Korg TRITONEXTREM User Manual

Thank you for purchasing the Korg TRITON Extreme 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 Extreme come with the following owner’s manuals.

• Quick Start

• Operation Guide

• Parameter Guide

• Voice Name List

Quick Start

Read this manual ﬁrst. This is an introductory guide that will get you started using the TRITON Extreme. It explains how to play back the demo songs, select sounds, use convenient performance functions, and perform simple editing. It also gives examples of using sampling and the sequencer.

Operation Guide

This manual describes each part of the TRITON Extreme and what it does, how to make connections, basic operation, and a summary of each mode. It also explains, for each mode, the basics of editing your sounds, recording on the sequencer , and sampling. The arpeggiator, effects, and MIDI are also explained. This manual also contains other information such as a troubleshooting guide and speciﬁcations.

Parameter Guide

The Parameter Guide contains explanations and other information regarding the operations of the parameters and settings on the TRITON Extreme. 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 Extreme, 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.

Conventions in this manual

References to the TRITON Extreme

The TRITON Extreme 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 Extreme.” 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 QS, OG, PG, VNL, EM

The names of the manuals are abbreviated as follows.

QS:

Quick Start

OG:

Operation Guide

PG:

Parameter Guide

VNL:

Voice Name List

EM:

EXB-MOSS Owner’s Manual

EXB-MOSS option)

Keys and knobs [ ]

References to the keys, dials, and knobs on the TRITON Extreme’s panel are enclosed in square brackets [ ]. References to buttons or tabs indicate objects in 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

Steps in a procedure are listed as

☞

■

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.

, ,

...

(included with the

...

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages, numbers in square

brackets [ ] always indicate hexadecimal numbers.

About this manual.......................................ii

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

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

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

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

Overview of the TRITON Extreme’s modes................10

About polyphony ............................................................12

Basic operation.................................................................13

Setup....................................................... 15

Connections......................................................................15

Turning the power on/off.............................................. 18

Playing and editing programs

(Program Mode)....................................... 19

Program structure............................................................19

Playing a program P0: Play............................................ 20

Program editing...............................................................23

Oscillator settings P1: Edit-Basic...................................24

Pitch settings P2: Edit-Pitch ...........................................26

Filter settings P3: Edit-Filter...........................................27

Amplifier settings P4: Edit-Amp...................................28

LFO settings P5: Edit-Common LFO............................29

Arpeggiator settings P7: Edit-Arpeggiator..................30

Insert Effect settings P8: Edit-Insert Effect................... 30

Master Effect and Valve Force settings

P9: Edit-Master Effect.................................................. 30

More about Alternate Modulation................................30

Auto Song Setup function.............................................. 30

Playing and editing combinations

(Combination Mode)................................. 31

Combination structure....................................................31

Playing a combination P0: Play.....................................32

Combination editing ....................................................... 33

Timbre 1–8 program, pan and volume

P1: Edit-Program/Mixer.............................................34

Settings for status, MIDI channel, and pitch parameters

P2: Edit-Trk Param ......................................................35

MIDI filter settings P3: Edit-MIDI Filter ......................36

Layer, split, and velocity switch settings/Controller

settings P4: Edit-Zone/Ctrl........................................36

Arpeggiator settings P7: Edit-Arp. ...............................37

Insert Effect settings P8: Edit-Insert FX........................37

Master Effect and Valve Force settings

P9: Edit-Master FX.......................................................37

Auto Song Setup function.............................................. 38

Producing songs (Sequencer mode) ...........39

Features of the sequencer............................................... 39

The structure of Sequencer mode................................. 40

Preparations for recording.............................................41

Recording methods......................................................... 43

Song editing methods..................................................... 50

Creating and playing a Cue List ................................... 53

Creating and recording RPPR (Realtime Pattern Play/

Record).......................................................................... 55

Recording the sound of a combination or program...58

Caution and other functions in Sequencer mode....... 59

Sampling (Open Sampling System)............61

Features of sampling on the TRITON Extreme .......... 61

How Sampling mode is organized............................... 62

Samples and Multisamples............................................ 63

Preparations for sampling ............................................. 64

Sampling and editing in Sampling mode.................... 68

Sampling in Program, Combination, or Sequencer

modes............................................................................ 80

SMF (Standard MIDI File) playback............ 85

How Song Play mode is structured..............................85

Playing SMF data ............................................................ 86

Playback using the Jukebox function........................... 87

Playing along with SMF data ........................................ 88

Settings for the entire TRITON Extreme

(Global mode) ..........................................89

How Global mode is structured.................................... 89

Basic Setup P0: Basic Setup............................................89

MIDI-related settings P1: MIDI.....................................90

Pedal and other controller settings P2: Controller..... 90

Creating original scales P3: User Scale......................... 91

Drum kit settings P5: Drum Kit .................................... 92

Arpeggiator settings P7: Edit-Arpeggiator.................. 94

Effect and Valve Force settings ................103

Routing settings and effect settings............................ 104

Valve Force settings...................................................... 109

Loading and saving data, creating audio CDs, and editing Wave files

(Media mode, etc.)..................................113

Types of data that can be saved .................................. 113

Writing to internal memory......................................... 114

The pages of Media mode............................................ 116

Saving on media Media, Save ..................................... 117

File copying, deleting, and formatting

(Media, Utility) .......................................................... 119

Loading data Media, Load........................................... 121

iii

Use sampled Wave files to create an audio CD and play

it: Media, Make Audio CD, Play Audio CD.......... 123

Editing a Wave file: Media, Edit WAVE....................125

Viewing information about media: Media,

Media Info...................................................................125

Handling CompactFlash and Microdrive media...... 125

Restoring the factory settings...................127

Restoring the factory settings...................................... 127

Loading the EXB-MOSS data....................................... 128

Other functions.......................................129

Setting the function of [SW1] and [SW2] ...................129

Setting the B-mode functions of REALTIME

CONTROLS [1]–[4].................................................... 129

Adjusting the contrast (brightness) of the

LCD screen ................................................................. 129

Using tap tempo control............................................... 130

Shortcuts......................................................................... 130

Appendices.............................................131

Troubleshooting ............................................................ 131

Media that can be used with the TRITON Extreme. 137

Specifications and options ........................................... 138

Options............................................................................ 139

System requirements for computer connection........ 139

MIDI implementation chart......................................... 140

Index................................................................................ 141

Introduction

Main features

The TRITON Extreme is a music workstation/sampler

that features the

as its tone generator.

It provides high-quality preset multisamples/programs/

combinations together with a broad range of integrated

features such as an effect section, 16-track MIDI

sequencer, sampling, dual polyphonic arpeggiators,

RPPR, four-channel audio input/six-channel audio out-

put, and song play functionality.

You can modify the sound in realtime by using a wide

range of performance controllers such as the joystick, rib-

bon controller, REALTIME CONTROLS and ARPEGGIA-

TOR knobs, and pedals that you connect.

You can also expand the TRITON Extreme’s capabilities

by installing the MOSS modeling synthesizer or by add-

ing more sample memory (RAM).

The TRITON Extreme 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 ﬂexi-

bility in musical expression, modulation, and effect rout-

ing.

* The TRITON Extreme contains an analog vacuum tube

circuit (Valve Force). When you use Valve Force, the signal is converted into analog form at that point.

Tone generator section:

• 160 Mbytes of preset PCM ROM contains 962 multisamples and 1,175 drumsamples.

• The TRITON Extreme is shipped with 16 Mbytes of RAM (you can expand this to a maximum of 96 Mbytes), letting you use samples or multisamples you sampled/resampled or loaded in Media mode.

• 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).

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.

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.

HI (Hyper Integrated) synthesis system

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.

Valve Force circuit:

• This section includes an analog low-frequency boost circuit plus a vacuum tube amp that uses a 12AU7 (ECC82) vacuum tube. One vacuum tube is used to support stereo-in/stereo-out. Proprietary Korg technology is used to generate warm and powerful sound with the rich overtones and smooth distortion typical of vacuum tubes, while retaining clarity and definition.

Programs and combinations

Programs:

• In addition to 1,536 user programs, 256 programs (and 9 drum kits) for GM2 compatibility are provided as ROM presets. You can use a rich array of editing parameters, effects, Valve Force, and the arpeggiator to modify the 1,536 user programs and create your own original programs. When the TRITON Extreme is shipped from the factory, user memory contains 1,344 high-quality programs that cover a wide range of needs. When the EXB-MOSS option is installed, 128 programs for use with the Korg MOSS tone generator will also be available.

• The TRITON Extreme provides 144 user drum kits as well as 9 ROM drum kits compatible with GM2. The factory settings contain 50 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 1,175 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.

• You can easily create programs using multisamples or samples that you yourself sampled/resampled or loaded in Media mode. You can then use these programs in combinations and songs. You can also use samples as drum instruments in a drum kit.

Combinations:

• The TRITON Extreme provides 1,536 user combinations. Each combination can combine up to eight layered/split/velocity-switched programs, together with settings for effects, the Valve Force circuit, and the two arpeggiators. Combinations let you create very complex sounds that could not be produced by a program alone. You can also use an external sound module as part of a combination. When the TRITON Extreme is shipped, user memory contains a versatile range of 1,280 preloaded combinations.

Introduction

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Sequencer

A sophisticated 16-track MIDI sequencer is built in.

• The TRITON Extreme combines dual arpeggiators, RPPR, time slice, in-track sampling, and many other functions, giving you an integrated music production environment with even more potential than an external sequencer would provide. MIDI exclusive message recording/playback is also supported.

• The Cue List function lets you play up to 99 songs in the order you specify. For example you could create separate songs for the intro, melody A, melody B, and the break, etc., and easily try out different song structures using the same material. You can also specify the number of times that each song will repeat. Songs can also be played back consecutively in jukebox style.

•A completed song can be resampled as a Wave file and burned to a CD-R/RW drive (sold separately) connected to the USB A connector to create an original audio CD.

Sampling

The TRITON Extreme features our Open Sampling System that allows sampling and resampling to be performed not only in Sampling mode, but also in Program, Combination, or Sequencer modes. 48 kHz 16-bit linear mono/stereo sampling is supported.

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.

media (Option) lets you record up to 80 minutes

• The as a single 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 media sample from the TRITON Extreme’s keyboard, it must be able to be loaded into the sampling memory (RAM).)

In order to sample to media on the TRITON Extreme, you will need to obtain media of the recommended

☞

type (sold separately). (

p.137)

Song Play

In Song Play mode you can play SMF (Standard MIDI File) data directly from media. You can also play the keyboard along with the SMF playback, and use the arpeggiator in synchronization with the playback tempo of the SMF. Format 0 and 1 are supported, and you can also use the Jukebox function to edit the playback order of the songs.

Dual polyphonic arpeggiator

• Five preset arpeggio patterns (UP, DOWN, ALT1, ALT2, RANDOM) and 507 user arpeggio patterns are built-in.

• With the factory settings, these contain a wide variety of preload user patterns (489).

• In addition to providing conventional arpeggiator functions, the polyphonic arpeggiator of the TRITON Extreme 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 Extreme 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 Extreme 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.

4-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. 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 built-in digital input supports 48 kHz S/P DIF format digital audio. The audio input can be routed through effects and/or Valve Force. During sampling, you can apply effects or Valve Force, use the TRITON Extreme as a 4-in/6-out effect processor, or use a vocoder effect that combines the audio input with internal sounds.

• Six channels of audio output are provided. For analog output, you have the L/MONO and R main stereo output, as well as four independent audio outputs (INDIVIDUAL) 1, 2, 3, and 4. Individual oscillators, drums, timbres/tracks, or the output of an insert effect can be freely routed to any of these outputs. For digital output, there’s an S/P DIF connector (two channels; L/MONO and R) that supports a sampling frequency of 48 kHz.

TouchView user interface

As its user interface, the TRITON Extreme features the

TouchView system with a large 320 touch-panel that lets you perform functions simply by touching the screen – a revolutionary leap in operability and practicality.

240 pixel LCD

USB connectors allow connection to a CD-R/ RW drive and computer

The TRITON Extreme provides a USB A connector and a USB B connector, allowing you to save data on USB storage media (hard disks, removable disks, CD-R/RW drives). You can back-up data from media in the CF card slot to your computer, or edit data on your computer and load it into the TRITON Extreme.

Front and rear panel

Front panel

1 2 3

7101118

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 key will light (

2. Joystick

Various program parameters and effect parameters will determine what is being controlled by the joystick. Move the joystick up/down and left/right (+Y, –Y, –X,

☞

p.21).

+X) to vary the effect (

3. Ribbon controller

Various program parameters and effect parameters will determine what is controlled by the ribbon controller. Slide your ﬁnger to the left or right on this ribbon controller to vary the effect (

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

p.21).

13 14 15

Use the [REALTIME CONTROLS] key to select either the the A mode, B mode or VALVE FORCE functions for the realtime controllers, and use knobs [1]–[4] to control the tone, effects, MIDI control changes and Valve Force in

☞

realtime (

[REALTIME CONTROLS] key

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

VALVE FORCE [ON/OFF] key

Switches the Valve Force function on/off. When on, this key 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.

B mode , each knob will control the function that was

In assigned to it in the Program, Combination, Sequencer, Song Play, or Sampling modes. The controls the input level to Valve Force, knob [2] controls the mix level of the Valve For ce analog ultra-low boost circuit, knob [3] controls input gain to the vacuum tube, and knob [4] controls the output level from Valve Force.

p.22, QS p.6).

Valve Force functions of the knobs are ﬁxed; knob [1]

Depending on the sound you are using, you may hear noise if you turn the Valve Force knobs or edit Valve Force parameters while sound is being produced.

Introduction

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

6. Mode keys

Use these keys to enter the desired mode. When you press a key, the key will light, and you will

☞

enter the mode whose key you pressed (

p.10).

[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.

[MEDIA] key

Media 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.14).

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 while you press a numeric key [0]–[9] you can select up to ten page menu commands from the current page. In Program and Combination modes, you can hold down the [ENTER] key and press the SEQUENCER [REC/WRITE] key to turn on the

☞

Auto Song Setup function. (

p.58)

9. LCD screen

The TRITON Extreme features our exclusive TouchView graphic interface, based on 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 in P (page) 1–9 of each mode, pressing the [EXIT] key will move to P (page) 0 of that mode. 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.

8. VALUE controllers

The following V ALUE controllers ar e used to set the value

☞

of the selected parameter (

p.14).

[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.

[][] keys

These are used to increase or decrease the parameter value in steps of one. These keys are convenient for making ﬁne parameter adjustments.

[VALUE] dial

Use this dial to modify the value of the parameter.

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.9, 13).

12. BANK keys

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

PROG BANK: [A], [B], [C], [D], [E] (SMPL), [F] (MOSS), [G] (GM), [H], [I], [J], [K], [L], [M], [N]

COMBI BANK: [A], [B], [C], [D], [E], [H], [I], [J], [K], [L], [M], [N]

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 key of the program bank selected for the timbre will light.

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

Each time you press the [G] key when selecting a program, the bank selection will step to the next GM(2) bank or GM drum bank in the following order: G, g(1), g(2)– g(8), g(9), g(d), G, g(1) etc ...

The F bank can be only be selected in Program mode, and 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 key will light. Press [PAUSE] once again to resume playback; the key 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 key 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 key 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 cuelist playback to a speciﬁed point. In Song Play mode, this key moves to the speciﬁed playback location within the SMF data.

SEQUENCER [REC/WRITE] key

In Sequencer mode, pressing this key will make the key light, and if you then press the SEQUENCER STOP] key, recording will begin (☞p.43). 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.114, 116). In Program or Combination mode, you can hold down the [ENTER] key and press this key to turn on the Auto Song Setup function. (☞p.58)

[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 key will blink at the current tempo.

These keys are also used to play an audio CD in the USBconnected CD-R/RW drive.

SEQUENCER [START/STOP] key : Play/Stop

[FF>>] key : Fast-forward [<<REW] key : Rewind [PAUSE] key : Pause [LOCATE] key

: Move to the speciﬁed

location

14. ARPEGGIATOR

These knobs control the performance of the arpeggiator in realtime (☞QS p.11).

[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 key will light.

15. SAMPLING

SAMPLING [REC] key

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

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 media. This function can be used in the directory window of various Media mode pages, in the Media mode Make Audio CD page, and in the “Select Directory” page menu dialog box of the Program, Combination, Sequencer, and Sampling modes.

16. Valve cover

A 12AU7 (ECC82) vacuum tube (a.k.a. “valve”) is built-in.

The valve cover may break if subjected to impact. Be particularly careful not to subject it to direct impact, since this may also break the vacuum tube. If the valve cover breaks, have it repaired immediately, since failing to do so may cause the vacuum tube or other parts to malfunction.

Introduction

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

17. Sample memory (RAM) slot cover

You can open this cover and install SIMM boards to expand the sample memory (RAM). A maximum of three 32 Mbyte SIMM boards can be installed as sample memory (RAM). (☞PG p.321)

18. 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.

Rear panel

1. AC power supply connector

Connect the included power supply cable here. After connecting the power supply cable to the TRITON Extreme, connect the other end to an AC outlet (☞p.16).

2. [POWER] switch

This switch turns the power on/off (☞p.18).

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 Extreme provides four individual audio outputs. The sound from each oscillator, drum, timbre/track, or insert effect can be freely routed to any output (☞p.104–).

(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(Tube), 4(Tube), 1/2, or 3/4(Tube), an oscillator, an insert effect, 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, or when applying the TRITON Extreme’s internal effects to an external audio source (☞p.64, 107, 111). 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.

7 116 98 10

Introduction

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 can be input here. Use an optical cable to connect this jack to the optical digital output jack of a DAT or other device.

6. USB USB A connector (for connecting a CD-R/RW drive,

etc.)

You can connect an external USB device to this connector. Use this connector to connect storage media such as a hard disk, MO, or CD-RW drive. (☞PG p.325)

USB B connector (for connecting to a computer)

You can connect your computer to this connector. This lets you use your computer to access data on the TRITON Extreme’s CompactFlash (Microdrive) card. This connection also lets you send and receive MIDI data between the TRITON Extreme and your computer. (☞PG p.325)

What is USB?

USB stands for Universal Serial Bus, and is an interface for transferring data between a computer, a keyboard and/or peripheral devices.

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.288).

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 Extreme (☞PG p.288).

345

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 (☞PG p.157, 165).

9. ASSIGNABLE SWITCH jack

An optional on/off foot switch such as the Korg PS-1 foot switch can be connected here. In Global mode you can specify the function of this switch. For example, you can use it as a modulation controller, to select programs or combinations, to start/stop the sequencer, or to set the tap tempo. (☞p.90).

PEDAL jack

An optional Korg EXP-2 or XVP-10 expression pedal can be connected here. Its function can be assigned in Global mode, allowing you to use the pedal to control the volume etc. (☞p.90)

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. CF card slot

You can insert a CompactFlash or Microdrive into this slot. The power must be off when inserting or removing media. For details on how to handle these types of media, refer to p.125.

Eject button

After making sure that the TRITON Extreme’s power is turned off, press this button to remove the media. If the media does not eject when you press this button, do not attempt to remove the media by force. Contact a nearby musical instrument dealer.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

MIDI IN connector

Musical data and sound settings etc. are received at this connector. Use this to play the TRITON Extreme from another MIDI device connected to this port (☞PG p.288).

Names and functions of objects in the LCD screen

The TRITON Extreme uses Korg’s TouchView graphical user interface. By touching 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 Extreme’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 Extreme.

a: Current page

b: Edit cell

d: Popup button (2)

f: Check box c: Popup button (1)

g: Radio buttons

h: Tab

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

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.14) 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.14) will close the popup menu. If the popup menu is unlocked (☞“Pin”), it will close if you touch a location outside the popup menu.

i: Page menu buttone: (category) Popup button

* 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.

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.

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.

* Page jump menu

Introduction

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.14) to input the number. To execute, press 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

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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.115).

Overview of the TRITON Extreme’s modes

The TRITON Extreme 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 media. The largest unit used to organize these functions is called a mode. The TRITON Extreme has seven modes.

Program mode

• Select and play programs You can choose programs from rewritable banks A–F and H–N which contain a total of 1,664 programs, and non-rewritable bank G (256 programs compatible with the GM2 standard, and nine drum programs). (The 128 programs of bank 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, valve force, and arpeggiator.

The following multisamples are available for the oscillator.

• 962 internal multisamples (160 Mbytes)

• Multisamples (RAM) that you sampled on the TRITON Extreme or loaded in from media (maximum of 96 Mbytes)

• 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 (up to 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 A–E and H–N 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, valve force and the two arpeggiators.

CD-R/RW

CD-ROM Write Audio CD

Ripping

SAMPLING MODE

Resampling

AUDIO INPUT

S/P DIF IN

Insert Effect / Valve Force

IFX 4

IFX 1

IFX 5

IFX 2 IFX 3

Valve Force

Sample

Multisample

GLOBAL MODE

DRUM KIT

Key Assign

ARPEGGIATOR PATTERN

MEDIA MODE

Multisample

Sample

Drumsample / Sample - H

Drumsample / Sample - L

Preset Arpeggio

Pattern: P0 - 4 User Arpeggio

Pattern: U00 - 506

Media

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 / Valve Force

MFX 1

IFX 1

MFX 2

IFX 2 IFX 3

MEQ

IFX 4 IFX 5

Valve Force

Arpeggiator

Insert / Master Effect / Valve Force

MFX 1

IFX 1

MFX 2

IFX 2 IFX 3

MEQ

IFX 4

Valve Force

IFX 5

Arpeggiator - A

Arpeggiator - B

Insert / Master Effect / Valve Force

MFX 1

IFX 1

MFX 2

IFX 2 IFX 3

MEQ

IFX 4

Valve Force

IFX 5

Arpeggiator - A

Arpeggiator - B

Only SEQ

Sequencer mode

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

• Record onto the sixteen MIDI tracks individually or all sixteen tracks at once. Exclusive messages can also be recorded and edited.

• Perform sampling/resampling. An external audio input source can be sampled in synchronization with the song playback. When doing so, you can automatically create a note event that will be used to trigger the resulting sample, letting you record an external audio source just as if you were recording onto an audio track. (This is called the “In-track Sampling” function.) You can also resample the playback of a song. After resampling your song to media, you can then use Media mode to write the song to a CD-R/RW drive connected to the TRITON Extreme’s USB A connector, creating your own audio CD.

• Make effect and Valve Force settings for a 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 Extreme can be used as a 16-part multitimbral tone generator.

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

Song Play mode

• SMF (Standard MIDI File) data can be played back from a media, and you can perform along with the playback.

• Make effect and valve force 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.

Global mode

• Make settings that affect the entire TRITON Extreme, 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).

• Create drum kits using the 1,171 internal drum samples (ROM). You can also use RAM samples that you created on the TRITON Extreme or loaded from media.

• Rename program and combination categories.

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

• Transmit data dumps of MIDI exclusive data.

Media mode

• Data of each mode can be saved and loaded using CompactFlash or Microdrive media.

• 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).

• Edit Wave files.

• Specify the song order of Wave files and use a CD-R/ RW drive connected to the USB A connector to create an audio CD. You can also play back audio CDs.

• Use a computer connected to the USB B connector to manage (e.g., copy or delete) data on media inserted in the TRITON Extreme’s CF card slot. (USB storage mode)

Introduction

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Sampling mode

• Sample external audio sources (i.e., record samples). Insert effects, valve force 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.

• “Rip” (directly sample) digital data from an audio CD in a CD-R/RW drive connected to the USB A connector. You can also play back audio CDs.

About polyphony

Tone generators and oscillators

Each oscillator in the TRITON Extreme is sounded by one of 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:

• New1:

• New2:

• Best:

• OrchS:

• OrchB:

•Vint:

• Synth:

Internal PCM ROM (128 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/Drums (“Oscillator 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–Synth is used for the Low MS, and you use velocity switching to play the two tone generators.

Double (“Oscillator 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–Synth), 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.

PCM memory

ROM (Internal PCM ROM)

RAM (User sample memory)

Tone Generator 1

Maximum 60 oscillators

32 Mbytes

96 Mbytes*

* = Expandable to a maximum.

Factory settings is 16 Mbytes

Total maximum 120 oscillators

PCM memory

Piano (Internal PCM ROM) New1 ( " ) New2 ( " )

Best ( " )

OrchS( " )

OrchB( " )

Vint ( " )

Synth ( " )

Tone Generator 2

Maximum 60 oscillators

16 Mbytes 16 Mbytes 16 Mbytes

16 Mbytes

Total 128 Mbytes

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. For example up to 60 oscillators can use the ROM, and up to 60 oscillators can use the Piano, making a total of 120 oscillators. However, you can’t play 61 or more oscillators from the ROM alone.

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–Synth, 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–Synth, a total maximum of 30 voices Total 60 voices

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 Extreme, you must ﬁrst select the appropriate mode. Press one of the front panel mode keys ([COMBI] key – [MEDIA] 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 [MEDIA] key: Media mode

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

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.

PROGCOMBI

Introduction

Program

Combination

SAMPLINGSEQ

GLOBALS.PLAY

COMPAREMEDIA

2. Selecting pages

Each mode has a large number of parameters, which are organized 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 – [MEDIA] 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.

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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, [V ALUE] 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.21, 32)

BANK [A]–[G], [H]–[N] keys

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 MIDI 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 Media modes.

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.

The BANK [A]–[G], [H]–[N] 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.

Connections

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

3. Analog audio input connections

Effect processor etc.

Setup

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

AUDIO OUTPUT/ AUX OUT etc.

SetupProgram

Combination

Mic

8. Connections to MIDI equipment/computers

Power Switch

AC power supply

1. Connecting the power cable

Power cable (Included)

to an AC outlet

MIDI OUT

9. Installing options

Option EXB-MOSS SIMM

USB cable

DAT etc.

MIDI cable

USB A B

DIGITAL IN

MIDI IN

AUDIO

INPUT 1, 2

S/P DIF OUT IN

5. Connecting pedals

DAMPER

ASSIGNABLE SWITCH

PEDAL

AUDIO OUTPUT

(INDIVIDUAL) (MAIN)

4321RL/MONO

CompactFlash

Microdrive card

6. Inserting and removing CF card slot media

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

CD-R/RW, hard disk, removable disks etc.

7. Connecting a USB device

Computer

4. Digital audio input/output connections

2. Analog audio output connections

DIGITAL OUT

INPUT

Powered monitors, etc.

Monitor OUTPUT

MIC1

BAL

UNBAL

LINE IN 3

LINE IN 2

LINE IN 1

LOW CUT

75Hz

18dB/OCT

+10dB

-40dB

+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

INPUT

ALL BAL/UNBAL

LEFT(1/MONO)

RIGHT

BAL

MONO

UNBAL

LINE IN 4

LINE IN 6

LINE IN 5

BAL

LOW CUT

75Hz

UNBAL

18dB/OCT

LEVEL

-10

+10dB

-40dB

+10dB

-40dB

+10dB

-40dB

TRIM

LINE IN 7-8

LINE IN 9-10

LINE IN 11-12

TRIM

AUX

MON/

EFX

+15

EFX

+15

12kHz

-15 +15

-15

-15 +15

-15

-15 +15

+15

-15 +15

MID

2.5kHz

-12 +12

-12

-12 +12

-12

+12

LOW

80Hz

+15

-15

+15

-15

+15

-15

PAN

9–10

11–12

7–8

MUTE

ALT 3–4

SOLO

INPUT

TAPE

STEREO AUX RETURNS

AUX SEND

MIC4

MIC6

MIC3

MIC5

MIC2

PHONES

MAIN OUTS

TAPE

OUTPUT

MICRO SERIES 1402-VLZ

14-CHANNEL MIC/LINE MIXER

BAL/UNBAL

MONO

BAL

UNBAL

LEVEL

PHONES

-10

LINE IN 13-14

AUX

MON/

EFX

+20

+10

+15

NORMALLED

AUX 1 MASTER

PRE

POST

EFX

AUX

EFX TO

AUX 1

+20

MONITOR

+15

SELECT

+15

RETURNS

SOURCE

LEFT RIGHT

MAIN

CLIP+28

12kHz

MIX

+10

-15 +15

+15

ALT

3-4

MID

2.5kHz

-12 +12

+12

TAPE

-2

LOW

80Hz

-4

+15

-15

-7

ASSIGN

PAN

-10

TO MAIN MIX

-20

NORMAL(AFL)

-30

LEVEL SET(PFL)

SOLO

0dB=0dBu

MODE

13–14

MUTE

POWER

RUDE SOLO LIGHT

PHANTOM

ALT 3–4

CONTROL

/ PHONES

MAIN MIX

ROOM

SOLO

Mixer

1. Connecting the power cable

1 Turn off the power of the TRITON Extreme. 2 Plug the included power cable into the AC power

supply connector located on the back of the TRITON Extreme.

3 Connect the other end of the power cable to an AC

outlet.

Use only the power cable that is included with the TRITON Extreme. Using another power cable may cause malfunctions.

Make sure that your AC outlet is the correct voltage for your instrument.

2. Analog audio output connections

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

If you play back the TRITON Extreme 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 Extreme’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.

Headphones

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

The TRITON Extreme’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 Extreme’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.

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 Extreme 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. 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.

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.90, PG p.165, 282)

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 and tap tempo 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.90, PG p.165,

281)

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 Extreme. 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.157, 165)

6. Inserting and removing CF card slot media

You can insert a CompactFlash or Microdrive card into the CF card slot, and use it to save or load song data or sample data. When using a Microdrive, you can save the sampled data directly to media.

The TRITON Extreme’s CF card slot does not support hot-plugging. You must turn off the power before inserting or removing CF card slot media. T urning off the TRITON Extreme to insert media into the CF slot will cause your unsaved sequence and sample data to be lost; so we suggest you always insert your media before you turn the TRITON Extreme on, in case you want to save any of the data you create.

Inserting media

1 Turn off the power of the TRITON Extreme. 2 Make sure that the CF card slot eject button located

on the rear panel is pressed inward.

If the eject button is in the outward position, press it in.

3 Insert your CompactFlash or Microdrive card into the

CF card slot.

Make sure that the card is oriented correctly; the label should be upward, and the connector end inserted ﬁrst.

CF card slot Eject button

CompactFlash Microdrive

4 Push the card in until the media is inserted all the

way into the slot.

5 Turn on the power.

To verify that the media was recognized correctly, check that the Media mode “Media Select” display shows CF (CompactFlash) or MD (Microdrive). (☞p.119) If the display indicates Unformatted, you will need to format the card. Newly purchased media or media that has been used by another device must also be formatted before you use it on the TRITON Extreme for the ﬁrst time. For the formatting procedure, refer to p.119.

Removing media

1 Turn off the power of the TRITON Extreme. 2 Press the CF card slot eject button located on the rear

panel, and pull the button outward.

3 Press the CF card slot eject button inward, and then

pull the media out of the connector inside the slot.

4 Remove the media from the slot.

Store the media correctly as described in the instructions included with the media.

7. Connecting a USB device

You can connect an external USB device such as a hard disk or CD-R/RW drive to the USB A connector, and transfer data to and from the device.

Connect the TRITON Extreme’s USB A connector to the USB connector of your external USB device.

If you connect the TRITON Extreme’s USB B connector to your computer, you will be able to transfer data to and from your computer. You can also send and receive MIDI data to/from your sequencer software or similar application.

Connect the TRITON Extreme’s USB B connector to the USB connector of your computer.

☞ For details on connecting USB devices, refer to PG

p.325.

8. Connections to MIDI equipment/ computers

Connections to MIDI equipment

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

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

☞ PG p.288 “MIDI applications – Connecting MIDI

devices/computers”

Connections to a computer

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

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

Connect the TRITON Extreme’s USB B connector to the USB connector of your computer.

☞ PG p.288 “MIDI applications – Connecting MIDI

devices/computers”

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

9. Installing options

The functionality of the TRITON Extreme can be extended by installing option boards and/or sample memory. The following two types of options can be installed. For details on installation, refer to PG p.319.

• EXB-MOSS (DSP synthesizer board)

• DRAM SIMM (Memory boards for sample data)

SetupProgram

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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.15).

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 Extreme’s [VOLUME] slider to an

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

You must turn off the power before inserting media into the CF card slot. The TRITON Extreme’s CF card slot does not support hot-plugging.

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 Extreme’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 Extreme 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 Media 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 CompactFlash etc. 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.90

)

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

The TRITON Extreme 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.319)

OPTIONS

EXB-MOSS: The EXB-MOSS option is installed.

SIMM

Slot 1...3 (** MB): Sample memory (RAM)’s are installed in SIMM slots 1–2. The capacity of each SIMM is shown in parentheses. When shipped from the factory, a 16 MB SIMM is installed in SIMM slot 1.

Playing and editing programs

OSC Basic : P1 - 2,3

Filter1(A/B) : P3 - 1

Amp1 Level/Pan : P4 - 1

Pitch EG : P2 - 3

Filter1 EG : P3 - 4

Amp1 EG : P4 - 3

OSC1 LFO1 : P5 - 1

OSC 1 OSC 2

Filter1 Mod. : P3 - 2

Filter1 LFO Mod. : P3 - 3

OSC1 Pitch Mod. : P2 - 1

OSC1 LFO2 : P5 - 2

Amp1 Mod. : P4 - 2

Program Basic : P1 - 1

AUDIO OUTPUT L/MONO, R

Master Effect 1, 2 : P9

Master

EQ : P9

Insert Effect 1 ... 5 : P8

Oscillator / Pitch

Filter

Amplifier

Effect

Controller Setup: P1 - 4

Arpeggiator : P7

OSC1,2

Insert Effect Master Effect Individual Output

Routing : P8-1

P1–1 and P2–2 etc. indicate the page tab screens used when editing on the TRITON Exterme.

AUDIO OUTPUT INDIVIDUAL

3, 4

1, 2

Valve Force : P9

Placement: Insert(Use Indiv.3/4 BUS)

Valve Force : P9

Placement: Final

(Program Mode)

Program structure

When the TRITON Extreme is shipped from the factory, it contains 1,344 programs (excluding the GM2 variation programs). You can create your own original programs by editing these factory-set programs, or by initializing a program and starting “from scratch.” You can also create programs using RAM multisamples that you have sampled or loaded in Media mode. In addition, you can play a program and resample your performance, or sample an external audio source while listening to the sound of a program.

Each of the rewritable banks A–E and H–N contain 128 programs (total 1,536). There are also non-rewritable bank G (GM2 capital programs), banks g(1)–g(9) (variation programs), and bank g(d) (drums). When shipped, banks A– D and H–N contain preloaded programs.

Program banks

Bank Prog. No. Explanation

A...D, H...M 000...127 Preloaded programs E 000...127 User (initial) programs F 000...127 MOSS programs G 001...128 GM2 capital programs g(1)...g(9) (☞VNL) GM2 variation programs g(d) (☞VNL) GM2 drum programs N 000...127 Preloaded programs,

user (initial) programs

☞ For details on the factory-set programs, refer to “VNL.”

You can select programs from bank F only if the EXBMOSS option is installed.

P0: Play is where you select and play programs, make simple adjustments using the Performance Editor, and adjust the arpeggiator settings. In the P1: Edit-Basic–P9: Edit-Master Effect pages you can modify the sound by editing the various parameters of the program you selected in P0: Play.

Program mode page structure

Page Explanation

P0: Play

Select programs, use the Performance Editor to perform easy editing, select and make settings for arpeggio patterns, make settings for sampling.

P1: Edit-Basic Set basic program parameters such as oscillator

and multisample. Set scale and controllers. P2: Edit-Pitch Settings related to the pitch, including the pitch EG. P3: Edit-Filter Settings related to the ﬁlter (tone), including the ﬁl-

ter EG. P4: Edit-Amp Settings related to the ampliﬁer (volume), including

amp EG and pan. P5: Edit-

Common LFO

For each of the two LFO’s pro vided for each oscilla-

tor, select the LFO type and speed, etc. (Settings in

the pitch, ﬁlter, and amp pages will determine how

deeply the LFO that you specify here is applied.) P6: --P7: Edit-

Arpeggiator

P8: Edit-Insert

Effect

Settings for the arpeggiator. (Some of these are

shared with the arpeggiator settings of P0, and you

may edit them in either location.)

Select insert effects and make settings for them.

Specify the oscillator routing (send levels to the

insert effects, master effects, and independent out-

puts), make settings for Valve Force. P9:

Edit-Master Effect

Select master effects and make settings for them.

Make settings for the master EQ and Valve Force.

For details on how to access each mode and page, refer to “Basic operation” (☞p.13).

Bank F is available only if the EXB-MOSS option is installed. The page structure and parameter structure of bank F programs are different than for the programs of other banks. Refer to the EXB-MOSS owner’s manual.

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.”

You can perform sampling/resampling in Program mode (☞p.80, QS p.22). You can also apply the TRITON Extreme’s effects to an external audio input, for a wide range of possibilities. (☞p.107, 111)

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Program structure and corresponding pages

Playing a program P0: Play

Here you can select and play programs. You can use the Performance Editor to make simple edits, and also make settings for the arpeggiator, external audio input, and sampling.

Selecting a program

There are three ways to select a program. For the procedure, refer to the appropriate page.

• Using the controls of the TRITON Extreme

Selecting by bank/program number Selecting by program category Selecting by using 10’s Hold

• Using a connected switch

• Receiving MIDI program change messages

Selecting a program on the TRITON Extreme

Selecting by bank/program number

1 Make sure that “Program Select” is selected.

If it is not selected, access the PROGRAM P0: Play page and press the “Program Select” area to highlight it.

Program editing

You can edit the preloaded programs (banks A–D, H–N) that the TRITON Extreme is shipped with, or you can start with an initialized program (banks E, N) to create an original program. The P0: Play page lets you perform basic editing, but more detailed editing can be done in the P1: Edit-Basic–P9: EditMaster Effect pages.

If you wish to save an edited program into internal memory, be sure to Write the program. (☞p.114) You can write programs to the 1,536 program memory areas (internal memory) of banks A–E and H–N. You can also save and manage programs on various types of media. (☞p.117)

The P1: Edit-Basic–P5: Edit Common LFO parameters are shared by oscillators 1 and 2, and can be copied using the page menu command “Copy Oscillator.” This command is useful when you want to set both oscillators to the same settings, or when you want to copy settings from a different program.

The three elements of sound

Sound can be broken down into three elements: pitch, tone, and volume.

On TRITON Extreme, 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, master EQ, and Valve Force (P9: Edit-Master Effect settings) to apply ﬁnishing touches.

When arpeggiator settings (P7: Edit-Arpeggiator.) and controller settings (P1: Edit: Basic, Control Setup) are added to this, the ﬁnal result is called a “program.”

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Arpeggio tab

Here you can select the arpeggio pattern, and make realtime adjustments to the arpeggio parameters while you perform.

ARPEGGIA TOR [ON/OFF] key, [TEMPO] knob, [GA TE] knob, [VELOCITY] knob

Use the ARPEGGIATOR [ON/OFF] key to turn the arpeggiator on/off. The ARPEGGIA TOR [TEMPO], [GATE], and [VELOCITY] knobs control the tempo, duration, and strength of the arpeggiated notes.

The Compare function

When P1–P9 are selected, pressing the [COMPARE] key (the key will light) will recall the sound as it 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 is lit, the key will again go dark and your previous unsaved edits will be lost.

Oscillator settings P1: Edit-Basic

Basic settings for the oscillator are made in the P1: EditBasic page. The TRITON Extreme provides two oscillators, and for each oscillator you can select a basic waveform (“multisample”) and set the pitch. The multisamples provided by the TRITON Extreme 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.12)

Voice Assign Mode

Select whether the program will sound in Poly (polyphon- ically) 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 TRITON Extreme contains 962 different multisamples. (☞VNL)

Data sampled on the TRITON Extreme 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.

You can select preset multisamples if “High MS Bank” is set to other than RAM. If “High MS Bank” is RAM, you can select multisamples that were sampled on the TRITON Extreme or loaded in from media. Select from 000–999 for “High multisample.”

Multisample bank

MS Bank Mbyte No. Explanation

ROM32000–424 TRITON Classic preset multisam-

ples

RAM 96 000–999 RAM multisamples (created in

Sampling mode or loaded in Media mode)

Piano 16 000–003 Preset multisamples for stereo

piano

New1 16 000–007 Preset multisamples for stereo

piano and choir

New2 16 000–048 Preset multisamples for organ,

solo brass, electric guitar, acoustic guitar, electric bass, acoustic bass, etc.

Best 16 000–046 Preset multisamples for electric

piano, clavi, brass, woodwinds, choir, drums, etc.

OrchS 16 000–112 Preset multisamples for orchestral

strings

OrchB 16 000–079 Preset multisamples for orchestral

brass, woodwinds, percussion, and harp etc.

Vint 16 000–157 Preset multisamples for vintage

analog synths

Synth 16 000–077 Preset multisamples for house and

trance music

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 “Velocity 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 Extreme provides 50 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.92).

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 032 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.129, PG p.14, 279, 280)

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

The following multisamples or drum kits can be used for the oscillator.

• Preset multisamples (see the table on the preceding page)

• Multisamples that you sampled (RAM) (Programs can be created from multisamples/samples that you sampled in Sampling mode etc. or loaded from media in Media mode.)

• 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.)

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 Extreme 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.

“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.16).

● 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 Extreme 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

Decay Time

Attack Time Start Level

LFO (Low Frequency Oscillator)

For each oscillator, TRITON Extreme 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).

Break Level

Sustain Level

Slope Time

Release Time

Release Level

Time

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.

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 Extreme 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)

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

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

Program

Combination

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.

● Filter Type

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

Low resonance value High resonance value

Filter1 Mod. page

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.18).

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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 B)” 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.

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 Extreme 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 Extreme, will produce a wah effect.

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

Time

Amp1 Level/Pan page

Volume

Organ

Volume remains constant until note is released

Time

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.20).

● 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”)

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 Extreme, 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 Extreme. 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.

Amp1 Mod. page

Piano

Organ

Strings

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 vol-

ume 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 vol-

ume 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 Extreme 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.

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.26). 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.

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 remain synchronized to the playback speed of the sequencer or arpeggiator, even if you adjust this playback speed.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Arpeggiator settings P7: Edit-Arpeggiator

Here you can make arpeggiator settings (☞p.94).

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.104).

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.

Auto Song Setup function

Master Effect and Valve Force settings P9: Edit-Master Effect

Here you can select master effects and make settings for them. The master EQ is also set here (☞p.105, 109).

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 Extreme 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 Extreme 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.271.

This function automatically applies the settings of the current program to a song. If inspiration for a phrase or song strikes you while you’re playing a program or combination, you can use this function to start recording immediately. Hold down the [ENTER] key and press the SEQUENCER [REC/WRITE] key . The “Setup to Record” dialog box will open and ask “Are you sure?”. Press “OK”. You will automatically enter Sequencer mode, and will be in the recordready state. Press the [START/STOP] key to start the sequencer and begin recording.

Playing and editing combinations

(Combination Mode)

Combination structure

When the TRITON Extreme is shipped from the factory, it contains 1,280 combinations. You can create your own original combinations by editing these factory-set combinations, or by initializing a combination and starting “from scratch.” You can play a combination and resample your performance, or sample an external audio source while listening to the sound of a combination.

Each of the rewritable banks A–E and H–N contain 128 combinations (total 1,536). When shipped, banks A–D and H–M contain preloaded combinations.

Combination banks

Bank Combi. No. Explanation

A...D, H...M 000...127 Preloaded combinations E 000...127 User (initial) combinations

EXB-MOSS combinations

N 000...127 User (initial) combinations

☞ For details on the factory-set combinations, refer to

“VNL.”

P0: Play is where you select and play combinations. Here you can also make changes to the contents of each timbre, adjust the volume and pan, and make simple adjustments to the arpeggiator settings. In the P1: Edit-Prog./Mixer–P9: Edit-Master FX pages you can modify the sound by editing the various parameters of the combination you selected in P0: Play.

Combination mode page structure

Page Explanation

P0: Play Select a combination; select a program for

each timbre; set the status, pan, and level; select and set the arpeggio pattern, make settings for sampling.

P1: Edit-program/

Mixer

Select a program for each timbre, and set pan and level. (These are common to the parameters in P0, and can be edited from either page.)

P2: Edit-Trk Param Set various parameters for each timbre, such

as MIDI, OSC, Pitch etc.

P3: Edit-MIDI Filter MIDI transmission/reception ﬁlter settings for

each timbre.

P4: Edit-Zone/Ctrl Key zone and velocity zone settings for each

timbre. Make controller settings. If the separately sold EXB-MOSS option is installed, set

related parameters. P5: --P6: --P7: Edit-

Arpeggiator

Arpeggiator settings. (These are common to

the parameters in P0, and can be edited from

either page.) P8: Edit-Insert FX Select insertion effects and make settings.

Specify the timbre routing (send levels to the

insertion effects, master effects, and indepen-

dent outputs). P9: Edit-Master FX Select master effects and make settings.

Make settings for the master EQ and Valve

Force.

For details on how to access each mode and page, refer to “Basic operation” (☞p.13).

If the EXB-MOSS option is installed, bank F programs will be available for you to select as a timbre in the combination. For details on the parameters of bank F programs, refer to the EXB-MOSS owner’s manual.

You can perform sampling/resampling in Combination mode (☞p.80). You can also apply the TRITON Extreme’s effects to an external audio input, for a wide range of possibilities. (☞p.107, 111)

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Combination structure and corresponding pages

Timbre1

Timbre2

Timbre3

Timbre4

Timbre8

Program

Parameters

Routing : P8-1

Timbre

Insert Effect Master Effect Individual Outputs

Controller Setup : P4- 4

Arpeggiator : P7

Master Effect 1, 2 : P9

Insert Effect 1 ... 5 : P8

P1–1 and P2–2 etc. indicate the page tab screens used when editing on the TRITON Exterme.

Master EQ : P9

Placement: Insert (Use Indiv.3/4 BUS)

Valve

Force

: P9

Valve Force : P9

Placement: Final

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL

1, 2

3, 4

Playing a combination P0: Play

Here you can select and play combinations. Y ou can select the program for each timbre 1–8 and set its status, pan, and level. You can also make settings for the arpeggiator, external audio input, and sampling.

Selecting a combination

You can select a combination in any of the following three ways.

• From the TRITON Extreme

Selecting by bank/combination number Selecting by combination category Selecting by using 10’s Hold

• From a connected foot switch

• By receiving MIDI program changes

Selecting a combination on the TRITON Extreme

Selecting by bank/combination number

1 Make sure that “Combination Select” is selected.

If it is not, select the COMBINATION P0: Play page and press “Combination Select” to highlight it.

Combination editing

You can edit the preloaded combinations (banks A–D, H– M) with which the TRITON Extreme is shipped, or start with an initialized combination (banks E, N) to create your own original combination. You can perform simple editing even in the P0: Play page, but the P1: Edit-Program/Mixer–P9: Edit-Master FX pages let you perform more detailed editing.

Original programs using sample waveforms/multisamples you sampled on the TRITON Extreme (or loaded into memory via Media mode) can also be used in a combination.

If a program being edited in Program mode is used in a combination, it will sound according to the settings being edited.

If you wish to save an edited combination in internal memory, you must write it. (☞p.114) You can write combinations to the 1,536 combination memory areas (internal memory) of banks A–E and H–N. Y ou can also save and manage combinations on various types of media. (☞p.117)

Suggestions for editing procedure

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, master EQ and Valve Force settings (in P9: EditMaster FX) that are different from the effect settings of Program mode. In addition, you can make arpeggiator settings (in P7: Edit-Arp.) 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 to the selected timbre only. This is a convenient way to audition the individual sounds of timbres that are layered. (☞PG p.39)

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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 Extreme, 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 crossfade, 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.

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.32)

You can also use the BANK [A]–[N] 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.

The Compare function

When one of the P1–P9 pages is selected, you can press the [COMPARE] key (the key will light) to recall the sound that was last written before editing. 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 [COMP ARE] again (the light goes dark) returns you to the version you are editing. If you continue editing when the [COMPARE] key is lit, the key will go dark, and the current setting will now be the sound that is recalled when the [COMPARE] key is dark.

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

OSC 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 Extreme, you will set this to INT. Set this to Off for timbr es that you are not using. With settings of Off, EXT, or EX2, TRITON Extreme will not sound. With settings of EXT or EX2, you can control an external tone generator connected via MIDI. (☞PG p.38, 43)

MIDI Channel

Timbres that you wish to play from TRITON Extreme’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 are 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.96, PG p.49), and study the relationship between arpeggiator assignments, “Status,” and “MIDI Channel.”

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 in this combination, without re-writing the program itself, 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.43).

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 override 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

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Bank Select (when status=EX2)

This setting is valid when “Status” is set to EX2. It speciﬁes that Bank Select messages will be transmitted from TRITON Extreme.

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 “Trans- pose” setting, the relationship between notes and drum sounds will change.

● 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 Media 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.44)

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.

MIDI ﬁlter settings P3: Edit-MIDI Filter

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

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

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 Extreme 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.

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.

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 example above, you could set the “Bottom Key” of timbre 1 to G3, and set the “T op Key” of timbre 2 to G4, so that these two timbres overlap. Next if you set the “Bot- tom Slope” of timbre 1 to 12, and set the “Top Slope” of timbre 2 to 12 the sound will change 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

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.”

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 the “Top 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.129, PG p.48, 279, 280)

Arpeggiator settings P7: Edit-Arp.

Indicates settings for the arpeggiator (☞p.96).

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.105)

Master Effect and Valve Force settings P9: Edit-Master FX

Indicates the master effects, and allows you to adjust their settings. Here you can also make master EQ and Valve Force settings (☞p.106).

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Auto Song Setup function

This function automatically applies the settings of the current combination to a new song. If inspiration for a phrase or song strikes you while you’re playing a combination, you can use this function to start recording immediately. Hold down the [ENTER] key and press the SEQUENCER [REC/WRITE] key . The “Setup to Record” dialog box will open and ask “Are you sure?”. Press “OK”. You will automatically enter Sequencer mode, and will be in the recordready state. Press the [START/STOP] key to start the sequencer and begin recording.

Producing songs (Sequencer mode)

TRITON Extreme contains a 16-track MIDI sequencer. The sequencer acts as a hub, integrating TRITON Extreme’s numerous functions.

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 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 Extreme 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.121, PG p.163, 176)

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) func- tion 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, stereo master EQ, and a Valve Force can be used for each song.

• Timing resolution is a maximum of  /192.

• Sixteen tracks are provided for MIDI 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, MIDI exclusive messages) 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).

• Exclusive messages (including XG and GS format data) received from an external MIDI device, or parameter changes you create by editing track param-

eters, can now be recorded in realtime on any track. You can also use the page menu command “Put Effect Setting (MIDI Exclusive) to Track” to record effect parameter settings into the desired location. During playback, you can send this data to an external MIDI device or use it to control song track parameters or effect parameters. Standard MIDI Files (SMF) containing system exclusive messages can be loaded in from disk, preserving the exclusive data.

•“Tone Adjust” parameter let you make temporary

adjustments to the sound of the program used by a track, while leaving the original program unchanged. While creating a song, you can use this capability to make changes in realtime by (for example) softening the tone of the bass sound or sharpening the attack of the strings without having to return to Program mode and edit the program itself.

• When the “Status” of a track is set to INT or BTH, an

external sequencer can be used to play TRITON Extreme as a multi-timbral tone generator. When the “Status” of a track is set to BTH, EXT, or EXT2, the sequencer of TRITON Extreme can play external tone generators.

• Playback can be synchronized with an external MIDI device.

• TRITON Extreme’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 and Program settings can be copied to a song.

• Sequencer data such as a song or cue list that you create can be saved in TRITON Extreme’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 Extreme 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.

• When you’ve created a song, you can resample it to media and turn it into an original audio CD by using Media mode to burn the song to a CD-R/RW drive connected to the USB A connector.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

The structure of Sequencer mode

Sequencer mode is structured as follows.

Songs

A song consists of MIDI 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 Extreme. MIDI 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

MIDI 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

MIDI tracks 1–16

Note On/Off, Program Change (including Bank Select), Pitch Bend, After Touch (Poly After), Control Change, Pattern No., System Exclusive

* 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.285, 293.

Of the above parameters, those that can be edited during realtime recording can be recorded as exclusive data.

Patterns

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 T rack”) or copied to a track (page menu command “Copy to T rack”). 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 Extreme 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.

Sequencer structure and corresponding pages

In-Track Sampling

Sampling memory (RAM)

Parameter

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Track 16

Master Track

Make Audio CD

Musical

settings

data

Parameter

Musical

settings

data

Parameter

Musical

settings

data

Parameter

Musical

settings

data

Parameter

Musical

settings

data

Parameter

Musical

settings

data

Parameter

Musical

settings

data Musical

Parameter

data

settings

Parameter

Musical

settings

data

Tempo, Time signature data

WAVE (Stereo) Media

Sample

Routing : P8-1

Track

Insert Effect Master Effect Individual Outputs

Resampling (L/R 2ch Mix)

Insert Effect 1 ... 5 : P8

Master Effect 1, 2 : P9

Placement: Insert(Use Indiv.3/4 BUS)

Valve Force : P9

Pattern U00 ... U99 RPPR Setup: P6

Master EQ : P9

Controller Setup : P4- 4

Arpeggiator : P7

Valve Force : P9

Placement: Final

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1, 2

3, 4

Sequencer mode page structure

Page Explanation

P0: Play/REC Play/record songs, and make associated set-

tings. Select the program for each track. Pan

and level settings. Settings for sampling. P1: Cue List Play, create, and make settings for cue lists. P2: Trk Param Parameter settings for each track of a song.

MIDI, OSC, Pitch, etc. P3: MIDI Filter MIDI message transmission/reception ﬁlter

settings for each track of a song. P4: Zone/Ctrl Key Zone and Velocity Zone settings for each

track of a song. Controller settings. If the sepa-

rately sold EXB-MOSS expansion is installed,

settings for related parameters. P5: Track Edit Edit musical data for song tracks. Specify trac k

names. Tone settings for the program of each

track. P6: Pattern/RPPR Record and edit patterns for a song. Specify

pattern names. RPPR function settings for a

song. P7: Arpeggiator Arpeggiator settings. P8: Insert Effect Select and make settings for insert effects. Set

the routing, insert effects, master effects, and

individual output send amounts for each track

of the song. P9: Master Effect Select and make settings for the master

effects. Master EQ and Valve Force settings.

For details on how to access each mode and page, refer to “Basic operation” (☞p.13).

If the separately sold EXB-MOSS option is installed, bank F programs can also be used in Sequencer mode. For details on the parameters of bank F programs, refer to the EXB-MOSS owner’s manual.

The MIDI transmit/receive settings for each track are

made in “MIDI Channel” (P2: Edit-Trk Param, MIDI Ch page). Insert effects, master effects, and Valve Force settings are controlled on the “Ctrl Ch” (P8, P9).

Sampling or resampling can be performed in Sequencer mode (☞p.80). You can also apply the TRITON Extreme’s effects to an external audio input source, for a wide range of possibilities. (☞p.107, 111)

Track settings

Since we’re going to record a new song in this example, we will start by explaining how to assign a program to each MIDI track, and make basic settings such as volume.

By loading a template song, you can easily make appropriate settings for various styles of music.

1 Assign a program to each MIDI track.

In the Sequencer P0: Play/REC, Program T01–08/T09– 16 page, use “Program Select” to assign a program to each MIDI track.

At this time you can press the “Category” popup and select programs by category. You can copy settings from a combination or program (☞p.58).

When assigning a program, you can use “Track Select” to select the track for which you are making assignments, and try playing the sound.

Song Select Track Select

2 Set the pan and volume of each MIDI 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.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Preparations for recording

Before you begin recording, make sure that the memory protect setting in Global mode is turned off. (☞p.90)

Creating a Song

Before we can begin this example, we need to create an empty song where we can record. First, press the [SEQ] key to enter Sequencer mode. Next, press the “Song Select” popup button to the left of the Song number and name (S000: NEW SONG). Press the number corresponding to the ﬁrst unnamed song. A dialog box will appear.

Press OK to create the new song (or press Cancel to exit).

3 Specify the tone generator and MIDI channel that

will be played by each MIDI 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 Extreme’s keyboard or controllers will cause the TRITON Extreme’s internal tone generator to be played. If “Status” is set to EXT, EX2, or BTH, playing the track data or operating the TRITON Extreme’s keyboard or controllers will cause an external tone generator to be sounded and controlled. (The MIDI channel of the external tone generator must be set to match the “MIDI Channel” of TRITON Extreme tracks that are set to EXT, EX2 or BTH.) If “Status” is set to BTH, both the external tone generator and the TRITON Extreme’s own tone generator will be sounded and controlled.

If you are using the TRITON Extreme’s Sequencer mode as a 16-track multi-timbral tone generator, set this parameter to INT or BTH. (☞”Status” PG p.72) 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.105, PG p.95, 98)

5 Set the tempo and time signature.

Make these settings in Sequencer P0: Play/REC. “ (Tempo)” sets the tempo, and “Meter” sets the time signature. (☞PG p.55)

6 As necessary, set “Reso” to specify the quantization

resolution. (☞PG p.57)

7 Make other settings as necessary.

As necessary , make arpeggiator settings (Sequencer P7: Arpeggiator), MIDI ﬁlter settings (Sequencer P3: MIDI Filter) and Valve Force (Sequencer P9: Master Effect). (☞PG p.55–102)

When you are ﬁnished making these settings, the basic setup is complete. Record as described in “Recording methods” and following sections.

You can use the Tone Adjust page (Sequencer P5: Track Edit, Tone 1.2–5.6) to make adjustments to each program as appropriate for your song, for example by making the bass a bit more mellow, or by speeding up the attack of the strings. This lets you adjust the sound and keep those changes as part of the song data without having to move back to Program mode to edit and write the settings.

[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.61). 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 beginning of the song.

Monitoring just a speciﬁc track/Muting just a speciﬁc track (Solo/Mute functions)

The TRITON Extreme provides a Solo function that lets you listen to only speciﬁc tracks, and a Mute function that can silence 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 QS p.2, 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/MUTE/REC” 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.

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.58)

Recording methods

This section describes the ways in which you can record on the TRITON Extreme.

Recording a track

There are two ways to record to a MIDI track: realtime recording and step recording. You can choose from six

types of realtime recording. On MIDI tracks you can edit the recorded data in various

ways. You can use Event Editing to insert data, and perform T rack Edit operations such as Create Control data to insert data such as pitch bend, aftertouch, and control change.

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 MIDI 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 Extreme’s sequencer in realtime.

These settings are made in Sequencer P0: Play/REC, Preference page “Recording Setup.”

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 “Track Select” to select the track that you want to

record.

2 Set the “Recording Mode” to Over Dub.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

• 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 “Track Select” to select the track that you want to

record.

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 “Track 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 Switch Assign” to Song Punch In/Out (☞p.90).

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 “Track 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 “Track 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 keyboard 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.56).

When simultaneously recording multiple tracks of MIDI data from an external sequencer.

1 Make sure that the TRITON Extreme’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.288)

2 Set the MIDI Clock (Global P1: MIDI page “MIDI

Clock”) to External MIDI, so that TRITON Extreme 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.

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. (☞QS p.27, PG p.78) Only note-on/off data can be recorded with this method.

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 pitch bend, after touch, and control change data etc.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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 Extreme track. Data of the corresponding channel will be recorded on each TRITON Extreme 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 Extreme’sequencer will receive the MIDI Start message transmitted by the external sequencer, and will automatically begin recording.

9 When the song ends, stop the external sequencer.

TRITON Extreme’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 Extreme itself to stop recording.

Recording exclusive events

Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a track parameter or effect parameter can be realtimerecorded on any track. You can adjust the realtime controllers, the arpeggiator, make changes to the program volume/pan/mute settings, and adjust the tone – all in realtime. During playback, the exclusive messages you recorded will control the track parameters and effect parameters of the song, and can be sent to external MIDI devices.

You can use the page menu command “Put Effect Setting to Track” to insert an exclusive event containing the parameter settings for an insert effect or master effect into the desired location of a track, so that these settings will automatically switch during playback.

GM, XG, and GS exclusive messages can be recorded on a track, but the TRITON Extreme’s tone generator will not respond to these messages.

Recording internal parameter changes

As an example, here’s how to record internal parameter changes using the preset template song “Acid Jazz.” In this example, we’ll use an empty track to record parameter changes for the insert effects (IFX1, IFX2) assigned to track 1 (drums).

In order to record system exclusive messages, the Global P1: MIDI, MIDI Filter setting “Enable Exclu- sive” must be checked. Go to Global mode and make sure that this parameter is checked.

3 At the appropriate time while recording, adjust the

parameter(s) that you want to realtime-record.

For example, you might use the Sequencer P8: Insert Effect, Insert FX page to adjust the IFX1 and IFX2 effects, or use the P5: Track Edit, Tone Adjust page to adjust the sounds in realtime.

For details on the parameters that you can realtimerecord, refer to PG p.101.

4 Stop recording.

Exclusive messages are always recorded on the current track selected by “Track Select.” In this example, they are recorded on track 9.

In the event edit screen you can view the recorded exclusive events and their location. Exclusive events are displayed as “EXCL”. To view these events, go to the Sequencer P5: Track Edit page, and select the page menu command “Event Edit.” Then in the Set Event Filters dialog box, check Exclusive and press the OK button.

1 Use the page menu command “Load Template Song”

to load Acid Jazz. In the dialog box, check the “Copy Pattern to Track too?” setting, and copy a pattern of about 16 measures. (☞QS p.24)

2 Move to Sequencer mode, use “Track Select” to select

Track 09, and begin recording.

For this example, select an empty track.

If you want to record onto a track that already contains data, set the “Recording Setup” parameter “Recording Mode” to Over Dub (☞p.43).

Event display

Location

Exclusive events cannot be changed to a different type of event. Nor can other events be changed into exclusive events.

5 If you go to the page (e.g., Sequencer P8: Insert Effect)

that shows the parameters you adjusted in realtime, you can watch the recorded changes be reproduced while the song plays back.

Exclusive messages that can be realtime-recorded

The following exclusive messages can be realtime recorded.

• Exclusive messages received from an external MIDI device

• Parameter changes in Sequencer mode (☞PG p.101)

• Master Volume universal exclusive messages assigned to the foot pedal or a knob

Using “Put Effect Setting to Track” to switch effects

The page menu command “Put Effect Setting to Track” places effect settings into a track as exclusive events. As an example, we will use the preset template song “Acid Jazz” to explain how to use the “Put Effect Setting to Track” page menu command. In this example we will switch the insert effect for Track 03: Elec.Piano from 023: Stereo Phaser to 020: Stereo Flanger at the beginning of measure 9. We will explain two ways in which you can do this: method 1) and method 2).

This command works by inserting MIDI parameter change system exclusive messages directly into a sequencer track. Because this requires a number of messages to be read and processed, it can take a little time for the effect to change. You may ﬁnd it necessary to “anticipate” where you want the effect change to take place and insert the change slightly earlier. Also, notes that are already sounding as the transition takes place may not play smoothly.

Only effect type and effect parameter events can be inserted. You must use realtime recording to record effect on/off settings or bus settings.

1. Inserting effect settings at the beginning of the song and at a speciﬁed measure

For the insert effect (IFX3) used by track 3, we will use 023: Stereo Phaser for measures 1 through 8 (as speciﬁed by the template song) and then switch to 020: Stereo Flanger for measures 9 and following by using the page menu command “Put Effect Setting to Track” to insert MIDI parameter change system exclusive messages.

1 Enter Sequencer mode, and use “Song Select” to

choose song S000.

2 Use the page menu command “Load Template Song”

to load Acid Jazz.

5 Specify the effect for which you will insert an exclu-

sive message, and specify the location at which it will be inserted.

“Effect”: IFX3 To: “Song”: 000

“Track”: 03 “Measure”: 001 “Beat.Tick”: 01.000

6 Press the OK button. 7 Specify the effect that you will use for measure 9 and

the measures that follow.

In the Sequencer P8: Insert Effect, Insert FX page, set IFX3 to 020: Stereo Flanger.

8 In the Sequencer P8: Insert Effect, IFX3 page, set the

parameters as desired.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

3 Use “Track Select” to select Track 03: Elec.Piano, and

record a performance as desired. (☞QS p.26)

4 In Sequencer P8: Insert Effect, choose page menu

command “Put Effect Setting to Track” to open the dialog box.

9 In the Sequencer P8: Insert effect, Insert FX page,

choose the page menu command “Put Effect Setting to Track” to open the dialog box.

0 Specify the effect for which you will insert an exclu-

sive message, and specify the location at which it will be inserted.

“Effect”: IFX3 To: “Song”: 000

“Track”: 03 “Measure”: 009 “Beat.Tick”: 01.000

A Press the OK button.

Now when you play back the song, the track 3 effect will switch to 020: Stereo Flanger from measure 9.

B If you press the [COMPARE] key (the key will light)

and play back, you will hear the state of the track prior to executing “Put Effect Setting to Track.”

Use the [COMPARE] key when you want to make a before-and-after comparison of the track.

C In the Sequencer P5: Track Edit page, set “Track

Select” to Track03. Then choose the page menu command “Event Edit” to access the event edit screen. (In the Set Event Filters dialog box, check the “Exclusive” setting.)

Notice that a MIDI parameter change system exclusive message is inserted at the beginning and at measure 9 of track 3.

3 In “Track Select,” select Track 03: Elec.Piano, and

record a performance as desired. (☞QS p.26)

4 Make the effect settings for the second half of the

song in another (copied) song.

1)Create song S001.

2)Use the page menu command “Copy From Song” to

copy Song 000 as the copy-source. (☞PG p.58 “Copy From Song”)

5 In song 001, make the effect settings that you want to

use at measure 9. In the Sequencer P8: Insert Effect, Insert FX page, select 020: Stereo Flanger for IFX3.

6 In the Sequencer P8: Insert Effect, IFX3 page, make

the desired parameter settings.

2. Using the effect speciﬁed by the song itself from the beginning of the song, and inserting the effect settings from another song at the middle of the song

For the insert effect (IFX3) used by track 3, we will use 023: Stereo Phaser (speciﬁed by the template song) from the beginning of the song, and insert MIDI parameter change system exclusive messages at measure 9 to switch to the 020: Stereo Flanger settings from another song.

1 Enter Sequencer mode, and use “Song Select” to

select song S000.

2 Use the page menu command “Load Template Song”

to load Acid Jazz.

7 Choose “Put Effect Setting to Track” to open the dia-

log box.

8 Insert the effect settings from song 001 into song 000.

“Effect”: IFX3 To: “Song”: 000

“Track”: 03 “Measure”: 009 “Beat.Tick”: 01.000

9 Press the OK button.

Now when you select song 000 and play it back, the track 3 effect will switch to 020: Stereo Flanger from measure 9.

0 Using the [COMPARE] key, you can listen to the pre-

vious version, before you performed the “Put Effect Setting to Track” operation.

Processing the data placed in a track by the “Put Effect Setting to T rack” command may take a little bit of time. As your song becomes ﬁlled with more and more data, it may take longer to complete the effect change. When listening to the playback in step you notice the effect change does not take place smoothly at the desired location, use the [COMPARE] key (lit) to return to the previous state and try the operation again. This time, change the “Beat.Tick:” settings so that the change takes place a little bit (40 100 “Ticks”) earlier or later in the song.

9, if

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.

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.41)

2 Access the Sequencer P6: Pattern/RPPR, Pattern Edit

page.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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.44)

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 sequencer 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.44).

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

To record 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)

Song editing methods

A variety of editing operations can be performed on a song.

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.58).

Track editing

You can move/insert/delete individual events of data such as the notes and control changes in a MIDI track, and copy/move/insert/delete speciﬁed measures or tracks. Use the Sequencer P5: Track Edit, Track Edit page menu commands to perform these editing operations. (☞PG p.79).

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.89).

The explanations in the sections that follow are based on an example of editing a song. Create a song of several measures as described in QS p.24. We will describe various examples of editing operations on the song you create, and will then assemble songs in a cue list. The subsequent explanation assumes that the song you created is loaded into S000.

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.

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.96 and PG p.93.

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 page jump page. Press the P5: Track Edit.

Program

Combination

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.

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.115). 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.

3 Access the page menu.

This contains various commands for editing tracks and measures.

Press the “Set Song Length.”

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.83) etc. to move the data into the playback area before you execute this operation.

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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.

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.

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.

Turn on the Replace radio button, and set “Shift Note” to +003. (☞PG p.84)

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.

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.

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

01 02 03 04 05 06 07 08 09 10

S000: Intro S001: A S002: B S003: Chorus S001: A S002: B S003: Chorus S001: A (Solo) S003: Chorus S004: Ending

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

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 “ =”.

Program

Combination

1. Creating a cue list

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.

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, 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.

7 When you press the SEQUENCER [START/STOP]

key, playback will begin from the step that is speciﬁed as the “Current Step.”

•“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 signa-

ture. 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

If the effect settings differ between songs, and depending on the playback data within the song, there may be cases in which there is a time lag between songs during playback. Also, the playback data at the transition between songs may not play at the correct timing. In such cases, use “Convert to Song” to convert the cue list into a single song. When you play back this song, there will be no time lag at the transition, and the data will play at the correct timing.

If the effect settings differ between songs, and you want to smooth the transition between songs, check “FX” for Step

01. This way, the effect settings will be made before play-

back begins, and there will be no time lag when cue list

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

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 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.

2. Converting a cue list into 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 media 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.70.)

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.

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 settings from 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.

Creating and recording RPPR (Realtime Pattern Play/Record)

This section explains how to assign a pattern to RPPR, and how to play and record. (☞QS p.3 “Performing with the RPPR function”)

Creating RPPR data

1 Create a new song. (☞p.50) 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. (☞QS p.24)

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.

By using “Revert” in this way, you can work efﬁciently when the patterns to be assigned have consecutive or nearby numbers, or use the same track.

Use the above method to assign several patterns from the range of P123: HipHop 3/HipHop–P135: HipHop 15/HipHop.

9 Press the C#2 key.

The assigned pattern will play.

Take your ﬁnger off the C#2 key, and press the D2 key.

The pattern will change, and playback will begin. At this time, the pattern operation will depend on the “Sync” and “Mode” setting.

Set “KEY” to C#2, and set “Sync” to Measure. Make the same setting for D2.

Now press the notes consecutively. Notice that the

patterns operate in a different way. With the “Measure” setting, patterns will be handled

in one-measure units. The second and subsequent patterns will start in sync with the end of previously played pattern. If you change the “Mode” setting to Once, the entire pattern will playback to the end even if you release your ﬁnger from the keyboard immediately.

To stop playback, either press the same key once again, or press the C2 or lower key.

For details on “Sync,” “Mode,” and “Shift,” refer to PG p.92.

The assigned keys will be shown as a keyboard graphic in the LCD screen.

Unassigned keys can be used for normal keyboard performance. Use “Track Select” to select the track that will be played from the keyboard. For example you might assign backing patterns such as drums and bass to the C#2–B2 keys and use these keys to control pattern playback, and use keys C3 and above to play solos in realtime. It is a good idea to keep the assigned keys together in this way.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

P00: Pop&Balad 1/Std

Song

P6: Rattern/RPPR, RPPR Setup

RPPR RPPR

RPPR function is on Normal song playback

and recording

U00: R&B Suffle1

User Pattern U00 - U99Preset Pattern P00 - P149

RPPR playback

Let’s use the RPPR you created to perform in the Sequencer P0: Play/REC page.

1 Select Sequencer P0: Play/REC. 2 Check the “RPPR” check box.

The RPPR function will be turned on. Set the on/off for each song.

3 Play the keyboard, and patterns will begin playing

according to the RPPR settings.

• Pattern playback for a key with a “Sync” setting of Beat or Measure will sync to the playback of the first

pattern. (☞PG p.92 “Sync”)

• If you are playing the pattern in synchronization (when “Sync” is Beat, Measure, or SEQ), the pattern will start accurately if you play the note slightly earlier than the timing of the beat or measure. Even if you play the note slightly later than the beat or measure (but no later than a 32nd note), it will be considered to have started at the beat or measure, and the beginning of the pattern will be compressed so that the remainder of the playback will be correct.

If you wish to trigger the RPPR function from an external MIDI device, use the MIDI channel that is selected for “Track Select.”

4 To turn off the RPPR function, uncheck the RPPR

check box.

Play RPPR while a song plays back

RPPR can be played in synchronization with the playback of a song.

Pattern playback for a key with a “Sync” setting of SEQ will synchronize to the playback of the song. (☞PG p.92 “Sync”) Start the song playback, and then press the key. The pattern playback will start in synchronization with the measures of the song.

Synchronization will be lost if you use the [<< REW] or [FF >>] keys while a song is playing.

If you want RPPR pattern playback to begin at the moment that song playback begins, it is a good idea to insert an empty measure containing no musical data before the song playback begins.

If the song is stopped, the pattern will synchronize to the timing of the arpeggiator function.

Realtime-recording an RPPR performance

An RPPR performance can be recorded in realtime. If you are using only one track (Track01: Drums) as in “Creating and recording RPPR” (☞p.55), set “Track Select” to Track01: Drums, and use single track recording in which only one track will be recorded.

Even if RPPR uses only one track, use multi-track recording if you will be selecting another track in “Track Select” and recording its performance at the same time. You should also select multi-track recording if you created the RPPR data using multiple tracks rather than just a single track, and want to simultaneously record the performance of multiple tracks.

The RPPR pattern will be recorded as performance data on the tracks used by the pattern.

Here we will explain how you can simultaneously record a performance that uses both RPPR and the arpeggiator.

1 For each RPPR pattern, set “Sync” to SEQ.

With a setting of SEQ, patterns played by the RPPR function while the sequencer is playing or recording will start in synchronization with the measures of the sequencer.

2 We will use the arpeggiator to play the bass pattern.

Follow these settings. Set “Track Select” to Track02: Bass.

Select the Sequencer P7: Arpeggiator, Setup T01–08 page, and set the track 2 “Arpeggiator Assign” to A. (Make sure that A is checked for “Arpeggiator Run.”)

Select the Sequencer P7: Arpeggiator, Arpeggiator A page, and set “Pattern” to U038 (A/B).

Set “Gate” and “Velocity” to Step. Do not check “Key Sync.”

Press the ARPEGGIATOR [ON/OFF] key. (The key will light.)

3 In the Sequencer P0: Play/REC, Preference page,

check the “Multi REC” check box.

If “Recording Mode” is set to Loop All Tracks,” it will not be possible to select Multi REC. Set the “Recording Mode” to Over Write.

4 Select the P0: Play/REC, Program T01–08 page.

For all tracks, the “PLA Y/MUTE/REC” indication will show REC. The track played by RPPR will be recorded simultaneously with the track played by the arpeggiator. Set

“PLAY/MUTE/REC” to PLAY or MUTE for all tracks other than tracks 1 and 2, which we will be recording.

Make sure that “Track Select” is set to Track02: Bass. Your keyboard playing on keys not assigned to the RPPR function can be recorded on the track speciﬁed by “Track Select.”

8 When you are ﬁnished performing, press the

SEQUENCER [START/STOP] key.

Recording will end, and the sequencer will return to the location at which recording began. If you made a mistake during your performance 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.

9 If you want to record other tracks, un-check the

“Multi REC” or “RPPR” check boxes as necessary.

In step 3, uncheck the “Multi REC” check box to defeat multi-track recording.

In step 5, uncheck the “RPPR” check box to turn off the RPPR function.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

5 Make sure that the “RPPR” check box is checked. 6 Press the [LOCATE] key to set the location to

001:01.000.

7 Press the SEQUENCER [REC/WRITE] key, and then

press the SEQUENCER [START/STOP] key. Press a key that plays an RPPR pattern, and one or

more keys that play the arpeggiator.

If you press a key during the pre-count before recording, the pattern playback and arpeggio performance will begin simultaneously when recording begins, and will be recorded.

Record the RPPR pattern playback and arpeggio performance.

When recording the playback of patterns triggered by RPPR, the timing of the recorded events may be slightly skewed. If this occurs, try setting “Reso” (Realtime Quantize Resolution) to a setting other than Hi.

Recording the sound of a combination or program

Here’s how you can easily copy the settings of a combination or program, and then record. There are two ways to do this. While playing in Program or Combination mode, you can use the Auto Song Setup function to automatically set up a song using the current settings of the program or combination. Or, you can use the page menu command in Sequencer mode to copy the settings of a program or combination create the sequencer setup.

Auto Song Setup function

The explanation of the Auto Song Setup function given here follows the procedure from Combination mode.

1 Enter Combination mode.

Settings that are automatically copied from the combination

The settings that will be automatically copied will be the same settings as if you had executed the page menu command “Copy From Combi” (☞PG p.58) and had made the following settings in the dialog box.

• “with Effects” checked

• “To” set to Track 1 to 8

• “Auto Adjust Arp setting for Multi REC” checked

Settings that are automatically copied from the program

The settings that will be automatically copied will be the same settings as if you had executed the page menu command “Copy From Program” (☞p.39) and had made the following settings in the dialog box.

• “with Effects” checked

• “with Arpeggiator” checked

• “To” set to Track 01

• “Arpeggiator” set to A

Copy From Program/Copy From Combi (Sequencer mode page menu commands)

Here’s how to use the Copy From Program/Copy From Combi page menu commands in Sequencer mode.

Make sure that the global MIDI channel (Global P1: MIDI, “MIDI Channel”) is set to 01.

1 Create a new song. (☞p.50)

2 If you change any of the settings in the combination.

Such as volume, panning, effect routings and arpeggiator setting (including Arpeggiator On/Off) you must ﬁrst save the edited settings using “Update Combination” or “Write Combination.”

The combination (or program) must be saved with the Arpeggiator On/Off set to On in order for the “Auto Adjust Arp settings for Multi REC” (see step

4) to work properly.

3 Hold down the [ENTER] key and press the

SEQUENCER [REC/WRITE] key.

The “Setup to Record” dialog box will appear.

4 Press the OK button to perform the Auto Song Setup.

The TRITON Extreme will automatically switch to Sequencer mode, and the combination’s settings will be applied to a new song. The new song will be the ﬁrst unused song.

5 You will automatically enter record-ready mode, and

the metronome will begin sounding according to the settings in Sequencer mode 0–8: Preference.

(☞PG p.68 “0–8b: Metronome Setup”)

6 Press the [START/STOP] key, and realtime recording

will begin. When you’re ﬁnished recording, press the [START/

STOP] key once again.

(☞p.43 “Realtime recording on a MIDI track”)

2 Execute the page menu command “Copy From Pro-

gram” or “Copy From Combi.”

A dialog box will appear.

Select the program or combination that you want to copy (i.e., the copy source).

For this example, press the COMBI BANK [I] key, then press numeric keys [4], [0], and ﬁnally press the [ENTER] key. I040: Steely Keys will be selected. We will copy the effect settings of the combination as well, so check the “With Effects” check box.

Since we want to copy the settings of the combination’s eight timbres to tracks 1–8, select Track 1 to 8. If you have selected Track 1 to 8, you will be able to select “Auto adjust Arp setting for Multi REC.” If you check this check box, the MIDI channel etc. of some of the tracks will automatically be adjusted to ensure that the same sound as was used during recording will be reproduced by the playback when you perform multitrack recording with the arpeggiator turned on.

When using the “Copy From Program” page menu command, the dialog box will be different. You can specify any track as the copy destination, and “Auto adjust Arp setting for Multi REC” will be replaced by a simple “with Arpeggiator” check-box.

Depending on the combination settings, it may be

necessary to make additional changes to the track settings.

In order to use the “Auto adjust Arp setting for Multi REC” function, the combination to be copied must have been written to memory with the ARPEGGIATOR [ON/OFF] key turned on.

Press the OK button to execute the copy.

Notice that when you execute this command, the “PLAY/REC/MUTE” setting of each track will be set automatically. In the Sequencer P0: Play/REC, Preference page, the “Multi REC” check box will be checked.

If you are using the arpeggiator, press the ARPEGGIATOR [ON/OFF] key to turn it off, and then turn it on again.

3 Begin recording.

Press the [LOCATE] key to set the location to 001:01.000.

Press the SEQUENCER [REC/WRITE] key, and then press the SEQUENCER [START/STOP] key.

If you play a B3 note or lower during the pre-count before recording, the arpeggio pattern will start from the beginning at the moment that recording begins. Record your performance.

4 When you are ﬁnished performing, press the

SEQUENCER [START/STOP] key.

If you made a mistake or want to re-record, you can use the Compare function (press the [COMPARE] key) to re-record as many times as you want. (The “MultiREC” check box will be unchecked when you use Compare, so you will need to check it again.)

Caution and other functions in Sequencer mode

TRITON Extreme song data and its compatibility

The following two types of song data can be loaded from Media into TRITON Extreme’s sequencer.

• Song data saved in TRITON Extreme’s own format

This data is only for this instrument. However, it is partially compatible with the TRITON STUDIO, TRITON-Rack and TRITON/TRITONpro/ TRITONproX (☞PG p.309). Since the performance will be faithfully reproduced, including detailed settings of this instrument, you should use this format to save song data that is intended for playback on this instrument.

• Standard MIDI Files

This format is not able to provide a totally faithful reproduction of the performance on TRITON Extreme in the way that TRITON Extreme’s own format does (although there will be no problem for normal playback), but does provide compatibility with other SMFcompatible devices. To load or save song data etc., use Media mode. (☞p.117, 121, PG p.181, 189)

• Data including exclusive events

Exclusive messages (including XG or GS data) received from an external MIDI device, and parameter changes produced by editing track parameters (☞PG p.101) can now be recorded in realtime on the desired track. You can also use the page menu command “Put Effect Setting to Track” to place insert effect or master effect parameter settings as exclusive events in the desired location of a track.

Recorded GM, XG, or GS exclusive messages do not affect the TRITON Extreme when they are played back.

Since the recorded data is embedded in the song data as exclusive events, it can be saved or loaded to/from media in the same way as before. Exclusive messages can also be saved and loaded as SMF (Standard MIDI File) data (“Load Standard MIDI File,” “Save Song as Standard MIDI File”). This means that you can save recorded exclusive events as SMF data, or convert exclusive messages from an SMF ﬁle into song data.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

The Compare function

When you perform realtime recording, step recording, or track editing, this function allows you to make beforeand-after comparisons.

If you continue editing when the [COMPARE] key is lit, the key will go dark. This now becomes the musical data that will be selected when the [COMPARE] key is dark. Any previous unsaved edits will be lost.

Operations for which Compare is available

• Recording to a track

• Track Edit

All commands except for the Utility menu commands “Memory Status” and “Rename Track” of the Sequencer P5: Track Edit page.

• Recording to a pattern

• Pattern Edit

All commands except for the page menu commands “Memory Status,” “Rename Pattern,” “FF/REW Speed,” and “Rename Track” of the Pattern/Sequencer P6: RPPR, Pattern Edit page.

• Song Edit

Sequencer P0–P4 and P7–P9 pages: Page menu commands “Delete Song” and “Copy From Song” Sequencer P1: Cue List page: Page menu commands “Convert to Song” and “Copy Song”

• After in-track sampling

The Compare operation will also apply to the multisamples and samples that were sampled with the “Convert to” item Seq.Event checked in “Select Bank & Sample No.” (☞PG p.63). This means that if you want to re-do your sampling, you can press the [COMP ARE] key to return the multisample and samples to the state prior to sampling, and unwanted samples will not remain.

The program will not be affected by the Compare, and will not return to its prior state.

In general, track and pattern event data can not be returned to its original state. Comparing song parameters is possible only during song editing (when executing a page menu command).

About MIDI

Track status “status”

You can specify whether the TRITON Extreme’s sequencer will sound the internal tone generator or an external tone generator.

When Track Status “Status” (P2: Trk Param, MIDI Ch T01–08/T09–16) is set to INT, operating TRITON Extreme’s keyboard and controllers will sound and control TRITON Extreme’s own tone generator. When “Status” is set to EXT, EX2 or BTH, operating TRITON Extreme’s keyboard and controllers will sound and control the external tone generator. (The MIDI channel of the external tone generator must match the “MIDI Channel” of the track that is set to EXT, EX2 or BTH.) With a setting of BTH, both the external tone generator and TRITON Extreme’s tone generator will sound and be controlled.

If you wish to use the Sequencer mode of the instrument as a 16-track multi-timbral tone generator, select INT or BTH. (☞PG p.72)

Synchronizing the sequencer with an external MIDI device

The record/playback tempo of TRITON Extreme’s sequencer can be synchronized to an external MIDI device such as a sequencer or rhythm machine (☞PG p.296).

Operations for which Compare is not available

• Editing song parameters

• Page menu commands other than those listed above (in Operations for which Compare is available)

Memory Protect

Before you record a track or pattern, or edit the musical data, you will need to turn off the memory protect setting in Global mode. (☞p.90)

Sampling (Open Sampling System)

Features of sampling on the TRITON Extreme

• The TRITON Extreme features our Open Sampling System that lets you use sampling/resampling not

only in Sampling mode but also in Program, Combination, and Sequencer modes, with functionality optimized for the specific mode that you are currently in.

• You can perform 48 kHz 16-bit linear mono or stereo sampling.

• The TRITON Extreme is shipped with 16 Mbytes of sample memory (RAM). When you sample, the data is written into this sample memory (RAM) or to media. (For details on the types of media you can use, refer to p.137.) The 16 Mbyte sample memory (RAM) allows approximately 2 minutes 54 seconds of mono sampling (or approximately 1 minute 27 seconds of stereo sampling). By installing 72-pin SIMM boards, you can expand sample memory to a maximum of 96 Mbytes (three 32 Mbyte SIMM boards; replacing the factoryinstalled 16 Mbyte SIMM with a 32 Mbyte SIMM). With the sample memory maxed out, the total sampling time is 17 minutes 28 seconds of mono sampling (approximately 8 minutes 44 seconds in stereo). However, because the TRITON Extreme RAM is addressed as six individual 16 Mbyte banks, the maximum length for any individual sample remains approximately 2 minutes 54 seconds (mono) or approximately 1 minute 27 seconds (stereo). Samples you record into sample memory (RAM) can be used as tone generator waveforms. However, this data will be lost when the TRITON Extreme’s power is turned off, so you must save any sample data that you want to keep. The Media lets you record up to 80 minutes as a single sample ﬁle in either mono or stereo (monaural: approximately 440 Mbytes, stereo: approximately 879 Mbytes). This will create a WAVE ﬁle. If a sample (W AVE ﬁle) that was sampled to the media is loaded into sample memory (RAM), it can be used as a tone generator waveform. A sample (WAVE ﬁle) of up to 16 Mbytes (mono) or 32 Mbytes (stereo) (if sample memory has been expanded to 32 Mbytes or greater) can be loaded into sample memory (RAM). You can create an audio CD by writing Wave ﬁles to a CD-R/RW drive connected to the USB A connector.

•A maximum of 1,000 multisamples and 4,000 samples can be created.

• In Media mode, you can load multisample/sample data from various types of media.

• Korg format or Akai (S1000/3000 samples, mapped multisamples only) format sample data, and AIFF or WAVE format sample data can be loaded. (Once data has been loaded into the TRITON Extreme, it will all be treated as Korg format sample data.) Sample data created on the TRITON Extreme can be exported (output) as an AIFF or WAVE format sample ﬁle.

• The external audio source that you are sampling can be processed by the five insertion effect to apply effects such as a compressor or EQ. The LFO frequency or delay time of the effect can be specified as a BPM value, which is highly effective when sampling phrase loops etc. (In Sampling mode, only the insert effects can be used. In Program, Combination, and Sequencer modes, the master effects can also be used.)

• You can apply Valve Force to the external audio source you are sampling.

• Sampling can be initiated by the SAMPLING [START/ STOP] key, note-on, threshold, or the SEQUENCER [START/STOP] key. (The available methods will depend on the mode.) Threshold allows you to initiate sampling when the input signal exceeds the threshold level you specify. In Sampling mode, you can also specify a pre-trigger setting.

• The analog audio inputs support mic and line level signals. Digital audio input via S/P DIF IN supports the 48 kHz sample rate.

• You can digitally sample (i.e., “rip”) audio data from an audio CD in a CD-R/RW drive connected to the USB A connector.

• Sampled data can be converted automatically (or manually, using an easy operation) into a program and used with the TRITON Extreme’s HI synthesis system. (In Sampling mode, use “Convert MS To Program.” In Program, Combination, or Sequencer mode, use “Select Bank & Smpl No.”) Once a multisample/sample has been converted into a program, you can make filter, amp, and effect settings and play it as a program. Such a program can also be used in Combination mode or Sequencer mode. Samples you record can also be used as drum samples in a drum kit.

Sampling in Program, Combination, and Sequencer modes

•A performance in Program, Combination, or Sequencer modes can be resampled internally, with all audio remaining in digital form. This lets you resample a performance that uses the TRITON Extreme’s filters, effects, arpeggiator, and sequencer etc.

• External audio sources from the various input jacks can be sampled. A performance played on the TRITON Extreme can be mixed with the external audio source and sampled, or you can sample just the external audio source while monitoring the performance played on the TRITON Extreme. The master effects can also be applied to the signal being sampled.

• In Sequencer mode when you sample an external audio source while listening to the playback of the song, note data will be automatically created in the track. This “In-Track Sampling” function lets you sample vocals or guitar while you play the sequencer – just as if you were recording on a multi-track recorder.

• Song playback in Sequencer mode can be resampled to media. You can use Media mode to edit the song order, and burn your songs to an audio CD in a CDR/RW drive connected to the USB A connector.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Editing in Sampling mode

• In Sampling mode, the sample data you sampled or loaded from various media (including WAVE and AIFF formats) can be assigned to an index (zone) to create a multisample.

• The waveform can be viewed in the LCD screen, and edited by a variety of waveform editing commands that include rate convert (down-sampling) and reverse playback.

• Start, loop start, and end addresses can be specified in units of a single sample. Loop tune, reverse playback, and loop lock functions are also supported.

• The Use Zero function automatically searches for zerocross points, making it easy to find the beginning or end of the waveform, or locations that will not produce noise when the sample is played back.

• The grid function displays a BPM-based grid on the waveform display, helping you to create loops or make waveform edits that match the desired BPM.

• Each multisample allows you to create up to 128 indices. Each index consists of a sample assignment, a key zone, an original key, a playback pitch, and settings such as level.

• The “Keyboard & Index” display lets you edit a multisample while viewing the assignments and zones of each sample.

• Sample names and multisample names of up to 16 characters can be assigned. Sample names and multisample names can also be viewed in Media mode (☞PG p.177 “Translation”).

• The Time Slice function automatically detects the attack portions of a kick or snare etc. in a rhythm loop sample (a looped pattern of drums etc.), and divides it into separate rhythm instrument sounds. A pattern corresponding to the divided samples is created automatically, so that you can immediately use the Sequencer mode RPPR function to play the pattern and adjust the tempo without changing the pitch. You can also do things such as adjusting the pitch of only the snare, replacing it with a different sample, or changing the playback timing on the sequencer, in this way creating a new rhythm loop based on the rhythm loop you started with. (Stereo samples are supported.)

• The Time Stretch function lets you modify the tempo without changing the pitch of a sample. You can select either Sustaining (suitable for sustain-type instruments such as strings or vocals), or Slice (suitable for rhythm loops on decay-type instruments such drums). Stereo samples are supported.

• The Crossfade Loop function is an important looping tool that helps smooth out irregularities in long loops which contain complex material. By executing Crossfade Loop, you can eliminate this problem and create natural-sounding loops.

• The Link (with Crossfade) function allows you to join two samples into a single sample. You can also crossfade the overlapping portion of the samples at this time, so that the volume changes gradually, producing a natural-sounding transition.

• The BPM Adjust function (playback pitch adjust) lets you adjust the playback pitch of each index so that the loop frequency matches the desired BPM value.

• You can use resampling (auto) to automatically apply effects to a sample and create a new sample.

How Sampling mode is organized

This section describes how sampling on the TRITON Extreme is organized. (☞see the lower diagram on the following page)

Sampling frequency and bit resolution

As shown in the diagram, sampling reads the level of the analog signal at ﬁxed intervals along the time axis, and stores the levels in memory as digital data.

Level

Analog waveform

48kHz

= 48,000 times every second = 0.0208 mS cycle

Sampled digital waveform

Level

The “ﬁxed intervals” mentioned above are generally expressed as the “sampling frequency.” 48 kHz (kilohertz) means that sampling is performed 48,000 times each second, and that the interval is 1 (second)/48,000 (times) = approximately 0.00002083 (seconds) = approximately

0.02083 mS (millisecond). The higher the sampling frequency is, the closer to the original analog signal the waveform in memory will be.

Each level is read, and converted into digital data. The accuracy at this time is determined by the bit resolution. This process converts an analog signal with inﬁnite resolution into a digital signal with ﬁnite resolution. With 16 bit resolution, each level is indicated in 65,536 steps (the sixteenth power of two). The greater the bit resolution is, the closer to the original analog signal the waveform in memory will be. 48 kHz 16 bit sampling is the same quality as in audio devices such as DAT. A CD uses 44.1 kHz 16 bit sampling, which is a slightly lower sampling frequency.

Time

16bit

=65,536 levels

of data

Samples and Multisamples

Samples

The data that is recorded (sampled) into internal memory or loaded from a ﬁle is referred to as a sample or sample ﬁle. Samples consist of the actual waveform data, and parameters that specify how the data will be played back, such as Start, Loop Start, and End Address. Samples can be used in multisamples and drum kits. The TRITON Extreme can hold a maximum of 4,000 samples in its internal memory.

The TRITON Extreme can share a single waveform among multiple samples. This allows you to create multiple samples with different playback addresses from the same waveform without wasting internal memory. For example, suppose that you have waveform data that records a voice saying “One-TwoThree.” This single piece of waveform data could be shared by three samples, with the playback of sample A producing “One-Two-Three,” sample B producing “One-Two,” and sample C producing “Two-Three.” (☞PG p.108).

Multisamples

A multisample consists of settings that make one or more samples sound in different areas of the keyboard. A multisample consist of between one and 128 “indexes.” Each index contains parameters that specify the sample that will playback, the zone in which it will playback, the original pitch key, the playback pitch, and level etc.

● Using multisamples

When sampling an instrument that is able to produce a wide range of pitches, such as a piano, recording just one sample and applying it (playing it back) over the entire pitch range will not produce a natural-sounding result. By using a multisample you can record separate samples for each pitch range, and assign these samples to their respec-

tive pitch ranges to avoid any unnatural sounds during playback.

All of the instrumental sounds in the TRITON Extreme’s internal preset ROM multisamples are constructed in this way. For example, you might record one sample per octave, and assign each of these samples to an index (keyboard area).

By assigning multiple samples such as phrase samples or rhythm loops to a multisample and arranging them across the keyboard, you can play multiple samples simultaneously . Since a differ ent phrase could be assigned to each key, you can perform just as though you were using a pad-type sampler. Alternatively, these samples could be assigned at one-octave intervals, and played as phrase variations with different playback pitches.

The TRITON Extreme can hold a maximum of 1,000 multisamples in its internal memory. A multisample can be selected as the oscillator for a program, and played as a program. In a combination, they can be combined with preset programs, and used in a multi. They can be used with the arpeggiator to produce interesting results (for example, by using the arpeggiator to automatically play sound effects or spoken samples).

Index 001

0000: Sample A

Multisample

Sample

Index001 Top Key

Index 002

0001: Sample B

Drum Kit

Multisample

Index002 Top Key

Index003 Top Key

Index 003

0002: Sample C

Program OSC (Single/Double)

Program OSC (Drums)

Index 004

0003: Sample D

Index004 Top Key

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Conceptual diagram of the Open Sampling System

Resampling

AUDIO INPUT jack

Analog signal

USB A connector CD-R/RW

(Audio CD)

Analog signal

S/P DIF IN jack

Used by combinations and songs

Program, combinations and

songs

Analog/digital convertor

ADC

Insert Effects

(Master Effects)

Digital signal

ADC

Valve Force

DAC

Placement: Insert (Use Indiv.3/4 BUS)

Program

(Ripping)

Analog signal

RAM (SIMM memory): 16 MB (expandable to 96 MB)

Sample 0000 ... 3999

Multisample 000 ... 999

RAM (internal memory)

Digital/analog convertor

DAC

Media

WAVE File

VALVE FORCE

Analog signalDigital signal

Placement: Final

AUDIO OUTPUT jack

Preparations for sampling

The multisample and sample data in the sample memory (RAM) is not backed up when the power is turned off. If you wish to keep this data, you must save it onto a media before turning off the power.

When the power is ﬁrst turned on, memory will not contain any multisample or sample data. You must ﬁrst load previously-saved data before you can playback or edit any sample data (☞p.121).

1. Connecting an input device and making

Input settings

Connecting an input device

Here’s how to connect an external audio source. On the TRITON Extreme you can input audio signals to the AUDIO INPUT 1 and 2 jacks, or the S/P DIF IN jack.

1 Connect the audio source that you want to input.

• Input from the AUDIO INPUT 1 and 2 jacks

Connect a mic, guitar, or CD player etc. to the rear panel AUDIO INPUT 1 and 2 jacks. Set the AUDIO INPUT [MIC/LINE] switch as appropriate for the device you are inputting. If a mic is connected, set this to the MIC position. If a guitar or analog audio device is connected, set this to the LINE position.

Guitars with active pickups can be input directly. However if your guitar has a passive-type pickup (i.e., without a built-in preamp), the mismatch in impedance levels will make it difﬁcult to sample at an appropriate level. Such instruments should be routed through a preamp or effect unit before they are connected.

These settings can be made in the following pages.

Mode Page

Sampling Sampling P0: Recording, Input/Setup Combination,

Program, Sequencer, Song Play, Media

Sampling can be performed in Sampling, Combination, Program, and Sequencer modes.

2 Select the page for making Input settings.

As an example, here’s how to make settings in Sampling mode and in Program mode.

• Sampling mode

Press the [SAMPLING] key to enter Sampling mode. Press the Input Setup tab to access the P0: Recording, Input/Setup page.

• Program mode

Press the [PROG] key to enter Program mode. Press the Sampling tab to access the P0: Play, Sampling page.

Combination P0: Play, Sampling Program P0: Play, Sampling Sequencer P0: Play/REC, Sampling Global P0: Basic Setup, Input/Sampling Media, Play Audio CD

• Input from the S/P DIF IN jack

Connect the optical digital output jack of your DAT etc. to the rear panel S/P DIF IN jack.

If you want to input from the S/P DIF IN jack, set the Global mode “System Clock” to S/P DIF. (☞PG p.158)

Input settings

One set of Input settings are maintained by Sampling mode, and a different set of Input settings are shared by Combination, Program, Sequencer, Song Play, and Media mode. This latter set is saved as Global mode parameters. Normally you will set these in Global mode; however, these same settings can also be made from the other modes.

3 Use “Input” to select the input source.

If you want to sample the input connected to the AUDIO INPUT 1 and 2 jacks, set “Input” to Analog. If you want to sample the signal being input via the S/P DIF IN jack, set “Input” to S/P DIF.

If “Input” is set to S/P DIF, an “Obey Copyright Rules” dialog box will appear. Carefully read “About copyright” (☞QS p.iii), and if you accept the terms, press the OK button to continue with settings. If you do not accept the terms, press the Cancel button to cancel the setting.

For the best sound quality, adjust the level as high as possible without making the “ADC OVERLOAD !!” warning appear.

4 For Input1 and Input2, set “BUS (IFX/Indiv.) Select”

to specify the destination to which the external audio signal you selected in “Input” will be sent. L/R: Send to the L/R bus. IFX1–IFX5: Send to the corresponding insert effect. 1, 2, 3(Tube), 4(Tube), 1/2, 3/4(Tube): Send to the jINDI-

VIDUAL 1–4, 1/2, or 3/4 bus(es). Use “Level” to adjust the signal level. Normally you

will set this to 127. Use “Pan” to specify the stereo position.

In the Input section (COMBI, PROG, SEQ, S.PLAY, MEDIA) you can specify the send levels “Send1 (MFX1)” and “Send2 (MFX2)” to master effects 1 and 2. These settings can be made if “BUS (IFX/Indiv.) Select” is L/R or Off.

“Send1 (MFX1)” and “Send2 (MFX2)” cannot be set in Sampling mode.

• The input from the AUDIO INPUT 1 jack is set by Input1, and the input from the AUDIO INPUT 2 jack is set by Input2.

• The L channel of the input from the S/P DIF IN jack is set by Input1, and the R channel is set by Input2.

Example:

Send the signal from the AUDIO INPUT 1 jack in mono to the L/R bus

Input1 “BUS (IFX/Indiv.) Select” L/R, “Level” 127,

“Pan” L000

Example:

Send the signal from the AUDIO INPUT 1 and 2 jacks in stereo to the L/R bus

Input1 “BUS (IFX/Indiv.) Select” L/R, “Level” 127,

“Pan” L000

Input2 “BUS (IFX/Indiv.) Select” L/R, “Level” 127,

“Pan” R127

When “BUS (IFX/Indiv.) Select” is changed from Off to L/R or IFX, please be aware that the volume level of the AUDIO OUT L/MONO and R jacks and the headphones may rise excessively.

An easy way to make these settings is to use the Auto Sampling Setup “REC Audio Input” function. You can do this in Sampling P0: Recording or in Program P0: Play, Sampling.

2. Setting the recording level (Recording

Level [dB])

1 Produce sound at the volume that you want to record.

If you are inputting via the AUDIO INPUT 1 and 2 jacks, gradually turn the [LEVEL] knob from the MIN position toward MAX. Set the level immediately below the point where the display indicates “ADC OVERLOAD !!” (AD converter input overload).

The best audio quality will be obtained at a level immediately below the point where “ADC OVERLOAD !!” is displayed (i.e., the highest level that does not produce an overload).

2 Press the SAMPLING [REC] key.

Produce sound at the volume that you want to record. Watch the level meters to check the input volume.

Use the “Recording Level” slider to adjust the recording level.

The output volume will not change at this time, but your adjustment will affect the data that will be sampled.

If “CLIP!!” is displayed, lower the “Recording Level” (located at the right of the display) to an appropriate level.

We recommend that you set the “Recording Level” as shown below , depending on whether you are sampling only an external input source, or resampling the playback of a song or a performance played on a program, combination, or sample. At this time you can also set “Auto +12 dB On” (☞p.67) so that the recorded sample will play back at an appropriate level.

When sampling only an external input source:

“Recording Level”: +0.0 (dB) “Auto +12 dB On”: off (unchecked)

When resampling (sampling the playback of a song, or your keyboard performance using a program, combination, or sample) or

When simultaneously resampling and sampling an external audio source:

“Recording Level”: –12.0 (dB) “Auto +12 dB On”: on (checked)

(☞p.67 “The recording level and “Auto +12 dB On””)

3 When you have ﬁnished making adjustments, press

the SAMPLING [REC] key.

3. Specifying the recording method (Recording Setup/Sampling Setup)

1 In “Source BUS,” select the source that you want to

sample.

The sound being sent to the bus you select here will be sampled.

L/R: The sound being sent to the L/R bus will be sampled. Indiv.1/2: The sound being sent to the Individual 1, 2 bus will be sampled.

For examples of these settings, refer to the various examples of sampling. (☞p.67, 70, 75, 82, 83, QS p.19,

22)

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

2 Use “Trigger” to specify how sampling will begin.

The available trigger methods will differ depending on the mode.

Sampling mode:

Sampling START SW, Note On, Threshold

Program, Combination modes:

Sampling START SW, Note On

Sequencer mode:

Sampling START SW, Note On, Threshold, Sequencer START SW

Here we will describe the Sampling START SW and Note On that can be used in all modes. For details on trigger methods suitable for various purposes, refer to the various examples of sampling on p.80, 82, 83, QS p.18, 22 or PG p.5, 41, 63, and 115.

Sampling START SW: When you press the SAMPLING [REC] key, you will enter sampling-standby mode, and sampling will begin when you press the SAMPLING [START/STOP] key.

Note On: When you press the SAMPLING [REC] key and then the SAMPLING [STAR T/STOP] key, you will enter sampling-standby mode, and sampling will begin when you play the keyboard.

4. Making settings for the sample to be recorded (REC Sample Setup/Sampling Setup)

Next we will specify the location into which the data will be sampled, select mono or stereo sampling, and specify the sampling time.

REC Sample Setup settings are made in Sampling mode, and Sampling Setup settings are made in Combination, Program, or Sequencer mode. These settings are maintained independently for each mode.

Use the following pages to set them.

Mode Page

Sampling Sampling P0: Recording, Recording Combination Combination P0: Play, Sampling Program Program P0: Play, Sampling Sequencer Sequencer P0: Play/REC, Sampling

• Sampling mode

• Program mode

1 Use “Save to” to specify the location into which the

data will be sampled. RAM: The sample will be written into sample memory

(RAM). If you select RAM, you can also specify the writing-

destination RAM bank. In Sampling mode, this is speciﬁed by “Bank.” In other modes, this is speciﬁed by the page menu command “Select Bank & Smpl No.”

When you select “Select Bank & Smpl No.,” the following dialog box will appear.

Specify the “Bank” in this dialog box. “Sample No.” speciﬁes the writing-destination sample number. If “Sample Mode” is set to Stereo, specify L and R. If you check “Program” in the “Convert to” area, the sample will automatically be converted to a program immediately after the sample has been written into RAM. This is convenient when you want to hear the sampled sound immediately. At the right, use “Program” and “MS” to specify the program number and multisample number of the program that will be created by the conversion. Use “Orig.Key” to specify the key that will play the sample at its original pitch. “Orig.Key” will increment by one after you sample, so that the next sample you record will be assigned to the next higher note. Press the OK button to ﬁnalize the settings.

Set the “Auto +12 dB On” parameter. If you check “Auto +12 dB On,” the sample playback level will automatically be increased by +12 dB after sampling. (☞“The recording level and “Auto +12 dB On””) In Sampling mode, you can set this parameter in the P0: Recording, Preference page.

In Program, Combination, and Sequencer modes, you can set this parameter using the Sampling page menu command “Select Bank & Smpl. No.”.

MEDIA: The sample will be written to the media. If you select MEDIA, you can also select the writing-

destination drive. In all modes, this is speciﬁed by the page menu command “Select Directory.”

Media Select

In the “Media Select” ﬁeld, select the drive. Use the Open and Up buttons to move between levels of the directory hierarchy to select the desired directory. Press the Done button to ﬁnalize the settings.

If you sampled to the media as a WAVE ﬁle, the “Auto +12 dB On” setting will be ignored. The playback level of the WAVE ﬁle is set by “WAVE File Play Level” (☞PG p.158).

2 In “Sample Time,” specify the length of time that you

want to sample.

This can be set in units of minutes and seconds. If you are sampling to RAM (sample memory), you can sample a maximum of approximately 2 minutes 54 seconds in mono, or approximately 1 minute 27 seconds in stereo. If you are sampling to MEDIA, you can sample a maximum of 80 minutes in either mono or stereo (mono: approximately 440 Mbytes, stereo: approximately 879 Mbytes).

3 Set “Sample Mode” to specify whether a mono or a

stereo ﬁle will be created. L-Mono: The sound of the internal L channel will be

sampled in mono. R-Mono: The sound of the internal R channel will be sampled in mono. Stereo: The sound of the internal L and R channels will be sampled in stereo.

The recording level and “Auto +12 dB On”

When you resample the playback of a song, or your keyboard performance using a program, combination, or sample, or if you mix your performance with an external audio source and sample the result, you should normally set “Recording Level” to –12.0 (dB). If you resample at –12.0 (dB), the sample data will be recorded at the optimum level, but the playback level will be lower than the level during sampling (if “+12 dB” is off). In such cases, you can check “Auto +12 dB On” when you resample, so that “+12 dB” (Sampling mode Loop Edit page) will automatically be turned on, and the recorded sample will play back at the same level at during resampling.

When you sample an external audio source, you should normally set “Recording Level” to +0.0 (dB). The sample data will be recorded at the optimum level. If you sample with “Auto +12 dB On” turned off at this time, “+12 dB” (Sampling mode Loop Edit page) will be off, and the sample will play back at the same level at which it was sampled.

When the power is turned on, “Recording Level” and “Auto +12 dB On” will default to the following settings.

Program, Combination, Sequencer modes

“Recording Level”: –12.0 (dB), “Auto +12 dB On”: on

Sampling mode

“Recording Level”: +0.0 (dB), “Auto +12 dB On”: off These settings assume that you will mainly be resampling in Program, Combination, and Sequencer modes (listed above), and performing conventional sampling in Sampling mode (listed below).

Optimizing the sample memory (RAM)

If RAM has been speciﬁed as the destination to which data will be written during sampling, you can specify that sample memory (RAM) be automatically optimized after the data is written. When optimization is performed, unused areas that are occupying memory space will be reorganized to increase the available free space. In the Global mode P0: Basic Setup, Input/Sampling page, you can check “Auto Optimize RAM” so that RAM will automatically be optimized when sampling ends. In this case, you will always be able to sample without any wasted RAM area, but the sound will stop for a time when sampling ends. If a song is being played back in Sequencer mode, the playback will stop. If you are playing back a song, or if you are repeatedly recording multiple samples in various locations while listening to audio input from a CD etc., you can sample with “Auto Optimize RAM” unchecked, and then execute the page menu command “Optimize RAM” (found in the Sampling page of Program, Combination, or Sequencer modes, and in P0–P4 of Sampling mode) to optimize the RAM when the remaining amount of memory begins to decrease. The remaining amount of sample memory (RAM) can be checked in Sampling mode P0: Memory Status.

Examples of sampling settings

Resampling only the sound of the TRITON Extreme (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 (checked) ☞PG p.6, 64

Resampling the sound of the TRITON Extreme (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 (checked) ☞PG p.6, 64

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Sampling only the stereo input sound from the AUDIO INPUT 1 and 2 jacks while you listen to the sound of the TRITON Extreme (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 (unchecked) ☞PG p.6, 64 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.

Automatically setting-up for the desired sampling method (Auto Sampling Setup)

In each mode, Auto Sampling Setup automatically makes the appropriate settings for the sampling-related parameters so you don’t have to perform steps 1–4 described above. For example in Program mode you can use this to make the necessary settings for resampling your playing on a program, or to make settings for sampling only an external audio source while you monitor your playing on a program. However, these automatic settings assume typical situations, so you’ll need to adjust the parameters to meet your situation.

This function is available in the following pages.

Mode Page

Sampling Sampling P0: Recording Combination Combination P0: Play, Sampling Program Program P0: Play, Sampling Sequencer Sequencer P0: Play/REC, Sampling

For examples of the settings, refer to p.80, 82, 83, QS p.18,

22. For a detailed explanation, refer to PG p.7, 42, 64, 112.

Sampling and editing in Sampling mode

In Sampling mode, you can record samples, and edit sample data that you sampled or loaded from media (including WAVE and AIFF formats). You can also assign the edited samples to indexes (zones) to create a multisample.

Sampling mode page structure

Page Explanation

P0: Recording Record samples. Select the sample or multi-

P1: Sample Edit Perform waveform editing etc. on samples

P2: Loop Edit Set sample playback parameters: Start,

P3: Multisample Edit multisamples. Set and edit the sample

P4: Controller Setup Controller settings. P5: Audio CD Audio CD playback and ripping. P6: --P7: --P8: Insert Effect Select and make settings for insert effects. P9: Valve Force Valve Force settings.

For details on how to access each mode and page, refer to “Basic operation” (☞p.13).

Sampling can be performed in any page P0–P8 of Sampling mode by using the [REC/WRITE] key and the [START/STOP] key. Recording-related settings such as input level are made by the parameters of P0: Recording, and these settings are valid for the other pages as well.

The selected multisample or sample can be played from the keyboard in any page, allowing you to hear the results of your editing in each page.

For an example of sampling, refer to ☞QS p.18–. On the following page we will explain sampling operations that are speciﬁc to Sampling mode, and how to edit a multisample or sample.

sample to record, make various recording settings and AUDIO INPUT settings. View the memory status.

that were sampled or loaded in Media mode.

Loop Start, End Address, Loop on/off, and Reverse on/off. Editing operations such as Time Slice and Time Stretch.

assignments, zone, and original key etc.

Creating multisample indexes and sampling

Here’s how to create indexes for a multisample, and how to assign a sample to each index.

1 Select the P0: Recording, Recording page.

Index

MS (Multisample Select)

Sample Select

2 Select “MS (Multisample Select),” and create a multi-

sample. To create a new multisample, press the “MS (Multi-

sample Select)” popup button. Then press a Multisample No. in the list for which no name has been entered, or use the numeric keys [0]–[9] to input a number and then press the [ENTER] key.

A dialog box will appear.

If you want to create a stereo multisample, check the “Stereo” box, and press the OK button. If you want to create a monaural multisample, uncheck the “Stereo” box, and press the OK button.

3 Press the Create button to create an index.

Immediately after the power is turned on, the “Index” will be indicated as 001/001. This means that there is only one index. The range that is highlighted in the keyboard & Index is the range of the selected index. Press the Create button several times. Each time you press it, an index will be created. The keyboard display will indicate the zone and original key location of each index.

The index that is created when you press the Create button will be created according to the P0: Recording, Preference page Create Zone Preference settings. (These settings can also be made in P3: Multisample, Preference page Create Zone Preference. ☞PG p.116, 137)

Immediately after the power is turned on, “Position” will be Right (to selected index), “Zone Range” will be 12 Keys, and “Original Key Position” will be Bot- tom, so that indexes will be created as shown below.

If you set “Zone Range” to 1 Key, an index will be created for each note of the keyboard. It is convenient to use 1 Key when you wish to sample numerous takes in succession, such as when recording phrases or rhythm loops.

4 Select “Index.”

“Index” can also be selected by holding down the [ENTER] key and playing a note on keyboard. For this example, select 001.

5 Assign a sample to the “Index.”

If sample memory (RAM) already contains samples, use “Sample Select” to select the sample and assign it.

If you want to record a new sample, you can sample it now.

The sample you record will be automatically assigned to the index you selected in step 4.

The assigned sample will sound when you play the keyboard in the range of the index to which the sample is assigned.

6 Repeat steps 4 and 5 to assign a sample to each

index.

The number and order of the indexes in a multisample, the range of each index, and the original key position can be freely changed later if desired. (“Multisample editing” ☞p.77)

Creating multiple samples

In the example procedure described above, several indexes were created (by pressing the Create button several times), and then samples were assigned to each “Index.”

As an alternative method, it is also possible to create one index, sample into it, and then repeat these two steps.

1 Press the Create button once to create an index. 2 Record a sample.

The recorded sample will automatically be assigned to the index you created in step 1.

3 Repeat steps 1 and 2.

This is an efﬁcient way to record multiple samples. (☞QS p.20)

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Applying an insert effect to a sample and resampling it

The process of applying an insert effect etc. to a sampled sound and then sampling it once again is called “resampling.”

1 In the P0: Recording, Recording page, assign the sam-

ple that you want to resample to “Sample Select.”

When the power is ﬁrst turned on, the assigned sample will be set to “Orig.Key” C2.

2 Press the page menu button, and choose “Auto Sam-

pling Setup” from the menu.

A dialog box will appear.

3 Choose “Auto Resample through IFX,” and select the

effect that you want to use.

“Key”: C2

Use “Key” to specify the sample that will be resampled.

“Recording Level”: –12.0

This is the default setting for resampling.

“Save to”: RAM

The data will be written to sample memory (RAM).

“Sampling Mode”: Stereo

The sound of the internal L/R channels will be sampled in stereo.

“Auto +12dB On”: On

The “+12 dB” setting will automatically be turned on for the samples you record.

“BUS (IFX) Select”: IFX1

The output of the sample will be sent to IFX1. (☞step

6) Be aware that if you change the “BUS” setting from

Off to L/R or IFX1–5, the volume level sent to the AUDIO OUT L/MONO and R jacks and the headphones may rise excessively.

5 In P2: Loop Edit, check the “+12 dB” setting.

4 Press the OK button to execute the command.

Sampling settings will be made automatically.

Let’s take a look at the settings that were made automatically.

Input 1 “BUS (IFX/Indiv.) Select”: Off Input 2 “BUS (IFX/Indiv.) Select”: Off

Input from the INPUT 1, 2 jacks is turned off.

“Source BUS”: L/R

The sound sent to the L/R will be sampled.

“Trigger”: Sampling START SW

After you’ve pressed the SAMPLING [REC] key to enter sampling-ready mode, resampling will begin when you press the SAMPLING [START/STOP] key.

“Resample”: Auto

The sample assigned to the index will be resampled automatically.

By making the following settings, you will be able to resample at the optimal level.

If “+12 dB” is not checked:

“Recording Level”: +0.0 (dB) (P0: Recording, Recording page) “Auto +12 dB On”: Off (unchecked) (P0: Recording, Preference page)

If “+12 dB” is checked:

“Recording Level”: –12 dB (dB) (P0: Recording, Recording page) “Auto +12 dB On”: Off (checked) (P0: Recording, Preference page)

6 In the P8: Insert Effect, Routing page, you can see that

“BUS (IFX) Select” is set to IFX1.

7 In the P8: Insert Effect, Insert FX page, set “IFX1” to

052: Reverb Hall, and turn “IFX On/Off” ON.

Press the C2 key, and verify that reverb is applied.

8 Press the SAMPLING [REC] key, and then the SAM-

PLING [START/STOP] key.

The sample assigned to C2 will play automatically, and resampling will begin. When the sample ﬁnishes playing, resampling will end.

The sample that was created by resampling will automatically be assigned to “Sample Select.”

9 Press the C2 key, and verify that reverb is applied.

In Sampling mode, the P8: Insert Effect, Routing page “BUS (IFX) Select” parameter will automatically be set to L/R when resampling ends. This prevents an insert effect from being applied in duplicate when you monitor the results of resampling through an insert effect. If you want to apply an insert effect once again, reselect IFX1.

As an alternative to automatically resampling as described above (“Resample” Auto), you can simply sample the sounds that you play from the keyboard (“Resample” Manual).

In “Sample Select,” assign the sample that you will resample, and set “Resample” to Manual. Set “Trigger” to Note On, and set “Sample Mode” to Stereo as desired. Then set the bus and effect as described in steps 2 and 7, press the SAMPLING [REC] and then the [START/STOP] key, and then press the C2 key to start resampling. When you want to stop resampling, press the SAMPLING [START/STOP] key.

Ripping

Data from an audio CD in a CD-ROM or CD-R/RW drive connected to the USB A connector can be loaded into the TRITON Extreme as sample data. You can do this in either of two ways; you can play back the audio CD and capture the sound via the AUDIO INPUT, or you can load (“rip”) it directly as digital data.

If you are using a CD-ROM or CD-R/RW drive connected to the USB A connector, use an audio cable to connect the audio output of your drive to the TRITON Extreme’s AUDIO INPUT 1, 2 jacks. If you’re using a drive that does not have audio output jacks or a headphone jack, you won’t be able to monitor the sound.

Ripping digital data from an audio CD as a sample

Here’s how digital data from an audio CD track can be captured as a sample.

1 Insert an audio CD into the USB A connector CD-

ROM or CD-R/RW drive. (☞PG p.325)

2 In the Sampling mode P0: Recording, Input/Setup

page, make Input settings so that you can monitor the audio that you want to rip.

“Input”: Analog Input1 “BUS (IFX/Indiv.) Select” L/R, “Level” 127,

“Pan” L000

Input2 “BUS (IFX/Indiv.) Select” L/R, “Level” 127,

“Pan” R127

Ripping will not be affected by these inputs.

3 Access the Sampling mode P5: Audio CD, Ripping

page.

4 In “Media” (media select), select the drive that con-

tains the audio CD, and use “T rack” to select the track that you want to rip.

Raise the “Volume.”

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

5 Press the SEQUENCER [START/STOP] key to play

back the audio CD track.

6 During playback, press the [ENTER] key at the

points where you want ripping to begin and end.

This will set “Range Start” and “Range End.” If you press the [ENTER] key three or more times, “Range Start” and “Range End” will respectively be set to the next-to-last point at which you pressed the key, and the last point at which you pressed the key.

You can use the method described above when the edit cell is located at other than “Range Start” or “Range End.”

If the edit cell is located at “Range Start” or “Range End,” the setting will be reset each time you press the [ENTER] key.

If the edit cell is located at “Range Start” or “Range End,” this region will play back.

When you ﬁnish making settings, press the SEQUENCER [START/STOP] key to stop playback of the audio CD.

7 Verify the region that will be ripped.

Select either “Region Start” or “Region End” (the display will be highlighted), and press the SEQUENCER [START/STOP] key. The CD will play from “Range Start” to “Range End” and then stop.

If you want to adjust the location, use the VALUE controllers to modify the “Range Start” or “Range End” settings, or move the cursor to a parameter other than “Range Start” and “Range End” and repeat step 5 to make the setting once again. If you want to move the track playback start location to the beginning of the track, press the [LOCATE] key.

8 When you have ﬁnished setting “Range Start” and

“Range End,” select the page menu command “Destination.”

A dialog box will appear. Specify the destination to which the ripped sample will be written.

Select RAM if you want to rip the sample into sample memory (RAM). In this case, you can also set Sample No. (L), (R) to specify the sample number that will be written. Normally you can leave this unchanged.

Reading the analog audio output of an audio CD into a sample

Here’s how analog audio data from an audio CD track can be loaded into a sample. In the same way as when inputting the output of your CD player to the TRITON Extreme’s AUDIO IN 1, 2 jacks, use audio cables to connect the audio output of the CD-ROM or CD-R/RW drive connected to the USB A connector to the TRITON Extreme’s AUDIO INPUT 1, 2. You can use the TRITON Extreme’s SEQUENCER [START/STOP] key etc. to control operations such as playback and stop on your CD-ROM or CD-R/RW drive.

1 Use audio cables to connect the audio outputs of your

CD-ROM or CD-R/RW drive (connected to the USB A connector) to AUDIO INPUT 1, 2 of the TRITON Extreme.

2 Insert an audio CD. 3 Access the Sampling mode P5: Audio CD, Ripping

page.

4 Use “Media” (media select) to select the drive that

contains the audio CD, and use “Track” to select the track that you want to read.

Raise the “Volume.”

Some USB A connector CD-ROM or CD-R/RW drives cannot be controlled in this way , so this setting may not affect the volume.

Select MEDIA if you want to rip the sample to media. Use drive select to select the drive, and use the Open and Up buttons to select the directory in which the data will be saved. Also specify a name for the WAVE ﬁle that will be saved.

9 Press the OK button to execute ripping, or press the

Cancel button to cancel without executing.

When you press the OK button, the “Obey Copyright Rules” dialog box will appear. Carefully read “About copyright” (☞QS p.iii), and if you consent to the terms, press the OK button to begin ripping. If you do not consent to the terms, press the Cancel button to cancel the operation.

5 In the P0: Recording, Input/Setup page, make Input

settings as follows.

“Input” Analog

Input1 “Level” 127, “Pan” L000, “BUS Select” L/R Input2 “Level” 127, “Pan” R127, “BUS Select” L/R

6 Specify the recording method in Recording Setup.

“Source BUS” L/R “Trigger” Sampling START SW Sampling will start when you press the SAMPLING [START/STOP] key. “Resampling” Manual

7 In REC Sampling Setup, make settings for the sample

that will be recorded.

“Save to” RAM: if you want to write the sample into

sample memory (RAM)

“Save to” MEDIA: if you want to write the sample to

media “Sample Mode” Stereo “Sample Time” maximum

8 Adjust the recording level.

Press the SAMPLING [REC] key. When you press the SEQUENCER [START/STOP] key

to play back the audio CD, the level meter will indicate the volume that will be sampled. If the display indicates “ADC OVERLOAD !!,” adjust the “Volume” in the P5: Audio CD, Ripping page.

You can also adjust the level from the volume control of your USB drive or the [LEVEL] knob located on the rear panel of the TRITON Extreme.

If the display indicates “CLIP!!,” use the VALUE controllers to lower the “Recording Level” slider below +0.0 until an appropriate level is reached.

When you ﬁnish making adjustments, press the SEQUENCER [START/STOP] key to stop playback of the audio CD. Press the [LOCATE] key to return the location to the beginning of the track.

Press the SAMPLING [REC] key once again.

9 Execute sampling.

Press the SAMPLING [REC] key. Press the SEQUENCER [START/STOP] key to start playback of the audio CD track. At a point slightly earlier than where you want to sample, press the SAMPLING [STAR T/ST OP] key to begin sampling. At the point where you want to stop sampling, press the SAMPLING [START/STOP] key to stop sampling.

Loop settings

Using the default settings after the TRITON Extreme is ﬁrst turned on, the sounds you sample will automatically be looped (P0: Recording, Preference page “Auto Loop On” On) To edit the loop and other playback address settings for the sample, use the P2: Loop Edit page.

1 Select the sample for which you wish to make loop

settings.

To select the sample, use the “Sample Select” or “Index” parameters of P2: Loop Edit page or of the P0: Recording, Recording page. (☞p.69)

If you use “Sample Select” to select the sample, be aware that the assignment to the index will also change.

2 In the P2: Loop Edit page, use the “Loop” check box

to turn loop playback on/off for the sample.

Looping will be turned on if the box is checked. This will operate between the addresses you specify in step 3.

Loop On: Start→End→LoopS→End→ (LoopS→End is repeated) Loop Off: Start→End

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

To play the sample, press the key to which the sample is assigned (the key range that is highlighted in “Keyboard & Index”).

A sample waveform that was sampled with “Sample Mode” set to Stereo will be displayed in two levels. The upper level is the L channel, and the lower level is the R channel.

3 Specify the start address in “Start,” the loop start

address in “LoopS (Loop Start),” and the end address in “End.”

Select “Start” (highlighted), and use the [VALUE] dial or other VALUE controllers to modify the value. The corresponding vertical line will move. Set “LoopS (Loop Start)” and “End” in the same way. In the example shown below, “Start” is set immediately before the ﬁrst waveform, “LoopS (Loop Start)” is set immediately before the second waveform, and “End” is set as desired.

Start LoopS (Loop Start) End

By using the ZOOM button you can change the range that is displayed. When “S (Start)” is highlighted, zoom will be performed from the start address.

If the “Use Zero” check box is checked, only those addresses where the waveform data crosses the zero level will be found automatically when searching, and can be set. This lets you easily make address settings where noise is less likely to occur when looping.

4 If necessary, use the page menu command “Truncate”

to delete unwanted data that falls outside the start (or loop start) and end addresses.

Set the parameters, and press the OK button to execute the operation. (☞PG p.119)

For cautions on the “Save to No.” and “Overwrite” check boxes, refer to “About “Overwrite”” (☞PG p.119).

The grid display

The page menu command “Grid” overlays the waveform display with a grid based on the BPM tempo value. This makes it easy to make loop settings that are synchronized to the tempo.

In the same way, the grid display can also be used in P1: Sample Edit page. The grid can help you to edit the waveform in sync with the tempo.

1 Select the page menu command “Grid”.

The following dialog box will appear.

3 Set the end address so that it coincides with a dotted

line of the grid.

This will cause the loop interval to be the same length as the BPM value.

The grid display will be based at “LoopS (Loop Start)” if looping is on. If looping is off, the grid will be based at “Start.”

4 To hide the grid display, select the page menu com-

mand “Grid”, uncheck “Grid,” and press the OK button.

The grid is displayed according to the playback pitch of the base key (the key shown in gray in the “Keyboard & Index” area). You can select the base key by holding down the [ENTER] key and playing a note on the keyboard.

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 USB A connector CD-ROM or CD-R/RW, refer to p.71.

This explanation assumes that you are starting from the default state immediately after power-on. If necessary, create a new multisample before you begin this procedure. (☞p.69)

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.

Turn “Grid” On, set the desired “Resolution,” and press the OK button. Dotted grid lines will appear.

2 Set “Grid” to the desired BPM tempo value.

In P0: Input Setup, you can use the tap tempo function to set the tempo. Press the [ENTER] key several times while the sample plays, and the corresponding tempo will be set for “Metronome Precount.” Setting “Grid” to this value will make it easy to set the BPM setting.

AUX OUT

CD player

2 Press the [SAMPLING] key.

You will enter Sampling mode. Make sure that the Sampling P0: Recording page is displayed. In this example, choose the Input/Setup page.

If this is not displayed, press the [EXIT] key and then press the InputSetup tab.

3 Press the page menu button, and choose “Auto Sam-

pling Setup” from the menu.

The dialog box will appear.

4 Choose “REC Audio Input.”

5 Make the following settings for REC Audio Input.

Set “Source Audio” to Analog. The external audio input source (the analog audio output of an instrument or other device connected to the INPUT 1, 2 jacks) will be sampled. Set “Mono-1/Mono-2/Stereo” to Stereo. The input from the INPUT 1, 2 jacks will be sent to the internal L,R channels, and sampled in stereo. Set “Save to” to RAM. The sampled data will be written to sample memory (RAM). Set “IFX” to Off. Insert effects will not be applied while sampling.

6 Press the OK button to execute the command.

Preparations for sampling are now completed.

Let’s check the settings that were made. Input 1 “Level”: 127, “Pan”: L000

“BUS (IFX/Indiv.) Select”: L/R

Input 1 “Level”: 127, “Pan”: R127

“BUS (IFX/Indiv.) Select”: L/R

These settings specify the input level from the INPUT 1, 2 jacks, the panning, and select the L/R bus as the destination.

“Source BUS”: L/R

The sound sent to the L/R bus will be sampled.

“Trigger”: Sampling START SW

After you press the SAMPLING [REC] key to enter sampling-ready mode, recording will begin when you press the SAMPLING [START/STOP] key.

“Recording Level”: +0.0

This is the default setting for recording an external input.

“Save to”: RAM

The sampled data will be written to sample memory (RAM).

“Mode”: Stereo

The sound of the internal L/R channels will be sampled in stereo.

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.

7 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).

8 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.

9 When you have ﬁnished making adjustments, once

again press the SAMPLING [REC] key. Also stop the playback of your audio source.

0 Press the SAMPLING [REC] key to enter record-

ready mode.

A Play back your audio source. At the moment you

want 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.

B 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.

C Listen to the sound that was sampled.

You 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.115) (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.

D Press the [MENU] key to access the page jump menu,

and press P2: Loop Edit.

The P2: Loop Edit page will appear. Make settings to delete the unwanted portions at the beginning and end of the sample, to ensure a natural-sounding loop transition.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

E 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.

F 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

G 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.”

H 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.77) for a cautionary note regarding the “Save to No.” and “Overwrite” check boxes.

Sample (waveform data) editing

Editing the waveform data of the sample is done in P1: Sample Edit. You can use commands such as cut, copy, and normalize to edit the waveform data.

1 Select the sample that you wish to edit.

Use “Sample Select” or “Index” in the P1: Sample Edit page or the P0: Recording, Recording page to select the sample. (☞p.69)

If you use “Sample Select” to select the sample, be aware that the index assignment will also change.

2 Select the P1: Sample Edit page.

The waveform data of the currently selected sample will be displayed.

Sample waveforms that were recorded with a “Sampling Mode” of Stereo will be shown in two lines. The upper line is the L channel waveform, and the lower line is the R channel waveform.

3 Use “Edit Range Start” and “Edit Range End” to spec-

ify the range that you wish to edit.

The selected range will be highlighted.

● A note on saving samples

In the dialog boxes of some page menu, there is a “Save to No.” setting that lets you specify the sample number to which the edited sample will be saved. At this time, a vacant sample number will be selected automatically, so you will change the setting only if you want to specify the save destination number.

If you check “Overwrite” in the dialog box of the command, the data prior to editing will be deleted, and will be overwritten by the edited data. Normally, you will execute the Write operation without checking this, so that the unedited data is preserved. When you are completely ﬁnished with your editing, you can use the page menu command “Delete Sample” to delete unneeded samples.

In Sampling mode, there is no Compare function that lets you compare the data before and after editing. If you wish to preserve the unedited state of the multisample or sample, use “Copy Sample” or “Copy MS” (☞PG p.108, 109) to copy the sample or multisample before you begin editing. For some page menu commands in P1: Sample Edit or P2: Loop Edit, you can execute without checking the “Overwrite” setting in the dialog box, so that the sample data previous to editing will be preserved.

Multisample editing

Editing a multisample is accomplished with a number of operations i.e. creating indexes for the multisample and assigning a sample to each index, editing operations such as deleting, copying, and inserting indexes, and detailed settings such as sample level and pitch for each index. Multisample editing is performed in P3: Multisample.

Basic settings such as creating indexes and assigning samples can also be made in the P0: Recording, Recording page.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

If you wish to hear the sound of the selected range, press the SAMPLING [STAR T/STOP] key. The selected range will play back at the pitch of the base key (the key shown in gray on the keyboard display). You can select the base key by holding down the [ENTER] key and playing a note on keyboard. When you play a key to which the sample is assigned (the highlighted range of the keyboard displayed in “Keyboard & Index”), the sample will be played back according to its loop settings.

The procedure for using the ZOOM and “Use Zero” check boxes is the same as for P2: Loop Edit.

4 From the list of page menu, select the desired editing

command. Make the appropriate settings in the dialog box, and press the OK button to execute.

For details on each command (☞PG p.119).

Editing the indices

To change the number or order of the indexes, use the Insert, Cut, Copy, and Create buttons.

1 Select the P3: Multisample.

2 Use “Multisample (MS)” to select the multisample

that you wish to edit.

3 Select the “Index.”

You can also select an index by holding down the [ENTER] key and playing a note on the keyboard.

4 Press the buttons to modify the number or order of

the indices, and edit them.

To delete the selected index, press the Cut button. The Insert button is used in conjunction with the Cut and Copy buttons. The contents of the index that was Cut or Copied will be inserted.

The Create button has the same function as the Create button in P0: Recording (“Creating multisample indexes and sampling” ☞p.69).

Modifying the settings of an index

1 Make the settings described in steps 1–3 of “Edit-

ing the indexes.”

2 Set parameters for the selected index.

(☞PG p.135)

• Changing the “Top Key” will change the upper limit of the zone. Simultaneously, the lower limit of the next-numbered index will also change.

• If you check “Constant Pitch,” all notes in the index zone will sound the sample at its original pitch.

•“Pitch” adjusts the sample pitch for each index. You can use the “Pitch BPM Adjust” page menu command to set the loop interval to a desired BPM value (☞PG p.136).

Converting a multisample to a program

In pages P0: Recording–P4: Controller Setup, you can select and execute the “Convert MS To Program” page menu command. When you execute this command, the settings of the currently selected multisample will be converted into a program. In Program mode you can make ﬁlter, amp and effect settings etc., and play the sample as a program. The resulting program can be used in a combination or song. For details on the “Convert MS To Program” page menu command (☞PG p.110).

● Using samples in a drum kit

A sample you created in Sampling mode can be used as one of the instruments in a drum kit. In the Global P5: Drum Kit, Sample Setup page and Low Sample page, set “Drumsample Bank” to RAM, and use “Drumsample” to select the sample that you created.

Using Time Slice to divide a sample, and playing it in Sequencer mode

Time Slice is a function that detects the attack of the kick or snare etc. in a rhythm loop sample (a sample consisting of a looped pattern of drums etc.), and automatically divides it into separate instrumental sounds. Each of the divided instrumental sounds is made into a sample of its own, and then automatically expanded into a multisample and program. Pattern playback data for the Sequencer mode using the divided samples is also created automatically. The time-slices sample can be used in the following ways by the song of Sequencer mode.

• Multiple rhythm loop samples of differing tempo can be matched to the same tempo without changing their pitch.

• You can change the tempo in realtime without affecting the pitch.

As an example, we will describe how a rhythm loop sample can be time-sliced in Sampling mode, and then how the rhythm loop sample can be played in Sequencer mode.

You will need to provide rhythm loop samples of drums etc. You can either record these on the TRITON Extreme, or load them in Media mode. Initially, you should try this using a one-measure pattern in 4/4 time with a fairly simple beat, and record the pattern as a mono rhythm loop sample. For this example, we will use a 120 BPM rhythm loop sample.

1 Select “Sample Select” 120 BPM rhythm loop sample.

Play back the sample, and verify that the beats that you want to loop are played cleanly. If they are not played cleanly, make the appropriate settings for the start address “Start” and end address “End,” and execute the page menu command “Truncate” (☞p.74,

76).

2 Access the P2: Loop Edit page.

3 Select the page menu command “Time Slice.”

The Set Sample Tempo dialog box will appear.

4 Specify the number of quarter-note beats in the sam-

ple, and its tempo.

If you know the BPM, set “Source BPM.” If you do not know the BPM, set “Beat” and the BPM will be calculated automatically. Since in this example we know the beat, set “Source BPM” to 120.

5 Press the OK button.

The sample will automatically be sliced, and a dialog box will appear.

Turn “Program” and “Seq.Event” On (checked) Program: E102 Pattern: On Song: 001, Pattern: U00, Meter: 4/4 RPPR: On (checked), Key: C#2, Track: 01

When you play the keyboard, C2 will play the original sample (Source), and D2 and subsequent keys will play the divided samples.

While listening to each divided sample, adjust “Sensitivity” so that each drum strike or other rhythm instrument sound is divided into its own sample. In some cases, it may not be possible to slice the sample cleanly even if you adjust “Sensitivity .” If the attack of the next sound is included in the end of the preceding sample, or if one sample contains two notes, you will need to edit the samples.

If you want to edit, hold down the [ENTER] key and select the “Index” that is assigned to the note that you want to edit. (This portion of the waveform display will be highlighted.) Then you can make adjustments by adjusting “Start” or “End,” and by using Divide to separate or Link to combine. (☞PG p.128)

6 Press the Save button.

The Save Samples & MS dialog box will appear. Here you can save the time-sliced samples and the multisample. At this time, set the items in the Save With area to specify the conversion destination for the program that will use the samples and multisample, and for the performance data (track or pattern) that will be used in Sequencer mode to “recreate” the rhythm loop sample.

• If you want to create the performance data in a track

Turn “Program” and “Seq.Event” On (checked) Program: E101 Track: On Song: 000, Track: 01, Meter: 4/4 Start Measure: 001, Time: 008

Press the Save button to save the data.

You will return to the dialog box of step 5.

7 Press the Exit button to return to the screen of step 2. 8 Press the [SEQ] key to enter Sequencer mode, and

select 000 for “Song Select.”

The following song data has been set/created automatically as you speciﬁed in step 6.

• P0: Play/REC page Song: 000, Meter: 4/4, Tempo: 120

• P0: Play/REC, Program T01–08 page Track01 Program: E101

• P5: Track Edit, Track Edit page Track01: track data: 8 measures (D2–)

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Press the Save button to save the data.

You will return to the dialog box of step 5.

• If you want to create the performance data in a pattern

In order to audition the performance data as it would be if created as a pattern, press the Save button once again to access the Save Samples & MS dialog box.

Press the SEQUENCER [START/STOP] key to start playback.

As an example, set “ (Tempo)” to 100. Notice that the pitch does not change when you play back at a different tempo.

If the beat of the original rhythm loop sample is not reproduced correctly when you change the tempo, or if obtrusive noise is heard, this is because the sample was not sliced appropriately in step 5. The way in which the percussion instrument sounds were divided will have a major impact on the quality of the playback when the tempo is changed. You will need to adjust the way in which the samples are divided in step 5.

The silence between samples may become obtrusive if you play back at a slower tempo, or noise may occur between samples if you play back at a faster tempo. To avoid such problems, you can set Stretch “New BPM” or “Ratio” in step 6 to the tempo at which you want to play back, and execute time stretch to adjust the length of each sample. (☞PG p.130 9)

9 In “Song Select,” choose 001.

The following song data has been set/created automatically as you speciﬁed in step 6.

• P0: Play/REC page Song: 001, Meter: 4/4, Tempo: 120, RPPR: On

• P0: Play/REC, Program T01–08 page Track01 Program: E102

• P6: Pattern/RPPR, RPPR Setup page Key: C#2, Assign: On, Pattern: User, U00, Track: Track01 Pattern data: 1 measure (D2–)

In the P6: Pattern/RPPR, Pattern Edit page, press the SEQUENCER [START/STOP] key to start playback of pattern U00. When you press the C#2 key in the P6: Pattern/RPPR, RPPR Setup page, the RPPR function will start playing pattern U00. In the same way as in step 8, changing the playback tempo will not affect the pitch.

Sampling in Program, Combination, or Sequencer modes

External audio sources can be sampled from the various input jacks in Program, Combination, and Sequencer modes as well. A performance in the above modes can also be internally resampled in digital form. You can resample a performance that uses the TRITON Extreme’s full range of features (ﬁlters, effects, arpeggiator, and sequencer).

You can also sample the TRITON Extreme’s performance together with audio from an external input source, or monitor the performance of the TRITON Extreme’s arpeggiator and sequencer etc. while you sample only the external audio from the input jacks.

In Sequencer mode, you can sample external audio while listening to a song play back, and automatically create note data in the track that will play the sample when the track is played back. This allows you to sample vocals or guitar while the sequencer runs, just as though you were using a multitrack recorder. (This function is called “InTrack Sampling.”)

☞ For examples of sampling in Program and Combina-

tion modes, refer to QS p.22. The sampling procedure in Combination mode is the same as in Program mode.

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 Extreme, 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.

In this example we will send the external audio input source to INDIVIDUAL 1, so if you want to monitor the sound being sampled, connect AUDIO OUTPUT (MAIN) L/MONO, R, and (INDIVIDUAL) 1 to your mixer, and use headphones etc. to monitor the output of the mixer.

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

select the K020: Processed Kit program.

2 Turn on the arpeggiator (ARPEGGIATOR [ON/OFF]

key 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.

4 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.

5 Use “Auto Sampling Setup” to make settings.

We’ll start by making settings to sample a drum phrase. Make settings as described in “Resampling an arpeggiated phrase in Program mode” (☞QS p.22), steps 3–9.

6 Modify the settings so that the input signal from the

AUDIO INPUT 1 jack will be sent to the L channel. Input 1 “Level”: 127, “Pan”: as desired

“BUS (IFX/Indiv.) Select”: L/R

7 Specify how recording will be initiated.

For this example, make settings so that recording will begin after a metronome count-in.

“Trigger”: Sampling START SW

Sampling will begin when you press the SAMPLING [START/STOP] key.

“Metronome Precount”: 4

After you press the SAMPLING [REC] key to enter record-ready mode and then press the SAMPLING [START/STOP] key, recording will begin after a fourmeasure count-in.

9 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.

If the balance between instruments is not to your liking, use the [LEVEL] knob or the performance editor “Amp Level” to adjust the balance.

0 When you have ﬁnished making adjustments, press

the SAMPLING [REC] key.

Press the ARPEGGIATOR [ON/OFF] key to turn off the arpeggiator.

A Press the ARPEGGIATOR [ON/OFF] key to turn it

on, and then 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.

B Press the SAMPLING [START/STOP] key to stop

recording.

C Press the ARPEGGIATOR [ON/OFF] key to turn it

off.

D Listen to the sound that was sampled.

Press the Perf.Edit tab to select the P0: Play, Performance Edit page, and select the convert-destination program.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

8 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.

Record an external audio input source while a song plays, and create event data at the same time (In-Track Sampling function)

As an example, here’s how the sound of a guitar connected to the AUDIO INPUT 1 jack can be added to a song you created.

1 In Sequencer mode, select the song to which you

want to add the guitar sound.

You can either create a song, or use Media mode to load a previously-created song.

2 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 near the center position.

If you connect a passive-type guitar (without an internal preamp), the impedance mismatch will make it difﬁcult to sample at an appropriate level. This type of guitar should be sent through a preamp or effect processor.

3 Access the Sequencer P0: Play/REC, Sampling page. 4 Press the page menu button, and choose “Auto Sam-

pling Setup” from the menu.

The dialog box will appear.

5 Choose “In-Track Sampling.”

7 Press the OK button to execute the command.

Preparations for In-Track Sampling are now completed.

Let’s take a look at the settings that were made. Input 1 “Level”: 127, “Pan”: L000

“BUS (IFX/Indiv.) Select”: 1/2

These settings specify the input level from the INPUT 1 jack and the panning, and select the 1/2 bus as the destination.

“Source BUS”: Indiv 1/2

The sound sent to the 1/2 bus will be sampled.

“Trigger”: Sampling START SW

After you press the SAMPLING [REC] key to enter sampling-ready mode, recording will begin when you press the SAMPLING [START/STOP] key.

“Recording Level”: +0.0

This is the default setting for recording an external input.

“Save to”: RAM

The sampled data will be written to sample memory (RAM).

“Mode”: Stereo

The sound of the internal L/R channels will be sampled in stereo.

Be aware that if you change the “BUS” setting from Off to L/R or IFX1–5, the volume level sent to the AUDIO OUT L/MONO, R jacks and to the headphones may rise excessively.

8 For this example, change the settings as follows.

“Pan”: C64 “Trigger”: Threshold, “Level”: as desired “Sample Time”: as desired

6 Make the following settings for “In-Track Sam-

pling.”

Set “Source Audio” to Analog. The external audio input source (the analog audio output of an instrument or other device connected to the INPUT 1, 2 jacks) will be sampled. Set “Mono-1/Mono-2/Stereo” to Stereo. The sound will be sampled in stereo. Set “To” to the track you want to use for In-Track Sampling. A MIDI note for triggering the sample will be recorded in the track you specify. Set “Program” to the convert-destination program number. When sampling is completed, a new multisample will be automatically created, converted to a program, and assigned as the program for the track.

9 Set the recording level.

Play your guitar at the volume at which you will record. If the display indicates “ADC OVERLOAD !!” (AD converter input overload), adjust the rear panel [LEVEL] knob toward MIN until the level is appropriate.

Press the SAMPLING [REC] key.

When you play your guitar, the level meter will indicate the volume at which the guitar will be sampled.

If the display indicates “CLIP!!,” use the VALUE controllers to lower the “Recording Level” slider (in the

right of the display) below +0.0 to an appropriate level. This adjustment will not affect the output volume, but will affect the data that will be sampled.

When you have ﬁnished making adjustments, press the SAMPLING [REC] key.

0 Begin sampling.

Press the SAMPLING [REC] key, and then the SAMPLING [START/STOP] key to enter recording-standby mode. Press the [LOCATE] key to reset the song playback location to the beginning of the song, and press the SEQUENCER [START/STOP] key to play back. If you want to verify the location, press the Prog.9–16 tab to access the Program T09–16 page.

Begin playing at the point where you want to record.

Sampling will begin when the Threshold “Level” volume is exceeded.

A At the point where you want to stop sampling, press

the SEQUENCER [START/STOP] key.

Song playback and sampling will end. Sampling will also stop if the speciﬁed “Sample Time” is reached. Event data and a program will be assigned to the track you speciﬁed in “Select Bank & Smpl No.”

B Press the [LOCATE] key to return to the beginning of

the song, and press the SEQUENCER [START/STOP] key. Notice that the sampled audio is played back along with the song.

For details on how the Compare function works for In-Track Sampling, refer to p.60.

Resampling a song to create a Wave ﬁle

Here’s how you can resample your song to media.

A Wave ﬁle you resampled to media can be burned to a CD-R/RW drive connected to the USB A connector to create an audio CD, refer to p.123.

For details on the types of media you can use, refer to p.137.

1 In Sequencer mode, select the song from which you

want to create a WAVE ﬁle.

Either create a song, or use Media mode to load a previously-created song.

A maximum of 80 minutes for either mono or stereo can be written to media in one sampling operation (mono: approximately 440 Mbytes, stereo: approximately 879 Mbytes).

2 Access the Sequencer P0: Play/REC, Sampling page. 3 Press the page menu button, and choose “Auto Sam-

pling Setup” from the menu.

A dialog box will appear.

4 Choose “2ch Mix to Media.”

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

5 Press the OK button to execute the command.

Preparations for In-Track Sampling are now complete.

Let’s take a look at the settings that were made. Input 1 “BUS (IFX/Indiv.) Select”: Off Input 2 “BUS (IFX/Indiv.) Select”: Off Nothing will be input from the INPUT 1, 2 jacks.

“Source BUS”: L/R

The sound sent to the L/R bus will be sampled.

“Trigger”: Sequencer START SW

After you press the SAMPLING [REC] key and the [START/STOP] key to enter record-ready mode, recording will begin when you press the sequencer [START/STOP] key.

“Recording Level”: –12.0

This is the default setting for resampling.

“Save to”: MEDIA

The resampled data will be written to media.

“Mode”: Stereo

The sound of the internal L/R channels will be sampled in stereo.

6 Select the page menu command “Select Directory,”

and specify the destination to which the WAVE ﬁle will be written.

Use media select and the Open and Up buttons to select the directory in which the WAVE ﬁle will be saved. If you want to create a new directory, access the Media mode Utility page, and execute the page menu command “Create Directory.”

Press the text edit button to access the text edit dialog box, and input a ﬁlename (up to six characters). Leave “Take No.” checked. The number at the right of “Take No.” will be input as the last two characters of the ﬁlename. This number will increment each time you sample, ensuring that the ﬁlename will not be the same even if you sample repeatedly.

After you have made the settings, press the Done but- ton to close the dialog box.

7 Set “Sample Time” to the length that you want to

sample.

Set this to a length slightly greater than the length of the song.

8 Set the recording level.

Press the SAMPLING [REC] key.

It will take between several seconds to nearly a minute from the moment you press the SAMPLING [REC] key until the TRITON Extreme enters standby mode (i.e., until the SAMPLING [REC] key changes from blinking to lit). This time is required in order to allocate sufﬁcient space on the media.

Press the SEQUENCER [START/STOP] key to play back the song, and adjust the resampling volume while you watch the level meters. If the level meter indication is too low, use the VALUE controller to raise the level from –12.0 as far as possible without causing the “CLIP!!” indicator to appear. The output volume will not change at this time, but your adjustment will affect the data that will be sampled. (☞p.67)

The power-on default setting is –12.0 dB. At the –12.0 dB setting, CLIP!! will not appear even if the song is played back at the maximum level.

When you ﬁnish making adjustments, press the SAMPLING [REC] key. Press the SEQUENCER [START/STOP] key to stop the song playback. Then press the [LOCATE] key.

9 Start sampling.

Press the SAMPLING [REC] key and then the SAMPLING [START/STOP] key to enter recording-standby mode. Press the SEQUENCER [START/STOP] key to play back the song. Sampling will begin at the same time.

0 When the song ﬁnishes playing back, press the SAM-

PLING [START/STOP] key to stop sampling.

Use the page menu command “Select Directory” to verify that the WAVE ﬁle was created. Select the ﬁle and press the SAMPLING [STAR T/ST OP] key to listen to the sound that was sampled.

The pickup level of a WAVE ﬁle is speciﬁed by the “WAVE File Play Level” (☞PG p.158).

SMF (Standard MIDI File) playback

In Song Play mode you can load and play Standard MIDI File (SMF) data directly from media. If you’re playing SMF data, using Song Play mode will provide a higher degree of reproducibility than using Sequencer mode to play the data.

For details on the types of media you can use, refer to p.137.

How Song Play mode is structured

Song Play mode is structured as follows. This mode consists of tracks 1–16, song parameters such

as song name etc., effects, and the arpeggiator.

Song Play mode page structure

Page Explanation

P0: Program/Mix Play SMF data and make settings. Specify

P1: Track Make MIDI and scale settings for each tr ack.

P2: Controller Setup Controller settings. P3: Select Directory/

Jukebox

P4: --P5: --P6: --P7: Arpeggiator Arpeggiator settings P8: Insert Effect Select and make settings for insert effects.

P9: Master Effect Select and make settings for the master

For details on how to access each mode and page, refer to “Basic operation” (☞p.13).

If the separately sold EXB-MOSS is installed, the special bank F can be used in Song Play mode as well. For details on the bank F parameters, refer to the EXB-MOSS owner’s manual.

the program, pan, and level for each track.

If the separately sold EXB-MOSS option is installed, set related parameters.

Select the directory that contains the desired SMF, and select the playback order of SMF ﬁles. Create jukebox lists.

Make settings for the routing, insertion effects, master effects, and individual output assignments of each track in the song.

effects. Master EQ and Valve Force settings.

The parameter settings of Song Play mode are not backed up when the power is turned off. If you wish to save the program, track parameter, and effect settings of the song, use the page menu command “Save Template Song” to save them.

● About Standard MIDI Files (SMF)

Song Play mode will play SMF Format 0 or Format 1 data. Only ﬁles with an extension of .MID are recognized as SMF by the TRITON Extreme.

● About MIDI

Track status settings in Song Play mode

You can select whether the musical data played by a track, or the data produced by operating the TRITON Extreme’s keyboard and controllers will sound the TRITON Extreme’s internal tone generator, and/or will sound an external tone generator. When the “Status” of a track is set to INT, the data played back by that track and the data produced by operating the keyboard or controllers of the TRITON Extreme will play and control the TRITON Extreme’s internal tone generator. When the “Status” of a track is set to EXT or BTH, the data played back by that track and the data produced by operating the keyboard or controllers of the TRITON Extreme will play and control an external tone generator. (The MIDI channel of the external tone generator must match the “MIDI channel” of the TRITON Extreme track that is set to EXT or BTH.) With a setting of BTH, the external tone generator and the TRITON Extreme’s own tone generator will be played and controlled simultaneously. (☞PG p.146)

Synchronization with external devices

In Song Play mode, the TRITON Extreme will be the master (the controlling device) regardless of the MIDI Clock setting (Global P1: MIDI “MIDI Clock”).

● Effects and Valve Force

You can use the TRITON Extreme’s insert effects, master effects, and Valve Force in the same way as in Sequencer mode. (☞p.105, 107, 110, 111, PG p.151)

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Track 16

Parameter settings

Musical data

Routing : P8-1

Track

Insert Effect Master Effect Individual Outputs

Insert Effect 1 ... 5 : P8

Master Effect 1, 2 : P9

Controller Setup : P2

Master EQ : P9

Placement: Insert (Use Indiv.3/4 BUS)

Valve Force : P9

Arpeggiator : P7

Valve Force : P9

Placement: Final

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL

1, 2

3, 4

Playing SMF data

4 Press the “File Select” popup button. From the ﬁle

list, choose the ﬁlename that you wish to play back.

Direct playback from media

When you wish to playback SMF data that is compatible with the GM/GS/XG standards, set “Bank Map” (Global P0: Basic Setup, System Preference page) to GM(2).

If you want to play back from media inserted in the TRITON Extreme’s CF card slot, you must turn off the power before inserting the media.

1 Press the [S.PLAY] key to enter Song Play mode. 2 Press the [EXIT] key to display the P0: Prog/Mix page. 3 Make sure that the media containing the SMF data

can be detected.

If there is no SMF data in the media, or if there is no SMF data in the currently selected directory, no ﬁlename will be displayed (as shown below).

To move to a directory that contains SMF data, press

the [MENU] key, and then press “P3: Select Directory” to display P3: Select Directory.

File Select

5 Press the SEQUENCER [START/STOP] key.

Playback will begin. At this time, all songs displayed in the “File Select” popup button will playback consecutively (if “Auto Start” is checked).

6 Press the SEQUENCER [START/STOP] key once

again to stop playback.

Starting/stopping playback for each song

In the P0: Prog/Mix, Preference page, uncheck “Chain to next ﬁle” or “Auto Start,” and press the SEQUENCER

[START/STOP] key. Playback will begin, and will stop when each song ends. For details on these settings (☞PG p.145).

Media Select

Use “Media Select” to choose the drive containing the data you want to play. Then use the Open button and Up button to move between directories to ﬁnd the desired SMF. When the SMF ﬁle (make sure that the extension is .SMF) appears in the LCD screen, press the [EXIT] key, and move to P0: Prog/Mix. “File Select” will show the SMF ﬁlenames.

If no jukebox list has been created, no ﬁlenames will be displayed if the “Jukebox” check box is checked. Uncheck the “Jukebox” check box.

Mute/Solo function

In P0: Prog/Mix, the Program T01–08 and T09–16 pages provide PLAY/MUTE buttons and SOLO ON/OFF but- tons that allow you to play and mute tracks 1–16 in the same way as in Sequencer mode. You can use these when you wish to mute the melody track and play the part yourself on the keyboard (“minusone play”), or when you wish to audition a track (☞p.88).

You can use the “Solo Selected Track” page menu command to audition only the currently selected track. This provides a convenient way to hear the parameter settings and effect settings of a track (☞PG p.58, 144).

Playback using the Jukebox function

The TRITON Extreme provides a Jukebox function that can be used to playback SMF data. This function allows you to specify the order in which ﬁles in the same directory will be played.

Any jukebox list you create will be erased when the power is turned off, and cannot be recovered. If you wish to keep your jukebox list, refer to the section “Saving a Jukebox list,” and save it onto media.

Playing back in the order of the jukebox list

1 Press the [EXIT] key to display the P0: Prog/Mix page. 2 Check the “Jukebox” check box.

Saving a Jukebox list

Saving procedure

1 Use the procedure described above to create a juke-

box list.

2 If you want to save the jukebox list on the media, use

the P3: Jukebox drive select button to select the drive on which you want to save the data.

3 In P3: Jukebox, select the “Save Jukebox List” page

menu command.

4 Use the text edit button to enter a name for the juke-

box list (☞p.115).

5 Press the OK button.

The jukebox list will be saved to the media.

Program

Combination

3 Select P3: Jukebox.

Media Select

Press the media select popup button, and select the drive that contains the data that you want to play back.

4 Use the scroll bar to display the SMF (ﬁlename exten-

sion .MID) that will be played ﬁrst, and select that ﬁle.

5 Press the Add button.

The ﬁlename you speciﬁed in step 4 will appear in the Jukebox list.

6 Select the ﬁle that will be played second, and press

the Add button.

Add ﬁles to the Jukebox list in the order that they will be played. A maximum of 100 ﬁles (00–99) can be registered in the Jukebox list.

To delete a ﬁle from the Jukebox list, press the Delete button.

7 Press the [EXIT] key to display P0: Prog/Mix. 8 Press the SEQUENCER [START/STOP] key.

The ﬁles will playback in the order in which they were registered.

9 Press the SEQUENCER [START/STOP] key once

again to stop playback.

Only ﬁles in the same directory can be registered in a jukebox list. If you perform the following operations while creating a jukebox list, the jukebox list will be lost.

• Change the directory

• Exchanging the media

• Change drives

Loading procedure

1 In the Jukebox page, select a jukebox list (ﬁlename

extension .JKB).

2 Press the “Load Jukebox List” page menu command.

The jukebox list will be loaded into the TRITON Extreme.

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Playing along with SMF data

Minus-one play

You can enjoy “minus-one” play by playing back SMF data, muting a speciﬁc part, and playing that part yourself.

1 Playback the SMF data, identify the track whose part

you wish to play, and stop playback (☞p.86).

2 In P0: Prog/Mix, select the Prog. 1–8 tab or Prog. 9–16

tab.

3 Use “Play Track Select” to select the track for the part

that you want to play from the keyboard.

When you play the keyboard, the program of the selected track will be heard.

4 Press the “PLAY/MUTE” button to set the track

selected in step 3 to MUTE.

If you want the musical data of the track to playback in addition to your own playing on the keyboard, set “Play/Mute” to PLAY.

5 Press the SEQUENCER [START/STOP] key to begin

playback, and play along on the keyboard with the song.

Arpeggiator

You can use the arpeggiator for your keyboard performance (☞p.96, PG p.149).

Settings for the entire TRITON Extreme

(Global mode)

How Global mode is structured

In Global mode you can make overall settings that apply to the entire TRITON Extreme, such as master tune, key transpose, effect global switch, global MIDI channel, and system clock. In addition, you can create user drum kits, user arpeggio patterns, and scales, make settings for the damper pedal and assignable foot switches/pedals, and specify category names for programs and combinations.

Song Play mode page structure

Page Explanation

P0: Basic Setup Basic settings for the entire TRITON

P1: MIDI MIDI-related settings for the entire TRITON

P2: Controller Controller settings for the pedals etc. con-

P3: User Scale User registered scale settings. Specify 16

P4: Category Name Edit category names for programs and com-

P5: Drum Kit Edit drum kits. P6: User Arpeggio Edit user arpeggio patterns. P7: --P8: --P9: ---

For details on how to access each mode and page, refer to “Basic operation” (☞p.13).

The edits you perform in Global mode will be preserved until the power is turned off, but will not be preserved after the power is turned off unless you ﬁrst save your settings. Three types of data are handled in Global mode: user drum kit settings (Global P5), user arpeggio pattern settings (Global P6), and all other global settings (Global P0–P4). Each of these can be written into their respective memory area. This data can also be saved to various types of media in Media mode. (☞p.116, 117)

Global mode does not provide a “Compare” function.

Extreme. Audio input settings f or use outside of Sampling mode.

Extreme.

nected to the rear panel.

octave scales, and one all-note scale.

binations.

Basic Setup P0: Basic Setup

Basic Page

Tuning to another instrument/Transposing

“Master Tune” adjusts the overall pitch. Edit this setting when you are playing the TRITON Extreme with other instruments, or when playing along with music on CD or tape. You can adjust the pitch in a range of ±50 cents (one semitone = 100 cents).

“Key Transpose” shifts the pitch in semitone steps. Edit this setting when you want to transpose the sound of the entire TRITON Extreme. You can adjust the transposition in a range of ±1 octave.

Adjusting the way in which velocity or after touch will affect the volume or tone

You can adjust the way in which changes in velocity or after touch will affect the volume or tone. By changing this, you can (for example) make the volume of the notes more consistent even when they are played with varying velocities (dynamics). Each curve has its own character, so you can select the curve that is appropriate for your own playing dynamics, playing style, and the effect that you wish to obtain (☞PG p.155).

“Velocity Curve” selects the velocity curve, and “After Touch Curve” selects the aftertouch curve.

Bypassing the effects

You can bypass the insert effects and master effects for the entire TRITON Extreme. For example if you’ve connected the TRITON Extreme’s outputs to an external mixer and are using an external effect processor to apply reverb or chorus to the sound along with other audio sources, you can turn off the TRITON Extreme’s master effects. If the Effect Global SW “IFX 1–5 Off,” “MFX1 Off,” and “MFX2 Off” items are checked, the insert effects, master effect 1, and master effect 2 will respectively be bypassed.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Linking the arpeggiator to programs and combinations

You can specify whether the arpeggiator settings written into a program or combination will also be selected when you select a program or combination, or whether the current arpeggiator settings will be retained even if you switch programs or combinations. When shipped from the factory, the former setting is selected. Choose the latter setting if you want to keep the same arpeggio pattern running while you switch only the program or combination. If the Auto Arpeggiator “Program” or “Combination” box is checked, the arpeggio settings will also change when you select a program or combination respectively.

System Preference page

Recalling the last-selected mode and page at power-on

Input/Sampling page

Making audio input settings for other than Sampling mode

☞ Refer to p.107 and PG p.159.

MIDI-related settings P1: MIDI

MIDI Setup, MIDI Filter

☞ Refer to PG p.161.

The state of TRITON Extreme when the power is turned on will depend on the setting of “Power On Mode”. If “Power On Mode” is Reset (factory setting), TRITON Extreme will automatically selects the Combination mode P0: Play. If “Power On Mode” is Memorize, TRITON Extreme will power on using the same mode and page that were last selected when the power was turned off. The Memorize setting will remember the mode and page that were last selected, the combination number that was last selected in Combination mode, and the program number that was last selected in Program mode. If another mode is selected when the power is turned on, you can press the [COMBI] key or [PROG] key to select the P0: Play page with the last-selected combination number or program number.

Sounding a beep when you press the LCD screen

If the “Beep Enable” check box is checked, a beep will sound when you press an object in the LCD screen. Uncheck this item if you don’t want a beep to sound.

Protecting the memory

If one or more of the Memory Protect check boxes are checked, operations such as writing, loading, or song recording will be prohibited for the corresponding type of memory.

Pedal and other controller settings P2: Controller

Specifying the function of the ASSIGNABLE Switch and ASSIGNABLE Pedal

Sets the function of an assignable switch such as the optional Korg PS-1 connected to the ASSIGNABLE

SWITCH jack.

• This is set by “Foot Switch Assign.”

This switch can act as a source for alternate modulation or effect dynamic modulation, or switch portamento on/off, control the sostenuto effect, turn the soft pedal effect on/ off, turn the arpeggiator on/off, select programs or combinations (up/down), start/stop the sequencer, punch-in/ out on the sequencer, or be a trigger and tap tempo to advance the cue list step (☞PG p.281).

You can specify the function that will be performed by an assignable pedal (the optional XVP-10 or EXP-2) connected to the ASSIGNABLE PEDAL jack.

• This is set by “Foot Pedal Assign.”

This pedal can be used to control master volume, alternate modulation or effect dynamic modulation, portamento

pitch change speed, volume, the pan following an insert effect, pan, volume, or send levels to the master effects (☞PG p.282).

You can use this as a source for alternate modulation or effect dynamic modulation, and use it to control program parameters or effect parameters. In this case, set “Foot Switch Assign” to Foot SW (CC#82), and “Foot Pedal Assign” to Foot Pedal (CC#04).

Here we will show how to make settings that allow an assignable switch to change programs or combinations.

1 Press the “Foot Switch Assign” popup button, and

press either Program Up or Program Down. Program Up will cause the next higher program num-

ber to be selected each time you press the foot switch. Program Down will cause the next lower program number to be selected each time you press the foot switch.

2 Set the “Foot Switch Polarity” to the polarity of the

foot switch you have connected.

If you have connected a Korg PS-1 pedal switch, set this to (–) KORG Standard. If the polarity is not set correctly, the pedal will not function appropriately.

3 Either press the [PROG] key to enter Program P0:

Play , or press the [COMBI] key to enter Combination P0: Play. When you press the foot switch, the program/combination will change.

Creating original scales P3: User Scale

Creating a scale and assigning it to a program etc.

You can create your own original scales. You can create sixteen different User Octave Scales in which the pitch of each note of the octave is repeated for all octaves, and one User All Note Scale in which the pitch of each of the 128 notes can be speciﬁed independently.

By adjusting the pitch of each key in the range of ±99, you can raise or lower it by as much as approximately one semitone relative to the normal pitch.

The user scales you create here can be used by specifying the scale for a program, for each timbre of a combination, or for each track of a song (Sequencer/Song Play).

These settings are made by the Scale “Use Prog’s Scale” parameters in the following pages.

Program mode Program P1: Edit-Basic, Program Basic Combination mode Combination P2: Edit-Trk Param, Other Sequencer mode Sequencer P2: Trk Param, Other Song Play mode Song Play P1: Track, Status/Scale

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Here is how to set the scale type for each timbre in Sequencer mode.

1 Create a user octave scale or a user all notes scale.

Select a key , and use the VALUE controller to adjust the pitch. The range of ±99 raises or lowers the pitch approximately one semitone above or below the standard pitch.

You can also select a key by holding down the [ENTER] key and playing the desired note on the keyboard.

You can copy one of the preset scales and edit it to create an original scale. Execute the page menu command “Copy Scale.”

2 Press the [SEQ] key to enter Sequencer mode. 3 After pressing the [MENU] key, press the P2: Trk

Param.

4 Press the Other 1–8 tab or Other 9–16 tab to select the

Sequencer P2: Trk Param, Other page.

5 If you wish the program assigned to a track to use the

scale saved with that individual program check the “Use Program’s Scale” check box for that track.

Tracks that are not checked will use the scale speciﬁed by Scale “Type (Song’s Scale).”

6 Set “Type (Song’s Scale)” to select the scale for the

currently selected song.

Drum kit settings P5: Drum Kit

What is a drum kit?

A drum kit assigns a different drum sample (PCM waveform data for drum sounds) to each note. If you set a program’s oscillator (speciﬁed by “Oscillator Mode”) to Drums, the program will use a drum kit instead of a multisample.

The TRITON Extreme has 144 drum kit memory areas. When shipped from the factory, some of the 000 (A/B)– 045 (I) and 128 (User)–131 (User) areas contain preloaded drum kits suitable for various musical styles. 144 (GM)–152 (GM) contain nine different preset drum kits that are compatible with the GM2 sound map. (☞For details on the factory-set drum kits, refer to “VNL”.)

In the Global P5: Drum Kit page you can create your own original drum kit by changing the drum sample assigned to each key of a drum kit, and adjusting the pitch and level of each assigned drum sample. You can also create original drum kits using sample waveforms that you sampled on the TRITON Extreme or loaded into sample memory (RAM) in Media mode.

A drum kit that you edited or created can be written into one of the user drum kit memory areas 000 (A/B)–143 (User). Drum kits can also be saved to various types of media in Media mode.

1 In Program P0: Play, select the program that you wish

to use while editing the drum kit

Select a drum kit program from the preload programs etc. If the drum kit that you will be editing is already being used by a program, select that program. Otherwise, assign the drum kit you wish to edit to the program in the Program P1: Edit-Basic, OSC Basic page (In the separate “VNL,” programs that use a drum kit are marked by a “d” symbol.)

Set “Octave” (Program P1: Edit-Basic, OSC Basic page) to +0 [8']. With a setting other than +0 [8'], the relationship between the keys and the sounds will be incorrect.

The effects will sound using the settings of the lastselected program.

When you edit a drum kit, all programs that use that drum kit will be affected.

2 Access the Sample Setup page of Global P5: Drum

Kit.

High Drumsample

Low Drumsample

Key

Bank

●

Multisample programs and drum kit programs

There are two types of programs: those whose oscillator uses a multisample, and those whose oscillator uses a drum kit. This selection is made by the Program P1: Edit-Basic, Program Basic page “Oscillator Mode” setting. To use a multisample for the program, set “Oscillator Mode” to Single or Double. To use a drum kit, set “Oscillator Mode” to Drums.

● About program parameters

Just as the character and effect processing of a melodic instrument such as piano, organ, trumpet, or strings is fundamentally different from that of percussion instruments such as drums or timpani, the program parameter structure of a multisample program (“Oscillator Mode” = Single or Double) is fundamentally different from that of a drum kit program (“Oscillator Mode” = Drums). The program parameters of a multisample specify ﬁlter and amp settings etc. appropriate for a multisample. For this reason, it is difﬁcult to convert such a program for use with a drum kit. Thus if you wish to edit a drum kit, you should ﬁrst use Program mode to select a program that uses a drum kit (“Oscillator Mode” = Drums), and then move to the Global P5: Drum Kit page.

Editing a drum kit

Here’s the procedure for editing a drum kit.

Before editing a drum kit, uncheck the Memory Protect (☞p.90).

3 In “Drum Kit,” select the drum kit that you wish to

edit. If necessary, use the page menu command “Copy Drum Kit” to copy settings from a preload drum kit or

a GM drum kit.

GM drum kits 144 (GM) – 152 (GM) cannot be selected here. (It is not possible to edit or write a GM drum kit.) If you wish to modify the settings of one of the drum kits 144 (GM) – 152 (GM), you can use “Copy Drum Kit” to copy it to 000 (A/B) – 143 (User), and then edit the copy.

4 Use “Key” to select the note number that you wish to

edit.

The drum sample parameters for the selected note number will be displayed in the High Drumsample, Low Drumsample, and Voice/Mixer pages.

To select a note number, you can use the VALUE controllers, or you can hold down the [ENTER] key and press a note on the keyboard.

5 Use the “Assign” check box to specify whether a

drum sample will be assigned to the note number.

If this is checked, a drum sample will be assigned to that note number. Normally you will check this. If this is not checked, no drum sample will be assigned to that note number. That note number will sound the drum sample assigned at its right, but a semitone lower. Use this setting when you want only to change the pitch, such as with tom or cymbal sounds.

If you uncheck the “Assign” check box so that the drum sample at the right will be played at a pitch one semitone lower, access the Program P2: Edit-Pitch, OSC1 Pitch Mod. page, and set “Pitch Slope” to +1.0 before you enter Global mode.

6 Use “High Drumsample Bank,” “High Drumsam-

ple,” “Low Drumsample Bank,” and “Low Drumsample” to specify the drum sample that will be assigned to this note number. If you have selected a Low Drumsample, use “Velocity Sample SW Lo→Hi” to specify how velocity will

switch between the High Drumsample and Low Drumsample. (☞7) If you set “High/Low Drumsample Bank” to ROM, you’ll be able to select ROM drum samples. If you set it to RAM, you’ll be able to select samples you sampled on the TRITON Extreme or loaded in Media mode.

About the ROM drum samples

The TRITON Extreme contains 1,175 different drum samples in ROM. When you press the popup button, you will be able to select ROM drum samples from 15 categories. (☞For a list of the drum sample names, refer to “VNL”)

7 Use “Velocity Sample SW Lo→Hi” to specify how

velocity will switch between drumsamples.

The drumsample that sounds when you perform will depend on the velocity (keyboard playing strength) of the incoming note. This is called velocity drumsample switching. If you set this to 001, only the High Drumsample will sound.

☞ This is the same type of function as the Velocity Multi-

sample Switching in a program. (“High Multisample and Low Multisample” ☞p.24)

8 Set the parameters of the drumsamples that you

assigned.

Set the parameters for the High Drumsample and Low Drumsample. You can set parameters such as volume level (“Level”), pitch (“Transpose,” “Tune”), and tone (“Cutoff,” “Resonance”). (☞For details on each parameter, refer to PG p.168.)

9 As necessary, repeat steps 4–8 to set drumsample

parameters for each note number.

If you wish to use the settings of another “KEY,” select the page menu command “Copy Key Setup”.

0 Select the Voice/Mixer page in Global P5: Drum Kit.

A Set the “Exclusive Group.”

The “Exclusive Group” setting is used when you wish to group drumsamples of the same type. For example if the note number assigned to an open hihat drumsample and a closed hi-hat drumsample are set to the same exclusive group number, the open hihat and closed hi-hat can not be sounded simultaneously, ensuring that the hi-hat performance will sound natural.

B Use “BUS Select” to specify the output routing.

Set this when you wish to send the output of the drumsample assigned to each note number to its own insert effect or AUDIO OUTPUT (INDIVIDUAL) jack 1–4. For example you might send all snare sounds to IFX1, all kick sounds to IFX2, and the remaining sounds to L/ R. You can also specify 1, 2, 3, 4, 1/2, or 3/4 so that speciﬁc drum samples will be sent to the AUDIO OUTPUT (INDIVIDUAL) 1–4 jacks. The settings you make here are used if “Use DKit Set-

ting” (Program P8: Edit-Inert Effect, Routing page) is checked for the program that uses this drum kit. (☞PG

p.30, 207)

C Use “Pan” to specify the stereo output position.

The setting you make here is valid if the “Use DKit Setting” is checked (Program P4: Edit-Amp., Amp1

Level/Pan page) for the program that uses this drum kit (☞PG p.23).

D Use “Send1(MFX1)” and “Send2(MFX2)” to set the

send levels to the master effects. The settings you make here are valid if the “Use DKit Setting” is checked (Program P8: Edit-Insert Effect,

Routing page) for the program that uses this drum kit.

E Use the page menu command “Write Drum Kits” to

save the data.

If you wish to change the name of the drum kit before you save it, use the page menu command “Rename Drum Kit” (☞p.115, 116).

If you turn off the power before writing the data into memory, your edits will be lost (“Memory in Global mode” ☞p.116).

When you play the keyboard in Global mode, the TRITON Extreme will sound as in the previous mode in which you were previously. Be aware that if you moved from Sampling mode to Global mode in a state where the sample memory (RAM) contained no data (such as immediately after the power is turned on), playing the keyboard will not produce sound.

When you move from Sequencer to Global mode, playing the keyboard will sound the program or arpeggiator that corresponds to the global MIDI channel (set in Global P1).

The settings that you edit in Global mode are preserved as long as the power remains on, but will be lost if not written to memory before the power is turned off. The data handled in Global mode can be classiﬁed into three types: user drum kit settings (Global P5), user arpeggio pattern settings (Global P6), and all other global settings (Global P0–P4). Each of these three types of data can be written into the memory area. This data can also be saved to various types of media in Media mode. (☞p.116, 117)

Global mode does not provide a Compare function that lets you make before-and-after comparisons of your editing. Before editing user drum kits, or user arpeggio patterns, you may wish to use “Copy Drum Kit” or “Copy Arpeggio Pattern” to copy the user drum kit or user arpeggio pattern to an unused number.

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Arpeggiator settings P7: Edit-Arpeggiator

This chapter describes the procedure for making arpeggiator settings in each mode.

P000: UP

Arpeggiator settings for a program

Arpeggiator on/off

Pressing the ARPEGGIATOR [ON/OFF] key will turn the arpeggiator on or off. When on, the ARPEGGIATOR [ON/OFF] key will light. When you play the keyboard, an arpeggio will play according to the selected arpeggio pattern.

The on/off setting is stored when the program is written.

Arpeggiator settings

1 Select the Program P7: Edit-Arpeggiator, Arpeg.

Setup page.

2 Use “ (Tempo)” to set the tempo.

You can adjust the tempo by rotating ARPEGGIATOR [TEMPO] knob. The LED will blink at the speciﬁed tempo.

If “MIDI Clock” (Global P1: MIDI) is set to External

MIDI or External USB, the display will indicate “ = EXT.” This setting lets you synchronize the tempo

with an external MIDI device. In this case, it will not be possible to change the tempo on the TRITON Extreme.

3 In “Pattern,” select the arpeggio pattern.

You can select from preset arpeggio patterns P000– P004 and user arpeggio patterns U000 (A/B)–U506 (User).

The way in which the pattern is played will depend on settings such as “Octave” and “Sort.” P000–P004 in the following diagrams show how the arpeggio will be played when “Octave” is set to 1, and “Sort” is checked. P004: RANDOM is only one possibility.

P001: DOWN

DOWN

P002: ALT1

ALT1

P003: ALT2

ALT2

P004: RANDOM

RANDOM

U000 (A/B)–U199 (A/B)

With the factory settings, various arpeggio patterns are preloaded. These include a variety of patterns such as drum or bass phrases, or guitar or keyboard backing riffs (☞VNL).

U200 (H) – U506 (User)

When the TRITON Extreme is shipped from the factory, arpeggio patterns are preloaded in some of these memories (☞VNL).

4 Adjust the settings of the various parameters.

“Octave”: Selects the octave range in which the arpeg-

gio will be played.

Octave: 4

If a user arpeggio pattern is selected, the “Octave Motion” setting (Global P6: Arpeggio, Pattern Setup page) will affect the way in which the arpeggio is played.

“Resolution”: Speciﬁes the timing value of the arpeggio notes over a range of 3 –  .

“Gate”: Speciﬁes the length (gate time) of each note in the arpeggio. If a user arpeggio pattern is selected, you can set this to Step. In this case, the value of the “Gate” setting for each step (Global P6: User Arpeggio, Pattern Edit page) will be used.

This value will be in effect when the ARPEGGIATOR [GATE] knob is in the center position (12 o’clock). Be sure that the knob is in the center position when you make this setting.

“Velocity”: Speciﬁes the velocity of the notes in the arpeggio. If this is set to Key, the velocity with which you actually played each note will be used. If a user arpeggio pattern is selected, you can set this to Step. In this case, the value of the “Vel” setting for each step (Global P6: User Arpeggio, Pattern Edit page) will be used.

This value will be in effect when the ARPEGGIATOR [VELOCITY] knob is in the center position (12 o’clock). Be sure that the knob is in the center position when you make this setting.

When a preload user arpeggio pattern is selected, setting the “Gate” or “Velocity” to Step will add a sense of groove to the arpeggio pattern.

“Swing”: This adjusts the timing of the even-numbered notes in the arpeggio (counting from the ﬁrst note), to give the pattern a sense of “swing.”

“Sort”: If this is checked, the arpeggio will be sounded in order of pitch, regardless of the order in which notes were played on keyboard (On). If this is unchecked, the arpeggio will be sounded in the order in which the notes were played on keyboard (Off).

Sort OFF, UP

Sort ON, UP

“Latch”: If this is checked, the arpeggio will continue playing even after you take your hand off the keyboard. If this is unchecked, the arpeggio will stop playing when you take your hand off the keyboard.

“Key Sync.”: If this is checked, the arpeggio pattern will start from the beginning when you play a note after having released all notes. This setting is suitable when you are playing in realtime, and want the arpeggio to start at the beginning of the measure. If this is unchecked, the arpeggio pattern will always be synchronized to the tempo of the MIDI clock. For details on synchronization, refer to “Synchronizing the arpeggiator” (☞p.102).

“Keyboard”: If this is checked, the notes you play on the keyboard will be heard as well as the arpeggiated notes. If this is unchecked, only the arpeggiated notes will be heard. The same setting can be made by editing the parameter of the same name (or abbreviation) in the Program P0: Play , Arpeggio page.

You can use the page menu command “Copy Arpeggiator” to copy arpeggiator settings from another program or combination (☞PG p.29).

5 In the Scan Zone page, specify the range in which the

arpeggiator will operate.

“Bottom Key,” “Top Key”: The arpeggiator will oper-

ate when you play keys within the speciﬁed range. Keys outside of this range can be played in the normal manner, and will not be affected by the arpeggiator on/off.

For example if you set “Pattern” to P000: UP, check “Latch,” set “Top Key” to B3, and “Bottom Key” to C1, playing a note B3 or lower will trigger the arpeggiator. Since “Latch” is on, the arpeggio will continue even after you release the keys. You can use the C4 and higher keys to play conventionally along with the arpeggio sounded by the B3 and lower keys. To change the arpeggio, play keys in the range of B3 and below.

“Bottom Velocity” “Top Velocity”: The arpeggiator will operate when you play notes with a velocity (playing strength) that is within the speciﬁed range. Notes played with a velocity outside this range will be sounded normally, without regard to the arpeggiator on/off.

6 If you wish to save the edited program settings to

internal memory, turn off memory protect in Global mode, and write the program (☞p.115, 116).

Linking the arpeggiator to a program

If you want the arpeggiator settings written in a program to be selected when that program is selected, check Pro- gram for “Auto Arpeggiator” (Global P0: Basic Setup, Basic page).

Program

Combination

SequencerSamplingSong PlayGlobalEffectMedia, etcPresetOther

Arpeggiator settings in Combination and Sequencer modes

In Combination, Sequencer and Song Play modes, the TRITON Extreme provides dual arpeggiator functionality that lets you use two arpeggio patterns simultaneously. The settings in each of these modes are made in the similar way.

As an example, the following explanation shows how to make settings in Combination mode. For a detailed explanation and example settings (☞PG p.50, 93, 149).

The dual arpeggiator functionality lets you do the following things.

• Assign an arpeggiator for each timbre. Choose from Off, (arpeggiator) A, or (arpeggiator) B. ☞step5

• Independently specify whether A and B will operate.

☞step6

• Select an arpeggio pattern and set parameters independently for A and B. ☞step7

• Make Scan Zone page settings so that you can use keyboard range or playing velocity to switch between normal playing and arpeggiated playing, or to switch between arpeggiators A and B. ☞step8

• Make settings for timbres that will be silent when the arpeggiator is Off, and will sound only when the arpeggiator is On. ☞step0

Arpeggiator on/off

Each time you press the ARPEGGIATOR [ON/OFF] key, the arpeggiator will be switched on or off. When on, the ARPEGGIATOR [ON/OFF] key will light. The selected arpeggio pattern will begin when you play the keyboard. The on/off setting is saved when the combination is written into memory.

If “Assign” is Off or “Arpeggiator Run” is not checked, the arpeggiator will not operate even if this key is on.

Arpeggiator settings

1 Select Combination P1: Edit-Program/Mixer page.

Select programs for the timbres that you wish to use. For this example, select any desired program for timbres 1–4.

2 Select Combination P2: Edit-Trk Param, MIDI Ch

page. For the timbres that you will be using, set “Status” to INT, and set “MIDI Channel” to Gch or to the global

MIDI channel (set in Global P1: MIDI “MIDI Channel”).

For this example, set timbres 1–4 to a “Status” of INT, and timbres 5–8 to a “Status” of Off. Set the “MIDI Channel” of timbres 1–4 to Gch.

3 Select Combination P7: Edit-Arp., Setup page.

4 Set “ (Temp)” to specify the tempo.

This is the same as for a program (☞p.94). However, the tempo is shared by both arpeggiators A and B.

5 Make “Arpeggiator Assign” settings.

Assign arpeggiator A or B to the desired timbres. Each timbre will be played by the arpeggiator that has been assigned to it.

6 Make “Arpeggiator Run” settings.

Check the arpeggiator(s) that you want to operate. The arpeggiator(s) checked here will run when the ARPEGGIATOR [ON/OFF] key is turned on.

With the settings shown in the LCD screen for steps 2 and 3, turning the ARPEGGIATOR [ON/OFF] key on will cause arpeggiator A to operate for timbres 1 and 2, and arpeggiator B to operate for timbre 3. When the ARPEGGIATOR [ON/OFF] key is turned off, timbres 1–4 will sound as a layer. If all timbres “Assign” are Off, or if “Arpeggiator Run” A or B is unchecked, the arpeggiator will not function.

7 In the Arpeggiator A and Arpeggiator B pages, set the

parameters for arpeggiators A and B.

The parameters for A and B are the same as for a program (☞p.94).

8 In the Scan Zone A/B page, specify the range in

which arpeggiators A and B will operate.

The parameters for A and B are the same as for a program (☞p.94).

You can use keyboard ranges or playing velocity to operate the arpeggiator, or to switch between arpeggiators A and B. By using the Combination P4: Edit-Zone/ Ctrl, Key Zone page, and Vel Zone page to set keyboard ranges and velocity ranges in conjunction with each other, you can create even more variations.

9 If you wish to save the edited combination settings in

internal memory, turn off memory protect in Global mode, and write the combination. (☞p.114, 115).

0 The “Status,” “MIDI Channel” and “Assign” settings

shown in the LCD screen of steps 2 and 3 can be made so that certain timbres will sound only when the arpeggiator is On, and will be silent when the arpeggiator is Off.

Korg TRITONEXTREM User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Table of Contents

Introduction

Main features

Front and rear panel

Names and functions of objects in the LCD screen

Overview of the TRITON Extreme’s modes

About polyphony

Basic operation

Connections

Setup

Turning the power on/off

Program structure

Playing a program P0: Play

Program editing

Oscillator settings P1: Edit-Basic

Pitch settings P2: Edit-Pitch

Filter settings P3: Edit-Filter

LFO settings P5: Edit-Common LFO

Arpeggiator settings P7: Edit-Arpeggiator

Insert Effect settings P8: Edit-Insert Effect

Auto Song Setup function

Master Effect and Valve Force settings P9: Edit-Master Effect

More about Alternate Modulation

Combination structure

Playing a combination P0: Play

Combination editing

Timbre 1–8 program, pan and volume P1: Edit-Program/Mixer

Settings for status, MIDI channel, and pitch parameters P2: Edit-Trk Param

Layer, split, and velocity switch settings/Controller settings P4: Edit-Zone/Ctrl

Arpeggiator settings P7: Edit-Arp.

Insert Effect settings P8: Edit-Insert FX

Master Effect and Valve Force settings P9: Edit-Master FX

Auto Song Setup function

Producing songs (Sequencer mode)

Features of the sequencer

The structure of Sequencer mode

Preparations for recording

Recording methods

Song editing methods

Creating and playing a Cue List

Creating and recording RPPR (Realtime Pattern Play/Record)

Caution and other functions in Sequencer mode

Sampling (Open Sampling System)

Features of sampling on the TRITON Extreme

How Sampling mode is organized

Samples and Multisamples

Preparations for sampling

Sampling and editing in Sampling mode

SMF (Standard MIDI File) playback

How Song Play mode is structured

Playing SMF data

Playing along with SMF data

How Global mode is structured

Basic Setup P0: Basic Setup

MIDI-related settings P1: MIDI

Pedal and other controller settings P2: Controller

Creating original scales P3: User Scale

Drum kit settings P5: Drum Kit

Arpeggiator settings P7: Edit-Arpeggiator