Korg Triton Studio Parameter Manual

Music workstation/sampler.
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   Summary of Contents for Korg Triton Studio

  • Page 2: About This Manual, Conventions In This Manual

    Conventions in this manual References to the TRITON STUDIO The TRITON STUDIO is available in 88-key, 76-key and 61- key models, but both models are referred to without distinc- tion in this manual as “the TRITON STUDIO.” Illustrations...

  • Page 3: Table Of Contents

    Table of Contents 1. Program mode... . . 1 Program P0: Play ... 1 Select and play programs. 0–1: Perf. Edit Select and play programs; use the Performance Editor for simple editing ... 1 Arpeggio pattern selection and settings .

  • Page 4: Table Of Contents

    2. Combination mode..33 Combination P0: Play ... 33 Select and play combinations. Select a program for each timbre ... 33 0–1: Prog. Select Specify pan and level ... 35 0–2: Mixer Select an arpeggio pattern and make 0–3: Arpegg.

  • Page 5: Table Of Contents

    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 Program selection, mute, and solo settings for each track ...

  • Page 6: Table Of Contents

    4. Sampling mode ... 87 Sampling P0: Recording ... 88 Make sample recording settings such as input level, and basic settings for multisamples and samples. Basic settings such as selecting a 0–1: Recording multisample and sample, and adjusting the final input level ...

  • Page 7: Table Of Contents

    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.

  • Page 8: Table Of Contents

    7. Disk mode ....155 Files, directories, and icons ... 155 0–1: Load Load the selected file or directory into internal memory ... 156 0–2: Save Save data from internal memory to various media ...

  • Page 9: Table Of Contents

    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.

  • Page 10: Table Of Contents

    ... 255 MIDI applications... 258 I About MIDI ... 258 I Connecting MIDI devices/computers (MIDI connectors)... 258 I 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...

  • Page 12: Program Mode, Program P0: Play

    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) (varia-...

  • Page 13

    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.

  • Page 14

    IFX Balance This adjusts the “Wet/Dry” setting of insert effects 1–5 as a whole. With an adjustment of +00, the value of the program param- eters will be unchanged. Positive (+) settings will raise the Wet levels above the pro- gram setting, and lower the Dry levels.

  • Page 15

    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.

  • Page 16

    Metronome Precount This specifies whether the metronome will sound a count- down when you begin sampling with the “Trigger” setting Sampling START SW. This can be set only if “Trigger” is set to Sampling START Off: When you press the SAMPLING [START/STOP] key from recording-standby mode, sampling will begin immedi- ately.

  • Page 17: Audio Inputs Etc

    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.

  • Page 18: Program P1: Edit–basic

    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. You will also choose this “Select Directory” command when you want to listen to a WAVE file that was saved on disk. “Select Directory”...

  • Page 19

    When legato is on, multiple note-on message will not retrig- ger 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.

  • Page 20: And/

    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.

  • Page 21

    Lvl (High Level) 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”...

  • Page 22

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

  • Page 23: Program P2: Edit–pitch

    1–4: Controller (Controller Setup) These settings specify the functions of the [SW1] key, the [SW2] key, and the B-mode functions of REALTIME CON- TROL knobs [1]–[4] in Program mode. 1–4a 1–4b 1–4a: Panel Switch Assign These settings assign functions to the [SW1] and [SW2] keys (“SW1, SW2 Assign List”...

  • Page 24

    JS (+X) 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.

  • Page 25

    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 JS+Y Int. (LFO2 JS+Y Int.) AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Intensity (AMS Intensity) Refer to the above “LFO1.”...

  • Page 26

    Pitch EG change (level) (AMS=SW1/Velocity, Intensity= positive (+) value Note-on Note-on Note-off Note-off A note played softly with A note played strongly with A note played strongly with “St” set at 0, “At” set to +, “St” set to 0, “At” set to +, “St”...

  • Page 27: Program P3: Edit–filter

    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.

  • Page 28

    M 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 track- ing, controllers, and filter 1 EG intensity will control the Fil- ter 1 cutoff frequency “Frequency” (A/B Frequency) to modify the tone.

  • Page 29: Cutoff Frequency

    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 “–”...

  • Page 30

    Intensity to B (LFO1 AMS Int. to B) 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).

  • Page 31

    At (AMS SW Attack) 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 –...

  • Page 32: Program P4: Edit–amp

    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 oscilla- tor 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.

  • Page 33

    Intensity 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).

  • Page 34

    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) As the absolute value of this setting is increased, the effect of “AMS (LFO1 AMS)”...

  • Page 35

    Br (AMS SW Break) 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 –...

  • Page 36: Program P5: Edit–common Lfo

    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.

  • Page 37: Program P7: Edit–arpeggiator, Settings

    5–1c: Frequency MIDI/Tempo Sync. MIDI/Tempo Sync. 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.

  • Page 38

    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) EXB-PCM series U248(E-D)...U263(E-D) (user arpeggio patterns) 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 (some preloaded arpeggio patterns) U000 (I–A/B)–U506 (User) are rewritable.

  • Page 39: Program P8: Edit–insert Effect, The Send Levels To The Master Effects

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

  • Page 40: And Make Chain Settings

    If you wish to adjust the pan in realtime during a note and output the sound from AUDIO OUTPUT (INDI- VIDUAL) 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.

  • Page 41

    Category/IFX Select menu: When you press the popup button, a “Category/IFX Select” list will appear. Press 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 Switches the insert effect on/off.

  • Page 42: Program P9: Edit–master Effect

    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. 9–1a 9–1b 9–1a: MFX1, 2 The master effects do not output the direct sound (Dry).

  • Page 43

    M 9–1: Page Menu Command 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.

  • Page 44: Combination Mode, Combination P0: Play

    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) 0–1a 0–1b 0–1c 0–1a: Bank, Combination Select, 10’s Hold, Category, Bank (Bank Select)[Bank INT-A…INT-E, EXB-A...EXB-G] This is the Combination bank display.

  • Page 45

    MIDI messages received from an external MIDI device. Off: The timbre will not sound. Nor will MIDI data be trans- mitted. EXT: Playing TRITON STUDIO will not cause it to sound, but it will transmit data via MIDI to control external MIDI devices.

  • Page 46

    M 0–1: Page Menu Command 0–1A 0–1B 0–1A: Write Combination This command writes an edited combination into the TRI- TON STUDIO’s internal memory. Be sure to write any com- bination that you wish to save. If the power is turned off or a different combination selected before you write an edited combination, your edits cannot be recovered.

  • Page 47

    (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 resam- ple a TRITON STUDIO performance. ( Program P0: 0–3) 0–5a 0–5b 0–1A 0–5a: Input...

  • Page 48: Combination P1: Edit–program/mixer, Timbre

    0–5b: Sampling Setup Source BUS [L/R, Indiv.1/2] Trigger [Sampling START SW, Note On] Metronome Precount Save to Mode (Sample Mode) [L-Mono, R-Mono, Stereo] Sample Time Make settings for sampling in Combination mode. ( Pro- gram P0: 0–3) Sampling Setup settings apply to the entire Combination mode;...

  • Page 49: Combination P2: Edit–trk Param, Timbre

    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.)

  • Page 50

    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 trans- mitted.

  • Page 51: Timbre, Combination P3: Edit–midi Filter

    When “Status” is EXT or EX2, operation of the built-in con- trollers will transmit MIDI data on that timbre’s MIDI chan- nel. MIDI transmission and reception settings for the entire TRITON STUDIO are made in “MIDI Filter” (Global P1: 1– 1b). [0000…5000, KeyOff] The Edit–MIDI Filter-3 and -4 pages contain MIDI filters for...

  • Page 52

    Enable JS X as AMS 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.)

  • Page 53: Combination P4: Edit–zone/ctrl, Timbre, Each Timbre

    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 vol- ume will be reached.

  • Page 54

    4–2a: Top Velocity, Top Slope, Bottom Slope, Bottom Velocity Top Velocity Specifies the maximum velocity value that will sound each timbre 1–8. Top Slope Specifies the number of velocity steps over which the origi- nal volume will be reached, starting from the Top Velocity. 0: The volume will be at the original value from the top velocity.

  • Page 55: Combination P7: Edit–arp

    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. If you want the note data generated by the arpeggiator...

  • Page 56: Settings For Arpeggiator A, Settings For Arpeggiator B

    M 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. 2 In “From” select the source (mode, bank, number) of the arpeggiator you wish to copy.

  • Page 57: Combination P8: Edit–insert Fx

    Combination P8: Edit–Insert FX You can also specify the bus routing for the program 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.

  • Page 58: Off, And Make Chain Settings, Settings Etc, Make Chain Settings

    8–2: Insert FX Here you can select the type of each insert effect, turn it on/ off, and make chain settings etc. 8–2a 8–2a: IFX1, 2, 3, 4, 5 IFX1, 5 IFX2, 3, 4 IFX1, 2, 3, 4, 5 On/Off Chain Pan(CC#8) (Post IFX PanCC#8) [L000...C064...R127]...

  • Page 59: Combination P9: Edit–master Fx

    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 9–1b 9–1a: MFX1, 2 MFX1, 2 MFX1, 2 On/Off...

  • Page 60: Sequencer Mode, Sequencer P0: Play/rec, Prog. 9–16

    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.

  • Page 61

    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”...

  • Page 62

    Reso (Realtime Quantize Resolution) 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 –...

  • Page 63: For Each Track

    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 parame- ter of another track, only that track will be soloed, and will sound. M 0–1: Page Menu Command 0–1A 0–1B...

  • Page 64

    For details on the content that will be corrected, refer to “If the recorded performance is not reproduced cor- rectly during playback” ( BG p.96). The content described here will be corrected automatically. Depend- ing on the settings of the combination, it may be neces- sary to make additional changes to the track settings in addition to the settings here.

  • Page 65

    0–1H: Save Template Song (Save as User Template Song) This command saves the program selections, track parame- ters, and effect settings etc. of the current song as a user tem- plate song U00–15. The settings you save here can also be loaded in Song Play mode.

  • Page 66: Mixer 9–16, Plyloop 9–16

    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.

  • Page 67

    (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 perfor- mance played on the TRITON STUDIO. It is not possible to realtime-record a song or pattern while sampling.

  • Page 68

    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 num-...

  • Page 69: You Can Make Metronome Settings

    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 simulta- neously recorded onto multiple tracks.

  • Page 70: Sequencer P1: Cue List

    The cue list allows you to playback multiple songs in succes- sion. 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.

  • Page 71

    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.

  • Page 72

    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.

  • Page 73: Sequencer P2: Trk Param, Track, Midi Ch 9–16

    BTH and play the keyboard and operate the controllers, the inter- nal tone generator of the TRITON STUDIO will sound, and at the same time MIDI data will also be transmitted to an external device.

  • Page 74: Osc 9–16, For Each Track, Pitch 9–16

    MIDI Channel 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.

  • Page 75: Other 9–16

    M 2–5: Page Menu Command 0–1A 0–1B 0–1C 0–1D 0–1E 0–1F 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.

  • Page 76: Sequencer P3: Midi Filter, Midi 1 9–16, Midi 2 9–16, Midi 3 9–16

    MIDI data is received. (The effect dynamic modulation function is not affected by these set- tings.) Settings that regulate MIDI transmission/reception of the TRITON STUDIO itself are made in MIDI Filter (Glo- bal 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.

  • Page 77: Midi 4 9–16, Sequencer P4: Zone/ctrl, Track, Key Z 9–16

    B-mode MIDI control message will be received. Enable Realtime Control Knob 4 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.

  • Page 78: Each Track, Vel Z 9–16, Moss 9–16

    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.

  • Page 79: Sequencer P5: Track Edit

    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 record- ing, specify the desired area. Then select the appropriate page menu command.

  • Page 80

    The following table shows the number of clocks repre- sented by each “Step Time” selection. 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.

  • Page 81

    • Deleting an event Select the event that you wish to delete, and press the Cut button to delete the event. • Moving an event You 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.

  • Page 82

    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 No data...

  • Page 83

    Time signature = **/** Track 1 1 (4/4) 2 (4/4) Before Insert 1 (4/4) 2 (4/4) Track 2 Insert two measures 1 (4/4) 2 (4/4) Track 2 After Insert Track 1 1 (4/4) 2 (4/4) Measures 4 and 5 will use the previously specified time signature.

  • Page 84

    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 speci- fied 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.

  • Page 85

    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.

  • Page 86

    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.

  • Page 87: Sequencer P6: Pattern/rppr

    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.

  • Page 88

    M 6–1: Page Menu Command 0–1A 6–1A 6–1B 6–1C 6–1D 6–1E 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.

  • Page 89

    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.

  • Page 90

    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.

  • Page 91

    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.

  • Page 92: Sequencer P7: Arpeggiator, Setup 9–16

    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.

  • Page 93: Settings For Arpeggiator B, Settings For Arpeggiator A

    • 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 Pattern - A...

  • Page 94: Sequencer P8: Insert Effect, Routing 9–16

    7–5b: Scan Zone A/B Top Key Bottom Key Specify the range of notes (keys) that will trigger arpeggia- tor A. “Top Key” is the upper limit, and “Bottom Key” is the lower limit. Top Velocity Bottom Velocity Specify the range of velocities that will trigger arpeggiator A.

  • Page 95

    Send1 (MFX1) Send2 (MFX2) 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”...

  • Page 96: Sequencer P9: Master Effect

    8–4: IFX 1 8–5: IFX 2 8–6: IFX 3 8–7: IFX 4 8–8: IFX 5 Set the parameters for the effects selected for IFX 1–5 in the Insert FX page ( p.187–). 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).

  • Page 97

    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–). 9–2(3)a: Ctrl Ch Ctrl Ch Specifies the MIDI channel that will control dynamic modulation (Dmod) for the master effects.

  • Page 98: Sampling Mode

    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.

  • Page 99: Sampling P0: Recording

    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.

  • Page 100

    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 &...

  • Page 101

    RAM is selected for “Save to.” Sample memory (RAM) consists of six banks, each with 16 Mbytes. The TRITON STUDIO comes with one 16 Mbyte of DRAM SIMM board. In this state, RAM1 will always be selected for “Bank (RAM Bank),” and RAM2, 3, 4, 5, and 6 cannot be selected.

  • Page 102

    For example if Slot 1 contains the factory-installed 16 Mbyte SIMM, and you have installed a 32 Mbyte SIMM in Slot 2 and a 16 Mbyte SIMM in Slot 3, you will be able to select RAM1 (16 Mbyte), RAM3 (16 Mbyte), RAM4 (16 Mbyte), and RAM5 (16 Mbyte) for “Bank (RAM).”...

  • Page 103

    0–1d: Recording Level [dB] Recording Level [–inf, –72.0... 0.0...+18.0] This adjusts the signal level at the final stage of sampling. When you sample, make sure that the level is as high as pos- sible without allowing the level meter to indicate “CLIP!!.” This setting can also be made in the P0–2: Input/Setup page.

  • Page 104

    Sample Memory Sample Data 0000: NewSample_0000 "Copy Sample" with Sample Data 0001: NewSample_0001 Sample Data Sample Memory Sample Data 0000: NewSample_0000 "Copy Sample" 0001: NewSample_0001 5 To execute the Copy Sample command, press the OK button. To cancel, press the Cancel button. 0–1C: Rename Sample This command lets you modify the name of the currently selected sample.

  • Page 105

    However by executing the “Convert MS To Program” com- mand, you can quickly and easily convert the Sampling mode settings into a new program, without having to make any Program mode settings as described above. 1 Use “MS (Multisample Select)” (0–1a) to select the multi- sample that you want to convert to a program.

  • Page 106

    • The stereo sample that was created will be assigned automatically. 0–1J: Keyboard Display This command selects the range of the keyboard display. Normally you will select 88Key Normal (A0–C8). 1 Select “Keyboard Display” to access the dialog box. 2 Use the radio buttons to select the displayed range. 3 To execute the Keyboard Display command, press the OK button.

  • Page 107

    These settings will also be valid when you move from Sampling mode to Global mode. External audio input settings for the TRITON STUDIO outside of Sampling mode are made in “Input (COMBI, PROG, SEQ, S.PLAY, DISK)” (Global P0: 0–3a).

  • Page 108

    If the CDRW-1 option is installed, you can use P5: Audio CD to play back an audio CD. In this case as well, the audio will be input to the TRITON STUDIO as specified by the settings you make here. The L channel corresponds to Input 1, and the R channel corresponds to Input 2.

  • Page 109

    Metronome Precount Specifies whether the metronome will sound a countdown when you use “Trigger” Sampling START SW to begin sampling. This can be set only if “Trigger” is set to Sampling START Off: Sampling will begin immediately when you press the SAMPLING [START/STOP] key from recording-standby mode.

  • Page 110

    0–3a: Create Zone Preference These settings define the initial state of the indexes that are created when you press the Create button (0–1b, 3–1c). Each new index will be created according to the settings you make here, but you are free to modify the settings later. Position [Right (to Selected Index), Left (to Selected Index)] Specifies whether the new index will be created at the right...

  • Page 111: Sampling P1: Sample Edit

    Sampling P1: Sample Edit Here you can edit sample data (waveform data). Editing operations such as deleting unwanted portions of the wave- form, reversing the waveform, or lowering the sampling fre- quency can be performed in detail while viewing the “sample waveform display.”...

  • Page 112

    For example if you change the sample address by one, the vertical line in the LCD that indicates the sample address will move in steps of one pixel.) In the vertical axis, you can zoom-in from 1X (full range display) to 512X (or 1024X in the case of stereo display).

  • Page 113

    End: The sample data that lies after the “Edit Range End” will be deleted. 5 In “Save to No.,” specify the save destination sample number. By default, an unused sample number will be selected. The sample number cannot be specified if “Overwrite” is checked ( p.101).

  • Page 114

    2 Select “Insert” to access the dialog box. 3 To “Start” will indicate the starting address at which the data will be inserted. 4 In “Save to No.,” specify the save destination sample number. By default, an unused sample number will be selected.

  • Page 115

    1 Use “Sample Select” (1–1b) to select the sample that you wish to edit, and set “Edit Range Start” to specify the starting address. The “Edit Range End” setting is ignored. 2 Select “Insert Zero” to access the dialog box. 3 To “Start”...

  • Page 116

    5 In “Curve,” specify the way in which the volume will change. Linear: The volume will change linearly. For normal fade-in or fade-out, select Linear. Power: The volume will change non-linearly. When you use “Mix” (1–1F) to combine a faded-in waveform with a different faded-out waveform (i.e., crossfade), using a Linear fade-in/out may produce an impression that the volume has dropped in the middle of the curve.

  • Page 117

    4 In “Resolution,” select the desired resolution for the grid. The grid that appears will be determined by this setting and by the “Grid” (1–1c, 2–1c) setting in the page. 5 To execute the settings, press the OK button. To cancel, press the Cancel button.

  • Page 118: Sampling P2: Loop Edit

    The sample number cannot be specified if “Overwrite” is checked ( p.101). For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R chan- nels. 8 To execute the Link command, press the OK button. To cancel without executing, press the Cancel button.

  • Page 119

    “Auto +12 dB On” (Sampling: 0–3b, Program, Combination, Sequencer: “Select Bank & Smpl. No.”) when you sample. [0000000...] This parameter is unique to the TRITON STUDIO. This setting will be preserved when you save the data as a KORG format sample file (.KSC, .KMP, .KSF). However,...

  • Page 120

    M 2–1: Page Menu Command For these commands, no Compare function is available that would let you return to the prior state after execut- ing the command. If you want to retain the original sample when you edit, uncheck the “Overwrite” box in the dialog box of the page menu command.

  • Page 121

    150BPM Played closer together, but pitch is unchanged 90BPM Played further apart, but pitch is unchanged * You can also use the Time Stretch command to control the compression of each sample to optimize the “spacing” to match the tempo. 9 Edit the performance data As an alternative to the “Time Slice”...

  • Page 122

    Sample waveform display: This displays a dotted verti- cal line at the locations where the sample was sliced, and a solid vertical line at the Start, Loop Start, and End loca- tions. When “Index” is xxx/yyy, the sample of the selected index will be highlighted.

  • Page 123

    9 Use Time Stretch to adjust the length of the sliced sam- ples. When you press the Stretch button, Time Stretch (a function that expands or shrinks the length of a sample without affecting its pitch) will be applied to the sliced sample.

  • Page 124

    In some cases, the sample End address setting etc. may increase the number of measures in the pattern, so that it no longer loops precisely. In such cases, re-specify the “Length” in Sequencer mode “Pattern Parameter” (Sequencer 6–1c). If you use “Seq.Event” and “Start Measure” 001, the “Tempo”...

  • Page 125

    lated according to the length from the start address to the end address (if loop is off) or from the loop start address to the end address (if loop is on). If you already know the BPM value and the calculated value is incorrect, change it to the correct value.

  • Page 126

    Time Stretch requires vacant samples, multisamples, and relative parameters in order to execute. Before you execute, make sure that there is sufficient free space. If there is not, an error will occur. To use Time Stretch (Slice) 1 Select the sample that you wish to time-stretch using the Slice method 2 Select the “Time Stretch”...

  • Page 127

    Sample waveform display: This displays the waveform of the selected sample. If the “Index” is other than Result, the locations at which the sample is sliced will be indicated by a dotted line (vertical). If “Index” is set to xxx/yyy, the sample of the selected index will be high- lighted.

  • Page 128: Sampling P3: Multisample

    3 In “Crossfade Length,” specify the length of the sample that you wish to crossfade. If you set this as %, “Crossfade Length” will be calcu- lated automatically. Specify the proportion of the “Cross- fade Length” relative to the length between the loop start and loop end.

  • Page 129

    Top Key Specifies the highest key in the zone of the index. The zone is defined by this “Top Key” ( 0–1b). Range This shows the range of the zone that is determined by the “Top Key” setting. The selected sample data will playback within this area.

  • Page 130: Sampling P4: Controller Setup

    0–1G 0–1H 0–1I 0–1J 3–1A 0–1K 3–2: Preference 3–2a 3–2a: Create Zone Preference Here you can specify the default settings for indices that are created by executing “Create” (3–1c, 0–1b). New indexes will be created according the settings you specify here. You are free to modify the settings of an index later.

  • Page 131: Sampling P5: Audio Cd

    In either case, the procedure is the same as when sam- pling analog audio from the AUDIO INPUT jacks. The audio will play back on the TRITON STUDIO according to the “Input” Analog (0–2a) settings. Set “Level,” “BUS (IFX/Indiv.) Select” (normally set to L/R) for Input1 (L channel) and Input2 (R channel).

  • Page 132

    5–1b: Drive, Track, Index Drive (Drive select) [ID0...6, CDD: Name] Selects the CD-R/RW drive that contains the audio CD that you want to play or rip. Drives other than a CD-R/RW drive cannot be selected here. Track (Track Select) Selects the track of the audio CD that you want to play or rip.

  • Page 133: Sampling P8: Insert Effect, Make Chain Settings

    Sampling P8: Insert Effect Here you can make insert effect settings for use in Sampling mode. If you want to apply insert effect IFX1–5 to the external audio signal specified by “Input” and sample the result, set the P0: Recording, Input/Setup page Input1 and Input2 “BUS (IFX/Indiv.) Select”...

  • Page 134: Song Play Mode, Song Play P0: Prog/mix, Prog. 9–16

    You can also use the arpeggiator or realtime controllers during playback. In Song Play mode you can playback SMF data and make related settings. The TRITON STUDIO is able to playback SMF format 0 or format 1 data. Song Play P0: Prog/Mix 0–1: Prog.

  • Page 135

    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 each track. The lower line will display part of the program name. If “Program Select” is selected, you can use the BANK [INT- A]–[EXB-G] keys and the VALUE controller to select the pro- gram.

  • Page 136: Output, Mixer 9–16

    0–1D: Save Template Song This command saves the programs, the track parameters, and the effect settings etc. as a user template song U00–15 ( Sequencer P0: 0–1H). The settings that are saved here can also be loaded in Sequencer mode. 0–1E: Set Location By pressing the [LOCATE] key you can move to the location specified here ( Sequencer P0: 0–1J).

  • Page 137: Song Play P1: Track, Status 9–16, Moss 9–16

    TRITON STUDIO’s keyboard or controllers when “Play (Track Select)” (0–1g) is set to a track whose set- ting is INT, the TRITON STUDIO’s internal tone generator will sound, but MIDI messages will not be transmitted to external devices.

  • Page 138: Song Play P2: Controller Setup

    Song Play P2: Controller Setup Specifies the functions that the [SW1] key, [SW2] key, and the B-mode functions of the REALTIME CONTROL knobs [1]–[4] will have in Song Play mode. The functions you spec- ify can be used when playing the track selected by “Play (Track Select).”...

  • Page 139: You Want To Play

    Song Play P3: Select Directory/ Jukebox The contents of this display will depend on the “Jukebox” (0–1a) setting. Off (unchecked): “3–1: Select Directory” will be displayed. On (checked): “3–1: Jukebox” will be displayed. 3–1: Select Directory From a floppy disk inserted into the floppy disk drive, the internal hard disk, or an external SCSI device, select the directory containing the SMF that you want to play.

  • Page 140: Song Play P7: Arpeggiator, Setup 9–16

    M 3–1: Page Menu Command 3–1A 3–1B 3–1A: Load Jukebox List This command loads the jukebox list that you wish to use. 1 In the directory window, select a jukebox list file (file- name extension .JKB), and then select “Load Jukebox List”.

  • Page 141

    If tracks 1–16 to which arpeggiator A or B are assigned have a track “Status” (1–1a/2a) of either INT or BTH, they will be played by note data generated by the arpeggiator regardless of the “Ch” (0–1b) setting of each track. In the case of BTH or EXT, MIDI note data will be transmitted on the “Ch”...

  • Page 142: Song Play P8: Insert Effect, Routing 9–16

    7–5b: Scan Zone A/B Top Key Bottom Key Specify the range of notes (keys) that will trigger arpeggia- tor A. “Top Key” is the highest note of the range, and “Bot- tom Key” is the lowest note. Top Velocity Bottom Velocity Specify the range of velocities that will trigger arpeggiator A.

  • Page 143: Make Chain Settings, Off, And Make Chain Settings

    Send1 (MFX1) Send2 (MFX2) Specify the send levels from tracks 1–16 to master effects 1 and 2. This is valid when “BUS Select” (8–1b) is set either to L/R or Off. If IFX 1, 2, 3, 4, or 5 is selected, the send levels to master effects 1 and 2 are set by “Send 1”...

  • Page 144: Song Play P9: Master Effect

    Song Play P9: Master Effect For details on the 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. These set- tings are the same as in Program mode.

  • Page 146: Global Mode, Global P0: Basic Setup

    (A–1…C7) (A0…C8) If “Convert Position” is set to PreMIDI, the note num- bers transmitted from the TRITON STUDIO will be affected by this setting. “Master Tune” can be controlled by the MIDI universal system exclusive message Master Fine Tuning (F0, 7F, nn, 04, 03, vv, mm, F7: nn=MIDI channel, vv/mm= value).

  • Page 147

    DIO’s internal tone generator, meaning that it will affect the data received via MIDI, but will not affect the trans- mitted data. When you use the TRITON STUDIO’s keyboard to play the internal tone generator, the “Convert Position” set- ting will make no difference.

  • Page 148

    00. 00, 00. 01...(XG) R 00. 00, 01. 00...(GS) R g(d) 120. 00 R/T 120. 00 R/T 62. 00 R 62. 00 R 63. 127 R ( Korg MUTE) EXB-A 00. 08 R/T 63. 08 R/T EXB-B 00. 09 R/T 63. 09 R/T EXB-C 00.

  • Page 149

    P2: 2–1c) is off. High (+12 dB): Selects this setting when you want to play back a WAVE file on the TRITON STUDIO and record it via S/P DIF OUT, DIGITAL OUT (if the EXB-DI is installed), or the mLAN connector (if the EXB-mLAN is installed) on an external digital audio device.

  • Page 150

    In the Disk mode Play Audio CD page, an audio CD placed in the CDRW-1 option (if installed) can be played. In this case, the audio will be input to the TRITON STUDIO accord- ing to the settings you make here. The L channel corre- sponds to Input1, and the R channel to Input2.

  • Page 151

    Select” Off, or set “Level” to 0. If audio cables are not connected to the AUDIO INPUT 1 and 2 jacks, the input to the TRITON STUDIO via the AD converter is forced to zero, and no noise component will be output.

  • Page 152

    Auto: The word clock master/slave setting will be made automatically. Manual: The TRITON STUDIO will be the word clock mas- ter, and the slave devices will synchronize to the clock of the EXB-mLAN. However if settings are changed on a con- nected external device, the external device will become the master.

  • Page 153: Global P1: Midi

    This button disconnects the TRITON STUDIO’s input plug from an external device connected to the EXB-mLAN. To make a connection 1 Use “Input Plug” to select the TRITON STUDIO input plug that you want to connect. 2 Press the Connect button to access the dialog box.

  • Page 154

    TRITON STUDIO’s own internal clock. Select the Internal setting when using the TRITON STUDIO by itself, or when you want the TRITON STUDIO to be the master (controlling device) so that another connected exter- nal MIDI device will synchronize to the MIDI Clock mes- sages transmitted from the TRITON STUDIO.

  • Page 155

    On (checked): System exclusive data will be transmitted and received. Check this setting when you wish to use a connected computer etc. to edit the TRITON STUDIO, or vice versa. Off (unchecked): System exclusive data will neither be trans- mitted nor received. Normally you will leave this unchecked.

  • Page 156

    Do not touch the TRITON STUDIO’s switches or turn off the power while data is being transmitted. Data dump transmission procedure 1 Connect the TRITON STUDIO to the device that will receive the data dump. If you are using a computer that can receive MIDI exclu- sive messages, connect the TRITON STUDIO’s MIDI...

  • Page 157: Global P2: Controller, Global P3: User Scale

    DAMPER jack. If a Korg DS-1H (sold separately) damper pedal is connected, the pedal switch polarity will be ( ), so select (–) KORG Stan- dard for this setting. If you have connected a damper pedal with a positive ( ) polarity, select (+) for this setting. ( is open- type, is closed-type.) If the polarity does not match, operating...

  • Page 158: Global P4: Category Name

    3–1b: User All Notes Scale Tune Makes independent pitch settings for each of the 128 notes. Adjust the pitch of each of the 128 notes (C–1 – G9) in one- cent steps. This adjustment is relative to equal temperament. A setting of –99 lowers the pitch approximately a semitone below normal pitch.

  • Page 159: Global P5: Drum Kit

    Global P5: Drum Kit Here you can create drum kits by assigning a drum instru- ment (drum sample) to each key. A drum kit that you create or edit here can be selected in Program mode P1: Edit Basic “Drum Kit” (when “Oscilla- tor Mode”...

  • Page 160

    ( ”VNL”) RAM: Selects samples that you created in the Sampling mode, or that were loaded into the TRITON STUDIO in the Disk mode. For “High Drumsample” you can select from 0000–3999. When you press the popup button, the group of 1000 samples that include the currently selected sample will be displayed.

  • Page 161

    S.Offset (Start Offset) Rev (Reverse) Level Transpose Tune Cutoff (Filter-Cutoff) Resonance (Filter-Resonance) Attack (Amp-Attack) Decay (Amp-Decay) ( 5–1b) M 5–1: Page Menu Command 5–1A: Write Drum Kits This command writes all drum kits 000 (I-A/B)–143 (User). 1 Select “Write Drum Kits” to access the dialog box. 2 To execute the Write command press the OK button.

  • Page 162: Global P6: User Arpeggio, Pattern

    Global P6: User Arpeggio Here you can create user arpeggio patterns. In this page, the TRITON STUDIO will sound as it did in the mode you were in before entering Global mode. If you moved here from Program mode: Your editing will apply to the arpeggio pattern that is selected by the pro- gram.

  • Page 163

    6–1a: Arpeggio Select, , Pattern, Length, Octave, Resolution, Sort, Latch, Key Sync., Keyboard Arpeggio Select If you have moved here from Combination, Sequencer or Song Play mode and edit an arpeggio pattern, you must select either arpeggiator A or B as the pattern to edit. Your editing will apply only to the selected one.

  • Page 164

    Example) We will use a “Arpeggio Tone Mode” Fixed Note pattern on drums. Tone 1 is assigned a note number that will sound a kick, Tone 2 a snare, and Tone 3 a hi-hat. With a setting of Trigger As Played, pressing one key will sound only Tone 1 (kick).

  • Page 165

    Velocity Key: The Tone of the step will sound with the velocity at which the key was played. 001–127: The specified velocity value will always be used. This setting is valid when the Program, Combination, Song, or Song Play mode parameter “Velocity” (Program P7: 7–1a, Combination P7: 7–2a/3a, Sequencer/Song Play P7: 7–3a/ 4a) is set to Step.

  • Page 166: Files, Directories, And Icons

    .SNG file 7. Disk mode Files, directories, and icons The TRITON STUDIO manages data on disks and other media in a hierarchical manner, using files and directories. The contents of a file (whether it is a file or a directory) are indicated not only by the name but also graphically by an icon.

  • Page 167

    If these filename extensions are modified on a computer, the file will be treated as an undefined file when it is reloaded back into the TRITON STUDIO, and will be han- dled as a Standard MIDI File.

  • Page 168

    “Where is a...” If the specified file is located on another disk, exchange disks. Then press the directory window in the LCD screen to make the TRITON STUDIO recognize the disk, and select the appropriate directory. It is not possible to open .PCG or .SNG files in the “Where is a ...”...

  • Page 169

    .PCG file, the drum kit number of the programs will not be set. If you specify banks I-C/I-D/I-E when loading a TRI- TON, TRITON-Rack or TRITON STUDIO .PCG file, drum kits and user arpeggio patterns will not be loaded.

  • Page 170

    3) Load Program Bank [Bank I-A...I-E, Bank E-A...E-G]: selected icon All program data of the selected bank will be loaded into the bank you specify. 1 In “To,” select the loading destination bank. Bank I-F program data can be loaded only into bank I-F. If you select bank I-A–I-E, E-A–E-G it will not be possi- ble to select bank I-F in “To.”...

  • Page 171: Protect Settings

    The selected drum kit can be played from the keyboard even before you load it. This is convenient when you want to audition the drum kit to be loaded. ( p.156) 2 In “To Drum Kit” (lower line), select the loading destina- tion drum kit.

  • Page 172

    The program bank and program numbers loaded into the song will follow the “Bank Map (Global P0: 0–2a) setting. If “Bank Map” is KORG, bank A will be selected for bank select 00.00 (MSB.LSB). If “Bank Map” is GM(2), bank G will be selected.

  • Page 173

    files are loaded into the sample memory (RAM) of the TRITON STUDIO. About the sample memory (RAM) The TRITON STUDIO is shipped from the factory with 16 Mbytes of sample memory (RAM). (One 16 Mbyte SIMM is installed) By installing SIMM modules into any and all of...

  • Page 174

    (RAM) (Append load). Loading AIFF files and WAVE files The TRITON STUDIO can load AIFF format or WAVE for- mat files, which are formats used to save audio data on per- sonal computers etc. The loaded data can be used as a sample.

  • Page 175

    Sample or Program file data can be used as a sample or multisample respectively. When the loaded data is then saved to storage media, it will be saved as a Korg format .KSF file or .KMP file respectively. AKAI S1000/S3000 format stereo Sample files and Program files whose names end in “-L”...

  • Page 176

    Key zones can also be crossfaded. On the TRITON STUDIO, in contrast, there is one sample for each key zone, and you can use up to four multisam- ples to create a key map in the order of the velocity of each key group.

  • Page 177

    Remove the floppy disk from the disk drive, insert another floppy disk, and press the LCD screen to make the TRITON STUDIO detect the disk. If you want to specify a different SCSI device, choose “Drive select” (0–1c), and specify the save-destination media.

  • Page 178

    0–2E: Save Sampling Data (Multisamples and Samples) When this command is executed, the following list of multi- sample and sample data will be saved to media as Korg for- mat .KMP files, .KSF files, and a .KSC file that collects these files.

  • Page 179

    The song data you save here can be played back on a device that supports Standard MIDI Files. However if you intend to playback the data on the TRITON STUDIO, we recommend that you use “Save SEQ” to save the data, since this will allow a higher degree of reproducibility.

  • Page 180

    After selecting a disk or file, select the desired page menu command. To avoid errors, do not subject the TRITON STUDIO to vibration or physical shock while data is being written to the CDRW-1 option (if installed) or while a disc is being formatted.

  • Page 181: 0–3f: Format

    3 “Copy” will show the name of the selected file or direc- tory. If you wish to change the file or directory that will be copied, use the text edit button to move to the text input dialog box, and specify the filename that you wish to copy.

  • Page 182: 0–3g: Convert To Iso9660 Format, 0–3h: Rate Convert

    This command converts UDF format CD-R media to ISO9660 format. If a file that was saved by the TRITON STUDIO to CD-R is to be loaded by another device, you must execute this com- mand to convert it to ISO9660 format.

  • Page 183

    What is Finalize? In order for an audio CD to be playable on a conventional CD player, or to be played on the TRITON STUDIO (Global 0–4: Play Audio CD page, Sampling P5: Audio CD page), the Finalize operation must be executed after all the desired audio tracks have been written to the CD-R/RW disc.

  • Page 184

    CD tracks. If desired, you can also finalize the disc ( p.172) at this time. To avoid errors, do not subject the TRITON STUDIO to vibration or physical shock while data is being written to the CDRW-1 option (if installed), or while formatting is taking place.

  • Page 185

    0–4D: Erase CD-RW This command erases the audio tracks from CD-R/RW media. To avoid errors, do not subject the TRITON STUDIO to vibration or physical shock while data is being written to the CDRW-1 option (if installed), or while formatting is taking place.

  • Page 186: Media

    Since some CD-R/RW drives do not support this, the volume may not change when you adjust this setting. 0–5b: Input Input [Analog, S/P DIF, mLAN] Input1: Input2: Level [L000...C064...R127] BUS (IFX/Indiv.) Select [L/R, IFX1...5,1, 2, 3, 4, 1/2, 3/4, Off] Send1 (MFX1), Send2 (MFX2) Here you can specify the input source, input level, pan, bus, and master effect send for analog/digital audio devices.

  • Page 187

    Once scanning is completed, any valid SCSI device can be selected in “Drive Select.” Never connect or disconnect a SCSI cable while the power of the TRITON STUDIO or of a SCSI device is turned on. Doing so can cause irreparable malfunc- tions.

  • Page 188: Effect Guide, Effects In Each Mode

    In these modes, the external input sound from each jack can be processed by the TRITON STUDIO’s effects and sampled, or the TRITON STUDIO can be used as a 6-in 6-out effect processor. The TRITON STUDIO can also be used as a vocoder effect (093: Vocoder) that uses external mic input to control internal sounds.

  • Page 189

    The TRITON STUDIO does not have an input level meter to detect the effect input level. If the input level is too low, the S/N ratio may decrease. On the other hand, if the input level is too high, clipping may occur.

  • Page 190

    2. Routing You can use up to five channels (IFX 1, 2, 3, 4, and 5) for the Insert Effects in any mode. 2–1. Program mode Use “BUS Select” (Program P8: 8–1c) to set the destination bus of the oscillator output. L/R: The signal is not sent to the Insert Effects.

  • Page 191

    — Settings for drum Programs — If a drum Program (“Oscillator Mode” Drums) is selected for timbres in Combination mode and for tracks in Sequencer mode and Song Play mode, you can select DKit for “BUS Select.” If you select DKit, the “BUS Select” (Global P5: 5–2b) settings for each key become effective, and each drum instrument sound will be routed to the corresponding buses (e.g.: the snare sound is sent to IFX1, kick sound to...

  • Page 192

    1 Combination, 1 Song, and Song Play modes. For the external input sound from the various input jacks, you can use the TRITON STUDIO’s effects as a 6-in 6-out effect pro- cessor, or use them in conjunction with the internal sounds.

  • Page 193: Controlling The Insert Effects Via Midi, Master Effects (mfx1, 2), In/out

    FX page in each mode will toggle between ON and OFF. When OFF is selected, the output signals will be muted. The TRITON STUDIO can also turn MFX 1 and 2 off separately from the setting of the ON/OFF button by receiving MIDI control change message CC#94 and CC#95 respectively.

  • Page 194: Routing

    2. Routing You can use up to two channels (MFX1 and 2) for the Master Effects in any mode other than in Sampling mode. (You can- not use the Master Effects in Sampling mode.) If you are not using any Insert Effects in any mode, the Master Effects send levels are determined by the “Send1 (MFX1)”...

  • Page 195: Mixer

    AUDIO 1 and 2. If you want to play back an audio CD without applying the TRITON STUDIO’s effects, set “Input” Analog set- tings for Input1 to “Level” 127, “Pan” L000, “BUS Select” L/R, “Send1, 2” 000, and set Input2 “Pan” to R127 and the remaining parameters to the same set- tings as for Input1.

  • Page 196: Controlling The Master Effects Via Midi, Master Eq, Main Output, Individual Outputs

    For more information on the parameters ( p.239). Main Output The main L/MONO and R outputs of the TRITON STUDIO are output from the AUDIO OUTPUT (MAIN) L/MONO and R jacks, the S/P DIF OUT (MAIN) jack, and the head- phone jack.

  • Page 197: Effect/mixer Block Diagram, Program, Combination, Sampling

    Effect/Mixer Block Diagram Program mode Effect / Mixer Block Diagram in Program Mode IFX / Indiv.Out BUS Select Oscillator 1 BUS Select = IFX1 Oscillator 2 BUS Select Analog Input 1 = L/R BUS Select Analog Input 2 = IFX1 BUS Select S/P DIF IN L = L/R...

  • Page 198: Filter/dynamic, Filter And Dynamics Control Effects 000: No Effect, St. Amp Simulation (stereo Amp Simulation)

    Filter/Dynamic Filter and dynamics control effects 000: No Effect Select this option when you do not use any effects. The Insert Effect section outputs unprocessed signals and the Master Effect section mutes the output. 001: St. Amp Simulation (Stereo Amp Simulation) This effect simulates the frequency response characteristics of guitar amplifiers.

  • Page 199: Multiband Limiter

    Envelope Select L/R Mix, L Only, R Only, L/R Individually Selects from linking both channels, controlling only from left channel, only from the right channel, or controlling each channel individually Ratio Sets the signal compression ratio Threshold [dB] Sets the level above which the compressor is applied Attack Sets the attack time Release...

  • Page 200: Stereo Gate, Od/hi.gain Wah (overdrive/hi.gain Wah)

    Wet/Dry Sets the balance between the effect and dry sounds Selects the modulation source of the effect balance Sets the modulation amount of the effect balance e: Low Offset [dB], f: Mid Offset [dB], g: High Offset [dB] These parameters set the gain of the trigger signal. For example, if you do not want to apply compression to the high range, reduce the “High Offset”...

  • Page 201

    Output Level Sets the output level Selects the modulation source for the output level Sets the modulation amount of the output level Low Cutoff [Hz] Sets the center frequency for Low EQ (shelving type) Gain [dB] Sets the gain of Low EQ Mid1 Cutoff [Hz] Sets the center frequency for Mid/High EQ 1 (peaking type) Sets the band width of Mid/High EQ 1...

  • Page 202: St. Graphic 7eq (stereo Graphic 7 Band Eq), St. Wah/auto Wah (stereo Wah/auto Wah)

    d: Band2 Dynamic Gain Src, d: Amt [dB], f: Gain [dB] You can control the gain of Band 2 using the modulation source. Parametric 4EQ - Band2 Dynamic Gain Control -mod +15dB Band2 Cutoff +6dB +6dB Band2 Cutoff –9dB Band2 Gain[dB]= +6.0 Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.0 Band2 Dynamic Gain Amt[dB]= –15.0...

  • Page 203: St. Random Filter (stereo Random Filter)

    a: Frequency Bottom, a: Frequency Top The sweep width and direction of the wah filter are determined by the “Frequency Top” and “Frequency Bottom” settings. Frequency Frequency Top=75 Bottom=60 Top=30 Bottom=25 -mod Higher Zero Frequency Frequency Bottom=75 Top=75 Bottom=25 Top=25 Envelope Time b: Sweep Mode...

  • Page 204: St. Exciter/enhncr (stereo Exciter/enhancer), St. Sub Oscillator (stereo Sub Oscillator)

    When “LFO Waveform” is set to Random, the “LFO Step Freq” parameter uses a random LFO cycle. Random Filter LFO LFO Frequency LFO Step Freq LFO Step Freq Step-Tri Random b: LFO Phase [degree] Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect.

  • Page 205: Talking Modulator

    Fixed Frequency [Hz] Sets the oscillator frequency when OSC Mode=Fixed Selects the modulation source for the oscillator frequency when OSC Mode=Fixed Sets the oscillator frequency modulation amount when OSC Mode=Fixed Envelope Pre LPF Sets the upper limit of the frequency range for which very low har- monics are added Envelope Sens (Envelope Sensitivity) Sets the sensitivity with which very low harmonics are added...

  • Page 206: Stereo Decimator

    014: Stereo Decimator This effect creates a rough sound like a cheap sampler by low- ering the sampling frequency and data bit length. You can also simulate noise unique to a sampler (aliasing). Stereo In - Stereo Out Left High Damp Output Level Pre LPF Resolution Decimator...

  • Page 207: Pitch/phase Mod, Stereo Chorus, St. Harmonic Chorus (stereo Harmonic Chorus)

    Pitch/Phase Mod. Pitch/phase modulation effects 016: Stereo Chorus This effect adds thickness and warmth to the sound by modu- lating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

  • Page 208: Multitap Cho/delay (multitap Chorus/delay), Ensemble

    g: High/Low Split Point This parameter sets the frequency that splits the high and low range. Only the high range will be sent to the chorus block. h: Feedback Sets the feedback amount of the chorus block. Increasing the feed- back will allow you to use the effect as a flanger.

  • Page 209: Stereo Flanger, St. Random Flanger (stereo Random Flanger)

    020: Stereo Flanger This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

  • Page 210: St. Env. Flanger (stereo Envelope Flanger), Stereo Phaser

    022: St. Env. Flanger (Stereo Envelope Flanger) This Flanger uses an envelope generator for modulation. You will obtain the same pattern of flanging each time you play. You can also control the Flanger directly using the modula- tion source. Stereo In - Stereo Out Left Flanger Feedback...

  • Page 211: St. Random Phaser (stereo Random Phaser), St. Env. Phaser (stereo Envelope Phaser)

    024: St. Random Phaser (Stereo Random Phaser) This is a stereo phaser. The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. Stereo In - Stereo Out Left Phaser Resonance Phaser Right LFO Phase LFO: Step-Tri/Random LFO Waveform Selects LFO Waveform...

  • Page 212: St. Biphase Mod. (stereo Biphase Modulation), Stereo Vibrato

    026: St. Biphase Mod. (Stereo Biphase Modulation) This stereo chorus effect adds two different LFOs together. You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.

  • Page 213: St. Auto Fade Mod. (stereo Auto Fade Modulation), Voice Resonator

    “AUTOFADE Src”=Gate1, “LFO Frequency [Hz]”=1.0 “LFO Frequency Mod”=AUTOFADE, “Amt”=3.0 The effect is off when a value for the dynamic modulation source specified for the “AUTOFADE Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher.

  • Page 214: Doppler

    Voice2: Level Sets the Voice2 output level Sets the Voice2 stereo image Wet/Dry Sets the balance between the effect and dry sounds Selects the modulation source of the effect balance Sets the modulation amount of the effect balance a: Control Mode, e: Voice1: Resonance, h: Voice2: Resonance This parameter determines the resonance intensity.

  • Page 215: Scratch

    031: Scratch This effect is applied by recording the input signal and mov- ing the modulation source. It simulates the sound of scratches you can make using a turntable. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Scratch Rec Control...

  • Page 216: Mod./p.shift, Stereo Tremolo, St. Env. Tremolo (stereo Envelope Tremolo)

    Mod./P.Shift Other modulation and pitch shift effects 032: Stereo Tremolo This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.

  • Page 217: Stereo Auto Pan, St. Phaser + Trml (stereo Phaser + Tremolo)

    “Depth”=100, “Envelope Amount”=–100 Level Dry Envelope 034: Stereo Auto Pan This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other.

  • Page 218: St. Ring Modulator (stereo Ring Modulator)

    Tremolo Shape Sets the degree of the tremolo LFO shaping Tremolo Depth Sets the tremolo modulation depth Selects the modulation source for the tremolo modulation depth Sets the modulation amount of the tremolo modulation depth Wet/Dry Sets the balance between the effect and dry sounds Selects the modulation source of the effect balance Sets the modulation amount of the effect balance a: Type, a: LFO Phase [degree]...

  • Page 219: Detune, Pitch Shifter

    037: Detune Using this effect, you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input signal. Compared to the chorus effect, a more natural sound thickness will be created. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Input Level...

  • Page 220: Pitch Shift Mod. (pitch Shift Modulation), Rotary Speaker

    039: Pitch Shift Mod. (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by pan- ning the effect sound and dry sound to the left and right. This is especially effective when the effect sound and dry sound output from stereo speakers are mixed.

  • Page 221: Er/delay, Early Reflections

    When “Sw” = Moment, the speaker is rotating. It stops only when you press the pedal or operate the joystick. Rotation will occur when the value of the modulation source is less than 64, and will stop when the value is 64 or greater.

  • Page 222: Auto Reverse, L/c/r Delay

    042: Auto Reverse This effect records the input signal and automatically plays it in reverse (the effect is similar to a tape reverse sound). Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Direct Auto Reverse Rec/Reverse Play Control Right...

  • Page 223: Stereo/cross Delay, St. Multitap Delay (stereo Multitap Delay)

    044: Stereo/Cross Delay This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing. Stereo In - Stereo Out Left High Damp Low Damp Delay Input Level D-mod...

  • Page 224: St. Modulation Delay (stereo Modulation Delay), St. Dynamic Delay (stereo Dynamic Delay)

    046: St. Modulation Delay (Stereo Modulation Delay) This stereo delay uses an LFO to sweep the delay time. The pitch also varies. You will obtain a delay sound with swell and shimmering. You can also control the delay time using a modulation source.

  • Page 225: St. Auto Panning Dly (stereo Auto Panning Delay), L/c/r Bpm Delay

    a: Control Target This parameter selects no level control, delay output control (effect balance), or feedback amount control. a: Polarity, b: Threshold, b: Offset, c: Attack, d: Release The “Offset” parameter specifies the value for the “Control Tar- get” parameter (that is set to None), expressed as the ratio relative to the parameter value (the “Wet/Dry”...

  • Page 226: St. Bpm Delay (stereo Bpm Delay), Sequence Delay

    High Damp [%] Sets the damping amount in the high range Low Damp [%] Sets the damping amount in the low range Input Level Dmod [%] Sets the modulation amount of the input level Selects the modulation source for the input level Spread Sets the width of the stereo image of the effect sound Wet/Dry...

  • Page 227: Reverb, Reverb Hall, Reverb Smoothhall, Reverb Wet Plate, Reverb Dry Plate

    High Damp [%] Sets the damping amount in the high range Low Damp [%] Sets the damping amount in the low range Input Level Dmod [%] Sets the modulation amount of the input level Selects the modulation source for the input level Wet/Dry Sets the balance between the effect and dry sounds Selects the modulation source of the effect balance...

  • Page 228: Reverb Room, Reverb Brightroom, Mono – Mono Chain

    056: Reverb Room This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room. 057: Reverb BrightRoom This room-type reverb emphasizes the early reflections that make the sound brighter.

  • Page 229: P4eq – Wah (parametric 4-band Eq – Wah/auto Wah)

    059: P4EQ – Wah (Parametric 4-Band EQ – Wah/Auto Wah) This effect combines a mono-type four-band parametric equalizer and a wah. You can change the order of the connec- tion. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Parametric 4Band EQ...

  • Page 230: P4eq – Phaser (parametric 4-band Eq – Phaser)

    061: P4EQ – Phaser (Parametric 4-Band EQ – Phaser) This effect combines a mono-type four-band parametric equalizer and a phaser. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Parametric 4Band EQ Phaser Phaser Trim Resonance Phaser Wet / Dry Right...

  • Page 231: Comp – Wah (compressor – Wah/auto Wah), Comp – Amp Sim (compressor – Amp Simulation)

    063: Comp – Wah (Compressor – Wah/Auto Wah) This effect combines a mono-type compressor and a wah. You can change the order of the connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Compressor Wah/Auto Wah LEQ HEQ...

  • Page 232: Comp – Param4eq (compressor – Parametric 4-band Eq), Comp – Cho/flng (compressor – Chorus/flanger)

    [O] Output Level Sets the overdrive output level Selects the modulation source for the overdrive output level Sets the modulation amount of the overdrive output level [O] Low Cutoff [Hz] Sets the center frequency for Low EQ (shelving type) Gain [dB] Sets the gain of Low EQ [O] Mid1 Cutoff [Hz] Sets the center frequency for Mid/High EQ 1 (peaking type)

  • Page 233: Comp – Phaser (compressor – Phaser), Comp – Mt. Delay (compressor – Multitap Delay)

    Wet/Dry Sets the balance between the effect and dry sounds Selects the modulation source of the effect balance Sets the modulation amount of the effect balance h: Output Mode, i: Routing When Wet Invert is selected, the right channel phase of the cho- rus/flanger effect sound is inverted.

  • Page 234: Limiter – P4eq (limiter – Parametric 4-band Eq)

    070: Limiter – P4EQ (Limiter – Parametric 4-Band EQ) This effect combines a mono-type limiter and a four-band parametric equalizer. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Limiter...

  • Page 235: Limiter – Phaser, Limiter – Mt. Delay (limiter – Multitap Delay)

    072: Limiter – Phaser This effect combines a mono-type limiter and a phaser. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Routing Limiter Limiter Gain Adjust Resonance Right LFO: Tri / Sine...

  • Page 236: Exciter – Limiter, Exciter – Cho/flng (exciter – Chorus/flanger)

    074: Exciter – Comp (Exciter – Compressor) This effect combines a mono-type exciter and a compressor. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Compressor Exciter EQ Trim...

  • Page 237: Exciter – Phaser, Exciter – Mt. Delay (exciter – Multitap Delay)

    077: Exciter – Phaser This effect combines a mono-type limiter and a phaser. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Exciter EQ Trim Exciter Resonance Right LFO: Tri / Sine [X] Exciter Blend Sets the intensity (depth) of the Exciter effect [X] Emphatic Point Sets the frequency range to be emphasized...

  • Page 238: Od/hg – Amp Sim (overdrive/hi.gain – Amp Simulation), Od/hg – Cho/flng (overdrive/hi.gain – Chorus/flanger)

    079: OD/HG – Amp Sim (Overdrive/Hi.Gain – Amp Simulation) This effect combines a mono-type overdrive/high-gain dis- tortion and an amp simulation. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Overdrive / Hi-Gain...

  • Page 239: Od/hg – Phaser (overdrive/hi.gain – Phaser), Od/hg – Mt. Delay (overdrive/hi.gain – Multitap Delay)

    081: OD/HG – Phaser (Overdrive/Hi.Gain – Phaser) This effect combines a mono-type overdrive/high-gain dis- tortion and a phaser. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Routing Overdrive / Hi-Gain...

  • Page 240: Wah – Amp Sim (wah/auto Wah – Amp Simulation)

    083: Wah – Amp Sim (Wah/Auto Wah – Amp Simulation) This effect combines a mono-type wah and an amp simula- tion. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Wah/Auto Wah...

  • Page 241: Amp Sim – Tremolo (amp Simulation – Tremolo)

    086: Amp Sim – Tremolo (Amp Simulation – Tremolo) This effect combines a mono-type amp simulation and a trem- olo. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Amp Simulation Amp Simulation Filter Right LFO: Tri/Sin/Vintage/Up/Down [A] Amplifier Type Selects the type of guitar amplifier...

  • Page 242: Phaser – Cho/flng (phaser – Chorus/flanger), Reverb – Gate

    088: Phaser – Cho/Flng (Phaser – Chorus/Flanger) This effect combines a mono-type phaser and a chorus/ flanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Phaser Chorus/Flanger Phaser Chorus/Flanger LEQ HEQ Trim Phaser Resonance Feedback Wet / Dry Right...

  • Page 243: Double Size, Piano Body/damper (piano Body/damper Simulation)

    Double Size Double-size effects (Available for Insert Effects IFX2, 3, and 4) 090: Piano Body/Damper (Piano Body/Damper Simulation) This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the reso- nance of other strings that are not being played when you press the damper pedal.

  • Page 244: Vocoder

    Wah Sweep Range Sets the range of Wah Wah Sweep Src Selects the modulation source that controls the Wah Drive Mode Overdrive, Hyper-Gain Switching between overdrive and hyper-gain mode Drive Sets the degree of distortion Pre Low-cut Sets the low range cut amount of the distortion input Output Level Sets the output level Selects the modulation source for the output...

  • Page 245

    094: Multitap Cho/Delay (Multitap Chorus/Delay) This effect has six chorus blocks with different LFO phases. You can produce a complex stereo image by setting a different delay time and depth for each block. You can control the delay output level via a modulation source. Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Left Feedback...

  • Page 246: Rotary Speaker Od (rotary Speaker Overdrive)

    Input Level Dmod [%] Sets the modulation amount of the input level Selects the modulation source for the input level Spread Sets the width of the stereo image of the effect sound Wet/Dry Sets the balance between the effect and dry sounds Selects the modulation source of the effect balance Sets the modulation amount of the effect balance b: L/R Pitch...

  • Page 247: Early Reflections, L/c/r Long Delay, St/cross Long Dly (stereo/cross Long Delay)

    097: Early Reflections This early reflection effect has more precise early reflections with twice the maximum length of a normal-size effect (Fx:041). You can create a very smooth and dense sound. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left EQ Trim Early Reflections...

  • Page 248: Lcr Bpm Long Dly (l/c/r Bpm Long Delay)

    100: LCR BPM Long Dly (L/C/R BPM Long Delay) The L/C/R delay enables you to match the delay time with the song tempo. You can set the delay time up to 2,730msec. Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Left L Delay Input Level D-mod...

  • Page 249: Hold Delay

    Wet/Dry Sets the balance between the effect and dry sounds Selects the modulation source of the effect balance Sets the modulation amount of the effect balance a: Time Over? L >, a: R > You can set the delay time up to 1365msec. If the delay time exceeds this limit, the error message “OVER!!”...

  • Page 250: Master Eq

    Master EQ Master EQ Use P9: Master EQ in Program, Combination, Sequencer, and Song Play modes. You cannot use the Master EQ in Sampling mode. You cannot use the Master EQ for the Insert Effects or Mas- ter Effects. High Left Right Low Gain Mod.

  • Page 252: About Alternate Modulation Sources

    9. Appendices Alternate Modulation Source (AMS) About Alternate Modulation Alternate Modulation can be specified for the following 29 types, in total, 55 alternate modulation destinations shown in the diagram below. (Pitch EG is common to OSC 1 and 2.) AMS (Alternate Modulation Source) can be selected inde- pendently for each of these to apply modulation.

  • Page 253

    (transmitted from the TRITON STUDIO only as sequence data) after touch (channel after touch) joystick X (horizontal) axis joystick +Y (Vertical upward) direction (CC#01) joystick –Y (Vertical downward) direction (CC#02)

  • Page 254

    Flt KTrk +/+ (Filter Keyboard Track +/+) Flt KTrk +/– (Filter Keyboard Track +/–) Flt KTrk 0/+ (Filter Keyboard Track 0/+) Flt KTrk +/0 (Filter Keyboard Track +/0) Amp KTrk +/+ (Amp Keyboard Track +/+) Amp KTrk +/– (Amp Keyboard Track +/–) Amp KTrk 0/+ (Amp Keyboard Track 0/+) Amp KTrk +/0 (Amp Keyboard Track +/0) +/+: The direction of the effect will be determined by the...

  • Page 255: Alternate Modulation Settings, Applications

    Alternate Modulation settings When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below. By using alternate modulation, you can create complex sys- tems of modulation in which EG, LFO, keyboard tracks, and controllers work together.

  • Page 256

    • If you select the same controller as an “AMS” and set separate intensities for Filter A (Low Pass Filter) “Intensity” and Filter B (High Pass Filter) “Intensity,” you can operate a single controller to simultaneously control the cutoff frequencies of both filters. Resonance (Program P3: 3–1b) This can be used when the “Filter Type”...

  • Page 257

    EG Level - Pitch EG (Program P2: 2–3b) Filter EG (Program P3: 3–4b) Amp EG (Program P4: 4–3b) EG levels can be controlled by keyboard tracking, control- lers, or tempo etc. Set the “Intensity” value, and select +/–/0 for each EG seg- ment (“St”...

  • Page 258: Dynamic Modulation Source List

    Dynamic Modulation Source List Source name Explanation dynamic modulation is not used Gate1 note on/off Gate1+Dmpr (Gate1+Damper) note on + damper on/off Gate2 note on/off (retrigger) Gate2+Dmpr (Gate2+Damper) note on + damper on/off (retrigger) Note Number note number Velocity Velocity After Touch after touch (Channel After Touch) JS X (Joy Stick X)

  • Page 259: About The Bpm/midi Sync Function

    Moving the knob to the 12 o’clock position will produce a effect of 0 as the dynamic modulation source. If “Amt” is a positive (+) value, rotating the knob toward the right will produce a positive change in the effect, and rotating it toward the left will produce a negative change.

  • Page 260: Sw1/2 Assign, Sw1, Sw2 Assign List

    SW1/2 Assign The following functions can be assigned to the [SW1] or [SW2] keys. Set the “Panel Switch Assign” parameters in each mode to make these assignments. • Program P1: Controller page (1–4a). • For a combination, assignments are set by Combination P4: Controller page (4–4a).

  • Page 261: Knob 1...4 B-assign, Realtime Control Knobs B–assign List

    Control the send level to Master Effect2. Simultaneously, CC#91 will be transmitted. MIDI CC#00...CC#95 The specified MIDI control change (CC#) will be transmitted. If the TRITON STUDIO is set so as to be controlled by the control change message, the corresponding control will occur.

  • Page 262: Foot Switch Assign, Foot Switch Assign List

    The switch will control the effect of the [SW1] and [SW2] keys. Foot Switch Assign You can assign the function of an assignable switch (Korg PS-1 option) connected to the ASSIGNABLE SWITCH jack. • This setting is made in Global P2: Controller “Foot Switch Assign”...

  • Page 263: Foot Pedal Assign, Foot Pedal Assign List

    Foot Pedal Assign You can assign the function that will be controlled by an assignable pedal (Korg XVP-10 or EXP-2 option) connected to the ASSIGNABLE PEDAL jack. • This setting is made in Global P2: Controller “Foot Pedal Assign” (2–1a).

  • Page 264: Controllers Are Operated

    Master balance Master fine tune Master coarse tune When one of the TRITON STUDIO’s controllers is operated, the corresponding or the assigned control change will be transmitted. Pitch Bend messages will be transmitted only when the joystick is moved in the X (horizontal) direction.

  • Page 265

    “Track Select.” (In the case of All Routed, control is possible on the MIDI channel of all routed tracks.) If one of the TRITON STUDIO’s controllers is operated dur- ing realtime recording, the corresponding or assigned con- trol change will be recorded.

  • Page 266

    The following table shows the operations that the TRITON STUDIO will perform when control change messages are received, and the relation between settings and controller movements on the TRITON STUDIO Function bank select message MSB corresponds to joystick movement in the +Y direction (Vertical upward) corresponds to joystick movement in the –Y direction (Vertical downward)

  • Page 267

    –12 by transmitting [B0, 06, 34] (06H=CC#6), 34H=52 (corresponds to –12), and [B0, 26, 00] (26H=CC#38, 00H=0). *3The volume of the TRITON STUDIO is determined by multiplying the Volume (CC#07) with the Expression (CC#11). In Sequencer and Song Play modes when you...

  • Page 268

    CC#77: LFO1 depth (pitch LFO1 intensity) Corresponds to “Pitch LFO1 Intensity” (Program P2: OSC1/2 P.Mod page). CC#78: LFO1 delay Corresponds to “LFO1 Delay” (Program P5: OSC1/2 LFO1 page). CC#79: Filter EG intensity Corresponds to “Filter EG Intensity to A, B” (Program P3: Filter 1/2 Mod.

  • Page 269: Midi Applications, I About Midi, I Connecting Midi Devices/computers (midi Connectors)

    I Connecting MIDI devices/computers (MIDI connectors) If the EXB-mLAN option is installed, the mLAN con- nector of the TRITON STUDIO can be connected to an external mLAN-compatible MIDI device or FireWire- capable Macintosh to receive and transmit MIDI. For details on connections, refer to the “EXB-mLAN owner’s manual”...

  • Page 270: I Messages Transmitted And Received By The Triton Studio

    (Global P1: 1–1a) check box to uncheck it. When using the TRITON STUDIO by itself, leave Local Con- trol turned on. (If this is off when the TRITON STUDIO is used by itself, playing the keyboard will not produce sound.)

  • Page 271: Transmitted/received

    16,384 steps where 8,192 [bb, mm = 00H, 40H] is the center value) When the TRITON STUDIO’s joystick is moved in the X axis (left/right), a pitch bend effect will be applied, and pitch bender messages will also be transmitted.

  • Page 272

    “Program Change/Bank Select” ( p.260) Using the joystick to apply modulation Modulation 1 depth (CC#01) [Bn, 01, vv] When you move the TRITON STUDIO’s joystick in the +Y direction (Vertical upward), Modulation 1 Depth messages will be transmitted. When these messages are received, the same effect will be applied as when the TRITON STUDIO’s...

  • Page 273

    (“IFX 1–5 on/off” - “MFX 1, 2 on/off” These messages are defined simply for use in adjusting the effect levels, and may not have the same function on another instrument connected to the TRITON STUDIO. Using various controllers for control Foot controller (CC#04) [Bn, 04, vv]...

  • Page 274

    CC#70-78 control specific parameters of a program. For details on the program parameters that correspond to each control change, and how the TRITON STUDIO will respond in each mode when these are received, refer to “TRITON STUDIO operations when control changes are transmitted/ received”...

  • Page 275

    3 You can use data increment (CC#96) [Bn, 60, 00] or data decrement (CC#97) [Bn, 61, 00] (n: channel, value is fixed at 00) to change the value in steps of one. The TRITON STUDIO can receive the following three RPN messages (tuning, transpose, and pitch bend range). Tuning RPN fine tune [Bn, 65, 00, 64, 01]...

  • Page 276

    Inquiry message [F0, 7E, nn, 06, 02, (nine bytes), F7] When an inquiry message request is received, the TRITON STUDIO will respond by transmitting an inquiry message that means “I am a Korg TRITON STUDIO, with system ver- sion ...” GM system on [F0, 7E, nn, 09, 01, F7] When this message is received in Song Play mode, the TRI- TON STUDIO will be initialized for GM playback.

  • Page 277

    Synchronizing the playback of the arpeg- giator or sequencer The choice of whether the TRITON STUDIO will be the mas- ter (the controlling device) or the slave (the controlled device) is made by “MIDI Clock” (Global P1: 1–1a).

  • Page 278

    Using the REALTIME CONTROLS [1]–[4] knobs to record MIDI control changes on an external MIDI sequencer/computer Set the TRITON STUDIO to Local Control Off. Set the exter- nal MIDI sequencer/computer to Echo Back On. With these settings, recording and playback will occur correctly, and the control changes will not be applied to the tone generator in duplicate.

  • Page 279

    MIDI File and save it, you can choose either format 0 or for- mat 1. • If TRITON STUDIO song data that was saved as a format 1 SMF file is loaded into another device, the track configuration may be different than it was before being saved.

  • Page 280: Triton Studio Midi Implementation

    TRITON STUDIO MIDI IMPLEMENTATION...

  • Page 283: Various Messages

    Various messages Already connected Meaning: When you pressed the Connect button to execute a connection in the Global mode mLAN Output/ Input page, a connection had already been set for the specified input plug. Action: Check the connection data of the receiving mLAN device.

  • Page 284

    Action: In the case of a AIFF or WAVE file, use a computer (if possible) to convert the file into a format that is supported on the TRITON STUDIO, and then load it. File is read-only protected Meaning: You attempted to write to a file or to delete a file that had a read-only attribute.

  • Page 285

    Action: Media that was formatted or written by a device other than the TRITON STUDIO may be impossi- ble for the TRITON STUDIO to convert into ISO9660 format. To perform the conversion, use the packet writing software that was used to for- mat or write the media.

  • Page 286

    Delete other song data etc. to increase the amount of free memory. Meaning: When executing “Load Exclusive,” you attempted to load an .EXL file that required more than 1,048,576 bytes. Such a file cannot be loaded by the TRITON STUDIO.

  • Page 287

    Not enough memory to load Meaning: When you attempted to load a .SNG file or a stan- dard MIDI file in Disk mode, there was insuffi- cient free memory in the sequence memory. Action: Delete other song data etc. to increase the amount of free memory.

  • Page 288

    Selected banks are the same Meaning: This is a dialog box displayed when you load a TRITON STUDIO .PCG file that contains drum kit banks C/D/User or user arpeggio banks C/D, and indicates that the specified loading destina- tion bank is the same bank.

  • Page 289

    There is no plug Meaning: The plug specified in the Global mode mLAN Output/Input page does not exist. Action: Execute the operation once again. If the same error occurs, check whether the mLAN device containing the specified plug is operating cor- rectly.

  • Page 290: Data Compatibility

    Data compatibility In its various data formats, the TRITON STUDIO maintains data compatibility with the TRITON/TRITON pro/TRITON proX and TRITON-Rack. Data can be exchanged by using a floppy disk or other external media to load/save, or by using MIDI exclusive data dump or parameter changes.

  • Page 291

    The parameter settings will be saved by the TRITON STUDIO or TRITON as internal data, but will be ignored. When the TRITON STUDIO or TRITON saves this state as a .PCG file or performs a MIDI data dump, the settings will be output in the condition in which they were loaded or received via MIDI data dump.

  • Page 292

    This parameter will be set to “On.” 3-3. TRITON STUDIO or TRITON Sequencer mode parameters and data Sequencer mode data of the TRITON STUDIO and TRI- TON is compatible with the Multi mode data of the TRI- TON-Rack via .PCG file load or MIDI data dump.

  • Page 293

    The parameter setting is maintained as internal data by the TRITON STUDIO and TRITON-Rack, but is ignored. When this state is saved by the TRITON STUDIO or TRI- TON-Rack as a .PCG file or transmitted as a MIDI data dump, the settings that were loaded or received via MIDI data dump will be output.

  • Page 294: Disk Mode Information, Chunks That Are Supported

    Disk mode information Chunks that are supported When loading AIFF files When data is loaded into the TRITON STUDIO, the follow- ing four chunks are referenced: Common chunk, Sound Data chunk, Marker chunk, and Instrument chunk. Other chunks are ignored.

  • Page 295: About Korg Format files

    PI0002.KSF PI0003.KSF Unless stated otherwise, all data is Big Endian. G When a Korg format file saved on the TRITON STUDIO is loaded by the TRINITY, • Of the parameters for each song, the following parameters are ignored (the chunk that includes the...

  • Page 296

    .KMP/.KSF files which are to be handled together. Lines beginning with # are ignored as comment lines. The first line of the file must begin with “#KORG Script Ver- sion 1.0” and subsequent lines (except for comment lines) consist only of filename. Only files with an extension of KMP/KSF are processed.

  • Page 297: Option Boards/memory/calendar Battery, Please Note When Installing An Option Board/memory

    Doing so could cause malfunction. Korg Inc. takes no responsibility for any malfunctions or damage that may occur from improper use or modifica- tion of this product. Nor will Korg Inc. be responsible for any damages resulting from the loss or destruction of data.

  • Page 298: About Option Boards/memory/calendar Battery, Checking After Installation

    CDRW-1 (CD-R/RW drive) A song you create on the TRITON STUDIO can be sampled to the internal hard disk, and that data can be used to create an audio CD. You can also play back an audio CD inserted in the CDRW-1, or use the Ripping function to read it into the TRITON STUDIO.

  • Page 299: Installing An Exb-pcm

    While performing the installation, be careful that you do not cut your hands on any sharp or pointed edges of the TRITON STUDIO or the option board. You must leave the AC power cable disconnected until you have completed all steps of installing the option board.

  • Page 300

    4 Verify the location of the slot into which you want to install the EXB-PCM. The seven slots closest to yourself are for EXB-PCM mod- ules. (The three slots furthest from yourself are for DRAM SIMM modules.) The notched side of the EXB-PCM is 1 PIN. Install the EXB-PCM with its 1 PIN side aligned with the 1 PIN mark ( ) of the slot.

  • Page 301: Installing A Dram Simm

    Installing a DRAM SIMM Before you perform the installation, be sure to read the fore- going section “Safety precautions” and “Please note when installing an option board/memory.” A maximum of three memory SIMMs can be installed. A DRAM SIMM will function correctly when installed in any slot.

  • Page 302: Installing The Exb-moss

    “Safety precautions” and “Please note when installing an option board/memory.” While performing the installation, be careful of any sharp or pointed edges of the TRITON STUDIO or the option board. You must leave the AC power cable disconnected until you have completed all steps of installing the option board.

  • Page 303: Installing The Exb-di

    “Safety precautions” and “Please note when installing an option board/memory.” While performing the installation, be careful of any sharp or pointed edges of the TRITON STUDIO or the option board. You must leave the AC power cable disconnected until you have completed all steps of installing the option board.

  • Page 304

    EXB-mLAN in place. The cover you removed should be kept in a safe place, since it will be needed if you later decide to remove the EXB-mLAN. 2 From the TRITON STUDIO, pull out the cable that will be connected to the EXB-mLAN. MID I...

  • Page 305

    Slide the [EJECT] switch (located on the bottom of the mLAN installation plate TRITON STUDIO) in the direction of the arrow, and the drive bay cover on the side of the TRITON STUDIO will be pushed out. L /MONO LINE...

  • Page 306

    3, or try reinstalling the CDRW-1. Removing the CDRW-1 When you slide the [EJECT] switch located on the bottom of the TRITON STUDIO, the CDRW-1 will be pushed out of the TRITON STUDIO. Gently remove the CDRW-1. Fastening the CDRW-1 firmly in place...

  • Page 307

    • Do not write or format a disc in a location where there is high-volume sound. • Do not touch the TRITON STUDIO while a disc is being written or formatted. (Even slight vibration or shock may cause an error.) You must carefully read “About copyright”...

  • Page 308

    “Cautions when installing the calendar bat- tery.” While performing this procedure, be careful of any sharp edge or corner of the TRITON STUDIO or an option board. You must leave the AC power cable disconnected until you have finished all steps of replacing the calendar battery.

  • Page 309

    SCSI device to verify the type of connector before you purchase a SCSI cable. 1. Turn off the power of the TRITON STUDIO and of your external SCSI device. Be sure to turn off the power of the TRITON STUDIO...

  • Page 310

    Packet writing support on the TRITON STUDIO The TRITON STUDIO can use packet writing to write to a CD-R/RW. After formatting the media, you can use it in the same way as a floppy disk or hard disk. I About packet writing Packet writing is a method of dividing data into small units called “packets”...

  • Page 311

    The EXB-DI option provides an ADAT™ Compatible Opti- cal Output which digitally outputs the audio signal from the TRITON STUDIO, and also allows the digital signal to be synchronized with another digital audio device. For an explanation of the DIGITAL OUT connector and WORD CLOCK IN connector, refer to BG p.7.

  • Page 312

    For connections, use a BNC Coax cable made by Alesis Corporation or a BNC cable made for video (both sold separately). 4 Set the TRITON STUDIO’s “System Clock” (Global P0: 0–2a) to Word Clock. The digital audio signal that is output from the DIGITAL...

  • Page 313

    Index Numerics 000: No Effect 178, 187 10’s Hold Combination 33 Program 2 12 dB 5, 6, 37, 56, 57, 99, 108, 138 Tempo ADC OVERLOAD !! 5, 37, 56, 98 After Touch After Touch Curve 136 AMS 242 Convert Position 143 MIDI Filter 144 Combination 40 Sequencer 65...

  • Page 314

    Chain IFX 30, 47, 84, 179 MFX 31, 48, 184 Chain Direction 31, 48, 185 Chain Level 31, 48, 185 Chain Signal 31, 48, 185 Chain to next file 125 Chords strummed on a guitar 154 Clear/Erase Clear, Audio track list 172 Clear, Load 158, 160, 163 Clear, Sample data 102 Erase Control Data 73...

  • Page 315

    Keyboard Display 95 Keyboard Track Amp 22 AMS 242, 244 Filter 17 .KMP, .KSC, .KSF file 155, 162, 163, Translation 157 Korg format 162, 167, 284 Layer 42 Legato 7 Fingered 13 Length Arpeggio Pattern 152 Cue List 59 Level 178...

  • Page 316

    Master Effect (MFX) 182 MFX Balance 3 MFX1 Off/MFX2 Off 136 MFX1, 2 Combination 48 Program 31 Sequencer 85 Song Play 133 Master EQ (MEQ) 185, 239 Combination 48 Program 32 Sequencer 86 Song Play 133 Master Track 49, 50 Master Tune 135 Media 155 Check Medium 171...

  • Page 317

    Positional Cross-fade 42 Power On Mode 138 Priority 8 Priority to play notes 8 Program 1 Auto Arpeggiator 136 Bank Map 137 Combination 34, 37, 38 Convert MS To Program 93 Load 157 Memory Protect 139 MIDI Filter 144 Save 166, 167 Sequencer 51 Song Play 123 Write 3...

  • Page 318

    Sync. BPM/MIDI Sync. 177, 248 Key Sync. Arpeggiator 152 Arpeggio, Combination 36, Arpeggio, Program 3, 27 Arpeggio, Sequencer 82 Arpeggio, Song Play 130 Key Sync., LFO 25 MIDI/Tempo Sync., LFO 26 Sync Both EGs 20, 24 Sync, RPPR 80 Synchronize 266 System Clock 138 System Exclusive 264 Load 161...

  • Page 322

    Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer’s or distributor’s warranty. KORG INC. 15 - 12, Shimotakaido 1 - chome, Suginami-ku, Tokyo, Japan. 2002 KORG INC. IMPORTANT NOTICE TO CONSUMERS 1403 FTH Printed in Japan...

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