Korg Trinity Parameter Manual
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Korg Trinity Parameter Manual

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  • Page 2 IMPORTANT SAFETY INSTRUCTIONS WARNING — When using electrical products, basic precautions should be followed, including the following: 1. Read all the instructions before using the 8. The power-supply cord of the product should be product. unplugged from the outlet when left unused for a long period of time.
  • Page 3 Back-up Battery The TRINITY uses a back-up battery to prevent memory loss when the power is turned off. If the display shows “Battery Low”, the battery should be replaced. Consult the nearest Korg Service Center or dealer. TRINITY Series Precaution Data in memory may sometimes be lost due to incorrect user action.
  • Page 4 V3 proX. If the Solo synthesizer option is installed in your instrument, read any references to “bank M” as “bank S.” * In the TRINITY’s manuals, parameter names, values are merely examples and may not always match the actual display you are working on.
  • Page 5 How to use this Parameter Guide How to use this Parameter Guide The explanatory material in this manual is formatted as follows. (Example) • Other symbols used in this manual This symbol appears at the left of explanatory material related to MIDI. This mark appears at the right of the parameter name for parameters which can be selected as a source for Alternate Modulation.

  • Page 6: Table Of Contents

    Table of Contents Table of Contents 1. Program Play mode ........... .1 Program Play P1 .
  • Page 7 Table of Contents 7–1: Effect Grouping ..........69 7–2: Insert Effects (Timbre 1–8 Effects) .
  • Page 8 Table of Contents 4–1: Category Program A ..........141 4–2: Category Program B.

  • Page 9: Program Play Mode

    TRI option is installed. For details refer to the Basic Guide, page 9, “[BANK] key”. If no optional items have been installed, the TRINITY provides 256 programs (0–127 in each bank A and B). The TRINITY V3, the TRINITY V3 pro, and the TRINITY V3 proX provide 320 programs (0–127 in each bank A and B, and 0–63 in bank M).
  • Page 10 MIDI Exclusive messages each time you operate the Performance Editor. If these messages are received by another TRINITY series instrument (on which the Enable Exclu- sive parameter is checked), that instrument will execute the corresponding Performance Editor operations.
  • Page 11 1–1: Program Play Page Menu Command 1–1A: Update Program This writes the edited program into the currently selected program number. Be sure to write important programs. If you turn the power off or select another program before writing the data, it cannot be recovered. Refer to Basic Guide page 23, “9.
  • Page 12 1–1: Program Play...

  • Page 13: Program Edit Mode

    1–1: Prog Basic (Program Basic) 2. Program Edit mode Program Edit P1 Here you can make basic settings for a program, and make basic settings for the oscillator(s) that will be used. 1–1: Prog Basic (Program Basic) Page Menu 1–1a 1–1A 1–1b 1–1B...
  • Page 14 1–1: Prog Basic (Program Basic) If drums is selected, the program uses 1 oscillator as when single is selected, but a drum kit will be used instead of a multisample for Oscillator 1. 1–1d: Assign/Hold Assign Mono If Mono is checked, the program will be monophonic. If Mono is not checked, the program will be polyphonic.
  • Page 15 Portamento Off will have no effect unless you are using a program from bank M (selected in Program Play mode). On a TRINITY in which the MOSS-TRI option is not installed, the Porta- mento OFF is just to turn portamento on/off on an external device.
  • Page 16 1–1: Prog Basic (Program Basic) Page Menu Command 1–1A: Write Program This command writes an edited program into the specified program number of the specified bank. Be sure to write important programs. If you turn the power off or select a different program before writing, the data cannot be recovered.

  • Page 17: 1-2: Osc Basic (Oscillator Basic)

    1–2: OSC Basic (Oscillator Basic) 1–2: OSC Basic (Oscillator Basic) Here you can select the multisample or drum kit (the basic waveform that is the core of the pro- gram) used by oscillators 1 and 2. 375 types of multisamples and 12 types of drum kits are avail- able for selection.
  • Page 18 1–2: OSC Basic (Oscillator Basic) Transpose [–12…+12] Sets the pitch in chromatic steps over a range of ±1 octave. Tune [–1200…+1200] Adjusts the pitch in units of 1 cent (a chromatic step = 100 cents) over a range of ±1 octave. To change the pitch more than a chromatic step, you will normally use the Transpose setting.
  • Page 19 1–2: OSC Basic (Oscillator Basic) Page Menu Command 1–2A: Write Program This command writes an edited program into the specified program number of the specified bank. Be sure to write important programs. If you turn the power off or select a different program before writing, the data cannot be recovered.

  • Page 20: Program Edit P2

    2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation) Program Edit P2 The TRINITY series contains two oscillators. Here you can make pitch modulation settings for oscillators 1 and 2. 2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation) These settings determine the relation between keyboard position and the pitch of oscillator 1 (“2–...
  • Page 21 2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation) 2–1c: JS (+X) These settings determine how the pitch will change when the joystick is moved toward the right. Intensity [–60…+12] 12 units are equal to one octave. For example if this is set to +12 and you move the joystick all the way to the right, the pitch will rise one octave.
  • Page 22 2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation) 2–1f: Oscillator EG These settings (Intensity, Velocity, and Alternate Modulation) affect the depth of the pitch modula- tion produced by the oscillator EG settings of “2–5: OSC EG.” Intensity [–12.00…+12.00] With a setting of 12.00, the change will be a maximum of ± one octave. Velocity [–99…+99] With positive (+) settings, the pitch change will increase beyond the width specified by Intensity...
  • Page 23 2–1: OSC1 Pitch Mod (Oscillator Pitch Modulation) JS(+Y) (Joy Stick (+Y)) [0…99] Higher settings of this value will cause more modulation to be applied by the oscillator 1 LFO when the joystick is pushed away from you. Aftertouch [0…99] Higher settings of this value will cause more pitch modulation to be applied by the oscillator 1 LFO when pressure is applied to the keyboard.

  • Page 24: 2-2: Osc1 Lfo (Oscillator 1 Lfo)

    2–2: OSC1 LFO (Oscillator 1 LFO) 2–2: OSC1 LFO (Oscillator 1 LFO) Here you can make settings for the LFO that applies cyclic changes (vibrato) to the pitch of oscilla- tor 1. The depth of the effect that these LFO settings will have on the pitch of oscillator 1 is adjusted in “2–1g: Oscillator 1 LFO”...
  • Page 25 2–2: OSC1 LFO (Oscillator 1 LFO) Offset [–99…+99] With a setting of 0, vibrato will be applied while keeping the original frequency (at Note-on) at the center of the vibrato. With a setting of +99, vibrato will be applied only in the upward direction, similar to the way in which vibrato occurs on a guitar.
  • Page 26 2–2: OSC1 LFO (Oscillator 1 LFO) 2–2c: Frequency Modulation These settings (KeyTrack, JS(+Y), Alternate Modulation) affect the speed of the oscillator 1 LFO. KeyTrack (Keyboard Tracking) [–99…+99] With positive (+) settings, the oscillator 1 LFO will become faster as you play higher on the key- board.
  • Page 27 2–2: OSC1 LFO (Oscillator 1 LFO) Page Menu Command 2–2A: Write Program This command writes an edited program into the specified program number of the specified bank. Be sure to write important programs. If you turn the power off or select a different program before writing, the data cannot be recovered.

  • Page 28: 2-3: Osc2 Pitch Mod (Oscillator 2 Pitch Modulation)

    2–3: OSC2 Pitch Mod (Oscillator 2 Pitch Modulation) 2–3: OSC2 Pitch Mod (Oscillator 2 Pitch Modulation) This page will be displayed if “1–1c: Oscillator Mode” is set to double. Makes settings related to keyboard and pitch, and for the six controllers which can affect the pitch of oscillator 2.

  • Page 29: 2-5: Osc Eg (Oscillator Envelope Generator)

    2–5: OSC EG (Oscillator Envelope Generator) 2–5: OSC EG (Oscillator Envelope Generator) This page contains settings for the oscillator EG that creates time-variant changes in the pitch of oscillators 1 and 2. The depth of the pitch change produced by this EG is adjusted in “2–1f(2–3f): Oscillator EG.”...
  • Page 30 2–5: OSC EG (Oscillator Envelope Generator) 2–5b: Time Modulation Specifies how the OSC EG Times set in “2–5a: OSC EG” will be affected by Velocity and Alternate Modulation. Velocity [–99…+99] With positive (+) settings, Oscillator EG times will become shorter as you play more strongly. With negative (–) settings, Oscillator EG times will become longer as you play more strongly.
  • Page 31 2–5: OSC EG (Oscillator Envelope Generator) Page Menu Command 2–5A: Write Program This command writes an edited program into the specified program number of the specified bank. Be sure to write important programs. If you turn the power off or select a different program before writing, the data cannot be recovered.

  • Page 32: Program Edit P3

    3–1: Filter 1 A/B (Filter 1A/Filter 1B) Program Edit P3 The TRINITY series provides two filters; filter 1 for oscillator 1, and filter 2 for oscillator 2. Each of these filters actually consists of two filters; i.e., filter 1A and 1B, and filter 2A and 2B.
  • Page 33 3–1: Filter 1 A/B (Filter 1A/Filter 1B) Filter Type and Cutoff Frequency Low Pass This filter cuts the frequencies higher Level than the cutoff frequency. This is the most commonly used type of filter, and can brighten or darken the sound by cutting the overtones.
  • Page 34 3–1: Filter 1 A/B (Filter 1A/Filter 1B) The result of applying Resonance Level Low Pass Level High Pass Level Band Pass Level Band Reject Low Resonance setting High Resonance setting 3–1c: Filter 1B These parameters will be displayed if “1–1c: Oscillator mode” is set to double, and “3–1a: Rout- ing”...
  • Page 35 3–1: Filter 1 A/B (Filter 1A/Filter 1B) 3–1D: Copy Filter This command copies the settings of filter 1A to filter 1B, or the settings of filter 1B to filter 1A. 3–1E: Sync Filter AB (check command) If this is checked, filters 1A and 1B will be edited simultaneously. (When you edit one filter, the settings of the other filter will also change.) By setting “3–1a: Routing”...

  • Page 36: 3-2: Filter 1 Mod (Filter 1 Modulation)

    3–2: Filter 1 Mod (Filter 1 Modulation) 3–2: Filter 1 Mod (Filter 1 Modulation) Here you can modify the sound by applying modulation to the cutoff frequency of filter 1 (oscilla- tor 1). This tab page will be displayed if “3–1a: Routing” has a setting other than thru. If this setting is single, the parameters for filter 1B will not be displayed.
  • Page 37 3–2: Filter 1 Mod (Filter 1 Modulation) How keyboard position and the Ramp settings affect the cutoff frequency Cutoff Frequency High Ramp=+99 High Ramp=+62 High Ramp=0 High Ramp=–43 Low Ramp=–99 High Ramp=–99 Low Ramp=–43 Low Ramp=0 Low Ramp=+62 High Key Low Key Low Ramp=+99 JS (X) (Joy Stick (X))
  • Page 38 3–2: Filter 1 Mod (Filter 1 Modulation) Velocity To 1A [–99…+99] With positive (+) settings, the Filter 1 EG will change the cutoff frequency more greatly as you play more strongly. With negative (–) settings, the Filter 1 EG will operate in inverted polarity to change the cutoff fre- quency more greatly as you play more strongly.
  • Page 39 3–2: Filter 1 Mod (Filter 1 Modulation) Intensity To A [–99…+99] Adjust the depth with which the Filter 1 LFO will affect the cutoff frequency of Filter 1A. With negative (–) settings, the polarity will be inverted. Intensity To B [–99…+99] Refer to the above explanation for “Intensity To A.”...

  • Page 40: 3-3: Filter 2 A/B (Filter 2A/Filter 2B)

    3–3: Filter 2 A/B (Filter 2A/Filter 2B) 3–3: Filter 2 A/B (Filter 2A/Filter 2B) This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can make settings to specify how filters 2A and 2B are connected, and their basic set- tings.

  • Page 41: Program Edit P4

    4–1: Filter 1 EG Program Edit P4 The TRINITY series provides a Filter EG and a Filter LFO that can modulate the cutoff frequency of the filters in filter 1 and 2. Filter settings are made in Program Edit P3 and P4.
  • Page 42 4–1: Filter 1 EG Slope (Slope Time) [0…99] Specifies the time from when the Decay Time elapses until the Sustain Level is reached. Release (Release Time) [0…99] Specifies the time from Note-off until the Release Level is reached. Note-off Sustain Level Attack Level Note-on Release Level...
  • Page 43 4–1: Filter 1 EG Changes in Time (all four parameters with positive (+) settings) Note-on Note-on Note-on Note-off Note-off Note-off Strongly played note Filter EG settings Softly played note Alternate Modulation Unlike the modulation settings that allow Keyboard Tracking and Velocity to affect EG times, Alternate Modulation cannot be set independently for each EG Time (Attack/Decay/Slope/ Release Time).
  • Page 44 4–1: Filter 1 EG Page Menu Command 4–1A: Write Program This command writes an edited program into the specified program number of the specified bank. Be sure to write important programs. If you turn the power off or select a different program before writing, the data cannot be recovered.

  • Page 45: 4-2: Filter 1 Lfo

    4–2: Filter 1 LFO 4–2: Filter 1 LFO Here you can make settings for the LFO that applies cyclic changes to the cutoff frequency of filter 1 (wah effect). The depth of the effect that these LFO settings will have on the cutoff frequency of filter 1 is adjusted in “3–2d: Filter LFO”.
  • Page 46 4–2: Filter 1 LFO With negative (–) settings, this will set the LFO Fade Out Time; i.e., the time over which the LFO amplitude decreases from maximum down to 0. If KeySync is Off, this will affect only the first-started LFO. 4–2c: Frequency Modulation These settings allow Alternate Modulation to affect the speed of the filter 1 LFO.

  • Page 47: 4-3: Filter 2 Eg

    4–3: Filter 2 EG 4–3: Filter 2 EG This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can make settings for the filter EG that will create time-variant changes in the cutoff fre- quency of filter 2. Refer to “4–1: Filter 1 EG”.

  • Page 48: Program Edit P5

    5–1: Amp 1 Mod (Amplifier 1 Modulation) Program Edit P5 The TRINITY series provides two amps; amp 1 for oscillator 1, and amp 2 for oscillator 2. 5–1: Amp 1 Mod (Amplifier 1 Modulation) Here you can make settings for the volume of oscillator 1 and how it will change.
  • Page 49 5–1: Amp 1 Mod (Amplifier 1 Modulation) • High (Higher Ramp) [–99…+99] With positive (+) settings, playing above the specified High note number (Keyboard Track Key) will produce progressively louder levels, and with negative (–) settings will produce progressively quieter levels. The effect of keyboard position and Ramp settings Amplitude Low Ramp=–99...
  • Page 50 5–1: Amp 1 Mod (Amplifier 1 Modulation) 5–1c: Send/Pan Send and Pan values are applied at each Note-on. Send Send 1/Send 2 [0…127] This sets the input level for the master effects when an insert effect is not used. If you are using an insert effect, set the master effect input level using the “6–1b: Width/Send 1,2” Send 1,2 parameter.
  • Page 51 5–1: Amp 1 Mod (Amplifier 1 Modulation) Page Menu Command 5–1A: Write Program This command writes an edited program into the specified program number of the specified bank. Be sure to write important programs. If you turn the power off or select a different program before writing, the data cannot be recovered.

  • Page 52: 5-2: Amp 1 Eg (Amplifier 1 Eg)

    5–2: Amp 1 EG (Amplifier 1 EG) 5–2: Amp 1 EG (Amplifier 1 EG) These settings determine how the volume of oscillator 1 will change over time. Page Menu 5–2A 5–2a 5–2B 5–2C 5–2b 5–2D 5–2c 5–2a: Amplifier EG Makes Level and Time settings to specify the time-variant change produced by the amp EG. Level Start (Start Level) [0…99]...
  • Page 53 5–2: Amp 1 EG (Amplifier 1 EG) 5–2b: Time Modulation Specifies how the EG times of amp 1 EG specified in “5–2a: Amplifier EG” will be modified by Keyboard Tracking, Velocity, and Alternate Modulation. Keyboard Tracking With positive (+) settings, amp EG times will become shorter as you play notes higher than C4. With negative (–) settings, EG times will become longer as you play notes higher than C4.
  • Page 54 5–2: Amp 1 EG (Amplifier 1 EG) For details on how Alternate Modulation and the other AMS functions operate, refer to page 157 “8. Appendix” in this manual and to page 33 “About alternate modulation” in the Basic Guide. 5–2c: Level Modulation These settings affect the amp 1 EG levels that are set in “5–2a: Amplifier EG”.

  • Page 55: 5-3: Amp 2 Mod (Amplifier 2 Modulation)

    5–3: Amp 2 Mod (Amplifier 2 Modulation) 5–3: Amp 2 Mod (Amplifier 2 Modulation) This page will be displayed if “1–1c: Oscillator Mode” is set to double. Here you can specify the volume of oscillator 2. 5–4: Amp 2 EG (Amplifier 2 EG) This page will be displayed if “1–1c: Oscillator Mode”...

  • Page 56: Program Edit P7

    7–1: Insert Effects Program Edit P7 7–1: Insert Effects Here you can make settings for the insert effects. The graphic at left is the LCD screen when “1–1c: Oscillator Mode” is set to single or double. The graphic at right is the LCD screen when “1–1c: Oscillator Mode” is set to drums. Page Menu 7–1A 7–1B...
  • Page 57 7–1: Insert Effects 7–1c: Insert Effect Setting Selects the insert effects used by the drumkit. Settings for each drum sound for insert effect on/off and Inst 1–4 (these will be the [E1]–[E4] inputs) are made in Global mode “5–1: Drumkit” (page 143 in this manual). The check boxes in the left of the LCD screen specify the connections of [E1]–[E4].

  • Page 58: 7-2: Edit E1 (Edit Insert Effect 1)

    7–2: Edit E1 (Edit Insert Effect 1) 7–2: Edit E1 (Edit Insert Effect 1) 7–3: Edit E2 (Edit Insert Effect 2) 7–4: Edit E3 (Edit Insert Effect 3) 7–5: Edit E4 (Edit Insert Effect 4) These pages will be displayed if an insert effect is selected in “7–1a: Insert Effect Setting”. Here you can make settings for insert effect parameters.

  • Page 59: Program Edit P8

    Here you can make master effects settings, and set the levels of the effects that are output from the output jacks of the TRINITY (1/L/MONO, 2/R, 3, 4). Pan L and Pan R are the pan settings set in “7–1: Insert Effect”.
  • Page 60 8–1: Master Effects 8–1d: Low/High Gain Adjust the tone of the audio signals output from the output jacks 1/L/MONO and 2/R, in [dB]. Low Gain [–18.0…+18.0] Adjusts the level of the low frequency range. High Gain Adjusts the level of the high frequency range. Page Menu Command 8–1A: Write Program This writes the edited program into the currently selected program number.

  • Page 61: 8-2: Edit E1 (Edit Master Effect 1 [Modulation])

    8–2: Edit E1 (Edit Master Effect 1 [Modulation]) 8–2: Edit E1 (Edit Master Effect 1 [Modulation]) 8–3: Edit E2 (Edit Master Effect 2 [Reverb/Delay]) Here you can make settings for master effect parameters. This will be displayed when you have selected a modulation-type or reverb/delay-type effect for [Modulation] or [Reverb/Delay] in “8–1a: Master Effect Setting”.
  • Page 62 8–2: Edit E1 (Edit Master Effect 1 [Modulation])

  • Page 63: Combination Play Mode

    The number of combinations available on the TRINITY series will depend on whether the Play- back Sampler/Flash ROM option is installed. For details refer to page 9 of the Basic Guide. If no options have been installed, the TRINITY allows you to select 256 combinations (0–127 for each bank A and B).
  • Page 64 If this is un-checked to turn it Off, the volume of each timbre can be adjusted separately. When you select a combination on the TRINITY, the combination number will be transmitted on the Global MIDI channel you specified for program changes in the Global mode setting “1–1c: MIDI Channel”.

  • Page 65: Combination Edit Mode

    1–1: Timb Param1 (Timbre Parameter 1) 4. Combination Edit mode Combination Edit P1 1–1: Timb Param1 (Timbre Parameter 1) Here you can make basic settings for a combination, and make basic settings for the program used by each timbre. Page Menu 1–1a 1–1b 1–1A...
  • Page 66 129 in this manual). If “1–1d: Timbre Mode” is INT, the timbre will transmit MIDI messages on the channel specified by this setting. If the setting is the same as the Global MIDI channel, the TRINITY’s keyboard will play the internal tone generator.

  • Page 67: 1-2: Timb Param2 (Timbre Parameter 2)

    3 and 4. If the TRINITY receives a MIDI Effect 3 Level message (CC#93) in Combination Play mode when “1–1d: Timbre Mode” is INT, this setting will change. (But only if this parameter is set to 0–127.) 1–2f: Send 2...

  • Page 68: 1-3: Timb Param3 (Timbre Parameter 3)

    1–3: Timb Param3 (Timbre Parameter 3) 1–3: Timb Param3 (Timbre Parameter 3) Here you can make settings that affect how each timbre will sound. Page Menu Refer to “1–1: Timb Param1” 1–3A Data for the selected timbre Timbre No. 1–3c 1–3d 1–3e 1–3c: Hide OSC2...

  • Page 69: Combination Edit P2

    Adjusts the pitch of timbres 1–8 in chromatic steps. A setting of 12 equals one octave. If “1–1d: Timbre Mode” is INT, the pitch sounded by the TRINITY will be affected. If “1–1d: Tim- bre Mode” is EXT, the note number of the MIDI Note message that is transmitted will change.
  • Page 70 2–1: Pitch 2–1e: Bend Range [PRG, –24…+24] Specifies the range (in chromatic steps) of the pitch change that will occur when the pitch bender is operated. With a setting of PRG, the pitch bend range specified by the program will be used. With a setting of –24 to +24, the pitch bend range will be as specified here, regardless of the setting of the program.

  • Page 71: Combination Edit P3

    On the TRINITY, TRINITY V3 and the TRINITY plus, you can specify areas in the range of C2– C7, on the TRINITY V3 pro, TRINITY pro in the range of E1–G7, and on the TRINITY V3 proX, TRINITY proX in the range of A0–C8 (when transpose etc. is not used).
  • Page 72 3–1: Key Zone With a setting of 12, the volume will gradually increase until the key one octave above the Bottom Key will sound at the original volume. With a setting of 60, the volume will gradually increase until the key five octaves above the Bot- tom Key will sound at the original volume.

  • Page 73: 3-2: Velocity Zone

    3–2: Velocity Zone 3–2: Velocity Zone Here you can set the Top/Bottom Velocity to specify the range of velocities at which each timbre 1–8 will sound, and set the Top/Bottom Slope to specify the range in which the volume will change.
  • Page 74 3–2: Velocity Zone 3–2d: Bottom Velocity [1…127] Specifies the lowest velocity value at which each timbre 1–8 will sound. The velocity can also be specified from the keyboard. Volume change as affected by velocity Volume Velocity Bottom Slope Slope Bottom Velocity Top Velocity Page Menu Command 3–2A: Write Combination...

  • Page 75: Combination Edit P4

    MIDI channel of each timbre when you select a combination. If this is un-checked, MIDI Program Change messages will neither be transmitted nor received. The MIDI Program Change message transmit/receive settings for the entire TRINITY are made in Global mode “2–1: Filter, Protect & Data Dump” ( page 136 in this manual).
  • Page 76 TRINITY’s keyboard. If this is un-checked, MIDI Aftertouch messages will neither be transmitted nor received. The MIDI Aftertouch message transmission and reception settings for the entire TRINITY are made in Global mode “2–1: Filter, Protect & Data Dump” ( page 136 in this manual).

  • Page 77: Combination P7

    7–1: Effect Grouping Combination P7 In this page you can make insert effect settings for timbres 1 through 8. 7–1: Effect Grouping Here you can specify effect grouping. The actual insert effects for each timbre are specified in “7–2: Insert Effects” which follows. When you specify insert effects in a combination, the total Effect Size for all timbres must be 8 or less.
  • Page 78 7–1: Effect Grouping Page Menu Command 7–1A: Write Combination This command writes an edited combination into the specified combination number. Be sure to write important combinations. If you turn the power off or select another combination before writ- ing, it will not be possible to recover the edited data. For details refer to Basic Guide page 23, “9.

  • Page 79: 7-2: Insert Effects (Timbre 1-8 Effects)

    7–2: Insert Effects (Timbre 1–8 Effects) 7–2: Insert Effects (Timbre 1–8 Effects) In this page you can make insert effect settings. Page Menu 7–2A 7–2B 7–2a 7–2C 7–2b 7–2a: Insert Effect Settings Select the insert effect used by the timbre. Size [0,1,2,4] The size will determine the insert effects that can be selected.
  • Page 80 7–2: Insert Effects (Timbre 1–8 Effects) Page Menu Command 7–2A: Write Combination This command writes an edited combination into the specified combination number. Be sure to write important combinations. If you turn the power off or select another combination before writ- ing, it will not be possible to recover the edited data.

  • Page 81: 7-3: T1 E1 (Timbre 1-8 Edit Insert Effect 1)

    7–3: T1 E1 (Timbre 1–8 Edit Insert Effect 1) 7–3: T1 E1 (Timbre 1–8 Edit Insert Effect 1) 7–4: T1 E2 (Timbre 1–8 Edit Insert Effect 2) 7–5: T1 E3 (Timbre 1–8 Edit Insert Effect 3) 7–6: T1 E4 (Timbre 1–8 Edit Insert Effect 4) These pages will be displayed if insert effects are selected in “7–2a: Insert Effect Setting.”...

  • Page 82: Combination Edit P8

    In this page you can make settings for the master effects, and adjust the level of the audio signals that are output from the TRINITY’s output jacks (1/L/MONO, 2/R, 3, 4). The Send 1, 2 parameters displayed at the left are the send levels specified in “7–1: Effect Group- ing.”...
  • Page 83 8–1: Master Effects 8–1d: Low/High Gain Adjusts the tonal character of the audio signal that is output from output jacks 1/L/MONO and 2/R. The units are [dB]. Low Gain [–18.0…+18.0] Adjusts the level of the low frequency range. High Gain [–18.0…+18.0] Adjusts the level of the high frequency range.

  • Page 84: 8-2: Edit E1 (Edit Master Effect 1 [Modulation])

    8–2: Edit E1 (Edit Master Effect 1 [Modulation]) 8–2: Edit E1 (Edit Master Effect 1 [Modulation]) 8–3: Edit E2 (Edit Master Effect 2 [Reverb/Delay]) Here you can make parameter settings for the master effects. These pages will be displayed when you select a modulation-type or reverb/delay-type effect for [Modulation] and [Reverb/Delay] in “8–1a: Master Effect Setting”.

  • Page 85: Sequencer Mode

    Each time the location is changed, a Song Position Pointer message will be transmitted. This mes- sage can also be received by the TRINITY to change the location of its sequencer. The range of beats and clocks will depend on the currently specified time signature.
  • Page 86 If the setting is External, the display will indicate EXT, and the playback tempo of the TRINITY’s sequencer will be synchronized to the MIDI Clock messages received from an external sequencer, etc.
  • Page 87 1–1: Track Play/Rec (Track 1–8) Recording from measure 2 of track 2 when Meter = **/** when Meter =7/8 Track 1 Track 1 1 (4/4) 2 (3/4) 3 (4/4) 3 (4/4) 1 (4/4) 2 (3/4) 3 (4/4) Track 2 1 (4/4) Recording Track 2 1 (4/4)
  • Page 88 If this is un-checked, Single-track Recording mode will be selected. Recording will take place on the track selected by “1–1d: Track.” Use this mode when you wish to record by playing the keyboard and controllers of the TRINITY. Remove Data This will be displayed if Loop is selected in “1–7h: Recording Setup.”...
  • Page 89 (to set the starting volume). Subsequent changes in volume (during playback) should be made using Expression messages (CC#11). On the TRINITY series, the volume of the tone generator is determined by the product of the Vol- ume (CC#7) and Expression (CC#11) values.
  • Page 90 1–1: Track Play/Rec (Track 1–8) 1–1D: Copy From Combination This command copies the parameters from the specified combination to the setting data of the cur- rently selected song. When this command is executed, the setting data of the currently selected song will be erased, and overwritten by the setting data of the combination.

  • Page 91: 1-3: Mixer (Track 1-8)

    1–3: Mixer (Track 1–8) 1–3: Mixer (Track 1–8) 1–4: Mixer (Track 9–16) In these pages you can make basic settings for the entire song, and specify how each track will be played and output. Page Menu Refer to “1–1: 1–3A Track Play/ Rec”...
  • Page 92 1–3: Mixer (Track 1–8) 1–3i: Force Poly This setting is available only for tracks which are using a program that is set to mono mode (which plays only single notes). If this setting is checked, the program will play polyphonically. (i.e., the program will temporarily be set to polyphonic.) Mono mode settings are made in Program Edit mode “1–1d: Assign/Hold”...

  • Page 93: 1-5: For Audio Track

    Here you can record audio to the hard disk recorder, and control the audio signal that was recorded. This is available on TRINITY series models in which the HDR-TRI option is installed. For details on recording using the hard disk recorder, refer to the separate manual for the HDR-...

  • Page 94: 1-7: Preference

    1–7: Preference 1–7: Preference Here you can make basic settings that affect the entire song, and settings relating to sequencer operation. For more information on settings that affect the entire song, refer to “1–1: Track Play/ Rec.” Page Menu Refer to “1–1: Track Play/ 1–7A Rec”...
  • Page 95 1–7: Preference 1–7h: Recording Setup Use the radio buttons to select one of the five methods of realtime recording. For the procedure of each method, refer to Basic Guide page 43, “About recording”. Overwrite Newly recorded musical data will be written over previously recorded data. Data existing in the measures at and following the location where you begin recording will be erased, so make sure that you are not erasing important data.
  • Page 96 1–7: Preference Page Menu Command 1–7A: Memory Status This command displays the remaining amount of sequencer memory. 1–7B: Delete Song This command deletes the currently selected song. When this command is executed, the musical data, settings, and patterns of the currently selected song will be erased, and the memory area that had been occupied by the song will be freed.

  • Page 97: Sequencer P2

    2–1: Track Parameter (Track 1–8) Sequencer P2 2–1: Track Parameter (Track 1–8) 2–2: Track Parameter (Track 9–16) Here you can make settings for the song name, scale, and the MIDI channel of each track. Page Menu 2–1a 2–1A 2–1b Information for the selected 2–1B track...
  • Page 98 EXT: Musical data recorded in the track will be sent via MIDI, and will not play the internal tone generator. If you select a track that is set to EXT and operate the keyboard and controllers of the TRINITY, the corresponding MIDI data will be transmitted, but the internal tone generator will not sound.
  • Page 99 2–1: Track Parameter (Track 1–8) Page Menu Command 2–1A: Memory Status This command displays the remaining amount of free sequencer memory. 2–1B: Delete Song This command deletes the currently selected song. When this command is executed, the musical data, settings, and patterns of the currently selected song will be erased, and the memory area that had been occupied by the song will be freed.

  • Page 100: 2-3: Pitch (Track 1-8)

    2–3: Pitch (Track 1–8) 2–3: Pitch (Track 1–8) 2–4: Pitch (Track 9–16) Here you can specify the song name, the scale, and the pitch of each track. For details on the song name and scale, refer to “2–1: Track Parameter” ( page 89 in this man- ual).
  • Page 101 2–3: Pitch (Track 1–8) Page Menu Command 2–3A: Memory Status This command displays the amount of remaining sequencer memory. 2–3B: Delete Song This command deletes the currently selected song. When this command is executed, the musical data, settings, and patterns of the currently selected song will be erased, and the memory area that had been occupied by the song will be freed.

  • Page 102: Sequencer P3

    On the keyboards of the TRINITY, TRINITY V3 and TRINITY plus, you can make settings in the range of C2–C7, on the TRINITY V3 pro, TRINITY pro in the range of E1–G7, and on the TRIN- ITY V3 proX, TRINITY proX in the range of A0–C8 (when transpose etc. is not used).
  • Page 103 3–1: Key Zone (Track 1–8) 3–1c: Bottom Slope [00…72] Specifies the key range (12 is one octave) over which the volume will reach the original volume from the Bottom Key. This is not effective for the timbres that use Bank M programs. With a setting of 0, the Bottom Key will sound at the original (maximum) volume.

  • Page 104: 3-3: Velocity Zone (Track 1-8)

    3–3: Velocity Zone (Track 1–8) 3–3: Velocity Zone (Track 1–8) 3–4: Velocity Zone (Track 9–16) Here you can set the Top/Bottom Velocity to specify the range of velocities that will sound each track 1–8, and set the Top/Bottom Slope to specify the range in which the volume will change. The LCD will show a line to indicate the range of velocities which will sound each track, and the area of the slope will be greyed.
  • Page 105 3–3: Velocity Zone (Track 1–8) 3–3d: Bottom Velocity [1…127] Specifies the lowest velocity value which will sound each track. Volume change as affected by velocity Volume Velocity Bottom Slope Slope Bottom Velocity Top Velocity Page Menu Command 3–3A: Memory Status This command displays the remaining amount of sequencer memory.

  • Page 106: Sequencer P4

    When controlling the TRINITY from an external device, be sure that the MIDI channels of each track match the MIDI channels of the messages being transmitted from the external device.
  • Page 107 4–1: Filter (Track 1–8) A MIDI message of CC#65 will be transmitted at each on/off (a value of 0 for OFF, a value of 127 for ON). With a setting of Modulation, the switch can be used as a source for Alternate Modulation or Effect Dynamic Modulation.
  • Page 108 4–1: Filter (Track 1–8) Page Menu Command 4–1A: Memory Status This command displays the remaining amount of sequencer memory. 4–1B: Delete Song This command deletes the currently selected song. When this command is executed, the musical data, settings, and patterns of the currently selected song will be erased, and the memory area that had been occupied by the song will be freed.

  • Page 109: Sequencer P5

    5–1: Track Edit Sequencer P5 5–1: Track Edit Here you can make settings for the currently selected track, edit previously recorded musical data, and perform step recording (non-realtime recording). For the procedure of realtime recording, refer to Basic Guide page 43, “About recording”. To edit musical data or perform step recording, first select a track and an area in the tab page dis- play.
  • Page 110 5–1: Track Edit In the tab 1 display, specify the track and the Start Measure for recording. When this command is selected, the following dialog box will appear. Time signature Length (beat, clock) Location Note number Velocity (beat, clock) The left side of the dialog box allows you to specify the time signature for each measure, step time, note length, and velocity.
  • Page 111 5–1: Track Edit & Step time Step time Step time Tie key Press Press Release Press E and C Release E (continue holding C) Press G 5–1C: Event Edit This allows you to edit individual events of recorded musical data. In the tab 1 display, select the desired track and Start Measure.
  • Page 112 5–1: Track Edit c) The types of musical data that can be selected and the ranges of data values are as follows. Bar (display only) Meter: 1/4…16/16* (bar line) (time signature) C–1…G9 V: 1…127 L: 000.000…999:191 (note data) (velocity) (length: beats, clocks) PAFT C–1…G9 0…127...
  • Page 113 5–1: Track Edit The following table shows each Control Change number and the operation on the TRINITY to which it corresponds when received or transmitted. Control Value Function MSB of Bank Select message Bank Select (MSB) 0…127 joystick movement in +Y direction Oscillator LFO 0…127...
  • Page 114 CC#32. Refer to the manual for the external device for the relation between its memory banks and the Bank Select messages. *2 The volume of the TRINITY series is determined by multiplying the value of Volume (CC#07) with the value of Expression (CC#11). If you stop song playback and press the [RESET] key, the location will return to the beginning of the track, the volume will be set to the starting value, and expression will be set to the maximum value (127).
  • Page 115 5–1: Track Edit 5–1E: Copy Track The musical data of the track specified in the dialog box will be copied to the track specified in the tab 1 display. Be aware that when you execute the Copy Track command, the musical data that was in the copy destination track will be lost.
  • Page 116 5–1: Track Edit Example: If measures 2–3 are erased, measures 2–3 will be blank. Before Erase After Erase No data To delete only the tempo change data from the master track, use this command, or “5–1C: Event Edit” or “5–1M: Erase Control Data.” Be aware that if control data straddles the boundary of the erased area, only the data that lies in the erased area will be erased.
  • Page 117 5–1: Track Edit If All Tracks (step 3) is checked when this command is executed, the measures specified in the tab page will be deleted from all tracks including the master track, meaning that the time sig- nature and tempo data will also be moved forward. Be aware that if control data straddles the boundary of the deleted area, only the data that lies in the deleted area will be deleted.
  • Page 118 5–1: Track Edit In the tab 1 display, specify the copy destination track and Start Measure. When this command is selected, the dialog box shown at right will appear. Specify the copy source track. If you wish to copy the musical data of all tracks including the master track, check All Tracks.
  • Page 119 5–1: Track Edit To execute the Create Control Data command, press the OK button. To cancel without execut- ing, press the Cancel button. Example: The controller is aftertouch. The start location is 3:48, end location is 4:24, and the end value is 100. The aftertouch value will begin changing from 3:48 and reach 100 at 4:24.
  • Page 120 5–1: Track Edit When realtime recording on the TRINITY’s sequencer, you can set Position to PostKBD and set the Aftertouch Curve to 6 or 7 (in Global mode “1–1: Global Setup”), in order to conserve mem- ory consumption while recording.
  • Page 121 5–1: Track Edit 5–1O: Shift Note This command shifts (moves) the specified range of pitches in the measures selected in the tab 1 display by the specified amount. In the tab 1 display, specify the track in which notes will be shifted, and specify the Start Mea- sure and End Measure.

  • Page 122: 5-2: Track Name

    5–2: Track Name 5–2: Track Name Assigns a name to each track. Page Menu Refer to “1–1: Track 5–2A 5–2I Parameter” 5–2J 5–2B 5–2K 5–2C 5–2L 5–2D 5–2M 5–2E 5–2N 5–2c 5–2F 5–2O 5–2G 5–2P 5–2H 5–2c: Track Name Press the text edit button, and a screen will appear in which you can assign a name to each track Basic Guide, page 6).
  • Page 123 5–2: Track Name 5–2I: Insert Measure This command inserts the specified number of measures into the track specified in the tab 2 dis- play. For details refer to “5–1I: Insert Measure.” 5–2J: Copy Measure This command copies measures of the track specified in the tab 2 display. For details refer to “5–1J: Copy Measure.”...

  • Page 124: Sequencer P6

    6–1: Pattern Edit Sequencer P6 Each song can have up to 100 patterns. Pattern data can be recorded using realtime recording, step recording, the Get From Track command (to copy data from a track), or the Copy Pattern com- mand (to copy data from another pattern). 6–1: Pattern Edit Here you can record or edit patterns, and make pattern settings.
  • Page 125 The musical data of the pattern specified in the dialog box will be copied to the pattern specified in the tab 1 display. In the built-in sequencer of the TRINITY series, patterns are attached to a specific song, but this Copy Pattern command allows a pattern to be used by a different song.
  • Page 126 6–1: Pattern Edit In the tab 1 display, specify the bounce destination pattern. When you select this command, the dialog box at right will appear. Specify the bounce source song and pattern. To execute the Bounce Pattern operation press the OK but- ton.
  • Page 127 6–1: Pattern Edit 6–1J: Copy To Track This command copies the contents (musical data) of the pattern specified in the tab 1 display to a track. Unlike the Put To Track command, the data itself is recorded into the track, and editing the copied data will not affect the pattern or other locations.

  • Page 128: 6-2: Pattern Name

    6–2: Pattern Name 6–2: Pattern Name Here you can assign a name to each pattern. For the settings of the currently selected pattern, refer to “6–1: Pattern Edit.” Page Menu Refer to “6–1: 6–2A 6–2F Pattern Edit.” 6–2G 6–2B 6–2H 6–2C 6–2I 6–2D...
  • Page 129 6–2: Pattern Name 6–2H: Get From Track This command copies musical data from a track into the pattern specified in the tab 2 display. For details refer to “6–1H: Get From Track.” 6–2I: Put To Track This command places a pattern number in a track. Unlike the Copy To Track command, the musi- cal data of the pattern will not actually exist in the track.

  • Page 130: Sequencer P7

    7–1: Effect Grouping (Track 1–8) Sequencer P7 7–1: Effect Grouping (Track 1–8) 7–2: Effect Grouping (Track 9–16) Here you can make group settings for the insert effects of each track, and adjust the spread of the effect sound that is output from the insert effects. In the sequencer, the effect size of tracks 1–16 must total 8 or less.

  • Page 131: 7-3: Insert Effects (Track 1-16 Effects)

    7–3: Insert Effects (Track 1–16 Effects) 7–3: Insert Effects (Track 1–16 Effects) In this page you can make insert effect settings. Page Menu 7–3A 7–3B 7–3a 7–3C 7–3b 7–3a: Insert Effect Settings Select the insert effect used by the track. Size [0,1,2,4] The size will determine the insert effects that can be selected.
  • Page 132 7–3: Insert Effects (Track 1–16 Effects) Page Menu Command 7–3A: Memory Status This command displays the remaining amount of sequencer memory. 7–3B: Copy Insert Effect This command copies insert effect settings from a specified program, combination or song to the currently selected track.

  • Page 133: 7-4: T1 E1 (Track 1-16 Edit Insert Effect 1)

    7–4: T1 E1 (Track 1–16 Edit Insert Effect 1) 7–4: T1 E1 (Track 1–16 Edit Insert Effect 1) 7–5: T1 E2 (Track 1–16 Edit Insert Effect 2) 7–6: T1 E3 (Track 1–16 Edit Insert Effect 3) 7–7: T1 E4 (Track 1–16 Edit Insert Effect 4) These pages will be displayed if insert effects are selected in “7–3a: Insert Effect Setting.”...

  • Page 134: Sequencer P8

    8–1: Master Effects Sequencer P8 8–1: Master Effects Here you can make master effect settings, set the return levels from the master effects, make High EQ and Low EQ settings for the output jacks 1/L/MONO and 2/R, and set panning for outputs 3 and 4.
  • Page 135 8–1: Master Effects 8–1c: Return 1/2 [0…127] Adjusts the level of the audio signals sent from [Modulation] and [Reverb/Delay] to output jacks 1/L/MONO and 2/R. The audio signals from Pan L and R will be mixed with the Effect 1 output adjusted by these Return 1 and 2 levels, and output from output jacks 1/L/MONO and 2/R.

  • Page 136: 8-2: Edit E1 (Edit Master Effect 1 [Modulation])

    8–2: Edit E1 (Edit Master Effect 1 [Modulation]) 8–2: Edit E1 (Edit Master Effect 1 [Modulation]) 8–3: Edit E2 (Edit Master Effect 2 [Reverb/Delay]) Here you can set the master effect parameters. These pages will be displayed if a modulation-type effect and reverb/delay-type effect are selected for [Modulation] and [Reverb/Delay] in “8–1a: Master Effect Setting”.

  • Page 137: Global Mode

    Master Tune [–50…+50] Adjusts the basic tuning of the entire TRINITY in steps of a single cent (a semitone = 100 cents). With a setting of 0, A4 (middle A) will be 440 Hz. The tuning of the TRINITY can also be tuned using MIDI RPN Fine Tune messages. (However the TRINITY will not transmit this message.) In Sequencer mode, this message will be received on the...
  • Page 138 1–1: Global Setup With a setting of Post KBD, the settings for Velocity Curve, Aftertouch Curve, and Transpose will be applied immediately after the keyboard. Use this setting when you are using the TRINITY as a master keyboard. The velocity curve, aftertouch curve, and transpose settings will affect the way in which data from the TRINITY’s keyboard will play the internal tone generator, will be recorded on the sequencer,...
  • Page 139 TRINITY by itself, leave this checked. If this is un-checked, the keyboard and joystick etc. will be disconnected from the tone generator. This means that the TRINITY will not produce sound in response to its own keyboard or sequencer playback.
  • Page 140 If External is selected, the TRINITY’s sequencer will synchronize to incoming MIDI clock mes- sages. Select External if you are using the TRINITY as a slave device. In this case, the sequencer will be controlled mainly from outside, but playback can also be started and stopped using the front panel [START/STOP].
  • Page 141 1–1: Global Setup For transmission, velocity curve 4 in the lower left graph is automatically used. For Pre TG For Post KBD Velocity (KBD→MIDI Out) Velocity (MIDI In→TG) Velocity effect Soft Strong Curves 7 and 8 produce a steady level of effect for softly played notes, and are suitable for use when you do not require velocity control or when you wish to even out the strength of notes, but have the disadvantage that dynamic control of the softer notes is more difficult.
  • Page 142 Basic Guide, page 5). If you have connected a Korg PS-1 foot pedal, the polarity of the switch is ( ), so set this parame- ter to “–”. If you have connected a pedal switch that has “+” polarity ( ), set this parameter to “+”.
  • Page 143 1–1: Global Setup If you have connected a Korg PS-1 foot pedal, the polarity of the switch is ( ), so set this parame- ter to “–”. If you have connected a sustain pedal that has “+” polarity ( ), set this parameter to “+”.

  • Page 144: Global P2

    2–1: Filter, Protect & Data Dump Global P2 2–1: Filter, Protect & Data Dump Page Menu 2–1a 2–1A 2–1B 2–1C 2–1D 2–1E 2–1F 2–1b 2–1a: Filter Enable Program Change This specifies whether or not MIDI Program Change messages will be transmitted and received. If this is checked, Program Change messages will be transmitted and received.
  • Page 145 This determines whether or not MIDI Aftertouch messages will be transmitted and received. The keyboard of the TRINITY transmits only Channel Aftertouch. (It does not transmit Poly After- touch.) It does however respond to Poly Aftertouch as AMS, and can receive Poly Aftertouch to control individual notes.
  • Page 146 2–1E: Dump Song 2–1F: Dump All These commands transmit TRINITY data as a MIDI exclusive message to an external device, such as another TRINITY series instrument, a MIDI data filer, or a computer. While a Page Menu Command is displayed, data dumps can be transmitted and received regard- less of the System Exclusive setting.
  • Page 147 Global Setup, All Drumkits, All Combinations, All Programs, All Songs TRINITY: programs of banks A and B TRINITY V3, TRINITY V3 pro, TRINITY V3 proX: programs of banks A, B, and M For the data format and contents, refer to page 165 “MIDI Implementation” in this manual.

  • Page 148: Global P3

    3–1: User Scale Global P3 3–1: User Scale Here you can set the two user scales. The user scales specified here can be selected in Program Edit mode “1–1e: Scale” ( page 6 in this manual), Combination Edit mode “2–1a: Scale” ( page 61 in this manual), or Sequencer mode “2–1: Track Parameter”...

  • Page 149: Global P4

    4–1: Category Program A Global P4 4–1: Category Program A 4–2: Category Program B Here you can edit your own settings for program categories A and B. If the category names you edit here are assigned to programs, you can use them to search for pro- grams in Program Play mode, Combination Play mode and Sequencer mode.

  • Page 150: 4-3: Category Combination A

    4–3: Category Combination A 4–3: Category Combination A 4–4: Category Combination B Here you can edit your own combination categories A and B. Combinations can be assigned the category names that you edit here, so that you can use them to search for combinations in Combination Play mode.

  • Page 151: Global P5

    5–1: Drumkit (Drumkit Setup) Global P5 5–1: Drumkit (Drumkit Setup) Here you can edit drum kits. Drum kits use the filter, amp, and effect settings of the program displayed in Program Play mode. The result will be the same as changing the multisample of the single-mode program selected in Program Play mode to a Drumkit.
  • Page 152 5–1: Drumkit (Drumkit Setup) 5–1c: High Drumsample High (High Drumsample) [OFF, 1…258] Selects the drum sample that will be sounded by velocities above the Bottom Vel specified in “5– 1e: Drumsample Setup”. A list of the drum samples is included in the separate Voice Name List. If you do not want to use velocity to switch drum samples, set Bottom Vel to 1, and specify a drum sample only for this parameter.
  • Page 153 5–1: Drumkit (Drumkit Setup) 5–1e: Drumsample Setup These parameters are common to both High and Low drum samples. Bottom Vel [1…127] Specifies the velocity value at which the High drum sample and the Low drum sample will be switched. Velocities of this value and higher will sound the drum sample specified in “5–1c: High Drumsample.”...
  • Page 154 5–1: Drumkit (Drumkit Setup)

  • Page 155: Disk Mode

    Files, directories, and icons The TRINITY uses files and directories on a floppy disk to manage various types of data in a hier- archical structure. The contents of a file (i.e., whether it is a file or a directory, and if a file, the type of data it contains) are indicated by not only a name but also graphically by an icon.

  • Page 156: 1-1: Load

    1–1f: Saved date The date (day, month, year) that the file was last saved is displayed. However since the TRINITY does not contain an internal calendar or clock, you need to set the date in “1–3E: Set Date/Time” before saving.
  • Page 157 1–1: Load 1–1h: Open button Use this button to open a directory, and move the current directory to the next lower level. This is available only when a directory is selected in “1–1b: Directory Window.” 1–1i: Up button Use this button to move the current directory to the next higher level. If the current directory is the root directory (where the current directory display is only “/”), this button is not available.
  • Page 158 To load the data press the OK button. To cancel loading, press the Cancel button. On a TRINITY that does not have the PBS-TRI option installed, the dialog box shown at right will appear when you attempt to load a PCG file containing 128 bank M pro- grams.
  • Page 159 To load the data press the OK button. To cancel loading, press the Cancel button. On a TRINITY that does not have the PBS-TRI option installed, the dialog box shown at right will appear when you attempt to load a PCG file containing 24 drum kit pro- grams.
  • Page 160 1–1: Load l: If a .SNG file is opened and a 1 Song file is selected The selected 1 song will be loaded into the song that you select as the loading destination. In the tab 1 display, select a 1 song file within a .SNG file. When this command is selected, the dialog box at right will appear.

  • Page 161: 1-2: Save

    1–2: Save 1–2: Save Here you can save various types of data from internal memory onto a disk. Use the Open button or Up button to move to the desired directory (current directory), and then select a page menu command. When you execute a save command, the data will be saved in the same level of the file hierarchy as the displayed files.
  • Page 162 File data. However if you will be playing back the data on the TRINITY series, we recommend that you use “1–2D: Save Song” to save the song data in the TRINITY’s own format, since this will allow a higher degree of reproducibility during playback.

  • Page 163: 1-3: Utility

    1–3: Utility 1–3: Utility Here you can perform various operations on the selected disk or file. Select a disk or file, and then select the desired page menu command. Page Menu 1–3A 1–3B 1–3C Refer to “1–1: Load” 1–3D 1–3E 1–3F Page Menu Command 1–3A: Hide Unknown Files (check command)
  • Page 164 1–3: Utility 1–3E: Set Date/Time This command sets the date and time that will be assigned to a file when it is saved. When this command is selected, the dialog box at right will appear. Set the date and time. Year 1980–2079 Month...

  • Page 165: Appendix

    About Alternate Modulation 8. Appendix About Alternate Modulation Alternate Modulation can be specified for the following 14 types, in total, 27 alternate modulation destinations shown in the diagram below. (OSC EG is common to OSC 1 and 2.) AMS (Alternate Modulation Source) can be selected independently for each of these to apply modulation.

  • Page 166: Alternate Modulation Settings

    About Alternate Modulation Sources Alternate Modulation settings For different settings of AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below. Parameter EG/LFO Amp EG JS(X), Ribbon (X) Controller Note No. Tempo (AMS Intensity) –99…0…+99 0…+99 –Max…0…+Max...

  • Page 167: About Dynamic Modulation Sources

    About Dynamic Modulation Sources About Dynamic Modulation Sources You can operate the D/mod Src (Dynamic Modulation Source) specified as part of the effect set- tings to apply modulation to effect parameters. The parameters that can be controlled will depend on the type of effect, and some effects have two or more modulation sources.

  • Page 168: Various Messages

    Action: Erase all files or directories within the directory. Error in formatting medium Situation: When attempting to format a floppy disk on the Trinity, a faulty sector was found on the disk, so formatting was not possible. Action: Use a different floppy disk.
  • Page 169 Various messages Error in reading from medium Situation: Reading from a floppy disk was unsuccessful. Action: Try the reading operation once again. If the same error occurs again, it is possible that the data on the disk has been damaged. Error in writing to medium Situation: Writing to a floppy disk was unsuccessful.
  • Page 170 Situation: While receiving exclusive data using the Save Exclusive command, the sequencer memory capacity was exceeded. Action: If you wish to receive two or more items of exclusive data, transmit them to the Trinity separately. Memory protected Situation: The internal programs, combinations, or songs are protected.
  • Page 171 Specify a track or pattern that contains playback data. There is no readable data Situation: On a TRINITY series instrument which does not have the PBS-TRI option, you attempted to load a file which contained only banks C and D.

  • Page 172: Midi Implementation Chart

    *3: Includes Inquiry, Master Balance, and Master Volume messages. Mode 1:OMNI ON, POLY Mode 2:OMNI ON, MONO O: Yes Mode 3:OMNI OFF, POLY Mode 4:OMNI OFF, MONO X: No To obtain the TRINITY V3, V3 pro or V3 proX “MIDI Implementation,” please contact a Korg distributor.

  • Page 192: Using Midi Exclusive Messages

    • No.41 Parameter Change, No.53 Drum Parameter Change, No.4E Mode Change When the mode is changed from the front panel of the Trinity, a “Mode Change” message is transmitted. Each time a parameter is selected or a value is modified in Program Play (Perfor- mance Edit), Program Edit, or Combination Edit, a “Parameter Change”...

  • Page 193: Specifications And Options

    ACCESS: Advanced Control Combined Synthesis System MOSS: Multi Oscillator Synthesis System • Specifications and appearance are subject to change without notice for product improvement. Included items AC power cable Floppy disk TFD-00P, TFD-01P (TRINITY) TFD-00P-V3, TFD-01P-V3 (TRINITY V3, TRINITY V3 pro, TRINITY V3 proX)

  • Page 194: Options (Sold Separately)

    Specifications and options Options (sold separately) DI-TRI Digital I/F option MOSS-TRI DSP Synthesizer option HDR-TRI Hard Disk Recorder option SCSI-TRI SCSI option PBS-TRI Playback Sampler/Flash ROM option Pedal switch: PS-1 Expression/Volume pedal: XVP-10 Foot controller: EXP-2 Foot controller: FC-6...

This manual is also suitable for:

Trinity v3 proTrinity v3Trinity plusTrinity proTrinity proxTrinity v3 prox

Table of Contents