Page 2: Conventions In This Manual
Procedure steps 1 2 3 ... settings on the TRITON-Rack. The explanations are orga- Steps in a procedure are listed as 1 2 3 ... nized by mode, page, and tab. Explanations and other infor- p.
Page 3: Table Of Contents
Table of Contents 5.3–2: OS1LFO2 (OSC1 LFO2) ..... . . 24 5.3–3: OS2LFO1 (OSC2 LFO1) ..... . . 24 5.3–4: OS2LFO2 (OSC2 LFO2) .
Page 4 COMBI 4.1: Ed–MIDI Filter1..... . .41 3.1–5: Ptch..8 (Pitch T01–08) ......55 3.1–6: Ptch..16 (Pitch T09–16) .
Page 5 7.2–3: IFX2 ........70 GLOBAL 4.1: Category Name .
Page 6 017: St.HarmnicCho (Stereo Harmonic Chorus) ..160 068: Comp–Phaser (Compressor – Phaser)... . . 186 018: MltTap ChoDly (Multitap Chorus/Delay) ... . . 161 069: Comp–M.Dly (Compressor –...
Page 7 Index........274 About KORG format files ......238 TRITON-Rack MIDI IMPLEMENTATION .
Page 8: Program Mode
1. Program mode Play 1.1: Play Select and play programs. Use the Perfor- PROG PAGE MENU mance Editor for easy editing, and to do simple editing of arpeggio patterns. ( p.2) Basic 2.1: Ed-Basic Set basic program parameters such as Use the following procedure to select the desired page Oscillator and Multisample, and make set- within the mode.
Page 9: Prog 1.1: Play
Program Select [(I-A…I-F, E-A...E-H)0…127: name, PROG 1.1: Play (G…g(d))1…128: name] Selects a program. Choose this parameter, and use the In this display page you can select and play programs. [INC], [DEC] keys, numeric keys [0]–[9], and the [VALUE] dial to select a program. All MIDI data in PROG 1.1: Play is transmitted and You can select programs by category, or by using “10’s received on the Global MIDI Channel ( GLOBAL 2.1–...
Page 10: 2: P.edit (Performance Editor)
2 When you press a numeric key [0]–[9], the one’s place of You can also use the [BANK] and [A]–[H] keys to select the program number will be input with a single action. a bank. 3 You can use the [INC], [DEC] keys to change the ten’s It is not possible to write to banks INT-G–g(d).
Page 11 Performance Editor. If these Modulation of the amp EG will also be adjusted simul- messages are received by a TRITON-Rack whose taneously, to allow the maximum effect to be obtained. “Exclusive” setting is checked, the Performance Editor Decay (Decay Time) [–10…+00…+10]...
Page 12: 3: Arp (Arp. Play)
1.1–3: Arp (Arp. Play) PROG 2.1: Ed–Basic While arpeggiator parameters are for the most part edited in PROG 6.1: Ed-Arp., Some major parameters can be edited Make basic settings for the oscillator(s) that will be used. here as well. When you are playing in PROG 1.1: Play, you can edit the arpeggiator in realtime, such as changing the arpeggio pattern etc.
Page 13 Legato [Off, On] [C…B] This is available when the “Mode (Voice Assign Mode)” set- Select the tonic note of the speciﬁed scale. ting is set to Mono. This setting is not valid for Equal Temperament, Stretch, and User All Notes Scale. On (Checked): Legato is on.
Page 14: 2: Osc1
2.1–2: OSC1 The multisample number for “High Multisample” will depend on the options that are installed. The multisample(s) (waveform) or drum kit on which the The EXB* display will differ depending on the type of program will be based can be selected here for oscillator 1 option board.
Page 15 For details on how to select the desired utility function, refer 2.1–2c: Octave, Transpose, Tune, Delay to “PROG 1.1–1d: UTILITY.” Octave [–2[32’], –1[16’], +0[8’], +1[4’]] Select by Category Adjusts the pitch in octave units. The normal octave of the Selects multisamples by category. multisample is 8' (feet).
Page 16: 3: Osc2
[000: Off...382: Name] and 2. By using these settings in conjunction with the Selects the audition riff. The TRITON-Rack contains 382 “Velocity SW L→H” (2.1–2a) setting of each oscillator, you audition riffs suitable for a variety of instruments and musi- can specify the velocity ranges for the High and Low multi- samples or drum kits.
Page 17: Prog 2.3: Ed-Osc
Assign” and “SW2 Assign,” they will have no effect in play. actuality. How the Pitch Slope and pitch are related Data is compatible between the TRITON-Rack and the Pitch TRITON/TRITONpro/TRITONproX (keyboard mod- els of the TRITON). Programs created on the TRITON- Rack can be used by a TRITON keyboard model, and vice versa.
Page 18: 2: Os1Lfo (Osc1 Lfo)
For example, if you set this to +12 and move the joystick all 3.1–1c: Portamento the way to the right, the pitch will rise one octave above the original pitch. This turns the portamento effect (smooth change in pitch from one note to the next) on/off, and speciﬁes how it will be JS (–X) [–60…+12] applied.
Page 19: 3: Osc2
3.1–5: EG As this value is increased, moving the joystick in the +Y (Pitch EG) direction will cause the OSC1 LFO1 to produce deeper pitch modulation. With a setting of 12.00 a maximum of ±1 octave Here you can make settings for the pitch EG, which creates time-variant changes in the pitch of oscillators 1 and 2.
Page 20 3.1–5b: Level Mod. (Level Modulation) 3.1–5c: Time Mod. (Time Modulation) These settings allow the pitch EG “L (Level)” parameters to These parameters let you use alternate modulation to con- be controlled by alternate modulation. trol the “T (Time)” parameters of the pitch EG. AMS1 (Level Mod.
Page 21: Prog 4.1: Ed-Filter1
Reso.AMS (Resonance AMS) PROG 4.1: Ed–Filter1 [Off, (PEG, FEG, AEG, LFO, KT, EXT)] Selects the source that will control the “Resonance (A Reso- Indicates settings for ﬁlter 1 that controls the tone of oscilla- nance)” level ( p.206 “AMS List”). tor 1.
Page 22: 2: Mod.1 (Filter1 Modulation1)
4.1–2: Mod.1 How cutoff frequency is affected by keyboard location and the Ramp (Filter1 Modulation1) setting (“Int. to A,” “Int. to B”=+50) Indicates settings for keyboard tracking which modiﬁes the tone by modulating the ﬁlter 1 cutoff frequency “Frequency Cutoff frequency High Ramp=+99 (A/B Frequency),”...
Page 23: 3: Mod.2 (Filter1 Modulation2)
This value is added to the setting of the Filter A “Frequency Changes in cutoff frequency (A Frequency)”(4.1–1b). Note-on Note-on Note-on Note-off Note-off Note-off AMS2 (Filter A AMS2) [Off, (PEG, AEG, EXT)] Intensity (A AMS2 Intensity) [–99…+99] Selects “AMS2 (Filter A AMS2),” and specify the depth and direction of the effect that the selected source will have ( “AMS1,”...
Page 24: 5: Eg (Filter1 Eg)
JS–Y Int. to B (LFO1 JS–Y Int. to B) [–99…+99] 4.1–5a: Filter1 EG By receiving CC#2 (or by moving the joystick in the –Y direction on a TRITON or other instrument connected to Speciﬁes the time-varying change produced by the ﬁlter 1 MIDI IN), you can control OSC1 LFO1 to modulate the cut- off frequency of ﬁlter 1B.
Page 25 this parameter, positive (+) values of “Ramp (Ramp Set- 4.1–5b: Level Mod. (Level Modulation) ting)” (4.1–2a) will lengthen the EG times, and negative (–) values of “Ramp (Ramp Setting)” will shorten the EG times. These settings let you use alternate modulation to control The direction of change is speciﬁed by “A (AMS1 SW the “L (Level)”...
Page 26: Prog 4.2: Ed-Filter2
4.1–5d: UTILITY 5.1–1a: Amp1 Level Level (Amp1 Level) [0…127] Sets the volume of oscillator 1. The volume of a program can be controlled by CC#7 (volume) and CC#11 (expression). The resulting level is determined by multiplying the values of CC#7 and “Write Program”...
Page 27: 2: Mod. (Amp1 Modulation)
5.1–2: Mod. Amp Mod. (Amp Modulation) (Amp1 Modulation) Velocity Int. (Amp Velocity Int.) [–99…+99] These settings allow you to apply modulation to amp 1 (for oscillator 1) to modulate the volume. With positive (+) values, the volume will increase as you play more strongly.
Page 28: 3: Eg (Amp1 Eg)
5.1–3: EG (Amp1 EG) 5.1–3b: Level Mod. (Level Modulation) Indicates settings to specify how Amp 1 will cause the vol- These parameters let you use AMS to control the amp 1 EG ume of oscillator 1 to change over time. levels that were speciﬁed in “Amp 1 EG”...
Page 29: Prog 5.1: Ed-Amp
AMS2 (Time Mod. AMS2) [Off, (EXT, KT)] parameter, positive (+) values of “Ramp (Ramp Setting)” will cause EG times to be lengthened, and negative (–) val- I (AMS2 Intensity) [–99…+99] ues of “Ramp (Ramp Setting)” will cause EG times to be A (AMS2 SW Attack) [–, 0, +] shortened.
Page 30: Prog 5.3: Ed-Lfos
Key Sync. [Off, On] PROG 5.3: Ed–LFOs On (Checked): Key Sync. will be On. The LFO will start each time you play a note, and an independent LFO will operate Here you can make settings for the LFO that can be used to for each note.
Page 31: 2: Os1Lfo2 (Osc1 Lfo2)
5.3–4: OS2LFO2 (OSC2 LFO2) 5.3–1c: MIDI/Tempo Sync. (Frequency MIDI/Tempo Sync.) This can be used when “Mode (Oscillator Mode)” (2.1–1a) is set to Double. Here you can make settings for the OSC2 Sync. (MIDI/Tempo Sync.) [Off, On] LFO2, which is the second LFO that can be applied to oscil- On (Checked): The LFO frequency will synchronize to the lator 2 ( “5.3–1: OS1LFO1 (OSC1 LFO1)”...
Page 32 Latch* Arpeggio patterns U000 (I–A/B)–U327(E–H) can be selected using the numeric keys [0]–[9] and the Speciﬁes whether or not the arpeggio will continue playing [ENTER] key. after you take your hand off the keyboard of a connected MIDI instrument. Octave* [1, 2, 3, 4] On (Checked): The arpeggio will continue playing after you Speciﬁes the number of octaves in which the arpeggio will...
Page 33: 2: Zone (Scan Zone)
6.1–2: Zone (Scan Zone) PROG 7.1: Ed–BUS These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the mas- 6.1–2a ter effects. For details on insertion effects, refer to p.141 “8. Effect Guide.”...
Page 34: 2: Route (Routing)
CC#93 will control the Send 1 level for OSC 1 and 2, If you are copying from a master effect, the result may and control change #91 will control the Send 2 level for not be identical, due to differences in the routing and OSC 1 and 2.
Page 35: Prog 7.2: Ed-Insertfx
BUS Select [L/R, 1, 2, 3, 4, 1/2, 3/4, Off] PROG 7.2: Ed–InsertFX Speciﬁes the bus to which the sound will be sent after pass- ing through the insert effect. Normally you will set this to L/ R. If you wish to output to AUDIO OUTPUT (INDIVID- 7.2–1: Setup UAL), set this to 1, 2, 3, 4, 1/2, or 3/4.
Page 36: 7: Routing
7.2–2(...6)a: UTILITY PROG 7.3: Ed–MasterFX “Write Program” (1.1–1d) For details on the master effects, refer to p.146. 7.2–7: Routing 7.3–1: Setup Here you can select the master effect types, switch them on/ 7.2–7a: Routing off, specify chaining, and set the master EQ. This shows the status of the insert effect settings.
Page 37: 2: Mfx 1
Signal (Chain Signal) [LR Mix, L Only, R Only] Swap Master Effect When chain is On, this parameter speciﬁes how the stereo This command swaps (exchanges) the settings of MFX1 and output signal of the ﬁrst master effect will be connected to MFX2.
Page 38: Combination Mode
2. Combination mode COMBI PAGE MENU COMBI 1.1: Play For details on how to select pages in Combination mode, In this display page you can select and play Combinations. refer to p.1. 1.1–1: Combi (Combination) 1.1–1a 1.1–1b Play 1.1: Play Select and play combinations.
Page 39: 2: Prog (Timbre Program)
Cat.HOLD 2 To select the timbre that will be soloed, select a tab or page that displays parameters speciﬁc to a timbre. Press the [./HOLD] key and the display will indicate (e.g., 1.1: Play, Prog page “Program Select”) . The category will be held (ﬁxed). ( PROG 1.1– When you play a note on a connected MIDI instrument, only the selected timbre will sound, and the remaining 10’s HOLD...
Page 40 (Timbre) dialog box, allowing you to select a program but not on others. for each timbre by category. When you select a combination on the TRITON-Rack, a For the procedure of selecting by category, refer to p.2. MIDI program change for the selected combination number will be transmitted on the global MIDI channel “MIDI Channel”...
Page 41: 3: Mix (Mixer)
1.1–3: Mix by a timbre that is set to the same MIDI channel as the (Mixer) global MIDI channel. This message is transmitted on Here you can set the pan and volume for each timbre 1–8. the “MIDI Channel” (3.1–1a) speciﬁed for each timbre. 1.1–3b: UTILITY 1.1–3a 1.1–3b...
Page 42: Combi 2.1: Ed-Prog/Mixer
1.1–4(5)b: Arpeggiator A(B) COMBI 2.1: Ed–Prog/Mixer Pattern [P000..P004, U000(I-A/B)...U327(E-H)] Reso (Resolution) 2.1–1: Prog (Timbre Program) Octave [1, 2, 3, 4] Sort [Off, On] Selects the bank and program for each timbre 1–8. These parameters can also be set from the 1.1: Play, Prog page. Latch [Off, On] Key Sync.
Page 43: Combi 2.2: Ed-Ctrl
EX2: “Bank (EX2) MSB” and “Bank (EX2) LSB” (3.1–1a) will be enabled. Instead of the bank numbers for I-A–E-H that can be selected on the TRITON-Rack, the bank numbers you 2.2–1b: SW1/2 Assign specify here will be transmitted via MIDI. In other respects this is the same as EXT.
Page 44: 2: Osc
Bank(EX2) MSB [000:000...127:127] 3.1–2b: UTILITY Bank(EX2) LSB [000:000...127:127] “Write Combination,” “Solo Selected Timbre” (1.1–1d) Speciﬁes the bank number that will be transmitted when “Status” is set to EX2. If “Status” is not set to EX2, this set- ting has no effect. 3.1–3: Pitch 3.1–1b: UTILITY Here you can make pitch-related settings for each timbre.
Page 45: Combi 3.2: Ed-Param2
3.1–3b: UTILITY COMBI 3.2: Ed–Param2 3.2–1: Other Speciﬁes the delay from note-on until sound is produced for each timbre. Also speciﬁes the scale. “Write Combination,” “Solo Selected Timbre” (1.1–1d) For details on how to select the desired utility function, refer to “PROG 1.1–1d: UTILITY.”...
Page 46: Combi 3.3: Ed-Key Zone
3.3–2: Slope (Key Slope) COMBI 3.3: Ed–Key Zone These settings specify the keyboard range in which each timbre will sound. 3.3–2a 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 47: Combi 3.4: Ed-Vel Zone (Velocity Zone)
3.4–2: Slope (Velocity Slope) COMBI 3.4: Ed–Vel Zone (Velocity Zone) 3.4–2a Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and sets the Top/Bottom Slope parameters to specify the range over which the volume will change. 3.4–2b By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play...
Page 48: Combi 4.1: Ed-Midi Filter1
4.1–2: MIDI 1–2 (MIDI Filter 1–2) COMBI 4.1: Ed–MIDI Filter1 These settings allow you to apply ﬁlters to the MIDI data that will be transmitted and received by each timbre 1–8. For 4.1–2a example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.
Page 49: 2: Midi 2-2 (Midi Filter 2-2)
4.2–2: MIDI 2–2 Knob2 [Off, On] (MIDI Filter 2–2) Speciﬁes whether MIDI control change message #71 (inter- nal low pass ﬁlter resonance or high pass ﬁlter cutoff fre- quency) for the A mode of knob [2] and the MIDI control change message assigned to the B mode of knob [2] will be 4.2–2a transmitted and received.
Page 50: 2: Midi 4-2 (Midi Filter 4-2)
4.4–2: MIDI 4–2 (MIDI Filter 4–2) COMBI 6.1: Ed–Arp. (Arpeggiator) These parameters specify how the arpeggiator will function within the combination. Two arpeggiators can be running 4.4–2a simultaneously. This offers a variety of possibilities, such as applying sepa- rate arpeggio patterns to two sounds that have been assigned as a keyboard split, or using velocity to switch 4.4–2b between two arpeggio patterns.
Page 51: 2: Arp. A (Arpeggiator A)
Example 1) Copy Arpeggiator This command copies arpeggiator settings. 1 Set the “MIDI Channel” (3.1–1a) of timbres 1 and 2 to Gch, and set “Status” (3.1–1a) to INT. 1 Select “Copy Arpeggiator” to access the dialog box. 2 Assign arpeggiator A to timbre 1 and arpeggiator B to timbre 2, and check “Arpeggiator Run”...
Page 52: 4: Zone (Scan Zone)
6.1–4: Zone (Scan Zone) COMBI 7.1: Ed–BUS These settings specify the note and velocity ranges that will operate arpeggiators A and B. Here you can specify the output bus for the program oscilla- tor of each timbre 1–8. You can also specify the send level to the master effects.
Page 53: 2: Route (Routing)
7.1–2: Route Control change #93 can be used to control the Send 1 (Routing) level, and #91 to control the Send 2, and modify their Speciﬁes the bus to which the program used by each timbre respective settings. These messages will be received on 1–8 will be sent.
Page 54: Combi 7.2: Insertfx
7.2–1c: UTILITY COMBI 7.2: InsertFX “Write Combination,” “Solo Selected Timbre” (1.1–1d), “Copy Insert Effect,” “Swap Insert Effect” (7.1–1b), “Select 7.2–1: Setup by Category” (PROG 7.2–1b) Here you can select the type of each insert effect, turn it on/ off, and make chain settings etc. 7.2–2: IFX 1 7.2–3: IFX 2 7.2–4: IFX 3...
Page 55: Combi 7.3: Ed-Masterfx
G ch: The global MIDI channel “MIDI Channel” (GLOBAL COMBI 7.3: Ed–MasterFX 2.1–1a) will be used for control. Normally you will set this parameter to G ch. For details on master effects, refer to p.146. 7.3–1e: UTILITY 7.3–1: Setup Here you can select the type of each master effect, turn it on/off, and make chain and master EQ settings.
Page 56: Multi Mode
3. Multi mode In Multi mode, the TRITON-Rack functions as a multi-tim- MULTI PAGE MENU bral MIDI tone generator that can receive and play multiple channel of MIDI messages from an external MIDI sequencer. For details on how to select pages in Multi mode, refer to A “Multi”...
Page 57: Multi 1.1: Play
2.1–1a) is Internal. The tempo you specify here will be used. EXT: This will be displayed if “MIDI Clock” is External. The tempo of the TRITON-Rack will synchronize to the MIDI clock messages received from an external sequencer etc. 1.1–1a This parameter can also be set from the 5.1: RPPR, RPPR...
Page 58: 2: Prog
When a GM System On message is received from an “Without Patterns,” all setting data other than the pat- external device in Multi mode, the TRITON-Rack will tern data and RPPR settings of the currently selected be reset to GM settings in the same way as when this multi will be deleted and replaced by the copy source command is executed.
Page 59: 4: Mix
1.1–4: Mix..8 The lower line shows part of the program name used by the (Mixer T01...08) track. For GM2 variation banks or the GM2 drums bank, the 1.1–5: Mix..16 (Mixer T09...16) variation bank (1)–(9) or drums bank (d) will be shown. Here you can set the pan and volume of each track.
Page 60: Multi 2.2: Controller
If a mono-type insertion effect is inserted, this setting will be MULTI 2.2: Controller ignored. In this case, the 7.2: Insert FX, Setup page “Pan (CC#8)” setting will adjust the pan of the sound following the insertion effect. 2.2–1: Ctrls RND: The sound will be panned randomly at each note-on.
Page 61: Multi 2.3: Moss
1, 2, post IFX pan, and post IFX send 1, 2 MIDI mes- MULTI 2.3: MOSS sages. EX2: “Bank Select” will be enabled. Instead of the I-A–E-H bank numbers that can be selected on the TRITON-Rack, the bank number you specify here will be transmitted. In other 2.3–1: MOS..8 (MOSS T01–08) respects this is the same as EXT.
Page 62: 5: Ptch
Portamento [PRG, Off, 001...127] to control and change the “Detune” setting. The range of control will be ±1 octave when Coarse Tune and Speciﬁes the portamento effect for each track 1–8, 9–16. Fine Tune are added. These messages will be received ( COMBI 3.1–2a) on the MIDI channel that is specified for each track by When the track whose “Status”...
Page 63: Multi 3.2: Param2 (Parameter2)
MULTI 3.2: Param2 MULTI 3.3: Key Zone (Parameter2) Here you can specify the range of keys that will be sounded by each track. 3.2–1: Othr..8 (Other T01–08) Top/Bottom Key settings specify the range of notes that will be sounded by tracks 1–8, 9–16, and Top/Bottom Slope set- 3.2–2: Othr..16 (Other T09–16) tings specify the range from the top/bottom key until the...
Page 64: 3: Slp
3.3–3: Slp..8 (Key Slope T01–08) MULTI 3.4: Vel Zone (Velocity Zone) 3.3–4: Slp..16 (Key Slope T09–16) Speciﬁes the range of velocities that will sound each track. Set the Top/Bottom Velocity parameters to set the range of velocities that will sound tracks 1–8 and 9–16, and set the Top/Bottom Slope parameters to specify the range over 3.3–3a which the volume will change.
Page 65: 3: Slp
The types of effect that are checked will be applied Speciﬁes the range of values over which the volume will be to the program of each track when the TRITON-Rack’s con- adjusted from the top velocity until the original volume is trollers are operated or when MIDI data is received.
Page 66: 3: 1-2
4.1–3: 1–2..8 4.2–3: 2–2..8 (MIDI Filter1–2 T01–08) (MIDI Filter2–2 T01–08) 4.1–4: 1–2..16 4.2–4: 2–2..16 (MIDI Filter1–2 T09–16) (MIDI Filter2–2 T09–16) 4.1–3a 4.2–3a 4.1–3b 4.2–3b 4.1–3(4)a: Damper CC#64, Portamento SW CC#65 4.2–3(4)a: JSX/Bend as AMS, Ribbon CC#16 Damper CC#64 [Off, On] JSX/Bend as AMS [Off, On] Speciﬁes whether or not MIDI control change message #64...
Page 67: Multi 4.3: Midi Filter3
[Off, On] Speciﬁes whether or not the A-mode [1] knob MIDI control 4.4–1(2)b: UTILITY change message #74 (the TRITON-Rack’s low pass ﬁlter cut- off frequency) and the B-mode [1] knob MIDI control change “Memory Status,” “Rename Multi,” “Delete Multi,” message will be received.
Page 68: Multi 5.1: Rppr
User: These are user patterns. You can use “Pattern Select” to select 100 patterns. Each multi can have 100 of its own On the TRITON-Rack you can use preset patterns P00–149, user patterns. (In contrast, preset patterns are shared by all and user patterns U00–99.
Page 69 Step Recording(Loop) REC/Play: The metronome will sound during recording or playback. Here you can perform step recording into a pattern. Off: The metronome will not sound. However, a pre-count This is available when a user pattern is selected. will be heard before recording begins. 1 In “Pattern Bank”...
Page 70 • Inputting a tie 3 Press the [F8] (“OK”) key to open the Event Edit dialog If you press the [F5] (“Tie”) key without pressing the key- box. board, the previously-input note will be tied, and length- ened by the amount speciﬁed in 4 . If you press the [F5] (“Tie”) key while holding down a note, the note you are playing will be tied, and length- Measure...
Page 71: 2: Rppr (Rppr Setup)
The following table shows the types of musical data that can 1 Select “Copy Pattern” to access the dialog box. be edited by “Event Edit” and the range of their values. BAR (displayed only) Meter: 1/4...16/16 (Measure line) (Time signature) C–1...G9 Vel: 1...127 L: 000.000...1584.000...
Page 72 Multi mode. chronizing to the arpeggiator. Data that is set to “ARP (SEQ)” on the TRITON-Rack Pat (Pattern Bank) [Pre (Preset), User] will be displayed as “SEQ” in Sequencer mode of the Pattern Select [P000...149, U00...99]...
Page 73 5.1–2c: REVERT Sync settings Note 1 on Note 2 on Note 1 off Revert Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings This copies “Pattern Bank,” “Pattern Select” and “Track” Sync: OFF settings from the previously-edited “KEY” whose “Assign” Pattern 1 is checked to the currently-edited “KEY.”...
Page 74: Multi 6.1: Arp. (Arpeggiator)
“Status” (3.1–1a/2a) of INT or not be speciﬁed independently. BTH, the note data generated by the arpeggiator will sound the TRITON-Rack without regard to the “MIDI When “MIDI Clock” (GLOBAL 1.1:1–1a) is set to Inter- Channel” (3.1–1a/2a) setting of each track. If the “Sta- nal, the arpeggiator can be synchronized to the timing tus”...
Page 75: 3: Arp. A (Arpeggiator A)
6.1–5: Zone If the [ARP ON/OFF] key is on, playing the keyboard (Scan Zone) will trigger arpeggiator A for tracks 1 and 2, causing Speciﬁes the range of notes and velocities that will trigger them to sound. each arpeggiator A and B. •...
Page 76: Multi 7.1: Bus
Copy Insert Effect MULTI 7.1: BUS ( PROG 7.1–1c) Note, the MIDI control channel speciﬁed in “Control Chan- Speciﬁes the bus to which the program oscillator(s) of each nel” of the 7.2: Insert FX, Setup page will not be copied. track 1–8, 9–16 will be sent.
Page 77: Multi 7.2: Insert Fx
7.2–1c: UTILITY MULTI 7.2: Insert FX “Memory Status” (1.1–1c), “Copy Insert Effect,” “Swap Insert Effect” (7.1–1b/2b), “Select by Category” (PROG 7.2–1: Setup 7.2–1b) Here you can select the type of the insert effects, turn them on/off, and make chain settings. 7.2–2: IFX1 7.2–3: IFX2 7.2–4: IFX3...
Page 78: Multi 7.3: Master Fx
7.3–1d: MEQ Ctrl MULTI 7.3: Master FX MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch] For details on the master effects, refer to p.146. Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master EQ. 7.3–1: Setup G ch: The effect will be controlled on the global MIDI chan- nel “MIDI Channel”...
Page 79: 4: Master Eq
7.3–4: Master EQ The master EQ is a three-band stereo EQ. It is used to per- form overall equalizing (tonal adjustment) on the sound from the L/R bus immediately before it is output to AUDIO OUTPUT (MAIN OUT) L/MONO and R ( p.203). 7.3–4a 7.3–4a: UTILITY “Memory Status”...
Page 80: Sampling Mode
Sampling mode will be lost. Before you turn On the TRITON-Rack, “sampling” refers to a process in off the power, be sure to save important data to ﬂoppy which analog audio signals from a mic or audio device con- disk or external SCSI device ( BG p.40).
Page 81: Smpl Page Menu
SMPL PAGE MENU SMPL 1.1: Recording For details on selecting pages in Sampling mode, refer to Here you can set the input level and make other basic set- p.1. tings for sampling (sample recording), and make basic set- tings for multisamples and samples. Normally you will record samples in this page.
Page 82 Keyboard & Index This parameter can also be set in 2.1: Sample Edit–4.1: Multi- sample. The sampling and editing that you perform in these Original Key (currently selected Original Key is reversed) pages will apply to the index you select here. Index zone (currently selected Index is reversed) Immediately after the power is turned on, this will be 001/ Index01...
Page 83: 2: Rec. (Recording)
Orig.K (Original Key) [C–1...G9] If when you execute “CREATE” (1.1–1d, 4.1–1c) or “INSERT” (4.1–1c) it is not possible to create a new Speciﬁes the key that will play the sample at its original index according to your Create (Create Zone Prefer- pitch (i.e., the pitch at which it was recorded).
Page 84 Selects the memory bank into which you will sample. The sample data memory is organized into six banks, each with Input1 “Lvl (Level)” (1.1–3a) 16 Mbytes. The TRITON-Rack comes with 16 Mbytes of Input1 “Pan” (1.1–3a) C064 memory (SIMM) installed as standard. In this case, (RAM)1 Input1 “BUS (BUS(IFX)Select)”(1.1–3a)
Page 85 3 Sampling will begin when you press the [F5] (“START”) If you increase this value, you will always be sampling key. If you use the “Count Down” function, pressing the more than you need. Normally you should leave this [F5] (“START”) key will cause sampling to begin after the set at 000ms, and set it to a minimal value only when metronome sounds a count-down.
Page 86: 3: In/Pref (Input/Preference)
1.1–2d: SW1, SW2 1.1–3b: Create (Create Zone Preference) Effect dynamic modulation for the functions assigned to These settings determine the initial state of the indexes that “SW1” and “SW2” can be controlled in realtime while you are created when you press the [F6] (“CREATE”) key (1.1– sample.
Page 87 4 If you check “with Sample Data”: Executing the copy 1.1–3f: SW1, SW2 will simultaneously copy the sample data (waveform data) as well. The copy source and copy destination sam- Effect dynamic modulation for the functions assigned to ples will exist as completely independent samples. For “SW1”...
Page 88 4 If “Adjust Sample Assign in Drum Kit” is checked, and 3 To execute the Change Sample Type command, press the if the samples being moved are mapped to (used by) a [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. drum kit, those sample numbers will also be automati- When you execute this command, the sample type will cally modiﬁed.
Page 89 Example) 4 To execute the Copy Multisample command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. If there is no empty multisample number and forward When a multisample is copied, the samples assigned to movement is not possible, multisamples will be renum- the multisample will also be copied at the same time.
Page 90 : MS To Mono • If the selected multisample is stereo and the • The selected multisample will be converted to mono. program pan setting “Pan (Amp1 Pan)” is L000 and The -L or -R at the end of the multisample name will be “Pan (Amp2 Pan)”...
Page 91: Smpl 2.1: Sample Edit
2.1–2: Edit2 SMPL 2.1: Sample Edit Here you can edit the sample data (waveform data) that you sampled or loaded in Disk mode. 2.1–2a Editing operations such as deleting unwanted portions of 2.1–2b the waveform, reversing the waveform, or lowering the sampling frequency can be performed in detail while view- ing the “sample waveform display.”...
Page 92 You can also use these commands if you wish to mono- 2.1–2d: ZOOM mix a stereo sample and use it as a mono sample. How- ever, be aware that once a sample has been mixed to These buttons let you zoom-in and zoom-out the “sample mono, it is no longer possible to return it to a stereo waveform display”...
Page 93 Clear 3 The editing range will be shown in Range “Start” and “End.” This command converts the data between “S (Edit Range 4 Use “Truncate” to select the portion that will be deleted. Start)” and “E (Edit Range End)” to zero values. Sample Front &...
Page 94 2 Select “Copy” to open the following dialog box. 2 Select “Mix” to open the following dialog box. 3 The range to be copied is shown by Range “Start” and “End.” 3 To “Start” will indicate the starting address at which the 4 To execute the Copy command, press the [F8] (“OK”) data will be mixed.
Page 95 Norm./Level Adj. (Normalize/Level Adjust) If the buffer into which data was placed by the “Copy” command contains no data, the display will indicate This command uniformly modiﬁes the data values (volume) “Source sample is empty.” of the data between the “S (Edit Range Start)” and “E (Edit Range End).”...
Page 96 Rate Convert ting, and execute without checking “Overwrite.” ( p.85 “*”: About “Overwrite”) This command lowers the sampling rate (frequency) of the 7 To execute the Normalize/Level Adjust command, press sampled data by 2/3, 1/2, 1/3, 1/4, or 1/6. The sampling the [F8] (“OK”) key.
Page 97 3 In “Save to No.,” specify the save destination sample 1 Use “SMPL” (2.1–1a) to select the sample that will be number. By default, an unused sample number will be placed in front by the Link command. selected. If you have checked “Overwrite,” this cannot be 2 In the Edit2 page “UTILITY,”...
Page 98: Smpl 3.1: Loop Edit
7 In “Save to No.,” specify the save destination sample SMPL 3.1: Loop Edit number. An unused sample number will be selected by default. If “Overwrite” is checked, this cannot be set. In the case of a stereo sample, “Save to No.(L)” Here you can specify the portion of the sample that will be and “(R)”...
Page 99: 2: Edit2
3.1–2: Edit2 "One" "Two" 3.1–2a Start Loop Start 3.1–2b "One" - "Two" - "Two" - "Two" - ... 3.1–2c 3.1–2d 3.1–2e "One" - "Two" 3.1–2a: Sample waveform display Sample waveform display The waveform of the “SMPL (Sample)” is displayed here "One"...
Page 100 The pattern data you create can also be written as SMF data, allowing you to send note data from an external MIDI sequencer etc. to the TRITON-Rack to play it. This command can also be executed on stereo samples. As an alternative to Utility “Time Slice,” the Utility 1 Use “SMPL”...
Page 101 3 Speciﬁes the number of quarter-note beats and tempo of Original rhythm sample: Sample0 the currently selected sample. If you know the BPM of 120BPM the original waveform, set “Source BPM.” If you do not know the BPM, specify “Beat” and the BPM will be calcu- lated automatically.
Page 102 assigned to the selected index. A maximum of 90 samples Divide: This splits the sample of the currently selected can be assigned to the keyboard. If more than 90 samples “Index” into two. Use this when you wish to add another were sliced, this will display 90.
Page 103 The noise occurring at the end of the sample in “C.” will Press the [F5] (“Strch”) key to execute Time Stretch. When be automatically reduced when you execute steps 8 and you execute, the time-stretched samples will automatically following. You should adjust “Sensitivity” while paying be assigned to keys D2 and above, so that you can audition particular attention to sections “A”...
Page 104 Before executing Time Slice on a long sample, you 5 Set “Quality” to specify the desired audio quality of the should ﬁrst divide the sample into measures. In some sample produce by Time Stretch. The range is 0–7. cases, it may not be possible to assign the sample to the Although it will depend on the sample, higher settings note number or create pattern data.
Page 105 If you select Result, the time-stretched sample will be B Press the [F7] (“Exit”) key to exit the Time Stretch opera- selected. tion. The index will specify the last-saved sample number. To select an index, hold down the [ENTER] key and play a note on the keyboard of a connected MIDI instru- If you wish to use the saved sample in Program mode ment.
Page 106 • To specify the length as a ratio In the case of a stereo sample, you can press the Set “Ratio.” The available range is 50.00%–200.00%. If [F3] (“L/R”) key to switch the display between the L you specify 50.00%, the sample length will be halved. channel and R channel of the sample data.
Page 107 Be aware that the created sample will be lost if you exit 2 From the Edit2 page “UTILITY,” choose “Crossfade Time Stretch without saving the sample in the Save dia- Loop” to open the following dialog box. log box. Before executing Time Stretch on a long sample, you should ﬁrst divide the sample into measures.
Page 108: Smpl 4.1: Multisample
If you have not yet executed “CUT” or “COPY,” such as SMPL 4.1: Multisample immediately after power-on, the new index will be cre- ated according to the “Create (Create Zone Preference)” settings (1.1–3b, 4.1–3a) “Position,” “Zone Range,” and Here you can make settings for multisamples. You can create “Orig.K Position”...
Page 109: 3: Pref. (Preference)
+: The pitch will be raised. At a setting of +12.00 the pitch 4.1–3b: UTILITY will be one octave higher. You can also use “Pitch” to make ﬁne adjustments in the length of a rhythm loop. For example with a setting of +12.00, the playback speed will be doubled, and the loop playback time will be 1/2.
Page 110: Smpl 5.1: Memory
SMPL 5.1: Memory SMPL 5.2: Controller 5.1–1: Memory 5.2–1: Ctrls (Free Memory) (Controls) Speciﬁes the functions that the “SW1,” “SW2” key, and the B-mode functions of the REALTIME CONTROLS knobs [1]– [4] will have in Sampling mode. 5.1–1a These controllers can be used to make realtime changes in effect dynamic modulation functions etc.
Page 111: Smpl 7.2: Insert Effect
5.2–1c: UTILITY SMPL 7.2: Insert Effect “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename Here you can make insert effect settings for use in Sampling SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” mode. “Move MS,” “Rename MS,” “MS To Stereo/MS To When you set “BUS”...
Page 112: 2: Ifx1
7.2–2: IFX1 7.2–3: IFX2 7.2–4: IFX3 7.2–5: IFX4 7.2–6: IFX5 Sets the effect parameters for the IFX 1, 2, 3, 4 and 5 effects that you selected in the Setup page ( p.151). Effect Dmod (dynamic modulation) is controlled by the global MIDI channel speciﬁed in “MIDI Channel”...
Page 114: Global Mode
[–50cent (427.47Hz)…+50cent (452.89Hz)] For details on selecting pages and parameters, refer to Pro- This adjusts the overall tuning of the entire TRITON-Rack in gram mode “PROGRAM PAGE MENU” p.1. one-cent units (semitone = 100 cents) over a range of ±50 cents.
Page 115 If the notes played on an external keyboard or sequencer and sounded by the TRITON-Rack are too bright 1.1–1b: FX SW or too muted overall, you can select an appropriate velocity curve here.
Page 116: 2: Pref. (System Preference)
Power On Mode [Reset, Memorize] Speciﬁes the condition at power-on. Reset: The TRITON-Rack will be in Combination mode COMBI 1.1: Play, and Combination I–A000 will be selected. Memorize: The location (mode and page) where you were when the power was last turned off, and the last-selected program or combination number will be selected.
Page 117: 3: Audioin (Audio In)
Combi (Combination) [Off, On] to an audio signal from an external audio source. This allows you to use the TRITON-Rack as a two-in six-out This setting protects the internal combination memory. effect processor, in conjunction with its internal tone genera- On (Checked): Internal combination memory will be pro- tor.
Page 118: Global 2.1: Midi
MIDI channel. than Off and the “Level” value is raised, the external MIDI transmission when the TRITON-Rack’s controllers are input sound will be input to the TRITON-Rack. If audio operated cables are connected to the rear panel AUDIO INPUT 1...
Page 119 Select the Internal setting when using the TRITON-Rack by global MIDI channel. The combination will not be switched. itself, or when you want the TRITON-Rack to be the master The program changes for each timbre will be affected by the (controlling device) so that another connected external MIDI setting of the “Program Change”...
Page 120 Do not touch the TRITON-Rack’s switches or turn off the power while data is being transmitted. Data dump transmission procedure 1 Connect the TRITON-Rack to the device that will receive the data dump. If you are using a computer that is able to receive MIDI “Write Global Setting”...
Page 121: Global 3.1: User Scale
This data is written by the Utility “Write Global Set- off the power of the TRITON-Rack. If the power is ting.” Alternatively, you can press the [WRITE] key to turned off during this time, the TRITON-Rack may fail access the Write Global Setting dialog box, and press to operate correctly when the power is turned on again.
Page 122: 2: All Notes
2 Select the copy source scale (“From”). GLOBAL 4.1: Category Name If you select Pure Major or Pure Minor, you must also specify the “Key” selection located at the right. Stretch can be selected only if “To” is the User All Notes Scale.
Page 123: Global 5.1: Dkit (Drum Kit)
5.1–1a: Drum Kit, Key, Assign, Level H, Level L , GLOBAL 5.1: DKit (Drum Kit) Vel. SW L→H Here you can create a drum kit by assigning a drum instru- Drum Kit [000 (I–A/B)...143 (E–H)] ment (drumsample) to each key. Selects the drum kit that you wish to edit.
Page 124 RAM: Selects samples that you created in Sampling mode or This parameter will not change the playback direction loaded in Disk mode. Select the RAM bank when you want of a sample for which “Rev (Reverse)” is checked. to use this sample data to create a drum kit. Trans (Transpose) [–64...+63] EXB*: Drumsamples from a separately sold EXB-PCM series...
Page 125: 2: Low (Low Sample)
5.1–2: Low Rename Drum Kit (Low Sample) This command renames the selected drum kit. You can input a name of up to sixteen characters. ( BG p.38) Copy Drum Kit This command copies the settings of another drum kit to the 5.1–2a currently-edited drum kit.
Page 126: 3: Voice (Voice/Mixer)
Here you can create user arpeggio patterns. Excl Group (Exclusive Group) [Off, 001...127] In this page, the TRITON-Rack will sound as it did in the 001–127: This allows you to group keys to which a drum- mode you were in before entering Global mode.
Page 127: 1: Setup
6.1–1: Setup 6.1–1c: Arpeggio Pattern Setup These parameters are not valid for preset patterns P00– 6.1–1a P04. 6.1–1b Type (Arpeggio Type) [As Played...Up&Down] 6.1–1c Speciﬁes the correspondence between the arpeggio notes speciﬁed from the keyboard of the connected MIDI instru- 6.1–1d 6.1–1e ment and the Tone at each step.
Page 128: 2: Edit
Mode (Fixed Note Mode) Rename Arpeggio Pattern [Trigger As Played, Trigger All Tones] This command renames the selected user arpeggio pattern. Up to sixteen characters can be input. Preset patterns P00– Speciﬁes how tones will be triggered when “Fixed Note” is P04 cannot be selected ( BG p.85).
Page 129 Gt (Gate) [Off, 001...100%, LGT] Copy Step Off: That step will not sound even if Tones have been speci- This command copies the settings of a speciﬁc step. The set- ﬁed. tings of two or more adjacent steps can also be copied LGT: Notes will continue sounding until the same Tone is together.
Page 130: Disk Mode
File (SMF). However, non-SMF ﬁles cannot be loaded. the TRITON-Rack, a 2HD disk will have a capacity of 1.44 When you save a ﬁle on the TRITON-Rack, one of these ﬁle- MB (18 sectors/track), and a 2DD disk will have a capacity name extensions will automatically be added as appropriate of 720 KB (9 sectors/track).
Page 131: Disk Page Menu
.KMP (Korg multisample parameter) ﬁle or .KSF [F8] key. A check mark will appear at the left of “Hide (Korg sample ﬁle) that is loaded will be replaced in the dis- unknown ﬁle.” With this setting, undeﬁned ﬁles will not be play by the multisample name or sample name that you displayed in the directory window.
Page 132 If you specify banks I-C/I-D/I-E when loading a TRI- [AUDITION], [DEMO/SNG] key or any key other than a TON-Rack .PCG ﬁle, drum kits and user arpeggio pat- mode key to make the TRITON-Rack detect the new disk. terns will not be loaded. Then select the appropriate directory.
Page 133 Track events are recorded in .SNG ﬁles saved by the TRITON/TRITONpro/TRITONproX, but cannot be 3) Load Program Bank [I–A...I–E, E–A...E–H]: used by the Multi mode of the TRITON-Rack even if selected icon they are loaded. All program data of the selected bank will be loaded into the However, track events loaded into Multi mode can be bank you specify.
Page 134 5) Load Combinations: selected icon 10) Load a Drum Kit: selected icon All combinations in the .PCG ﬁle will be loaded. The selected drum kit will be loaded into the drum kit num- ber you specify as the loading destination. 1 To load the data, press the [F8] (“OK”) key.
Page 135 14) Load Global Setting: selected icon 17) Load tracks: selected icon Global setting data in the .PCG ﬁle will be loaded. The selected Track ﬁle will be loaded into the multi you specify as the loading destination. However, it is not possi- This includes Global mode parameters other than drum ble to specify an uncreated multi as the loading destination.
Page 136 “Bank Map (GLOBAL 1.1–2a) Files with a ﬁlename extension of KMP (Korg Multisample setting. If “Bank Map” is KORG, bank I–A will be Parameter) contain the parameters which make up a single selected for bank select 00.00 (MSB.LSB). If “Bank Map”...
Page 137 Append: The multisamples and samples will be loaded required .KSF ﬁles. following the last multisample or sample number that already exists in the memory of the TRITON-Rack (i.e., Since PCM memory overﬂow checking is performed by having been sampled or loaded). The valid multisam- when loading each .KSF ﬁle, an overﬂow may occur...
Page 138 ﬁle, an overﬂow may occur tively. When the loaded data is then saved to storage media, during the loading process. it will be saved as a Korg format .KSF ﬁle or .KMP ﬁle respectively. If a loaded multisample is assigned samples whose AKAI S1000/S3000 format stereo Sample ﬁles and Program...
Page 139 On the TRITON-Rack, in contrast, there is one sample for If you wish to keep the multi data, use the Disk mode each key zone, and you can use up to four multisamples to Utility “Save Multi”...
Page 140: 2: Save
[SELECT], [ARP ON/OFF], [AUDI- 1.1–1a TION], [DEMO/SNG] key or any key other than a mode key to make the TRITON-Rack recognize the media. If 1.1–1b you wish to specify another SCSI device, select it using 1.1–1c “Drive Select”...
Page 141 When this command is executed, the following multisample This command is valid only when the current directory is a and sample data will be saved to media as Korg format DOS directory. .KMP ﬁles, .KSF ﬁles, and a .KSC ﬁle that collects these ﬁles.
Page 142 Standard MIDI Files. However if Furthermore, the following parameters set in Sampling you intend to playback the data on the TRITON-Rack, we mode are lost by “Export Smpl AIF/WAV.” recommend that you use “Save Multi” to save the data, •...
Page 143: 3: Utility
1 Select “Export Smpl AIF/WAV” to access the following 1.1–3: Utility dialog box. Here you can rename, copy, or delete the selected disk or ﬁle, create a new directory, and set the date and time. After selecting a disk or ﬁle, select the Utility menu [F8]. 2 In “Format,”...
Page 144 Create Directory [Example] PRELOAD1.* : PRELOAD1.PCG, PRELOAD1.SNG, This command creates a new directory within the current PRELOAD1.KSC, ... directory. PRELOAD?.PCG : PRELOAD1.PCG, PRELOAD2.PCG, 1 Select “Create Directory” to access the following dialog PRELOAD3.PCG, ... box. When wildcards are used, only ﬁles will be subject to copying.
Page 145: 4: Media Information
SCSI device can be selected in “Drive Select.” Never connect or disconnect a SCSI cable while the power of the TRITON-Rack or of a SCSI device is 1.1–4: Media Information turned on. Doing so can cause irreparable malfunc- tions.
Page 146: Demo/Song
1.1–1c: START, STOP DEMO/SNG Start or stop the demo song playback. The TRITON-Rack contains demo songs as preloaded data. : Demo song playback is stopped. Here’s how to hear the demo songs. The demo song will start when you press [F5] (“START”) key.
Page 147 2 The song data will be loaded as the corresponding multi data. In Multi mode, you can edit the data by deleting multis (songs) and rearranging the order; edit multi (song) parameters such as the multi (song) name; and edit track parameters such as the program number/ bank.
Page 148: Effect Guide
Other modulation and pitch-shifting effects, such as rotary speaker and pitch shifter 041–051 Early reﬂection and delay effects In these modes, the TRITON-Rack can function as a 2-in 6- out effect processor for the external input signal from 052–057 Reverb effects AUDIO INPUT 1 and 2, or you can use the external audio 058–089...
Page 149: Insert Effects (Ifx 1, 2, 3, 4, 5)
If you select Dry (no effect) for the “W/D” parameter, the stereo input signal will be output in stereo The TRITON-Rack does not have an input level meter without being processed by the effect. If you select Wet that monitors the input level of the effect.
Page 150 2. Routing — Settings for drum programs — If you have selected “Drums” for “Oscillator Mode” (PROG You can use up to ﬁve channels (IFX 1, 2, 3, 4, and 5) for the 2.1–1a) of a Program, the “Use DKit Setting” box (PROG 7.1– Insert Effects in any mode.
Page 151 Select” (GLOBAL 5.1–3a) for DrumKit setting becomes nals input from AUDIO INPUTs 1 and 2. These signals are effective. routed to the TRITON-Rack’s effects, according to the GLO- BAL 1.1: System, Audio In page setting. Use “BUS (IFX/Indiv.) Select” (GLOBAL 1.1–3a/b) to set Inputs 1/2 buses by selecting from L/R, IFX1–5, 1–4, 1/2, 3/4,...
Page 152 Use “7.2: Ed–InsertFX ( or Insert FX)” in Program, Combina- Insert Effect = Stereo In - Stereo Out tion, or Multi mode to set up the Insert Effects. You can apply 2-in/6-out effects to the incoming signal from Inputs 1 OSC1 OSC2 OSC1: Amp1 Pan=L001...
Page 153: Master Effects (Mfx1, 2)
1. In/Out you to control all effect parameters in real-time during per- formance from the controllers of the TRITON-Rack or a con- The I/Os of Master Effects MFX1 and MFX2 are mono-in/ nected MIDI sequencer. You can also control the “Pan stereo-out.
Page 154 2. Routing If the program “Oscillator Mode” (PROG 2.1–1a) is Drums, the “USE DKit Setting” (PROG 7.1–1b) will be used. You can use up to two channels (MFX1 and 2) for the Master If this is checked, the setting for each key of the selected Effects in any mode other than in Sampling mode.
Page 155 AUDIO INPUTs 1 and 2. These signals are use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” for the routed to the TRITON-Rack’s effects, according to the GLO- post-IFX1(001: St. Amp Simulation) signal in ﬁgure (3) to BAL 1.1: System, Audio In page setting.
Page 156: Master Eq
3–5. Chain Level This parameter determines the level of signals routed from one MFX to the other MFX in a chain connection. The TRITON-Rack is equipped with four individual AUDIO OUTPUTs (INDIVIDUALs). You can route the oscillator 3–6. Master EQ Gain[dB] (Program), timbre (Combination), and track (Multi) output or the post-IFX signals to these four individual outputs.
Page 157 Combination, Multi mode Effect / Mixer Block Diagram in Combination / Multi Mode COMBI/MULTI 7.2: Insert Effect COMBI/MULTI 7.3: Master Effect IFX / Indiv.Out BUS Select Send1 Send2 L/R BUS BUS Select Timbre / Track 1 = L/R BUS Select Timbre / Track 2 = IFX1 BUS Select...
Page 158: Filter/Dynamic
Filter/Dynamic Level (Output Level) 0...100 Sets the output level of the compressor (Source) Off...Tempo Filter and dynamics control effects Selects the modulation source for the compressor output level (Amount) –100...+100 Sets the modulation amount of the compressor output level Pre EQ Trim 0...100 000: No Effect Sets the EQ input level...
Page 159: 004: Mltband Limit (Multiband Limiter)
Envelope (Envelope Select) L/R Mix, L Only, R Only, L/R Individually Limiter - Attack / Release Selects from linking both channels, controlling only from left channel, Threshold only from the right channel, or controlling each channel individually Ratio 1.0:1...50.0:1, Inf:1 Sets the signal compression ratio Threshold –40...0dB...
Page 160: 005: St.gate (Stereo Gate)
c: Threshold, d: Attack, e: Release W/D (Wet/Dly) Dry, 1:99...99:1, Wet This parameter sets the signal level below which Gate is applied Sets the balance between the effect and dry sounds when “Envelope” is set to L/R Mix, L Only, or R Only. (Source) Off...Tempo The Attack and Release parameters set the Gate attack time and...
Page 161: 007: St.para.4Eq (Stereo Parametric 4-Band Eq)
007: St.Para.4EQ Pre Low-cut 0...10 Sets the low range cut amount of the distortion input (Stereo Parametric 4-Band EQ) Level (Output Level) 0...50 Sets the output level This is a stereo 4-band parametric equalizer. You can select (Source) Off...Tempo peaking type or shelving type for Band 1 and 4. The gain of Selects the modulation source for the output level Band 2 can be controlled by dynamic modulation.
Page 162: 008: St.graphic7Eq (Stereo Graphic 7-Band Eq)
009: St.Wah/AutoW d: B2 Dyn.G Src, d: (Amount), f: G You can control the gain of Band 2 using the modulation source. (Stereo Wah/Auto Wah) Parametric 4EQ - Band2 Dynamic Gain Control -mod +15dB This stereo wah effect allows you to create sounds from vin- Band2 Cutoff tage wah pedal simulation to auto-wah simulation, and much +6dB...
Page 163: 010: St.random Filter (Stereo Random Filter)
010: St.Random Filter a: FreqBottm, a: FreqTop The sweep width and direction of the wah ﬁlter are determined (Stereo Random Filter) by the “FreqBottm” and “FreqTop” settings. Sweep Mode=D-mod This stereo band pass ﬁlter uses a step-shape waveform and Frequency Frequency random LFO for modulation.
Page 164: 011: St.exct/Enhcr (Stereo Exciter/Enhancer)
When “LFO Wave” is set to Random, the “Step” parameter uses a Enh Dep (Enhancer Depth) 0...100 random LFO cycle. Sets the determines to what degree the Enhancer effect is applied Random Filter LFO LFO Frequency (Source) Off...Tempo Selects the modulation source of the Enhancer width (Amount) –100...+100 LFO Step Freq...
Page 165: 013: Talking Mod (Talking Modulator)
Envelope Pre LPF 1...100 BPM/MIDI Sync Off, On Sets the upper limit of the frequency range for which very low har- Switches between using the frequency of the LFO speed and using monics are added the tempo and notes Fx:009, Envelope Sens (Envelope Sensitivity) 0...100 MIDI, 40...240...
Page 166: 014: St.decimator (Stereo Decimator)
014: St.Decimator 015: St.AnalogRecd (Stereo Decimator) (Stereo Analog Record) This effect creates a rough sound like a cheap sampler by low- This effect simulates the noise caused by scratches and dust ering the sampling frequency and data bit length. You can on analog records.
Page 167: Pitch/Phase Mod
e: L Dly, e: R Dly Pitch/Phase Mod. Setting the left and right delay time individually allows you to control the stereo image. Pitch/phase modulation effects 017: St.HarmnicCho 016: St.Chorus (Stereo Harmonic Chorus) (Stereo Chorus) This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without mak- This effect adds thickness and warmth to the sound by modu- ing the sound thinner.
Page 168: 018: Mlttap Chodly (Multitap Chorus/Delay)
e: Hi/Lo Split W/D (Wet/Dly) Dry, 1:99...99:1, Wet This parameter sets the frequency that splits the high and low Sets the balance between the effect and dry sounds range. Only the high range will be sent to the chorus block. (Amount) –100...+100 Sets the modulation amount of the effect balance...
Page 169: 020: St.flanger (Stereo Flanger)
020: St.Flanger both “Feedback” and “W/D”, and if you set a negative value for both “Feedback” and “W/D”. (Stereo Flanger h: High Damp This effect gives a signiﬁcant swell and movement of pitch to This parameter sets the amount of damping of the feedback in the high range.
Page 170: 022: St.env.flanger (Stereo Envelope Flanger)
022: St.Env.Flanger 023: St.Phaser (Stereo Envelope Flanger) (Stereo Phaser) This Flanger uses an envelope generator for modulation. You This effect creates a swell by shifting the phase. It is very will obtain the same pattern of ﬂanging each time you play. effective on electric piano sounds.
Page 171: 024: St.rndm Phasr (Stereo Random Phaser)
024: St.Rndm Phasr 025: St.Env.Phaser (Stereo Random Phaser) (Stereo Envelope Phaser) This is a stereo phaser. The effect uses a step-shape waveform This stereo phaser uses an envelope generator for modula- and random LFO for modulation, creating a unique phasing tion.
Page 172: 026: St.biphasemod (Stereo Biphase Modulation)
026: St.BiphaseMod 027: St.Vibrato (Stereo Biphase Modulation) (Stereo Vibrato) This stereo chorus effect adds two different LFOs together. This effect causes the pitch of the input signal to shimmer. You can set the Frequency and Depth parameters for each Using the AutoFade allows you to increase or decrease the LFO individually.
Page 173: 028: St.autofd Mod (Stereo Auto Fade Modulation)
“AUTOFADE Src”=Gate1, “Freq”=1.00 Hz Freq Mod (LFO Frequency Mod) D-mod, AUTOFADE “LFO Freq Mod”=AUTOFADE, “ ”=+3.00 (Amount) Switches between D-mod and AUTOFADE for the LFO frequency modulation Fx:027 The effect is off when a value for the dynamic modulation W/D Mod (Wet/Dry Mod) D-mod, AUTOFADE source speciﬁed for the “AUTOFADE Src”...
Page 174: 030: Doppler
V2 Level (Voice2 Level) 0...100 Freq (LFO Frequency) 0.02...20.00Hz Sets the Voice2 output level Sets the LFO speed Fx:009, L6...R6 (Source) Off...Tempo Sets the Voice2 stereo image Selects the modulation source of LFO speed W/D (Wet/Dly) Dry, 1:99...99:1, Wet (Amount) –20.00...+20.00Hz Sets the balance between the effect and dry sounds Sets the modulation amount of LFO speed...
Page 175: 031: Scratch
031: Scratch f: Direct Mix With Always On, a dry sound is usually output. With Always This effect is applied by recording the input signal and mov- Off, dry sounds are not output. With Cross Fade, a dry sound is ing the modulation source.
Page 176: Mod./P.shift
in which the sound is panned between left and right. Mod./P.Shift Other modulation and pitch shift effects 033: St.Env. Tremlo (Stereo Envelope Tremolo) 032: St.Tremolo This effect uses the input signal level to modulate a stereo tremolo. You can simulate a tremolo effect that becomes (Stereo Tremolo) deeper as it fades out while the level gets lower.
Page 177: 034: St.auto Pan (Stereo Auto Pan)
034: St.Auto Pan this parameter to be effective. Stereo Auto Pan - LFO Phase (Stereo Auto Pan) LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees L-In L-In L-In This Auto Pan effect pans sound between left and right. It is R-In R-In R-In...
Page 178: 036: St.ring Mod (Stereo Ring Modulator)
P W/D (Phaser W/D) –Wet...–2:99, Dry, 2:99...Wet Note Offset –48...+48 Sets the balance between the phaser effect and dry sounds Sets the pitch difference from the original note when OSC Mode is set to Note (Key Follow) T Shape (Tremolo Shape) –100...+100 Sets the degree of the tremolo LFO shaping Fx:020...
Page 179: 037: Detune
037: Detune Mode Slow, Medium, Fast Switches Pitch Shifter mode Using this effect, you can obtain a detune effect that offsets Shift (Pitch Shift) –24...+24 the pitch of the effect sound slightly from the pitch of the Sets the pitch shift amount by steps of a semitone input signal.
Page 180: 039: Pitchshft Mod (Pitch Shift Modulation)
039: PitchShft Mod 040: Rotary SP (Pitch Shift Modulation) (Rotary Speaker) This effect modulates the detuned pitch shift amount using an This effect simulates a rotary speaker, and obtains a more real- LFO, adding a clear spread and width to the sound by pan- istic sound by simulating the rotor in the low range and the ning the effect sound and dry sound to the left and right.
Page 181: Er/Delay
only when you press the pedal or operate the joystick. ER/Delay Rotation will occur when the value of the modulation source is less than 64, and will stop when the value is 64 or Early reﬂection and delay effects greater. b: (Sw) This parameter sets how the rotation speed (slow and fast) is 041: Early Reﬂect...
Page 182: 042: Auto Reverse
042: Auto Reverse by the Src parameter is 64 or higher. When “Envelope” is set to Input, the input signal will be recorded This effect records the input signal and automatically plays it only when its level exceeds the Threshold level. When recording is completed, reverse playback starts immedi- in reverse (the effect is similar to a tape reverse sound).
Page 183: 044: St/Cross Dly (Stereo/Cross Delay)
044: St/Cross Dly 045: St.MltTap Dly (Stereo/Cross Delay) (Stereo Multitap Delay) This is a stereo delay, and can by used as a cross-feedback The left and right Multitap Delays have two taps respectively. delay effect in which the delay sounds cross over between the Changing the routing of feedback and tap output allows you left and right by changing the feedback routing.
Page 184: 046: St.mod. Delay (Stereo Modulation Delay)
046: St.Mod. Delay e: LFO Sync, e: Src, f: L Phase, f: R Phase The LFO can be reset via a modulation source. (Stereo Modulation Delay) The “Src” parameter sets the modulation source that resets the LFO. For example, you can assign Gate as a modulation source so This stereo delay uses an LFO to sweep the delay time.
Page 185: 048: St.autopandly (Stereo Auto Panning Delay)
a: Ctrl Target Pan Freq (Panning Frequency) 0.02...20.00Hz This parameter selects no level control, delay output control Sets the panning speed (effect balance), or feedback amount control. Pan Dep (Panning Depth) 0...100 Sets the panning width a: Pol, b: Threshold, b: Offset, c: Attack, d: Release (Source) Off...Tempo The “Offset”...
Page 186: 050: St.bpm Delay (Stereo Bpm Delay)
HiDamp (High Damp) 0...100% R Fb (R Feedback) –100...+100 Sets the damping amount in the high range Fx:043 Sets the feedback amount for the right channel LoDamp (Low Damp) 0...100% (Amount R) –100...+100 Sets the damping amount in the low range Fx:043 Sets the modulation amount of the right channel feedback InLvl Mod (Input Level Dmod [%])
Page 187: Reverb
Reverb HiDamp (High Damp) 0...100% Sets the damping amount in the high range Fx:043 LoDamp (Low Damp) 0...100% Sets the damping amount in the low range Fx:043 Reverb effects InLvl Mod (Input Level Mod [%]) –100...+100 These effects simulate the ambience of reverberation in con- Sets the modulation amount of the input level Fx:037, cert halls.
Page 188: 056: Rev Room (Reverb Room)
without delay, emphasizing the attack of the sound. wall, and a larger “Reverb Level” simulates a soft wall. Reverb - Hall / Plate Type Reverb - Room Type Level Level (Early Reflections) Reverb Reverb Pre Delay Thru Time Time Pre Delay Thru Pre Delay Reverb Time Pre Delay...
Page 189: Mono - Mono Chain
059: P4EQ–Wah Mono – Mono Chain (Parametric 4-Band EQ – Wah/Auto Wah) Effects that combine two mono effects connected in This effect combines a mono-type four-band parametric series equalizer and a wah. You can change the order of the connec- tion.
Page 190: 060: P4Eq-Cho/Fl (Parametric 4-Band Eq - Chorus/Flanger)
060: P4EQ–Cho/Fl 061: P4EQ–Phaser (Parametric 4-Band EQ – Chorus/Flanger) (Parametric 4-Band EQ – Phaser) This effect combines a mono-type four-band parametric This effect combines a mono-type four-band parametric equalizer and a chorus/ﬂanger. equalizer and a phaser. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Left...
Page 191: 062: P4Eq-M.dly (Parametric 4-Band Eq - Multitap Delay)
062: P4EQ–M.Dly 063: Comp–Wah (Parametric 4-Band EQ – Multitap Delay) (Compressor – Wah/Auto Wah) This effect combines a mono-type four-band parametric This effect combines a mono-type compressor and a wah. You equalizer and a multitap delay. can change the order of the connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left...
Page 192: 064: Comp-Ampsim(Compressor - Amp Simulation)
064: Comp–AmpSim Level (Output Level) 0...50 Sets the overdrive output level Fx:006, (Compressor – Amp Simulation) (Source) Off...Tempo Selects the modulation source for the overdrive output level This effect combines a mono-type compressor and an amp (Amount) –50...+50 simulation. You can change the order of the effect connection. Sets the modulation amount of the overdrive output level Lo (Low Cutoff) 20...1.00kHz...
Page 193: 067: Comp-Cho/Fl (Compressor - Chorus/Flanger)
CMP → CF/FL, CH/FL → CMP B2 (Band2 Cutoff) 50...5.00kHz [Routing] Sets the center frequency of Band 2 Switches the order of the compressor and chorus/ﬂanger connection 0.5...10.0 Sets the bandwidth of Band 2 Fx:006 W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds G (Gain) –18...+18dB...
Page 194: 069: Comp-M.dly (Compressor - Multitap Delay)
070: Limiter–P4EQ W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds (Limiter – Parametric 4-Band EQ) (Source) Off...Tempo Selects the modulation source of the effect balance This effect combines a mono-type limiter and a four-band (Amount) –100...+100 parametric equalizer.
Page 195: 071: Limit-Cho/Fl (Limiter - Chorus/Flanger)
071: Limit–Cho/Fl 072: Limit–Phaser (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a phaser. You can change the order of the effect connection. This effect combines a mono-type limiter and a chorus/ ﬂanger. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry...
Page 196: 073: Limiter-M.dly (Limiter - Multitap Delay)
073: Limiter–M.Dly Pre EQ Trim 0...100 Sets the EQ input level (Limiter – Multitap Delay) LoEQ (Pre Low EQ Gain) –15...+15dB Sets the gain of Low EQ This effect combines a mono-type limiter and a multitap HiEQ (Pre High EQ Gain) –15...+15dB delay.
Page 197: 076: Exct-Cho/Fl (Exciter - Chorus/Flanger)
076: Exct–Cho/Fl LoEQ (Pre Low EQ Gain) –15...+15dB Sets the gain of Low EQ (Exciter – Chorus/Flanger) HiEQ (Pre High EQ Gain) –15...+15dB Sets the gain of High EQ This effect combines a mono-type limiter and a chorus/ [PHS] LFO (LFO Waveform) Tri, Sine ﬂanger.
Page 198: 079: Od/Hg-Ampsim (Overdrive/Hi.gain - Amp Simulation)
079: OD/HG–AmpSim 080: OD/HG–Cho/Fl (Overdrive/Hi.Gain – Amp Simulation) (Overdrive/Hi.Gain – Chorus/Flanger) This effect combines a mono-type overdrive/high-gain dis- This effect combines a mono-type overdrive/high-gain dis- tortion and an amp simulation. You can change the order of tortion and a chorus/ﬂanger. You can change the order of the the effect connection.
Page 199: 081: Od/Hg-Phaser (Overdrive/Hi.gain - Phaser)
081: OD/HG–Phaser 082: OD/HG–M.Dly (Overdrive/Hi.Gain – Phaser) (Overdrive/Hi.Gain – Multitap Delay) This effect combines a mono-type overdrive/high-gain dis- This effect combines a mono-type overdrive/high-gain dis- tortion and a phaser. You can change the order of the effect tortion and a multitap delay. connection.
Page 200: 083: Wah-Ampsim (Wah/Auto Wah - Amp Simulation)
083: Wah–AmpSim Resolution 4...24 Sets the data bit length Fx:014 (Wah/Auto Wah – Amp Simulation) Level (Output Level) 0...100 Sets the decimator output level Fx:014 This effect combines a mono-type wah and an amp simula- [AMP] Ampliﬁer Type SS, EL84, 6L6 tion.
Page 201: 086: Ampsim-Trml (Amp Simulation - Tremolo)
086: AmpSim–Trml 087: Cho/Fl–M.Dly (Amp Simulation – Tremolo) (Chorus/Flanger – Multitap Delay) This effect combines a mono-type amp simulation and a trem- This effect combines a mono-type chorus/ﬂanger and a mult- olo. itap delay. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Left...
Page 202: 088: Phasr-Cho/Fl (Phaser - Chorus/Flanger)
088: Phasr–Cho/Fl 089: Reverb–Gate (Phaser – Chorus/Flanger) This effect combines a mono-type reverb and a gate. This effect combines a mono-type phaser and a chorus/ Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out ﬂanger. Left Wet / Dry Reverb Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out...
Page 203: Double Size
091: St.MltbandLmt Double Size (Stereo Multiband Limiter) Double-size effects This is a stereo multiband limiter. (Available for Insert Effects IFX2, 3, and 4) Stereo In - Stereo Out Band-Pass Filters Left Wet / Dry Limiter Envelope - Control 090: Piano Body Limiter Envelope - Control Gain Adjust...
Page 204: 093: Vocoder
SweepRng (Wah Sweep Range) –10...+10 Formant Shift –2...+2 Sets the range of Wah Fx:006, Sets the height of the frequency for the vocoder effect Src (Source) Off...Tempo Response 0...100 Selects the modulation source that controls the Wah Sets the speed of the response to the modulator input Mode (Drive Mode) Overdrive, HyperGain LoGain (Low Gain)
Page 205: 094: Mlttap Chodly (Multitap Chorus/Delay)
094: MltTap ChoDly T1 Fb (Tap1 Feedback) –100...+100 Sets the Tap1 feedback amount (Multitap Chorus/Delay) (Source) Off...Tempo Selects the modulation source for the Tap output level, feedback This effect has six chorus blocks with different LFO phases. amount, and effect balance You can produce a complex stereo image by setting a different (Amount) –100...+100...
Page 206: 096: Rotary Sp Od (Rotary Speaker Overdrive)
Feedback –100...+100 Speed (Speed Switch) Slow, Fast Sets the feedback amount Fx:038 Switches the speaker rotation speed between slow and fast. HiDamp (High Damp) 0...100% (Source) Off...Tempo Sets the damping amount in the high range Selects the modulation source that toggles between slow and fast InLvl Mod (Input Level Dmod [%]) –100...+100 (Sw)
Page 207: 097: Early Reflect (Early Reflections)
097: Early Reﬂect HiDamp (High Damp) 0...100% Sets the damping amount in the high range Fx:043 (Early Reﬂections) LoDamp (Low Damp) 0...100% Sets the damping amount in the low range Fx:043 This early reﬂection effect has more precise early reﬂections InLvl Mod (Input Level Dmod [%]) –100...+100 with twice the maximum length of a normal-size effect...
Page 208: 100: Lcr Bpm Ldly (L/C/R Bpm Long Delay)
100: LCR BPM LDly f: Time Over? > You can set the delay time up to 2,730msec. If the delay time (L/C/R BPM Long Delay) exceeds this limit, the error message “OVER!” appears on the dis- play. Set the delay time parameters so that this message will not The L/C/R delay enables you to match the delay time with appear.
Page 209: 102: Hold Delay
The effect is off when a value for the modulation source W/D (Wet/Dly) Dry, 1:99...99:1, Wet speciﬁed for the “REC Control Src” parameter is 63 or Sets the balance between the effect and dry sounds smaller, and the effect is on when the value is 64 or higher. (Source) Off...Tempo Selects the modulation source of the effect balance...
Page 210: Master Eq
Master EQ Master EQ Use 7.3–4: Master EQ in Program, Combination, Multi 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 L/Mono Right Low Gain Mod.
Page 212: Appendices
9. Appendices Alternate Modulation Source (AMS) About Alternate Modulation Sources About Alternate Modulation There are 42 Alternate Modulation sources (AMS) that can Alternate Modulation can be speciﬁed for the following 29 control Alternate Modulation destinations. types, in total, 55 alternate modulation destinations shown If you select two or more Alternate Modulation destinations in the diagram below.
Page 213: Ams (Alternate Modulation Source) List
AMS (Alternate Modulation Source) List do not use Alternate Modulation (PEG) Pitch EG pitch EG (FEG) Filter EG ﬁlter EG within the same oscillator (AEG) Amp EG amp EG within the same oscillator (LFO) LFO1 LFO1 within the same oscillator (LFO) LFO2 LFO2 within the same oscillator...
Page 214 Flt KT +/+ (Filter Keyboard Track +/+) JS+Y&AT/2 (Joy Stick +Y & After Touch/2) Flt KT +/– (Filter Keyboard Track +/–) The effect will be applied by the joystick +Y axis (vertical Flt KT 0/+ (Filter Keyboard Track 0/+) upward) or aftertouch (MIDI CC#01: modulation 1 or chan- Flt KT +/0 (Filter Keyboard Track +/0) nel aftertouch) from a connected TRITON or other instru- Amp KT +/+ (Amp Keyboard Track +/+)
Page 215: Alternate Modulation Settings
• The tone, EG, and LFO etc. can also be controlled by the “Intensity (AMS Intensity)” to +12.00, doubling the REALTIME CONTROLS knobs of the TRITON-Rack or tempo (based on =120) will raise the pitch one octave, by velocity, joystick, switches, or pedals of a connected and halving the tempo will lower the pitch one octave.
Page 216 • If you select JS X or Ribbon#16 as the “AMS1 (Filter A MIDI instrument, such as the TRITON, toward the right AMS1)” and set “Intensity (A AMS1 Intensity)” to a will gradually increase the effect of the Filter EG. positive (+) value, moving the joystick or ribbon Operating the ribbon controller on the connected MIDI controller on the connected MIDI instrument, such as...
Page 217 • If you select EG as the “AMS (LFO1/2 AMS),” the of 2, 4, 8, 16, 32, or 64 times (or divided by 1/2, 1/4, 1/8, 1/ depth of the tremolo effect produced by LFO 16, 1/32, 1/64). modulation will change in synchronization with the •...
Page 218: Dynamic Modulation Source (Dmod)
60:40. Dynamic Modulation (Example) Speciﬁc effect parameters can be controlled while you play Wet / Dry by the TRITON-Rack’s REALTIME CONTROLS knobs or by Wet / Dry=10:90 Amt= +50 the joystick or ribbon controller etc. of a connected TRITON Wet / Dry=60:40 or other MIDI device.
Page 219: About The Bpm/Midi Sync Function
SW1#80 (SW1 Mod.: CC#80) In Program and Sampling modes, dynamic modulation SW2#81 (SW2 Mod.: CC#81) of the insertion effects and master effects is controlled via the global MIDI Channel. (In Sampling mode, only If you wish to use the “SW1” or “SW2” button as a dynamic the insertion effects can be used.) modulation source, make settings in Program, Multi, or In Combination, and Multi modes, dynamic modula-...
Page 220: Sw1/2 Assign
TON-Rack can be used on TRITON keyboard models, and the opposite is also true. In order to maintain compatibility, it is possible to specify these “invalid” parameters on the TRITON-Rack. SW1 Mod.(CC#80) (SW1 Modulation:CC#80) SW2 Mod.(CC#81) (SW2 Modulation:CC#81) This effect differs between SW1 and SW2. SW1 is handled as CC#80, and SW2 is handled as CC#81.
Page 221: Knob 1
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-Rack is set so as to be controlled by the control change message, the corresponding control will occur.
Page 222 The A-mode functions of the REALTIME CONTROLS are ﬁxed. Knob1-A: LPF CUTOFF (Filter LPF Cutoff: CC#74) Control the low pass ﬁlter cutoff frequency of the ﬁlter. Simultaneously, CC#74 will be transmitted. Knob2-A: RESONANCE/HPF (Filter Resonance/HPF Cutoff: CC#71) Control the resonance level or the cutoff frequency of the high pass ﬁlter.
Page 223: Midi Transmission When The Triton-Rack's Controllers
TRITON-Rack’s tracks.) controllers are operated, and the AMS (alternate modulation If one of the TRITON-Rack’s controllers is operated during source) or DMS (dynamic modulation source) that corre- realtime recording, the corresponding or assigned control spond to each MIDI message.
Page 224 TRITON-Rack controller Available for Available for DMOD Realtime Realtime ARP-GATE ARP- SW1,2 ARP On/Off Controls A Controls B (Realtime VELOCITY ([F6] key– Controls B) (Realtime [F7] key) Controls B) MIDI channel messages Note-off Note-on (note number) Note-on (velocity) Poly after touch...
Page 225: Triton-Rack Operations When Control Changes Are Transmitted/Received
The following table shows the operations that the TRITON- TRITON-Rack operations Rack will perform when control change messages are received, and the relation between settings and controller when control changes are movements on the TRITON-Rack transmitted/received CC# Control Value Function Bank select (MSB) 0...127...
Page 226 (06H=CC#6), 34H=52 (corresponds to –12), and [B0, 26, Filter1/2, EG page). 00] (26H=CC#38, 00H=0). Corresponds to “Filter B Frequency” (PROG 4.1/2: Ed– *3 The volume of the TRITON-Rack is determined by multi- Filter1/2, EG page). plying the Volume (CC#07) with the Expression (CC#11). CC#75: Decay time When you select a multi in Multi mode, the volume will Corresponds to “Filter/Amp EG Decay Time”...
Page 227 CC#76: LFO1 speed Corresponds to “LFO 1 Frequency” (PROG 5.3: Ed–LFOs, OSC1/2, LFO1 page). CC#77: LFO1 depth (pitch LFO1 intensity) Corresponds to “Pitch LFO1 Intensity” (PROG 3.1: Ed–Pitch, OSC1LFO page). CC#78: LFO1 delay Corresponds to “LFO1 Delay” (PROG 5.3: Ed–LFOs, OSC1/ 2, LFO1 page).
Page 228: Midi Applications
(“Local Control On” p.111, 228) by the TRITON-Rack * Most devices do not transmit or receive note-off velocity, and the TRITON-Rack does not transmit or receive this [...] indicates hexadecimal notation data either. MIDI channels Program Change/Bank Select MIDI messages can be exchanged when the transmitting and receiving devices are set to the same MIDI channel.
Page 229: After Touch
• Combinations 000–127 in banks I-A–I-F, E-A–E-H Refer to “MIDI transmission when the TRITON-Rack’s con- correspond to program changes [Cn, 00]–[Cn, 7F]. trollers are operated” ( p.216) and “TRITON-Rack opera- tions when control changes are transmitted/received”...
Page 230 Multi mode, Post Insert The volume of the TRITON-Rack is determined by multiply- Effect Panpot messages will be transmitted by each ing the value of the Volume message with the value of the track whose “Status”...
Page 231 If the above CC# are assigned as the function of “SW1” or control change, and how the TRITON-Rack will respond in “SW2,” operating the switch will transmit this message with each mode when these are received, refer to “TRITON-Rack vv=127 [7F] for ON, and vv=00 [00] for OFF, the assigned operations when control changes are transmitted/received”...
Page 232: Using Rpn To Edit
ﬁxed at 00) to change the value in steps of one. mm, rr: upper and lower bytes of the parameter number) to specify the parameter. The TRITON-Rack can receive the following three RPN mes- sages (tuning, transpose, and pitch bend range).
Page 233: About System Exclusive Messages
TRITON series instru- TRITON series. ment. The TRITON-Rack uses the same model ID as the TRI- There are the following three types of data dump. TON/TRITONpro/TRITONproX (TRITON keyboard • When you use the GLOBAL 2.1–1c “Dump” page menu models).
Page 234: If Notes Are "Stuck
Data dumping of Sampling giator or pattern/RPPR mode data is not supported. The choice of whether the TRITON-Rack will be the master The global MIDI channel is used to transmit and receive this (the controlling device) or the slave (the controlled device) is data.
Page 235: Recording The Midi Output Of The Triton-Rack's Controllers, Arpeggiator, And Rppr On An External Sequencer/Computer
Rack’s controllers, arpeggiator, and RPPR on an external sequencer/computer About GM/GS/XG If you wish to record the MIDI output of the TRITON-Rack’s The TRITON-Rack supports the GM standard. It also sup- controllers, arpeggiator, and RPPR on an external sequencer ports the GM2 sound map (including bank select) with 256...
Page 236: About Standard Midi Files
“Time Slice” (SMPL 3.1–2e) can be played or edited in an external MIDI sequencer or computer. The TRITON-Rack supports format 0 (type 0) in which all of the MIDI data is combined into one track, and format 1 (type 1) in which the data is separated by track.
Page 237: Various Messages
Multisamples, All Samples, or One Multisample, a directory with the same name as the directory that Destination sample already exists the TRITON-Rack attempted to create already Meaning: A sample already exists at the destination (save existed on the disk. location).
Page 238 File contains unsupported data Illegal SMF format Meaning: For an AIFF ﬁle etc., you attempted to load a ﬁle Meaning: You attempted to load a Standard MIDI File of a format that the TRITON series does not support. format other than 0 or 1. Action: If possible, use a computer etc.
Page 239 Action: • Edit the .SNG file Meaning: When executing “Save Exclusive” in Disk mode, In Sequencer mode of the TRITON, edit the there was no remaining sequence memory. Alter- song data so that it will ﬁt in the Demo Song natively, when executing “Load Exclusive,”...
Page 240 Selected banks are the same Meaning: This is a dialog box displayed when you load a Oscillator Mode conﬂicts (check PROG 2.1) TRITON .PCG ﬁle that contains drum kit banks Meaning: In Sampling mode when you executed “Conv. To C/D/User or user arpeggio banks C/D, and indi- Program”...
Page 241 Meaning: When saving a ﬁle in Disk mode, the save destina- tion path exceeded 76 characters. You can’t undo last operation Are you sure ? Meaning: Once you enter event editing (even if you leave event editing without actually editing an event), it will no longer be possible to execute a Compare of the previous edit.
Page 242: Data Compatibility
, or Multi mode (1.1–4b/5b, 6.1–2a/3a) (6.1–3a/4a) arpeggio patterns U232 (E–C)–U327 (E–H) set- For each of its data formats, the TRITON-Rack maintains tings data compatibility with the TRITON/TRITON-pro/TRI- • TRITON-Rack → TRITON keyboard models (.PCG TON-proX (TRITON keyboard models). Data can be...
Page 243: Parameters That Are Valid On The Triton Keyboard Models But Ignored On The Triton-Rack
TRITON-Rack Sequencer mode data of a TRITON keyboard model is com- patible with Multi mode data of the TRITON-Rack via .PCG 1. Global mode parameters of the TRITON key- ﬁle or via MIDI data dump. However, caution must be used board models regarding the following parameters.
Page 244: Disk Mode Information
Common Chunk AIFF ﬁles The number of channels is ﬁxed at 1 (mono). When data is loaded into the TRITON-Rack, the following The sample size is ﬁxed at 16 bits. four chunks are referenced: Common chunk, Sound Data Marker Chunk chunk, Marker chunk, and Instrument chunk.
Page 245: About Korg Format Files
If the .KSF ﬁlename is “INTERNALnnnn”, internal samples Unless stated otherwise, all data is MSByte ﬁrst. will be used. When a Korg format ﬁle saved on the TRITON-Rack is Relative parameter chunk 2 loaded by the TRINITY, • Of the parameters for each song, the following Chunk ID (‘RLP2’)
Page 246 .KMP/.KSF ﬁles which are to be handled together. Lines beginning with # are ignored as comment lines. 13067/12000/11905/11127/11025/10667/10582/10417/ 9891/9800/9481/9406/9259/8711/8000/7937/7813/ The ﬁrst line of the ﬁle must begin with “#KORG Script Ver- 7418/7350/7111/7055/6945/6534/6000/5953/5564/ sion 1.0” and subsequent lines (except for comment lines) 5513/5333/5291/5208/4945/4900/4741/4703/4630/ consist only of ﬁlename.
Page 247: Triton-Rack Midi Implementation
INT-B 000 - 127 : 00,01, 00 - 7F 3F,01, 00 - 7F Consult your local Korg dealer for more infomation on MIDI System Exclusive implementation. INT-C 000 - 127 : INT-C 000 - 127 : 00,02, 00 - 7F...
Page 248 2.RECOGNIZED RECEIVE DATA : When Bank Map in Global mode is KORG; MIDI In [Hex] Program Combination 2-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal mm,bb,pp = 00,00, 00 - 7F : Bank INT-A 000 - 127 : Bank INT-A 000 - 127...
Page 250: Option Boards/Memory
Please read this before you begin types of expansion are possible. installation EXB-MOSS (DSP synthesizer board) This adds to the TRITON-Rack a MOSS tone generator that Safety precautions provides thirteen oscillator algorithms, including Standard, Ring Modulation, VPM, Resonance, Organ Model, and Elec- tric Piano Model.
Page 251: Please Note When Installing An Option Board/Memory
Some commercially available DRAM SIMM modules • Do not use screws other than those that are installed in cannot be used on the TRITON-Rack. Before you pur- the option board/memory and the TRITON-Rack. chase memory modules, please check the following Using screws of a different shape or length may dam- points.
Page 252: Option Board/Memory Installation Procedure
Option board/memory installation 3–1. Installing the EXB-MOSS procedure You must leave the AC/AC power supply disconnected until you ﬁnish the entire process of removing the lid, Before you perform the installation, be sure to read the installing the option board or memory, and reattaching foregoing section “Please note when installing an the lid.
Page 253 Cable Connector 5 Use the four screws to attach the EXB-MOSS to the corre- sponding brackets inside the TRITON-Rack. Before the screws are tightened, the EXB-MOSS will ﬂoat slightly above the brackets. If at this time you apply excessive force to the EXB-MOSS, the screws or 4 Remove the two screws of the lid that covers the opening washers may come out.
Page 254 The (DI) cover you removed will not be used. Take it out so that it is not left inside the TRITON-Rack. EXB-SCSI 7 Reattach the cover by reversing the steps by which you Lid (for DI) detached it.
Page 255 EXB-mLAN. The (mLAN) cover you removed will not be used. Take it out so that it is not left inside the TRITON-Rack. 6 Reattach the cover by reversing the steps by which you detached it.
Page 256 4 At a slant, press the EXB-PCM ﬁrmly all the way into the 3–5. Installing an EXB-PCM slot, and raise it to the vertical position until the catches of the slot click into the locking holes of the EXB-PCM. A maximum of eight EXB-PCM boards can be installed When doing so, pressing the catches of the slot apart to simultaneously.
Page 257 4 The notched side of the DRAM SIM is PIN 1. Install the 3–6. Installing a DRAM SIMM DRAM SIMM with its PIN 1 side aligned with the PIN 1 mark ( ) of the slot. A maximum of three memory SIMMs can be installed. A DRAM SIMM will function correctly when installed The DRAM SIMM slots and the EXB-PCM slots are in any slot.
Page 258: Exb-Moss Option
Sondius-XG* technology. When the EXB- You can select one of four basic waveforms. MOSS is installed in the TRITON-Rack, you will be able to Pitch-related settings can be made in the same way as for use 128 MOSS tone generator programs in program bank Oscillator 1/2.
Page 259: About The Oscillators
VPM (Variable Phase Modulation) This oscillator uses phase modulation to generate overtones. This section contains two amps. The signal that is input to You can produce rich overtones by using phase modulation each will depend on the ﬁlter routing. In addition, the amp between two oscillators and a wave shaping table to process section provides an amp envelope generator (Amp EG) that the sound.
Page 260 How to load MOSS.SNG into the demo song MOSS.SNG is a song ﬁle that uses the programs of bank I-F, etc. On the TRITON-Rack, you can load a song ﬁle as a demo song, and play it using Demo/SNG. 3 Select “Bank I-F” (bank I-F programs).
Page 261: Selecting Programs/Combinations
Selecting programs/combinations For example, timbre 1 could use up to two voices for a MOSS tone generator bass program, and timbre 2 could Programs/combinations can be selected in the same way as use up to four voices for a MOSS tone generator electric for banks I-A–I-E.
Page 262: Multi Mode
MIDI control changes CC#70–79, or by operating the REALTIME CONTROL knobs in A-mode or B-mode. ( p.218 “TRITON-Rack operations when con- trol changes are transmitted/received”) In Program mode, you can write the program to save it in its modiﬁed state.
Page 263: Parameters
ﬁnd the explanation for a parameter. 3 Use the reference page and parameter name listed 1 In the LCD screen of the TRITON-Rack, ﬁnd the parame- beside the desired parameter name to ﬁnd the TRITON- ter that you wish to learn about.
Page 264: Program Mode
I-F. However, “Stretch” has no effect for bank F programs. PG p.3 PROG1.1–2: Perform Edit PROG 2.1: Ed–Basic 2.1–1: Basic (Prog Basic) TRITON-Rack EXB-MOSS OSC 1/OSC 2 p.12 1–1a: Multi OSC Setup: OSC 1 (Oscillator 1 Type)/OSC 2 (Oscillator 2 Type) p.14...
Page 265: Prog 2.2: Ed-Ctrl
2.1–4: Mixer1/2.1–5: Mixer2 TRITON-Rack EXB-MOSS OSC1 Level p.34 1–6a: Mixer1: OSC1 (OSC1 Output Level) p.34 1–6a: Mixer1: AMS (Alternate Modulation Source) p.34 1–6a: Mixer1: Intensity (Level AMS Intensity) OSC2 Level p.34 1–6a: Mixer1: OSC2 (OSC2 Output Level) p.34 1–6a: Mixer1: AMS (Alternate Modulation Source) p.34...
Page 266: Comb Filter
2.3–2: WShape (Wave Shape) TRITON-Rack EXB-MOSS Input Level p.15 1–3c: Wave Shape: Input (Input Level) p.15 1–3c: Wave Shape: AMS (Alternate Modulation Source) Intensity p.16 1–3c: Wave Shape: Intensity (Input Level AMS Intensity) Table Type p.16 1–3c: Wave Shape: Type (Wave Shape Table Type) Offset p.16...
Page 267: Resonance
2.3–2: Mod. (Modulator) TRITON-Rack EXB-MOSS Modulator Wave p.19 1–3b: Modulator: Wave Level p.19 1–3b: Modulator: Level • • • • • • • • • • • • • • • • • • • • • • • •...
Page 268: Cross Modulation
Cross Modulation p.22 “EXB-MOSS owner’s manual” 2.3–1: Cross TRITON-Rack EXB-MOSS Input p.22 1–3a: Wave: Input Carrier Wave p.22 1–3a: Wave: Carrier Wave Edge p.22 1–3a: Wave: Wave Edge Modulation Depth p.22 1–3b: Modulation Depth: Depth AMS1 p.22 1–3b: Modulation Depth: AMS1 (Alternate Modulation Source 1) Intensity p.22...
Page 269: Brass Model
Brass Model p.25 “EXB-MOSS owner’s manual” 2.3–1: Brass TRITON-Rack EXB-MOSS Inst Type p.25 1–3a: Inst Type: Inst Type Jump.Bend JS(+X) p.26 1–3a: Jump Bend: JX(+X) (Joystick +X) Jump.Bend JS(-X) p.26 1–3a: Jump Bend: JX(-X) (Joystick -X) Pres.EG p.26 1–3b: Breath Pressure: EG p.26...
Page 270: Plucked String Model
Plucked String Model p.29 “EXB-MOSS owner’s manual” 2.3–1: String TRITON-Rack EXB-MOSS Picking Point p.29 1–3c: String: Picking Point p.30 1–3c: String: AMS (Alternate Modulation Source) p.30 1–3c: String: Intensity (Picking Point AMS Intensity) Damp p.30 1–3c: String: Damp p.30 1–3c: String: KTr (Damp Keyboard Track) p.30...
Page 271: Prog 3.1: Ed -Pitch
2.3-2: Bow TRITON-Rack EXB-MOSS Differential p.32 1–3a: Bow Speed: Differential p.31 1–3a: Bow Speed: EG p.31 1–3a: Bow Speed: Int (Seed Modulation EG Intensity) AMS1 p.31 1–3a: Bow Speed: AMS1 (Alternate Modulation Source 1) p.31 1–3a: Bow Speed: Intensity (Speed AMS1 Intensity) AMS2 p.31...
Page 272: Prog 4.1: Ed-Filter
PROG 4.1: Ed–Filter p.38 “EXB-MOSS owner’s manual” 4.1–1: Filter1/4.1–3: Filter2 TRITON-Rack EXB-MOSS Routing p.38 3–1a: Routing: Routing Filter2 p.38 3–1a: Routing: Filter2 • • • • • • • • • • • • • • • • • •...
Page 273: Prog 5.2: Ed-Egs
5.1–3: AmpEG TRITON-Rack EXB-MOSS A (Attack Level) p.41 4–3a: Level: Attack (Attack Level) B (Break Level) p.41 4–3a: Level: Break (Break Level) S (Sustain Level) p.41 4–3a: Level: Sustain (Sustain Level) A (Attack Time) p.41 4–3b: Time: Attack (Attack Time) D (Decay Time) p.41...
Page 274: Prog 5.3: Ed-Lfos
PROG 5.3: Ed–LFOs p.43 “EXB-MOSS owner’s manual” 5.3–1…4: LFO1...LFO4 TRITON-Rack EXB-MOSS Waveform p.43 5–1a: LFO1: Waveform Frequency p.43 5–1a: LFO1: Frequency p.43 5–1a: LFO1: Offset Key Sync p.43 5–1a: LFO1: Key Sync Fade p.44 5–1a: LFO1: Fade • • •...
Page 275: Multi Mode
Multi Mode Cautions when using bank I–F “EXB-MOSS owner’s manual” p.48 “Cautions when MULTI 2.3: MOSS using bank F” 2.3–1: MOSS p.254 “Editing a combination” Afﬁx the Sondius-XG label p.255 “Multi mode” Modulation Source List Affix the label in this location. EG 1...EG 4 Amp EG LFO 1...LFO 4...
Page 276: Exb-Moss Parameter Index
EG1...4: Time ......5.2–1...4: EG1...EG4: L p.266 EXB-MOSS .....TRITON-Rack Parameters Breath Noise Brass Model: Breath Pressure .
Page 277 Fbk (Feed Back) Int (Seed Modulation EG Intensity) Comb Filter: Feedback ....2.3–1: Comb F: Feedback p.259 Bowed String Model: Bow Speed... .2.3–2: Bowed Str: Bow: Bow Pressure p.264 Feedback Intensity (Amplitude AMS Intensity)
Page 278 Intensity (Modulation Depth AMS2 Intensity) Resonance: Input ..... . . 2.3–1: Resonance: Input p.260 VPM: Carrier......2.3–1: VPM: Carrier p.259 Cross Modulation: Wave .
Page 279 EG1...4: Level......5.2–1...4: EG1...EG4: L: S p.266 Bowed String Model: Peaking EQ ... 2.3–2: Bowed Str: Bow: Peaking EQ p.264 Threshold (Retrigger Control Threshold) Brass Model: Peaking EQ .
Page 280: Exb-Di Option
Rack's DIGITAL OUT connector to the ADAT OPTICAL Compatible Optical Output which digitally outputs the IN connector of the ADAT Optical format-compatible audio signal from the TRITON-Rack, and also allows the mixer. digital signal to be synchronized with another digital audio 2 Use ADAT-OPTICAL cables to connect the respective IN device.
Page 281: Index
Arpeggiator Index Arpeggiator Run A, B Bank Combination 43 Change all bank reference 109 Multi 67 Symbols Combination 31, 33 Assign High Drumsample 116 Tempo Combination 43 High MS Bank 7 Multi 67 Low Drumsample 118 Combination 34, 43 Numerics Low MS Bank 7 Multi 67 Pattern Bank 61, 65...
Page 282 Copy Oscillator 6 Delete SMPL (Delete Sample) 80 Copy Pattern 64 Delete Step 122 Cat. HOLD (Category Hold) 2, 32 Copy Scale 114 Delete, File, Directory 137 Category Copy SMPL (Copy Sample) 80 Multi 50 Combination 31, 32, 33 Copy Step 122 Truncate 85, 93 Drumsample 117 Copy, event 63...
Page 283 .KMP file 123, 129, 130, 134, 135, 238 GM, GS, XG 228 Translation 124 Location 62, 63 Grid 84, 91, 92, 93 KORG format 123, 134, 238 Loop Auto Loop On 79 .KSC file 123, 129, 130, 134, 135, 239 Lp (Loop) 91 .KSF file 123, 129, 130, 134, 135, 238...
Page 284 Multisample 7, 74, 84, 91, 101 Pan (CC#8), IFX 145, 223 Load 126, 130 Combination 47 Master Effect (MFX) 146 Save 134 Multi 70 MFX Bal (MFX Balance) 4 Stereo multisample 75 Program 28, 143 MFX1 off/MFX2 off 108, 224 Sampling 104 Multi-timbre 227 MFX1, 2...
Page 285 Program Change 221 RPPR (Realtime Pattern Play/Re- Multi Select 50, 61 MIDI Filter 112 cording) 61, 227, 228 Multisample Select 74, 91, 101 Combination 41 RPPR On/Off 50 OSC Select Multi 58 Combination 37 Multi 54 Pstn (Position) 79, 102 Pattern Select 65 Sample 73, 74, 75, 91 Program Select...
Page 286 SW1, SW2 Top Slope, Bottom Slope Velocity Zone AMS 206 Combination 39 Combination 40 Assign 213 Multi 57 Multi 57 Combination 36 Program 9 Top Velocity, Bottom Velocity Multi 53 Velocity, Arpeggiator 25, 40, 44, Arpeggiator Scan Zone Program 10 68, 122 Combination 40 Sampling 103...
Page 287 These products are warranted by the KORG distributor only in each country. Any KORG product not sold with a warranty card or carrying a serial number disqualifies the product sold from the manufacturer’s/distributor’s warranty and liability. This requirement is for your own protection and safety.

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