Korg Triton Studio User Manual

▼ 5–1: Page Menu Command

0–1A 5–1A

5–1A: Swap LFO 1&2

1 2 3

Parameters in the LCD display screen “ ”

About this manual

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

This “Parameter Guide” contains explanations and other information regarding the operations of the parameters and settings on the TRITON STUDIO. The explanations are organized by mode, and page. Explanations and other information on the effects and their parameters are also provided for each effect. Refer to this guide when an unfamiliar parameter appears in the display, or when you need to know more about a particular function.

Boldface type

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

Procedure steps

Steps in a procedure are listed as

☞

■

☞■

–

...

■

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

Symbols , , , , ,

Conventions in this manual

References to the TRITON STUDIO

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

Abbreviations for the manuals BG, PG, VNL

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

BG: Basic Guide PG: Parameter Guide VNL: Voice Name List

These symbols respectively indicate cautions, advice, MIDIrelated explanations, a parameter that can be selected as an alternate modulation source, a parameter that can be selected as a dynamic modulation source, and a parameter that can use the BPM/MIDI Sync function.

Example screen displays

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

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages,

brackets [ ]

always indicate hexadecimal numbers.

numbers in square

Keys and knobs [ ]

References to the switches, dials, and knobs on the TRITON STUDIO’s panel are enclosed in square brackets [ ]. References to

buttons or tabs indicate objects in the LCD display

screen.

How to read the “Parameter Guide”

(example)

Mode name

Page No.

Tab No.

Tab name

Parameter number

Parameter name

Program P5: Edit-Common LFO

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

5–1: OSC1 LFO1 ( )

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

5–1a

5–1b

5–1c

5–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vector)]

Select the LFO waveform.

Page menu command

Page name

5–1

Range of possible parameter values

Page menu command No.

Page menu command name

This command exchanges the settings of LFO1 and 2. If LFO2 has been selected as Frequency Modulation AMS1 or 2 of LFO1, that setting will be cancelled for LFO2 after the LFO1 and 2 settings have been exchanged. If this is selected from the OSC1 LFO1 or OSC1 LFO2 tab, the LFO1 and LFO2 of OSC1 will be exchanged.

1 Select this command to open the dialog box. 2 Press the OK button.

5–2: OSC1 LFO2

Here you can make settings for the OSC1 LFO2, which is the second LFO that can be applied to oscillator 1. (☞“5–1: OSC1 LFO1”) However in “Frequency Modulation” (5–1b), the LFO cannot be selected as a modulation source in “AMS1” or “AMS2.”

5–3: OSC2 LFO1

This can be used when “Oscillator Mode” (1–1a) is set to

Double.

Here you can make settings for the OSC2 LFO1, which is the first LFO that can be applied to oscillator 2. (☞“5–1: OSC1 LFO1”)

iii

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

Program P0: Play ......................................... 1

Select and play programs.

0–1: Perf. Edit

0–2: Arpeggio 0–3: Sampling

Program P1: Edit–Basic.................................. 7

Make basic oscillator settings and scale settings etc.

1–1: Program Basic

1–2: OSC Basic

1–3: Velo. Zone 1–4: Controller

Program P2: Edit–Pitch .................................12

Make pitch-related settings for oscillators 1 and 2.

2–1: OSC1 P.Mod

2–2: OSC2 P.Mod

2–3: Pitch EG

Program P3: Edit–Filter.................................16

Make ﬁlter settings for oscillators 1 and 2.

3–1: Filter1

3–2: Filter1 Mod.

3–3: Filter1 LFO Mod.

3–4: Filter1 EG 3–5: Filter2

Select and play programs; use the Performance Editor for simple editing

Arpeggio pattern selection and settings Perform sampling; make settings for

audio inputs etc.

Oscillator settings for Single/Double/ Drums, Poly/Mono, scale etc.

Specify the multisample for oscillators 1 and 2

............................................................9

Velocity zone settings [SW1] and [SW2] key functions;

REALTIME CONTROLS [1]–[4] knob Bmode functions

Specify oscillator 1 pitch modulation via key position or controllers

Specify oscillator 2 pitch modulation via key position or controllers

Pitch EG settings

Filter 1 (for oscillator 1) type, cutoff frequency, and resonance settings

Keyboard tracking and controller settings to modulate the filter 1 cutoff frequency

....................................................................17

Filter 1 LFO settings to modulate the filter 1 cutoff frequency

Filter 1 EG settings Filter 2 (for oscillator 2) type, cutoff

frequency, and resonance settings

.........................................4

.............................11

........................................12

......................12

......................14

......................................14

....................................18

...................................19

...1

..................7

........16

........21

3–6: Filter2 Mod.

3–7: Filter2 LFO Mod.

3–8: Filter2 EG

Keyboard tracking and controller settings to modulate the filter 2 cutoff frequency

....................................................................21

Filter 2 LFO settings to modulate the filter 2 cutoff frequency

Filter 2 EG settings

....................................21

...................................21

Program P4: Edit–Amp..................................21

Make amp settings for oscillators 1 and 2.

4–1: Amp1 Level/Pan 4–2: Amp1 Mod.

4–3: Amp1 EG 4–4: Amp2 Level/Pan 4–5: Amp2 Mod.

4–6: Amp2 EG

Oscillator 1 volume and pan settings Keyboard tracking and controller settings

to modulate amp 1 Amp 1 EG settings Oscillator 2 volume and pan settings Keyboard tracking and controller settings

to modulate amp 2 Amp 2 EG settings

...................................22

...................................23

...................................24

....21

....24

Program P5: Edit–Common LFO....................... 25

Make settings for the general purpose LFOs used to cyclically modulate the pitch, ﬁlter, and amp of oscillators 1 and 2.

5–1: OSC1 LFO1 5–2: OSC1 LFO2 5–3: OSC2 LFO1 5–4: OSC2 LFO2

OSC1 LFO1 (for oscillator 1) settings OSC1 LFO2 (for oscillator 1) settings OSC2 LFO1 (for oscillator 2) settings OSC2 LFO2 (for oscillator 2) settings

....25

....26

Program P7: Edit–Arpeggiator......................... 26

Make settings for the arpeggiator.

7–1: Arpeg. Setup

7–2: Scan Zone

Select an arpeggio pattern and make

.......................................................26

settings Specify the note and velocity ranges that

will operate the arpeggiator

...................28

Program P8: Edit–Insert Effect......................... 28

Specify the oscillator output bus, and make insert effect settings.

8–1: Routing

8–2: Insert FX

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

Specify the oscillator output bus and set the send levels to the master effects

Select insert effects and turn them on/off, and make chain settings

Parameter settings for IFX1 Parameter settings for IFX2 Parameter settings for IFX3 Parameter settings for IFX4 Parameter settings for IFX5

..........................29

......28

....................30

Program P9: Edit–Master Effect ....................... 31

Make master effect and master EQ settings.

9–1: Master FX

9–2: MFX 1 9–3: MFX 2 9–4: Master EQ

Select master effects and turn them on/ off, and make chain settings

Parameter settings for MFX1 Parameter settings for MFX2 Parameter settings for master EQ

...................31

..................32

..........32

2. Combination mode. . . . . . . . .33

Combination P0: Play................................... 33

Select and play combinations.

0–1: Prog. Select 0–2: Mixer 0–3: Arpegg. A

0–4: Arpegg. B

0–5: Sampling

Select a program for each timbre Specify pan and level Select an arpeggio pattern and make

settings for arpeggiator A Select an arpeggio pattern and make

settings for arpeggiator B Perform sampling; make audio input

settings etc.

................................................36

...............................35

Combination P1: Edit–Program/Mixer................ 37

Select the program for each timbre, and specify pan and level.

1–1: Program/Mixer

Specify program, pan, and level of each timbre

........................................................37

Combination P2: Edit–Trk Param ..................... 38

Set various parameters for each timbre.

2–1: MIDI Channel

2–2: OSC

2–3: Pitch

2–4: Other

Specify MIDI channel and status for each timbre

........................................................38

Make settings such as mono/poly and portamento for each timbre

Make pitch-related settings such as transpose and bend range for each timbre

....................................................................39

Make delay and scale settings for each timbre

........................................................40

...........33

.......................36

........................36

....................38

Combination P7: Edit–Arp...............................44

Make settings for arpeggiators A and B.

7–1: Setup 7–2: Arpegg. A

7–3: Arpegg. B

7–4: Scan Zone

Assign arpeggiators to each timbre Select an arpeggio pattern and make

settings for arpeggiator A Select an arpeggio pattern and make

settings for arpeggiator B Specify the ranges of notes and velocities

that will operate the arpeggiator

........................45

.......44

.......................45

............45

Combination P8: Edit–Insert FX........................46

Specify the output bus for each timbre, and make insert effect settings.

8–1: Routing

8–2: Insert FX

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

Specify the output bus and master effect send levels for each timbre

Select insert effects, turn them on/off, and make chain settings

Parameter settings for IFX1 Parameter settings for IFX2 Parameter settings for IFX3 Parameter settings for IFX4 Parameter settings for IFX5

......................46

..................................47

.....................47

Combination P9: Edit–Master FX ......................48

Make settings for the master effects and master EQ.

9–1: Master FX

9–2: MFX 1 9–3: MFX 2 9–4: Master EQ

Select the master effects, turn them on/ off, and make chain settings

Parameter settings for MFX1 Parameter settings for MFX2 Parameter settings for master EQ

...................48

..................48

..........48

ProgramCombinationSequencerSampling

Song PlayGlobalDiskEffectAppendices

Combination P3: Edit–MIDI Filter..................... 40

Specify MIDI message reception ﬁltering for each timbre.

3–1: MIDI 1 3–2: MIDI 2 3–3: MIDI 3 3–4: MIDI 4

Program changes, aftertouch etc. Joystick, ribbon controller Realtime control knobs SW1/2, foot controller etc.

............................41

...........40

.......................41

......................41

Combination P4: Edit–Zone/Ctrl....................... 42

Specify the key range and controllers for each timbre.

4–1: Key Z

4–2: Vel Z

4–3: MOSS Setup

4–4: Controller

Specify the key zone sounded by each timbre

........................................................42

Specify the range of velocities sounded by each timbre

Displayed if the EXB-MOSS option is installed; set EXB-MOSS parameters

Specify the function of the [SW1] and [SW2] keys, and B-mode functions of the REALTIME CONTROLS [1]–[4] knobs

................................................42

.....43

.43

About the Jump pages

The LCD screens shown here are the Jump pages for each mode. The Jump page is a page menu that lets you access the various pages within each mode. Here’s how to access the Jump page, and select the desired page.

• Press the [MENU] key to access the Jump page. In the LCD screen, press the page that you want to select, or press the numeric key [0]–[9] corresponding to the number of the desired page. (

• Alternatively, you can hold down the [MENU] key and press the numeric key [0]–[9] corresponding to the number of the desired page.

☞

BG p.16)

3. Sequencer mode . . . . . . . . . .49

Sequencer P0: Play/Rec ................................49

Make settings for playing/recording a song, and select the program etc. used for each track.

0–1: Prog. 1–8

0–2: Prog. 9–16 ....................................................................49

0–3: Mixer 1–8

0–4: Mixer 9–16 ....................................................................55

0–5: PlyLoop 1–8

0–6: PlyLoop 9–16 ....................................................................55

0–7: Sampling

0–8: Preference

Program selection, mute, and solo settings for each track

Pan and volume settings for each track

Loop track settings for each track

Settings for sampling and audio input etc.

....................................................................56

Select the realtime recording method, and you can make metronome settings

............................................49

..........55

........57

Sequencer P4: Zone/Ctrl................................66

Specify the note range and controllers for each track.

4–1: Key Z 1–8

4–2: Key Z 9–16 ....................................................................66

4–3: Vel Z 1–8

4–4: Vel Z 9–16 ....................................................................67

4–5: MOSS 1–8

4–6: MOSS 9–16 ....................................................................67

4–7: Controller

Specify the range of keys sounded by each track

...........................................................66

Specify the range of velocities sounded by each track

Displayed if the EXB-MOSS option is installed; set EXB-MOSS parameters

Specify the function of the [SW1] and [SW2] keys, and B-mode functions of the REALTIME CONTROLS [1]–[4] knobs

..................................................67

.....67

.67

Sequencer P5: Track Edit............................... 68

Perform track editing and step recording.

5–1: T rack Edit

5–2: T rack Name

Track editing operations such as Copy or Delete, and step recording

Edit the name of each track

......................68

....................75

Sequencer P6: Pattern/RPPR .......................... 76

Record and edit patterns, and make RPPR settings.

6–1: Pattern Edit

6–2: Pattern Name 6–3: RPPR Setup

Record a pattern, and perform pattern editing such as Copy or Delete

Edit the name of a pattern RPPR settings

............................................79

..............76

.......................78

Sequencer P1: Cue List .................................59

Create and play a cue list for playing a succession of songs.

1–1: Cue List

Create and play back a cue list

...............59

Sequencer P2: Trk Param...............................62

Set various parameters for each timbre.

2–1: MIDI Ch 1–8

2–2: MIDI Ch 9–16 ....................................................................62

2–3: OSC 1–8

2–4: OSC 9–16 ....................................................................63

2–5: Pitch 1–8

2–6: Pitch 9–16 ....................................................................63

2–7: Other 1–8

2–8: Other 9–16 ....................................................................64

MIDI channel and status settings for each track

...........................................................62

Mono/poly and portamento settings etc. for each track

Pitch-related settings (transpose, pitch bend range etc.) for each track

Delay and scale settings for each track

............................................63

...............63

.64

Sequencer P3: MIDI Filter ..............................65

Specify MIDI message reception ﬁltering for each track.

3–1: MIDI 1 1–8

3–2: MIDI 1 9–16 ....................................................................65

3–3: MIDI 2 1–8

3–4: MIDI 2 9–16 ....................................................................65

3–5: MIDI 3 1–8

3–6: MIDI 3 9–16 ....................................................................65

3–7: MIDI 4 1–8

3–8: MIDI 4 9–16 ....................................................................66

Program changes, aftertouch etc.

Joystick, ribbon controller

Realtime control knobs

SW1/2, foot controller etc.

...........................65

..........65

......................65

.....................66

Sequencer P7: Arpeggiator............................. 81

Make settings for arpeggiators A and B.

7–1: Setup 1–8

7–2: Setup 9–16 ....................................................................81

7–3: Arpegg. A

7–4: Arpegg. B

7–5: Scan Zone

Assign an arpeggiator to each track

Select an arpeggio pattern and make settings for arpeggiator A

Select an arpeggio pattern and make settings for arpeggiator B

Specify the range of notes and velocities that will operate the arpeggiator

.......................82

........................82

......81

...........82

Sequencer P8: Insert Effect ............................83

Specify the bus for the output of each track, and make insert effect settings.

8–1: Routing 1–8

8–2: Routing 9–16 ....................................................................83

8–3: Insert FX

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

Specify the bus and master effect send levels for the output of each track

Select insert effects and turn them on/off, and make chain settings

Parameter settings for IFX1 Parameter settings for IFX2 Parameter settings for IFX3 Parameter settings for IFX4 Parameter settings for IFX5

..........................84

.........83

....................85

Sequencer P9: Master Effect........................... 85

Make master effect and master EQ settings.

9–1: Master FX

9–2: MFX 1 9–3: MFX 2 9–4: Master EQ

Select master effects and turn them on/ off, and make chain settings

Parameter settings for MFX1 Parameter settings for MFX2 Parameter settings for master EQ

...................85

..................86

..........86

4. Sampling mode . . . . . . . . . . .87

Sampling P0: Recording ............................... 88

Make sample recording settings such as input level, and basic settings for multisamples and samples.

0–1: Recording

0–2: Input/Setup

0–3: Preference 0–4: Memory Status

Sampling P1: Sample Edit ............................100

Edit sample data (waveform data), and perform editing operations such as Copy and Rate Convert.

1–1: Sample Edit

Sampling P2: Loop Edit................................107

Specify the region of the sample that will be played, make loop playback settings, and perform editing operations such as Time Slice and Time Stretch.

2–1: Loop Edit

Basic settings such as selecting a multisample and sample, and adjusting the final input level

Audio input settings, and recording setup

....................................................................96

Settings for creating indexes View the amount of remaining sample

memory (RAM), and the remaining number of multisamples and samples

Edit sample data (waveform data)

Loop playback settings and editing

..................................88

...................98

..99

......100

.....107

8–5: IFX 3 8–6: IFX 4 8–7: IFX 5

Parameter settings for IFX3 Parameter settings for IFX4 Parameter settings for IFX5

...................122

5. Song Play mode . . . . . . . . . 123

Song Play P0: Prog/Mix ............................... 123

Select SMF data and play it back.

0–1: Prog. 1–8

0–2: Prog. 9–16 ..................................................................123

0–3: Mixer 1–8

0–4: Mixer 9–16 ..................................................................125

0–5: Preference

Song Play P1: Track ................................... 126

Specify the status and scale for each track.

1–1: Status 1–8

1–2: Status 9–16 ..................................................................126

1–3: MOSS 1–8

1–4: MOSS 9–16 ..................................................................126

Select the program for each track

Set pan and volume for each track

Settings for consecutive playback of SMF data, and metronome settings

Status and scale settings

Displayed if the EXB-MOSS option is installed; set EXB-MOSS parameters

.........123

.......125

..............125

........................126

...126

ProgramCombinationSequencerSampling

Song PlayGlobalDiskEffectAppendices

Sampling P3: Multisample............................117

Edit a multisample. Assign samples, and specify zones and original keys.

3–1: Multisample 3–2: Preference

Edit multisamples Settings for creating indexes

..................................117

.................119

Sampling P4: Controller Setup.......................119

Make controller settings.

4–1: Controller Setup

Specify the function of the [SW1] and [SW2] keys, and B-mode functions of the REALTIME CONTROLS [1]–[4] knobs

...119

Sampling P5: Audio CD................................120

Play back an audio CD, and rip samples from an audio CD.

5–1: Audio CD

Play back an audio CD and rip

............120

Sampling P8: Insert Effect ............................122

Specify the bus for the sample output, and make insert effect settings.

8–1: Routing

8–2: Insert FX

8–3: IFX 1 8–4: IFX 2

Specify the bus for the sample output

......................................................122

Select insert effects, turn them on/off, and make chain settings

Parameter settings for IFX1 Parameter settings for IFX2

................................122

..................122

Song Play P2: Controller Setup ...................... 127

Make controller settings.

2–1: Controller Setup

Specify the function of the [SW1] and [SW2] keys, and B-mode functions of the REALTIME CONTROLS [1]–[4] knobs

...127

Song Play P3: Select Directory/Jukebox............128

Select the directory that contains the SMF you want to play. If “Jukebox” is checked, you can create a jukebox list.

3–1: Select Directory

3–1: Jukebox

Select the directory that contains the SMF you want to play

Create a jukebox list

.....................................128

...............................128

Song Play P7: Arpeggiator............................ 129

Make settings for arpeggiators A and B.

7–1: Setup 1–8

7–2: Setup 9–16 ..................................................................129

7–3: Arpegg. A

7–4: Arpegg. B

7–5: Scan Zone

Assign an arpeggiator to each track

Select an arpeggio pattern and make settings for arpeggiator A

Select an arpeggio pattern and make settings for arpeggiator B

Specify the range of notes and velocities that will operate the arpeggiator

......................130

.....129

.....................130

..........130

vii

Song Play P8: Insert Effect ........................... 131

Specify the bus for the output of each track, and make insert effect settings.

8–1: Routing 1–8

8–2: Routing 9–16 ..................................................................131

8–3: Insert FX

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

Specify the bus and the master effect send levels for the output of each track

.........................................................131

Select insert effects, turn them on/off, and make chain settings

Parameter settings for IFX1 Parameter settings for IFX2 Parameter settings for IFX3 Parameter settings for IFX4 Parameter settings for IFX5

...............................132

..................132

Song Play P9: Master Effect.......................... 133

Make settings for the master effects and master EQ.

9–1: Master FX

9–2: MFX1 9–3: MFX2 9–4: Master EQ

Select the master effects, turn them on/ off, and make chain settings

Parameter settings for MFX1 Parameter settings for MFX2 Parameter settings for master EQ

.................133

................133

........133

6. Global mode . . . . . . . . . . . .135

Global P0: Basic Setup.................................135

Make basic settings that affect the entire TRITON STUDIO, and make AUDIO INPUT settings for other than Sampling mode. If the EXB-mLAN option is installed, make settings for mLAN input/output.

0–1: Basic

0–2:

System Preference Bank map, system lock, and memory

0–3: Input/Sampling

0–4: mLAN Output

0–5: mLAN Input

Master tune, key transpose, effect global switch, and auto arpeggiator on/off settings

.....................................................135

protect settings Audio input settings for other than

Sampling mode Audio and MIDI output settings to an

external mLAN device (EXB-mLAN option)

Audio and MIDI input settings from an external mLAN device (EXB-mLAN option)

.......................................137

......................................139

.....................................................140

.....................................................141

Global P1: MIDI .........................................142

Make MIDI settings for the entire TRITON STUDIO.

1–1: MIDI

Settings such as global MIDI channel, MIDI clock, and MIDI filter

..................142

Global P2: Controller...................................146

Make settings for the damper pedal and assignable foot switch/pedal.

2–1: Controller

Damper pedal and assignable foot switch/pedal settings

............................146

Global P3: User Scale..................................146

Create user octave scales and user all note scales.

3–1: User Scale

Create user scales

...................................146

Global P4: Category Name ............................147

Assign names to categories.

4–1: Program Cat. 4–2: Comb Cat.

Specify program category names Specify combination category names

.........147

..147

Global P5: Drum Kit ....................................148

Edit or create drum kits.

5–1: Sample Setup 5–2: V oice/Mixer

Assign a drum sample to each key Specify the bus and pan etc. for each key

..................................................................150

......148

viii

Global P6: User Arpeggio..............................151

Edit or create user arpeggio patterns.

6–1: Pattern Setup

6–2: Pattern Edit

Specify the operation of the arpeggio pattern

.....................................................151

Input tones for each step

.......................153

7. Disk mode . . . . . . . . . . . . . .155

Files, directories, and icons...........................................................155

0–1: Load

0–2: Save

0–3: Utility

0–4: Make Audio CD 0–5: Play Audio CD 0–6: Media Info

Load the selected file or directory into internal memory

Save data from internal memory to various media

Rename, copy, delete, or format the selected disk or file

Create an audio CD Play an audio CD View information about the selected

media

.......................................................175

.....................................156

.........................................165

................................169

...............................172

...................................174

8. Effect Guide. . . . . . . . . . . . . 177

Overview................................................. 177

1. Effects in each mode.....................................................................177

2. Dynamic modulation (Dmod).........................................................177

3. Effect I/O........................................................................................177

Insert Effects (IFX 1, 2, 3, 4, 5)...................... 178

1. In/Out.............................................................................................178

2. Routing...........................................................................................179

3. Mixer..............................................................................................181

4. Controlling the Insert Effects via MIDI............................................182

Master Effects (MFX1, 2) ............................. 182

1. In/Out.............................................................................................182

2. Routing...........................................................................................183

3. Mixer..............................................................................................184

4. Controlling the Master Effects via MIDI..........................................185

Master EQ ...............................................185

Main Output............................................. 185

Individual Outputs...................................... 185

ProgramCombinationSequencerSampling

Effect/Mixer Block Diagram........................... 186

Program.............................................................................................186

Combination.......................................................................................186

Sampling............................................................................................186

Filter/Dynamic.......................................... 187

Filter and dynamics control effects

000: No Effect....................................................................................187

001: St. Amp Simulation (Stereo Amp Simulation) ............................187

002: Stereo Compressor....................................................................187

003: Stereo Limiter.............................................................................187

004: Multiband Limiter........................................................................188

005: Stereo Gate................................................................................189

006: OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah) ................................189

007: St. Parametric 4EQ (Stereo Parametric 4-Band EQ).................190

008: St. Graphic 7EQ (Stereo Graphic 7 Band EQ)...........................191

009: St. W ah/Auto W ah (Stereo Wah/A uto W ah)................................191

010: St. Random Filter (Stereo Random Filter)..................................192

011: St. Exciter/Enhncr (Stereo Exciter/Enhancer)............................193

012: St. Sub Oscillator (Stereo Sub Oscillator)..................................193

013: Talking Modulator.......................................................................194

014: Stereo Decimator.......................................................................195

015: St. Analog Record (Stereo Analog Record)...............................195

Song PlayGlobalDiskEffectAppendices

Pitch/Phase Mod. ...................................... 196

Pitch/phase modulation effects

016: Stereo Chorus............................................................................196

017: St. Harmonic Chorus (Stereo Harmonic Chorus)......................196

018: Multitap Cho/Delay (Multitap Chorus/Delay)..............................197

019: Ensemble...................................................................................197

020: Stereo Flanger...........................................................................198

021: St. Random Flanger (Stereo Random Flanger).........................198

022: St. Env. Flanger (Stereo Envelope Flanger)..............................199

023: Stereo Phaser...........................................................................199

024: St. Random Phaser (Stereo Random Phaser).......................... 200

025: St. Env. Phaser (Stereo Envelope Phaser)................................ 200

026: St. Biphase Mod. (Stereo Biphase Modulation).........................201

027: Stereo Vibrato ...........................................................................201

028: St. Auto Fade Mod. (Stereo Auto Fade Modulation)..................202

029: 2Voice Resonator......................................................................202

030: Doppler......................................................................................203

031: Scratch......................................................................................204

Mod./P.Shift ............................................ 205

Other modulation and pitch shift effects

032: Stereo Tremolo.......................................................................... 205

033: St. Env. Tremolo (Stereo Envelope Tremolo).............................205

034: Stereo Auto Pan........................................................................ 206

035: St. Phaser + Trml (Stereo Phaser + Tremolo)............................ 206

036: St. Ring Modulator (Stereo Ring Modulator)............................. 207

037: Detune.......................................................................................208

038: Pitch Shifter............................................................................... 208

039: Pitch Shift Mod. (Pitch Shift Modulation)................................... 209

040: Rotary Speaker.........................................................................209

ER/Delay................................................. 210

Early reflection and delay effects

041: Early Reﬂections.......................................................................210

042: Auto Reverse............................................................................. 211

043: L/C/R Delay............................................................................... 211

044: Stereo/Cross Delay...................................................................212

045: St. Multitap Delay (Stereo Multitap Delay)................................. 212

046: St. Modulation Delay (Stereo Modulation Delay)....................... 213

047: St. Dynamic Delay (Stereo Dynamic Delay).............................. 213

048: St. Auto Panning Dly (Stereo Auto Panning Delay)...................214

049: L/C/R BPM Delay......................................................................214

050: St. BPM Delay (Stereo BPM Delay).......................................... 215

051: Sequence Delay........................................................................ 215

Reverb................................................... 216

Reverb effects

052: Reverb Hall................................................................................ 216

053: Reverb SmoothHall................................................................... 216

054: Reverb Wet Plate.......................................................................216

055: Reverb Dry Plate....................................................................... 216

056: Reverb Room............................................................................ 217

057: Reverb BrightRoom...................................................................217

067: Comp – Cho/Flng (Compressor – Chorus/Flanger)...................221

068: Comp – Phaser (Compressor – Phaser)...................................222

069: Comp – Mt. Delay (Compressor – Multitap Delay)....................222

070: Limiter – P4EQ (Limiter – Parametric 4-Band EQ)....................223

071: Limiter – Cho/Flng (Limiter – Chorus/Flanger)..........................223

072: Limiter – Phaser........................................................................224

073: Limiter – Mt. Delay (Limiter – Multitap Delay)............................224

074: Exciter – Comp (Exciter – Compressor)....................................225

075: Exciter – Limiter.........................................................................225

076: Exciter – Cho/Flng (Exciter – Chorus/Flanger)..........................225

077: Exciter – Phaser........................................................................226

078: Exciter – Mt. Delay (Exciter – Multitap Delay)............................226

079: OD/HG – Amp Sim (Overdrive/Hi.Gain – Amp Simulation).......227

080: OD/HG – Cho/Flng (Overdrive/Hi.Gain – Chorus/Flanger).......227

081: OD/HG – Phaser (Overdrive/Hi.Gain – Phaser)........................228

082: OD/HG – Mt. Delay (Overdrive/Hi.Gain – Multitap Delay).........228

083: Wah – Amp Sim (Wah/Auto Wah – Amp Simulation).................229

084: Decimator – Amp (Decimator – Amp Simulation)......................229

085: Decimator – Comp (Decimator – Compressor).........................229

086: Amp Sim – Tremolo (Amp Simulation – Tremolo)......................230

087: Cho/Flng – Mt. Dly (Chorus/Flanger – Multitap Delay)..............230

088: Phaser – Cho/Flng (Phaser – Chorus/Flanger).........................231

089: Reverb – Gate ...........................................................................231

Double Size..............................................232

Double-size effects

090: Piano Body/Damper (Piano Body/Damper Simulation).............232

091: St. Mltband Limiter (Stereo Multiband Limiter) ..........................232

092: OD/HyperGain Wah (Overdrive/Hyper Gain Wah).....................232

093: V ocoder......................................................................................233

094: Multitap Cho/Delay (Multitap Chorus/Delay)..............................234

095: St. Pitch Shifter (Stereo Pitch Shifter)........................................234

096: Rotary Speaker OD (Rotary Speaker Overdrive)......................235

097: Early Reﬂections........................................................................236

098: L/C/R Long Delay......................................................................236

099: St/Cross Long Dly (Stereo/Cross Long Delay)..........................236

100: LCR BPM Long Dly (L/C/R BPM Long Delay)...........................237

101: St. BPM Long Delay (Stereo BPM Long Delay).........................237

102: Hold Delay.................................................................................238

Master EQ................................................239

Master EQ.........................................................................................239

Mono – Mono Chain ................................... 217

Effects that combine two mono effects connected in series

058: P4EQ – Exciter (Parametric 4-Band EQ – Exciter)...................217

059: P4EQ – Wah (Parametric 4-Band EQ – Wah/Auto Wah)...........218

060: P4EQ – Cho/Flng (Parametric 4-Band EQ – Chorus/Flanger)..218

061: P4EQ – Phaser (Parametric 4-Band EQ – Phaser)..................219

062: P4EQ – Mt. Delay

063: Comp – Wah (Compressor – Wah/Auto Wah)...........................220

064: Comp – Amp Sim (Compressor – Amp Simulation).................. 220

065: Comp – OD/HiGain (Compressor – Overdrive/Hi.Gain)............220

066: Comp – Param4EQ

(Parametric 4-Band EQ – Multitap Delay)

(Compressor – Parametric 4-Band EQ)

.....219

.....221

9. Appendices . . . . . . . . . . . . .241

Replacing the calendar battery..........................................................297

Alternate Modulation Source (AMS).................241

About Alternate Modulation...............................................................241

About Alternate Modulation Sources.................................................241

AMS (Alternate Modulation Source) List...........................................242

Alternate Modulation settings............................................................244

The effect of alternate modulation on various parameters, and example

applications .......................................................................................244

Dynamic Modulation Source (Dmod)................246

Dynamic Modulation Source List.......................................................247

About the BPM/MIDI SYNC function.................................................248

SW1/2 Assign ...........................................249

SW1, SW2 Assign List ......................................................................249

Knob 1...4 B-Assign....................................250

Realtime Control Knobs B–Assign List..............................................250

Foot Switch Assign.....................................251

Foot Switch Assign List.....................................................................251

Foot Pedal Assign ......................................252

Foot Pedal Assign List.......................................................................252

Connecting external SCSI devices................... 298

Packet writing support on the TRITON STUDIO.... 299

EXB-DI option........................................... 300

Index ..................................................... 302

ProgramCombinationSequencerSampling

MIDI transmission when the TRITON STUDIO’s

controllers are operated...............................253

TRITON STUDIO operations when control changes are

transmitted/received...................................255

MIDI applications.......................................258

■ About MIDI....................................................................................258

■ Connecting MIDI devices/computers (MIDI connectors)...............258

■ Messages transmitted and received by the TRITON STUDIO......259

TRITON STUDIO MIDI IMPLEMENTATION...........269

Various messages......................................272

Data compatibility......................................279

Disk mode information ................................283

Chunks that are supported................................................................283

About KORG format ﬁles...................................................................284

Option boards/Memory/Calendar battery ...........286

Please note when installing an option board/memory.......................286

Cautions when installing the calendar battery...................................286

About option boards/memory/calendar battery.................................287

Checking after installation.................................................................287

Installing an EXB-PCM......................................................................288

Installing a DRAM SIMM...................................................................290

Installing the EXB-MOSS..................................................................291

Installing the EXB-DI.........................................................................292

Installing the EXB-mLAN...................................................................293

Installing the CDRW-1.......................................................................294

Song PlayGlobalDiskEffectAppendices

* Company names, product names, and names of formats

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

xii

1. Program mode



Program P0: Play

In this mode you can select and play programs.

All MIDI data in Program P0: Play is transmitted and received on the Global MIDI Channel “MIDI Channel” (Global P1: 1–1a).

0–1: Perf. Edit (Performance Edit)

0–1

0–1a

0–1b

0–1c

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

Bank (Bank Select)

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

This is the program bank display. Use the BANK [INT-A]–[EXB-G] keys to select the bank. Bank G will advance to the next G (or g) bank each time you press the [INT-G] key, as shown. 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 EXB-MOSS option. When installed, the 128 special EXB-MOSS programs will be available.

The TRITON STUDIO provides rewritable banks INT-A– INT-E and EXB-A–EXB-G, each containing 128 programs (total 1,536). As non-rewritable program areas, it provides banks G (basic programs for GM2), banks g(1)–g(9) (variation programs), and bank g(d) (drums). ☞A list of the factory-set programs is provided in the separate booklet “VNL.”

INT-A...INT-D for preloaded programs INT-E User programs, such as programs that use multi-

samples created in Sampling mode. INT-F for EXB-MOSS programs G GM2 basic program g(1)–g(9) GM2 variation programs* g(d) GM2 drums program EXB-A...EXB-G 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.)

Program Select

(INT -A...INT -F , EXB-A...EXB-G) 0...127,

(G, g(1)...g(9), g(d)) 1...128]

Here you can select a speciﬁc program. When this parameter is selected, you can select programs using the [] [] keys, numeric keys [0]–[9], or [VALUE] dial. When you press the popup button, the “Bank/Program Select” menu will appear. This displays programs by bank, and allows you to select a program.

You can receive MIDI program changes from a connected external MIDI device, or use a foot switch to select programs. (“Foot SW Assign” Global P2: 2–1a, “Foot Switch Assign List” ☞p.251)

Bank/Program Select menu:

1 Press the popup button at the left of “Program Select” to

access the Bank/Program Select menu.

2 Press one of the tabs at left or right to select a speciﬁc

bank. If you select the GM bank, the Variation button will be enabled. Each time you press the Variation button, the bank will cycle in the order of G → g(1) → g(2) → ... → g(8) → g(9) → G.

3 Select a program from the list. You can press the list to

make a selection, or use the [] [] keys.

4 Press the OK button to execute, or press the Cancel but-

ton to cancel your selection.

Category [00...15]

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. Press the popup button, and the “Category/Program Select” menu will appear.

Category/Program Select menu:

1 Press the (category) popup button above “Program

Select” to access the Category/Program Select menu.

2 Press one of the tabs at left or right to select the desired

category.

3 Select a program from the list. You can press the list to

make a selection, or use the [] [] keys.

4 Press the OK button to execute, or press the Cancel but-

ton to cancel your selection.

The category setting of each program can be speciﬁed in the “Write Program” (0–1A) dialog box.

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

10’s Hold

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

The 10’s place of the program number will be held (ﬁxed).

2 Now you can press any numeric key [0]–[9] to input the

1’s place of the program number with a single keystroke.

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

10’s place.

4 To cancel, press the [./10’s 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 ARPEGGIATOR [TEMPO] knob. A display of EXT indicates that the “MIDI Clock” (Global P1: 1–1a) setting has been set to External MIDI or External mLAN, and that the arpeggiator will synchronize to MIDI Clock messages received from an external MIDI device.

0–1b: Program Information

This displays the functions that are assigned to the [SW1] and [SW2] keys and to the B mode of REALTIME CONTROL knobs [1], [2], [3], [4], and the names of the effects that are selected for the insertion effects and the master effects.

0–1c: Performance Editor

The Performance Editor lets you edit major program parameters without moving to the Program P1–P9 Edit pages. This allows you to adjust multiple program parameters within the currently selected program simultaneously, so you can make broad adjustments quickly and easily. You can use the Performance Editor when you wish to adjust the depth of effects while you are playing, or to make the initial rough settings to begin the process of creating a new sound. If you wish to keep the results of your editing, you must write (save) the program (☞BG p.56).

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 P1– P9 Edit page to make ﬁne adjustments.

If the “Enable Exclusive” (Global P1: 1–1b) setting is checked, MIDI exclusive parameter changes will be transmitted whenever you operate the Performance Editor. If these messages are received by a TRITON STUDIO whose “Enable 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. However, this setting cannot adjust the pitch higher than 4' (feet) or lower than 32' (feet).

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 Editor function cannot be used with bank INT-F.

OSC Balance [–10...0...+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 “Oscillator Mode” (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.

Amp Level [–10...0...+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 Time [–10...0...+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 Time [–10...0...+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 Balance [–10...0...+10]

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

MFX Balance [–10...0...+10]

This adjusts the master effect “Return 1” and “Return 2” (9– 1b) 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 1/2 Pitch Stretch Transpose and Tune of OSC 1/2 OSC Balance High Multisample, Low Multisample Level of OSC 1/2 Amp Level Amp1 Level, Amp2 Level Attack Time Amp EG Attack Time, Start Level, Attack Le v el, Le v el

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

Decay Time AmpEG Decay Time, Slope Time of Amp 1/2; Filter

EG Decay Time and Slope Time of Filter 1/2 IFX Balance Wet/Dry balance of the IFX1/2/3/4/5 effects MFX Balance Master Effect Return 1, 2

For the INT-F bank programs that can be used when the EXB-MOSS option is installed, different program parameters will be adjusted. (☞EXB-MOSS owner’s manual)

With the factory settings, the program categories have been given the names of instruments etc., but you can use “Program Cat.” (Global P4: 4–1) to modify these category names. The category selected here can be used to ﬁnd this program when selecting a program in Program, Combination, Sequencer, or Song Play modes.

4 Press “To Program” to specify the writing destination.

You can also use the BANK [INT-A]–[EXB-G] keys to select a bank.

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

5 To execute the Write Program operation, press the OK

button. To cancel, press the Cancel button.

You can also press the SEQUENCER [REC/WRITE] to write a program in the same way as “Write Program.” Press the SEQUENCER [REC/WRITE] key to access the dialog box, and write the program. In this case, the settings will be written to the currently selected program.

0–2: Arpeggio

Arpeggiator parameters are edited in P7: Edit-Arpeggiator, but major parameters can be edited here as well. When you are playing in Program P0: Play, you can edit the arpeggiator in realtime, such as changing the arpeggio pattern etc. To write (save) the results of your editing, use “Write Program” or “Update Program.” You can also use the [TEMPO], [GATE], and [VELOCITY] knobs to edit the arpeggio in r ealtime (☞BG p.29, 30).

0–1

0–1a

0–2a

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

▼ 0–1: Page Menu Command

0–1A

0–1A: Write Program

This command writes the edited program into the internal memory. If you wish to save a program, be sure to write it into memory. An edited program cannot be recovered if you do not 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 and program name.

If you wish to modify the program name, press the text edit button to move to the text edit dialog box, and input

the desired program name.

3 In “Category,” specify the category of the program that

you are writing.

0–2a: Arpeggiator

Pat (Pattern) [P000...P004, U000(I-A/B)...U506(User)] Octave [1, 2, 3, 4] Reso (Resolution) [  ,  ,   ,  ,   ,  ] Sort [Off, On] Latch [Off, On] Key Sync. [Off, On] Keyboard [Off, On]

Make settings for the program arpeggiator (☞P7: EditArpeggiator).

These parameters can also be set from P7: Edit-Arpeggiator.

0–3: Sampling

Here you can adjust the settings for the analog/digital audio signal input (AUDIO INPUT, S/P DIF, EXB-mLAN), and the settings related to sampling in Program mode. You can sample either an external audio signal, or a performance played on the TRITON STUDIO.

When sampling in Program mode, you can listen to the performance of the TRITON STUDIO’s arpeggiator etc. while only sampling the external audio signal via the AUDIO INPUT jacks or S/P DIF jacks; or you can resample while you play a program using the TRITON STUDIO’s ﬁlters, effects, and arpeggiator. You can also mix a performance on the TRITON STUDIO with an external audio signal, and sample the result. (☞BG p.45)

“Resampling” refers to the process of sampling an external audio signal, processing this sampled wave data in the digital domain using effects etc., playing it, and then once again sampling the resulting performance.

0–3

0–3a

This lets you sample an external audio signal sent to buses 1, 2, 1/2 (speciﬁed by “Input” 0–3a), or the sounds sent to the INDIVIDUAL 1, 2, 1/2 buses from a performance played on

the TRITON STUDIO from its keyboard or via MIDI input. Normally when you want to sample a performance in Pro-

gram mode, you will select L/R.

PROGRAM

ARPEGGIATOR

Send Return

Insert Effects

Master Effects

= L/R

AUDIO OUTPUT L/MONO, R

SAMPLING

Master EQOSC / Filter / Amp

Source BUS

Select L/R if you want to mix a Program mode performance (e.g., drum patterns played by the arpeggiator) with external audio from AUDIO INPUT (or S/P DIF or EXB-mLAN), and sample them together. In this case, set Input “BUS (IFX/ Indiv .) Select” (0–3a) to L/R so that the external audio signal will be sent to the L/R bus.

PROGRAM

ARPEGGIATOR

Send Return

Insert Effects Master EQOSC / Filter / Amp

Master Effects

Source BUS

= L/R

AUDIO OUTPUT L/MONO, R

SAMPLING

0–3b

0–3c

0–3a: Input (COMBI, PROG, SEQ, S.PLAY, DISK)

Input [Analog, S/P DIF, mLAN]

Input1: Input2:

Level [0...127] Pan [L000...C064...R127] BUS(IFX/Indiv.) Select

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

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

Here you can specify the input source analog/digital audio device, and set the input level, pan, bus, and master effect sends.

These Input settings are valid in Combination, Program, Sequencer, Song Play, and Disk modes. (☞Global P0: 0– 3a)

0–3b: Sampling Setup

Source BUS [L/R, Indiv.1/2]

Selects the source that you want to sample. The sound being sent to the bus selected here will be sampled. L/R: The sound sent to the L/R bus will be sampled. This lets you sample an external audio signal sent to the L/R bus (speciﬁed by “Input” 0–3a), or the sounds sent to the L/ R bus from a performance played on the TRITON STUDIO from its keyboard or via MIDI input. Indiv. 1/2: The sound sent to the INDIVIDUAL 1, 2, 1/2 buses will be sampled.

AUDIO INPUT 1,2

(IFX1-5)

"BUS(IFX/Indiv.) Select" = L/R

Select Indiv.1/2 if you want to monitor your playing in Pro- gram mode while sampling only an external audio signal from AUDIO INPUT (or S/P DIF or EXB-mLAN). In this case, set Input “BUS (IFX/Indiv.) Select” (0–3a) to 1, 2, or 1/2 so that the external audio signal will be sent to the INDIVIDUAL 1, 2, or 1/2 buses.

PROGRAM

ARPEGGIATOR

AUDIO INPUT 1,2

Insert Effects Master EQOSC / Filter / Amp

(IFX1-5)

Send Return

Master Effects

"BUS(IFX/Indiv.) Select" = 1, 2, 1/2

Source BUS

= Indiv.1/2

AUDIO OUTPUT L/MONO, R

SAMPLING

AUDIO OUTPUT INDIV.1, 2

Trigger [Sampling START SW, Note On]

This speciﬁes how sampling will begin. Sampling START SW: The TRITON STUDIO will enter sampling-standby mode when you press the SAMPLING [REC] key. Sampling will begin when you press the SAMPLING [START/STOP] key. Note On: The TRITON STUDIO will enter samplingstandby mode when you press the SAMPLING [REC] key and then press the SAMPLING [START/STOP] key. Sampling will begin when you play the keyboard.

Sampling will also begin if a MIDI note-on is received.

To stop sampling in either case, press the SAMPLING [START/STOP] key once again. Alternatively, sampling will stop automatically when the speciﬁed “Sample Time” is reached.

For details on the procedure, refer to p.97.

Metronome Precount [Off, 4, 8, 3, 6]

This speciﬁes whether the metronome will sound a countdown when you begin sampling with the “Trigger” setting Sampling START SW. This can be set only if “Trigger” is set to Sampling START

SW. Off: When you press the SAMPLING [START/STOP] key

from recording-standby mode, sampling will begin immediately. 4, 8, 3, 6: When you press the SAMPLING [START/STOP] key from recording-standby mode, the speciﬁed number of beats will be counted at the “ (T empo)” (0–1a) tempo befor e sampling will begin. If this is set to 4, sampling will begin on the count of 0 after a count-down of 4–3–2–1–0.

The output destination and level of the metronome sound are speciﬁed by the page menu command “Met- ronome Setup” (0–3A). If “BUS (Output) Select” is set to L/R, the metronome will stop sounding the instant sampling begins.

Save to [RAM, DISK]

Speciﬁes the destination to which the data will be written during sampling. RAM: Sample into sample memory (RAM). If you sample into sample memory (RAM), you will be able to immediately hear the sample in Program mode or Sampling mode. Settings for the writing destination RAM Bank and Sample No., and settings for automatically converting the sample to a program, are made by the page menu command “Select Bank & Smpl No.” (0–3C).

If the sample is written into RAM, it will be lost when the power is turned off, so you will need to save the sample if you want to keep it.

DISK: Samples to the internal hard drive or to an external hard drive connected to the SCSI connector. A WAVE ﬁle will be created when you sample. To listen to the sampled result, you can either load the sample into sample memory (RAM) in Disk mode, or use the page menu command “Select Directory” (0–3D) etc. to select the ﬁle and then press the SAMPLING [START/STOP] key. Use the page menu command “Select Directory” to specify the writing-destination drive, directory, and ﬁlename.

A single sample (WAVE ﬁle) loaded from hard disk into sample memory (RAM) may not exceed 16 MB for mono or 32 MB for stereo (however, sample memory must be expanded to 32 MB or more).

It is not possible to sample directly to CD-R/RW. Also, we do not recommend sampling to a removable disk.

Mode (Sample Mode) [L-Mono, R-Mono, Stereo]

Selects the channel(s) that will be sampled, to specify whether the sample created will be mono or stereo. The sound being sent to the internal L and/or R bus or the internal Indiv.1 and/or 2 bus selected by the “Source BUS” (0–3b) setting will be sampled. L-Mono: The internal L channel or internal Indiv.1 channel (as speciﬁed by “Source BUS”) will be sampled in mono. R-Mono: The internal R channel or internal Indiv.2 channel (as speciﬁed by “Source BUS”) will be sampled in mono. Stereo: The internal L and R channels or internal Indiv.1 and 2 channels (as speciﬁed by “Source BUS”) will be sampled in stereo. This will create a stereo sample. (☞Sampling P0: 0–1c)

Sample Time [min sec]

Speciﬁes the length of time that you want to sample. This can be set in units of minutes and 0.001 second. This parameter indicates amount of remaining memory in the selected memory bank (the available sampling time). If you sample in this state ([REC]→[START]→[STOP]), this display will change automatically to indicate the remaining time. If you have enough free space in sample memory (RAM), it is a good idea to set “Sample Time” generously, and then after recording the sample, use the page menu command “Truncate” (Sampling P1: 1–1A, P2: 2–1A) to delete the unneeded portion, making the sample as compact as possible. You can also stop recording by pressing the SAMPLING [START/STOP] key manually after the desired portion has been sampled. (Sampling methods ☞BG p.45)

If the writing-destination (“Save to”) is RAM, the maximum value will be calculated from the amount remaining in the selected Bank. (☞Sampling P0: 0–1c “Bank (RAM Bank)”) If the writing-destination (“Save to”) is DISK, the maximum value will be calculated from the remaining capacity of the disk speciﬁed by “Select Directory.” A maximum of 80 minutes can be sampled in one sample ﬁle for either mono or stereo (monaural: approximately 440 MB, stereo: approximately 879 MB).

If the writing-destination (“Save to”) is RAM, leaving “Auto Optimize RAM” (Global P0: 0–3b) unchecked will allow wasted space to increase, decreasing the available sample memory (RAM). In this case, execute the page menu command “Optimize RAM” to eliminate the wasted space. The remaining amount of RAM can be checked in Sampling mode P0: Recording, Memory Status.

The various Sampling Setup settings apply to the entire Program mode, not just to an individual program.

0–3c: Recording Level [dB]

ADC OVERLOAD !!

The “ADC OVERLOAD !!” indication will appear if the signal level from AUDIO INPUT 1, 2 is too high. In this case, adjust the [LEVEL] knob or the output level of the external audio source. (☞Sampling P0: 0–1d “Recording Level [dB]”)

Recording Level [–inf, –72.0...0.0...+18.0 dB]

Adjusts the signal level at the ﬁnal stage of sampling (☞Sampling P0: 0–1d). Sample at the highest level that does not make the level meter indicate CLIP.

Adjusting the “Recording Level” will not change the sound that is output, but will affect the data that is being sampled. This means that the sampled sound may be distorted even if the sound you hear is not distorted.

This setting defaults to –12 dB when you turn on the power. At a setting of –12 dB, CLIP will not appear even if you play the program at its maximum level.

The “+12 dB” (Sampling P2: 2–1c) setting is applied to samples that you recorded into sample memory (RAM) when “Save to” (0–3b) is set to RAM. When “+12 dB” is on, the playback level will increase by approximately +12 dB. If you check the “Auto +12 dB On” check box in the page menu command “Select Bank & Smpl No.” (0– 3C), the “+12 dB” setting will automatically be turned on during sampling.

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

The “Auto +12 dB On” setting will not affect samples that you recorded to the internal hard disk etc. when “Save to” (0–3b) is set to DISK. You can use “WAVE File Play Level” (Global P0: 0-2a) to set the playback level.

▼ 0–3: Page Menu Command

0–1A 0–3A 0–3B 0–3C

0–1A 0–3A 0–3B 0–3D

0–3A: Metronome Setup

Speciﬁes the output destination and volume of the metronome that is sounded when you use “Trigger” Sampling START SW to begin sampling.

1 Select “Metronome Setup” to access the dialog box.

2 In “BUS (Output) Select,” specify the output destination

of the metronome sound. If you select L/R, the metronome will stop as soon as sampling begins.

3 Set “Level” to specify the volume of the metronome. 4 Press the OK button to apply the settings you made, or

press the Cancel button to return to the state prior to accessing this dialog box.

The metronome is valid only if “Trigger” is set to Sam- pling START SW.

0–3B: Optimize RAM

This command optimizes the sample memory (RAM). When you execute this command, unused memory areas will be reorganized, allowing the full amount of remaining to be used. If you run out of memory, try executing “Optimize RAM.” The remaining amount of RAM can be checked in Sampling mode P0: Recording, Memory Status.

1 Select “Optimize RAM” to access the dialog box.

2 Press the OK button to execute the command, or press

the Cancel button to cancel without executing.

If “Auto Optimize RAM” (Global P0: 0–3b) is checked, RAM will be optimized automatically.

0–3C: Select Bank & Smpl No.

Speciﬁes the RAM bank and sample number into which the sampled data will be written. You can also specify whether the sample will automatically be converted to a program after sampling. “Select Bank & Smpl No.” can be selected if you have selected RAM as the “Save to” destination.

1 Select the “Select Bank & Smpl No.” to access the dialog

box.

2 In “Bank,” specify the sample memory (RAM) bank to

which the sampled data will be written.

3 In “Sample No.,” specify the writing-destination sample

number. By default, this will be the lowest-numbered vacant sample number. If you select “----:----No Assign----” or a sample number that already contains data, the data will automatically be sampled into the lowest vacant sample number. If you are sampling in stereo, specify “Sample No.(L)” and “Sample No.(R).”

4 Set “Auto +12 dB On.”

On (checked): “+12 dB” (Sampling P2: 2–1c) will auto-

matically be turned on for samples you record. Samples for which “+12 dB” is on will play back approximately +12 dB louder than if this setting were off.

When you resample a performance in Program, Combination, or Sequencer modes, you should normally set “Recording Level” to about –12.0 (dB) so that the record- ing level will be as high as possible without clipping. When you resample, the sound will be recorded at the optimum level for sampled data, but the playback level at playback will not be as loud as it was during the resampling process (if “+12 dB” (Sampling P2: 2–1c) is off). In such cases, you can check the “Auto +12 dB On” check box when you resample, so that “+12 dB” (Sampling P2: 2–1c) will automatically be on, making the sample play back at the same level as when it was resampled. In these modes, the power-on defaults are “Recording Level” set to –12.0 (dB) and “Auto +12 dB On” turned on. If you resample a performance in one of these modes with these settings, the sample will play back at the same level at which it was resampled.

If you want to monitor your performance in Program, Combination, or Sequencer mode while sampling only the external audio signal from AUDIO INPUT etc. (the “Source BUS” Indiv.1/2 setting: 0–3b), we recommend that you set “Recording Level” to about +0.0 (dB) and turn off “Auto +12 dB On” when you resample.

The “Auto +12 dB On” setting is made independently for Program, Combination, Sequencer, and Sampling modes.

5 “Convert to” speciﬁes whether the sample will automati-

cally be converted into a program as soon as it has been sampled. This is convenient when you want to hear the sound immediately after sampling. If you check the “Program” check box, the sample will automatically be converted into a program. At the right, set “Program” and “MS” to specify the program number and multisample number for the converted program. Set “Orig. Key” (Sampling P0: 0–1b) to specify the location of the original key. The multisample will create an

“Index” (Sampling P0: 0–1a) with this key as the “Top Key” (Sampling P0: 0–1b). The “Orig. Key” will incre-

ment by one after sampling, and the next higher note will be assigned the next time you sample.

6 Press the OK button to apply the settings you made, or

press the Cancel button to return to the state prior to accessing this dialog box.

0–3D: Select Directory

This lets you select the disk (internal hard disk, etc.) and directory on which the WAVE ﬁle created by sampling will be saved, and specify a ﬁlename. Y ou will also choose this “Select Dir ectory” command when you want to listen to a WAVE ﬁle that was saved on disk.

“Select Directory” can be selected when “Save to” is set to DISK.

Specifying the save destination for a WAVE ﬁle

1 Select the “Select Directory” to access the dialog box.

Program P1: Edit–Basic

Here you can make basic settings for the program, such as oscillator mode and scale type.

1–1: Program Basic

1–1

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

Drive select

2 Use the popup button located at the left of “Drive select”

to select the writing-destination drive for sampling.

3 Use the Open button and Up button to move to the

desired directory.

4 In “Name,” specify a name for the WAVE ﬁle that will be

written during sampling. If you check “Take No.,” the ﬁle will be saved with a two-digit “Take No.” added to the end of the ﬁlename. This number will automatically increment each time you sample. This is convenient when you are sampling repeatedly, since each sample will be saved with its own ﬁlename. If “Take No.” is not checked, you can input up to eight characters in “Name.” If “Take No.” is checked, you can input up to six characters.

5 Press the Done button to complete the settings.

Playing back a WAVE ﬁle

1 Select the “Select Directory” to access the dialog box. 2 Use “Drive Select” and the Open and Up buttons to

select the drive and directory, and select the WAVE ﬁle (44.1 kHz or 48 kHz) that you want to play.

3 Press the SAMPLING [START/STOP] key.

The selected WAVE ﬁle will be played.

4 Press the SAMPLING [START/STOP] key once again to

stop playback.

If the W AVE ﬁle is mono, the same sound will be output to L/R.

While the WAVE ﬁle is playing back, sound cannot be produced by playing the keyboard or receiving note data at MIDI IN. Also, the arpeggiator will stop.

1–1a

1–1c

1–1b

1–1a: Oscillator Mode

Oscillator Mode [Single, Double, Drums]

Speciﬁes the Program’s oscillator assignment; 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 normally have a maximum of 60-note polyphony.

Double: The program will use two oscillators (Oscillator 1/ 2, Filter 1/2, Ampliﬁer 1/2). In this case the program will normally have a maximum of 30-note polyphony.

Drums: The program will use one oscillator (as when Single is selected), but Oscillator 1 will be assigned a drum kit instead of a multisample. In this case the program will normally have a maximum of 60-note polyphony.

If a program draws one multisample from the ROM bank, and a second from either the Piano bank or one of the installed EXB boards, then in this case, a Single program can have a maximum of 120-note polyphony, a Double program a maximum of 60-note polyphony, and a Drums program a maximum of 120-note polyph- ony. (☞BG p.15)

1–1b: Voice Assign Mode

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.

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.

When legato is on, multiple note-on message will not retrigger the voice. If one note is already on and another note is turned on, 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. Off (unchecked): Legato is off. Notes will always be retriggered when note-on occurs. 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.

Hold [On, Off]

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 (4–3a, 4–6) “Sustain (Sustain Level)” is set to 0, the sound will continue playing. This is ideal for playing drum programs, and when you set

“Oscillator Mode” (1–1a) to Drums, you should turn On. Off (unchecked): Hold is Off. Except for drum programs,

you should normally set Off.

If you turn “Hold” On for a drum program, keys of the selected drum kit whose “Enable Note Off Receive” parameter (Global P5: 5–2a) is unchecked will be set to Hold On. Keys that are checked will be set to Hold Off. If you select Hold Off, the keys will be set to Hold Off regardless of their “Enable Note Off Receive” setting.

octave consists of seven notes. When “Key” is set to C, use the white keys. (The black keys will sound the equal tempered pitches.)

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

that was speciﬁed in “User All Notes Scale” (Global P3: 3– 1b).

User Octave Scale 00–15: These are the single-octave scales that were speciﬁed in “User Octave Scale” (Global P3: 3–1a).

Key (Scale Key) [C…B]

Selects 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 Tune” (Global P0: 0–1a) to correct the pitch.

▼ 1–1: Page Menu Command

0–1A 1–1A 1–1B

1–1A: Copy Oscillator

This command is used to copy the settings from one oscillator to another.

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

1–1c: Scale

Type [Equal Temperament…User Octave Scale15]

Selects 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

2 In “From” specify the oscillator to copy, and in “Pro-

gram” specify the bank and number of the copy source

program. You can use the Bank [INT-A]–[EXB-G] keys to select the bank.

3 In “To,” specify the copy destination oscillator. 4 To execute the Copy Oscillator command, press the OK

button. To cancel, press the Cancel button.

1–1B: Swap Oscillator

This command exchanges the settings of oscillators 1 and 2.

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

2 To execute the Swap Oscillator command, press the OK

button. To cancel, press the Cancel button.

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

1–2: OSC Basic

The multisample(s) (waveform) or drum kit on which the program will be based can be selected here for oscillator 1 and/or oscillator 2. Internal ROM contains 429 (425: ROM + 4: Piano) 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 any of the EXB-PCM series options have been installed, you will be able to select from among their multisamples as well. The following illustration shows a LCD screen where “Oscillator Mode” (1–1a) has been set to Dou- ble. If this is set to Single, the OSC2 Multisample (1–2b) will not appear and cannot be set.

1–2

1–2a

1–2b

1–2c

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

EXB*: Multisamples from EXB-PCM series option boards

can be selected. “*” will indicate the type of installed option. The multisample number for “High Multisample” will depend on which EXB-PCM options have been installed.

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

If a program that uses a multisample from an EXB-PCM series board is selected, but the corresponding EXBPCM (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.

When you press the “High Multisample” popup button, a multisample list will appear, allowing you to select a multisample from the list. If ROM is selected as the “High MS Bank,” you can select a multisample from a tabbed list organized by type of instrument.

Category/ROM Multisample Select menu:

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

1–2

1–2d

1–2a: OSC1 Multisample

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, Piano, EXB*...] High Multisample

[000...424, 000...999, 000...003, 000...]

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 M.Sam- ple SW Lo→Hi” (1–2c) parameter “OSC1.” If you do not wish to use velocity switching, set “OSC1” to a value of 001, and select only the High multisample.

ROM: Selects a preset multisample. Use “High Multisam- ple” to select from 000–424. RAM: Selects a multisample that you created in Sampling mode or that you loaded in Disk mode. Use “High Multi- sample” to select from 000–999. Piano: You can select preset multisamples such as stereo piano. Choose from 000–003 for the “High Multisample.”

S.Offset (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.

Lvl (High Level) [000…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.

The playback level for a RAM multisample is also affected by the “+12 dB” (Sampling P2: 2–1c) setting for each sample. If the “+12 dB” setting is on, the playback will be approximately +12 dB louder. (☞0–3C)

Low:

Here you can assign the Low multisample for OSC1. The multisample you select here will sounded by velocities less than the value of the “Velocity M.Sample SW Lo→Hi” (1–2c) parameter “OSC1.”

Low MS Bank [ROM, RAM, Piano, EXB*...] Low Multisample

[000...424, 000...999, 000...003, 000...] S.Offset (Low Start Offset) [Off, On] Rev (Low Reverse) [Off, On] Lvl (Low Level) [000…127]

☞ For details on the “Low” parameters, refer to the explana-

tions for the corresponding “High” parameters.

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

Adjusts the pitch in octave units. The normal octave of the multisample is pitched at 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 (4–3a, 4–6) “Sustain” parameter to 0.

1–2b: OSC2 Multisample

This will appear when “Oscillator Mode” (1–1a) is set to Double.

For details on the settings and function of the parameter, refer to “1–2a: OSC1 Multisample.”

1–2c: Velocity M.Sample SW Lo → Hi

(Velocity Multisample Switch Low → High)

OSC1 (OSC1 Velocity Switch) [1…127]

The High and Low multisamples selected for oscillator 1 in “OSC 1 Multisample” (1–2a) will be switched at the velocity value that you specify here. Notes played with a velocity stronger than this value will be sounded by the High multisample.

OSC2 (OSC2 Velocity Switch) [1…127]

This will appear when “Oscillator Mode” (1–1a) is set to Double.

The High and Low multisamples selected for oscillator 2 in “OSC 2 Multisample” (1–2b) will be switched at the velocity value that you specify here. Notes played with a velocity stronger than this value will be sounded by the High multisample.

1–2d: Drum Kit

Drum Kit [000(I-A/B)...143(User), 144(GM)...152(GM)]

Selects a drum kit.

000(I-A/B)–015(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-D) 80(E-E)–95(E-E) 96(E-F)–111(E-F) 112(E-G)–127(E-G) 128(User)–143(User) User drum kits

144(GM)–152(GM) ROM preset drum kits compatible with GM2

User drum kits EXB-PCM series drum kits

(some preloaded drum kits)

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 Global P5: Drum kit.

Delay (Delay Time) [0ms…5000ms, KeyOff]

This speciﬁes a delay time from note-on until the sound will begin. With a setting of KeyOff, the sound will begin when noteoff occurs. In this case, set the Amp EG (4–3a) parameter “Sustain” to 0.

▼ 1–2: Page Menu Command

0–1A 1–1A 1–1B 1–2A

1–2A: Sample Parameters

Speciﬁes the sample for each index of a RAM multisample. You can adjust the playback level, cutoff, resonance, pitch, attack, and decay.

This can be selected if “Oscillator Mode” (1–1a) is Sin-

gle or Double, and RAM is selected as the “High MS Bank” or “Low MS Bank” for OSC1 Multisample or OSC2 Multisample and “High Multisample” or “Low Multisample” are selected.

These settings are made for the selected multisample. If another oscillator or program uses that multisample, that oscillator or program will also be affected by the changes you make here.

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

1–3: Velo. Zone (Velocity Zone)

Here you can specify the velocity range at which each oscillator will sound. The “Velocity M.Sample” SW Lo→Hi” (1–2c) setting in conjunction with these “OSC 1/2 Velocity Zone” settings will determine the velocity ranges in which the High and Low multisample or drum kit will sound.

Program

2 Index: Specify the index for which you wish to make set-

tings. The number following “/” is the total number of indexes in the selected multisample. Sample: indicates the sample number and name for the index.

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

Level: Adjust the volume. Relative to the settings of “Lvl” (1–2a) and “Amp Level” (4–1a, 4–4), negative (–) values will decrease the levels, and positive (+) values

will increase the levels. A setting of +99 will double the volume. This parameter is linked to the “Level” (Sampling P3: 3–1b). The value that was speciﬁed in Sampling mode will be displayed here.

The volume is also affected by the “+12 dB” (Sampling P2: 2–1c) setting. If the “+12 dB” setting is on, the playback will be approximately +12 dB louder.

Cutoff: Adjusts the ﬁlter cutoff. This adjustment will be added to the value speciﬁed for “(Filter A) Frequency” (3–1b, 3–5) of Filter 1 and 2. Resonance: Adjusts the resonance level of the ﬁlter. This adjustment will be added to the value speciﬁed for “(Filter A) Resonance” (3–1b, 3–5) of Filter 1 and 2. Pitch: 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 Sampling P3: Multi Sample parameter “Pitch” (Sampling P3: 3–1b). The value that was speciﬁed in Sampling mode will be displayed here. Attack: Adjusts the attack times of the ﬁlter EG and amp EG. This adjustment will be added to the “(Time) Attack” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG” (3–4a, 3–8, 4–3a, 4–6). Decay: Adjusts the decay times of the ﬁlter EG and amp EG. This adjustment will be added to the “(Time) Decay” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG” (3–4a, 3–8, 4–3a, 4–6).

4 Press the Done button to execute, and close the dialog

box.

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

1–3

1–3a

1–3a: OSC 1/2 Velocity Zone

OSC1 Top [001...127]

Sets the maximum velocity value that will sound oscillator

OSC1 Bottom [001...127]

Sets the minimum velocity value that will sound oscillator 1.

OSC2 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.

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

Y ou can also input a value by playing a note on the keyboard while you hold down the [ENTER] key.

▼ 1–3: Page Menu Command

☞ 0–1A: Write Program, 1–1A: Copy Oscillator, 1–1B: Swap

Oscillator

P1 P2 P3 P4 P5 P7 P8 P9

1–4: Controller (Controller Setup)

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

1–4

1–4a

1–4b

1–4a: Panel Switch Assign

These settings assign functions to the [SW1] and [SW2] keys (“SW1, SW2 Assign List” ☞p.249).

SW1 Assign [Off, ..., After Touch Lock]

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

SW1 Mode [Toggle, Momentary]

Speciﬁes how the on/off state of the [SW1] key will change when it is pressed.

Toggle: On/off will alternate each time the [SW1] key is pressed. Momentary: The function will be on only as long as the [SW1] key remains pressed.

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

Assigns a function to the [SW2] key. The functions that can be assigned to [SW2] key are the same as for [SW1] key, except that SW2 Mod.:CC#81 is available instead of SW1 Mod.:CC#80.

Program P2: Edit–Pitch

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

2–1: OSC1 P.Mod (OSC1 Pitch Mod.)

These settings specify how key position (note number) will affect the pitch of oscillator 1, and select the controllers that will affect the oscillator 1 pitch and specify the depth of control. Here you can also specify the amount of pitch change produced by the Pitch EG and by LFO1 and LFO2. You can also switch portamento on/off and specify how it will apply.

2–1

2–1a

2–1b

2–1c

2–1a: Pitch

Pitch Slope [–1.0…+2.0]

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

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

How the Pitch Slope and pitch are related

2oct

1oct 1oct

Pitch

2–1d

1–4b: Realtime Control Knobs B–Assign

Here you can assign functions (mainly various types of control change) to the B-mode of the REALTIME CONTROL knobs [1]–[4] (“Realtime Control Knobs B–Assign List” ☞p.250). The functions you set here will take effect when you operate the REALTIME CONTROL knobs [1]–[4] in B-mode.

Knob 1–B Knob 2–B Knob 3–B Knob 4–B

(Knob 1–B Assign) (Knob 2–B Assign) (Knob 3–B Assign) (Knob 4–B Assign)

[Off, ..., MIDI CC#95] [Off, ..., MIDI CC#95] [Off, ..., MIDI CC#95] [Off, ..., MIDI CC#95]

▼ 1–4: Page Menu Command

☞ 0–1A: Write Program, 1–1A: Copy Oscillator, 1–1B: Swap

Oscillator

–1

C4 C5

Key

Ribbon [–12…+12]

Speciﬁes in semitone units how greatly the pitch will be changed when you press the ribbon controller. With a value of 12, the pitch can be changed a maximum of one octave. Positive (+) values will cause the pitch to rise when you press the ribbon controller to the right of center, and nega- tive (–) values will cause the pitch to fall. For example with a setting of +12, pressing the far right edge of the ribbon controller will raise the pitch one octave. With a setting of –12, pressing the far right edge of the ribbon controller will lower the pitch one octave. At the center of the ribbon controller, the original pitch will remain, so you can use this in conjunction with pressing the ribbon at its right edge to simulate the “hammering-on” techniques used by guitarists.

JS (+X) [–60…+12]

Speciﬁes in semitone units how the pitch will change when the joystick is moved all the way to the right. A setting of 12 produces 1 octave of change. For example if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch.

JS (–X) [–60…+12]

Speciﬁes in semitone units how the pitch will change when the joystick is moved all the way to the left. A setting of 12 produces 1 octave of change. For example if you set this to –60 and move the joystick all the way to the left, the pitch will fall ﬁve octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the tremolo arm.

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

Selects the source that will modulate the pitch of oscillator 1 (“AMS List” ☞p.242).

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 After Touch and apply pressure to the keyboard, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative (–) value. The range is a maximum of one octave (☞p.244).

2–1c: Portamento

This turns the portamento effect (smooth change in pitch from one note to the next) on/off, and speciﬁes how it will be applied. If [SW1] key or [SW2] key are set to Porta.SW:CC#65, turning [SW1] key or [SW2] key on/off will apply portamento (“AMS List” ☞p.242, “SW1, SW2 Assign List”, Porta.SW:#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.

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

2–1b: Pitch EG

Intensity [–12.00…+12.00]

Speciﬁes the depth and direction of the modulation that the pitch EG speciﬁed in P2: Edit-Pitch, Pitch EG 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 (“AMS List” ☞p.242).

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 (☞p.244). As you play more softly, the pitch change will draw closer to the pitch EG levels.

Pitch change (level)

Note-on

Note-off

Softly played (Intensity setting)

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

Note-on

Note-off

Strongly played with a positive (+) value

Note-on

Note-off

Strongly played with a negative (–) value

2–1d: LFO1/2

LFO1:

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 “OSC1 LFO1” (5–1). With a setting of 12.00, a maximum of ±1 octave of pitch modulation will be applied. Negative (–) values will invert the LFO waveform.

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

Speciﬁes the depth and direction of the effect that joystick movement in the +Y direction (away from yourself) will have on the pitch modulation applied by the OSC1 LFO1. As this value is increased, moving the joystick in the +Y direction will cause the OSC1 LFO1 to produce deeper pitch modulation. With a setting of 12.00 a maximum of ±1 octave of pitch modulation will be applied. Negative (–) values will invert the LFO waveform.

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

Selects the source that will control the depth of pitch modulation produced by the OSC1 LFO1 (“AMS List” ☞p.242).

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 “AMS (LFO1 AMS)” is set to After Touch and you apply pressure to the keyboard, a positive (+) setting of this parameter will cause the pitch modulation created by OSC1 LFO1 to be applied with the normal phase, and a negative (–) setting will cause the LFO to be applied with inverted phase.

The “LFO1 Intensity,” “JS+Y (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.244).

LFO2:

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 above “LFO1.”

▼ 2–1: Page Menu Command

☞ 0–1A: Write Program, 1–1A: Copy Oscillator, 1–1B: Swap

Oscillator

Attack (Attack Level) [–99…+99]

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

Release (Release Level) [–99…+99]

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

Time:

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

Attack (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.

Decay (Decay Time) [0…99]

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

2–2: OSC2 P.Mod (OSC2 Pitch Mod.)

These settings specify how key position (note number) will affect the pitch, and select the controllers that will affect the oscillator 2 pitch and specify the depth of control. They also specify the depth at which the pitch EG will affect the pitch of oscillator 2, and the depth of pitch change produced by LFO1 and LFO2. Portamento on/off settings etc. are also found here.

For details on the functions of these parameters, refer to the preceding section “2–1: OSC1 P.Mod (OSC1 Pitch Mod.).”

2–3: Pitch EG

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

2–3

2–3a

2–3b

2–3a: Pitch EG

These settings specify how the pitch will change over time.

Level:

These parameters specify the amount of pitch change. The actual amount of pitch change will depend on the “Pitch EG” (2–1b, 2–2) parameter “Intensity.” For example with an “Intensity” setting of +12.00, a “Level” setting of +99 would raise the pitch one octave, and a “Level” setting of –99 would lower the pitch one octave.

2–3c

Release (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

2–3b: Level Modulation

These settings allow the pitch EG Level parameters to be controlled by alternate modulation.

AMS1 (Level Mod. AMS1) [Off, (KT, EXT)]

Selects the source that will control the pitch EG Level parameters (“AMS List” ☞p.242).

Intensity (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” (2–3a) will be used. For example if “AMS1 (Level Mod. AMS1)” is SW1:CC#80, pressing the [SW1] key to turn it on will change the Level parameters of the Pitch EG. (Set “Panel Switch Assign” (1– 4a) to SW1 Mod.CC#80.) As the absolute value of “Intensity (AMS1 Intensity)” is increased, the pitch EG levels will change more greatly when the [SW1] key is turned on. The direction of the change is speciﬁed by “St (AMS1 SW Start)” and “At (AMS1 SW Attack).” When the [SW1] key is turned off, the pitch EG levels will return to their own settings. If “AMS1 (Level Mod. AMS1)” is set to Velocity, increasing the absolute value of “Intensity (AMS1 Intensity)” will produce increasingly wider change in pitch EG levels for strongly-played notes. The direction of the change is speciﬁed by “St (AMS1 SW Start)” and “At (AMS1 SW Attack).” As you play more softly, the pitch change will draw closer to the pitch EG levels.

Start (Start Level) [–99…+99]

Speciﬁes the amount of pitch change at note-on.

Pitch EG change (level) (AMS=SW1/Velocity, Intensity= positive (+) value

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Program

A note played softly with “St” set at 0, “At” set to +, and SW1 turned on (the settings of 2–3a: Pitch EG)

A note played strongly with “St” set to 0, “At” set to +, and SW1 turned on

A note played strongly with “St” set to 0, “At” set to –, and SW1 turned on

St (AMS1 SW Start) [–, 0, +]

Speciﬁes the direction of change in “Start (Start Level)” caused by “AMS1 (Level Mod. AMS1).” If “Intensity (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.

At (AMS1 SW Attack) [–, 0, +]

Speciﬁes the direction of change in “Attack (Attack Level)” caused by “AMS1 (Level Mod. AMS1).” If “Intensity (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)] Intensity (AMS2 Intensity) [–99…+99] St (AMS2 SW Start) [–, 0, +] At (AMS2 SW Attack) [–, 0, +]

Refer to the preceding paragraphs “AMS1 (Level Mod. AMS1)”–“At (AMS1 SW Attack).”

2–3c: Time Modulation

A note played softly with “At” set to + and “Dc” set to + (settings of 2–3a: Pitch EG)

A note played strongly with “At” set to + and “Dc” set to +

A note played strongly with “At” set to – and “Dc” set to –

At (AMS SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS (Time Mod. AMS)” will affect the “Attack (Attack Time).” With positive (+) values of “Intensity (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.

Dc (AMS SW Decay) [–, 0, +]

Speciﬁes the direction in which “AMS (Time Mod. AMS)” will affect the “Decay (Decay Time).” With positive (+) values of “Intensity (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.

▼ 2–3: Page Menu Command

☞ 0–1A: Write Program, 1–1A: Copy Oscillator, 1–1B: Swap

Oscillator

P0 P1 P2 P3 P4 P5 P7 P8 P9

These parameters let you use an alternate modulation source to control the Time parameters of the pitch EG.

AMS (Time Mod. AMS) [Off, (KT, EXT)]

Selects the source that will control the Time parameters of the pitch EG (“AMS List” ☞p.242).

Intensity (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” (2–3a) settings. The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next. For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached. When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the speciﬁed EG times will speed up as much as 2, 4, 8, 16, 32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time). For example if “AMS (Time Mod. AMS)” is set to Velocity, increasing the absolute value of “Intensity (AMS Intensity)” will allow strongly-played notes to increase the changes in pitch EG Time values. The direction of the change is speciﬁed by “At (AMS SW Attack)” and “Dc (AMS SW Decay).” As you play more softly, the pitch EG times will more closely approach the actual settings of the pitch EG.

Program P3: Edit–Filter

Here you can make settings for the ﬁlters that will be used by oscillators 1 and 2. You can select either a 24 dB/octave low pass ﬁlter with resonance, or a series connection of a 12 dB/ octave low pass ﬁlter and a 12 dB/octave high pass ﬁlter. When “Oscillator Mode” (1–1a) is set to Single, ﬁlter 1 will be used, and when it is set to Double, ﬁlters 1 and 2 will be used. When Single is selected, pages relating to ﬁlter 2 cannot be selected.

3–1: Filter1

Here you can specify the basic ﬁlter type used by oscillator 1, and set the cutoff frequency and resonance.

3–1

3–1a

3–1b

3–1c

3–1a: Filter Type

Filter Type

[Low Pass Resonance, Low Pass & High Pass]

Selects the type for ﬁlter 1. Low Pass Resonance: 24 dB/octave low pass ﬁlter with res-

onance.

Low Pass & High Pass: 12 dB/octave low pass ﬁlter and 12 dB/octave high pass ﬁlter in series.

When the “Filter Type” is Low Pass Resonance, the cutoff will have a steeper slope.

Low Pass

Level

12dB/oct

24dB/oct

Frequency

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.

Resonance Mod. by AMS

[Off, (PEG, FEG, AEG, LFO, KT, EXT)]

Selects the source that will control the “Resonance (A Resonance)” level (“AMS List” ☞p.242).

Intensity (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “Resonance Mod. by 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

Trim [00…99]

Adjusts the level at which the audio signal output from oscillator 1 is input to ﬁlter 1A.

If the trim value is set too high, the sound may be distorted if Resonance is set to a high value or when you play a chord.

3–1b: Filter A

This is a ﬁlter that cuts the high-frequency region above the cutoff frequency. This is the most common type of ﬁlter, and is used to cut part of the overtone components, making an originally bright timbre sound more mellow (darker).

Low resonance value High resonance value

3–1c: Filter B

This parameter will be displayed when “Filter Type” (3–1a) is set to Low Pass & High Pass. 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.

▼ 3–1: Page Menu Command

☞ 0–1A: Write Program, 1–1A: Copy Oscillator, 1–1B: Swap

Oscillator

3–2: Filter1 Mod.

Here you can make settings to specify how keyboard tracking, controllers, and ﬁlter 1 EG intensity will control the Filter 1 cutoff frequency “Frequency” (A/B Frequency) to modify the tone. When “Filter Type” (3–1a) is Low Pass Resonance, parameters for ﬁlter B will not be displayed.

3–2

3–2a

3–2b

3–2c

3–2a: 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 position of the key you play (note number) can be speciﬁed by the “Key Low (KBDTrk Key Low),” “Key High (KBDTrk Key High),” “Ramp Low (KBDTrk Ramp Low)” and “Ramp High (KBDTrk Ramp High)” parameters.

Key:

Speciﬁes the note number at which keyboard tracking will begin to be applied, and set the “Intensity to A (KBDTrk Int. to A)” and “Intensity to B (KBDTrk 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 “Key Low (KBDTrk Key Low)” and “Key High (KBDTrk Key High),” the cutoff frequency will change according to the key position (pitch).

Note numbers can also be entered by holding down the [ENTER] key while you press a note on the keyboard.

Key Low (KBDTrk Key Low) [C–1…G9]

Keyboard tracking will apply to the range below the speciﬁed note number.

Key High (KBDTrk Key High) [C–1…G9]

Keyboard tracking will apply to the range above the speciﬁed note number.

increase the “Resonance (A Resonance)” (3–1b) will correspond to the keyboard location. If you set “Ramp Low (KBDTrk Ramp Low)” to +43 and “Ramp High (KBDTrk Ramp High)” to –43, the cutoff fre- quency 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 (“Intensity to A” and “Intensity to B” = +50)

Cutoff frequency

Low Ramp=+99 Low Ramp=+43 Low Ramp=0 Low Ramp=–62

Low Ramp=–99

Low Key

High Key

High Ramp=+99

High Ramp=+62

High Ramp=0

High Ramp=–43

High Ramp=–99

Key

Intensity to A (KBDTrk Int. to A) [–99…+99]

Speciﬁes the depth and direction of the effect that the keyboard tracking speciﬁed by “Key Low (KBDTrk Key Low),” “Key High (KBDTrk Key High),” “Ramp Low (KBDTrk Ramp Low)” and “Ramp High (KBDTrk Ramp High)” will have on ﬁlter 1A. With positive (+) values, the effect will be in the direction speciﬁed by keyboard tracking, and with negative (–) val- ues the effect will be in the opposite direction.

Intensity to B (KBDTrk Int. to B) [–99…+99]

Speciﬁes the depth and direction of the effect that keyboard tracking will have on ﬁlter 1B (☞“Intensity to A (KBDTrk Int. to A)”).

3–2b: Filter EG

Velocity to A [–99…+99]

This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter 1 EG (as set by “Filter 1 EG” 3–4) to control the ﬁlter 1A cutoff frequency. With positive (+) values, playing more strongly will cause the ﬁlter 1 EG to produce greater changes in cutoff frequency . 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.

Velocity to B [–99…+99]

This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter 1 EG to control the ﬁlter 1B cutoff frequency (☞ “Velocity to A”).

Changes in cutoff frequency

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

Ramp (Ramp Setting):

Speciﬁes the angle of keyboard tracking.

Ramp Low (KBDTrk Ramp Low) [–99…+99] Ramp High (KBDTrk Ramp High) [–99…+99]

If “Intensity to A (KBDTrk Int. to A)” and “Intensity to B (KBDTrk Int. to B)” are set to +50, “Ramp Low (KBDTrk Ramp Low)” is set to –62 and “Ramp High (KBDTrk Ramp High)” is set to +62, the angle of the change in cutoff fre-

quency will correspond to the keyboard location (pitch). This means that the oscillation that occurs when you

Softly played (The setting of 3–2b: Intensity to A)

Strongly played Setting to +

Strongly played Setting to –

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 Level and Time parame-

ters (3–4a) are in the “+” area, and darker when they are in the “–” area. With negative (–) settings, the sound will become darker when the EG levels set by Filter 1 EG “Level” and “Time” parameters (3–4a) are in the “+” area, and brighter when they are in the “–” area.

Intensity to B [–99…+99]

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 (☞“Intensity to A”).

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 (“AMS List” ☞p.242).

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 (☞“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 (☞“Intensity to A”).

The sum of the settings for “Velocity to A (B),” “Intensity 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.

3–3: Filter1 LFO Mod.

Here you can use the ﬁlter 1 LFO to apply cyclic modulation to the cutoff frequency of ﬁlter 1 (for oscillator 1) to create cyclical changes in tone.

3–3

3–3a

3–3b

3–3a: LFO 1

Intensity to A (LFO1 Int. to A) [–99…+99]

Speciﬁes the depth and direction of the modulation that OSC1 LFO1 (set by “OSC1 LFO1” 5–1) will have on the cutoff frequency of ﬁlter 1A. Negative (–) settings will invert the phase.

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 (LFO1 Int. to A)”).

Change in cutoff

3–2c: Filter A/B Modulation

Filter A:

AMS1 (Filter A AMS1) [Off, (PEG, AEG, EXT)]

Selects the source that will control modulation of the ﬁlter 1A cutoff frequency (“AMS List” ☞p.242).

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. This value is added to the setting of the Filter A “Frequency (A Frequency)” (3–1b).

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 (Filter A AMS1),” “Intensity (A AMS1 Intensity)”).

Filter B:

This will be displayed when “Filter Type” (3–1a) is Low Pass & High Pass.

Two alternate modulation sources can be used to modulate the cutoff frequency of ﬁlter 1B (☞“Filter A”).

▼ 3–2: Page Menu Command

Low setting High setting

JS–Y Intensity to A (LFO1 JS–Y Int. to A) [–99...+99]

The joystick can be moved in the –Y direction (toward yourself) to control OSC1 LFO1, modulating the cutoff frequency of ﬁlter 1A. This parameter speciﬁes the depth and direction of control. Higher settings of this parameter will cause OSC1 LFO1 to have a greater effect on ﬁlter 1 when you move the joystick in the –Y direction (toward yourself).

JS–Y Intensity to B (LFO1 JS–Y Int. to B) [–99...+99]

The joystick can be moved in the –Y direction (toward yourself) to control OSC1 LFO1, modulating the cutoff frequency of ﬁlter 1B. This parameter speciﬁes the depth and direction of control. (☞”JS–Y Intensity to A (LFO1 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 (“AMS List” ☞p.242).

Intensity to A (LFO1 AMS Int. to A) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (LFO1 AMS)” will have on ﬁlter 1A. For example if “AMS (LFO1 AMS)” is After Touch, higher settings of this parameter will allow greater change to be applied to OSC1 LFO1 when you apply pressure to the keyboard.

☞ 0–1A: Write Program, 1–1A: Copy Oscillator, 1–1B: Swap

Oscillator

Intensity to B (LFO1 AMS Int. to B) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (LFO1 AMS)” will have on ﬁlter 1B (☞“Intensity to A (LFO1 AMS Int. to A)”).

3–3b: LFO 2

Adjusts the depth of the cyclic modulation applied by OSC1 LFO2 (set by 5–2) to the cutoff frequency of ﬁlters 1A and 1B (☞LFO 1: 3–3a).

Intensity to A (LFO2 Int. to A) [–99…+99] Intensity to B (LFO2 Int. to B) [–99…+99] JS–Y Intensity to A (LFO2 JS–Y Int. to A) [–99…+99] JS–Y Intensity to B (LFO2 JS–Y Int. to B) [–99…+99] AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Intensity to A (LFO2 AMS Int. to A) [–99…+99] Intensity to B (LFO2 AMS Int. to B) [–99…+99]

▼ 3–3: Page Menu Command

Break (Break Point Level) [–99…+99]

Speciﬁes the cutoff frequency after the decay time has elapsed.

Sustain (Sustain Level) [–99…+99]

Speciﬁes the cutoff frequency that will be maintained from after the slope time has elapsed until note-off occurs.

Release (Release Level) [–99…+99]

Speciﬁes the cutoff frequency that will occur when the release time has elapsed.

Time:

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

Attack (Attack Time) [00…99]

Speciﬁes the time over which the level will change from note-on until the attack level is reached.

Decay (Decay Time) [00…99]

Speciﬁes the time over which the level will change from the attack level to the break point level.

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

☞ 0–1A: Write Program, 1–1A: Copy Oscillator, 1–1B: Swap

Oscillator

3–4: Filter1 EG

Here you can make settings for the EG that will produce time-varying changes in the cutoff frequency of ﬁlters 1A and 1B. The depth of the effect that these settings will have on the ﬁlter 1 cutoff frequency is determined by Filter EG (3–2b).

3–4

3–4a

3–4b

3–4a: Filter1 EG

Speciﬁes the time-varying change produced by the ﬁlter 1 EG.

Level:

The result will depend on the ﬁlter that was selected in “Fil- ter T ype” (3–1a). For example with the Low Pass Resonance

ﬁlter, positive (+) values of EG Intensity will cause the tone to be brightened by positive (+) levels, and darkened by negative (–) levels.

Start (Start Level) [–99…+99]

Speciﬁes the cutoff frequency at the time of note-on.

Attack (Attack Level) [–99…+99]

Speciﬁes the cutoff frequency after the attack time has elapsed.

3–4c

Slope (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.

Release (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

3–4b: Level Modulation

These settings let you use alternate modulation to control the Level parameters of the ﬁlter 1 EG.

AMS (Level Mod. AMS) [Off, (KT, EXT)]

Selects the source that will control the Level parameters of the ﬁlter 1 EG (“AMS List” ☞p.242).

Intensity (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 “St (AMS SW Start),” “At (AMS SW Attack)” and

“Br (AMS SW Break)” to + and set “Intensity (AMS Intensity)” to a positive (+) value, the EG levels will rise as you

play more strongly. If “Intensity (AMS Intensity)” is set to a negative (–) values, the EG levels will fall as you play more strongly. With a setting of 0, the levels speciﬁed by “Filter 1 EG” (3– 4a) will be used.

St (AMS SW Start) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will affect “Start (Start Level).” When “Intensity (AMS Intensity)” has a positive (+) value, a setting of + for this parameter will allow “AMS (Level Mod. AMS)” to raise the EG level, and a setting of – will allow “AMS (Level Mod. AMS)” to lower the EG level. With a setting of 0 there will be no change.

+ 292 hidden pages

Korg Triton Studio User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

1. Program mode

Program P0: Play

0–1: Perf. Edit (Performance Edit)

0–2: Arpeggio

0–3: Sampling

Program P1: Edit–Basic

1–1: Program Basic

1–2: OSC Basic

1–3: Velo. Zone (Velocity Zone)

1–4: Controller (Controller Setup)

Program P2: Edit–Pitch

2–1: OSC1 P.Mod (OSC1 Pitch Mod.)

2–2: OSC2 P.Mod (OSC2 Pitch Mod.)

2–3: Pitch EG

Program P3: Edit–Filter

3–1: Filter1

3–2: Filter1 Mod.

3–3: Filter1 LFO Mod.

3–4: Filter1 EG