key zone or velocity zone so that the volume diminishes gradually. This lets you change a split into a keyboard cross- fade, or a velocity switch into a velocity crossfade.

Program A

Program B

Strong

Keyboard playing dynamics

Soft

Velocity Switch: Keyboard playing dynamics (velocity) switches between different programs.

Strong

Keyboard playing dynamics

Soft

Example: B and C/D are split. In the lower keyboard range, A and B are layered. In the higher keyboard range, C and D are switched by velocity and layered with A.

Keyboard X-Fade (keyboard crossfade): As you play from low notes to high notes, the volume of A will fade out, and the volume of B will fade in.

The Compare function

As you are editing a combi, you can use the [COMPARE] key to listen to the previously saved version (as it was before you began editing). Pressing [COMPARE] again (the light goes dark) returns you to the version you are editing.

If you continue editing when the [COMPARE] key LED is lit, the LED will go dark, and the current setting will now be the sound that is recalled when the [COMPARE] key LED is dark.

Timbre 1–8 program, pan and volume P1: Edit-Program/Mixer

Here you can assign programs to each timbre 1–8, and set the pan and volume for each one. (These settings can also be made in the Program Select and Mixer pages of P0: Play.)

Edit-Program/Mixer page

Category, Program Select (Bank/Program)

Assigns a program to each timbre.

When the “Bank/Timbre Program” select menu is displayed, you can select programs by bank. When the “Category/Timbre Program” select menu is displayed, you can select programs from the 16 categories. (☞p.35)

You can also use the BANK [INT-A]–[EXB-G] keys to select the bank of the program.

If you wish to select programs by receiving MIDI program changes, do so in P0: Play.

Pan

Speciﬁes the panning (stereo position) for each timbre. A setting of C064 will reproduce the oscillator pan setting of the program. Adjusting this parameter will move the sound to left or right while preserving the pan relationship between the oscillators. A setting of L001 is far left, and R127 is far right.

Volume

Adjusts the volume of each timbre. Create the overall sound by adjusting the volume balance between timbres. The “Volume” setting is an important aspect of creating the sound, and this setting will have a signiﬁcant effect on the overall impression produced by the Combination.

Settings for status, MIDI channel, and pitch parameters P2: Edit-Trk Param

MIDI Ch page

Status

Here you can specify the MIDI status of the internal tone generator assigned to each timbre. Normally when playing the internal tone generator of TRITON STUDIO, you will set this to INT. Set this to Off for timbres that you are not using. With settings of Off, EXT, or EX2, TRITON STUDIO will not sound. With settings of EXT or EX2, you can control an external tone generator connected via MIDI. (☞PG p.38)

MIDI Channel

Timbres that you wish to play from TRITON STUDIO’s keyboard must be set to the global MIDI channel. Your playing on the keyboard is transmitted on the global MIDI channel, and will sound any timbre that matches this channel. Normally you will set this to Gch. When this is set to Gch, the MIDI channel of the timbre will always match the global MIDI channel, even if you change the global MIDI channel.

On some preloaded combinations that use the arpeggiator, timbres assigned to the arpeggiator may not have a “Status” of INT and “MIDI Ch” of Gch.

The reason for this is that these settings ar e for timbres that sound only when the arpeggiator is on. This is a very useful technique for creating combinations that use the arpeggiator. Refer to “Arpeggiator settings in Combination and Sequencer modes” ( p.44), and study the relationship between arpeggiator assignments, “Status,” and “MIDI Channel.”

☞p.132

, PG

OSC page

Force OSC Mode

Normally you will set this to PRG (the oscillator will play as set by the program settings). If you wish to force a polyphonic program to sound monophonically, set this either to MN (Mono) or LGT (Legato). Conversely , set this to Poly if you wish to force a monophonic program to play polyphonically (☞PG p.38).

OSC Select

Normally you will set this to BTH (Both). If the timbre is using a program whose “Oscillator Mode” is Double, and you want only OSC1 or OSC2 (not both) to sound, set this to OSC1 (only OSC1 will sound) or OSC2 (only OSC2 will sound).

Portamento

Normally you will set this to PRG. If you want to overide the portamento setting speciﬁed in the program assigned to the timbre to be forced off, set this parameter to Off. Conversely, if you want to force the portamento to be on, or to change the portamento time, set this to a value of 001–127 to specify the portamento time.

Pitch page

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

Bank Select (when status=EX2)

This setting is valid when “Status” is set to EX2. It speciﬁes the Bank Select message that will be transmitted from TRITON STUDIO.

Transpose, Detune (BPM Adjust)

These parameters adjust the pitch of the timbre.

• In a layer-type combination, you can set two or more timbres to the same program, and create a richer sound by using “Transpose” to shift their pitch apart by an octave or by using “Detune” to create a slight difference in pitch between the two.

• In split-type combinations, you can use “Transpose” to shift the pitch (in semitone units) of the programs specified for each key zone.

• If you wish to change the playback pitch of a drum program, use “Detune.” If you change the “Transpose” setting, the relationship between notes and drum sounds will change.

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

Adjusting the BPM of multisamples or samples created in Sampling mode

If a timbre’s program uses multisamples or samples that you created in Sampling mode (or loaded in Disk mode) at a speciﬁc BPM value, you can use the page menu command “Detune BPM Adjust” to call up a new BPM value. This changes the BPM by adjusting the playback pitch. (☞PG p.39)

For example if you selected a bass program for timbre 1 and a piano program for timbre 2 to create a split-type combination, you could make the following settings so that pressing the connected damper pedal would apply the damper effect only to the piano program of timbre 2.

Set the P3: Edit-MIDI Filter-1 “Enable Damper” parameter

Timbre 1 “Enable Damper”: unchecked Timbre 2 “Enable Damper”: checked

Other page

Delay [ms]

Speciﬁes the amount of time before the program assigned to each timbre will sound. Speciﬁes the time from when you play the keyboard until the program will sound. If you select KeyOff for this parameter, the timbre will sound when the note is released.

Use Program’s Scale, Scale

Speciﬁes the scale for each timbre. If you check “Use Pro- gram’s Scale,” the scale speciﬁed by the program will be used. Timbres for which this is not checked will use the

Scale setting.

Layer, split, and velocity switch settings/Controller settings P4: Edit-Zone/Ctrl

Key Zone page (Key zone settings)

Indicates settings such as layer, split, and keyboard crossfade.

Speciﬁes the range of notes that will be sounded by each timbre. Each area that sounds a timbre is referred to as a Key Zone. By setting key zones, you can create a combination in which different programs sound in different areas of the keyboard. By combining key zones speciﬁed for each timbre, you can create layered or split combinations.

The upper and lower limits for the key zone of each timbre are set by the “Top Key” and “Bottom Key” respec- tively. For example in the following diagram, timbres 1–3 are set to create a layered and split combination. This is speciﬁed by the key zone settings. Timbres 2 and 3 create a layer. Timbre 1 and timbres 2/3 are split between the B3 and C4 note numbers.

Timbre 2 Timbre 3

Brass

Strings

PianoTimbre 1

MIDI ﬁlter settings P3: Edit-MIDI Filter

For each MIDI Filter item, you can specify whether or not the corresponding MIDI message will be transmitted and received. The checked items will be transmitted and received.

MIDI ﬁlter does not turn the function itself on/off, but speciﬁes whether or not that MIDI message will be transmitted and received. For example if portamento is on, portamento will be applied to the sound of TRITON STUDIO even if “Portamento SW CC#65” is unchecked.

C–1 C4 G9B3

As an example here, we will explain how to create a combination like the one shown above.

1 In the P0: Play, Program Select page or the P1: Edit-

Program/Mixer page, use the “Program Select” area to select the program that will be used for each timbre 1–3.

Select a piano program for timbre 1. Select a brass program for timbre 2. Select a strings program for timbre 3.

2 In the MIDI Ch page of P2: Edit-Trk Param, set “Sta-

tus” to INT for all the timbres that you wish to use, and set “MIDI Channel” to either Gch or to match the global MIDI channel (a “G” will be displayed after the channel number).

3 In the Key Zone page of P4: Edit-Zone/Ctrl, set “Top

Key” and “Bottom Key.”

Set timbre 1 to a “Top Key” of G9 and a “Bottom Key” of C4. Set timbres 2 and 3 to a “T op Key” of B3 and a “Bottom Key” of C–1.

You can also enter these values by holding down the [ENTER] key and playing a note on the keyboard.

Key Zone Slope

Here you can specify the range of keys over which the original volume will be reached, starting at the top key and bottom key. In the case of the above example, you could set the key zones so that a portion of timbres 1 and 2 overlaps (i.e., is layered) with timbre 3, and set “Top Slope” and “Bottom Slope” so that the sound changes gradually, instead of changing suddenly between B3 and C4.

Vel Zone page (Velocity zone settings)

Here you can make settings for velocity switching and velocity crossfading.

For each timbre, you can specify a range of velocities for which it will sound. The range of velocities for which a timbre will sound is called a Velocity Zone. By setting a velocity zone, you can set up a timbre which will be sounded only by notes played within a certain range of velocities, and not by notes played outside this Velocity Zone. By combining timbres that have differing velocity zone settings, you can create velocity switched combinations.

The upper and lower limits of the velocity zone of each timbre are determined by the “Top Velocity” and “Bot- tom Velocity” respectively. The following diagram shows an example of a velocity switched combination in velocity will switch between timbres 1 and 2 to play different programs. Such combinations are created by setting the velocity zone.

Timbre 1 Timbre 2

Brass

Strings

127

Velocity

switch

Velocity Zone Slope

Here you can specify the range of values over which the original volume will be reached, starting from the top velocity and bottom velocity. In the case of the above example, you could set the velocity zones of the two timbres so that they partially overlap, and set “T op Slope” and “Bottom Slope” so that the sound changes gradually , instead of changing suddenly between velocity values of 63 and 64.

Control page (Controller settings)

For each combination, you can specify the functions of the B-mode functions of REALTIME CONTROLS knobs [1]– [4], and the [SW1] and [SW2.] (☞p.145, PG p.43, 249, 250)

Arpeggiator settings P7: Edit-Arp.

Indicates settings for the arpeggiator (☞p.132).

Insert Effect settings P8: Edit-Insert FX

Indicates the insert effects, and allows you to adjust their settings. Speciﬁes the routing for each timbre (i.e., how it is sent to the insert effect, master effects, and individual outputs). (☞p.141)

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

As an example, we will explain how to create a combination like the one shown above.

1 In the P0: Play, Program Select page or the P1: Edit-

Program/Mixer, Prog page, use the “Program Select” area to select the program that will be used for each timbre 1 and 2.

Select a brass program for timbre 1. Select a strings program for timbre 2.

2 In the MIDI Ch page of P2: Edit-Trk Param, set “Sta-

tus” to INT for all the timbres that you wish to use, and set “MIDI Channel” to either Gch or to match the global MIDI channel (a “G” will be displayed after the channel number).

3 In P4: Edit-Zone/Ctrl Vel Zone page, set the “Top

Velocity” and “Bottom Velocity.”

Set timbre 1 to a “Top Velocity” of 127 and a “Bottom Velocity” of 64. Set timbre 2 to a “Top Velocity” of 63 and a “Bottom Velocity” of 1.

Master Effect settings P9: Edit-Master FX

Indicates the naster effects, and allows you to adjust their settings. Here you can also make master EQ settings (☞p.142).

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

Producing songs

TRITON STUDIO contains a 16-multi track MIDI sequencer. The sequencer acts as a hub, integrating TRITON STUDIO’s numerous functions, allowing it to be used in a variety of situations including music production and live performance.

Sampling or resampling can be performed in Sequencer mode (☞p.115). You can also apply the TRITON STUDIO’s effects to an external audio input source, for a wide range of possibilities. (☞p.143)

When you turn off the power, the settings made in Sequencer mode and the song data, cue list data, and any user pattern data that you recorded will not be backed up. If you wish to keep this data, you must save it on media (Floppy disk, hard drive etc.) before turning off the power, or perform a MIDI data dump to save the data on an external data ﬁler etc.

If you wish to save the programs, track parameters, effects, and arpeggiator function settings etc. selected for a song as a template song, use the page menu command “Save Template Song.”

Immediately after the power is turned on, TRITON STUDIO will not contain any cue list data or song data, so if you wish to playback a song on the sequencer, you must ﬁrst load data from media or receive a MIDI data dump from a MIDI ﬁler (☞p.63, PG p.145, 161)

Features of the sequencer

• The sequencer lets you record a maximum of 200,000 events (note data etc.), up to 200 songs, and as many

as 999 measures per song.

• Up to 20 cue lists can be created. A cue list is an arrangement of up to 99 songs that will be played as a chain. You can specify the number of times that each song will repeat. A cue list can also be converted into a single song.

• The arpeggiator function can be used during playback or recording.

• The RPPR (Realtime Pattern Play/Recording) function can be used during playback or recording.

• Sixteen different template songs are built-in, and contain program and effect settings suitable for various musical styles. Up to sixteen original templates that you create can be saved as user template songs.

• Five stereo insert effects, two master effects, and a stereo master EQ can be used for each song.

• Timing resolution is a maximum of  /192.

• Sixteen tracks are provided for musical data, and a master track contains time signature and tempo data that controls the playback.

•A track play loop function lets you loop specified measures independently for each track.

• 150 preset patterns ideal for drum tracks are built in. In addition, you can create up to 100 user patterns for each song. These patterns can be used as musical data within a song, or can be played by the RPPR function.

• Various methods of recording are supported,

including realtime recording in which your performance on the keyboard and controllers (including MIDI control events) is recorded just as you play, and step recording in which the timing, length, and velocity of each note can be specified in the LCD as you input the pitches from the keyboard.

• The musical data and control events that you recorded

can be edited in various ways (including event editing and many other edit commands).

• When the “Status” of a track is set to INT or BTH, an

external sequencer can be used to play TRITON STUDIO as a multi-timbral tone generator. When the “Status” of a track is set to BTH, EXT, or

EXT2, the sequencer of TRITON STUDIO can play external tone generators.

• Playback can be synchronized with an external MIDI

device.

• TRITON STUDIO’s AMS (Alternate Modulation)

capability lets you use control changes for realtime control of the parameters of the programs used in a program. Its MIDI Sync abilities let you synchronize the LFO speed to changes in the tempo.

• Dmod (Dynamic Modulation) functionality lets you

control effect parameters in realtime. You can also use MIDI Sync to synchronize the LFO speed or delay time to changes in the tempo.

• You can assign names not only to the song, but also to each pattern and track.

• Combination settings can be copied to a song.

• Sequencer data such as a song or cue list that you create can be saved in TRITON STUDIO’s native format, or transmitted as a MIDI data dump.

• A song you created can be converted into SMF (Standard MIDI File) data. SMF songs can also be loaded.

• The PLAY/MUTE/REC and “SOLO On/Off” let you instantly play/mute any desired track on the fly.

• You can rewind or fast-forward while listening to the sound.

• The [LOCATE] key lets you move quickly to a desired location.

• Multisamples you create can be played back together with internal programs in Sequencer mode. The Time Slice function of Sampling mode lets you divide a rhythm loop sample and create performance data that corresponds to the divided samples. In Sequencer mode you can play this performance data, and adjust the playback tempo without affecting the pitch of the rhythm loop sample. You can also exchange the note numbers of the data, or modify the timing to freely re-create new rhythm loops.

• The TRITON STUDIO provides an In-Track Sampling function which lets you sample an external audio source while the song plays back, and will automatically create note data to trigger that sample at the appropriate point during the playback of the track.

• A song you create can be resampled to the hard disk. In Disk mode, this data can then be written to an audio CD by using the CDRW-1 option.

The structure of Sequencer mode

Patterns

The following describes the structure of Sequencer mode. (☞diagram below)

Songs

A song consists of tracks 1–16, a master track, song parameters such as the song name, effect, arpeggiator and RPPR parameters, and 100 user patterns. A maximum of 200 such songs can be created on TRITON STUDIO. Tracks 1–16 and the master track each consist of setup parameters located at the start location, and musical data within the track.

Setup parameters

Tracks 1–16

Bank/Program No.*, PLAY/MUTE/REC, Pan*, Volume*, Track Play Loop, Loop Start Measure, Loop End Measure, Play Intro, Status, MIDI Channel, Bank Select (When Status=EX2), Force OSC Mode, OSC Select, Portamento*, T ranspose**, Detune**, Bend Range**, Delay, Use Program's Scale, MIDI Filter, Key Zone, Velocity Zone, T rack Name, Arpeggiator Assign, IFX/Indiv.Out BUS Select, Send1(MFX1)*, Send2(MFX2)*

Master track

Time signature*, Tempo*

Musical data

Tracks 1–16

Note On/Off, Program Change (including Bank Select), Pitch Bend, After Touch (Poly After), Control Change, Pattern No.

* When you change the setting during realtime-

recording, this will be recorded as musical data. This allows the starting settings to be modiﬁed during the playback.

** Musical data (MIDI RPN data) can be used to

change the starting settings during playback. For details on control changes and RPN, refer to PG

p.260, 263.

There are two types of patterns: preset patterns and user patterns.

• Preset patterns: Patterns suitable for drum tracks are

preset in internal memory, and can be selected for any song.

• User patterns: Each song can have up to 100 patterns.

When using a pattern in a different song, use the Utility menu commands “Copy Pattern” or “Copy From Song” etc. to copy the pattern. The pattern length can be specified in units of a measure.

Each pattern consists of musical data for one track. It is not possible to create patterns that contain multiple tracks. These patterns can be used as track musical data by being

placed in a track (page menu command “Put to Track”) or copied to a track (page menu command “Copy to Track”). Alternatively, you can use a pattern with the RPPR function of a song.

Cue List

A cue list allows you to playback multiple songs in suc- cession. The TRITON STUDIO allows you to create 20 cue lists. Each cue list allows you to connect a maximum of 99 songs in any order, and to specify the number of times that each song will repeat. The page menu command “Convert to Song” lets you convert the two or more songs in a cue list into a single song. This allows you to use a cue list to create the backing, then convert the cue list into a song and add solo phrases on unused tracks.

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

Parameter settings Musical data

Track 1

Track 2

Parameter settings Musical data

Track 3

Parameter settings Musical data

Track 4

Parameter settings Musical data

Track 5

Parameter settings Musical data

Track 6

Parameter settings Musical data

Track 7

Parameter settings Musical data

Track 8

Parameter settings Musical data

Track 16

Parameter settings Musical data

Master Track

Tempo, Time signature data

Routing : P8-1

Track

Insert Effect Master Effect Individual Outputs

Insert Effect 1 ... 5 : P8

Master Effect 1, 2 : P9

Pattern U00 ... U99 RPPR Setup : P6

MasterEQ : P9

Controller Setup : P4- 4

Arpeggiator : P7

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1,2,3,4

System

settings

Drum kit

settings

Arpeggiator

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settings

Other

functions

Preparations for recording

On the TRITON STUDIO, “recording” is the process by which your performance on the keyboard and controllers is written into the tracks and patterns of a song as data. This section explains how to make preparations for recording a song, such as assigning a program to each track, and setting the volume.

By loading a template song, you can easily make appropriate settings for various styles of music.

1 Assign a program to each track.

In the Sequencer P0: Play/REC, Program T01–08/T09– 16 page, use “Program Select” to assign a program to each track.

At this time you can press the “Category” popup and select programs by category. (☞PG p.51) You can also use the Utility menu command “Copy From Combi” to copy settings from a combination (☞p.95, PG p.52).

When assigning a program, you can use “Track Select” to select the track for which you are making assignments, and try playing the sound.

2 Set the pan and volume of each track.

In the Sequencer P0: Play/REC, Mixer T01–08/T09–16 page, “Pan” sets the pan of each track, and “Volume” sets the volume of each track.

external tone generator must be set to match the “MIDI Channel” of TRITON STUDIO tracks that are set to EXT, EX2 or BTH.) If “Status” is set to BTH, both the external tone generator and the TRITON STUDIO’s own tone generator will be sounded and controlled. If you are using the TRITON STUDIO’s Sequencer mode as a 16-track multi-timbral tone generator, set this parameter to INT or BTH. (☞”Status” PG p.62)

In general, you should set “MIDI Channel” to different channels 1–16 for each track. Tracks that are sent to the same MIDI channel will sound simultaneously when either is recorded or played.

4 Adjust the effect settings.

Make settings for each effect in Sequencer P8: Insert Effect and P9: Master Effect. (☞p.141, PG p.83)

5 Set the tempo and time signature.

Make these settings in Sequecner P0: Play/REC. “ (Tempo)” sets the tempo, and “Meter” sets the time signature. (☞PG p.49)

6 As necessary, set “Reso” to specify the quantization

resolution. (☞p.51)

7 Make other settings as necessary.

As necessary , make arpeggiator settings (Sequencer P7: Arpggiator) and MIDI ﬁlter settings (Sequencer P3: MIDI Filter). (☞PG p.49–86)

When you are ﬁnished making these settings, the basic setup is complete. Record as described in “Recording methods” (☞p.83) and following sections.

3 Specify the tone generator and MIDI channel that

will be played by each track.

In the Sequencer P2: Trk Param, MIDI Ch T01–08/T09– 16 page, “Status” speciﬁes whether each track will sound the internal tone generator or an external tone generator. “MIDI Channel” speciﬁes the MIDI channel for each track.

If the track “Status” is set to INT, playing the track data or operating the TRITON STUDIO’s keyboard or controllers will cause the TRITON STUDIO’s internal tone generator to be played. If “Status” is set to EXT, EX2, or BTH, playing the track data or operating the TRITON STUDIO’s keyboard or controllers will cause an external tone generator to be sounded and controlled. (The MIDI channel of the

Monitoring just a speciﬁc track/Muting just a speciﬁc track (Solo/Mute functions)

The TRITON STUDIO provides a Solo function that lets you play only a speciﬁc track 1–16, and a Mute function that silences only speciﬁc tracks. These functions can be used in various ways. For example you can intentionally mute or solo speciﬁc tracks, or listen only to the rhythm section of the previously-recorded tracks while you record new tracks.

Let’s try out the Mute and Solo functions.

1 Load a song.

As described on p.20, load the demo songs, and select any song.

2 Access the Sequencer P0: Play/REC, Program T01–08/

T09–16 page. Press the SEQUENCER [START/STOP] key.

3 Press track 1 “PLAY/MUTE/REC.”

The display will change from “PLAY” to “MUTE,” and the playback of track 1 will no longer be heard. In this way, the “mute” function allows you to silence a speciﬁed track until the track is un-muted.

Press track 2 “PLAY/MUTE/REC.”

The display will change, and the playback of track 2 will also be muted.

To cancel muting, press “PLAY/REC/MUTE” once again.

4 Press track 1 “SOLO ON/OFF.”

The display will change from “SOLO OFF” to “SOLO ON,” and this time, only the performance of track 1 will be heard. To play back only a speciﬁed track by itself in this way is known as “soloing” the track (turning Solo on).

If both Mute and Solo are used, the Solo function will be given priority.

5 Press track 2 “SOLO ON/OFF.”

The display will change, and only the playback of tracks 1 and 2 will be heard.

To switch Solo off, press “SOLO ON/OFF” once again. Press “SOLO ON/OFF” for both tracks 1 and 2.

The display will change, and the playback of tracks 1 and 2 will be muted. If the Solo function is turned off for all tracks, playback will be according to the “PLA Y/ MUTE/REC” settings.

By using the page menu command “Solo Selected Track,” you can listen to the sound of only the selected track. This is convenient when you want to set track parameters or to make effect settings. (☞PG p.52)

Recording methods

This section describes the ways in which you can record on the TRITON STUDIO.

Recording a track

There are two ways to record to a track: realtime recording and step recording. You can choose from six types of

realtime recording. In addition, you can use event editing to modify data that

has been recorded or to insert data, and use track editing operations such as Create Control Data to insert data such as bend, after touch, and control changes.

Recording a pattern

There are two ways to record a pattern: realtime recording and step recording. For realtime recording, only one

recording type (loop) is available. In addition, you can use event edit operations to modify

data that has been recorded or to insert data. The page menu command “Get From Track” can be used

to take musical data from a desired area of a track, and use it as the musical data for a pattern. Conversely, the page menu commands “Put to T rack” and “Copy to Track” can be used to place or to copy the musical data of a pattern in a track.

Realtime recording on a track

This is a method of recording in which your playing on the keyboard and your operations of controllers such as the joystick are recorded in realtime. This method of recording is normally used one track at a time, and is called single track recording. As an alternative, multitrack recording allows you to simultaneously record multiple channels of data onto multiple tracks. This is the method you will use when using the RPPR function and the arpeggiator function to record multiple tracks of musical data at once, or when you playback existing sequence data on an external sequencer and record it onto TRITON STUDIO’s sequencer in realtime (☞p.85).

These settings are made in Sequencer P0: Play/REC, Preference page “Recording Setup.”

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

[LOCATE] settings

By pressing the [LOCATE] key you can move to a speciﬁed location.

The location is speciﬁed by the Utility menu command “Set Location.” You can also hold down the [ENTER] key and press the [LOCATE] key to set the location even during playback (☞PG p.54). When you select a song, the “LOCATE” setting will automatically be set to 001:01.000. Normally you will leave this set to 001:01.000., to return you to the begining of the song.

• Overwrite

With this method, the musical data previously recorded on a track is overwritten by the newly recorded data. When you perform overwrite recording on a previously-recorded track, its musical data will be deleted and replaced by the newly recorded data. Normally you will use this method to record, and then modify the results by using other types of realtime recording or event editing.

1 Use “T rack Select” to select the track that you want to

record.

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

2 Set the “Recording Mode” to Over Write.

3 In “Location,” specify the location at which you wish

to begin recording.

4 Press the SEQUENCER [REC/WRITE] key, and then

press the SEQUENCER [START/STOP] key.

If the “Metronome Setup” is still set to the default settings, the metronome will sound for a two-measure pre-count, and then recording will begin. Play the keyboard and move controllers such as the joystick to record your performance.

5 When you ﬁnish playing, press the SEQUENCER

[START/STOP] key.

Recording will end, and the location will return to the point at which you begin recording. If you press the [PAUSE] key instead of the SEQUENCER [START/STOP] key, recording will pause. When you press the [PAUSE] once again, recording will resume. When you are ﬁnished, press the SEQUENCER [START/STOP] key to stop recording.

• Overdub

With this method, the newly recorded musical data is added to the existing data. When you perform overdub recording on a previouslyrecorded track, the newly recorded data will be added to the previously-recorded data. It is best to select this mode if you will be recording additional control data, recording a drum pattern, or recording the tempo in the master track. With this mode, data can be added without erasing the existing performance data.

1 Use “T rack Select” to select the track that you want to

record.

2 Set the “Recording Mode” to Over Dub.

3 For the rest of the procedure, refer to steps 3–5 of

“Overwrite.”

• Manual punch-in

While the song is playing, you can press the SEQUENCER [REC/WRITE] key or a connected pedal switch at the desired location to start or stop recording. With this method, the musical data previously on the track is overwritten by the newly recorded data.

1 Use “T rack Select” to select the track that you want to

record.

2 Set the “Recording Mode” to Manual Punch In.

3 In “Location,” specify a location several measures

earlier than the point at which you wish to begin recording.

4 Press the SEQUENCER [START/STOP] key.

Playback will begin.

5 At the point at which you wish to begin recording,

press the SEQUENCER [REC/WRITE] key.

Recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance.

6 When you ﬁnish recording, press the SEQUENCER

[REC/WRITE] key.

Recording will end (playback will continue).

Instead of pressing the SEQUENCER [REC/WRITE] key in steps 5 and 6, you can use a foot switch connected to the ASSIGNABLE SWITCH jack. Set the Global P2: Controller page “Foot SW Assign” to Song Punch In/Out (☞p.125).

7 Press the SEQUENCER [START/STOP] key.

Playback will stop, and you will return to the location that you speciﬁed in step 3.

• Auto punch-in

First you must specify the area that will be re-recorded. Then recording will occur automatically at the speciﬁed area. With this method, the musical data previously on the track is overwritten by the newly recorded data.

1 Use “T rack Select” to select the track that you want to

record.

2 Set the “Recording Mode” to Auto Punch In.

3 In “M (Auto Punch In Start Measure), “M (Auto

Punch In End Measure)” specify the area that you wish to record.

For example if you specify M005–M008, recording will occur only from measure 5 to measure 8.

4 In “Location,” specify a location several measures

earlier than the point at which you wish to begin recording.

5 Press the SEQUENCER [REC/WRITE] key, and then

press the SEQUENCER [START/STOP] key.

Playback will begin. When you reach the starting location you speciﬁed in step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance. When you reach the ending location you speciﬁed in step 3, recording will end. (Playback will continue.)

6 Press the SEQUENCER [START/STOP] key.

Playback will stop, and you will return to the location you speciﬁed in step 4.

• Loop All Tracks

This method lets you continue recording as you add musical data. The speciﬁed region can be recorded repeatedly. This is ideal when recording drum phrases, etc.

1 Use “T rack Select” to select the track that you want to

record.

2 Set the “Recording Mode” to Loop All Tracks.

If “Multi REC” is checked, it will not be possible to select Loop All Tracks.

3 In “M (Loop Start Measure), “M (Loop End Mea-

sure)” specify the area that you wish to record.

For example if you specify M004–M008, recording will occur repeatedly (as a loop) from measure 4 to measure

4 In “Location,” specify a location several measures

earlier than the point at which you wish to begin recording.

5 Press the SEQUENCER [REC/WRITE] key, and then

press the SEQUENCER [START/STOP] key.

6 You can also erase speciﬁc data even while you con-

tinue loop recording.

If you press the SEQUENCER [REC/WRITE] key during loop recording, all musical will be removed from the currently selected track as long as you continue pressing the key.

By checking the “Remove Data” check box you can erase only the speciﬁed data. During loop recording,

press the note that you wish to delete, and only the data of that note number will be deleted from the key-

board as long as you continue pressing that note. Similarly, bender data will be deleted as long as you

tilt the joystick in the X (horizontal) direction, and after touch data will be deleted as long as you apply pressure to the keyboard.

When you are once again ready to record musical data, uncheck the “Remove Data” check box.

7 Press the SEQUENCER [START/STOP] key.

Playback will end, and you will return to the recording start location that you speciﬁed in step 4. If Loop All Tracks is selected, normal playback will be looped as well.

• Multi (multitrack recording)

Multitrack recording allows you to simultaneously record onto multiple tracks, each with a different channel. This method can be used with overwrite, overdub, manual punch-in, and auto punch-in recording.

Using the arpeggiator to record multiple tracks simultaneously

A multi-track performance using the arpeggiator function can be recorded using multi recording.

When simultaneously recording multiple tracks using the RPPR function

You can use multitrack recording to simultaneously record the playback of multiple tracks that are being triggered by the RPPR function. For the procedure, refer to “Realtime-recording an RPPR performance” (☞p.94).

When simultaneously recording multiple tracks of MIDI data from an external sequencer.

1 Make sure that the TRITON STUDIO’s MIDI IN and

the external sequencer’s MIDI OUT are connected by a MIDI cable.

If they are not connected, turn off the power, make the connection, and then turn the power back on again. (☞PG p.258)

If the EXB-mLAN option is installed, MIDI data can be received from an mLAN device. (☞PG p.141)

2 Set the MIDI Clock (Global P1: MIDI page “MIDI

Clock”) to External, so that TRITON STUDIO will synchronize to the MIDI clock of the external sequencer.

Make sure that “Receive Ext. Realtime Commands” is checked.

3 Create a new song, and in the Sequencer P0: Play/

REC, Preference page, check the “Multi REC” check box. Set the “Recording Mode” to Over Write.

4 Select the P0: Play/REC, Program T01–08/T09–16

page. For the tracks that you are not recording, set “PLAY/

MUTE/REC” to PLAY or MUTE.

5 In P2: Trk Param, MIDI Ch page “MIDI Channel,”

specify the MIDI channel for each track.

Set the MIDI channel of each external sequencer track to match the MIDI channel of each TRITON STUDIO track. Data of the corresponding channel will be recorded on each TRITON STUDIO track. Make sure that “Status” is set either to INT or BTH.

6 Press the [LOCATE] key to set the location to

001:01.000.

7 Press the SEQUENCER [REC/WRITE] key to enter

recording-standby mode.

8 Start the external sequencer.

The TRITON STUDIO’sequencer will receive the MIDI Start message transmitted by the external sequencer, and will automatically begin recording.

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

9 When the song ends, stop the external sequencer.

TRITON STUDIO’s sequencer will receive the MIDI Stop message transmitted by the external sequencer, and will automatically stop recording. You can also press the SEQUENCER [START/STOP] key on TRITON STUDIO itself to stop recording.

0 Playback.

In the Global P1: MIDI page, set “MIDI Clock” to Internal.

Set “Tempo Mode” to Auto. When you press the SEQUENCER [START/STOP] key, playback will begin.

If the correct sounds do not play immediately after playback is started, you may be able to solve the problem by using the page menu command “Event Edit” (Sequencer P5: Track Edit) to edit the Program Change data.

Step recording

This is a method of recording where you specify the note timing, note length, and velocity etc. in the LCD screen, and use the keyboard to input the pitches. (☞p.52) Only note-on/off data can be recorded with this method.

Realtime-recording to a pattern

Here’s how you can use realtime recording to create a pattern. User patterns can be accessed by the RPPR function in the same way as preset patterns, and can be copied to or placed in a song. Playback data from a track can also be copied to a pattern.

Before you begin recording a pattern, turn off the memory protect setting in Global mode (☞p.57).

When realtime-recording a pattern, a pattern of the speciﬁed number of measures will playback repeatedly, allowing you to continue adding musical data to it.

1 Create a new song, and as described in “Preparations

for recording,” set the track to the program that will be used by the pattern. (☞p.82)

2 Access the Sequencer P6: Pattern/RPPR, Pattern Edit

page.

Event Edit and Create Control Data

Note data is the only type of data that can be recorded in step recording. However there are ways to record other types of data, aside from the realtime mode. You can use the Event Edit and Create Control Data functions. Event Edit is intended as a way to edit previouslyrecorded data, but you can also use it to modify program numbers or insert control changes. Create Control Data is a function that lets you create and insert controller data that changes smoothly between two speciﬁed values over the speciﬁed length of time. This is used to input bend, after touch, and control change data etc.

3 Use “T rack Select” to select the track that you will use

to record the pattern.

The pattern will sound with the program and other settings of the selected track.

4 Set “Pattern (Pattern Bank)” to User, and set “Pattern

Select” to U00.

User patterns U00–U99 can be created for each song.

5 Select the page menu command “Pattern Parameter”.

A dialog box will appear.

6 Set the number of measures in the pattern to a

“Length” of 04 (four measures), and set “Meter” to a time signature of 4/4. Press the OK button.

7 As necessary, set “Resolution” to apply realtime

quantization.

8 Begin realtime recording.

You can record in the same way as you did when recording tracks with Loop All Tracks. (☞p.85)

Press the SEQUENCER [REC/WRITE] key, and then press the SEQUENCER [START/STOP] key.

After the pre-count, pattern recording will begin. Play the keyboard and operate the joystick and other controllers to record your performance. When you reach the end of the pattern, the sequncer will return to the beginning of the pattern and continue recording. If you continue recording, the newly recorded data will be added to the previously-recorded data.

9 If you want to delete speciﬁc data while you continue

pattern recording, you can press the SEQUENCER [REC/WRITE] key or check the “Remove Data” check box.

For details refer to step 6 of “Loop All Tracks” (☞p.85).

0 Press the SEQUENCER [START/STOP] key to stop

recording.

If you made a mistake or decide to re-record, press the SEQUENCER [START/STOP] key to stop recording, and press the [COMPARE] key. Then begin the pattern recording procedure again as in step 8.

Control data in pattern recording

T o recor d control data in a pattern, you should restore the control data to its normal value within the pattern. If you fail to restore the normal value, unnecessary control data may remain in a “stuck” position when you place the pattern in a song or use the RPPR function to play the pattern. However, the following control data will be automatically reset to the following values when the song or RPPR function ﬁnishes playing the pattern, or when playback is halted.

Controller Reset value

Modulation 1 (CC#01) 00 (zero) Modulation 2 (CC#02) 00 (zero) Expression (CC#11) 127 (max) Ribbon controller (CC#16) 64 (center) Damper switch (CC#64) 00 (zero) Sostenuto switch (CC#66) 00 (zero) Soft switch (CC#67) 00 (zero) EG sustain level (CC#70) 64 (center) Resonance level (CC#71) 64 (center) EG release time (CC#72) 64 (center) EG attack time (CC#73) 64 (center) Low pass ﬁlter cutoff (CC#74) 64 (center) EG decay time (CC#75) 64 (center) LFO1 speed (CC#76) 64 (center) LFO1 depth (pitch) (CC#77) 64 (center) LFO1 delay (CC#78) 64 (center) Filter EG intensity (CC#79) 64 (center) SW1 modulation (CC#80) 00 (zero) SW2 modulation (CC#81) 00 (zero) Channel after touch 00 (zero) Pitch bender 00 (zero)

Using the arpeggiator for pattern recording

If the arpeggiator is set to operate for the track that is selected for “Track Select,” you can turn on the ARPEGGIATOR [ON/OFF] key and record the performance of the arpeggiator into the pattern. For details on arpeggiator settings, refer to p.94 and PG p.81.

Basic functions

Saving dataLoading dataProgram

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

Song editing methods

A variety of editing operations can be performed on a song. Here we will give some examples of how you can use various editing operations on the song you created in “Producing a song” (☞p.49), to prepare for creating a cue list as described in the next section.

Load the SEQ_DM1.SNG ﬁle that you saved on p.54. For the loading procedure, refer to p.63. In the explanations that follow, we will assume that the song you created has been loaded into song S000. After loading the song, press the [SEQ] key to enter Sequencer mode.

1. Copying a song

Here’s how to copy a song. This is convenient when you want to create different variations based on a song.

1 Create a new song.

Access the Sequencer P0: Play/REC, Program T01–08 page. Choose “Song Select,” use the numeric keys to input the song number that you want to newly create, and press the [ENTER] key. (For example, press the [1] key and then the [ENTER] key.) A dialog box will appear.

3 As described in steps 1 and 2, create one more new

song (S002), and copy song S000 to it.

2. Naming a song

Here’s how to assign a name to a song you created.

1 Choose “Song Select,” to select a song.

For this example, select song 002.

2 In the Sequencer P0: Play/REC, Program T01–08 page,

select the page menu command “Rename Song.”

A dialog box will appear. Press the text edit button to access the text dialog box.

Press the Clear button, and input CHORUS (☞p.40). When you are ﬁnished inputting the name, press the OK button. Press the OK button once again to execute the Rename operation.

3 As described in steps 1 and 2, assign a name of

INTRO to S000, and VERSE to S001.

Decide on the number of measures, input the number in “Set Length,” and press the OK button.

A new song will be created. Next we will copy the song settings and playback data of another song into this newly created song.

2 Select the page menu command “Copy From Song.”

3. Setting the number of measures in

the song

Here’s how to specify the number of measures in the song. By default, this is set to 64 measures. If you realtimerecord for more measures than this, the song length will be the amount of measures you have recorded.

1 Select song S000: INTRO. 2 Select the Sequencer P5: Track Edit, Track Edit page.

In the P5: Track Edit page, press the [MENU] key to access the Jump page. Press the P5: Track Edit.

3 Access the page menu.

This contains various commands for editing tracks and measures.

Press the “Set Song Length.”

A dialog box will appear. Select the song that you want to copy (i.e., the copy source). If you select All, all song settings and playback data will be copied from that song. If you select Without Track/Pattern Events, settings other than Play Loop and RPPR will be copied. For this example, select All.

Press the OK button to execute the copy.

A dialog box will appear.

Input the number of measures for the song. For this example, select 008 (8 measures) and press the OK button. The performance data from measures 1–8 will remain, and the data of subsequent measures will be deleted. When you press the SEQUENCER [START/STOP] key to play the song, playback will stop at the end of the 8th measure.

If you are using Track Play Loop, check whether the measures speciﬁed for “Loop Start Measure” and “Loop End Measure” would be deleted. If they would be deleted, use “Move Measure” (☞PG p.72) etc. to move the data into the playback area before you execute this operation.

4 Mute tracks.

Press the [EXIT] key to select P0: Play/REC, and access the Program T01–08/T09–16 page. Mute all tracks other than tracks 3 and 4. When you play back, you will hear only the electric piano and guitar performances.

4. Changing the key (transposing/ modulating)

Here’s how to change the key of a song.

1 Select song S002: CHORUS. 2 Select the Sequencer P5: Track Edit page. 3 Use “Track Select” to select T02 as the track whose

pitch will be changed.

4 Specify the measures for which the key will be

changed.

Select “From Measure,” and use the V ALUE contr ollers to set this to 001. Next select “To End of Measure,” and specify 008.

5 Select the page menu command “Shift/Erase Note.”

A dialog box will appear. If you did not specify the range of measures in step 4, set “From Measure”–“To

Measure” to specify the range that will be edited. Turn on the Replace radio button, and set “Shift

Note” to +003. (☞PG p.74)

Basic functions

Saving dataLoading dataProgram

settings

Combination

5 As described in steps 1–4, set song S001: VERSE to

008 (8 measures), making it an eight measure song.

Then mute all tracks other than tracks 1–3. When you play back, you will hear only the drums, bass, and electric piano.

6 As described in steps 1–4, set song S002: CHORUS

to 008 (8 measures), making it an eight measure song.

Press the OK button. The pitch of track 2 will be raised three semitones.

6 Use the same procedure to raise the pitch three semi-

tones for each track on which performance data is recorded. However, do not change the key of track 1 which uses a drum kit.

If you change the key of a track that is using a drum kit, the relationship between the notes and the instruments of the drum kit will be shifted, and the sequence will not play the correct rhythm instruments.

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

About editing

Song editing

In addition to copying and renaming a song, other operations such as Delete can be performed from the Utility menu commands in pages such as Sequencer P0: Play/ REC (☞PG p.52).

Track editing

Event Editing allows you to edit or insert data in a recorded track. In addition, commands such as Create Control Data (which lets you insert pitch bend, aftertouch, or control change data) and other commands for deleting, copying, inserting, or moving tracks can be accessed from the page menu command in the Sequencer P5: Track Edit (☞PG p.68).

Pattern editing

Using the page menu commands of the Sequencer P6: Pattern/RPPR, Pattern page, you can use event editing to modify the recorded data or insert new data, and execute commands to delete, copy , or bounce patterns (☞PG p.77).

Creating and playing a Cue List

A cue list allows you to play multiple songs in succession. For example you can create a separate song for each portion (introduction, melody A, melody B, chorus, and ending) of a composition, and use the cue list to specify the order of each portion and the number of times that it will be repeated to complete the song. If you want to change the structure of the song, the cue list lets you do so in an efﬁcient way. You can also use this as a jukebox function that will playback completed songs in the order you specify.

Cue List

Step

S000: Intro

S001: A S002: B

S003: Chorus

S001: A

05 06

S002: B

S003: Chorus

S001: A (Solo) S003: Chorus

S004: Ending

Each unit in a cue list is called a “step,” and each step contains a song number and the number of repeats. Here we will use a cue list to combine the previously-created songs S000: INTRO, S001: VERSE, and S002: CHORUS.

1 Select Sequencer P1: Cue List.

With the default settings, song S000 will be selected for “Step” 01, and End will be selected for “Step” 02.

Song

Repeat

02 02 01 02 02 01 02 01 03 02

Intro

Intro A A B Chorus

Chorus

A(Solo) Chorus Chorus Chorus

B Chorus

Ending

Chorus

Ending

2 Add a song to the Step area.

Select the “Song” for Step 02, and press the Insert button. A song will be added to step 02. Use the VALUE controller to select S001: VERSE.

In the same way, select the Step 03 “Song,” and press the Insert button to add a song to Step 03. Set this to S002: CHORUS.

If you press Cut button, the selected step will be deleted. If you press the Insert button key, the deleted step will be inserted.

If you press the Copy button, the selected step will be copied. If you press the Insert button, the copied step will be inserted.

3 Set the last step to End.

If you set this to Continue to Step01, the cue list will play back repeatedly.

4 In “Repeat,” specify the number of times that the

song for that step will be repeated. For this example, set Step 02 S001: VERSE to 02.

5 Specify whether effect settings will also be switched

when the song at each step is played back. If you want to effect settings to change, check the “FX” check box.

For this example, check the “FX” check box for Step 01, which loads the effects.

6 To play back at the tempo that was speciﬁed for each

song, set “Tempo Mode” to Auto.

If this is set to Manu (Manual), playback will use the tempo speciﬁed by “ =”.

7 When you press the SEQUENCER [START/STOP]

key, playback will begin from the step that is speciﬁed as the “Current Step.”

or MIDI control changes such as Effect Control to control the effects within the cue list, for example applying reverb more deeply on certain songs, or raising the LFO speed for a speciﬁc song. We r ecommend this method if you will be using a cue list to construct the song. When you execute the page menu command “Convert to Song”, the effect settings of the “Step” 01 song will be speciﬁed for the song that results from the conversion. Even if “FX” is not checked, there may be cases in which a time lag in the transition between songs, depending on the musical data of the song. Also, there may be cases in which the musical data is not played at the correct timing at the transition between songs. If this occurs, you can edit the musical data of the song, or convert the cue list to a song for playback. If you use “Convert to Song” to convert the cue list to a song, there will be no time lag during playback at the transition between songs, and the musical data will be played at the correct timing.

Creating multiple songs for use in a cue list

If you want to create multiple songs for use in a cue list, it is a good idea to make the various necessary settings (program and other settings for each track, effect settings, etc.) for one song (e.g., S000), and then use the page menu command “Copy From Song” in SEQ 1.1 etc. to copy it to other songs so that the settings will be consistent.

Basic functions

Saving dataLoading dataProgram

settings

•“Step”: The arrow will indicate the currently playing

step. indicates the currently selected “Step.” If you set “Current Step” while stopped, the display will change.

•“M****”: Indicates the starting measure of that step.

•“Meter”: Indicates the currently-playing time

signature. This cannot be changed.

• The name of a cue list can be specified by the

“Rename Cue List” page menu command.

• When you play the keyboard, the program of the track

selected by “Track Select” will sound. If a different program is selected for each song, the program specified for the currently playing song will sound.

What to do when playing back a cue list and the songs do not transition smoothly

Depending on the effect settings, a certain amount of time may be required for the effects to be switched. If this occurs, the playback will not be smoothly connected from song to song. To ensure a smooth transition from song to song, check “FX” for “Step” 01. Do not check “FX” for the remaining steps. This way, the effect settings will be made before playback begins, and there will be no time lag when cue list playback is started or when switching from song to song. Although it will not be possible to change effect types within the cue list, you can use dynamic modulation

After your cue list is ﬁnished and you convert it into a song, the track settings (program, pan, volume, etc.) of each step will be converted into playback data and will be reproduced, but if the MIDI channel settingsfrom song to song do not match, it may not be possible to convert the playback state of the cue list into a song.

Using a foot switch to switch the Step

You can use a foot switch to switch the Step. If you set “Repeat” to FS, a foot switch connected to the ASSIGNABLE SWITCH jack will control the timing at which the song stops repeating. Set “Foot Switch Assign” (Global P2: Controller page) to Cue Repeat Control.

settings

Combination

songs

Producing

settings

Sampling

Creating a

SMF

playback

System

settings

Drum kit

settings

Arpeggiator

Effects

settings

Other

functions

Converting a song

Although it is not possible to record additional material onto tracks in a cue list, you can convert a cue list to a song, and then record solos etc. on vacant tracks. You will also need to convert a cue list to a song if you wish to save it on a ﬂoppy disk etc. as SMF data.

1 Select the page menu command “Convert to Song”.

A dialog box will appear.

2 In “To Song,” specify the destination song number

for the converted data.

The cue list name will automatically be assigned as the song name of the converted data. (For details and cautions regarding “Convert to Song,” refer to PG p.61.)

If you select a new song as the conversion destination, it is not necessary to specify “Set Length” in the dialog box that appears. The number of measures in the converted song will be used. Press the OK button, and the Convert Cue List dialog box will appear.

3 Press the OK button.

The cue list will be converted into a song. Access the P0: Play/REC page, select the song number that you speciﬁed as the conversion destination, and check the results.

Creating and recording RPPR (Realtime Pattern Play/Record)

This section explains how to assign a pattern to RPPR, and how to play and record. (“Playing with the RPPR (Realtime Pattern Play/Recording) function” ☞p.33)

Creating RPPR data

1 Create a new song. (☞p.88) 2 Specify the program for each track.

For this example we will use a template song. Use the Utility menu command “Load Template Song” to load P14: Hip Hop/Rap. It is not necessary to copy the patterns. (☞p.49)

3 Select the Sequencer P6: Pattern/RPPR, RPPR Setup

page.

In this page, the RPPR function is automatically turned on.

4 Use “KEY” to select the key to which the pattern will

be assigned.

Select C#2. This can also be selected by holding down the [ENTER] key and playing a note. C2 and lower keys are used to stop playback, and cannot be assigned.

5 Check the “Assign” check box. 6 Set Pattern Bank to the Preset pattern type, and set

“Pattern Select” to pattern P121: HipHop 1/HipHop.

7 Set “Track” to Track01: Drums.

The selected pattern will be played according to the settings (program, etc.) of the track you select here.

8 Assign patterns to other keys.

For “KEY,” press the [ ] key to select D2. Press the REVERT button.

The settings for “Assign,” “Pattern (Pattern Bank),” “Pattern Select,” and “Track” will be set to the values that were speciﬁed earlier (in steps 5–7).

Choose “Pattern Select,” and press the [ ] key to select P122: HipHop 2/HipHop.

Korg TRITON User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Data handling

COPYRIGHT WARNING

About this manual

Table of Contents

Introduction

Main features

Front and rear panel

Front panel

Rear panel

Connections

1. Connecting the power cable

5. Connecting pedals

6. SCSI device connections

8. Installing options

Basic concepts

Overview of the modes

About polyphony

Tone generators and oscillators

Number of voices in each mode

Basic operation

1. Selecting modes

2. Selecting pages

3. Setting a parameter

Quick Start

Turning the power on/off

1. Turning the power on

2. Turning the power off

Listening to a demo song

1. Loading the demo song data in Disk mode

Playing a cue list

Selecting and playing a program

Selecting a program

Selecting and playing a combination

Selecting a combination

Using controllers to modify the sound

Joystick

Ribbon controller

SW1, SW2

REALTIME CONTROLS [1], [2], [3], [4]

[VALUE] slider

Keyboard

Foot pedals/Switch

ARPEGGIATOR [TEMPO] knob, [GATE] knob, [VELOCITY] knob

Using the arpeggiator while you play

Using the arpeggiator in Program mode

Settings using controllers

Settings in the LCD screen

Settings in the LCD screen

Simple program editing

Performance Edit

Realtime controls

Simple combination editing

An example of editing

Sampling (recording a sample)

Sampling a vocal from a mic, and playing it as a “one-shot” sample

Applying an insert effect to the audio input and sampling the result

Assigning a name to the sample or multisample

Saving sample data

Sampling and looping a drum phrase

Resampling an arpeggiated phrase in Program mode

Producing a song

Creating the basic song

Naming the song and tracks

Saving the song

Basic functions

Saving data

Types of data that can be saved

Writing to internal memory

Writing a program or combination

Writing global settings, user drum kits, and user arpeggio patterns

Saving on media

Types of media that can be used

Formatting media

How to save data

MIDI data dump

Loading data