Korg Triton Studio User Manual

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▼ 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.

At (AMS SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will affect “Attack (Attack 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.

Br (AMS SW Break) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will affect “Break (Break Point 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.

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Softly played note with “St,” “At,” and “Br” set to + (setting of 3–4a: Filter 1 EG)

Note-off

Note-on

Strongly played note with “St,” “At,” and “Br” set to +

Note-off

Note-on

Strongly played note with “St,” “At,” and “Br” set to –

Note-off

3–4c: Time Modulation

Dc (AMS1 SW Decay) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the decay time. With positive (+) values of “Intensity (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Sl (AMS1 SW Slope) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the slope time. With positive (+) values of “Inten- sity (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Rl (AMS1 SW Release) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the release time. With positive (+) values of “Intensity (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

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

AMS1:

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

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

Intensity (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Time Mod. AMS1)” will have. For example if “AMS1 (Time Mod. AMS1)” is set to Flt KTr

+/+, the EG Time parameters will be controlled by the Key- board Track (3–2a) settings. With positive (+) values of this

parameter, positive (+) values of Ramp (Ramp Setting) will lengthen the EG times, and negative (–) values of Ramp (Ramp Setting) will shorten the EG times. The direction of change is speciﬁed by “At (AMS1 SW Attack),” “Dc (AMS1 SW Decay),” “Sl (AMS1 SW Slope),” and “Rl (AMS1 SW Release).” With a setting of 0, the times speciﬁed by Filter 1 EG (3–4a) will be used. If “AMS1 (Time Mod. AMS1)” is set to Velocity, positive (+) values of this parameter will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly.

At (AMS1 SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the attack time. With positive (+) values of “Intensity (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Softly played note with “At,” “Dc,” “Sl” and “Rl” set to +

(setting of 3–4a: Filter 1 EG)

Strongly played note with “At,” “Dc,” “Sl” and “Rl” set to +

Strongly played note with “At,” “Dc,” “Sl” and “Rl” set to –

AMS2:

AMS2 (Time Mod. AMS2) [Off, (KT, EXT)] Intensity (AMS2 Intensity) [–99…+99] At (AMS2 SW Attack) [–, 0, +] Dc (AMS2 SW Decay) [–, 0, +] Sl (AMS2 SW Slope) [–, 0, +] Rl (AMS2 SW Release) [–, 0, +]

These parameters are the settings for AMS2 to control the Time parameters of the ﬁlter 1 EG (☞AMS1).

▼ 3–4: Page Menu Command

0–1A 1–1A 1–1B 3–4A

3–4A: Sync Both EGs

When you select the page menu command “Sync Both EGs,” a check mark will be added at the left of “Sync Both

EGs.” In this state, you can edit the ﬁlter 1 EG and ﬁlter 2 EG simultaneously. (Editing either EG will change the settings of both EGs.)

“Sync Both EGs” cannot separately sync the ﬁlter EG and amp EG. For example if they are synced in 4–3A, they will also be synced here.

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

3–5: Filter2 3–6: Filter2 Mod. 3–7: Filter2 LFO Mod. 3–8: Filter2 EG

Make settings for ﬁlter 2 which controls the sound of oscillator 2. You can choose either a 24 dB/octave low pass ﬁlter with resonance or a 12 dB/octave low pass ﬁlter and 12 dB/ octave high pass ﬁlter connected in series. Filter 2 can be used if “Oscillator Mode” (1–1a) is Double. (☞”3–1: Filter1” – “3–4: Filter1 EG”)

Program P4: Edit–Amp

Make settings for amp 1 which controls the volume of oscillator 1, and amp 2 which controls the volume of oscillator 2. Pan settings are also made here.

4–1

4–1a

4–1b

4–1: Amp1 Level/Pan

These parameters control the volume and pan of oscillator 1.

4–1a: Amp Level

Amp Level (Amp1 Level) [0…127]

Sets the volume of oscillator 1.

The volume of a program can be controlled by CC#7 (volume) and #11 (expression). The resulting level is determined by multiplying the values of CC#7 and #11. The Global MIDI channel “MIDI Channel” (Global P1: 1–1a) is used for control.

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

4–1b: Pan

Pan (Amp1 Pan) [Random, L001…C064…R127]

Sets the pan (stereo location) of oscillator 1. A setting of L001 places the sound at far left, C064 in the center, and R127 to far right.

Random: The sound will be heard from a different location at each note-on.

This can be controlled by CC#10 (panpot). A CC#10 value of 0 or 1 will place the sound at the far left, a value of 64 will place the sound at the location speciﬁed by the “Pan” setting for each oscillator, and a value of 127 will place the sound at the far right. This is controlled on the global MIDI channel “MIDI Channel” (Global P1: 1–1a).

Use DKit Setting [Off, On]

This option is availble only when “Oscillator Mode” (1–1a) is set to Drums.

On (checked): The sound will be output at the “Pan” setting that has been made for each key of the drum kit (Global P5: 5–2b). When “Oscillator Mode” is Drums, you will normally use this setting. Off (unchecked): All keys of the Drum Kit will use the “Pan (Amp 1 Pan)” setting.

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

Selects the source that will modify pan (“AMS List” ☞p.242). This change will be relative to the “Pan (Amp1 Pan)” setting.

Intensity [–99…+99]

Speciﬁes the depth of the effect produced by “AMS (Pan AMS).” For example if “Pan (Amp1 Pan)” is set to C064 and “AMS (Pan AMS)” is Note Number, positive (+) values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note (i.e., as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative (–) values of this parameter will have the opposite effect.

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

With positive (+) values of this parameter, the volume will increase as you play notes above the “Key High (KBDTrk Key High)” note number. With negative (–) values, the volume will decrease.

Volume change produced by keyboard location and Ramp settings

Volume

Ramp Low=+99

Ramp High=+99

▼ 4–1: Page Menu Command

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

Oscillator

4–2: Amp1 Mod.

Applies modulation to amp 1 (for oscillator 1), make settings for keyboard tracking to vary the volume, and set the intensity of velocity and LFO 1/2.

4–2

4–2a

4–2b

4–2c

4–2a: Keyboard Track

These parameters let you use keyboard tracking to adjust the volume of oscillator 1. Use the “Key Low,” “Key High” and “Ramp Low, ” “Ramp High” parameters to specify how the volume will be affected by the keyboard location that you play.

Key:

Speciﬁes the note number at which keyboard tracking will begin to apply. The volume will not change between “Key Low (KBDTrk Key Low)” and “Key High (KBDTrk Key High).”

The note number can also be input by holding the [ENTER] key and playing a note on the keyboard.

Key Low (KBDTrk Key Low) [C–1…G9]

Keyboard tracking will apply to the range of notes below the note number you specify here.

Key High (KBDTrk Key High) [C–1…G9]

Keyboard tracking will apply to the range of notes above the note number you specify here.

Ramp:

Speciﬁes the angle of the keyboard tracking.

Ramp Low (KBDTrk Ramp Low) [–99…+99]

With positive (+) values of this parameter, the volume will increase as you play notes below the “Key Low (KBDTrk Key Low)” note number. With negative (–) values, the volume will decrease.

Ramp Low=0

Ramp Low=–99

Key Low

Key High

Ramp High=0

Ramp High=–99

Key

4–2b: Amp Modulation

These parameters specify how the volume of oscillator 1 will be affected by velocity.

Velocity Intensity [–99…+99]

With positive (+) values, the volume will increase as you play with more velocity. With negative (–) values, the volume will decrease as you play with more velocity.

Volume change (with positive (+) values of this parameter)

Note-on

Softly played

Note-off

Note-on

Strongly played

Note-off

AMS (Amp AMS) [Off, (PEG, FEG, EXT)]

Selects the source that will control the volume of amp 1 (“AMS List” ☞p.242). (EXT) Velocity cannot be selected.

Intensity (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Amp AMS)” will have. The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp EG are low, the modulation applied by Alternate Modulation will also be less.

For example if “AMS (Amp AMS)” is set to After Touch, positive (+) values of this parameter will cause the volume to increase when pressure is applied to the keyboard. However if the EG settings etc. have already raised the volume to its maximum level, the volume cannot be increased further. With negative (–) values of this parameter, the volume will decrease when pressure is applied to the keyboard.

4–2c: LFO 1/2

These parameters let you use “OSC1 LFO1” (5–1) and “OSC1 LFO 2” (5–2) to control the oscillator 1 volume.

LFO1 Intensity [–99…+99]

Speciﬁes the depth and direction of the effect that “OSC1 LFO1” will have on the volume of oscillator 1. Negative (–) values will invert the LFO waveform.

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

Selects a source that will control the depth by which “OSC1 LFO1” will modulate the volume of oscillator 1 (“AMS List” ☞p.242).

Intensity (AMS Intensity) [–99…+99]

As the absolute value of this setting is increased, the effect of

“AMS (LFO1 AMS)” on “OSC1 LFO1” will increase. Nega- tive (–) values will invert the LFO waveform.

LFO2 Intensity [–99…+99] AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Intensity (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “OSC1 LFO 2” (5–2) will have on the volume of oscillator 1. Refer to the preceding sections “LFO1 Intensity”–“Intensity (AMS Intensity).”

▼ 4–2: Page Menu Command

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

Oscillator

4–3: Amp1 EG

These parameters let you create time-varying changes in the volume of oscillator 1.

4–3

Time:

Attack (Attack Time) [00…99]

Speciﬁes the time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound.

Decay (Decay Time) [00…99]

Speciﬁes the time over which the volume will change from when it reaches the attack level until it reaches the break point level.

Slope (Slope Time) [00…99]

Speciﬁes the time over which the volume will change from when it reaches the break point level until it reaches the sustain level.

Release (Release Time) [00…99]

Speciﬁes the time over which the volume will change after note-off until it reaches 0.

Volume

Amplifier EG

Note-on

Attack Level

Start Level

Attack Time

Break Point

Decay Time

Slope Time

Sustain Level

Note-off

Time

Release Time

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

4–3a

4–3b

4–3c

4–3a: Amp1 EG

These parameters specify how the amp 1 EG will change over time.

Level:

Start (Start Level) [00…99]

Speciﬁes the volume level at note-on. If you want the note to begin at a loud level, set this to a high value.

Attack (Attack Level) [00…99]

Speciﬁes the volume level that will be reached after the attack time has elapsed.

Break (Break Point Level) [00…99]

Speciﬁes the volume level that will be reached after the decay time has elapsed.

Sustain (Sustain Level) [00…99]

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

4–3b: Level Modulation

Speciﬁes how AMS will control the amp 1 EG level speciﬁed in “Amp1 EG” (4–3a).

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

Selects the source that will control the Level parameters of the amp 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, setting “St (AMS SW Start),” “At (AMS SW Attack),” and “Br (AMS SW Break)” to + and setting “Intensity (AMS Intensity)” to a positive (+) value will cause the amp 1 EG volume levels to increase as you play more strongly. Setting “Intensity (AMS Intensity)” to a negative (–) values will cause the amp 1 EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as speciﬁed in “Amp1 EG” (4– 3a).

St (AMS SW Start) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod.AMS)” will change “Start (Start Level).” If “Intensity (AMS Inten-

sity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this

parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

At (AMS SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod.AMS)” will change “Attack (Attack Level).” If “Intensity (AMS Intensity)” is set to a positive (+) value, setting this parame- ter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

Br (AMS SW Break) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod.AMS)” will change “Break (Break Point Level).” If “Intensity (AMS Intensity)” is set to a positive (+) value, setting this parame- ter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Rl (AMS1 SW Release) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “Release (Release Time).” With posi- tive (+) values of “Intensity (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Amp 1 EG changes (Time) (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track (4–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Softly played note when “St”=0 and “At” and “Br” are set to + (settings of 4–3a: Amp 1 EG)

Strongly played note when “St”=0 and “At” and “Br” are set to +

Strongly played note when “St”=0 and “At” and “Br” are set to –

4–3c: Time Modulation

These parameters let you use an alternate modulation source to modify the amp 1 EG times that were speciﬁed in Amp1 EG (4–3a).

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

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

Intensity (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Time Mod. AMS1)” will have. For example if “AMS1 (Time Mod. AMS1)” is Amp KTrk +/ +, the (Amp) Keyboard Track settings (4–2a) will control the EG Time parameters. With positive (+) values of this parameter, positive (+) values of Ramp will cause EG times to be lengthened, and negative (–) values of Ramp will cause EG times to be shortened. The direction of the change is speci-

ﬁed by “At (AMS1 SW Attack),” “Dc (AMS1 SW Decay),” “Sl (AMS1 SW Slope),” and “Rl (AMS1 SW Release).”

When “AMS1 (Time Mod. AMS1)” is Velocity, positive (+) values will cause EG times to lengthen as you play more

strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the EG times will be as speciﬁed in Amp1 EG (4–3a).

At (AMS1 SW Attack) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “Attack (Attack Time).” With positive (+) values of “Intensity (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Dc (AMS1 SW Decay) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “Decay (Decay Time).” With positive (+) values of “Intensity (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Sl (AMS1 SW Slope) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “Slope (Slope Time).” With positive (+) values of “Intensity (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

Settings of 4–3a: Amp 1 EG

Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

Note-on

Softly played note with “At,” “Dc,” “Sl” and “Rl” at + (settings of 4–3a: Amp 1 EG)

Note-off

Low-pitched note played with “At,” “Dc,” “Sl,” and “Rl” at +

Note-on

Strongly played note with “At,” “Dc,” “Sl” and “Rl” at +

Note-off

High-pitched note played with “At,” “Dc,” “Sl,” and “Rl” at –

Note-on

Strongly played note with “At,” “Dc,” “Sl” and “Rl” at –

Note-off

These parameters specify how “AMS2 (Time Mod. AMS2)” will control the amp 1 EG Time parameters (☞“AMS1 (Time Mod. AMS1)”–“Rl (AMS1 SW Release)”).

▼ 4–3: Page Menu Command

0–1A 1–1A 1–1B 4–3A

4–3A: Sync Both EGs

When you select the page menu command “Sync Both EGs,” a check mark will appear at the left of “Sync Both

EGs.” In this state, you can edit the amp 1 EG and amp 2 EG simultaneously. (Editing either EG will change the settings of both EGs.) (☞3–4A)

4–4: Amp2 Level/Pan 4–5: Amp2 Mod. 4–6: Amp2 EG

These are the parameters for amp 2 (used for oscillator 2). (☞“4–1: Amp1 Level/Pan”–“4–3: Amp 1 EG.”) These will appear when “Oscillator Mode” (1–1a) is Dou- ble.

Program P5: Edit–Common LFO

5–1: OSC1 LFO1

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

Offset settings and pitch change produced by vibrato

offset = –99 offset = 0 offset = +99Pitch

Pitch at note-on

Key Sync. [Off, On]

On (checked): The LFO will start each time you press a key, and an independent LFO will run for each note. Off (unchecked): The LFO effect that started when the ﬁrst key was pressed will also apply to subsequently-played notes. (In this case, the delay and fade effects will apply only to the ﬁrst-started LFO.)

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

5–1

5–1a

5–1b

5–1c

5–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vector)]

Selects the LFO waveform. The numbers that appear at the right of some of the LFO

waveforms indicate the phase at which the waveform will begin.

Triangle 0

Triangle 90

Triangle Random

Saw 0

Saw 180

Square

Sine

Guitar

Exponential Triangle

Exponential Saw Down

Exponential Saw Up

Triangle wave

Phase will change randomly at each key-in

Sawtooth down ↓

Square wave

Sine wave

Guitar vibrato

Step Triangle – 4

Step Triangle – 6

Step Saw – 4

Step Saw – 6

Random1 (S/H):

Conventional sample & hold (S/H) in which the level changes randomly at fixed intervals of time

Random2 (S/H):

Both the levels and the time intervals will change randomly.

Random3 (S/H):

The maximum level and minimum level will alternate at random intervals of time (i.e., a square wave with random period).

Random4 (Vect.) Random5 (Vect.) Random6 (Vect.)

These types cause Random 1–3 to change smoothly. They can be used to simulate the instability of acoustic instruments etc.

Frequency [00…99]

Sets the LFO frequency. A setting of 99 is the fastest.

Offset [–99…+99]

Speciﬁes the central value of the LFO waveform. For example with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar. When “Waveform” is set to Guitar, the modulation will occur only in the positive (+) direction even if you set “Off- set” to 0.

Fade [00…99]

Speciﬁes the time from when the LFO begins to apply until it reaches the maximum amplitude. When “Key Sync.” is Off, the fade will apply only when the LFO is ﬁrst started.

How “Fade” affects the LFO (when “Key Sync.” is On)

Note-on Note-off

“Fade”

“Delay”

Delay [0…99]

Speciﬁes the time from note-on until the LFO effect begins to apply. When “Key Sync.” is Off, the delay will apply only when the LFO is ﬁrst started.

5–1b: Frequency Modulation

You can use two alternate modulation sources to adjust the speed of the OSC1 LFO1.

AMS1 (Freq. AMS1)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Selects the source that will adjust the frequency of the oscillator 1 LFO1 (“AMS List” ☞p.242). OSC1 LFO1 can be modulated by OSC1 LFO2.

Intensity (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Freq. AMS1)” will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively). For example if “AMS1 (Freq. AMS1)” is Note Number, pos- itive (+) values of this parameter will cause the oscillator 1 LFO to speed up as you play higher notes. Negative (–) val- ues will cause the oscillator 1 LFO to slow down as you play higher notes. This change will be centered on the C4 note. If “AMS1 (Freq. AMS1)” is set to JS +Y: CC#01, higher settings for this parameter will cause the OSC1 LFO speed to become proportionately faster when you move the joystick. With a setting of +99, the LFO speed will be approximately 64 times faster when the joystick is pushed all the way away from yourself.

AMS2 (Freq. AMS2)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Intensity (AMS2 Intensity) [–99…+99]

Make settings for a second alternate modulation source that will adjust the frequency of the oscillator 1 LFO1. (☞“AMS1 (Freq. AMS1),” “Intensity (AMS1 Intensity)”)

5–1c: Frequency MIDI/Tempo Sync.

MIDI/Tempo Sync. [Off, On]

On (checked): The LFO frequency will synchronize to the tempo (MIDI Clock). In this case, the values you speciﬁed for “Frequency” (5–1a) and Frequency Modulation (5–1b) will be ignored.

Base Note (Sync. Base Note)

[  ,   ,  ,   ,  ,   ,  ,  ]

Times (Sync. Times) [01...16]

When “MIDI/Tempo Sync.” is checked, these parameters set a note length relative to “ (Tempo)” and the multiple (“Times”) that will be applied to it. These parameters will determine the frequency of the OSC1 LFO1. For example if “Base Note (Sync. Base Note)” is  (quarter note) and “Times (Sync. Times)” is 04, the LFO will perform one cycle every four beats. Even if you change the “ (Tempo)” setting of the arpeggiator or sequencer, the LFO will always perform one cycle every four beats.

▼ 5–1: Page Menu Command

0–1A 5–1A

5–1A: Swap LFO 1&2

This command exchanges the settings of LFO1 and 2. If LFO2 has been selected as Frequency Modulation “AMS1 (Freq. AMS1)”or “AMS2 (Freq. AMS2)” (5–1b) 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 page, the LFO1 and LFO2 of OSC1 will be exchanged.

1 Select “Swap LFO 1&2” to access the dialog box.

5–4: OSC2 LFO2

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

Here you can make settings for the OSC2 LFO2, which is the second LFO that can be applied to oscillator 2 (☞“5–1: OSC1 LFO1” and “5–2: OSC1 LFO2”).

Program P7: Edit–Arpeggiator

Here you can make settings for the arpeggiator used by the program. You can make settings so that when you select a program, these arpeggiator settings will automatically switch to the arpeggiator settings that are memorized in the selected program. (Global P0: 0–1c Auto Arpeggiator “Program”)

The arpeggiator can be switched on/off by the ARPEGGIATOR [ON/OFF] key. When on, the key LED will light. The settings of the ARPEGGIATOR [TEMPO] knob, [GATE] knob, [VELOCITY] knob, and [ON/OFF] key can be saved for each program.

These settings will be valid when “Auto Arpeggiator” Program is checked.

You can control the arpeggiator from an external sequencer, or record note data generated by the arpeggiator onto an external sequencer. (☞p.266)

“Pattern,” “Resolution,” “Octave,” “Sort,” “Latch,” “Key Sync.,” “Keyboard,” and “ (Tempo)” can also be

set from the P0: Play, Arpeggio page.

7–1: Arpeg. Setup

7–1

7–1a

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

ton to cancel without executing.

5–2: OSC1 LFO2

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”).

7–1b

7–1a: Arpeggiator Tempo

 (Tempo)* [040...240, EXT]

Sets the tempo. This can also be set by the [ARPEGGIATOR TEMPO] knob. When “MIDI Clock” (Global P1: 1–1a) is set to either Exter-

nal MIDI or External mLAN, this parameter will indicate EXT, and the arpeggiator will synchronize to the MIDI

Clock received from an external MIDI device.

7–1b: Arpeggiator Setup

☞ Refer to BG p.130.

Pattern* [P00...P04, U000(I-A/B)...U506(User)]

Selects the arpeggio pattern.

P00...P04 Preset arpeggio patterns U000(I-A/B)...U199(I-A/B) Preloaded arpeggio patterns U200(E-A)...U215(E-A) U216(E-B)...U231(E-B) U232(E-C)...U247(E-C) U248(E-D)...U263(E-D) U264(E-E)...U279(E-E) U280(E-F)...U295(E-F) U296(E-G)...U311(E-G) U312(User)...U506(User) User arpeggio patterns

EXB-PCM series (user arpeggio patterns)

(some preloaded arpeggio patterns)

U000 (I–A/B)–U506 (User) are rewritable. Use Global P6 to create arpeggio patterns.

Arpeggio patterns U000 (I-A/B)–U506 (User) can be selected using the numeric keys [0]–[9] and the [ENTER] key.

Octave* [1, 2, 3, 4]

Speciﬁes the number of octaves in which the arpeggio will be played.

If a user arpeggio pattern is selected, the range of the arpeggio will depend on the “Octave Motion” (Global P6: 6–1b) setting.

Resolution* [  ,  ,   ,  ,   ,  ]

Speciﬁes the timing resolution of the arpeggio. The notes of the arpeggio will be played at the interval you specify:   ,  ,  ,  ,   , or  . The speed of the arpeggio pattern is determined by the “Arpeggiator Tempo ” and the “Resolution.”

Gate [000...100(%), Step]

Speciﬁes the length (gate time) of each note in the arpeggio. 000–100(%): Each note will be played with the speciﬁed gate

time.

Step: This is available when an user arpeggio pattern U000 (I-A/B)–U506 (User) is selected for “Pattern.” When this is

selected, the gate time speciﬁed for each step will be used. The gate time can also be controlled by the ARPEGGIATOR [GATE] knob. Rotating the knob towar d the left will shorten the gate time, and rotating it toward the right will lengthen the gate time. When the knob is at the 12 o’clock position, the gate time will be as speciﬁed here.

Velocity [001...127, Key, Step]

Speciﬁes the velocity of the notes in the arpeggio. 001–127: Each note will sound with the speciﬁed velocity

value. Key: Each note will sound with the velocity value at which it was actually played.

Step: This is available when an user arpeggio pattern U000 (I-A/B)–U506 (User) is selected for “Pattern.” When this is

selected, the velocity speciﬁed for each step will be used. The velocity can also be controlled by the ARPEGGIATOR [VELOCITY] knob. Rotating the knob toward the left will decrease the velocity, and rotating it toward the right will increase the velocity. When the knob is at the 12 o’clock position, the velocity will be as speciﬁed here.

Swing [–100...+100(%)]

This parameter shifts the timing of the odd-numbered notes of the arpeggio.

When Resolution = Step

123456789

–50 –25 +25 +50

Swing

Sort* [Off, On]

This speciﬁes the order in which the notes you press will be arpeggiated.

On (checked): Notes will be arpeggiated in the order of their pitch, regardless of the order in which you pressed them. Off (unchecked): Notes will be arpeggiated in the order in which you pressed them.

Latch* [Off, On]

Speciﬁes whether or not the arpeggio will continue playing after you take your hand off of the keyboard.

On (checked): The arpeggio will continue playing after you remove your hand from the keyboard. Off (unchecked): The arpeggio will stop when you remove your hand from the keyboard.

Key Sync.* [Off, On]

Speciﬁes whether the arpeggio pattern will begin when you press a key, or whether it will always follow the “ (Tempo)” (0–1a).

On (checked): The arpeggio pattern will start playing from the beginning when a note-on occurs from a condition where no keys are pressed. This setting is suitable when you are playing in realtime and want the arpeggio to play from the beginning of the measure. Off (unchecked): The arpeggio pattern will always play according to the “ (Tempo).”

Keyboard* [Off, On]

This speciﬁes whether the notes you play on the keyboard will be sounded as usual in addition to being sounded as part of the arpeggio (“keyboard” 0–2a).

On (checked): The notes you play will be sounded on their own, in addition to being sounded as part of the arpeggio. For example if you simultaneously press two or more notes, they will be sounded as usual in addition to being played as arpeggiated notes. Off (unchecked): Only the arpeggiated notes will be heard.

*: These parameters can also be set from “P0: Play, Arpeggio.”

▼ 7–1: Page Menu Command

0–1A 7–1A

7–1A: Copy Arpeggiator

This command can be used to copy arpeggio settings from another location to the current program.

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

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

Program P8: Edit–Insert Effect

☞ For details on insertion effects, refer to p.178 “8. Effect

Guide.”

2 In “From” specify the source of the arpeggio settings

(mode, bank, number) that you wish to copy.

3 If you are copying from Combination, Song, or Song Play

mode, specify whether you wish to copy from A or B.

4 To execute the Copy Arpeggio operation, press the OK

button. To cancel, press the Cancel button.

7–2: Scan Zone

7–1

7–2a

7–2b

7–2a: Zone Map

This shows the Scan Zone setting.

8–1: Routing

These settings specify the bus on which the output of the oscillator will be sent, and can be used to adjust the send levels to the master effects. The following diagram shows the LCD screen when “Oscil- lator Mode” (1–1a) is set to Double.

8–1

8–1a

8–1b 8–1c

8–1d

8–1a: Routing Map

This shows the status of the insert effects. The insert effect routing, effect name, on/off status, and chain is shown. The types of insert effect, on/off, and chain settings are made in the P8: Edit-Insert Effect, Insert FX page.

7–2b: Scan Zone

Top Key [C–1...G9] Bottom Key [C–1...G9]

These parameters specify the range of notes (keys) for which the arpeggiator will function. “Top Key” is the upper limit, and “Bottom Key” is the lower limit.

Top Velocity [001...127] Bottom Velocity [001...127]

Speciﬁes the range of velocities for which the arpeggiator will function. “T op Velocity” is the upper limit, and “Bottom Velocity” is the lower limit.

Note number and velocity can also be entered by holding down the [ENTER] key and playing a note on the keyboard.

8–1b: Use DKit Setting

Use DKit Setting [Off, On]

This will be available only when “Oscillator Mode” (1–1a) is set to Drums.

On (checked): The “BUS Select” (Global P5: 5–2a) setting for each key of the selected drum kit will be used. Check this when you want to apply an insert effect to an individual drum instrument, or to output an individual drum instrument to one of the AUDIO OUTPUT (INDIVIDUAL) jacks. If the “Oscillator Mode” is Single or Double, this setting has no effect.

Off (unchecked): The setting of the BUS Select (8–1c), OSC MFX Send (8–1d) parameter described below will be used.

All drum instruments will be sent to the speciﬁed bus.

8–1c: BUS Select (IFX/Indiv.Out Assign)

BUS Select (All OSCs to)

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

Speciﬁes the bus to which oscillators 1 and 2 will be sent.

If this is set to 1/2 or 3/4, the oscillator pan settings (4– 1b, 4–4) will be used to output the sound in stereo from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4. When the oscillator pan is controlled by CC#10 (pan) or AMS (Pan AMS), the sound will be output with the pan setting that is in effect at note-on. Unlike the case when this is set to L/R to output the sound from (MAIN) L/ MONO and R, the pan of a sounding note will not change in realtime.

If you wish to adjust the pan in realtime during a note and output the sound from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4, set “BUS Select ” to IFX1 (or

IFX2–IFX5), set “IFX1” (or IFX2–IFX5) to 000: No Effect, and set the “BUS Sel. (BUS Select)” (8–2a) after passing through IFX to 1/2 or 3/4.

8–1d: OSC MFX Send

OSC1:

Send1 (to MFX1) [000...127]

Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 1. This is valid when “BUS Select” (8–1c) is set to L/R or Off. If “BUS Select” is set to IFX1, IFX2, IFX3, IFX4 or IFX5, the send levels to master effect 1 and 2 are set by “Send 1” and “Send 2” (8–2a) after passing through IFX 1/2/3/4/5 of the Insert FX pages.

Send2 (to MFX2) [000...127]

Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 2 (☞“Send 1 (to MFX1)”).

OSC2:

3 Select which of the effects you wish to copy.

You can also copy from a master effect. If “All” is checked, all effect settings will be copied (i.e., the con-

tents of the Insert FX page and the effect parameters of IFX 1–5, but not “Ctrl Ch”).

If you are copying from a master effect, the result may not be identical, due to differences in the routing and level settings of a master effect.

4 Select the insert effect copy destination.

If you check “Post IFX Mixer Setting,” the “Chain,” “Pan (CC#8),” “BUS Sel.,” “Send 1” and “Send 2” set-

tings that follow the copy source insert effect will also be copied. If this is unchecked, only the effect type and its parameters will be copied.

5 To execute the Copy Insert Effect command, press the

OK button. To cancel, press the Cancel button.

8–1B: Swap Insert Effect

This command swaps (exchanges) insert effect settings.

1 Select “Swap Insert Effect” to access the dialog box.

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

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

Sets the volume (send level) at which the output of OSC2 will be sent to master effects 1 and 2. These parameters will be valid when “Oscillator Mode” (1–1a) is set to Double and “BUS Select” is set to L/R or Off.

CC#93 will control the Send 1 level for OSC 1/2, and control change CC#91 will control the Send 2 level for OSC 1/2. These are controlled on the global MIDI channel “MIDI Channel” (Global P1: 1–1a). The actual send level is determined by multiplying these values with the send level setting of each oscillator.

▼ 8–1: Page Menu Command

0–1A 8–1A 8–1B

8–1A: Copy Insert Effect

This command copies effect settings from Program, Combination, Song, Sampling mode, or Song Play mode.

1 Select “Copy Insert Effect” to access the dialog box.

2 In “Source 1” and “Source 2,” select each of the insert

effects that you wish to swap.

3 To execute the Swap Insert Effect command, press the

OK button. To cancel, press the Cancel button.

8–2: Insert FX

Here you can select the type of each insert effect, turn it on/ off, and make chain settings. The direct sound (Dry) of an insert effect is always stereo input and output. The input/output of the effect sound (Wet) will depend on the effect type (☞p.178).

8–1

8–2a

8–2a: IFX1, 2, 3, 4, 5

2 In “From” select the source mode, bank, and number of

the effect to be copied.

You can select a bank by pressing the [INT-A]–[EXB-G] keys.

IFX1, 5 [000...089] IFX2, 3, 4 [000...102]

Selects the type of each insert effect. For “IFX1” and “IFX5” you can select from 90 types of effect: 000: No Effect – 089: Reverb-Gate. Double-size effects cannot be used. For “IFX2,” “IFX3” and “IFX4” you can select from 103 types of effect: 000: No Effect – 102: Hold Delay. If you select a double-size effect, the insert effect that follows will be unavailable. For example if you select a double-size effect for “IFX2,” “IFX3” cannot be used. Up to two doublesize effects can be used. (You can use a normal size effect for “IFX1,” and double-size effects for “IFX2” and “IFX4.”) (☞p.178)

Category/IFX Select menu:

When you press the popup button, a “Category/IFX Select” list will appear. Pr ess a tab to select a category of effects, and select an effect from that category. Press the OK button to execute, or press the Cancel button to cancel.

IFX1, 2, 3, 4, 5 On/Off [Off, ON]

Switches the insert effect on/off. When this is OFF, the input will be output unchanged. (For 000: No Effect, on/off will produce the same result.) Each time you press this, the setting will alternate between on/off.

Control change #CC92 can be used to turn off all of the insert effects at once. A value of 0 will be off, and a value of 1–127 will be the original setting. This message is received on the global MIDI channel speciﬁed by “MIDI Channel” (Global P1: 1–1a).

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

Here you can set the effect parameters for the IFX 1/2/3/4/ 5 that were selected in the Insert FX page (☞p.187–).

Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (Global P1: 1–1a). (“D.mod” ☞p.247)

0–1

Chain [Off, On]

Switch “chain” on/off for each insert effect.

Chain

For example if the “Chain” check box between IFX1 and IFX2 is checked, IFX1 and IFX2 will be connected in series. If “BUS Select” (8–1c) is set to IFX1, IFX1 and IFX2 will be inserted in series. A maximum of ﬁve insert effects (IFX1–IFX5) can be inserted in series. When effects are chained, the “PAN (CC#8),” “BUS Select,” “Send 1” and “Send 2” settings that follow the last IFX in the chain will be used.

Pan(CC#8) (Post IFX PanCC#8) [L000...C064...R127]

Sets the pan after the sound has passed through the insert effect. This setting is valid only when the following “BUS Select” is set to L/R (☞p.181).

CC#8 will control the pan of the sound after it has passed through the insert effect.

BUS Sel. (BUS Select) [L/R, 1, 2, 3, 4, 1/2, 3/4, Off]

Speciﬁes the bus to which the sound will be sent after passing through the insert effect. Normally you will set this to L/ R. If you wish to output to AUDIO OUTPUT (INDIVIDUAL), set this to 1, 2, 3, 4, 1/2, or 3/4. The Off setting is used when you wish to use “Send 1” and “Send 2” and in addition connect to the master effects in series.

Send1 [000...127] Send2 [000...127]

Sets the send levels to the master effects 1 and 2 for the sound that has passed through the insert effect. These settings are valid when “BUS Select” (8–2a) has been set to L/R or Off.

Control change CC#93 will control the Send 1 level, and control change CC#91 will control the Send 2 level. These messages are received on the global MIDI channel speciﬁed by “MIDI Channel” (Global P1: 1–1a).

Program P9: Edit–Master Effect

☞ For details on the master effects, refer to p.182 “8. Effect

Guide.”

9–1: Master FX

Here you can select the master effect types, switch them on/ off, specify chain order, and set the master EQ.

9–1

9–1a

9–1c

9–1b

9–1a: MFX1, 2

The master effects do not output the direct sound (Dry). The return level (“Return1,” “Return2”) sends the effect sound (Wet) to the L and R bus, and this is mixed with the direct sound (i.e., the output from P8: Routing tab “BUS Select” L/ R, or the L/R output from Insert FX page “BUS Select”). The master effects have a mono input. After passing through the oscillator and insert effects, sound that is panned L and R is mixed to a mono signal (as adjusted by the “Send 1” and “Send 2” levels) and input to the master effects.

The master effects are mono-in stereo-out. Even when a stereo-input type effect is selected, the input will be monaural.

MFX1, 2 [000...089]

Selects the effect type for master effect 1 and 2. You can select from 90 types of effect: 000: No Effect–089: Reverb-

Gate. (Double-size effects cannot be selected.) If 000: No Effect is selected, the output from the master effect will be

muted.

Category/MFX Select menu:

When you press the popup button, a “Category/MFX Select” menu will appear. Press a tab to select the desired category of effect, and select an effect from the list. Press the OK button to execute, or press the Cancel button to cancel.

MFX1, 2 On/Off [Off, ON]

Switches the master effects 1, 2 on/off. When off, the output will be muted. This will alternate between on and off each time it is pressed.

CC#94 can be used to switch the MFX on and off. A value of 0 will be off, and a value of 1–127 will be the original setting. This is controlled on the global MIDI channel “MIDI Channel” (Global P1: 1–1a).

Chain [Off, On]

On (checked): Chain (series connection) will be turned on for MFX1 and MFX2. Off (unchecked): MFX1 and MFX2 will operate in parallel.

Chain Direction [MFX1→MFX2, MFX2→MFX1]

Speciﬁes the direction of the connection when MFX1 and MFX2 are chained.

MFX1→MFX2: Connect from MFX1 to MFX2. MFX2→MFX1: Connect from MFX2 to MFX1.

Chain Signal [LR Mix, L Only, R Only]

When chain is On, this parameter speciﬁes how the stereo output signal of the ﬁrst master effect will be connected to the input (mono) of the next master effect.

L/R Mix: The stereo output L/R of the ﬁrst master effect will be mixed before being input to the next master effect. L Only, R Only: Only the left or right channel of the output will be input to the next master effect.

Chain Level [000...127]

When chain is On, this sets the level at which the sound is sent from the ﬁrst master effect to the next master effect.

9–1b: Return Level

Return 1, 2 [000...127]

Adjusts the return levels from the master effects to the L/R bus (main output L/MONO, R).

9–1c: Master EQ Gain [dB]

Sets the gain for the three-band EQ located immediately before the sound of the L/R bus is sent from the AUDIO OUTPUT (MAIN OUT) L/MONO and R jacks. This is linked with the various “Gain” parameters of Master EQ (9–

4).

Low [–18.0...+18.0] Mid [–18.0...+18.0] High [–18.0...+18.0]

The cutoff frequency for “Low,” “Mid” and “High” and the “Q” of “Mid” can be adjusted in the Master EQ page. These settings are in “dB” units.

Program

P0 P1 P2 P3 P4 P5 P7 P8 P9

▼ 9–1: Page Menu Command

0–1A 9–1A 9–1B

9–1A: Copy Master Effect

This command lets you copy any desired effect settings from Program, Combination, Song, Sampling, or Song Play mode.

1 Select “Copy Master Effect” to access the dialog box.

2 In “From,” select the copy source mode, bank, and num-

ber.

3 Select the effect that you want to copy.

If you select MFX1 or MFX2, “Return” (return level) will be copied at the same time. If you select Master EQ, only the master EQ settings will be copied. You can select from an insert effect by selecting IFX 1–5. If you check “All,” all settings for the master effects and master EQ will be copied.

If you are copying from an insert effect, differences in routing and level will mean that the result will not be completely identical.

4 In “To,” specify the copy destination master effects. 5 To execute the Copy Master Effect command, press the

OK button. To cancel, press the Cancel button.

9–2: MFX 1 9–3: MFX 2

Makes effect parameter settings for the MFX1 and 2 effects that were selected in the Master FX page (9–2). (☞p.187–)

Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (Global P1: 1–1a). (“D.mod” ☞p.247)

0–1

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is used to adjust the overall tonality of the sound immediately before the L/R bus is output to the AUDIO OUTPUT (MAIN OUT) L/ MONO and R jacks (☞p.239).

0–1

9–1B: Swap Master Effect

This command swaps (exchanges) the settings of MFX1 and MFX2.

1 Select “Swap Master Effect” to access the dialog box.

2 To execute the Swap Master Effect command, press the

OK button. To cancel, press the Cancel button.

The MEQ High Gain and MEQ Low gain can be controlled by assigning a modulation source to the “Low Gain ModSrc:” and the “High Gain Mod-Src:” functions on this page.

2. Combination mode



Combination P0: Play

In this display page you can select and play Combinations. A Combi allows you to use up to eight programs at once.

0–1: Prog. Select (Program Select)

0–1

0–1a

0–1b

0–1c

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

Category,

1 Press the popup button located at the left of “Combina-

tion Select” to access the Bank/Combination Select menu.

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

bank.

3 Select a combination from the list. You can directly press

your choice within the list, or use the [] [] keys.

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

ton to cancel your selection.

Category [00...15]

Select the combination category. Each combination is assigned to one of 16 categories. You can choose a category, and select from the combinations included in that category. When you press the popup menu button, the Category/Combination Select menu will appear.

Category/Combination Select menu:

Combination

P0 P1 P2 P3 P4 P7 P8 P9

Bank (Bank Select)[Bank INT-A…INT-E, EXB-A...EXB-G]

This is the Combination bank display. Press one of the BANK [INT-A]–[EXB-G] keys to select a bank.

Each of the rewritable banks INT-A–INT-E and EXB-A– EXB-G contain 128 (a total of 1,536) combination program areas.

INT-A...INT-D Preloaded combinations INT-E User combinations, EXB-MOSS combinations EXB-A...EXB-G User combinations, EXB-PCM series combina-

tions

If you have selected the “Bank/Program (Program Select)” (0–1d) edit cell for a timbre 1–8 in the Prog. Select page, BANK [INT-A]–[EXB-G] will switch the program banks for timbres 1–8.

Combination Select [0…127]

Here you can select the desired combination. When this parameter is selected, you can select combinations using the numeric keys [0]–[9], [VALUE] dial, or [ ], [ ] keys. When you press the popup button, the Bank/Combination Select menu will appear. Here you can select combinations by bank.

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

Bank/Combination Select menu:

1 Press the (category) popup button located at the top of

“Combination Select” to access the Category/Combination Select menu.

2 Press one of the tabs at left or right to select a category. 3 Select a combination from the list. You can directly press

your choice within the list, or use the [] [] keys.

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

ton to cancel your selection.

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

10’s Hold

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

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

2 Press any numeric key [0]–[9] to input the 1’s place of the

combination 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” setting (Global P1: 1–1a) 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: Selected Timbre Information

This displays information on the selected timbre (1–8).

T (Timbre) [01...08]

Indicates the timbre number and the bank/number/name of the program that is selected for the timbre.

Ch [01...16, Gch]

Indicates the MIDI channel number speciﬁed for the timbre.

0–1c: Timbre Number, Category, Bank/Program,

Status

Timbre Number (1...8)

Indicates the timbre number. The parameters below “Timbre Number” let you make settings for that timbre.

Timbre Number

0–2: Mixer

Here you can set the pan and volume for each timbre 1–8.

0–1a

0–1b 0–1c

0–2a

0–1

Combination

If you use “Category” to specify a category for the combination you are writing, you will be able to select that combination by its category in Combination P0: Play. The names of the combination categories can be edited in “Comb Cat.” (Global P4: 4–2).

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

0–1B: Solo Selected Timbre

The Solo function will toggle between on and off each time you select “Solo Selected Timbre.”

1 Select the page menu command “Solo Selected Timbre.”

When you select this, a check mark will appear at the left of “Solo Selected Timbr e” in the menu, and the Solo function will be on.

2 In pages that show parameters for an individual timbre,

you can select a particular timbre to Solo (in P0: Play, Program Select page “Bank/Program,” etc.) so that only this timbre will sound and the other timbres will be muted. The “Selected Timbre Information” (0–1b) in each page will indicate [Solo.] To solo a different timbre, select a parameter of the timbre that you wish to solo.

3 To cancel the Solo function, once again select “Solo

Selected Timbre” from the page menu.

If a timbre that is muted by the Solo function has been set to a “Status” (0–1c, 2–1b) of EXT or EX2, MIDI noteon/off messages will not be transmitted by that timbre.

0–2a: Program Category, Pan, Volume, Hold

Balance

Program Category

Part of the program category name for the timbre program is displayed here.

Pan [RND, L001...C064...R127]

Sets the pan for each timbre 1–8. L001...C064...R127: A setting of L001 is far left and R127 is far right. A setting of C064 will reproduce the pan setting of the oscillator in Program mode.

OSC1

Left

OSC1

Left

If a mono insert effect is in use, the settings you make here will be ignored. In this case, the “Pan (CC#8)” (P8: 8–2) parameter in Insert FX page will adjust the panning of the sound after the insertion effect (“3. Mixer” ☞p.181). RND: The oscillator pan will change randomly at each noteon.

If “Status” (0–1c, 2–1b) has been set to INT, MIDI control change #10 (panpot) messages can be received to control the setting. CC#10 values of 0 or 1 will place the sound at far left, 64 at center, and 127 at far right. Pan can be controlled by messages received on the “MIDI channel” (2–1b).

Center

OSC2

OSC1: Amp1 Pan=L001 OSC2: Amp2 Pan=R127

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC2

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

P1 P2 P3 P4 P7 P8 P9

Volume [000...127]

Adjusts the volume of each timbre 1–8.

The volume of each timbre is determined by multiplying this volume value with the MIDI volume (CC#7) and expression (CC#11). If “Status” (0–1c, 2–1b) has been set to INT, incoming MIDI CC#7 or CC#11 messages will control the volume of a timbre. (However these messages will not affect the setting of this parameter.) If “Status” is EXT or EX2, the value of this parameter will be transmitted as MIDI CC#7 when the combination is changed. However this will not be transmitted by a timbre that is set to the same MIDI channel as the global MIDI channel. This message is transmitted on the “MIDI channel” (2–1b) speciﬁed for each timbre.

“Pan” and “Volume” can also be set from P1: Edit-Pro- gram/Mixer.

Hold Balance [Off, On]

On (checked): When any one of the volume sliders is moved, the volume of the other timbres will change as well. The volume balance of timbres 1–8 will be maintained. This is useful when you wish to adjust the overall volume.

0–3: Arpegg. A (Arpeggio Play A) 0–4: Arpegg. B (Arpeggio Play B)

Here you can make arpeggiator settings for the combination. A combination can run two arpeggiators simultaneously. Arpeggiator parameters can be edited in P7: EditArp., but certain major parameters can be edited in these pages as well. You can edit these parameters in realtime, for example by changing the arpeggio pattern while playing in Combination P0: Play. To save the edits you make, use “Write Combination.” The arpeggiator can also be edited in realtime by the ARPEGGIATOR [TEMPO] knob, [GATE] knob, and [VELOCITY] knob.

Timbre assign

This indicates the arpeggiator A and B assignment status for each timbre 1–8. These settings are made in “Arpeggiator Assign” (7–1b).

0–3(4)b: Arpeggiator A (B)

Pat (Pattern) [P00...P04, 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]

Set the various parameters of the combination arpeggiator (☞“Program P7: Edit-arpeggiator”). These parameters can also be set from 7–2(3): Arpegg. A(B).

0–5: Sampling

Here you can adjust the settings for the analog/digital audio signal input (AUDIO INPUT, S/P DIF, EXB-mLAN), and the sampling-related settings for Combination mode. As in Program mode, sampling in Combination mode allows you to sample an incoming audio signal or to resample a TRITON STUDIO performance. (☞Program P0: 0–3)

0–5

0–5a

0–5b

0–5c

0–1A

0–1a

0–3a

0–3b

0–3a: Arpeggiator Run A, B, Timbre assign

Arpeggiator Run A, B

When the ARPEGGIATOR [ON/OFF] key is on, the arpeggiator(s) you checked here will run if they are assigned to a timbre by “Arpeggiator Assign” (7–1b). When the arpeggiator is on, these check boxes let you turn A and B on/off. This parameter can also be set from P7: Edit-Arp. Setup page “Arpeggiator Run A, B.”

0–5a: Input

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]

Specify the input source analog/digital audio device, and set the input level, pan, bus, and master effect sends.

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

0–5b: Sampling Setup

Source BUS [L/R, Indiv.1/2] Trigger [Sampling START SW, Note On] Metronome Precount [Off, 4, 8, 3, 6] Save to [RAM, DISK] Mode (Sample Mode) [L-Mono, R-Mono, Stereo] Sample Time [min sec]

Make settings for sampling in Combination mode. (☞Program P0: 0–3)

Sampling Setup settings apply to the entire Combination mode; not to an individual combination.

Combination P1: Edit–Program/Mixer

1–1: Program/Mixer

For each timbre 1–8, set the bank, program, pan and volume.

0–1

1–1a

1–1b

Combination

0–5c: Recording Level [dB]

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

Adjusts the signal level at the ﬁnal stage of sampling in Combination mode. (☞Sampling P0: 0–1d)

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 Combinetion at its maximum level. (☞Program P0: 0–3c “Recording Level”)

▼ 0–5: Page Menu Command

☞ 0–1A: Write Combination, 0–1B: Solo Selected Timbre,

Program P0: 0–3A: Metronome Setup, Program P0: 0–3B: Optimize RAM, Program P0: 0–3C: Select Bank & Smpl No., Program P0: 0–3D: Select Directory

P1 P2 P3 P4 P7 P8 P9

1–1a: Combination Name,

Selected Timbre Information

Combination Name

This shows the combination bank, number, and name selected in Combination P0: Play.

Selected Timbre Information

Displays information about the selected timbre (1–8). (☞P0: 0–1b)

1–1b: Timbre Number, Category, Program Select,

Pan, Volume

Timbre Number (1...8) Category [00...15] Bank/Program (Program Select)

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

Selects the program for each timbre. These parameters can also be set from the P0: Play, Program Select page. (☞P0: 0–1c)

Pan [RND, L001...C064...R127] Volume [000...127]

Speciﬁes the pan and volume of each timbre. These parameters can also be set from the P0: Play, Mixer page. (☞P0: 0–2a)

Combination P2: Edit–Trk Param

2–1: MIDI Channel (MIDI Ch)

Here you can make MIDI settings for each timbre.

0–1

2–1a

2–1b

MSB LSB

2–1a: Combination Name, Selected Timbre

Information, Timbre Number, Program Category

Combination Name

Displays the bank, number, and name of the combination selected in Combination P0: Play.

Selected Timbre Information

Displays information about the selected timbre (1–8). (☞P0: 0–1b)

Timbre Number (1...8)

Displays the timbre number. (☞P0: 0–1c)

Program Category

Displays the category of the program assigned to the timbre. (☞P0: 0–2a)

2–1b: Status, MIDI Channel, Bank Select

Status [INT, Off, EXT, EX2]

“Status” can also be set from the P0: Play, Program Select page. (☞P0: 0–1c)

MIDI Channel [01...16, Gch]

Sets the MIDI transmit/receive channel for each timbre 1–8. Gch: The timbre will use the channel that has been selected

as the global MIDI channel “MIDI Channel” (Global P1: 1– 1a).

When “Status” is INT, MIDI messages will be received on the channel you specify here. If this setting is the same as the global MIDI channel, the internal tone generator will sound according to the internal settings. If this is set to EXT or EX2, playing the TRITON STUDIO will transmit MIDI messages on the MIDI channel speciﬁed here. (Messages will also be transmitted simultaneously on the global MIDI channel.)

Bank Select (When Status=EX2) [000:000...127:127]

Speciﬁes the bank number that will be transmitted when “Status” is set to EX2. The value at left is the MSB, and the

value at right is the LSB. This setting has no effect if “Status” is other than EX2.

2–2: OSC

These settings specify how each timbre will be played.

0–1

2–1a

2–2a

2–2a: Force OSC Mode, OSC Select, Portamento

Force OSC Mode [PRG, Poly, MN, LGT]

Speciﬁes the Voice Assign Mode (Program P1: 1–1b) of the program selected for each timbre 1–8.

PRG: The settings of the program will be used. Poly: The timbre will play polyphonically, regardless of the

settings of the program. MN (Mono): The timbre will play monophonically, regardless of the settings of the program. LGT (Legato): The timbre will play monophonically, with single triggering (legato). When using MN or LGT settings, the note priority will follow the “Priority” (Program P1: 1–1b) setting of the program.

OSC Select [BTH, OS1, OS2]

Speciﬁes the “Oscillator Mode” of the program selected for each timbre 1–8. If the “Oscillator Mode” (Program P1: 1– 1a) is Double, you can specify that either or both oscillators sound.

BTH (Both): OSC1 and 2 will sound as speciﬁed by the set- tings of the program.

OS1: Only OSC1 will sound. OS2: Only OSC2 will sound. (If “Oscillator Mode” is Single or Drums, there will be no sound.)

Portamento [PRG, Off, 001...127]

Make portamento settings for each timbre 1–8. PRG: Portamento will be applied as speciﬁed by the pro-

gram settings. Off: Portamento will be off, even if the original program settings speciﬁed for it to be on.

001...127: Portamento will be applied with the portamento time you specify here, even if it is turned off by the program settings.

If the “Status” (0–1c, 2–1b) is set to INT, CC#05 (portamento time) and CC#65 (portamento switch) messages will be received and will control and change these settings. (If the setting is PRG, CC#05 portamento time will not be received.) These messages will be received on the MIDI channel speciﬁed for each timbre by “MIDI Channel” (2–1b).

2–3: Pitch

Here you can make pitch-related settings for each timbre.

2–1a

2–3

▼ 2–3: Page Menu Command

0–1A 0–1B 2–3A

2–3a

2–3a: Transpose, Detune, Bend Range

Transpose [–24…+24]

Adjusts the pitch of each timbre in semitone steps. 12 units equal one octave.

When “Status” (0–1c, 2–1b) is INT, this parameter will affect the pitches sounded by the TRITON STUDIO. When “Status” is EXT, this parameter will affect the note numbers of the MIDI note messages that are transmitted. For example if you make settings of +04 and +07 respectively for two timbres that are set to EXT, playing the C key will transmit a C note number on the global MIDI channel, and at the same time will also transmit E and G note numbers on the MIDI channels of those timbres.

Detune (Use BPM Adj. in Page Menu) [–1200...+1200]

Adjusts the pitch of each timbre in one-cent units. 0: Normal pitch.

You can also use the “Detune BPM Adjust” page menu command to automatically make a detune setting from a calculation in BPM units.

“Transpose” and “Detune” can be controlled via MIDI RPN messages. Depending on the “Oscillator Mode” (Program P1: 1–1a) settings of the programs used by timbres 1–8, they can be controlled as follows. When “Oscillator Mode” is Single or Double MIDI RPN Coarse Tune can be received to control and change the setting of “Transpose,” and RPN Fine Tune can be received to control and change the setting of “Detune.” When “Oscillator Mode” is Drums MIDI RPN Coarse Tune and Fine Tune can be received to control and change the setting of “Detune.” The controllable range is ±1 octave for coarse tune and ﬁne tune together.

2–3A: Detune BPM Adjust

If the program of a timbre uses a phrase or rhythm loop multisample (or sample that was created in the Sampling mode) is matched to a speciﬁc BPM, you can use this Utility to modify its BPM value. “Detune BPM Adjust” changes the BPM of a phrase or rhythm by modifying its pitch. This is valid only for a timbre when “Detune” is selected. When this Utility is executed, the selected “Detune” value will be set automatically. (☞Program P1: 1–2a, 1–2b, Global P5: 5–1b, 5–1c)

1 Select “Detune BPM Adjust” to access the dialog box.

2 In “From” specify the original BPM value. In “To” spec-

ify the desired BPM value. The appropriate “Detune” value will be calculated automatically from these two values. For example if you set “From” to 60 bpm and “To” to 120 bpm, the “Detune” parameter will be set to +1200 (one octave up).

3 To execute the Detune BPM Adjust command, press the

OK button. To cancel, press the Cancel button.

The detune value that is calculated when you execute this command will be added to “Detune” +0000. Y ou must set the “From” BPM value when “Detune” is

+0000. For example if you execute “From” 60 bpm “To” 120 bpm, and then execute “From” 120 bpm “To” 60 bpm, will not return to the original result. (Rather, this

will set Detune= –1200, which is one octave down.)

Combination

P0 P1 P2 P3 P4 P7 P8 P9

Bend Range [PRG, –24...+24]

Speciﬁes the amount of pitch change that will occur when the pitch bender is operated, in semitone units.

PRG: The pitch range speciﬁed by the program will be used. –24–+24: This setting will be used regardless of the setting in the program.

The MIDI RPN Pitch Bend Change message can be received to control this and change the setting. (However it will not be received if this parameter is set to PRG.) This message is received on the MIDI channel for each timbre set by “MIDI Channel” (2–1b).

2–4: Other

Here you can make various other settings for each timbre.

0–1

2–1a

2–4a

2–4a: Delay, Use Program’s Scale, Scale

Delay [ms] (Delay Time) [0000…5000, KeyOff]

For each timbre, this speciﬁes a delay time from note-on until the sound begins.

KeyOff: The note will begin sounding at note-off. In this case, the sound will not die away if the sustain level of the program’s amp EG is other than 0. This setting is used when creating harpsichord sounds. Normally you will set this to 0.

Use Program’s Scale [Off, On]

Each timbre can use the scale that is speciﬁed by Scale (Program P1: 1–1c).

On (checked): The scale speciﬁed by the program will be used. Off (unchecked): The scale speciﬁed by Scale will be used.

Scale:

Speciﬁes the scale that the combination will use.

Type (Combi's Scale)

[Equal Temperament...User Octave Scale15]

Select the type of scale (☞“Type” Program P1: 1–1c).

Combination P3: Edit–MIDI Filter

These settings allow you to apply ﬁlters to the MIDI data that will be transmitted and received by each timbre 1–8. For example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.

On (checked): Transmission and reception of MIDI data is enabled. When “Status” (0–1c, 2–1b) is INT, operation of the built-in controllers or incoming MIDI data will apply the effect of the checked item to the program of the corresponding timbre. (The effect dynamic modulation function is not affected by this setting.) When “Status” is EXT or EX2, operation of the built-in controllers will transmit MIDI data on that timbre’s MIDI channel. MIDI transmission and reception settings for the entire TRITON STUDIO are made in “MIDI Filter” (Global P1: 1– 1b). The Edit–MIDI Filter-3 and -4 pages contain MIDI ﬁlters for assignable controllers (whose function can be set by the user), and if these are assigned to MIDI control changes, the ﬁlter settings will affect those control changes. In this case, if the assignable controllers have been set to control changes that are also found in the Edit–MIDI Filter-1 or -2 pages, the settings in the MIDI 1 and MIDI 2 pages will take priority. Also, if the same control change is assigned to two or more controllers in the Edit–MIDI Filter-3 and -4 pages, checking any one of them will enable that control change. Off (unchecked): Transmission and reception of MIDI data is disabled.

3–1: MIDI 1 (MIDI Filter –1)

0–1

2–1a

3–1a

Key [C…B]

Selects the tonic key of the selected scale (☞“Key” Program P1: 1–1c).

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on (☞“Random” Program P1: 1–1c)

3–1a: Enable Program Change, Enable After T ouch,

Enable Damper, Enable Portamento SW

Enable Program Change [Off, On]

Speciﬁes whether or not MIDI program change messages will be transmitted and received.

Enable After Touch [Off, On]

Speciﬁes whether or not MIDI after touch messages will be transmitted and received.

Enable Damper [Off, On]

Speciﬁes whether or not MIDI control change CC#64 hold (damper pedal) messages will be transmitted and received.

Enable Portamento SW [Off, On]

Speciﬁes whether or not MIDI control change CC#65 portamento on/off messages will be transmitted and received.

3–2: MIDI 2 (MIDI Filter –2)

0–1

2–1a

3–2a

3–2a: Enable JS X as AMS, Enable JS+Y,

Enable JS–Y, Enable Ribbon

Enable JS X as AMS [Off, On]

Speciﬁes whether or not MIDI pitch bend messages (the X axis of the TRITON STUDIO’s joystick) will be received to control the AMS (“Alternate Modulation Source (AMS)” ☞p.241) effect assigned to JS X. (This is not a ﬁlter for MIDI pitch bend message reception.)

Enable JS+Y [Off, On]

Speciﬁes whether or not MIDI control change CC#1 (the +Y axis of the TRITON STUDIO’s joystick, or speciﬁed as the “B” assignment of a realtime control knob) will be transmitted or received.

Enable JS–Y [Off, On]

Speciﬁes whether or not MIDI control change CC#2 (the –Y axis of the TRITON STUDIO’s joystick, or speciﬁed as the “B” assignment of a realtime control knob) will be transmitted or received.

3–3a: Enable Realtime Control Knob –1...4

Enable Realtime Control Knob –1 [Off, On]

Speciﬁes whether or not the A-mode MIDI control message CC#74 (the TRITON STUDIO’s low pass ﬁlter cutoff fre- quency) and the B-mode MIDI control message assigned to knob [1] will be transmitted and received.

Enable Realtime Control Knob –2 [Off, On]

Speciﬁes whether or not the A-mode MIDI control message CC#71 (the TRITON STUDIO’s low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) and the B-mode MIDI control message assigned to knob [2] will be transmitted and received.

Enable Realtime Control Knob –3 [Off, On]

Speciﬁes whether or not the A-mode MIDI control message CC#79 (the TRITON STUDIO’s ﬁlter EG intensity) and the B-mode MIDI control message assigned to knob [3] will be transmitted and received.

Enable Realtime Control Knob –4 [Off, On]

Speciﬁes whether or not the A-mode MIDI control message CC#72 (the EG release time for the TRITON STUDIO’s ﬁlter and ampliﬁer) and the B-mode MIDI control message assigned to knob [4] will be transmitted and received.

3–4: MIDI 4 (MIDI Filter –4)

0–1

2–1a

3–4a

Combination

P0 P1 P2 P3 P4 P7 P8 P9

Enable Ribbon [Off, On]

Speciﬁes whether or not MIDI control change CC#16 (the TRITON STUDIO’s ribbon controller, or speciﬁed as the “B” assignment of a realtime control knob) will be transmitted or received.

3–3: MIDI 3 (MIDI Filter –3)

Speciﬁes whether or not the effects of A and B modes for the REALTIME CONTROL knobs [1], [2], [3] and [4] will be transmitted and received. In A-mode, the MIDI control message for each knob is ﬁxed. In B-mode, the message for each knob can be assigned in Controller page.

0–1

2–1a

3–3a

3–4a: Enable SW1, Enable SW2, Enable Other

Control Change

Enable SW1, Enable SW2 [Off, On]

Speciﬁes whether or not the effect of the [SW1] and [SW2] keys will be transmitted and received. The function of these keys is speciﬁed in the P4: Edit-Zone/ Ctrl. Controller page. This ﬁlter setting is valid for settings of SW1 Mod.: CC#80, SW2 Mod.: CC#81, or Porta.SW: CC#65.

Enable Foot Pedal/Switch [Off, On]

Speciﬁes whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received. The function is assigned in Global P2: Controller page. This ﬁlter setting is valid when a MIDI control change is assigned.

Enable Other Control Change [Off, On]

Speciﬁes whether or not MIDI control messages not covered in the preceding items MIDI Filter 1–4 will be transmitted and received.

Combination P4: Edit–Zone/Ctrl

4–1: Key Z (Key Zone)

These settings specify the keyboard range in which each timbre will sound. The top/bottom key parameters specify the range of notes in which timbres 1–8 will sound, and the top/bottom slope parameters specify the range over which the original volume will be reached.

By setting timbres of different sounds to ranges that do not overlap, you can play different sounds in different ranges of the keyboard (Key Split). By setting the ranges to overlap, you can play two or more sounds with a single note (Layer). If you set the slopes (the grayed portion) to overlap, the sounds will overlap, and the proportion of the overlap will change according to the keyboard location (Positional Cross-fade).

0–1

4–1a

Bottom Slope [00...72]

Speciﬁes the range of keys (12 is one octave) over which the volume will be reached starting from the bottom key.

0: The volume will be at the original level from the bottom key. 12: The volume will increase gradually as you play upward, and will reach the original volume one octave above the bottom key. 60: The volume will increase gradually as you play upward, and will reach the original volume ﬁve octaves above the bottom key.

Bottom Key [C–1...G9]

Speciﬁes the bottom key (lower limit) of the notes that will sound each timbre 1–8.

How volume will change according to keyboard location

Volume

Bottom Slope

Bottom Key

Top Slope

Top Key

Key

2–1a

4–1b

4–1a: Zone Map

This area indicates the note and velocity ranges in which each timbre will sound. The LCD screen will display a line to indicate the range of notes and velocities that will sound, and will show the slope portion in gray.

Bottom Slope

Bottom Key Top Key

Timbre 1

Key zone

display

Timbre 8

C-1 G9

Top Slope

Velocity zone

display

1 . . . 8

Timbre

Top Velocity Top Slope

Bottom Slope Bottom Velocity

4–1b: Top Key, Top Slope, Bottom Slope,

Bottom Key

Top Key [C–1...G9]

Speciﬁes the top key (upper limit) of the notes that will sound each timbre 1–8.

“T op Key” and “Bottom Key” settings can also be input by holding down the [ENTER] key and playing a note on the keyboard.

It is not possible to set the bottom key above the top key of the same timbre. Nor is it possible for the top and bottom slopes to overlap.

4–2: Vel Z (Vel Zone)

Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound for each timbre 1–8, and set the Top/Bottom Slope parameters to specify the range over which the volume will change.

By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play different sounds (Velocity Switch). If you set two or more timbres to velocity zones that overlap, the sounds will be heard together (Layer). If the slope ranges (gray line) overlap, different sounds will be sounded together, and your playing dynamics will determine the proportion of each sound (Velocity Cross-fade).

It is not possible to set the bottom velocity greater than the top velocity for the same timbre. Nor can the top slope and the bottom slope overlap.

0–1

4–1a

2–1a

Top Slope [00...72]

Speciﬁes the range of keys (12 is one octave) over which the volume will be reached starting from the top key.

0: The volume will be at the original level from the top key. 12: The volume will increase gradually as you play down-

ward, and will reach the original volume one octave below the top key. 60: The volume will increase gradually as you play downward, and will reach the original volume ﬁve octaves below the top key.

4–2a

4–2a: Top Velocity, Top Slope, Bottom Slope,

Bottom Velocity

Top Velocity [1…127]

Speciﬁes the maximum velocity value that will sound each timbre 1–8.

Top Slope [0…120]

Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Top Velocity.

0: The volume will be at the original value from the top velocity. 120: The volume will decrease as the velocity approaches the top velocity.

Bottom Slope [0…120]

Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Bottom Velocity.

0: The volume will be at the original value from the bottom velocity. 120: The volume will decrease as the velocity approaches the bottom velocity.

Bottom Velocity [1…127]

Speciﬁes the minimum velocity value that will sound each timbre 1–8.

How volume will change according to keyboard location

Volume

4–4: Controller (Control)

Here you can set the Combination mode functions of the [SW1] key, [SW2] key, and the B-mode functions of REALTIME CONTROL knobs [1]–[4].

0–1A

1–1a

4–4a

Combination

4–4b

P0 P1 P2 P3 P4 P7 P8 P9

4–4a: Panel Switch Assign

These settings assign the function of the [SW1] and [SW2] keys (“SW1, SW2 Assign List” ☞p.249). Since the function assignments of the [SW1] and [SW2] keys made for the program assigned to each timbre are not valid inside of a combination, they must be newly set using these parameters.

SW1 (SW1 Assign) [Off, ..., After Touch Lock] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off, ..., After Touch Lock] SW2 Mode [Toggle, Momentary]

☞ Program P1: 1–4a

Bottom Slope

Bottom Velocity Top Velocity

“Top Velocity” and “Bottom Velocity” settings can also be input by holding down the [ENTER] key and playing a note on the keyboard.

Top Slope

Velocity

4–3: MOSS Setup (MOSS)

This page is displayed when the EXB-MOSS option has been installed. For details refer to the owner’s manual included with the EXB-MOSS.

4–4b: Realtime Control Knobs B-Assign

These settings assign functions (mainly various control changes) to the B-mode of the REALTIME CONTROL knobs [1]–[4] (“Realtime Control Knobs B–Assign List” ☞p.250). The functions you specify here will be controlled when you operate the REALTIME CONTROL knobs [1]–[4] in B-mode.

Since the REALTIME CONTROL knob [1]–[4] function assignments made for the program assigned to each timbre are not valid inside a combination, they must be newly set using these parameters.

Knob 1-B [Off, ..., MIDI CC#95] Knob 2-B [Off, ..., MIDI CC#95] Knob 3-B [Off, ..., MIDI CC#95] Knob 4-B [Off, ..., MIDI CC#95]

☞ Program P1: 1–4b

Combination P7: Edit–Arp.



These parameters specify how the arpeggiator will function within the combination. Two arpeggiators can run simultaneously. This offers a variety of possibilities, such as applying separate arpeggio patterns to two sounds that have been assigned as a keyboard split, or using velocity to switch between two arpeggio patterns.

7–1: Setup

7–1

2–1a

7–1b

7–1a: (Tempo) [040...240, EXT]

Speciﬁes the tempo of the arpeggiator. This can also be set by the [TEMPO] knob, or in the P0: Play page. (☞0–1a)

7–1b: Arpeggiator Assign, Arpeggiator Run

Arpeggiator Assign [Off, A, B]

Assigns arpeggiator A or B to each timbre 1–8. When the ARPEGGIATOR [ON/OFF] key is on, the arpeggiator speciﬁed for each timbre will operate according to “Arpeggiator Run A, B” and these settings.

Off: The arpeggiator will not operate. A: Arpeggiator A will operate. Use the settings in the Arpeg-

giator A page to select the arpeggio pattern and to set parameters. B: Arpeggiator B will operate. Use the settings in the Arpeggiator B page to select the arpeggio pattern and to set parameters.

If the “Status” (0–1c, 2–1b) of the timbre is INT, each timbre 1–8 will be sounded by the note data generated by the assigned arpeggiator, regardless of the “MIDI Channel” (2–1b) setting of the timbre. If a timbre is set to EXT or EX2, MIDI note data will be transmitted on the “MIDI Channel” of that timbre. In this case, arpeggiator A (or B) will be triggered (operated) by all MIDI channels speciﬁed for the “MIDI Channel” parameter of any timbre 1–8 assigned to arpeggiator A or B.

If Local Control (“Local Control On,” Global P1: 1–1a) is ON, the keyboard will not trigger the arpeggiator. The arpeggiator will be triggered via MIDI IN. Turn Local Control OFF if you have recorded only the trigger notes on an external sequencer, and wish to playback the external sequencer to trigger the TRITON STUDIO’s arpeggiator.

7–1a

If you want the note data generated by the arpeggiator to be recorded on the external sequencer, turn Local Control ON, and turn off the echo back function on your external sequencer.

You can control the arpeggiator from an external sequencer, or use an external sequencer to r ecor d arpeggio note data. (☞p.266)

Example 1)

Set the “MIDI Channel” (2–1b) of timbres 1 and 2 to Gch, and set “Status” (0–1c, 2–1b) to INT. Assign arpeg-

giator A to timbre 1 and arpeggiator B to timbre 2, and check “Arpeggiator Run A, B” (0–3a, 7–1b).

• When the ARPEGGIATOR [ON/OFF] key is off, timbres 1 and 2 will sound simultaneously (layered) when you play the keyboard.

• When the ARPEGGIATOR [ON/OFF] key is turned on, timbre 1 will be played by arpeggiator A, and timbre 2 will be played by arpeggiator B.

Arpeggiator

Trigger = Gch

Arpeggiator

Pattern - A

Pattern - B

Assign

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=INT

Example 2)

The “MIDI Channel” (2–1b) of timbres 1, 2, 3, 4, and 5 are set respectively to Gch, Gch, 02, Gch, and 03. Their

“Status” (0–1c, 2–1b) is set respectively to INT, Off, INT, Off, and INT. Assign arpeggiator A to timbres 2 and 3,

assign arpeggiator B to timbres 4 and 5, and check

“Arpeggiator Run A, B” (0–3a, 7–1b).

• When the ARPEGGIATOR [ON/OFF] key is off, playing

the keyboard will sound only timbre 1. (Timbres 2 and 4 are receiving the Gch, but they will not sound since their

“Status” is Off.)

• When you turn on the ARPEGGIATOR [ON/OFF] key,

arpeggiator A will operate for timbres 2 and 3, and arpeggiator B will operate independently for timbres 4 and 5. (Arpeggiators A and B are triggered by receiving note data on any MIDI channel of an assigned timbre, but in this example they are being triggered from the Gch.) When you play the keyboard, arpeggiator A will operate for timbres 2 and 3, but only timbre 3 whose “Status” is INT will sound. Similarly, arpeggiator B will operate for timbres 4 and 5, but only timbre 5 whose “Status” is INT will sound. In this way, you can make settings so that a timbre does not sound when the arpeggiator is off, but sounds only when the arpeggiator is on. This type of setting is used in preloaded combinations which sound the drums only when the arpeggiator is on.

Arpeggiator Assign

Off

Trigger = Gch, Ch2

Trigger = Gch, Ch3

Arpeggiator

Pattern - A

Pattern - B

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=Off

Timbre 3 MIDI Ch=2ch Status=INT

Timbre 4 MIDI Ch=Gch Status=Off

Timbre 5 MIDI Ch=3ch Status=INT

Sounded by normal keyboard playing

Does not sound

Pattern - A

Does not sound

Pattern - B

Arpeggiator Run A, B

When the ARPEGGIATOR [ON/OFF] key is on, the arpeggiator(s) checked here will run if they are assigned to a timbre by “Arpeggiator Assign” (7–1b). (☞0–3a)

Pattern - A

Pattern - B

▼ 7–1: Page Menu Command

0–1A 0–1B 7–1A

7–1A: Copy Arpeggiator

This command can copy arpeggiator settings from another location to the current Combi.

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

Key Sync.* [Off, On] Keyboard* [Off, On]

These parameters are the arpeggiator settings for the combination. (☞“Program P7: Edit-Arpeggiator”)

* These parameters can also be set from “0–3(4): Arpegg.

A(B)”.

7–4: Scan Zone (Scan Zone A/B)

These settings specify the note and velocity ranges that will operate arpeggiators A and B.

Combination

2 In “From” select the source (mode, bank, number) of the

arpeggiator you wish to copy. If you are copying from Combination, Song, or Song Play mode, select either A or B to if you wish to copy settings from only one arpeggiator, or select A&B if you wish to copy the settings of both arpeggiators.

3 If you are copying from a Program, or are copying either

A or B from Combination, Song, or Song Play mode, select either A or B as the “To” copy destination.

4 To execute the Copy Arpeggiator command, press the

OK button. To cancel, press the Cancel button.

7–2: Arpegg. A (Arpeggiator A) 7–3: Arpegg. B (Arpeggiator B)

The Arpeggiator A pages allow you to adjust the settings for arpeggiator A. The Arpeggiator B pages allow you to adjust the settings for arpeggiator B.

You can also use the “Copy Arpeggiator” page menu command to copy arpeggiator settings from Program mode or another mode.

1–1a

7–1 7–1a

1–1a

7–4a

7–4b

7–1 7–1a

7–4a: Zone Map

This shows the Scan Zone for each arpeggiator, A and B.

Key zone of arpeggiator B

Key zone of arpeggiator A

C–1G9

Velocity zone of arpeggiator A

Velocity zone of arpeggiator B

7–4b: Scan Zone A/B

Top Key [C–1...G9] Bottom Key [C–1...G9]

Speciﬁes the range of notes (keys) that will operate arpeggiator A. “Top Key” speciﬁes the upper limit, and “Bottom Key” speciﬁes the lower limit.

P0 P1 P2 P3 P4 P7 P8 P9

7–2a

7–2(3)a: Arpeggiator-A(B) Setup

Pattern* [P00...P04, U000(I-A/B)...U506(User)] Octave* [1, 2, 3, 4] Resolution* [   ,  ,   ,  ,   ,  ] Gate [000...100%, Step] Velocity [001...127, Key, Step] Swing [–100...+100%] Sort* [Off, On] Latch* [Off, On]

Top Velocity [001...127] Bottom Velocity [001...127]

Speciﬁes the range of velocities that will operate arpeggiator A. “Top Velocity” speciﬁes the upper limit, and “Bottom Velocity” speciﬁes the lower limit.

Top Key [C–1...G9] Bottom Key [C–1...G9]

Top Velocity [001...127] Bottom Velocity [001...127]

Speciﬁes the range of notes (keys) and velocities that will operate arpeggiator B (☞A:).

The values of these parameters can also be entered by holding down the [ENTER] key and playing a note on the keyboard.

Combination P8: Edit–Insert FX

0–1A 0–1B

8–1B 8–1C

8–1A

Y ou can also specify the bus routing for the pr ogram used by each timbre 1–8.

☞ For details on insertion effects, refer to p.178 “8. Effect

Guide.”

8–1: Routing

Speciﬁes the bus to which the program oscillator(s) used by each timbre 1–8 will be sent. You can also set the send levels to the master effects from this page.

8–1

8–1a

2–1a

8–1b

IFX2–IFX5) (8–2), and for the sound that has passed through the IFX, set “BUS Select” (8–2) to either 1/2 or 3/4.

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

For each timbre 1–8, these parameters set the send level to master effects 1 and 2. These settings are valid when “BUS Select” is set to L/R or Off. When IFX 1, 2, 3, 4 or 5 are selected, the send levels to master effects 1 and 2 are set by the “Send 1” and “Send 2” parameters of the Insert FX page, after the sound has passed through IFX1–5. If “BUS Select” is set to 1, 2, 3, 4, 1/2, or 3/4, these settings are ignored.

Control change CC#93 can be used to control the Send 1 level, and CC#91 to control the Send 2, and modify their respective settings. These messages will be received on the MIDI channel speciﬁed for each timbre in the P2: MIDI channel page. The actual send levels are determined by multiplying this value with the send level “Send 1” and “Send 2” (Program P8: 8–1d) for each oscillator of the program selected for the timbre.

▼ 8–1: Page Menu Command

8–1a: Routing Map

This shows the status of the insert effects. For each insert effect, this indicates the routing, the name of the selected effect, the on/off status, and chain status. The effect type, on/off status and chain status can be modiﬁed in the Insert FX page (8–2).

8–1b: BUS Select (IFX/Indiv.Out BUS Select),

Send1 (MFX1), Send2 (MFX2)

BUS Select (IFX/Indiv.Out BUS Select)

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

For each timbre 1–8, these parameters specify the bus to which the program oscillator(s) will be sent. The current settings can also be viewed in the Routing Map.

DKit: This can be selected only if the program for which settings are being made is a drum program (“Oscillator Mode” Drums). With a setting of DKit, the “BUS Select” (Global P5: 5–2b) setting made for each key of the drum kit will be used. For example if the “BUS Select” settings of the drum kit have assigned Snare sounds to IFX1 and Kick sounds to IFX2, setting this parameter to DKit will send the Snare sounds to IFX1 and Kick sounds to IFX2. If you wish to modify these routings, use the page menu command “Drum Kit IFX Patch” (8–1C).

If this is set to 1/2 or 3/4, the programs of timbres 1–8 will be sent in stereo from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4. If the pan of the program oscillator is controlled by MIDI control change CC#10 (pan) or AMS, the sound will be output with the pan setting that is in effect at the moment of note-on. Unlike the case when this parameter is set to L/R to output the sound from (MAIN) L/MONO and R, the pan of a sounding note will not change in realtime. If you wish to move the pan of a sounding note in realtime and output it from AUDIO OUTPUT (INDIVIDUAL) 1/2 or 3/4, you must set “BUS Select” to IFX1 (or IFX2–IFX5), select 000: No Effect for “IFX1” (or

8–1A: Copy Insert Effect

☞ “Program P8: 8–1A: Copy Insert Effect.” However, the MIDI control channel speciﬁed for “Ctrl Ch” of the IFX1–5 pages will not be copied.

8–1B: Swap Insert Effect

☞ “Program P8: 8–1B: Swap Insert Effect.” However, the MIDI control channel speciﬁed for “Ctrl Ch” of the IFX1–5 pages will not be swapped.

8–1C: DrumKit IFX Patch

This command applies a patch to the “BUS Select” settings of each key of the drum kit, allowing you to temporarily change the connections to the insert effects. This command is available only if a drum program has been selected for the timbre and the “BUS Select” (8–1b) parameter is set to Dkit. Furthermore, this command can be executed only if the “BUS Select” (Global P5: 5–2b) for the individual keys of that drum kit are set to IFX1–5.

1 Select “DKit IFX Patch” to access the dialog box.

2 In the Drum Kit “IFX” popup, select the insert effect to

which you want to patch.

3 To execute the Drum Kit Insert Effect Patch command,

press the OK button. To cancel, press the Cancel button. To restore the condition of the drum kit, execute IFX1→IFX1, IFX2→IFX2, IFX3→IFX3, IFX4→IFX4, and IFX5→IFX5.

8–2: Insert FX

Here you can select the type of each insert effect, turn it on/ off, and make chain settings etc.

8–1

8–2a

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

These are the parameters for IFX1, 2, 3, 4, and 5 that were selected in the Insert FX page (☞p.187–).

8–1 8–3a

Combination

8–2a: IFX1, 2, 3, 4, 5

IFX1, 5 [000...089] IFX2, 3, 4 [000...102] IFX1, 2, 3, 4, 5 On/Off [Off, ON] Chain [Off, On] Pan(CC#8) (Post IFX PanCC#8) [L000...C064...R127] BUS Sel. (BUS Select) [L/R, 1, 2, 3, 4, 1/2, 3/4, Off] Send1 [000...127] Send2 [000...127]

These parameters are the same as in Program mode. (☞Program 8–2a) However, unlike the case in Program mode, the “Ctrl Ch” (8–3a – 7a) MIDI channel is used to control dynamic modulation (Dmod), “Pan (CC#8),” “Send1,” and “Send2” for the insert effects. The control changes used are the same as in Program mode.

P1 P2 P3 P4 P7 P8 P9

8–3(~7)a: Ctrl Ch

Ctrl Ch [Ch01...16, G ch, All Routed]

This parameter speciﬁes the MIDI channel that will be used to control effect dynamic modulation (Dmod), pan following the insert effect (CC#8), Send 1, and Send 2.

The channel number of the timbre routed through this IFX will be followed by a “*” displayed at the right of Ch01–16. If two or timbres with different MIDI channel settings are routed through the same IFX, this parameter speciﬁes which of these channels will be used to control the effect.

G ch: The global MIDI channel “MIDI Channel” (Global mode P1: 1–1a) will be used to control the effect. Normally you will set this to G ch. All Routed: The channel of any timbre routed through this effect can be used to control the effect. (Channels of each routed timbre will be indicated by “*”.)

If the “BUS Select” (8–1b) of a timbre for which a drum program is selected is set to DKit, the MIDI channel of that timbre will be valid if any IFX1–5 is set to All Routed, regardless of the “BUS Select” (Global P5: 5– 2b) settings or the settings of the “DrumKit IFX Patch” page menu command.

Combination P9: Edit–Master FX

☞ For details on master effects, refer to p.182 “8. Effect

Guide.”

9–1: Master FX

Here you can select the type of each master effect, turn it on/off, and make chain and master EQ settings.

9–1a

9–2: MFX 1 9–3: MFX 2

Here you can set the parameters for the MFX 1 and 2 effects that were selected in the Master FX page (☞p.187).

9–1 9–2a

9–1

9–1b

9–1c

9–1a: MFX1, 2

MFX1, 2 [000...089] MFX1, 2 On/Off [Off, ON] Chain [Off, On] Chain Direction [MFX1→MFX2, MFX2→MFX1] Chain Signal [LR Mix, L Only, R Only] Chain Level [000...127]

9–1b: Return Level

Return 1, 2 [000...127]

9–1c: Master EQ Gain [dB]

Low [–18.0...+18.0] Mid [–18.0...+18.0] High [–18.0...+18.0]

These settings are the same as in Program mode (☞“Program 9–1: Master FX”).

9–2(3)a: Ctrl Ch

Ctrl Ch [Ch01...16, G ch]

This parameter speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master effect.

G ch: The global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used for control. Normally you will set this to G ch.

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is located immediately before the AUDIO OUTPUT (MAIN OUT) L/ MONO and R from the L/R bus, and adjusts the overall tonal character of the sound (☞p.239).

0–1A 9–4a

▼ 9–1: Page Menu Command

0–1A 9–1A 9–1B

9–1A: Copy Master Effect

☞ “Program P9: 9–1A: Copy Master Effect.” However, the MIDI contr ol channel that is speciﬁed by “Ctrl Ch” of the MFX 1 and 2 pages will not be copied.

9–1B: Swap Master Effect

☞ “Program P9: 9–1B: Swap Master Effect.” However, the MIDI contr ol channel that is speciﬁed by “Ctrl Ch” of the MFX 1 and 2 pages will not be swapped.

9–4a: Ctrl Ch

Ctrl Ch [Ch01...16, G ch]

This parameter speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master EQ.

G ch: The global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used for control. Normally you will set this to G ch.

The MEQ High Gain and MEQ Low gain can be controlled by assigning a modulation source to the “Low Gain ModSrc:” and the “High Gain Mod-Src:” functions on this page.

3. Sequencer mode

In Sequencer mode you can use the built-in 16-track sequencer to play, record, and edit songs. You can also arrange multiple songs in the Cue List and play them back in succession. Here you can also record and edit patterns, copy a created pattern or preset pattern into a song, or use patterns from the RPPR (Realtime Pattern Play Recording) function. Both songs and patterns can be recorded while using the arpeggiator.

Executing the Sampling mode “Time Slice” command (Sampling P2: 2–1B) will divide the sample and will at the same time create song performance data for these divided samples. You can then freely re-create the original rhythm loop in various ways; for example you can change the song tempo in Sequencer mode to play the rhythm loop at a different tempo without changing the pitch, or you can edit the sequence data to change the note numbers or timing.

In addition, while the song plays back, you can play the keyboard or input an external audio source (e.g., vocal or guitar) from AUDIO INPUT etc. and sample it to automatically capture audio data to go with your sequencer song. In other words, you can create audio tracks while running the sequencer, just as if you were using a recorder. (the In-Track Sampling function) You can also sample performances produced by playing songs, patterns, cue lists, the arpeggiator, or RPPR.

Furthermore, a song you create can be resampled to the internal hard disk, and then, using the included CDRW-1 option etc., written to a CD in Disk mode to produce an audio CD. (☞BG p.118)

These settings and any song data that you have recorded will not be backed up when the power is turned off. Before turning off the power, be sure to save important data on a ﬂoppy disk, hard disk, CD-R/RW, external SCSI device, or a data ﬁler. Immediately after the power is turned on, memory will not contain any song data, so in order to playback the sequencer, you will need to load data from the ﬂoppy disk etc., or receive a MIDI bulk data dump from an external MIDI sequencer (☞p.144).

Sequencer P0: Play/Rec

0–1: Prog. 1–8 (Program T01–08) 0–2: Prog. 9–16 (Program T09–16)

Here you can make basic settings for recording and playing back songs, and can select the program that will be used by each track.

0–1

0–1a

0–1b

0–1c

0–1a: Location, Meter, Tempo, Tempo Mode, Song

Select, Track Select, Reso, RPPR On/Off

Location [001:01.000…999:16.191]

This display shows the current position in the song. From the left, the numbers are the measure, beat, and clock. When you modify these values, the current location will change.

When “MIDI Clock” (Global P1:1–1a) is set to Internal, changing the location will cause Song Position Pointer messages to be transmitted. Also if the “MIDI Clock” parameter is set to External MIDI or External mLAN, and “Receive Ext. Realtime Command” (Global P1: 1– 1a) is on, the location will change if a Song Position Pointer message is received from the speciﬁed source.

The range in which the beat and clock can be modiﬁed will depend on the currently speciﬁed time signature.

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

Meter [**/**, 1/4…16/16]

This is the time signature at the current location of the song. The time signature can be changed at each measure.

**/**: This will be displayed when you press the SEQUENCER [REC/WRITE] key. Specify this when you wish to use the time signature that is already recorded for that measure, and wish to record without changing the time signature.

1/4–16/4, 1/8–16/8, 1/16–16/16: This is the time signature at the current location of the song. After pressing the SEQUENCER [REC/WRITE] key, specify the time signature here. Then press the SEQUENCER [START/STOP] key to begin recording, and the speciﬁed time signature will be recorded on the Master Track and on previously-recorded tracks. Be aware that if you press the SEQUENCER [START/STOP] key during the pre-count to stop recording, the time signature will not be recorded. Normally, you will specify the time signature when you record the ﬁrst track, and select **/** when recording subsequent tracks.

Recording from measure 2 of track 2

Track 1 Track 2

when Meter = **/** 1 (4/4) 2 (3/4) 1 (4/4)

1 (4/4) 2 (3/4) 1 (4/4) 2 (3/4)

3 (4/4)

Recording

3 (4/4) 3 (4/4)

Track 1 Track 2

when Meter =7/8 1 (4/4) 2 (3/4) 1 (4/4)

1 (4/4) 2 (7/8) 1 (4/4) 2 (7/8)

3 (4/4)

Recording

3 (7/8) 3 (7/8)

3 (4/4)

4 (7/8) 4 (7/8)

Changing the time signature in the middle of a song

If you know beforehand the location at which you wish to change time signatures in the middle of a song, use “Insert Measure” (5–1H) to specify and insert the time signature for each measure of the same time signature, and then record your musical data. Alternatively, if you wish to change the time signature in the middle of a song which already contains musical data, use “Track Select” to specify the Master Track (or any Track01–16 which contains data), and use “Event Edit” (5–1B) to modify the time signature of the Bar event. If the number of beats in a measure increases when you modify the time signature, rests will be inserted in the portion that was added. Conversely if the number of beats decreases, that portion will not be played. However if you return to the original time signature, the data that had been hidden will once again be played. (The data itself will not be erased.)





Rest is inserted



Not played

 (Tempo) [040…240, EXT]

This sets the playback tempo of the song and the tempo of the arpeggiator.

040...240: When the “Tempo Mode” is Manu, this tempo will be used for recording and playback. When “Tempo Mode” is REC, this tempo will be recorded on the master track. EXT: This will appear when “MIDI Clock” (Global P1: 1–1a) is either External MIDI or External mLAN. The tempo of the internal sequencer will synchronize with the MIDI Clock messages received from an external sequencer etc. When “MIDI Clock” is Internal, the above tempo setting (040...240) will be used.

If Tempo is selected as an alternate modulation source,  = 120 will be the base value.

Tempo Mode [Auto, Manu, REC]

Auto: The tempo will follow the tempo of the Master Track. The tempo of the master track can be speciﬁed by using

“Event Edit” (5–1B) with Master Track chosen in “Track Select,” or by the REC operation described below. When Auto is selected, it will not be possible to modify the “

(Tempo)” setting while a song is playing or recording (or during standby).

Manu (Manual): The “ (Tempo)” setting will be used. REC: Tempo changes will be recorded on the Master Track.

Select this after pressing the SEQUENCER [REC/WRITE] key. When REC is selected and you are recording in realtime, modify the “Tempo” value to change the tempo. This cannot be selected when the Preferences page item “Record- ing Setup” is set to Loop All Tracks. Tempo changes can also be created using “Event Edit” (5–1B) or “Create Control Data” (5–1L).

If you wish to record only the tempo changes, set “Recording Setup” (0–8a) to OverDub, and the tempo will be recorded on the master track without being affected by the musical data of “Track Select.”

Song Select [000…199]

Select the song that you want to record or play back. Either select the song name from the popup menu, or use numeric keys [0]–[9] to specify the song number and then press the [ENTER] key.

If you want to create a new song, choose a number from the popup menu whose song name is blank, or use the numeric keys [0]–[9] to specify the song number and press the [ENTER] key to access the dialog box. Then specify “Set Length” to specify the number of measures in the song, and press the OK button.

If you want to change the length of a song after creating it, execute the page menu command “Set Song Length” (5–1Q). When creating a new song, you can specify the length to be somewhat longer than necessary, and after you have ﬁnished recording and editing, use “Set Song Length” to specify the correct length.

If “MIDI Clock” (Global P1: 1–1a) is Internal, changing the song will cause Song Select and Song Position Pointer messages to be transmitted. If “MIDI Clock” is External MIDI or External mLAN, Song Select messages can be received from the speciﬁed source to change songs. When the song changes, tracks whose track status (“Status” (2–1a)) is EXT, EX2 or BTH will transmit Bank Select, Program Change, Volume, Panpot, Poramento, Send1, 2, Post IFX Pan, and Post IFX send 1, 2 messages on the MIDI channel of the respective track.

Track Select [Track01…Track16, Master Track]

Track01–Track16: Select the track(s) that will record or play song data. The track names speciﬁed in “Track Name” (5–2). When you perform realtime recording on a single track, the musical data will be recorded on the track you select here. When you perform realtime recording on two or more tracks simultaneously (☞“Multi REC” 0–8a), the “PLAY/MUTE/ REC” (0–1c) will select the recording track, regardless of the setting you make here. Master T rack: Selects the master track when you wish to use the P5: Track Edit page menu commands to edit the tempo track. When using realtime recording or step recording, it is not possible to record the master track alone.

When you play the keyboard of the TRITON STUDIO and operate its controllers, the internal tone generator will sound according to the settings (program, level etc.) of the tracks that are selected here (if “Status” 2– 1a/2a is INT or BOTH), and other tracks whose MIDI channels match will also sound at the same time (if “Status” is INT or BOTH). Messages will also be transmitted on the MIDI channels of these tracks (whose “Status” is EXT, EX2 or BOTH).

Reso (Realtime Quantize Resolution) [Hi, 3 …  ]

This corrects the timing of data as it is recorded in realtime. (It does not affect previously-recorded data.) Hi (High Resolution): Timing will not be corrected. Data will be recorded at the maximum resolution (/192). 3 –  : Data will be corrected to the nearest interval of the speciﬁed timing as it is recorded. For example if you select 3 , data will be corrected to the nearest 32nd note triplet interval. If you select , data will be corrected to the nearest quarter note interval.

With a setting of 

Since all that musical data that is recorded will be corrected to the speciﬁed timing resolution, coarse settings of this parameter will cause continuous controllers such as pitch bend to be recorded in “stairstep” fashion. In such cases, use a setting of Hi to record, and then use “Quantize” (5–1N) to correct only the desired type of data (notes etc.). It is best to avoid recording at a stiff resolution to begin with.





      

RPPR On/Off [Off, On]

This turns the RPPR (Realtime Pattern Play/Recording) function on/off. RPPR lets you assign a pattern to each note of the keyboard, so that the pattern will playback (or be recorded) when you press the appropriate key. On (checked): The RPPR function will be on. If a pattern has been assigned to each key in the P6: Pattern/RPPR, RPPR Setup page, pressing that key will perform the assigned pattern (☞P6–3: RPPR Setup).

0–1(2)b: Selected Track Information

Displays information for the track (1–16) that is currently being edited or selected by “Track Select.”

T (Track) (01...08 (09...16))

Indicates the track number and the program bank/number/ name speciﬁed for that track.

Ch (01...16)

Indicates the MIDI channel number speciﬁed for the track.

RPPR (NoAssign, C#2...C8)

This shows the key number(s) that will start the RPPR pattern assigned to the track. (If there are numerous keys, not all will be shown. T o view all of the assignments, use the P6: Pattern/RPPR, Pattern Edit page.)

When you press the popup button, the Category/Track Program Select menu will appear.(“Category/Program Select menu” ☞Program P0: 0–1a)

Program Select (Bank/Program)

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

Selects the program that will be used by the track. The lower line displays part of the program name.

If “Program Select” is selected, you can use the BANK [INTA]–[EXB-G] keys and VALUE controller to make the setting. If you press the popup button, the Bank/Track Program Select menu will appear, allowing you to select a program. (“Bank/Program Select menu” ☞Program P0: 0–1a)

If you select “Program Select,” the BANK key LED will light to indicate the bank of the program selected for the track.

Bank INT-F can be selected if the EXB-MOSS option is installed. If this is installed, 128 special EXB-MOSS programs can be used.

The program you select here will be used when the song is played or recorded from the beginning. If the program is changed while recording, the program change will be recorded as musical data, and the program will change during playback. You can also change the program manually during playback. However if musical data (program change data) is already recorded, the program will change at that point.

If the “Status” (2–1a/2a) is either INT or BTH, programs can be selected by receiving MIDI program change messages. Also, when the song is changed or when the song returns to the beginning, tracks whose “Status” is EXT, EX2 or BTH will transmit the bank and program numbers via MIDI. Tracks whose “Status” is EX2 will show Bank as “–” and will transmit the bank number that was selected in the “Bank Select” (2–1a/ 2a) setting.

PLAY/MUTE/REC [PLAY, MUTE, REC]

Here you can mute each track, and select the recording track(s) when performing multi-track recording. During playback, or for single-track recording (normal recording), it is possible only to select PLAY or MUTE for tracks (play- back tracks) other than the recording track. For multi-track recording, tracks can be set to PLAY, MUTE, or REC. The setting will alternate each time you press the PLAY/MUTE/

REC button. PLAY: The track will play.

MUTE: The track will be muted (silent). REC: This will be displayed during single-track recording

(normal recording). It cannot be selected. When you use multi-track recording (the Preferences page “Multi REC” is on), select REC for the tracks that you wish to record.

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

0–1(2)c: Track Number, Category, Bank/Program,

PLAY/MUTE/REC, SOLO ON/OFF

Track Number (1...8 (9...16))

Indicates the track number. Use the parameters located below “Track Number” to make settings for that track number.

Category [00...15]

The program to be used by the track can be selected by category. All programs are classiﬁed into one of sixteen categories. You can select the desired category, and then choose programs from that category.

SOLO ON/OFF [SOLO ON, SOLO OFF]

This turns the Solo function on/off. Only the track that is set to SOLO ON will sound. Other tracks will be muted. The setting will alternate on/off each time you press the SOLO ON/OFF button.

If tracks whose “Status” (2–1a/2a) is BTH, EXT, or EX2 are muted by Mute or by the Solo function, note on/off messages will not be transmitted on the MIDI channel selected for those tracks.

When the page menu command “Solo Selected Track” (0–1B) is on, its Solo status will be given priority (if ON). When you press “SOLO ON/OFF” or the parameter of another track, only that track will be soloed, and will sound.

▼ 0–1: Page Menu Command

0–1E: Copy From Song

This command copies all of the setting data and musical data from the speciﬁed song to the currently selected song.

1 Select “Copy From Song” to access the dialog box.

0–1A 0–1B 0–1C 0–1D 0–1E 0–1F

0–1G 0–1H 0–1I 0–1J 0–1K

0–1A: Memory Status

This displays the remaining amount of sequencer memory.

0–1B: Solo Selected Track

The Solo function will alternate on/off each time you select this command.

1 Select the page menu command “Solo Selected Track.”

When you select this command, a check mark will be added at the left of the “Solo Selected T rack” in the menu, and the Solo function will be turned on.

2 In a page that displays parameters for each track, select

the track that you want to solo (e.g., by using “Program Select” in the P0: Play, Program Select page), and only that track will sound, while the other tracks will be muted. The “Selected Track Information” (0–1b/2b) in each page will indicate [Solo]. This function cannot be selected in pages that do not contain parameters for individual tracks. If you want to solo another track, select a parameter of that track.

3 To cancel the Solo function, once again choose “Solo

Selected Track.”

When this Solo function is on, only the selected track will be soloed and will sound when you press “SOLO ON/OFF” (0–1c/2c) or a parameter of another track – even if two or more “SOLO ON/OFF” buttons are turned on.

If the tracks that have been muted by the Solo function have a “Status” (2–1a) setting of EXT, EX2, or BTH, the MIDI note-on/off messages of that track will not be transmitted.

0–1C: Rename Song

Here you can rename the selected song. A name of up to sixteen characters can be input. (☞BG p.53, 57)

0–1D: Delete Song

This command deletes the currently selected song.

1 Select “Delete Song” to access the dialog box.

2 If you wish to execute the Delete Song command, press

the OK button. To cancel, press the Cancel button. When you execute this command, the musical data, setting data, and patterns etc. of the currently selected song will be erased, and the memory area allocated to that song will be freed.

2 In “From,” specify the copy source song number. 3 Select the data that you wish to copy.

All: will copy all setting data and musical data (track events and patterns, etc.). Without Track/Pattern Events: will copy only the setting data of songs, except for Play Loop and RPPR data.

4 To execute the Copy Song operation, press the OK but-

ton. To cancel, press the Cancel button.

Be aware that if you execute “All,” all setting data and musical data of the currently selected song will be erased and rewritten by the data from the copy source song. If you execute “Without Track/Pattern Events,” song set- ting data other than Play Loop and RPPR will be rewritten.

0–1F: Copy From Combi (Copy from Combination)

This command copies the parameters of the speciﬁed combination to the setting data of the currently selected song.

1 Select “Copy From Combi” to access the dialog box.

2 In “Combination,” select the copy source destination. 3 Use “with Effects” to specify whether effect and EQ set-

tings will also be copied. If this is checked, insert effects, master effects, and master EQ settings will also be copied.

4 Use “To” to select the copy-destination tracks (1–8 or 9–

16).

5 If you selected Track 1 to 8 as the “To” setting, you have

the option of checking “Auto adjust Arp setting for Multi REC.” As necessary, this function will adjust the

MIDI channel etc. of any tracks that need to be changed, and/or add new tracks, in order to ensure that when you perform multi-recording with the arpeggiator on, the same sound will be reproduced during recording as during playback.

This function makes adjustments depending on the ARPEGGIATOR [ON/OFF] state of the combination. When you copy a combination that was written with the arpeggiator turned off, it is assumed that you will leave the arpeggiator off in the song as well. If you want to use the arpeggiator in the song, you should write the combination with the arpeggiator turned on, and then copy it to the song.

If this is checked, the MIDI channels etc. of the tracks will be corrected. “Multi REC” (0–8a) and “PLAY/ MUTE/REC” (0–1c/2c) will also be set automatically. In addition, “Recording Setup” Over Write (0–8a) will be selected. (Note that the automatically-set “Multi REC” and “PLAY/MUTE/REC” will be reset when you reselect the song.)

For details on the content that will be corrected, refer to “If the recorded performance is not reproduced correctly during playback” (☞BG p.96). The content described here will be corrected automatically. Depending on the settings of the combination, it may be necessary to make additional changes to the track settings in addition to the settings here.

6 Press the OK button to execute the Copy From Combination

command, or press the Cancel button to cancel without executing. When you execute the command, the song setting data of the currently selected song will be erased, and overwritten by the settings of the combination.

0–1G: Load Template Song

This command loads a template song as a song. The built-in sequencer contains sixteen different preset tem- plate songs (P00–15) that contain preset settings for pro- grams and effects appropriate for various musical styles. Y ou ar e also free to create your own favorite settings for programs, track parameters, and effects, and save them as one of sixteen user template songs (U00–15) (☞“Save as User Template Song” 0–1H).

1 Select “Load Template Song” to access the dialog box.

2 In “From,” specify the template song that you wish to

load.

3 If you check “Copy Pattern to Track too?,” the “Copy

Pattern To Track” dialog box will appear automatically after “Load Template Song” has been executed. If you execute without checking this, only the template song you speciﬁed in step

4 To load the template song, press the OK button. To can-

cel without loading, press the Cancel button. When you execute, song settings other than Play Loop and RPPR will be copied.

2 will be loaded.

If in step

3 you checked “Copy Pattern to Track too?”

and pressed the OK button, the “Copy Pattern To T rack” dialog box will appear.

This dialog box is the same as in the page menu command “Copy To Track” (6–1I) (☞p.78).

5 In “Pattern,” select the pattern that you wish to copy. If

you press the SEQUENCER [START/STOP] key, the selected pattern will play. In To “Track,” select the copy destination track. In “Measure,” specify the beginning measure of the copy destination.

Track 1 of all sixteen preset template songs contains a drum category program. (In preset template songs P02, P04, P08, and P15 drum category programs are speciﬁed for multiple tracks.) The pattern names of the 150 preset patterns indicate the musical genre and part of the optimal drum category program. (☞table below) For example in P00: Pop&Balad 1/Std, the musical genre is “Pop&Balad 1,” and “Std” is part of the name of the drum category program that is most suitable. By loading the drum track for these preset template songs and the corresponding preset patterns, you can efﬁciently set up a drum track that is suited to each preset template song.

6 To execute, press the OK button. When you execute,

“Measure” will count up automatically. You may then copy patterns as well. To exit the command, press the Exit button.

☞ For details on how to copy preset patterns to a song along

with the preset template song, refer to BG p.49.

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

Preset Template Song Track No.: Name Program Corresponding Preset Pattern No.:Name

P00: Pop/Ballade Track01: Drums A036:Standard Kit P00: Pop&Balad 1/Std ... P10: Pop(6/8) 3/Std P01: Rock/Metal Rock Track01: Drums B020:Processed Kit P11: Rock 1/Process ... P21: Rock11/Process P02: R & B Track01: Drums 1(Std 2) B036:Standard Kit 2 P22: R&B 1/Std2 ... P27: R&B 6/Std2

Track09: Drums 2(Std) A036:Standard Kit P28: R&B 7/Std ... P32: R&B11/Std P03: Jazz Track01: Drums B004:Jazz/Brush Kits P33: Jazz 1/Jazz ... P39: Jazz 7/Jazz P04: Latin Track01: Drums B004:Jazz/Brush Kits P40: Latin 1/Jazz ... P42: Latin 3/Jazz

P46: Latin 7/Jazz ... P47: Latin 8/Jazz

Track08: Percussion B116:Percussion Kit P43: Latin 4/Perc ... P45: Latin 6/Perc P05: Reggae Track01: Drums B068:Drum'nBass Kit P48: Reggae 1/D'n'B ... P53: Reggae 6/D'n'B P06: Country Track01: Drums A036:Standard Kit P54: Country 1/Std ... P57: Country 4/Std P07: Folk Track01: Drums A036:Standard Kit P58: Folk 1/Std ... P61: Folk 4/Std P08: European Trad. Track01: Drums A036:Standard Kit P62: E.Trad 1/Std ... P67: E.Trad(3/4)2/Std

Track08: Percussion B116:Percussion Kit — P09: Orchestral Track01: Percussion A116:Orchestra&Ethnic — P10: Techno/Euro Beat Track01: Drums A020:House Kit P68: Techno 1/House ... P78: Techno11/House P11: House Track01: Drums A020:House Kit P79: House 1/House ... P92: House14/House P12: Drum'n'Bass Track01: Drums B068:Drum'n'Bass Kit P93: Drum'nBs 1/D'n'B ... P108: Drum'nBs16/D'n'B P13: Acid Jazz Track01: Drums B036:Standard Kit 2 P109: AcidJazz 1/Std2 ... P120: AcidJazz12/Std2 P14: Hip Hop/Rap Track01: Drums A068:HipHop Kit P121: HipHop 1/HipHop ... P135: HipHop15/HipHop P15: Big Beats Track01: Drums 1(Hip/Hop) A068:HipHop Kit P136: Bigbeat 1/HipHop ... P143: Bigbeat 8/HipHop

Track09: Drums 2(Tricky) A004:! {Tricky} Kit! P144: Bigbeat 9/Tricky ... P149: Bigbeat14/Tricky

0–1H: Save Template Song

(Save as User Template Song)

This command saves the program selections, track parameters, and effect settings etc. of the current song as a user template song U00–15. The settings you save here can also be loaded in Song Play mode.

1 Select “Save Template Song” to access the dialog box.

2 In “To,” specify the user template song (U00–15) in

which the data will be saved.

3 To save the template song, press the OK button. To can-

cel, press the Cancel button. Be aware that when you execute this command, all setting data of the save destination User T emplate Song will be erased and rewritten with the current settings.

0–1I: FF/REW Speed

This allows you to set the speed at which fast-forward or rewind will occur when you press the [FF] key or [REW] key.

1 Select “FF/REW Speed” to access the dialog box.

3 If “Ignore Tempo” is checked, the playback tempo and

note length will be ignored, and fast-forward and rewind will be performed as fast as possible. The speed of fastforward and rewind will differ between sections where the playback data is dense and sections where it is sparse. If this item is unchecked, fast-forward and rewind will be performed at the speed you specify for “Speed.”

4 To execute the settings, press the OK button. To cancel,

press the Cancel button.

0–1J: Set Location (Set Location for Locate Key)

When you press the [LOCATE] key, you will move to the location speciﬁed here.

1 Select “Set Location” to access the dialog box.

2 In “Location,” specify the location to which you will

move when you press the [LOCATE] key. If you specify 001:01:000, you will move to the beginning of the song when you press the [LOCATE] key.

3 To execute the settings, press the OK button. To cancel,

press the Cancel button.

When this dialog box is not open, you can hold down the [ENTER] key and press the [LOCA TE] key to set the current location as the “Set Location” value.

0–1K: GM Initialize

2 In “Speed,” specify the speed (relative to the playback

tempo) at which fast-forward and rewind will occur. This setting is relative to the playback tempo. With a setting of 2, this will occur at double the playback tempo; with a setting of 3, triple the tempo; and with a setting of 4, quadruple the tempo. However in sections where the playback data is dense, the fast-forward or rewind speed may slow down.

This command transmits a GM System On message to the Sequencer mode, resetting all tracks to the GM settings (☞table below).

GM Initialize Parameter

Parameter Track1–9, 11–16 Track10

P0 Bank/Program (Program Select) G001:Acoustic Piano g(d)001:STANDARD Kit

Pan C064 C064 Volume 100 100

P1 Status – – The setting remains unchanged

Use Program’s Scale – – The setting remains unchanged

P7 Arpeggiator Assign – – The setting remains unchanged

Other Arpeggiator parameters – – The setting remains unchanged

P8 IFX/Indiv.Out BUS Select L/R DKit

Send1(MFX1) 0 0 Send2(MFX2) 40 40 IFX1–5 – – The setting remains unchanged Pan(CC#8) – – The setting remains unchanged BUS Select – – The setting remains unchanged Send1 – – The setting remains unchanged Send2 – – The setting remains unchanged Other Insert Effect parameters – – The setting remains unchanged

P9 MFX1 – – 016: Stereo Chorus

MFX2 – – 053: Reverb SmoothHall Return1 – – 127 Return2 – – 050 Other Master Effect and Master EQ parameters – – Default settings

0–3: Mixer 1–8 (Mixer T01–08) 0–4: Mixer 9–16 (Mixer T09–16)

Here you can set the pan and volume of each track. The pan and volume that you specify here will be used when you playback or record from the beginning of the song. If you change the settings during recording, the changes will be recorded as musical data, and pan and volume will change during playback. You can also change the settings during playback. However when the song reaches a location where pan or volume data was recorded, the settings will change accordingly.

0–1

0–1a

0–1b

0–3a

0–3(4)a: Track Number, Program Category, Pan,

Volume

Track Number (1...8 (9...16))

Indicates the track number. (☞0–1c/2c)

Program Category

Partially displays the name of the category used by the track.

If “Status” (2–1a/2a) is INT or BTH, CC#10 Panpot can be received to control the panning. When receiving CC#10, a value of 0 or 1 is far left, 64 is center, and 127 is far right. When you change the song or return to the beginning of the song, tracks whose “Status” is EXT, EX2 or BTH will transmit the pan you specify here as a MIDI message (except for RND).

Volume [000...127]

Sets the volume of tracks 1–16.

When “Status” (2–1a/2a) is INT or BTH, CC#7 Volume can be received to control the volume. The volume of a track is determined by multiplying the MIDI Volume (CC#7) and Expression (CC#11) values. When you change the song or return to the beginning of the song, tracks whose “Status” is EXT, EX2 or BTH will transmit the volume you specify here as a MIDI Volume message.

0–5: PlyLoop 1–8 (PlayLoop T01–08) 0–6: PlyLoop 9–16 (PlayLoop T09–16)

When playing or recording a song, you can independently loop the playback of tracks 1–16.

0–1

0–1a

0–1b 0–3a

0–5a

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

Pan [RND, L001...C064...R127]

Sets the pan of tracks 1–16. L001...C064...R127: A setting of L001 is far left, and R127 is

far right. A setting of C064 will reproduce the pan setting of the oscillator in Program mode.

OSC1

Left

OSC1

Left

If a mono-type insertion effect is inserted, this setting will be ignored. In this case, the P8: Insert Effect, Insert FX page “Pan (CC#8)” setting will adjust the pan of the sound following the insertion effect. (“3. Mixer” ☞p.181)

RND: The sound will be panned randomly at each note-on.

Center

OSC2

OSC1: Amp1 Pan=L001 OSC2: Amp2 Pan=R127

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC2

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

0–5(6)a: Play Loop, Loop Start Measure, Loop End

Measure, Play Intro

Track Play Loop [Off, On]

Turns looping on/off for each track 1–16. On (checked): That track will loop between “Loop Start

Measure” and “Loop End Measure.”

Loop Start Measure [001...999]

Speciﬁes the ﬁrst measure of the loop.

Loop End Measure [001...999]

Speciﬁes the last measure of the loop.

Play Intro [Off, On]

On (checked): After the measures before the speciﬁed “Loop Start Measure” are played once, the region of “Loop Start Measure” – “Loop End Measure” will be played repeatedly. For example, you can use this on a drum track to make it play a ﬁll-in and then begin looping. Off (unchecked): Playback will begin from the “Loop Start Measure,” and will begin looping immediately.

This will be valid if “Track Play Loop” is checked and “Loop Start Measure” is set to other than 001.

Example) When “Play Intro” is checked

Track 1 will loop as follows. M001–M002–M003–M004–M003–M004–M003–M004…

When “Play Intro” is not checked

Track 1 will loop as follows. M003–M004–M003–M004–M003–M004–M003–M004...

In this way, you can use “Track Play Loop” to make the real- time recording process more efﬁcient (☞BG p.50).

0–7: Sampling

Here you can adjust the settings for analog/digital audio signal input (AUDIO INPUT, S/P DIF, EXB-mLAN) and the settings for sampling in Sequencer mode. (☞p.49) You can sample either an external audio signal, or a performance played on the TRITON STUDIO.

It is not possible to realtime-record a song or pattern while sampling.

0–7

0–7a

0–7b

0–7c

0–7b: Sampling Setup

Source BUS [L/R, Indiv.1/2] Save to [RAM, DISK] Mode (Sample Mode) [L-Mono, R-Mono, Stereo] Sample Time [min sec]

Make sampling-related settings for Sequencer mode. (☞Pro- gram P0: 0–3)

T rigger [Sampling START SW, Note On,

Threshold, Sequencer START SW]

Speciﬁes the trigger that will initiate sampling. Sampling START SW: (☞Program P0: 0–3)

In Sequencer mode, the metronome count will operate according to the Metronome Setup (0–8b) setting.

Note On: (☞Program P0: 0–3) Threshold: Sampling will begin automatically when the

input level exceeds the speciﬁed “Level” value. (☞Sampling P0: 0–7b) Sequencer START SW: Press the SAMPLING [REC] key and then the SAMPLING [START/STOP] key to enter sampling-standby mode. Then press the SEQUENCER [START/ STOP] key to begin sampling. Use this when you want to resample the song playback.

The various Sampling Setup settings apply to the entire Sequencer mode, not to individual songs.

0–7c: Recording Level [dB]

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

Adjusts the signal level at the ﬁnal stage of sampling in Sequencer mode. (☞Sampling P0: 0–1d)

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 Song at its maximum level. (☞Program P0: 0–3c “Recording Level”)

0–7a: 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 analog/digital audio input source, and specify the input level, bus, and the send levels to the master effects.

The various Input settings will apply to Combination, Program, Sequencer, Song Play, and Disk modes. (☞Global P0: 0–3a)

▼ 0–7: Page Menu Command

0–1A 0–1B 0–1C 0–1D 0–1E 0–1F

☞ Program P0: 0–3D: Select Directory

0–1G 0–1H 0–1I 0–1J

Program 0–3B 0–7A

0–7A: Select Bank & Smpl No.

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

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

box.

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

into which sampling will be performed.

3 In “Sample No.,” choose a sample number where the

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

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 default settings are “Recording Level” at –12.0 (dB) and “Auto +12 dB On.” If you resample a performance in the respective mode 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. (with the “Source BUS” Indiv.1/2 setting: 0–7b), we recom- mend that you set “Recording Level” to about +0.0 (dB) and turn off “Auto +12 dB On” when you resam- ple.

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

5 “Convert to” lets you specify whether the sample will

automatically be converted to a program after sampling. Y ou can also specify whether a note event will be cr eated at the time of sampling. If the “Program” check box is checked, the sample will automatically be converted to a program. (☞Sampling P0: 0–1a) At the right, use “Program” and “MS” to specify the program number and multisample number of the program that will be created. “Orig.Key” (Sampling P0: 0–1b) speciﬁes the location of the original key. The multisample will be created with an “Index” (Sampling P0: 0–1a) having this key as its “Top Key” (Sampling P0: 0–1b). “Orig.Key” will increment after sampling, so that the next sample will be assigned to the next higher key. If you check the “Seq.Event” check box, a note event will automatically be created in the track speciﬁed by “Track.” Note-on will occur at the location at which sampling began, and note-off will occur at the location at which sampling ended. The note event will be created as in “Recording Setup” Over Dub mode (i.e., it will be added without erasing existing events). If you are sampling repeatedly without stopping the song playback, the event(s) will be automatically created when you stop song playback. The “Program Select” (0–1c/2c) of the

“Track” you created will automatically will automatically change to the program you speciﬁed in “Program.”

“Seq.Event” is available only if “Program” has been checked.

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

press the Cancel button to discard any settings you made after accessing the dialog box.

0–8: Preference

Here you can select the method of realtime recording, and set the metronome.

0–1

0–1a

0–1b

0–8a

0–8b

0–8a: Recording Setup

Recording Mode [Over Write...Loop All Tracks]

Selects the method of realtime recording. Refer to BG p.83 for the realtime recording.

Over Write

When recording for the ﬁrst time, you will normally select this method. To begin recording, press the SEQUENCER [REC/WRITE] key and then the SEQUENCER [START/STOP] key. To stop recording, press the SEQUENCER [START/STOP] key once again. Be aware that when this method of recording is used to record on a track that already contains data, any previously existing data will be erased starting from the measure at which you begin recording and from all subsequent measures.

Over Dub

Select this method when you wish to add data to a previously-recorded track. To begin recording, press the SEQUENCER [REC/WRITE] key and then the SEQUENCER [START/STOP] key. To stop recording, press the SEQUENCER [START/STOP] key once again. The newly recorded data will be added to the previously recorded data already residing in that track.

Manual Punch In

Select this method when you wish to use the SEQUENCER [REC/WRITE] key or a foot switch to re-record selected portions of a previously-recorded track. Press the SEQUENCER [START/STOP] key to playback the song. When you reach the measure at which you wish to begin re-writing the data, press the SEQUENCER [REC/ WRITE] key or the foot switch, and recording will begin. When you are ﬁnished recording, press the SEQUENCER [REC/WRITE] key or the foot switch once again, and recording will end.

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

Auto Punch In

Select this method when you wish to automatically rerecord selected portions of a previously-recorded track. If you select Auto Punch In, the display will indicate “M***– M*** (Auto Punch In Start Measure–Auto Punch In End Measure)” at the right, allowing you to specify the range of measures that will be rewritten. Press the SEQUENCER [REC/WRITE] key and then the SEQUENCER [START/STOP] key, and playback will occur until the speciﬁed measure is reached. Then, recording will occur only over the speciﬁed area (“Start Measure”–“End Measure”), rewriting it with the newly recorded data.

M–M (Auto Punch In Start Measure – Auto Punch In End Measure) [M001…M999 – M001…M999]

When “Recording Mode” is set to Auto Punch In, specify the measures at which recording will start and end.

Loop All Tracks

Select this method when you wish to repeatedly record a speciﬁed area of a track, and continue adding data. This is suitable for creating drum patterns, etc. If you select Loop All Tracks, the display will indicate “M***–M*** (Loop Start Measure–Loop End Measure)” at the right, allowing you to specify the range of measures that will be recorded repeatedly. Press the SEQUENCER [REC/WRITE] key and then the SEQUENCER [START/STOP] key, and playback will occur until the speciﬁed measure is reached. Then, recording will occur repeatedly over the speciﬁed area (“Loop Start Measure”–“Loop End Measure”). Previously-recorded data will remain, and the new data will be added. While recording, you can check “Remove Data” to delete unwanted data.

If “Multi REC” is checked, this parameter will not be available.

M–M (Loop Start Measure – Loop End Measure)

[M001…M999 – M001…M999]

Speciﬁes the range of measures over which recording will repeat when “Recording Mode” is set to Loop All Tracks. Specify the range of measures in which recording will be repeated.

Remove Data [Off, On]

Unwanted playback data can be removed while you record using the Loop All Tracks setting. This is available when

“Recording Mode” is set to Loop All Tracks. On (checked): You can delete unwanted musical data while

recording with Loop All Tracks. During recording, press the key (note number) that corresponds to the musical data you wish to delete. All occurrences of that note number will be deleted for the interval that you continue holding down the key. Controller data can also be erased in a similar way. For example while you move and hold the joystick in the X (horizontal) direction, bender data will be erased. While you apply pressure to the keyboard, after touch data will be erased. Also, you can press and hold down the SEQUENCER [REC/ WRITE] key to delete all musical data for as long as the key is held.

If this is checked, the “PLAY/MUTE/REC” setting (0–1c/ 2c) (button) of all tracks will be set simultaneously to REC. For tracks that you do not want to record, press “PLAY/ MUTE/REC” (button) to select either PLAY or MUTE (the setting will cycle in the order of PLAY→MUTE→REC). This mode can also be used when you wish to playback a connected multi-track sequencer, and record all of the MIDI data it transmits in one pass into the TRITON STUDIO’s sequencer (☞BG p.85). Multiple channels of MIDI data can be received and simultaneously recorded onto multiple tracks. In this case, tracks whose “PLAY/MUTE/REC” setting is REC will record MIDI data whose channel matches their own MIDI channel setting, regardless of the “Track Select” (0–1a) setting. In this case you will probably want to set “MIDI Clock” (Global P1: 1–1a) to External MIDI or External mLAN, to sync up with an external sequencer. However, changes in tempo will not be recorded. (“Recording musical data from an external device” ☞p.266)

Off (unchecked): Single track recording mode will be selected. Recording will occur on the track selected by “Track Select.”

This cannot be selected if “Recording Mode” is set to Loop All Tracks.

0–8b: Metronome Setup

Here you can make metronome settings.

Sound [Only REC, REC & Play, Off]

Only REC: The metronome will sound only during recording. REC & Play: The metronome will sound during recording and playback. Off: The metronome will not sound. However , the pre-count will sound before recording begins. This parameter can also be set from “Metronome Sound” (6– 1b).

BUS (Output) Select [L/R, L, R, 1, 2, 3, 4, 1/2, 3/4]

Selects the output destination of the metronome sound. L/R, L, R: Output from OUTPUT (MAIN) L/Mono and/or

R. 1, 2, 3, 4, 1/2, 3/4: Output from OUTPUT (INDIVIDUAL) 1, 2, 3, 4 respectively.

Level [000…127]

Sets the volume of the metronome.

Precount [Measure] [0…2]

Speciﬁes the pre-count that will occur before recording begins. With a setting of 0, recor ding will begin the instant you press the SEQUENCER [START/STOP] key (after ﬁrst pressing the SEQUENCER [REC/WRITE] key).

Multi REC [Off, On]

On (checked): Multi-track recording mode will be selected. Use this mode when you wish to simultaneously record multiple tracks. Use this when you want to realtime–record a performance played by the arpeggiator on multiple tracks of differing channels.

Sequencer P1: Cue List



1–1: Cue List

The cue list allows you to playback multiple songs in succession. You can specify a number of repetitions for each song. The TRITON STUDIO allows you to create twenty cue lists. In a single cue list you can freely connect up to 99 songs. Each unit in a cue list is called a “step,” and you can specify a song number and a repeat (number of repetitions) for each step. For example you could create each part of a song (intro, melody A, melody B, break, solo backing, ending etc.) as an individual song, and use a cue list to play the intro twice, melody A four times, melody B four times, the break twice, melody A four times ... etc. to produce the entire song. In cases when you wish to change the structure of the song, this Cue List function can help you work more efﬁciently. The page menu command “Convert to Song” (1–1D) lets you convert the songs in a cue list into a single song. For example you can use a cue list to create the backing, convert the cue list to a song, and then add solo phrases on unused tracks.

1–1

1–1a

1–1b

1–1c

1–1d

Tempo Mode [Auto, Manu]

Auto: Playback will follow the tempo speciﬁed by each song in the cue list. It will not be possible to change the “ (Tempo)” setting during playback. Manu (Manual): Tempo speciﬁed in the song will be ignored, and playback will use the tempo speciﬁed above for “ (Tempo).”

Cue List Select [C00...C19: name]

Selects the cue list that you wish to play. When using a cue list to play songs, you must ﬁrst load the necessary data into internal memory, either from media (ﬂoppy disk etc.), or by a MIDI data dump from an external sequencer.

When “MIDI Clock” (Global P1: 1–1a) is Internal, selecting a cue list in this page will cause a Song Select message (corresponding to the cue list number) and Song Position Pointer message to be transmitted. When “MIDI Clock” is External MIDI or External mLAN, a Song Select message from the speciﬁed source will switch cue lists.

Track Select [Track01...Track16: name]

Selects the track that you wish to play manually from the keyboard along with the playback of the cue list. While a cue list is playing, you can play along using the track settings and musical data of the song selected by the current “Step” (1–1c). The track selected here can be speciﬁed independently for each song in the cue list. When you are playing back different songs in succession, and want to play along using the same program on the keyboard, set “Track Select” (0–1a) to the same track and program for each step. At the right you can view the program bank, program number, and name of the program selected for “Track Select.”

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

1–1a: Location, Meter, , Tempo Mode, Cue List

Select, Track Select

Location [0001:01.000…9999:16.191]

This displays the current location within the selected cue list. From the left, the numbers indicate the measure, beat, and clock. Each can be set separately, and this will change the current location within the cue list. The range of the beat and clock will depend on the time signature of the corresponding song.

When “MIDI Clock” (Global P1: 1–1a) is Internal, a Song Position Pointer message will be transmitted each time you change the location within the cue list. If

“MIDI Clock” is set to External MIDI or External mLAN, and “Receive Ext. Realtime Commands” (Glo-

bal P1: 1–1a) is turned on, receiving a Song Position Pointer message from the speciﬁed source will cause the location to change. If the location exceeds the allowable data range of a Song Position Pointer message, it will not be transmitted.

Meter (Time Signature) [1/4...16/16]

This displays the time signature of the currently-playing song.

 (Tempo) [040...240]

Speciﬁes the tempo at which the song in the cue list will be played (☞“0–1a: Tempo”).

1–1b: Selected Step Information

This shows information on the currently selected or playing “Step.”

STEP (01...99/01...99)

The selected step number is shown at the left, and the total number of steps (not including the last step) is shown at the right.

SONG (000...199)

This shows the number and name of the song for the currently selected step.

Length (000...999)

This shows the number of measures in the song for the currently selected step.

1–1c: Step, Song, Repeat, Load FX?

Step [Measure] [01...100 (M0001...M9999)]

This displays the step number and its starting measure. “Step” indicates each step number. The “Step” indicated by the symbol is the currently-selected or currently-playing step. This can be directly selected by “Song” (1–1c) or “Current Step” (1–1d). When stopped, pressing the SEQUENCER [START/STOP] key will cause playback to begin from this step. “Measure” indicates the starting measure of each step. This cannot be edited.

Song (Cue Edit - Song)

[S000...S199: name/End, Continue to Step01]

S000...S199: Speciﬁes a song for each step. This cannot be edited during playback. End and Continue to Step01 can be speciﬁed only for the last step of the cue list.

End: Playback will stop at the last step of the cue list. Continue to Step01: At the last step of the cue list, playback

will return to “Step” 01 and the cue list will continue playing endlessly. To stop, press the SEQUENCER [START/ STOP] key.

Repeat [01...64, FS]

Speciﬁes the number of times that the song of this step will be repeated.

FS: A foot switch connected to the rear panel can be used to specify the point at which the song will stop repeating. When you press the foot switch, that repetition of the song will ﬁnish playing, and then playback will continue to the next step. Set “Foot Switch Assign” (Global P2: 2–1a) to Cue Repeat Control.

Load FX? (Cue Edit-Load Fx) [Off, On]

Speciﬁes whether the effects speciﬁed by the song assigned to each step will be used. On (checked): The effect settings of the song speciﬁed for the current step will be used. When playback moves to the next step, the effect settings will also change. Off (unchecked): The effect settings will not change.

Depending on the effect settings, a certain amount of time may be required to switch effects. In this case, playback will not be smooth from song to song. If you want to transition smoothly from song to song inside of a cue list, check “FX Load?” in “Step” 01. For the remaining steps, do not check “FX Load?” With these settings, the effects will be set before playback begins, so there will be no time lag to interrupt the smooth transition between songs. Although it is not possible to change the effect types in the middle of a cue list, you can use the dynamic modulation function or MIDI control changes (effect control) to apply reverb more deeply to certain songs, or raise the LFO speed for other songs, etc. When using a cue list to construct a song, we recommend this method. When you execute the “Convert to Song” (1–1D) page menu command, the effect settings of the “Step” 01 song will be speciﬁed at the beginning of the song that is created by the conversion.

Even when “Load FX?” is not checked, there may be a time lag in the transition from one song to the next, depending on the musical data in the song. There may also be cases in which the musical data at the transition between songs does not play at the correct timing. To ﬁx this, you can edit the musical data of the song, or convert the cue list to a single song. If you use “Convert to Song” (1–1D) to convert the cue list to a song, there will be no time lag at the transition, and the musical data will play at the correct timing.

1–1d: Insert, Cut, Copy, Current Step

Insert

When you press the Insert button, the step data that was temporarily saved in the buffer by the Copy button or Cut button will be inserted at the “Current Step.” (If copy or cut has not been executed, default data will be inserted.)

Cut

When you press the Cut button, the “Current Step” will be cut, and its data will be saved temporarily in the buffer. If you Insert immediately after you cut, the data will return the state in which it was before you cut.

Copy

When you press the Copy button, the data of the “Current Step” will be saved temporarily in the buffer. Press the Insert button to insert the copied step into the “Current Step.”

Current Step [01...100]

Selects the step that will be inserted, cut or copied. If you wish to playback from a step in the middle of the cue list, select the desired step here, and press the SEQUENCER [START/STOP] key.

For details on creating and editing a cue list, refer to BG p.90.

▼ 1–1: Page Menu Command

0–1A 1–1A 1–1B 1–1C

1–1D 1–1E 0–1I 0–1J

1–1A: Rename Cue List

This command renames the selected cue list. A name of up to sixteen characters can be input. (☞BG p.57)

1–1B: Delete Cue List

This command deletes the currently selected cue list.

1 Select “Delete Cue List” to access the dialog box.

2 To execute the Delete Cue List command, press the OK

button. To cancel, press the Cancel button. When you execute this command, the data of the currently selected cue list will be deleted.

1–1C: Copy Cue List

This command copies the settings of another cue list to the currently selected cue list.

1 Select “Copy Cue List” to access the dialog box.

2 In “From,” specify the copy source cue list. 3 To execute the Copy Cue List command, press the OK

button. To cancel, press the Cancel button. When you execute, the setting data of the selected cue list will be deleted, and replaced by the copy-source data.

1–1D: Convert to Song (Convert Cue List to Song)

This command converts a cue list consisting of multiple songs to a single song. Although it is not possible to record additional tracks into a cue list, you can convert the cue list to a song, and then record solos etc. onto open tracks. Also, it will be necessary to convert a cue list to a song if you wish to write it to a ﬂoppy disk as SMF data. During the conversion, the track and effect settings of the song speciﬁed for “Step” 01 will be copied to the beginning of the resulting song, and all track and effect settings of subsequent songs will use the settings of the song for “Step” 01.

1 Select the cue list (C00–19) that you want to convert to a

song.

2 Select “Convert to Song” to access the dialog box.

3 In “To Song,” specify the conversion destination song

number. If you select a new song, a conﬁrmation dialog box will appear. Press the OK button to create a new song, into which the cue list will be converted.

4 Press the OK button to execute the conversion, or press

the Cancel button to cancel without executing. If you selected a song that already contains settings and performance data, executing this command will erase the data of that song and replace it with the data that was converted from the cue list. Use this command with caution. After executing this command, you can press the [COMPARE] key to return to the state prior to execution.

The “Convert to Song” command converts a cue list to a song as described below.

• Song/Track parameter settings for “Step” 01

Song/Track parameters will use the settings of the “Step” 01 song.

The MIDI channel of each track will be according to the settings of the “Step” 01 song. If “Step” 02 and following songs have different settings, it may not be possible to convert the playback result of the cue list into a song. As far as possible, try to keep the MIDI channel assignments consistent between songs that you intend to use as part of a play list that will be converted into a song.

The following track parameters will not be reﬂected in the conversion. As with the MIDI channels, we recommend that you keep these settings consistent between all songs in the cue list.

SOLO ON/OFF, Status, MIDI Channel, Bank Select (When Status = EX2), Force OSC Mode, OSC Select, Delay, Use Programs Scale, MIDI Filter, Key Zone, Velocity Zone

• Converting Song/Track parameters into track events

Second and subsequent repeats of the “Step” 01 song, and the settings of “Step” 02 and following songs will all be converted into track events (musical data). The following data will be converted.

Track1–16 Program Select, Pan, Volume, Portamento,

Detune, Bend Range

Master T rac k T empo , Meter

If “Pan” (0–3a/4a) is RDN, it will be converted to C064. If “Portamento” (2–3a/4a) is PRG, or if “Bend Range”

(2–5a/6a)is PRG or a negative value, these will not be reﬂected in the conversion.

“Detune” (2–5a/6a) will be divided into RPN Fine T uning and Coarse Tuning, and converted into events. For example if the “Detune” setting of +600, Fine Tuning will be 00 and Coarse T uning will be 6. Fine Tuning will modify the playback pitch (Detune). Coarse T uning will change the notes that are played back (Transpose). For this reason with some programs such as drum programs, the playback result produced by a cue list may not be reproduced when the cue list is converted into a song.

•“PLAY/MUTE” (P0: Program T01–08, 09–16 “PLAY/MUTE/REC”)

The “PLAY/MUTE” track parameters will be reﬂected in the song. “SOLO ON/OFF” will not be reﬂected.

•“Track Play Loop” (P0: PlyLoop 1–8, 9–16 page)

If “Track Play Loop” is on, the area from “Loop Start” to “Loop End” will be expanded as far as the last measure

in the master track. Example) If “Track Play Loop” is M005–M008, and the master track contains 10 measures, the data will be expanded from the beginning of the track as M005, 6, 7, 8, M005, 6, 7, 8, M005, 6.

•“Play Intro” (P0: PlyLoop 1–8, 9–16 page)

If “Track Play Loop” is on, the data will be developed according to the Play Loop setting until the last measure of the master track. If “Play Intro” is checked, the data from the beginning of the track until “Loop End” will be developed, and then the data from “Loop Start” until “Loop End” will be developed until the last measure of the master track. For example if “T rack Play Loop” is M005–M008 and the master track ends at measure 10, checking “Play Intro” will cause the data to be developed from the beginning of the track as M001, 2, 3, 4, 5, 6, 7, 8, M005, 6, 7, 8, M005, 6. If “Play Intro” is not checked, refer to the example in “Track Play Loop.”

• Patterns

Patterns in the “Step” 01 song will be copied as patterns of the converted song. If there is a second or subsequent repeat for “Step” 01, or if the tracks of “Step” 02 and subsequent songs contain patterns, they will be expanded into track events (musical data).

•“Transpose”

If the “Transpose” (2–5a/6a) of the tracks in “Step” 02 and subsequent songs differ from the settings of the “Step” 01 song, the note numbers of the note data will be shifted. Example) If “Step” 01 “Transpose” = +1 and “Step” 02 “Trans- pose” –1, the actual note numbers of the “Step” 02 track note data will be shifted downward by 2.

•“Repeat” FS (Foot Switch) → “Repeat” 1

If “Repeat” is set to FS (Foot Switch), it will be converted as “Repeat” 1.

When you execute “Convert to Song” to convert a cue list to a song, the repeat settings within the cue list and the pattern and track play loop settings of the songs used by the cue list will all be converted into events such as note data. For this reason, the amount of data will increase signiﬁcantly, and in some cases there may not be enough internal memory to perform the conversion. In particular if the cue list uses long songs, or if

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

numerous repeats have been speciﬁed, or if many patterns are used by the songs, you should try executing the “Convert to Song” command from time to time as you create the cue list, in order to verify the amount of memory that will be required for the conversion.

A cue list that is longer than 999 measures cannot be converted into a song.

1–1E: Copy Song

This command copies a portion (a number of measures) of the song speciﬁed by “Step,” and makes it into a song. This is convenient when you want to modify the structure or development of the songs in a cue list. For example if you have an eight-measure song and want to repeat measures 5–8, you can use this command to create a four-measure song out of that portion. Then you can assign the resulting song to a step in a cue list, and repeat it.

1 In “Current Step,” or “Song” select the desired step. 2 Select “Copy Song” to access the dialog box.

3 In “From Measure,” specify the ﬁrst measure in the copy

source song. In “To End of Measure,” specify the last measure.

4 In “To Song,” specify the song into which the data will

be converted. If you select a new song, a dialog box will ask you for conﬁrmation. Press the OK button to create a new song and copy the data to that song. If you select an existing song that already contains settings and/or musical data, executing this command will erase the data of that song and rewrite it with the data from the copy source. Before you execute, be sure that you will not be losing important data.

5 If you check “Replace to original Song in Cue List” and

execute this command, the “Current Step” song will be replaced by the newly created song. If you execute with- out checking this box, the newly created song can be selected later for the desired step of the cue list.

6 To execute the Copy Song operation, press the OK but-

ton. To cancel, press the Cancel button.

Sequencer P2: Trk Param

2–1: MIDI Ch 1–8 (MIDI Ch T01–08) 2–2: MIDI Ch 9–16 (MIDI Ch T09–16)

Here you can make MIDI-related settings for each track.

0–1

0–1a

0–1b 0–3a

2–1a

LSB MSB

2–1(2)a: Status, MIDI Channel, Bank Select

Status [INT, Off, BTH, EXT, EX2]

This sets the status of MIDI and the internal tone generator for each track.

INT: When the musical data recorded in the track is played back, or when you use “Track Select” (0–1a) to select a track that is set to INT and play the keyboard and operate the controllers, the internal tone generator of the TRITON STUDIO will sound, and MIDI data will not be transmitted to an external device. Off: The program will not sound, nor will MIDI data be transmitted. BTH: The operation of both INT and EXT will be performed. When the musical data recorded in the track is played back, or when you select a track that is set to BTH and play the keyboard and operate the controllers, the internal tone generator of the TRITON STUDIO will sound, and at the same time MIDI data will also be transmitted to an external device. EXT: When the musical data recorded in the track is played back, or when you select a track that is set to EXT and play the keyboard and operate the controllers, MIDI data will be transmitted to an external device, but the internal tone generator of the TRITON STUDIO will not sound. When you select another song or return to the beginning of the song, the program change, volume, panpot, portamento, sends 1 and 2, post IFX pan, and post IFX sends 1 and 2 of each track set to EXT will be transmitted via MIDI. EX2: “Bank Select (When Status=EX2)” will be enabled. Instead of the INT-A–EXB-G bank numbers that can be selected on the TRITON STUDIO, the bank number you specify here will be transmitted. In other respects this is the same as EXT.

MIDI data is transmitted and received on the MIDI channel that is speciﬁed separately for each track by “MIDI Channel.”

Recorded data Keyboard and controller operations Received data

Status Internal tone

generator INT ●✕●— EXT, EX2 ✕●✕— BTH ●●●—

MIDI OUT Internal tone

generator

MIDI OUT

MIDI Channel [01…16]

Speciﬁes the MIDI channel that the track will use to transmit and receive musical data. The MIDI channel you specify here will be the receive channel when “Status” is INT, the transmit channel when it is EXT or EX2, and the receive/ transmit channel when it is BTH. Tracks set to INT which have the same MIDI channel will sound and be controlled identically when they receive MIDI data or data from the sequencer tracks.

Bank Select (When Status=EX2) [000:000...127:127]

When “Status” is set to EX2, this sets the bank number that will be transmitted. The left value is the MSB, and the right value is the LSB. When “Status” is other than EX2, this setting has no effect.

2–3: OSC 1–8 (OSC T01–08) 2–4: OSC 9–16 (OSC T09–16)

These parameters specify how each track will be sounded.

0–1

0–1a

0–1b 0–3a

2–3a

CC#65 of 127 and CC#05 of 1–127 will be transmitted. If this is set to PRG, nothing will be transmitted. This data is transmitted and received on the MIDI channel speciﬁed for each track by “MIDI Channel” (2–1a/ 2a).

2–5: Pitch 1–8 (Pitch T01–08) 2–6: Pitch 9–16 (Pitch T09–16)

Here you can make pitch-related settings for each track.

2–5

0–1a

0–1b 0–3a

2–5a

2–5(6)a: Transpose, Detune, Bend Range

Transpose [–24...+24]

Adjusts the pitch of each track in semitone steps. 12 steps are one octave.

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

2–3(4)a: Force OSC Mode, OSC Select, Portamento

Force OSC Mode [PRG, Poly, MN, LGT]

Selects the Voice Assign Mode (Program P1: 1–1b) of the program selected for each track 1–16 (☞Combination P2: 2–2a).

OSC Select [BTH, OS1, OS2]

Speciﬁes the “Oscillator Mode” of the program selected for each track 1–16. If the “Oscillator Mode” is Double, you can use this setting to make only one or the other oscillator sound (☞Combination P2: 2–2a).

Portamento [PRG, Off, 001...127]

Speciﬁes the portamento effect for each track 1–16 (☞Combination P2: 2–2a).

The portamento setting you make here will be used when the song is played or recorded from the beginning. If you change the setting while recording, it will be recorded as part of the musical data. (However if you set this to PRG, it will not be recorded.) You can change this setting during playback. However if you come to any Portamento On/Off data or Portamento Time data that was recorded, the settings will change accordingly. When the track whose “Status” (2–1a/2a) is INT or BTH, MIDI control change CC#5 (Portamento Time) and CC#65 (Portamento Switch) can be received to control this and change the setting. (If the setting is PRG, CC#05 Portamento Time will not be received.) When you switch songs or return to the beginning of the song, tracks whose “Status” is BTH, EXT, or EX2 will transmit this setting via MIDI. If this is Off, CC#65 with a value of 0 will be transmitted. If this is 001–127, a

Detune (BPM Adj. in Page Menu) [–1200... +1200]

Adjusts the pitch of each track in one-cent steps from the normal pitch.

0: Normal pitch. You can use the “Detune BPM Adjust” (2–5A) page menu command to make a calculation in BPM units and set Detune automatically.

“Transpose” and “Detune” settings do not affect the note data that is transmitted via MIDI. “Transpose” and “Detune” are controlled by received MIDI RPN messages. The “Oscillator Mode” (Program P1:1–1a) of the programs selected for tracks 1–16 will be controlled as follows. These messages will be received on the MIDI channel that is specified for each track by “MIDI Channel” (2–1a/2a).

• If “Oscillator Mode” is Single or Double, MIDI RPN

Coarse Tune messages can be received to control and change the “Transpose” setting, and Fine Tune messages to control and change the “Detune” setting.

• If “Oscillator Mode” is Drums, MIDI RPN Coarse

Tune and Fine Tune messages can be received to control and change the “Detune” setting. The range of control will be ±1 octave when Coarse Tune and Fine Tune are added.

Bend Range [PRG, –24...+24]

Speciﬁes the range of pitch change in semitone steps that will occur when the pitch bender is operated.

PRG: The pitch range speciﬁed by the program will be used. –24–+24: Regardless of the setting of the program, pitch bending will use the range you specify here.

This setting can be controlled and changed by received MIDI RPN Pitch Bend Range messages. (These messages will not be received if the setting is PRG.)

▼ 2–5: Page Menu Command

0–1A 0–1B 0–1C 0–1D 0–1E 0–1F

0–1G 0–1H 0–1I 0–1J 2–5A

2–5A: Detune BPM Adjust

When the program selected for a track uses a phrase, rhythm loop multisample (or sample that was created to match a speciﬁc BPM in Sampling mode or loaded from disk in Disk mode) you can use this command to change the BPM of the phrase or rhythm. The BPM can be adjusted by modifying the pitch. This command is available when the “Detune” setting of that track is selected. When you execute this command, the selected “Detune” value will be adjusted. For the procedure, refer to “Detune BPM Adjust” (Combination P2: 2–3A).

2–7: Other 1–8 (Other T01–08) 2–8: Other 9–16 (Other T09–16)

Here you can make additional settings for each track.

Key [C…B]

Selects the tonic key of the selected scale (☞“Key” Program P1: 1–1c).

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on (☞“Random” Program P1: 1–1c).

0–1

0–1a

0–1b 0–3a

2–7a

2–7(8)a: Delay [ms], Use Program’s Scale, Scale

Delay [ms] [0000...5000, KeyOff]

Speciﬁes a delay time from when a track receives a note-on until it actually sounds.

KeyOff: The sound will begin when note-off occurs. In this case, the sound will continue indeﬁnitely unless the amp EG Sustain Level of the program is other than 0. This setting is useful for simulating harpsichord sounds. Normally you will leave this at 0.

Use Program’s Scale [Off, On]

Each track can use the scale that is speciﬁed for the program by “Scale.”

On (checked): The scale that is saved with the program will be used. Off (unchecked): The scale speciﬁed here by Scale will be used.

Scale:

Speciﬁes the scale that will be used for the song.

Type (Song's Scale)

[Equal Temperament...User Octave Scale15]

Selects the type of scale (☞“Type” Program P1: 1–1c).

Sequencer P3: MIDI Filter

Here you can select whether or not to apply ﬁltering to the MIDI data received by tracks 1–16. For example even if two tracks are receiving the same MIDI channels, one can be made to respond to damper pedal activity while the other does not.

These MIDI ﬁlter settings have no effect on the MIDI messages that have already been recorded.

These settings affect the MIDI messages that are transmitted when you adjust program, pan, volume, portamento and send 1/2 parameters of a track whose

“Status” (2–1a/2a) is set to BTH, EXT, or EX2.

On (checked): Reception of MIDI data is enabled. Tracks

whose “Status” (2–1a/2a) is INT or BTH will receive these types of MIDI messages on their respective channels. The type of effects that are checked will be applied to the program of each track when the TRITON STUDIO’s controllers are operated or when MIDI data is received. (The effect dynamic modulation function is not affected by these settings.) Settings that regulate MIDI transmission/reception of the TRITON STUDIO itself are made in MIDI Filter (Global P1: 1–1b). If the user-assignable controllers that can be ﬁltered in the MIDI 3 and MIDI 4 pages are set to MIDI control changes, ﬁltering will be performed for these control changes. In this case, any control change ﬁltering that is being performed in the MIDI 1 and MIDI 2 pages will be given priority. Furthermore, if the same control change is assigned to multiple controllers for which there are ﬁlter settings in the MIDI 3 and 4 pages, checking any one of these will enable that control change. Off (Unchecked): Reception of MIDI data is disabled.

Enable Portamento SW [Off, On]

Speciﬁes whether or not MIDI control message CC#65 Portamento On/Off will be received.

3–3: MIDI 2 1–8 (MIDI Filter –2 T01–08) 3–4: MIDI 2 9–16 (MIDI Filter –2 T09–16)

0–1a 0–1b

0–3a

3–3a

3–3(4)a: Enable JS X as AMS, Enable JS+Y,

Enable JS-Y, Enable Ribbon

Enable JS X as AMS [Off, On]

Allow incoming MIDI pitch bend messages (the X-axis of the TRITON STUDIO’s joystick) to control the AMS (☞p.242) that is speciﬁed for JS X. (This is not a reception ﬁlter for MIDI pitch bend messages.)

Enable JS+Y [Off, On]

Speciﬁes whether or not MIDI control message CC#1 (the +Y axis of the TRITON STUDIO’s joystick, or assigned to B- mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

0–1

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

3–1: MIDI 1 1–8 (MIDI Filter –1 T01–08) 3–2: MIDI 1 9–16 (MIDI Filter –1 T09–16)

0–1a 0–1b

0–3a

3–1a

3–1(2)a:

Enable Program Change, Enable After Touch, Enable Damper, Enable Portamento SW

Enable Program Change [Off, On]

Speciﬁes whether or not MIDI program change messages will be received.

Enable After Touch [Off, On]

Speciﬁes whether or not MIDI after touch messages will be received.

0–1

Enable JS-Y [Off, On]

Speciﬁes whether or not MIDI control message CC#2 (the –Y axis of the TRITON STUDIO’s joystick, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

Enable Ribbon [Off, On]

Speciﬁes whether or not MIDI control message CC#16 (the TRITON STUDIO’s ribbon controller, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

3–5: MIDI 3 1–8 (MIDI Filter –3 T01–08) 3–6: MIDI 3 9–16 (MIDI Filter –3 T09–16)

Here you can specify whether the A and B-mode effects of the REALTIME CONTROL knobs [1]–[4] will be transmitted and received. The A-mode MIDI controller messages for each knob are ﬁxed. The B-mode messages can be set in P4: Zone/Ctrl, Controller page.

0–1a 0–1b

0–3a

3–5a

0–1

Enable Damper [Off, On]

Speciﬁes whether or not MIDI control message CC#64 Hold (damper pedal) will be received.

3–5(6)a: Enable Realtime Control Knob 1...4

Enable Realtime Control Knob 1 [Off, On]

Speciﬁes whether or not the A-mode MIDI control message CC#74 (the TRITON STUDIO’s low pass ﬁlter cutoff fre- quency) and the B-mode MIDI control message will be received.

Enable Realtime Control Knob 2 [Off, On]

Enable Realtime Control Knob 3 [Off, On]

Speciﬁes whether or not the A-mode MIDI control message CC#79 (the TRITON STUDIO’s ﬁlter EG intensity) and the B-mode MIDI control message will be received.

Enable Realtime Control Knob 4 [Off, On]

Speciﬁes whether or not the A-mode MIDI control message CC#72 (the release time of the TRITON STUDIO’s ﬁlter and ampliﬁer EG’s) and the B-mode MIDI control message will be received.

3–7: MIDI 4 1–8 (MIDI Filter –4 T01–08)

Sequencer P4: Zone/Ctrl

4–1: Key Z 1–8 (Key Zone T01–08) 4–2: Key Z 9–16 (Key Zone T09–16)

Here you can specify the range of keys that will be sounded by each track. T op/Bottom Key settings specify the range of notes that will be sounded by tracks 1–16, and Top/Bottom Slope settings specify the range from the top/bottom key until the original volume is reached.

These settings do not affect MIDI transmission/reception. All note data that is received will be recorded into the internal sequencer, and all note data from the internal sequencer or from the keyboard will be transmitted.

0–1

4–1a

0–1a 0–1b 0–3a

4–1b

3–8: MIDI 4 9–16 (MIDI Filter –4 T09–16)

0–1a 0–1b

0–3a

3–7a

3–7(8)a: Enable SW1, Enable SW2,

Enable Foot Pedal/Switch, Enable Other Control Change

Enable SW1, Enable SW2 [Off, On]

Speciﬁes whether or not the effect of the [SW1] and [SW2] keys will be received. The function of these keys can be set in P4: Zone/Ctrl, Controller page. This is valid when the switches are set to SW1 Mod.:CC#80, SW2 Mod.:CC#81 or Porta.SW:CC#65.

Enable Foot Pedal/Switch [Off, On]

Speciﬁes whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be received. The function of this switch is set in Global P2. This is valid when the switch is set to a MIDI control change.

Enable Other Control Change [Off, On]

Speciﬁes whether or not MIDI controller messages other than those included in MIDI Filter 1–4 will be received.

0–1

4–1a: Zone Map

This shows the range of notes and velocities that will be sounded by each track 1–16. The note and velocity ranges are shown as lines, and the slope area within the range is shown in gray.

Bottom Slope

Bottom Key Top Key

Track 1

Key zone

display

Track 16

C-1 G9

Top Slope

Velocity zone

display

1 . . . 16

Tra ck

Top Velocity Top Slope

Bottom Slope Bottom Velocity

4–1(2)b: Top Key, Top Slope, Bottom Slope,

Bottom Key

Top Key [C–1...G9]

Speciﬁes the top key (upper limit) that will be sounded by each track 1–16.

Top Slope [00...72]

Speciﬁes the key range (12 is one octave) from the top key until the original volume is reached.

Bottom Slope [00...72]

Speciﬁes the key range (12 is one octave) from the bottom key until the original volume is reached.

Bottom Key [C–1...G9]

Speciﬁes the bottom key (lower limit) that will be sounded by each track 1–16.

You can also enter a value for these parameters by playing a note while you hold down the [ENTER] key.

4–3: Vel Z 1–8 (Vel Zone T01–08) 4–4: Vel Z 9–16 (Vel Zone T09–16)

Here you can set the Top/Bottom Velocity parameters to specify the range of velocities that will be sounded by tracks 1–16, and Top/Bottom Slope specify the range over which the volume will be adjusted.

0–1

4–1a

0–1a 0–1b 0–3a

4–3a

4–7: Controller (Controller Setup)

Here you can set the functions that the [SW1] key, [SW2] key, and the B-mode functions that the REALTIME CONTROL knobs [1]–[4] will have in Sequencer mode.

When these switches or knobs are operated during recording, the MIDI messages that you assign here will be recorded.

0–1 0–1a 0–1b

4–7a

4–7b

Sequencer

4–3(4)a: Top Velocity, Top Slope, Bottom Slope,

Bottom Velocity

Top Velocity [1…127]

Speciﬁes the maximum velocity that will be sounded by each track 1–16.

Top Slope [0…120]

Speciﬁes the range of values over which the volume will be adjusted from the top velocity until the original volume is reached.

Bottom Slope [0…120]

Speciﬁes the range of values over which the volume will be adjusted from the bottom velocity until the original volume is reached.

Bottom Velocity [1…127]

Speciﬁes the minimum velocity that will be sounded by each track 1–16.

Y ou can also enter a value for these parameters by playing a note while you hold down the [ENTER] key.

4–5: MOSS 1–8 (MOSS T01–08) 4–6: MOSS 9–16 (MOSS T09–16)

This page is displayed when the EXB-MOSS option has been installed. For details refer to the owner’s manual included with the EXB-MOSS.

4–7a: Panel Switch Assign

Assigns functions to the [SW1] and [SW2] keys (“SW1, SW2 Assign List” ☞p.249). Since the functions assigned to these switches by the program assigned to each track will no longer be valid, you can make new assignments here.

SW1 (SW1 Assign) [Off, ..., After Touch Lock] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off, ..., After Touch Lock] SW2 Mode [Toggle, Momentary]

☞ Program P1: 1–4a

4–7b: Realtime Control Knobs B-Assign

Here you can set the B-mode functions (mainly various control changes) that the REALTIME CONTROL knobs [1]–[4] will have in Sequencer mode (“Realtime Control Knobs B– Assign List” ☞p.250). The functions you specify here will operate when you rotate the REALTIME CONTROL knobs [1]–[4] in B-mode. Since the functions assigned to these knobs by the program assigned to each track will no longer be valid, you can make new assignments here.

Knob 1-B [Off, ..., MIDI CC#95] Knob 2-B [Off, ..., MIDI CC#95] Knob 3-B [Off, ..., MIDI CC#95] Knob 4-B [Off, ..., MIDI CC#95]

☞ Program P1: 1–4b

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

Sequencer P5: Track Edit

5–1: Track Edit

Here you can make settings for the currently selected track, edit previously-recorded performance data, and perform step recording. When you wish to edit musical data or perform step recording, specify the desired area. Then select the appropriate page menu command.

5–1

0–1a 5–1b

0–1b

5–1a

5–1b

5–1a: Track data Map

This area shows the presence or absence of performance data, and indicates the range of editing, etc. (The track selected by “Track Select” will be highlighted.)

Track1

▼ 5–1: Page Menu Command

5–1G

0–1A 5–1A 5–1B 5–1C 5–1D 5–1E 5–1F

5–1H 5–1I 5–1J 5–1K

5–1L

5–1N 5–1O 5–1P 0–1I 0–1J 5–1Q

5–1M

5–1A: Step Recording

Step recording allows you to specify the length and velocity of each note numerically, and to input the pitches from the keyboard. You can use the Rest button and Tie button to input a rest or tie.

If you use step recording to input data into a track that already contains sequence data, all data will be erased from the “From Measure” and subsequent measures. If after inputting, you decide to revert to the prior data, use the Compare function.

To input data with a continuously-changing value such as pitch bend, it is best to use “Create Ctrl Data” (5–1L). To input individual data events such as program changes, use “Event Edit” (5–1B).

1 Use “Track Select” to select the track into which you

wish to input data, and use “From Measure” (5–1b) to specify the measure at which you wish to begin input.

2 When you select “Step Recording,” the following dialog

box will appear.

Track16

From Measure

Performance data exists No performance data Pattern is used

To End of Measure

Master Track

5–1b: Track Select, From Measure, To End of

Measure

Track Select [Track01...Track16, Master Track]

Selects the track that you wish to edit (or copy from) or record. If you wish to select all tracks, it is not necessary to specify them here. Check the “All Tracks” item within the dialog box of the page menu command.

Master T rack: Edit the tempo or time signatur e of the master track.

From Measure [001…999] To End of Measure [001…999]

Speciﬁes the range of measures that you wish to edit (or copy from) or step-record. Use “From Measure” to specify the starting measure, and “To End of Measure” to specify the ending measure.

Time signature

Length (beats, clocks)

measure (beat, clock)

Note numberLocation within the

Velocity

3 In “Meter,” set the time signature.

This will show the time signature that has already been set for the measure. If you change the time signature setting, the time signature data of the measures you record will change, and all tracks will change to the time signature you speciﬁed.

4 In “Step Time,” specify the length (in terms of a note

value) of the basic interval at which you will input data. From the popup menu at the left, select the note length in a range of  (whole note) through  (32nd note). If you want the selected note value to be a dotted note or a triplet, use the popup menu at the right to select a dot “. (Dot)” or triplet “3 (Triplet).” To use the unmodiﬁed value of the selected note, choose “– (Normal).”

The following table shows the number of clocks represented by each “Step Time” selection.

(the LED will go dark) to cancel the pause mode and resume input.

8 When you are ﬁnished with step recording, press the

Done button. If you press the [COMPARE] key, you will return to the condition of before you began step recording.

5 In “Note Duration,” specify the length that the note will

actually be held, relative to the “Step Time.” In general, 100% will be tenuto, 85% will be normal, and 50% will be staccato.

6 Use “Note Velocity” to specify the velocity value (key-

board playing strength) of the note data. With the [PAUSE] key pressed, you can hold down the [ENTER] key and play a note on the keyboard to specify the velocity value. If you set this to Key, the actual velocity at which you played the key will be input.

7 Input the note events described below by playing notes

on the keyboard or by pressing the buttons in the lower part of the dialog box.

• Inputting notes

When you press a key on the keyboard, that note number will be input as a note of the length speciﬁed in When you press a chord on the keyboard, those note numbers will be input as chords of the length speciﬁed in

4. Since each of the note numbers you press before

releasing all of the keys will be input at the same location, the notes will be input as a chord even if they are actually played at different times. Each time you press and release the keyboard, the location will advance by the length speciﬁed in

• Inputting rests

Press the Rest button to input a rest of the length speci-

ﬁed in

• Inputting a tie

If you press the Tie button without pressing the keyboard, the previously-input note will be tied, and lengthened by the amount speciﬁed in If you press the Tie button while holding down a note, the note you are playing will be tied, and lengthened by the amount speciﬁed in You can even input notes as shown in the following diagram.

5–1B: Event Edit

Here you can edit individual events of music data that were input.

1 Use “Track Select” to select the track that you wish to

edit, and use “From Measure” (5–1b) ﬁeld to specify the measure at which you wish to begin editing. If you selected Track01–16 in “Track Select,” selecting this command will open the Set Event Filters dialog box. If you selected Master Track in “Track Select,” this dia- log box will not appear.

In the Set Event Filters dialog box you can select the types of events (musical data) that will appear and can be edited in the event edit window. For “Note” you can set “Bottom” and “Top” to specify the range of notes available for editing. These settings can also be entered by holding down the [ENTER] key and pressing a key. Normally you will leave these set at C–1 and G9. “Control Change” lets you specify the control change number. Normally you will leave this set at ALL. You can also check various other events (“Pitch Bend,” “Program Change,” “After Touch,” and “Poly After Touch”).

2 Press the OK button to open the Event Edit dialog box.

Measure

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9







Step Time =

Off

Release E (continue holding C)

Step Time =

Press E and C

• Deleting a note or rest

To delete a note or rest, press the StepBack button. The location will move backward by the amount speciﬁed in

4, and the data in that interval will be deleted.

• Auditioning the next note before input

If you wish to make sure of the next note before you actually input it, press the [PAUSE] key (the LED will light). Now when you press a key, you will hear sound but the note will not be input. Press the [PAUSE] key once again



Step Time =

Tie

Press G

Index no. Location within the



3 In the upper part of the dialog box, “Measure” and

“Index” show the measure that you are editing and the

events of the index numbers within the measure. You can touch the scroll bar located at the right to move to the event that you wish to edit.

4 Select the event that you wish to edit, and use the VALUE

controller etc. to modify its value(s).

• By modifying the value of the “BT” (Beat. Tick) location

within the measure, you can move the event within the measure.

• You can edit each event by modifying its data value(s). When you select a note event, it will sound.

5 You can press the buttons located at the bottom of the

dialog box to edit events as follows.

• Inserting an event

Select the location “BT” at which you wish to insert an event, and press the Insert button to insert an event.

measure (beat, clock)

Event data

• Deleting an event

Select the event that you wish to delete, and press the Cut button to delete the event.

• Moving an event

Y ou can use the Cut button and Insert button to move an event (by “cut and paste”). Use the Cut button to delete the event that you wish to move, then use the Insert button to insert it at the desired location. You can also move an event by modifying its “BT” value.

• Copying an event

Select the event that you wish to copy, and press the Copy button. Then select the copy destination and press the Insert button to insert the event at that location.

6 When you are ﬁnished event editing, press the Done but-

ton. If you press the [COMPARE] key you will return the

data to the condition in which it was before you began

event editing. The following table shows the types of musical data that can be edited by “Event Edit” and the range of their values.

BAR (displayed only) (Measure line)

C–1...G9 * (Note data)

PAFT (Polyphonic after touch)

CTRL (Control change)

PROG (Program change)

AFTT (After T ouch)

BEND (Pitch bend)

V: 1...127 * (Velocity)

C–1...G9 (Note number)

C: 0...101 (Control change number)

Bank: I-A...I-F,

000...127, G, g(1)...g(9) g(d), - - -, E–A...E-G (Program bank)

0...127 (value)

–8192...+8191 (value)

Meter: 1/4...16/16 * (Time signature)

L: 000.000...15984.000 (Length: beats, clocks)

0...127 (Value)

P: 0...127,

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

(Program number)

*1 Be aware that because the time signature is recorded

in the master track, modifying it from any track will affect the same measure of all tracks, causing them all to be played in the modiﬁed time signature.

*2 Note data and velocity values can also be entered by

holding down the [ENTER] key and playing a note on the keyboard.

Pattern numbers will be displayed in locations in which a pattern has been “put” (placed). At the end of the track there will be an indication of End of Track.

5–1C: Erase Track

This command erases the data from the speciﬁed track. However, it is not possible to erase the master track by itself.

1 In “Track Select,” select the track that you wish to erase. 2 Select “Erase Track” to access the dialog box.

5–1D: Copy Track

This command copies musical data from the copy source track to the speciﬁed track. Be aware that when you execute the Copy Track command, any track data that was in the copy destination track will be erased.

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

2 In “From,” select the copy source track. In “To,” select

the copy destination. (By default, “From” will be the track you selected in “Track Select.”)

3 To execute the Copy Track command, press the OK but-

ton. To cancel, press the Cancel button.

5–1E: Bounce Track

This command combines the musical data of the bounce source and bounce destination tracks, and places the combined data in the bound destination. All musical data in the bounce source will be erased. If MIDI control data existed in the bounce source track and bounce destination track, unexpected results may occur during playback after the bounce command is executed. To prevent this from happening, use “Event Edit” (5–1B) or “Erase Control Data” (5–1M) to edit the MIDI control data of the two tracks before you use Bounce Track.

1 Select “Bounce Track” to access the dialog box.

2 In “From,” specify the bounce source track. In “To” spec-

ify the bounce destination track. (By default, “From” will be the track you selected in “Track Select.”)

3 To execute the Bounce Track command, press the OK

button. To cancel, press the Cancel button.

5–1F: Erase Measure

This command erases the speciﬁed type(s) of musical data from the speciﬁed range of measures. The Erase Measure command can also be used to remove only a speciﬁc type of data. Unlike the Delete Measure command, executing the Erase Measure command does not cause the subsequent measures of musical data to be moved forward.

1 Use “Track Select” to select a track. 2 Select “Erase Measure” to access the dialog box.

If you check “All Tracks,” the musical data of all tracks

will be erased.

3 To execute the Erase Track command, press the OK but-

ton. To cancel, press the Cancel button.

3 In “From Measure” select the ﬁrst measure to be erased,

and in “To End of Measure” select the last measure to be erased. (By default, “From Measure” and “To End of Measure” will be set to the range that you speciﬁed in the Track Edit page.)

4 In “Kind,” specify the type of data that will be erased.

All will erase all types of data from the track, Note will

erase note data, Control Change will erase control change data, After Touch will erase both channel pres- sure and polyphonic key pressure data, Pitch Bend will erase pitch bend data, and Program Change will erase program change data.

5 If you check “All Tracks,” the speciﬁed type of data will

be erased from all tracks.

6 To execute the Erase Measure command, press the OK

button. To cancel, press the Cancel button.

Example: If measures 2–3 are erased, measures 2–3 will be blank.

Before Erase

After Erase

21 543

Example: When measures 2 and 3 (3/4 time) of track 2 are deleted, the measures that were

at 4 and 5 are moved forward, and their time signature will change to 3/4.

1 (4/4) 3 (3/4) 5 (4/4)2 (3/4) 4 (4/4)

Before Delete

After Delete

Track 1

1 (4/4) 3 (3/4) 5 (4/4)2 (3/4) 4 (4/4)

Track 2

Track 1

2 (3/4)1 (4/4) 3 (3/4)

2 (3/4)1 (4/4) 3 (3/4) 4 (4/4) 5 (4/4)

No data

If control data extends across measures that were erased and measures that were not erased, only the data within the range being erased will be erased. However if note data extends across two or more measures, deleting any of the intervening measures will delete that note data from the following measures as well.

Note data can also be erased using “Shift/Erase Note” (5–1O). Use this command when you wish to erase a speciﬁc range of notes, or to erase notes from a speciﬁc “Beat.Tick.”

Control Change data can also be erased using “Erase Control Data” (5–1M). Use this when you wish to erase a speciﬁc type of control change, or to erase control change data from a speciﬁc “Beat.Tick” range.

5–1G: Delete Measure

This command deletes the speciﬁed measures. When the Delete Measure command is executed, the musical data following the deleted measures will be moved towards the begining of the sequence.

1 Use “Track Select” to select the track. 2 Select “Delete Measure” to access the dialog box.

If in

4 you check “All Tracks” and execute this opera-

tion, the speciﬁed measures of musical data will be deleted from all tracks including the master track, and the time signature and tempo will also move forward by the number of measures that were deleted. If control data extends across a line between measures that were deleted and measures that were not deleted, only the data within the range being deleted will be erased. However if note data extends across two or more measures, deleting any of the intervening measures will delete that note data from the following measures as well.

5–1H: Insert Measure

This command inserts the speciﬁed number of measures into the speciﬁed track. When you execute the Insert Measure command, the musical data following the insert location will be moved backward. If musical data is inserted into a range of measure across which note data has been tied, a note-off will be created immediately before the inserted measure, and the subsequent portion of the note will be deleted.

1 In “Track Select,” specify the track into which you wish

to insert.

2 Select “Insert Measure” to access the dialog box.

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

3 In “From Measure” select the ﬁrst measure that you wish

to delete, and in “To End of Measure” select the last mea- sure that you wish to delete. (By default, “From Measure” and “T o End of Measur e” will be the range that you speciﬁed in the Track Edit page.)

4 If you wish to delete musical data from all tracks includ-

ing the master track, check “All Tracks.” If this is not checked, data will be deleted only from the track that was selected by “Track Select.”

5 To execute the Delete Measure command, press the OK

button. To cancel, press the Cancel button.

Example: When measures 3–5 are deleted, measures 6–8 are moved forward.

Before Delete

After Delete

1 2 3 4 5 6

If in

4 you uncheck “All Tracks” and execute this oper-

543

7 8

ation, the measures will not be deleted from the master track. Time signature and tempo data will remain unchanged, and the time signature and tempo of the measures that were moved forward as a result of the Delete operation will change.

3 In “At Measure,” specify the measure location at which

the data will be inserted. (The measure you speciﬁed in Track Edit page “From Measure” will be set as a default.)

4 In “Length,” specify the number of measures that will be

inserted.

5 In “Meter,” specify the time signature of the measures

that will be inserted. If you want the inserted measures to match the existing time signature, specify **/**. With any setting other than **/**, the time signature of the inserted measures will change, and the speciﬁed time signature will apply to all tracks for those measures.

6 If you wish to insert measures into all tracks including

the master track, check “All Tracks.” The musical data following the inserted measures will playback in the same way it did before the measures were inserted. If “All Tracks” is unchecked, the measures will be inserted only into the speciﬁed track. At this time, the musical data following the inserted location will be moved toward the end of the sequence by the number of measures that were inserted. However, the time signature and tempo recorded in the master track and will not change.

7 To execute the Insert Measure command, press the OK

button. To cancel, press the Cancel button.

Time signature = **/**

Track 1

Before Insert

After Insert

Before Insert

After Insert

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 2

Insert two measures

1 (4/4) 2 (4/4)

Track 2

Track 1

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Measures 4 and 5 will use the previously specified time signature.

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 1

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 2

Insert two measures

Track 2

1 (4/4) 2 (7/8) 4 (5/4) 5 (2/4)3 (7/8)

Track 1

Measures 2 and 3 will be 7/8, and measures 4 and 5 will be the previously specified time signature.

3 (3/4)

Time signature = 7/8

5 (2/4)4 (5/4)

5 (2/4)4 (5/4)1 (4/4) 2 (7/8) 3 (7/8)

5–1I: Repeat Measure

This command repeatedly inserts the speciﬁed measures for the speciﬁed number of times. When you execute the Repeat Measure command, the measures will be inserted following the measure speciﬁed by “To End of Measure,” and musical data following the inserted data will be moved backward. It is convenient to use this command when you have a song that you playback with “Track Play Loop” (0–5a/6a) turned on, and wish to expand it into musical data.

1 Use “Track Select” to select the track whose measures

you wish to repeat.

2 Select “Repeat Measure” to access the dialog box.

5–1J: Copy Measure

This command copies the measures of musical data speciﬁed as the “From” source to the begining of the measure speciﬁed as the “To” location. When you execute the Copy Measure command, the existing track data at the copy destination will be rewritten.

1 Select the copy source song. 2 Select “Copy Measure” to access the dialog box.

3 In From: “Track,” select the copy source track. (By

default, this will be the track you selected in “Track Select.”) If you check “All Tracks,” the musical data of all tracks including the master track will be copied.

4 In “From Measure” and “To End of Measure,” specify

the range of copy source measures. (By default, “From Measure” and “T o End of Measur e” will be the range that you speciﬁed in the Track Edit page.)

5 In “To: Song,” specify the copy destination song. In

“Track” (when “All Tracks” is unchecked) specify the

copy destination track. In “Measure,” specify the ﬁrst measure where the copied measures will be inserted.

6 To execute the Copy Measure operation, press the OK

button. To cancel, press the Cancel button.

Example: When you copy measures 5–7 of track 1 to the third measure of track 2,

measures 3–5 of track 2 will be rewritten.

Track 1 (source)

Track 2 (destination)

2 (4/4)1 (4/4) 5 (3/4)4 (3/4)3 (4/4) 6 (3/4) 7 (4/4)

3 In “From Measure” and “To End of Measure,” specify

the range of measures that will be repeated. (By default,

“From Measure” and “To End of Measure” will be set to

the range you speciﬁed in the Track Edit page.)

4 In “Times,” specify the number of repetitions. For exam-

ple if you set “From Measure” to 001, “To End of Mea-

sure” to 004, and “Times” to 2, the musical data of

measures 1–4 will be inserted into measures 5–8. The

result will be that measures 1–4 will be played twice.

5 If you wish to repeat the musical data of all tracks includ-

ing the master track, check “All Tracks.”

6 To execute the Repeat Measure command, press the OK

button. To cancel, press the Cancel button.

If you execute the Repeat Measure operation on measures 1–4 with “Time” = 2, measures 1–4 will be inserted into measures 5–8.

Before Repeat Measure

After Repeat Measure

Track 1

1 2

3 4

5 6

1 2

3 4

5 6

5–1K: Move Measure

This command moves measures of musical data to a speciﬁed destination. When you execute the Move Measure command, musical data following the move source will be moved forward according to the number of measures moved, and musical data following the move destination will be moved backward correspondingly.

1 Select “Move Measure” to access the dialog box.

2 In From: “Track,” select the move source track. (By

default, this will be the track you selected in “Track Select.”) If you check “All Tracks,” musical data of all tracks including the master track will be moved.

3 In “From Measure” and “To End of Measure,” specify

the range of measures that will be moved. (By default, “From Measure” and “To End of Measure” will be the range that you speciﬁed in the Track Edit page.)

4 In “To: Track” (if “All Tracks” is unchecked), specify the

move destination track. In “Measure,” specify the ﬁrst measure of the move destination.

5 To execute the Move Measure command, press the OK

button. To cancel, press the Cancel button.

5–1L: Create Ctrl Data (Create Control Data)

This command gradually varies continuous-type data (e.g., control change, after touch, pitch bend, tempo) in the speciﬁed area.

1 In “Track Select,” select the track on which you wish to

perform the Create Control Data command. If you wish to modify tempo data, select Master Track as the track. In this case, the step to “Tempo.”

2 Select “Create Ctrl Data” to access the dialog box.

3 Specify the range into which the control data will be

inserted. In “From Measure” and “To End of Measure” specify the measures, and in “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be set to the range you speciﬁed in the Track Edit page.)

4 “Kind” to the type of musical data (event) that you wish

to create. Control change: Control change data will be inserted. In this case, use “#” to specify the control change number.

After Touch: Aftertouch data will be inserted. Pitch Bend: Pitch bend data will be inserted.

5 In “Start Value,” select the starting value of the control

data. In “End Value,” select the ending value of the con- trol data. By default, the “Start Value” will be set to the value of the existing data at the start location. If you wish to create control data that changes smoothly from the starting location, you can leave the “Start Value” unchanged, and set only the “End Value.”

6 To execute the Create Control Data command, press the

OK button. To cancel, press the Cancel button.

Example: The controller is aftertouch. Starting location is 3:48, ending location is 4:24,

and end value is set to 100. This will cause the aftertouch value to begin changing from 3:48, and reach a value of 100 at 4:24.

After touch

127 100

3:00 3:24 3:48 3:72 4:00 4:24 4:48

Start location End location

When you execute Create Control Data, a large amount of sequencer memory will be consumed. For this reason it may not be possible to execute this command if there is a limited amount of memory remaining. In such cases, ﬁrst use “Quantize” (5–1N) to quantize the data and remove unnecessary control data. Alternatively, you could quantize the data that was inserted by the Create Control Data command.

4 item “Kind” will be set

End Value

Previous data

Start Value default value

Location

5–1M: Erase Ctrl Data (Erase Control Data)

This command erases data such as control changes, after touch, pitch bend, or tempo in the speciﬁed range.

1 In “Track Select,” select the track from which you wish

to erase control data. If you wish to erase tempo data, select Master Track. In this case, the “Kind” item in step

4 will be Tempo.

2 Select “Erase Ctrl Data” to access the dialog box.

3 Specify the range from which you wish to erase control

data. In “From Measure” to “To End of Measure” specify the measures, and in “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be the range that was speciﬁed in the Track Edit page.)

4 “Kind” to the type of musical data (event) that you wish

to erase. Control change: Control change data will be erased. In this case, use “#” to specify the control change number.

After Touch: Aftertouch data will be erased. Pitch Bend: Pitch bend data will be erased.

5 To execute the Erase Control Data command, press the

OK button. To cancel, press the Cancel button.

If you wish to erase all control change data from speciﬁed measures, you can also use “Erase Measure” (5–1F) and set “Kind” to Control Change. However, this Erase Control Data command allows you to specify the range using “Beat.Tick,” and also to erase only speciﬁc types of control change data.

5–1N: Quantize

This command corrects the timing of musical data that already exists in the sequencer . When you execute the Quantize operation, the musical data will be affected as follows:

• When you execute Quantize on note data, the timing of the note-on will be corrected, but the length (duration of the note) will not be affected.

• If the Quantize resolution is set to Hi, the timing will be adjusted to units of the base resolution (/192), so note data will not be affected. However, continuous controller data such as joystick or after touch which occupies a large amount of memory will be processed so that two or more data events of an identical type existing at a single interval of the timing resolution will be combined into a single event, thus conserving memory. Similarly, two or more data events of an identical type existing at the identical timing will be combined into one, also conserving memory.

1 In “Track Select,” specify the track. 2 Select “Quantize” to access the dialog box.

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

3 Specify the range that will be quantized.

In “From Measure” and “To End of Measure,” specify the measures. In “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be the range that you speciﬁed in the Track Edit page.)

4 In “Kind,” select the type of musical data (events) that

you wish to quantize.

All: Quantization will be applied to all performance data. Note: Quantization will be applied only to note data. Use “Bottom” and “Top” to specify the range of notes. “Bottom” speciﬁes the lowest note that will be affected, and

“Top” speciﬁes the highest note. You can use this when you want to quantize only a speciﬁc note or notes (for example, just the snare sounds of a drum track). If you want to quantize all notes, set these parameters C–1 and G9 respectively. These note settings can also be input by holding down the [Enter] key and playing a note on the keyboard. Control Change: Quantization will be applied to control changes. If you want to quantize only a speciﬁc control change, specify the number (“No.”). If you want to quantize all control changes, select All. After Touch: Quantize both Channel Pressure and Polyphonic Key Pressure messages.

Pitch Bend: Pitch bend data will be quantized. Program Change: Program change data will be quan-

tized.

5 In “Resolution,” specify the timing resolution to which

the data will be corrected. By setting a lower resolution you can save more memory, but the timing of the playback may not be acceptable.

6 In “Offset,” specify the number of clock ticks by which

the data will be moved forward or backward relative to the standard timing. A setting of 96 will be  , and 48 will be  . Positive (+) settings will adjust the data forward, and negative (–) settings will adjust the data backward. This allows you to simulate “pushing” or “dragging” the beat.

7 In “Intensity,” specify the degree of sensitivity to which

the timing will be corrected; i.e., how close to the locations speciﬁed by

5 and 6 the data will be moved.

With a setting of 0, no correction will take place. With a setting of 100, the data will be moved all the way to the timing intervals speciﬁed by

5 and 6.

8 To execute the Quantize command, press the OK button.

To cancel, press the Cancel button.

* By varying the “Offset” and “Intensity” settings you can

create quantize effects such as the following.



Original

100%

Quantize Resolution = Offset = 0, Intensity = 100%

Quantize Resolution = Offset = 0, Intensity = 50%

Quantize Resolution = Offset = +48, Intensity = 100%

Quantize Resolution = Offset = +48, Intensity = 75%

Quantize Resolution = Offset = –24, Intensity = 100%



100%

50% 50%

50%

100%

+48

75%

+48+48

100%

–24

100%

50%

100%

100% 100%

+48 +48

75%

75% 75%

+48

100% 100%

–24

100%

75%

+48

–24

5–1O: Shift/Erase Note

This command shifts (moves) or erases the speciﬁed note numbers in a speciﬁed track and range of measures.

1 In “Track Select,” select the track on which you wish to

execute the Shift/Erase Note command.

2 Select “Shift/Erase Note” to access the dialog box.

3 Specify the range in which you wish to shift or erase note

numbers. In “From Measure” and “To End of Measure,” specify the measures. In “Beat.Tick,” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be the range that you speciﬁed in the Track Edit page.)

4 Specify the range of notes that you wish to shift or erase.

“Note Range: Bottom” speciﬁes the lower limit, and “Top” speciﬁes the upper limit. If you wish to edit all

notes, set “Bottom” to C–1 and “Top” to G9. These settings can also be made by holding down the [ENTER] key as you play a note.

• Shifting notes

5 In “Shift Note,” specify the amount by which you wish

to move the note. The amount of shift is set in semitone steps over a range of –127–+127. +1 will shift the note a semitone upward.

6 Select either “Replace” to move the note numbers, or

“Create” to generate additional notes.

For example if you are editing a track that uses a drum program, you can use “Replace” to exchange the current snare sound for a different snare sound assigned to a different key, or use “Create” to add a sound effect at a different note # to the snare sound. Alternatively, you can use “Create” to add an octave doubling to an existing guitar phrase, etc.

7 To execute the Shift Note command, press the OK but-

ton. To cancel, press the Cancel button.

• Erasing notes

5 Check “Erase Note.”

If you wish to erase all note data in the speciﬁed range of measures, you can also use the “Erase Measure” command (5–1F) and set “Kind” to Note. However, this Shift/Erase Note command lets you specify the “Beat.Tick” range, and to erase only speciﬁc ranges of note data.

6 To execute the Erase Note command, press the OK but-

ton. To cancel, press the Cancel button.

5–1P: Modify Velocity

This command modiﬁes the velocity values of notes in the speciﬁed area so that they will change over time according to a selected curve.

1 In “Track Select,” specify the track whose velocity will

be modiﬁed.

2 Select “Modify Velocity” to access the dialog box.

3 Specify the range in which note velocity will be modiﬁed.

“From Measure” and “To End of Measure” specify the measure, and “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be set to the range that you speciﬁed in the Track Edit page.)

4 Specify the range of notes that will be affected by the

Modify Velocity command. Note Range “Bottom” is the lower limit, and “Top” is the upper limit. If you wish to edit all notes, set “Bottom” to C–1 and “Top” to G9. These settings can also be made by holding down the [ENTER] key as you play a note on the keyboard.

5 In “Velocity Start Value” specify the value at which the

velocity data will start, and in “End Value” specify the ﬁnal velocity value. These settings can also be made by holding down the [ENTER] key as you play a note on the keyboard.

6 In “Intensity,” specify the degree to which the velocity

data will be adjusted toward the curve you specify in With a setting of 0 [%], the velocity will not change. With a setting of 100 [%], the velocity will be exactly as described by the curve.

7 “Curve”* lets you select from six types of curve to specify

how the velocity will change over time.

8 To execute the Modify Velocity operation, press the OK

button. To cancel, press the Cancel button.

* The six curves are as follows.

5–1Q: Set Song Length

This command changes the length of the speciﬁed song. When it is executed, the length of the master track will change, and the number of measures played will change.

1 Select “Set Song Length” to access the dialog box.

2 In “Length,” specify the length of the song. 3 To execute the Set Song Length command, press the OK

button. To cancel without executing, press the Cancel button.

Be aware that if you shorten the song, data will also be deleted from the tracks other than the master track.

5–2: Track Name

Here you can assign a name to each track.

5–1

0–1a 5–1b

0–1b

5–2a

5–2a: Track Name

Track Name [TRACK 01...TRACK 16]

Press the text edit button to access the dialog box, and input the desired name. Up to 16 characters may be used. (☞BG p.53, 57)

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

For a Start Velocity of 1 and End Velocity of 127

Velocity

127

Start Measure

Curve 1

Curve 4

End Measure

Velocity

127

Start Measure

Curve 2

Curve 5

End Measure

127

Velocity

127

Velocity

Start Measure

Curve 3

Rndm

RANDOM

End Measure

Sequencer P6: Pattern/RPPR

On the TRITON STUDIO you can use preset patterns P000– 149, and user patterns U00–99. One song can contain up to

one hundred user patterns. Preset patterns suitable for use in a drum track are provided in memory, and can be selected from any song. Preset patterns cannot be edited, but you may copy a preset pattern to a user pattern, and edit. User patterns can be created by realtime recording (including recording that uses the arpeggiator), step recording, the Get From Track command (obtaining data from a track), or the Copy Pattern command (copying from another pattern) (☞BG p.86).

These patterns can be assigned to each key by the RPPR (Realtime Pattern Play/Recording) function and played by pressing a single key, and the resulting performance can be recorded on the sequencer (☞RPPR Setup page).

Pattern (Pattern Bank) [Preset, User]

Selects the type of pattern. If Preset is selected, it will not be possible to record. You will be able to select and execute the “Copy Pattern,” “Bounce Pattern,” “Put to Track,” and “Copy to Track” page menu commands.

Pattern Select [P000...149, U00...U99]

Selects a pattern. User patterns can be renamed in the Pattern Name page.

 (Tempo) [040...240, EXT]

Speciﬁes the playback tempo of the pattern. (☞0–1a).

Metronome Sound [Only REC, REC & Play, Off]

Speciﬁes whether the metronome will sound during recording or playback. (☞0–8b, “Sound,” “Metronome Setup”)

Reso (Resolution) [Hi, 3 …  ]

Speciﬁes how the timing of the data being recorded into the pattern will be corrected. (☞0–1a “Reso (Resolution).”)

6–1: Pattern Edit

Here you can record a pattern, edit it, and assign it to a track in a song.

6–1

6–1a

6–1b

6–1c

6–1a: Location, Song Select, Track Select

Location [01...99]

Displays the current measure location of the selected pattern.

Song Select [000...199: name]

Selects a song. The user pattern will be created in the song you select.

Track Select [Track01...Track16, Master Track]

Selects the track that will be used to record/play the pattern data. The pattern data will be recorded/played using the settings of the track you select. The area at the right displays the program bank, number, and name for the selected track.

6–1b: Pattern, Pattern Select, Tempo, Metronome

Sound, Reso, Remove Data

If you wish to record pattern data, use “Pattern” and “Pattern Select” to select a user pattern and pattern number. Next, use the “Pattern Parameter” page menu command to set the number of measures in the pattern and its time signature. Then you can perform realtime recording in the Pattern Edit page, or step recording by using the “Step Recording (Loop Type)” page menu command. Finally, use page menu commands as desired to perform event editing or other types of editing.

Remove Data [Off, On]

On (checked): Unwanted performance data can be removed during pattern recording. The procedure is the same as explained in “Remove Data” of Loop All Tracks. (☞0–8a)

6–1c: USED IN SONG TRACK, USED IN RPPR

USED IN SONG TRACK

This area indicates the song tracks in which the selected pattern is used.

USED IN RPPR

This area indicates the RPPR in which the selected pattern is used. The assigned key and the speciﬁed track are shown.

How to record a user pattern

1 Use “Song Select” to select the song in which you want to

create a user pattern.

2 Use “Track Select” to select the sound that you will

record. The pattern you record will sound according to your choice in “Track Select.”

3 Use “Pattern Bank” and “Pattern Select” to select User

pattern and the desired pattern number.

4 Select the page menu command “Pattern Parameter,”

and in the dialog box, specify the number of measures and time signature of the pattern.

5 Check the tempo in “”. 6 If you want to record in realtime, set “Reso” to specify

the resolution, and press the SEQUENCER [REC/ WRITE] key and then the [START/STOP] key to begin recording. When you ﬁnish recording to the end of the measures speciﬁed by “Pattern Parameter,” you will return to the ﬁrst measure, and can continue recording while adding more material. (☞”Loop All Tracks” 0–8a) If you want to perform step recording, select the page menu command “Step Recording (Loop Type)” to access the dialog box, and record.

▼ 6–1: Page Menu Command

0–1A 6–1A 6–1B 6–1C 6–1D 6–1E

6–1F 6–1G 6–1H 6–1I 0–1I

6–1D: Erase Pattern

This command erases the data from the selected pattern.

1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 Select “Erase Pattern” to access the dialog box.

6–1A: Step Recording (Loop Type)

Here you can perform step recording into a pattern. This is available when a user pattern is selected.

1 In “Pattern” and “Pattern Select,” specify the pattern.

By default, the pattern length is one measure. If you wish to change the number of measures in the pattern, set the “Pattern Parameter” (6–1C).

2 Select “Step Recording (Loop Type) ” to access the dialog

box.

Time signature

Length (beats, clocks)

measure (beat, clock)

3 The remaining steps are the same as when step recording

on a track. Refer to steps

Note numberLocation within the

3 and following in “Step

Velocity

Recording” (5–1A). However, step recording a pattern differs from step recording a track in that when you r each the end of the pattern, you will return to the beginning and continue recording, in this way continuing to add more data.

6–1B: Event Edit

Here you can edit individual events of the musical data in a pattern. Use “Pattern” and “Pattern Select” to specify the pattern, and then select this command. The remaining steps are the same as when Event Editing a track. ☞“Event Edit” (5–1B).

6–1C: Pattern Parameter

This command speciﬁes the number of measures and the time signature of the selected pattern.

1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 Select “Pattern Parameter” to access the dialog box.

3 In “Length,” specify the number of measures in the pat-

tern.

4 In “Meter,” specify the time signature of the pattern.

However, this time signature is only temporary, and when you “put” or “copy” the pattern in a track of a song, the pattern will play according to the time signature of that measure.

5 To execute the Pattern Parameter settings, press the OK

button. To cancel, press the Cancel button.

3 If you check “All Patterns,” all user patterns in the song

will be erased. If “All Patterns” is not checked, only the pattern speciﬁed in

1 will be erased.

4 To execute the Erase Pattern command, press the OK

button. To cancel, press the Cancel button.

6–1E: Copy Pattern

This command copies the settings and musical data of the selected pattern to another pattern. User patterns belong to a particular song, but you can use the Copy Pattern command to use the same pattern in another song. Also, while preset patterns cannot be edited, you can copy a preset pattern to a user pattern and then edit and save it as a user pattern. Be aware that when you execute the Copy Pattern operation, the pattern settings and musical data of the copy destination will be erased.

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

2 In From (Song***): “Pattern,” specify the copy source

pattern. (By default, this will be the song and pattern that was selected in the Pattern Edit page.)

3 In To: “Song” and “Pattern,” specify the copy destina-

tion song and pattern. For “Pattern,” only user patterns U00–U99 can be speciﬁed.

4 To execute the Copy Pattern command, press the OK

button. To cancel, press the Cancel button.

6–1F: Bounce Pattern

This command combines the musical data of the bounce source pattern and bounce destination pattern, and places the combined musical data in the bounce destination. The time signature and length of the pattern following execution will be according to the settings of the bounce destination. Unlike the Track Bounce operation, the musical data of the bounce source will not be erased. If MIDI control data exists in the selected pattern and in the bounce destination pattern, the resulting playback following the bounce operation may produce unexpected results. We recommend that you use “Event Edit” (6–1B) to prepare the MIDI control data of the two patterns before executing the Bounce Pattern command.

1 Use “Pattern” and “Pattern Select” to specify the bounce

source pattern.

2 Select “Bounce Pattern” to access the dialog box.

3 In From (Song***) “Pattern,” select the bounce source

pattern. (By default, the song and pattern that are selected in the Pattern Edit page will be chosen.)

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

4 In To: “Song” and “Pattern,” select the bounce destina-

tion song and pattern. For “Pattern,” only user patterns U00–U99 can be speciﬁed.

5 To execute the Bounce Pattern command, press the OK

button. To cancel, press the Cancel button.

6–1G: Get From Track

This command takes musical data from a track and loads it into the speciﬁed pattern.

1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 In “Pattern Parameter” (6–1C), specify the pattern length

of the “get” destination.

3 Select “Get From Track” to access the dialog box.

4 In “Song,” select the “get” source song. 5 In “Track,” select the “get” source track. 6

In “Measure,” specify the ﬁrst measure of the “get” source.

7 To execute the Get From Track command, press the OK

button. To cancel, press the Cancel button.

6–1H: Put To Track

This command places a pattern into a track. Unlike the “Copy to T rack” (6–1I), this command only places the pattern number in the song, so that when playback reaches that point, the pattern will be recalled. The musical data of the pattern will not actually exist in the track. By creating patterns that contain frequently-used phrases or drum patterns, and then placing them on the tracks, you can conserve memory. Be aware that when you edit a pattern, all locations in the song where that pattern has been placed will be affected.

When you execute the Put to Track command, the musical data will be affected as follows.

• Musical data previously existing at the “put” destination will be erased.

• The pattern that you “put” will playback according to the time signature that is specified by the measures of the “put” destination.

• Control data such as pitch bend etc. (but not including volume data) previously existing in the track will be reset immediately before the measure at which the pattern was “put.” If you wish to use control data such as pitch bend in the measures in which a pattern is “put,” you must ﬁrst write the control data into the pattern.

To delete a pattern that has been placed in a track you can use “Erase Measure” (5–1F), specifying the area in which the pattern was “put,” and setting “Kind” to All.

Example: Pattern 20 has been Put at measures 2, 4, and 6 of track 10. When those measures

are reached, pattern 20 is called and its data is played.

Track 10 (Drums)

If you press the SEQUENCER [START/STOP] key while the dialog box is open, the selected pattern will play back.

2 In “Pattern” and “Pattern Select,” select the “put” source

pattern. (By default, this will be the pattern selected in the Pattern Edit page)

3 In “To Track,” select the “put” destination track. 4 In “Measure,” specify the ﬁrst measure of the “put” des-

tination.

5 To execute the Put to Track command, press the OK but-

ton. When you execute the command, “Measure” will

automatically count up. If you wish to, you can continue “putting” the pattern. To exit the command, press the Exit button.

6–1I: Copy To Track

This command copies the speciﬁed area of musical data from the speciﬁed pattern to a track as musical data. Unlike the Put To Track command, this command actually writes the musical data of the pattern into the track, so that you can edit the copied data in the track. Even if you later edit the copy source pattern, the musical data of the song will not be affected.

When you execute the Copy to T rack command, the musical data will be affected as follows.

• Musical data previously existing in the copy destination measures will be erased.

• The musical data that is copied will playback according to the time signature specified at the copy destination measures.

Example: Copy the musical data of pattern 41 to measure 2

Before Copy

After Copy

1 432

Pattern 41

1 432

The procedure is the same as for the Put to Track command. ☞“Put To Track” (6–1H).

6–2: Pattern Name

6–1

6–1a 6–1b

6–2a

Pattern 20

1 Select “Put to Track” to access the dialog box.

6–2a: Pattern name

Pattern name [U00...U99]

Here you can rename the pattern. Press the text edit button to access the dialog box, and input the name. Up to 16 characters can be input. (☞BG p.53, 57)

6–3: RPPR Setup

Here you can make settings for the RPPR (Realtime Pattern Play/Recording) function. RPPR lets you assign patterns from a song to individual keys, and then playback patterns simply by pressing individual notes on the keyboard. The results can be recorded to the sequencer. For each song, you can assign either a preset pattern or a user pattern to each of the seventy two keys in the range C#2–C8. For each key, you can specify the pattern, track number, and how the pattern will be played.

The arpeggiator is not operated by patterns played back by RPPR. When RPPR is on, keys for which no pattern is assigned will sound the track selected by “T rack Select.” At this time, the arpeggiator will operate if either arpeggiator A or B is selected for that track and turned on. RPPR will not be triggered by notes generated by the arpeggiator.

When Local Control is OFF (“Local Control On” Global P1: 1–1a), the keyboard will not trigger RPPR pattern playback. Notes received at MIDI IN on the channel of the track currently selected by “Track Select” will trigger patterns. If you have recorded only the trigger notes on an external sequencer and wish to use the playback from the external sequencer to trigger RPPR patterns on TRITON STUDIO, set Local Control OFF. If you want the note data generated by RPPR to be recorded by the external sequencer, set Local Control ON, and turn off the echo back function of the external sequencer. (☞p.267)

In the RPPR Setup page, RPPR is turned on automatically. This will be the same result as when the RPPR check box (0–1a) in each page is checked.

6–1

6–3a 6–3b

6–3c

6–3b: Keyboard & Assigned drawing

This shows the selected key, and the keys to which a pattern has been assigned by the RPPR function. (Assignments are not possible for the keys displayed in gray.)

Unassignable keys Assigned keys

Selected key

Unassigned keys

6–3c: RPPR Setup

KEY (Key Select) [C#2...C8]

Speciﬁes the key to which you want to assign an RPPR pattern. The following parameters will apply to the key that you select here. This can also be selected by holding down the [ENTER] key and playing a note on the keyboard.

Assign [Off, On]

On (checked): When you playback the key speciﬁed by “KEY,” the pattern selected in “Pattern” will be triggered.

Off (unchecked): That key will sound the currently selected track at the corresponding pitch, just as in normal Sequencer mode.

Pattern (Pattern Bank) [Preset, User] Pattern Select [P000...149, U00...99]

Selects the RPPR pattern for the key selected in “KEY.” If the selected user pattern contains no musical data, there will be no sound when you press that key.

Track [Track 01...Track16: name]

Selects the track that will be used for the RPPR pattern selected for the “KEY.” When you play the key, the pattern will be played according to the settings of the track you select here. Track settings are made in P0: Play/REC, P2: T rk Param, P3: MIDI Filter, and P4: Zone/Ctrl. When you r ecord in realtime with the RPPN function turned on, the data will be recorded on the track you select here. (☞BG p.94) The line below displays the program bank/name and MIDI channel (Ch) that are speciﬁed for the “Track.”

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

6–3a: Song Select, Track Select, Tempo

Song Select [000...199: name]

Selects the desired song. The RPPR settings will be assigned to the song you select here.

Track Select [Track01...Track16, Master Track]

Selects the track that will be played by keys that are not assigned to RPPR. Select the track that you want to play from the keyboard.

 (Tempo) [040...240, EXT]

Speciﬁes the playback tempo of the patterns. (☞0–1a)

Revert

When you press this button, the “Pattern (Pattern Bank),” “Pattern Select,” and “Track” settings of the last-edited “KEY” for which “Assign” was checked will be copied to these parameters of the currently selected “KEY”

Example: Assigning preset patterns P00, P01, and P02 to “KEY”

Before you begin, assign a drum program such as INT-A036 to track 1.

1 Set “KEY” to C#2, and check “Assign.” Set “Pattern (Pat-

tern Bank)” to Preset, “Pattern Select” to P00, and “Track” to Track01.

2 Set “KEY” to D2, and press the Revert button.

The “Pattern (Pattern Bank),” “Pattern Select,” and “Track” settings that you speciﬁed in step

1 will be cop-

ied automatically.

3 Edit only “Pattern Select.” Select “Pattern Select,” and

press the [ ] key to select P01: Pop&Balad 2/Std.

4 Set “KEY” to D#2, and press the Revert button.

The “Pattern (Pattern Bank)” P01: Pop&Balad 2/Std you selected in step

3, as well as the “Pattern Select” and

“Track” settings, will be copied automatically.

5 As you did in step 3, set “Pattern Select” to P02:

Pop&Balad 3/Std.

By using “Revert” in this way, you can efﬁciently specify “Pattern (Pattern Bank),” “Pattern Select,” and “Track” set-

tings for each “KEY” when creating RPPR data. This is particularly convenient when, as in the above example, the patterns that you want to assign to the keys are numbered consecutively (or are nearby each other), and use the same track.

Mode [Once, Manual, Endless]

Speciﬁes the way in which the pattern assigned to the speci- ﬁed “KEY” will be played.

Once: When you press the key, the complete pattern will playback once to the end and then stop. Manual: The pattern will continue repeating as long as you continue holding the key, and will stop as soon as you release the key. Endless: The pattern will continue repeating even after you release the key. To stop the pattern playback, press any note below C2, or press the same key once again.

Key-on

START STOP

Once

START STOP

Manual

START STOP

Endless

Key-off

Same key, or C2 Key-off

Sync [Off, Beat, Measure, SEQ]

Speciﬁes the way in which the pattern playback will be synchronized when you press the speciﬁed “KEY.”

Off: The pattern will begin playing at the moment you press the note. Beat: The pattern will synchronize to the beats of the pattern that was started by the ﬁrst key (i.e., the ﬁrst note-on that occurs from a condition where no notes of the keyboard are pressed). This setting is suitable when you wish to play phrase patterns in unison. Measure: The pattern will synchronize to the measures of the pattern that was started by the ﬁrst key. This setting is suitable for rhythm, bass or drum patterns. SEQ: The pattern will synchronize to the measures of the sequencer song.

Key 2 on

Sync settings

Key 1 off

Key 1 on

Song

Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings

Sync: OFF

Pattern 1

Pattern 2

Sync: Beat

Pattern 1

Pattern 2

Sync: Measure

Pattern 1

Pattern 2

Sync: SEQ

Pattern 1

Pattern 2

Shift [–12...+12]

Adjusts the playback pitch of the pattern for the speciﬁed “KEY” in semitone steps over a range of ±1 octave.

With a setting of 0, the pattern will be played at its original pitch.

• When Beat or Measure are selected, pattern playback will begin when you press the first key. The second and subsequent patterns that are triggered from the keyboard will synchronize to the pattern that was started by the first key; with a setting of Beat they will synchronize in steps of a beat, and with a setting of Measure they will synchronize in steps of a measure.

• When SEQ is selected, the pattern will playback in synchronization with the measures of the sequencer song. The pattern will synchronize with the currentlyplaying song, so you must start the song before you play notes on the keyboard.

• Beat, Measure, and SEQ will cause the pattern to start immediately if you play the key within a thirty-second note of the timing of the respective beat or measure, but if you play the key later than this, the start of the pattern will be delayed by a beat.

Stopping playback of a RPPR pattern

By pressing C2 (or any note lower than C2), all the patterns being played by RPPR will stop. The patterns of keys whose “Sync” setting is Off will stop immediately, but the playback of other keys will stop at the beginning of the next beat or measure. Pattern playback of keys whose “Sync” setting is other than Off can be stopped immediately by rapidly pressing C2 or any lower note twice in succession.

Sequencer P7: Arpeggiator

Here you can specify how the arpeggiator will operate in Sequencer mode. These settings can be made for each song. In Sequencer mode (as in Combination mode), you can run the two arpeggiators simultaneously. This allows you to apply different arpeggio patterns to two sounds that have been split across the keyboard, or use velocity to switch between two different arpeggio patterns, etc. In Sequencer mode, the musical data generated by the arpeggiator during song track or pattern realtime-recording can be recorded. While you record, you can modify the arpeggio pattern and parameters, and adjust the [GATE] knob and [VELOCITY] knob etc.

It is not possible to set the tempo of the arpeggiator and the sequencer independently.

When “MIDI Clock” (Global P1: 1–1a) is Internal, the arpeggiator can be synchronized to the internal sequencer. (☞BG p.138)

• When you turn on the arpeggiator and press the SEQUENCER [START/STOP] key, the arpeggiator will synchronize to the timing of the sequencer.

• When you press the SEQUENCER [START/STOP] key, the arpeggiator and sequencer will both stop. If you wish to stop only the arpeggiator, press the ARPEGGIATOR [ON/OFF] key to turn off.

When the arpeggiator “Key Sync” is off, you can turn on the ARPEGGIATOR [ON/OFF] key and play the keyboard to start the arpeggiator running during the pre-count before realtime recording begins, so that the arpeggiator performance will be recorded from the beginning of the pattern at the same time that recording begins.

When “MIDI Clock” is External MIDI or External mLAN, the MIDI realtime clock messages transmitted from the external MIDI device connected to MIDI IN or the mLAN connector can perform the same type of control. Even in this case, you can start/stop using the SEQUENCER [START/STOP] key of the TRITON STUDIO’s sequencer.

7–1: Setup 1–8 (Setup T01–08) 7–2: Setup 9–16 (Setup T09–16)

7–1

0–1a 5–1b

0–1b

7–1a

7–1(2)a: Arpeggiator Assign, Arpeggiator Run A, B

Arpeggiator Assign [Off, A, B]

This assigns arpeggiator A or arpeggiator B to each track 1– 8, 9–16. When the ARPEGGIATOR [ON/OFF] key is turned on, the arpeggiator speciﬁed for each track will run, subject to the “Arpeggiator Run A, B” settings and setting here.

Off: The arpeggiator will not operate. A: Arpeggiator A will operate. Use the Arpeggiator A page

to select the arpeggio pattern and set the parameters. B: Arpeggiator B will operate. Use the Arpeggiator B page to select the arpeggio pattern and set the parameters.

For tracks that you wish to realtime-record, select either arpeggiator A or B. If you specify an arpeggiator for two or more tracks, the arpeggiator will play each of the tracks you specify. You can set A and B to two different MIDI channels, and control one from the keyboard and the other from an external MIDI device connected to MIDI IN. You can also use multi-track recording (Multi REC) to simultaneously record the note data that is generated from the two arpeggiators.

Example 1)

On tracks 1 and 2, set “MIDI Channel” (2–1a) to 01 and “Status” (2–1a) to INT. Assign arpeggiator A to track 1

and arpeggiator B to track 2, and check “Arpeggiator Run A, B” (7–1a). In “Track Select,” choose Track01.

With the ARPEGGIATOR [ON/OFF] key OFF, play the keyboard and tracks 1 and 2 will sound simultaneously. When you turn on the ARPEGGIATOR [ON/OFF] key and play the keyboard, arpeggiator A will operate for track 1 and arpeggiator B will operate for track 2.

Trigger = Ch1

Arpeggiator

Example 2)

For tracks 1, 2 and 3, set the “MIDI Channel” (2–1a) to 01, 02, and 03 respectively, and set “Status” (2–1a) to INT.

Assign arpeggiator A to tracks 1 and 2, and arpeggiator B to track 3. Check the “Arpeggiator Run A, B” (7–1a) setting.

• In “Track Select,” choose Track01.

Playing the keyboard when the ARPEGGIATOR [ON/ OFF] key is off will play the sound assigned to track 1. Playing the keyboard when the ARPEGGIATOR [ON/ OFF] key is on will cause arpeggiator A to operate for tracks 1 and 2, and produce sound for both tracks.

• In “Track Select,” choose Track02.

Playing the keyboard when the ARPEGGIATOR [ON/ OFF] key is off will play the sound assigned to track 2. Playing the keyboard when the ARPEGGIATOR [ON/ OFF] key is on will cause arpeggiator A to operate for tracks 1 and 2, and produce sound for both tracks.

• In “Track Select,” choose Track03.

Playing the keyboard when the ARPEGGIATOR [ON/ OFF] key is off will play the sound assigned to track 3. Playing the keyboard when the ARPEGGIATOR [ON/ OFF] key is on will cause arpeggiator B to operate for track 3, and play the sound assigned to track 3.

Pattern - A

Pattern - B

Arpeggiator Assign

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=1ch Status=INT

Pattern - A

Pattern - B

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

• Alternatively, you could choose Track01 in “Track Select” to run arpeggiator A for tracks 1 and 2, and use

an external MIDI device connected to the TRITON STUDIO’s MIDI IN to send note data to MIDI channel 3 to play arpeggiator B.

Arpeggiator Assign

Trigger = Ch1, Ch2

Trigger = Ch3

Arpeggiator

Pattern - A

Pattern - B

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=2ch Status=INT

Track3 MIDI Ch=3ch Status=INTB

Pattern - A

Pattern - B

The arpeggiator cannot be triggered by the notes played by the sequencer.

If the track “Status” (2–1a/2a) is set to INT or BTH, tracks 1–16 to which arpeggiator A or B are assigned will be sounded by the note data generated by the arpeggiator, regardless of the “MIDI Channel” (2–1a/ 2a) setting of that track. If the track “Status” is set to BTH, EXT, or EX2, the track will transmit MIDI note data on the “MIDI Channel” of that track. In this case, arpeggiator A or B will be triggered by the “MIDI Channel” of any track 1–16 to which the corresponding arpeggiator is assigned.

If the “Local Control On” (Global P1: 1–1a) is turned OFF, the arpeggiator will not be triggered by note data from the keyboard. It will be triggered by note data received at MIDI IN. If you wish to record just the trigger notes on an external sequencer and run the TRITON STUDIO’s arpeggiator in this way, turn Local Control OFF. If you want the note data generated by the arpeggiator to be recorded on the external sequencer, turn Local Control ON, and turn off the echo back function of the external sequencer. (☞p.267)

Arpeggiator Run A, B

When the ARPEGGIATOR [ON/OFF] key is on, the arpeggiator(s) that are checked here will function for the track(s) to which they are assigned by “Arpeggiator Assign.” When the arpeggiator is on, A and B can be turned on/off independently.

7–3: Arpegg. A (Arpeggiator A) 7–4: Arpegg. B (Arpeggiator B)

In the Arpegg. A page you can make settings for arpeggiator A, and in the Arpegg. B page you can make settings for arpeggiator B.

The “Copy Arpeggiator” (7–1A) page menu command can also be used to copy arpeggiator settings from another mode such as Program mode.

7–1

0–1a 5–1b

0–1b

7–3a

7–3(4)a: Arpeggiator–A(B) Setup

Pattern [P000...P004, U000(I-A/B)...U506(User)] Octave [1, 2, 3, 4] Resolution [   ,  ,   ,  ,   ,  ] Gate [000...100(%), Step] Velocity [001...127, Key, Step] Swing [–100...+100(%)] Sort [Off, On] Latch [Off, On] Key Sync. [Off, On] Keyboard [Off, On]

These are the arpeggiator parameters for the song.

☞“Program 7–1: Arpegg. Setup (Arpeggiator Setup)”

▼ 7–1: Page Menu Command

0–1A 0–1B 0–1C 0–1D 0–1E

7–1A: Copy Arpeggiator

This command copies arpeggiator settings. ☞ “Combination 7–1A: Copy Arpeggiator.”

0–1F 7–1A 0–1I 0–1J

7–5: Scan Zone (Scan Zone A/B)

Speciﬁes the range of notes and velocities that will trigger each arpeggiator A and B.

7–1

0–1a 5–1b

0–1b 7–5a

7–5b

7–5a: Zone Map

This shows the Scan Zone settings for arpeggiators A and B. (☞Combination “Zone Map” 7–4a)

7–5b: Scan Zone A/B

Top Key [C–1...G9] Bottom Key [C–1...G9]

Specify the range of notes (keys) that will trigger arpeggiator A. “Top Key” is the upper limit, and “Bottom Key” is the lower limit.

Top Velocity [001...127] Bottom Velocity [001...127]

Specify the range of velocities that will trigger arpeggiator A. “Top Velocity” is the upper limit, and “Bottom Velocity” is the lower limit.

Top Key [C–1...G9] Bottom Key [C–1...G9] Top Velocity [001...127] Bottom Velocity [001...127]

Specify the range of notes (keys) and velocities that will trigger arpeggiator B (☞A:).

The value of these parameters can also be input by holding down the [ENTER] key and playing a note on the keyboard.

Sequencer P8: Insert Effect

Here you can make insert effect settings, and specify the bus etc. for the program used by each track 1–16.

☞ For details on insert effects, refer to p.178 “8. Effect

Guide.”

8–1: Routing 1–8 (Routing T01–08) 8–2: Routing 9–16 (Routing T09–16)

Specify the bus to which the program oscillator(s) of each track 1–16 will be sent. You can also set the amount of signal that will be sent to the master effects.

8–1

8–1a

5–1b 0–1b 0–3a

8–1b

Sequencer

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

8–1a: Routing Map

This shows the status of the insert effects: the insert effect routing, the names of the selected effects, the on/off status, and chaining. The effect type, on/off, and chain settings can be made in the Insert FX page (8–2).

8–1(2)b: BUS Select (IFX/Indiv.Out BUS Select),

Send1 (MFX1), Send2 (MFX2)

BUS Select (IFX/Indiv.Out BUS Select)

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

These settings specify the bus to which the program oscillator(s) of each track 1–16 will be sent. The status of the settings can also be viewed in the “Routing Map” (☞Combination P8–1: Routing).

When 1/2 or 3/4 are selected, the program of the corresponding track 1–16 will be output in stereo from AUDIO OUTPUT (INDIVIDUAL) 1 and 2 or 3 and 4. If you use CC#10 (pan) or AMS to control the panning of the program oscillator, the new pan setting will be applied at the next note-on. Unlike the case when you select L/R to output the sound from (MAIN) L/MONO and R, the pan of a sounding note cannot be varied in realtime. If you wish to vary the pan of a sounding note in realtime, and output the result from AUDIO OUTPUT (INDIVIDUAL) 1 and 2 or 3 and 4, set “BUS Select” to IFX1 (or IFX2–IFX5), select 000: No Effect for “IFX1” (or IFX2–IFX5) (8–3), and select either 1/2 or 3/4 for “BUS Select” (8–3) after the signal passes through IFX.

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

Here you can adjust the send levels from tracks 1–16 to mas- ter effects 1 and 2. This is valid when “BUS Select” is set either to L/R or Off. If IFX 1, 2, 3, 4, or 5 is selected, the send level to the master effects 1 and 2 is set by the “Send 1” and “Send 2” parameters located in the Insert FX page, after the signal passes through IFX 1–5. These settings have no effect if “BUS Select” is set to 1, 2, 3, 4, 1/2 or 3/4. The send 1 and 2 settings you make here will be used when the song is played or recorded from the beginning. If you change the settings while recording, the change will be recorded as part of the musical data, and the send amount will change when the data is played back. You can also change these settings during playback. However if send 1 and 2 data has been recorded, the settings will change accordingly.

If “Status” (2–1a/2a) is either INT or BTH, CC#93 and #91 can be received to control send 1 and 2 respectively and change their settings. When you switch songs or return to the beginning of a song, tracks whose “Sta- tus” is EXT, EX2 or BTH will transmit these settings via MIDI. This data will be transmitted on the MIDI channel of each track as set by “MIDI Channel” (2–1a/2a). The actual send level is determined by multiplying the value of these parameters with the send level settings of the oscillator(s) of the program used by the track (“Send1” and “Send2,” Program P8: 8–1d).

▼ 8–1: Page Menu Command

0–1A 0–1B 8–1A 8–1B 8–1C 0–1I 0–1J

8–1A: Copy Insert Effect

☞ “Program P8: 8–1A: Copy Insert Effect.” However, the MIDI contr ol channel speciﬁed in “Ctrl Ch” of the IFX 1–5 page will not be copied.

8–1B: Swap Insert Effect

☞ “Program P8: 8–1B: Swap Insert Effect.” However, the MIDI contr ol channel speciﬁed in “Ctrl Ch” of the IFX 1–5 page will not be swapped.

8–1C: DrumKit IFX Patch

☞ “Combination P8: 8–1C: DrumKit IFX Patch.”

8–3: Insert FX

Here you can select the type of the insert effects, turn them on/off, and make chain settings.

8–1

8–3a

8–3a: IFX1, 2, 3, 4, 5

These functions are the same as in Program mode. (☞Program 8–2a) However unlike in Program mode, the “Ctrl Ch” (8–4a – 8a) is used as the MIDI channel that controls insert effect dynamic modulation (Dmod) and the “Pan (CC#8),” “Send 1,” and “Send 2” that follows the insert effect. The control changes used are the same as in Program mode. The pan (CC#8), send 1 and 2 settings you make here will be used when the song is played or recorded from the beginning. If you change the settings while recording, the changes will be recorded as part of the musical data, and the settings will change when the data is played back. You can also change these settings during playback. However if pan (CC#8), send 1, or 2 data has been recorded, the settings will change accordingly.

If “Status” (2–1a/2a) is either INT or BTH, CC#8, CC#93, and CC#91 can be received to control the pan following the insert effect, send 1, or send 2 respectively, and change their settings. When you switch songs or return to the beginning of the song, tracks whose “Status” is BTH, EXT, or EX2 will transmit these settings via MIDI. This data will be transmitted on the MIDI channels speciﬁed in the IFX 1–5 pages (8–4 – 8–

8).

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

Sequencer P9: Master Effect

☞ For details on the master effects, refer to p.182 “8. Effect

Guide.”

8–8: IFX 5

Set the parameters for the effects selected for IFX 1–5 in the Insert FX page (☞p.187–).

8–1 8–4a

8–4(~8)a: Ctrl Ch [Ch01...16, All Routed]

Selects the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect (CC#8), Send 1 (CC#93), and Send 2 (CC#91).

An asterisk “*” will appear at the right of the channel number Ch01–16 for tracks that are routed through these IFX. If you have routed multiple tracks that have differing MIDI channel settings, you can specify here which of these channels will be used to control the effect. All Routed: Control can be performed from any of the MIDI channels of the tracks that are routed.

If you have selected DKit as the “BUS Select” (8–1b/ 2b) of a track for which a drum program is selected, the MIDI channel of that timbre will be valid if All Routed is selected for any one of IFX 1–5, regardless of the “BUS Select” (Global P5: 5–2b) setting of the drum kit, or of the setting of the “DrumKit IFX Patch” page menu command.

9–1: Master FX

Here you can select the type of master effects, turn them on/ off, and make chain and master EQ settings. These parameters are the same as in Program mode. ☞“Program 9–1: Master FX (Master Effects)”

9–1

9–1a

Sequencer

9–1c

9–1b

P0 P1 P2 P3 P4 P5 P6 P7 P8 P9

▼ 9–1: Page Menu Command

0–1A 9–1A 9–1B 0–1I 0–1J

9–1A: Copy Master Effect

☞ “Program P9: 9–1A: Copy Master Effect.” However, the MIDI contr ol channel speciﬁed in “Ctrl Ch” of the MFX 1 and 2 pages will not be copied.

9–1B: Swap Master Effect

☞ “Program P9: 9–1B: Swap Master Effect.” However, the MIDI contr ol channel speciﬁed in “Ctrl Ch” of the MFX 1 and 2 pages will not be swapped.

9–2: MFX 1 9–3: MFX 2

Here you can set the parameters of the MFX 1 and 2 effects that were selected in the Master FX page (☞p.187–).

9–1 9–2a

9–2(3)a: Ctrl Ch

Ctrl Ch [Ch01...16, Gch]

Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master effects. If Gch is selected, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used.

9–4: Master EQ

The master EQ is a three-band stereo EQ. It is used to perform overall equalizing (tonal adjustment) on the sound from the L/R bus immediately before it is output to AUDIO OUTPUT (MAIN OUT) L/MONO and R (☞p.239).

0–1A 9–4a

9–4a: Ctrl Ch

Ctrl Ch [Ch01...16, Gch]

Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master EQ. If Gch is selected, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used.

The MEQ High Gain and MEQ Low gain can be controlled by assigning a modulation source to the “Low Gain ModSrc:” and the “High Gain Mod-Src:” functions on this page.

4. Sampling mode

An overview of sampling on the TRITON STUDIO

On the TRITON STUDIO, 48 kHz stereo 16-bit samples from an external device connected to the AUDIO INPUT jacks, S/ P DIF IN jack, or mLAN connector (if the EXB-mLAN option is installed) can be recorded into the internal sample memory (RAM) or to the internal hard drive. At this time, analog signals will be converted into digital signals, and digital signals will be recorded while still in digital form. A performance using the TRITON STUDIO’s ﬁlters, effects, arpeggiator, and sequencer can be resampled.

The TRITON STUDIO comes with 16 Mbytes of sample memory (RAM) and an internal hard disk. (☞For the capacity of the hard disk, refer to BG p.153) The 16 Mbytes of sample memory (RAM) allow you to sample approximately 2 minutes 54 seconds in mono, or approximately 1 minute 27 seconds in stereo. By adding additional 72-pin SIMM boards, you can expand the memory to a maximum of 96 Mbytes (when the standard 16 Mbytes are replaced by three 32 Mbyte SIMM boards). In this case, you will be able to record up to six samples that are each approximately 2 minutes 54 seconds each for mono (or approximately 1 minute 27 seconds for stereo). (☞For details on the 72-pin SIMM boards that can be used, and how to install them, refer to p.286) When sampling to the hard drive, a single sample ﬁle can be up to 80 minutes long for either stereo or mono (mono: approximately 440 Mbyte, stereo: approximately 879 Mbyte). This will create a WAVE ﬁle. The TRITON STUDIO supports a wide range of sources and formats as described below.

Sampling mode

1. An analog audio signal from a mic or audio device connected to the AUDIO INPUT jacks can be converted into a digital signal and sampled. An insert effect can also be applied while sampling.

2. A digital audio signal from a digital audio device connected to the S/P DIF jack can be sampled directly. An insert effect can also be applied while sampling. Sample rates of 48 kHz and 96 kHz are supported for the S/P DIF input and output. 96 kHz sample rate data will be converted into 48 kHz when it is sampled.

3. A digital audio signal from a digital audio device connected to the mLAN connector (if the EXB-mLAN option is installed) can be sampled directly. An insert effect can also be applied while sampling.

4. The analog audio output signal from an audio CD inserted into the CDRW-1 option (if installed) is internally connected to the AUDIO INPUT jacks. The CD can be played back on the TRITON STUDIO, and the analog audio signal converted into a digital signal and sampled. (If you are using a CD-R/RW drive connected to the SCSI connector, use a cable to connect it to the AUDIO INPUT jacks.)

5. A digital audio signal from an audio CD played back on the CDRW-1 option (if installed) or a CD-R/RW drive connected to the SCSI connector can be sampled directly (the Ripping function).

6. Resampling can be performed by applying insert effects to one or more existing samples, and once again sampling them internally. You can select either “Auto,” wher e insert effect processing will be performed automatically on the sample you specify, or “Manual,” where you can manually apply an insert effect and play the sample manually for resampling.

Program, Combination, and Sequencer modes

1. A performance that uses the various functions of each mode (ﬁlters, effects, arpeggiator, sequencer, etc.) can be resampled. (☞Program: p.4, Combination: p.36, Sequencer: p.49, 56)

2. External audio sources can be sampled from the various input jacks (see “Sampling mode” paragraphs 1, 2, and 3, above). At this time, you can mix your playing on the TRITON STUDIO with the external audio, or monitor your playing on the TRITON STUDIO while sampling only the external audio from the input jacks. You can also add the master effects when sampling.

3. In Sequencer mode, you can sample an external audio source while the sequencer song plays back, and the appropriate note data will automatically be created in a track. This lets you sample vocals or guitar while the sequencer is running, just as though you were using a multi-track recorder. (In-Track Sampling function)

Samples recorded in Sampling mode, or in the Program, Combination, and Sequencer modes can be used as waveforms for the tone generator. Samples recorded to sample memory (RAM) can be used as tone generator waveforms. Samples recorded to the hard disk (WAVE ﬁles) can be loaded into sample memory (RAM) and used as tone generator waveforms. WAVE ﬁles can also be written to the CDRW-1 option (if installed) or a CD-R/RW drive connected to the SCSI connector, to create an audio CD.

Individual samples (WAVE ﬁles) from the hard disk up to 16 Mbyte in size for mono or 32 Mbyte for stereo (if the sample memory has been expanded to 32 Mbyte or more) can be loaded into sample memory (RAM).

Editing in Sampling mode

In Sampling mode, sample data created via sampling or loaded from media (including WAVE or AIFF formats) can be assigned to indexes (zones) to create a multisample. One multisample can contain multiple indexes. A multisample you create can easily be converted into a pr ogram (☞“Convert MS to Program” 0–1G). When a multisample is converted, the ﬁlter, amp, and effect settings will automatically be created with the program. The program can also be used in Combination mode or Sequencer mode. A sample can also be used as a drum sample in a drum kit.

Index 001

0000: Sample A

Multisample

Sample

Index001 Top Key

Index 002

0001: Sample B

Drum Kit

Multisample

Index002 Top Key

Index003 Top Key

Index 003

0002: Sample C

Program OSC (Single/Double)

Program OSC (Drums)

Index 004

0003: Sample D

Index004 Top Key

Sampling

P0 P1 P2 P3 P4 P5 P8

Regardless of the page you are in, the selected multisample or sample will sound when you play the keyboard, allowing you to hear the edited content of that page.

When you turn off the power, all multisample and sample data in Sampling mode will be lost. Before you turn off the power, be sure to save important data to ﬂoppy disk, hard disk, CD-R/RW or external SCSI device (☞BG p.60). When the TRITON STUDIO is turned on, memory will contain no multisamples or samples, so you will ﬁrst need to load previously-saved data before you can playback or edit it.

There is no Compare function that allows you to restore sample data to the state it was in before it was edited. If you wish to preserve the unedited state of the data, use “Copy MS” (0–1E) or “Copy Sample” (0–1B) etc. to make a copy of the multisample or sample before you begin editing.

In some of the page menu commands in P1 or P2, you can uncheck the “Overwrite” item in the dialog box so that the unedited sample data will be preserved even after you execute the command (☞1–1: Page Menu Command “About Overwrite”).

When executing a sample edit operation or when you ﬁnish recording a stereo sample, you may hear a slight noise. This does not affect the audio data that has been edited or sampled.

Cautions regarding sample data

• The sample data memory areas Bank 1–6 each contain 16 Mbyte. Of this 16 Mbyte (8,388,608 samples), sixteen samples (the first and last eight samples) are used as internal work area.

• The first and last samples of each sample are used as internal work area. These two samples are added automatically when a sample is recorded or when an .AIFF or .WAVE file is loaded. This means that if you record a sample of one second, this will result in 48,000 samples of data, but four samples will be added to this, so that sample memory (RAM) will actually contain 48,004 samples of data.

If “Auto Optimize RAM” (Global P0: 0–3b) is on, and the writing destination for sampling data is RAM, the sample memory (RAM) will automatically be optimized after the data has been written. This is turned on by default, but you may switch it on/off as necessary. (☞“Optimize RAM” 0–1M)

Sampling P0: Recording

Here you can set the input level and make other basic settings for sampling (sample recording), and make basic settings for multisamples and samples.

Normally you will record samples in this page.

0–1: Recording

Here you can select the multisample that you wish to record, specify the index sample, make settings, select the memory bank, and adjust the ﬁnal level of the input signal.

0–1

0–1a

0–1b

0–1c

0–1d

0–1a: MS, Index, Keyboard & Index

MS (Multisample Select) [000...999]

Selects the multisample. Each multisample consists of the samples for one or more indexes (an “index” is a range or zone of keys). This parameter can also be set from P1–P3.

To create a new multisample,

1 Press the “MS” popup button to access the popup menu,

and select a number for which the multisample name is blank. Alternatively, use the numeric keys [0]–[9] to specify a new multisample number, and press the [ENTER] key. When you select a new multisample number, the “Create New Multisample” dialog box will appear.

2 If you wish to create a stereo multisample, check “Ste-

reo.”

3 To create the multisample, press the OK button. To can-

cel, press the Cancel button. A multisample will be created as follows (example).

Mono type 001: NewMS_ _ _ _ _ _001 Stereo type 001: NewMS_ _ _ _ _ _001-L

001: NewMS_ _ _ _ _ _001-R

Index [xxx (001...128)/yyy (001...128)]

Selects the index for which you wish to sample. Each zone in a multisample is called an “index.” For example on the 61 note keyboard, a multisample could be divided into six zones of one octave (12 keys) each. Each of these zones is referred to as an “index.” You will assign a sample to each of these indexes.

xxx: The selected index. Choose the desired index. yyy: The total number of indexes in the multisample.

You can also select an index by holding down the [ENTER] key and playing a note on the keyboard. The index that includes this note will be selected. The key you specify will be the base key, and will be displayed in gray in “Keyboard & Index” (☞“Keyboard & Index”).

This parameter can also be set from P1: Sample Edit, P2: Loop Edit, or P3: Multisample. Sampling and editing in the respective page will apply to the index that you select here.

When the power is turned on, this index will default to 001/

001. This indicates that only one index exists. T o incr ease the number of indexes, use “Create” in this page. When you press the Create button, indexes will automatically be added from the left-most zone, as 002/002, 003/003, ... (The position, zone width, and original key location of the index that is created when you press the Create button can be set in Create Zone Preference (0–3a, 3–2a). You are also free to modify the zone width and original key location later.)

Keyboard & Index

Original Key (currently selected Original Key is reversed)

Index zone (currently selected Index is reversed)

Index01 Index02 Index03 Index04 Index05

C4 key

Lowest note of the displayed keyboard

By holding down the [ENTER] key and playing a note, you can select the corresponding index, and the specified key will be the base key and will be shown in gray.

Keyboard range

This displays the zones and original keys of the selected multisample. The black triangle shows the keyboard range, and the white triangle shows the C4 key. The note numbers at left and right show the keyboard note range that is displayed.

The base key (displayed in gray)

• In P1: Sample Edit you can press the SAMPLING [START/STOP] key to play the sample of the selected “Index” in one-shot mode from “Edit Range Start”–“Edit Range End.” At this time, the sample will sound at the pitch of the base key.

• Playback in the grid display of P1 and P2 will be according to the playback pitch of the base key selected here, and the specified tempo BPM/resolution (set in P1 and P2).

• The “Pitch BPM Adjust” (3–1A) function is based on the playback pitch of the base key you specify here.

You can use the “Keyboard Display” (0–1J) page menu command to change the displayed range of the keyboard.

Highest note of the displayed keyboard

----: ---No Assign----: No sample is assigned to the index. There will be no sound when you play the keyboard. To record a sample, select a vacant sample such as 0000:. When you record a sample, data will be loaded into the selected sample. The sample name (such as NewSample_0000) will be shown beside the number. This sample name can be modiﬁed using the “Rename Sample” (0–1C) page menu command. You can also record a sample even when ----:---No Assign---

- is displayed. In this case, a sample number will be selected automatically. Even if you record to a sample that already contains data, the selected sample will not be overwritten –the data will automatically be sampled to a vacant sample, and the newly recorded sample will replace the previous sample in the index. If you wish to delete a sample, execute the “Delete Sample” (0–1A) page menu command.

When you press the popup button, the thousand samples that include the selected sample will be displayed. To select the thousand’s place, use the VALUE controllers.

OrigKey (Original Key) [C–1...G9]

Speciﬁes the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key. For example, suppose that you recorded a sample with “OrigKey” of F2. When the zone of the index is C2–B2, pressing the F2 key would playback the sample at its original pitch. Pressing F#2 would playback the sample a semitone higher. Pressing E2 would playback the sample a semitone lower. The pitch of this sampled sound will change in semitone steps between C2 and B2, centered at F2. The original key location can also be viewed in “Keyboard & Index.”

If “Constant Pitch” (3–1b) is checked, the sample will be sounded at its original pitch by all notes in the zone.

TopKey (Top Key) [C–1...G9]

Speciﬁes the highest key in the zone of the index. The zone is deﬁned by this “Top Key.” For example, suppose that you set a “TopKey” of B2 for index 001/002, and a “TopKey” of B3 for index 002/002. This means that the zone of index 001 will be B2 and lower, and the zone of index 002 will be C3–B3.

Range

This indicates the zone (area) that was determined by the “TopKey” setting. The sample selected by “Sample Select” will sound in this area. The zone for each index can also be viewed in “Keyboard & Index.”

Sampling

P0 P1 P2 P3 P4 P5 P8

0–1b: Sample Select, OrigKey, TopKey, Create

Here you can set the sample, original key, and range of the selected index.

Sample Select [----: ---No Assign----, 0000...3999]

Selects a sample that you sampled or loaded in Disk mode, and play a note within the index range to sound that sample.

This parameter can also be set from P1–P3 (Multisample pages). Sampling and editing in the respective page will apply to the sample you select here.

Create

This creates an index. Use this when you wish to add a sample to a multisample. When you press the Create button, a new index will be created according to the Create Zone Preference (0–3a, 3–2a) parameters “Position,” “Zone Range,” and “Original Key Position.” If you wish to delete an index or exchange indexes, use P3: Multisample.

If when you execute “Create” (0–1b, 3–1c) or “Insert” (3–1c) it is not possible to create a new index according to your Create Zone Preference settings, one of the following dialog boxes will appear. If you wish to create a new index, perform the following procedure.

• Set Top Key: Select “Index” 001, set “Position” (0–3a, 3–2a) to Left (to Selected Index), and execute “Create”

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

3–5: Filter2 3–6: Filter2 Mod. 3–7: Filter2 LFO Mod. 3–8: Filter2 EG

Program P4: Edit–Amp

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

Program P5: Edit–Common LFO

5–1: OSC1 LFO1

5–4: OSC2 LFO2

Program P7: Edit–Arpeggiator

7–1: Arpeg. Setup

5–2: OSC1 LFO2

5–3: OSC2 LFO1

Program P8: Edit–Insert Effect

7–2: Scan Zone

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

Program P9: Edit–Master Effect

9–1: Master FX

9–2: MFX 1 9–3: MFX 2

9–4: Master EQ

2. Combination mode

Combination P0: Play

0–1: Prog. Select (Program Select)

0–2: Mixer

0–3: Arpegg. A (Arpeggio Play A) 0–4: Arpegg. B (Arpeggio Play B)

0–5: Sampling

Combination P1: Edit–Program/Mixer

1–1: Program/Mixer

Combination P2: Edit–Trk Param

2–1: MIDI Channel (MIDI Ch)

2–2: OSC

2–3: Pitch

2–4: Other

Combination P3: Edit–MIDI Filter

3–1: MIDI 1 (MIDI Filter –1)

3–2: MIDI 2 (MIDI Filter –2)

3–4: MIDI 4 (MIDI Filter –4)

3–3: MIDI 3 (MIDI Filter –3)

Combination P4: Edit–Zone/Ctrl

4–1: Key Z (Key Zone)

4–2: Vel Z (Vel Zone)

4–4: Controller (Control)

4–3: MOSS Setup (MOSS)

Combination P7: Edit–Arp.

7–1: Setup

7–4: Scan Zone (Scan Zone A/B)

7–2: Arpegg. A (Arpeggiator A) 7–3: Arpegg. B (Arpeggiator B)

Combination P8: Edit–Insert FX

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

Combination P9: Edit–Master FX

9–1: Master FX

9–2: MFX 1 9–3: MFX 2