Korg TRITON-RACK BASIC GUIDE

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To ensure long, trouble-free operation, please read this manual carefully.

Precautions

Location

Using the unit in the following locations can result in a malfunction.

• In direct sunlight

• Locations of extreme temperature or humidity

• Excessively dusty or dirty locations

• Locations of excessive vibration

Power supply

Please connect the designated AC/AC power supply to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended.

Interference with other electrical devices

This product contains a microcomputer. Radios and televisions placed nearby may experience reception interference. Operate this unit at a suitable distance from radios and televisions.

Handling

To avoid breakage, do not apply excessive force to the switches or controls.

Care

If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or ﬂammable polishes.

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

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

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

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

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

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

CE mark for European Harmonized Standards

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

Keep this manual

After reading this manual, please keep it for later reference.

Keeping foreign matter out of your equipment

• Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a breakdown, fire, or electrical shock.

• Be careful not to let metal objects get into the equipment. If something does slip into the equipment, unplug the AC/AC power supply from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased.

Data handling

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

* ADAT and Alesis are the trademarks or registered trademarks

of Alesis Inc,. * mLAN is a trademark of Yamaha Corporation. * Company names, product names, and names of formats etc.

are the trademarks or registered trademarks of their respective

owners.

Thank you for purchasing the Korg TRITON-Rack expandable HI module/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-Rack come with the following owner’s manuals.

• Basic Guide

• Parameter Guide

• Voice Name List

Basic Guide

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

“Introduction”

to make connections, basic operation, and gives an overview of each mode. “

Setup

” explains how to make connections for power, audio, and MIDI, and how to play back the demo songs.

“Quick Start”

convenient functions for performance). If you wish to begin playing immediately, read this section ﬁrst.

“Basic Functions”

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

Appendices

ing, speciﬁcations, and various other information.

Parameter Guide

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

explains the function of each part, how

explains basic topics (selecting sounds,

contains mode-by-mode explana-

” contains information on troubleshoot-

Conventions in this manual

Abbreviations for the manuals BG, PG, VNL

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

: Basic Guide : Parameter Guide

VNL : Voice Name List

Switches and knobs [ ]

References to the switches, dials, and knobs on the TRITON-Rack’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 1 2 3 ...

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

☞

■

☞

These symbols indicate a reference page number in the Basic Guide or in the Parameter Guide.

Symbols

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

Example screen displays

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

MIDI-related explanations

CC#

is an abbreviation for Control Change Number.

In explanations of MIDI messages,

brackets [ ]

■

PG p.

, ,

numbers in square

always indicate hexadecimal numbers.

Voice Name List

This lists the multisamples and drumsamples that are built into the TRITON-Rack, 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.

iii

About this manual . . . . . . . . . . . . . . . . . . . . . . . . iii

The owner’s manuals and how to use them . . . iii

Conventions in this manual. . . . . . . . . . . . . . . . iii

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

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

Overview of the modes . . . . . . . . . . . . . . . . . . . . 3

Front and rear panel . . . . . . . . . . . . . . . . . . . . . . 4

Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Rear panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Objects and functions in the LCD screen . . . . . 9

Setup. . . . . . . . . . . . . . . . . . . . .11

Connecting audio equipment etc. . . . . . . . . . . . . 12

1. Connecting the power cable . . . . . . . . . . . . 12

2. Connecting audio output devices . . . . . . . . 12

3. Connecting audio input devices . . . . . . . . . 13

4. Connecting digital recording equipment . . . 13

Connecting MIDI equipment . . . . . . . . . . . . . . . . 13

Connecting a MIDI keyboard. . . . . . . . . . . . . . 13

Connecting a sequencer (computer). . . . . . . . 14

Rack installation. . . . . . . . . . . . . . . . . . . . . . . . . 14

About separately sold options . . . . . . . . . . . . . . 14

Turning the power on/off. . . . . . . . . . . . . . . . . . 15

1. Turning the power on . . . . . . . . . . . . . . . . . 15

2. Turning the power off . . . . . . . . . . . . . . . . . 15

Listening to the demo songs . . . . . . . . . . . . . . . . 16

Quick Start . . . . . . . . . . . . . . . .17

Playing from a MIDI keyboard (Program,

Combination mode) . . . . . . . . . . . . . . . . . . 18

1. Listening to the sound of a program . . . . . . 18

2. Listening to the sound of a combination . . . 19

3. Using controllers to modify the sound. . . . . 19

4. Using the arpeggiator while you play . . . . . 21

Playing with a computer/sequencer (Multi

mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

1. Playing in Multi mode . . . . . . . . . . . . . . . . . 24

2. Controlling tracks from your computer/

sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Using the RPPR (Realtime Pattern Play/Recording)

function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Simple program editing . . . . . . . . . . . . . . . . . . . 26

Performance Edit . . . . . . . . . . . . . . . . . . . . . . 26

Realtime controls . . . . . . . . . . . . . . . . . . . . . . 27

Simple combination editing . . . . . . . . . . . . . . . . 27

An example of editing . . . . . . . . . . . . . . . . . . . 27

Listening to sampled sounds. . . . . . . . . . . . . . . . 29

Sampling (recording a sample). . . . . . . . . . . . . . 29

1. Sample a drum phrase . . . . . . . . . . . . . . . . 29

2. Assign samples to a multisample . . . . . . . . 30

3. Make loop settings . . . . . . . . . . . . . . . . . . . 31

4. Convert to a program . . . . . . . . . . . . . . . . . 32

Basic functions. . . . . . . . . . . . . . 33

Basic operation of the TRITON-Rack . . . . . . . . .34

Selecting modes, pages and tabs; setting

parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

1. Selecting modes . . . . . . . . . . . . . . . . . . . . . 34

2. Selecting pages and tabs . . . . . . . . . . . . . . 34

3. Selecting parameters . . . . . . . . . . . . . . . . . 35

4. Setting a parameter. . . . . . . . . . . . . . . . . . . 35

Saving data. . . . . . . . . . . . . . . . . . . . . . . . . . .36

Types of data that can be saved. . . . . . . . . . . . . 36

Writing to internal memory . . . . . . . . . . . . . . . . 37

Writing a program or combination. . . . . . . . . . 37

Writing global settings, user drum kits, and

user arpeggio patterns . . . . . . . . . . . . . . . . . . 39

Saving on external media . . . . . . . . . . . . . . . . . 40

MIDI data dump. . . . . . . . . . . . . . . . . . . . . . . . . 41

Restoring the factory settings . . . . . . . . . . . . . .42

Loading the preloaded data and demo songs . . . 42

1. Loading programs, combinations, global settings, arpeggio patterns, and drum kits . 42

2. Loading the demo songs. . . . . . . . . . . . . . . 42

Program mode . . . . . . . . . . . . . . . . . . . . . . . . 43

How a program is organized . . . . . . . . . . . . . . . 43

Basic program editing . . . . . . . . . . . . . . . . . . . . 43

Oscillator settings 2.1: Ed–Basic . . . . . . 44

Controller settings 2.2: Ed–Ctrl. . . . . . . . 45

Pitch settings 3.1: Ed–Pitch . . . . . . 45

Filter settings 4.1: Ed–Filter1,

4.2: Ed–Filter2 . . . . . 46

Amplifier settings 5.1: Ed–Amp1,

5.2: Ed–Amp2. . . . . . 48

LFO settings 5.3: Ed–LFOs . . . . . . 49

Arpeggiator settings 6.1: Ed–Arp. . . . . . . . 49

BUS settings 7.1: Ed–BUS. . . . . . . 49

Insert Effect settings 7.2: Ed–InsertFX. . . . 49

Master Effect settings 7.3: Ed–MasterFX. . . 49

More about Alternate Modulation . . . . . . . . . . . . 50

Combination mode . . . . . . . . . . . . . . . . . . . . . 51

How a combination is organized. . . . . . . . . . . . . 51

Basic combination editing . . . . . . . . . . . . . . . . 51

Timbre 1–8 program, pan and volume

2.1: Ed–Prog/Mix. . . . 52

Controller settings 2.2: Ed–Ctrl. . . . . . . . 53

Settings for status, MIDI channel,

and playing mode 3.1: Ed–Param1 . . . . 53

Note timing and scale settings

3.2: Ed–Param2 . . . . 54

Layer and split settings 3.3: Ed–Key Zone . . . 54 Velocity switch settings 3.4: Ed–Vel Zone . . . 54 MIDI filter settings 4.1: Ed–MIDI Filter1–

4.4: Ed–MIDI Filter4 . 55

Arpeggiator settings 6.1: Ed–Arp. . . . . . . . 55

Bus settings 7.1: Ed–BUS . . . . . . . 55

Insert Effect settings 7.2: Ed–InsertFX. . . . 55

Master Effect settings 7.3: Ed–MasterFX. . . 55

Multi mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Features of the Multi mode . . . . . . . . . . . . . . . . . 56

The oganization of Multi mode . . . . . . . . . . . . . .57

Multis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Multi settings . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Program, pan, and volume settings

for each track 1–16 1.1: Play . . . . . . . . . . 58

Controller settings 2.2: Controller . . . . . . 59

Status, MIDI channel, and

note mode settings 3.1: Param1. . . . . . . . 59

Note timing and scale settings

3.2: Param2. . . . . . . . 59

Layer and split settings 3.3: Key Zone . . . . . . 59

Velocity switch settings 3.4: Vel Zone. . . . . . . 59

MIDI filter settings 4.1: MIDI Filter1–

4.4: MIDI Filter4. . . . . 59

Pattern and RPPR settings

5.1: RPPR. . . . . . . . . 60

Arpeggiator settings 6.1: Arp.. . . . . . . . . . . 60

Bus settings 7.1: BUS . . . . . . . . . . 60

Insert effect settings 7.2: InsertFX . . . . . . . 60

Master effect settings 7.3: MasterFX . . . . . . 60

Recording on a pattern . . . . . . . . . . . . . . . . . . . . 60

Realtime recording to a pattern . . . . . . . . . . . . 60

Step recording on a track or pattern . . . . . . . . 62

Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Pattern editing . . . . . . . . . . . . . . . . . . . . . . . . . 62

RPPR (Realtime Pattern Play/Recording) function . 63

RPPR settings . . . . . . . . . . . . . . . . . . . . . . . . . 63

RPPR playback . . . . . . . . . . . . . . . . . . . . . . . . 64

Sampling mode. . . . . . . . . . . . . . . . . . . . . . . . 65

Features of sampling mode . . . . . . . . . . . . . . . . . 65

How Sampling mode is organized. . . . . . . . . . . . 66

In Sampling mode . . . . . . . . . . . . . . . . . . . . . . 66

Samples and Multisamples . . . . . . . . . . . . . . . 67

Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Preparations for sampling . . . . . . . . . . . . . . . . 68

Manual sampling . . . . . . . . . . . . . . . . . . . . . . . 69

Auto sampling . . . . . . . . . . . . . . . . . . . . . . . . . 70

Creating multisample indexes and sampling. . 70

Loop settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

The grid display . . . . . . . . . . . . . . . . . . . . . . . . 72

Sample (waveform data) editing . . . . . . . . . . . . . 73

Multisample editing . . . . . . . . . . . . . . . . . . . . . . 74

Editing the indices . . . . . . . . . . . . . . . . . . . . . . 74

Modifying the settings of an index . . . . . . . . . . 74

Converting a multisample to a program. . . . . . . . 74

Using Time Slice to divide a sample, and playing

it in Multi mode RPPR . . . . . . . . . . . . . . . . . . . . . 75

Global mode . . . . . . . . . . . . . . . . . . . . . . . . . 77

Creating a drum kit . . . . . . . . . . . . . . . . . . . . . . 77

About drum kits . . . . . . . . . . . . . . . . . . . . . . . . 77

Editing a drum kit. . . . . . . . . . . . . . . . . . . . . . . 78

Disk mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

How Disk mode is organized . . . . . . . . . . . . . . . 80

Types of media that can be used. . . . . . . . . . . 80

Loading data . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Types of data that can be loaded . . . . . . . . . . 81

Data loading procedure . . . . . . . . . . . . . . . . . . 81

Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Types of data that can be saved . . . . . . . . . . . 83

Formatting media. . . . . . . . . . . . . . . . . . . . . . . . 84

Cautions when handling floppy disks . . . . . . . . . 84

Arpeggiator settings . . . . . . . . . . . . . . . . . . . . 85

Arpeggiator settings for a program. . . . . . . . . . . 85

Arpeggiator on/off . . . . . . . . . . . . . . . . . . . . . . 85

Arpeggiator settings. . . . . . . . . . . . . . . . . . . . . 85

Linking the arpeggiator to a program. . . . . . . . 87

Arpeggiator settings in Combination and Multi

modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Arpeggiator on/off . . . . . . . . . . . . . . . . . . . . . . 87

Arpeggiator settings. . . . . . . . . . . . . . . . . . . . . 87

Linking the arpeggiator to the combination . . . 88

Creating an user arpeggio pattern . . . . . . . . . . . 89

About user arpeggio patterns . . . . . . . . . . . . . 89

Editing a user arpeggio pattern . . . . . . . . . . . . 89

Dual arpeggiator editing. . . . . . . . . . . . . . . . . . 92

About arpeggiator synchronization . . . . . . . . . . . 93

Synchronizing arpeggiators A and B . . . . . . . . 93

Synchronization with pattern playback in Multi mode, synchronization with RPPR pattern

playback in Multi mode . . . . . . . . . . . . . . . . . . 93

Synchronization with an external sequencer in

Program, Combination, or Multi mode . . . . . . 93

Effects settings . . . . . . . . . . . . . . . . . . . . . . . . .94

Effects in each mode . . . . . . . . . . . . . . . . . . . . . 94

Routing settings and effect settings . . . . . . . . . . . 95

Effect settings for a program. . . . . . . . . . . . . . 95

Effect settings in Combination, and

Multi modes. . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Effect settings in Sampling mode . . . . . . . . . . 97

Effect settings for the AUDIO INPUT . . . . . . . 97

About dynamic modulation (Dmod). . . . . . . . . . . 98

Other functions . . . . . . . . . . . . . . . . . . . . . . . .99

Tuning to another instrument/Transposing . . . . . 99

Bypassing the effects . . . . . . . . . . . . . . . . . . . . . 99

Adjusting the way in which velocity or after

touch will affect the volume or tone. . . . . . . . . . . 99

Creating original scales . . . . . . . . . . . . . . . . . . . 99

Changing the scale. . . . . . . . . . . . . . . . . . . . . . 100

Setting the function of “SW1” and “SW2”. . . . . 100

Setting the B-mode functions of REALTIME

CONTROLS [1]–[4] . . . . . . . . . . . . . . . . . . . . . . 100

Adjusting the contrast (brightness) of the LCD

screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Using the TRITON-Rack as a data filer. . . . . . . . 101

Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Appendices . . . . . . . . . . . . . . .103

Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . 103

Specifications and options . . . . . . . . . . . . . . . . 106

Specifications . . . . . . . . . . . . . . . . . . . . . . . . 106

Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

MIDI Implementation Chart. . . . . . . . . . . . . . . . 108

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Introduction

Main features

Overview

The TRITON-Rack is a expandable Hi-modele/sampler that features the HI (Hyper Integrated) synthesis

system as its tone generator.

Its numerous functions include high-quality preset multisamples/programs/combinations, an effect section, sampling, multis, a dual polyphonic arpeggiator, RPPR, analog two-channel audio input/six-channel audio output, and digital two-channel audio output.

By operating the REALTIME CONTROLS [1]–[4] knobs you can control ﬁlter or effects to vary the sounds in realtime as you perform. These knobs can also be used to control the gate and velocity of the arpeggiator, and the tempo of the arpeggiator and RPPR.

Options such as a MOSS tone generator, PCM/sampling memory expansions, SCSI port, ADAT digital output, and mLAN interface board can be installed to further expand the capabilities of the TRITON-Rack.

The TRITON-Rack is a powerful tool for music production or live performance.

HI (Hyper Integrated) synthesis system

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

Tone generator section:

• 32 Mbytes of preset PCM ROM contains 425 multisamples and 413 drumsamples. Up to eight separately sold EXB-PCM series PCM expansion boards (16 Mbyte PCM ROM) can optionally be installed to add even more PCM data.

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

• The sampling frequency is 48 kHz, and the maximum polyphony is 60 voices.

Filter/synthesis section:

• 24 dB/oct Low Pass Resonance type or 12 dB/oct Low Pass & High Pass type filters 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 minute control over every aspect of the sound.

Effect section:

• Five insertion effects (stereo-in/stereo-out), two master effects (mono-in/stereo-out), and a threeband master EQ (stereo-in/stereo-out) can all be used simultaneously. You can select from 102 types of effect algorithm, and edit them.

• Highly flexible effect routing is possible. Effects can also be routed freely to the individual outputs.

Alternate Modulation and Effect Dynamic Modulation:

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

• LFO and delay time etc. can be synchronized to MIDI clock/tempo. You can synchronize sounds or effects to the tempo of the sequencer or the arpeggiator.

Programs and combinations

• In Program , the TRITON-Rack provides 1,664 user programs, and 256 programs + 9 drumsets for GM2 compatibility. When the separately sold EXBMOSS option is installed, 128 programs for the Korg MOSS tone generator will also be available.

You can use a wide range of editing parameters, effects, and arpeggiator settings to create your own original program, and save it as a user program. For the oscillator of the program, you can select from 425 PCM ROM multisamples, or use samples/multisamples that you recorded in Sampling mode. You can also create drum programs using the 144 user drum kits or the nine GM2-compatible ROM drum kits. User drum kits can be created using the 413 preset drum samples or samples that you recorded in Sampling mode.

With the factory settings, 512 user programs suitable for a wide range of styles are preloaded in banks INT-A–INT-D. For these preloaded programs and for the preset programs in banks G, g(1)–g(d), you can use the gram played using an appropriate riff (phrase). This provides a convenient way to audition or edit programs.

• The

Combination

combinations. A combination allows you to use layers, splits, or velocity switches etc. to combine up to eight programs together with effects and two arpeggiators, in order to create complex sounds that could not be

Audition function

provides 1,664 user

to hear the pro-

Introduction

produced by a program. You can also make settings that include external tone generators.

With the factory settings, 512 user combinations suitable for a wide range of styles are preloaded in banks INT-A–INT-D.

• When one or more separately sold EXB-PCM options are installed (up to eight boards), programs and combinations for the corresponding EXB-PCM can be loaded into user program banks/ user combination banks EXB-A–EXB-H.

Sampling

Rivaling dedicated sampling devices, the TRITONRack features 48 kHz 16-bit linear mono/stereo sampling with a maximum of 96 Mbytes of memory, allowing you to create original sounds from your own audio material. For more on the sampling features of the TRITONRack (

☞

p.65).

Multi

Multi-track musical data can be received from an external sequencer etc. to play the TRITON-Rack as a 16track MIDI multi-timbral tone generator. The effects, two arpeggiators, and the RPPR function can be used together, allowing the TRITON-Rack to function as a sophisticated sound-generating system with capabilities far beyond those of conventional tone generator modules. For more about the TRITON-Rack’s multis, refer to p.56.

Dual polyphonic arpeggiator

In addition to providing conventional arpeggiator functionality, the polyphonic arpeggiator of the TRITON-Rack 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, bass phrases, or guitar and keyboard backing riffs. The arpeggiator is also effective for use with subtly moving pads, synth sounds, or sound effects. Five preset arpeggio patterns and 328 user arpeggio patterns are provided. With the factory settings, these contain a wide variety of 200 preloaded user arpeggio patterns. In Combination mode, and Multi mode, the TRITONRack 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-Rack features a RPPR (Realtime Pattern Play/Recording) function. In Multi 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 or record that pattern in realtime simply by pressing the assigned note. The TRITON-Rack provides 150 preset patterns that can be shared by all multis. In addition, each multi can use

100 user patterns. When you execute the Time Slice function of Sampling mode, a drum phrase or similar sample will be divided into beats, and simultaneously a corresponding pattern will be created and assigned to RPPR.

2 channel audio input/6 channel audio output, S/P DIF OUT

• The two channel audio input allows you to record samples in stereo. The MIC/LINE level select switch and the level adjustment knob can be used to support a wide range of external audio sources from mic level to line level. The audio inputs can also be routed through the effects. You can apply effects while sampling, use the TRITON-Rack as a 2-in/6-out effect processor, or use it as a vocoder effect that joins the external source with the TRITON-Rack’s internal sounds.

• In addition to the L/MONO and R main stereo audio outputs, the TRITON-Rack provides four individual audio outputs, for a total of six channels of audio output. The sound from each oscillator, drum, timbre/track, or insertion effect can be routed freely to any output.

• S/P DIF OUT is standard, for digital (48 kHz) output of the same audio signal as the L/MONO and R main stereo audio outputs.

SAMPLING MODE

AUDIO INPUT

Insert Effect

IFX 1 IFX 2 IFX 3

Sample

AUDIO INPUT

IFX 4 IFX 5

Multisample

Multi Sample

Sample

GLOBAL MODE

DRUM KIT

Key

Drumsample / Sample - H

Assign

Drumsample / Sample - L

ARPEGGIATOR PATTERN

Preset Arpeggio Pattern:

User Arpeggio Pattern: U000(I-A/B) – U327(E-H)

DISK MODE

P0 – 4

Overview of the modes

The TRITON-Rack has numerous functions: playing and editing programs, combinations, or multis; recording and playing pattern data; recording samples; and managing disk data. The largest unit used to organize these functions is called a mode. The TRITON-Rack has six modes.

Program mode

• Select and play programs

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

• The Audition function can be used.

Combination mode

• Select and play combinations

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

Multi mode

• The TRITON-Rack will function as a 16-track multitimbral tone generator.

PROGRAM

OSC 1

PITCH1

OSC 2

PITCH2

COMBINATION

TIMBRE 1

TIMBRE 2

TIMBRE 3

TIMBRE 4

TIMBRE 5

TIMBRE 6

TIMBRE 7

TIMBRE 8

MULTI

Program

TRACK 1

Program

TRACK 2

TRACK 3

Program

TRACK 4

Program

TRACK 5

Program

TRACK 6

Program

TRACK 7

TRACK 8

Program

Multisample - H

Drum Kit

Multisample - L

FILTER1 AMP1

Multisample - H

Multisample - L

FILTER2

Program

TRACK 9

TRACK 10

TRACK 11

TRACK 12

TRACK 13

TRACK 14

TRACK 15

TRACK 16

AMP2

Program

Insert / Master Effect

IFX 1

IFX 2

IFX 3 IFX 4 IFX 5

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

Arpeggiator - A

Arpeggiatpr - B

Insert /Master Effect IFX 1 IFX 2 IFX 3

IFX 4

IFX 5

Arpeggiator - A

Arpeggiatpr - B

MFX 1 MFX 2

Arpeggiator

MFX 1 MFX 2

MEQ

MFX 1 MFX 2

MEQ

• For each of the 16 tracks, you can select a program, and make level, pan, and effect settings.

• Up to 200 multis can be used, with 150 preset patterns shared by all multis, and 100 user patterns for each multi.

• Your playing can be recorded in a user pattern. The performance generated by the arpeggiator can also be recorded.

• You can play and make settings for the RPPR (Realtime Pattern Play/Recording) function. Song data included with the EXB-PCM03 etc. that uses RPPR can also be played.

Sampling mode

• Sample sounds from an external audio device or mic connected to the rear panel AUDIO INPUT jacks. Insert effects can be applied to the external input sound while you sample.

• Edit the waveform data you sampled or waveform data that you loaded in Disk mode, 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 Program, Combination, or Multi modes.

Global mode

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

• Create drum kits (144 kits), arpeggio user patterns (328 patterns), and user scales (16 one-octave scales and 1 all-note scale).

• Create drum kits using the 413 internal drumsamples (ROM). You can also use drumsamples from an optional EXB-PCM series board (if installed), or samples (RAM) that you created in Sampling mode.

• Adjust the input level etc. from the AUDIO INPUT 1 and 2. These settings are valid in modes other than Sampling mode. The TRITON-Rack’s effects can be applied to the external input sound. (The settings for Sampling mode are made independently within Sampling mode.)

• Transmit data dumps of MIDI exclusive data.

Disk mode

• Data of each mode can be saved and loaded using the floppy disk drive or an external SCSI device (when the separately sold EXB-SCSI option is installed).

• Media such as floppy disks or hard disks (when the separately sold EXB-SCSI option is installed) can be formatted, and data can be managed by copying etc.

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

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

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

Introduction

Front and rear panel

Front panel

1...10

11 17, 1822, 23

1. [INPUT] knob

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

2. [OUTPUT] knob

This knob adjusts the volume of the AUDIO OUTPUT (MAIN) L/MONO and R jacks, as well as the headphone jack.

3. Headphone jack

A set of headphones (standard 1/4" stereo phone plug) can be connected here ( The output from the AUDIO OUTPUT (MAIN) L/ MONO and R jacks can be monitored in stereo through the headphones.

☞p.13).

4. Floppy disk drive

The TRITON-Rack includes a 3.5 inch disk drive, capable of reading both 2DD (double-side doubledensity) and 2HD (double-side high density) ﬂoppy disks. Edited data can be saved on a ﬂoppy disk, and the factory preset data, SMF data, or multisampling/sampling data etc. can be loaded from a ﬂoppy disk. For details on handling ﬂoppy disks, refer to “Cautions when handling ﬂoppy disks” (

Eject button

To remove a ﬂoppy disk, ﬁrst make sure that the disk access indicator is dark, and then press this button. If the disk does not eject when you press this button, do not attempt to remove the disk by force. Please contact your dealer.

☞p.84).

12...16 24...2719...21

7 8

5. REALTIME CONTROLS [1], [2], [3], [4] knobs

Use the [SELECT] key to select realtime controller mode A/B/C, and use knobs [1]–[4] to control the tone, effects, MIDI control changes, and arpeggiator etc. while you perform. (

A-mode

[1] LPF CUTOFF:

Controls the cutoff frequency of the low pass ﬁlter.

[2] RESONANCE/HPF:

Controls the ﬁlter resonance level or the high pass ﬁlter cutoff frequency.

[3] EG-INTENSITY:

Controls the ﬁlter EG intensity.

[4] EG-RELEASE:

Controls the ﬁlter/amp release time.

910

☞p.19, p.21)

Disk access indicator

Eject button

B-mode

Controls the functions that are assigned in each mode (Program, Combination, Multi, or Sampling).

C-mode

[1] TEMPO:

Controls the tempo of the arpeggiator or of the Multi mode RPPR.

[2] ARP-GATE:

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

[3] ARP-VELOCITY:

Controls the velocity (playing strength) of the arpeggiated notes. At the center position (12 o’clock), the setting of the arpeggiator “Velocity” parameter will be used. Rotating the knob toward the left will weaken the velocity, and rotating it toward the right will strengthen the velocity.

[4] ———: not used

12. [F1 1/9], [F2 2/10], [F3 3/11], [F4 4/12], [F5

5/13], [F6 6/14], [F7 7/15], [F8 8/16]

keys

Function [F1]–[F8] keys

These keys select the tabs that are displayed in each page. They are also used to execute utilities and other functions.

Timbre/track select [1/9]–[8/16] keys

By holding down the [TIMBRE/TRACK] key and pressing a [1/9]–[8/16] key, you can select the parameter of the corresponding timbre/track. When the parameters of Combination timbres 1–8 or Multi mode tracks 1–8 or 9–16 are displayed in a single page, these keys select one of these timbres/ tracks.

13. [TIMBRE/TRACK] key

☞(The above “Timbre/track select [1/9]–[8/16]

keys”)

Introduction

6. [A/B/C] LEDs

The currently selected REALTIME CONTROLS mode will light. Use the [SELECT] key to select modes A/B/C.

7. [SELECT] key

This key selects mode A, B, or C for the realtime controllers. Each time you press the key, the [A/B/ C] indicators at the upper left will light alternately, and A, B, or C mode will be selected. The indicator of this key will blink at the currently speciﬁed tempo.

8. [ARP ON/OFF] key

This key turns the arpeggiator on/off. When on, the LED will light.

9. [AUDITION] key

This key plays a riff (phrase) appropriate for each of the preloaded or preset program sounds. (Audi- tion function) In Program mode, pressing the [AUDITION] key to make the indicator light will cause the audition riff to play repeatedly. In Sampling mode, this key is used to sound the selected sample.

10. [DEMO/SNG] key

This key accesses a page where you can listen to demo songs.

11. LCD screen

Here you can select pages, and parameters, and set values. (

☞p.9)

12 13

16 1415

14. [BANK] key

This key switches between internal (INT) and external (EXB) banks.

15. [INT/EXB] LED

This indicates whether the currently selected program or combination is from an internal (INT) or external (EXB) bank. The indicator will light if an external bank (EXB) is selected. Use the [BANK] key to switch between INT/EXB banks.

16. INT : [A], [B], [C], [D], [E-SMPL], [F-MOSS],

[G-GM] keys

EXB:[A], [B], [C], [D], [E], [F], [G], [H]

keys

In Program mode, these keys select the program bank. For the internal banks, pressing the [A], [B], [C], [D], [E-SMPL], [F-MOSS], [G-GM] keys will select INT-A (I-A), INT-B (I-B), INT-C (I-C), INT-D (I-D), INT-E (I-E), INT-F (I-F)*, or G* banks.

* [F-MOSS] can be selected if the EXB-MOSS is

installed. Each time you press the [G-GM] key, you will successively select G, g(1), g(2)–g(8), g(9), g(d), G... and GM(2) variation banks and

drum banks. For the external banks, pressing the [A], [B], [C], [D], [E], [F], [G], or [H] keys will select the EXB-A (E-A), EXB-B (E-B), EXB-C (E-C), EXB-D (E-D), EXB-E (E-E), EXB-F (E-F), EXB-G (E-G), and EXBH (E-H) banks. Normally, the external banks are used to load the included programs when the EXB-PCM series options are installed.

In Combination mode, these keys select the combination bank. For the internal banks, pressing the [A], [B], [C], [D], and [E-SMPL] keys will select INT-A (I-A), INT-B (I-B), INT-C (I-C), INT-D (I-D), or INT-E (IE) banks. For the external banks, pressing the [A], [B], [C],

[D], [E], [F], [G], or [H] keys will select the EXB-A

23 22

(E-A), EXB-B (E-B), EXB-C (E-C), EXB-D (E-D), EXB-E (E-E), EXB-F (E-F), EXB-G (E-G), and EXBH (E-H) banks. Normally, the external banks are used to load the included combinations when the EXB-PCM series options are installed.

When the program of a Combination mode or Multi mode timbre/track is selected, these keys are used to select the program bank. In dialog boxes such as Write Program or Write Combination, these keys are used to specify the program or combination bank that will be the writing destination, etc.

19. CURSOR keys [ –], [ ], [ ], [ +]

Use these keys to select different parameters on screen. By holding down the [MENU] key and using cursor keys [ ], [ ] you can switch pages in the order of 1.1→2.1→2.2→2.3. (

☞p.10)

20. [EXIT] key

In Program, Combination, Multi, Sampling, and Global modes, pressing this key from anywhere other than page 1.1 will take you to page 1.1 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”). If a Utility menu or page menu is open, pressing [EXIT] will close the menu.

17 18

17. Mode keys

Use these keys to enter the desired mode. When you press a key, the LED will light, and you will enter the mode whose key you pressed ( p.34).

[COMBI] key

Combination mode will be selected.

[PROG] key

Program mode will be selected.

[MULTI] key

Multi mode will be selected.

[SAMPLING] key

Sampling mode will be selected

[GLOBAL] key

Global mode will be selected

[DISK] key

Disk mode will be selected.

18. [COMPARE] key

Use this key to compare the edited sound of a program or combination with the sound that was written into memory before editing. This key is also used in Multi mode when recording a pattern and to make before- and after-editing comparisons. (

☞p.35)

☞p.3,

21. [MENU PAGE +/–] key

Use this key to select different pages on screen. When you press this key, a list of the pages within the mode will appear in the LCD screen. Use [F1]– [F7] or cursor keys [ ], [ ], [ ], [ ] to select the desired page, and press the [F8] key to move to the selected page. You can also move to a desired page by holding down the [MENU] key and using numeric keys [0]–[9] to enter a two-digit page number. In addition, you can hold down the [MENU] key and use cursor keys [ ], [ ] to switch pages in the order of 1.1→2.1→2.2→2.3. (

☞p.34)

VALUE controllers

The following VALUE controllers are used to set the value of a selected parameter (

☞p.35).

22. [VALUE] dial

Use this to increase or decrease the value of a parameter. It is convenient to use the dial when you wish to change the value of a parameter by a large amount.

23. [INC], [DEC] keys

Use these keys to increment or decrement a parameter value in steps of one. It is convenient to use these keys when you wish to change the value of a parameter in small steps.

24. Numeric keys [0], [1], [2], [3], [4], [5], [6], [7], [8], [9] [–] key [./HOLD] key

[ENTER] key

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

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

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

☞PG p.2)

25. [WRITE] key

In Program, Combination, and Global modes, this key is used to write data into memory. Pressing the [WRITE] key in these modes will open a dialog box. Then press the [F8] (“OK”) key to write the edited content. (

☞p.37, p.39)

26. [MIDI] LED

This will light when the TRITON-Rack receives MIDI messages.

Rear panel

1. AC power supply connector (~AC9V)

Connect this to the included AC/AC power supply. After connecting the power supply cable to the TRITON-Rack, connect the other end to an AC outlet (

☞p.12).

2. MIDI THRU connector

MIDI 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 via MIDI cables.

OUT connector

MIDI data and sound settings etc. are transmitted from this connector. Use this to control another connected MIDI device from the TRITON-Rack.

IN connector

MIDI data and sound settings etc. are received at this connector. Use this to play the TRITON-Rack from another connected MIDI device (

☞p.13).

Introduction

27. [POWER] switch

This switch turns the power on/off (☞p.15).

6 7

3. S/P DIF OUT(MAIN) jack

This is an optical type S/P DIF format (IEC60958, EIAJ CP-1201) digital output jack (stereo). It digitally outputs the same audio signal as the AUDIO OUTPUT (MAIN) L/MONO and R jacks, at sampling rate of 48 kHz. Use an optical cable to connect this to the optical digital input jack of a DAT or MD, etc.

The [OUTPUT] knob does not adjust the output level of this jack.

4. AUDIO INPUT

These two audio inputs are used when recording a mono/stereo sample from a mic or external audio source ( Rack’s internal effects to an external audio source (

☞p.29), or when applying the TRITON-

☞p.97).

1523

The MIC/LINE level select switch ([MIC/LINE] switch) and the level adjustment knob ([INPUT] knob) allow you to use a wide range of external audio sources, from mic level to line level.

AUDIO INPUT 1/2 jacks

These are unbalanced 1/4" phone jacks. (☞p.107).

[MIC/LINE] switch

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

☞p.107).

5. 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-Rack provides four individual audio outputs. The sound from each oscillator, drum, timbre/track, or insertion effect can be freely routed to any output (

☞p.95–).

By connecting this to the DIGITAL IN jack of an ADAT Optical format compatible mixer, amp, or recorder etc., you can send the audio signal output of the TRITON-Rack in digital form to an external mixer, amp, or recorder etc. Use an optical cable made by the Alesis Corporation or an optical cable for CD/DAT (both sold separately) to make this connection (

The [OUTPUT] knob does not adjust the output level of this connector.

☞p.14, PG p.243, p.273).

48 kHz WORD CLOCK IN jack

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

(MAIN) L/MONO, R jacks

These are unbalanced phone jacks (☞p.106). These are the main audio output jacks. By setting “Bus Select” to L/R, the output from an oscillator, an insertion 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 jacks

These are unbalanced phone jacks (☞p.106). These are individual (independent) audio output jacks. By several times to make the “Bus Select” to 1, 2, 3, 4, 1/2, or 3/4, an oscillator, an insertion 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 [OUTPUT] knob.

6. SCSI connector (separately sold EXB-SCSI option)

Use a SCSI cable to connect SCSI-compatible devices (hard disk drives, CD-ROM drives etc.) here (

☞p.14, PG p.243).

8. mLAN (separately sold EXB-mLAN option)

A special cable is used to connect mLAN-compatible devices or computers. (

☞p.14, PG p.243)

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

For details refer to the manual included with the EXB-mLAN.

What is mLAN?

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

7. DIGITAL (separately sold EXB-DI option) OUT jack

This is an ADAT optical format digital output connector. It outputs the six channels of the TRITON-Rack’s AUDIO OUTPUT jacks (MAIN) L/MONO, R, (INDIVIDUAL) 1, 2, 3, 4 (analog audio outputs) as digital audio with a sampling rate of 48 kHz. These signals are output as channels 1 through 6 of the ADAT optical format.

Objects and functions in the LCD screen

a: Current page d: Edit cell e: Check box

c: Parameter f: Function button

a: Current page

This indicates the currently selected page within the mode. From the left, this area shows the mode

name, page number:name, tab name, and the parameter name of the edit cell.

Mode name

Page number: name Parameter name

b: Tab

Most pages are divided into two or more tabs. By pressing the closest function key [F1]–[F7], you can select a tab to access the corresponding page.

b: T ab

Tab name

f: Function buttons

By pressing the function key [F1]–[F8] nearest this button, you can turn various functions on/off.

: SW1 and SW2 in Program, Combination, Multi, or Sampling modes.

, : Starts/stops pattern recording in Multi mode, starts/stops sample recording in Sampling mode.

Accesses the utility menu where you can execute utility menu commands.

Other function buttons examples

Multi mode: REVERT (copy and paste RPPR

settings)

Sampling mode: INSERT, CUT, COPY, CREATE

(create multisample), L/R,

ZOOM Global mode: TEXT, KEY+, – Disk mode: UP, OPEN Demo: START, STOP

* Utility menu

Introduction

c: Parameters

The parameters for various settings are displayed in the LCD screen. Use cursor keys [ ], [ ], [ ], [ ] to select the desired parameter.

d: Edit cell

When you use the cursor keys [ ], [ ], [ ], [ ], the selected parameter will be highlighted in the LCD screen. This area is called the edit cell, and your editing will affect the highlighted area. The parameter value of the edit cell can be modiﬁed using VALUE controllers such as the [VALUE] dial or the [INC], [DEC] keys ( ters that require you to enter a key or a velocity value, you can input the value by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

☞p.35). For parame-

e: Check box

Use cursor keys [ ], [ ], [ ], [ ] to select a check box (edit cell), and use a VALUE controller such as the [VALUE] dial or the [INC], [DEC] keys to add or remove the check mark. When checked, the parameter will function, when unchecked, the parameter will not function.

In each page, you can press the “UTILITY” function button (the [F8] key) to access the utility menu. The utility menu contains commands that can be used in that page. The utility menu that appears will differ depending on the page that is selected.

You can also select up to ten utility menu commands by holding down the [ENTER] key and pressing a numeric key [0]–[9]. Press the [EXIT] key to close the utility menu.

For , press the [F7] key to select the desired utility menu command. You can also use the cursor keys [ ], [ ], [ ], [ ] to make your selection. For , press the [F8] key to open the dialog box of the selected utility menu command. This key also switches the status of commands that you check or uncheck.

* Dialog boxes

When you select a utility menu command etc., a dialog box will open. Use the cursor keys [ ], [ ], [ ], [ ] to select parameters. Use the VALUE controllers ( input the parameter values. When selecting program or combination numbers in a dialog box, you can use the [BANK] and [A]–[H] keys in addition to the VALUE controllers. As in the utility menu, press the function key [F1]– [F8] nearest etc. (function button 2) to access the execution or operation screen. In some cases, a dialog box will appear. Follow the directions shown in the dialog box. To execute, select (press the [F8] key). To cancel without executing, select (press the [F7] key). The dialog box will close. The [EXIT] key is equivalent to “Cancel,” “Done,” or “Exit.”

* Function buttons 2

Press the function key [F1]–[F8] nearest this button to execute the function.

Utility menu, etc.

* Text dialog box

When you use the function keys to select , a text dialog box will appear. In this dialog box you can rename text (e.g., the name of a program, combination, or multi). (

☞p.38)

☞p.35) to

* Page menu

In Combination, Program, Multi, Sampling, or Global modes, pressing the [MENU] key will display a list of the pages in that mode. (The page in which you where when you pressed the [MENU] key will be highlighted.)

To select a page, press the nearest function key [F1]–[F7]. By pressing the same key you can move consecutively downward. You can also use cursor keys [ ], [ ], [ ], [ ] to move left/up/down/ right.

You can also move to the desired page by holding down the [MENU] key and using numeric keys [0]–[9] to enter a two-digit page number. In addition, you can hold down the [MENU] key and use the cursor keys [ ] [ ] to move in steps of one page; in the example shown below, this would be Play → P/M → Ctrl → MOSS (if the EXB-MOSS is installed) → Prm1 → ... etc.

* Other objects

To use slider- or knob-shaped objects, or chain parameter values, use the cursor keys [ ], [ ], [ ], [ ] to select the desired item, and use the VALUE controllers to adjust the value. Other types of objects are shown in the effect routing screen. (

☞p.96)

Knobs ChainSliders

* Scroll bar

This indicates that the list contains selections or parameters that cannot all be shown in the screen at once. Use the cursor keys [ ], [ ], [ ], [ ] to move within the list.

Scroll bar

Routing

Setup

Connecting audio equipment etc.

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

1. Connecting the power cable

● Connect the included AC/AC power supply to the

AC power supply inlet of the TRITON-Rack, and then connect the other end of the cable to an AC outlet.

2. Connecting audio output devices

AUDIO OUTPUT (MAIN) L/MONO, R

(INDIVIDUAL) 1, 2, 3, 4

Here, you can connect a set of ampliﬁed monitor speakers or your audio system to output the TRITONRack’s sound.

If you wish to use the AUDIO OUTPUT (INDIVIDUAL) 1–4 jacks of the TRITON-Rack, we recommend that you use a mixer.

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

● Connect the AUDIO OUTPUT (MAIN) L/MONO

and R jacks to the INPUT jacks of your powered monitor system, mixer etc.

L/MONO and R are the main outputs. If you are outputting in stereo, make connections to the (MAIN) L/MONO jack and the R jack. If you are outputting in monaural, make connections to the (MAIN) L/MONO jack. We recommend that you playback in stereo if possible.

● If you wish to output from the AUDIO OUTPUT

(INDIVIDUAL) 1, 2, 3, 4 jacks, connect these jacks to your mixer, and then connect the mixer output to the INPUT of your powered monitor system etc.

For details on the output of each jack (

☞p.95–“Rout-

ing”).

3. Connecting audio input devices

If a passive type guitar (a guitar without an internal preamp) is

Guitar

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.

1. Connecting the power cable

to an AC outlet

MIDI cable

Connecting MIDI equipment

DP-1H etc.

MIDI OUT

Effect processor etc.

TRITON-Rack

PS-1 etc.

XVP-10, EXP-2 etc.

MIDI keyboard

AC/AC power supply

Mic

CD player, analog record player, etc.

AUDIO INPUT

Connecting separately sold options

~ AC9V

MIDI IN

DAT, MD etc.

S/P DIF

DIGITAL IN

4. Connecting digital recording equipment

2. Connecting audio output devices

Powered monitors, etc.

INPUT

Monitor OUTPUT

Rack installation

AUDIO OUTPUT

Mixer

INPUT

MAIN OUTS

TAPE

STEREO AUX RETURNS

AUX SEND

MIC4

MIC6

MIC3

MIC5

MIC2

MIC1

BAL

UNBAL

LINE IN 4

LINE IN 3

LINE IN 5

LINE IN 2

LINE IN 1

LOW CUT

75Hz

18dB/OCT

+10dB

-40dB

+10dB

-40dB

+10dB

-40dB

TRIM

AUX

MON/

EFX

+15

EFX

+15

12kHz

-15 +15

-15

+15

-15 +15

MID

2.5kHz

-12

+12

-12

+12

LOW

80Hz

+15

-15

+15

-15

PAN

L R

MUTE

ALT 3–4

SOLO

OUTPUT

INPUT

BAL/UNBAL

ALL BAL/UNBAL

LEFT(1/MONO)

RIGHT

BAL

MONO

UNBAL

LINE IN 6

BAL

LOW CUT

75Hz

UNBAL

18dB/OCT

LEVEL

+10dB

-40dB

TRIM

AUX

MON/

EFX

+15

EFX

+15

12kHz

-15 +15

+15

MID

2.5kHz

-12 +12

+12

LOW

80Hz

+15

-15

+15

PAN

MUTE

ALT 3–4

SOLO

40 50 60

PHONES

-10

LINE IN 7-8

LINE IN 13-14

LINE IN 9-10

LINE IN 11-12

AUX

MON/

EFX

+15

EFX

+15

12kHz

-15 +15

MID

2.5kHz

-12 +12

LOW

80Hz

+15

-15

+15

-15

PAN

9–10

7–8

MUTE

ALT 3–4

SOLO

+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

ALT

3-4

MID

2.5kHz

-12

+12

TAPE

-2

LOW

80Hz

-4

+15

-15

-7

ASSIGN

PAN

-10

TO MAIN MIX

-20

NORMAL(AFL)

-30

LEVEL SET(PFL)

0dB=0dBu

SOLO

MODE

13–14

11–12

MUTE

POWER

RUDE SOLO LIGHT

PHANTOM

ALT 3–4

CONTROL

/ PHONES

MAIN MIX

ROOM

SOLO

Headphones

● When using headphones, plug them into the head-

phones jack located on the front panel.

Headphone

Connecting MIDI equipment

The TRITON-Rack produces sound when it receives MIDI messages from another MIDI device such as a MIDI keyboard or sequencer (computer). Use a MIDI cable to make these connections.

Connecting a MIDI keyboard

3. Connecting audio input devices

Here, you can connect or the OUTPUT jacks of external audio devices to the AUDIO INPUT 1, 2 jacks.

● In Sampling mode these jacks sample the sound

input from an external source.

For details on settings in Sampling mode, refer to p.29, p.68.

● In Program, Combination, and Multi modes, the

sound input from an external source can be monitored, processed by effects, and output to the OUTPUT jacks.

For details on the settings in these modes for routing sound to the OUTPUT jacks, refer to p.97.

4. Connecting digital recording equipment

● Connect the S/P DIF OUT (MAIN) jack of the TRI-

TON-Rack to a DAT or MD that has an S/P DIF IN jack.

The S/P DIF OUT (MAIN) jack outputs the same audio signal as the AUDIO OUTPUT (MAIN) L/ MONO and R jacks, at a sampling frequency of 48 kHz.

Controlling the tone generator of the TRITON-Rack from a MIDI keyboard

● MIDI OUT connector of the MIDI keyboard →

MIDI IN connector of the TRITON-Rack

MIDI OUT TRITON

TRITON-RackMIDI IN

● MIDI OUT connector of the MIDI keyboard →

MIDI IN connector of the TRITON-Rack (1) → MIDI THRU connector of the TRITON-Rack (1) → MIDI IN connector of the TRITON-Rack (2)

MIDI OUT TRITON

MIDI IN

MIDI THRU

MIDI IN

TRITON-Rack (2)

TRITON-Rack (1)

MIDI channel settings

MIDI messages are conveyed when the transmitting and receiving devices are set to matching MIDI channels. There are sixteen MIDI channels, 1–16. Channels are handled differently, depending on the mode.

● Initially, select MIDI channel 1 on the MIDI

instrument that is connected to the TRITON-Rack to control it.

With the factory settings, the global MIDI channel (GLOBAL 2.1: MIDI “MIDI Channel”) is set to 1. In Program mode and Sampling mode, MIDI messages are transmitted and received on the global MIDI channel. With the factory settings, the various combinations in Combination mode are also set to be operated on the global MIDI channel. Multi mode is usually used to receive channel messages transmitted from a sequencer (computer) so that multiple channels can be controlled independently. (

☞PG p.221)

Setup

Connecting a sequencer (computer)

Basic settings for using the TRITON-Rack as the MIDI tone generator for monitoring and playback when recording on an external sequencer or computer

● MIDI OUT connector of the MIDI keyboard →

computer with MIDI interface → TRITON-Rack

For details on connecting the computer and MIDI interface, and making MIDI port settings, refer to the owner’s manual for your MIDI interface.

Computer

MIDI interface

MIDI IN

MIDI OUT

* Echo Back is a function by which data received at

MIDI IN is re-transmitted without change from MIDI OUT.

Computer

MIDI interface (multi-port)

MIDI IN

MIDI OUTMIDI IN

MIDI OUT

MIDI INMIDI OUT

MIDI keyboard etc.

TRITON-Rack

Rack installation

MIDI OUT

MIDI IN

MIDI keyboard etc.

TRITON-Rack

When recording the MIDI output of the TRITONRack’s controllers, arpeggiator, and RPPR into the external sequencer or computer

● MIDI OUT connector of the TRITON → MIDI IN

connector of the TRITON-Rack, MIDI OUT connector of the TRITON-Rack → MIDI IN connector of the MIDI interface

Computer

MIDI interface

MIDI IN

MIDI OUT

MIDI INMIDI OUT

MIDI keyboard etc.

TRITON-Rack

When recording the MIDI output of the TRITONRack’s controllers, arpeggiator, and RPPR into the external sequencer or computer, and using the TRITON-Rack as the monitor and playback MIDI tone generator during recording

● MIDI OUT connector of the MIDI keyboard →

MIDI IN connector of the MIDI interface (multiport), MIDI OUT connector of the MIDI interface (multi-port) → MIDI IN connector of the TRITONRack, MIDI OUT connector of the TRITON-Rack → MIDI IN connector of the MIDI interface (multi-port)

Make the appropriate settings for the Local Control parameter of the TRITON-Rack and for the Echo Back* parameter of the external sequencer (computer), so that the TRITON-Rack’s controllers, arpeggiator, and RPPR are not applied to the tone generator in duplicate. (

☞PG p.228)

If you intend to mount the TRITON-Rack in a rack, insert insulating washers and insulating bushings into the holes of the TRITON-Rack’s faceplate, as shown below.

If you place the TRITON-Rack directly on a table for use, please do not place other racks or a computer etc. on top of it.

Front panel

TRITON-Rack

Bolt

Insulating washer

EIA standard case

Insulating bushing

About separately sold options

The TRITON-Rack can be upgraded withg user installable options, which add feartures. If the separately sold EXB-SCSI option is installed, you can connect SCSI devices such as hard disks or CDROM drives. If the separately sold EXB-DI option is installed, you can connect ADAT Optical format compatible mixers, amps, or recorders. By installing the optional EXB-mLAN, you can connect the TRITON-Rack to the new digital network designed speciﬁcally for musical applications --- mLAN. This allows a single IEEE 1394 cable to handle MIDI input/ output signals and all audio output signals of the TRITON-Rack (which would otherwise require eight cables), for easy connection to another mLAN-compatible device or computer. mLAN makes it easy to construct sophisticated systems that exchange large volumes of high-quality digital audio data and MIDI data. For details on installing the EXB-SCSI, EXB-DI, or EXB-mLAN refer to PG p.243.

A CD-ROM drive can be connected to only load. Y ou cannot save to a CD-ROM drive fr om the SCSI port.

Turning the power on/off

Before you turn on the power, make sure that the desired connections have been made as described in “Setup” (

1. Turning the power on

1 Press the TRITON-Rack’ s [POWER] switch to turn

on the power.

The LCD screen will show the model name and software version of your TRITON-Rack. (The following graphic shows the factory-set LCD screen of the TRITON-Rack. The version number is subject to change without notice.)

2 Turn on your powered monitors or stereo amp. 3 Raise the TRITON-Rack’s [OUTPUT] knob to an

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

2. Turning the power off

1 Set the TRITON-Rack’s [OUTPUT] knob 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-Rack’ 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, the TRITONRack will automatically initialize its internal memory so that it will operate correctly. This is not a malfunction.

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

• Writing (updating) a Program, Combination, Global Setting, Drum Kit, or Arpeggio Pattern

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

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

☞p.12–p.14).

• When using a Sampling mode utility menu command (“Move Sample,” “Move MS,” “Conv. To Prog,” “Time Slice” etc.) to simultaneously modify programs or drum kits.

The mode and page that will be selected when the power is turned on

The state of the TRITON-Rack when the power is turned on will depend on the setting of “Power On Mode” (GLOBAL 1.1: System, Preference page).

If “Power On Mode” is Reset (factory setting), the TRITON-Rack will automatically selects the Combination mode 1.1: Play.

If “Power On Mode” is Memorize, the TRITON-Rack will be in the 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 1.1: Play page with the last-selected combination number or program number.

The LCD screen when separately sold options or SIMM modules are installed (When the power on)

The TRITON-Rack series allows you to install separately sold options or SIMM (sampling memory) 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.243)

OPTIONS

EXB-MOSS: The EXB-MOSS option is installed. EXB-SCSI: The EXB-SCSI option is installed. EXB-DI: The EXB-DI option is installed. EXB-mLAN: The EXB-mLAN option is installed

SIMM

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

EXB-PCM

Slot 1...8 (****): PCM expansion boards are installed in EXB-PCM series slots 1–8. The type of each board is shown in parentheses.

Setup

Listening to the demo songs

Here’s how to listen to the demo songs of the TRITONRack.

1 Press the [DEMO/SNG] key. (LED lit)

You will enter the Demo/Song, Play page.

2 In “Demo Song Select,” select a demo song.

Use the [ ], [ ], [ ], [ ] keys to highlight a song name in “Demo Song Select.”

3 Use the VALUE controllers ([VALUE] dial, [INC],

[DEC] keys, numeric keys [0]–[9] and the [ENTER] key) to select the demo song that you wish to hear.

4 Press the [F5] (“START”) key.

Playback will begin.

5 To stop during playback, press the [F6] (“STOP”)

key.

If “Play Mode” is set to “Continue to next song,” the next demo song will begin playing after the currently selected demo song ﬁnishes playing. If “Play Mode” is set to “Stop at end of selected song,” playback will stop when the currently selected demo song ends.

If “Play Mode” is “Continue to next song ,” check- ing “Repeat All” will cause all songs to be played back repeatedly.

Demo song “004: Deep Cut”

For the demo song “004: Deep Cut,” you can load the included sampling data so that multisampled audio will be played together with the demo playback. As described in p.29 1, load the included sampling data. Then select and play “004: Deep Cut” in the Demo/Song, Play page.

Quick Start

Playing from a MIDI keyboard (Program, Combina-

With the factory settings, the Audition function can be used only on the preloaded programs of banks INT-A–INT-D. and the preset programs G, g(1)–g(d).

tion mode)

When you wish to play the TRITON-Rack from a MIDI keyboard and take advantage of performance functions such as its realtime controllers or arpeggiator, you should use Program and Combination modes. The following section explains how to use Program and Combination mode.

Before you begin trying the operations described here, make the appropriate connections etc. as described in the preceding chapter “Setup.” For “Connecting MIDI equipment,” follow the instructions for “Connecting a MIDI keyboard.”

1. Listening to the sound of a program

1 Press the [PROG] key. (LED lit)

You will enter Program mode. Make sure that the upper line of the LCD screen indicates “PROG 1.1: Play.”

Selecting a program number

2 Make sure that “Program Select” is selected.

If it is not selected, use the [ ], [ ], [ ], [ ] keys to highlight the program name in “Program Select.”

3 Use the VALUE controllers to select the program

that you wish to play.

You can use the following methods to select a program.

• Rotate the [VALUE] dial.

• Press the [INC] or [DEC] key.

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

4 Audition the sound.

Play a note on the connected MIDI instrument to hear the sound you selected.

Alternatively, you can press the [AUDITION] key (the LED will light) to turn on the Audition function and automatically play a riff (phrase) suitable for the program.

Selecting a program bank

In Program mode you can select and play programs from banks INT-A–g(d) and EXB-A–EXB-H. (

☞See the

table below.)

5 Press the [BANK] key to select INT banks or EXB

banks. INT ([INT/EXB] LED dark): Pressing the [A]–[G]

keys will select banks INT-A–INT-F and G–g(d). EXB ([INT/EXB] LED lit): Pressing the [A]–[H] keys will select banks EXB-A–EXB-H.

6 Press one of the [A]–[H] keys to select a bank.

By changing banks you can select programs from another bank.

With the factory settings, the INT-A–INT-D and G– g(d) banks contain programs.

The selected bank number is shown in the left of the LCD screen. For example if you wish to select bank INT-B, press the [BANK] key to make the [INT/ EXB] LED go dark, and then press the [B] key. (The upper left of the LCD screen will indicate Bank INT-B.)

Bank INT-F can be selected if the separately sold EXB-MOSS option is installed. When bank INT is selected, the [H] key cannot be used.

When the [INT/EXB] LED is dark, repeatedly pressing the [G-GM] key will cycle through banks in the following order.

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

Bank Prog. No. Explanation INT-A...INT-D (I-A...I-D) 000...127 Preloaded programs ( INT-E (I-E) 000...127 User programs (programs

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

g(1)...(9) ( g(d) ( EXB-A...EXB-H (E-A...E-H) 000...127 User programs, EXB-PCM

☞VNL) GM2 variation programs ☞VNL) GM2 drum programs

that use multisamples created in Sampling mode, etc.)

(

☞VNL)

series programs

☞VNL)

"Program Select"

INT/EXB

Bank No.

"Category"

UTILITY "Select by Category" Cat. HOLD, 10's HOLD

: Program : Combination

2. Listening to the sound of a combination

1 Press the [COMBI] key. (LED lit)

You will enter Combination mode. Make sure that the upper line of the LCD screen indicates “COMBI

1.1: Play.”

Selecting a combination number

2 Make sure that “Combi Select” is selected.

If it is not selected, use the [ ], [ ], [ ], [ ] keys to highlight the combination name in “Combi Select.”

"Combi Select"

Bank No.

3 Use the VALUE controllers to select the combina-

tion that you wish to play.

☞“1. Listening to the sound of a program” 3

4 Audition the sound.

Play a note on the connected MIDI instrument to hear the sound you selected.

Selecting a combination bank

In Combination mode, you can select and play combinations from banks INT-A–INT-E and EXB-A–EXB-H. (

☞Table below)

5 Press the [BANK] key to select either INT banks or

EXB banks. INT ([INT/EXB] LED dark): Pressing the [A]–[E]

keys will select banks INT-A–INT-E. EXB ([INT/EXB] LED lit): Pressing the [A]–[H] keys will select banks EXB-A–EXB-H.

6 Press one of the [A]–[H] keys to select a bank.

By changing banks you can select combinations from another bank.

With the factory settings, the INT-A–INT-D banks contain combinations.

When bank INT is selected, the [F]–[H] keys cannot be used.

Bank Prog. No. Explanation INT-A...INT-D (I-A...I-D) 000...127 Preloaded combinations

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

EXB-A...EXB-H (E-A...E-H) 000...127 User combinations, EXB-

"Category"

☞VNL)

(

MOSS combinations

PCM series combinations

Other ways to select programs or combinations

Selecting by category

Programs or combinations can be selected from sixteen categories. With the factory settings, these are organized by instrument, such as keyboard, organ, bass, and drums. (

☞PG p.2 “Cat.HOLD,” “Select by Category”)

Selecting with the 10’s Hold function

You can ﬁx the 10’s place of the program number or combination number, so that pressing a numeric key once will change only the one’s place of the program number and select it accordingly. (

☞PG p.2 “10’s

HOLD”)

Selecting from an external MIDI device

The TRITON-Rack can receive MIDI program change messages from an external MIDI device to select programs. (

☞PG p.221)

3. Using controllers to modify the sound

The TRITON-Rack provides numerous controllers that allow you to control the tone, pitch, volume, effects, and arpeggiator etc. in realtime while you play.

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

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

1 Press the [SELECT] key to switch the function of

the realtime controllers to A-mode, B-mode or Cmode.

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

The selected mode will light.

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

A-mode controls

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

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

Knob [1]: LPF CUTOFF

Adjusts the cutoff frequency of the low pass ﬁlter.

Quick Start

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

Level

LPF

Frequency

Cutoff frequency

HighLow

Knob [2]: RESONANCE/HPF

Adjusts the resonance level of a low pass ﬁlter or the cutoff frequency of a high pass ﬁlter. The content that is controlled will depend on the ﬁlter type speciﬁed by the program.

By adjusting the ﬁlter resonance level, you can increase or decrease the resonance level to add a unique character to the sound.

By adjusting the cutoff frequency of a high pass ﬁlter, you can modify the brightness of the sound.

Level

LPF HPF

Cutoff frequency

Knob [3]: EG-INTENSITY

Adjusts the ﬁlter EG intensity (the depth at which the ﬁlter EG is applied).

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

Level

Time

Knob [4]: EG-RELEASE

Adjust the EG release times of the ﬁlter and amp. This will determine the time from note-off until the sound disappears.

When you operate the knob, the release times of the ﬁlter EG and the amp EG will change. Normally, rotating the knob toward the left will shorten the release time, and rotating it toward the right will lengthen the release time.

When the arpeggiator is running, it is effective to use this in conjunction with the C-mode [ARP-GA TE] knob to control the arpeggiated notes.

note-on

Level

Attack Level

Decay Time

Attack Time Start Level

Break Level

Sustain Level

Slope Time

note-off

Release Time

Release Level

Time

B-mode controls

You can control parameters such as volume, portamento time, pan or ﬁlter and amp EG, pitch LFO, and master effect send levels etc.

In each preloaded program, appropriate functions are assigned to the B-mode knobs.

The B-mode function settings are made for each individual program, combination, or multi. In Sampling mode, the B-mode functions are set for the entire mode.

For details on making these settings (

☞p.100).

C-mode controls

You can control the arpeggiator in realtime. For details on operation, refer to the following page.

Viewing the parameters that are assigned to the Bmode REALTIME CONTROLS and “SW1,” “SW2”

In Program, Combination, and Multi modes, the 1.1: Play page lets you view the parameters that are assigned to the B-mode of realtime control knobs [1], [2], [3], and [4] and to “SW1” and “SW2.”

Functions assigned to “SW1” and “SW2”

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

“SW1” “SW2”

SW1, SW2

You can use these keys as sources for alternate modulation or effect dynamic modulation to control program parameters or effect parameters. These switches can also be used to turn portamento on/off.

You can specify the way in which the “SW1” and “SW2” will operate: either Toggle, when the assigned function will be switched on/off each time the [F6], [F7] key is pressed, or Momentary, when the assigned function will be switched on only as long as you hold down the key.

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

For details on making these settings, refer to Setting the functions of “SW1” and “SW2” (

☞p.100).

4. Using the arpeggiator while you play

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

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

Settings using controllers

Arpeggiator on/off

● Each time you press the [ARP ON/OFF] key, the

arpeggiator will be switched on/off.

When this is on, the LED will light, and playing the keyboard of a connected MIDI instrument will start the selected arpeggio pattern.

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

In addition, the TRITON-Rack features a Dual Arpeggiator that lets you simultaneously use two arpeggio patterns in Combination mode and Multi mode. You can take advantage of this in many ways, such as applying separate arpeggio patterns to a drums program and a bass program, or using keyboard split or velocity to switch between two arpeggio patterns.

The TRITON-Rack provides ﬁve preset arpeggio patterns (the standard UP, DOWN, ALT1, ALT2, and RANDOM), and lets you program and store 328 user arpeggio patterns. With the factory settings, these contain a wide variety of preload user arpeggio patterns (

☞VNL). An arpeggio pattern that you create can also

be stored as a user arpeggio pattern (

☞p.89).

Using the arpeggiator in Program mode

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

select a program. ( of a program”)

As you select various programs, you will notice that the [ARP ON/OFF] key LED will light for some programs. ( tor”) Play the keyboard of the connected MIDI instrument, and the arpeggio will start. For other programs, you can press the [ARP ON/ OFF] key (the LED will light) to turn on the arpeggiator. Arpeggios will begin sounding when you play the keyboard.

2 As described in the following sections “Settings

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

☞p.18 “1. Listening to the sound

☞p.23 “Other settings for the arpeggia-

The on/off status is saved when you write the program, Combination.

In Combination and Multi modes, depending on the arpeggiator A, B settings, the arpeggio may not start when you press the [ARP ON/OFF] key to turn it on (

Adjusting the arpeggiator tempo

1 Press the [SELECT] key to make the upper left “C”

LED light.

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

The “ =” value in the upper right of the LCD screen will change. You can set this in the range of 40–240. The [SELECT] key LED will blink at quarter-note ( ) intervals. You can also use the [ ], [ ], [ ], [ ] keys to select “ =,” input the tempo using numeric keys [0]–[9], and press the [ENTER] key to set the tempo. Alternatively, you can set the tempo using the [VALUE] dial or the [INC], [DEC] keys. The tempo will blink at the speciﬁed tempo.

The knob setting is saved when you write the program.

The arpeggio playback speed is affected by the “Reso (Resolution)” setting (1.1: Play, Arp. Play page, 6.1: Ed–Arp., Arpeg. Setup page).

If “MIDI Clock” (GLOBAL 2.1: MIDI) is set to External, the display will indicate “ =” EXT. The tempo will be synchronized to an external MIDI device, and it will not be possible to adjust the tempo on the TRITON-Rack.

Adjusting the length of the arpeggio notes

1 Press the [SELECT] key to make the upper left “C”

LED light.

2 Rotate the [ARP-GATE] knob to adjust the dura-

tion of the arpeggiated notes.

Rotating the knob toward the left will shorten the notes, and rotating it toward the right will lengthen the notes. At the center position (12 o’clock), the note length will be as speciﬁed by the program parameter “Gate” (6.1: Ed-Arp., Arpeg. Setup page).

☞p.23).

Quick Start

The knob setting is saved when you write the program.

You can control the effect by simultaneously adjusting the A-mode [EG-RELEASE] knob.

Adjusting the strength of the arpeggio notes

1 Press the [SELECT] key to make the upper left “C”

LED light.

2 Rotate the [ARP-VELOCITY] knob to adjust the

strength of the arpeggiated notes.

Rotating the knob toward the left will make the notes weaker, and rotating the knob toward the right will make the notes stronger. At the center position (12 o’clock), the velocity will be as speciﬁed by the program parameter “Velocity” (6.1: Ed-Arp., Arpeg. Setup page).

The knob setting is saved when you write the program.

You can control the tone effectively by simultaneously adjusting the A-mode [LPF CUTOFF], [RESONANCE/HPF], and [EG-INTENSITY] knobs.

Settings in the LCD screen

● In PROG 1.1: Play, press the [F3] key to select the

Arp page.

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

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

● Use the [ ], [ ], [ ], [ ] keys to select the “Sort”

check box, and use the [VALUE] dial or the [INC], [DEC] keys to make the setting.

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

Letting the arpeggio continue playing even after you take your hand off the keyboard

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

● Use the [ ], [ ], [ ], [ ] keys to select “Latch,”

and use the [VALUE] dial or the [INC], [DEC] keys to make the setting.

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

Selecting an arpeggio pattern

An arpeggio pattern can be selected from preset arpeggio patterns P000–P004 and user arpeggio patterns

U000 (I–A/B)–327 (E–H). With the factory settings, U000–199 contain a wide variety of preset user arpeg-

gio patterns (

● Use the [ ], [ ], [ ], [ ] keys to select “Pattern,”

and use the [VALUE] dial or the [INC], [DEC] keys to select the arpeggio pattern. To select a user arpeggio pattern, use numeric keys [0]–[9] to input the pattern number, and press the [ENTER] key.

Changing the interval of the arpeggio notes

The “Reso (Resolution)” parameter in the LCD screen lets you set the interval between arpeggio notes in a range of  3 –  .

● Use the [ ], [ ], [ ], [ ] keys to select “Reso,”

and use the [VALUE] dial or the [INC], [DEC] keys to specify the spacing of the arpeggiated notes.

Selecting the octave range in which the arpeggio is sounded

Use the “Octave” in the LCD screen to specify the range of octaves in which the arpeggio will be sounded (

☞p.86).

● Use the [ ], [ ], [ ], [ ] keys to select “Octave,”

and use the [VALUE] dial or [INC], [DEC] keys to specify the range of octaves in which the arpeggio will be sounded.

☞VNL)

Synchronizing the arpeggiator to your keyboard timing

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

● Use the [ ], [ ], [ ], [ ] keys to select “Key

Sync.,” and use the [VALUE] dial or the [INC],

[DEC] keys to make the setting. Checked: When you take your hand completely off

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

Sounding both the arpeggio notes and the notes you play

● Use the [ ], [ ], [ ], [ ] keys to select “Key-

board” check box, and use the [VALUE] dial or the

[INC], [DEC] keys to make the setting. Checked: The notes you play on the keyboard and

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

Using the arpeggiator as you play in Combination mode

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

1 Press the [COMBI] key to enter Combination

mode, and select a combination. ( ing to the sound of a combination”)

As you select various combinations, you will notice that the [ARP ON/OFF] key LED will light for some combinations. ( tor”) When you press the keyboard, the arpeggiator will start. For other combinations, you can press the [ARP ON/OFF] key (the LED will light) to turn on the arpeggiator.

2 As described in the preceding section “Settings

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

The [ARP ON/OFF] key and the C-mode [TEMPO], [ARP-GATE], and [ARP-VELOCITY] knobs are valid for both arpeggiators A and B. Their state will be memorized when the combination is written.

☞“Other settings for the arpeggia-

Settings in the LCD screen

● In COMBI 1.1: Play, press the [F4] key to select the

Arp. Play A page, and make settings for arpeggiator A.

In COMBI 1.1: Play, press the [F5] key to select the Arp. Play B page, and make settings for arpeggiator B.

☞p.19 “2. Listen-

• As you can see from the “Timbre Assign” table in the upper right, arpeggiator A is assigned to timbre 4, and arpeggiator B is assigned to timbre 2. When you play the keyboard of a connected MIDI instrument, the U168 (I-A/B): BigBeats 1 arpeggio pattern will play the program I-B068: Drum’n’Bass Kit of timbre 4. The U096 (I-A/B): Stab Rhythm arpeggio pattern will play the program I-B053: Funkin’ Guitar of timbre 2.

• If you uncheck “Arpeggiator Run A” or “Arpeggiator Run B,” the unchecked arpeggiator will stop. If you check it once again and play the keyboard, the arpeggiator will begin running.

• Look at the COMBI 6.1: Ed-Arp., Zone page, and you will see that the A keys “Btm” and “Top” are set so that arpeggiator A will operate only for B3 and lower keys, and that the B “Top Key” and “Bottom Key” are set so that arpeggiator B will operate only for C4 and higher keys.

Quick Start

Select the arpeggiator(s) that will run

Use the “Arpeggiator Run” check boxes to specify the arpeggiator(s) that you want to run. The arpeggiator(s) that are checked here will operate when the [ARP ON/ OFF] key is on. However , the arpeggiator will play a timbre only if the table displayed beside the check boxes assigns arpeggiator A or B to a Ttimbre 1–8. These settings are made in COMBI 6.1: Ed-Arp., Setup page “Assign” (

Arpeggiator-A, Arpeggiator-B

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

☞p.87).

☞p.85)

Checking the structure of a user arpeggio pattern

Let’s see how combination I-B 063: Echo Jamm is constructed.

1 Select combination I–B 063: Echo Jamm, and look

at the Arp. Play A page and Arp. play B page.

Other settings for the arpeggiator

You can also set “Gate,” “Velocity,” “Swing,” and “Scan Zone.” These parameters are set in PROG 6.1: Ed–Arp, COMBI 6.1: Ed–Arp. (

☞p.85).

Linking the arpeggiator to program, combinations

You can specify whether the arpeggiator settings written in a program or combination will also be selected when you switch programs or combinations, or whether the arpeggiator status will not change when you switch programs or combinations. With the factory settings, the former is selected. Use the latter when you want to keep the same arpeggio pattern running, and change only the program sound. This setting is made in “Auto Arp.” (GLOBAL 1.1: System, Basic).

Creating an user arpeggio pattern

Arpeggio patterns that you create can be written to U000 (I–A/B)–327 (E–H). These can be created in GLOBAL 6.1: Arp.Pattern (

☞p.89).

Playing with a computer/ sequencer (Multi mode)

Use Multi mode when you want the TRITON-Rack to simultaneously play multiple tracks of musical data sent from your computer/sequencer. This section explains basic operation of Multi mode.

☞ For details on controlling the TRITON-Rack via

MIDI, refer to “MIDI applications” (

The TRITON-Rack can be used as a 16-channel multitimbral tone generator. It has 16 tracks, and a different program sound can be assigned to each track. A track is analogous to a musician in a band. In other words, the TRITON-Rack is able to play up to 16-member ensembles. For example, you might assign drums to track 1, bass to track 2, and piano to track 3, etc. Settings such as volume and pan can also be adjusted independently for each track. In addition, the control track lets you use the realtime controllers or “SW1” and “SW2” to modify the sounds.

You can also use RPPR (Realtime Pattern Play/Recording) or the arpeggiator to perform in synchronization with your computer/sequencer.

Before you continue, you should make connections as described in the preceding chapter, “Setup.” For “Connecting MIDI equipment,” follow the example given for “Connecting a sequencer (computer).”

1. Playing in Multi mode

1 Press the [MULTI] key. (LED lit)

You will enter Multi mode. Make sure that the upper line of the LCD screen indicates “MULTI 1.1: Play.”

2 Specify the program, pan, and volume that you

wish to use for each track.

You can use the “Load Template Multi” utility to load program, pan, volume, and effect settings etc. suitable for the desired style of music. Here we will explain how to use a Template Multi to specify the program, pan, and volume.

1) Press the [F8] (“UTILITY”) key to open the utility menu.

2) Press the [F7] key to select “Load Template Multi.”

3) Press the [F8] (“OK”) key to open the Load Template Multi dialog box.

☞PG p.221).

4) Use the [VALUE] dial or the [INC], [DEC] keys to select the template multi that you wish to load. For this example, let’s select P00: Pop/Ballade.

5) Press the [F8] (“OK”) key to load the template.

To change the programs of tracks 1–8, press the [F2] (“Prog..8”) key. To change the programs of tracks 9–16, press the [F3] (“Prog..16”) key.

P00: Pop/Ballade assigns the programs as shown

below. By pressing the [ ], [ ] keys you can select the programs assigned to tracks 1–8. The full name of the selected program is shown in the bottom line.

You can directly select parameters by holding down the [TIMBRE/TRACK] key and pressing the nearest [F1]–[F8] key.

To change the program assigned to a track, select the program of that track, and use the [BANK], [A]– [H] keys, [VALUE] dial, [INC], [DEC] keys, numeric keys [0]–[9] and the [ENTER] key to specify the desired program. You can also use the “Select by Category” utility to select programs by category. (

☞PG p.2)

If a GM System On system exclusive message is received, the TRITON-Rack will automatically be reset to the GM settings.

To change the pan and volume settings of tracks 1– 8, press the [F4] (“Mix..8”) key. To change the pan and volume settings of tracks 9–16, press the [F5] (“Mix..16”) key.

P00: Pop/Ballade assigns pan and volume as shown

below. By pressing the [ ], [ ], [ ], [ ] keys you can change the pan and volume speciﬁed for each track 1–8.

To change the pan and volume settings of a track, select the pan or volume of that track, and use the [VALUE] dial, [INC], [DEC] keys, numeric keys [0]– [9] and the [ENTER] key to specify the desired pan or volume setting.

Program, pan, and volume can also be changed by receiving the appropriate MIDI message transmitted from a sequencer (computer). (

3 Transmit musical data from your sequencer (com-

puter) to play the tracks.

☞PG p.221–)

With the initial settings, tracks 1–16 correspond to MIDI channels 1–16; i.e., track 1 receives MIDI channel 1, and track 2 receives MIDI channel 2, etc.

Using the RPPR (Realtime Pattern Play/Recording) function

2. Controlling tracks from your computer/sequencer

MIDI transmit/receive channel

Set the MIDI transmit channel of your computer/ sequencer to match the “MIDI Channel” of the TRITON-Rack track that you wish to play.

When a track receives note data on a MIDI channel that matches its own channel, the program of that track will sound. MIDI messages such as control changes will affect only the track that is receiving the corresponding MIDI channel. The arpeggiator will operate when it receives note data within the range of the Scan Zone setting ( Operating the controllers of the TRITON-Rack will control the sound etc. of the track that is selected for “Control Track.”

Control of insert/master effect dynamic modulation or the pan and send 1 and 2 that follow the insert effects is performed on the MIDI channel speciﬁed for “Control Channel” (7.2: Insert FX, Setup page). However, effect on/off and exclusive data is received on the global MIDI channel “MIDI Channel” (GLOBAL 2.1: MIDI). (

Selecting the sound number of a part

To select the sound number of a track from your computer/sequencer, transmit a program change message on the MIDI channel for the corresponding track.

To change the bank, you will have to transmit control change #0 and 32 bank select messages. The TRITONRack will not change the program sound immediately when a bank select message is received. The program sound of the speciﬁed bank will be selected when the program change message is received following the bank select message.

Transmit bank select [Bn, 00, mm] (control change #00) and [Bn, 20, bb] (control change #32) (mm: upper byte of the bank number, bb: lower byte of the bank number, n: channel) and program change [Cn, pp] (pp: program/combination number). Transmission and reception of bank select messages will vary, depending on the “Bank Map” (GLOBAL 1.1: System, Pref) setting. (

☞PG p.68) on the MIDI channel of the track.

☞PG p.221)

☞PG p.109)

The functionality for transmitting and specifying bank select and program numbers will differ depending on your sequencer or sequencer software. Refer to the owner’s manual for your sequencer or sequencer software for details on operation.

The Multi mode of the TRITON-Rack provides an RPPR (Realtime Pattern Play/Recording) function. RPPR is a function in which pattern data and a track that will play it can be assigned to each note of the keyboard, allowing you to play patterns in realtime simply by pressing a note on a connected MIDI keyboard. (Internal memory contains preset patterns that are appropriate for use with drum tracks.)

Here’s how to load and play the RPPR demo .SNG data.

1 Load “RPPRDEMO.SNG” from the included

“TNRFD-00P” ﬂoppy disk.

1) Insert the included “TNRFD-00P” ﬂoppy disk into the ﬂoppy disk drive.

2) Press the [DISK] key (LED lit) to enter Disk mode.

3) Press the [F1] (“Load”) key to select the Load page.

4) Use the [ ], [ ] keys to select “RPPRDEMO.SNG.”

5) Press the [F8] (“UTILITY”) key to access the utility menu.

6) Use the [F7] key to choose “Load Selected,” and press the [F8] (“OK”) key. The following dialog box will appear.

7) For “.SNG Allocation,” select Clear.

If you load with Clear selected, the multi data in memory will be erased. (

8) Press the [F8] (“OK”) key to load the data.

Never remove the media while data is being loaded.

If the “Memory Protected” dialog box appears, uncheck the memory protect setting, and load the data once again. (

2 Make sure that 000: FEVER is selected in Multi

mode.

1) Press the [MULTI] key (LED lit) to enter Multi mode.

2) Press the [F1] (“Multi”) key to select the Multi page.

☞PG p.126)

☞p.37)

Quick Start

000: FEVER will be displayed.

3 Make sure that the RPPR check box is checked.

Checked: The selected RPPR (the setting of 5.1:

RPPR, RPPR Setup) will operate. Unchecked: RPPR will not operate. This is the normal state of Multi mode.

4 Set the “Control Track” MIDI channel and the

channel of the transmitting MIDI device to the same setting.

In the illustration above, track 1 is the control track. Since track 1 of 000: FEVER is set to MIDI channel 1, set the transmitting MIDI device to MIDI channel 1.

5 Start playing patterns via RPPR.

For example if the transmitting MIDI device is a MIDI keyboard, pressing any key C#2 or above will start the pattern that is assigned to that key. Sometimes the pattern will continue playing even after you release the key, but in such cases you can stop the pattern by playing the same key once again or by playing C2 or a lower key.

Simple program editing

Program sounds can be modiﬁed and created in PROG

2.1: Ed-Basic–7.3: Ed-MasterFx. However, you can also use the “Performance Editor” to perform simple editing in PROG 1.1: Play Perform. Edit page as well. Y ou can also use REALTIME CONTROLS [1]–[4] knobs to modify the sound.

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

The sound that you edit using the Performance Editor or using REALTIME CONTROLS knobs [1]–[4] in A-mode (or B-mode if CC#70–79 are assigned) can be saved by writing the program. The edits you make will be lost if you select another program or turn off the power. If you wish to keep your edited data, you must write it into memory. (

Performance Edit

1 Press the [PROG] key (LED lit) to enter Program

mode.

2 Press the [F2] (“P.Edit”) key.

The Perform. Edit page will appear.

☞p.37)

Shutdown Keys *:

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

Pattern Assignable **:

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

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

88 keys (TRITON proX)

76 keys (TRITON pro)

61 keys (TRITON)

C-1

Shutdown Keys *

C-1 ... C2

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

Pattern Assignable **

C#2 ... C 8

Performance Editor

3 Use the Performance Editor to adjust the sound.

Use the [ ], [ ], [ ], [ ] keys to select the desired performance editor slider, and use the [VALUE] dial or the [INC], [DEC] keys to adjust the setting.

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

Depending on the settings of the program parameters, the result may not be noticeable.

Octave

Adjust the octave.

Pitch Stretch

Simultaneously adjust the transpose and tune settings of the oscillator. This allows you to produce a variety of tonal changes without losing the character of the original sound.

This Performance Edit function cannot be used on bank I–F.

OSC Balance

Adjusts the level balance between oscillators 1 and 2.

For programs whose “Mode (Oscillator Mode)” (PROG 2.1: Ed-Basic, Prog Basic page) setting is Single, oscillator 2 will not sound. Only the level of oscillator 1 will change. For a Drums program, this performance editor will have no effect.

Amp Level

Adjusts the amp level. This will adjust the volume of the entire program.

Attack Time

Adjusts the attack time of the ﬁlter EG and amp EG. This will adjust the speed of the attack from note-on.

In order to maximize the effect of the Attack Time adjustment, the amp EG Start Level, Attack Level, Start Level Modulation, and Attack Time Modulation parameters are also adjusted.

Decay Time

Adjusts the decay time and slope time of the ﬁlter EG and amp EG.

IFX Balance

This simultaneously adjusts the “W/D (Wet/Dry)” balance of all insert effects 1–5.

MFX Balance

This simultaneously adjusts the Return 1 and 2 parameters of the master effects.

Realtime controls

These can be used to edit parameters such as the ﬁlter cutoff frequency, resonance, the amp and ﬁlter EG, volume, portamento time, pan, pitch LFO, and master effect send level etc. (

☞p.19).

Simple combination editing

A combination is a set of multiple (up to eight) programs, and allows you to create complex sounds that could not be produced by a single program.

Combination editing is the process of modifying the parameters that make up the combination in order to change the program used by each timbre, to change the keyboard range or velocity values that sound each timbre, or to make controller settings etc.

You can edit a combination in COMBI 2.1: Ed-Prog/ Mix–7.3: Ed-MasterFX, but can also make settings for “Program Select, “Pan,” and “Volume” in COMBI 1.1 Play as well.

The edits you make will be lost if you select another combination or turn off the power. If you wish to keep your edited data, you must write it into memory. (

An example of editing

As an example, here’s how to do some simple editing on combination Bank I–A064: ModernPiano.

1 Press the [COMBI] key (LED lit) to enter Combina-

tion mode.

2 Select Bank I–A064: ModernPiano.

This combination layers (simultaneously sounds) the programs of timbre 1 and timbre 2. Timbre 1 sounds I–B001: Attack Piano, a piano with a crisp attack. Timbre 2 sounds I–B081: Vintage EP, a clas- sic electric piano. These two programs are layered to produce a piano-type sound that you may have heard in various contexts.

A timbre consists a of program together with mul- tiple parameters that control that program. A combination can use up to eight of these timbres.

☞p.37)

Quick Start

Selecting the program for a timbre

3 Press the Prog page.

Press the [F2] (“Prog”) key. Now you can specify the programs for timbres 1–8.

4 Now let’s change the program of timbre 2 to a dif-

ferent program.

Use the [ ], [ ], [ ], [ ] keys to select “Program Select” for timbre 2 (it will be highlighted).

Timbre 2Timbre 1

You can directly select the program for a timbre by holding down the [TIMBRE/TRACK] key and pressing the nearest [F1]–[F8] key. Similarly in steps 6 and 7, you can select pan or volume in the same way.

“Program Select”

For this example, select I-A003: Legato Strings . This is a layered combination with piano and rich strings. Make sure that the [INT/EXB] LED is dark. (If it is lit, press the [BANK] key.) Then consecutively press the [A] key, the [3] key, and the [ENTER] key.

Alternatively, the program for a timbre can be selected by category.

Choose “Program Select,” press the [F8] (“UTILITY”) to access the utility menu, and press the [F7] key to choose “Select by Category.” Press the [F8] (“OK”) key. The Select Program by Category dialog box will appear.

Choose “Cat” and use the [INC], [DEC] keys to select the category. For example if you wish to select strings programs instead of the “00: Keyboard” cat- egory shown in the screen above, press the [INC] key three times to select “03: Strings.” You can use the [ ], [ ] keys to successively select string-type programs. When you are happy with the selected program, press the [F8] (“OK”) key to ﬁnalize your selection.

Listening to the program sound of just one timbre

Use the [VALUE] dial, the [INC], [DEC] keys, or numeric keys [0]–[9] and the [ENTER] key to change the value.

A setting of C064 is center, L001 is far left, and R127 is far right. With a setting of RND, the stereo loca- tion will change randomly between left and right each time a note is played.

Adjusting the volume

7 Adjust the “Volume” of timbre 2.

Use the [ ], [ ], [ ], [ ] keys to choose “Volume” (highlighted) for timbre 2.

Use the [VALUE] dial, the [INC], [DEC] keys, or numeric keys [0]–[9] and the [ENTER] key to change the value.

Adjusting the volume while preserving the volume balance between timbres

● Press the [F8] (“UTILITY”) key to access the utility

menu, and press the [F7] key to choose “Hold Balance.” Press the [F8] (“OK”) key. The upper right of

the LCD screen will indicate “Hold Bal.” When you change the “Volume” value of any timbre, the volume of all timbres will also change to preserve the volume balance at the time you checked the Hold Balance setting. To cancel this setting, choose “Hold Balance” once again and press the [F8] (“OK”) key.

● Press the [F8] (“UTILITY”) key to access the utility

menu, and press the [F7] key to choose “Solo Selected Timbre.” Press the [F8] (“OK”) key. Now you will hear only the program sound of the currently selected timbre. The lower part of the LCD screen will indicate [Solo]. To cancel this setting, choose “Solo Selected Timbre” once again and press the [F8] (“OK”) key.

Adjusting the stereo location of the sound

5 Select the Mixer page.

Press the [F3] (“Mix”) key. Here you can adjust the pan and volume for timbres 1–8.

6 Adjust the stereo location in “Pan” of timbre 2.

Use the [ ], [ ], [ ], [ ] keys to choose “Pan” (highlighted) for timbre 2.

Listening to sampled sounds

Here’s how to load demo multisample data and play it back in Sampling mode.

1 Load “DCUT_SMP.KSC” from the included

“TNRFD-01P” ﬂoppy disk.

1) Insert the included “TNRFD-01P” ﬂoppy disk into the ﬂoppy disk drive.

2) Press the [DISK] key (LED lit) to enter Disk mode.

3) Press the [F1] (“Load”) key to select the Load page.

4) Use the [ ], [ ] keys to select “DCUT_SMP.KSC”

5) Press the [F8] (“UTILITY”) key to access the utility menu.

6) Press the [F7] key to choose “Load Selected,” and press the [F8] (“OK”) key. The following dialog box will appear.

7) For this example, select Clear for “.KSC Allocation”

When you select Clear and then load, the multisample data and sample data of Sampling mode will be erased (

8) Press the [F8] (“OK”) key to load the data.

☞PG p.130).

3 Set the channel of the transmitting MIDI device to

match the global MIDI channel.

With the factory settings, the global MIDI channel is set to channel 1. Set the transmitting MIDI device to MIDI channel 1.

4 Play the samples of the multisample.

For example if the transmitting MIDI device is a MIDI keyboard, play any note in the range of C2, D2–F#2 to sound the sample that is assigned to that key. You can also press the [AUDITION] key to hear the sample played. For “Index,” use the [INC][DEC] keys to select another sample for assignment to the multisample, and press the [AUDITION] key.

Using a multisample in a program

Multisample data you sampled in Sampling mode or sample/multisample data you loaded in Disk mode can be converted to a program by executing the “Conv. To Prog” utility. (

Alternatively, a multisample you created in Sampling mode can be assigned to the Program mode parameters “High MS Bank” and “High Multisample” or “Low MS Bank” and “Low Multisample,” and used as a program.

When a multisample you created in Sampling mode is used as a program, you will be able to process its sound in various ways by using the ﬁlter and effects of the program.

By selecting the preloaded program I-E 000: Sampler Waves, you can listen to the various samples of a program that uses the multisample you heard in step 4. You can hear the result of using the compressor or delay etc. to process the sound of the multisample.

Samples can be used in a drum kit.

☞p.32, PG p.83)

☞p.78

Quick Start

Never remove the media while data is being loaded.

2 Make sure that multisample 000: Gospel Vocal L is

selected in Sampling mode.

1) Press the [SAMPLING] key (LED lit) to enter Sampling mode.

2) If SMPL 1.1: Recording is not selected, press the [EXIT] key.

3) Press the [F1] (“Sample”) key to select the Sample page.

4) If 000: Gospel Vocal L is not selected, use the [ ], [ ], [ ], [ ] keys to choose “Multisample Select,” and use the [INC], [DEC] keys to select it.

The multisamples and samples of Sampling mode will disappear when the power is turned off. If you wish to use them after turning the power on once again, you must reload them.

Sampling (recording a sample)

Here’s how you can use Sampling mode to sample a drum phrase from an audio CD etc., and convert it into a program.

1. Sample a drum phrase

Y ou will need to pr ovide a r hythm loop sample such as a drum phrase from a CD or other audio source. To start with, let’s use a rhythm loop sample with a relatively simple beat.

As an example here, we will sample two one-measure drum phrases in 4/4 time at 140 BPM and 100 BPM.

Connect your external audio device and make input settings

TRITON-Rack

CD player

LINE OUT

1 Connect the AUDIO INPUT 1, 2 jacks on the rear

panel of the TRITON-Rack to the AUX OUT L and R jacks of your CD player.

2 Set the AUDIO INPUT [MIC/LINE] switch to the

LINE position.

3 Press the [SAMPLING] key (LED lit) to enter Sam-

pling mode.

If SMPL 1.1: Recording is not selected, press the [EXIT] key.

4 Press the [F3] (“In/Pref”) key to select the Input/

Pref page.

5 Set various parameters so that the signal from the

AUDIO INPUT jacks will be input to the TRITON-Rack.

Make the following settings.

• Input 1: “Lvl” 127, “Pan” L000, “BUS” L/R

• Input 2: “Lvl” 127, “Pan” R127, “BUS” L/R When you change the setting from Off to L/R or

IFX1–5, the volume level of the AUDIO OUT L/

MONO and R jacks or the headphone volume may rise abruptly. Please use caution.

Manual sampling

There are two ways to record a sample: manual and auto. In this example we will use manual sampling.

7 Press the [F2] (“Rec.”) key to access the Recording

page.

8 Set “Mode (REC Mode)” to Manual

This will select manual recording mode.

9 Set “Mode (Sample Mode)” to Stereo. 0 Press the [F4] (“REC”) key.

When an input sound is present, the “Recording Level” L and R meters will move. The TRITONRack is in recording standby condition.

Set “Recording Level” to +0.0.

A At the moment that you wish to start sampling,

press the [F5] (“START”) 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 [F5] (“STOP”) key.

Sampling will stop.

Sampling will stop automatically if the remaining amount of memory reaches zero.

C Listen to the sound you sampled.

Press the [AUDITION] key or play the C2 note on a connected MIDI keyboard, and you will hear the sound that was sampled.

This completes sampling for the 140 BPM drum phrase. Now repeat steps 0–B to sample the 100 BPM drum phrase.

With these settings, the sound from the AUDIO INPUT 1 and 2 jacks will be output in stereo from the AUDIO OUTPUT L/MONO and R jacks, and from the headphones. The sound from AUDIO INPUT 1 will be output from the L side, and 2 from the R side.

6 Adjust the [INPUT] knob to set an appropriate

input level.

Adjust the [INPUT] knob or the output level of the external audio device so that the level just avoids triggering the “ADC OVER!” display (i.e., the highest possible level that does not produce an overload).

If an overload occurs in the input stage of the TRITON-Rack, an indication of “ADC OVER!” (AD converter input overload!) will appear at the right of the level meter.

2. Assign samples to a multisample

1 Press the [F1] (“Sample”) key to access the Sample

page.

2 Assign the ﬁrst sample in “SMPL.”

Press the [ ] key to select “SMPL,” and use the [DEC] key to select 0000:NewSample_0000-L (the 140 BPM drum phrase).

3 Press the [F6] (“CREATE”) key to create another

index.

Currently selected index/Total

Index2Index1

number of indexes

1 Select 3.1: Loop Edit.

Press the [MENU] key to open the page menu, and press the [F3] key. Press the [F8] (“Open”) key.

4 Assign the second sample in “SMPL.”

Select “SMPL,” and press the [INC] key to select 0002: NewSample_0002-L (the 100 BPM drum phrase).

5 Listen to the samples that you assigned to the mul-

tisample.

Press the C2 key on a connected MIDI keyboard and the 140 BPM drum phrase sample will play. Press the C3 key and the 100 BPM drum sample will play.

6 Assign a name to each sample.

Choose “Index” in the upper right of the LCD screen, and press the [DEC] key to select 001.

Press the [F8] (“UTILITY”) key to access the utility menu, and press the [F7] key to choose “Rename SMPL.” Press the [F8] (“OK”) key to open the Rename Sample dialog box.

Press the [F5] (“Name”) key to open the text dialog box.

Let’s name the 140 BPM drum phrase LOOP1- 140BPM.

Press the [F1] (“Clear”) key. Now we will input the ﬁrst character, “L.” Use the [VALUE] dial, [INC], [DEC], or [ ], [ ], [ ], [ ] keys to select “L.” Press the [F6] key and input the second character. Use the [VALUE] dial, [INC], [DEC], or [ ], [ ], [ ], [ ] keys to select “O.” Repeat these steps to input all the characters, and then press the [F8] (“OK”) key twice (

☞p.38).

2 Select “Index” 001, and make sure that “SMPL” is

set to 0000: LOOP1-140BPM-L.

3 Press the [F2] (“Edit2”) key to access the Edit2

page.

The waveform data of the currently selected sample will be displayed.

Quick Start

The selected sample is a stereo sample. The L and R waveforms will be displayed alternately when you press the [F3] (“L/R”) key.

4 Use “S (Start)” to set the start address, “LpS (Loop

Start)” to set the loop start address, and “E (End)” to set the end address.

The sample will sound as follows. When looping is on: S → E → LpS → E → (continue repeating LpS → E) When looping is off: S → E

Use the [ ], [ ] to select “S (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.

As necessary, you can press the [F4]–[F7] keys to expand or shrink the waveform display. Zoom will expand/shrink the display starting at the selected “S (Start),” “LpS (Loop Start),” or “E (End)” points.

Next, let’s name the 100 BPM drum phrase LOOP2- 100BPM.

Select “Index,” press the [INC] key to select 002, and use “Rename SMPL” to assign a name using the same procedure as above.

3. Make loop settings

Next we will delete unwanted portions from the sample, and make settings so that the sample will be looped smoothly.

By default when the power is turned on, sampled sounds will be looped automatically. (1.1: Recording, Input/Pref page “Auto Loop On ” On)

If you check “Zero (Use Zero),” locations where the waveform is at zero will automatically be found and selected when you use the [VALUE] dial etc. to set “S (Start),” “LpS (Loop Start),” or “E (End)” points. This makes it easy to set these points to addresses that will not produce clicks or noise.

For this example, set “LpS (Loop Start)” and “S (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 “E (End).”

Press the [F8] (“UTILITY”) key to access the utility menu, and press the [F7] key to select “Grid.” Press the [F8] (“OK”) key. The following dialog box will appear.

Check “Grid,” set “Resolution” to  , and press the [F8] (“OK”) key. Set “ (Grid Tempo)” to 140. With these settings, vertical dotted lines will be displayed at 140 BPM quarter note intervals.

Set “E (End).”

When “Lp (Loop)” is On, the dotted vertical “Grid” lines will start at “LpS (Loop Start).” If you want to set “End” at the end of one 4/4 measure, the fourth vertical line from the “LpS (Loop Start)” line will be the end of the ﬁrst measure. Place “E (End)” at this vertical line.

4. Convert to a program

Next we will convert the samples and multisample to a program.

1 Press the [F1] (“Edit1”) key to access the Edit1

page.

Alternatively, you may also use the 1.1: Recording page.

2 Execute the “Conv. To Prog” utility.

Press the [F8] (“UTILITY”) key to access the utility menu, and press the [F7] key to select “Conv. To Prog.” Press the [F8] (“OK”) key. The following dialog box will appear.

In “To,” specify the conversion destination program. In the above illustration, the I-E005 initial program has been selected.

If you execute the Convert operation with “Use Destination Program Parameter” unchecked, the sound as it was in Sampling mode will be created as a program. If you wish to use the program parameters of a preloaded program (I-A 000–I-D 127), and execute this operation with “Use Destination Program Parameters” checked.

5 Use “Truncate” to delete the unwanted data that is

outside of the start (or loop start) and end addresses.

Press the [F8] (“UTILITY”) key to access the utility menu, and press the [F7] key to select “Truncate.” Press the [F8] (“OK”) key. The following dialog box will appear.

Set “Truncate” to Front & End. In this example, we will not change the settings of the “Save to No.” and “Overwrite” check boxes, so press the [F8] (“OK”) key to execute. When you execute the operation, the truncated samples 0004: LOOP1-140B0004-L and 0005: LOOP1-140B0004-R will be automatically assigned to Index 1.

Please refer to “A note on saving samples” ( for a cautionary note regarding the “Save to No.” and “Overwrite” check boxes.

6 In the Edit1 page, select “Index” 002, make sure

that “SMPL” is set to 0002:LOOP2-100BPM-L, and repeat steps 3–5 to make loop settings for the 100 BPM sample.

☞p.73)

When you execute the Convert operation, the convert destination (“To”) program will be overwritten, and replaced by the converted program.

If you wish to execute the conversion with “Use Destination Program Parameters” checked for a stereo multisample, you must ﬁrst set the convert destination (“To”) program “Mode (Oscillator Mode)” parameter to Double in the PROG 2.1: EdBasic, Prog Basic page.

If necessary, press the [F5] (“Name”) key to access the text dialog box, and assign a program name.

Press the [F8] (“OK”) key. A dialog box will appear, asking you for conﬁrmation. Press the [F8] (“OK”) key once again to execute the conversion.

3 Listen to the converted program.

Move to Program mode, select the program (I-E 005 in this example), and play the keyboard etc. of the connected MIDI instrument to hear the sound.

The sample and multisample data you create will be lost when you turn off the power, but a converted program will automatically be written into internal memory. If you wish to reproduce these settings after you turn on the power again, you will need to ﬁrst save the samples or multisamples to external media in Disk mode. Then after turning on the power again, load the data with Clear selected for the “.KSC Allocation” parameter. W e r ecommend that you use “Save All” to save the data, so that the samples, multisamples, and the converted programs are saved together. When you load, load the data together in the same way.

☞p.40, PG p.134)

(

Basic functions

Basic operation of the TRITON-Rack

Selecting modes, pages and tabs; setting parameters

1. Selecting modes

● In order to use a particular function on the TRI-

TON-Rack, you must ﬁrst select the appropriate mode. Press one of the front panel mode keys ([COMBI] key – [DISK] key) to enter the corresponding mode.

[COMBI] key: Combination mode [PROG] key: Program mode [MULTI] key: Multi mode [SAMPLING] key: Sampling mode [GLOBAL] key: Global mode [DISK] key: Disk mode

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

3 Press the function key [F1]–[F7] that is nearest the

page you wish to select.

If multiple pages are assigned to one function key, press the same key to move the cursor downward. Y ou can also use the [ ], [ ], [ ], [ ] cursor keys to move.

4 Press the [F8] (“Open”) key.

When you press the [F8] key, you will jump to the selected page, and that page will appear.

As an example here, press the [F3] key three times to select “KeyZ,” and then press the [F8] (“Open”) key. The 3.3: Ed-Key Zone page will appear.

2. Selecting pages and tabs

Each mode has a large number of parameters, which are grouped into pages. Each page is further divided into as many as seven groups. These are referred to as “tabs.”

Selecting a page

1 Make sure that the desired mode is selected.

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

2 Press the [MENU] key.

The page menu will appear.

Y ou can also use the following alternative methods to select a page.

• Press the [MENU] key, and then use the [ ], [ ] keys to move forward or backward through the pages in the order of 1.1→2.1→2.2→2.3 etc.

• Hold down the [MENU] key, and use numeric keys [0]–[9] to enter a two-digit page number to move directly to the corresponding page. (To select the page shown above, you would press [3], [3].)

The page selected at this time will be the page that was last selected. If there is no corresponding page, nothing will happen.

When you press the [EXIT] key, you will return to

1.1 from any page.

Selecting a tab

5 Press the function key [F1]–[F7] that is nearest the

tab displayed at the bottom of the LCD screen.

As an example here, we will select the “Review” tab. Press the [F5] key.

• Some pages have no tabs.

6 To move to another page, press the [MENU] key

and repeat the procedure from step 3.

3. Selecting parameters

Use the [ ], [ ], [ ], [ ] cursor keys to select the parameter that you wish to edit.

In Combination mode pages that display timbres 1–8, or in Multi mode pages that display tracks 1–8 or 9–16, you can hold down the [TIMBRE/TRACK] key and press the nearest function key [F1]–[F8] to select the desired timbre or track.

4. Setting a parameter

The parameter value in the edit cell can be set by using the front panel VALUE controllers ([INC] key, [DEC] key, [VALUE] dial, numeric keys [0]–[9], [–] key, [./ HOLD] key, and [ENTER] key). As necessary, you can also use the [BANK] keys, [A]–[H] keys, and the [COMPARE] key. In the case of parameters that require you to enter a note or velocity value, you can enter the value by playing a key on a connected MIDI keyboard while holding down the [ENTER] key.

VALUE controllers

[VALUE] dial

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

[INC] key, [DEC] key

Use these when you wish to make ﬁne adjustments to the value.

Numeric keys [0]–[9], [ENTER] key, [–] key, [./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 [./HOLD] key to enter a decimal point. In Program and Combination mode 1.1: Play page, the [./ HOLD] key performs the 10’s Hold function. (

32)

[BANK] keys, [A]–[H] keys

The [BANK] keys and [A]–[H] keys are used in Program mode to select the program bank and in Combination mode to select the combination bank. In Combination mode, they are also used to select the program bank for each timbre of the combination. In Multi mode, these keys are used to select the bank of the program used by each track of the multi. These keys are also used to specify the bank in dialog boxes such as Write Program or Write Combination.

☞PG p.2,

[COMPARE] key

Use this key when you wish to compare an edited program or combination sound with the un-edited origi-

nal (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 [COMPARE] key once again, the LED will go dark and you will return to the settings that you were editing etc. 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 settings by pressing the [COMPARE] key again.

In Multi mode, the [COMPARE] key is used to compare the “before” and “after” states of pattern realtime recording, step recording, or event editing.

As an example, here’s how you can use Compare when recording a pattern in realtime.

1 Realtime-record a pattern. (Take 1) 2 Once again, realtime-record on the same pattern.

(Take 2)

3 Press the [COMPARE] key. The LED will light, and

take 1 will be recalled.

4 Press the [COMPARE] 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 pattern (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 pattern (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 in Sampling or Global modes.

Keyboard input

When inputting a note name or velocity value as the value of a parameter , you can use a key on a connected MIDI instrument to input the setting. Hold down the [ENTER] key and play the note that you wish to enter as a value. The note name (number) or velocity value will be input.

When the GLOBAL 5.1: DKit page or MULTI 5.1: RPPR, RPPR Setup page is displayed, you can hold down the [ENTER] key and play a note to recall the settings that have been assigned to the note you played. In Sampling mode, you can hold down the [ENTER] key and play a note to recall the index that is assigned to the note you played.

Basic functions

Basic operation of the TRITON-Rack

Saving data

Types of data that can be saved

On the TRITON-Rack, there are three ways to save data: writing to internal memory, saving on external media (ﬂoppy disk etc.), and MIDI data dump.

Writing to internal memory

The following data that you edit can be written into internal memory.

• Program

Programs 0–127 in banks I-A–I-F, E-A–E-H (However , bank I-F is available only if the separately sold EXB-MOSS option is installed.)

• Combination

Combinations 0–127 in banks I-A–I-E, E-A–E-H

• Global settings (1.1–4.1 page)

• User drum kits 000(I-A/B)–143(E-H)

• User arpeggio patterns U000(I-A/B)–U327(E-H)

• User template multis U00–U15

Song settings such as the multi name and tempo etc., track settings (☞p.58), arpeggiator settings, and effect settings can be saved (Write) to internal memory. Use the Multi mode Utility “Save Template Multi” to write this data (

If multisamples or samples from the RAM bank are used in the Multisample or Drum Kit of a pro- gram, you should be aware that these multisamples or samples cannot be written into memory. This means that if you turn the power off and then on once again, programs or combinations that use such multisamples or samples will not sound as intended. To reproduce such programs or combinations, the necessary multisamples or samples must be saved on external media (such as ﬂoppy disk), and then reloaded.

User pattern and RPPR settings for a multi in Multi mode and the various settings of Sampling mode cannot be written into internal memory by the Write operation.

DEMO/SNG song data that you loaded can be written into internal memory. Execute the Disk mode utility “Load to Demo Song” to write this data. (☞p.42, PG p.132)

☞PG p.51).

Saving to external media (ﬂoppy disk etc.)

The following data can be saved on external media (ﬂoppy disk etc.). If the separately sold EXB-SCSI option is installed, this data can also be saved on highcapacity media such as a hard disk etc.

For details on the ﬁle format when saving (

• Programs, combinations, global settings, user drum kits, and user arpeggio patterns from internal memory

• Multi and user patterns

• Multisamples and sample data created in Sampling mode

• Standard MIDI Files (SMF)

Save one pattern of Multi mode as SMF data.

• System exclusive data

System exclusive data received by the TRITONRack from an external MIDI device (The TRITONRack can function as a data ﬁler.)

☞PG p.133).

MIDI data dump

The following types of data can be transmitted as a MIDI data dump and saved on an external data ﬁler or other device.

• Internal memory programs, combinations, global settings, user drum kits, and user arpeggio patterns

• Multis, user patterns

About preloaded data and preset data

Preloaded data is the data that is loaded into memory at the factory. This data can be rewritten, and is written into the various locations listed in the preceding section “Writing to internal memory.” This data is also stored on the included ﬂoppy disk.

• Program banks INT-A–INT-D: 000–127, INT-E: 000– 002

• Combination banks INT-A–INT-D: 000–127

• User drum kits 000 (I-A/B)–015 (I-A/B)

• User arpeggio patterns U000 (I-A/B)–U199 (I-A/B)

• Demo songs 000–004

Preset data is data that cannot be rewritten by the Write operation. This includes the following data.

• Program banks G, g(1)–g(9), g(d) 001–128

• Preset drum kits 144 (GM)–152 (GM)

• Preset arpeggio patterns P000-P004

• Preset template multis P00–P15

• Preset patterns P000–P149

• Program audio riffs 001–382

Writing to internal memory

Memory protect

To prevent programs, combinations, multis, drum kits and user arpeggio patterns from being overwritten accidentally, the TRITON-Rack provides a Memory Protect setting that prohibits writing to memory.

Before you save edited data or load data from ﬂoppy disk or other external media, use the following procedure to turn off memory protect (uncheck the appropriate check box).

Y ou should also turn memory pr otect off if you want to load the above data from external media or via MIDI data dump, or if you wish to record or edit patterns in Multi mode.

1 Press the [GLOBAL] key to enter Global mode

(LED lit), and press the [EXIT] key to select 1.1: System.

2 Press the [F2] (“Pref.”) key to access the 1.1: Sys-

tem, Preferences page.

3 Uncheck the appropriate “Memory Protect” check

box for the data that you wish to write into internal memory.

Writing a program or combination

The programs or combinations that you create by using the Performance Editor or by editing parameters in the various edit (Ed) pages can be saved in the internal memory of the TRITON-Rack. This action is referred to as “writing a program” or “writing a combination.” If you want your edited data to be preserved after the power is turned off, you must write it.

There are two ways to write a program or combination.

Before you write data into memory, you must turn off the memory protect setting in Global mode. (

☞“Memory protect”)

The screen shown is for Program mode

2 In “Category,” specify the category of the program/

combination.

If the category you specify here is for a program, you can use it when selecting by category in the Cat. Hold function or the “Select by Category” utility in PROG 1.1: Play, “Program Select” in the COMBI 1.1: Play, Prog page, the COMBI 2.1: Ed-Prog/Mix.Prog page, or the MULTI 1.1: Play, Program page utility “Select by Category.”

In the case of a Combination, the category you specify here can be selected when you use the “Select by Category” utility or the Cat. Hold function in COMBI 1.1: Play: (“Combi Select”).

3 Use “To” to specify the bank and number of the

writing destination program/combination.

Use the [VALUE] dial, [BANK], [A]–[H], [INC], [DEC] keys, or numeric keys [0]–[9] and the [ENTER] key to specify the destination.

4 If you wish to change the name of the program/

combination, press the [F5] (“Name”) key.

The text dialog box will appear. Input the name of the program/combination. (Rename)”

After you have input the name, press the [F8] (“OK”) key to return to the Write Program/Write Combination dialog box.

5 To execute the Write operation, press the [F8]

(“OK”) key. To cancel without executing press the [F7] (“Cancel”) key.

When you press the [F8] (“OK”) key, the display will ask “Are you sure?” When you press the [F8] (“OK”) key once again, the data will be written.

☞“Assigning a name

Using the [WRITE] key to write

This method can only be used to write to the selected program/combination number.

1 Press the [WRITE] key.

The following dialog box will appear.

The screen shown is for Program mode

Basic functions

Saving data

Using a Utility menu command to write

1 Select the Utility “Write Program” or “Write Com-

bination.”

The Write Program/Write Combination dialog box will appear.

Y ou can also access the same dialog box by holding down the [ENTER] key and pressing the [0] key.

2 To write the data, press the [F8] (“OK”) key. To

cancel without writing, press the [F7] (“Cancel”) key.

Assigning a name (Rename)

You can modify the name of an edited program, combination, multi, drum kit, user arpeggio pattern, multisample or sample etc.

You can also modify the category names for programs and combinations.

These renaming operations can be performed in the following pages.

Programs PROG 1.1...7.3 Utility: Write Program Combinations COMBI 1.1...7.3 Utility: Write Combination Multis MULTI 1.1...4.4, 6.1 Utility: Rename Multi Tracks MULTI 1.1, 5.1 Utility: Rename Track Patterns MULTI 5.1 Utility: Rename Pattern Multisamples SMPL 1.1...4.1, 5.2 Utility: Rename MS Samples SMPL 1.1...4.1, 5.2 Utility: Rename SMPL Drum kits GLOBAL 5.1 Utility: Rename Drum Kit User arpeggio patterns GLOBAL 6.1 Utility: Rename Arpeggio Pattern Program categories GLOBAL 4.1: TEXT Combination categories GLOBAL 4.1: TEXT File DISK, Save Utility: Save All...Export Smpl AIF/

WAV

1 Open the text dialog box.

Refer to the above table for the relevant page. In the utility commands, press “Name” (the [F5] key) in the dialog box that appears. In GLOBAL 4.1, select “TEXT” (press the [F5] key).

The function buttons will have the following functions.

Clear: Erase all text. Del (Delete): Delete the character at the cursor loca-

tion.

Ins (Insert): Insert a space at the cursor location. Cap. (Capital): Switch between uppercase and

lowercase letters.

: Move the cursor to the left. : Move the cursor to the right.

The following input operations can also be performed.

“0”–“9,” “–,” and “.” can be input using the numeric keys. When you input these, the cursor will advance automatically.

To input successive spaces (blanks), press the [ENTER] key at the last-selected text.

About the Edit Buffer

When you select a program or combination in PROG

1.1: Play and COMBI 1.1: Play, the program or combi-

nation data is called into the “edit buffer.” When you modify the parameters in 1.1: Play or in the edit pages 2.1–7.3 of Program mode or Combination mode, the changes you make will affect the data in the edit buffer. If you wish to save this modiﬁed data into internal memory, you must perform the Write operation. When you perform the W rite operation, the data in the edit buffer is written to the speciﬁed program number or combination number of the speciﬁed bank. If you select another program or combination without writing, the data of the newly selected program or combination will be called into the edit buffer, and your changes will be lost.

For example if you wish to input the text shown in the screen shown above, you would use the following procedure.

2 Press the [F1] (“Clear”) key.

All text of the text box will be erased.

3 Input “A”

Use the [VALUE] dial, the [INC], [DEC] keys, or [ ], [ ], [ ], [ ] keys to select “A.” Press the [ENTER] key or [F6] (“ ”) key. The cursor will move.

4 Input “.”

Use the [VALUE] dial, the [INC], [DEC] keys, or [ ], [ ], [ ], [ ] keys to select “.” Press the [ENTER] key or [F6] (“ ”) key. The cursor will move.

Repeat this step to input all the characters.

5 Press the [F8] (“OK”) key.

If you selected “Name” in the dialog box of step 1 to access the text dialog box, you will return to the previous dialog box. Press the [F8] (“OK”) key in that dialog box to execute the Rename operation. If you selected “TEXT” in step 1 to access the text dialog box, the Rename operation will be executed.

When you press the [COMPARE] key in the edit pages 2.1–7.3 of Program mode or Combination mode, the data from memory (i.e., the contents that were written into memory) will be temporarily called into the edit buffer. This allows you to compare the settings you are editing with the original un-edited settings.

Editing applies to the data in the edit buffer. Programs or combinations will play according to the data in the edit buffer.

Edit

When you select a program or combination, its data is called from internal memory into the edit buffer.

Combination

Bank EXB-A 0...127

When you write, the program or combination settings will be saved in internal memory.

Program

Bank INT-A 0...127

Bank EXB-A 0...127

Edit Buffer

Write

Internal Memory

Program

Select

Combination

Bank INT-A 0...127

Writing global settings, user drum kits, and user arpeggio patterns

The settings you edit in Global mode can be written into internal memory . This is done using the operations

Write Global Setting, Write User Drum Kits, and W rite User Arpeggio Patterns. If you wish to use these

settings after turning the power off, be sure to write the data.

There are two ways to write global settings, user drum kits, and user arpeggio patterns.

Using the [WRITE] key to write

1 In the following pages, press the [WRITE] key. A

dialog box will appear. Global settings: GLOBAL 1.1–4.1

User drum kits: GLOBAL 5.1 User arpeggio patterns: GLOBAL 6.1

The example shown is for Update Arpeggio Patterns

Before you write a user drum kit or user arpeggio pattern, the Global mode memory protect setting must be turned off (

☞“Memory protect”).

The user arpeggio pattern settings “Tempo,” “Pattern,” “Octave,” “Resolution,” “Sort,” “Latch,” “Key Sync,” and “Keyboard” are parameters that are set independently in Program, Combination, and Multi mode. These settings are not saved when you perform the Write operation described here. If you moved from Program or Combination mode and set these parameters, you must return to the original mode and write them.

Using a Utility menu command to write

1 To write global settings (the various settings in

GLOBAL 1.1–4.1), select the “Write Global Setting” utility in GLOBAL 1.1–4.1, and press the [F8] (“OK”) key.

The Write Global Setting dialog box will appear.

To write user drum kits, select the Utility “Write Drum Kits” in GLOBAL 5.1, and press the [F8] (“OK”) key.

The Write Drum Kits dialog box will appear.

To write user arpeggio patterns, select the Utility “Write Arpeggio Patterns” in GLOBAL 6.1, and press the [F8] (“OK”) key.

The Write Arpeggio Patterns dialog box will appear.

2 To execute the Write operation, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Memory in Global mode

When the power is turned on, the Global mode data is called from internal memory into the Global mode memory area. Then when you modify the parameters in Global mode, the data in the memory area will be modiﬁed. If you wish to save this modiﬁed data in internal memory, you must write it. When you write, the data in the memory area will be written into the global settings, drum kits, and arpeggio patterns of internal memory. If you turn off the power without writing, the modiﬁed data in the memory area will be lost.

Editing will affect the data that has

When you write, the various Global mode settings will be saved in internal memory.

Global Setting

been called into the memory area.

Memory Area

Write

Power On

Internal Memory

Drum Kit

Edit

When the power is turned on, the settings are called into the memory area.

Arpeggio

Pattern

Basic functions

Saving data

The same dialog box will also appear if, in each of the above pages, you hold down the [ENTER] key and press the [0] key.

The example shown is for Write Arpeggio Patterns

2 To execute the Write operation, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

When you press the [F8] (“OK”) key, the display will ask “Are you sure?” Press the [F8] (“OK”) key once again to write the data.

Saving on external media

For details on the data that can be saved on external media (ﬂoppy disk etc.) (☞p.36 “Types of data that can be saved”).

6 Select the “Save All” utility.

The user patterns or RPPR settings of Multi mode and the multisamples and samples of Sampling mode cannot be written into internal memory. This data will disappear when the power is turned off. If you wish to keep this data, you must save it on a ﬂoppy disk or on other external SCSI storage media (if the separately sold EXB-SCSI option is installed). Other types of data can also be saved on a ﬂoppy disk, or (if the separately sold EXB-SCSI option is installed) on external SCSI storage media (maximum 4 GB), and loaded to restore the original settings even if they have been modiﬁed. It is a good idea to save favorite settings that you create.

As an example, we will explain how to save the following data.

• Internal memory programs, combinations, global settings, user drum kits, user arpeggio patterns

• Multi, user patterns

• Multisamples and samples created in Sampling mode

Multiple ﬂoppy disks may be required to save all requested data.

1 If you wish to save the data on a ﬂoppy disk, insert

a ﬂoppy disk into the TRITON-Rack’s ﬂoppy disk drive.

For details on ﬂoppy disk handling, be sure to refer to “Cautions when handling ﬂoppy disks” (☞p.84).

If the separately sold EXB-SCSI option is installed and you wish to save the data on a hard disk or other external SCSI media, refer to the EXB-SCSI owner’s manual, and make sure that the external SCSI drive etc. is connected correctly.

Format the disk if necessary (

2 Press the [DISK] key. You will enter Disk mode.

☞PG p.137)

Press the [F8] (“UTILITY”) key to access the utility menu. Press the [F7] key to select “Save All,” and then press the [F8] (“OK”) key.

A dialog box will appear. The contents of the dialog box and the settings etc. will differ depending on the type of data that you are saving. For details on each type of ﬁle (

7 Press the [F5] (“Name”) key to access the text dia-

log box, and input the name. ☞p.38

8 Press the [F6] (“S.Item”) key, and un-check the

items that you do not need to save.

Select item

Use “Select Item” to select Prog Bank, Combi Bank, Drum Kit, or Arpeggio Pattern, and select the items (banks) that you wish to save. The items whose check boxes are checked will be saved. After making your selection(s), press the [F8] (“OK”) key.

9 Press the [F8] (“OK”) key to execute the Save oper-

ation.

If the data ﬁts on one volume of media

The data will be saved on the speciﬁed media, and you will return to the Save page. The amount of time required will depend on the amount of data.

If a ﬁle with the same name already exists on the ﬂoppy disk, you will be asked whether you want to overwrite. If you wish to overwriting, press the [F8] (“OK”) key. If you wish to save without overwriting, press the [F7] (“Cancel”) key, re-do the operation from step 6, and rename the data in step 7 before saving it.

☞PG p.133).

Drive Select

3 Press the [F2] (“Save”) key to access the Save page. 4 When saving to external SCSI media, choose Drive

Select, and specify the save destination drive.

5 If the media contains directories, select the direc-

tory in which you wish to save the data.

To move to a lower directory level, press the [F6] (“OPEN”) key. To move to a higher level, press the [F5] (“UP”) key.

If the data does not ﬁt on one volume of media (ﬂoppy disk)

The “No space available on medium” dialog box will appear. (

Y ou can divide the ﬁle and save the data on multiple volumes of media. If you do not want to divide the data, press the [F7] (“Cancel”) key, and re-save the data on media that has more free area or on a different drive (if the separately sold EXB-SCSI option is installed).

☞PG p.133)

1) Make sure that you have a sufﬁcient number of ﬂoppy disks, and press the [F8] (“OK”) key. Saving will begin.

2) When the disk is full, the following dialog box will appear.

Other ways to save

In addition to “Save All,” the Utility menu commands include “Save PCG” which saves programs, combinations, drum kits, user arpeggio patterns, and global settings; “Save Multi” which saves only multi and user patterns; and “Save Sampling Data” which saves only multisamples and samples. Select the appropriate Utility menu command for the data that you wish to save on external media.

3) Insert the next ﬂoppy disk into the TRITONRack’s ﬂoppy disk drive.

4) Press a function key etc. to make the TRITONRack detect the next ﬂoppy disk.

5) Press the [F8] (“Select”) key. Saving will begin.

6) If the “No Space available on medium” dialog box appears again, repeat steps 1)–5).

If you decide to cancel the Save operation, press the [F7] (“Cancel”) key.

The dialog box of step 2) will appear. Press the [F7] (“Cancel”) key will appear.

The display will ask “Are you sure?” Press the [F8] (“OK”) key. This will cancel the Save operation.

7) When saving is complete, you will return to the Save page.

0 When saving ends and you return to the Save

page, the LCD screen will show the ﬁle that was saved.

The data will be saved as the following ﬁles.

.PCG ﬁle

Programs, combinations, drum kits, user arpeggio patterns, and global settings that were saved in internal memory

.SNG ﬁle

Multi and user patterns

.KSC ﬁle

A ﬁle which lists the multisamples and samples used

MIDI data dump

The programs (I-A–I-F, E-A–E-H)), combinations (I-A– I-E, E-A–E-H), drum kits, arpeggio patterns and global settings of internal memory, and multi and user arpeggio patterns can be transmitted as MIDI exclusive data and saved on a connected MIDI data ﬁler , computer, or another TRITON-Rack. (

☞PG p.113)

Basic functions

Saving data

When loading ﬁles that were saved across multiple volumes of media, a “Where is a ...” dialog box will appear during the loading process. Insert the disk containing the speciﬁed ﬁle, select the directory, and press the [F8] (“Select”) key to load the data. (

☞PG p.125)

Restoring the factory settings

Loading the preloaded data and demo songs

1. Loading programs, combinations, global settings, arpeggio patterns, and drum kits

Here’s how to restore the preloaded data (☞p.36) for programs, combinations, global settings, user arpeggio patterns, and user drum kits to the factory settings.

When you perform the Load operation described below, the data that had been previously written will be overwritten (and lost).

1 Insert the included TNRFD-00P ﬂoppy disk into

the ﬂoppy disk drive.

For the contents of the included ﬂoppy disks, refer to p.81. For details on handling and inserting ﬂoppy disks, refer to p.84.

2 Press the [DISK] key to enter Disk mode. 3 Press the [F1] (“Load”) key.

File information will be displayed in the Load page.

4 Select “PRELOAD.PCG”

It will be highlighted. A .PCG ﬁle contains programs, combinations, drum kits, arpeggio patterns, and global setting data.

5 Press [F8] (“UTILITY”) key, and select Utility

“Load Selected.”

A dialog box will appear.

2. Loading the demo songs

Here’s how to restore the demo song data played in the DEMO/SNG page to the factory settings.

When you load this data, the multi data in Multi mode will be overwritten. Please save it before you continue. Any editing you did on the drum kit or arpeggio pattern data in the Global mode memory area will also be lost. (

1 Insert the included TNRFD-00P ﬂoppy disk into

the ﬂoppy disk drive.

For the contents of the included ﬂoppy disks, refer to p.81. For details on handling and inserting ﬂoppy disks, refer to p.84.

2 Press the [DISK] key to enter Disk mode. 3 Press the [F1] (“Load”) key.

File information will be displayed in the Load page.

4 Select “DEMOSONG.SNG”

It will be highlighted. The DEMOSONG.SNG ﬁle contains demo song data.

5 Press the [F8] (“UTILITY”) key, and select the

“Load to Demo Song” utility.

The following dialog box will appear.

6 Press the [F8] (“OK”) key to begin loading.

☞PG p.132)

6 Set “.PCG Contents” to All. (☞p.81) 7 Press the [F8] (“OK”) key to begin loading.

Program mode

In Program mode you can select and edit programs. Program mode consists of pages 1.1: Play–7.3: Ed–MasterFX. In 1.1: Play you can select and play programs. You can also edit the sound in simple ways, and make arpeggiator settings. (☞p.26) In 2.1: Ed–Basic–7.3: Ed–MasterFX, you can edit the parameters of the program that was selected in 1.1: Play.

The TRITON-Rack provides AUDIO INPUT jacks that allow an external audio source to be input. In addition to sampling the external audio input in Sampling mode, you can apply the TRITONRack’s effect section to the external audio input in other modes such as Program mode, or even use vocoder effects that combine the sound of an oscillator with an external audio source (☞p.97, PG p.197)

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 2.1: MIDI “MIDI Channel.”

Basic program editing

With the factory settings, the TRITON-Rack’s INT-A– INT-D contain preloaded programs. You can modify these programs, or create your own original programs from an initialized state. You can also create original programs using samples/ multisamples that you sampled in Sampling mode (or loaded into memory in Disk mode).

Programs you edit or create can be written to 1,664 program memory locations: bank INT-A–INT-E, and EXBA–EXB-H. Programs can also be saved in Disk mode on external media such as ﬂoppy disk. (☞p.36)

For parameters in 2.1: Ed–Basic–5.3: Ed–LFOs that are set independently for each oscillator 1 and 2, you can use the Utility “Copy Oscillator” to copy settings from one oscillator to the other. This is a convenient way to make the same settings for two oscillators, or to copy settings from one oscillator to the other.

If you wish to save an edited program into internal memory, be sure to Write the program. (☞p.37)

Basic functions

How a program is organized

A program consists of the many parameters of 2.1: Ed– Basic–7.3: Ed–MasterFX. The diagram below shows the structure of a program.

Program Basic : 2.1-1

OSC1 LFO2 : 5

Amp1 Mod. : 5

.3-2

Amp1 Level/Pan : 5.1-1

.1-2

Amp1 EG : 5

.1-3

OSC Basic : 2.1-2, 4

OSC1 Pitch Mod. : 3.1-1/2

OSC1 LFO1 : 5

.3-1

Filter1 Mod. : 4.1-2,3

Filter1 LFO Mod. : 4.1-4

Filter1(A/B) : 4.1-1

Filter1 EG :

4.1-5

If the separately sold EXB-MOSS option is installed, you will be able to use bank F. The parameter structure of bank INT–F programs is different than that of the other banks. Refer to the EXB-MOSS owner’s manual.

In this section we will give examples of how to modify representative parameters in each page. For details on all parameters, refer to in the PG p.1–.

2.1-5

Controller Setup:

2.2

Arpeggiator : 6.1

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1,2,3,4

BUS : 7.1-1

OSC1,2

Insert Effect Master Effect IndividualOutput

Insert Effect1 ... 5:

7.2

Master Effect 1, 2:

7.3-1...3

Audition:

MasterEQ : 7.3-4

Program mode

Pitch EG : 3.1-5

Oscillator / Pitch

Filter

Ampilfier

OSC 1 OSC 2

Effect

1.1-1 and 2.1-2 etc. indicate the page tab screens used when editing on the TRITON-Rack.

The three elements of sound

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

On the TRITON-Rack, these elements correspond to the Pitch, Filter, and Ampliﬁer settings of the 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: 2.1: Ed-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: 3.1: Ed-Pitch), ﬁl- ter settings (Filter: 4.1, 4.2: Ed-Filter), and amp settings (Ampliﬁer: 5.1, 5.2: Ed-Amp) to create the basic sound of the program. This basic sound can then be modiﬁed further by using

insert effects (7.2: Ed-Insert FX settings), master effects, and master EQ (7.3: Ed-Master FX settings) to

apply ﬁnishing touches. When arpeggiator settings (6.1: Ed-Arp) and controller settings (2.2: Ed-Ctrl) are added to this, the ﬁnal result is called a “program.”

Programs that are used in Combination mode or Multi mode have insert effect, master effect, master EQ, arpeggiator, and controller settings that are separate from those of Program mode.

Basic (Prog Basic) page

Mode (Oscillator Mode)

This sets the mode of the oscillator. Single uses one oscillator and Double uses two oscillators. In the case of Single 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. (☞p.50)

Mode (Voice Assign Mode)

Selects whether the program will sound in Poly (poly- phonically) 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 analog-synth bass or synth lead. T ry switching between Poly and Mono, and listen to the result.

OSC1 page, OSC2 page

The Compare function

When 2.1: Ed–Basic–7.3: Ed–MasterFX are displayed, you can press the [COMPARE] to make the LED light. This will recall the sound that had been written before you started editing. Press the [COMPARE] key once again and the LED will go dark, and you will return to the sound that you had been editing. Use this function when you wish to compare the unedited sound with the results of your editing.

When the [COMPARE] key LED is lit, editing a parameter will make the LED go dark, and that sound will now be the sound that is recalled when the [COMPARE] key LED is dark.

Oscillator settings 2.1: Ed–Basic

In 2.1: Ed–Basic you can make oscillator-related settings. The TRITON-Rack provides two oscillators, and for each oscillator you can select a basic waveform (“multisample”) and set the pitch. The multisamples provided by the TRITON-Rack 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.”

Speciﬁes the multisample for oscillator 1, 2.

Selecting a multisample

The multisample will determine the basic character of the program.

● Use “High MS Bank” to select the multisample

bank, and use “High Multisample” to select the multisample.

If the “High MS Bank” is ROM, you can select preset multisamples. “High Multisample” can be selected from a range of 000–424. ( If the “High MS Bank” is RAM, you can select multisamples that were created in Sampling mode or loaded in Disk mode. “High Multisample” can be selected from a range of 000–999. If “High MS Bank” is EXB*, you can select multisamples from a separately sold EXB-PCM series option. The type of installed option will be shown in “*.”

You can use the “Select by Category” utility to select internal ROM multisamples from 15 categories. (

☞PG p.8)

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.

☞VNL)

1 Specify different multisamples for “High Multi-

sample” and “Low Multisample.”

2 Specify a velocity value for “Velocity SW L→H.”

Notes played on a connected MIDI 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 SW L→H” to 100, playing the keyboard softly will sound the “Low” multisample, and playing strongly will sound the “High” multisample.

3 Adjust the “Level” for High and Low multisam-

ples to set their volume balance.

If you do not wish to use this function, set the “Velocity SW L → H” 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 “Mode (Oscillator Mode)” to Double in the Basic (Prog 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 Utility “Copy Oscillator” to make the oscillator settings match each other.

When “Oscillator Mode” = Drums

(It is easy to create programs using samples that were recorded in Sampling mode, or multisamples/ samples that were loaded in Disk mode.)

• Nine internal drum kits (ROM)

• 143 user drum kits created in Global mode (Drum samples or original samples you recorded 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.

• Expansion drum sets (if separately sold EXB-PCM options are installed)

V.Zone (Velocity Zone) page

Here you can specify the range of velocities that will sound oscillators 1 and 2. In the example shown above, the velocity ranges are as follows.

• OSC1 will sound for all velocity values.

• OSC2 will sound only for strongly played notes (64 and above).

• You can use Velocity Multisample Switching in addition to this ( Multisample”). For this example, set “OSC1” in “Velocity SW L→H” to 32 and “OSC2” to 96. 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:

sound only the OSC1 Low multisample.

Velocity values 032–063:

sound only the OSC1 High multisample.

Velocity values 064–095:

sound the OSC1 High multisample and the OSC2 Low multisample.

Velocity values 096–127:

sound the OSC1 High multisample and the OSC2 High multisample.

☞“High Multisample, Low

Basic functions

Program mode

In the Basic (Prog Basic) page, set “Mode (Oscillator Mode)” to Drums. When this is set to Drums, you will be able to create a drum program. This will select a drum kit instead of a multisample. The TRITON-Rack provides sixteen factory preset drum kits that are suitable for a wide variety of music. (

☞Drumkit name, VNL)

Here you can only select a drum kit. To edit or create a drum kit, use GLOBAL 5.1: DKit (☞p.78).

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

• 425 internal multisamples (ROM)

• Expansion multisamples (if separately sold EXBPCM options are installed)

• Multisamples created in Sampling mode (RAM)

Controller settings 2.2: Ed–Ctrl

Ctrls (Controls) page

For each program, this tab lets you make settings for the “SW1” and “SW2,” and for the B-mode of REALTIME CONTROLS knobs [1]–[4] (☞p.100, PG p.10, 213,

214)

Pitch settings 3.1: Ed–Pitch

Here you can specify how the pitch of the multisample selected for the oscillator will change. Pitch EG and LFO settings allow the pitch to varied over time.

The parameters of the OSC2 page and OSC2lfo page are valid if “Mode (Oscillator Mode)” is set to Double.

OSC1 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 etc. of a MIDI-connected TRITON or other instrument 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 (#16)” 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 or other MIDI-connected instrument is moved to left or right. With a setting of +12, the pitch will rise one octave at the far right of the ribbon controller, and fall one octave downward 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 porta- mento.

If Porta.SW (CC#65) is assigned as the function of “SW1” or “SW2,” the portamento effect can be switched on/off by “SW1” or “SW2.”

OS1lfo (OSC1 LFO) page

“Intensity (AMS Intensity)” speciﬁes the depth of vibrato that will be applied by the LFO when AMS (Alternate Modulation Source) is operated. For example if “AMS (LFO1 AMS)” is set to AfterT and you set an appropriate value for “Intensity (AMS Intensity),” vibrato will be applied when you apply pressure to the keyboard of a connected MIDI instrument or when MIDI aftertouch messages are received.

EG (Pitch EG) page

Here you can make 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 (

EG and LFO

By using an EG (envelope generator) to apply timevarying 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, and volume.

EG (Envelope Generator)

The TRITON-Rack provides a Pitch EG, Filter EG, and Ampliﬁer EG, which produce time-varying changes in pitch, tone, and volume respectively.

note-on

Level

Attack Level

Decay Time

Attack Time Start Level

LFO (Low Frequency Oscillator)

For each oscillator, the TRITON-Rack 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

☞PG p.12).

note-off

Release Level

Release Time

Time

LFO 1/2

An LFO can be used to cyclically modulate the pitch (the “vibrato” effect).

“Intensity (LFO Intensity)” sets the depth to which the LFO speciﬁed in 5.3: Ed-LFOs 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 depth of vibrato that will be applied by the LFO when a joystick etc. is operated on a MIDI-connected TRITON or other instrument, or when CC#1 is received.

Filter settings

4.1: Ed–Filter1, 4.2: Ed–Filter2

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 signiﬁ-

cantly on the ﬁlter settings.

The TRITON-Rack 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 “Mode (Oscillator Mode)” is set to Double.

Level

Overtones included in the original multisample

Frequency (pitch)

Filter

Level

Filter characteristics

This area of overtones will be diminished

Overtones after passing through the filter

Frequency (pitch)

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

Basic page

Filter Type, Filter A, Filter B

Selects the type of ﬁlter, and specify the “Frequency” (cutoff frequency) and “Resonance” (resonance level).

• Low Pass Resonance (24 dB/oct low pass filter with resonance): Make settings for filter A.

• Low Pass & High Pass (12 dB/oct low pass filter and 12 dB/oct high pass filter in series connection): Make low pass filter settings in filter A, and high pass filter settings in filter B.

Low pass ﬁlter

This is the most common type of ﬁlter, which passes the low frequency range 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

Mod.1, Mod.2 page

Controllers and the ﬁlter EG can be used to modulate the ﬁlter cutoff frequency that was speciﬁed in the Basic 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 (Mod.1 page)

The cutoff frequency can be adjusted by the position at which a note is played on a connected MIDI keyboard.

• 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.

• Int. “to A” and “to B” adjust the effect that

keyboard tracking will have on filters A and B (

☞PG p.15).

Basic functions

Program mode

High pass ﬁlter

This type of ﬁlter passes the high frequency range and cuts the low frequency range. Use this when you wish to make the sound thinner. However if the cutoff frequency (Frequency) is raised excessively high, the volume will become very low.

High Pass

Level

12dB/oct

Frequency

Filter EG (Mod.1 page)

Adjusts the effect produced by the ﬁlter EG, whose settings are made in the EG page.

• Use the Int. “to A” and “to B” settings to specify

the depth of the filter EG.

• Use the Vel “to A” and “to B” settings to specify

the effect of velocity on the filter EG.

•“AMS” and “Int to A, 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 Modulation (Mod.2 page)

Set this when you wish to produce tonal change by using controllers etc. to vary the cutoff frequency.

lfoMod (LFO Mod.) page

Indicates settings that allow the LFO to produce cyclic changes in tone (a “wah” effect).

Intensity: “to A (LFO1 Int. to A)” and “to B (LFO1 Int. to B)” specify how greatly the LFO will change the tone. JS-Y Int.: “to A” and “to B” specify the depth of the wah effect that will be produced by the LFO when the joystick of a MIDI-connected TRITON or other instrument is moved toward yourself, or when CC#2 is received. “Int. to A” and “Int. to B” specify the depth of the wah effect that will be produced by the LFO when “AMS” (Alternate Modulation Source) is operated. For example if “AMS” is set to AfterT, applying pressure to the keyboard of a connected MIDI instrument (that has aftertouch) will apply a wah effect.

EG page

Indicates settings for the ﬁlter EG, which controls timevariant changes in tone ( the EG here, and set the depth of its effect in the Mod.1 page “Filter EG” parameter.

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. ( EG page, 5.2: Ed–Amp2, EG page)

☞PG p.17). Make settings for

☞“5.1: Ed–Amp1,

Volume

Piano

Volume decays gradually

Volume

Time

Organ

Volume remains constant until note is released

Time

Lvl/Pan (Level/Pan) page

Amp1 Level, Amp2 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 “Mode (Oscillator Mode)” is Double and you wish to create a sense of stereo, set the 5.1: Ed-Amp1 and 5.2: Ed-Amp2 parameter “Pan” to left and right for oscillators 1 and 2 respectively. With a setting of Random, the pan will change ran- domly each time you play a note on a connected MIDI keyboard, producing an interesting effect.

AMS Intensity

“Intensity” speciﬁes the depth of the panning effect that will occur when “AMS” is operated.

If you set “AMS” to Note No., the pan will change according to the keyboard position at which you play a note on a connected MIDI keyboard. With a setting of LFO1 or 2, the pan will sweep from side to side (auto pan). Other settings allow you to move the oscillator pan by operating a controller.

Ampliﬁer settings

5.1: Ed–Amp1, 5.2: Ed–Amp2

These settings affect the volume. Here you can adjust the way in which the Amp EG and LFO produce timevarying 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 “Mode (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).

Use DKit Setting

This is valid when “Mode (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.

Mod. page

Keyboard Track

This varies the volume according to the keyboard position at which you play a note on a connected MIDI keyboard.

• When Ramp “Low” has a positive (+) value, the

volume will increase as you play lower on the

keyboard. With a negative (–) value, the volume will decrease as you play lower on the keyboard.

• When Ramp “High” has a positive (+) value, the volume will increase as you play higher on the keyboard. With a negative (–) value, the volume will decrease as you play higher on the keyboard.

Amp Mod.

“Velocity Int” is used by most programs to decrease the volume of softly played notes and increase the volume of strongly played notes, and this Amp Modulation parameter adjusts the depth of this control. Normally you will set Amp Modulation to positive (+) values. As this setting is increased, ther e will be greater volume difference between softly played and strongly played notes.

LFO1 Mod., LFO2 Mod.

Specify how the LFO’s will produce cyclic changes in volume (the tremolo effect). The volume will be affected by the LFO(s) for which you set an “Intensity (LFO1 Intensity, LFO2 Intensity)” value. “Int (AMS Intensity)” adjusts the depth by which the tremolo effect produced by the LFO will be affected when you operate 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 a MIDI-connected TRITON etc. toward yourself, or when CC#02 is received.

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 strings-type Amp EG curve to an organ-type multisample, you can produce a sound with a character unlike a typical organ.

Piano

Filter1, 4.2: Ed-Filter2, 5.1: Ed-Amp1, and 5.2: EdAmp2 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 pr oduce a sample-and-hold effect ( Y ou can cr eate a wide variety of effects by adjusting the “Ofs,” “Fade,” and “Dly” settings, and by changing the sign (+/-) of the “Intensity” setting in the 3.1: EdPitch, 4.1: Ed-Filter1, 4.2: Ed-Filter2, 5.1: Ed-Amp1, and

5.2: Ed-Amp2 pages. “Frequency” speciﬁes the speed of the LFO.

☞PG p.23).

Freq.Mod (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.

MIDI/Tempo Sync.

If “MIDI/Tempo Sync” is checked, the “Frequency” setting will be ignored, and the LFO will synchronize to the tempo of the arpeggiator etc. This lets you produce vibrato, wah, auto-pan, or tremolo that is synchronized to the playback speed of the arpeggiator.

Arpeggiator settings 6.1: Ed–Arp.

Here you can make arpeggiator settings (☞p.85).

BUS settings 7.1: Ed–BUS

Basic functions

Program mode

Organ

Strings

LFO settings 5.3: Ed–LFOs

For each oscillator, you can use two LFO (Low Frequency Oscillator) units: LFO1 and LFO2. You are 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 3.1: Ed-Pitch, 4.1: Ed-

Y ou can specify the oscillator r outing (the signal sent to the insert effects, master effects, and independent outputs) (☞p.95).

Insert Effect settings 7.2: Ed–InsertFX

Here you can select insert effects and make settings for them (☞p.95).

Master Effect settings

7.3: Ed–MasterFX

Here you can select master effects and make settings for them. The master EQ is also set here (☞p.96).

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 control alternate modulation, and includes controllers such as the realtime controller that you physically operate, incoming MIDI data, as well as modulators such as the EG or LFO. Since the TRITON-Rack allows you 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 on the TRITON etc. performance (such as using the joystick or ribbon controller to vary the pitch) are also provided as special parameters separately from alternate modulation.

The TRITON-Rack 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 sour ces. (However depending on the type of modulation, some sources cannot be selected.) For details on alternate modulation and AMS, refer to PG p.205.

Suggestions on using alternate modulation

When making settings for alternate modulation, think of the effect that you wish to produce, what type of modulation will be necessary to produce that effect, and what parameter of the oscillator , ﬁlter, or ampliﬁer needs to be controlled. Then select a source (“AMS”) and set the “Intensity.” If you proceed logically in this way, you will achieve the desired effect.

For example if you want to “control a guitar-like sound so that it appears to be approaching feedback when the joystick is moved away,” you will make settings so that the joystick controls ﬁlter modulation or the resonance level.

Combination mode

In Combination mode you select and play combinations and edit them. Combination mode consists of pages 1.1: Play–7.3: Ed– MasterFX. In 1.1: Play you can select and play combinations. You can also do some overall editing, and make arpeggiator settings (☞p.27). In 2.1: Ed–Basic–7.3: Ed–MasterFX you can edit the parameters of the combination that was selected in 1.1: Play.

How a combination is organized

A combination consists of a variety of parameters that can be accessed in 2.1: Ed–Basic–7.3: Ed–MasterFX. The diagram below shows how a combination is structured.

Basic combination editing

Banks INT-A–INT-D of the TRITON-Rack contain a wide variety of combinations that use the preloaded programs (bank INT-A and INT-B) and the preset and preloaded user arpeggio patterns and effects. You can edit these combinations, or create your own original combinations from an initialized state. Programs using sample waveforms/multisamples that you sampled in Sampling mode (or loaded into memory in Disk mode) can also be used in a combination.

A combination that you edited or created can be written into one of 1,664 combination memory locations in banks INT-A–INT-E or EXB-A–EXB-H. Combinations can also be stored or organized on external media such as ﬂoppy disk in Disk mode. (☞p.36)

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.37)

If the separately sold EXB-MOSS option is installed, bank INT-F programs can be used for the timbres of a combination. For details on the parameters of bank INT-F programs, refer to the EXBMOSS owner’s manual and PG p.251.

Suggestions for editing procedure

The parameters of each timbre are set in 2.1: Ed-Prog/ Mix–4.4: MIDI Filter4. This is where you create the basic combination consisting of the programs you select here. First use 2.1: Ed-Prog/Mix to select the program for each timbre, and then use 3.3: Ed-Key Zone and 3.4: Ed-Vel Zone 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 make

insert effect settings (in 7.2: Ed-Insert FX) and master effect and master EQ settings (in 7.3: Ed-Master FX)

that are separate from the effect settings of Program mode. In addition, you can make arpeggiator settings (in 6.1: Ed-Arp.) and controller settings (in 2.2: Ed-Ctrl) to create the ﬁnished combination.

By using the “Solo Selected Timbre” utility, you can listen only to the selected timbre. This is a convenient way to audition individual sounds of timbres that are layered. (☞p.28)

In pages that display all timbres 1–8, such as 2.1: Ed-Prog/Mix, you can use the [ ], [ ] keys to select timbres. You can also select timbres directly by holding down the [TIMBRE/TRACK] key and pressing one of the [F1

1/9]–[F8 8/16] keys.

Basic functions

Combination mode

Timbre1

Program

Timbre2

Program

Timbre3

Program

Timbre4

Program

Timbre8

Program

Parameters

BUS : 7.1-1

Timbre

Insert Effect Master Effect IndividualOutputs

Insert Effect 1...5

: 7.2

Controller Setup : 2.2

Arpeggiator : 6.1

Master Effect 1, 2

: 7.3-1...3

MasterEQ : 7.3-4

7.1-1 or 7.2 etc. indicate pages or tab screens used on the TRITON-Rack for editing.

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1,2,3,4

Layer, split, and velocity switch

Within a combination, you can use keyboard location and velocity to change the program that sounds. The programs assigned to each timbre can sound in three ways: as a layer, a split, or a velocity switch. A combi- nation can be set to use any one of these methods, or to use two or more of these methods.

Layer

A setting that causes two or more programs to sound simultaneously when you play a note on a connected keyboard is called a Layer.



Program A Program B

Layer: Two or more programs sound simultaneously.

Split

A setting that causes different programs to sound when you play in different areas of a connected keyboard is called a Split.



Program A

Program B

Split: Different programs will sound in different areas of the keyboard.

Velocity switch (Velocity SW)

Velocity Switch (Velocity SW) refers to settings which cause different programs to sound depending on the velocity (keyboard playing dynamics).



Program B Program A

In Combination mode, 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 key-

board 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.

The Compare function

When 2.1: Ed–Basic–7.3: Ed–MasterFX are displayed, you can press the [COMPARE] key to make the LED light. This will recall the combination that had been written before you began editing. When you press the [COMPARE] key once again the LED will go dark, and you will return to the sound that you had been editing. Use this when you wish to compare the edited sound with the un-edited sound.

If you continue editing when the [COMPARE] key LED is lit, the LED will go dark, and the current sound will now be the sound that is recalled when the [COMPARE] key LED is dark.

In the section below, we will edit typical parameters in each page while listening to the effect of each parameter. For a more detailed explanation of these parameters, refer to PG p.31–.

Timbre 1–8 program, pan and volume

2.1: Ed–Prog/Mix

Here you can assign programs to each timbre 1–8, and set pan and volume for each. (These settings can also be made in the Prog and Mix pages of 1.1: Play.)

Prog page

Program Select

Assigns a program to each timbre.

You can use the “Select by Category” utility to select programs from 16 categories. (☞p.28)

You can also use the [BANK] and [A]–[H] keys to select the bank of the program.

If you wish to select programs by receiving MIDI program changes, do so in P1.1: Play.

Mix (Mixer) page

Program B

Program A

Strong

Keyboard playing dynamics

Soft

Velocity X-Fade (velocity crossfade): As you play with increasingly stronger velocity, the volume of A will fade out, and the volume of B will fade in.

Pan

Speciﬁes the panning (stereo location) for each timbre. A setting of C064 will reproduce the oscillator pan set- ting of the program. Moving this to left or right will move the sound to left or right while preserving the pan relationship between the oscillators. A setting of L000 is far left, and R127 is far right. (

☞PG p.34)

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.

Controller settings 2.2: Ed–Ctrl

Bank(EX2) MSB, Bank(EX2) LSB

This setting is valid when “Status” is set to EX2. It speciﬁes the Bank Select message that will be transmitted from the TRITON-Rack.

OSC page

Ctrls (Controls) page

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.100, PG p.36, 213, 214)

Settings for status, MIDI channel, and playing mode 3.1: Ed–Param1

MIDI page

Status

Here you can specify the state of MIDI and the internal tone generator for each timbre. Normally when sounding the internal tone generator of the TRITON-Rack, you will set this to INT. Set this to Off for timbres that you are not using. With settings of Off, EXT, or EX2, the TRITON-Rack will not sound. With settings of EXT or EX2, you can control an external tone generator connected via MIDI. (

☞PG p.36)

Force OSC Mode

Normally you will set this to PRG. If you wish to force a polyphonic program to sound monophonically, set this either to Mono or LGT (Legato). Conversely, set this to Poly if you wish to force a monophonic program to play polyphonically (

☞PG p.37).

OSC Select

Normally you will set this to Both. If the timbre is using a program whose “Mode (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 the portamento setting speciﬁed for the program of the timbre to be forced off, set this parameter to Off. Conversely, if you want to forcibly turn the portamento on, or to change the portamento time, set this to a value of 001–127 to specify the portamento time.

Pitch page

Basic functions

Combination mode

MIDI Channel

Sets the MIDI channel of the timbres that you wish to sound to match the MIDI channel of the transmitting device. When note data is received on a matching channel, the corresponding channel of the TRITON-Rack will sound (if “Status” is set to INT). Normally, you will set the MIDI channel of the transmitting device to match the global MIDI channel of the TRITON-Rack, and set this “MIDI Channel” parameter to Gch. If this parameter is set to Gch, the MIDI channel of the timbre(s) 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 Multi modes” (☞p.87, PG p.43), and study the relationship between arpeggiator assignments, “Status,” and “MIDI Channel.”

Transpose, Detune (BPM Adj.)

These parameters adjust the pitch of the timbre.

• In a layer-type combination, you can set two or more timbres to the same program, and create a richer sound by using “Transpose” to shift their pitch apart by an octave or by using “Detune” to create a slight difference in pitch between the two.

• In split-type combinations, you can use “Transpose” to shift the pitch (in semitone units) of the programs specified for each key zone.

• If you wish to change the playback pitch of a drum program, use “Detune.” If you change the “Transpose” setting, the correspondence between notes and drum sounds will change.

Adjusting the BPM of multisamples or samples created in Sampling mode

If a timbre program uses multisamples or samples that you created in Sampling mode (or loaded in Disk mode) to a speciﬁc BPM value, you can use the “Detune BPM Adj.” utility with a speciﬁed BPM value. This changes the BPM by changing the playback pitch. (

☞PG p.38)

Note timing and scale settings

3.2: Ed–Param2

Other page

Delay [ms]

Speciﬁes the timing at which the program of each timbre will sound. Select the preload combination INT–A127: One Fin- gerTVShow, and play a single note on a connected MIDI instrument. Timbres will sound consecutively, according to their Delay setting. If you select KeyOff for this parameter , the timbre will sound when the note is released.

Use Prog’s Scale, Combi’s Scale

Speciﬁes the scale for each timbre. If you check “Use Prog’s Scale,” the scale speciﬁed by the program will

be used. Timbres for which this is not checked will use the “Combi’s Scale” setting.

Layer and split settings

3.3: Ed–Key Zone

Indicates settings such as layer, split, and keyboard crossfade.

Timbres 2 and 3 create a layer. Timbre 1 and timbres 2/ 3 are split between the B3 and C4 note numbers.

Timbre 3 Timbre 2

As an example here, we will explain how to create a combination like the one shown above.

1 In 1.1: Play or 2.1: Ed-Prog/Mix, select the pro-

grams that timbres 1–3 will use.

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 page of 3.1: Ed-Param1, set “Status” 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 page of 3.3: Edit-Key Zone, 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 “Top Key” of B3 and a “Bottom Key” of C–1.

Y ou can also enter these values by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

Strings

Brass

PianoTimbre 1

C–1 C4 G9B3

Slope page

Here you can specify the range of keys over which the original volume will be reached, starting at the top key and bottom key.

In the case of the above example, you could set the key zones so that a portion of timbres 1 and 2 overlaps (i.e., is layered) with timbre 3, and set “Top Slope” and “Bottom Slope” so that the sound changes gradually, instead of changing suddenly between B3 and C4.

Velocity switch settings

3.4: Ed–Vel Zone

Key page

Speciﬁes the range of notes that will sound 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” respectively. 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.

Here you can make settings for velocity switching and velocity crossfading.

Vel (Velocity) page

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 the Velocity Zone. By setting a velocity zone, you can set up a timbre which will be sounded only by notes played at a certain strength, and not by stronger or weaker notes. By combining timbres that have differing velocity zone settings, you can create velocity switched combina- tions.

The upper and lower limits of the velocity zone of each timbre are determined by the “T op 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 1.1: Play or 2.1: Ed-Prog/Mix, select the pro-

grams that timbres 1–2 will use.

Select a brass program for timbre 1. Select a strings program for timbre 2.

2 In the MIDI page of 3.1: Ed-Param1, set “Status” 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 3.4: Ed–Vel Zone Vel page, set the “Top Veloc-

ity” and “Bottom Velocity.”

Set timbre 1 to a “Top Velocity” of 127 and a “Bottom Velocity” of 64. Set timbre 2 to a “Top Velocity” of 63 and a “Bottom Velocity” of 1.

Y ou can also enter these values by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

Brass

Strings

127

Velocity

switch

Slope page

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 “Top Slope” and “Bottom Slope” so that the sound changes gradually, instead of changing suddenly between velocity values of 63 and 64.

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 damper pedal of a connected MIDI keyboard would apply the damper effect only to the piano program of timbre 2.

● Set “Damper CC#64” in 4.1: Ed-MIDI Filter1,

MIDI 1-2 page.

Timbre 1 “Damper CC#64”: unchecked Timbre 2 “Damper CC#64”: checked

Arpeggiator settings

6.1: Ed–Arp.

Indicates settings for the arpeggiator (☞p.87).

Bus settings

7.1: Ed–BUS

Speciﬁes the routing for each timbre (i.e., how it is sent to the insert effects, master effects, and individual outputs). (☞p.96)

Basic functions

Insert Effect settings

7.2: Ed–InsertFX

Selects insert effects, and make settings for them. (☞p.95, p.97).

Master Effect settings

7.3: Ed–MasterFX

Combination mode

Selects master effects, and make settings for them. Here you can also make master EQ settings (☞p.96, p.97).

MIDI ﬁlter settings

4.1: Ed–MIDI Filter1–4.4: Ed–MIDI Filter4

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 transmit- ted and received.

The MIDI Filter settings do not switch the corresponding function on/off, but merely specify whether or not that MIDI message is transmitted and received. Some of the MIDI ﬁlters apply only to reception. (

☞PG p.41)

Multi mode

In Multi mode the TRITON-Rack functions as a MIDI multi-timbral tone generator that receives multiple tracks of musical data from an external MIDI sequencer and plays them. Up to sixteen tracks of musical data can be played. In addition, the RPPR or arpeggiator functions of the TRITON-Rack can be used simultaneously with this playback, which is useful in a variety of music production or live performance situations.

When you turn off the power, the Multi mode settings and user pattern data you recorded will be lost. If you wish to keep this data, you must save it on a ﬂoppy disk or external SCSI device (if the separately sold EXB-SCSI option is installed) 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 and effects etc. selected for a multi as a template multi, use the Utility “Save Template Multi.” Immediately after the power is turned on, the TRITON-Rack will contain no multi data, so if you wish to play back patterns or RPPR, you must ﬁrst load the necessary data or receive it via MIDI data dump. (☞p.36, PG p.113)

Features of the Multi mode

• You can use up to 200 multis, 100 user patterns

(maximum of 99 measures) for each multi, and a maximum of 140,000 events (note data etc.).

• The RPPR (Realtime Pattern Play/Recording) function can be used for playback.

• The dual polyphonic arpeggiator can be used for playback or pattern recording.

• Sixteen different template multis are built-in, and contain program and effect settings suitable for various musical styles. Up to sixteen original templates that you create can be registered as user template multis.

• Five stereo insertion effects, two master effects, and a stereo master EQ can be used for each song.

• Programs that were converted from sample waveforms sampled in Sampling mode or sample files loaded in Disk mode can be used in a multi.

• If the separately sold EXB-MOSS option is installed, MOSS tone generator programs can be played multi-timbrally. (For example, you could use two bass voices and four electric piano voices. However, effect settings cannot be made separately.)

• 150 preset patterns ideal for drum tracks are built in. In addition, you can create up to 100 user patterns for each multi. These patterns can be used as musical data within a multi, or can be played by the RPPR function.

• Patterns can be recorded in two ways: realtime recording in which the performance you play using

the keyboard and controllers of a connected MIDI instrument (including the various MIDI control events) is recorded in realtime, and step recording in which you can individually input the note timing, note duration and velocity etc. in the LCD screen and enter the pitches from a keyboard. The maximum resolution is  /192.

• The musical data and control events that you recorded can be edited in various ways (including event editing etc.).

• When the “Status” of a track is set to INT or BTH, an external sequencer can be used to play the TRITON-Rack as a multi-timbral tone generator. When the “Status” of a track is set to BTH, EXT, or EX2, the RPPR of the TRITON-Rack can play exter- nal tone generators.

• RPPR or the arpeggiator can be synchronized to an external MIDI device.

• The TRITON’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. functionality lets 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 multi, but also to each pattern and track.

• Combination settings can be copied to a multi.

• A multi pattern or RPPR data that you create can be saved in the TRITON-Rack’s native format, or transmitted as a MIDI data dump.

• Programs or sample files can be linked and saved on external media. This data can be loaded when desired.

• Musical data from a SMF (Standard MIDI File) can be loaded into a user pattern. A user pattern can also be saved on external media as an SMF.

• Using the Time Slice function of Sampling mode, rhythm loop samples of differing tempo can automatically be assigned to RPPR. This lets you use the RPPR function to simultaneously play multiple rhythm loop samples of different tempo without changing their pitch, or to change the tempo in realtime. The playback can also be switched on/off in realtime from a connected MIDI keyboard.

Data that can be loaded into a multi

The following types of song data can be loaded from ﬂoppy disk or other external media into the TRITONRack’s multi.

• .SNG data saved on the TRITON-Rack

All multi data (parameter settings such as program, pan, volume, and status; user pattern data, RPPR

settings, effect settings etc.) of the TRITON-Rack can be loaded.

• .SNG data saved on the TRITON/TRITON pro/ TRITON proX (keyboard models)

Parameter settings of the TRITON-Rack that are shared with the keyboard models and user pattern data can be loaded. Unsupported settings such as “Meter” and “Tempo Mode” will be loaded, but cannot be used. Cue list data will not be loaded (

☞PG p.235). If “Load track events?” is checked in

the Load dialog box when you load the data, track data (events of all tracks of the sequencer) of the keyboard model will be loaded, but cannot be used in Multi mode. However by executing the DEMO/ SNG utility “Make Demo Data,” you will be able to play back this data in DEMO/SNG.

• Standard MIDI Files (.MID)

Standard MIDI Files of 99 measures or less can be loaded into a user pattern. Conversely, a user pattern can be saved as a Standard MIDI File. This allows compatibility with another device that supports SMF.

The ﬁles listed above are loaded from ﬂoppy disk or other media in Disk mode. For details on saving multi data refer to PG p.134. For details on the contents of the keyboard model data that will be loaded/saved, refer to PG p.235.

Memory Protect

Before you record a pattern, or edit the musical data, you will need to turn off the memory protect setting in Global mode. (☞p.37)

The Compare function

This function lets you compare the before-and-after states when realtime-recording, step-recording, or editing a pattern. (☞p.35)

If you continue editing when the [COMPARE] key LED is lit, the LED will go dark. That musical data will now be the data that is selected when the [COMPARE] key LED is dark.

Operations for which Compare can be used

• Pattern recording

• Pattern Edit

All commands other than the “Memory Status,” “Rename Pattern,” and “Rename Track” utilities of the 5.1: RPPR, Pattern page

• Multi Edit

The “Delete Multi” and “Copy From Multi” utilities of the 1.1–4.4, and 6.1 pages

In general, the pattern event data will return to its previous state. Multi parameters can be compared only in Multi Edit (when executing a utility menu command).

Operations for which Compare cannot be used

• Multi parameter editing

• Utility menu commands other than those listed in “Operations for which Compare can be used”

The oganization of Multi mode

Multi mode is structured as shown in the diagram at the bottom of the following page.

Multis

A multi consists of tracks 1–16, multi parameters such as the multi name, effect parameters, arpeggiator and RPPR parameters, and 100 user patterns. A maximum of 200 such multis can be created on the TRITON-Rack.

Tracks 1–16 consist of the following setting parame- ters.

Bank/Program No.*, Pan*, Volume*, Status, MIDI Channel, Bank(EX2) MSB/LSB, Force OSC Mode, OSC Select, Portamento*, Transpose**, Detune**, Bend Range**, Delay, Use Program's Scale, MIDI Filter, Key Zone, Velocity Zone, Track Name, Arpeggiator Assign, IFX/Indiv.Out BUS Select, Send1(MFX1)*, Send2(MFX2)*

* You can use performance data (MIDI program

changes, MIDI control changes) from an external sequencer etc. to change the setting parameters of a track during a performance.

T rack setting parameters other than the above-listed “Track Name,” scale-related parameters (3.2 “Multi’s Scale,” “Key,” “Random”), Controls parameters (2.2), arpeggiator parameters (6.1), effect parameters (7.2, 7.3) can be modiﬁed during a performance by transmitting data (system exclusive parameter change data) from an external sequencer etc. to change the parameter settings of the multi. For details on using system exclusive messages, refer to PG p.226 “About system exclusive messages.”

** Performance data from an external sequencer etc.

(MIDI RPN data) can be used to change the track setting parameter values during a performance.

For details on control changes and RPN, refer to PG p.222, p.225.

Patterns

There are two types of patterns: preset patterns and user patterns.

• Preset patterns (P000–P149): Patterns suitable for drum tracks are preset in internal memory, and can be selected for any multi.

• User patterns (U00–U99): Each multi can have up to 100 patterns. When using a pattern in a different multi, use the Utility “Copy Pattern” etc. to copy the pattern. The pattern length can be specified in units of a measure.

Basic functions

Multi mode

Each pattern consists of musical data for one track. It is not possible to create patterns that contain multiple tracks.

These patterns are used by the RPPR function.

Multi settings

The RPPR (Realtime Pattern Play/Recording) function:

For each multi, you can assign a pattern to each note of a connected MIDI keyboard, and play multiple patterns in realtime by playing notes on the keyboard. (☞p.25, p.63)

Program, pan, and volume settings for each track 1–16 1.1: Play

Here you can receive and play performance data from an external sequencer. Select a multi, and make program, pan, and level settings. (☞p.24)

If the separately sold EXB-MOSS option is installed, bank INT-F programs can also be used in Multi mode. For details on the parameters of bank INT-F programs, refer to the EXB-MOSS owner’s manual and PG p.251.

Template Multi

The TRITON-Rack contains sixteen template multis. These contain program and effect settings etc. that are suitable for various styles of music. You can load these settings into a multi. See p.24 for the loading procedure. You can also modify the settings of a template multi that you load, or save frequency-used settings as a user template multi. See PG p.51 for the saving procedure.

User patterns and RPPR settings are not saved in a user template multi.

Track 1

Track 2

Track 3

Track 4

Track 5

Track 6

Track 7

Track 8

Setup Parameters Setup Parameters Setup Parameters Setup Parameters Setup Parameters Setup Parameters Setup Parameters Setup Parameters

BUS : 7.1

Track

Insert Effect Master Effect Individual Outputs

Insert Effect 1 ... 5 : 7.2

Copying combination sounds to multiple tracks

You can copy combination sounds to multiple tracks and use them. See PG p.51 for the copy procedure.

If you wish to play the arpeggiator using arpeggiator settings from a combination you copied, set the MIDI channel of the external MIDI device to match the global MIDI channel. When you play the keyboard of the external MIDI device, it will sound simultaneously with the combination.

Master Effect 1, 2 : 7.3

Pattern U00 ... U99 RPPR Setup : 5.1

MasterEQ : 7.3

Controller Setup : 2.2

Arpeggiator : 6.1

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1,2,3,4

Track 16

Setup Parameters

Controller settings 2.2: Controller

For each multi, specify the functions for the B-mode of the REALTIME CONTROLS knobs [1]–[4] and for “SW1” and “SW2.” (☞p.100, PG p.53, 213, 214)

Pitch page

Transpose, Detune (BPM Adj.)

For each track, specify the pitch of the program. (☞PG p.55)

Status, MIDI channel, and note mode settings 3.1: Param1

MIDI page

Status

If you are using the TRITON-Rack in Multi mode as a 16-track multi-timbral tone generator, set the Status to either INT or BTH. (

If the track “Status” is set to INT, the internal tone gen- erator will sound when you play RPPR or the arpeggiator. When you operate the controllers of the TRITONRack, they will control the track selected for “Control Track.” If the track status is set to EXT or EX2, an external tone generator will sound when you play RPPR or the arpeggiator. When you operate the controllers of the TRITON-Rack, they will control the external tone generator on the track selected for “Control Track.” You will need to set the MIDI channel of the external tone generator to match the “MIDI Channel” of the EXT and EX2 tracks of the TRITON-Rack. If the status is set to BTH, the operations of both INT and EXT will occur. Both the external tone generator and the TRITON-Rack’s tone generator will sound and be controlled simultaneously.

MIDI Channel

Sets the MIDI channel of the track you wish to play so that it matches the MIDI channel of the transmitting device. For example if note data is received on MIDI channel 01, the track(s) set to “MIDI Channel” 01 will sound (if “Status” is INT).

Bank (EX2) MSB, Bank (EX2) LSB

These settings are valid if “Status” is EX2; they specify the bank select messages that will be transmitted from the TRITON-Rack.

OSC page

☞PG p.54)

Note timing and scale settings

3.2: Param2

Other page

Delay [ms] Use Prog’s Scale, Multi’s Scale

Speciﬁes the timing at which the program of each track will sound, and the scale that it will use. (

☞PG p.56)

Layer and split settings

3.3: Key Zone

Speciﬁes the range of keys for which each track will sound, and the range of keys over which the original volume will be reached from the top key and bottom key. (

☞PG p.56)

Velocity switch settings

3.4: Vel Zone

Speciﬁes the range of velocities for which each track will sound, and the range of velocity values over which the original volume will be reached from the top velocity and bottom velocity. (

☞PG p.57)

MIDI ﬁlter settings

4.1: MIDI Filter1–4.4: MIDI Filter4

For each MIDI ﬁlter, specify whether MIDI messages will be received. Messages that are checked will be received.

The MIDI ﬁlter does not turn the corresponding function on/off, but simply speciﬁes whether that MIDI message will be received. (

For tracks whose “Status” is BTH, EXT, or EX2, these settings will apply to the MIDI messages that are transmitted when you change the settings of the program, pan, volume, portamento, or send 1/ 2 parameters.

☞PG p.58)

Basic functions

Multi mode

Force OSC mode OSC Select Portamento

For each track, specify whether the program will be polyphonic/monophonic, the oscillator(s) that will be sounded, and the portamento time. (

☞PG p.54)

Pattern and RPPR settings 5.1: RPPR

Recording on a pattern

Here you can record and play user patterns, and make RPPR settings. Refer to the subsequent sections “Recording a pattern,” “Editing,” and “RPPR (Realtime Pattern Play/Recording) function.”

If you wish to keep the user patterns and RPPR settings, you must save them on external media such as a ﬂoppy disk. This data cannot be written to a template multi.

Arpeggiator settings 6.1: Arp.

Indicates arpeggiator settings. (☞p.87)

Bus settings 7.1: BUS

Speciﬁes the routing for each timbre (i.e., how it is sent to the insert effects, master effects, and individual outputs). (☞p.96)

Insert effect settings 7.2: InsertFX

Selects insert effects and make settings for them. (☞p.95, p.97)

Your performance on the keyboard of a connected MIDI instrument and/or the controllers of the TRITON-Rack can be recorded as pattern data.

There are two ways to record on a pattern: realtime recording and step recording. Realtime recording a method of recording in which your playing on the keyboard and your operations of controllers such as the REALTIME CONTROLS are recorded in realtime. Step recording 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. Only note-on/off data can be recorded with this method.

In addition, you can use event edit operations to modify data that has been recorded or to insert data. Event editing allows you to edit the recorded data, or add to it. In addition to note data, you can also insert data such as control changes.

Realtime recording to a pattern

Before you begin recording a pattern, turn off the protect setting in Global mode (☞p.37).

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.

Master effect settings 7.3: MasterFX

Selects master effects and make settings for them. You can also make master EQ settings. (☞p.97)

Track settings

1 Select the MULTI 5.1 RPPR, Pattern page.

2 Use “Control Track” to select a track.

The pattern will sound using the program and settings of the selected track.

3 If you will be recording a performance from a

MIDI-connected keyboard, set the MIDI channel transmitted from the keyboard so that it matches the “Control Track” MIDI channel.

You can verify the MIDI channel of the track by checking the “MIDI Channel” parameter in 3.1: Param1, MIDI.

Select the pattern to record

4 Set “Pattern Bank” to User, and use “Pattern

Select” to select a user pattern number U00–U99.

5 Use the “Pattern Parameter” utility to specify the

number of measures in the pattern and its time signature.

When you have ﬁnished making these settings, press the [F8] (“OK”) key.

6 Use “ (Tempo)” to specify the recording tempo. 7 Use “Resolution” to specify the recording resolu-

tion. (“Realtime quantize “Resolution””)

Realtime quantize “Resolution”

The TRITON-Rack provides a realtime quantize “Res- olution” setting (step 7) that lets you correct the tim-

ing of performance data recorded using realtime recording.

For example, suppose that during realtime recording you intended to play eighth notes, but that the rhythm was slightly inaccurate, as shown in ﬁgure 1 below. In such cases, you could set “Reso” (resolution) to , so that when you realtime-record, the notes will automatically be adjusted to the correct timing as shown in ﬁgure 2.

Metronome settings

8 Set “Metronome Sound,” “Precount,” “Level,” and

“Bus Select.”

These settings specify how the metronome will sound during recording and playback. (

☞PG p.61)

Recording

9 Press the [F4] (“REC”) key.

You will enter recording standby mode.

0 Press the [F5] (“START”) key.

Pattern recording will begin. Play the keyboard of a connected MIDI instrument or operate controllers such as the REALTIME CONTROLS to record the desired performance.

When you record to the end of the pattern, you will return to the beginning of the pattern, and recording will continue. The newly recorded data will be added to the data that was previously recorded in the pattern.

A You can erase speciﬁc data during pattern record-

ing.

While still in pattern recording, you can press the [F4] (“REC”) key to erase all the data that is played while you continue holding down the key.

Alternatively , if you check the “Remove Data” check box and hold down a key on a connected MIDI instrument, that note (note number) will be deleted from the data that is played back while you continue holding the key.

Similarly, the corresponding controller data will be deleted while you operate one of the following controllers. Ribbon controller (CC#16) data will be deleted while the data value is other than 64 (center), and other controller data will be deleted while the data value is other than 0 (zero).

Modulation 1 (CC#01), modulation 2 (CC#02), damper (CC#64), ribbon controller (CC#16), aftertouch, bender change

If you wish to add data to the pattern, uncheck this box.

B To stop pattern recording, press the [F5] (“STOP”)

key.

 



      

Recording the performance of the arpeggiator

The performance of the arpeggiator can be recorded into a pattern.

If arpeggiator A or B is assigned to the track selected as the “Control Track,” and the arpeggiator is set to run, the notes generated by the arpeggiator can be recorded.

Preset template multis and preset patterns

A drum category program is speciﬁed for track 1 of all sixteen preset template multis. (For preset template multis P02, P04, P08 and P15, drum category programs are speciﬁed for more than one track.) The pattern names of the 150 preset patterns indicate the musical genre and part of the program name of the most suitable drum category. ( lowing page)

For example in the case of P00: Pop&Balad 1/Std, “Pop&Balad 1” indicates the musical genre, and “Std” is part of the program name of the most suitable drum category. You can use this as a guideline when making RPPR settings with preset template multis and preset patterns.

Loading SMF (Standard MIDI File) performance data into a user pattern

By using the “Load Selected” utility in the Load page of Disk mode, you can load SMF data (ﬁlename extension .MID) into a user pattern. You can also save a user pattern on external media as SMF data.

☞Lower diagram on fol-

Basic functions

Multi mode

Recording controllers such as the REALTIME CONTROLS

Although you may operate controllers etc. 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.

Control data 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 (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 level (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) SW1 modulation (CC#81) 00 (zero) Channel after touch 00 (zero) Bender change 00 (zero)

Step recording on a track or pattern

To step record on a pattern, use the 5.1: RPPR, Pattern Utility “Step Recording (Loop).” For details on step recording on a pattern, refer to PG p.62.

Editing

Pattern editing

Using the Utility menu commands of the 5.1: RPPR, Pattern, 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.63).

Preset Template Song Track No.: Name Program Corresponding Preset Pattern No.: Name

P00: Pop/Ballade Track01: Drums A036:Standard Kit P00: Pop&Balad 1/Std ... P10: Pop(6/8) 3/Std P01: Rock/Metal Rock Track01: Drums B020:Processed Kit P11: Rock 1/Process ... P21: Rock11/Process P02: R & B Track01: Drums 1(Std 2) B036:Standard Kit 2 P22: R&B 1/Std2 ... P27: R&B 6/Std2

Track09: Drums 2(Std) A036:Standard Kit P28: R&B 7/Std ... P32: R&B11/Std P03: Jazz Track01: Drums B004:Jazz/Brush Kits P33: Jazz 1/Jazz ... P39: Jazz 7/Jazz P04: Latin Track01: Drums B004:Jazz/Brush Kits P40: Latin 1/Jazz ... P42: Latin 3/Jazz

P46: Latin 7/Jazz ... P47: Latin 8/Jazz

Track08: Percussion B116:Percussion Kit P43: Latin 4/Perc ... P45: Latin 6/Perc P05: Reggae Track01: Drums B068:Drum'nBass Kit P48: Reggae 1/D'n'B ... P53: Reggae 6/D'n'B P06: Country Track01: Drums A036:Standard Kit P54: Country 1/Std ... P57: Country 4/Std P07: Folk Track01: Drums A036:Standard Kit P58: Folk 1/Std ... P61: Folk 4/Std P08: European Trad. Track01: Drums A036:Standard Kit P62: E.Trad 1/Std ... P67: E.Trad(3/4)2/Std

Track08: Percussion B116:Percussion Kit — P09: Orchestral Track01: Percussion A116:Orchestra&Ethnic — P10: Techno/Euro Beat Track01: Drums A020:House Kit P68: Techno 1/House ... P78: Techno11/House P11: House Track01: Drums A020:House Kit P79: House 1/House ... P92: House14/House P12: Drum'n'Bass Track01: Drums B068:Drum'n'Bass Kit P93: Drum'nBs 1/D'n'B ... P108: Drum'nBs16/D'n'B P13: Acid Jazz Track01: Drums B036:Standard Kit 2 P109: AcidJazz 1/Std2 ... P120: AcidJazz12/Std2 P14: Hip Hop/Rap Track01: Drums A068:HipHop Kit P121: HipHop 1/HipHop ... P135: HipHop15/HipHop P15: Big Beats Track01: Drums 1(Hip/Hop) A068:HipHop Kit P136: Bigbeat 1/HipHop ... P143: Bigbeat 8/HipHop

Track09: Drums 2(Tricky) A004:! {Tricky} Kit! P144: Bigbeat 9/Tricky ... P149: Bigbeat14/Tricky

RPPR (Realtime Pattern Play/ Recording) function

For details on the RPPR function, refer to “Playing with the RPPR function” (☞p.25). Here we will give an example of how to make RPPR settings, and how to playback and record.

RPPR settings

RPPR settings are made individually for each multi. To use RPPR playback, check the 1.1: Play Multi page “RPPR” check box. If this is checked, the RPPR function will be turned on, and playing the keyboard on a connected MIDI instrument will cause patterns to playback according to the RPPR settings. If the “RPPR” check box is not checked, the multi will play normally even if RPPR settings have been made.

1 Specify multi settings such as program, pan, and

level for the track that will use RPPR. (

The illustration in step 2 shows an example of using the “Load T emplate Multi” utility to load P00: Pop/Ballade.

2 Select the 5.1 RPPR, RPPR Setup page

In this page, the RPPR function will automatically be on.

3 In “Control Track,” select the track that will trigger

the RPPR patterns.

When note data is received on the MIDI channel of the selected track, the speciﬁed pattern will play back. Set this to match the MIDI channel of the external MIDI device.

4 Use “KEY” to select the note number to which you

wish to assign a pattern.

Y ou can also enter these values by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

☞p.24)

5 Check the “Assign” check box.

You can make assignments for keys C#2–C8. Keys C2 and below are used for stopping the pattern playback, and cannot be assigned.

6 Select the pattern that will playback when you

press the key selected in step 4.

Use “Pat (Pattern Bank)” to select the pattern type (either Pre (Preset) or User), and use “Pattern Select” to select the pattern. A user pattern (User) selected here must have already been recorded or copied in the 5.1: RPPR, Pattern page.

7 Select the track that will play this pattern.

The pattern will play according to the program and other settings of the track that you speciﬁed in “Track.” If you wish to play a drum pattern, choose a track for which a drum program is selected. If you wish to play a bass pattern, select a track for which a bass program is selected.

8 Set “M (Mode),” “Shift” and “Sync” to specify

how the pattern will play, and how it will synchronize.

The method of stopping playback will depend on the “M (Mode)” setting, but pressing the C2 or lower key will stop all patterns.

For keys whose “Sync” setting is Beat or Measure, the pattern playback will synchronize with the pattern playback of the ﬁrst key. For keys that are set to ARP (SEQ), the pattern playback will synchronize to the arpeggiator.

For details on these parameters and on how to stop the playback, refer to PG p.64.

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

9 When a key to which to a pattern is assigned is

played on a connected MIDI instrument, that pattern will begin playing.

Play a key corresponding to the “KEY” note number , on the MIDI channel of the “Contr ol Track” that you selected in step 3.

Keys to which RPPR is not assigned can be used for normal keyboard performance. If you wish to change the track used for normal keyboard performance, set the MIDI channel of your MIDI keyboard

Basic functions

Multi mode

Preset Patterns

Multi

5.1: RPPR, RPPR Setup

RPPR RPPR

RPPR function is on Normal multi playback

and recording

U00: PATTERN 00

User Pattern U00 - U99

etc. to match the MIDI channel of the track you wish to play. Also set the “Control Track” to match the track you wish to play.

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.

RPPR playback

Here’s how you can use the RPPR function to perform in the 1.1: Play, Multi page.

1 Select the 1.1 Play, Multi page.

Using REVERT to copy RPPR settings

By using “REVERT” (press the [F4] key), you can copy the “Pat (Pattern Bank),” “Pattern Select,” and “Track” settings of the previously-edited “KEY” whose “Assign” was checked. This allows you to work more efﬁciently when the patterns you are assigning to the keys are numbered consecutively or are nearby each other, and you are using them in the same track.

For example if you have started from the state shown in the foregoing illustration for step 2 and followed the steps through 7, the settings will be as follows.

“KEY”: C#2 “Pat (Pattern Bank)”: Pre “Pattern Select”: P00: Pop&Balad 1/Std “Track”: T01: Drums

Now let’s suppose that we want to make the following settings. “KEY”: D2 “Pat (Pattern Bank)”: Pre “Pattern Select”: P01: Pop&Balad 2/Std “Track”: T01: Drums

1 Follow steps 1–9 of “RPPR settings” to assign

the ﬁrst RPPR to “KEY” C#2.

2 Assign the second RPPR to “KEY” D2.

Set “KEY” to D2.

3 Press the [F4] (“REVERT”) key.

The settings of 1 for “Pat (Pattern Bank),” “Pattern Select,” and “Track” will be copied.

4 Set “Pattern Select” to P01: Pop& Balad 2/Std.

By repeating steps2–4 in this way, you can make RPPR settings more efﬁciently.

2 Check the “RPPR” check box.

The RPPR function will be turned on. The on/off setting is memorized for each multi.

3 Play the keyboard on a connected MIDI instru-

ment, and patterns will begin playing according to the RPPR settings.

4 To turn off the RPPR function, uncheck the RPPR

check box.

RPPR performance techniques

The pattern will start accurately if you play the note on the connected MIDI instrument slightly ahead of the beat or measure. Also, even if the timing of the note you play is slightly after the beat or measure (but within a 32nd note of it), the pattern will be played as though it started on the beat or measure, but the beginning of the pattern will be “squeezed” by the amount of this delay.

Recording RPPR performance on an external sequencer

A multi-track performance played using RPPR can be recorded on an external sequencer.

For tracks whose track status is set to BTH, EXT, or EX2, the pattern playback will be transmitted via MIDI.

The playback will be recorded on the tracks of the sequencer whose channels match the MIDI channels of the tracks being used for RPPR. (

☞PG p.228)

Sampling mode

The TRITON-Rack provides high-performance mono/ stereo sampling.

None of the multisample or sample data in Sampling mode is backed up when the power is turned off. If you wish to keep this data, you must save it onto a ﬂoppy disk or external SCSI device (if the separately sold EXB-SCSI option is installed) before turning off the power. Immediately after the power is turned on, memory will not contain multisample or sample data. You must ﬁrst load previously-saved data before you can play back or edit it.

Features of sampling mode

• 48 kHz 16 bit linear mono/stereo sampling.

• 16 Mbytes of sample (waveform) data memory is

standard, allowing you to sample for approximately 2 minutes 54 seconds in monaural, or approximately 1 minute 27 seconds in stereo. By installing 72 pin SIMM modules, you can expand the memory to a maximum of 96 Mbytes, which will allow you to record up to six 2 minute 54 second samples in mono (or four 1 minute 27 second samples in stereo), for a maximum total of approximately 17 minutes 28 seconds of sampling time. (For details on expansion, refer to PG p.243.)

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

• In Disk mode you can load multisample/sample data from a floppy disk or SCSI media (when the separately sold EXB-SCSI option is installed).

• Korg format or Akai (S1000/3000) format sample data, and AIFF or WAVE format sample data can be loaded. (Once data has been loaded into the TRITON-Rack, it will all be treated as Korg format sample data.) Sample data created on the TRITON-Rack 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 effects to apply effects such as compressor, EQ, or lo-fi. 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.

• Both auto sampling and manual sampling can be performed. With auto sampling, recording will begin automatically when the input level exceeds a specified threshold. In either method of sampling, you can make pre-trigger settings.

• The audio input supports both mic and line level signals.

• Data you sampled can be played immediately from the keyboard of a connected MIDI instrument or by pressing the [AUDITION] key. It is also easy to convert sampled data into a program, and use it as

material for the TRITON-Rack’s HI synthesis system. Multisamples/samples that have been converted into a program can be used in a combination or multi.

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

The following commands are also provided.

Time Slice

This 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 Multi 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.)

Time Stretch

This lets you modify the tempo without changing the pitch of a sample. You can select either Sustain- ing (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.

Crossfade Loop

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.

Link (with Crossfade)

This 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.

• 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 zero-cross 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.

Basic functions

Sampling mode

• 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 Disk mode (

☞PG p.124 “Translation”).

How Sampling mode is organized

In Sampling mode

• An external audio signal from an external audio device or microphone connected to the AUDIO INPUT 1 and 2 jacks is passed through an analog/ digital convertor, and recorded (sampled).

• You can edit the waveform and loop settings etc. of sample data that you sampled or that you loaded from a floppy disk, CD-ROM etc., in Disk mode.

• You can assign samples to the keyboard to create a multisample. These samples and multisamples can be easily converted to a program using the Utility “Conv. To Program,” and these programs can be used immediately in a combination or multi.

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

AUDIO INPUT jack

Analog signal

Analog/digital convertor

ADC

Insert Effects

Digital signal

Analog waveform

Sampled digital waveform

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).

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

Sample 0000 ... 3999

Level

Digital signal

48kHz = 48,000 times every second = 0.0208 mS cycle

Digital/analog convertor

DAC

Analog signal

Time

16bit =65,536 levels

Time

of data

AUDIO OUTPUT jack

Used by combinations and multis

Program

Multisample 000 ... 999

RAM (internal memory)

Floppy disk, SCSI media (Disk mode)

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.

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 by multisamples and drum kits.

The TRITON-Rack can hold a maximum of 4,000 samples in its internal memory.

The TRITON-Rack 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-Two-Three.” This single piece of waveform data could be shared by three samples, with the playback of sample A producing “One-TwoThree,” sample B producing “One-Two,” and sample C producing “Two-Three.” (

☞PG p.80).

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

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 different 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-Rack 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

Basic functions

Sampling mode

Multisamples

A multisample consists of settings that make one or more samples sound in different areas of the keyboar d. A multisample consist of between one and 128 “indexes.” Each index contains parameters that specify the sample that will playback, the zone for 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 using 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 respective pitch ranges to avoid any unnatural sounds during playback. For example, you might

Sampling

Be aware that when you change the setting from Off to L/R or IFX1–5, the volume level in the AUDIO OUTPUT L/MONO and R jacks and in the headphones may rise excessively.

Preparations for sampling

Connections and settings for a monaural source

When sampling in monaural from a mic, the output of an external audio device or mixer, or an instrumental sound such as guitar or synthesizer , connect the sour ce to the AUDIO INPUT 1 or 2.

Guitars and other instruments with active pickups can be input directly, but instruments with passive pickups (i.e., without internal preamps) cannot be recorded at an appropriate level, due to impedance mismatching. When connecting such instruments, use a preamp or effect device.

TRITON-Rack

Mic

1 Connect the mic or external audio device to the

AUDIO INPUT 1 jack.

2 Set the AUDIO INPUT [MIC/LINE] switch to

match the input source. For input sources with a low input level, such as a microphone, select the MIC position. For other sources, select the LINE position.

The AUDIO INPUT [MIC/LINE] switch affects both the AUDIO INPUT 1 and 2 jacks.

3 The [INPUT] knob will be adjusted later. For now,

set it near the center.

4 In Sampling mode 1.1 Recording, select the Input/

Ptef page.

“Input 1” controls the AUDIO INPUT 1 jack, and “Input 2” controls the AUDIO INPUT 2 jack.

The settings up to this point will cause the sound from the AUDIO INPUT 1 jack to be output from the AUDIO OUTPUT L/MONO jack and from the L channel of the headphones.

6 Use the [INPUT] knob to set an appropriate level.

If an overload occurs in the input stage of the TRITON-Rack, “ADC OVER!” (AD converter overload!) will be displayed above the “Recording Level” slider. Adjust the [INPUT] knob or the output level of the external audio device just low enough so that the “ADC OVER!” does not appear (i.e., the maximum level that does not cause an overload).

Connections and settings for a stereo source

When sampling in stereo from a stereo mic, the output of an external audio device or mixer, or synthesizer, connect the source to the AUDIO INPUT 1 and 2 jacks.

TRITON-Rack

CD player, analog record player etc.

LINE OUT

1 Connect the L source to AUDIO INPUT jack 1, and

the R source to jack 2.

2 Make the settings described in steps 2–4 of

“Connections and settings for a monaural source.”

3 Set the “Input 1” and “Input 2” parameters to spec-

ify how the signal from the AUDIO INPUT jacks will be input to the TRITON-Rack.

• “Lvl” adjusts the volume. Set both Input 1 and Input 2 to 127.

• “Pan” adjust the panning. Set Input 1 to L000, and Input 2 to R127.

• Set “BUS.” For this example, select L/R for both Input 1 and Input 2.

5 In “Input 1,” set various parameters to specify how

the signal from the AUDIO INPUT jacks will be input to the TRITON-Rack.

• “Lvl” adjusts the volume. Normally you will set

this to 127.

• “Pan” adjust the panning. For this example set it to

L000.

• Set “BUS.” If you wish to use the TRITON-Rack’s insert effects to process the incoming sound, select IFX1–5 here. For this example, select L/R. The input sound will be sampled just as it is.

The settings up to this point will cause the sound from the AUDIO INPUT 1 and 2 jacks to be output in stereo from the AUDIO OUTPUT L/MONO and R jacks and from the headphones. The sound of AUDIO INPUT 1 will be output from the left, and AUDIO INPUT 2 from the right.

4 Use the [INPUT] knob to adjust a suitable input

level. (Refer to step 6 of “Connections and settings for a monaural source”)

The [INPUT] knob adjusts both AUDIO INPUT 1 and 2.

Using an insert effect

The TRITON-Rack’s insert effects can be applied to the sound that is being input from the AUDIO INPUT 1 and 2 jacks, allowing you to record a sample with effects applied. As an example, we will explain the procedure for applying an insert effect to a stereo source and sampling the result.

1 Make the settings of step 1 and 2 in “Connec-

tions and settings for a stereo source.”

2 Set the various “Input 1” and “Input 2” parame-

ters.

• Set “BUS” to IFX1 for both Input 1 and 2.

• Set “Lvl” and “Pan” to the same settings as in step 3 of “Connections and settings for a stereo source.” With these settings, the stereo source will be sent to insert effect 1 (IFX 1).

3 Use the [INPUT] knob to adjust a suitable input

level. (Refer to step 6 of “Connections and settings for a monaural source.”)

4 Select the 7.2: Insert Effect, Setup page.

Up to ﬁve insert effects can be connected in series. Make settings for “Insert Effect,” “Chain,” and the “Pan (CC#8)” of the sound after it has passed through the insert effect. (

Examples of settings using the insert effects are given in “Mode (Sample Mode)” (

☞PG p.28, 104)

☞PG p.77).

Manual sampling

Immediately after the power is turned on, 000: NewMS______000 will be created automatically.

Use the numeric keys [0]–[9] to input the multisample number that you wish to record, and press the [ENTER] key.

If you select a new number, the Create New Multisample dialog box will appear . Press the [F8] (“OK”) key, and the new multisample will be created.

To specify the name, use the Utility “Rename MS.”

5 In “SMPL (Sample Select),” select the sample that

you wish to record. For this example, select ----: --No Assign----.

Immediately after the power is turned on, this will be set to ----: ---No Assign----. You may sample even in this condition. The sample will be automatically recorded to a vacant sample number. If you wish to start by specifying the sample number to be sampled, use the [INC], [DEC] keys or numeric keys [0]–[9] and [ENTER] key to specify the desired number.

A sample will be created when you record. A sample name such as 0000: NewSample_0000 will be assigned automatically. This name can be edited using the Utility “Rename SMPL.”

If you execute sampling when an existing sample such as 0000: NewSample_0000 is selected, the new sample will be sampled to a vacant sample number . You do not need to be concerned with this setting even when you continue recording successive samples.

6 Select the 1.1: Recording, Recording page.

Basic functions

There are two methods of sampling: manual and auto. In manual mode, sampling is started by pressing the

[F5] (“START”) key from the recording standby condition (entered by pressing the [F4] (“REC”) key once). For the sampling procedure in auto mode, refer to “Auto sampling” (☞p.70).

1 Select the 1.1: Recording, Recording page. 2 For “Mode (REC Mode),” select Manual.

This will select manual recording mode.

3 Select the 1.1: Recording, Sample page.

4 For “MS (Multisample Select),” select 000:

NewMS____000.

Sampling mode

7 Set the “Mode (Sample Mode).”

Monaural source: If the “Input1” setting “Pan” is L000, set “Mode (Sample Mode)” to L-Mono. If “Pan” is R127, set “Mode (Sample Mode)” to RMono. Stereo source: Set the “Mode (Sample Mode)” to Stereo.

8 Press the [F4] (“REC”) key.

If an input signal is present, the Recording Level [dB] meter will move according to the Pan setting in “Input1” and “Input2.” This is the recordingstandby condition.

In the case of “Connections and settings for a monaural source,” the L meter will move. In the case of

“Connections and settings for a stereo source,” the L and R meters will move.

Use the “Recording Level [dB]” slider to adjust the level. For this example, set the slider to the 0.0 set- ting (

☞PG p.78).

9 At the moment that you wish to begin sampling,

press the [F5] (“START”) key.

Sampling will begin.

0 Sampling will stop when you press the [F5]

(“STOP”) key.

Sampling will stop automatically when the remaining amount of memory reaches zero.

A Either press the [AUDITION] key, or press the C2

key on a connected MIDI keyboard.

The sample you recorded will play back. If you wish to continue recording samples, repeat

steps 7–0.

Auto sampling

There are two ways to record a sample: manual and auto.

With auto, sampling will begin when the input signal exceeds the speciﬁed threshold level.

1 Select the 1.1: Recording, Recording page.

9 Press the [F4] (“REC”) key. 0 Press the [F5] (“START”) key.

When the input signal exceeds the “Threshold” level, sampling will begin automatically.

A Sampling will stop when you press the [F5]

(“STOP”) key.

Sampling will end automatically if the remaining amount of memory reaches zero.

B Either press the [AUDITION] key, or press the C2

key on a connected MIDI keyboard.

The sample you recorded will play back.

Creating multisample indexes and sampling

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

If desired, you can ﬁrst create several indexes for a multisample, and then record a sample for each index.

1 Select the 1.1: Recording, Sample page.

Keyboard & Index

Index MS(Multisample Select)

2 For “Mode (REC Mode),” select Auto.

This will select auto recording mode.

3 Set the “Threshold.”

When the input signal exceeds the “Threshold” level, sampling will begin automatically. The black triangles at both sides of the Recording Level [dB] meter display will indicate the speciﬁed level.

When you use auto sampling, the attack portion of the sampled input sound may be lost, depending on the “Threshold” setting. If this occurs, you can use “Pre Trigger” to sample the sound that occurs before sampling actually begins. Normally you will set this to 0, and use it only when necessary.

4 Select the 1.1: Recording, Sample page. 5 Select the “MS (Multisample Select).”

☞“Manual sampling” step 4)

(

6 Select the sample in “SMPL (Sample Select)” that

you wish to record.

☞“Manual sampling” step 5)

(

7 Select the 1.1: Recording, Recording page. 8 Set the “Mode (Sample Mode).”

☞“Manual sampling” 6 7)

(

Create

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

multisample. (Refer to “Manual sampling” 4 )

3 Press the [F6] (“Create”) key 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 [F6] (“Create”) key 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 highlighted area is the currently selected index.

The index that is created when you press the [F6] (“Create”) key is created according to the “Create (Create Zone Preference)” settings of the 1.1: Recording, Input/Pref page. (

☞PG p.79, p.102).

Immediately after the power is turned on, “Pstn (Position)” will be R (Right), “Range (Zone Range)” will be 012(Keys), and “Orig.K (Original Key Position)” will be Btm (Bottom), so that indexes will be created as shown below.

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

Loop settings

With the default settings after the power is turned on, the sounds you sample will automatically be looped (1.1: Recording, Input/Pref page “AutoLoop (Auto Loop On)” On) T o edit the loop and other playback address settings for the sample, use the 3.1: Loop Edit, Edit2 page.

1 Select the sample for which you wish to make loop

settings.

To select the sample, use the “SMPL (Sample Select)” or “Index” parameters of 3.1: Loop Edit, Edit 1 page or of the 1.1: Recording, Sample page. (☞p.70)

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

4 Select “Index.”

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

5 If you have been sampling previously and one or

more samples already exist, use “SMPL (Sample Select)” to select the sample that you wish to assign.

Repeat steps 4 and 5 to assign a sample to each index. Complete the multisample in this way.

To hear the sampled sound, play a note on a connected MIDI keyboard in the range of the index to which the sample is assigned, or press the [AUDITION] key.

6 Alternatively, you can create several indexes for

the multisample before you begin sampling, and then sample for each index.

In step 4, select the index for which you wish to sample, and use either manual sampling or auto sampling to record a sample. ( “Auto sampling”)

Create a multisample by selecting an index and then sampling.

The number and order of the indexes in the multisample, the zone of each index, and the original key location can be edited later if desired (☞p.74 “Multisample editing”).

☞“Manual sampling,”

2 In the 3.1: Loop Edit, Edit1 page, use the “Lp

(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 4.

Loop On: S→E→LpS→E→ (LpS→E is repeated) Loop Off: S→E

3 Select the 3.1: Loop Edit, Edit2 page.

The waveform data of the currently selected sample will be displayed. You can play back the sample by playing a note on a connected MIDI keyboard in the range of keys to which the sample is assigned (the keyboard area highlighted in “Keyboard & Index”). You can also play the sample by pressing the [AUDITION] key.

In the case of a sample that was sampled with a “Mode (Sample Mode)” setting of Stereo, the waveform display will alternate between L and R each time you press the [F3] (“L/R”) key. At this time, the upper right of the display will indicate [L] or [R].

Basic functions

Sampling mode

4 Specify the start address in “S (Start),” the loop

start address in “LpS (Loop Start),” and the end address in “E (End).”

Select “S (Start)” (highlighted), and use the [V ALUE] dial or other V ALUE contr ollers to modify the value. The corresponding vertical line will move. Set “LpS (Loop Start)” and “E (End)” in the same way. In the example shown below , “S (Start)” is set immediately

before the ﬁrst waveform, “LpS (Loop Start)” is set immediately before the second waveform, and “E (End)” is set as desired.

S (Start) LpS (Loop Start) E (End)

Check “Grid,” set “Resolution” as desired, and press the [F8] (“OK”) key. The dotted grid lines will appear.

By using the ZOOM ([F4] key–[F7] key) you can change the range that is displayed. When “S (Start)” is highlighted, zoom will be performed from the start address (

If the “Zero (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.

5 If necessary, use the Utility “Truncate” to delete

unwanted data that falls outside the start (or loop start) and end addresses.

Set the parameters, and press the [F8] (“OK”) key to execute the operation. (

☞PG p.85).

☞PG p.93)

2 Set “ (Grid Tempo)” to the desired BPM tempo

value.

3 Set the end address so that it coincides with a dot-

ted 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 “LpS (Loop Start)” if looping is on. If looping is off, the grid will be based at “S (Start).”

4 To hide the grid display, select the “Grid” utility,

uncheck “Grid,” and press the [F8] (“OK”) key.

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 of a connected MIDI instrument.

For cautions on the “Save to No.” and “Overwrite” check boxes, refer to “A note on saving samples” (☞p.73).

The grid display

The Utility “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 2.1: Sample Edit, Edit2 page. The grid can help you to edit the waveform in synchronization with the tempo.

1 Select the “Grid” Utility.

The following dialog box will appear.

Sample (waveform data) editing

Editing the waveform data of the sample is done in 2.1: 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 “SMPL (Sample Select) or “Index” in the 2.1: Sample Edit, Edit 1 page or the 1.1: Recording, Sample page to select the sample. (☞p.70)

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

2 Select the 2.1: Sample Edit, Edit2 page.

The waveform data of the currently selected sample will be displayed.

The waveform display of a sample that was sampled with a “Mode (Sample Mode)” setting of Ste- reo can be switched between the L and R waveforms by pressing the [F3] (“L/R”) key. When you do so, [L] or [R] will be displayed alternately in the upper right.

A note on saving samples

In the dialog boxes of some Utility 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 “Delete SMPL” utility 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 SMPL” or “Copy MS” ( ple or sample before you begin editing it. For some Utility menu commands in 2.1: Sample Edit or 3.1: 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.

☞PG p.80, 81) to copy the multisam-

Basic functions

3 Use “Edit S (Edit Range Start)” and “Edit E (Edit

Range End)” to specify the range that you wish to edit.

The selected range will be highlighted.

If you wish to hear the sound of the selected range, press the [AUDITION] 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 your keyboard. On your connected MIDI instrument, play a key to which the sample is assigned (the highlighted range of the keyboard displayed in “Keyboard & Index”), and the sample will be played back according to its loop settings.

The procedure for using the ZOOM and “Zero (Use Zero)” check boxes is the same as for 3.1: Loop Edit.

4 From the list of Utility menu, select the desired

editing command. Make the appropriate settings in the dialog box, and press the [F8] (“OK”) key to execute.

For details on each command (

☞PG p.84).

Sampling mode

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 4.1: Multisample.

Basic settings such as creating indexes and assigning samples can also be made in the 1.1: Recording, Sample page.

Editing the indices

To change the number or order of the indexes, use the Insert, Cut, Copy, and Create.

1 Select 4.1: Multisample.

2 Use “MS (Multisample Select)” to select the multi-

sample that you wish to edit.

3 Select the “Index.”

You can also select this by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

4 Press the keys corresponding to the following

function buttons to edit the multisample by changing the number or order of the indexes.

To delete the selected index, press the “Cut.” The “Insert” is used in conjunction with the Cut and “Copy.” The contents of the index that was Cut or Copied will be inserted. The “Create” has the same function as the “Create” in 1.1 Recording, Sample (☞p.70 “Creating multisample indexes and sampling”).

Adj.” to set the loop interval to a desired BPM value (

☞PG p.102).

Converting a multisample to a program

The “Conv. To Prog” utility can be selected and executed in the various pages of 1.1: Recording, in 2.1: Sample Edit, in Edit 1 of 3.1: Loop Edit, in the various pages of 4.1: Multisample, and in 5.2: Ctrl Setup. When you execute this utility, the state 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 multi.

For details on using the “Conv. To Pr og” utility, refer to p.32 and PG p.83.

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

5.1: DKit, High Sample page and Low Sample page, set “Drumsample Bank” to RAM, and use “Drumsample” to select the sample that you created.

Modifying the settings of an index

1 Make the settings described in steps 1–3 of

“Editing the indices.”

2 Set parameters for the selected index.

☞PG p.101)

(

• Changing the Edit1 page “Top K (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” in the Edit2 page, playing any note on a connected MIDI instrument within the zone of an index will always sound the original pitch.

• Edit2 page “Pitch” adjusts the sample pitch for each index. You can use the Utility “Pitch BPM

Using Time Slice to divide a sample, and playing it in Multi mode RPPR

Press the [F8] (“OK”) key. The Set Sample Tempo dialog box will appear.

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 a sample of its own, and then automatically expanded into a multisample and program. Pattern playback data for Multi mode and RPPR settings for the divided samples are also created automatically. (

The time-slices sample can be used in the following ways by the RPPR function of Multi 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.

• Multiple rhythm loop samples can be turned on/ off in realtime from the keyboard of a connected MIDI instrument.

As an example, we will explain the procedure for using Sampling mode to time-slice two rhythm loop samples, and using the RPPR function of Multi mode to play them as rhythm loop samples.

☞PG p.93)

Time Slice

You will need to provide rhythm loop samples of drums etc. You can either record these on the TRITONRack, or load them in Disk 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 monaural rhythm loop sample.

For this example, we will use a 140 BPM rhythm loop sample and a 100 BPM rhythm loop sample.

1 Select “SMPL (Sample Select)” 140 BPM rhythm

loop sample.

4 Specify the number of quarter-note beats in the

sample, 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 do know the beat, set “Source BPM” to

140.

5 Press the [F8] (“OK”) key.

The sample will automatically be sliced, and a dialog box will appear.

When you play the keyboard of a connected MIDI instrument, C2 will play the original sample (Source), and D2 and subsequent keys will play the divided sample. You can change “Index” and press the [AUDITION] key to play the sample that is selected by “Index.”

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. (

6 Press the [F6] (“Save”) key.

The save dialog box will appear.

☞PG p.95)

Basic functions

Sampling mode

2 Access the SMPL 3.1: Loop Edit, Edit 2 page.

3 Select and execute the “Time Slice” utility.

Press the [F8] (“UTILITY”) key to access the Utility menu, and press the [F7] key to select “Time Slice.”

Here you can save the time-sliced sample and the automatically-created multisample. You can set the “With” items to specify the save destination for the program that uses the samples and multisample, and the pattern data for the rhythm loop sample used by the RPPR function of Multi mode.

For this example, set the “With” items as shown in the illustration.

Set “Program,” “Seq. Event,” “RPPR” to On (checked) Program: I-E010 Multi: 000, Pattern: U00 RPPR Key: C#2, Track: 01

Press the [F8] (“Save”) key to execute the save operation, and you will return to the dialog box of step 5. Press the [F7] (“Exit”) key to return to the screen of step 2.

7 Next use “SMPL” to select the 100 BPM rhythm

loop sample.

Repeat steps 2–5 to execute Time Slice and make any necessary adjustments.

In step 4, set “Source BPM” to 100.

8 As in step 6, press the [F6] (“Save”) key.

The save dialog box will appear.

•5.1: RPPR, RPPR KEY: D2, Assign: On, Pattern: User U01, Track: 02 (set in step

After making sure that RPPR is turned on, play C#2 and D2 on the keyboard of the connected MIDI instrument, and the time-sliced samples will play back at the tempo speciﬁed by “ (Tempo)” without their pitch being changed.

For example if you set “ (Tempo)” to 120, the 140 BPM rhythm loop sample of C#2 and the 100 BPM rhythm loop sample of D2 will both play at a tempo of 120 BPM.

Set the MIDI channel of the connected MIDI instrument to match the MIDI channel selected for “Control Track.” By default, the multi will use channel 1.

If, when you change the tempo, the beat of the rhythm loop sample is not reproduced correctly or noise is obtrusive, the slice has not been sliced optimally in step 5. The precision at which the rhythm instruments are divided will have a major impact on the quality of the playback. Please adjust the divisions of each sample in step 5. (

☞PG p.95)

For this example, set the “With” items as shown in the illustration.

Set “Program,” “Seq. Event,” “RPPR” to On Program: I-E011 Multi: 000, Pattern: U01 RPPR Key: D2, Track: 02

Press the [F8] (“Save”) key to execute the save operation, and you will return to the dialog box of step 5. Press the [F7] (“Exit”) key to return to the screen of step 2.

RPPR (Multi mode)

9 Press the [MULTI] key to enter Multi mode, and

select Multi: 000.

The following multi data that you speciﬁed in steps 6 and 8 will be specified and created automatically.

•1.1: Play, Multi Multi: 000, “RPPR On/Off” On

•1.1: Play, Prog..8 Track 01 Program: I-E010 (set in

step 6)

•1.1: Play, Prog..8 Track 02 Program: I-E011 (set in

step 8)

•5.1: RPPR, Pattern Pattern: U00 (created in step 6)

•5.1: RPPR, Pattern Pattern: U01 (created in step 8)

•5.1: RPPR, RPPR KEY: C#2, Assign: On, Pattern: User U00, Track: 01 (created in step 6)

If the silent portion between the samples is obtrusive when you play back at a slower tempo, or if noise occurs between the samples when you play back at a faster tempo, the result may sound unnatural. To avoid such problems, you can execute Time Stretch to adjust the length of the individual samples to match the desired playback tempo in steps 6 and 8. (

Depending on the end address settings etc. of the sample to be sliced, the number of measures in the pattern may increase, or the pattern playback in Multi mode may not loop accurately. In such cases, use the Multi mode utility “Pattern Parameter” (

☞PG p.64) to re-specify “Length.”

0 Settings for the RPPR function are made in the

MULTI 5.1 RPPR, RPPR Setup page.

Use “M (Mode)” to specify the pattern playback mode that will be used when you play a note on a connected MIDI instrument, and set “Sync” to specify the pattern playback timing/synchronization mode when multiple keys are pressed. “Shift” is normally set to +00. (

☞PG p.96 9)

☞PG p.65)

Global mode

In Global mode you can make settings that affect the entire TRITON-Rack, such as user scales, category names, drum kits, and user arpeggio patterns ( p.107).

This chapter will describe the procedure for editing a drum kit. For the procedure of editing an user arpeggio pattern, refer to “Arpeggiator settings” (☞p.85). For details on the parameters of other pages (☞p.99).

In Global mode, playing the keyboard of a connected MIDI instrument will cause the TRITONRack to sound in the state of the previouslyselected mode. If you move from Sampling mode to Global mode when sample memory is empty (such as immediately after the power is turned on), be aware that the TRITON-Rack will not produce sound.

The settings that you edit in Global mode are preserved as long as the power remains on, but will be lost when the power is turned off. The data handled in Global mode can be classiﬁed into three types: drum kit settings (GLOBAL 5.1), user arpeggio pattern settings (GLOBAL 6.1), and all other global settings (GLOBAL 1.1–4.1). Each of these three types of data can be written into the memory area. In Disk mode, this data can also be saved on external media such as a ﬂoppy disk (☞p.40).

☞PG

Creating a drum kit

About drum kits

A drum kit assigns a drumsample (PCM waveform data for a drum) to each key, and speciﬁes adjustments in pitch and level etc. for each sample.

The TRITON-Rack contains 144 drum kit memory areas. With the factory settings, 00 (I–A/B) – 15 (I–A/B) contain preloard drum kits suitable for various styles of music. ROM memory areas 144 (GM) – 152 (GM) contain nine different preset drum kits compatible with the GM2 sound map. For the factory preset drum kits, refer to the separate “VNL.”

In GLOBAL 5.1: DKit you can modify these drum kits, or create your own original drum kit from an initialized condition. You can also create original drum kits using sample waveforms that you sampled in Sampling mode or loaded into memory in Disk mode. A drum kit that you edit or create can be written into one of the user drum kit memory areas 00 (I–A/B) – 143 (E–H). In Disk mode, you can save drum kits on external media such as a ﬂoppy disk.

Basic functions

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.

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 PROG 2.1 Ed-Basic, Prog Basic page “Mode (Oscillator Mode)” setting. To use a multisample for the program, set “Mode (Oscillator Mode)” to Single or Double. To use a drum kit, set “Mode (Oscillator Mode)” to Drums.

About program parameters

Just as the character and effect processing of a melodic instrument such as piano, organ, trumpet, and strings is fundamentally different from that of percussion instruments such as drums or timpani, the program parameter structure of a multisample program (“Mode (Oscillator Mode)” to Single or Double) is fundamentally different from that of a drum kit pr ogram (“Mode (Oscillator Mode)” to Drums). The program parameters of a multisample specify ﬁlter and amp settings etc. appropriate for a multisample. For this reason, it is difﬁcult to change 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 (“Mode (Oscillator Mode)” = Drums), and then move to the GLOBAL 5.1: DKit page. Programs that use a drum kit have ﬁlter, amp, and effect settings suitable for drum sounds. It is

Global mode

best to ﬁrst select a drum kit program in Program mode, and then do your editing in Global mode.

Editing a drum kit

Before editing a drum kit, uncheck the Memory Protect (☞p.37).

1 In PROG 1.1: 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. (In the separate “VNL,” programs that use a drum kit are marked by a symbol.)

Set “Octave” to +0 [8']. W ith a setting other than +0 [8'], the relation 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 High Sample page of GLOBAL 5.1:

DKit.

5 Use “Assign” 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.

6 Use “Drumsample Bank” and “Drumsample” to

select the drum sample that will be assigned to the note number.

Set the High Drumsample in the High Sample page, and the Low Drumsample in the Low Sample page. If you specify a Low Drumsample, use “Vel.SW L→H” to specify how velocity will switch between the High Drumsample and the Low Drumsample. (

☞7)

By setting “Drumsample Bank” to ROM you can select ROM drum samples, to RAM to select sampled or loaded samples, or to EXB* to select drum samples from a separately sold EXB-PCM series option.

Some EXB-PCM series boards do not contain drumsamples.

3 In “Drum Kit,” select the drum kit that you wish to

edit.

If necessary, use the Utility “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 00 (I–A/B) – 143 (E–H), 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 Sample, Low Sample, and Voice/Mix pages. In addition to using the VALUE controllers, you can also use the following methods to select the note number.

• Hold down the [ENTER] key and play a key on a connected MIDI keyboard to input that note number.

• Use the [F6](“Key–”) and [F7](“Key+”) keys to increment or decrement the note numbers.

About ROM drumsamples

The TRITON-Rack contains 413 drumsamples in its internal ROM memory.

You can use the “Select by Category” utility to select ROM drum samples from ﬁfteen categories. For the drumsample names, refer to the separate “VNL.”

7 Use “Vel. SW L→H” 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 veloc- ity drumsample switching. If you set this to 001, only the High Drumsample will sound.

☞ This is the same type of function as the Velocity

Multisample Switching in a program. (☞p.44 “High Multisample and Low Multisample”)

8 Set the parameters of the drumsamples that you

assigned.

Set the High Drumsample parameters in the High Sample page, and the Low Drumsample parameters in the Low Sample page. You can set parameters such as volume level (“Level”), pitch (“Trans,” “Tune”), and tone (“Fc,” “Reso”). For details on each parameter, refer to PG p.116.

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 “Copy Key Setup” utility.

0 Select the Voice/Mixer page in GLOBAL 5.1: DKit.

A Set the “Excl Group.”

The “Excl Group” setting is used when you wish to group drumsamples of the same type. For example if the note number to which a open hihat and a closed hi-hat drumsample are assigned are set to the same exclusive group number , they will be grouped so that the open hi-hat and closed hi-hat can not be sounded simultaneously, ensuring that the hi-hat performance will sound natural.

B Use “BUS” 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 set snare-type sounds to IFX1 and kick sounds to IFX2, so that these sounds would be sent to insert effects 1 and 2 respectively. If you wish to send only speciﬁc drumsamples to AUDIO OUTPUT (INDIVIDUAL) jacks 1–4, select 1–4, 1/2, or 3/4. These settings are valid if “Use DKit Setting” (PROG

7.1: Ed-BUS, BUS page) is checked in the Routing tab of Program P8 for the program that uses this drum kit (

C Use “Pan” to specify the stereo output position.

The setting you make here is valid if the “Use DKit Setting” is checked (PROG 5.1: Ed-Amp1, Level/ Pan page) for the program that uses this drum kit.

D Use “S1 (Send1(MFX1))” and “S2 (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 (PROG 7.1: Ed-BUS, BUS page) for the program that uses this drum kit.

E Use the “Write Drum Kits” utility to save the data.

If you wish to change the name of the drum kit before you save it, use the “Rename Drum Kit” utility (☞p.38).

If you turn off the power before writing the data into memory, your edits will be lost (☞p.39 “Memory in Global mode”).

☞PG p.27, 143, 144).

Basic functions

Global mode

Disk mode

How Disk mode is organized

In Disk mode you can use ﬂoppy disks or a connected external SCSI device (if the separately sold EXB-SCSI is installed) to save or load various types of data. You can also make settings related to saving and loading functionality.

For details on connecting an external SCSI device and setting the SCSI ID etc., refer to the owner’s manual for the separately sold EXB-SCSI option.

Types of media that can be used

Floppy disks

The TRITON-Rack can use MS-DOS format 3.5 inch 2HD or 2DD ﬂoppy disks. The capacity of a ﬂoppy

disk after formatting will be 1.44 MB (18 sectors/track) for a 2HD disk, or 720 KB (9 sectors/track) for a 2DD disk. (

☞For details on formatting, refer to PG p.137.)

We recommend that you use 2HD ﬂoppy disks.

External SCSI storage media (when the separately sold EXB-SCSI option is installed)

If the separately sold EXB-SCSI option is installed, the TRITON-Rack can save data on external SCSI media (maximum 4 GB) such as a hard disk, Zip, Jaz, ORB, or MO drive. When the EXB-SCSI option is installed, an external SCSI device of up to 4 GB can be formatted.

When you insert media for the ﬁrst time after turning on the power, or after changing disks, you must press a function key etc. to make the TRITON-Rack detect the media. When the disk (or other media) is recognized, media information will appear in the LCD screen.

Y ou can also make the TRITON-Rack r ecognize the media by pressing the [SELECT], [ARP ON/OFF], [AUDITION], or [DEMO/SNG] keys, or any key other than the mode keys.

If more than one volume of media is currently recognized, select “Drive” and use the [INC], [DEC] keys to switch between media.

The TRITON-Rack cannot format media with a format of other than 512 bytes/block (such as 640 MB,

1.3 GB MO disks etc.).

Files that can be loaded

DOS files

.PCG file

.SNG file

DOS directory Undefined DOS file

All programs

All combinations

All drum kits

All user arpeggio

patterns

Global settings

1 multi

[000–199]

1 program

bank [I-A–I-F, E-A–E-H]

1 combination

bank [I-A–I-E, E-A–E-H]

1 drum kit group

I-A/B, E-A–E-H]

1 user arpeggio

pattern group

[I-A/B, E-A–E-H]

Track

1 user pattern

[000–99]

Up Open

1 combination

1 user arpeggio

1 program

1 drum kit

pattern

DOS file

.MID file

.EXL file

.KMP file

.KSF file

.KSC file

.AIF file

.WAV file

AKAI format program file

AKAI format sample file

Loading data

Types of data that can be loaded

The data that can be loaded from external media (e.g., ﬂoppy disk) is shown in the diagram at the bottom of the previous page. ( refer to PG p.123) If the separately sold EXB-SCSI option is installed, data can also be loaded from media such as a hard disk or CD-ROM.

Data loading procedure

Loading Programs, Combinations, Drum kits, User arpeggio patterns, and Global settings (loading a .PCG ﬁle)

Select this when you wish to reload programs or combinations that you created and saved using “Save All” or “Save PCG,” or when you wish to restore the preloaded data (factory settings) from the included ﬂoppy disks.

Before loading programs, combinations, multis, user drum kits, and user arpeggio patterns, you must turn off memory protect in Global mode (☞p.37).

Here, as an example, we will load the PRELOAD.PCG ﬁle from the included ﬂoppy disk. A .PCG ﬁle contains programs, combinations, drum kits, user arpeggio patterns, and global settings. ( ous page)

1 Insert the ﬂoppy disk “TNRFD-00P” into the

ﬂoppy disk drive of the TRITON-Rack.

For details on handling ﬂoppy disks, please be sure to read “Cautions when handling ﬂoppy disks” (☞p.84)

2 Enter Disk mode, and press a function key etc. to

make the TRITON-Rack detect the disk.

☞For details on each type of data,

☞lower diagram on previ-

When you load a .PCG ﬁle, the data in the internal memory of the TRITON-Rack will be overwritten with the data of that .PCG ﬁle (programs, combinations, drum kits, user arpeggio patterns, global settings). If you wish to keep the data that is currently in internal memory, you must execute “Save All” or “Save PCG” to save it before you load other data.

5 From the utility menu, choose “Load Selected.”

A dialog box will appear. The dialog box and its settings and operation will differ depending on the type of ﬁle that you load. For details on each ﬁle, refer to PG p.123.

If you check “Load ********.SNG too” when loading, the .SNG ﬁle of the same name as the .PCG ﬁle will also be loaded. If you check “Load ********.KSC too” when loading, the .KSC ﬁle of the same name as the .PCG ﬁle will also be loaded. (

☞PG p.125)

6 In “.PCG Contents,” specify the data that will be

loaded.

1)If you wish to load all the data of the .PCG ﬁle, select All.

Normally you will select All. If you load PRELOAD.PCG from the included ﬂoppy disk using All, all the data of the .PCG ﬁle will be loaded as follows.

Programs

• Bank I-A file: loaded to bank I-A

• Bank I-B file: loaded to bank I-B

• Bank I-C file: loaded to bank I-C

• Bank I-D file: loaded to bank I-D

• Bank I-E file: loaded to bank I-E

Basic functions

Disk mode

3 Select the Load page.

File information will be displayed in the LCD screen.

4 Select a PRELOAD .PCG ﬁle.

The selected ﬁle will be highlighted in the display.

If the data you wish to load is located in a lower or higher directory level, use [F6] (“OPEN”) or [F5] (“UP”) keys to display the desired data, and then select it.

Combinations

• Bank I-A file: loaded to bank I-A

• Bank I-B file: loaded to bank I-B

• Bank I-C file: loaded to bank I-C

• Bank I-D file: loaded to bank I-D

Drum Kits

• 00–15 (I-A/B) file: loaded to banks I-A/B

Arpeggio Patterns

• 000–199 (I-A/B) file: loaded to banks I-A/B

2)If you wish to load the data of the .PCG ﬁle by individual banks, use “.PCG Contents” to select the load source bank, and “To” to select the load destination bank. When you execute the load operation, only the pro-

grams, combinations, drum kits, and user arpeggio patterns of the speciﬁed bank will be loaded to the

speciﬁed load destination bank. Global setting data will not be loaded. If you set “.PCG Contents” to Bank I-A, and set “To” to Bank I-A, the data will be loaded as follows.

When you load PRELOAD.PCG, any data that you had written previously will be overwritten and lost. If you do not want to lose your data, you must ﬁrst save it on a ﬂoppy disk etc. (☞p.40)

Programs

• Bank I-A file: loaded to bank I-A

Combinations

• Bank I-A file: loaded to bank I-A

Drum Kits

• 00–15 (I-A/B) file: loaded to banks I-A/B

Arpeggio Patterns

• 000–199 (I-A/B) file: loaded to banks I-A/B If you specify different banks as the load source

and load destination, the data listed below will be automatically reassigned so that the various types of data will correspond correctly in each mode after being loaded. Even if “Load .SNG too” is checked when you load, the data will automatically be reassigned so that the multi data will correspond correctly.

• Program bank used by the combinations

• Pattern number of the user arpeggio pattern used by the combinations/programs/multi

• Kit number of the drum kit used by the program

• Program bank used by each track of a multi

• If there are track/pattern events, the program bank within the events

7 Press the [F8] (“OK”) key to execute the Load oper-

ation.

If the speciﬁed data does not exist in the ﬁle, the load operation will be halted. (

Never remove the media while data is being loaded.

☞PG p.125)

Contents of the included ﬂoppy disks

The TRITON-Rack comes with two ﬂoppy disks (TNRFD-00P, TNRFD-01P). The contents of these disks are as follows.

“TNRFD-00P”

PRELOAD.PCG (already loaded with the factory

settings)

• Programs (Bank I-A, I-B, I-C, I-D, I-E)

• Combinations (Bank I-A, I-B, I-C, I-D)

• Drum Kits (I-A/B: 16 kits)

• Arp Patterns (I-A/B: 200 patterns) This is the preloaded data (programs, combinations, drum kits, arpeggio patterns, and global settings). Program bank I-E contains only I-E000–I-E004. I-E000: Sampler Waves is a multisample program used by the demo song. I-E001–I-E004 are programs that use the vocoder effect (093: Vocoder). PRELOAD.PCG can be loaded into the TRITONRack by the Disk mode utility “Load Selected.” This data is preserved even when the power is turned off.

DEMOSONG.SNG (already loaded with the factory settings)

• Demo songs (000...004) This is demo song data for loading to DEMO/SNG. It can be loaded into internal DEMO/SNG memory by the Disk mode utility “Load to Demo Song.” (☞p.42, PG p.132)

When you load DEMOSONG.SNG, the DEMO/ SNG and Multi data in the TRITON-Rack’s internal memory will be overwritten. If you do not want to lose your data, you must ﬁrst save it on a ﬂoppy disk etc. (☞p.40). Since the arpeggio patterns and drum kit data in memory will also be erased, you should write this data if you do not want to lose it.

RPPRDEMO.SNG

• FEVER This is RPPR data for loading into a multi. It can be loaded into a TRITON-Rack multi by the Disk mode utility “Load Selected.” (☞p.25, PG p.128)

When you load RPPRDEMO.SNG, the Multi data in the TRITON-Rack’s internal memory will be overwritten. If you do not want to lose your data, you must ﬁrst save it on a ﬂoppy disk etc. (☞p.40)

“TNRFD-01P”

DCUT_SMP.KSC DCUT_SMP-folder

This is multisample and sample data used by the demo song “Deep Cut.” (☞p.16, 29)

When DCUT_SMP.KSC is loaded, the “Select .KSC Allocation” setting will affect how the data is loaded into sample memory. (

☞PG p.130)

Loading .PCG ﬁles or .SNG ﬁles from the ﬂoppy disks included with the separately sold EXB-PCM series options

The ﬂoppy disk included with each EXB-PCM series option contains PCG ﬁles and SNG ﬁles that match the bank structure of the TRITON/TRITONpro/TRITONproX (keyboard models of the TRITON).

(As of July 2000)

C_BANK.PCG (.SNG) and D_BANK.PCG (.SNG) have the same content, but use different banks. C_BANK.PCG (.SNG) is for loading into bank C of a keyboard model TRITON, and D_BANK.PCG (.SNG) is for loading into bank D. When loading these EXB-PCM series ﬁles into the TRITON-Rack, we recommend that you load them into banks EXB-A–EXB-H.

As an example, here’s how to load the ﬁles of the ﬂoppy disks included with the EXB-PCM01–04 into banks E-A, E-B, E-C, and E-D of the TRITON-Rack as follows.

• Load the EXB-PCM01 file for bank C of the TRITON keyboard model into bank E-A.

• Load the EXB-PCM02 file for bank C of the TRITON keyboard model into bank E-B.

• Load the EXB-PCM03 file for bank C of the TRITON keyboard model into bank E-C.

• Load the EXB-PCM04 file for bank C of the TRITON keyboard model into bank E-D.

The loading destination banks can be ordered in a way other than as shown above. It is best to load the data into the bank(s) E-A–E-H that will be most convenient for you.

EXB-PCM boards can be installed in any slot 1–8. (

☞PG p.249)

1 If you have modiﬁed the settings or the order of

the programs of banks I-A or I-B, load banks I-A and I-B from the disk included with the TRITONRack.

The EXB-PCM01, 02, and 04 combinations are created using programs for the EXB-PCM as well as preloaded programs from banks I-A and I-B. For this reason, you must also load the preloaded program banks I-A and I-B if you load EXB-PCM01, 02, or 04. (☞p.81 “Data loading procedure”)

2 Load C_BANK.PCG from the ﬂoppy disk included

with EXB-PCM01–04.

As described in steps 1–5 of “Data loading procedure,” select “C_BANK.PCG,” and access the Load C_BANK.PCG dialog box.

Next, select “.PCG Contents” and “To” as described in step 6 part 2). Set these items as follows.

EXB-PCM01:

“.PCG Contents”: Bank I-C, “To”: Bank E-A

EXB-PCM04:

“.PCG Contents”: Bank I-C, “To”: Bank E-D “Load C_BANK.SNG too”: On (checked) “.SNG Allocation”: Append

When you check “Load C_BANK.SNG too” for EXB-PCM03 and 04, the RPPR settings and patterns will be loaded into Multi mode. If you set “.SNG Allocation” to Append for EXB-PCM04, the C_BANK.SNG (multi data) that had been loaded for EXB-PCM03 will be retained when the (additional) data is loaded.

3 Press the [F8] (“OK”) key to execute the Load oper-

ation.

If you execute with “.PCG Contents” to set to All, the programs and combinations of banks I-A, I-B, I-C (or I-D), all drum kits, all user arpeggio patterns, and the global settings will be overwritten.

If you wish to keep the data currently in the internal memory area, use “Save All” or “Save PCG” to save it beforehand.

Basic functions

Saving data

For the procedure of saving data to a ﬂoppy disk or to external SCSI media, refer to “Saving on external media” (☞p.40).

EXB-PCM02:

“.PCG Contents”: Bank I-C, “To”: Bank E-B

EXB-PCM03:

“.PCG Contents”: Bank I-C, “To”: Bank E-C “Load C_BANK.SNG too”: On (checked) “.SNG Allocation”: Clear

Types of data that can be saved

The following types of data can be saved on external media (ﬂoppy disk etc.). If the separately sold EXBSCSI option is installed, data can also be saved on highcapacity media such as a hard disk.

• .PCG files

Programs, combinations, global settings, drum kits, user arpeggio patterns (the data speciﬁed by the “S.Item” (Select Save Items) check boxes when saving will be saved).

• .SNG files

Multis

• .KSC files

Script ﬁle (KSC ﬁles) listing the multisamples and samples created in Sampling mode, with multisamples (KMP ﬁles) and samples (KSF ﬁles)

• Standard MIDI ﬁles (SMF)

A single pattern of Multi mode can be saved as SMF data (.MID ﬁle).

• System exclusive data

System exclusive data received by the TRITONRack from an external MIDI device (the TRITONRack can be used as a data ﬁler).

Disk mode

• .WAVE ﬁles, .AIFF ﬁles

Samples you created in Sampling mode can be exported and saved as .WAVE ﬁles or .AIFF ﬁles.

For details on each type of ﬁle and the icon associated with it, refer to the lower diagram on page p.80.

Floppy disk write protect

Floppy disks have a small write protect hole that can be used to prevent data from being erased or rewritten accidentally. After saving data to disk, move the write protect tab so that the hole is uncovered. This will prohibit writing to the disk, and will prevent the data from being destroyed accidentally.

Formatting media

The TRITON-Rack can format a ﬂoppy disk or external SCSI media.

Newly purchased media or media that has been used by another device cannot be used as it is. Such media must be formatted before using it on the TRITON-Rack for the ﬁrst time.

For the formatting procedure, refer to “Format” ( p.137). In the case of a ﬂoppy disk, the formatting operation can be performed on a MS-DOS compatible computer. In the case of SCSI media, you must use the TRITONRack to format the media.

The TRITON-Rack cannot format media with a format of other than 512 bytes/block (such as 640 MB,

1.3 GB MO disks etc.).

☞PG

Cautions when handling ﬂoppy disks

When handling ﬂoppy disks, please observe the following points. Data loss may occur if a ﬂoppy disk is handled improperly.

Floppy disk type and format

The TRITON-Rack can use 2HD or 2DD 3.5 inch ﬂoppy disks.

Floppy disk handling

• Do not open the shutter of a floppy disk or touch the magnetic surface inside the disk. If the magnetic disk becomes soiled or scratched, it will no longer be possible to read data format.

• Never transport the TRITON-Rack with a floppy disk in the disk drive. Vibration may cause the disk drive heads to scratch the floppy disk, making it unusable.

• Do not allow a floppy disk to be placed near a device that emits a magnetic field, such as a television, computer, computer display, speaker, or power supply transformer. This can erase data on the disk.

• Do not use or store floppy disks in locations of excessive temperature or humidity, in direct sunlight, or in dusty or dirty locations.

• Do not place objects on top of a floppy disk.

• While the disk drive is operating, do not attempt to remove the floppy disk, and do not subject the TRITON-Rack to physical shock.

Write prohibit: Move the tab so that the write protect hole is open.

Write permit: Move the tab so that the write protect hole is covered.

Inserting a ﬂoppy disk

With the label of the ﬂoppy disk facing upward, insert it into the disk drive. Press the disk inward until it clicks into place. Malfunctions will occur if you use excessive force to insert the disk. Disks must be inserted gently, and straight in.

Disk access indicator

Removing a ﬂoppy disk

To remove a ﬂoppy disk, ﬁrst make sure that the disk access indicator is dark. Then press the eject button and remove the disk. If the disk does not come out when you press this button, do not attempt to remove the disk by force. Please contact your dealer.

Disk access indicator

Eject button

Head cleaning

If the heads of the disk drive are become soiled, errors may occur during saving, loading or formatting. It is important to clean the heads regularly using a commercially available wet-type 3.5 inch double-sided head cleaning disk. For the cleaning procedure, refer to the owner’s manual for the cleaning disk.

Arpeggiator settings

This chapter describes the procedure for making arpeggiator settings in each mode. For details on the arpeggiator function, refer to “4. Using the arpeggiator while you play” (☞p.21).

Arpeggiator settings for a program

Arpeggiator on/off

Each time you press the [ARP ON/OFF] key, the arpeggiator will be switched on or off. When on, the LED will light. When you play the keyboard of a connected MIDI instrument, an arpeggio will play according to the selected arpeggio pattern.

The on/off setting is stored when the program is written.

Arpeggiator settings

P000: UP

P001: DOWN

DOWN

P002: ALT1

ALT1

Basic functions

1 Select the PROG 6.1: Ed-Arp., Arpeg. Setup page.

2 Use “ (Tempo)” to set the tempo.

You can adjust the tempo by rotating REALTIME CONTROLS C-mode [TEMPO] knob. The [SELECT] key LED will blink at the speciﬁed tempo.

3 In “Pattern,” select the arpeggio pattern.

You can select from preset arpeggio patterns P000– P004 and user arpeggio patterns U000 (I-A/B)–327 (E-H).

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 one possibility.

P003: ALT2

ALT2

P004: RANDOM

RANDOM

U000(I–A/B)–U199 (I–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).

Arpeggiator settings

U200 (E–A) – U327 (E–H)

With the factory settings, these do not contain patterns. If certain separately sold EXB-PCM series option boards are installed and the included disk is loaded, other arpeggio patterns will be added.

4 Make settings for the various parameters.

“Octave”: Select the octave range in which the

arpeggio will be played.

If this is unchecked, the arpeggio will be sounded in the order in which the notes were played on the connected MIDI instrument (Off).

Sort OFF, UP

Sort ON, UP

Octave: 4

If a user arpeggio pattern is selected, the “Octave Motion” setting (GLOBAL 6.1: Arp.Pattern, Setup page) will affect the way in which the arpeggio is played.

“Reso”: Speciﬁes the spacing 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 “Gt” setting for each step (GLOBAL 6.1: Arp.Pattern, Edit page) will be used.

This value will be in effect when the REALTIME CONTROLS C-mode [ARP-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 the note on the connected MIDI instrument 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 6.1: Arp.Pattern, Edit page) will be used.

① ③ ② ④

“Latch”: If this is checked, the arpeggio will continue playing even after you take your hand off the keyboard of the connected MIDI instrument. If this is unchecked, the arpeggio will stop playing when you take your hand off the keyboard of the connected MIDI instrument. “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 “About arpeggiator synchronization” (☞p.93).

“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 PROG

1.1: Play, Arp.Play page. You can use the Utility “Copy Arpeggiator” to

copy arpeggiator settings from another program or combination (

☞PG p.25).

5 In the Scan Zone page, specify the range in which

the arpeggiator will operate.

This value will be in effect when the REALTIME CONTROLS C-mode [ARP-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 the connected MIDI instrument (On).

“Key Btm,” “Key Top”: The arpeggiator will operate 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 “Key Top” to B3, and “Key Btm” to C- 1, 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.

“Vel Btm,” “Vel Top”: 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 (☞p.37), and write the program (☞p.38).

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 Program for “Auto Arp.” (GLOBAL 1.1: System, Basic page).

Arpeggiator settings in Combina-

Arpeggiator settings

1 Select COMBI 2.1: Ed-Prog/Mix, Prog page.

Select programs for the timbres that you wish to use. For this example, select any desired program for timbres 1–4.

2 Select COMBI 3.1: Ed-Paraml. MIDI 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 2.1: 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.

tion and Multi modes

In Combination and Multi modes, the TRITON-Rack 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 (

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.

• Select an arpeggio pattern and set parameters

independently for A and B.

• 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.

• Make settings for timbres that will be silent when the arpeggiator is Off, and will sound only when the arpeggiator is On.

Arpeggiator on/off

Each time you press the [ARP ON/OFF] key, the arpeggiator will be switched on or off. When on, the LED will light. The selected arpeggio pattern will begin when you play the keyboard on the connected MIDI instrument. 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.

☞PG p.43, 67).

☞step6

☞step7

☞step8

☞step0

3 Select COMBI 6.1: Ed-Arp., Setup page.

4 Set “ (Temp)” to specify the tempo.

This is the same as for a program ( ☞p.85). However, the tempo is shared by both arpeggiators A and B.

5 Make “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 [ARP ON/OFF] key is turned on.

With the settings shown in the LCD screen for steps 2 and 3, turning the [ARP 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 [ARP ON/OFF] key is turned off, timbres 1–4 will sound as a layer. If all timbres “Assign” are Off, or if neither “Arpeg- giator Run” A or B is checked, the arpeggiator will not function.

7 In the Arp. A and Arp. B pages, set the parameters

for arpeggiators A and B.

The parameters for A and B are the same as for a program (☞p.85).

8 In the Scan Zone 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.86).

Basic functions

Arpeggiator settings

You can use keyboard ranges or playing velocity to operate the arpeggiator , or to switch between arpeggiators A and B. By setting the COMBI 3.3: Ed-Key Zone, Key page and COMBI 3.4: Ed-Vel Zone, Vel 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 (☞p.37), and write the combination. (☞p.38).

0 The “Status,” “MIDI Channel” and “Assign” set-

tings 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 not Off.

Although this is a somewhat sophisticated editing technique, we will describe the settings of one of the preset combinations as an example.

Combination I–A003: Drum’n’Bass Set

Select combination I–A003: Drum’n’Bass Set , and play it.

Before you play, make sure that the global MIDI channel (GLOBAL 2.1: MIDI “MIDI Channel”) is set to 01.

• Arpeggiator A is assigned to T (timbre) 7 and 8.

When you play the keyboard, the arpeggio pattern

U158 (I-A/B): Drum’n’Bass 6 will sound only the T8 program I-B068: Drum’n’Bass Kit.

• The arpeggio pattern uses the Fixed Note setting,

which is appropriate when playing a drum arpeggio. (“Fixed Note” is checked in, GLOBAL

6.1: Arp.Pattern, Setup page.) With this setting, the arpeggio pattern will always play the specified pitches regardless of the note numbers received from the keyboard. (

• The A “Key Btm” and “Key Top” (COMBI 6.1: Ed-

Arp. Scan Zone page) are set so that arpeggiator A will operate only for notes B3 and lower.

• Arpeggiator A is also assigned to T7, but this is so that the T8 program I–B068: Drum’n’Bass Kit will sound only when the arpeggiator is on.

☞PG p.121)

arpeggiator A. Since the “Status” of T7 is Off, it will not sound.

• Since the “Status” of T7 is Off, it will not sound,

regardless of whether the arpeggiator is on or off. It is a dummy timbre that causes T8 to sound only when the arpeggiator is on.

Combination I–B086: [<Moon Jam>]

Select and play combination I–B086: [<Moon Jam>]. Before you play, make sure that the global MIDI chan-

nel (GLOBAL 2.1: MIDI “MIDI Channel”) is set to 01.

• Arpeggiator A is assigned to T3, and arpeggiator B is assigned to T6 and 7. When you play the keyboard, the T3 program I–A012: Smooth Sine

Lead will be sounded by the arpeggio pattern P000: UP. The T6 program I–A020: House Kit will be sounded by the arpeggio pattern U161 (I–A/B): House 1 BD&SD.

• The A and B “Key Btm” and “Key Top” (COMBI

6.1: Ed-Arp., Scan Zone page) are set so that arpeggiators A and B will operate only for the C4 note and above.

• Arpeggiator B is assigned to T7 as well, but this setting is so that the T6 program I–A020: House Kit will sound only when the arpeggiator is on. Refer to the preceding section “Select and play Combination I–A003: Drum’n Bass Set.”

Linking the arpeggiator to the combination

If you want the arpeggiator settings of a combination to become active when that combination is selected, check “Combi” for “Auto Arp” (GLOBAL 1.1: System, Basic page).

Notice the timbre settings for T7 and T8

Status MIDI Channel Assign

T7 Off Gch A T8 INT 02 A

• If the arpeggiator is off, playing the keyboard will

sound the timbre(s) that are set to Gch or to the global MIDI channel (in this case, 01). Since the “MIDI Channel” of T8 is set to 02, it will not sound. T7 is set to Gch, but since “Status” is Off it will not sound.

• Any MIDI channel that is assigned to a timbre will trigger the arpeggiator. In this case, these will be “MIDI Channel” 02 and Gch (global MIDI channel). When the arpeggiator is on, playing the keyboard will trigger arpeggiator A which is assigned to T7 (Gch). T8 will be sounded by

Creating an user arpeggio pattern

About user arpeggio patterns

The patterns that can be selected on the TRITONRack’s arpeggiator are called “arpeggio patterns.” There are two types of arpeggio patterns: preset arpeggio patterns and user arpeggio patterns.

Preset arpeggio patterns: There are ﬁve patterns; UP, DOWN, ALT1, ALT2, and RANDOM.

The operation of these patterns is ﬁxed, and cannot be edited.

User arpeggio patterns: There are 328 patterns U000(I– A/B)–U327(E–H)

Which can develop chords or phrases in a wide variety of ways, based on the pitches that you play on the keyboard connected MIDI instrument or the timing at which you play them. In GLOBAL 6.1: Arp.Pattern you can modify these user arpeggio patterns, or create a new user arpeggio pattern from an initialized condition. Edited user arpeggio patterns can be written to internal memory areas U000(I–A/B)–U327(E–H). In Disk mode, they can also be saved on external media such as a ﬂoppy disk. (☞p.40)

Editing a user arpeggio pattern

When you wish to edit an user arpeggio pattern, ﬁrst turn off memory protect by unchecking the Memory Protect “Arp. UsrPat” check box in the Preference page of GLOBAL 1.1: System.

If you move here from Program mode, your editing will apply to the arpeggio pattern speciﬁed for the selected program.

1 In Program mode, select a program for which the

arpeggio pattern you wish to edit is selected, or a program that you wish to use as a basis for editing the arpeggio pattern.

2 Press the [ARP ON/OFF] key to turn on the arpeg-

giator (the LED will light).

Even if you moved to Global mode from a program in which the arpeggiator was turned off, you can use the [ARP ON/OFF] key to turn it on.

3 Select the GLOBAL 6.1: Arp.Pattern, Setup page.

4 In “Pattern,” select the arpeggio pattern that you

wish to edit.

For this example, select an empty user arpeggio pattern.

If a blank pattern is selected, playing the keyboard will not start an arpeggio. Although preset arpeggio patterns P000–P004 can be selected, they cannot be edited.

When you edit a user arpeggio pattern, the changes will have an effect anytime that this pattern is used in Program, Combination, or Multi.

5 In “Lgth (Length),” specify the length of the pat-

tern.

After the pattern has played for the length speciﬁed here at the note interval speciﬁed by “Reso,” it will return to the beginning. This setting can also be changed during or after editing. For this example, set it to 8.

For the preload arpeggio patterns U000(I–A/B)– U199(I–A/B), simply changing the “Lgth” can signiﬁcantly change the character of the pattern. Try changing the length and listening to the result.

6 Make settings for the “ (Tempo),” “Reso (Resolu-

tion),” “Oct (Octave),” “Sort,” “Latch,” “K.Sync (Key Sync.),” and “Kbd (Keyboard)” parameters.

These are program parameters, but can be set from here as well. If after moving here from Program mode, you modify these parameters and wish to keep your changes, return to Program mode and write the program. These parameters are not saved by “Write Arpeggio Pattern.”

For this example, make the settings shown in the illustration 3.

7 The “Type (Arpeggio Type),” “Octave Motion,”

and “Fixed Note” parameters specify how the arpeggio will be developed.

These settings can be changed during or after editing (

☞PG p.120).

8 Select the Edit page.

A pattern consists of Steps and Tones.

• Step: A user arpeggio pattern can have a

maximum of 48 steps. The arpeggiator will play from the first step, at intervals of the note value specified by “Reso (Resolution).” The vertical lines of the grid shown in the center of the LCD screen indicate the steps. Use “Step (Step No.)” to select the step. For each step, specify “Ptch (Pitch Offset),” “Gt (Gate),” “Vel (Velocity)” and “Flam.”

To change Step, you can either use the [ ], [ ] keys or select “Step (Step No.)” and use the [VALUE] dial or the [INC], [DEC] keys.

Basic functions

Arpeggiator settings

• Tone: At each step, a chord consisting of up to

12 tones (Tone No. 00–11) can be sounded. To input tones, select “Step (Step No.)” and then use numeric keys [0]–[9], [–], and [./HOLD] to input tones. The “Tone No.” corresponds to the [0]–[9], [–], and [./HOLD] keys as shown below. Each time you press a [0]–[9], [–], or [./HOLD] key, the corresponding tone will be turned on/ off. The horizontal lines of the grid shown in the center of the LCD screen indicate the tones.

Tone00–09: [0]–[9] keys Tone10: [–] key Tone11: [./HOLD] key

Tone No.

4 3 2 1 0

01 05 Step No. Lgth(Length)

Creating an example pattern

“Gt (Gate)”: Specify the length of the arpeggio note for each step. With a setting of LGT, the note will continue sounding either until the next note of the same tone or until the end of the pattern. With a setting of Off, the note will not sound.

“Vel (Velocity)”: Specify the strength of the note. With a setting of Key, the note will sound at the strength with which it was actually played.

The “Gt (Gate)” and “Vel (Velocity)” settings you make here will be valid if the “Gt (Gate)” and “Vel (Velocity)” parameters (PROG 6.1: Ed–Arp., Arpeg. Setup page) of the program selected in Program mode are set to Step. If these parameters have a setting other than Step, the “Gt (Gate)” and “Vel (Velocity)” that were speciﬁed for each individual step will be ignored, and all notes of the arpeggio will sound according to the settings in PROG 6.1: Ed-Arp. Be sure to verify the settings of the program.

Before you set “Gt (Gate),” move the REALTIME CONTROLS C-mode [ARP-GATE] knob to the center position (12 o’clock).

Before you set “Vel (Velocity),” move the REALTIME CONTROLS C-mode [ARP-VELOCITY] knob to the center position (12 o’clock).

1 Set “Step (Step No.)” to 01, and press the [0] key. 2 Set “Step (Step No.)” to 02, and press the [1] key. 3 Set “Step (Step No.)” to 03, and press the [2] key. 4 Set “Step (Step No.)” to 04, and press the [1] key. 5 Set “Step (Step No.)” to 05, and press the [3] key. 6 Set “Step (Step No.)” to 06, and press the [1] key. 7 Set “Step (Step No.)” to 07, and press the [2] key. 8 Set “Step (Step No.)” to 08, and press the [1] key.

9 When you play the keyboard as shown in the illus-

tration, the arpeggiator will begin playing. Tone 0 corresponds to the pitch of the lowest key of

chord you play on the keyboard. (If “Sort” is unchecked, it will correspond to the pitch of the ﬁrst note you play.)

0 For steps 01–08, make settings for “Ptch (Pitch Off-

set),” “Gt (Gate),” “Vel (Velocity),” and “Flam.” “Ptch (Pitch Offset)”: This offsets the pitch of the

arpeggio note in semitones up or down. You can input the same tone for each step, and change the “Ptch (Pitch Offset)” value for each to create a melody using a single tone. (

☞“Melody pattern”)

A To change the user arpeggio pattern name, use the

Utility “Rename Arpeggio Pattern” (☞p.38).

B If you wish to save the edited user arpeggio pat-

tern to internal memory, be sure to Write the user arpeggio pattern (☞p.39).

If you turn off the power without writing, the edited contents will be lost.

C If you wish to save the state of the program at the

same time, return to Program mode and write the program (☞p.37).

Other examples of creating a user arpeggio pattern

Melody pattern

1 Set “Step (Step No.)” to 01, and press the [0] key.

Set “Ptch (Pitch Offset)” to +00.

2 Set “Step (Step No.)” to 02, and press the [0] key.

Set “Ptch (Pitch Offset)” to +10.

3 Set “Step (Step No.)” to 03, and press the [0] key.

Set “Ptch (Pitch Offset)” to +00.

4 Set “Step (Step No.)” to 04, and press the [0] key.

Set “Ptch (Pitch Offset)” to +00.

5 Set “Step (Step No.)” to 05, and press the [0] key.

Set “Ptch (Pitch Offset)” to +12.

6 For “Step (Step No.)” 06, do not enter a tone. 7 Set “Step (Step No.)” to 07, and press the [0] key.

Set “Ptch (Pitch Offset)” to +00.

8 Set “Step (Step No.)” to 08, and press the [0] key.

Set “Ptch (Pitch Offset)” to –02.

Chordal pattern

Drum pattern

You can use the arpeggiator to play a rhythm pattern by using “Fixed Note” with a drum program.

1 Select a drum kit program.

For this example, select preset program I-A036: Standard Kit.

2 Select the GLOBAL 6.1: Arp.Pattern, Setup page,

and set the parameters.

Check “Fixed Note.” If this is checked, tones will always sound at the speciﬁed pitch.

If you set “Mode (Fixed Note Mode)” to Trigger All Tones, playing a single note will cause all Tones to sound. If you set “Mode (Fixed Note Mode)” to Trigger As Played, the notes you play will determine how Tones are sounded.

1 Set “Step (Step No.)” to 01, and press the [0] key.

Set “Gt (Gate)” to LGT.

2 For “Step (Step No.)” 02, do not enter a tone. 3 Set “Step (Step No.)” to 03, and press the [1], [2],

[3], [4] keys.

4 Set “Step (Step No.)” to 04, and press the [1], [2],

[3], [4] keys.

5 For “Step (Step No.)” 05, do not enter a tone. 6 Set “Step (Step No.)” to 06, and press the [1], [2],

[3], [4] keys. Set “Gt (Gate)” to LGT.

7 For “Step (Step No.)” 07, do not enter a tone. 8 Set “Step (Step No.)” to 08, and press the [1], [2],

[3], [4] keys.

To simulate the timing nuances of a strummed guitar chord, select “Flam.” In Program mode,

select an acoustic guitar program, and choose the user arpeggio pattern that you created here. In the Setup page of PROG 6.1: Ed-Arpeg., set “Gate” to Step. Then return to the GLOBAL 6.1: Arp.Pattern, Edit page. For odd-numbered steps, set “Flam” to a positive (+) value. For even-numbered steps, set “Flam” to a negative (–) value.

Fixed Note

Mode(Fixed Note Mode)

Tone No. Fixed Note No.

If “Fixed Note” is checked, you will be able to set “Tone No.” and “Fixed Note No.” Select “Tone No.,” and then set “Fixed Note No.” to specify the note number that the tone will sound. Here, set “Tone No.” and “Fixed Note No.” as follows.

Tone No. Fixed Note No.

00 C2 (kick) 01 F2 (snare) 02 F#3 (closed hi-hat) 03 A#3 (open hi-hat)

The drumsamples that correspond to each note number will differ depending on the drum kit. You will ﬁnd it convenient to audition the drum sounds from the keyboard of a connected MIDI instrument, and then input the “Fixed Note No.” by holding down the [ENTER] key and playing the desired note.

3 Select the Edit page.

Each Tone in the display will be shown as a small circle. For each horizontal line (Tone) in the display, you will specify a drumsample (note number) of the drum kit.

Next we will input a rhythm pattern.

Basic functions

Arpeggiator settings

4 Input the kick (Tone00).

Set “Step (Step No.)” to 01, and press the [0] key. Then set “Step (Step No.)” to 05, and press the [0] key.

5 Input the snare (Tone01).

Set “Step (Step No.)” to 03, and press the [1] key. Then set “Step (Step No.)” to 07, and press the [1] key.

6 Input the closed hi-hat (Tone02).

Set “Step (Step No.)” to 01, 02, 03, 05, 06, and 07, and press the [2] key for each.

7 Input the open hi-hat (Tone03).

Set “Step (Step No.)” to 04, and press the [3] key. Then set “Step (Step No.)” to 08, and press the [3] key.

If “Mode (Fixed Note Mode)” is set to Trigger All Tones, playing a single note on the keyboard will

cause the rhythm pattern to play. If “Mode (Fixed Note Mode)” is set to Trigger As

Played, playing a single note on the keyboard will cause only the kick (Tone00) to play. Playing two notes on the keyboard will cause only the kick (Tone00) and snare (Tone01) to play. In this way, the number of keys that you play will be played by the same number of tones.

8 Set the parameters for each step.

Use “Vel (Velocity)” etc. to add accents to the rhythm pattern.

The “Gt (Gate)” and “Vel (Velocity)” settings you make here will be valid if the “Gate” and “Velocity” parameters (PROG 6.1: Ed–Arp., Arpeg. Setup page) of the program selected in Program mode are set to Step. If these parameters have a setting other than Step, the “Gt (Gate)” and “Vel (Velocity)” that were speciﬁed for each individual step will be ignored, and all notes of the arpeggio will sound according to the speciﬁed gate and velocity.

Before you set “Gate,” move the REALTIME CONTROLS C-mode [ARP-GATE] knob to the center position (12 o’clock).

Before you set “Velocity,” move the REALTIME CONTROLS C-mode [ARP-VELOCITY] knob to the center position (12 o’clock).

Dual arpeggiator editing

Here we will use a combination as an example in our explanation. The same procedure applies when editing an arpeggio pattern in Multi mode.

If you have moved from Combination mode, the arpeggio pattern selected by the combination will be affected by your editing.

1 In Combination mode, select a combination that

uses the arpeggio pattern you wish to edit.

For this example, select a combination to which arpeggiators A and B is assigned.

2 Press the [ARP ON/OFF] key to turn on the arpeg-

giator (the LED will light).

Even if the arpeggiator had been turned off when you moved here, you can use the [ARP ON/OFF] key to turn it on. However, if “Arpeggiator Run” A or B are not checked, and if no timbres have been assigned in “Assign,” then the arpeggiator will not operate.

3 Select the GLOBAL 6.1: Arp.Pattern, Setup page.

4 If you moved here from Combination mode, use

the “Arp (Arpeggio Select)” A and B to select the arpeggiator that you wish to edit.

If this is A, your editing will apply to the parameters and user arpeggio pattern of arpeggiator A. If this is B, your editing will apply to the parameters and user arpeggio pattern of arpeggiator B.

5 Switch between arpeggiators A and B, and edit

their respective user arpeggio patterns.

If you wish to stop one of the arpeggiators, return to Combination mode, and in COMBI 1.1: Play, select the Arp. A or the Arp. B page and uncheck the “Arpeggiator Run” check box.

6 To modify the name of a user arpeggio pattern, use

the Utility “Rename Arpeggio Pattern” (☞p.38).

7 If you wish to save the edited user arpeggio pat-

tern in internal memory, you must write the user arpeggio pattern.

In this case, both user arpeggio patterns will be written simultaneously. If you turn off the power without writing, the edited contents will be lost (☞p.39).

8 If you wish to save the state of the combination at

the same time, return to Combination mode and write the combination (☞p.37).

When you edit a user arpeggio pattern, pay attention to the MIDI transmission channel of the connected MIDI instrument, the global MIDI channel, the channel of each track, and the arpeggiator assignments, and make sure that the arpeggiator you are hearing is playing the pattern that you wish to edit.

If you moved here from Sampling mode, the arpeggiator will not turn on. Nor will it be possible to edit arpeggio patterns.

About arpeggiator synchronization

The note timing of the arpeggiator will depend on the setting of its “Key Sync.” check box.

If this is checked, the arpeggiator will begin operating at the moment that you play the ﬁrst note-on after having released all notes on the connected MIDI instrument. If this is unchecked, the arpeggiator will synchronize to the timing of the internal/external MIDI clock.

The following paragraphs explain how synchronization occurs when the “Key Sync.” check box is unchecked. (Synchronization for Pattern Start and MIDI realtime command “Start” is an exception to this.)

Synchronizing arpeggiators A and B

In Combination, or Multi modes, the two arpeggiators can be operated simultaneously. At this time if one arpeggiator is running and the other arpeggiator (whose “Key Sync.” is not checked) is started, the second arpeggiator will synchronize to the “ (Tempo) ” based on the timing of the ﬁrst arpeggiator.

Synchronization with an external sequencer in Program, Combination, or Multi mode

When “ (Tempo) ” is set to EXT (GLOBAL 2.1: MIDI, “MIDI Clock”), the arpeggiator will synchronize to MIDI Clock or Start messages etc. received from an external MIDI sequencer etc. connected via a MIDI cable.

Synchronization with external MIDI clock

• The arpeggiator will synchronize to the “ (Tempo)” based on the timing of the external MIDI clock.

Synchronization to the MIDI realtime command “Start”

• If the MIDI realtime command “Start” is received while the arpeggiator is running, the arpeggiator will be reset to the beginning of the arpeggio pattern. (This is not affected by the “Key Sync.” setting.)

Basic functions

If “Key Sync.” is checked, arpeggiators A and B will operate with independent timing.

Synchronization with pattern playback in Multi mode, synchronization with RPPR pattern playback in Multi mode

Synchronization with pattern playback

• If you start pattern playback while the arpeggiator is running, the arpeggiator will be reset to the beginning of the arpeggio pattern. (This is not affected by the “Key Sync.” setting.)

• If “Key Sync.” is not checked for pattern recording, you can turn on the [ARP ON/OFF] key and play the keyboard of a connected MIDI instrument during the recording pre-count so that the arpeggio pattern will start from the beginning at the instant that recording begins, and will be recorded.

Synchronization with RPPR pattern playback

• If you trigger the arpeggiator while a pattern is playing, the arpeggiator will synchronize to the beat of the pattern playback.

• If you want pattern playback to synchronize to the already-running arpeggiator, set “Sync” (MULTI

5.1: RPPR, RPPR Setup page) to ARP (SEQ). Pattern playback will synchronize to the “ (Tempo)” timing of the arpeggiator.

Arpeggiator settings

Effects settings

The effect section of the TRITON-Rack provides ﬁve insert effects, two master effects, one master EQ (ste- reo 3-band EQ), and a mixer that contr ols the routing of these components. You can choose from 102 types of full-digital effects for each insert effect, and from 89 types for each master effect. The effects are categorized as follows.

Categories of the 102 effect types

001–015 Filter and dynamics effects, such as EQ and com-

pressor

016–031 Pitch and phase modulation effects, such as chorus

and phaser

032–040 Other modulation and pitch-shift effects such as

rotary speaker and pitch shifter 041–051 Early reﬂection and delay effects 052–057 Reverb effects 058–089 Mono and mono-chain effects in which two mono

effects are connected in series 090–102 Double-size effects

Effects 000–089 can be selected for IFX1, 2, 3, 4, 5, or MFX 1 or 2. Effects 090–102 are double-size effects, and will use twice the processing area of other effects. They can be selected for IFX2, IFX3 or IFX4.

Effects in each mode

In Program mode, insert effects can be used as part of the sound-creating process, in the same way that the output sound of the oscillator (OSC) is processed by the ﬁlter and amp to create the ﬁnal sound. Then the master effects can be used to apply spatial-type effects such as reverb. The stereo 3-band master EQ located immediately before the OUTPUT (MAIN) L/MONO and R outputs is used to make ﬁnal adjustments in tone. These settings can be made independently for each program.

Master Effect 1,2

Insert Effect 1-5

Filter

Amplifier

Oscillator

In Combination mode, and Multi mode , insert effects can be used to help create the sound of each timbre/ track. The master effects are used to apply overall spatial processing, and the master EQ is used to make overall adjustments in tone. These settings are made in Combination mode independently for each combination, and in Multi mode for each multi the entire mode.

Master Effect 1,2

Timbre 1 / Track 1

Timbre 2 / Track 2

Timbre 8 / Track 16

Insert Effect 1-5

ReturnSend

Master EQ

OUTPUT L/MONO, R

In Sampling mode, the sound of an external source that is input from AUDIO INPUT 1 and 2 can be processed by the insert effects as the sound is sampled. Sampling mode settings are made by the “Input 1” and “Input 2” parameters of the SMPL 1.1: Recording, Input/Pref page. The settings here are valid only within Sampling mode.

AUDIO INPUT 1, 2

Insert Effect 1-5

Sample Recording

The external input from AUDIO INPUT 1 and 2 can be used outside of Sampling mode. In Program, Combination, and Multi modes, the external input sound can be processed by the insert effects, master effects, and master EQ. This means that you can use the TRITON-Rack as a 2in/6-out effect processor. When 093: Vocoder is selected, the TRITON-Rack can be used as a vocoder effect processor in which its internal sounds are controlled by an external mic input.

ReturnSend

Master EQ

OUTPUT L/MONO, R

Oscillator

AUDIO INPUT 1, 2

Filter

Amplifier

Master Effect 1,2

Insert Effect 1-5

Korg TRITON-RACK BASIC GUIDE

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Table of Contents

Introduction

Main features

Overview of the modes

Front and rear panel

Setup

Connecting audio equipment etc.

Connecting MIDI equipment

Rack installation

About separately sold options

Turning the power on/off

Listening to the demo songs

Quick Start

Playing with a computer/ sequencer (Multi mode)

Simple program editing

Simple combination editing

Listening to sampled sounds

Sampling (recording a sample)

Basic functions

Basic operation of the TRITON-Rack

Saving data

Types of data that can be saved

Writing to internal memory

Saving on external media

MIDI data dump

Restoring the factory settings

Loading the preloaded data and demo songs

Program mode

Basic program editing

How a program is organized

More about Alternate Modulation

Combination mode

How a combination is organized

Multi mode

Features of the Multi mode

The oganization of Multi mode

Multi settings

Recording on a pattern

Editing

RPPR (Realtime Pattern Play/ Recording) function

Sampling mode

Features of sampling mode

How Sampling mode is organized

Sampling

Loop settings

Sample (waveform data) editing

Multisample editing

Converting a multisample to a program

Global mode

Creating a drum kit

Disk mode

How Disk mode is organized

Loading data

Saving data

Formatting media

Arpeggiator settings

Arpeggiator settings for a program

Effects settings

Effects in each mode