Korg Triton Rack Parameter Guide

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5.3–1a

5.3–1b

5.3–1c

5.3–1d

1 2 3

☞ p. ■ , ☞

■ , ☞■ . ■

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Boldface type

About this manual

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

This “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, page, and tab. Explanations and other information on the effects and their parameters are also provided for each effect. Refer to this guide when an unfamiliar parameter appears in the display, or when you need to know more about a particular function.

boldface type.

Procedure steps

Steps in a procedure are listed as

BG p.

...

–

From the left, these symbols indicate a reference page in the Parameter Guide, a reference page in the Basic Guide, and a parameter number.

Symbols , , , , ,

These symbols respectively indicate cautions, advice, MIDIrelated explanations, a parameter that can be selected as an

Conventions in this manual

Abbreviations for the manuals BG, PG, VNL

References to the manuals included with the TRITON-Rack are abbreviated as follows.

: Basic Guide : Parameter Guide

VNL : Voice Name List

Switches and knobs [ ]

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

buttons or tabs indicate objects in the LCD display

alternate modulation source, a parameter that can be selected as a dynamic modulation source, and a parameter that can use the BPM/MIDI Sync function.

Example screen displays

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

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages,

brackets [ ]

always indicate hexadecimal numbers.

numbers in square

screen.

Parameters in the LCD display screen “ ”

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

How to read the “Parameter Guide”

(example)

Mode name

Page No.

Tab No.

Tab name

Parameter No.

Parameter name

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

5.3–1: OS1LFO1 (OSC1 LFO1)

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

5.3–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vect.)]

PROG 5.3: Ed–LFOs

Page name

Range of possible parameter values

Utility menu command No.

■ 5.3–1d: UTILITY

Utilty menu command name

☞“Write Program” (1.1–1d) For details on how to select the desired utility function,

refer to “PROG 1.1–1d: UTILITY.”

Swap LFO 1&2

This exchanges the settings of LFO 1 and 2. If LFO2 is selected in AMS1 (Freq. AMS1) or AMS2 (Freq. AMS2) of LFO1 Freq.Mod (5.3–1b), the settings will be invalid for LFO2 after LFO1 and 2 have been exchanged. If you select this from the OSC1 LFO1 or OSC1 LFO2 page, LFO1 and LFO2 of OSC1 will be exchanged.

1 Select “Swap LFO 1&2” to access the dialog box. 2 To execute, press the [F8] (“OK”) key. To cancel without

executing, press the [F7] (“Cancel”) key.

5.3–2: OS1LFO2 (OSC1 LFO2)

iii

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

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

How to read the “Parameter Guide” . . . . . . . . . . . . . . . . . . . . . .iii

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

PROG PAGE MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

PROG 1.1: Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

1.1–1: Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

1.1–2: P.Edit (Performance Editor). . . . . . . . . . . . . . . . . . . . . . .3

1.1–3: Arp (Arp. Play). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

PROG 2.1: Ed–Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

2.1–1: Basic (Prog Basic). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

2.1–2: OSC1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

2.1–3: OSC2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

2.1–4: V.Zone (Velocity Zone) . . . . . . . . . . . . . . . . . . . . . . . . . .9

2.1–5: Audit. (Audition). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

PROG 2.2: Ed–Ctrl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

2.2–1: Ctrls (Controls). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

PROG 2.3: Ed–OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

5.3–2: OS1LFO2 (OSC1 LFO2) . . . . . . . . . . . . . . . . . . . . . . . 24

5.3–3: OS2LFO1 (OSC2 LFO1) . . . . . . . . . . . . . . . . . . . . . . . 24

5.3–4: OS2LFO2 (OSC2 LFO2) . . . . . . . . . . . . . . . . . . . . . . . 24

PROG 6.1: Ed–Arp. (Arpeggiator) . . . . . . . . . . . . . . . . . 24

6.1–1: Setup (Arpeg. Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . 24

6.1–2: Zone (Scan Zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

PROG 7.1: Ed–BUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

7.1–1: BUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

7.1–2: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

PROG 7.2: Ed–InsertFX . . . . . . . . . . . . . . . . . . . . . . . . . 28

7.2–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

7.2–2: IFX 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

7.2–3: IFX 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

7.2–4: IFX 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

7.2–5: IFX 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

7.2–6: IFX 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

7.2–7: Routing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

PROG 7.3: Ed–MasterFX . . . . . . . . . . . . . . . . . . . . . . . . 29

7.3–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

7.3–2: MFX 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

7.3–3: MFX 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

7.3–4: MEQ (Master EQ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

PROG 3.1: Ed–Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

3.1–1: OSC1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

3.1–2: OS1lfo (OSC1 LFO). . . . . . . . . . . . . . . . . . . . . . . . . . . .11

3.1–3: OSC2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

3.1–4: OS2lfo (OSC2 LFO). . . . . . . . . . . . . . . . . . . . . . . . . . . .12

3.1–5: EG (Pitch EG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

PROG 4.1: Ed–Filter1. . . . . . . . . . . . . . . . . . . . . . . . . . . .14

4.1–1: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

4.1–2: Mod.1 (Filter1 Modulation1). . . . . . . . . . . . . . . . . . . . . .15

4.1–3: Mod.2 (Filter1 Modulation2). . . . . . . . . . . . . . . . . . . . . .16

4.1–4: lfoMod (LFO Modulation). . . . . . . . . . . . . . . . . . . . . . . .16

4.1–5: EG (Filter1 EG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

PROG 4.2: Ed–Filter2. . . . . . . . . . . . . . . . . . . . . . . . . . . .19

4.2–1: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

4.2–2: Mod.1 (Filter2 Modulation1). . . . . . . . . . . . . . . . . . . . . .19

4.2–3: Mod.2 (Filter2 Modulation2). . . . . . . . . . . . . . . . . . . . . .19

4.2–4: lfoMod (LFO Modulation). . . . . . . . . . . . . . . . . . . . . . . .19

4.2–5: EG (Filter2 EG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

PROG 5.1: Ed–Amp1 . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

5.1–1: Lvl/Pan (Level/Pan). . . . . . . . . . . . . . . . . . . . . . . . . . . .19

5.1–2: Mod. (Amp1 Modulation). . . . . . . . . . . . . . . . . . . . . . . .20

5.1–3: EG (Amp1 EG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

PROG 5.1: Ed–Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

PROG 5.2: Ed–Amp2 . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

5.2–1: Lvl/Pan (Level/Pan). . . . . . . . . . . . . . . . . . . . . . . . . . . .22

5.2–2: Mod. (Amp2 Modulation). . . . . . . . . . . . . . . . . . . . . . . .22

5.2–3: EG (Amp2 EG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

PROG 5.2: Ed–EGs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

PROG 5.3: Ed–LFOs. . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

5.3–1: OS1LFO1 (OSC1 LFO1) . . . . . . . . . . . . . . . . . . . . . . .23

2. Combination mode . . . . . . . . . . . . . . . . . . . 31

COMBI PAGE MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

COMBI 1.1: Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

1.1–1: Combi (Combination). . . . . . . . . . . . . . . . . . . . . . . . . . 31

1.1–2: Prog (Timbre Program) . . . . . . . . . . . . . . . . . . . . . . . . 32

1.1–3: Mix (Mixer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

1.1–4: Arp. A (Arpeggio Play A) . . . . . . . . . . . . . . . . . . . . . . . 34

1.1–5: Arp. B (Arpeggio Play B) . . . . . . . . . . . . . . . . . . . . . . . 34

COMBI 2.1: Ed–Prog/Mixer. . . . . . . . . . . . . . . . . . . . . . . 35

2.1–1: Prog (Timbre Program) . . . . . . . . . . . . . . . . . . . . . . . . 35

2.1–2: Mix (Mixer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

COMBI 2.2: Ed–Ctrl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

2.2–1: Ctrls (Controls). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

COMBI 2.3: Ed–MOSS. . . . . . . . . . . . . . . . . . . . . . . . . . . 36

COMBI 3.1: Ed–Param1 . . . . . . . . . . . . . . . . . . . . . . . . . 36

3.1–1: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

3.1–2: OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

3.1–3: Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

COMBI 3.2: Ed–Param2 . . . . . . . . . . . . . . . . . . . . . . . . . 38

3.2–1: Other . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

COMBI 3.3: Ed–Key Zone. . . . . . . . . . . . . . . . . . . . . . . . 39

3.3–1: Key (Key Zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

3.3–2: Slope (Key Slope) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

3.3–3: Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

COMBI 3.4: Ed–Vel Zone (Velocity Zone) . . . . . . . . . . . 40

3.4–1: Vel (Velocity Zone). . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

3.4–2: Slope (Velocity Slope) . . . . . . . . . . . . . . . . . . . . . . . . . 40

3.4–3: Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

COMBI 4.1: Ed–MIDI Filter1. . . . . . . . . . . . . . . . . . . . . . .41

4.1–1: MIDI 1–1 (MIDI Filter 1–1). . . . . . . . . . . . . . . . . . . . . . .41

4.1–2: MIDI 1–2 (MIDI Filter 1–2). . . . . . . . . . . . . . . . . . . . . . .41

COMBI 4.2: Ed–MIDI Filter2. . . . . . . . . . . . . . . . . . . . . . .41

4.2–1: MIDI 2–1 (MIDI Filter 2–1). . . . . . . . . . . . . . . . . . . . . . .41

4.2–2: MIDI 2–2 (MIDI Filter 2–2). . . . . . . . . . . . . . . . . . . . . . .42

COMBI 4.3: Ed–MIDI Filter3. . . . . . . . . . . . . . . . . . . . . . .42

4.3–1: MIDI 3–1 (MIDI Filter 3–1). . . . . . . . . . . . . . . . . . . . . . .42

4.3–2: MIDI 3–2 (MIDI Filter 3–2). . . . . . . . . . . . . . . . . . . . . . .42

COMBI 4.4: Ed–MIDI Filter4. . . . . . . . . . . . . . . . . . . . . . .42

4.4–1: MIDI 4–1 (MIDI Filter 4–1). . . . . . . . . . . . . . . . . . . . . . .42

4.4–2: MIDI 4–2 (MIDI Filter 4–2). . . . . . . . . . . . . . . . . . . . . . .43

COMBI 6.1: Ed–Arp. (Arpeggiator). . . . . . . . . . . . . . . . .43

6.1–1: Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

6.1–2: Arp. A (Arpeggiator A). . . . . . . . . . . . . . . . . . . . . . . . . .44

6.1–3: Arp. B (Arpeggiator B). . . . . . . . . . . . . . . . . . . . . . . . . .44

6.1–4: Zone (Scan Zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

COMBI 7.1: Ed–BUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

7.1–1: BUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

7.1–2: Route (Routing). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

COMBI 7.2: InsertFX. . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

7.2–1: Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

7.2–2: IFX 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

7.2–3: IFX 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

7.2–4: IFX 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

7.2–5: IFX 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

7.2–6: IFX 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

7.2–7: Route (Routing). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

COMBI 7.3: Ed–MasterFX . . . . . . . . . . . . . . . . . . . . . . . .48

7.3–1: Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

7.3–2: MFX1 (Master Effect1). . . . . . . . . . . . . . . . . . . . . . . . . .48

7.3–3: MFX2 (Master Effect2). . . . . . . . . . . . . . . . . . . . . . . . . .48

7.3–4: MEQ (Master EQ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

3. Multi mode. . . . . . . . . . . . . . . . . . . . . . . . . . 49

MULTI PAGE MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

MULTI 1.1: Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

1.1–1: Multi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

1.1–2: Prog..8 (Track Program T01...08). . . . . . . . . . . . . . . . .51

1.1–3: Prog..16 (Track Program T09...16). . . . . . . . . . . . . . . .51

1.1–4: Mix..8 (Mixer T01...08). . . . . . . . . . . . . . . . . . . . . . . . . .52

1.1–5: Mix..16 (Mixer T09...16). . . . . . . . . . . . . . . . . . . . . . . . .52

MULTI 2.2: Controller. . . . . . . . . . . . . . . . . . . . . . . . . . . .53

2.2–1: Ctrls (Controllers). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

MULTI 2.3: MOSS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

2.3–1: MOS..8 (MOSS T01–08). . . . . . . . . . . . . . . . . . . . . . . .54

2.3–2: MOS..16 (MOSS T09–16). . . . . . . . . . . . . . . . . . . . . . .54

MULTI 3.1: Param1 (Parameter1) . . . . . . . . . . . . . . . . . .54

3.1–1: MIDI..8 (MIDI T01–08). . . . . . . . . . . . . . . . . . . . . . . . . .54

3.1–2: MIDI..16 (MIDI T09–16). . . . . . . . . . . . . . . . . . . . . . . . .54

3.1–3: OSC..8 (OSC T01–08). . . . . . . . . . . . . . . . . . . . . . . . . .54

3.1–4: OSC..16 (OSC T09–16). . . . . . . . . . . . . . . . . . . . . . . . .54

3.1–5: Ptch..8 (Pitch T01–08) . . . . . . . . . . . . . . . . . . . . . . . . . 55

3.1–6: Ptch..16 (Pitch T09–16) . . . . . . . . . . . . . . . . . . . . . . . . 55

MULTI 3.2: Param2 (Parameter2). . . . . . . . . . . . . . . . . . 56

3.2–1: Othr..8 (Other T01–08). . . . . . . . . . . . . . . . . . . . . . . . . 56

3.2–2: Othr..16 (Other T09–16). . . . . . . . . . . . . . . . . . . . . . . . 56

MULTI 3.3: Key Zone. . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

3.3–1: Key..8 (Key Zone T01–08). . . . . . . . . . . . . . . . . . . . . . 56

3.3–2: Key..16 (Key Zone T09–16). . . . . . . . . . . . . . . . . . . . . 56

3.3–3: Slp..8 (Key Slope T01–08). . . . . . . . . . . . . . . . . . . . . . 57

3.3–4: Slp..16 (Key Slope T09–16). . . . . . . . . . . . . . . . . . . . . 57

3.3–5: Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

MULTI 3.4: Vel Zone (Velocity Zone). . . . . . . . . . . . . . . 57

3.4–1: Vel..8 (Velocity Zone T01–08) . . . . . . . . . . . . . . . . . . . 57

3.4–2: Vel..16 (Velocity Zone T09–16) . . . . . . . . . . . . . . . . . . 57

3.4–3: Slp..8 (Velocity Slope T01–08). . . . . . . . . . . . . . . . . . . 58

3.4–4: Slp..16 (Velocity Slope T09–16). . . . . . . . . . . . . . . . . . 58

3.4–5: Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

MULTI 4.1: MIDI Filter1 . . . . . . . . . . . . . . . . . . . . . . . . . . 58

4.1–1: M1–1..8 (MIDI Filter1–1 T01–08). . . . . . . . . . . . . . . . . 58

4.1–2: 1–1..16 (MIDI Filter1–1 T09–16) . . . . . . . . . . . . . . . . . 58

4.1–3: 1–2..8 (MIDI Filter1–2 T01–08) . . . . . . . . . . . . . . . . . . 59

4.1–4: 1–2..16 (MIDI Filter1–2 T09–16) . . . . . . . . . . . . . . . . . 59

MULTI 4.2: MIDI Filter2 . . . . . . . . . . . . . . . . . . . . . . . . . . 59

4.2–1: M2–1..8 (MIDI Filter2–1 T01–08). . . . . . . . . . . . . . . . . 59

4.2–2: 2–1..16 (MIDI Filter2–1 T09–16) . . . . . . . . . . . . . . . . . 59

4.2–3: 2–2..8 (MIDI Filter2–2 T01–08) . . . . . . . . . . . . . . . . . . 59

4.2–4: 2–2..16 (MIDI Filter2–2 T09–16) . . . . . . . . . . . . . . . . . 59

MULTI 4.3: MIDI Filter3 . . . . . . . . . . . . . . . . . . . . . . . . . . 60

4.3–1: M3–1..8 (MIDI Filter3–1 T01–08). . . . . . . . . . . . . . . . . 60

4.3–2: 3–1..16 (MIDI Filter3–1 T09–16) . . . . . . . . . . . . . . . . . 60

4.3–3: 3–2..8 (MIDI Filter3–2 T01–08) . . . . . . . . . . . . . . . . . . 60

4.3–4: 3–2..16 (MIDI Filter3–2 T09–16) . . . . . . . . . . . . . . . . . 60

MULTI 4.4: MIDI Filter4 . . . . . . . . . . . . . . . . . . . . . . . . . . 60

4.4–1: M4–1..8 (MIDI Filter4–1 T01–08). . . . . . . . . . . . . . . . . 60

4.4–2: 4–2..16 (MIDI Filter4–1 T09–16) . . . . . . . . . . . . . . . . . 60

4.4–3: 4–2..8 (MIDI Filter4–2 T01–08) . . . . . . . . . . . . . . . . . . 60

4.4–4: 4–2..16 (MIDI Filter4–2 T09–16) . . . . . . . . . . . . . . . . . 60

MULTI 5.1: RPPR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

5.1–1: Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

5.1–2: RPPR (RPPR Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . 64

MULTI 6.1: Arp. (Arpeggiator) . . . . . . . . . . . . . . . . . . . . 67

6.1–1: Set..8 (Setup T01–08) . . . . . . . . . . . . . . . . . . . . . . . . . 67

6.1–2: Set..16 (Setup T09–16) . . . . . . . . . . . . . . . . . . . . . . . . 67

6.1–3: Arp. A (Arpeggiator A) . . . . . . . . . . . . . . . . . . . . . . . . . 68

6.1–4: Arp. B (Arpeggiator B) . . . . . . . . . . . . . . . . . . . . . . . . . 68

6.1–5: Zone (Scan Zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

MULTI 7.1: BUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

7.1–1: BUS..8 (BUS T01–08) . . . . . . . . . . . . . . . . . . . . . . . . . 69

7.1–2: BUS..16 (BUS T09–16) . . . . . . . . . . . . . . . . . . . . . . . . 69

7.1–3: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

MULTI 7.2: Insert FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

7.2–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

7.2–2: IFX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

7.2–3: IFX2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

7.2–4: IFX3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

7.2–5: IFX4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

7.2–6: IFX5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

7.2–7: Route (Routing). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

MULTI 7.3: Master FX. . . . . . . . . . . . . . . . . . . . . . . . . . . .71

7.3–1: Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

7.3–2: MFX1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

7.3–3: MFX2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

7.3–4: Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

4. Sampling mode. . . . . . . . . . . . . . . . . . . . . . 73

SMPL PAGE MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

SMPL 1.1: Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . .74

1.1–1: Sample. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

1.1–2: Rec. (Recording) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

1.1–3: In/Pref (Input/Preference) . . . . . . . . . . . . . . . . . . . . . . .79

SMPL 2.1: Sample Edit . . . . . . . . . . . . . . . . . . . . . . . . . .84

2.1–1: Edit1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

2.1–2: Edit2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

SMPL 3.1: Loop Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

3.1–1: Edit1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

3.1–2: Edit2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

SMPL 4.1: Multisample . . . . . . . . . . . . . . . . . . . . . . . . .101

4.1–1: Edit1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

4.1–2: Edit2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

4.1–3: Pref. (Preference) . . . . . . . . . . . . . . . . . . . . . . . . . . . .102

SMPL 5.1: Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

5.1–1: Memory (Free Memory). . . . . . . . . . . . . . . . . . . . . . . .103

5.1–2: No. (Free Number). . . . . . . . . . . . . . . . . . . . . . . . . . . .103

SMPL 5.2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . .103

5.2–1: Ctrls (Controls). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

SMPL 7.2: Insert Effect . . . . . . . . . . . . . . . . . . . . . . . . .104

7.2–1: Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

7.2–2: IFX1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

7.2–3: IFX2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

7.2–4: IFX3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

7.2–5: IFX4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

7.2–6: IFX5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

5. Global mode . . . . . . . . . . . . . . . . . . . . . . . 107

GLOBAL PAGE MENU. . . . . . . . . . . . . . . . . . . . . . . . . .107

GLOBAL 1.1: System. . . . . . . . . . . . . . . . . . . . . . . . . . .107

1.1–1: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

1.1–2: Pref. (System Preference). . . . . . . . . . . . . . . . . . . . . .109

1.1–3: AudioIn (Audio In) . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

GLOBAL 2.1: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

2.1–1: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

GLOBAL 3.1: User Scale. . . . . . . . . . . . . . . . . . . . . . . .114

3.1–1: Octave. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114

3.1–2: All Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

GLOBAL 4.1: Category Name . . . . . . . . . . . . . . . . . . . 115

4.1–1: P.0..7 (Prog.00–07) . . . . . . . . . . . . . . . . . . . . . . . . . . 115

4.1–2: P.8..15 (Prog.08–15) . . . . . . . . . . . . . . . . . . . . . . . . . 115

4.1–3: C.0..7 (Comb.00–07) . . . . . . . . . . . . . . . . . . . . . . . . . 115

4.1–4: C.8..15 (Comb.08–15) . . . . . . . . . . . . . . . . . . . . . . . . 115

GLOBAL 5.1: DKit (Drum Kit). . . . . . . . . . . . . . . . . . . . 116

5.1–1: High (High Sample) . . . . . . . . . . . . . . . . . . . . . . . . . . 116

5.1–2: Low (Low Sample) . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

5.1–3: Voice (Voice/Mixer) . . . . . . . . . . . . . . . . . . . . . . . . . . 119

GLOBAL 6.1: Arp.Pattern. . . . . . . . . . . . . . . . . . . . . . . 119

6.1–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

6.1–2: Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

6. Disk mode . . . . . . . . . . . . . . . . . . . . . . . . . 123

Files, directories, and icons. . . . . . . . . . . . . . . . . . . . . . . . . . 123

DISK PAGE MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

1.1–1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

1.1–2: Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

1.1–3: Utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

1.1–4: Media Information . . . . . . . . . . . . . . . . . . . . . . . 138

7. Demo/Song. . . . . . . . . . . . . . . . . . . . . . . . .139

DEMO/SNG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

8. Effect Guide. . . . . . . . . . . . . . . . . . . . . . . . 141

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Insert Effects (IFX 1, 2, 3, 4, 5). . . . . . . . . . . . . . . . . . . 142

Master Effects (MFX1, 2). . . . . . . . . . . . . . . . . . . . . . . . 146

Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Individual Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Filter/Dynamic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

000: No Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

001: St.Amp Sim (Stereo Amp Simulation). . . . . . . . . . . . . . 151

002: St.Compressor (Stereo Compressor) . . . . . . . . . . . . . . 151

003: St.Limiter (Stereo Limiter). . . . . . . . . . . . . . . . . . . . . . . 151

004: Mltband Limit (Multiband Limiter) . . . . . . . . . . . . . . . . . 152

005: St.Gate (Stereo Gate). . . . . . . . . . . . . . . . . . . . . . . . . . 153

006: OD/HiGain Wah (Overdrive/Hi.Gain Wah) . . . . . . . . . . 153

007: St.Para.4EQ (Stereo Parametric 4-Band EQ). . . . . . . . 154

008: St.Graphic7EQ (Stereo Graphic 7-Band EQ) . . . . . . . . 155

009: St.Wah/AutoW (Stereo Wah/Auto Wah) . . . . . . . . . . . . 155

010: St.Random Filter (Stereo Random Filter) . . . . . . . . . . . 156

011: St.Exct/Enhcr (Stereo Exciter/Enhancer) . . . . . . . . . . . 157

012: St.Sub OSC (Stereo Sub Oscillator). . . . . . . . . . . . . . . 157

013: Talking Mod (Talking Modulator). . . . . . . . . . . . . . . . . . 158

014: St.Decimator (Stereo Decimator) . . . . . . . . . . . . . . . . . 159

015: St.AnalogRecd (Stereo Analog Record) . . . . . . . . . . . . 159

Pitch/Phase Mod. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

016: St.Chorus (Stereo Chorus) . . . . . . . . . . . . . . . . . . . . . . 160

017: St.HarmnicCho (Stereo Harmonic Chorus). . . . . . . . . .160

018: MltTap ChoDly (Multitap Chorus/Delay). . . . . . . . . . . . .161

019: Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161

020: St.Flanger (Stereo Flanger) . . . . . . . . . . . . . . . . . . . . . .162

021: St.Rndm Flang (Stereo Random Flanger). . . . . . . . . . .162

022: St.Env.Flanger (Stereo Envelope Flanger). . . . . . . . . . .163

023: St.Phaser (Stereo Phaser). . . . . . . . . . . . . . . . . . . . . . .163

024: St.Rndm Phasr (Stereo Random Phaser). . . . . . . . . . .164

025: St.Env.Phaser (Stereo Envelope Phaser) . . . . . . . . . . .164

026: St.BiphaseMod (Stereo Biphase Modulation). . . . . . . . .165

027: St.Vibrato (Stereo Vibrato). . . . . . . . . . . . . . . . . . . . . . .165

028: St.AutoFd Mod (Stereo Auto Fade Modulation). . . . . . .166

029: 2Voice Reso (2Voice Resonator). . . . . . . . . . . . . . . . . .166

030: Doppler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167

031: Scratch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168

Mod./P.Shift. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

032: St.Tremolo (Stereo Tremolo) . . . . . . . . . . . . . . . . . . . . .169

033: St.Env. Tremlo (Stereo Envelope Tremolo) . . . . . . . . . .169

034: St.Auto Pan (Stereo Auto Pan). . . . . . . . . . . . . . . . . . . .170

035: St.Phasr+Trml (Stereo Phaser + Tremolo). . . . . . . . . . .170

036: St.Ring Mod (Stereo Ring Modulator) . . . . . . . . . . . . . .171

037: Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172

038: Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172

039: PitchShft Mod (Pitch Shift Modulation) . . . . . . . . . . . . .173

040: Rotary SP (Rotary Speaker). . . . . . . . . . . . . . . . . . . . . .173

ER/Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

041: Early Reflect (Early Reflections). . . . . . . . . . . . . . . . . . .174

042: Auto Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175

043: LCR Delay (L/C/R Delay) . . . . . . . . . . . . . . . . . . . . . . . .175

044: St/Cross Dly (Stereo/Cross Delay). . . . . . . . . . . . . . . . .176

045: St.MltTap Dly (Stereo Multitap Delay). . . . . . . . . . . . . .176

046: St.Mod. Delay (Stereo Modulation Delay). . . . . . . . . . .177

047: St.DynamicDly (Stereo Dynamic Delay) . . . . . . . . . . . .177

048: St.AutoPanDly (Stereo Auto Panning Delay). . . . . . . . .178

049: LCR BPM Delay (L/C/R BPM Delay) . . . . . . . . . . . . . . .178

050: St.BPM Delay (Stereo BPM Delay) . . . . . . . . . . . . . . . .179

051: Sequence Dly (Sequence Delay). . . . . . . . . . . . . . . . . .179

Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

052: Rev Hall (Reverb Hall) . . . . . . . . . . . . . . . . . . . . . . . . . .180

053: Rev SmoothHall (Reverb Smooth Hall) . . . . . . . . . . . . .180

054: Rev Wet Plate (Reverb Wet Plate). . . . . . . . . . . . . . . . .180

055: Rev Dry Plate (Reverb Dry Plate). . . . . . . . . . . . . . . . . .180

056: Rev Room (Reverb Room). . . . . . . . . . . . . . . . . . . . . . .181

057: Rev BrightRoom (Reverb Bright Room). . . . . . . . . . . . .181

Mono – Mono Chain. . . . . . . . . . . . . . . . . . . . . . . . . . . 182

058: P4EQ–Exciter (Parametric 4-Band EQ – Exciter) . . . . .182

059: P4EQ–Wah (Parametric 4-Band EQ – Wah/Auto Wah).182 060: P4EQ–Cho/Fl (Parametric 4-Band EQ – Chorus/

Flanger) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183

061: P4EQ–Phaser (Parametric 4-Band EQ – Phaser) . . . . .183

062: P4EQ–M.Dly (Parametric 4-Band EQ – Multitap

Delay). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184

063: Comp–Wah(Compressor – Wah/Auto Wah) . . . . . . . . .184

064: Comp–AmpSim(Compressor – Amp Simulation). . . . . .185

065: Comp–OD/HG(Compressor – Overdrive/Hi.Gain) . . . . .185

066: Comp–P4EQ(Compressor – Parametric 4-Band EQ) . .185

067: Comp–Cho/Fl (Compressor – Chorus/Flanger) . . . . . . .186

068: Comp–Phaser (Compressor – Phaser). . . . . . . . . . . . . 186

069: Comp–M.Dly (Compressor – Multitap Delay) . . . . . . . . 187

070: Limiter–P4EQ (Limiter – Parametric 4-Band EQ) . . . . . 187

071: Limit–Cho/Fl (Limiter – Chorus/Flanger). . . . . . . . . . . . 188

072: Limit–Phaser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

073: Limiter–M.Dly (Limiter – Multitap Delay) . . . . . . . . . . . 189

074: Exct–Comp (Exciter – Compressor). . . . . . . . . . . . . . . 189

075: Exct–Limiter (Exciter Limiter) . . . . . . . . . . . . . . . . . . . . 189

076: Exct–Cho/Fl (Exciter – Chorus/Flanger) . . . . . . . . . . . . 190

077: Exct–Phaser (Exciter – Phaser) . . . . . . . . . . . . . . . . . . 190

078: Exct–M.Dly (Exciter – Multitap Delay). . . . . . . . . . . . . . 190

079: OD/HG–AmpSim (Overdrive/Hi.Gain – Amp

Simulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

080: OD/HG–Cho/Fl (Overdrive/Hi.Gain – Chorus/Flanger). 191

081: OD/HG–Phaser (Overdrive/Hi.Gain – Phaser) . . . . . . . 192

082: OD/HG–M.Dly (Overdrive/Hi.Gain – Multitap Delay) . . 192 083: Wah–AmpSim (Wah/Auto Wah – Amp Simulation) . . . 193

084: Deci–AmpSim (Decimator – Amp Simulation) . . . . . . . 193

085: Deci–Comp (Decimator – Compressor) . . . . . . . . . . . . 193

086: AmpSim–Trml (Amp Simulation – Tremolo) . . . . . . . . . 194

087: Cho/Fl–M.Dly (Chorus/Flanger – Multitap Delay) . . . . . 194

088: Phasr–Cho/Fl (Phaser – Chorus/Flanger). . . . . . . . . . . 195

089: Reverb–Gate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Double Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

090: Piano Body (Piano Body/Damper Simulation) . . . . . . . 196

091: St.MltbandLmt (Stereo Multiband Limiter). . . . . . . . . . . 196

092: OD/HyprG Wah (Overdrive/Hyper Gain Wah) . . . . . . . 196

093: Vocoder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

094: MltTap ChoDly (Multitap Chorus/Delay) . . . . . . . . . . . . 198

095: St.Pitch Shift (Stereo Pitch Shifter). . . . . . . . . . . . . . . . 198

096: Rotary SP OD (Rotary Speaker Overdrive) . . . . . . . . . 199

097: Early Reflect (Early Reflections) . . . . . . . . . . . . . . . . . . 200

098: LCR Long Delay (L/C/R Long Delay) . . . . . . . . . . . . . . 200

099: St/Cross LDly (Stereo/Cross Long Delay). . . . . . . . . . . 200

100: LCR BPM LDly (L/C/R BPM Long Delay) . . . . . . . . . . . 201

101: St.BPM LDelay (Stereo BPM Long Delay) . . . . . . . . . . 201

102: Hold Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Master EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Master EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

9. Appendices. . . . . . . . . . . . . . . . . . . . . . . . 205

Alternate Modulation Source (AMS) . . . . . . . . . . . . . . 205

About Alternate Modulation. . . . . . . . . . . . . . . . . . . . . . . . . . 205

About Alternate Modulation Sources. . . . . . . . . . . . . . . . . . . 205

AMS (Alternate Modulation Source) List. . . . . . . . . . . . . . . . 206

Alternate Modulation settings . . . . . . . . . . . . . . . . . . . . . . . . 208

The effect of alternate modulation on various parameters, and

example applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Dynamic Modulation Source (Dmod) . . . . . . . . . . . . . 211

Dynamic Modulation Source List. . . . . . . . . . . . . . . . . . . . . . 211

About the BPM/MIDI SYNC function. . . . . . . . . . . . . . . . . . . 212

SW1/2 Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

SW1, SW2 Assign List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Knob 1...4 B Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Realtime Control Knobs B Assign List . . . . . . . . . . . . . . . . . 214

vii

■

MIDI transmission when the TRITON-Rack’s controllers

are operated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216

TRITON-Rack operations when control changes are

transmitted/received . . . . . . . . . . . . . . . . . . . . . . . . . . .218

MIDI applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221

About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221

Messages transmitted and received by the TRITON-Rack 221

MIDI channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221

Note on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221

Program Change/Bank Select . . . . . . . . . . . . . . . . . . . .221

After touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222

Pitch bender. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222

Control change. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222

Using RPN to edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225

Controlling the arpeggiator (NPRN). . . . . . . . . . . . . . . .225

About system exclusive messages . . . . . . . . . . . . . . . .226

If notes are “stuck”. . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

Playing the TRITON-Rack multi-timbrally

from an external device. . . . . . . . . . . . . . . . . . . . . . . . .227

Synchronizing the playback of the arpeggiator

or pattern/RPPR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

Recording the MIDI output of the TRITON-Rack’s

controllers, arpeggiator, and RPPR on an external

sequencer/computer . . . . . . . . . . . . . . . . . . . . . . . . . . .228

About GM/GS/XG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228

About standard MIDI files. . . . . . . . . . . . . . . . . . . . . . . .229

Using the TRITON-Rack as a MIDI data filer. . . . . . . . .229

Various messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230

Data compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Parameters that are valid on the TRITON-Rack but ignored on

the TRITON keyboard models . . . . . . . . . . . . . . . . . . . . . . . .235

Parameters that are valid on the TRITON keyboard models

but ignored on the TRITON-Rack. . . . . . . . . . . . . . . . . . . . . .236

Disk mode information . . . . . . . . . . . . . . . . . . . . . . . . .237

Chunks that are supported. . . . . . . . . . . . . . . . . . . . . . . . . . .237

About KORG format files . . . . . . . . . . . . . . . . . . . . . . . . . . . .238

Program Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

PROG 1.1: Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

PROG 2.1: Ed–Basic. . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

PROG 2.2: Ed–Ctrl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

PROG 2.3: Ed–OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Standard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Comb Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

VPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Resonance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Ring Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Cross Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Sync Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Organ Model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

E. Piano Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Brass Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Reed Model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Plucked String Model . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Bowed String Model . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

PROG 3.1: Ed –Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

PROG 4.1: Ed–Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

PROG 5.1: Ed–Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

PROG 5.2: Ed–EGs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

PROG 5.3: Ed–LFOs. . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

PROG 6.1: Ed–Arp.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

PROG 7.1: Ed–BUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

PROG 7.2: Ed–InsertFX . . . . . . . . . . . . . . . . . . . . . . . . . 267

PROG 7.3: Ed–MasterFX . . . . . . . . . . . . . . . . . . . . . . . . 267

Combination Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

COMBI 2.3: Ed–MOSS . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Multi Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

MULTI 2.3: MOSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Modulation Source List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Cautions when using bank I–F . . . . . . . . . . . . . . . . . . . . . . . 268

Affix the Sondius-XG label . . . . . . . . . . . . . . . . . . . . . . . . . . 268

EXB-MOSS Parameter Index . . . . . . . . . . . . . . . . . . . . . . . . 269

EXB-DI option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

TRITON-Rack MIDI IMPLEMENTATION . . . . . . . . . . . .240

Option boards/memory . . . . . . . . . . . . . . . . . . . . . . . . .243

About option boards and memory. . . . . . . . . . . . . . . . . . . . . .243

Please note when installing an option board/memory . . . . . .244

Checking after installation. . . . . . . . . . . . . . . . . . . . . . . . . . . .244

Caution when purchasing DRAM SIMM modules. . . . . . . . . .244

Option board/memory installation procedure . . . . . . . . . . . . .245

EXB-MOSS option . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251

Features of the EXB-MOSS . . . . . . . . . . . . . . . . . . . . . . . . . .251

The structure of a MOSS tone generator program. . . . . . . . .251

About the oscillators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252

Loading the preloaded data . . . . . . . . . . . . . . . . . . . . . . . . . .252

Selecting programs/combinations. . . . . . . . . . . . . . . . . . . . . .254

Editing a program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254

Editing a combination. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254

Multi mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255

Operation when transmitting/receiving control changes. . . . .255

Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256

viii

* 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.

1. Program mode

→

PROG PAGE MENU

Use the following procedure to select the desired page within the mode.

Press the [MENU] key to access the “PAGE MENU.” The “PAGE MENU” will show an abbreviated name for each page. Use the [F1]–[F7] keys at the bottom of the page to select the desired page. Pressing the same key will move downward. You can also move by using the [ ], [ ], [ ], [ ] keys. Press the [F8] (“Open”) key to access the page. If the selected page contains two or more tab pages, press the nearest [F1]–[F7] key below the tabs to select the desired tab page.

Other ways to select a page

• 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. For example if you wish to access the 5.3: Ed-LFOs page, hold down the [MENU] key and consecutively press numeric keys [5] and then [3].

• By holding down the [MENU] key and using the cursor keys [ ](–) or [ ](+), you can step through the pages forward or backward in the order of 1.1 etc.

2.1→2.2→3.1,

Play 1.1: Play Select and play programs. Use the Perfor-

Basic 2.1: Ed-Basic Set basic program parameters such as

Ctrl 2.2: Ed-Ctrl Controller settings. ( OSC 2.3: Ed-OSC This will be displayed when you select bank

Pitch 3.1: Ed-Pitch Pitch settings. Pitch EG settings. ( Flt1 4.1: Ed-Filter1 Filter 1 (tone) settings. Filter EG settings.

Flt2 4.2: Ed-Filter2 Filter 2 (tone) settings. Filter EG settings.

Amp1 5.1: Ed-Amp1 Amp 1 (volume) settings. Amp EG, pan

Amp 5.1: Ed-Amp This will be displayed when you select bank

Amp2 5.2: Ed-Amp2 Amp 2 (volume) settings. Amp EG, pan

EG 5.2: Ed-EGs This will be displayed when you select bank

LFO 5.3: Ed-LFOs Type and speed settings etc. for the two

Arp 6.1: Ed-Arp. Arpeggiator settings. (Shared with 1.1: Play

BUS 7.1: Ed-BUS Select the BUS and master effect send

IFX 7.2: Ed-InsertFX Insert Effect routing, selection and settings.

MFX 7.3: Ed-Mas-

terFX

mance Editor for easy editing, and to do simple editing of arpeggio patterns. (

Oscillator and Multisample, and make settings for the Audition function. (

☞p.9)

I–F if the optional EXB-MOSS is installed. OSC settings for the MOSS tone generator.

☞p.10)

(

☞p.14)

(

☞p.19)

(position) settings. (

I–F if the optional EXB-MOSS is installed. Amp (volume) settings. Amp EG, pan (position) settings.

(position) settings. (

I–F if the optional EXB-MOSS is installed. EG settings.

LFOs provided for each oscillator. (Make settings in the pitch, ﬁlter, and amp pages to specify the depth of the LFO settings you make here.) (

parameters. You may edit either.) (

level for the oscillator output. (

☞p.28)

( Master Effect selection and settings. Master

EQ settings. (

☞p.19)

☞p.22)

☞p.23)

☞p.29)

☞p.2)

☞p.5)

☞p.10)

☞p.24)

☞p.26)

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

PROG 1.1: Play

In this display page you can select and play programs.

All MIDI data in PROG 1.1: Play is transmitted and received on the Global MIDI Channel ( 1a).

1.1–1: Program

1.1–1a

1.1–1b

1.1–1a: Bank, Program Select, Category , Cat. Hold,

10’s Hold, 

Bank (Bank Select)

[INT-A…INT-F, G, g(1)...g(9), g(d), EXB-A...EXB-H]

This is the program bank display. Use the [BANK], [A]–[H] keys to select the bank. To select programs from internal banks INT-A–g(d), press the [BANK] key to make the INT/EXB indicator go dark, and use the [A]–[G] keys to select the bank. For bank G, the following banks will be selected successively each time you press the BANK [G-GM] key.

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

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

To select programs from external banks EXB-A–EXB-H, press the [BANK] key to make the INT/EXB indicator light, and use the [A]–[H] keys to select the bank.

Banks EXB-A–H are normally used when a separately sold EXB-PCM series option is installed.

The program area consists of several banks. INT-A–E and EXB-A–H each contain 128 programs (total 1,664), which can be overwritten (RAM). Additionaly, there is a nonrewritable (ROM) bank, G (containing GM2 capital programs, banks g(1)–g(9)[variation programs], and bank g(d) [drums]). (For a list of the factory-set programs, refer to the separate VNL.)

INT-A...INT-D (I-A...I-D) for preloaded programs INT-E (I-E) User programs, such as programs

that use multisamples created in

Sampling mode. INT-F (I-F) (for EXB-MOSS programs) G GM2 capital program g(1)–g(9) GM2 variation programs* g(d) GM2 drums program EXB-A...EXB-H (E-A...E-H) (for user programs, and EXB-PCM

series programs)

* For banks with no variation sounds, the GM basic sounds

will be recalled. (An * will be added at the beginning of the program name.)

☞GLOBAL 2.1–

1.1–1c 1.1–1d

Program Select [(I-A…I-F, E-A...E-H)0…127: name,

(G…g(d))1…128: name]

Selects a program. Choose this parameter, and use the [INC], [DEC] keys, numeric keys [0]–[9], and the [VALUE] dial to select a program. You can select programs by category, or by using “10’s Hold.” (

☞“Category,” “Cat. HOLD,” “10’s HOLD”)

You can also select a program by sending a MIDI program change from a connected external MIDI device. (

☞p.221)

Category [00...15: Name]

Selects the program category. All programs are classiﬁed into one of sixteen categories. You can select the desired category, and then choose programs from that category. For the procedure of selecting programs from a category, refer to “Cat. HOLD” and “Select by Category.”

To assign a category to each program, use the “Write Program” (1.1–1d) dialog box. To change the name of a category, use “Category Name Prog. 00–07, 08–15” (

☞GLOBAL 4.1–1/2).

Cat. HOLD (Category Hold)

1 Press the [./HOLD] key to display . The cate-

gory will be held (ﬁxed ).

2 Use “Category” to select the desired category. 3 Choose “Program Select,” and use the [INC], [DEC] keys

or the [VALUE] dial to select programs sequentially within the speciﬁed category.

4 To cancel, press the [./HOLD] key twice to turn off the

display.

If you press the [./HOLD] key in PROG 1.1: Play, the selection will cycle in the order of →

→ Cancel.

Select by Category

1 Press the [F8] (“UTILITY”) key to access the Utility

menu.

2 Press the [F7] key or the [ ], [ ] keys to choose “Select

by Category,” and then press the [F8] key. The Select Program by Category dialog box will appear. The programs in that category will be shown in the framed list.

3 Select “Cat,” and use the [INC], [DEC] keys or [VALUE]

dial to choose the category that includes the program you wish to select.

4 Use the [ ], [ ] keys to select a program from the list.

Alternatively, you can use the [ ], [ ] keys to select “Index,” and use the [INC], [DEC] keys or [VALUE] dial to make your selection. At this time, you can play the keyboard etc. of a connected MIDI device to hear the selected sound.

5 Press the [F8] (“OK”) key to ﬁnalize your selection, or

press the [F7] (“Cancel”) key to cancel your selection.

10’s HOLD

1 Press the [./HOLD] key to display .

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

2 When you press a numeric key [0]–[9], the one’s place of

the program number will be input with a single action.

3 You can use the [INC], [DEC] keys to change the ten’s

place.

4 To cancel, press the [./HOLD] key to turn off the

display.

 (Tempo) [040...240, EXT]

This sets the tempo of the arpeggiator. The tempo can also be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob. A display of EXT indicates that the “MIDI Clock” setting (GLOBAL 2.1–1a) has been set to External, and that the arpeggiator will synchronize to MIDI Clock messages received from an external MIDI device. This parameter is linked with “Tempo” (6.1: Ed-Arp).

1.1–1b: Program Information

This displays the functions that are assigned to the “SW1,” “SW2,” and REALTIME CONTROLS B mode [ASSIGN-

ABLE 1]–[ASSIGNABLE 4] knobs for the selected program.

Y ou can also use the [BANK] and [A]–[H] keys to select a bank.

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

5 If you wish to change the program name, press the [F5]

(“Name”) key to move to the text dialog box, and input the name. (

6 To write the program, press the [F8] (“OK”) key. To can-

cel without writing, press the [F7] (“Cancel”) key.

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

☞BG p.38)

Select by Category

You can select a program by category. (☞p.2)

1.1–2: P.Edit (Performance Editor)

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

■ 1.1–1c: SW1, SW2

This turns the SW1 and SW2 functions assigned to the program on ( ) or off ( . (

■ 1.1–1d: UTILITY

Use the following procedure to select the desired utility.

1 Press the [F8] (“UTILITY”) key to access the Utility

menu.

2 Press the [F7] key or the [ ], [ ], [ ], [ ] keys to select

the desired utility.

3 Press the [F8] (“OK”) key to access the dialog box.

Utilities up to number 10 can also be selected by holding down the [ENTER] key and pressing the corresponding numeric key [0]–[9] to access the dialog box.

☞2.2: Ed-Ctrl)

Write Program

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

1 Select “Write Program” to access the dialog box.

2 The upper line shows the bank name and program name. 3 In “Category,” specify the category of the program that

you are writing. The category selected here can be used to ﬁnd this program when selecting a program in Program, Combination and Multi modes. With the factory settings, the program categories have been given the names of instruments etc., but you can use “Category Name Prog.00–07, 08–15“ (GLOBAL 4.1–1/2) to modify these category names.

4 Press “To” to specify the writing destination.

1.1–2a

1.1–2b

1.1–2c

1.1–2a: Bank, Program Select, (Tempo)

Select a program. The bank, number, and name of the program will be displayed (

☞p.2). “ ” sets the tempo. (☞p.3)

1.1–2b: Performance Editor

The Performance Editor lets you edit major program parameters without moving to the PROG 2.1–7.3 Ed (Edit) pages. This edits multiple program parameters within the currently selected program, allowing you to make broad adjustments easily. You can use the Performance Editor when you wish to adjust the depth of effects etc. while you are playing, or to make the initial rough settings to begin the process of creating a new sound. Editing that you do here will affect the values of the program parameters in the edit buffer. If you wish to keep the results of your editing, you must write (save) the program (

Editing done using the Performance Editor will occur within the range of the corresponding parameter. If after using the Performance Editor to modify a value, you move to another page or mode and then return, the sound will remain in its edited state but the value shown in the LCD screen by the Performance Editor will be +00. You may do further editing from this state if you wish.

Since editing done using the Performance Editor is not as detailed as conventional editing, the balance between parameters may be lost. If this occurs, use 2.1: Ed-Basic–7.3: Ed-MasterFx to make ﬁne adjustments.

☞BG p.37).

If the “Exclusive” (GLOBAL 2.1–1b) setting is checked, MIDI exclusive parameter changes will be transmitted whenever you operate the Performance Editor. If these messages are received by a TRITON-Rack whose “Exclusive” setting is checked, the Performance Editor corresponding to that message will be modiﬁed.

Octave [–03...+00...+03]

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

Stretch (Pitch Stretch) [–12...+00...+12]

This simultaneously adjusts the Transpose and Tune of the oscillator. This lets you produce a variety of tonal changes and variations without loosing the character of the original sound. At the +00 setting, the value of the program parameters will be unchanged. An adjustment of +01 will lower the Transpose value by 1, and simultaneously raise the Tune value by 100. An adjustment of –01 will raise the Transpose value by 1, and simultaneously lower the Tune value by 100. However, it is not possible for the Transpose value to exceed the range of ±12, nor the Tune value to exceed the range of ±1200.

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

OSC Bal (OSC Balance) [–10…+00…+10]

This adjusts the level balance between oscillators 1 and 2. At the +00 setting, the value of the program parameters will be unchanged. Positive (+) settings will lower the oscillator 2 level. With an adjustment of +10, the oscillator 2 level will be 0. The oscillator 1 level will not change. Negative (–) settings will lower the oscillator 1 level. With an adjustment of –10, the oscillator 1 level will be 0. The oscillator 2 level will not change.

For programs whose “Mode (Oscillator Mode)” (2.1–1a) 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.

Level (Amp Level) [–10…+00…+10]

This adjusts the amp level. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will increase the amp level above the value that was set. With an adjustment of +10, the amp level will be 127 (maximum). Negative (–) settings will lower the amp level below the value that was set. With an adjustment of –10, the amp level will be 0.

Attack (Attack Time) [–10…+00…+10]

This adjusts the attack times of the ﬁlter EG and amp EG. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will lengthen the attack times beyond the values that were set. With an adjustment of +10, the attack times will be 90. Negative (–) settings will shorten the attack times. With an adjustment of –10, the attack times will be 0.

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

Decay (Decay Time) [–10…+00…+10]

This adjusts the Decay Time and Slope Time of the ﬁlter EG and amp EG. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will lengthen the Decay Time and Slope Time beyond the values that were set. With an adjustment of

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

IFX Bal (IFX Balance) [–10…+00…+10]

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

MFX Bal (MFX Balance) [–10…+00…+10]

This adjusts the master effect “Rtn1 (Return1)” and “Rtn2 (Return2)” (7.3–1a) settings as a whole. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will raise the return levels above the program setting. With an adjustment of +10, the setting will be 127 (maximum). Negative (–) settings will lower the return levels below the program setting. With an adjustment of –10, the setting will be 0.

Octave Octave of OSC 1 and 2 Stretch Transpose and Tune of OSC 1 and 2 OSC Bal High Level and Low Level of OSC1 and 2 Level Amp1 Level, Amp2 Level Attack Amp EG Attack Time, Start Level, Attack Level,

Decay AmpEG Decay Time, Slope Time of Amp 1 and 2,

IFX Bal W/D(Wet/Dry) balance of the IFX1/2/3/4/5 effects MFX Bal Master Effect RTN1, 2(Return1, 2)

For the bank I–F programs that can be used when the separately sold EXB-MOSS option is installed, different program parameters will be adjusted.

☞EXB-MOSS owner’s manual & p.251 “EXB-MOSS

( option”)

■ 1.1–2c: UTILITY ☞“Write Program,” “Select by Category” (1.1–1d)

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

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

1.1–3: Arp (Arp. Play)

While arpeggiator parameters are for the most part edited in PROG 6.1: Ed-Arp., Some major parameters can be edited here as well. When you are playing in PROG 1.1: Play, you can edit the arpeggiator in realtime, such as changing the arpeggio pattern etc. You can also use the REALTIME CONTROLS C-mode [TEMPO], [ARP-GATE], and [ARP-VELOCITY] knobs to edit the arpeggio in realtime (

1.1–3a

☞BG p.21).

1.1–3b

PROG 2.1: Ed–Basic

Make basic settings for the oscillator(s) that will be used.

2.1–1: Basic (Prog Basic)

2.1–1a

2.1–1b

2.1–1c

2.1–1d

2.1–1a: Oscillator

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

1.1–3a: Arpeggiator

Pattern [P000...P004, U000(I-A/B)...U327(E–H)] Reso (Resolution) [  ,  ,   ,  ,   ,  ] Octave [1, 2, 3, 4] Sort [Off, On] Latch [Off, On] Key Sync. [Off, On] Keyboard [Off, On]

Make settings for the program arpeggiator (☞“PROG: EdArp.”). These parameters can also be set from 6.1: Ed-Arp. Arp.” (

☞6.1–1a).

■ 1.1–3b: UTILITY ☞“Write Program,” “Select by Category” (1.1–1d)

Mode (Oscillator Mode) [Single, Double, Drums]

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

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

maximum of 60-note polyphony. Double: The program will use two oscillators (Oscillator 1/

2, Filter 1/2, Ampliﬁer 1/2). Allowing you to create more complex sounds. In this case the program will have a maxi-

mum of 30-note polyphony. Drums: The program will use one oscillator (as when Sin-

gle is selected), but Oscillator 1 will be assigned a drum kit

instead of a multisample. In this case the program will have a maximum of 60-note polyphony.

2.1–1b: Voice Assign

Mode (Voice Assign Mode) [Poly, Mono]

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

Hold [Off, On]

On (Checked): Hold is On. Even when you take your ﬁnger off of the key, the note will continue sounding as if it continued to be held. Unless the “Amp1 EG”, “Amp2 EG” (5.1–3a,

5.2–3) “S (Sustain Level)” is set to 0, the sound will continue playing. This is ideal for playing drum sounds, and when you set “Mode (Oscillator Mode)” (2.1–1a) to Drums, you should turn Hold On. Off (Unchecked): Hold is Off. Except for drum programs, you should normally set Hold Off.

If you turn “Hold” On for a drum program, keys of the selected drum kit whose “Enable Note Off” parameter (GLOBAL 5.1–3a) is unchecked will be set to Hold On. Keys that are checked will be set to Hold Off. If you select Hold Off, the keys will be set to Hold Off regardless of their “Enable Note Off” setting.

Single Trigger [Off, On]

This is available when the “Mode (Voice Assign Mode)” setting is set to Poly.

On (Checked): When the same note is played repeatedly, the previous note will be silenced before the next note is sounded, so that the notes do not overlap.

Legato [Off, On]

This is available when the “Mode (Voice Assign Mode)” setting is set to Mono.

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

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

Priority [Low, High, Last]

This parameter is valid when “Mode (Voice Assign Mode)” is set to Mono. It speciﬁes which note will be given priority to play when two or more notes are played simultaneously.

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

2.1–1c: Scale

Type (Scale Type)

[Equal Temperament…User Octave 15]

Select the basic scale for the internal tone generator. Equal Temperament: This is the most widely used scale,

where each semitone step is spaced at equal pitch intervals. Pure Major: In this temperament, major chords of the

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

selected tonic will be perfectly in tune. Arabic: This scale includes the quarter-tone scale used in

Arabic music. Pythagoras: This scale is based on ancient Greek musical

theory, and is especially effective for playing melodies. Werkmeister (Werkmeister III): This is an equal tempered

scale that was used since the later Baroque period. Kirnberger (Kirnberger III): This scale was created in the

18th century, and is used mainly to tune harpsichords. Slendro: This is an Indonesian gamelan scale in which an

octave consists of ﬁve notes. When “Key” is set to C, use the C, D, F, G and A notes. (Other keys will sound equal-tempered pitches.)

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

Stretch: This tuning is used for acoustic pianos. User All Notes: This is the full-range scale (C–1 – G9) that

was speciﬁed in “User All Notes Scale” (GLOBAL3.1–2a). User Octave 00–15: These are the single-octave scales that

were speciﬁed in “User Octave Scale” (GLOBAL3.1–1a).

Key [C…B]

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

Random [0…7]

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

If a scale other than Equal T emperament is selected, the combination of the selected scale and the “Key” setting may skew the tuning of the base key (for example A=440 Hz). If this occurs, use “Master T une” (GLOBAL

1.1–1a) to correct the pitch.

■ 2.1–1d: UTILITY

☞“Write Program” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Copy Oscillator

This function copies oscillator settings to the currently selected program.

1 Select “Copy Oscillator” to access the dialog box.

2 In “From,” select the oscillator that you wish to copy and

the copy source program. You can use the [BANK] and [A]–[H] keys to select the bank.

3 In “To,” select the copy destination oscillator. 4 To execute the Copy Oscillator operation, press [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Swap Oscillator

This command exchanges the settings of oscillators 1 and 2.

1 Select “Swap Oscillator” to access the dialog box.

2 To execute the Swap Oscillator operation, press [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

This can be selected only if “Mode (Oscillator Mode)” (2.1–1a) is Double.

2.1–2: OSC1

The multisample(s) (waveform) or drum kit on which the program will be based can be selected here for oscillator 1 and/or oscillator 2. Internal ROM contains 425 different multisamples (preset multisamples) and 153 drum kits. By selecting a RAM multisample, you can use a multisample that you created in Sampling mode or that you loaded in Disk mode. If an EXBPCM series option has been installed, you will be able to select multisamples from the installed option.

The following illustration shows a LCD screen where “Mode (Oscillator Mode)” (2.1–1a) has been set to Double. If this is set to Single, the OSC2 page parameter will not appear and cannot be set.

2.1–2a

2.1–2b

2.1–2c

The following illustration shows the display when “Mode (Oscillator Mode)” (2.1–1a) has been set to Drums.

2.1–2d

2.1–2a: OSC1 Multisample

Velocity SW L→H [001...127]

The oscillator 1 High and Low multisamples that you specify in “High, Low” (2.1–2b) will be switched at the velocity value that you specify here. When a note with a velocity higher than this value is received from a connected MIDI device, the High multisample will sound.

2.1–2b: High, Low

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

High:

High MS Bank [ROM, RAM, EXB* ...] High Multisample [000...424, 000...999]

Speciﬁes the bank and multisample number of the High multisample. The multisample you select here will sounded by velocities greater than the value of the “Velocity SW L→H” (2.1–2a) parameter. If you do not wish to use velocity switching, set the value to 001, and select only the High multisample.

ROM: Select a preset multisample. Use “High Multisample” to select from 000–424. RAM: Select a multisample that you created in Sampling mode or that you loaded in Disk mode. Use “High Multisample” to select from 000–999. EXB*: Multisamples from a separately sold EXB-PCM series option board can be selected. “*” will indicate the type of installed option.

2.1–2e

The multisample number for “High Multisample” will depend on the options that are installed.

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

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

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

S.Ofs (High Start Offset) [Off, On]

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

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

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

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

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

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

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

Rev (High Reverse) [Off, On]

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

On (Checked): The multisample will playback in reverse. Off (Unchecked): The multisample will playback normally.

Level (High Level) [0...127]

Speciﬁes the level of the multisample.

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

Low:

Speciﬁes the OSC1 Low multisample. The Low multisample will sound when the velocity is less than the “Velocity SW L→H” (2.1–2a) setting.

Low MS Bank Low Multisample S.Ofs (Low Start Offset) Rev (Low Reverse) Level (Low Level)

☞Refer to the corresponding item in “High.”

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

2.1–2c: Octave, Transpose, Tune, Delay

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

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

Transpose [–12…+12]

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

Tune [–1200…+1200]

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

Delay [0ms…5000ms, KeyOff]

Speciﬁes a delay time from note-on until the note will sound. With a setting of KeyOff, the sound will begin when note-of f occurs. This is used to create sounds such as the “click” that is heard when a harpsichord note is released. In this case, set the “Amp1 EG”, “Amp2 EG” (5.1–3a, 5.2–3) “S (Sustain Level)” parameter to 0.

2.1–2d: OSC1 Drum Kit

Drum Kit [00(I-A/B)...143(E-H), 144(GM)...152(GM)]

Selects a drum kit.

00(I-A/B)–15(I-A/B): Preloaded Drum kits. 16(E-A)–31(E-A), 32(E-B)–47(E-B), 48(E-C)–63(E-C), 64(E-D)–

79(E-C), 80(E-E)–95(E-E), 96(E-F)–111(E-F), 112(E-G)–127(E-G), 128(E-H)–143(E-H):

(for user drum kits, EXB-PCM series drum kits) 144(GM)–152(GM): Preset drum kits compatible with GM2.

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Select by Category

Selects multisamples by category. For the procedure, refer to “Select by Category” (

This command is valid if “Mode (Oscillator Mode)” (2.1–1a) is Single or Double, and you are selecting the “High MS Bank,” “High Multisample,” “Low MS Bank,” or “Low Multisample” of OSC1 or OSC2 for which ROM was selected for “High MS Bank” or “Low MS Bank.”

☞p.2).

Sample Parameters

This command lets you adjust the sample playback level, cutoff, resonance, pitch, attack, and decay for each index of a RAM multisample.

This command is valid if “Mode (Oscillator Mode)” (2.1–1a) is Single or Double, and you are selecting the “High MS Bank,” “High Multisample,” “Low MS Bank,” or “Low Multisample” of OSC1 or OSC2 for which RAM was selected for “High MS Bank” or “Low MS Bank.”

The setting will apply to the selected multisample. The setting will also be used when that multisample is selected by another oscillator or program.

1 Select “Sample Parameters” to access the dialog box.

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

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

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

Transpose [–12…+12]

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

Tune [–1200…+1200]

This adjusts the pitch in one-cent units. The pitch of each drum kit can be adjusted in GLOB 5.1: DKit.

Delay [0ms…5000ms, KeyOff]

This speciﬁes a delay time from note-on until the sound will begin. With a setting of KeyOff, the sound will begin when noteoff occurs. In this case, set the “Amp1 EG” parameter “S (Sustain Level)” (5.1–3a) to 0.

■ 2.1–2e. UTILITY

☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

2 Index: Speciﬁes the index for which you wish to make

settings. The number following “/” is the total number of indexes in the selected multisample. SMPL: Indicates the sample number and name for the index.

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

Level: Adjusts the volume. Relative to the settings of

“Level (High, Low Level)” (2.1–2b) and “Level (Amp1, 2 Level)” (5.1–1a, 5.2–1), negative (–) values will decrease the levels, and positive (+) values will increase the levels. A setting of +99 will double the volume, and at a setting of –99 there will be no sound. This parameter is linked to the “Level” (SMPL 4.1–2a). The value that was speciﬁed in Sampling mode will be displayed here. Cutoff: Adjusts the ﬁlter cutoff. This adjustment will be added to the value speciﬁed for “Frequency” (4.1–1b/1c,

4.2–1) of Filter 1 and 2. Resonance: Adjusts the resonance level of the ﬁlter. This adjustment will be added to the value speciﬁed for “Resonance” (4.1–1b, 4.2–1) of Filter 1 and 2. Pitch: Adjusts the playback pitch in one-cent steps. A setting of +12.00 raises the pitch one octave, and a setting of –12.00 will lower the pitch one octave. This parameter is linked with the parameter “Pitch” (SMPL 4.1–2a). The value that was speciﬁed in Sampling mode will be displayed here. Attack: Adjust sthe attack times of the ﬁlter EG and amp EG. This adjustment will be added to the “A (Attack Time)” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG” (4.1–5a, 4.2–5, 5.1–3a, 5.2–3).

Decay: Adjusts the decay times of the ﬁlter EG and amp EG. This adjustment will be added to the “D (Decay Time)” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG.”

4 Press the [F8] (“Done”) key to execute, and close the dia-

log box.

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

2.1–3: OSC2

This will appear when “Mode (Oscillator Mode)” (2.1–1a) is set to Double. For details on the settings and function of the parameter, refer to “2.1–2: OSC1.”

2.1–5: Audit. (Audition)

When selecting preloaded programs, you can play back a pre-speciﬁed riff (phrase) that is suitable for the sound of that program. This is called the Audition function. When you press the [AUDITION] key to turn it on, the audition riff will play back repeatedly. This allows you to verify a program or edit it even when a MIDI keyboard is not connected.

Here you can select the audition riff and specify the transposition.

2.1–5a

2.1–5b

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

2.1–4: V.Zone (Velocity Zone)

Speciﬁes the range of velocities that will sound oscillator 1 and 2. By using these settings in conjunction with the “Velocity SW L→H” (2.1–2a) setting of each oscillator, you can specify the velocity ranges for the High and Low multisamples or drum kits.

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

2.1–4a

2.1–4b

2.1–4a: OSC 1/2 Velocity Zone

OSC1 Bottom [001...127]

Sets the minimum velocity value that will sound oscillator 1.

OSC1 Top [001...127]

Sets the maximum velocity value that will sound oscillator

OSC2 Bottom [001...127]

Sets the minimum velocity value that will sound oscillator 2.

2.1–5a: Audition Riff, Transpose

Audition Riff [000: Off...382: Name]

Selects the audition riff. The TRITON-Rack contains 382 audition riffs suitable for a variety of instruments and musical genres. ( With a setting of 000: Off, no riff will be played.

☞“VNL”)

Transpose [–24...+24]

Adjusts the pitch of the audition riff in semitone steps.

It is not possible to change the playback tempo of the audition riff. Nor is it possible to set the arpeggiator tempo while the audition riff is playing.

The arpeggiator will be turned off while the audition riff is playing.

■ 2.1–5b: UTILITY

☞“Write Program” (1.1–1d)

PROG 2.2: Ed–Ctrl

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

OSC2 Top [001...127]

Sets the maximum velocity value that will sound oscillator

2. Y ou can hold down the [ENTER] key and play a note on

a connected MIDI device to input these values.

■ 2.1–4b: UTILITY

☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

2.2–1: Ctrls (Controls)

2.2–1a

2.2–1c2.2–1b

2.2–1a: Knob B Assign

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

☞p.214 “Realtime Control Knobs B Assign

Knob1–B (Knob1–B Assign) [Off, ..., MIDI CC#95] Knob2–B (Knob2–B Assign) [Off, ..., MIDI CC#95] Knob3–B (Knob3–B Assign) [Off, ..., MIDI CC#95] Knob4–B (Knob4–B Assign) [Off, ..., MIDI CC#95]

2.2–1b: SW1/2 Assign

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

☞p.213 “SW1, SW2 Assign List”).

SW1 Assign [Off, ..., AfterT Lock :N/A]

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

SW1 Mode [Toggle, Momentary]

Speciﬁes the on/off state that will occur when you press the [F6] (“SW1”) key in 1.1:Play. Toggle: The key will alternate on/off each time you press [F6] (“SW1”). Momentary: The key will be on only while you continue holding [F6] (“SW1”).

SW2 Assign [Off, ..., AfterT Lock :N/A] SW2 Mode [Toggle, Momentary]

Here you can assign a function to “SW2.” The functions that can be assigned to SW2 are the same as for SW1, with the exception of SW2 Mod. (CC#81) instead of SW1 Mod. (CC#80).

Although the following values can be selected for “SW1 Assign” and “SW2 Assign,” they will have no effect in actuality. Data is compatible between the TRITON-Rack and the TRITON/TRITONpro/TRITONproX (keyboard models of the TRITON). Programs created on the TRITONRack can be used by a TRITON keyboard model, and vice versa. In order to maintain compatibility, you are able to set these “invalid” parameters on the TRITON-Rack.

N/A indicates Not Available.

Octave Down :N/A Octave Up :N/A JS X Lock :N/A JS+Y Lock :N/A JS-Y Lock :N/A Ribbon Lock :N/A JS X&Rbn Lock :N/A JS+Y&Rbn Lock :N/A JS-Y&Rbn Lock :N/A AfterT Lock :N/A

■ 2.2–1c: UTILITY ☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

PROG 3.1: Ed–Pitch

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

3.1–1: OSC1

Speciﬁes how the keyboard location will affect the pitch of oscillator 1, and select the controller that will modify the pitch and the depth of this effect. Here you can also specify the amount of pitch change caused by the pitch EG, and set the portamento on/off and mode settings.

3.1–1a

3.1–1b

3.1–1c

3.1–1d

3.1–1a: Pitch

Pitch Slope [–1.0…+2.0]

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

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

How the Pitch Slope and pitch are related

Pitch

2oct

1oct 1oct

Ribbon (#16) [–12…+12]

Speciﬁes in semitone units how the pitch will change when CC#16 is received (or when the ribbon controller is pressed on a TRITON or other instrument connected to MIDI IN).

12 steps equal one octave. With positive (+) values, the pitch will rise when you press the right half of a ribbon controller. With negative (–) values, the pitch will fall.

For example, with a setting of +12, pressing the far right edge of the ribbon controller will raise the pitch one octave. With a setting of –12, pressing the far right edge of the ribbon controller will lower the pitch one octave. At the center of the ribbon controller, the original pitch will remain, so you can use this in conjunction with pressing the ribbon at its right edge to simulate the “hammering-on” techniques used by guitarists.

C4 C5

–1

Key

PROG 2.3: Ed–OSC

This page will be displayed when you select bank I–F if the separately sold EXB-MOSS option is installed.

☞EXB-MOSS owner’s manual & p.251 “EXB-MOSS

( option”)

JS (+X) [–60…+12]

Speciﬁes in semitone units how the pitch will change when a pitch bender message is received (or when the joystick is moved to the right on a TRITON or other instrument connected to MIDI IN) ( 12 steps equal one octave.

☞p.222).

For example, if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch.

JS (–X) [–60…+12]

Speciﬁes in semitone units how the pitch will change when a pitch bender message is received (or when the joystick is moved to the left on a TRITON or other instrument connected to MIDI IN). (

☞p.222)

12 steps equal one octave. For example, if you set this to –60 and move the joystick all

the way to the left, the pitch will fall ﬁve octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the tremolo arm.

AMS (Pitch AMS) [Off, (FEG, AEG, EXT)]

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

☞p.206 “AMS List”).

Intensity (AMS Intensity) [–12.00…+12.00]

Speciﬁes the depth and direction of the effect produced by “AMS (Pitch AMS).”

With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave.

For example, if you set “AMS (Pitch AMS)” to AfterT and press down on the keyboard of a connected MIDI instrument, the pitch will rise if you have set this parameter to a positive (+) value, or will fall if you have set this parameter to a negative (–) value. The range is a maximum of one octave. (

☞p.208)

3.1–1b: Pitch EG

Intensity [–12.00…+12.00]

Speciﬁes the depth and direction of the modulation that the pitch EG speciﬁed in “EG (Pitch EG)” (3.1–5) page will apply to the pitch. With a setting of 12.00, the pitch will change a maximum of ±1 octave.

AMS (Pitch EG AMS) [Off, (KT, EXT)]

Selects the source that will control the pitch modulation applied by the pitch EG (

☞p.206 “AMS List”).

Intensity (AMS Intensity) [–12.00…+12.00]

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

Pitch change (level)

Note-on

Softly played (Intensity (Pitch EG) setting)

☞p.208). As you play more softly, the pitch

Note-off

Note-on

Note-off

Strongly played with a positive (+) value

Note-on

Strongly played with a negative (–) value

Note-off

3.1–1c: Portamento

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

☞p.206 “AMS

List” SW1 CC#80, SW2 CC#81, Prta.SWCC#65).

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

Enable (Porta. Enable) [Off, On]

On (Checked): Portamento will be applied. Off (Unchecked): Portamento will not be applied.

Fingered (Porta. Fingered) [Off, On]

This parameter is available when “Enable (Porta. Enable)” is checked.

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

Time (Porta. Time) [000...127]

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

■ 3.1–1d: UTILITY ☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

3.1–2: OS1lfo (OSC1 LFO)

Speciﬁes the amount of pitch change produced by LFO1 and LFO2 for oscillator 1.

3.1–2a

3.1–2b

3.1–2a: Pitch LFO1/2 Modulation

LFO1:

Intensity (LFO1 Intensity) [–12.00…+12.00]

Speciﬁes the depth and direction of the pitch modulation applied by the OSC 1 LFO1 settings you made in “OS1LFO1” page (5.3–1). With a setting of 12.00, a maximum of ±1 octave of pitch modulation will be applied. Negative (–) values will invert the LFO waveform.

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

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

JS+Y Int. (LFO1 JS+Y Int.) [–12.00…+12.00]

Speciﬁes the depth of pitch modulation that will be applied by OSC1 LFO1 when CC#1 is received (or when the joystick is moved in the +Y direction on a TRITON or other instrument connected to MIDI IN).

As this value is increased, moving the joystick in the +Y direction will cause the OSC1 LFO1 to produce deeper pitch modulation. With a setting of 12.00 a maximum of ±1 octave of pitch modulation will be applied. Negative (–) values will invert the LFO waveform.

AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

Selects the source that will control the depth of pitch modulation produced by the OSC1 LFO1 (

☞p.206 “AMS List”).

Intensity (AMS Intensity) [–12.00…+12.00]

Speciﬁes the depth and direction of the effect that “AMS (LFO1 AMS)” will have. With a setting of 0, modulation will not be applied. With a setting of 12.00, the OSC1 LFO1 will apply a maximum of ±1 octave of pitch modulation. Negative (–) settings will invert the LFO waveform. For example, if you set “AMS (LFO1 AMS)” to AfterT and press down on the keyboard of a connected MIDI instrument, OSC1 LFO1 will apply positive-phase pitch modulation if you have set this parameter to a positive (+) value, or will apply negative-phase pitch modulation if you have set this parameter to a negative (–) value. The “Intensity (LFO1 Intensity),” “JS+Y Int. (LFO1 JS+Y Int.)” and “AMS (LFO1 AMS)” settings will be added to determine the depth and direction of the pitch modulation applied by OSC1 LFO1 (

☞p.208).

LFO2:

Intensity (LFO2 Intensity) [–12.00…+12.00] JS+Y Int. (LFO2 JS+Y Int.) [–12.00…+12.00] AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Intensity (AMS Intensity) [–12.00…+12.00]

Refer to the preceding section “LFO1.”

■ 3.1–2b: UTILITY ☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

3.1–5: EG (Pitch EG)

Here you can make settings for the pitch EG, which creates time-variant changes in the pitch of oscillators 1 and 2. The depth of pitch change produced by these EG settings on oscillator 1 (2) is adjusted by “Pitch EG” (3.1–1b, 3.1–3).

3.1–5a

3.1–5b

3.1–5d3.1–5c

3.1–5a: Pitch EG

These settings specify how the pitch will change over time.

L (Level):

These parameters specify the amount of pitch change. The actual amount of pitch change will depend on the “Pitch EG” (3.1–1b, 3.1–3) parameter “Intensity.” For example with an “Intensity” setting of +12.00, a “Level” setting of +99 would raise the pitch one octave, and a “Level” setting of –99 would lower the pitch one octave.

S (Start Level) [–99…+99]

Speciﬁes the amount of pitch change at note-on.

A (Attack Level) [–99…+99]

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

R (Release Level) [–99…+99]

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

T (Time):

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

3.1–3: OSC2

Speciﬁes how the keyboard location will affect the pitch of oscillator 2, and select the controller that will affect the pitch and specify the depth of control. Here you can also specify the amount of pitch change produced by the pitch EG, and set the portamento on/off status and mode. For details on each parameter, refer to the preceding “3.1–1: OSC1.”

3.1–4: OS2lfo (OSC2 LFO)

Speciﬁes the amount of pitch change produced by LFO1 and LFO2 for oscillator 1. For an explanation of each parameter, refer to the preceding “3.1–2: OS1lfo.”

A (Attack Time) [0…99]

Speciﬁes the time over which the pitch will change from note-on until it reaches the pitch speciﬁed as the attack level.

D (Decay Time) [0…99]

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

R (Release Time) [0…99]

Speciﬁes the time over which the pitch will change from note-off until it reaches the pitch speciﬁed as the release level.

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

+99 = approximately 1 octave

0 = pitch when key is held (sustained)

Start Level

–99 = approximately 1 octave

Note-on

Attack Time

Attack Level

Decay Time

Note-off

Release Time

Time

Release Level

3.1–5b: Level Mod. (Level Modulation)

3.1–5c: Time Mod. (Time Modulation)

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

AMS1 (Level Mod. AMS1) [Off, (KT, EXT)]

Selects the source that will control the pitch EG “L (Level)” parameters (

☞p.206 “AMS List”).

I (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect applied by “AMS1 (Level Mod. AMS1).”

With a setting of 0, the levels speciﬁed by “Pitch EG” (3.1– 5a) will be used. For example, if “AMS1 (Level Mod. AMS1)” is SW1 #80, pressing the “SW1” to turn it on will change the “Level” parameters of the Pitch EG. (“SW1/2 Assign”: 2.2–1b) to SW1 Mod. (CC#80). As the absolute value of “I (AMS1 Intensity)” is increased, the pitch EG levels will change more greatly when the “SW1” is turned on. The direction of the change is speciﬁed by “S (AMS1 SW Start)” and “A (AMS1 SW Attack).” When the “SW1” ([F6] key) is turned off, the pitch EG levels will return to their own settings. If “AMS1” is set to Velocity, increasing the absolute value of “Intensity” will produce increasingly wider change in pitch EG levels for strongly-played notes. The direction of the change is speciﬁed by “S (AMS1 SW Start)” and “A (AMS1 SW Attack).” As you play more softly, the pitch change will draw closer to the pitch EG levels.

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

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

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

AMS (Time Mod. AMS) [Off, (KT, EXT)]

Selects the source that will control the “T (Time)” parameters of the pitch EG (

☞p.206 “AMS List”).

I (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Time Mod. AMS)” will have. With a setting of 0, the pitch EG times will be just as speciﬁed by the “Pitch EG” (3.1–5a) settings. The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next. For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached. When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the speciﬁed EG times will speed up as much as 2, 4, 8, 16, 32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time). For example if “AMS (Time Mod. AMS)” is set to Velocity, increasing the absolute value of “I (AMS Intensity)” will allow strongly-played notes to increase the changes in pitch EG “T (Time)” values. The direction of the change is speciﬁed by “A (AMS SW Attack)” and “D (AMS SW Decay).” As you play more softly, the pitch EG times will more closely approach the actual settings of the pitch EG.

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

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

A note played softly with “S” set at 0, “A” set to +, and SW1 turned on (the settings of 3.1–5a: Pitch EG)

A note played strongly with “S” set to 0, “A” set to +, and SW1 turned on

A note played strongly with “S” set to 0, “A” set to –, and SW1 turned on

S (AMS1 SW Start) [–, 0, +]

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

A (AMS1 SW Attack) [–, 0, +]

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

AMS2 (Level Mod. AMS2) [Off, (KT, EXT)] I (AMS2 Intensity) [–99…+99] S (AMS2 SW Start) [–, 0, +] A (AMS2 SW Attack) [–, 0, +]

Refer to the preceding paragraphs “AMS1 (Level Mod. AMS1)”–“A (AMS1 SW Attack).”

A note played softly with “A” set to + and “D” set to + (settings of 3.1–5a: Pitch EG)

A note played strongly with “A” set to + and “D” set to +

A note played strongly with “A” set to – and “D” set to –

A (AMS SW Attack) [–, 0, +]

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

D (AMS SW Decay) [–, 0, +]

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

■ 3.1–5d: UTILITY ☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

PROG 4.1: Ed–Filter1

Indicates settings for ﬁlter 1 that controls the tone of oscillator 1. You can select either a 24 dB/oct low pass ﬁlter with resonance, or a 12 dB/oct low pass ﬁlter and 12 dB/oct high pass ﬁlter connected in series. When “Mode (Oscillator Mode)” (2.1–1a) is Single, Drums you can use ﬁlter 1. When it is Double, you can use ﬁlters 1 and 2. In the case of Single, Drums the ﬁlter 2 pages cannot be selected.

4.1–1: Basic

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

4.1–1a

4.1–1b

4.1–1c

4.1–1d

4.1–1a: Filter1

Reso.AMS (Resonance AMS)

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

Selects the source that will control the “Resonance (A Resonance)” level (

☞p.206 “AMS List”).

Intensity (AMS Intensity) [–99…+99]

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

The effect of resonance

Low Pass

Level

Type (Filter1 Type)

[Low Pass Resonance, Low Pass & High Pass]

Selects the type for ﬁlter 1.

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

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

Trim [00…99]

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

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

4.1–1b: Filter A

This ﬁlter cuts the high-frequency range above the cutoff frequency. This is the most common type of ﬁlter, which cuts the overtone structure to make a bright (sharp) tone darker (mellow). When “Type (Filter1 Type)” is Low Pass Resonance, the cut will have a steeper curve.

Low Pass

Level

12dB/oct

24dB/oct

Frequency

Low resonance value High resonance value

4.1–1c: Filter B

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

High Pass

Level

12dB/oct

Frequency

Frequency (B Frequency) [00…99]

Speciﬁes the cutoff frequency of ﬁlter 1B. This will be displayed if “Type (Filter1 Type)” (4.1–1a) is Low Pass & High Pass.

■ 4.1–1d: UTILITY ☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

Frequency (A Frequency) [00…99]

Speciﬁes the cutoff frequency of ﬁlter 1A.

Resonance (A Resonance) [00…99]

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

4.1–2: Mod.1 (Filter1 Modulation1)

Indicates settings for keyboard tracking which modiﬁes the tone by modulating the ﬁlter 1 cutoff frequency “Frequency (A/B Frequency),” and intensity settings for the ﬁlter 1 EG, etc.

4.1–2a

4.1–2b

4.1–2c

4.1–2a: Keyboard Track

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

Key:

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

You can also input the note number by holding down the [ENTER] key and playing a note on a connected MIDI device.

Low (KBDTrk Key Low) [C–1…G9]

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

High (KBDTrk Key High) [C–1…G9]

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

Ramp (Ramp Setting):

Speciﬁes the angle of keyboard tracking.

Low (KBDTrk Ramp Low) [–99…+99] High (KBDTrk Ramp High) [–99…+99]

If “Int. to A (KBDTrk Int. to A)” and “Int. to B (KBDTrk Int. to B)” are set to +50, “Low (KBDTrk Ramp Low)” is set to –62 and “High (KBDT rk Ramp High)” is set to +62, the angle of the change in cutoff frequency will correspond to the keyboard location (pitch). This means that the oscillation that occurs when you increase the “Resonance (A Resonance)” (4.1–1b) will correspond to the keyboard location. If you set “Low (KBDTrk Ramp Low)” to +43 and “High (KBDTrk Ramp High)” to –43, the cutoff frequency will not be affected by keyboard location. Use this setting when you do not want the cutoff frequency to change for each note.

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

Cutoff frequency

Low Ramp=+99 Low Ramp=+43 Low Ramp=0 Low Ramp=–62

Low Ramp=–99

Low Key

High Key

High Ramp=+99

High Ramp=+62

High Ramp=0

High Ramp=–43

High Ramp=–99

Key

Int. to A (KBDTrk Int. to A) [–99...+99]

Speciﬁes the depth and direction of the effect on ﬁlter 1A produced by keyboard tracking settings “Low (KBDTrk Key Low),” “High (KBDTrk Key High),” “Low (KBDTrk Ramp Low),” and “High (KBDTrk Ramp High).” With positive (+) settings, the ef fect will be in the same dir ec- tion as the keyboard tracking settings. With negative (–) settings, the effect will be in the opposite direction.

Int. to B (KBDTrk Int. to B) [–99...+99]

Speciﬁes the depth and direction of the effect on ﬁlter 1B produced by keyboard tracking. (

☞“Int. to A”)

4.1–2b: Filter EG

Int. to A (Intensity to A) [–99…+99]

Speciﬁes the depth and direction of the effect that the timevarying changes created by the ﬁlter 1 EG will have on the ﬁlter 1A cutoff frequency. With positive (+) settings, the sound will become brighter when the EG levels set by Filter 1 EG “L (Level)” and “T (Time)” parameters (4.1–5a) are in the “+” area, and darker when they are in the “–” area. With negative (–) settings, the sound will become darker when the EG levels set by Filter 1 EG “L (Level)” and “T (Time)” parameters are in the “+” area, and brighter when they are in the “–” area.

Int. to B (Intensity to B) [–99…+99]

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

☞(“Int. to A” Intensity to A)

Vel to A (Velocity to A) [–99…+99]

This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter 1 EG (as set by “Filter 1 EG” 4.1–5) to control the ﬁlter 1A cutoff frequency. With positive (+) values, playing more strongly will cause the ﬁlter 1 EG to produce greater changes in cutoff frequency . W ith negative (–) values, playing mor e strongly will also cause the ﬁlter 1 EG to produce greater changes in cutoff frequency, but with the polarity of the EG inverted.

Vel to B (Velocity to B) [–99…+99]

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

☞(“Vel to A” Velocity to A).

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

Changes in cutoff frequency

Note-on

Softly played (The setting of Intensity to A (4.1–2b))

Note-off

Note-on

Strongly played Setting to +

Note-off

Note-on

Strongly played Setting to –

Note-off

AMS (Filter EG AMS) [Off, (EXT)]

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

☞p.206 “AMS List”).

Int. to A (AMS Int. to A) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Filter EG AMS)” will have on ﬁlter 1A. For details on how this will apply, refer to “Int. to A (Intensity to A).”

Int. to B (AMS Int. to B) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Filter EG AMS)” will have on ﬁlter 1B. For details on how this will apply, refer to “Int. to A (Intensity to A).”

The sum of the settings for “Int. to A (B),” “Vel to A (B),” and “Int. to A (B) (AMS Int. to A/B)” will determine the depth and direction of the effect produced by the ﬁlter EG.

This value is added to the setting of the Filter A “Frequency (A Frequency)”(4.1–1b).

AMS2 (Filter A AMS2) [Off, (PEG, AEG, EXT)] Intensity (A AMS2 Intensity) [–99…+99]

Selects “AMS2 (Filter A AMS2),” and specify the depth and direction of the effect that the selected source will have (

☞“AMS1,” “Intensity”).

Filter–B:

This will be displayed when “Type (Filter Type)” (4.1–1a) is Low Pass & High Pass. Two alternate modulation sources can be used to modulate the cutoff frequency of ﬁlter 1B (

■ 4.1–3b: UTILITY ☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

☞“Filter A”).

Oscillator” (2.1–1d)

4.1–4: lfoMod (LFO Modulation)

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

4.1–4a

■ 4.1–2c: UTILITY ☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

4.1–3: Mod.2 (Filter1 Modulation2)

Indicates settings for the controller that will modify the tone by applying modulation to the ﬁlter 1 cutoff frequency “Frequency (A/B Frequency).” If “Type (Filter Type)” (4.1–1a) is Low Pass Resonance, the ﬁlter B parameters will not be displayed.

4.1–3a

4.1–3b

4.1–3a: Filter Modulation

Filter–A:

AMS1 (Filter A AMS1) [Off, (PEG, AEG, EXT)]

Selects the source that will control modulation of the ﬁlter 1A cutoff frequency (

Intensity (A AMS1 Intensity) [–99…+99]

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

☞p.206 “AMS List”).

4.1–4b

4.1–4a: Filter LFO1/2 Modulation

LFO1

Intensity to A (LFO1 Int. to A) [–99…+99]

Speciﬁes the depth and direction of the modulation that OSC1 LFO1 (set by “OSC1 LFO1” 5.3–1a) will have on the cutoff frequency of ﬁlter 1A. Negative (–) settings will invert the phase.

Intensity to B (LFO1 Int. to B) [–99…+99]

Speciﬁes the depth and direction of the modulation that OSC1 LFO1 will have on the cutoff frequency of ﬁlter 1B (

☞“Intensity to A”).

Change in cutoff

Low setting High setting

JS–Y Int. to A (LFO1 JS–Y Int. to A) [–99…+99]

By receiving CC#2 (or by moving the joystick in the –Y direction on a TRITON or other instrument connected to MIDI IN), you can control OSC1 LFO1 to modulate the cutoff frequency of ﬁlter 1A. Specify the depth and direction of the effect.

For example, as this value is raised, OSC1 LFO1 will have a correspondingly greater effect on ﬁlter 1 when the joystick is moved in the –Y direction.

JS–Y Int. to B (LFO1 JS–Y Int. to B) [–99…+99]

☞“JS –Y Int. to

A”)

AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

Selects a source that will control the depth and direction of cutoff frequency change for both ﬁlters 1A and 1B (

☞p.206

“AMS List”).

Int. to A (LFO1 AMS Int. to A) [–99…+99]

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

Int. to B (LFO1 AMS Int. to B) [–99…+99]

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

☞“Int. to A”).

LFO 2

Adjusts the depth of the cyclic modulation applied by OSC1 LFO2 (set by “OSC1 LFO 2” 5.3–2) to the cutoff frequency of ﬁlters 1A and 1B (

☞“LFO 1” 4.1–4a).

Intensity to A (LFO2 Int. to A) [–99…+99] Intensity to B (LFO2 Int. to B) [–99…+99] JS–Y Int. to A (LFO2 JS–Y Int. to A) [–99…+99] JS–Y Int. to B (LFO2 JS–Y Int. to B) [–99…+99] AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Int. to A (LFO2 AMS Int. to A) [–99…+99] Int. to B (LFO2 AMS Int. to B) [–99…+99]

■ 4.1–4b: UTILITY

☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

4.1–5: EG (Filter1 EG)

Here you can make settings for the EG that will produce time-varying changes in the cutoff frequency of ﬁlters 1A and 1B. The depth of the effect that these settings will have on the ﬁlter 1 cutoff frequency is determined by “Filter EG” (4.1– 2b).

4.1–5a

4.1–5b

4.1–5d4.1–5c

4.1–5a: Filter1 EG

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

L (Level):

The result will depend on the ﬁlter that was selected in “Type (Filter Type)” (4.1–1a). For example with the Low

Pass Resonance ﬁlter, positive (+) values of “Int. to A” (4.1– 2b) will cause the tone to be brightened by positive (+) lev- els, and darkened by negative (–) levels.

S (Start Level) [–99…+99]

Speciﬁes the change in cutoff frequency at the time of noteon.

A (Attack Level) [–99…+99]

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

B (Break Point Level) [–99…+99]

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

S (Sustain Level) [–99…+99]

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

R (Release Level) [–99…+99]

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

T (Time):

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

A (Attack Time) [00…99]

Speciﬁes the time over which the level will change from note-on until the attack level is reached.

D (Decay Time) [00…99]

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

S (Slope Time) [00…99]

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

R (Release Time) [00…99]

Speciﬁes the time over which the level will change after note-on occurs until the release level is reached.

Note-off

Break Point Level

Decay Time

Sustain Level

Slope Time

Release Time

Release Level

Time

The specified cutoff frequency

Start Level

Note-on

Attack Level

Attack Time

PROG

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2.12.22.33.14.14.25.15.25.36.17.17.27.3

4.1–5b: Level Mod. (Level Modulation)

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

AMS (Level Mod. AMS) [Off, (KT, EXT)]

Selects the source that will control the “L (Level)” parameters of the ﬁlter 1 EG (

☞p.206 “AMS List”).

I (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Level Mod. AMS)” will have. For example, if “AMS (Level Mod. AMS)” is Velocity, and you set “S (AMS SW Start),” “A (AMS SW Attack)” and “B (AMS SW Break)” to + and set “I (AMS Intensity)” to a posi- tive (+) value, the EG levels will rise as you play more strongly. If “Intensity” is set to a negative (–) values, the EG levels will fall as you play more strongly. With a setting of 0, the levels speciﬁed by “Filter 1 EG” (4.1– 5a) will be used.

S (AMS SW Start) [–, 0, +]

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

A (AMS SW Attack) [–, 0, +]

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

B (AMS SW Break) [–, 0, +]

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

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

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

this parameter, positive (+) values of “Ramp (Ramp Setting)” (4.1–2a) will lengthen the EG times, and negative (–) values of “Ramp (Ramp Setting)” will shorten the EG times. The direction of change is speciﬁed by “A (AMS1 SW Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW Slope),” and “R (AMS1 SW Release).” With a setting of 0, the times speciﬁed by “Filter1 EG” (4.1– 5a) will be used. If “AMS1 (Time Mod. AMS1)” is set to Velocity, positive (+) values of this parameter will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the times speciﬁed by “Filter1 EG” will be used.

A (AMS1 SW Attack) [–, 0, +]

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

D (AMS1 SW Decay) [–, 0, +]

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

S (AMS1 SW Slope) [–, 0, +]

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

R (AMS1 SW Release) [–, 0, +]

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

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

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Softly played note with “S,” “A,” and “B” set to + (setting of 4.1–5a: Filter 1 EG)

Strongly played note with “S,” “A,” and “B” set to +

Strongly played note with “S,” “A,” and “B” set to –

4.1–5c: Time Mod. (Time Modulation)

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

AMS1 (Time Mod. AMS1) [Off, (KT, EXT)]

Selects the source that will control the “T (Time)” parameters of the ﬁlter 1 EG (

☞p.206 “AMS List”).

I (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Time Mod. AMS1)” will have. For example, if “AMS1 (Time Mod. AMS1)” is set to Flt KTr +/+, the EG “T (Time)” parameters will be controlled by the Keyboard T rack (4.1–2a) settings. W ith positive (+) values of

Softly played note with “A,” “D,” “S” and “R” set to +

(setting of 4.1–5a: Filter 1 EG)

Strongly played note with “A,” “D,” “S” and “R” set to +

Strongly played note with “A,” “D,” “S” and “R” set to –

AMS2 (Time Mod. AMS2) [Off, (EXT, KT)] I (AMS2 Intensity) [–99…+99] A (AMS2 SW Attack) [–, 0, +] D (AMS2 SW Decay) [–, 0, +] S (AMS2 SW Slope) [–, 0, +] R (AMS2 SW Release) [–, 0, +]

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

☞“AMS1”–“R”).

■ 4.1–5d: UTILITY

☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

Sync Both EGs

If you select “Sync Both EGs” from the Utility menu and press the [F8] key, a check mark will appear at the left of “Sync Both EGs.” In this state, the ﬁlter 1 EG and the ﬁlter 2 EG can be edited simultaneously. (Editing either one will cause the other to change.)

“Sync Both EGs” cannot sync the ﬁlter EG and amp EG independently . For example if you sync in 5.1–3d, it will be synced here as well.

This can be selected only if “Mode (Oscillator Mode)” (2.1–1a) is Double.

PROG 4.2: Ed–Filter2

4.2–1: Basic

4.2–2: Mod.1

(Filter2 Modulation1)

4.2–3: Mod.2 (Filter2 Modulation2)

4.2–4: lfoMod (LFO Modulation)

4.2–5: EG (Filter2 EG)

Indicates settings for ﬁlter 2, which controls the tone of oscillator 2. You can select either a 24 dB/oct low pass ﬁlter with resonance, or a 12 dB/oct low pass ﬁlter and 12 dB/oct high pass ﬁlter connected in series. Filter 2 can be used when “Mode (Oscillator Mode)” (2.1–1a) is Double. ( Ed-Filter 1")

☞“PROG 4.1:

PROG 5.1: Ed–Amp1

Indicates settings for amp 1 which controls the volume of oscillator 1. Pan settings are also made here.

5.1–1a: Amp1 Level

Level (Amp1 Level) [0…127]

Sets the volume of oscillator 1.

The volume of a program can be controlled by CC#7 (volume) and CC#11 (expression). The r esulting level is determined by multiplying the values of CC#7 and CC#11. The Global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a) is used for control.

5.1–1b: Pan

Pan (Amp1 Pan) [Random, L001…C064…R127]

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

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

This can be controlled by CC#10 (panpot). A CC#10 value of 0 or 1 will place the sound at the far left, a value of 64 will place the sound at the location speciﬁed by the “Pan” setting for each oscillator, and a value of 127 will place the sound at the far right. This is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

Use DKit Setting [Off, On]

This is valid when “Mode (Oscillator Mode)” (2.1–1a) is set to Drums.

On (Checked): The sound will be output at the “Pan” setting that has been made for each key of the drum kit (GLOBAL

5.1–3a). When “Mode (Oscillator Mode)” is Drums, you will normally use this setting.

Off (Unchecked): All notes will be output as speciﬁed by the “Pan (Amp1 Pan)” setting.

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

Selects the source that will modify pan (☞p.206 “AMS List”). This change will be relative to the “Pan (Amp1 Pan)” setting.

Intensity [–99…+99]

Speciﬁes the depth of the effect produced by “AMS (Pan AMS).” For example, if “Pan (Amp1 Pan)” is set to C064 and “AMS (Pan AMS)” is Note Number, positive (+) values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note (i.e., as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative (–) values of this parameter will have the opposite effect.

PROG

1.1

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5.1–1: Lvl/Pan (Level/Pan)

These parameters control the volume and pan of oscillator 1.

5.1–1a

5.1–1b

5.1–1c

■ 5.1–1c: UTILITY ☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

5.1–2: Mod. (Amp1 Modulation)

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

5.1–2a

5.1–2b

5.1–2c

Amp Mod. (Amp Modulation)

Velocity Int. (Amp Velocity Int.) [–99…+99]

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

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

Note-on

Note-off

Note-on

Note-off

5.1–2a: Keyboard Track

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

Key (Keyboard Track Key):

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

You can also input the note number by holding down the [ENTER] key and playing a note on a connected MIDI device.

Low (KBDTrk Key Low) [C–1…G9]

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

High (KBDTrk Key High) [C–1…G9]

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

Ramp (Ramp Setting):

Speciﬁes the angle of the keyboard tracking.

Low (KBDTrk Ramp Low) [–99…+99]

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

High (KBDTrk Ramp High) [–99…+99]

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

Volume change produced by keyboard location and Ramp settings

Volume

Ramp Low=+99

Ramp Low=0

Ramp Low=–99

KBDTrk Low KBDTrk High

Ramp High=+99

Ramp High=0

Ramp High=–99

Key

Softly played

Strongly played

AMS (Amp AMS) [Off, (PEG, FEG, EXT)]

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

☞p.206 “AMS List”) (EXT) Velocity cannot be selected.

Int. (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Amp AMS)” will have. The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp EG are low, the modulation applied by Alternate Modulation will also be less. For example, if you set “AMS (Amp AMS)” to AfterT and press down on the keyboard of a connected MIDI instrument, the volume will increase if you have set this parameter to a positive (+) value. However if the volume is already at maximum due to the EG settings etc., it will not be possible to increase the volume any further. If you have set this parameter to a negative (–) value, pressing down on the keyboard will decrease the volume.

LFO1 Mod. (LFO1 Modulation)

Intensity (LFO1 Intensity) [–99…+99]

These parameters let you use “OSC1 LFO1” (5.3–1) to control the oscillator 1 volume. Negative (–) values will invert the LFO waveform.

AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

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

☞p.206

“AMS List”).

Int. (AMS Intensity) [–99…+99]

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

LFO2 Mod. (LFO2 Modulation)

Intensity (LFO2 Intensity) [–99…+99] AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Int. (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “OSC1 LFO2”(5.3–2) will have on the volume of oscillator 1. Refer to the preceding sections “LFO1 Mod. (LFO1 Modulation).”

■ 5.1–2c: UTILITY

5.1–2b: Amp Mod., LFO1 Mod., LFO2 Mod.

Indicates settings to specify how the volume of oscillator 1 will be controlled by velocity, OSC1 LFO1, and OSC1 LFO2.

☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

5.1–3: EG (Amp1 EG)

Indicates settings to specify how Amp 1 will cause the volume of oscillator 1 to change over time.

5.1–3a

5.1–3b

5.1–3d5.1–3c

5.1–3a: Amp1 EG

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

L (Level):

S (Start Level) [00…99]

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

A (Attack Level) [00…99]

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

B (Break Point Level) [00…99]

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

S (Sustain Level) [00…99]

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

Time:

A (Attack Time) [00…99]

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

D (Decay Time) [00…99]

Speciﬁes the time over which the volume will change from when it reaches the attack level until it reaches the break point level.

5.1–3b: Level Mod. (Level Modulation)

These parameters let you use AMS to control the amp 1 EG levels that were speciﬁed in “Amp 1 EG” (5.1–3a).

AMS (Level Mod. AMS) [Off, (KT, EXT)]

Selects the source that will control the “Level” parameters of the amp 1 EG (

☞p.206 “AMS List”).

I (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Level Mod. AMS)” will have. For example, if “AMS (Level Mod. AMS)” is Velocity, setting “S (AMS SW Start),” “A (AMS SW Attack),” and “B (AMS SW Break)” to + and setting “Intensity” to a positive (+) value will cause the amp 1 EG volume levels to increase as you play more strongly. Setting “Intensity” to a negative (–) values will cause the amp 1 EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as speciﬁed in “Amp 1 EG” (5.1–3a).

S (AMS SW Start) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “S (Start Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

A (AMS SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “A (Attack Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

B (AMS SW Break) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “B (Break Point Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

S (Slope Time) [00…99]

Speciﬁes the time over which the volume will change from when it reaches the break point level until it reaches the sustain level.

R (Release Time) [00…99]

Speciﬁes the time over which the volume will change after note-off until it reaches 0.

Volume

Amplifier EG

Note-on

Attack Level

Start Level

Attack Time

Break Point

Decay Time

Slope Time

Sustain Level

Note-off

Time

Release Time

Softly played note when “S”=0 and “A” and “B” are set to + (settings of 5.1–3a: Amp 1 EG)

Strongly played note when “S”=0 and “A” and “B” are set to +

Strongly played note when “S”=0 and “A” and “B”are set to –

5.1–3c: Time Mod. (Time Modulation)

Y ou can use two AMS sources to contr ol the Amp 1 EG times that were speciﬁed in “Amp 1 EG” (5.1–3a).

AMS1 (Time Mod. AMS1) [Off, (EXT, KT)]

Selects the source that will control the “Time” parameters of Amp 1 EG. (

☞p.206 “AMS List”)

I (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Time Mod. AMS1)” will have. For example, if “AMS1 (Time Mod. AMS1)” is Amp KT +/+, the (Amp) “Keyboard Track” settings (5.1–2a) will control the EG “Time” parameters. With positive (+) values of this

parameter, positive (+) values of “Ramp (Ramp Setting)” will cause EG times to be lengthened, and negative (–) val- ues of “Ramp (Ramp Setting)” will cause EG times to be shortened. The direction of the change is speciﬁed by “A (AMS1 SW Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW Slope),” and “R (AMS1 SW Release).” When “AMS1 (Time Mod. AMS1)” is Velocity, positive (+) values will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the EG times will be as speciﬁed in “Amp1 EG” (5.1–3a).

AMS2 (Time Mod. AMS2) [Off, (EXT, KT)] I (AMS2 Intensity) [–99…+99] A (AMS2 SW Attack) [–, 0, +] D (AMS2 SW Decay) [–, 0, +] S (AMS2 SW Slope) [–, 0, +] R (AMS2 SW Release) [–, 0, +]

These parameters specify how “AMS2 (Time Mod. AMS2)” will control the amp 1 EG “Time” parameters ( (Time Mod. AMS1)”–“R(AMS1 SW Release)”).

☞“AMS1

A (AMS1 SW Attack) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “A (Attack Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

D (AMS1 SW Decay) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “D (Decay Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

S (AMS1 SW Slope) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “S (Slope Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

R (AMS1 SW Release) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “R (Release Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Amp 1 EG changes (Time) (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track (5.1–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

■ 5.1–3d: UTILITY

☞“Write Program” (1.1–1d), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

Sync Both EGs

If you select “Sync Both EGs” from the Utility menu and press the [F8] key, a check mark will appear at the left of “Sync Both EGs.” In this state, the amp 1 EG and the amp 2 EG can be edited simultaneously. (Editing either one will cause the other to change.) (

☞4.1–5d )

PROG 5.1: Ed–Amp

This page is displayed if the separately sold EXB-MOSS option is installed.

☞EXB-MOSS owner’s manual & p.251 “EXB-MOSS

( option”)

PROG 5.2: Ed–Amp2

Indicates settings for amp 2 which controls the volume of oscillator 2. Pan settings are also made here.

Settings of 5.1–3a: Amp 1 EG

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

Note-on

Softly played note with “A,” “D,” “S” and “R” at + (settings of 5.1–3a: Amp 1 EG)

Note-off

Low-pitched note played with “A,” “D,” “S”, and “R” at +

Note-on

Strongly played note with “A,” “D,” “S” and “R” at +

Note-off

High-pitched note played with “A,” “D,” “S”, and “R” at –

Note-on

Strongly played note with “A,” “D,” “S” and “R” at –

Note-off

5.2–1: Lvl/Pan (Level/Pan)

5.2–2: Mod. (Amp2 Modulation)

5.2–3: EG (Amp2 EG)

These will appear when “Mode (Oscillator Mode)” (2.1–1a) is Double. (

☞“5.1: Ed–Amp1”)

PROG 5.2: Ed–EGs

This page is displayed if the separately sold EXB-MOSS option is installed.

☞EXB-MOSS owner’s manual & p.251 “EXB-MOSS

( option”)

PROG 5.3: Ed–LFOs

Key Sync. [Off, On]

On (Checked): Key Sync. will be On. The LFO will start each time you play a note, and an independent LFO will operate for each note. Off (Unchecked): Key Sync. will be Off, and the LFO effect that was started by the ﬁrst-played note will continue to be applied to each newly-played note. (In this case, Delay and Fade will be applied only to the LFO when it is ﬁrst started.)

PROG

5.3–1: OS1LFO1 (OSC1 LFO1)

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

5.3–1a

5.3–1b

5.3–1c

5.3–1d

5.3–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vect.)]

Selects the LFO waveform. The numbers that appear at the right of some of the LFO

waveforms indicate the phase at which the waveform will begin.

Triangle 0

Triangle 90

Triangle Random

Saw 0

Saw 180

Square

Sine

Guitar

Exp.Triangle

Exp.Saw Down

Exp.Saw Up

Triangle wave

Phase will change randomly at each key-in

Sawtooth down↓

Square wave

Sine wave

Guitar vibrato

Frequency [00…99]

Sets the LFO frequency. A setting of 99 is the fastest.

Ofs (Offset) [–99…+99]

Speciﬁes the central value of the LFO waveform. For example, with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar. When “Waveform” is set to Guitar, the modulation will occur only in the positive (+) direction even if you set “Offset” to 0.

Offset settings and pitch change produced by vibrato

offset = –99 offset = 0 offset = +99Pitch

Step Triangle – 4

Step Triangle – 6

Step Saw – 4

Step Saw – 6

Random1 (S/H):

Conventional sample & hold (S/H) in which the level changes randomly at fixed intervals of time

Random2 (S/H):

Both the levels and the time intervals will change randomly.

Random3 (S/H):

The maximum level and minimum level will alternate at random intervals of time (i.e., a square wave with random period).

Random4 (Vect.) Random5 (Vect.) Random6 (Vect.)

These types cause Random 1–3 to change smoothly. They can be used to simulate the instability of acoustic instruments etc.

Fade [00…99]

Speciﬁes the time from when the LFO begins to apply until it reaches the maximum amplitude. When “Key Sync.” is Off, the fade will apply only when the LFO is ﬁrst started.

How “Fade” affects the LFO (when “Key Sync.” is On)

Note-on Note-off

Fade

Delay

Dly (Delay) [0…99]

Speciﬁes the time from note-on until the LFO effect begins to apply. When “Key Sync.” is Off, the delay will apply only when the LFO is ﬁrst started.

5.3–1b: Freq.Mod (Frequency Modulation)

You can use two alternate modulation sources to adjust the speed of the OSC1 LFO1.

AMS1 (Freq. AMS1)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Selects the source that will adjust the frequency of the oscillator 1 LFO1 (

☞p.206 “AMS List”). OSC1 LFO1 can be mod-

ulated by OSC1 LFO2.

Int (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Freq. AMS1)” will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively). For example, if “AMS1 (Freq. AMS1)” is Note No., positive (+) values of this parameter will cause the oscillator 1 LFO to speed up as you play higher notes. Negative (–) values will cause the oscillator 1 LFO to slow down as you play higher notes. This change will be centered on the C4 note. If “AMS1 (Freq. AMS1)” is JS+Y #01, higher values of this setting will cause the OSC1 LFO speed to become corresponding faster when a joystick is operated on a TRITON etc. connected to MIDI IN. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times.

AMS2 (Freq. AMS2)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Int (AMS2 Intensity) [–99…+99]

Indicates settings for a second alternate modulation source that will adjust the frequency of the oscillator 1 LFO1.

☞“AMS1 (Freq. AMS1),” “Int. (AMS1 Intensity)”

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

Pitch at note-on

5.3–1c: MIDI/Tempo Sync. (Frequency MIDI/Tempo Sync.)

Sync. (MIDI/Tempo Sync.) [Off, On]

On (Checked): The LFO frequency will synchronize to the tempo (MIDI Clock). In this case, the values you speciﬁed for “Frequency” (5.3–1a) and “Freq.Mod” (5.3–1b) will be ignored.

Base Note (Sync. Base Note)

[  ,   ,  ,   ,  ,   ,  ,  ]

Times (Sync. Times) [01...16]

When “Sync. (MIDI/Tempo Sync.).” is checked, these When “Sync. (MIDI/Tempo Sync.)” is checked, these parameters

specify a note length “Base Note (Sync. Base Note)” relative to “ (Tempo)” and the multiple “Times (Sync. Times)” that will be applied to it. These parameters will determine the frequency of the OSC1 LFO1. For example if “Base Note (Sync. Base Note)” is  (quarter note) and “Times (Sync. Times)” is 04, the LFO will perform one cycle every four beats. Even if you change the “ (Tempo)” setting of the arpeggiator, the LFO will always perform one cycle every four beats.

■ 5.3–1d: UTILITY

☞“Write Program” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Swap LFO 1&2

1 Select “Swap LFO 1&2” to access the dialog box. 2 To execute, press the [F8] (“OK”) key. To cancel without

executing, press the [F7] (“Cancel”) key.

5.3–4: OS2LFO2 (OSC2 LFO2)

This can be used when “Mode (Oscillator Mode)” (2.1–1a) is set to Double. Here you can make settings for the OSC2 LFO2, which is the second LFO that can be applied to oscillator 2 (

☞“5.3–1: OS1LFO1 (OSC1 LFO1)” and “5.3–2:

OS1LFO2 (OSC1 LFO2)”).

PROG 6.1: Ed–Arp. (Arpeggiator)

Here you can make settings for the arpeggiator used by the program. These arpeggiator settings can be linked when you switch programs. To link, check the Program item in “Auto Arp. “Program” (GLOBAL 1.1–1c): On.

The arpeggiator can be switched on/off by the [ARP ON/ OFF] key. When on, the key LED will light. The settings of the REALTIME CONTROLS C-mode [TEMPO] knob, [ARP-GATE] knob, [ARP-VELOCITY] knob, and [ARP ON/OFF] key can be saved for each program.

These settings will be valid when Auto Arp. “Program” is On.

You can control the arpeggiator from an external sequencer, or record arpeggio note data on an external sequencer. (

“Pattern,” “Resolution,” “Octave,” “Sort,” “Latch,” “Key Sync.,” “Keyboard,” and “ (Tempo)” can also be

set in the Arp. Play page of 1.1:Play.

6.1–1: Setup (Arpeg. Setup)

6.1–1a

6.1–1a: Arpeggiator Setup

☞p.228)

6.1–1b

5.3–2: OS1LFO2 (OSC1 LFO2)

Here you can make settings for the OSC1 LFO2, which is the second LFO that can be applied to oscillator 1. ( OS1LFO1 (OSC1 LFO1)”) However, it is not possible to use the LFO to apply modulation in “AMS1 (Freq. AMS1)” or “AMS2 (Freq. AMS2)” of Freq. Mod.

☞“5.3–1:

5.3–3: OS2LFO1 (OSC2 LFO1)

This can be used when “Mode (Oscillator Mode)” (2.1–1a) is set to Double. Here you can make settings for the OSC2 LFO1, which is the ﬁrst LFO that can be applied to oscillator 2 (

☞“5.3–1: OS1LFO1 (OSC1 LFO1)”).

☞Refer to BG p.85.

Pattern* [P000...P004, U000(I-A/B)...U327(E–H)]

Selects the arpeggio pattern.

P000: UP Preset Arpeggio Pattern P001: DOWN Preset Arpeggio Pattern P002: ALT1 Preset Arpeggio Pattern P003: ALT2 Preset Arpeggio Pattern P004: RANDOM Preset Arpeggio Pattern U000(I–A/B)...U199(I–A/B) (for Preloaded User Arpeggio Pattern) U200(E–A)...U215(E–A), U216(E–B)...U231(E–B), U232(E–

C)...U247(E–C), U248(E–D)...U263(E–D), U264(E–E)...U279(E–E), U280(E–F)...U295(E–F), U296(E–G)...U311(E–G), U312(E– H)...U327(E–H)

(for EXB-PCM series, User Arpeggio Pattern)

P000–P004 are preset arpeggio patterns, U000 (I–A/B)– U327(E–H) are user arpeggio patterns. User arpeggio pat-

terns can be created in GLOBAL 6.1.

Arpeggio patterns U000 (I–A/B)–U327(E–H) can be selected using the numeric keys [0]–[9] and the [ENTER] key.

Octave* [1, 2, 3, 4]

Speciﬁes the number of octaves in which the arpeggio will be played.

If a user arpeggio pattern is selected, the range of the arpeggio will depend on the “Octave Motion” (GLOBAL 6.1–1c) setting.

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

Speciﬁes the timing resolution of the arpeggio. The notes of the arpeggio will be played at the interval you specify:   ,  ,  ,  ,   , or  . The speed of the arpeggio pattern is determined by the “ (Tempo)” and the “Resolution.”

Gate [000...100(%), Step]

Speciﬁes the length (gate time) of each note in the arpeggio. 000–100(%): Each note will be played with the speciﬁed gate

time.

Step: This is available when an user arpeggio pattern U000 (I-A/B)–U327 (E-H) is selected for “Pattern.” When this is

selected, the gate time speciﬁed for each step will be used. The gate time can also be controlled by the [ARP-GATE]

knob. Rotating the knob toward the left will shorten the gate time, and rotating it toward the right will lengthen the gate time. When the knob is at the 12 o’clock position, the gate time will be as speciﬁed here.

Velocity [001...127, Key, Step]

Speciﬁes the velocity of the notes in the arpeggio. 001–127: Each note will sound with the speciﬁed velocity

value. Key: Each note will sound with the velocity value at which it was actually played.

Step: This is available when an user arpeggio pattern U000 (I-A/B)–U327 (E-H) is selected for “Pattern.” When this is

selected, the velocity speciﬁed for each step will be used. The velocity can also be controlled by the [ARP-VELOCITY]

knob. Rotating the knob toward the left will decrease the velocity, and rotating it toward the right will increase the velocity. When the knob is at the 12 o’clock position, the velocity will be as speciﬁed here.

Latch*

Speciﬁes whether or not the arpeggio will continue playing after you take your hand off the keyboard of a connected MIDI instrument. On (Checked): The arpeggio will continue playing after you remove your hand from the keyboard. Off (Unchecked): The arpeggio will stop when you remove your hand from the keyboard.

Key Sync.* [Off, On]

Speciﬁes whether the arpeggio pattern will begin when you press a key on a connected MIDI instrument, or whether it will always follow the “ (Tempo)” setting. On (Checked): The arpeggio pattern will start playing from the beginning when a note-on occurs from a condition where no keys are pressed. This setting is suitable when you are playing in realtime and want the arpeggio to play from the beginning of the measure. Off (Unchecked): The arpeggio pattern will always play according to the “  (Tempo) .”

Keyboard*

This speciﬁes whether the notes you play on the keyboard of a connected MIDI instrument will be sounded as usual in addition to being sounded as part of the arpeggio. On (Checked): The notes you play will be sounded on their own, in addition to being sounded as part of the arpeggio. For example if you simultaneously press two or more notes, they will be sounded as usual in addition to being played as arpeggiated notes. Off (Unchecked): Only the arpeggiated notes will be heard.

* These parameters can also be set in “1.1–3: Arp.”

6.1–1b: Arpeggiator Tempo

 (Tempo) [040...240, EXT]

Sets the tempo. This can also be set by the [TEMPO] knob. When “MIDI Clock” (GLOBAL 2.1–1a) is External, this will indicate EXT, and the arpeggiator will synchronize to MIDI Clock messages received from an external MIDI device.

■ 6.1–1c: UTILITY

PROG

1.1

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Swing [–100...+100(%)]

This parameter shifts the timing of the odd-numbered notes of the arpeggio.

When Resolution = Step

123456789

–50 –25 +25 +25

Swing

Sort* [Off, On]

This speciﬁes the order in which the notes you press will be arpeggiated.

On (Checked): Notes will be arpeggiated in the order of their pitch, regardless of the order in which you pressed them. Off (Unchecked): Notes will be arpeggiated in the order in which you pressed them.

☞“Write Program” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Copy Arpeggiator

This command copies arpeggio settings.

1 Select “Copy Arpeggiator” to access the dialog box.

2 In “From” specify the copy source arpeggio settings

(mode, bank, number).

3 If you are copying from Combination or Multi mode,

specify whether you wish to copy from A or B.

4 To execute the Copy Arpeggio operation, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

6.1–2: Zone (Scan Zone)

6.1–2a

6.1–2b

PROG 7.1: Ed–BUS

These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the master effects.

☞For details on insertion effects, refer to p.141 “8. Effect

Guide.”

6.1–2a: Scan Zone

Zone Map

This shows the “Scan Zone” setting.

Key:

Btm (Bottom Key) [C–1...G9] Top (Top Key) [C–1...G9]

These parameters specify the range of notes (keys) for which the arpeggiator will function. “Top” is the upper limit, and “Btm” is the lower limit.

Vel:

Btm (Bottom Velocity) [001...127] Top (Top Velocity) [001...127]

Speciﬁes the range of velocities for which the arpeggiator will function. “Top” is the upper limit, and “Btm” is the lower limit.

The note number and velocity can also be speciﬁed by holding down the [ENTER] key and pressing a note on the keyboard of a connected MIDI device.

■ 6.1–2b: UTILITY

☞“Write Program” (1.1–1d), “Copy Arpeggiator” (6.1–1c)

7.1–1: BUS

The following diagram shows the LCD screen when “Mode (Oscillator Mode)” (2.1–1a) is set to Single or Double.

7.1–1a

7.1–1a: BUS

BUS Select

BUS Select (All OSCs)

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

Speciﬁes the bus to which oscillators 1 and 2 will be sent.

If this is set to 1/2 or 3/4, the oscillator pan settings (5.1– 1b, 5.2–1) will be used to output the sound in stereo from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4. When the oscillator pan is controlled by CC#10 (pan) or AMS (Alternate Modulation Source), the sound will be output with the pan setting that is in effect at note-on. Unlike the case when this is set to L/R to output the sound from (MAIN) L/MONO and R, the pan of a sounding note will not change in realtime.

If you wish to adjust the pan in realtime during a note and output the sound from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4, set “BUS Select” to IFX1 (or IFX2–

IFX5), set “IFX1” (or IFX2–IFX5 (7.2–1a)) to 000: No Effect, and set the “BUS Select” (7.2–1a) after passing through IFX to 1/2 or 3/4.

MFX Send

OSC1 Send1 [000...127]

Sets the volume (send level) at which the output of OSC1 will be sent to master effect 1. This is valid when “BUS Select” is set to L/R or Off. If “BUS Select” is set to IFX1, IFX2, IFX3, IFX4 or IFX5, the send levels to master effect 1 and 2 are set by “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” (7.2–1a) after passing through IFX 1/2/3/4/5 of the InsertFX pages.

OSC1 Send2 [000...127]

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

☞“OSC1 Send1”).

OSC2 Send1 [000...127] OSC2 Send2 [000...127]

Sets the volume (send level) at which the output of OSC2 will be sent to master effects 1 and 2. These parameters will be valid when “Mode (Oscillator Mode)” (2.1–1a) is set to Double and “BUS Select” is set to L/R or Off.

CC#93 will control the Send 1 level for OSC 1 and 2, and control change #91 will control the Send 2 level for OSC 1 and 2. These are controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

The actual send level is determined by multiplying these values with the send level setting of each oscillator.

7.1–1b: Use DKit Setting

The LCD screen shown below is for when “Mode (Oscillator Mode)” (2.1–1a) is set to Drums.

7.1–1b

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

4 Select the copy destination insert effect. If you check

“Post IFX Mixer Setting,” the “Chain,” “Pan (CC#8),” “BUS Select,” “S1 (Send1(MFX1))” and “S2

(Send2(MFX2))” settings that follow the copy source insert effect will also be copied. If this is unchecked, only the effect type and its parameters will be copied.

5 To execute the Copy Insert Effect command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Swap Insert Effect

This command swaps (exchanges) insert effect settings.

1 Select “Swap Insert Effect” to access the dialog box.

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

7.1–1c

Use DKit Setting [Off, On]

This will be available when “Mode (Oscillator Mode)” is set to Drums.

On (Checked): The “BUS (BUS Select)” (GLOBAL 5.1–3a) setting for each key of the selected drum kit will be used. Check this when you want to apply an insert effect to an individual drum instrument, or to output an individual drum instrument to one of the AUDIO OUTPUT (INDIVIDUAL) jacks. If the “Mode (Oscillator Mode)” is Single or Double, this setting has no effect. Off (Unchecked): The setting of the “BUS Select,”“MFX Send” (7.1–1c) parameter described below will be used. All drum instruments will be sent to the speciﬁed bus.

■ 7.1–1c: UTILITY

☞“Write Program” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Copy Insert Effect

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

1 Select “Copy Insert Effect” to access the dialog box.

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

effects that you wish to swap.

3 To execute the Swap Insert Effect command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

7.1–2: Route (Routing)

7.1–2a

7.1–2b

7.1–2a: Routing

This displays the setting status of the insert effects.

This shows the insert effect routing, the names of the selected effects, their on/off setting, and chain status. The insert effect type, on/off, and chain settings can be made in the Setup page of 7.2: Ed-InsertFx.

You can use the [INC], [DEC] keys and [VALUE] dial to set “BUS Select” (

■ 7.1–2b: UTILITY

☞7.1–1a).

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

ber.

You can use the [BANK] and [A]–[H] keys to select the bank.

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

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

☞“Write Program” (1.1–1d), “Copy Insert Effect,” “Swap

Insert Effect” (7.1–1c)

PROG 7.2: Ed–InsertFX

7.2–1: Setup

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

7.2–1a

☞p.142).

7.2–1b

BUS Select [L/R, 1, 2, 3, 4, 1/2, 3/4, Off]

Speciﬁes the bus to which the sound will be sent after passing through the insert effect. Normally you will set this to L/ R. If you wish to output to AUDIO OUTPUT (INDIVIDUAL), set this to 1, 2, 3, 4, 1/2, or 3/4. The Off setting is used when you wish to use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” and in addition connect to the master effects in series.

S1 (Send1 (MFX1)) [000...127] S2 (Send2 (MFX2)) [000...127]

Sets the send levels to the master effects 1 and 2 for the sound that has passed through the insert effect. These settings are valid when “BUS Select” (7.1–1a) has been set to L/ R or Off.

Control change CC#93 will control the Send 1 level, and control change CC#91 will control the Send 2 level. These messages are received on the global MIDI channel speciﬁed by “MIDI Channel” (GLOBAL 2.1–1a).

7.2–1a: InsertFX Setup

IFX1 On/Off — IFX5 On/Off [Off, ON]

Selects the insert effect on/off. When this is Off, the input will be output without change. (For 000: No Effect, on/off will produce the same result.)

Separately from this setting, you can use control change #92 to turn off all insert effects together. A value of 0 will be off, and a value of 1–127 will be the original setting. This message is received on the global MIDI channel speciﬁed by “MIDI Channel” (GLOBAL 2.1–1a).

Insert Effect 1, 5 [000...089: name] Insert Effect 2, 3, 4 [000...102: name]

Selects the type of each insert effect. For “Insert Effect 1” and “Insert Effect 5” you can select fr om 90 types of effect: 000: No Effect – 089: Reverb-Gate. Double-size effects cannot be used. For “Insert Effect 2,” “Insert Effect 3” and “Insert Effect 4” you can select from 103 types of effect: 000: No Effect – 102: Hold Delay.

If you select a double-size effect, the next insert effect will be unavailable for use. For example if you select a double-size effect for IFX2, IFX3 cannot be used. A maximum of two double-size effects can be used (normal size for IFX1, double size for IFX2 and IFX4) (

These effects can also be selected by category in Utility “Select by Category” (7.2–1b).

☞p.142).

Chain [ (Off), (ON)]

Selects “chain” on/off for each insert effect. For example if “Chain” for IFX1 is set to (ON), IFX1 and IFX2 will be connected in series. If “BUS Select” (7.1–1a) is set to IFX1, IFX1 and IFX2 will be inserted in series. A maximum of ﬁve insert effects (IFX1–IFX5) can be inserted in series. When effects are chained, the “Pan (CC#8),” “BUS Select,” “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” settings that follow the last IFX in the chain will be used.

■ 7.2–1b: UTILITY

☞“Write Program” (1.1–1d), “Copy Insert Effect,” “Swap

Insert Effect” (7.1–1c)

Select by Category

Selects insert effects by category. For the procedure, refer to “Select by Category” (

This command can be used when selecting “Insert Effect 1”–”Insert Effect 5.”

☞p.2).

7.2–2: IFX 1

7.2–3: IFX 2

7.2–4: IFX 3

7.2–5: IFX 4

7.2–6: IFX 5

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

Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1– 1a). (

☞p.211 “D.mod”)

☞p.151).

Pan(CC#8) (Post IFX Pan CC#8) [L000...C064...R127]

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

CC#8 will control.

☞p.145).

7.2–2a

■ 7.2–2(...6)a: UTILITY ☞“Write Program” (1.1–1d)

7.2–7: Routing

7.2–7a: Routing

This shows the status of the insert effect settings. (☞7.1–2a)

7.2–7a

7.2–7b

PROG 7.3: Ed–MasterFX

☞For details on the master effects, refer to p.146.

7.3–1: Setup

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

7.3–1a

7.3–1b

7.3–1d7.3–1c

7.3–1a: Master Effect Setup

PROG

1.1

2.12.22.33.14.14.25.15.25.36.17.17.27.3

■ 7.2–1b: UTILITY ☞“Write Program” (1.1–1d), “Copy Insert Effect,” “Swap

Insert Effect” (7.1–1c)

The master effects do not output the direct sound (Dry). The return level (“Rtn 1, 2”) sends the effect sound (Wet) to the L and R bus, and this is mixed with the direct sound (“BUS Select” L/R: 7.1–1a, 7.2–1a). The master effects are monaural input. The sound that is panned to L and R after passing through the oscillator and insert effects is mixed to a monaural signal as adjusted by the “S1 (Send1 (MFX1))” and “S2 (Send2 (MFX2))” levels, and input to the master effects.

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

MFX1 On/Off, MFX2 On/Off [Off, ON]

Switch master effect 1, 2 on/off. When off, the output will be muted.

Separately from this setting, you can use CC#94 to switch master effect 1 on/off, CC#95 to switch master effect 2 on/off. A value of 0 will be off, and a value of 1–127 will be the original setting. This is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

Master Effect 1, 2 [000...089: name]

Selects the effect type for master effect 1, 2. You can select from 90 types of effect: 000: No Effect–089: Reverb-Gate. (Double-size effects cannot be selected.) If 000: No Effect is selected, the output from the master effect will be muted.

Rtn 1, 2 (Return 1, 2) [000...127]

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

7.3–1b: Chain

MFX Chain [Off, On]

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

☞p.148)

Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1]

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

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

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

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

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

Level (Chain Level) [000...127]

Sets the send level from the ﬁrst master effect to the next master effect when chain is turned on.

7.3–1c: Master EQ Gain [dB]

Sets the gain for the three-band EQ located immediately before the sound of the L/R bus is sent from the AUDIO OUTPUT (MAIN OUT) L/MONO and R jacks. This is linked with the various “Gain” parameters of Master EQ (7.3–4).

Swap Master Effect

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

1 Select “Swap Master Effect” to access the dialog box. 2 To execute the Swap Master Effect command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Select by Category

Selects master effects by category. (☞p.2)

This command can be used when selecting “Master Effect 1”–”Master Effect 2.”

7.3–2: MFX 1

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

The cutoff frequency for “Low,” “Mid” and “High” and the “Q” of “Mid” can be adjusted in the MEQ page. These set- tings are in “dB” units.

■ 7.3–1d: UTILITY

☞“Write Program” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Copy Master Effect

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

1 Select “Copy Master Effect” to access the dialog box.

7.3–3: MFX 2

Indicates effect parameter settings for the MFX1 and 2 effects that were selected in the Setup page (

(

☞p.211 “D.mod”)

■ 7.3–2(3)a: UTILITY ☞“Write Program” (1.1–1d)

☞p.151).

7.3–2b

7.3–4: MEQ (Master EQ)

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

☞p.203).

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

ber.

You can use the [BANK] and [A]–[H] keys to select the bank.

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

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

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

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

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

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

7.3–4a

■ 7.3–4a: UTILITY ☞“Write Program” (1.1–1d)

2. Combination mode

COMBI PAGE MENU

For details on how to select pages in Combination mode, refer to p.1.

Play 1.1: Play Select and play combinations. Select a

P/M 2.1: Ed-Prog/Mix Select a program for each timbre, and

Ctrl 2.2: Ed-Ctrl Controller settings. ( MOSS 2.3: Ed-MOSS Displayed if the separately sold EXB-

Prm1 3.1: Ed-Param1 MIDI, OSC, and Pitch settings for each

Prm1 3.2: Ed-Param2 Delay and scale settings for each tim-

KeyZ 3.3: Ed-Key Zone Key zone settings for each timbre.

VelZ 3.4: Ed-Vel Zone Velocity zone settings for each timbre.

MIDI1 4.1: Ed-MIDI Filter1 MIDI message transmission/reception

MIDI2 4.2: Ed-MIDI Filter 2 Filter settings such as JS and Ribbon

MIDI3 4.3: Ed-MIDI Filter 3 Filter settings; Realtime Control Knob

MIDI4 4.4: Ed-MIDI Filter 4 Filter settings; SW, Other Ctrl Change

Arp 6.1: Ed-Arp Arpeggiator settings. (Same as the 1.1:

BUS 7.1: Ed-BUS Bus and master effect send level set-

IFX 7.2: Ed-InsertFX Insert effect routing, selection, and set-

MFX 7.3: Ed-MasterFX Master effect selection and settings.

program for each timbre, and set status, pan, and level. Select an arpeggio pattern and make settings. (

set pan and level. (Same as the 1.1: Play parameters; can be edited from either page.) (

MOSS option is installed. Set EXBMOSS parameters. (

timbre. (

bre. (

☞p.39)

(

☞p.40)

(

ﬁlter settings for each timbre, such as Prog Change and After Touch. (

Ctrl. (

☞p.42)

(

☞p.42)

(

Play parameters; can be edited from either page.) (

tings for each timbre. (

tings. (

Master EQ settings. (

☞p.35)

☞p.36)

☞p.38)

☞p.41)

☞p.43)

☞p.47)

☞p.31)

☞p.36)

☞p.41)

☞p.45)

☞p.48)

COMBI 1.1: Play

In this display page you can select and play Combinations.

1.1–1: Combi (Combination)

1.1–1a

1.1–1b

1.1–1c 1.1–1d

1.1–1a: Bank, Combi Select, Category, Cat.Hold,

10’s Hold, 

Bank (Bank Select) [INT-A…INT-E, EXB-A...EXB-H]

This indicates the combination bank. Use the [BANK] and [A]–[H] keys to select the bank. T o select combinations fr om an internal bank INT-A–INT-E, press the [BANK] key to make the INT/EXB indicator go dark, and press one of the [A]–[E] keys to select the bank. To select combinations from an external bank EXB-A–EXB- H, press the [BANK] key to make the INT/EXB indicator light, and press one of the [A]–[H] keys to select the bank.

All banks can be rewritten. Each bank contains 128 combinations, providing a total of 1,664 combination programs.

INT-A...INT-D (I-A...I-D) Preloaded combinations INT-E (I-E) User combinations, EXB-MOSS com-

EXB-A...EXB-H (E-A...E-H) User combinations, EXB-PCM series

If you have selected the “Program Select” (1.1–2c) edit cell for a timbre 1–8 in the Prog page, BANK [A]–[D] will switch the program banks for timbres 1–8.

Combi Select (Combination Select) [0...127: name]

Select a combination. Select this parameter, and use the [INC], [DEC] keys, numeric keys [0]–[9], or the [VALUE] dial to select a combination. You can also select combinations by category, or using “10’s Hold.” ( “Cat.HOLD,” “10’s HOLD”)

You can also select combinations by transmitting a MIDI program change message from a connected external MIDI device. (

binations

combinations

☞”Category,”

☞p.221)

COMBI

1.1

2.12.22.33.13.23.33.44.14.24.34.46.17.17.27.3

Category [00...15: name]

This is the combination category display. All combinations are organized into sixteen categories. You can select a category, and then select from combinations that belong to that category. To select combinations by category, use “Cat.HOLD” and Utility “Select by Category.” (

To specify the category for a combination, use Utility “Write Combination” (1.1–1d). To modify a category name, use “Category Name Comb. 00–07, 08–15” (GLOBAL 4.1–3/4).

☞PROG 1.1–1a)

Cat.HOLD

Press the [./HOLD] key and the display will indicate

. The category will be held (ﬁxed). (

1a)

☞PROG 1.1–

10’s HOLD

When you press the [./HOLD] key, the display will indicate

, and the ten’s place of the combination number

will be ﬁxed. (

☞PROG 1.1–1a)

 (Tempo) [040...240, EXT]

Sets the tempo of the arpeggiator. This can be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob. EXT will be displayed if “MIDI Clock” (GLOBAL 2.1–1a) is set to External, and the arpeggiator will synchronize to the MIDI clock received from an external MIDI device. This parameter can also be set from 6.1: Ed-Arp.

1.1–1b: Combination Information

This displays information for the selected combination. The functions assigned to “SW1,” “SW2,” and REALTIME CONTROLS B mode [ASSIGNABLE 1–4] knobs will be displayed.

■ 1.1–1c: SW1, SW2

The functions of SW1 and SW2 assigned to the combination can be switched on ( ) or off ( ). (

☞2.2: Ed-Ctrl)

2 To select the timbre that will be soloed, select a tab or

page that displays parameters speciﬁc to a timbre. (e.g., 1.1: Play, Prog page “Program Select”) When you play a note on a connected MIDI instrument, only the selected timbre will sound, and the remaining timbres will be muted. “Solo” will be displayed in “Selected Timbre Information” (1.1–2c) of each tab or page. To solo a different timbre, select one of the above parameters for the desired timbre.

You can move to timbres “T1”–“T8” by holding down the [TIMBRE/TRACK] key and pressing one of the [F1](1/9)–[F8](8/16) keys.

3 To defeat the Solo function, choose “Solo Selected Tim-

bre” from the utility menu once again, and press the [F8] (“OK”) key to cancel it.

If a timbre that is muted by the Solo function has been set to a “Status” (3.1–1a) of EXT or EX2, MIDI note-on/ off messages will not be transmitted by that timbre.

Select by Category

Selects a combination by category. (☞p.2)

■ 1.1–1d: UTILITY

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Write Combination

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

For the procedure, refer to “Write Program” (PROG 1.1–1d).

If you use “Category” to specify a category for the combination that you are writing, you will be able to select it by category when selecting combinations in COMBI 1.1: Play.

When you press the [WRITE] key, the “Update Combination” dialog box will appear. Her e also you can write to the currently selected combination.

Solo Selected Timbre

The Solo function will alternately be switched on/off each time you select “Solo Selected Timbre.”

1 From the utility menu, choose “Solo Selected Timbre,”

and press the [F8] (“OK”) key to execute the command. When you execute this, a check mark will appear at the left of the “Solo Selected Timbre” menu item, and the Solo function will be on.

1.1–2: Prog (Timbre Program)

Selects the program that will be used by each timbre.

1.1–2a

1.1–2b

1.1–1c

1.1–1d

1.1–1e

1.1–2a: Bank, Combi Select, Cat.Hold, 10’s Hold,

Bank (Bank Select) [I-A…I-E, E-A...E-H] Combi Select (Combination Select) [0…127: name] Cat. (Cat. HOLD) 10’s (10’s HOLD)  (Tempo) [040...240, EXT]

In the same way as in the Combi page, select a combination and set the tempo of the arpeggiator. (

1.1–2b: Timbre Number & Category

Timbre Number & Category 1...8

This displays the timbre number and an abbreviated category name.

☞1.1–1a)

1.1–2c: Program Select, Program Name

1.1–2d: Selected Timbre Information

Program Select [I-A000...E-H127]

Selects the program that will be used by each timbre. When “Program Select” is selected, you can use the [BANK]

key, numeric keys [0]–[9], [VALUE] dial, and [INC], [DEC] keys to select a program. You can move to timbres “T1”–“T8” by holding down the [TIMBRE/TRACK] key and pressing one of the [F1](1/9)– [F8](8/16) keys.

“Program Select” settings can also be made in the Prog page of 2.1: Ed-Prog/Mix.

You can also use Utility “Select by Category” to select programs by category.

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

If bank select and program change messages are received on a MIDI channel that matches the MIDI channel of a timbre whose “Status” is INT, the program of that timbre will change. However if the MIDI channel of the incoming message matches the global MIDI channel “MIDI Channel,” then the combination will change.

If you do not want the combination to change, you can either change the global MIDI channel so that it does not match the channel on which the program change messages are being received, or you can uncheck “Combi (Combi Change)” (GLOBAL 2.1–1b). Alternately, you can uncheck “Bank (Bank Change)” (GLOBAL 2.1–1b) so that only the program number will change and the bank will remain the same.

If you wish to change a program without changing the combination, you can also set “Program Change” (4.1– 1a) so that the program will change on certain timbres but not on others.

When you select a combination on the TRITON-Rack, a MIDI program change for the selected combination number will be transmitted on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a). At the same time, bank select, program change, and volume (CC#7) messages will be transmitted on the MIDI channel speciﬁed for each timbre that is set to “Status” (3.1–1a) of EXT or EX2. However, these messages will not be transmitted for timbres that are set to the same MIDI channel as the global MIDI channel. In this case, EX2 timbres will show the “Program Select” Bank as “–”, and will transmit the bank number that was speciﬁed in “Bank (EX2) MSB”and “Bank (EX2) LSB” (3.1–1a).

MIDI messages transmitted when you operate the TRITON are transmitted on the global MIDI channel. At the same time, timbres whose “Status” is EXT or EX2 will transmit the same messages on their own MIDI channel.

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

Timbre No.: Bank No., Prog No.: and name

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

Status (INT, Off, EXT, EX2)

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

Ch (01...16, Gch)

This is the MIDI channel number speciﬁed for the timbre.

■ 1.1–2e: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Select by Category

Combinations or the programs used by each timbre can be selected by category.

If you have selected “Combi Select,” selecting Utility “Select by Category” will access the Select Combination by Category dialog box, allowing you to select a combination by category. (

If you have selected “Program Select,” selecting Utility “Select by Category” will access the Select Program by Category (Timbre) dialog box, allowing you to select a program for each timbre by category.

For the procedure of selecting by category, refer to p.2.

☞p.32)

COMBI

1.1

2.12.22.33.13.23.33.44.14.24.34.46.17.17.27.3

Program Name

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

1.1–3: Mix (Mixer)

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

1.1–3a

1.1–3b

1.1–3a: Pan, Volume

Pan [RND, L001...C064...R127]

Sets the pan for each timbre 1–8. (This parameter can also be set from the Mixer page of 2.1: Ed-Prog/Mix.) L001...C064...R127: A setting of L001 is far left and R127 is far right. A setting of C064 will reproduce the pan setting that was made for the oscillator in Program mode.

OSC1

Left

Center

OSC2

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

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

by a timbre that is set to the same MIDI channel as the global MIDI channel. This message is transmitted on the “MIDI Channel” (3.1–1a) speciﬁed for each timbre.

■ 1.1–3b: UTILITY

☞“Write Combination,” “Solo Selected Timbre,” “Select by

Category” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Hold Balance

Adjusts the volume of the Combi while preserving the volume balance between timbres 1–8.

Selects the “Volume” of any timbre, select “Hold Balance” from the Utility menu, and press the [F8] (“OK”) key. A check mark will appear at the left of “Hold Balance.” (The upper left of the LCD screen will indicate [Hold Bal.]) In this state, adjusting any “Volume” value will simultaneously change the volume of the other timbres as well, while preserving the volume balance between timbres 1–8.

1.1–4: Arp. A (Arpeggio Play A)

OSC1

Left

Center

OSC2

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

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

If a mono-type insertion effect is inserted, the setting you make here will be ignored. In this case, the “Pan (CC#8)” parameter in 7.2: Ed–InsertFX, Setup page will adjust the panning of the sound after the insertion effect (☞p.145 “3. Mixer”).

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

If “Status” (3.1–1a) has been set to INT, MIDI control change #10 (panpot) messages can be received to control the setting. CC#10 values of 0 or 1 will place the sound at far left, 64 at center, and 127 at far right. Pan can be controlled by messages received on the “MIDI Channel” (3.1–1a).

Volume [000...127]

Adjusts the volume of each timbre 1–8. (This parameter can also be set from the Mixer page of 2.1: Ed-Prog/Mix.)

The volume of each timbre is determined by multiplying this volume value with the MIDI volume (CC#7) and expression (CC#11). If “Status” (3.1–1a) has been set to INT, incoming MIDI CC#7 or CC#11 messages will control the volume of a timbre. (However these messages will not affect the setting of this parameter.)

If “Status” is EXT or EX2, the value of this parameter will be transmitted as MIDI CC#7 when the combination is changed. However this will not be transmitted

1.1–5: Arp. B (Arpeggio Play B)

Here you can make arpeggiator settings for the combination. A combination can run two arpeggiators simultaneously. Arpeggiator parameters can be edited in 6.1: EditArp., but certain major parameters can be edited in these pages as well. You can edit these parameters in realtime, for example by changing the arpeggio pattern while playing in COMBI 1.1: Play.

To save the edits you make, use “Write Combination.” The arpeggiator can also be edited in realtime by the REAL TIME CONTROLS C-mode [TEMPO] knob, [ARP-GATE] knob, and [ARP-VELOCITY] knob.

1.1–4a

1.1–4b

1.1–4c

1.1–4(5)a: Arpeggiator Run, Timbre assign

Arpeggiator Run A, B (Run A, B) [Off, On]

When the [ARP ON/OFF] key is on, the arpeggiator that is checked here will run if it is assigned to a timbre in “Assign” (6.1–1b). Even if the arpeggiator is on, you can turn A and B on/off independently. (This parameter can also be set from the 6.1: Ed-Arp. Setup page.)

Timbre assign

This displays the timbres 1–8 to which arpeggiators A and B are assigned. This can be set in “Assign” (6.1–1b).

1.1–4(5)b: Arpeggiator A(B)

Pattern [P000....P004, U000(I-A/B)...U327(E-H)]

Reso (Resolution) [   ,  ,   ,  ,   ,  ] Octave [1, 2, 3, 4] Sort [Off, On] Latch [Off, On] Key Sync. [Off, On] Keyboard [Off, On]

Sets the various parameters of the combination arpeggiator (

☞“PROG: Ed–Arp.”). These parameters can also be set in

COMBI 6.1: Ed-Arp.

■ 1.1–4(5)c: UTILITY ☞“Write Combination,” “Solo Selected Timbre,” “Select by

Category” (1.1–1d)

COMBI 2.1: Ed–Prog/Mixer

2.1–1: Prog (Timbre Program)

Selects the bank and program for each timbre 1–8. These parameters can also be set from the 1.1: Play, Prog page.

2.1–1a

2.1–1b

2.1–1a: Program Select, Program Name

Program Select

Selects the program that will be used by each timbre. (☞1.1– 2c)

Program Name

This displays part of the program name selected for each timbre. (

☞1.1–2c)

COMBI

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■ 2.1–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d),

“Select by Category”: Select Program by Category (Timbre) (1.1–2e)

2.1–2: Mix (Mixer)

Speciﬁes the pan and volume for each timbre 1–8. These parameters can also be set from the 1.1: Play, Mixer page.

2.1–2a

2.1–2b

2.1–2a: Pan, Volume

Pan

Sets the pan of each timbre 1–8. (☞1.1–3a)

Volume

Sets the volume of each timbre 1–8. (☞1.1–3a)

■ 2.1–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

COMBI 2.2: Ed–Ctrl

Here you can set the Combination mode functions of the Bmode functions of REALTIME CONTROLS knobs [1]–[4], and “SW1,” “SW2.”

2.2–1: Ctrls (Controls)

2.2–1a

COMBI 3.1: Ed–Param1

3.1–1: MIDI

Here you can make MIDI settings for each timbre.

3.1–1a

3.1–1b

2.2–1c2.2–1b

2.2–1a: Knob B Assign

These settings assign functions (mainly various control changes) to the “B” mode of the REALTIME CONTROLS knobs [1]–[4] ( List”). The functions you specify here will be controlled when you operate the REALTIME CONTROLS knobs [1]–[4] in “B” mode.

Since the REALTIME CONTROLS knob [1]–[4] function of the B-mode assignments made for the program assigned to each timbre are not valid for the combination, they must be newly set by these parameters.

☞p.214 “Realtime Control Knobs B Assign

2.2–1b: SW1/2 Assign

These settings assign the function of the “SW1” and “SW2” (

☞p.213 “SW1, SW2 Assign List”).

Since the function assignments of the “SW1” and “SW2” made for the program assigned to each timbre are not valid for the combination, they must be newly set by these parameters.

3.1–1a: Status, MIDI Channel, Bank(EX2) MSB/LSB

Status [INT, Off, EXT, EX2]

Speciﬁes the status of MIDI and the internal tone generator for each track. INT: The TRITON-Rack will produce sound in response to MIDI messages from a connected MIDI device. MIDI data will not be transmitted. If the arpeggiator has been speciﬁed for a timbre that is set to INT, only the internal tone genera- tor will sound, and MIDI messages will not be transmitted to an external device. Off: The program will not sound, nor will MIDI messages be transmitted. EXT: The TRITON-Rack will not produce sound, but will transmit MIDI messages to an external device. If the arpeggiator has been speciﬁed for a timbre that is set to EXT, MIDI messages will be transmitted, but the internal tone generator will not sound. If you operate the controllers of the TRITON-Rack, the internal tone generator will not be controlled, but MIDI messages will be transmitted to control an external MIDI device. EX2: “Bank (EX2) MSB” and “Bank (EX2) LSB” (3.1–1a) will be enabled. Instead of the bank numbers for I-A–E-H that can be selected on the TRITON-Rack, the bank numbers you specify here will be transmitted via MIDI. In other respects this is the same as EXT.

INT

The TRITON-Rack’s Controllers

MIDI IN

Arpeggiator

Tone

generator

SW1 (SW1 Assign) [Off, ..., AfterT Lock :N/A] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off, ..., AfterT Lock :N/A] SW2 Mode [Toggle, Momentary]

(☞PROG 2.2–1b)

■ 2.2–1c: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

COMBI 2.3: Ed–MOSS

This page is displayed if the separately sold EXB-MOSS option is installed.

☞EXB-MOSS owner’s manual & p.251 “EXB-MOSS

( option”)

EXT, EX2

The TRITON-Rack’s Controllers

MIDI IN

MIDI OUT

Arpeggiator

MIDI Channel [01...16, Gch]

Set the MIDI transmit/receive channel for each timbre 1–8. Gch: The timbre will use the channel that has been selected as the global MIDI channel “MIDI Channel” (GLOBAL 2.1– 1a).

When “Status” is INT, MIDI messages will be received on the channel you specify here. If this is set to EXT or EX2, playing the TRITON-Rack will transmit MIDI messages on the MIDI channel speciﬁed here. (Messages will also be transmitted simultaneously on the global MIDI channel.)

Bank(EX2) MSB [000:000...127:127] Bank(EX2) LSB [000:000...127:127]

Speciﬁes the bank number that will be transmitted when “Status” is set to EX2. If “Status” is not set to EX2, this set-

ting has no effect.

■ 3.1–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

3.1–2: OSC

These settings specify how each timbre will be sounded.

■ 3.1–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

3.1–3: Pitch

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

3.1–3a

COMBI

3.1–3b

3.1–2a

3.1–2b

3.1–2a: Force OSC Mode, OSC Select, Portamento

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

Speciﬁes the “Mode (V oice Assign Mode)” (PROG 2.1–1b) of the program selected for each timbre 1–8.

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

settings of the program. Mono: The timbre will play monophonically, regardless of the settings of the program. LGT (Legato): The timbre will play monophonically, with single triggering (legato). With settings of Mono or LGT, the note priority will be according to the “Priority” (PROG 2.1–1b) setting of the program.

OSC Select [Both, OSC1, OSC2]

Specify the “Mode (Oscillator Mode)” (PROG 2.1–1a) of the program selected for each timbre 1–8. If the “Mode (Oscillator Mode)” is Double, you can specify that either or both oscillators sound.

Both: OSC1 and 2 will sound as speciﬁed by the settings of the program.

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

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

Indicates portamento settings for each timbre 1–8. PRG: Portamento will be applied as speciﬁed by the pro-

gram settings. Off: Portamento will be off, even if the original program settings speciﬁed for it to be on.

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

If the “Status” (3.1–1a) is set to INT, CC#05 (portamento time) and CC#65 (portamento switch) messages will be received to control and change this setting. (If the setting is PRG, CC#05 portamento time will not be received.) These messages will be received on the MIDI channel speciﬁed for each timbre by “MIDI Channel” (3.1–1a).

3.1–3a: Transpose, Detune, Bend Range

Transpose [–24…+24]

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

Detune (BPM Adj) [–1200...+1200]

Adjusts the pitch of each timbre in one-cent units. 0: Normal pitch.

Y ou can also use the Utility “Detune BPM Adj.” (3.1–3b) page menu command to automatically make a detune setting from a calculation in BPM units.

“Transpose” and “Detune” can be controlled via MIDI RPN messages. Depending on the “Mode (Oscillator Mode)” (PROG 2.1–1a) settings of the programs used by timbres 1–8, they can be controlled as follows. When “Mode (Oscillator Mode)” is Single or Double MIDI RPN Coarse Tune can be received to control and change the setting of “Transpose,” and RPN Fine Tune can be received to control and change the setting of “Detune.” When “Mode (Oscillator Mode)” is Drums MIDI RPN Coarse Tune and Fine Tune can be received to control and change the setting of “Detune.” The controllable range is ±1 octave for coarse tune and ﬁne tune together.

Bend Range [PRG, –24...+24]

Speciﬁes the range of pitch change that will occur when pitch bend changes are received, in semitone units.

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

the program.

The MIDI RPN Pitch Bend Change message can be received to control this and change the setting. (However it will not be received if this parameter is set to PRG.) This message is received on the MIDI channel for each timbre set by “MIDI Channel” (3.1–1a).

1.1

2.12.22.33.13.23.33.44.14.24.34.46.17.17.27.3

■ 3.1–3b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Detune BPM Adj. (Detune BPM Adjust)

If the program of a timbre uses a phrase or rhythm loop multisample or sample that was created in Sampling mode to a speciﬁc BPM (or was loaded in Disk mode), you can use this Utility to modify its BPM value. “Detune BPM Adj.” changes the BPM of a phrase or rhythm by modifying its pitch. This is valid for a track when timbre “Detune” is selected. When this Utility is executed, the selected “Detune” value will be set automatically. (

5.1–1b, 5.1–2)

1 Select “Detune BPM Adj.” to access the dialog box.

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

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

3 To execute the Detune BPM Adjust command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

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

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

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

This command is valid when “Detune” (3.1–3a) is selected.

☞PROG 2.1–2c, 2.1–3, GLOBAL

COMBI 3.2: Ed–Param2

3.2–1: Other

Speciﬁes the delay from note-on until sound is produced for each timbre. Also speciﬁes the scale.

3.2–1a

3.2–1b

3.2–1c

3.2–1a: Delay [ms], Use Prog’s Scale

Delay [ms] [0000…5000, KeyOff]

Speciﬁes a delay time from note-on until the sound begins for each timbre.

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

Use Prog’s Scale [Off, On]

Each timbre can use the scale that is speciﬁed by “Scale” (PROG 2.1–1c).

On (Checked): The scale speciﬁed by the program will be used. Off (Unchecked): The scale speciﬁed by “Type (Combi’s Scale)” (3.2–1b) will be used.

3.2–1b: Combi’s Scale, Key, Random

Speciﬁes the scale that the combination will use.

Type (Combi’s Scale)

[Equal Temperament...User Octave15]

Selects the type of scale .

☞“Type (Scale Type)” (PROG 2.1–1c)

Key [C…B]

Selects the tonic key of the selected scale.

☞“Key” (PROG 2.1–1c)

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on.

☞“Random” (PROG 2.1–1c)

■ 3.2–1c: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

COMBI 3.3: Ed–Key Zone

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

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

3.3–1: Key (Key Zone)

3.3–1a

3.3–1b

3.3–1c

3.3–1a: Key Zone Map (1)

This displays the range of note data that will sound the currently selected track. The range of notes sounded is shown as a line, and the slope portion is shaded.

3.3–2: Slope (Key Slope)

3.3–2a

3.3–2b

3.3–2a: Top Slope, Bottom Slope

Top Slope [00...72]

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

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

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

Bottom Slope [00...72]

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

0: The volume will be at the original level from the bottom key. 12: The volume will increase gradually as you play upward, and will reach the original volume one octave above the bottom key. 60: The volume will increase gradually as you play upward, and will reach the original volume ﬁve octaves above the bottom key.

COMBI

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3.3–1b: Top Key, Bottom Key

Top Key [C–1...G9]

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

Bottom Key [C–1...G9]

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

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

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

How volume will change according to keyboard location

Volume

Key

■ 3.3–1c: UTILITY

Bottom Slope

Bottom Key Top Key

Top Slope

■ 3.3–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

3.3–3: Review

3.3–3a

3.3–3b

3.3–3a: Key Zone Map (All)

T1...T8

This displays the range of note data that will sound timbres 1–8. The range of notes sounded is shown as a line, and the slope portion is shaded.

■ 3.3–3b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

COMBI 3.4: Ed–Vel Zone

(Velocity Zone)

3.4–2: Slope (Velocity Slope)

Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and sets the Top/Bottom Slope parameters to specify the range over which the volume will change.

By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play different sounds (Velocity Switch). If you set two or more timbres to velocity zones that overlap, the sounds will be heard together (Layer). If the slope ranges (gray line) overlap, different sounds will be sounded together, and your playing dynamics will determine the proportion of each sound (Velocity Cross-fade).

3.4–1: Vel (Velocity Zone)

3.4–1a

3.4–1b

3.4–1c

3.4–1a: Velocity Zone Map (1)

This displays the range of velocities that will sound the currently selected timbre. The range of velocities sounded is shown as a line, and the slope portion is shaded.

3.4–2a

3.4–2b

3.4–2a: Top Slope, Bottom Slope

Top Slope [0…120]

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

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

Bottom Slope [0…120]

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

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

How volume will change according to keyboard location

Volume

3.4–1b: Top Velocity, Bottom Velocity

Top Velocity [1…127]

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

Bottom Velocity [1…127]

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

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

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

■ 3.4–1c: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

Bottom Slope

Bottom Velocity Top Velocity

■ 3.4–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

Top Slope

Velocity

3.4–3: Review

3.4–3a

3.4–3b

3.4–3a: Velocity Zone Map (All)

T1...T8

Specify the range of velocities for which each timbre will sound. The range of velocities sounded is shown as a line, and the slope portion is shaded.

■ 3.4–3b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

COMBI 4.1: Ed–MIDI Filter1

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

On (Checked): Transmission and reception of MIDI data is enabled. When “Status” (3.1–1a) is INT, operations of the built-in controllers or incoming MIDI data will apply the effect of the checked item to the program of the corresponding timbre. (The effect dynamic modulation function is not affected by this setting.) When “Status” is EXT or EX2, operations of the built-in controllers will transmit MIDI data on the channel of that timbre. MIDI transmission and reception settings for the entire TRITON are made in “MIDI Filter” (GLOBAL

2.1–1b). The MIDI 3 and MIDI 4 pages contain MIDI ﬁlters for assignable controllers (whose function can be set by the user), and if these are assigned to MIDI control changes, the ﬁlter settings will affect those control changes. If the function of the REALTIME CONTROLS knobs, “SW1,” and “SW2” has been assigned to a MIDI control change, the MIDI ﬁlters for these controllers (MIDI Filter 3,

4) will apply to those control changes. However if these coincide with the control changes of MIDI Filter 1, 2, the MIDI Filter 1, 2 settings will be given priority. Furthermore, if the same control change has been assigned to two or more controllers, the setting will be valid for that control change if any single item is checked in either MIDI Filter 3 or 4.

Off (Unchecked): Transmission and reception of MIDI data is disabled.

4.1–2: MIDI 1–2 (MIDI Filter 1–2)

4.1–2a

4.1–2b

4.1–2a: Damper CC#64, Portamento SW CC#65

Damper CC#64 [Off, On]

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

Portamento SW CC#65 [Off, On]

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

■ 4.1–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

COMBI 4.2: Ed–MIDI Filter2

4.2–1: MIDI 2–1 (MIDI Filter 2–1)

COMBI

1.1

2.12.22.33.13.23.33.44.14.24.34.46.17.17.27.3

4.1–1: MIDI 1–1 (MIDI Filter 1–1)

4.1–1a

4.1–1b

4.1–1a: Program Change, After Touch

Program Change [Off, On]

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

After Touch [Off, On]

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

■ 4.1–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

4.2–1a

4.2–1b

4.2–1a: JS+Y CC#01, JS–Y CC#02

JS+Y CC#01 [Off, On]

Speciﬁes whether MIDI control change message #1 (selected as assignment B for REALTIME CONTROLS [1]–[4] knobs, or the +Y axis of the joystick on a TRITON etc.) will be transmitted and received.

JS–Y CC#02 [Off, On]

Speciﬁes whether MIDI control change message #2 (selected as assignment B for REALTIME CONTROLS [1]–[4] knobs, or the –Y axis of the joystick on a TRITON etc.) will be transmitted and received.

■ 4.2–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

4.2–2: MIDI 2–2 (MIDI Filter 2–2)

4.2–2a

Knob2 [Off, On]

Speciﬁes whether MIDI control change message #71 (internal low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) for the A mode of knob [2] and the MIDI control change message assigned to the B mode of knob [2] will be transmitted and received.

4.2–2b

4.2–2a: JS X/Bend as AMS, Ribbon CC#16

JS X/Bend as AMS [Off, On]

Speciﬁes whether MIDI pitch bend messages (the X axis of the joystick on a TRITON etc.) will be received as the AMS (

☞p.205 “Alternate Modulation Source”) for which JS X is

selected. (This is not a ﬁlter for MIDI pitch bend message reception.)

Ribbon CC#16 [Off, On]

Speciﬁes whether MIDI control change message #16 (selected as assignment B for REALTIME CONTROLS [1]– [4] knobs, or assigned to the ribbon controller of a TRITON etc.) will be received.

■ 4.2–2b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

COMBI 4.3: Ed–MIDI Filter3

Speciﬁes whether the A and B mode effects of REALTIME CONTROLS knobs [1], [2], [3], and [4] will be transmitted and received. The A mode of each knob is ﬁxed as a MIDI control message. For B mode, you can assign a message in

2.2: Ed-Ctrl.

4.3–2a: Realtime Control Knob 3, 4

Knob3 [Off, On]

Speciﬁes whether MIDI control change message #79 (internal ﬁlter EG intensity) for the A mode of knob [3] and the MIDI control change message assigned to the B mode of knob [3] will be transmitted and received.

Knob4 [Off, On]

Speciﬁes whether MIDI control change message #72 (internal ﬁlter and amp EG release time) for the A mode of knob [4] and the MIDI control change message assigned to the B mode of knob [4] will be transmitted and received.

■ 4.3–1(2)b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

COMBI 4.4: Ed–MIDI Filter4

Speciﬁes whether the effects of “SW1” and “SW2” will be transmitted and received. “SW1” and “SW2” correspond to the messages speciﬁed in 2.2: Ed-Ctrl. You can also specify whether other control change messages will be transmitted and received.

4.4–1: MIDI 4–1 (MIDI Filter 4–1)

4.3–1: MIDI 3–1 (MIDI Filter 3–1)

4.3–2: MIDI 3–2 (MIDI Filter 3–2)

4.3–1a

4.3–1a: Realtime Control Knob 1, 2

Knob1 [Off, On]

Speciﬁes whether MIDI control change message #74 (internal low pass ﬁlter cutoff frequency) for the A mode of knob [1] and the MIDI control change message assigned to the B mode of knob [1] will be transmitted and received.

4.3–1b

4.4–1a

4.4–1b

4.4–1a: SW1, SW2

SW1, SW2 [Off, On]

Speciﬁes whether or not the effect of the “SW1” and “SW2” will be transmitted and received. This ﬁlter setting is valid for settings of SW1 Mod.(CC#80), SW2 Mod.(CC#81), or Porta.SW(CC#65).

■ 4.4–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

4.4–2: MIDI 4–2 (MIDI Filter 4–2)

4.4–2a

4.4–2b

4.4–2a: Other Control Change

Other Ctrl Change [Off, On]

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

COMBI 6.1: Ed–Arp. (Arpeggiator)

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

6.1–1: Setup

6.1–1a

6.1–1b

COMBI

1.1

■ 4.4–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

6.1–1c

6.1–1a: Arpeggiator Run,

Arpeggiator Run A, B (Run A, B)

When the [ARP ON/OFF] key is on, the arpeggiator(s) checked here will run if they are assigned to a timbre by “Assign” (6.1–1b). (

☞1.1–4(5)a)

 (Tempo) [040...240, EXT]

Set the tempo of the arpeggiator. This can also be adjusted by the [TEMPO] knob. (

☞1.1–1a)

6.1–1b: Assign

Assign [Off, A, B]

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

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

page to select the arpeggio pattern and set parameters. B: Arpeggiator B will operate. Make settings in the Arp. B page to select the arpeggio pattern and set parameters.

If the “Status” (3.1–1a) of the timbre is INT, each timbre 1–8 to which arpeggiator A or B is assigned will be sounded by the note data generated by the arpeggiator, regardless of the “MIDI Channel” (3.1–1a) setting of the timbre. If a timbre is set to EXT or EX2, MIDI note data will be transmitted on the “MIDI Channel” of each timbre.

In this case, the arpeggiator can be triggered (operated) by any MIDI channel speciﬁed for the “MIDI Channel” parameter of any timbre 1–8 assigned to arpeggiator A or B.

You can control the arpeggiator from an external sequencer, or use an external sequencer to r ecor d arpeggio note data. (

☞p.228)

2.12.22.33.13.23.33.44.14.24.34.46.17.17.27.3

Example 1)

1 Set the “MIDI Channel” (3.1–1a) of timbres 1 and 2 to

Gch, and set “Status” (3.1–1a) to INT.

2 Assign arpeggiator A to timbre 1 and arpeggiator B to

timbre 2, and check “Arpeggiator Run” (1.1–4a/5a, 6.1– 1a).

3 Set the MIDI channel of the external MIDI device trans-

mitting the note data to match the Global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

4 When the [ARP ON/OFF] key is off, playing the key-

board of the connected MIDI device will sound timbres 1 and 2 simultaneously (Layer). When the [ARP ON/OFF] key is on, playing the keyboard of the connected MIDI device will cause arpeggiators A and B to independently control and play timbres 1 and 2 respectively.

Arpeggiator

Trigger = Gch

Arpeggiator

Pattern - A

Pattern - B

Assign

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=INT

Pattern - A

Pattern - B

Example 2)

1 The “MIDI Channel” (3.1–1a) of timbres 1, 2, 3, 4, and 5

are set respectively to Gch, Gch, 02, Gch, and 03. Their “Status” (3.1–1a) is set respectively to INT, Off, INT, Off, and INT.

2 Assign arpeggiator A to timbres 2 and 3, assign arpeggia-

tor B to timbres 4 and 5, and check “Arpeggiator Run” (1.1–4a/5a, 6.1–1a).

3 Set the MIDI channel of the external MIDI device trans-

mitting the note data to match the Global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

4 When the [ARP ON/OFF] key is off, playing the key-

board of a connected MIDI device will sound only timbre

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

Arpeggiator Assign

Off

Trigger = Gch, Ch2

Trigger = Gch, Ch3

Arpeggiator

Pattern - A

Pattern - B

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=Off

Timbre 3 MIDI Ch=2ch Status=INT

Timbre 4 MIDI Ch=Gch Status=Off

Timbre 5 MIDI Ch=3ch Status=INT

Sounded by normal keyboard playing

Does not sound

Pattern - A

Does not sound

Pattern - B

■ 6.1–1c: UTILITY

Copy Arpeggiator

This command copies arpeggiator settings.

1 Select “Copy Arpeggiator” to access the dialog box.

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

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

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

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

4 To execute the Copy Arpeggiator command, press the

[F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

6.1–2: Arp. A (Arpeggiator A)

6.1–3: Arp. B (Arpeggiator B)

The Arp. A pages you make settings for arpeggiator A. The Arp. B pages you make settings for arpeggiator B.

Y ou can also use Utility “Copy Arpeggiator” (6.1–1c) to copy settings from another mode such as Program mode.

6.1–2a

6.1–2b

6.1–2(3)a: Arpeggiator-A(B) Setup

Pattern* [P000...P004, U000(I-A/B)...U327(E-H)] Octave* [1, 2, 3, 4] Reso (Resolution)* [   ,  ,   ,  ,   ,  ] Gate [000...100%, Step] Velocity [001...127, Key, Step] Swing [–100...+100%] Sort* [Off, On] Latch* [Off, On] Key Sync.* [Off, On] Keyboard* [Off, On]

These parameters are the arpeggiator A settings for the combination. (

☞PROG 6.1: Ed–Arp.)

* These parameters can also be set in “1.1–4: Arp. A, 1.1–5: Arp. B”

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

■ 6.1–2(3)b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d),

“Copy Arpeggiator” (6.1–1c)

6.1–4: Zone (Scan Zone)

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

6.1–4a

COMBI 7.1: Ed–BUS

Here you can specify the output bus for the program oscillator of each timbre 1–8. You can also specify the send level to the master effects.

☞For details on insertion effects, refer to p.141 “8. Effect

Guide.”

6.1–4b

6.1–4a: Scan Zone A/B

Zone Map

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

Key zone of arpeggiator B

Key zone of arpeggiator A

C–1–G9

Velocity zone of arpeggiator A

Velocity zone of arpeggiator B

A: Key

Btm (A-Bottom Key) [C–1...G9] Top (A-Top Key) [C–1...G9]

Speciﬁes the range of notes (keys) that will operate arpeggiator A. “Top” speciﬁes the upper limit, and “Btm” speci- ﬁes the lower limit.

A: Vel (Velocity)

Btm (A-Bottom Velocity) [001...127] Top (A-Top Velocity) [001...127]

Speciﬁes the range of velocities that will operate arpeggiator A. “Top” speciﬁes the upper limit, and “Btm” speciﬁes the lower limit.

B: Key

Btm (B-Bottom Key) [C–1...G9] Top (B-Top Key) [C–1...G9]

B: Vel (Velocity)

Btm (B-Bottom Velocity) [001...127] Top (B-Top Velocity) [001...127]

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

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

■ 6.1–4b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d),

“Copy Arpeggiator” (6.1–1c)

☞“A: Key,” “A: Vel”).

7.1–1: BUS

COMBI

7.1–1a

1.1

7.1–1b

2.12.22.33.13.23.33.44.14.24.34.46.17.17.27.3

7.1–1a: BUS Select, Send1(MFX1), Send2(MFX2)

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

Speciﬁes the output bus for the program oscillator of each timbre 1–8. The current setting status can be viewed in the Route page.

DKit: This can be selected only if the program for which settings are being made is a drum program “Mode (Oscillator Mode) Drums” (PROG 2.1–1a). With a setting of DKit, the “BUS Select” (GLOBAL 5.1–3a) setting made for each key of the drum kit will be used. For example, if the “BUS Select” settings of the drum kit have assigned Snare sounds to IFX1 and Kick sounds to IFX2, setting this parameter to DKit will send the Snare sounds to IFX1 and Kick sounds to IFX2. If you wish to modify these routings, use Utility “DKit IFX Patch” (7.1–1b).

If this is set to 1/2 or 3/4, the programs of timbres 1–8 will be sent in stereo from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4. If the pan of the program oscillator is controlled by MIDI control change #10 (pan) or AMS (Alternate Modulation Source), the sound will be output with the pan setting that is in effect at the moment of note-on. Unlike the case when this parameter is set to L/R to output the sound from (MAIN) L/MONO and R, the pan of a sounding note will not change in realtime.

If you wish to move the pan of a sounding note in realtime and output it from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4, you must set “BUS Select” to IFX1 (or

IFX2–IFX5), select 000: No Effect for “IFX1” (or IFX2– IFX5) (7.2–1a), and for the sound that has passed

through the IFX, set “BUS Select” (7.2–1a) to either 1/2 or 3/4.

S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

For each timbre 1–8, these parameters set the send level to master effects 1 and 2. These settings are valid when “BUS Select” is set to L/R or Off. When IFX 1, 2, 3, 4 or 5 are selected, the send levels to master effects 1 and 2 are set by the “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” parameters of the 7.2: Ed–InsertFX, Setup page, after the sound has passed through IFX1–5. If “BUS Select” is set to 1, 2, 3, 4, 1/2, or 3/4, these settings are ignored.

Control change #93 can be used to control the Send 1 level, and #91 to control the Send 2, and modify their respective settings. These messages will be received on the MIDI channel speciﬁed for each timbre in the 3.1: Ed–Param1, MIDI page.

The actual send levels are determined by multiplying this value with the send level “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” (PROG 7.2–1a) for each oscillator of the program selected for the timbre.

7.1–2: Route (Routing)

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

7.1–2a

■ 7.1–1b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Copy Insert Effect

(☞PROG 7.1–1c) However, the MIDI control channel speciﬁed for “Control Channel” of the 7.2: Ed–InsertFX, Setup page will not be copied.

Swap Insert Effect

(☞PROG 7.1–1c) However, the MIDI control channel speciﬁed for “Control Channel” of the 7.2: Ed–InsertFX, Setup page will not be copied.

DKit IFX Patch (DrumKit IFX Patch)

This command applies a patch to the “BUS Select” settings of each key of the drum kit, allowing you to temporarily change the connections to the insert effects. This command is available only if a drum program has been selected for the timbre and the “BUS Select” (7.1–1a) parameter is set to Dkit. Furthermore, this command can be executed only if the “BUS Select” (GLOBAL 5.1–3a) for the individual keys of that drum kit are set to IFX1–5.

1 Select “DKit IFX Patch” to access the dialog box.

7.1–2b

7.1–2a: Routing Map, BUS Select

Routing Map

This shows the status of the insert effects. For each insert effect, this indicates the routing, the name of the selected effect, the on/off status, and chain status. The effect type, on/off status and chain status can be modiﬁed in the 7.2: Ed–InsertFX, Setup page.

T01...8: BUS Sel

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

You can specify the bus to which the program oscillator of each timbre 1–8 will be sent, while viewing a map of the settings. Use the [ ], [ ] keys to select the timbre, and use the [INC], [DEC] key or [VALUE] dial to set “BUS Select” (7.1– 1a).

These settings can also be made in “BUS Select” (7.1–1a).

■ 7.1–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d),

“Copy Insert Effect,” “Swap Insert Effect,” “DKit IFX Patch” (7.1–1b)

2 In the right side of “DrumKit IFX 1–5→”, select the insert

effect to which you want to patch.

3 To execute the Drum Kit Insert Effect Patch command,

press the [F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key. To restore the condition of the drum kit, execute IFX1→IFX1, IFX2→IFX2, IFX3→IFX3, IFX4→IFX4, and IFX5→IFX5.

COMBI 7.2: InsertFX

7.2–1: Setup

Here you can select the type of each insert effect, turn it on/ off, and make chain settings etc.

7.2–1a

7.2–1c7.2–1b

7.2–1a: Ed-InsertFX Setup

IFX1 On/Off — IFX5 On/Off Insert Effect 1, 5 [000...089: name] Insert Effect 2, 3, 4 [000...102: name] Chain [ (Off), (ON)] Pan(CC#8) [L000...C064...R127] BUS Select [L/R, 1, 2, 3, 4, 1/2, 3/4, Off] S1 (Send1 (MFX1)) [000...127] S2 (Send2 (MFX2)) [000...127]

These parameters are the same as in Program mode. (

☞PROG 7.2–1)

However, dynamic modulation (Dmod) of the insert effects and the “Pan (CC#8), “Send 1 (MFX1),” and “Send 2 (MFX2)” that follow the insert effects will be controlled on the “Control Channel” (7.2-1b) MIDI channel, unlike in Program mode. The control changes used are the same as in Program mode.

■ 7.2–1c: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d),

“Copy Insert Effect,” “Swap Insert Ef fect” (7.1–1b), “Select by Category” (PROG 7.2–1b)

7.2–2: IFX 1

7.2–3: IFX 2

7.2–4: IFX 3

7.2–5: IFX 4

7.2–6: IFX 5

These are the parameters for IFX 1, 2, 3, 4, and 5 that were selected in the Setup page (

■ 7.2–2(...6)a: UTILITY ☞“Write Combination” (1.1–1d)

☞p.151).

7.2–1a

7.2–7: Route (Routing)

7.2–7a

COMBI

1.1

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7.2–1b: Control Channel

Control Channel [Ch01...16, G ch, All Rt.]

Speciﬁes the MIDI channel on which dynamic modulation (Dmod) of the insert effects and the “Pan (CC#8), “Send 1 (MFX1),” and “Send 2 (MFX2)” that follow the insert effects will be controlled.

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

G ch: The global MIDI channel “MIDI Channel” (GLOBAL

2.1–1a) will be used to control the effect. Normally you will set this to G ch. All Rt. (All Routed): The channel of any timbre routed through this effect can be used to control the effect. (Channels of each routed timbre will be indicated by “*”.)

If the “BUS Select” (7.1–1a) of a timbre for which a drum program is selected is set to DKit, the MIDI channel of that timbre will be valid if any IFX1–5 is set to All Routed, regardless of the “BUS Select” (GLOBAL 5.1– 3a) settings or the settings of the Utility “DrumKit IFX Patch” (7.1–1b).

7.2–2b

7.2–7a: Routing Map

This shows the status of the insert effects. This shows the same content as the 7.1: BUS, Routing page. (

■ 7.2–7b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1d),

“Copy Insert Effect,” “Swap Insert Effect,” “DKit IFX Patch” (7.1–1b)

☞7.1–2a)

COMBI 7.3: Ed–MasterFX

☞For details on master effects, refer to p.146.

7.3–1: Setup

Here you can select the type of each master effect, turn it on/off, and make chain and master EQ settings. With the exception of “MFX1 Control Ch,” “MFX2 Control Ch,” and “MEQ Control Ch,” this is the same as in Program mode. (

☞PROG 7.3: Ed-MasterFX)

G ch: The global MIDI channel “MIDI Channel” (GLOBAL

2.1–1a) will be used for control. Normally you will set this parameter to G ch.

■ 7.3–1e: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1d),

“Select by Category” (PROG 7.3–1d)

7.3–1a

7.3–1b

7.3–1e7.3–1c7.3–1d

7.3–1a: MasterFX Setup

MFX1 On/Off, MFX2 On/Off [Off, ON] Master Effect 1, 2 [000...089: name] Rtn 1, 2 (Return 1, 2) [000...127]

These are the same as in Program mode. Refer to “PROG

7.3-1: Setup.” However, the master effects will be controlled

on the “MFX 1, 2 Control Ch” MIDI channel, unlike in Program mode. The control changes used are the same as in Program mode.

MFX 1, 2 Control Ch [Ch001...16, G ch]

Selects the MIDI channel that will control dynamic modulation (Dmod) for the master effects.

G ch: The global MIDI channel “MIDI Channel” (GLOBAL

2.1-1a) will be used for control. Normally you will set this

parameter to G ch.

7.3–1b: MasterFX Chain

MFX Chain Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1]

Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) [000...127]

These are the same as in Program mode. (☞“PROG 7.3–1: Setup”)

Copy Master Effect

(☞PROG 7.3–1d) Note, the MIDI control channel that is speciﬁed by “MFX1, 2 Control Ch” (7.3–1a) will not be copied.

Swap Master Effect

(☞PROG 7.3–1d) Note, the MIDI control channel that is speciﬁed by “MFX1, 2 Control Ch” (7.3–1a) will not be swapped.

7.3–2: MFX1 (Master Effect1)

7.3–3: MFX2 (Master Effect2)

Here you can set the parameters for the “Master Effect1” and “Master Effect2” effects that were selected in the Setup page (

☞p.151).

7.3–2a

■ 7.3–2(3)a: UTILITY ☞“Write Combination” (1.1–1d)

7.3–4: MEQ (Master EQ)

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

☞p.203).

7.3–1c: Master EQ Gain [dB]

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

These are the same as in Program mode. (☞“PROG 7.3–1: Setup”)

7.3–1d: MEQ Ctrl

MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch]

Selects the MIDI channel that will control dynamic modulation (Dmod) for the master EQ.

7.3–4a

■ 7.3–4a: UTILITY ☞“Write Combination” (1.1–1d)

3. Multi mode

In Multi mode, the TRITON-Rack functions as a multi-timbral MIDI tone generator that can receive and play multiple channel of MIDI messages from an external MIDI sequencer .

A “Multi” has sixteen tracks for playing back musical data. Y ou can assign a separate program and MIDI channel etc. to each track, so that multiple programs can sound simultaneously.

In Multi mode you can also play patterns and use RPPR (Realtime Pattern Play/Recording) or the arpeggiator, so that these functions can be played in synchronization with an external MIDI sequencer. As patterns, the TRITON-Rack provides 150 preset patterns that are ideal for drum tracks, and 100 user patterns that you can record and edit or even use for recording with the arpeggiator.

When you execute the Sampling mode command “Time Slice” (SMPL 3.1–2e), a pattern will be created for the divided samples and this pattern will be assigned to RPPR automatically. By time-slicing two or more rhythm loop samples of differing tempo and assigning them to RPPR, you can match the tempo of the rhythm loop samples without changing their pitch. Then you can use the keyboard of a connected MIDI instrument to turn these rhythm loop samples on/off, and use the REALTIME CONTROLS [TEMPO] knob in C-mode to adjust the tempo in realtime.

When you turn off the power, the settings and user pattern data will be erased. If there is data that you wish to keep, you must save it on a ﬂoppy disk, external SCSI device, or data ﬁler before turning off the power. Then after you turn the power on again, you will need to load the data that you saved. (

☞p.133, 113, BG p.40)

MULTI PAGE MENU

For details on how to select pages in Multi mode, refer to p.1.

Play 1.1: Play Select multis. Select a program for each

Ctrl 2.2: Controller Controller settings. ( MOSS 2.3: MOSS Displayed if the separately sold EXB-MOSS

Prm1 3.1: Param1 MIDI, voice mode, and pitch settings for each

Prm2 3.2: Param2 Delay and scale settings for each track.

KeyZ 3.3: Key Zone Key zone settings for each track. ( VelZ 3.4: Vel Zone Velocity zone settings for each track. ( MIDI1 4.1: MIDI

Filter1

MIDI2 4.2: MIDI

Filter2

MIDI3 4.3: MIDI

Filter3

MIDI4 4.4: MIDI

Filter4

RPPR 5.1: RPPR Pattern recording and editing. RPPR settings.

Arp 6.1: Arp. Arpeggiator settings. ( BUS 7.1: BUS Set BUS and master effect send level for

IFX 7.2: InsertFX Insert effect routing, selection, and settings.

MFX 7.3: MasterFX Master effect selection and settings. Master

track, and make pan and level settings.

☞p.50)

(

☞p.53)

option is installed. Make EXB-MOSS parameter settings. (

track. (

☞p.56)

(

MIDI message transmission/reception ﬁlter settings for each track: Prog Change, After Touch etc. (

Filter settings: JS, Ribbon Ctrl etc. (

Filter settings: Realtime Control Knob

☞p.60)

( Filter settings: SW, Other Ctrl Change

☞p.60)

(

☞p.61)

(

each track.(

(

☞p.70)

EQ settings. (

☞p.54)

☞p.56)

☞p.57)

☞p.58)

☞p.59)

☞p.67)

☞p.69)

☞p.71)

MULTI

1.1

2.22.33.13.23.33.44.14.24.34.45.16.17.17.27.3

MULTI 1.1: Play

Here you can select multis, and make basic settings such as selecting the program used by each track.

This is controlled on the MIDI channel of the track selected by “Control Track.” If you wish to use the RPPR function, set the MIDI channel of the external MIDI device to the same MIDI channel as the channel of the “Control Track,” and play the patterns by sending the note numbers that correspond to the pattern assigned to each key.

1.1–1: Multi

Selects a multi, and the track that will be controlled by the REALTIME CONTROLS. Here you can also turn RPPR on/ off.

1.1–1a

1.1–1b

1.1–1a: Multi Select, Control Track, , RPPR

Multi Select [000…199: name]

Selects the multi that you wish to use. To create a new multi, use numeric keys [0]–[9] to specify a new multi number, and pr ess the [ENTER] key. A dialog box will appear. Press the [F8] (“OK”) key to create a new multi.

If “MIDI Clock” (GLOBAL 2.1–1a) is set to Internal, a song select message will be transmitted when you change multis. If it is set to External, the multi will change when you transmit a song select message from the speciﬁed source. When the multi number changes, tracks whose “Status” (3.1–1a/2a) is EXT, EX2 or BTH will transmit bank select, program change, volume, pan, portamento, send 1 and 2, post IFX pan, and post IFX send 1 and 2 messages on the MIDI channel of that track.

Control Track [T01…T16: name]

Selects the track that will be controlled by the B mode functions of the TRITON-Rack’s REALTIME CONTROLS knobs [1]–[4], “SW1,” “SW2,” and RPPR. In the 5.1 RPPR page, “Control Track” is used as the track that will record/play pattern data. This parameter can also be set from the 5.1 RPPR, Pattern, RPPR Setup pages.

T rack names can be speciﬁed in Utility “Rename Track” (1.1–1c).

When you operate the controllers of the TRITON-Rack, the corresponding controller message will be transmitted on the MIDI channel speciﬁed for that track (if “Sta- tus” 3.1–1a/2a is EXT, EX2 or BTH).

RPPR On/Off [Off, On]

This turns the RPPR (Realtime Pattern Play/Recording) function on/off. RPPR is a function that lets you assign user patterns or preset patterns to each key of a multi, so that the patterns can be played simply by pressing a key on a connected MIDI instrument. The patterns played can be recorded on an external sequencer etc. On (Checked):The RPPR function will be on. If a pattern is assigned to each key in the 5.1: RPPR, RPPR Setup page, pressing that key will play the assigned pattern.

1.1–1c

 (Tempo) [040…240, EXT]

Speciﬁes the tempo of the RPPR (patterns) and arpeggiator.

040...240: This will be displayed if “MIDI Clock” (GLOBAL

2.1–1a) is Internal. The tempo you specify here will be used. EXT: This will be displayed if “MIDI Clock” is External. The tempo of the TRITON-Rack will synchronize to the MIDI clock messages received from an external sequencer etc.

This parameter can also be set from the 5.1: RPPR, RPPR Setup page.

Multi Information

This displays the functions assigned to “SW1,” “SW2,” and REALTIME CONTROLS B mode [ASSIGNABLE 1–4] knobs for the selected multi.

■ 1.1–1b: SW1, SW2

This turns the functions of SW1 and SW2 on ( ) or off ( ). (

■ 1.1–1c: UTILITY

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

☞2.2: Controller)

Memory Status

Selects “Memory Status,” access the dialog box and view the remaining amount of memory for patterns etc.

Rename Multi

Selects “Rename Multi,” access the dialog box and rename the selected multi. Up to sixteen characters can be input.

☞BG p.38)

(

Delete Multi

This command deletes the currently selected multi.

1 Select “Delete Multi” to access the dialog box. 2 If you wish to execute the Delete Multi command, press

the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. When you execute this command, setting data, and patterns etc. of the currently selected multi will be erased, and the memory area allocated to that multi will be freed.

Copy From Multi

This command copies all setting data and pattern data from the speciﬁed multi to the currently selected multi.

1 Select “Copy From Multi” to access the dialog box.

2 In “From,” specify the copy source multi number.

3 Select the data that you wish to copy.

All: will copy all pattern data and musical data.

“Without Patterns”: Multi settings other than pattern data and RPPR settings will be copied.

4 To execute the Copy Multi operation, press the [F8]

(“OK”) key. To cancel without executing press the [F7] (“Cancel”) key. If you execute “All,” all settings and pattern data of the currently selected multi will be deleted and replaced by the copy source data. If you execute “Without Patterns,” all setting data other than the pattern data and RPPR settings of the currently selected multi will be deleted and replaced by the copy source data.

Copy From Combi (Copy from Combination)

This command copies the parameters of the speciﬁed combination to the currently selected multi.

1 Select “Copy From Combi” to access the dialog box.

Rename Track

Selects “Rename Track,” access the dialog box and rename the selected multi. Up to sixteen characters can be input. (

☞BG p.38)

GM Initialize

This command resets each track to settings appropriate for GM. (

☞See the table at the bottom of the next page.)

When a GM System On message is received from an external device in Multi mode, the TRITON-Rack will be reset to GM settings in the same way as when this command is executed. (However in these cases, the various 7.3: MasterFx parameters will not be reset.)

1.1–2: Prog..8 (Track Program T01...08)

1.1–3: Prog..16 (Track Program T09...16)

Speciﬁes the program used by each track.

MULTI

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

effect, and master EQ settings will also be copied.

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

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. Be aware that when you execute this command, the setting data of the currently selected multi will be erased, and overwritten by the data of the selected combination.

Load Template Multi

This command loads a template multi into the multi mode. The TRITON-Rack contains sixteen preset template multis (P00–15) with program and effect settings appropriate for various styles of music. You can also create sixteen user tem- plate multis (U00–15) with the programs, track parameters, and effects etc. that you use frequently. ( Multi”)

1 Select “Load Template Multi” to access the dialog box.

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

load.

3 To load the template multi, press the [F8] (“OK”) key. To

cancel, press the [F7] (“Cancel”) key. When you execute the command, multi setting data other than pattern data and RPPR will be copied.

☞“Save Template

Save Template Multi (Save as User Template Multi)

This command saves the program selections, track parameters, and effect settings etc. of the multi as a user template multi U00–15.

1 Select “Save Template Multi” to access the dialog box.

1.1–2a

1.1–2b

1.1–2c

1.1–2d

1.1–2(3)a: Track Number & Category

Track Number & Category

This shows the track number and the abbreviated name of the program category.

1.1–2(3)b: Program Select

Program Select

[I-A...F/E-A...H 000...127, G...g 001...128: name]

Selects the program used by each track. If the “Status” (3.1–1a/2a) is EX2, a “–” will be displayed

before the program number.

By holding down the [TIMBRE/TRACK] key and pressing a [F1](1/9)–[F8](8/16) key you can move to the corresponding track “T1”–”T16.” The program bank can also be selected directly by using the [A]–[H] keys and the [BANK] key. You can also use the “Select by Category” utility to select programs by category.

If the “Status” (3.1–1a/2a) is either INT or BTH, programs can be selected by receiving MIDI program change messages. Also, when the multi is changed, tracks whose “Status” is EXT, EX2 or BTH will transmit the bank and program numbers via MIDI. Tracks whose “Status” is EX2 will transmit the bank number that was selected in the “Bank(EX2) LSB,” “Bank(EX2) MSB” (3.1–1a).

1.1

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

which the data will be saved.

3 To save the template multi, press the [F8] (“OK”) key. To

cancel, press the [F7] (“Cancel”) key. Be aware that when you execute this command, all setting data of the save destination User Template Multi will be erased and rewritten.

The lower line shows part of the program name used by the track. For GM2 variation banks or the GM2 drums bank, the variation bank (1)–(9) or drums bank (d) will be shown.

1.1–2(3)c: Track Infomation

Track Infomation

This shows the currently selected track, program bank, number, name, and MIDI channel.

1.1–4: Mix..8 (Mixer T01...08)

1.1–5: Mix..16 (Mixer T09...16)

Here you can set the pan and volume of each track.

1.1–4a

■ 1.1–2(3)d: UTILITY

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi,” “Rename Track,”“GM Initialize”(1.1–1c)

Select by Category

You can select the program for each track by category. This command can be selected when a Program page (Prog..8, Prog..16) is displayed. (

☞PROG 1.1–1a)

1.1–4b

1.1–4(5)a: Pan, Volume

Pan [RND, L001...C064...R127]

Sets the pan of tracks 1–16. L001...C064...R127: A setting of L001 is far left, and R127 is far right. A setting of C064 will reproduce the pan setting of the oscillator in Program mode.

OSC1

Left

OSC1

Left

Center

OSC2

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

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC2

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

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

GM Initialize Parameters

Parameter Track1–9, 11–16 Track10

1.1 Program Select G001:Acoustic Piano g(d)001:STANDARD Kit

Pan C064 C064 Volume 100 100

3.1 Status ––The setting remains unchanged

3.2 Use Program’s Scale ––The setting remains unchanged

6.1 Arpeggiator Assign ––The setting remains unchanged

Other Arpeggiator parameters ––The setting remains unchanged

7.1 IFX/Indiv.Out BUS Select L/R DKit Send1(MFX1) 0 0 Send2(MFX2) 40 40

7.2 IFX1–5 ––The setting remains unchanged Pan(CC#8) ––The setting remains unchanged BUS Select ––The setting remains unchanged Send1 ––The setting remains unchanged Send2 ––The setting remains unchanged Other Insert Effect parameters ––The setting remains unchanged

7.3 MFX1 ––016: St.Chorus MFX2 ––053: Rev Smth. Hall Return1 ––127 Return2 ––050 Other Master Effect and Master EQ parameters – – Default settings

If a mono-type insertion effect is inserted, this setting will be ignored. In this case, the 7.2: Insert FX, Setup page “Pan (CC#8)” setting will adjust the pan of the sound following the insertion effect.

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

If “Status” (3.1–1a/2a) is INT or BTH, CC#10 Panpot can be received to control the panning. When receiving CC#10, a value of 0 or 1 is far left, 64 is center, and 127 is far right. When you change the multi, tracks whose “Status” is EXT, EX2 or BTH will transmit the pan you specify here as a MIDI message (except for RND).

Volume [000...127]

Sets the volume of tracks 1–16.

When “Status” (3.1–1a/2a) is INT or BTH, CC#7 Volume can be received to control the volume. The volume of a track is determined by multiplying the MIDI Volume (CC#7) and Expression (CC#11) values. When you change the multi, tracks whose “Status” is EXT, EX2 or BTH will transmit the volume you specify here as a MIDI Volume message.

MULTI 2.2: Controller

2.2–1: Ctrls (Controllers)

Selects the B-mode functions of REALTIME CONTROLS knobs [1]–[4] and the functions of “SW1” and “SW2” in Multi mode.

When you operate these controllers on the MIDI channel of the “Control Track,” the MIDI messages assigned here will be transmitted (if “Status” 3.1–1a/2a is EXT, EX2, or BTH).

2.2–1a

2.2–1c2.2–1b

MULTI

■ 1.1–4(5)b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi,” “Rename Track,” “GM Initialize” (1.1–1c)

2.2–1a: Knob B Assign

Here you can set the B-mode functions (mainly various control changes) that the REALTIME CONTROLS knobs [1]–[4] will have (

When the REALTIME CONTROLS are in B-mode, the functions you specify here will be controlled on the track and MIDI channel of the “Control Track” (1.1–1a) when you operate knobs [1]–[4].

The functions you specify here will operate when you rotate the REALTIME CONTROLS knobs [1]–[4] in B-mode.

☞p.214 “Realtime Control Knobs B Assign List”).

2.2–1b: Switch1/2 Assign

Assigns functions to the “SW1” and “SW2” (☞p.213 “SW1, SW2 Assign List”). Since the “SW1” and “SW2” function assignments of the program assigned to each track are ignored when the program is used in a multi, you must make new assignments here for the multi.

SW1 (SW1 Assign) [Off, ..., AfterT Lock :N/A] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off, ..., AfterT Lock :N/A] SW2 Mode [Toggle, Momentary]

(☞PROG 2.2–1b)

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■ 2.2–1c: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

MULTI 2.3: MOSS

2.3–1: MOS..8 (MOSS T01–08)

2.3–2: MOS..16 (MOSS T09–16)

This page is displayed when the separately sold EXB-MOSS option has been installed. (

☞EXB-MOSS owner’s manual & p.251 “EXB-MOSS

option”)

MULTI 3.1: Param1 (Parameter1)

3.1–1: MIDI..8 (MIDI T01–08)

3.1–2: MIDI..16 (MIDI T09–16)

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

3.1–1a

send 1, 2, post IFX pan, and post IFX send 1, 2 MIDI messages. EX2: “Bank Select” will be enabled. Instead of the I-A–E-H bank numbers that can be selected on the TRITON-Rack, the bank number you specify here will be transmitted. In other respects this is the same as EXT.

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

Data from RPPR or Arp. Operations on the TRIT ON-

Status Internal tone

INT EXT, EX2 × BTH

Rack

generator

●

●●●

MIDI OUT Internal tone

●

Received data

generator

●

× —

MIDI OUT

—

MIDI Channel [01…16]

Speciﬁes the MIDI channel that the track will use to transmit and receive note data. Tracks set to INT which have the same MIDI channel will sound and be controlled identically when they receive MIDI data or RPPR data.

Bank(EX2) MSB [000...127] Bank(EX2) LSB [000...127]

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

3.1–1b

3.1–1(2)a: Status, MIDI Channel, Bank(EX2) MSB/LSB

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

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

INT: The tone generator will sound in response to incoming MIDI messages from a connected external MIDI device. MIDI messages will not be transmitted. If RPPR or the arpeggiator are assigned to a track that is set to INT, only the TRITON-Rack will sound; MIDI data will not be transmitted to an external device (i.e., the external MIDI device will not sound). If the TRITON-Rack’s controllers are operated on the track speciﬁed as the “Control Track” (1.1–1a), only the TRITON-Rack will be controlled, and MIDI messages will not be transmitted. Off: The program will not sound, nor will MIDI data be transmitted. BTH: The operations of both INT and EXT will be performed. If RPPR or the arpeggiator is speciﬁed for a track set to BTH, the TRITON-Rack will sound and MIDI messages will also be transmitted. If the TRITON-Rack’s controllers are operated on the track speciﬁed as the “Control Track” (1.1–1a), the TRITON-Rack will be controlled and the same data will also be transmitted via MIDI. EXT: MIDI messages will be transmitted without sounding the internal program. If RPPR or the arpeggiator are assigned to a track that is set to EXT, MIDI data will be transmitted to an external device, but the tone generator of the TRITON-Rack will not sound. If the TRITON-Rack’s controllers are operated on the track speciﬁed as the “Control Track” (1.1–1a), MIDI messages will also be transmitted to control the external device, but the TRITON-Rack itself will not be controlled. When you switch the multi, tracks that are set to EXT will transmit program change, volume, panpot, portamento,

■ 3.1–1(2)b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

3.1–3: OSC..8 (OSC T01–08)

3.1–4: OSC..16 (OSC T09–16)

Indicates settings for each track.

3.1–3a

3.1–3b

3.1–3(4)a: Force OSC Mode, OSC Select, Portamento

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

Selects the “Mode (Voice Assign Mode)” (PROG 2.1–1b) of the program selected for each track 1–8, 9–16. (

☞COMBI 3.1–2a)

OSC Select [Both, OSC1, OSC2]

Speciﬁes the “Mode (Oscillator Mode)” (PROG 2.1–1a) of the program selected for each track 1–8, 9–16. If the “Mode (Oscillator Mode)” is Double, you can use this setting to make only one or the other oscillator sound ( 2a).

☞COMBI 3.1–

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

Speciﬁes the portamento effect for each track 1–8, 9–16.

☞COMBI 3.1–2a)

(

When the track whose “Status” (3.1–1a/2a) is INT or BTH, MIDI control change CC#05 (Portamento Time) and CC#65 (Portamento Switch) can be received to control this and change the setting. (If the setting is PRG, CC#05 Portamento Time will not be received.) Tracks whose “Status” is BTH, EXT, or EX2 will transmit these settings via MIDI when you change this setting or when you change multis. If this is Off, CC#65 with a value of 0 will be transmitted. If this is 001–127, a CC#65 of 127 and CC#05 of 001–127 will be transmitted. If this is set to PRG, nothing will be transmitted.

This data is transmitted on the MIDI channel speciﬁed for each track by “MIDI Channel” (3.1–1a/2a).

to control and change the “Detune” setting. The range of control will be ±1 octave when Coarse Tune and Fine Tune are added. These messages will be received on the MIDI channel that is specified for each track by “MIDI Channel” (3.1–1a/2a).

Bend Range [PRG, –24...+24]

Speciﬁes the range of pitch change that will occur when the MIDI Pitch Bend Change message is received.

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

bending will use the range you specify here.

This setting can be controlled and changed by received MIDI RPN Pitch Bend Range messages. (These messages will not be received if the setting is PRG.) This is controlled on the MIDI channel speciﬁed for each track by “MIDI Channel” (3.1–1a/2a).

■ 3.1–3(4)b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

3.1–5: Ptch..8 (Pitch T01–08)

3.1–6: Ptch..16 (Pitch T09–16)

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

3.1–5a

3.1–5b

3.1–5(6)a: Transpose, Detune, Bend Range

Transpose [–24...+24]

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

Detune (BPM Adj.) [–1200... +1200]

Adjusts the pitch of each track in one-cent steps from the normal pitch. 0: Normal pitch.

You can use the Utility “Detune BPM Adj.” (3.1–5/6b) to make a calculation in BPM units and set Detune automatically.

“Transpose” and “Detune” settings do not affect the note data that is transmitted via MIDI. “Transpose” and “Detune” are controlled by received MIDI RPN messages. The “Mode (Oscillator Mode)” (PROG 2.1–1a) of the programs selected for tracks 1–16 will be controlled as follows.

• If “Mode (Oscillator Mode)” is Single or Double,

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

• If “Mode (Oscillator Mode)” is Drums, MIDI RPN

Coarse Tune and Fine Tune messages can be received

■ 3.1–5(6)b: UTILITY

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Detune BPM Adj. (Detune BPM Adjust)

If a drum program uses a multisample or sample of a phrase or rhythm loop etc. that was created in Sampling mode (or loaded in Disk mode) to match a speciﬁc BPM, you can use this utility command to modify its BPM. “Detune BPM Adj.” changes the BPM of a phrase or rhythm by modifying its pitch. This command is available for a track if the track “Detune” parameter is selected. When you execute this command, the selected “Detune” value will be set automatically (

2.1–2c, 2.1–3, GLOBAL 5.1–1b, 5.1–2). For the procedure, refer to “Detune BPM Adj.” (COMBI 3.1– 3b).

☞PROG

MULTI

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MULTI 3.2: Param2 (Parameter2)

3.2–1: Othr..8 (Other T01–08)

3.2–2: Othr..16 (Other T09–16)

For each track, specify the delay time from note-on until the sound is heard, and select the scale.

3.2–1a

3.2–1b

3.2–1c

MULTI 3.3: Key Zone

Here you can specify the range of keys that will be sounded by each track. T op/Bottom Key settings specify the range of notes that will be sounded by tracks 1–8, 9–16, and Top/Bottom Slope settings specify the range from the top/bottom key until the original volume is reached.

This setting does not affect MIDI transmission. All note data produced by RPPR and the arpeggiator will be transmitted.

3.3–1: Key..8 (Key Zone T01–08)

3.3–2: Key..16 (Key Zone T09–16)

3.2–1(2)a: Delay [ms] , Use Prog’s Scale

Delay [ms] [0000...5000, KeyOff]

Speciﬁes a delay time from when a track receives a note-on until it actually sounds. KeyOff: The sound will begin when note-off occurs. In this case, the sound will continue indeﬁnitely unless the amp EG Sustain Level of the program is other than 0. This setting is useful for simulating harpsichord sounds. Normally you will leave this at 0.

Use Prog’s Scale [Off, On]

Each track can use the scale that is speciﬁed for the program by “Scale” (PROG 2.1–1c).

On (Checked): The scale of the program will be used. Off (Unchecked): The scale speciﬁed by “Type (Multi’s

Scale)” (3.2–1b/2b) will be used.

3.2–1(2)b: Scale

Speciﬁes the scale that will be used for the multi.

Type (Multi’s Scale)

[Equal Temperament...User Octave15]

Selects the type of scale.

☞“Type (Scale Type)” (PROG 2.1–1c)

Key [C…B]

Selects the tonic key of the selected scale.

☞“Key” (PROG 2.1–1c)

3.3–1a

3.3–1b

3.3–1c

3.3–1(2)a: Key Zone Map (1)

This shows the range of note data that will sound the currently selected track. The note range that will be sounded is shown as a line, and the slope portion is grayed.

3.3–1(2)b: Top Key, Bottom Key

Top Key [C–1...G9]

Speciﬁes the top key (upper limit) that will be sounded by each track 1–8, 9–16.

Bottom Key [C–1...G9]

Speciﬁes the bottom key (lower limit) that will be sounded by each track 1–8, 9–16.

For a diagram of Key and Slope parameters, refer to “COMBI 3.3: Ed-Key Zone.”

The value of these parameters can also be set by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on.

☞“Random” (PROG 2.1–1c)

■ 3.2–1(2)c: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

■ 3.3–1(2)c: UTILITY

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multim,” “Save Template Multi” (1.1–1c)

3.3–3: Slp..8 (Key Slope T01–08)

3.3–4: Slp..16 (Key Slope T09–16)

3.3–3a

3.3–3b

3.3–3(4)a: Top Slope, Bottom Slope

Top Slope [00...72]

Speciﬁes the key range (12 is one octave) from the top key of track 1–8, 9–16 until the original volume is reached.

MULTI 3.4: Vel Zone (Velocity Zone)

Speciﬁes the range of velocities that will sound each track. Set the Top/Bottom Velocity parameters to set the range of velocities that will sound tracks 1–8 and 9–16, and set the Top/Bottom Slope parameters to specify the range over which the volume will change.

These settings do not affect MIDI transmission. All note data produced by RPPR and the arpeggiator will be transmitted.

3.4–1: Vel..8 (Velocity Zone T01–08)

3.4–2: Vel..16 (Velocity Zone T09–16)

Bottom Slope [00...72]

Speciﬁes the key range (12 is one octave) from the bottom key of track 1–8, 9–16 until the original volume is reached.

■ 3.3–3(4)b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

3.3–5: Review

3.3–5a

3.3–5b

3.3–5a: Key Zone Map (All)

T1...T16

This shows the range of note data that will be sounded by tracks 1–16. The note range that will be sounded is shown as a line, and the slope portion is grayed.

3.4–1a

3.4–1b

3.4–1c

3.4–1(2)a: Velocity Zone Map (1)

This shows the range of velocities that will sound the currently selected track. The velocity range that will be sounded is shown as a line, and the slope portion is grayed.

3.4–1(2)b: Top Velocity, Bottom Velocity

Top Velocity [1…127]

Speciﬁes the maximum velocity that will be sounded by each track 1–8, 9–16.

Bottom Velocity [1…127]

Speciﬁes the minimum velocity that will be sounded by each track 1–8, 9–16.

The value of these parameters can also be set by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

MULTI

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■ 3.3–5b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

■ 3.4–1(2)c: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

3.4–3: Slp..8 (Velocity Slope T01–08)

3.4–4: Slp..16 (Velocity Slope T09–16)

3.4–3a

3.4–3b

3.4–3(4)a: Top Slope, Bottom Slope

Top Slope [0…120]

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

Bottom Slope [0…120]

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

For a diagram of these parameters, refer to “COMBI 3.4: EdVel Zone.”

■ 3.4–3(4)b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

MULTI 4.1: MIDI Filter1

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

These settings affect the MIDI messages that are transmitted when you adjust program, pan, volume, portamento and send 1/2 parameters of a track whose

“Status” (3.1–1a/2a) is set to BTH, EXT, or EX2.

On (Checked): Reception of MIDI data is enabled. Tracks

whose “Status” (3.1–1a/2a) is INT or BTH will receive MIDI messages whose channel matches and whose types are checked. The types of effect that are checked will be applied to the program of each track when the TRITON-Rack’s controllers are operated or when MIDI data is received. (The effect dynamic modulation function is not affected by these settings.) Settings that regulate MIDI transmission/reception of the TRITON-Rack itself are made in “MIDI Filter” (GLOBAL 2.1–1b). If MIDI control changes have been assigned as the function of the REALTIME CONTROLS knobs or of “SW1” and “SW2,” the MIDI ﬁlter for these controllers (MIDI Filter 3, 4) will affect these control changes. However if these are the same as the control changes of MIDI Filter 1, 2, the MIDI Filter 1, 2 settings will take priority. Furthermore, if the same control change has been assigned to two or more controllers, checking any one of the MIDI Filter 3 or 4 parameters will cause the setting to apply to that control change.

Off (Unchecked): Reception of MIDI data is disabled.

3.4–5: Review

3.4–5a

3.4–5b

3.4–5a: Velocity Zone Map (All)

T1...T16

This shows the range of velocity that will be sounded by tracks 1–16. The note range that will be sounded is shown as a line, and the slope portion is grayed.

■ 3.4–5b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

4.1–1: M1–1..8 (MIDI Filter1–1 T01–08)

4.1–2: 1–1..16 (MIDI Filter1–1 T09–16)

4.1–1a

4.1–1b

4.1–1(2)a: Program Change, After Touch

Program Change [Off, On]

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

After Touch [Off, On]

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

■ 4.1–1(2)b: UTILITY

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

4.1–3: 1–2..8 (MIDI Filter1–2 T01–08)

4.2–3: 2–2..8 (MIDI Filter2–2 T01–08)

4.1–4: 1–2..16 (MIDI Filter1–2 T09–16)

4.1–3a

4.1–3b

4.1–3(4)a: Damper CC#64, Portamento SW CC#65

Damper CC#64 [Off, On]

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

Portamento SW CC#65 [Off, On]

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

■ 4.1–3(4)b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

4.2–4: 2–2..16 (MIDI Filter2–2 T09–16)

4.2–3a

4.2–3b

4.2–3(4)a: JSX/Bend as AMS, Ribbon CC#16

JSX/Bend as AMS [Off, On]

This parameter speciﬁes whether the effect of the AMS (

☞p.205 “Alternate Modulation Source”) assigned to JS X

will be received when MIDI pitch bend messages (the X-axis of the TRITON’s joystick, etc.) are received. (This is not a reception ﬁlter for MIDI pitch bend messages.)

Ribbon CC#16 [Off, On]

Speciﬁes whether MIDI control change message #16 (speci- ﬁed as the B-mode assignment of REALTIME CONTROLS

knobs [1]–[4], or the ribbon controller of a TRITON etc.) will be received.

■ 4.2–3(4)b: UTILITY

MULTI

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MULTI 4.2: MIDI Filter2

4.2–1: M2–1..8 (MIDI Filter2–1 T01–08)

4.2–2: 2–1..16 (MIDI Filter2–1 T09–16)

4.2–1a

4.2–1b

4.2–1(2)a: JS+Y CC#01, JS-Y CC#02

JS+Y CC#01 [Off, On]

Speciﬁes whether MIDI control change message #1 (speci- ﬁed as the B-mode assignment of REALTIME CONTROLS

knobs [1]–[4], or the +Y direction of a joystick on a TRITON etc.) will be received.

JS-Y CC#02 [Off, On]

Speciﬁes whether MIDI control change message #2 (speci- ﬁed as the B-mode assignment of REALTIME CONTROLS

knobs [1]–[4], or the –Y direction of a joystick on a TRITON etc.) will be received.

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

■ 4.2–1(2)b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

MULTI 4.3: MIDI Filter3

MULTI 4.4: MIDI Filter4

Speciﬁes whether the A- and B-mode operations of REALTIME CONTROLS knobs [1]–[4] will be received. MIDI control messages are ﬁxed as the A-mode operation of each knob. In B-mode the knobs correspond to the messages you assign in the 2.2: Controller Ctrls page.

4.3–1: M3–1..8 (MIDI Filter3–1 T01–08)

4.3–2: 3–1..16 (MIDI Filter3–1 T09–16)

4.3–3: 3–2..8 (MIDI Filter3–2 T01–08)

4.3–4: 3–2..16 (MIDI Filter3–2 T09–16)

4.3–1a

4.3–1b

4.3–1(2)a: Realtime Control Knob 1, 2

Knob1 [Off, On]

Speciﬁes whether or not the A-mode [1] knob MIDI control change message #74 (the TRITON-Rack’s low pass ﬁlter cutoff frequency) and the B-mode [1] knob MIDI control change message will be received.

Knob2 [Off, On]

Speciﬁes whether or not the A-mode [2] knob MIDI control change message #71 (the TRITON-Rack’s low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) and the B-mode [2] knob MIDI control change message will be received.

4.3–3(4)a: Realtime Control Knob 3, 4

Speciﬁes whether the operations of “SW1” and “SW2” will be received. “SW1” and “SW2” correspond to the messages you assigned in 2.2: Controller. Here you can also specify whether other control changes will be received.

4.4–1: M4–1..8 (MIDI Filter4–1 T01–08)

4.4–2: 4–2..16 (MIDI Filter4–1 T09–16)

4.4–1a

4.4–1b

4.4–1(2)a: SW1, SW2

SW1, SW2 [Off, On]

Speciﬁes whether the operations of “SW1” and “SW2” will be received. This setting is valid if you have selected SW1 Mod. (CC#80), SW2 Mod. (CC#81), or Porta.SW (CC#65).

■ 4.4–1(2)b: UTILITY

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

4.4–3: 4–2..8 (MIDI Filter4–2 T01–08)

4.4–4: 4–2..16 (MIDI Filter4–2 T09–16)

Knob3 [Off, On]

Speciﬁes whether or not the A-mode [3] knob MIDI control change message #79 (the TRITON-Rack’s ﬁlter EG intensity) and the B-mode [3] knob MIDI control change message will be received.

Knob4 [Off, On]

Speciﬁes whether or not the A-mode [4] knob MIDI control change message #72 (the release time of the TRITON-Rack’s ﬁlter and amp EG’s) and the B-mode [4] knob MIDI control change message will be received.

■ 4.3–1(2)b, 4.3–3(4)b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

4.4–3a

4.4–3b

4.4–3(4)a: Other Control Change

Other Ctrl Change [Off, On]

Speciﬁes whether or not MIDI control change messages other than those included in MIDI Filter 1–4 will be received.

■ 4.4–3(4)b: UTILITY

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi,” “Load Template Multi,” “Save Template Multi” (1.1–1c)

MULTI 5.1: RPPR

On the TRITON-Rack you can use preset patterns P00–149, and user patterns U00–99. One multi can contain up to one hundred user patterns. Preset patterns suitable for use in a drum track are provided in memory, and can be selected from any multi. Preset patterns cannot be edited, but you may copy a preset pattern to a user pattern, and edit. User patterns can be created by realtime recording (including recording that uses the arpeggiator), step recording, or the Copy Pattern command (copying from another pattern) (

☞BG p.57).

You can use the RPPR (Realtime Pattern Play/Recording) function to assign these patterns to individual keys, and then play these patterns by pressing a key on a connected MIDI instrument, or even record the pattern playback on an external sequencer (

When you execute the Sampling mode command Utility “Time Slice” (SMPL 3.1–2e), the sample will be divided, and at the same time a pattern for the divided sample will be created and assigned to RPPR.

Individual tracks of SMF data can be loaded into a user pattern. (

5.1–1: Pattern

Here you can record and edit patterns.

☞5.1–2: RPPR).

☞p.128)

tern” or “Bounce Pattern” utilities to copy the pattern to a user pattern, and then edit it. User: These are user patterns. You can use “Pattern Select” to select 100 patterns. Each multi can have 100 of its own user patterns. (In contrast, preset patterns are shared by all multis.) Select a user pattern if you wish to record or edit the pattern.

Pattern Select [P00...149, U00...U99]

Selects a pattern. If you selected Preset for “Pattern Bank,” you can choose from preset patterns P00–149. If you selected User for “Pattern Bank,” you can choose from user patterns U00–99. The user pattern name can be renamed using the “Rename Pattern” utility.

 (Tempo) [040...240, EXT]

Speciﬁes the playback tempo of the pattern. ☞“ (Tempo)” (1.1–1a).

Reso (Realtime Quantize Resolution) [Hi, 3 …  ]

Speciﬁes how the timing will be adjusted during realtime recording of a pattern. (The already-recorded data will not be adjusted.)

Hi (High Resolution): The timing will not be adjusted; data will be recorded at the highest resolution (/192). 3 …  : Data will be adjusted to the nearest interval of the speciﬁed timing. For example if you set this to 3, data will be adjusted to the nearest 32nd triplet. If you set this to  , data will be adjusted to the nearest quarter note.

With a setting of 



MULTI

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2.22.33.13.23.33.44.14.24.34.45.16.17.17.27.3

5.1–1a

5.1–1b

5.1–1d5.1–1c

For details on the recording procedure for pattern data, r efer to 5.1–1c. BG p.63

5.1–1e

5.1–1a: Location, Multi Select, Control Track

Location

This shows the current location (in measures) within the currently selected pattern.

Multi Select [000…199: name]

Selects the multi that you wish to use. (☞1.1–1a)

Control Track [T01…T16: name]

Selects the track that will record/play the pattern data. (

☞1.1–1a)

The program bank, number, and name of the selected track will be displayed at the right.

5.1–1b: Pattern, Metronome

Pattern

Pattern Bank [Preset, User]

Selects the pattern bank. Preset: These are preset patterns. You can use “Pattern Select” to select 150 patterns suitable for drum tracks. Preset patterns cannot be edited or recorded. If you wish to create a new pattern based on a preset pattern, use the “Copy Pat-



      

Since all performance data during recording will be adjusted to the speciﬁed timing interval, coarse settings of this parameter will cause continuous controller values such as pitch bend to be recorded in a stair-step fashion. In such cases, you may wish to record the data with a setting of Hi, and then use the “Event Edit” (5.1–1e) utility to edit only the necessary data (e.g., note data), or record without using an excessively coarse resolution.

Remove Data [Off, On]

On (Checked):This lets you delete unneeded performance data while recording. When this is checked, press and hold a key (note number) on a connected MIDI instrument while you record; only the note numbers you press will be deleted from the previously-recorded data. Controller data can also be removed in this way. For example while you move the joystick in the X (horizontal) direction, pitch bend data will be removed. While you apply pressure to the keyboard, after touch data will be removed. Alternatively, you can hold down the [F4] (“REC”) key to delete all musical data for as long as you continue holding down the key.

Metro.

Indicate ssettings for the metronome.

Metronome Sound [REC Only, REC/Play, Off]

Speciﬁes whether the metronome will sound during recording or playback. REC Only: The metronome will sound only during recording.

REC/Play: The metronome will sound during recording or playback. Off: The metronome will not sound. However, a pre-count will be heard before recording begins.

Precount [0…2]

Speciﬁes the length of the pre-count when recording. With a setting of 0, recording will start the instant you press the [F5] (“START”) key after pressing [F4] (“REC”).

Level [000…127]

Sets the volume of the metronome.

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

Speciﬁes the output destination of the metronome sound. L/R, L, R: Output from the OUTPUT (MAIN) L/Mono and/ or R jacks. 1, 2, 3, 4, 1/2, 3/4: Output from the OUTPUT (INDIVIDUAL) 1, 2, 3, 4 jacks respectively.

■ 5.1–1c: REC, START/STOP

Realtime-record or play patterns. Use the [F4] (“REC”) key and [F5] (“START/STOP”) key to record.

: Normal mode.

: Press the [F4] (“REC”) key to enter recordready mode. To cancel recording, press the [F4] (“REC”) key once again. In record-ready mode, pressing the [F5] (“START”) key will start recording. At this time, recording will begin after counting the number of measures speciﬁed by “Precount.” If you wish to delete previously-recorded data while you record, press the [F4] (“REC”) key. Data will be deleted as long as you continue holding down this key. If you wish to delete speciﬁc data, use “Remove Data” (5.1–1b).

: Playback will start when you press the [F5] (“START”) key from normal mode.

: Pressing the [F5] (“STOP”) key during playback will stop playback.

■ 5.1–1d: SW1, SW2

This switches the function of SW1 and SW2 on ( ) or off ( ). During recording of a pattern/playback, you can use SW1 and SW2 to control the functions assigned to them.

■ 5.1–1e: UTILITY

☞“Memory Status,” “Rename Track” (1.1–1c)

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Rename Pattern

Speciﬁes “Rename Pattern” to access the dialog box, and rename the selected pattern. You may input up to sixteen characters. (

☞BG p.38)

Step Recording(Loop)

Here you can perform step recording into a pattern. This is available when a user pattern is selected.

1 In “Pattern Bank” and “Pattern Select,” specify the pat-

tern. By default, the pattern length is one measure. If you wish to change the number of measures in the pattern, set the Utility “Pattern Parameter”.

2 Select the “Step Recording (Loop)” to access the dialog

box.

Time signature

measure (beat, clock)

Note numberLocation within the

3 In “Meter,” set the time signature.

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

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

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

Velocity

Length (beat, clock)



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



(0:36)

 

(0:72)

 

(0:144)

 

(1:96)

 

(3:00)

 

(6:00)

333333



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

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

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

6 Use “Vel. (Velocity)” to specify the velocity value (key-

board playing strength) of the note data. When the [F7] (“PAUSE”) key is pressed, you can hold down the [ENTER] key and play a note on a connected MIDI instrument to specify the velocity value. If you set this to Key, the actual velocity at which you played the key will be input.

7 Using the keyboard of a connected MIDI instrument or

by selecting parameters at the bottom of the dialog box, input note events as follows.

• Inputting notes

When you play a note on a connected MIDI instrument, that note number will be input with the note length that is speciﬁed by When you press a chord on the keyboard, those note numbers will be input as chords of the length speciﬁed in

4. Since each of the note numbers you press before

releasing all of the keys will be input at the same location, the notes will be input as a chord even if they are actually played at different times. Each time you press and release the keyboard, the location will advance by the length speciﬁed in

• Inputting rests

Press the [F4] (“Rest”) key to input a rest of the length speciﬁed in

• Inputting a tie

If you press the [F5] (“Tie”) key without pressing the keyboard, the previously-input note will be tied, and lengthened by the amount speciﬁed in If you press the [F5] (“Tie”) key while holding down a note, the note you are playing will be tied, and lengthened by the amount speciﬁed in You can even input notes as shown in the following diagram.







Step Time =

Off

Release E (continue holding C)

Step Time =

Press E and C



Tie

Step Time =

Press G

3 Press the [F8] (“OK”) key to open the Event Edit dialog

box.

Measure

Index no. Location within the

4 Use the [ ], [ ], [ ], [ ] keys to select the event that

you wish to edit.



You can also press the [F1] (“JUMP”) key and use “M (Measure)” and “Index” so that the events of the measure being edited and the index number within that measure are displayed at the beginning of the dialog box.

measure (beat, clock)

Event data

• Deleting a note or rest

To delete a note or rest, press the [F6] (“Back”) key. The location will move backward by the amount speciﬁed in

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

• Auditioning the next note before input

If you wish to verify the note you intend to enter next, press the [F7] (“Pause”) key. In this condition, playing a key will produce sound, but a note will not be recorded. Press the [F7] (“Pause”) key once again to defeat pause and resume input.

8 When you reach the end of the pattern you will return to

the beginning. Recording will continue, allowing you to add more data.

9 When you are ﬁnished with step recording, press the [F8]

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

Event Edit

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

1 Use “Pattern Bank” and “Pattern Select” to specify the

pattern that you wish to edit.

2 Select the “Event Edit,” and access the Set Event Filters

dialog box. The Set Event Filters dialog box displays an event editing screen, and allows you to select the type of events (musical data) to be edited. Check the events that you wish to view. For “Note,” you can set “Bottom” and “Top” to specify the range of notes that will be edited. You can also input these values by holding down the [ENTER] key and playing a note on a connected MIDI instrument. Normally you will set this to C–1 and G9. “Control Change” speciﬁes the control change numbers that will be edited. Normally you will set this to ALL. You can also check various other events (“Pitch Bend,” “Program Change,” “After Touch,” and “Poly After Touch”).

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

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

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

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

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

dialog box to edit events as follows.

• Inserting an event

Select the location “Bt” at which you wish to insert an event, and press the [F4] (“INSERT”) key to insert an event.

• Deleting an event

Select the event that you wish to delete, and press the [F5] (“CUT”) key to delete the event.

• Moving an event

You can use the [F5] (“CUT”) key and [F4] (“INSERT”) key to move an event (by “cut and paste”). Use the [F5] (“CUT”) key to delete the event that you wish to move, then use the [F4] (“INSERT”) key to insert it at the desired location. You can also move an event by modifying its “Bt” value.

• Copying an event

Select the event that you wish to copy, and press the [F6] (“Copy”) key. Then select the copy destination and press the [F4] (“INSERT”) key to insert the event at that location.

7 The end of the pattern is indicated as End of Pattern.

When you are ﬁnished event editing, press the [F8] (“DONE”) key. If you press the [COMPARE] key, you will return to the state before you began event editing.

MULTI

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

BAR (displayed only) (Measure line)

C–1...G9 (Note data)

P.Aft (Polyphonic after touch)

Ctl.C (Control change)

PROG

(Program change) AftT

(After T ouch) BEND

(Pitch bend)

Vel: 1...127 (Velocity)

C–1...G9 (Note number)

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

Bnk: I-A...I-F,

000...127, G, g(1)..g(9) g(d), - - -, EA...E-H (Program bank)

0...127 (value)

–8192...+8191 (value)

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

L: 000.000...1584.000 (Length: beats, clocks)

Val: 0...127 (Value)

No.: 0...127, 1...128 (G, g(1)...g(d))

(Program number)

Note data and velocity values can also be entered by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

Pattern Parameter

This command speciﬁes the number of measures and the time signature of the selected pattern.

1 Use “Pattern Bank” and “Pattern Select” to specify the

pattern.

2 Select “Pattern Parameter” to access the dialog box.

1 Select “Copy Pattern” to access the dialog box.

2 In From: “Pattern,” specify the copy source pattern. (By

default, this will be the pattern that was selected in the page.)

3 In To: “Multi” and “Pattern,” specify the copy destina-

tion multi and pattern. For “Pattern,” only user patterns U00–U99 can be speciﬁed.

4 To execute the Copy Pattern command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Bounce Pattern

This command combines the musical data of the bounce source pattern and bounce destination pattern, and places the combined musical data in the bounce destination. The time signature and length of the pattern following execution will be according to the settings of the bounce destination. If MIDI control data exists in the selected pattern and in the bounce destination pattern, the resulting playback following the bounce operation may produce unexpected results. We recommend that you use “Event Edit” (5.1–1e) to prepare the MIDI control data of the two patterns before executing the Bounce Pattern command.

1 Use “Pattern Bank” and “Pattern Select” to specify the

bounce source pattern.

2 Select “Bounce Pattern” to access the dialog box.

3 In “Length,” specify the number of measures in the pat-

tern.

4 In “Meter,” specify the time signature of the pattern. 5 To execute the Pattern Parameter settings, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Erase Pattern

This command erases the musical data from the selected pattern.

1 Use “Pattern Bank” and “Pattern Select” to specify the

pattern.

2 Select “Erase Pattern” to access the dialog box.

3 If you check “All Pattern,” all user patterns in the multi

will be erased. If “All Patterns” is not checked, only the pattern speci-

1 will be erased.

ﬁed in

4 To execute the Erase Pattern command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Copy Pattern

This command copies the settings and musical data of the selected pattern to another pattern. User patterns belong to a particular multi, but you can use the Copy Pattern command to use a pattern in another multi. While preset patterns cannot be edited, you can copy a preset pattern to a user pattern and then edit and save it as a user pattern. Be aware that when you execute the Copy Pattern operation, the pattern settings and musical data of the copy destination will be erased.

3 In From “Pattern,” select the bounce source pattern. (By

default, the pattern that are selected in the page will be chosen.)

4 In To: “Multi” and “Pattern,” select the bounce destina-

tion multi and pattern. For “Pattern,” only user patterns U00–U99 can be speciﬁed.

5 To execute the Bounce Pattern command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

5.1–2: RPPR (RPPR Setup)

Indicates settings for the RPPR (Realtime Pattern Play/ Recording) function. RPPR allows you to assign the patterns of a multi to individual keys, and play the patterns by pressing keys on a connected MIDI instrument. This playback can also be recorded on an external sequencer. For each multi, you can assign either a preset pattern or a user pattern to the 72 keys in the range of C#2–C8. For each key you can specify the pattern, track number, and how the pattern will be played.

Patterns are triggered on the channel of the track that is currently selected as the “Control Track.”

You can also control RPPR from an external sequencer, or record note data from RPPR onto an external sequencer. (

The arpeggiator will not be applied to the RPPR pattern playback. When RPPR is on, keys to which no pattern is assigned will sound as usual. At this time, the arpeggiator that is turned on for that track (arpeggiator A or B) will function. The notes produced by the arpeggiator will not trigger RPPR.

☞p.227, 228)

In the 5.1: RPPR, RPPR Setup page, RPPR will automatically be on. If you want RPPR to operate in the 1.1: Play page, check the “RPPR On/Off” check box.

below C2, or press the same key once again.

Note-on

Note-off

Same key, or C2 Note-off

5.1–2a

5.1–2b

5.1–2d

5.1–2e5.1–2c

5.1–2a: Control Track,

Control Track [T01…T16: name]

Selects the track that will trigger RPPR. When note data is received on the MIDI channel of the selected track, the corresponding pattern will play. (

☞1.1–1a)

The program bank, number, and name of the selected track will be displayed at the right.

 (Tempo) [040...240, EXT]

Speciﬁes the playback tempo for RPPR. Refer to “ (T empo)” (

☞1.1–1a).

5.1–2b: RPPR Setup

KEY (Key Select) [C#2...C8]

Speciﬁes the key that will trigger an RPPR pattern. The parameters listed below will apply to the key you specify here. You can also select a key by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

Assign [Off, On]

On (Checked): When you play the key speciﬁed by “KEY,” the pattern selected in “Pat (Pattern Bank),” “Pattern Select” will be triggered. Off (Unchecked):The pitch of that key will sound, as in the normal state of Multi mode.

Pat (Pattern Bank) [Pre (Preset), User] Pattern Select [P000...149, U00...99]

Selects the RPPR pattern for the key selected in “KEY.” If the selected user pattern contains no musical data, there will be no sound when you press that key.

START STOP

Once

START STOP

Manual

START STOP

Endless

Shift [–12...+12]

Adjusts the playback pitch of the pattern for the speciﬁed “KEY” in semitone steps over a range of ±1 octave. With a

setting of 0, the pattern will be played at its original pitch.

Sync [Off, Beat, Measure, ARP(SEQ)]

Speciﬁes how pattern playback will be synchronized when the corresponding key is played on a connected MIDI instrument (i.e., when note data is received).

Off: The pattern will begin playing at the moment you press the note. Beat: The pattern will synchronize to the beats of the pattern that was started by the ﬁrst key (i.e., the ﬁrst note-on that occurs from a condition where no notes of the keyboard are pressed). This setting is suitable when you wish to play phrase patterns in unison. Measure: The pattern will synchronize to the measures of the pattern that was started by the ﬁrst key. This setting is suitable for rhythm, bass or drum patterns. ARP (SEQ): The pattern will be synchronized to the (quarter note) timing of the arpeggiator. Use this setting when you want RPPR to start in synchronization with the arpeggiator. (

☞BG p.93)

Data compatibility is maintained between the TRITONRack and the TRITON/TRITONpro/TRITONproX (TRITON keyboard models). On TRITON keyboard models, setting “Sync” to SEQ allows you to synchronize to the currently-playing song in addition to synchronizing to the arpeggiator. Data that is set to “ARP (SEQ)” on the TRITON-Rack will be displayed as “SEQ” in Sequencer mode of the TRITON keyboard models. Conversely, data that is set to “SEQ” on TRITON keyboard models will be displayed as “ARP (SEQ)” in Multi mode of the TRITONRack.

MULTI

1.1

2.22.33.13.23.33.44.14.24.34.45.16.17.17.27.3

Track [T01…T16: name]

Selects the track that will be used for the RPPR pattern selected for the “KEY.” When you play the key, the pattern will be played according to the settings of the track you select here. Track settings are made in 1.1: Play–4.4: MIDI Filter4.

Mode [Once, Manual, Endless]

Speciﬁes how the pattern speciﬁed for a key will be played when the corresponding note is played on a connected MIDI instrument (i.e., when note data is received).

Once: When you press the key, the pattern will playback only once to the end. Manual: The pattern will continue repeating as long as you continue holding the key , and will stop when you r elease the key. Endless: The pattern will continue repeating even after you release the key. To stop the pattern playback, press any note

Note 2 on

Sync settings

Note 1 off

Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings

Sync: OFF

Pattern 1

Pattern 2

Sync: Beat

Pattern 1

Pattern 2

Sync: Measure

Pattern 1

Pattern 2

Arpeggiator

Sync: ARP(SEQ)

Pattern 1

Pattern 2

Note 1 on

• When Beat or Measure are selected, pattern playback

will begin when you press the first key. The second and subsequent patterns that are triggered from the keyboard will synchronize to the pattern that was started by the first key; with a setting of Beat they will synchronize in steps of a beat, and with a setting of Measure they will synchronize in steps of a measure.

• Beat, Measure, and ARP (SEQ) will cause the pattern to

start immediately if you play the key within a thirtysecond note of the timing of the respective beat or measure, but if you play the key later than this, the start of the pattern will be delayed by a beat.

Stopping playback of a RPPR pattern

By playing C2 or a lower note on the keyboard of a connected MIDI device, you can stop all patterns currently being played by RPPR. The patterns of keys whose “Sync” setting is Off will stop immediately, but the playback of other keys will stop at the beginning of the next beat or measure. Pattern playback of keys whose “Sync” setting is other than Off can be stopped immediately by rapidly pressing C2 or any lower note twice in succession.

Keyboard & Assigned drawing

This shows the selected key, and the keys to which a pattern has been assigned by the RPPR function.

Non-assignable keys Assigned keys

Non-assigned keys

■ 5.1–2c: REVERT

Revert

This copies “Pattern Bank,” “Pattern Select” and “Track” settings from the previously-edited “KEY” whose “Assign” is checked to the currently-edited “KEY.”

Example)

Using RPPR to assign preset patterns P00, P01, and P02 to keys

Before you begin, assign a drum program such as I–A036 to track 1.

1 Select C#2 as the “KEY.” Check “Assign,” and set “Pat-

tern Bank” and “Pattern Select.”

2 Select D2 as the “KEY.” 3 Press the [F4](“Revert”) key, and the “Pattern Bank,”

“Pattern Select” (Pat: Pre, P00: Pop&Balad 1/Std) and “Track” (T01: Drums) that you selected in step

copied automatically.

4 Change only the “Pattern Select.” Select “Pattern Select,”

and press the [INC] key to select P01: Pop&Balad 2/Std.

5 Select D#2 as the “KEY.” 6 Press the [F4](“Revert”) key, and the “Pattern Bank,”

“Pattern Select” (Pat: Pre, P01: Pop&Balad 2/Std) and “Track” (T01: Drums) that you selected in step

copied automatically.

7 As you did in step 4, set “Pattern Select” to P02:

Pop&Balad 3/Std.

In this way you can use the “Revert” to efﬁciently assign “Pattern Bank,” “Pattern Select” and “Track” to each “KEY” of an RPPR Setup. This function is particularly

convenient when the patterns you are assigning to each key are numbered consecutively or close to each other, and are used in the same track, as in the example shown above.

■ 5.1–2d: SW1, SW2

This switches the function of SW1 and SW2 on ( ) or off ( ). During RPPR playback, you can use SW1 and SW2 to control the functions assigned to them.

■ 5.1–2e: UTILITY ☞“Memory Status,” “Rename Track” (1.1–1c)

1 will be

4 will be

Selected key

MULTI 6.1: Arp. (Arpeggiator)

Here you can specify how the arpeggiator will operate in Multi mode. These settings can be made for each multi. In Multi mode (as in Combination mode), you can run the two arpeggiators simultaneously. This allows you to apply different arpeggio patterns to two sounds that have been split across the keyboard, or use velocity to switch between two different arpeggio patterns, etc. In Multi mode, the musical data generated by the arpeggiator during pattern realtime-recording can be recorded. While you record, you can modify the arpeggio pattern and parameters, and adjust the REALTIME CONTROLS C-mode [ARP-GATE] knob and [ARP-VELOCITY] knob etc.

The tempo of the arpeggiator and RPPR (patterns) cannot be speciﬁed independently.

When “MIDI Clock” (GLOBAL 1.1:1–1a) is set to Inter- nal, the arpeggiator can be synchronized to the timing at which patterns start.

In 5.1: RPPR, Pattern page if you turn on the [ARP ON/ OFF] key and press the [F5] (“START”) key, the arpeg- giator will synchronize to the timing of the pattern. If you then press the [F5] (“STOP”) key, both pattern playback and the arpeggiator will stop. If you wish to stop only the arpeggiator, turn off the [ARP ON/OFF] key. If the arpeggiator “Key Sync” is off, turning on the [ARP ON/OFF] key and playing the keyboard of a connected MIDI device to start the arpeggiator during the pre-count before pattern recording will cause the arpeggio to be recorded from the beginning of the pattern at the instant that recording begins. (

6.1–1: Set..8 (Setup T01–08)

6.1–2: Set..16 (Setup T09–16)

6.1–1a

6.1–1b

6.1–1(2)a: Arpeggiator Run,

Arpeggiator Run A, B (Run A, B)

When the [ARP ON/OFF] key is on, the arpeggiator(s) that are checked here will function for the track(s) to which they are assigned by “Assign.” When the arpeggiator is on, A and B can be turned on/off independently.

 (Tempo) [040...240, (EXT)]

Specify the tempo of the arpeggiator. Refer to “ (Tempo)” (

☞1.1–1a).

☞BG p.93)

6.1–1c

6.1–1(2)b: Assign

Assign [Off, A, B]

This assigns arpeggiator A or arpeggiator B to each track 1– 8, 9–16. When the [ARP ON/OFF] key is turned on, the arpeggiator speciﬁed for each track will run, subject to the “Arpeggiator Run” settings and setting here.

Off: The arpeggiator will not operate. A: Arpeggiator A will operate. Use the Arp. A page to select

the arpeggio pattern and set the parameters. B: Arpeggiator B will operate. Use the Arp. B page to select the arpeggio pattern and set the parameters.

If you wish to realtime-record the arpeggio pattern into a pattern, assign either arpeggiator A or B to the track.

If a track 1–16 to which arpeggiator A or B has been assigned is set to a track “Status” (3.1–1a/2a) of INT or BTH, the note data generated by the arpeggiator will sound the TRITON-Rack without regard to the “MIDI Channel” (3.1–1a/2a) setting of each track. If the “Status” is BTH, EXT, or EX2, MIDI note data will be transmitted on the “MIDI Channel” of each track.

At this time, the arpeggiator can be triggered by the “MIDI Channel” of any track 1–16 assigned to arpeggiator A or B respectively.

The TRITON-Rack’s arpeggiator can be controlled from an external sequencer, and the note data generated by the arpeggiator can be recorded on an external sequencer. (

Example 1)

1 For tracks 1 and 2, set the “MIDI Channel” (3.1–1a) to 01

and the “Status” (3.1–1a) to INT.

2 Assign arpeggiator A to track 1 and arpeggiator B to

track 2, and check “Arpeggiator Run” (6.1–1a).

3 Select MIDI channel 1 on the external MIDI device that

will be transmitting note data.

4 If the [ARP ON/OFF] key is off, playing the keyboard of

a connected MIDI device will sound tracks 1 and 2 simultaneously. If the [ARP ON/OFF] key is on, playing the keyboard of a connected MIDI device will cause arpeggiator A to play track 1 and arpeggiator B to play track 2 independently of each other.

Trigger = Ch1

Example 2)

1 For tracks 1, 2, and 3, set “MIDI Channel” (3.1–1a) to 01,

02, and 03, and set “Status” (3.1–1a) to INT.

2 Assign arpeggiator A to tracks 1 and 2, assign arpeggia-

tor B to track 3, and check “Arpeggiator Run” (6.1–1a).

3 When the MIDI channel of the external MIDI device

transmitting note data is set to each channel listed below , playing its keyboard (i.e., transmitting note data) will have the following results.

• MIDI channel: 1 If the [ARP ON/OFF] key is off, playing the keyboard will sound track 1. If the [ARP ON/OFF] key is on, playing the keyboard will trigger arpeggiator A for tracks 1 and 2, causing them to sound.

• MIDI channel: 2 If the [ARP ON/OFF] key is off, playing the keyboard will sound track 2.

Arpeggiator

☞p.228)

Pattern - A

Pattern - B

Arpeggiator Assign

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=1ch Status=INT

Pattern - A

Pattern - B

MULTI

1.1

2.22.33.13.23.33.44.14.24.34.45.16.17.17.27.3

If the [ARP ON/OFF] key is on, playing the keyboard will trigger arpeggiator A for tracks 1 and 2, causing them to sound.

• MIDI channel: 3 If the [ARP ON/OFF] key is off, playing the keyboard will sound track 3. If the [ARP ON/OFF] key is on, playing the keyboard will trigger arpeggiator B for track 3, causing it to sound.

Arpeggiator Assign

Trigger = Ch1, Ch2

Trigger = Ch3

Arpeggiator

Pattern - A

Pattern - B

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=2ch Status=INT

Track3 MIDI Ch=3ch Status=INTB

Pattern - A

Pattern - B

6.1–5: Zone (Scan Zone)

Speciﬁes the range of notes and velocities that will trigger each arpeggiator A and B.

6.1–5a

6.1–5b

■ 6.1–1(2)c: UTILITY

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi” (1.1–1c), “Copy Arpeggiator” (COMBI 6.1–1c)

6.1–3: Arp. A (Arpeggiator A)

6.1–4: Arp. B (Arpeggiator B)

Indicates settings for arpeggiator A in the Arp. A page, and for arpeggiator B in the Arp. B page.

You can use the “Copy Arpeggiator” utility to copy settings from another mode such as Program mode.

6.1–3a

6.1–3b

6.1–3(4)a: Arpeggiator–A(B) Setup

Pattern [P000...P004, U000(I-A/B)...U327(E-H)] Octave [1, 2, 3, 4] Reso (Resolution) [   ,  ,   ,  ,   ,  ] Gate [000...100(%), Step] Velocity [001...127, Key, Step] Swing [–100...+100(%)] Sort [Off, On] Latch [Off, On] Key Sync. [Off, On] Keyboard [Off, On]

These are the arpeggiator parameters for the multi. (

☞PROG 6.1: Ed–Arp.)

6.1–5a: Scan Zone A/B

Zone Map

This shows the “Scan Zone” settings for arpeggiators A and B (

☞COMBI 6.1–4a).

A: Key

Btm (A-Bottom Key) [C–1...G9] Top (A-Top Key) [C–1...G9]

Speciﬁes the range of notes (keys) that will trigger arpeggiator A. “Top” is the upper limit, and “Btm” is the lower limit.

A: Vel (Velocity)

Btm (A-Bottom Velocity) [001...127] Top (A-Top Velocity) [001...127]

Speciﬁes the range of velocities that will trigger arpeggiator A. “Top” is the upper limit, and “Btm” is the lower limit.

B: Key

Btm (B-Bottom Key) [C–1...G9] Top (B-Top Key) [C–1...G9]

B: Vel (Velocity)

Btm (B-Bottom Velocity) [001...127] Top (B-Top Velocity) [001...127]

Speciﬁes the range of notes (keys) and velocities that will trigger arpeggiator B (

The value of these parameters can also be set by holding down the [ENTER] key and playing a note on a connected MIDI instrument.

■ 6.1–5b: UTILITY ☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi” (1.1–1c), “Copy Arpeggiator” (COMBI 6.1–1c)

☞“A: Key,” “A: Vel”).

■ 6.1–3(4)b: UTILITY

☞“Memory Status,” “Rename Multi,” “Delete Multi,”

“Copy From Multi,” “Copy From Combi” (1.1–1c), “Copy Arpeggiator” (COMBI 6.1–1c)

MULTI 7.1: BUS

Speciﬁes the bus to which the program oscillator(s) of each track 1–8, 9–16 will be sent. You can also set the amount of signal that will be sent to the master effects.

☞For details on insert effects, refer to “8. Effect Guide”

p.146.

Copy Insert Effect

(☞PROG 7.1–1c)

the MIDI control channel speciﬁed in “Control Chan-

Note, nel” of the 7.2: Insert FX, Setup page will not be copied.

Swap Insert Effect

(☞PROG 7.1–1c) Note, the MIDI control channel speciﬁed in “Control Channel” of the 7.2: Insert FX, Setup page will not be swapped.

7.1–1: BUS..8 (BUS T01–08)

7.1–2: BUS..16 (BUS T09–16)

7.1–1a

7.1–1b

7.1–1(2)a: BUS Select, Send1(MFX1), Send2(MFX2)

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

Speciﬁes the output bus for the program oscillators of tracks 1–8 and 9–16. The state of the settings can be viewed in the Route page. (

☞COMBI 7.1–1a)

S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

Here you can adjust the send levels from tracks 1–8, 9–16 to master effects 1 and 2. This is valid when “BUS Select” is set either to L/R or Off. If IFX 1, 2, 3, 4, or 5 is selected, the send level to the master effects 1 and 2 is set by the “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” parameters located in the 7.2: Insert FXl, Setup page, after the signal passes through IFX 1–5. These settings have no effect if “BUS Select” is set to 1, 2, 3, 4, 1/2 or 3/4.

If “Status” (3.1–1a/2a) is either INT or BTH, CC#93 and #91 can be received to control send 1 and 2 respectively and change their settings. When you switch multi, tracks whose “Status” is EXT, EX2 or BTH will transmit these settings via MIDI. This data will be transmitted on the MIDI channel of each track as set by “MIDI Channel” (3.1–1a/2a). The actual send level is determined by multiplying the value of these parameters with the send level settings of the oscillator(s) of the program used by the track (“S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” PROG 7.2–1a).

7.1–3: Route (Routing)

7.1–3a

7.1–3b

7.1–3a: Routing Map, BUS Select

This shows the status of the insert effects: the insert effect routing, the names of the selected effects, the on/off status, and chaining. The effect type, on/off, and chain settings can be made in the 7.2: Insert FX, Setup page.

T01...16: BUS Sel

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

You can specify the bus to which the program oscillators of tracks 1–16 will be sent, while viewing a map of the current settings. Use the [ ], [ ] keys to select the track, and use the [INC], [DEC] keys or the [VALUE] dial to set “BUS Select” (7.1–1a/ 2a).

These settings can also be made from “BUS Select” (7.1–1/

2).

■ 7.1–3b: UTILITY ☞“Memory Status” (1.1–1c), “Copy Insert Effect,” “Swap

Insert Effect” (7.1–1b/2b), “DKit IFX Patch” (COMBI 7.1– 1b)

MULTI

1.1

2.22.33.13.23.33.44.14.24.34.45.16.17.17.27.3

■ 7.1–1(2)b: UTILITY

☞“Memory Status” (1.1–1c), “DKit IFX Patch” (COMBI 7.1–

1b)

MULTI 7.2: Insert FX

7.2–1: Setup

Here you can select the type of the insert effects, turn them on/off, and make chain settings.

7.2–1a

7.2–1c7.2–1b

7.2–1a: Insert FX Setup

IFX1 On/Off — IFX5 On/Off Insert Effect 1, 5 [000...089: name] Insert Effect 2, 3, 4 [000...102: name] Chain [ (Off), Pan(CC#8) [L000...C064...R127] BUS Select [L/R, 1, 2, 3, 4, 1/2, 3/4, Off] S1 (Send1 (MFX1)) [000...127] S2 (Send2 (MFX2)) [000...127]

These functions are the same as in Program mode. (☞PROG

7.2–1)

However, unlike in Program mode, the “Control Channel” (7.2–1b) will be the MIDI channel that controls insert effect dynamic modulation (Dmod) and the “Pan (CC#8),” “Send 1 (MFX1)” and “Send 2 (MFX2)” that follow the insert effects. The control changes used are the same as in Program mode.

If “Status” (3.1–1a/2a) is INT or BTH, incoming CC#8, #93, or #91 will control and change the settings of the Pan, Send 1, and Send 2 parameters that follow each insert effect. When you change multis, tracks with a “Status” of BTH, EXT, or EX2 will transmit and receive these settings on the MIDI channel speciﬁed by “Control Channel” (7.2–1a).

(ON)]

■ 7.2–1c: UTILITY ☞“Memory Status” (1.1–1c), “Copy Insert Effect,” “Swap

Insert Effect” (7.1–1b/2b), “Select by Category” (PROG

7.2–1b)

7.2–2: IFX1

7.2–3: IFX2

7.2–4: IFX3

7.2–5: IFX4

7.2–6: IFX5

Sets the parameters for the effects selected for IFX 1–5 in the Setup page (

■ 7.2–2(...6)a: UTILITY ☞“Memory Status” (1.1–1c)

☞p.151).

7.2–2a

7.2–7: Route (Routing)

7.2–7a

7.2–7b

7.2–7a: Routing Map

7.2–1b: Control Channel

Control Channel [Ch01...16, All Rt.]

Select the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send 1 (MFX1),” and “Send 2 (MFX2).”

An asterisk “*” will be displayed at the right of the channel number Ch01–16 for tracks that are routed to an IFX. If multiple tracks with differing MIDI channel settings are routed, these channels specify the channel that will be used to control the effect.

All Rt. (All Routed): Control can be performed from any of the MIDI channels of the tracks that are routed.

If “BUS Select” (7.1–1a/2a) is set to DKit for a track in which a drum program is selected, the MIDI channel of that track will be valid if any IFX1–5 is set to All Rt., regardless of the drum kit “BUS (BUS Select)” (GLOBAL 5.1–3a) setting or the utility setting “DrumKit IFX Patch.”

This shows the status of the insert effects. This displays the same contents as the 7.1: BUS, Routing page. (

■ 7.2–7b: UTILITY ☞“Memory Status” (1.1–1c), “Copy Insert Effect,” “Swap

Insert Effect” (7.1–1b/2b), “DKit IFX Patch” (COMBI 7.1– 1b)

☞7.1–3)

MULTI 7.3: Master FX

☞For details on the master effects, refer to p.146.

7.3–1: Setup

Here you can select the type of master effects, turn them on/ off, and make chain and master EQ settings. This is the same as Program mode with the exception of “MFX1 Control Ch,” “MFX2 Control Ch,” and “MEQ Control Ch.” (

7.3–1a

7.3–1b

7.3–1a: Master FX Setup

☞PROG 7.3: Ed-MasterFX)

7.3–1e7.3–1c7.3–1d

7.3–1d: MEQ Ctrl

MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch]

Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master EQ.

G ch: The effect will be controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

■ 7.3–1e: UTILITY

☞“Memory Status” (1.1–1c), “Select by Category” (PROG

7.3–1d)

Copy Master Effect

(☞PROG 7.3–1d) Note, the MIDI control channel speciﬁed in “Control Channel” of the MFX 1 and 2 pages will not be copied.

MULTI

MFX1 On/Off, MFX2 On/Off [Off, ON] Master Effect 1, 2 [000...089: name] Rtn 1, 2 (Return 1, 2) [000...127]

This is the same as in Program mode. Refer to “PROG 7.3–1: Setup.” However, unlike Program mode, the master effects will be controlled by the MIDI channel speciﬁed by “MFX 1, 2 Control Ch.” The control changes used are the same as in Program mode.

MFX1, 2 Control Ch [Ch01...16, G ch]

Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master effects.

G ch: The effect will be controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

7.3–1b: Master FX Chain

MFX Chain Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1]

Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) [000...127]

This is the same as in Program mode. Refer to “PROG 7.3–1: Setup.”

Swap Master Effect

(☞PROG 7.3–1d) Note, the MIDI control channel speciﬁed in “Control Channel” of the MFX 1 and 2 pages will not be swapped.

7.3–2: MFX1

7.3–3: MFX2

Here you can set the parameters of the “Master Effect1” and “Master Effect2” effects that were selected in the Setup page

(

☞p.151).

7.3–2a

■ 7.3–2(3)a: UTILITY ☞“Memory Status” (1.1–1c)

1.1

2.22.33.13.23.33.44.14.24.34.45.16.17.17.27.3

7.3–1c: Master EQ Gain [dB]

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

This is the same as in Program mode. (☞PROG 7.3–1: Setup)

7.3–4: Master EQ

The master EQ is a three-band stereo EQ. It is used to perform overall equalizing (tonal adjustment) on the sound from the L/R bus immediately before it is output to AUDIO OUTPUT (MAIN OUT) L/MONO and R (

■ 7.3–4a: UTILITY

☞“Memory Status” (1.1–1c)

☞p.203).

7.3–4a

4. Sampling mode

Sampling mode gives you the capability to record 48 kHz 16 bit samples. On the TRITON-Rack, “sampling” refers to a process in which analog audio signals from a mic or audio device connected to the AUDIO INPUT jack are converted into digital form and recorded into internal memory. The sound that is converted into digital form can be processed by an insert effect is being sampled.

The TRITON-Rack comes with 16 Mbytes of sample data (waveform data). This allows approximately 2 minutes 54 seconds of monaural sampling, or approximately 1 minute 27 seconds of stereo sampling. By installing additional 72 pin SIMM modules, you can expand the memory to a maximum of 96 Mbytes (three 32 Mbyte SIMM modules; the included 16 Mbyte module must be replaced by a 32 Mbyte module). In this case, six monaural samples of up to 2 minutes 54 seconds (or stereo samples of up to 1 minute 27 seconds) can be recorded, for a total of 17 minutes 28 seconds of monaural sampling (or 8 minutes 44 seconds of stereo sampling). (

☞Refer to p.243 for details on installing 72 pin

SIMM modules.) In Sampling mode, samples that have been sampled or

loaded from storage media can be assigned to an index (zone) to create a multisample. One multisample can contain many indexes.

A multisample can easily be converted into a program.(

☞“Conv. To Prog” 1.1–3g). Once the m ultisample is

converted it can be played and programmed like any other program sound. This program can also be used in Combination or Multi mode. Samples can also be used as drum samples in a drum kit.

Index001 Top Key

Multisample

Index002 Top Key

Index003 Top Key

Index004 Top Key

When you turn off the power, all multisample and sample data in Sampling mode will be lost. Before you turn off the power, be sure to save important data to ﬂoppy disk or external SCSI device (

☞BG p.40). If a separately

sold EXB-SCSI option is installed, data can be saved on an external SCSI device. Immediately after the power is turned on, memory will contain no multisamples or samples, so you will ﬁrst need to load previously-saved data from a ﬂoppy disk or external SCSI device before you can playback or edit it.

There is no Compare function that allows you to restore edited data to the state before it was edited. If you wish to preserve the unedited state of the data, use “Copy MS” or “Copy SMPL” (1.1–3g) etc. to make a copy of the multisample or sample before you begin editing.

For some of the utility menu commands in 2.1: Sample Edit or 3.1: Loop Edit, executing the command without checking “Overwrite” in the dialog box allows you to save the unedited sample data while you edit. (

☞2.1–

2e: UTILITY “About Overwrite”) When executing a sample edit operation or when you

ﬁnish recording a stereo sample, you may hear a slight noise. This does not affect the audio data that has been edited or sampled.

Cautions regarding sample data

• The sample data memory areas Bank 1–6 each contain 16 MB. Of this 16 MB (8,388,608 samples), sixteen samples (the first and last eight samples) are used as internal work area.

• The first and last samples of each sample are used as internal work area. These two samples are added automatically when a sample is recorded or when an .AIFF or .WAVE file is loaded. This means that if you record a sample of one second, this will result in 48,000 samples of data, but four samples will be added to this, so that sampling memory will actually contain 48,004 samples of data.

SMPL

1.1

2.13.14.15.15.27.2

Index 001

0000: Sample A

Multisample

Sample

Index 002

0001: Sample B

Drum Kit

Index 003

0002: Sample C

Program OSC (Single/Double)

Program OSC (Drums)

Index 004

0003: Sample D

Sampling (recording a sample) is performed using the [F4] (“REC”) and [F5] (“START/STOP”) keys in each page in the Sampling mode.1.1: Recording of the Sampling mode (For details on sampling procedure, refer to BG p.68.)

In any page, the selected multisample or sample will sound when you play the keyboard of a connected MIDI instrument, letting you hear the results of your editing in that page.

How the [Audition] key will function in Sampling mode

2.1: Sample Edit, Edit2 page

The sample will be played in one-shot mode in the range between “S (Edit Range Start)” and “E (Edit Range End)” as long as you hold down the [AUDITION] key. The sample will sound at the pitch of the currently selected key (the key displayed in gray in “Keyboard & Index”: 1.1–1a).

Pages other than the above

The sample of the currently selected “Index” will be played at the pitch of the currently selected key (the key displayed in gray in “Keyboard & Index”: 1.1–1a) as long as you hold down the [AUDITION] key.

Time Slice and Time Stretch dialog boxes

In the Slice Sample dialog box of Utility “Time Slice” (3.1– 2e) and in the Stretch Sample dialog box of Utility “Time Stretch” (3.1–2e), the sample of the currently selected “Index” will be played at the original key as long as you hold down the [AUDITION] key.

SMPL PAGE MENU

SMPL 1.1: Recording

For details on selecting pages in Sampling mode, refer to p.1.

Rec 1.1: Recording Record samples. Select the sample or mul-

Smpl 2.1: Sample Edit Perform waveform editing and other editing

Loop 3.1: Loop Edit Set sample playback parameters. Set start,

MS 4.1: Multisample Edit multisamples. Set and edit sample

Mem 5.1: Memory View the remaining memory available for

Ctrl 5.2: Controller Controller settings. ( IFX 7.2: Insert Effect Select the insert effects used for sampling,

tisample to record, and make various recording settings and AUDIO INPUT set-

☞p.74)

tings. (

on recorded samples or samples that were loaded into internal memory in Disk mode.

☞p.84)

(

loop start, end address, and turn loop or reverse playback on/off. (

assign, zone, and original key etc.

☞p.101)

(

multisamples and samples. (

and make settings for them. (

☞p.91)

☞p.103)

☞p.104)

Here you can set the input level and make other basic settings for sampling (sample recording), and make basic settings for multisamples and samples. Normally you will record samples in this page.

1.1–1: Sample

Select the multisample and index sample for sampling, and make basic settings.

1.1–1a

1.1–1b

1.1–1c 1.1–1e

1.1–1a: MS (Multisample Select), Index, Keyboard & Index

MS (Multisample Select) [000...999]

Selects the multisample. Each multisample consists of the samples for one or more indexes (an “index” is a range or zone of keys). This parameter can also be set from 2.1: Sample Edit–4.1: Multisample.

Here’s how to create a new multisample.

1 Use numeric keys [0]–[9] to specify the new multisample

number, and press the [ENTER] key to open the “Create New Multisample” dialog box.

1.1–1d

2 If you wish to create a stereo multisample, check “Ste-

reo.”

3 To create the multisample, press the [F8] (“OK”) key. To

cancel, press the [F7] (“Cancel”) key. A multisample will be created as follows (example).

Mono 001: NewMS_ _ _ _ _ _001 Stereo 001: NewMS_ _ _ _ _ _001-L,

002: NewMS_ _ _ _ _ _001-R

Index [xxx (001...128)/yyy (001...128)]

Select s the index that you wish to sample, or to which you wish to assign a sample. Each zone within a multisample is called an “index.” For example if a 61-note MIDI keyboard is connected and you want to divide the multisample into octaves (12 keys), you would create six zones. Each of these zones is an “index.” You can assign a sample to each index.

xxx: The selected index. Choose the desired index. yyy: The total number of indexes in the multisample.

To select an index, hold down the [ENTER] key and play a note on the keyboard of a connected MIDI instrument. The index that includes the note you played will be selected. The speciﬁed key will be the base key, and will be displayed in gray in “Keyboard & Index” (

☞“Keyboard & Index”).

This parameter can also be set in 2.1: Sample Edit–4.1: Multisample. The sampling and editing that you perform in these pages will apply to the index you select here.

Immediately after the power is turned on, this will be 001/

001. This indicates that only one index exists. T o incr ease the number of indexes, use “CREATE” in this page. When you press the [F6] (“CREATE”) key, indexes will automatically be added from the left-most zone, as 002/002, 003/003, ... The position, zone width, and original key location of the index that is created when you press the [F6] (“CREATE”) key can be set in “Create(Create Zone Preference)” (1.1–3b, 4.1–3a). You are also free to modify the zone width and original key location later.

Stereo

A “Stereo” indication will appear at the top right of LCD display if you have selected a stereo multisample or sample, or if you recorded a sample with “Mode (Sample Mode)” (1.1–2a) set to Stereo.

About stereo multisamples and stereo samples

Stereo multisamples: Under the following conditions, two multisamples will be handled as a stereo multisample.

• If you checked “Stereo” when creating a new multisample (i.e., selected a new multisample in “MS”

1.1–1a)

• If you executed the Utility “MS To Stereo” (1.1–3g)

• If you sampled with “Mode (Sample Mode)” (1.1–2a) set

to Stereo

In these cases, a stereo multisample that meets the following conditions will be created automatically.

1. The last two characters of the two multisample names

will be -L and -R respectively, and the earlier portion of the names are identical.

2. The two multisamples will have the same number of

indexes, and their zone settings are identical.

Stereo samples: Under the following condition, two samples will be handled as a stereo sample.

• When the samples were recorded with a “Mode (Sample Mode)” (1.1–2a) setting of Stereo.

• If you executed the Utility “SMPL To Stereo” (1.1–3g)

In this case, a stereo sample that meets the following conditions will be created automatically.

1. The last two characters of the sample name will be -L and

-R respectively, and the earlier portion of the names are identical.

2. Two samples that satisfy condition 1. for stereo multi-

samples are selected.

Stereo multisamples and samples are distinguished internally by their multisample name or sample name. If you use Utility “Rename MS” or “Rename SMPL” (1.1–3g) etc. to modify the multisample name or sample name, please pay attention to the above conditions.

As a condition of a stereo sample, the sampling rates must be identical. You can verify the sampling rate of a sample by using the Utility “Rate Convert” (2.1–2e). Be aware that if you use Utility “Rate Convert” to convert the -L and -R samples to differing sampling rates, they will not be handled as a stereo sample.

Keyboard & Index

Original Key (currently selected Original Key is reversed)

Index zone (currently selected Index is reversed)

Index02 Index03 Index04 Index05

Index01

Lowest note of the displayed keyboard

By holding down the [ENTER] key and play a note on the keyboard of a connected MIDI instrument, you can select the corresponding index, and the specified key will be the base key and will be shown in gray.

C4 key

Highest note of the displayed keyboard

This shows the zones and original key locations of the currently selected multisample. The white triangle indicates the C4 key. The note numbers at left and right are the range of notes displayed.

The key displayed in gray is called the base key, and functions as follows.

• In the 2.1: Sample Edit, Edit2 page, pressing the [AUDITION] key will play the sample of the selected “Index” from “S (Edit Range Start)” to “E (Edit Range End)” in one-shot mode. At this time, the sample will sound at the pitch of the base key. In pages other than the 2.1: Sample Edit, Edit 2 page, the sample of the currently selected “Index” will continue playing at the pitch of the base key as long as you hold down the [AUDITION] key.

• The grid display in 2.1: Sample Edit and the 3.1: Loop Edit Edit2 page is displayed relative to the playback pitch at the base key and the specified tempo BPM/ resolution (set in the “Grid” utility).

• The Utility “Pitch BPM Adj.” (4.1–3b) function is relative to the playback pitch of the base key.

You can use Utility “Keyboard Disp.” (1.1–3g) to change the displayed range of the keyboard.

1.1–1b: SMPL, Orig.K, TopK

Here you can set the sample, original key, and range of the selected index.

SMPL (Sample Select)

[----: ---No Assign----, 0000...3999]

Selects a sample that you recorded or that you loaded in Disk mode. That sample will sound when you play a note within the index range on a connected MIDI instrument.

This parameter can also be set in 2.1: Sample Edit–4.1: Multisample. The sampling and editing operations that you perform in these pages will affect the sample you select here.

---: ---No Assign----: A sample has not been assigned to the

index. Playing a note on a connected MIDI instrument will not produce sound. To record a sample, select a vacant sample such as 0000:. When you record a sample, data will be loaded into the selected sample. The sample name (such as NewSample_0000) will be shown beside the number. This sample name can be modiﬁed using the Utility “Rename SMPL” (1.1–3g). You can also record a sample even when ----:---No Assign---is displayed. In this case, a sample number will be selected automatically. Even if you record to a sample that already contains data, the selected sample will not be overwritten –the data will automatically be sampled to a vacant sample number, and the newly recorded sample will replace the previous sample in the index. If you wish to delete a sample, execute the Utility “Delete SMPL” (1.1–3g).

SMPL

1.1

2.13.14.15.15.27.2

Orig.K (Original Key) [C–1...G9]

Speciﬁes the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key.

For example, suppose that you set “Orig.K” to F2, and recorded a sample. If the index zone is C2–B2, playing the F2 key on a connected MIDI instrument will sound the sample at its actual pitch. Playing the F#2 key will sound the sample a semitone higher. Playing the E2 key will sound the sample a semitone lower. This sampled sound will change pitch in semitone steps in the range from B2 down to C2, centered at F2. The location of the original key can also be viewed in “Keyboard & Index.”

If “Constant Pitch” (4.1–2a) is checked, the sample will be sounded at its original pitch by all notes in the zone.

TopK (Top Key) [C–1...G9]

Speciﬁes the highest key in the zone of the index. The zone is deﬁned by this “TopK.”

For example, suppose that you set a “TopK” of B2 for index 001/002, and a “TopK” of B3 for index 002/002. This means that the zone of index 001 will be B2 and lower, and the zone of index 002 will be C3–B3.

■ 1.1–1c: REC, START/STOP

If when you execute “CREATE” (1.1–1d, 4.1–1c) or “INSERT” (4.1–1c) it is not possible to create a new

index according to your Create (Create Zone Preference) settings, one of the following dialog boxes will appear. If you wish to create a new index, perform the following procedure.

• Set Top Key: Select “Index” 001, set “Pstn (Position)” (1.1–3b, 4.1–3a) to L (Left), and execute “CREATE” or “INSERT” to open the dialog box. So that a new index can be created at the left of index 001, reset the “Top Key” setting, and press the [F8] (“OK”) key.

• Set Zone Range: If you execute “CREATE” when it is not possible to create a new index according to the Create (Create Zone Preference) settings, the following dialog box will appear. This dialog box will also appear if you execute “INSERT” when it is not possible to create a new index with the contents of the “CUT” or “COPY” (4.1–1c). Reset the “Range (Zone Range)” (1.1–3b, 4.1–3a), and press the [F8] (“OK”) key.

This is where you sample (i.e., record a sample). Use the [F4] (“REC”) key and [F5] (“START/STOP”) keys to sample.

: This is the normal state. : Press the [F4] (“REC”) key to enter sam-

pling standby mode. To cancel recording, press the [F4] (“REC”) key once again. When “Mode (REC Mode)” is Manual, pressing the [F4] (“REC”) key will enter sampling standby mode. Then when you press the [F5] (“START”) key, recording will begin. (

☞”Mode (REC Mode),” “Count Down”)

When “Mode (REC Mode)” is Auto, pressing the [F4] (“REC”) key and then the [F5] (“START”) key will enter sampling standby mode. Recording will begin when the input level exceeds the “Threshold” value. ( Mode),” “Threshold”)

: Press the [F5] (“STOP”) key to stop record-

ing.

In the state, it is not possible to edit using the Utility commands.

■ 1.1–1d: CREATE

Here you can create an index. Use this when you wish to add a sample to a multisample. When you press the [F6] (“CREATE”) key, a new index will be created according to the settings of the Create (Create Zone Preference) (1.1–3b, 4.1–3a) parameters “Pstn (Position),” “Range (Zone Range),” and “Orig.K (Orig.K Position).” If you wish to delete an existing index or to exchange indices, use 4.1: Multisample.

“CREATE” will be displayed if the 1.1: Recording, Sample page or the 4.1: Multisample, Edit 1, Edit 2 pages are selected.

☞”Mode (REC

■ 1.1–1e: UTILITY ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename

SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3g)

1.1–2: Rec. (Recording)

1.1–2a

1.1–2b

1.1–2c

1.1–2a: Sample Setup

Here you can select the memory bank into which you will sample, specify the sampling time, and select either mono or stereo sampling.

Time (Sample Time)

Speciﬁes the time that you wish to sample. This can be set in

0.001 second increments. Immediately after the power is turned on, this will show the remaining memory (available sampling time) of the selected memory bank. If you record a sample in this condition (“REC”→“START”→“STOP”), the change in time will be displayed automatically. If you have sufﬁcient memory, it is a good idea to set an ample “Time (Sample Time),” and to use the Utility “Truncate” (2.1–2e, 3.1–2e) after you sample to delete unwanted portions of the sample and reduce it to the minimum size necessary. You can also press the [F5] (“START/STOP”) key to stop recording after you have recorded the desired material (

☞ For details on the sampling procedure, refer to BG

p.67).

1.1–2d 1.1–2e

The remaining amount of memory will depend on the following conditions.

1. The amount of memory that is installed.

2. Whether the sample is stereo or mono. When the “Mode

(Sample Mode)” (1.1–2a) is set to Stereo, the memory capacity will be halved.

3. The time speciﬁed for “Pre Trigger” (1.1–2b: a function

that automatically samples the sound even before you begin sampling) will be subtracted from the amount of memory that actually remains.

Bank (RAM Bank) [1...6]

Selects the memory bank into which you will sample. The sample data memory is organized into six banks, each with 16 Mbytes. The TRITON-Rack comes with 16 Mbytes of memory (SIMM) installed as standard. In this case, (RAM)1 will always be selected as the memory bank, and it will not be possible to select (RAM)2, 3, 4, 5 or 6. By installing separately sold 72-pin SIMM boards you can expand the memory to a maximum of 96 Mbytes (three 32 Mbyte SIMM boards) (

Installed SIMM boards and available banks

SIMM Slot No. SIMM Bank (RAM Bank)

Slot1 16 Mbyte (factory-installed) 1

Slot2 16Mbyte 3

Slot3 16Mbyte 5

On the TRITON-Rack, a 16 Mbyte SIMM is factoryinstalled in slot 1. For “Bank (RAM Bank)” you can select 1. For example if slot 1 contains the factoryinstalled 16 Mbyte SIMM and you have installed a 32 Mbyte SIMM in slot 2 and a 16 Mbyte SIMM in slot 3, “Bank (RAM Bank)” can be set to 1 (16 Mbyte), 3 (16 Mbyte), 4 (16 Mbyte), or 5 (16 Mbyte). Banks are in 16 Mbyte units. (If 32 Mbyte SIMMs are installed in slot 1, slot 2, and slot 3, you will be able to select all banks, and the total capacity will be 96 Mbytes.)

☞p.243).

32Mbyte 1, 2

32Mbyte 3, 4

32Mbyte 5, 6

Mode (Sample Mode) [L-Mono, R-Mono, Stereo]

Select s the channel(s) to be sampled, to specify whether a mono or a stereo sample will be recorded. Depending on the “Input1, Input2” (1.1–3a) settings, the external source from the AUDIO INPUT 1 and 2 jacks will be sent, either as direct sound without being routed through an effect, or as effect-processed sound routed through an insertion effect, to the L/R bus and sampled from the internal L and R channels.

L-Mono: The sound of the internal L channel will be sampled in mono. R-Mono: The sound of the internal R channel will be sampled in mono. Stereo: The sound of the internal L and R channels will be sampled in stereo. When you sample in stereo, a stereo multisample or sample will be created.

Example 1: Sampling a monaural source connected to AUDIO INPUT 1 without applying internal effects

Input1 “Lvl (Level)” (1.1–3a) 127 Input1 “Pan” (1.1–3a) L000 Input1 “BUS (BUS(IFX)Select)”(1.1–3a) L/R

“Recording Level” (1.1–2c, 1.1–3e)as appropriate “Mode (Sample Mode)” (1.1–2a) L-Mono

Example 2: A monaural source connected to AUDIO INPUT 1 routed through the internal insertion effect IFX 052: Rev Hall, and sampled in stereo

Input1 “Lvl (Level)” (1.1–3a) 127 Input1 “Pan” (1.1–3a) C064 Input1 “BUS (BUS(IFX)Select)”(1.1–3a) IFX1 IFX select (7.2) 052: Reverb Hall

and make settings

“Recording Level” (1.1–2c, 1.1–3e)as appropriate “Mode (Sample Mode)” (1.1–2a) Stereo

Example 3: A stereo source connected to AUDIO INPUT 1 and 2, and sampling without applying internal effects

Input1 “Lvl (Level)” (1.1–3a) 127 Input1 “Pan” (1.1–3a) L000 Input1 “BUS (BUS(IFX)Select)”(1.1–3a) L/R Input2 “Lvl (Level)” (1.1–3a) 127 Input2 “Pan” (1.1–3a) R127 Input2 “BUS (BUS(IFX)Select)”(1.1–3a) L/R

“Recording Level” (1.1–2c, 1.1–3e)as appropriate “Mode (Sample Mode)” (1.1–2a) Stereo

Example 4: A stereo source connected to AUDIO INPUT 1 and 2, routed through internal insertion effect IFX1 008: St.Graphic 7EQ, and sampled in stereo

Input1 “Lvl (Level)” (1.1–3a) 127 Input1 “Pan” (1.1–3a) L000 Input1 “BUS (BUS(IFX)Select)”(1.1–3a) IFX1 Input2 “Lvl (Level)” (1.1–3a) 127 Input2 “Pan” (1.1–3a) R127 Input2 “BUS (BUS(IFX)Select)”(1.1–3a) IFX1 IFX1 select

“Recording Level” (1.1–2c, 1.1–3e)as appropriate “Mode (Sample Mode)” (1.1–2a) Stereo

When you ﬁnish recording a stereo sample, you may hear a slight noise. This does not affect the audio data that has been sampled.

(7.2) 008: St.Graphic

7EQ and make settings

1.1–2b: REC Setup

Mode (REC Mode) [Manual, Auto]

Select s the method by which sampling will be started. Manual: Sampling will start when you press the [F5]

(“START”) key from the sampling standby condition.

1 Press the [F4] (“REC”) key to enter sampling standby

mode.

2 Use the “Recording Level” (1.1–2c, 1.1–3e) slider to

adjust the sampling level.

Be careful of changes in the monitoring volume level (

☞“Recording Level”).

SMPL

1.1

2.13.14.15.15.27.2

3 Sampling will begin when you press the [F5] (“START”)

key. If you use the “Count Down” function, pressing the [F5] (“START”) key will cause sampling to begin after the metronome sounds a count-down.

4 To stop sampling, press the [F5] (“STOP”) key once

again. Sampling will end automatically if you continue sampling to the end of the “Time (Sample Time)” (1.1– 2a).

Auto: Sampling will begin automatically when the input level exceeds the “Threshold” setting.

1 Perform steps 1 and 2 described above. 2 Adjust the “Threshold” setting. The black triangles at

both sides of the “Recording Level” level bar display will indicate the “Threshold” level. Normally, this should be set as low as possible without allowing noise to trigger sampling.

3 Press the [F5] (“START”) key.

Sampling will automatically begin when the input level exceeds the “Threshold” setting.

4 To stop sampling, perform step 5 described above.

Threshold [–63dB...0dB]

When performing auto sampling (“Mode (REC Mode)” Auto), this sets the level at which sampling will begin (

☞“Mode (REC Mode)” Auto, step 3).

This will not be displayed if “Mode (REC Mode)” is set to Manual.

Count Down (Count Down REC) [Off, 4, 8, 3, 6]

When you begin sampling with “Mode (REC Mode)” set to Manual, this parameter speciﬁes whether there will be a count-down before sampling begins.

Off: When you press the [F5] (“START/STOP”) key from sampling standby mode, sampling will begin immediately. 4, 8, 3, 6: When you press the [F5] (“START/STOP”) key from sampling standby mode, sampling will begin after a count-down of the speciﬁed length, based on the tempo of “ (Tempo).” If you specify 4, the count will be 4-3-2-1-0, and sampling will begin on the count of 0.

This will not be displayed if “Mode” is set to Auto.

 (Tempo) [040...240]

This sets the tempo of the count-down when “Count Down” is used. The tempo speciﬁed here will also be used when the LFO or delay time of the insert effect is controlled by the BPM/ MIDI SYNC function during sampling (

☞p.212). This can

also be set by the REALTIME CONTROLS C-mode [TEMPO] knob.

Pre Trigger (Pre Trigger REC) [000...500ms]

When sampling the sound that occurs before sampling is actually triggered, this setting speciﬁes the time length that will be “pre-sampled.” When sampling in auto mode (“Mode (REC Mode)” Auto), sampling will begin when the input signal exceeds the speciﬁed threshold level “Threshold” (1.1–2b). However depending on the “Threshold” settings, the early portion of the attack sound may be lost, and in such cases you can use “Pre Trigger.” Also, when sampling manually (“Mode (REC Mode)” Man- ual) and using “Count Down,” you may intend to play your instrument etc. at precisely the downbeat but actually be slightly ahead of the beat. In such cases, you can use Pre Trigger REC to sample without loosing the beginning of the note.

If you increase this value, you will always be sampling more than you need. Normally you should leave this set at 000ms, and set it to a minimal value only when necessary.

1.1–2c: Recording Level

Recording Level [–inf, –72.0... 0.0...+18.0dB]

Adjust the ﬁnal level of the signal that will be sampled.

This can also be set in the Input/Pref page.

When you press the [F4] (“REC”) key you will enter sampling standby mode, and you will be able to adjust the signal level. Initially you should set this to 0.0, and make adjustments so that the level of the bar is as high as possible without exceeding 0 dB. If 0 dB is exceeded, “CLIP!” will be displayed. This indicates that the sampling signal level is excessive. Adjust the level so that “CLIP!” does not appear.

In order to sample with the maximum dynamic range, use the [INPUT] knob to adjust the level as high as possible without making “ADC OVER!” appear. Then set “Lvl” (Input/Pref page) to 127, and adjust “Recording Level” (Recording page, Input/Pref page) as high as possible without making the “CLIP!” indication appear.

In the sampling standby condition after you press the [F4] (“REC”) key, the sound that is output from the AUDIO OUTPUT L/MONO, R and from the headphones will be adjusted by the “Recording Level,” but when you cancel sampling standby condition or cancel sampling, the sound will be output at the 0 dB level. If you have lowered the “Recording Level” below 0 dB, please be careful of sudden changes in volume.

If the sound is still distorted even if you lower the “Recording Level,” it is possible that distortion is

occurring in the input stage of the AUDIO INPUT, or that distortion is being caused by the settings of the internal effect.

Excessive signal levels in the input stage of the AUDIO INPUT can be veriﬁed in the Recording page, Input/ Pref page. If an indication of “ADC OVER!” appears above the “Recording Level” bar display, the distortion is due to excessive levels in the input stage of the AUDIO INPUT. Adjust the [INPUT] knob until the "ADC OVER!" display no longer appears.

If there is still distortion even after [INPUT] has been lowered, it is possible that the distortion is being caused by the settings of the internal effect. Lower the Input 1, 2 “Lvl” (Input/Pref page), or adjust the effect settings.

CLIP!

“Mode” (1.1–2a)

L-Mono R-Mono

Stereo

AUDIO INPUT

ADC OVER!

INPUT (MIN...MAX)

Analog to Digital Converter

ADC

“Lvl” (1.1–3a) [127=0dB]

“Pan” (1.1–3a)

Insert Effects

“Recording Level” (1.1–2c) [–inf ... 0.0dB ... +18.0dB]

If you have sampled at a low input level, you can execute Normalize in Utility “Norm./Level Adj.” (2.1–2e) to amplify the level to the maximum possible without clipping.

■ 1.1–2d: SW1, SW2

1.1–3b: Create (Create Zone Preference)

Effect dynamic modulation for the functions assigned to “SW1” and “SW2” can be controlled in realtime while you sample. This setting is made in 5.2: Ctrl Setup.

: On, : Off

■ 1.1–2e: UTILITY ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename

SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3g)

1.1–3: In/Pref (Input/Preference)

Specify the input level from the rear panel AUDIO INPUT 1, 2, and set pan and balance. You can also set other setup parameters.

1.1–3a

1.1–3b

1.1–3c

1.1–3d 1.1–3e

1.1–3a: Input1, Input2

Here you can make adjustments for the input stage of the audio signal received at AUDIO INPUT 1 and 2.

These settings are valid only in Sampling mode. These settings will also be valid when you move from Sampling mode to Global mode.

In modes other than Sampling mode, settings for Audio Input 1 and 2 are made in “Audio In (Setup for COMBI, PROG, MULTI)” (GLOBAL 1.1: System, Audio In).

Lvl (Level) [000...127]

Speciﬁes the level of the signal immediately after the analog audio signal from AUDIO INPUT 1 and 2 is converted into a digital signal. Normally you will set this to 127. If you hear distortion even after lowering this level, it is possible that the distortion is occurring before the A/D converter. Adjust the [INPUT] knob or the output level of your external sound source so that the “ADC OVER!” indication above the “Recording Level” display does not appear.

Pan [L000...C064...R127]

Sets the panning of the analog audio signal from AUDIO INPUT 1 and 2. Normally you will set Input 1 to L000 and Input 2 to R127. This allows you to sample a stereo audio source in stereo (

☞For example settings, p.77, BG p.68).

BUS (BUS(IFX) Select) [L/R, IFX1...5, Off]

Select s the bus. L/R: Select this when you wish to sample the incoming analog audio signal without applying an insert effect. Normally you will select L/R. IFX1...5: Select one of these when you wish to apply an insert effect to the incoming audio sample as you sample it (

☞p.144).

Off: The analog audio signal will not be input.

1.1–3f 1.1–3g

These settings determine the initial state of the indexes that are created when you press the [F6] (“CREATE”) key (1.1– 1d, 4.1–1c). Each new index will be created according to the settings you make here, but you are free to modify the settings later.

Pstn (Position) [R, L]

Speciﬁes whether the new index will be created at the right or left of the selected index.

R (Right): The new index will be created at the right of the currently selected index. L (Left): The new index will be created at the left of the currently selected index.

Range (Zone Range) [001...127]

Speciﬁes the key range of the zone of the newly created index.

001: A single note of the keyboard will be the index. The sample of the index will sound at its original key when you play that note. This setting can be used similarly to pad (keyboard) type samplers.

002...127: The sample will change pitch in semitone steps across the speciﬁed number of keys, centered on the original key “Orig.K” (1.1–1b, 4.1–1b). If “Constant Pitch” (4.1–2a) is checked, the pitch will not change.

Orig.K (Original Key Position) [Btm, Cntr, Top]

Speciﬁes where the original key will be located in the zone (speciﬁed by “Zone Range”) for a newly created index.

Btm (Bottom): The lowest key in the zone will be the original key. Cntr (Center): The middle key in the zone will be the original key. Top: The top key in the zone will be the original key.

1.1–3c: Auto Loop

Auto Loop (Auto Loop On) [Off, On]

On (Checked): The recorded sample will automatically be played with looping turned on (

☞“3.1: Loop Edit”).

1.1–3d: Metro (Count Down REC Metronome)

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

Speciﬁes the output destination of the metronome sound played by “Count Down” (1.1–2b).

L/R: The metronome will be output from OUTPUT (MAIN) L/Mono, R, and the headphones. 1, 2, 3, 4: The metronome will be output from OUTPUT (INDIVIDUAL) 1, 2, 3, or 4 respectively.

Lvl (Metronome Level) [000...127]

Speciﬁes the level of the metronome sound played by “Count Down.”

1.1–3e: Recording Level [–inf, –72.0... 0.0...+18.0]

Adjusts the signal level at the ﬁnal stage of sampling (☞1.1– 2c).

SMPL

1.1

2.13.14.15.15.27.2

■ 1.1–3f: SW1, SW2

Effect dynamic modulation for the functions assigned to “SW1” and “SW2” can be controlled in realtime while you sample. (

☞1.1–2d)

■ 1.1–3g: UTILITY

For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”

Delete SMPL (Delete Sample)

This command deletes the currently selected sample, or samples that are not mapped to (i.e., used by) any multisample or drum kit, or all samples.

1 Select “Delete SMPL” to open the following dialog box.

2 Use the [INC], [DEC] keys or the [VALUE] dial to select

the sample(s) that you wish to delete. Selected: The currently selected sample will be deleted. The sample assignment for “Index” (1.1–1a) will change to ---No Assign---. Unmapped Samples: Delete all samples that are not mapped to (used by) any multisample or drum kit. All Samples: All samples in memory will be deleted. The sample assignments of all multisamples will change to ---No Assign---.

3 To execute the Delete Sample command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

If the sample data (waveform data) of the sample you delete is being used by another sample, the sample data itself will not be deleted. Only the sample will be deleted.

Copy SMPL (Copy Sample)

This command copies the currently selected sample to another sample.

The sample number of the copy destination will automatically be added to the sample name. If necessary, use “Rename SMPL” (1.1–3g) to rename it. At this time, be careful that the name is not identical to any other sample. (The sample name is used to distinguish stereo samples.

1 Use “SMPL” (1.1–1b) to select the copy source sample. 2 Select “Copy SMPL” to open the following dialog box.

☞p.75)

4 If you check “with Sample Data”: Executing the copy

will simultaneously copy the sample data (waveform data) as well. The copy source and copy destination samples will exist as completely independent samples. For example, you would use this when you wish to start with the same sample data, and edit it separately in 2.1: Sample Edit to create two or more different types of sample. If you do not check “with Sample Data”: Executing the copy will not copy the sample data (waveform data). The newly created sample will share the sample data of the copy source sample. For example, you would use this when you wish to use 3.1: Loop Edit to create two or more versions of the same sample data with different loop addresses. Sample memory area will not be consumed by this type of copy. If you use 2.1: Sample Edit to edit the sample data, the results will affect all samples that share this sample data.

Sample Memory

"Copy SMPL" with Sample Data

"Copy SMPL"

0000: NewSample_0000

0001: NewSample_0001

0000: NewSample_0000

0001: NewSample_0001

Sample Data

Sample Memory

Sample Data

5 To execute the Copy Sample command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Move SMPL (Move Sample)

This command lets you move the currently selected sample to the speciﬁed number (i.e., to change the sample number), or to rearrange the sample numbers so that they start from 0000 after samples have become discontinuous as a result of creating or editing. (

When you reassign the sample numbers, the sample numbers within the multisamples and drum kits that use these sample will also be automatically reassigned. (This means that the samples of the multisamples and drum kits need not be reassigned following this operation.)

☞Following illustration)

3 Use “To: Sample No.” to specify the copy destination

sample number.

When copying a stereo sample, specify both the L

and R channels for the copy destination sample number.

1 Use “SMPL” (1.1–1b) to select the copy source sample. 2 Select “Move SMPL” to open the following dialog box.

3 Use “To” to specify the move destination sample number.

When moving a stereo sample, you must move the samples individually. If you wish to reassign (pack) all sample numbers starting at 0000, check “Optimize Empty Sample No.”

4 If “Adjust Sample Assign in Drum Kit” is checked, and

if the samples being moved are mapped to (used by) a drum kit, those sample numbers will also be automatically modiﬁed. Normally you will leave this checked.

Samples mapped to (used by) multisamples will be automatically changed to the new sample numbers regardless of this setting.

5 To execute the Move Sample operation, press the [F8]

(“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

Example)

If data already exists at the move destination sample number, the sample will not be overwritten; instead, all subsequent samples will be renumbered upward.

Move 0003 to 0001

Example)

If there is no empty sample number and forward movement is not possible, samples will be renumbered downward.

Move 3996 to 3999

Rename SMPL (Rename Sample)

This command renames the currently selected sample.

1 Use “SMPL” (1.1–1b) to select the sample whose name

you wish to change.

2 Select “Rename SMPL” to open the following dialog box.

3 Press the [F5] (“Name”) key to move to the text dialog

box, and input the sample name (maximum of sixteen characters).

If the multisample is stereo and a stereo sample is selected, you can input up to fourteen characters for the sample name. This is because the last two characters are reserved for -L and -R. If you rename up to fourteen char acters of the sample of either the L or the R channel, the other sample will automatically be renamed.

4 To execute the Rename Sample command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

SMPL To Stereo (Change Sample Type)

This command changes a mono sample into a stereo sample. This can be executed only if the selected sample is mono.

1 Use “SMPL” (1.1–1b) to select the sample that you wish

to convert to stereo.

2 Select “SMPL To Stereo” to open the following dialog

box.

3 To execute the Change Sample Type command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. When you execute this command, the sample type will change as follows.

• The selected sample will become a stereo sample. “–L” will be overwritten into the last two characters of the sample name.

• An identically named sample will be created with “–R” as the last two characters of the sample name. Also, if the selected multisample is mono, it will change to stereo.

• The last two characters of the multisample name will be overwritten as “–L”.

• A new multisample will be created with the same name, but whose last two characters are “–R”.

• The stereo sample that was created will be assigned automatically.

Delete MS (Delete Multisample)

This command deletes the currently selected multisample or all multisamples.

1 Use “MS” (1.1–1a) to select the multisample that you

wish to delete.

2 Select “Delete MS” to open the following dialog box.

3 All Multisamples: Check this if you wish to delete all

multisamples.

4 Delete Samples too?: Check this if you wish to simulta-

neously delete the samples that are included in the multisample being deleted. However, samples that are mapped to (used by) other multisamples or drum kits will not be deleted.

5 To execute the Delete Multisample command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Even if you also choose to delete the samples that are included in the deleted multisample(s), any sample data (waveform data) used by these samples that is shared with other samples will not be deleted. Only the sample itself will be deleted.

Copy MS (Copy Multisample)

This command copies the selected multisample to another multisample.

The copy destination multisample number will automatically be included in the multisample name of the copy destination. If necessary, use “Rename MS” (1.1– 3g) to rename it. When doing so, make sure that the name is not identical to any other multisample name. (The multisample name is used to distinguish stereo multisamples.

1 Use “MS” (1.1–1a) to select the copy source multisample. 2 Select “Copy MS” to open the following dialog box.

3 Use “To: Multisample No.” to specify the copy destina-

tion multisample number.

When copying a stereo multisample, copy both the L and R channels of the copy destination multisample number.

☞p.75)

SMPL

1.1

2.13.14.15.15.27.2

4 To execute the Copy Multisample command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. When a multisample is copied, the samples assigned to the multisample will also be copied at the same time. At this time, they will be automatically copied to vacant sample numbers. The sample data (waveform data) will be shared between the copy source and copy destination. (Additional sample memory area will not be consumed.)

Move MS

This command lets you move the currently selected multisample to the speciﬁed number (i.e., to change the multisample number), or to rearrange the multisample numbers so that they start from 000 after multisamples have become discontinuous as a result of creating or editing. ( illustration)

When you reassign the multisample numbers, the multisample numbers within the programs that use these multisamples will also be automatically reassigned. (This means that you do not need to reselect the multisamples in Program mode following this operation.)

1 Use “MS” (1.1–1a) to select the multisample that you

wish to move.

2 Select “Move MS” to open the following dialog box.

☞Following

Example)

If there is no empty multisample number and forward movement is not possible, multisamples will be renumbered downward.

Move 996 to 999

Rename MS (Rename Multisample)

This command modiﬁes the name of the currently selected multisample.

1 Use “MS” (1.1–1a) to select the multisample that you

wish to rename.

2 Select “Rename MS” to open the following dialog box.

3 Press the [F5] (“Name”) key to move to the text dialog

box, and input the multisample name (up to sixteen characters).

If the selected multisample is stereo, up to four-

teen characters can be input as the multisample name. This is because the last two characters are reserved for -L and -R. If you rename up to fourteen characters of the multisample of either the L or the R channel, the other multisample name will automatically be renamed.

4 To execute the Rename Multisample command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

3 In “To,” specify the move destination multisample num-

ber.

When moving a stereo multisample, you will need to move each part separately. If you wish to rearrange all multisamples consecutively, check “Optimize Empty Multisample No.”

4 If “Adjust Multisample Assign in Program” is checked

and if the multisamples being moved are used in programs, the multisample numbers of the programs will also be reassigned automatically. Normally you will leave this checked.

5 To execute the Move Multisample command, click the

[F8] (“OK”) key. If you decide not to execute, click the [F7] (“Cancel”) key.

Example)

If data already exists at the move destination multisample number, the multisample will not be overwritten; instead, all subsequent multisamples will be renumbered upward.

Move 003 to 001

MS To Stereo/MS To Mono (Change Multisample Type)

This command converts a mono multisample to stereo, or a stereo multisample to mono. If the selected multisample is mono, the dialog box will allow you to execute “MS To Stereo.” If the selected multisample is stereo, the dialog box will allow you to execute “MS To Mono.”

1 Use “MS” (1.1–1a) to select the multisample that you

wish to change to stereo or mono.

2 Select either “MS To Stereo” or “MS To Mono” to open

the dialog box.

3 To execute the Change Multisample Type command,

press the [F8] (“OK”) key. To cancel, press the [F7] (“Can- cel”) key. When you execute this command, the multisample type and sample assignment will change as follows.

MS To Stereo

• The selected multisample will be converted to stereo. The last two characters of the multisample name will be overwritten as -L.

• An identical multisample will be newly created, but with the last two characters of the multisample name overwritten as -R.

• Mono samples assigned to the original multisample will be assigned to both -L and -R multisamples.

• If samples assigned to the original multisample are part of a stereo pair of samples, the -L and -R samples will be assigned to the -L and -R multisamples.

: MS To Mono

• The selected multisample will be converted to mono. The -L or -R at the end of the multisample name will be deleted.

• Multisamples that are stereo pairs of the selected multisample will be deleted.

Conv. To Prog (Convert Multisample To Program)

This command converts the selected multisample into a program. If you have recorded a sample or created a multisample and would like to play it in Program mode, Combination mode, or Multi mode, you must create a program that uses that multisample for its oscillator. It is possible to set the Program mode OSC1 and OSC2 parameters “High, Low” (PROG 2.1–2a) to select a RAM bank, so that a multisample that you created in Sampling mode can be used in the program, and then to make program settings to specify how the multisample will be sounded. However by executing this “Conv. To Prog” command, you can quickly and easily convert the Sampling mode settings into the desired program, without having to make Program mode settings as described above.

1 Use “MS” (1.1–1a) to select the multisample that you

wish to convert to a program.

2 Choose “Conv. To Prog” to open the dialog box.

• If the selected multisample is stereo and the

program pan setting “Pan (Amp1 Pan)” is L000 and “Pan (Amp2 Pan)” is R127 (PROG 5.1–1b and 5.2–1), the

stereo position of the multisample in Sampling mode will be reproduced by the program.

5 Use “To” to select the convert destination program. You

can use the [BANK] keys, numeric keys [0]–[9], [VALUE] dial, and [INC], [DEC] keys to make your selection.

We recommend that you use bank I-E as the program bank for Sampling mode. Although you can specify any bank I-A–I-E, E-A–E-H for the convert destination program, the factory-preset preloaded programs and preloaded combinations are stored in banks I-A–I-D. We also recommend that you use banks E-A–E-H to store programs/combinations for the separately sold EXBPCM series options. Since the above banks are used for these speciﬁc purposes, you should use bank I-E for Sampling mode.

6 To execute the Convert Multisample To Program com-

mand, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Keyboard Disp. (Keyboard Display)

This command selects the range of the keyboard display. Normally you will select 88Key Normal (A0–C8).

1 Select “Keyboard Disp.” to access the dialog box.

SMPL

3 Press the [F5] (“Name”) key to move to the text dialog

box, and input the program name (up to sixteen characters). By default, the multisample name will be speciﬁed.

4 If “Use Destination Program Parameters” is unchecked:

Executing the command will replace the multisample of the convert destination program with the multisample that is selected here, and will initialize the settings of the remaining program parameters. The sound that you hear in Sampling mode will be accurately reproduced by the program. A monaural multisample will be converted into a program with an “Mode (Oscillator Mode)” (PROG 2.1–1a) of Single, and a stereo multisample will be converted into a Double program. If “Use Destination Program Parameters” is checked: Executing this command will replace the multisample of the convert destination program with the multisample that is selected here, and will not initialize the settings of the remaining program parameters. Use this setting if you wish to use the parameter settings of a preset program, etc.

If you check “Use Destination Program Parameters,” be aware of the following points.

• If the selected multisample is mono, the “Mode (Oscillator Mode)” of the convert destination program must be Single. Conversely, if the selected multisample is stereo, the “Mode (Oscillator Mode)” of the convert destination program must be Double. If you attempt to execute this command when these conditions are not satisfied, a message will indicate “Oscillator Mode conflicts.” You will need to change the “Mode (Oscillator Mode)” setting of the convert destination program.

2 Use the [INC], [DEC] key to select the displayed range. 3 To execute the Keyboard Display command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

1.1

2.13.14.15.15.27.2

SMPL 2.1: Sample Edit

Here you can edit the sample data (waveform data) that you sampled or loaded in Disk mode. Editing operations such as deleting unwanted portions of the waveform, reversing the waveform, or lowering the sampling frequency can be performed in detail while viewing the “sample waveform display.”

2.1–2: Edit2

2.1–2a

2.1–2b

2.1–2c 2.1–2d

2.1–2e

2.1–1: Edit1

2.1–1a

2.1–1b

2.1–1a: MS, Index, Keyboard & Index, SMPL

MS (Multisample Select) [000...999]

Select s the multisample that contains the sample you wish to edit (

☞1.1–1a).

Index [xxx (001...128)/yyy (001...128)]

Selects the index of the sample you wish to edit. Your editing will affect the sample of the index that you select here, and the waveform will appear in the “sample waveform display”(2.1–2a) (

☞“Keyboard & Index” 1.1–1a).

Keyboard & Index

(☞1.1–1a)

SMPL (Sample Select)

Selects the sample for the selected index. When you change

“Sample,” the selected sample will be assigned to the speci- ﬁed index. (

■ 2.1–1b: UTILITY ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename

SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3g)

☞1.1–1a).

[----: ---No Assign----, 0000...3999]

☞1.1–1b)

2.1–2a: Sample waveform display

Sample waveform display

This displays the waveform of the selected sample. The horizontal axis is the sample address (time axis), and the vertical axis is the sample level.

The bold line in the display indicates the portion of the entire sample waveform that is currently shown in the screen. As you zoom-in on the time axis, you will see that a smaller proportion of the waveform is shown in the screen.

2.1–2b: Edit (Audition Plays), Zero,

S (Edit Range Start) [0000000...] E (Edit Range End) [0000000...]

This speciﬁes the range (start address and end address) of the sample that will be edited by UTILITY menu commands. (This is shown in sample address units.) The range you specify here will be highlighted in the “sample waveform display.”

To hear the sound of the speciﬁed range, press the [AUDITION] key. The sample will sound from the “S (Edit Range Start)” to the “E (Edit Range End)” points, at the pitch of the base key (displayed in gray). ( board & Index” 1.1–1a)

☞”Key-

Zero (Use Zero) [Off, On]

On (Checked): When setting “S (Edit Range Start)” and “E (Edit Range End),” it will be possible to select these only to locations where the waveform level is ±0 (i.e., where the waveform crosses the center line of the “sample waveform display”). You can use the [VALUE] dial, and [INC], [DEC] keys to automatically search for zero-cross addresses. By using the numeric keys [0]–[9] you can search for the zerocross address nearest to the value that you input. Off (Unchecked): “S (Edit Range Start)” and “E (Edit Range End)” can be set in increments of one. This is the normal setting.

 (Grid Tempo) [040...480(BPM)]

(☞3.1–2b)

■ 2.1–2c: L/R

This is valid only if a stereo sample is selected. This switches the display between the L channel and R channel of a stereo sample. Each time you press the [F3] (“L/R”) key, the display will alternate between the L channel and the R channel. The currently-displayed channel of the sample is shown in the upper right of the screen ([L] for the L channel, [R] for the R channel).

■ 2.1–2d: ZOOM

These buttons let you zoom-in and zoom-out the “sample waveform display” in the horizontal axis (sample addresses) or vertical axis (sample level).

: Press the [F4] key to zoom-in vertically. : Press the [F5] key to zoom-out vertically. : Press the [F6] key to zoom-out horizontally. : Press the [F7] key to zoom-in horizontally.

If you continue holding each key, zoom-in/out will occur repeatedly.

By zooming-in on the horizontal direction, you can move from the overall display where the waveform is shown as a solid line (1x magniﬁcation) to 2x or 4x magniﬁcation. (With 1x magniﬁcation, the display resolution of the LCD will be the same as the resolution of the sample addresses. For example if you change the sample address by one, the vertical line in the LCD that indicates the sample address will move in steps of one pixel.) In the vertical axis, you can zoom-in from 1x (full-range display) to 512x. Zoom-In/zoom-out will occur starting at the “S (Edit Range Start)” or “E (Edit Range End)” points you specify. (If a different parameter is selected when you zoom-in or -out, the zoom-in/out will be based on the last-selected point. If you re-select the “S (Edit Range Start)” or “E (Edit Range End)” points when the display is zoomed in or out, the display range will be adjusted so as to show the selected point.)

If the zoom ratio is low (1x or less), the “sample waveform display” may differ slightly from the displayed waveform before and after waveform editing, but this does not affect the playback sound. If this occurs, raising the zoom ratio will make the display accurate.

■ 2.1–2e: UTILITY

You can also use these commands if you wish to monomix a stereo sample and use it as a mono sample. However, be aware that once a sample has been mixed to mono, it is no longer possible to return it to a stereo sample.

The playback “S (Start)” (start address), “LpS (Loop Start)” (loop start address), and “E (End)” (end address) of the sample waveform data are speciﬁed in 3.1: Loop Edit, Edit2. If the above parameters are within the range of sample addresses deleted or moved by the editing command, their addresses will automatically be moved.

: About “Overwrite”

When “Overwrite” is unchecked: When the command is executed, the edited sample will be saved in a different sample number. The unedited sample will remain without change. When “Overwrite” is checked: When the command is executed, the edited sample will be overwritten onto the original sample (number). The original sample will be modiﬁed.

Normally, you will leave “Save to No.” at its default setting, and execute without checking “Overwrite.” When you execute, both the data before and after editing will be preserved, and the sample number of the edited data will be assigned as the sample of that index.

“LpS (Loop Start)” and “E (End)” (3.1–2b) must be located at least eight addresses apart. If as a result of executing the Utility “Truncate,” “Cut,” or “Rate Convert” (2.1–2e), the “LpS (Loop Start)” and “E (End)” would be separated by less than eight addresses, the display will indicate “Sample length is shorter than minimum.” Please set the “S (Edit Range Start)” and “E (Edit Range End)” appropriately.

SMPL

1.1

2.13.14.15.15.27.2

Before using the utility commands “Truncate”–”Volume Ramp” to edit sample waveform data, you must set “S (Edit Range Start”) and “E (Edit Range End)” to specify the range to be edited. Then select the desired utility menu command and execute it. The various utilities in this page can be selected from the Edit2 page “UTILITY.” (They cannot be selected in the Edit1 page.) For the procedure of selecting a utility command, refer to PROG 1.1–1d: UTILITY.

There is no compare function that lets you return the edited result to the state before editing. If you wish to preserve the unedited sample, uncheck the “Over-

write”

item in the dialog box of each UITLITY menu

command before you execute. For stereo samples, the L channel and R channel sam-

ples are edited simultaneously. If you wish to edit only the L channel or R channel, select a mono multisample, and select either the L channel or R channel sample for editing.

If you “Copy” a mono sample into the buffer, and then “Insert,” “Mix,” or “Paste” it to a stereo sample, the data will be inserted, mixed, or pasted into both the L and R sides. (The result will be that a stereo sample will be created.)

If you “Copy” a stereo sample into the buffer, and then “Insert,” “Mix,” or “Paste” it to a mono sample, the Land R-side data in the buffer will be mixed to mono, and then inserted, mixed, or pasted. (The result will be that a mono sample will be created.)

Truncate

This command deletes unwanted data that lies beyond the “S (Edit Range Start)” and “E (Edit Range End).” Use this command when you wish to delete silence at the beginning or end of the waveform data.

If you wish to delete unneeded (unplayed) sample data after setting the start address, loop start address, and end address, use the Utility “Truncate” found in 3.1: Loop Edit, Edit2 page.

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and use “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) to specify the editing range. You can press the [AUDITION] key to hear the portion that will be left by the “Truncate” command.

2 Select “Truncate” to open the following dialog box.

3 The editing range will be shown in Range “Start” and

“End.”

4 Use “Truncate” to select the portion that will be deleted.

Front & End: The sample data that lies before the “S (Edit Range Start)” and after the “E (Edit Range End)” will be deleted. Front: The sample data that lies before the “S (Edit Range Start)” will be deleted. End: The sample data that lies after the “E (Edit Range End)” will be deleted.

5 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

6 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite”. Normally, you will leave “Save to No.” at its default setting, and execute without checking “Overwrite.” ( “*”: About “Overwrite”)

7 To execute the Truncate command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key.

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Cut

This command deletes the data between the “S (Edit Range Start)” and “E (Edit Range End).” Sample data located after the deleted portion will be moved forward.

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and use “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) to specify the editing range.

You can press the [AUDITION] key to hear the portion that will be deleted by the “Cut” command.

2 Select “Cut” to open the following dialog box.

Clear

This command converts the data between “S (Edit Range Start)” and “E (Edit Range End)” to zero values. Sample data before and after the edited range will not move.

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and use “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) to specify the editing range.

You can press the [AUDITION] key to hear the portion that will be changed to zero-level by the “Clear” command.

2 Select “Clear” to open the following dialog box.

3 The range to be edited is shown by Range “Start” and

“End.”

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

6 To execute the Clear command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key.

Normally you will leave “Save to No.” at the default setting, and execute without checking “Overwrite.” When you execute, the original data and the edited data will both be preserved, and the sample number after editing will be assigned to the sample of the index.

☞p.85

3 The range to be edited is shown by Range “Start” and

“End.”

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

6 To execute the Cut command, press the [F8] (“OK”) key.

To cancel, press the [F7] (“Cancel”) key.

Copy

This command copies the sample data from the area between “S (Edit Range Start)” and “E (Edit Range End)” into the sample data buffer. This data can then be used by the “Insert,” “Mix” or “Paste” commands.

When “Copy” is executed, the data that is loaded into the buffer simply references the data of the original sample. After using “Copy,” do not delete the copy source sample until you “Insert,” “Mix” or “Paste” the copied data.

☞p.85

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and use “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) to specify the editing range.

You can press the [AUDITION] key to hear the portion that will be copied by the “Copy” command.

2 Select “Copy” to open the following dialog box.

3 The range to be copied is shown by Range “Start” and

“End.”

4 To execute the Copy command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key.

Insert

When you execute the “Insert” command, the sample data that was loaded into the buffer by the “Copy” command will be inserted starting at the “S (Edit Range Start)” address. The data that had been at that location will be moved backward.

From the buffer

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and set “S (Edit Range Start)” to specify the starting address. The “E (Edit Range End)” (2.1–1b) setting is ignored.

2 Select “Insert” to open the following dialog box.

3 To “Start” will indicate the starting address at which the

data will be inserted.

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

6 To execute the “Insert” command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key.

If the buffer into which data was placed by the “Copy” command contains no data, the display will indicate “Source sample is empty.”

☞p.85

2 Select “Mix” to open the following dialog box.

3 To “Start” will indicate the starting address at which the

data will be mixed.

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite”. Normally, you will leave “Save to No.” at its default setting, and execute without checking “Overwrite.” (

☞p.85

“*”: About “Overwrite”)

6 To execute the “Mix” command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key.

If the buffer into which data was placed by the “Copy” command contains no data, the display will indicate “Source sample is empty.”

Paste

Beginning at the “S (Edit Range Start)” address, this command places the sample data that was loaded into the buffer by “Copy” command. The original data will be deleted, and overwritten by the sample data from the buffer . You can also place sample data into a blank sample. This is convenient when you wish to “Copy” part of a sample and create a new sample based on it.

Pasting to a sample that contains sample data

From the buffer

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and set “S (Edit Range Start)” (2.1–1b) to specify the starting address. The “E (Edit Range End)”setting is ignored.

2 Select “Paste” to open the following dialog box.

SMPL

1.1

2.13.14.15.15.27.2

Mix

When you execute the “Mix” command, the sample that was loaded into the buffer by the “Copy” command will be mixed with the selected sample data. The data will be mixed starting at the “S (Edit Range Start)” address.

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and set “S (Edit Range Start)” (2.1–1b) to specify the starting address. The “E (Edit Range End)” setting is ignored.

From the buffer

3 To “Start” will indicate the starting address at which the

data will be pasted.

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite”. Normally, you will leave “Save to No.” at its default setting, and execute without checking “Overwrite.” (

☞p.85

“*”: About “Overwrite”)

6 To execute the “Paste” command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key.

If the buffer into which data was placed by the “Copy” command contains no data, the display will indicate “Source sample is empty.”

Pasting to a sample that contains no sample data

1 Select the vacant sample number that you wish to paste.

If you select ----:---No Assign---- for “Sample” and then access the dialog box for this command, a vacant sample number will be selected automatically.

The “S (Edit Start Range)” and “E (Edit Range End)” (2.1–1b) settings will be ignored, and will have no effect. The beginning of the sample will be placed at address 0.

2 Select “Paste” to open the following dialog box.

Norm./Level Adj. (Normalize/Level Adjust)

This command uniformly modiﬁes the data values (volume) of the data between the “S (Edit Range Start)” and “E (Edit Range End).” “Normalize” will amplify the level of the sample data as far as possible without allowing it to clip (distort). If the level of the sampled data is too low, you can execute this command to increase the dynamic range. “Level” allows you to raise or lower the level as desired.

Normalize

Level Adjust –12dB

3 In “Save to No.,” specify the save destination sample

number. If you wish to change it, re-specify the desired number.

If the sample data loaded into the buffer by “Copy” is stereo, the display will indicate “Save to No.(L)” and “(R).” Specify the save destination sample number for the L channel and the R channel.

4 To execute the “Paste” command, press the [F8] (“OK”)

key. To cancel without executing, press the [F7] (“Cancel”) key.

Insert Zero

This command inserts zero-level sample data (silence), beginning at the “S (Edit Range Start)” address. The data that previously occupied that location will be moved backward.

Size

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and set “S (Edit Range Start)” (2.1–1b) to specify the starting address. The “E (Edit Range End)” setting is ignored.

2 Select “Insert Zero” to open the following dialog box.

3 To “Start” will indicate the starting address at which the

data will be inserted.

4 In “Size,” specify the length of the data that will be

inserted.

5 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

6 If you wish to delete the original sample data and over-

7 To execute the “Insert Zero” command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

☞p.85

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and use “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) to specify the editing range.

You can press the [AUDITION] key to hear the portion that will be normalized or level-adjusted.

2 Select “Norm./Level Adj.” to open the following dialog

box.

3 The range to be edited is shown by Range “Start” and

“End.”

4 If you check “Normalize” and execute, the data will be

normalized. In this case, the “Level” setting will be ignored. If you wish to specify “Level” to modify the level of the sample data, do not check “Normalize.”

Each increase of +6 dB will approximately double the height of the waveform shown in the LCD. +12 dB will be an increase of approximately 4X, and +18 dB will be approximately 8X. Conversely, each decrease of –6 dB will halve the level, so that –6 dB will be 1/2X and –12 dB will be approximately 1/4X. Executing the "Level" command with positive (+) settings may cause the sound to clip (i.e., distort at the point that ampliﬁcation beyond the maximum level is impossible). Once the sample data has been boosted beyond the clipping point, re-executing this command with negative (–) settings of “Level” will simply lower the overall level of the clipped signal –the waveform will remain distorted.

Also, if executing “Level” with negative (–) settings causes any portion of the sample data to reach a zero level, the zero data will not return to its original state even if you re-execute “Level” with positive (+) settings.

5 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

6 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite”. Normally, you will leave “Save to No.” at its default set-

ting, and execute without checking “Overwrite.” (☞p.85 “*”: About “Overwrite”)

7 To execute the Normalize/Level Adjust command, press

the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Be aware that if sample data of an extremely low level is normalized, any noise included in the sample will also be ampliﬁed.

Volume Ramp

This command modiﬁes the data values (volume) between the “S (Edit Range Start)” and “E (Edit Range End).” Y ou can make the volume gradually increase (Fade In) or decrease (Fade Out) from the “S (Edit Range Start)” to the “E (Edit Range End).”

Fade In

Rate Convert

This command lowers the sampling rate (frequency) of the sampled data by 2/3, 1/2, 1/3, 1/4, or 1/6. The sampling frequency of input is ﬁxed at 48 kHz, but you can use this command to create “down-sampling” effects. The sample data is thinned to convert it into sample data of a lower sampling frequency. The “Rate Convert” command is always executed on all waveform data of the selected sample, regardless of the “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) settings.

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit.

2 In the Edit2 page “UTILITY,” choose “Rate Convert” to

open the following dialog box.

Fade Out

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit, and use “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) to specify the editing range.

You can press the [AUDITION] key to hear the portion on which “Volume Ramp” will be executed.

2 Select “Volume Ramp” to open the following dialog box.

3 The range to be edited is shown by Range “Start” and

“End.”

4 Use “Fade” to select the type of volume ramp.

In: The volume will be zero at Range “Start,” and will gradually increase toward the “End” volume. Out: The volume will gradually decrease from the Range “Start” volume, and will reach zero at the “End” volume.

5 In “Curve,” specify the way in which the volume will

change. Linear: The volume will change linearly. For normal fade-in or fade-out, select Linear. Power: The volume will change non-linearly. When you use “Mix” (2.1–2e) to combine a faded-in waveform with a different faded-out waveform (i.e., crossfade), using a Linear fade-in/out may produce an impression that the volume has dropped in the middle of the curve. In such cases, use Power to perform the fade-in/out.

6 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

7 If you wish to delete the original sample data and over-

8 To execute the Volume Ramp command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

☞p.85

3 The sampling rate of the selected sample is shown at the

right of “Rate.” At the right of the “->” you can select the desired amount of the sampling rate conversion: 2/3, 1/2, 1/3, 1/4, 1/6. The sampling rate following conversion will be displayed.

4 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

5 If you wish to delete the original sample data and over-

6 To execute the Insert Zero command, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

This command cannot be executed on a sample whose sampling rate is less than 11.025 kHz.

Stereo samples must have the same sampling rate. Although it is possible to select mono multisamples for

-L and -R and convert their sampling rate separately, they can no longer be handled as a stereo sample in this case.

☞p.85

Reverse

This command reverses the sample data (i.e., exchanges the beginning and end). The “Reverse” command is always executed on all waveform data of the selected sample, regardless of the “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) settings.

1 Use “SMPL” (2.1–1a) to select the sample that you wish

to edit.

2 In the Edit2 page “UTILITY,” choose “Reverse” to open

the following dialog box.

SMPL

1.1

2.13.14.15.15.27.2

3 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected. If you have checked “Overwrite,” this cannot be set.

For a stereo sample, “Save to No.(L)” and “(R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

4 If you wish to delete the original sample data and over-

write it with the edited sample data, check “Overwrite”. Normally, you will leave “Save to No.” at its default setting, and execute without checking “Overwrite.” (

☞p.85

“*”: About “Overwrite”)

5 To execute the Reverse command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key.

When you execute this command, the entire sample data will be rewritten backward. By using 3.1: Loop Edit “Rev (Reverse)” (3.1–1b), you can reverse the playback direction without affecting the sample data itself.

Link

This command connects the currently selected sample with another sample.

SOUND A SOUND B

LINK

SOUND A

The volume of the two samples can be changed gradually at the transition to gradually mix the samples with each other. This is called crossfade, and can be used to produce a natural-sounding transition between the two sounds.

SOUNDA SOUNDB

CROSSFADELINK

Volume

SOUND B

1 Use “SMPL” (2.1–1a) to select the sample that will be

placed in front by the Link command.

2 In the Edit2 page “UTILITY,” choose “Link” to open the

following dialog box.

3 The sample number selected for “Sample No. (Front)”

will be displayed. When the command is executed, this sample will be placed in front. While you hold down the [F3] (“F®”) key, the entire sample will play back. After the entire sample has played back, it will stop.

If you select one side of a stereo sample, it will automatically be detected as a stereo sample, and the other side of the sample will also be processed by the Link command. If the “Front” Sample is mono and the Rear Sample is stereo, the L and R of the “Rear” Sample will be mixed to mono before linking. If the “Front” Sample is stereo and the “Rear” Sample is mono, the identical sample will be placed in L and R of the “Rear” Sample before linking.

4 Use “Sample No. (Rear)” to select the sample number

that will be linked. When the command is executed, this sample will be placed in back. While you hold down the [F5] (“R®”) key, the entire sample will play back. After the entire sample has played back, it will stop.

5 In “Crossfade Length,” specify the length over which the

crossfade will occur. If you specify a % value, the proportion in relation to the entire “Front” Sample will be calculated automatically . If you specify 50%, the last half of the “Front” Sample will crossfaded.

If the rear sample is short, the “Crossfade Length” cannot be set any longer than the length of the “Rear ”sam- ple. In this case, it will not be possible to specify a value up to 100%.

If you set “Crossfade Length” to other than 0, “F XF®” and “R XF®” will be displayed. By holding down one of these buttons, you can play back just the crossfaded portion of the front or rear sample. Playback will stop after the length speciﬁed by “Crossfade Length.” If you do not wish to crossfade, set this to 0.

SOUNDA

Crossfaded portion (Sound A gradually diminishes, and sound B gradually increases)

Crossfaded portion (This is called the “Crossfade Length”)

SOUNDB

Time

“Link” will be executed for all of the selected sample data, regardless of the “S (Edit Range Start)” and “E (Edit Range End)” (2.1–1b) settings.

After selecting a sample in step

1, you can set “S (Edit

Range Start)” and specify the beginning of the crossfade while viewing the waveform. Set “E (Edit Range End)” to the end of the sample. If you specify these, “Crossfade Length” will indicate the length determined by “S (Edit Range Start)” and “E (Edit Range End).”

6 In “Curve,” specify how you want the volume to change

in the crossfaded portion.

Linear: The volume will change linearly. Power: The volume will change non-linearly. In some

cases, “Linear” may sound as though the volume diminishes in the middle of the curve. If this occurs, use “Power.”

7 In “Save to No.,” specify the save destination sample

number. An unused sample number will be selected by default. If “Overwrite” is checked, this cannot be set.

In the case of a stereo sample, “Save to No.(L)” and “(R)” will be displayed. You must specify the save destination sample for both the L channel and R channel.

8 If you wish to delete the original sample data and over-

9 To execute the Link command, press the [F8] (“OK”) key.

To cancel without executing, press the [F7] (“Cancel”) key.

If you link samples of different sampling rates (such as created by “Rate Convert” sample will have the sampling rate of the “Front” sample.

One vacant sample is used in order to execute Link. Be aware that if there are no vacant samples, an error will occur.

☞2.1–2e), the newly created

☞p.85

Grid

This command displays a grid in the “sample waveform display.”If you check “Grid” and execute, vertical dotted lines will appear in the “sample waveform display,” according to the resolution and tempo speciﬁed by “Resolution” and “ (Grid Tempo)” (2.1–2b). You can use this when cutting or editing sample data according to BPM values or beats. The vertical dotted lines are displayed starting at the address speciﬁed by the “S (Start)” (when Loop Off) or “LpS (Loop Start)” (when Loop On) settings of the 3.1: Loop Edit, Edit 2 page, and show the timing when the currently selected key (displayed in gray) is played. ( 1a)

1 Use “SMPL” (2.1–1a) to select a sample. 2 In the Edit2 page “UTILITY,” choose “Grid” to open the

following dialog box.

☞“Keyboard & Index” 1.1–

SMPL 3.1: Loop Edit

Here you can specify the portion of the sample that will be played back, set sample parameters for playback loop etc., and edit the sample. Sample parameters that were loaded into internal sampling memory in Disk mode can also be edited in the same way. You can make detailed edits in single-sample steps while watching the sample waveform display.

3.1–1: Edit1

3.1–1a

3.1–1b

3.1–1c

3.1–1a: MS, Index, Keyboard&Index

MS (Multisample Select) [000...999]

Select s the multisample whose loop and other sample parameters you wish to edit (

Index [xxx (001...128)/yyy (001...128)]

Select s the index whose loop and other sample parameters you wish to edit. Your edits will apply to the sample of the index selected here, and the waveform will appear in the “sample waveform display” ( To select an index, hold down the [ENTER] key and play a note on the keyboard of a connected MIDI instrument. The index that includes the note you played will be selected. The speciﬁed key will be the base key, and will be displayed in gray in “Keyboard & Index.”

Keyboard & Index

(☞1.1–1a)

☞1.1–1a).

SMPL

1.1

2.13.14.15.15.27.2

3 Check “Grid” to turn on the grid display. 4 Set “Resolution” to the desired grid interval  –  . The

spacing of the grid will be determined by this setting and by “ (Grid Tempo)” (2.1–2b).

5 To execute the setting, press the [F8] (“OK”) key. To can-

cel without executing, press the [F7] (“Cancel”) key.

3.1–1b: SMPL, Lp, Tune, Rev

SMPL (Sample Select)

[----: ---No Assign----, 0000...3999]

This shows the sample number and name, and the range of the selected index. If you change “SMPL,” the sample you specify will be assigned to this index. The sample you select here will appear in the “sample waveform display” ( 1a).

☞1.1–

Lp (Loop) [Off, On]

Specify whether the sample will be looped. On (Checked): The sample will play back repeatedly from

“LpS (Loop Start)” to “E (End)”; i.e., “S (Start)” → “E (End)” → “LpS (Loop Start)” → “E (End)” → “LpS (Loop Start)” →

... (

☞3.1–2b)

Off (Unchecked): The sample will playback once (“one- shot”) from “S (Start)” → “E (End).”

This will be checked automatically if “Auto Loop” (1.1–3c) was checked when you sampled.

3.1–2: Edit2

"One"

Start Loop Start End

"One" - "Two" - "Two" - "Two" - ... "One" - "Two"

"One"

Start Loop Start

"One" - "Two" - "One" - "Two" - "One" - "Two" - ... "One" - "Two"

"One"

Loop Start

"Two" - "One" - "Two" - "One" - "Two" - "One" -... "Two"

Start

"Two"

End

"Two"

End

Tune (Loop Tune) [–99...+99]

When looping is on (“Lp” is checked), you can adjust the playback pitch of the loop from “S (Start)” to “E (End)” over a range of ±99 cents. When you loop data that was sampled from a musical instrument etc., the pitch of the looped portion may sometimes be incorrect. Use this parameter to compensate for such cases.

Rev (Reverse) [Off, On]

On (Checked): The sample will be played backward, from

“E (End)” (end address) to “LpS (Loop Start)” (loop start address).

■ 3.1–1c: UTILITY ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename

SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3g)

3.1–2a

3.1–2b

3.1–2c 3.1–2d

3.1–2e

3.1–2a: Sample waveform display

Sample waveform display

The waveform of the “SMPL (Sample)” is displayed here (

☞2.1–2a).

3.1–2b: Sample Address, Zero, LpL,

S (Start) [0000000...]

Speciﬁes the starting address for sample playback. This value is in units of a sample address.

LpS (Loop Start) [0000000...]

Speciﬁes the loop start address for sample playback. This is valid when Loop is On. This value is in units of a sample address, (

☞“S.Ofs” PROG 2.1–2b).

E (End) [0000000...]

Speciﬁes the ending address for sample playback. This value is in units of a sample address.

Loop Start Address and End Address must be located at least eight addresses apart. This setting will be applied automatically when you set the addresses.

Zero (Use Zero) [Off, On]

On (Checked): “S (Start),” “E (End),” and “LpS (Loop Start)” parameters can be set only at “zero-cross” addresses where the waveform level crosses ±0 (the center line of the waveform display). (

Off (Unchecked): “S,” “E,” and “LpS” can be set in steps of

1. This is the normal setting.

☞2.1–2b)

LpL (Loop Lock) [Off, On]

This ﬁxes the length of the loop being edited. On (Checked): When the “LpS (Loop Start)” or “End”

address is edited, the “E (End)” or “LpS” will be automatically adjusted so that the distance between “LpS” and “E (End)” (i.e., the loop length) does not change. This is convenient when you are creating a rhythm loop to match a speciﬁc tempo.

 (Grid Tempo) [040...480(BPM)]

This displays vertical dotted lines in the “sample waveform display” to indicate the resolution and tempo. Use this when you wish to cut or edit the sample data based on a BPM value or beat. The grid will be displayed if you check and execute the “Grid” (2.1–2e/3.1–2e) utility command. The spacing of the grid is determined by the “Resolution” setting of the “Grid” page menu command, relative to the playback pitch of the base key (the key displayed in gray in “Keyboard & Index”

1.1–1a) at the tempo value you specify here. The grid will begin at the “S (Start)” address (when looping is off) or at the “LpS (Loop Start)” address (when looping is on). This parameter can also be set from the 2.1: Sample Edit, Edit2 page.

This is not related to the setting of the REALTIME CONTROLS C-mode [TEMPO] knob.

■ 3.1–2c: L/R

This is valid only if a stereo sample is selected. It switches the display between the L channel and R channel of a stereo sample. (

■ 3.1–2d: ZOOM

These buttons let you zoom-in and zoom-out the “sample waveform display” in the horizontal axis (sample addresses) or vertical axis (sample level). (

■ 3.1–2e: UTILITY

For details on selecting utility commands, refer to “2.1–2e: UTILITY.”

☞“Grid” (2.1–2e)

☞2.1–2c)

☞2.1–2d)

Truncate

This command deletes unwanted data that lies outside of the “S (Start),” “LpS (Loop Start ),” and “E (End )” (3.1–2d). After setting the start address, loop start address, and end address of the sample, use this command to delete unwanted sample data.

1 Use “SMPL” (3.1–1b) to select the sample that you wish

to edit, and use “S (Start)” or “LpS (Loop Start)” and “E (End)” (3.1–2b) to specify the editing range. You can press the [AUDITION] key to hear the portion that will be left by the “Truncate” command.

2 In the Edit2 page “UTILITY,” choose “Truncate” to open

the following dialog box.

6 If you wish to delete the original sample data and over-

7 To execute the Truncate command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key.

☞p.85

Time Slice

Time Slice detects the attacks (e.g., kick and snare) within a rhythm loop sample (a sample that loops a drum pattern, etc.), and automatically divides the sample into individual percussion instrument notes. The divided percussion instrument notes will be created as individual samples, and automatically assigned as a multisample and program. Song performance data corresponding to the divided samples will also be created, so that in Multi mode you can adjust the tempo of the song to change only the tempo of the rhythm loop without affecting the pitch. Pattern data and RPPR assignments for the sliced samples can also be created automatically. The performance data that is created will use notes D2 and above, corresponding to the newly created samples of individual percussion instruments. By means of this function in Multi mode RPPR, multiple rhythm loop samples of differing tempo can be matched to the desired tempo without changing their pitch (

75). You can also use the keyboard of a connected MIDI device to start/stop multiple rhythm loop samples, or use the REALTIME CONTROLS C-mode [TEMPO] knob to modify the tempo in realtime. In addition to changing only the tempo of the rhythm loop without affecting the pitch, this makes it possible for you to exchange note numbers, to change the timing, or to edit the sequence data to freely recreate the original rhythm loop.

The pattern data you create can also be written as SMF data, allowing you to send note data from an external MIDI sequencer etc. to the TRITON-Rack to play it. This command can also be executed on stereo samples.

As an alternative to Utility “Time Slice,” the Utility “Time Stretch” (3.1–2e) command can also be used to change the tempo without affecting the pitch of a rhythm loop sample etc. “Time Stretch” is suitable when you do not need to divide the sample or to create multi playback data for the divided sample.

☞BG p.74,

SMPL

1.1

2.13.14.15.15.27.2

3 Range “Start” and “End” will show the range of data that

will be edited.

4 Use “Trancate” to select the portion that will be deleted.

Front & End: The sample data that lies before the “Start” and after the “End” will be deleted. Front: The sample data that lies before the “Start” (start address) will be deleted. End: The sample data that lies after the “End” (end address) will be deleted.

5 In “Save to No.,” specify the save destination sample

number. By default, an unused sample number will be selected.

For a stereo sample, “Save to No.(L), (R)” will be displayed. Specify the save destination sample number for the L channel and R channel respectively.

Korg Triton Rack Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Conventions in this manual

How to read the “Parameter Guide”

Table of Contents

1. Program mode

PROG PAGE MENU

PROG 1.1: Play

1.1–1: Program

1.1–2: P.Edit (Performance Editor)

1.1–3: Arp (Arp. Play)

PROG 2.1: Ed–Basic

2.1–1: Basic (Prog Basic)

2.1–2: OSC1

2.1–3: OSC2

2.1–5: Audit. (Audition)

2.1–4: V.Zone (Velocity Zone)

PROG 2.2: Ed–Ctrl

2.2–1: Ctrls (Controls)

PROG 3.1: Ed–Pitch

3.1–1: OSC1

PROG 2.3: Ed–OSC

3.1–2: OS1lfo (OSC1 LFO)

3.1–5: EG (Pitch EG)

3.1–3: OSC2

3.1–4: OS2lfo (OSC2 LFO)

PROG 4.1: Ed–Filter1

4.1–1: Basic

4.1–2: Mod.1 (Filter1 Modulation1)

4.1–4: lfoMod (LFO Modulation)

4.1–3: Mod.2 (Filter1 Modulation2)

4.1–5: EG (Filter1 EG)

PROG 4.2: Ed–Filter2

4.2–1: Basic

4.2–3: Mod.2 (Filter2 Modulation2)

4.2–4: lfoMod (LFO Modulation)

4.2–5: EG (Filter2 EG)

PROG 5.1: Ed–Amp1

5.1–1: Lvl/Pan (Level/Pan)

5.1–2: Mod. (Amp1 Modulation)

5.1–3: EG (Amp1 EG)

PROG 5.1: Ed–Amp

PROG 5.2: Ed–Amp2

5.2–1: Lvl/Pan (Level/Pan)

5.2–2: Mod. (Amp2 Modulation)

5.2–3: EG (Amp2 EG)

PROG 5.2: Ed–EGs

PROG 5.3: Ed–LFOs

5.3–1: OS1LFO1 (OSC1 LFO1)

5.3–4: OS2LFO2 (OSC2 LFO2)

PROG 6.1: Ed–Arp. (Arpeggiator)

6.1–1: Setup (Arpeg. Setup)

5.3–2: OS1LFO2 (OSC1 LFO2)

5.3–3: OS2LFO1 (OSC2 LFO1)

6.1–2: Zone (Scan Zone)

PROG 7.1: Ed–BUS

7.1–1: BUS

7.1–2: Route (Routing)

PROG 7.2: Ed–InsertFX

7.2–1: Setup

7.2–2: IFX 1

7.2–3: IFX 2

7.2–4: IFX 3

7.2–5: IFX 4

7.2–6: IFX 5

7.2–7: Routing

PROG 7.3: Ed–MasterFX

7.3–1: Setup

7.3–2: MFX 1

7.3–3: MFX 2

7.3–4: MEQ (Master EQ)

2. Combination mode

COMBI PAGE MENU

COMBI 1.1: Play

1.1–1: Combi (Combination)

1.1–2: Prog (Timbre Program)

1.1–3: Mix (Mixer)