This "Parameter Guide" contains explanations and other
information regarding the operations of the parameters and
settings on the TRITON proX, TRITON pro, and TRITON.
The explanations are organized by mode, page, and tab.
Explanations and other information on the effects and their
parameters are also provided for each effect.
Refer to this guide when an unfamiliar parameter appears in
the display, or when you need to know more about a partic-
ular function.
Conventions in this manual
References to the TRITON proX, TRITON pro, and TRITON
The TRITON proX, TRITON pro, and TRITON are collec-
tively referred to in this manual as the TRITON.
Switches and knobs [ ]
References to the switches, dials, and knobs on the TRI-
TON's panel are enclosed in square brackets [ ]. References
to buttons or tabs indicate objects in the LCD display
screen.
Parameters in the LCD display screen " "
Parameters displayed in the LCD screen are enclosed in
double quotation marks " ".
Boldface type
Parameter values are printed in boldface type.
Content that is of particular importance is also printed in
boldface type.
How to read the "Parameter Guide"
(example)
Mode name
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
Page No.
the LFO1 or LFO2 Intensity to a negative (–) value for Pitch,
Filter, or Amp, you can invert the LFO waveform.
Tab No.
Make settings for the "OSC1 LFO1," which is the first LFO
that can be used for oscillator 1.
Tab name (1)
Parameter
number
5–1a: OSC1 LFO1
Parameter
Waveform
name
Select the LFO waveform.
Page menu command
(
)
5–1a
5–1b
5–1c
[Triangle 0...Random6 (Vector)]
Range of possible
parameter values
Procedure steps 1 2 3 ...
Steps in a procedure are listed as 1 2 3 ...
p. I , I – I
These indicate pages or parameter numbers to which you
can refer.
Link I – I
Link indicates a linked parameter on a different page that
has the same name or an abbreviated name. I – I indicates
the parameter numbers.
Symbols
,
These symbols respectively indicate cautions, advice, MIDI-
related explanations, a parameter that can be selected as an
alternate modulation source, a parameter that can be
selected as a dynamic modulation source, and a parameter
that can use the BPM/MIDI Sync function.
Example screen displays
The values of the parameters shown in the example screens
of this manual are only for explanatory purposes, and may
not necessary match the values that appear in the LCD
screen of your instrument.
MIDI-related explanations
CC# is an abbreviation for Control Change Number.
In explanations of MIDI messages, numbers in square
brackets [ ] always indicate hexadecimal numbers.
M 5–1: Page Menu Command
5–1A: Swap LFO 1&2
This command exchanges the settings of LFO1 and 2. If LFO2
has been selected as Frequency Modulation AMS1 or 2 of
LFO1, that setting will be cancelled for LFO2 after the LFO1
and 2 settings have been exchanged. If this is selected from
the OSC1 LFO1 or OSC1 LFO2 tab, the LFO1 and LFO2 of
OSC1 will be exchanged.
Tab name (2)
1 Select this command to open the dialog box.
5–1
2 Press the OK button.
Here you can make settings for the OSC1 LFO2, which is the
second LFO that can be applied to oscillator 1. ( "5–1: OSC1
LFO1") However in "Frequency Modulation" (5–1b), the
LFO cannot be selected as a modulation source in "AMS1" or
"AMS2."
This can be used when "Oscillator Mode" (1–1a) is set to
Double.
Here you can make settings for the OSC2 LFO1, which is the
first LFO that can be applied to oscillator 2. ( "5–1: OSC1
LFO1")
,
,
,
,
Page menu command No.
Page menu
0–1A
command name
5–1A
iii

Advertising

   Also See for Korg TRITON proX

   Related Manuals for Korg TRITON proX

   Summary of Contents for Korg TRITON proX

  • Page 1: About This Manual

    These indicate pages or parameter numbers to which you information regarding the operations of the parameters and can refer. settings on the TRITON proX, TRITON pro, and TRITON. Link I – I The explanations are organized by mode, page, and tab.

  • Page 2: Table Of Contents

    Table of Contents 2. Combination mode ... . .29 Combination P0: Play ......29 0–1: Prog.

  • Page 3: Table Of Contents

    2–4: OSC 9–16 (OSC T09–16) ....55 Sampling P1: Sample Edit ..... . . 88 2–5: Pitch 1–8 (Pitch T01–08) .

  • Page 4: Table Of Contents

    6. Global mode ....113 013: Talking Modulator ..... 162 014: Stereo Decimator .

  • Page 5: Table Of Contents

    050: St. BPM Delay (Stereo BPM Delay) ..183 083: Wah – Amp Sim (Wah/Auto Wah – Amp Simulation) ..197 051: Sequence Delay ......183 084: Decimator –...

  • Page 6: Table Of Contents

    Chunks that are supported....226 About KORG format files ....226 Various messages .

  • Page 7: Program Mode, Program P0: Play, Perf. Edit (performance Edit)

    1. Program mode Category [00...15: name] Program P0: Play This is the program category display. You can select programs by category. Press the popup but- In this display page you can select and play programs. ton, and the “Category/Program Select” menu will appear. Category/Program Select menu: All MIDI data in Program P0: Play is transmitted and received on the Global MIDI Channel “MIDI Channel”...

  • Page 8

    OSC Balance [–10…0…+10] 0–1c: Program Information This adjusts the level balance between oscillators 1 and 2. At the +00 setting, the value of the program parameters will Information on the selected program is displayed here. This be unchanged. shows the functions that are assigned to the [SW1] and Positive (+) settings will lower the oscillator 2 level.

  • Page 9: Arpeggio

    0–2: Arpeggio Positive (+) settings will raise the return levels above the program setting. Arpeggiator parameters are edited in P7: Edit - Arpeggiator, With an adjustment of +10, the setting will be 127 (maxi- but major parameters can be edited here as well. When you mum).

  • Page 10: Program P1: Edit – Basic, Program Basic

    When legato is off, multiple note-on’s will retrigger the Program P1: Edit – Basic voice at each note-on. The oscillator sound, envelope, and LFO will be reset (and retriggered) according to the settings of the program. Here you can make basic settings for the program, such as basic oscillator settings and the scale.

  • Page 11: Osc Basic

    User All Notes Scale: This is the full-range scale (C–1 – G9) (1–1a) has been set to Double. If this is set to Single, the that was specified in “User All Notes Scale” (Global P3). “OSC2 Multisample” (1–2b) will not appear and cannot be set.

  • Page 12

    Octave [–2[32’], –1[16’], +0[8’], +1[4’]] When you press the “Multisample Select” popup button, a list of multisamples will appear. If ROM is selected as Adjust the pitch in octave units. The normal octave of the “Bank,” use the dialog box to select the tab for the desired multisample is 8' (feet).

  • Page 13: Velo. Zone (velocity Zone)

    Transpose [–12…+12] “Pitch” (Sampling P3: 3–1b). The value that was specified in Sampling mode will be displayed here. This adjusts the location of the instruments in the selected Attack: Adjust the attack times of the filter EG and amp drum kit. Unless you need to change this, leave it at 0. EG.

  • Page 14: Controller (controller Setup), Program P2: Edit – Pitch

    1–4: Controller (Controller Setup) Program P2: Edit – Pitch These settings specify the functions of the [SW1] key, the [SW2] key, and the B-mode functions of REALTIME CON- Here you can make pitch modulation settings for oscillators TROL knobs [1]–[4] in Program mode. 1 and 2.

  • Page 15

    JS (+X) [–60…+12] “Intensity” (Pitch EG) and AMS will be added to deter- mine the depth and direction of the pitch modulation Specify how the pitch will change when the joystick is applied by the pitch EG. moved all the way to the right. A setting of 12 produces 1 octave of change.

  • Page 16: Pitch Eg

    pressure to the keyboard, a positive (+) setting of this param- 2–3a: Pitch EG eter will cause the pitch modulation created by OSC1 LFO1 to be applied with the normal phase, and a negative (–) set- These settings specify how the pitch will change over time. ting will cause the LFO to be applied with inverted phase.

  • Page 17

    when the [SW1] key is turned on. The direction of the direction of the change is specified by “At” and “Dc.” As change is specified by “St” and “At.” When the [SW1] key is you play more softly, the pitch EG times will more closely turned off, the pitch EG levels will return to their own set- approach the actual settings of the pitch EG.

  • Page 18: Program P3: Edit – Filter, Filter1

    Resonance Mod. by AMS Program P3: Edit – Filter [Off, (PEG, FEG, AEG, LFO, KT, EXT)] Select the source that will control the “Resonance” level Here you can make settings for the filters that will be used ( p.210 “AMS (Alternate Modulation Source) List”). by oscillators 1 and 2.

  • Page 19: Filter1 Mod

    3–2: Filter1 Mod. How cutoff frequency is affected by keyboard location and the Ramp setting (“Intensity to A” and “Intensity to B” = +50) These settings let you apply modulation to the cutoff fre- quency (“Frequency”) of filter 1 to modify the tone. Cutoff frequency High Ramp=+99 When “Filter Type”...

  • Page 20

    3–3: Filter1 lfo Mod Intensity to B [–99…+99] (Filter1 LFO Mod.) Specify the depth and direction of the effect that the time- Here you can use the filter 1 LFO to apply cyclic modulation varying changes created by the filter 1 EG will have on the to the cutoff frequency of filter 1 (for oscillator 1) to create filter 1B cutoff frequency ( “Intensity to A”).

  • Page 21: Filter1 Eg

    Intensity to B [–99…+99] Sustain (Sustain Level) [–99…+99] Specify the depth and direction of the effect that “AMS” will Specify the change in cutoff frequency that will be main- have on filter 1B ( “Intensity to A”). tained from after the slope time has elapsed until note-off occurs.

  • Page 22: Filter2, Filter2 Mod, Filter2 Eg

    At (Attack Level) [–, 0, +] Sl (Slope Time) [–, 0, +] Specify the direction in which “AMS” will affect “Attack Specify the direction in which “AMS1” will affect the slope (Attack Level).” When “Intensity” has a positive (+) value, a time.

  • Page 23: Program P4: Edit -amp, Amp1 Mod

    Intensity [–99…+99] Program P4: Edit -Amp Specify the depth of the effect produced by “AMS.” For example if “Pan” is set to C064 and “AMS” is Note Here are the volume-related settings. Amp 1 controls oscilla- Number, positive (+) values of this parameter will cause the tor 1, and amp 2 controls oscillator 2.

  • Page 24: Amp1 Eg

    Ramp High [–99…+99] AMS (Alternate Modulation Source) [Off, (PEG, FEG, AEG, KT, EXT)] With positive (+) values of this parameter, the volume will increase as you play notes above the “Key High” note num- Select a source that will control the depth by which “OSC1 LFO1”...

  • Page 25

    Time: Br (Break Point Level) [–, 0, +] Attack (Attack Time) [00…99] Specify the direction in which “AMS” will change “Break (Break Point Level).” If “Intensity” is set to a positive (+) Specify the time over which the volume will change after value, setting this parameter to + will allow AMS to increase note-on until it reaches the attack level.

  • Page 26: Amp2 Mod, Amp2 Eg, Program P5: Edit-common Lfo, Osc1 Lfo1

    Rl (Release Time) [–, 0, +] Program P5: Edit-Common LFO Specify the direction of the effect that “AMS1” will have on “Release (Release Time).” With positive (+) values of “Inten- Here you can make settings for the LFO that can be used to sity,”...

  • Page 27: Osc1 Lfo2, Osc2 Lfo1

    AMS2 (Alternate Modulation Source2) Offset settings and pitch change produced by vibrato [Off, (PEG, FEG, AEG, LFO2, KT, EXT)] Pitch offset = –99 offset = 0 offset = +99 Intensity (AMS2 Intensity) [–99…+99] Make settings for a second alternate modulation source that Pitch at note-on will adjust the frequency of the oscillator 1 LFO1.

  • Page 28: Osc2 Lfo2, Program P7: Edit-arpeggiator, Arpeg. Setup

    5–4: OSC2 LFO2 Program P7: Edit-Arpeggiator This can be used when “Oscillator Mode” (1–1a) is set to Double. Here you can make settings for the arpeggiator used by the Here you can make settings for the OSC2 LFO2, which is the program.

  • Page 29

    Sort P04: RANDOM (Preset Arpeggio Pattern) This specifies the order in which the notes you press will be U00 (A/B)...U199 (A/B) (for User Arpeggio Pattern) arpeggiated (Link: “Sort” 0–2a). U200 (C)...U215 (C) (for EXB-PCM series, User Arpeggio Pattern) Checked: Notes will be arpeggiated in the order of their U216 (D)...U231 (D) (for EXB-PCM series, User Arpeggio Pattern) pitch, regardless of the order in which you pressed them.

  • Page 30: Scan Zone, Program P8: Edit-insert Effect, Routing

    7–2: Scan Zone Program P8: Edit-Insert Effect 7–1 For details on insertion effects, refer to p.146 “8. Effect 7–2a Guide.” 8–1: Routing 7–2b These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the mas- ter effects.

  • Page 31: Insert Fx

    IFX5), set “IFX1” (or IFX2–IFX5) to 000: No Effect, and 4 Select the copy destination insert effect. If you check set the “BUS Select” (8–2a) after passing through IFX to “Post IFX Mixer Setting,” the “Chain,” “Pan#8,” “BUS 1/2 or 3/4. Select,”...

  • Page 32: Ifx 1, Ifx 2, Ifx 3, Ifx 4, Ifx 5

    8–3: IFX 1 If you select a double-size effect, the insert effect that follows will be unavailable. For example if you select a double-size 8–4: IFX 2 effect for IFX2, IFX3 cannot be used. Up to two double-size 8–5: IFX 3 effects can be used.

  • Page 33: Program P9: Edit-master Effect, Master Fx

    Separately from this setting, you can use CC#94 to Program P9: Edit-Master Effect switch this on/off. A value of 0 will be off, and a value of 1–127 will be the original setting. This is controlled For details on the master effects, refer to p.150 “8. Effect on the global MIDI channel “MIDI Channel”...

  • Page 34: Mfx 1, Mfx 2, Master Eq

    9–4: Master EQ 9–1: Page Menu Command The master EQ is a three-band stereo EQ. It is used to adjust the overall tonality of the sound immediately before the L/R 0–1A bus is output to the AUDIO OUTPUT (MAIN OUT) L/ 9–1A MONO and R jacks ( p.207).

  • Page 35: Combination Mode, Combination P0: Play, Prog. Select (program Select)

    2. Combination mode appear. Press the OK button to execute, or press the Cancel Combination P0: Play button to cancel your selection. The category for each combination can be specified in the “Write Combination” dialog box. In this display page you can select and play Combinations. Combination Number: name [0…127: name] This is the number and name of the combination.

  • Page 36

    Program Name 0–1e: Category, Bank/Program This displays part of the program name selected for the tim- Category (Category Name) [00...15: name] bre. In the case of the GM2 variation bank or the GM2 drums bank, the variation bank (1)–(9) or drums bank (d) The program for each timbre can be selected by program will be indicated.

  • Page 37: Mixer

    4 In “To Combination,” select the writing destination. OSC1 OSC2 5 To execute the Write Combination command press the OSC1: Amp1 Pan=L001 OSC1: Amp1 Pan=L032 OSC2: Amp2 Pan=R127 OSC2: Amp2 Pan=R096 OK button. To cancel, press the Cancel button. Left Center Right Left...

  • Page 38: Arpegg. A (arpeggio Play A), Arpegg. B (arpeggio Play B), Program/mixer

    0–3: Arpegg. A (Arpeggio Play A) Combination P1: Edit–Program/ 0–4: Arpegg. B (Arpeggio Play B) Mixer Here you can make arpeggiator settings for the combina- tion. A combination can run two arpeggiators simulta- neously. Arpeggiator parameters can be edited in P7: Edit- 1–1: Program/Mixer Arp., but certain major parameters can be edited in these pages as well.

  • Page 39: Combination P2: Edit–trk Param, Midi Channel (midi Ch), Pitch

    2–2a: Force OSC Mode, OSC Select, Portamento Combination P2: Edit–Trk Param Force OSC Mode [PRG, Poly, MN, LGT] Specify the Voice Assign Mode (Program P1: 1–1b) of the 2–1: MIDI Channel (MIDI Ch) program selected for each timbre 1–8. PRG: The settings of the program will be used. Here you can make MIDI settings for each timbre.

  • Page 40: Other

    apply to the selected timbre. When you execute the com- 2–3a: Transpose, Detune, Bend Range mand, the selected “Detune” value will be set. Transpose [–24…+24] 1 Select this command to open the following dialog box. Adjust the pitch of each timbre in semitone steps. 12 units equal one octave.

  • Page 41: Combination P3: Edit-midi Filter

    2–4c: Scale Combination P3: Edit-MIDI Filter Specify the scale that the combination will use. These settings allow you to apply filters to the MIDI data Type [Equal Temperament...User Octave Scale15] that will be transmitted and received by each timbre 1–8. For Select the type of scale ( “Type”...

  • Page 42: Midi 2 (midi Filter –2), Midi 3 (midi Filter –3)

    3–2: MIDI 2 (MIDI Filter –2) 3–3a: Enable Realtime Control Knob –1...4 0–1 Enable Realtime Control Knob –1 Specify whether or not the “A” mode MIDI control message #74 (the TRITON’s low pass filter cutoff frequency) and the “B” mode MIDI control message assigned to knob [1] will be transmitted and received.

  • Page 43: Combination P4: Edit-zone/ctrl, Key Z (key Zone)

    60: The volume will increase gradually as you play down- Combination P4: Edit-Zone/Ctrl ward, and will reach the original volume five octaves below the top key. 4–1: Key Z 4–1c: Bottom Slope, Bottom Key (Key Zone) These settings specify the keyboard range in which each Bottom Slope [00...72] timbre will sound.

  • Page 44: Controller (control)

    4–4: Controller (Control) 4–2a: Top Velocity, Top Slope Here you can set the Combination mode functions of the Top Velocity [1…127] [SW1] key, [SW2] key, and the B-mode functions of REAL- Specify the maximum velocity value that will sound each TIME CONTROL knobs [1]–[4].

  • Page 45: Combination P7: Edit-arp, Setup

    Example 1) Combination P7: Edit-Arp Set the “MIDI Channel” (2–1a) of timbres 1 and 2 to Gch, and set “Status” (0–1e, 2–1a) to INT. Assign arpeggiator A to timbre 1 and arpeggiator B to timbre 2, and check These parameters specify how the arpeggiator will function “Arpeggiator Run A, B”...

  • Page 46: Arpegg. A (arpeggiator A), Arpegg. B (arpeggiator B)

    7–1A: Copy Arpeggiator * These parameters are linked with the parameters of the same name (and abbreviation) found in “0–3(4): Arpegg. This command copies arpeggiator settings. A.” 1 Select this command to open the following dialog box. 7–2: Page Menu Command “0–1A: Write Combination,”...

  • Page 47: Combination P8: Edit-insert Fx, Routing

    7–4: Page Menu Command Combination P8: Edit-Insert FX “0–1A: Write Combination” and “7–1A: Copy Arpeggia- Here you can make insertion effect settings. You can also tor” specify the bus routing for the program used by each timbre 1–8. For details on insertion effects, refer to p.146 “8. Effect Guide.”...

  • Page 48: Ifx 2, Insert Fx, Ifx 1, Ifx 3, Ifx 4, Ifx 5

    time and output it from AUDIO OUTPUT (INDIVID- 2 In the Drum Kit “IFX” popup, select the insert effect to UAL) 1/2 or 3/4, you must set “BUS Select” to IFX1 (or which you want to patch. IFX2–IFX5), select 000: No Effect for “IFX1” (or IFX2– 3 To execute the Drum Kit Insert Effect Patch command, IFX5) (8–2), and for the sound that has passed through press the OK button.

  • Page 49: Combination P9: Edit-master Fx, Master Fx, Mfx 1 (master Effect1), Mfx 2 (master Effect2)

    8–3a: Ctrl Ch [Ch01...16, Gch, All Routed] Combination P9: Edit-Master FX This parameter specifies the MIDI channel that will be For details on master effects, refer to p.150 “8. Effect used to control effect dynamic modulation (Dmod), pan Guide.” following the insert effect (CC#8), Send 1 (CC#93), and Send 2 (CC#91).

  • Page 50: Master Eq

    9–2a: Ctrl Ch [Ch01...16, Gch] This parameter specifies the MIDI channel that will control dynamic modulation (Dmod) for the master effect. With a setting of Gch, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used for con- trol.

  • Page 51: Sequencer Mode, Sequencer P0: Play/rec, Prog. 1–8 (program T01–08), Prog. 9–16 (program T09–16)

    3. Sequencer mode In Sequencer mode you can use the built-in 16-track record without changing the time signature. sequencer to play, record and edit songs. You can also record 1/4–16/4, 1/8–16/8, 1/16–16/16: This is the time signature at and play patterns, make settings for the RPPR (Realtime Pat- the current location of the song.

  • Page 52

    Tempo Mode [Auto, Manu, REC] 0–1f: Reso (Realtime Quantize Resolution) Auto: The tempo will follow the tempo of the Master Track. [Hi, 3 … ] The tempo of the master track can be specified by using “Event Edit” (5–1B) with Master Track chosen in “Track This corrects the timing of data as it is recorded in realtime.

  • Page 53

    SOLO ON/OFF [SOLO ON, SOLO OFF] 0–1i: Program Track01...08 This turns the Solo function on/off. Only the track that is set 0–2i: Program Track09...16 to SOLO ON will sound. Other tracks will be muted. Select the program that will be used by each track. If tracks whose “Status”...

  • Page 54

    0–1E: Copy From Song 0–1H: Save Template Song (Save as User Template Song) This command copies all setting data and musical data from the specified song to the currently selected song. This command saves the program selections, track parame- ters, and effect settings etc. of the song as a user template 1 Select this command to open the following dialog box.

  • Page 55: Mixer 1–8 (mixer T01–08), Mixer 9–16 (mixer T09–16), Plyloop 1–8 (playloop T01–08)

    0–3: Mixer 1–8 If “Status” (2–1a, 2a) is INT or BTH, CC#10 Panpot can (Mixer T01–08) be received to control the panning. When receiving 0–4: Mixer 9–16 (Mixer T09–16) CC#10, a value of 0 or 1 is far left, 64 is center, and 127 is far right.

  • Page 56: Preference

    Auto Punch In recording, track 1 will repeatedly play measures 1–4 and track 2 will repeatedly play measures 1–8. While listen- Select this method when you wish to automatically re- ing to these tracks playback, record the backing guitar record selected portions of a previously-recorded track. riffs.

  • Page 57: Sequencer P1: Cue List, Cue List

    REC will record MIDI data whose channel matches their Sequencer P1: Cue List own MIDI channel setting, regardless of the “Track Select” (0–1e) setting. In this case you will probably want to set “MIDI Clock” (Global P1: 1–1a) to External, and synchronize to the exter- 1–1: Cue List nal sequencer.

  • Page 58

    Tempo Mode [Auto, Manu] Length: This shows the number of measures in the song for the currently selected or playing step. Auto: Playback will use the tempo specified by the currently playing song. During playback, the “ (Tempo)” setting can- Step [Measure] [01...100 (M0001...M9999)] not be modified.

  • Page 59

    it will be necessary to convert a cue list to a song if you wish 1–1e: Insert, Cut, Copy, Current Step to write it to a floppy disk as SMF data. During the conver- sion, the track and effect settings of the song specified for Insert “Step”...

  • Page 60

    “Transpose” settings 4 In “To Song,” specify the song into which the data will be If the “Transpose” (2–5a, 6a) of the tracks in “Step” 02 and converted. If you select a new song, a dialog box will ask subsequent songs differ from the settings of the “Step” 01 you for confirmation.

  • Page 61: Sequencer P2: Trk Param, Midi Ch 1–8 (midi Ch T01–08)

    Sequencer P2: Trk Param Recorded data Keyboard and controller operations Received data Status Internal MIDI OUT Internal MIDI OUT tone gener- tone gener- 2–1: MIDI Ch 1–8 (MIDI Ch T01–08) ator ator × 2–2: MIDI Ch 9–16 — (MIDI Ch T09–16) ×...

  • Page 62: Pitch 1–8 (pitch T01–08), Pitch 9–16 (pitch T09–16)

    Bend Range [PRG, –24...+24] Time data that was recorded, the settings will change accordingly. Specify the range of pitch change that will occur when the When the track whose “Status” (2–1a) is INT or BTH, pitch bender is operated. MIDI control change (CC) #5 (Portamento Time) and PRG: The pitch range specified by the program will be used.

  • Page 63: Sequencer P3: Midi Filter

    2–7(8)b: Use Program’s Scale Sequencer P3: MIDI Filter Each track can use the scale that is specified for the program Here you can select whether or not to apply filtering to the by “Scale” (Program P1: 1–1c). MIDI data received by tracks 1–16. For example even if two Checked: The scale of the program will be used.

  • Page 64: Midi 2 1–8 (midi Filter –2 T01–08)

    3–5: MIDI 3 1–8 Enable After Touch (MIDI Filter –3 T01–08) Specify whether or not MIDI after touch messages will be 3–6: MIDI 3 9–16 (MIDI Filter –3 T09–16) received. Here you can specify whether the A and B-mode effects of Enable Damper the REALTIME CONTROL knobs [1]–[4] will be transmitted Specify whether or not MIDI control message #64 Hold...

  • Page 65: Sequencer P4: Zone/ctrl, Key Z 1–8 (key Zone T01–08), Key Z 9–16 (key Zone T09–16)

    3–7(8)a: Enable SW1, Enable SW2, Enable Foot Sequencer P4: Zone/Ctrl Pedal/Switch, Enable Other Control Change 4–1: Key Z 1–8 Enable SW1, Enable SW2 (Key Zone T01–08) 4–2: Key Z 9–16 Specify whether or not the effect of the [SW1] and [SW2] (Key Zone T09–16) keys will be received.

  • Page 66: Vel Z 1–8 (vel Zone T01–08), Vel Z 9–16 (vel Zone T09–16)

    4–3: Vel Z 1–8 4–7: Controller (Vel Zone T01–08) (Controller Setup) 4–4: Vel Z 9–16 (Vel Zone T09–16) Here you can set the functions that the [SW1] key, [SW2] key, and the B-mode functions that the REALTIME CONTROL Top/Bottom Velocity specify the range of velocities that will knobs [1]–[4] will have in Sequencer mode.

  • Page 67: Sequencer P5: Track Edit, Track Edit

    Be aware that if you step-record onto a track which Sequencer P5: Track Edit already contains sequence data, all data will be erased from the measure specified in “From Measure” and all subsequent measures. 5–1: Track Edit To input data with a continuously-changing value such as pitch bend, it is best to use “Create Ctrl Data”...

  • Page 68

    Each time you press and release the keyboard, the loca- 3 Press the OK button to open the Event Edit dialog box. tion will advance by the length specified in 4 . • Inputting rests Press the Rest button to input a rest of the length speci- fied in 4 .

  • Page 69

    *1 Be aware that since the time signature is recorded in 3 To execute the Bounce Track command, press the OK the master track, modifying it from any track will button. To cancel, press the Cancel button. affect the same measure of all tracks, causing them 5–1F: Erase Measure to be played in that time signature.

  • Page 70

    2 Select this command to open the following dialog box. 2 Select this command to open the following dialog box. 3 In “From Measure” select the first measure that you wish 3 In “At Measure,” specify the measure location at which to delete, and in “To End of Measure”...

  • Page 71

    5–1K: Move Measure 2 Select this command to open the following dialog box. This command moves measures of musical data to a speci- fied destination. When you execute the Move Measure com- mand, musical data following the move source will be moved forward according to the number of measures moved, and musical data following the move destination will be moved backward correspondingly.

  • Page 72

    6 To execute the Create Control Data command, press the • If the Quantize resolution is set to Hi, the timing will be OK button. To cancel, press the Cancel button. adjusted to units of the base resolution ( /192), so note data will not be affected.

  • Page 73

    * By varying the Offset and Intensity settings you can cre- 6 To execute the Erase Note command, press the OK but- ate quantize effects such as the following. ton. To cancel, press the Cancel button. 5–1P: Modify Velocity This command modifies the velocity values of notes in the Original specified area so that they will change over time according 100%...

  • Page 74: Track Name, Sequencer P6: Pattern/rppr, Pattern Edit

    5–2: Track Name Sequencer P6: Pattern/RPPR Here you can assign a name to each track. On the TRITON you can use preset patterns P000–149, and 5–1 0–1a user patterns U00–99. One song can contain up to one hun- dred user patterns. Preset patterns suitable for use in a drum 0–1g track are provided in memory, and can be selected from any 5–1a...

  • Page 75

    (Tempo) [040...240] 6–1B: Event Edit Specify the playback tempo of the pattern. “ (Tempo)” (0– Here you can edit individual events of the musical data in a 1c). pattern. Use “Pattern” and “Pattern Select” to specify the pattern, and then select this command. Metronome Sound [Only REC, REC &...

  • Page 76

    6–1F: Bounce Pattern • The pattern that you “put” will playback according to the time signature that is specified by the measures of This command combines the musical data of the bounce the “put” destination. source pattern and bounce destination pattern, and places •...

  • Page 77: Pattern Name, Rppr Setup

    6–2: Pattern Name 6–3a: Keyboard & Assigned drawing 6–1 This shows the selected key, and the keys to which a pattern 6–1a 0–1d has been assigned by the RPPR function. (Assignments are 0–1e not possible for the keys displayed in gray.) 6–1b 6–2a 6–3b: RPPR Setup...

  • Page 78

    Off: The pattern will begin playing at the moment you press 6–3c: Selected Track Information (Track No.: Bank the note. No., program No., name and Ch) Beat: The pattern will synchronize to the beats of the pattern that was started by the first key (i.e., the first note-on that This shows the program bank, number, program name, and occurs from a condition where no notes of the keyboard are MIDI channel of the track selected in the RPPR Setup tab.

  • Page 79: Sequencer P7: Arpeggiator, Setup 1–8 (setup T01–08), Setup 9–16 (setup T09–16)

    7–1(2)a: Arpeggiator Assign, Arpeggiator Run A, B Sequencer P7: Arpeggiator Arpeggiator Assign [Off, A, B] Here you can specify how the arpeggiator will operate in This assigns arpeggiator A or arpeggiator B to each track 1– Sequencer mode. These settings can be made for each song. 16.

  • Page 80

    7–3: Arpegg. A Example 2) (Arpeggiator A) For tracks 1, 2 and 3, set the “MIDI Channel” (2–1a) to 01, 7–4: Arpegg. B (Arpeggiator B) 02, and 03 respectively, and set “Status” (2–1a) to INT. Assign arpeggiator A to tracks 1 and 2, and arpeggiator B In the Arpegg.

  • Page 81: Sequencer P8: Insert Effect

    7–5b: Scan Zone A/B Sequencer P8: Insert Effect Here you can make insert effect settings, and specify the bus Top Key [C–1...G9] etc. for the program used by each track 1–16. Bottom Key [C–1...G9] For details on insert effects, refer to p.146 “8. Effect Guide.”...

  • Page 82: Ifx 3, Insert Fx, Ifx 1, Ifx 2, Ifx 4, Ifx 5

    8–3: Insert FX Send1 (MFX1) [000...127] Send2 (MFX2) [000...127] Here you can select the type of the insert effects, turn them Here you can adjust the send levels from tracks 1–16 to mas- on/off, and make chain settings. ter effects 1 and 2. This is valid when “BUS Select” is set These functions are the same as in Program mode.

  • Page 83: Sequencer P9: Master Effect, Master Fx, Mfx 1, Mfx 2

    8–4(–8)a: Ctrl Ch [Ch01...16, All Routed] Sequencer P9: Master Effect Select the MIDI channel that will control effect dynamic For details on the master effects, refer to p.150 “8. Effect modulation (Dmod), pan following the insert effect Guide.” (CC#8), Send 1 (CC#93), and Send 2 (CC#91). An asterisk “*”...

  • Page 84

    9–2(3)a: Ctrl Ch [Ch01...16, Gch] Specify the MIDI channel that will control dynamic modulation (Dmod) for the master effects. If Gch is selected, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used. 9–4: Master EQ The master EQ is a three-band stereo EQ. It is used to 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.207).

  • Page 85: Sampling Mode, Sampling P0: Recording, Recording

    4. Sampling mode In Sampling mode you can record 48 kHz 16 bit samples. multisamples or samples, so you will first need to load On the TRITON, “sampling” refers to a process in which previously-saved data from a floppy disk or external analog audio signals from a mic or audio device connected SCSI device before you can playback or edit it.

  • Page 86

    Keyboard & Index 0–1a: MS (Multisample), Index, Keyboard & Index Original Key (currently selected Original Key is reversed) Index zone (currently selected Index is reversed) MS (Multisample) [000...999] Select the multisample. Each multisample consists of the samples for one or more indexes (an “index”...

  • Page 87

    OrigKey (Original Key) [C–1...G9] Stereo Specify the key that will play the sample at its original pitch A “Stereo” indication will appear here if you have selected a (i.e., the pitch at which it was recorded). The pitch will stereo multisample or sample, or if you recorded a sample change in semitone steps relative to the original key.

  • Page 88

    Installed SIMM boards and available banks Example 1: Sampling a monaural source connected to AUDIO INPUT 1 RAM Bank Slot No. 16M-SIMM 32M-SIMM without applying internal effects RAM1 Slot1 16Mbyte 16Mbyte “Input1 Pan” (0–2a) L000 RAM2 Slot1 16Mbyte “Level” (0–2a) RAM3 Slot2 16Mbyte...

  • Page 89

    In order to sample with the maximum dynamic range, Selected: The currently selected sample will be deleted. use the rear panel [LEVEL] knob to adjust the level as The sample assignment for “Index” (0–1a) will change to high as possible without making “ADC OVERLOAD!!” ---No Assign---.

  • Page 90

    4 To execute the Copy Sample command, press the OK When copying a stereo multisample, copy both button. To cancel, press the Cancel button. the L and R channels of the copy destination multisample number. 0–1C: Rename Sample 3 To execute the Copy Multisample command, press the This command lets you modify the name of the currently OK button.

  • Page 91

    MS Mono To Stereo in Sampling mode will be accurately reproduced by the program. • The selected multisample will be converted to stereo. A monaural multisample will be converted into a pro- The last two characters of the multisample name will be gram with an “Oscillator Mode”...

  • Page 92: Input/setup

    0–2: Input/Setup 2 Use the “Recording Level [dB]” slider to adjust the sam- pling level. Here you can make input level, pan, and bus settings for the Be careful of changes in the monitoring volume level rear panel AUDIO INPUT 1 and 2. Setup for recording can ( “Recording Level [dB]”...

  • Page 93: Memory Status, Preference

    If you increase this value, you will always be sampling 0–3b: REC Sample Preference more than you need. Normally you should leave this set at 000ms, and set it to a minimal value only when Auto Loop On necessary. Checked: The recorded sample will automatically be played with looping turned on ( “P2: Loop Edit page”).

  • Page 94: Sampling P1: Sample Edit, Sample Edit

    1–1c: Sample waveform display, Edit Range Start, Sampling P1: Sample Edit Edit Range End, Use Zero, Grid, ZOOM Here you can edit the sample data (waveform data) that you Sample waveform display sampled or loaded in Disk mode. This displays the waveform of the selected sample. The hor- Editing operations such as deleting unwanted portions of izontal axis is the sample address (time axis), and the verti- the waveform, reversing the waveform, or lowering the...

  • Page 95

    (With 1X magnification, the display resolution of the LCD When “Overwrite” is checked: When the command is exe- will be the same as the resolution of the sample addresses. cuted, the edited sample will be overwritten onto the origi- For example if you change the sample address by one, the nal sample (number).

  • Page 96

    6 If you wish to delete the original sample data and over- 2 Select this command to open the following dialog box. write it with the edited sample data, check “Overwrite” ( 1–1). 7 To execute the Truncate command, press the OK button. To cancel, press the Cancel button.

  • Page 97

    1 Use “Edit Range Start” to specify the starting address at 6 To execute the Mix command, press the OK button. To which the data will be inserted. (The “Edit Range End” cancel, press the Cancel button. setting has no effect.) Normally you will leave “Save to No.”...

  • Page 98

    1 Use “Edit Range Start” to specify the starting address at 4 If you check “Normalize” and execute, the data will be which the zero-level will be inserted. (The “Edit Range normalized. In this case, the “Level” setting will be End”...

  • Page 99

    2 Select this command to open the following dialog box. 3 In “Save to No.,” specify the save destination sample number. By default, an unused sample number will be selected. If you have checked “Overwrite” in 4 , this can- not be set.

  • Page 100: Sampling P2: Loop Edit, Loop Edit

    Normally you will leave “Save to No.” at the default Sampling P2: Loop Edit setting, and execute without checking “Overwrite.” When you execute, the original data and the edited data will both be preserved, and the sample number after editing will be assigned to the sample of the index. 2–1: Loop Edit Here you can specify the portion of the sample that will be 0–1A...

  • Page 101

    Start (Start Address) [0000000...] Reverse Specify the starting address for sample playback (This value Checked: The sample will be played backward, from “End” is in units of a sample address). (end address) to “LoopS” (loop start address). LoopS (Loop Start Address) [0000000...] Loop Lock Specify the loop start address for sample playback.

  • Page 102: Sampling P3: Multisample, Multisample

    1 Select this command to open the following dialog box. Sampling P3: Multisample Here you can make settings for multisamples. You can create indexes for a multisample, and then assign a sample to each index. (These basic settings can also be performed in P0.) In addition, you can delete, copy, or insert an index, and per- form detailed editing such as adjusting the level and pitch of 2 “Range Start”...

  • Page 103

    Top Key [C–1...G9] Specify the highest key in the zone of the index. The zone is This deletes the selected index. At the same time, the con- defined by this “Top Key” ( Link: 0–1b). tents of the deleted index are copied to the “Insert” buffer. Range Copy This shows the range of the zone that is determined by the...

  • Page 104: Sampling P4: Controller Setup, Preference, Controller Setup

    3–2: Preference Sampling P4: Controller Setup 3–1 3–2a 4–1: Controller Setup Specify the functions that the [SW1] key, [SW2] key, and the B-mode functions of the REALTIME CONTROL knobs [1]– [4] will have in Sampling mode. In Sampling mode, it is not possible to use AMS to con- trol program parameters.

  • Page 105: Sampling P8: Insert Effect, Insert Fx

    5 Press the front panel [REALTIME CONTROLS] key to Sampling P8: Insert Effect make the “B” LED light. 6 Rotate knob [1], [2] and the panning of the external input sound and the delay will change. You can sample the Here you can make insert effect settings for use in Sampling sound while you modify it.

  • Page 106: Ifx 4, Ifx 1, Ifx 2, Ifx 3, Ifx 5

    8–2: IFX 1 8–3: IFX 2 8–4: IFX 3 8–6: IFX 4 8–5: IFX 5 Set the effect parameters for the IFX 1, 2, 3, 4 and 5 effects that you selected in the Insert FX tab ( p.207). Effect Dmod (dynamic modulation) is controlled by the global MIDI channel specified in Global Mode P1.

  • Page 107: Song Play Mode, Song Play P0: Program/mix, Prog. 1–8 (program T01–08), Prog. 9–16 (program T09–16)

    5. Song Play mode In Song Play mode you can load Standard MIDI Files (SMF) 0–1e: File (File select) [000...999] from floppy disk or external SCSI device, and play them directly as they are being loaded. A jukebox function is pro- From a floppy disk, select the SMF that you wish to play vided to playback these SMF files in any order you specify.

  • Page 108

    0–1A: GM Initialize 0–1(2)j: PLAY/MUTE, SOLO ON/OFF This command transmits a GM System On message to Song PLAY/MUTE [PLAY, MUTE] Play mode, resetting all tracks to the GM settings (refer to the table below). This sets the play/mute status of each track. The setting will alternate each time you press the PLAY/MUTE button.

  • Page 109: Mixer 9–16 (mixer T09–16), Mixer 1–8 (mixer T01–08), Preference

    0–3: Mixer 1–8 0–5: Preference (Mixer T01–08) 0–4: Mixer 9–16 (Mixer T09–16) Here you can make settings for playing SMF files consecu- tively, and make settings for the metronome. Set the pan and volume for each track (channel). 0–5 0–1 0–1a 0–1a 0–1g...

  • Page 110: Song Play P1: Track, Status 1–8 (status/scale T01–08)

    1–1(2)c: Scale Song Play P1: Track Select the scale that will be used in Song Play mode. For each track, you can specify the status of the internal tone Type [Equal Temperament...User Octave Scale15] generator and the scale. Select the scale type ( “Type” Program P1: 1–1c). Key (Scale Key) [C…B] 1–1: Status 1–8...

  • Page 111: Song Play P2: Controller Setup

    2–1: Page Menu Command Song Play P2: Controller Setup 0–1C Specify the functions that the [SW1] key, [SW2] key, and the B-mode functions of the REALTIME CONTROL knobs [1]– 0–1D [4] will have in Song Play mode. The functions you specify 0–1E can be used when playing the track selected by “Play Track Select.”...

  • Page 112: Select Directory, Jukebox

    3–1c: Drive select Song Play P3: Select Directory/ Jukebox Select the device that will be used for playback. The volume label assigned to the media will be displayed. If the media has no volume label, the display will indicate “no The content that is displayed will depend on the “Juke”...

  • Page 113: Song Play P7: Arpeggiator

    3–1: Page Menu Command Song Play P7: Arpeggiator 3–1A Here you can make arpeggiator settings for use in Song Play 3–1B mode. By assigning the arpeggiator(s) to the play track, you can produce arpeggios in synchronization with the SMF data that is being played back. 3–1A: Load Jukebox List If you assign arpeggiators A and B to two different tracks, This command loads the jukebox list that you wish to use.

  • Page 114

    7–3: Arpegg. A The arpeggiator will not be applied to notes played (Arpeggiator A) back from an SMF. 7–4: Arpegg. B (Arpeggiator B) If tracks 1–16 to which arpeggiator A or B are assigned In the Arpegg. A tab you can make settings for arpeggiator have a track “Status”...

  • Page 115: Song Play P8: Insert Effect

    7–5b: Scan Zone A/B Song Play P8: Insert Effect Here you can make insert effect settings. You can also spec- Top Key [C–1...G9] ify the bus for the program used by each track 1–16. Bottom Key [C–1...G9] For details on the insert effects, refer to p.146 “8. Effect Guide.”...

  • Page 116: Ifx 5, Insert Fx, Ifx 1, Ifx 2, Ifx 3, Ifx 4

    Send1 (MFX1) [000...127] If “Status” (1–1a, 2a) is INT or BTH, MIDI control change (CC) #8, #93, and #91 will control the pan, send Send2 (MFX2) [000...127] 1 and send 2 after the signal passes through the insert Specify the send levels from tracks 1–16 to master effects 1 effect and will change the setting.

  • Page 117: Song Play P9: Master Effect, Master Fx, Mfx1, Mfx2

    If the “BUS Select” (8–1b) of a track for which a drum Song Play P9: Master Effect program is selected has been set to DKit, the channel of that track will be effective when any of the IFX1–5 tabs For details on the master effects, refer to p.150 “8. Effect has been set to All Routed, regardless of the drum kit “BUS Select”...

  • Page 118

    9–2a: Ctrl Ch [Ch01...16, Gch] Specify the MIDI channel that will control dynamic modulation (Dmod) for the master effects. With a set- ting of Gch, the global MIDI channel “MIDI Channel” (Global P1: 1–1a) will be used for control. 9–4: Master EQ The master EQ is a three-band stereo EQ.

  • Page 119: Global Mode, Global P0: Basic Setup, Basic

    (E2…G8) and “Update Arpeggio Patterns.” Simultaneously, the edited content will be written. 9…96 21…108 33…120 TRITON proX (A–1…C7) (A0…C8) (A1…C9) Global P0: Basic Setup If the “Convert Position” (1–1a) is Pre MIDI, the range of note numbers transmitted from the TRITON will depend on this Key Transpose setting.

  • Page 120

    1: An effect will be obtained for strongly-played notes When you use the TRITON’s keyboard to play the 2, 3: internal tone generator, the “Convert Position” setting 4: The normal curve will make no difference. 6: An effect will be obtained even if you do not play very 0–1b: Effect Global Switch strongly 7: A certain amount of effect will be obtained even for softly-...

  • Page 121: System Pref. (system Preference)

    Half Damper Calibration 3E. 00 R 3E. 00 R 3F. 7F R→MUTE(Korg Mute) If the damper pedal effect does not apply correctly when you are using a half-damper compatible pedal the sepa- rately sold DS-1H option, use this command to adjust the sensitivity of the damper pedal.

  • Page 122: Audio Input

    Power On Mode [Reset, Memorize] Drum Kit Specify the condition at power-on. This setting protects the internal drum kit memory. Reset: The TRITON will be in Combination mode P0: Play, Checked: Internal drum kit memory will be protected, and and Combination A000 will be selected. the following write operations cannot be performed.

  • Page 123: Global P1: Midi, Midi

    Input1: Global P1: MIDI Input2: Level [0...127] The analog audio signal from AUDIO INPUT 1 and 2 is con- 1–1: MIDI verted by an AD converter from an analog signal to a digital signal. This parameter sets the signal level immediately after Here you can make MIDI-related settings that affect the the sound has been converted into a digital signal.

  • Page 124

    Uncheck this setting if echo-back from an external sequencer Post MIDI: Velocity Curve, After Touch Curve, and Trans- causes notes to be sounded in duplicate. pose will be applied to data before it enters the tone genera- tor. Even if this setting is unchecked, MIDI transmission This means that the Velocity Curve, After Touch Curve, and and reception will occur normally.

  • Page 125

    Enable Exclusive switched. However, the program changes for each timbre will be affected by the setting of the “Enable Program Checked: System exclusive data will be transmitted and Change” parameter (Combination P3: 3–1a). received. Check this setting when you wish to use a con- When you switch combinations, a program change message nected computer etc.

  • Page 126

    If you are using a MIDI data filter etc., connect the TRI- Transmission and reception of MIDI data is also impos- TON’s MIDI OUT connector to the MIDI IN connector of sible during this time. When receiving multiple data the MIDI data filter (refer to p.111, 112 in the Basic Guide). dumps in succession, you must allow an interval 2 Select Global P1: MIDI.

  • Page 127: Global P2: Controller, Controller, Global P3: User Scale, User Scale

    DAMPER jack. Tune [–99…+99] If a Korg DS-1H (sold separately) damper pedal is con- nected, the pedal switch polarity will be (↓), so select “–” for Make pitch settings for each note in the octave. this setting. If you have connected a damper pedal with a When you adjust the pitch of each note in the octave (C–B)

  • Page 128: Global P4: Category Name, Program Cat, Comb Cat

    3–1: Page Menu Command Global P4: Category Name 0–1A 3–1A 4–1: Program Cat. 4–2: Comb Cat. 3–1A: Copy Scale This command copies data from a preset scale or between Here you can assign names to program and combination user scales. For details on the preset scales, refer to “Type” categories.

  • Page 129: Global P5: Drum Kit, Sample Setup

    5–1a: Drum Kit, KeySelect, Assign, Velocity Sample Global P5: Drum Kit Here you can create a drum kit by assigning a drum instru- Drum Kit [00 (A/B)...63 (User)] ment (drum sample) to each key. Select the drum kit that you wish to edit. A drum kit you edit here can be selected in Program mode If you wish to modify the drum kit name, use the “Rename P1: Edit Basic “Drum Kit”...

  • Page 130

    Level [–99...+99] The EXB* display will depend on the type of option board. Specify the volume. Keys for which a value of +99 is specified will sound at a High Drumsample Select [000...3999: Name] volume twice as high as the amp level of the program which Select the High Drumsample.

  • Page 131: Voice/mixer

    5–2: Voice/Mixer 5–1: Page Menu Command For each key of a drum kit, you can set voice assign, pan, 5–1A and effect routing etc. 5–1B 5–1 5–1C 5–1D 5–1a 5–1A: Write Drum Kits 5–2a This command writes all drum kits 00 (A/B)–63 (User). To write the data, press the OK button in the dialog box.

  • Page 132: Global P6: User Arpeggio, Pattern Setup

    [Random, L001...C064...R127] Global P6: User Arpeggio Specify the panning for each key. With a setting of Random, the drum sample will be panned randomly at each note-on. Here you can create user arpeggio patterns. Send1 (to MFX1) [000...127] In this page, the TRITON will sound as it did in the mode you were in before entering Global mode.

  • Page 133

    Arpeggio Type [As Played...Up&Down] 6–1a: Arpeggio Select, , Pattern, Length, Octave, Specify the correspondence between the arpeggio notes Resolution, Sort, Latch, Key Sync., Keyboard specified from the keyboard and the Tone at each step. Arpeggio Select [A, B] As Played: If there are more Tones in a step than arpeggio notes specified (notes played on the keyboard), those steps If you moved from Combination, Sequencer, or Song Play will not sound.

  • Page 134: Pattern Edit

    6–2: Pattern Edit 6–1: Page Menu Command Here you can input Tones 0–11. Tones correspond to a maxi- mum of 12 notes 6–1A Tones correspond to the (up to) 12 notes that are simulta- 6–1B neously pressed on the keyboard at each of the (up to) 48 6–1C steps.

  • Page 135

    Combination P7: 7–2b, 7–3, Sequencer/Song Play P7: 7–3a, 3 In “To Step,” select the copy destination step. If you 7–4) is set to Step. selected two or more adjacent steps in “From Step,” the When making this setting, make sure that “Velocity” is set to steps will be copied to the specified destination step and Step in the mode from which you arrived here.

  • Page 137: Disk Mode, Files, Directories, And Icons

    The TRITON cannot format media with a format of other than 512 bytes/block (such as 640 MB MO disks etc.). .KMP Korg Multisample Parameter file (Korg format) .KSF Korg Sample File (Korg format) For details on connecting external SCSI devices and setting the ID, refer to the EXB-SCSI owner’s manual.

  • Page 138: Load

    If the page menu command “Translation” (0–1B) is turned on, the DOS filename of a .KMP (Korg multisample parame- ter) file or .KSF (Korg sample) file that is loaded will be replaced in the display by the multisample name or sample name that you specified in Sampling mode.

  • Page 139

    4) Load a Program: selected icon At the same time, programs within the .PCG file that use multisamples from the .KSC file will automatically have Data for the selected program will be loaded into the pro- the multisample settings for their oscillators rewritten so gram number you specify.

  • Page 140

    8) Load Drum Kits: selected icon If you select user arpeggio pattern block 000–199 (A/B) as the destination for loading either 200–215 (C) or 216– All drum kits in the .PCG file will be loaded. 231 (D), user arpeggio patterns 000–015 will be loaded. If you select either 200–215 (C) or 216–231 (D) as the loading destination for 000–199 (A/B), the data will be loaded into user arpeggio patterns 000–015.

  • Page 141

    “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 142

    .PCG file that use samples from the .KSC file will auto- matically have the sample settings for the drum kit Files with an filename extension of KSC (Korg Script) con- rewritten so that the drum kit uses the correct samples.

  • Page 143

    When the loaded data is then saved to storage media, it will be saved as a Korg format .KSF file or .KMP file respectively. 1 To load the data, press the OK button. To cancel without loading, press the Cancel button.

  • Page 144

    28) Load AKAI Program File: selected icon If the file to load cannot be found, or when loading a file that was saved in parts The selected Program file will be loaded as a multisample. When the loaded data is saved to storage media, a Program When loading PCM data, the following dialog box will file will be saved as a .KMP file, and a Sample file will be appear if the required file cannot be found in the current...

  • Page 145: Save

    0–2A: Save All (PCG, SNG and KSC) 0–2: Save This command saves all programs, combinations, drum kits, user arpeggio patterns, and global settings as a .PCG file, Here you can save various data from internal memory to songs and cues lists as a .SNG file, and multisamples and media such as disk.

  • Page 146

    This command is valid only when the current directory is a Disk mode can be saved from internal sampling RAM to DOS directory. media as Korg format .KMP files or .KSF files (and the .KSC file that manages these files). 1 Select this command to open the following dialog box.

  • Page 147: Utility

    5 To save the data, press the OK button. To cancel, press 0–3: Utility the Cancel button. The song data you save here can be played back on a device that supports Standard MIDI Files. However if Here you can rename, copy, or delete the selected disk or you intend to playback the data on the TRITON, we rec- file, create a new directory, and set the date and time.

  • Page 148

    0–3D: Create Directory dialog box, and specify the filename that you wish to copy. This command creates a new directory within the current (Can use */? as Wildcard): When you use the text edit directory. button to access the text input dialog box and specify the 1 Select this command to open the following dialog box.

  • Page 149

    5 Quick Format: Select this if the media has already been 0–4: Media Info (Media Information) physically formatted. Since only the system area of the media need be formatted, this will require less time. Full Format: Select this when formatting media that has This displays information on the media that is selected by not been physically formatted.

  • Page 151: Effect Guide, Overview

    8. Effect Guide Sampling mode enables you to sample sound by applying Overview the Insert Effects to the incoming signals at AUDIO INPUTs 1 and 2. To do so, use the “Audio Input” (Sampling P0: 0–2a) parameters. The settings here are effective only in Sampling The effects section of the TRITON consists of five-channel mode.

  • Page 152

    The TRITON does not have an input level meter to Insert Effects (IFX 1, 2, 3, 4, 5) 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 153

    2. Routing — Settings for drum programs — If you have selected “Drums” for “Oscillator Mode” (Pro- You can use up to five channels (IFX 1, 2, 3, 4, and 5) for the gram P1: 1–1a) of a Program, the “USE DKit Setting” box Insert Effects in any mode.

  • Page 154

    In the following example, the “Chain” box between IFX1 For example, assume that the snare sound is routed to IFX1, and IFX2 is checked so that the IFX1 output is sent to IFX2. and the kick sound is routed to IFX2, and you wish to use an “IFX1: 001: St.

  • Page 155

    2–4. Audio Input 3–1. Pan (CC#8) In Program, Combination, Sequencer, and Song Play modes, This parameter enables you to set the pan of the post-IFX you can apply the Insert Effects, Master Effects and Master signal. EQ to the signals input from AUDIO INPUTs 1 and 2. These If you are using the stereo-in/stereo-out Insert Effects ( “In/Out”), set this parameter to “C064”...

  • Page 156: Master Effects (mfx1, 2)

    “Send1” responds to MIDI Control Change CC#93 and Master Effects (MFX1, 2) “Send2” responds to MIDI Control Change CC#91. 4. Controlling the Insert Effects via 1. In/Out MIDI The I/Os of Master Effects MFX1 and MFX2 are mono-in/ stereo-out. “Send1” and “Send2” determine the send level Using the Dynamic Modulation (Dmod) function enables to the Master Effects ( “Routing”...

  • Page 157

    2. Routing Send1 responds to MIDI Control Change CC#93 and Send2 responds to MIDI Control Change CC#91 on You can use up to two channels (MFX1 and 2) for the Master MIDI Global channel “MIDI Channel” (Global P1: 1– Effects in any mode other than in Sampling mode. (You can- 1a).

  • Page 158

    3. Mixer and “Send2 (MFX2)” will be effective. (At this time, the actual send levels use these Send 1 and 2 values multiplied The send levels determine the input levels of oscillators by the Send1 and 2 settings for Program oscillators 1 and 2.) (Program), timbres (Combination), tracks (Use the Global P0: Audio Input tab in all modes), and audio inputs (sam- pling) that are routed to the Master Effects.

  • Page 159: Individual Outputs, Master Eq

    3–5. Chain Level Master EQ This parameter determines the level of signals routed from one MFX to the other MFX in a chain connection. The Master EQ (stereo, three-band EQ) is located right before AUDIO OUTPUT (MAIN) L/MONO, R. Low and 3–6.

  • Page 160

    Combination mode, Sequencer mode, Song Play mode Effect / Mixer Block Diagram in Combination / Sequencer / Song Play Mode P8: Insert Effect P9: Master Effect IFX / Indiv.Out BUS Select Send2 Send1 L/R BUS BUS Select Timbre / Track 1 = L/R BUS Select Timbre / Track 2...

  • Page 161: Filter/dynamic, Filter And Dynamics Control Effects, No Effect, Stereo Compressor, Stereo Limiter

    Filter/Dynamic Pre LEQ Gain [dB] –15.0...+15.0dB Sets the gain of Low EQ Pre HEQ Gain [dB] –15.0...+15.0dB Filter and dynamics control effects Sets the gain of High EQ Output Level 0...100 Sets the output level of the compressor Off...Tempo 000: No Effect Selects the modulation source for the compressor output level –100...+100 Select this option when you do not use any effects.

  • Page 162: Multiband Limiter

    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 [dB] –40...0dB Sets the level above which the compressor is applied...

  • Page 163: Stereo Gate

    c: Threshold, d: Attack, d: Release Wet/Dry 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 Select” is set to L/R Mix, L Only, or R Only. Off...Tempo The Attack and Release parameters set the Gate attack time and Selects the modulation source of the effect balance...

  • Page 164

    g: Q, h: Q Drive 1...100 These parameters set the bandwidth of each equalizer. The higher Sets the degree of distortion the value, the narrower the band becomes. Pre Low-cut 0...10 Sets the low range cut amount of the distortion input Output Level 0...50 Sets the output level...

  • Page 165

    b: Band1 Type, c: Band4 Type a: Type Selects a filter type for Band 1 and 4. This parameter selects a combination of center frequencies for each band. Each center frequency is shown on the right edge of Parametric 4EQ - Band1, Band4 Type the LCD.

  • Page 166

    010: St. Random Filter a: Frequency Bottom, a: Frequency Top The sweep width and direction of the wah filter are determined (Stereo Random Filter) by the “Frequency Top” and “Frequency Bottom” settings. Sweep Mode=D-mod This stereo band pass filter uses a step-shape waveform and Frequency Frequency random LFO for modulation You can create a special effect...

  • Page 167

    When “LFO Waveform” is set to Random , the “LFO Step Freq” Enhancer Depth 0...100 parameter uses a random LFO cycle. Sets the determines to what degree the Enhancer effect is applied Random Filter LFO LFO Frequency Off...Tempo Selects the modulation source of the Enhancer width –100...+100 LFO Step Freq Sets the modulation amount of the Enhancer width...

  • Page 168: Talking Modulator

    Fixed Frequency [Hz] 10.0...80.0Hz LFO Frequency [Hz] 0.02...20.00Hz Sets the oscillator frequency when OSC Mode=Fixed Sets the LFO speed Fx:009, Off...Tempo Off...Tempo Selects the modulation source for the oscillator frequency when OSC Selects the modulation source of LFO speed Mode=Fixed –20.00...+20.00Hz –80...+80Hz Sets the modulation amount of LFO speed...

  • Page 169: Stereo Decimator

    014: Stereo Decimator 015: St. Analog Record (Stereo Analog Record) This effect creates a rough sound like a cheap sampler by low- ering the sampling frequency and data bit length. You can This effect simulates the noise caused by scratches and dust also simulate noise unique to a sampler (aliasing).

  • Page 170: Pitch/phase Mod, Pitch/phase Modulation Effects, Stereo Chorus

    e: L Pre Delay [msec], f: R Pre Delay [msec] Pitch/Phase Mod. Setting the left and right delay time individually allows you to control the stereo image. Pitch/phase modulation effects 017: St. Harmonic Chorus 016: Stereo Chorus (Stereo Harmonic Chorus) This effect adds thickness and warmth to the sound by modu- This effect applies chorus only to higher frequencies.

  • Page 171: Ensemble

    g: High/Low Split Point Tap1 Feedback –100...+100 This parameter sets the frequency that splits the high and low Sets the Tap1 feedback amount range. Only the high range will be sent to the chorus block. Off...Tempo Selects the modulation source of Tap1 feedback amount and effect h: Feedback balance Sets the feedback amount of the chorus block.

  • Page 172: Stereo Flanger

    020: Stereo Flanger both “Feedback” and “Wet/Dry”, and if you set a negative value for both “Feedback” and “Wet/Dry”. This effect gives a significant swell and movement of pitch to g: High Damp [%] the sound. It is more effective when applied to a sound with a This parameter sets the amount of damping of the feedback in the lot of harmonics.

  • Page 173: Stereo Phaser

    022: St. Env. Flanger 023: Stereo Phaser (Stereo Envelope Flanger) This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the This Flanger uses an envelope generator for modulation. You sound by offsetting the phase of the left and right LFOs from will obtain the same pattern of flanging each time you play.

  • Page 174

    024: St. Random Phaser 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 175: Stereo Vibrato

    026: St. Biphase Mod. 027: Stereo Vibrato (Stereo Biphase Modulation) This effect causes the pitch of the input signal to shimmer. Using the AutoFade allows you to increase or decrease the This stereo chorus effect adds two different LFOs together. shimmering speed.

  • Page 176: Voice Resonator

    “AUTOFADE Src”=Gate1, “LFO Frequency [Hz]”=1.0 Feedback –100...+100 “LFO Frequency Mod”=AUTOFADE, “Amt”=3.0 Sets the feedback amount Fx:020 High Damp [%] 0...100% The effect is off when a value for the dynamic modulation Sets the feedback damping amount in the high range Fx:020 source specified for the “AUTOFADE Src”...

  • Page 177: Doppler

    Voice2: Level 0...100 LFO Frequency [Hz] 0.02...20.00Hz Sets the Voice2 output level Sets the LFO speed Fx:009, L6...R6 Off...Tempo Sets the Voice2 stereo image Selects the modulation source of LFO speed Wet/Dry Dry, 1:99...99:1, Wet –20.00...+20.00Hz Sets the balance between the effect and dry sounds Sets the modulation amount of LFO speed Off...Tempo BPM/MIDI Sync...

  • Page 178: 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 179: Mod./p.shift, Other Modulation And Pitch Shift Effects, Stereo Tremolo

    b: LFO Phase [degree] Mod./P.Shift This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right. Other modulation and pitch shift effects 033: St.

  • Page 180: Stereo Auto Pan

    “Depth”=100, “Envelope Amount”=–100 from the left and right channels will chase each other around. If you set the parameter to +180 or –180, the sound from each chan- Shimmer nel will cross over each other. Level Dry Envelope LFO Frequency[Hz]=8.0 Envelope Amount[Hz]= –7.0Hz You need to input different sounds to each channel in order for Depth=100...

  • Page 181

    Phaser Depth 0...100 Fixed Frequency [Hz] 0...12.00kHz Sets the phaser modulation depth Sets the oscillator frequency when OSC Mode is set to Fixed Off...Tempo Selects the modulation source for the phaser modulation depth Off...Tempo Selects the modulation source for the oscillator frequency when OSC –100...+100 Mode is set to Fixed Sets the modulation amount for the phaser modulation depth...

  • Page 182: Detune, Pitch Shifter

    037: Detune Mode Slow, Medium, Fast Switches Pitch Shifter mode Using this effect, you can obtain a detune effect that offsets Pitch Shift [1/2tone] –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 183: Rotary Speaker

    039: Pitch Shift Mod. 040: Rotary Speaker (Pitch Shift Modulation) This effect simulates a rotary speaker, and obtains a more real- istic sound by simulating the rotor in the low range and the This effect modulates the detuned pitch shift amount using an horn in the high range separately.

  • Page 184: Er/delay, Early Reflections

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

  • Page 185: Auto Reverse, L/c/r Delay

    042: Auto Reverse recorded only when the value of the modulation source selected by the Src parameter is 64 or higher. This effect records the input signal and automatically plays it When “Envelope Select” is set to Input, the input signal will be recorded only when its level exceeds the Threshold level.

  • Page 186: Stereo/cross Delay

    044: Stereo/Cross Delay 045: St. Multitap Delay (Stereo Multitap 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 The left and right Multitap Delays have two taps respectively. left and right by changing the feedback routing.

  • Page 187

    046: St. Modulation Delay e: LFO Sync, e: Src, f: L LFO Phase [degree], f: R LFO Phase [degree] (Stereo Modulation Delay) The LFO can be reset via a modulation source. The “Src” parameter sets the modulation source that resets the This stereo delay uses an LFO to sweep the delay time.

  • Page 188: L/c/r Bpm Delay

    a: Control Target Panning Frequency [Hz] 0.02...20.00Hz This parameter selects no level control, delay output control Sets the panning speed (effect balance), or feedback amount control. Panning Depth 0...100 Sets the panning width a: Polarity, b: Threshold, b: Offset, c: Attack, d: Release Off...Tempo The “Offset”...

  • Page 189: St. Bpm Delay (stereo Bpm Delay), Sequence Delay

    High Damp [%] 0...100% L Feedback –100...+100 Sets the damping amount in the high range Fx:043 Sets the feedback amount for the left channel Low Damp [%] 0...100% Off...Tempo Sets the damping amount in the low range Fx:043 Selects the modulation source of feedback amount Input Level Dmod [%] –100...+100 Amt L...

  • Page 190: Reverb, Reverb Effects, Reverb Hall, Reverb Smoothhall, Reverb Wet Plate, Reverb Dry Plate

    Reverb High Damp [%] 0...100% Sets the damping amount in the high range Fx:043 Low Damp [%] 0...100% Sets the damping amount in the low range Fx:043 Reverb effects Input Level Dmod [%] –100...+100 These effects simulate the ambience of reverberation in con- Sets the modulation amount of the input level Fx:037, cert halls.

  • Page 191: Reverb Room, Reverb Brightroom, Mono – Mono Chain, Series

    056: Reverb Room Mono – Mono Chain This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the Effects that combine two mono effects connected in early reflections and reverb sound allows you to simulate series nuances, such as the type of walls of a room.

  • Page 192

    059: P4EQ – Wah 060: P4EQ – Cho/Flng (Parametric 4-Band EQ – Wah/Auto Wah) (Parametric 4-Band EQ – Chorus/Flanger) This effect combines a mono-type four-band parametric This effect combines a mono-type four-band parametric equalizer and a wah. You can change the order of the equalizer and a chorus/flanger.

  • Page 193

    061: P4EQ – Phaser 062: P4EQ – Mt. Delay (Parametric 4-Band EQ – Phaser) (Parametric 4-Band EQ – Multitap Delay) This effect combines a mono-type four-band parametric This effect combines a mono-type four-band parametric equalizer and a phaser. equalizer and a multitap delay. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left...

  • Page 194

    063: Comp – Wah 064: Comp – Amp Sim (Compressor – Wah/Auto Wah) (Compressor – Amp Simulation) This effect combines a mono-type compressor and a wah. You This effect combines a mono-type compressor and an amp can change the order of the connection. simulation.

  • Page 195

    [O] Drive Mode Overdrive, Hi-Gain [E] Band2 Cutoff [Hz] 50...5.00kHz Switches between overdrive and high-gain distortion Sets the center frequency of Band 2 Drive 1...100 0.5...10.0 Sets the degree of distortion Fx:006 Sets the bandwidth of Band 2 Fx:006 [O] Output Level 0...50 Gain [dB] –18...+18dB...

  • Page 196

    [F] Cho/Flng Wet/Dry –Wet...–2:98, Dry, 2:98...Wet Routing CMP→PHS, PHS→CMP Sets the effect balance of the chorus/flanger Fx:010, 020 Switches the order of the compressor and phaser connection Fx:067 Output Mode Normal, Wet Invert Selects the output mode for the chorus/flanger Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds...

  • Page 197

    070: Limiter – P4EQ 071: Limiter – Cho/Flng (Limiter – Parametric 4-Band EQ) (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a four-band This effect combines a mono-type limiter and a chorus/ parametric equalizer. You can change the order of the effect flanger.

  • Page 198: Limiter – Phaser

    072: Limiter – Phaser 073: Limiter – Mt. Delay (Limiter – Multitap Delay) 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 multitap delay.

  • Page 199: Exciter – Limiter

    074: Exciter – Comp (Exciter – Compressor) [L] Threshold [dB] –40...0dB Sets the level above which the compressor is applied Fx:003 This effect combines a mono-type exciter and a compressor. [L] Attack 1...100 You can change the order of the effect connection. Sets the attack time Fx:003 Release...

  • Page 200: Exciter – Phaser

    077: Exciter – Phaser 078: Exciter – Mt. Delay (Exciter – Multitap Delay) This effect combines a mono-type limiter and a phaser. This effect combines a mono-type exciter and a multitap Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out delay.

  • Page 201

    079: OD/HG – Amp Sim 080: OD/HG – Cho/Flng (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.

  • Page 202

    081: OD/HG – Phaser 082: OD/HG – Mt. Delay (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.

  • Page 203

    083: Wah – Amp Sim Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds (Wah/Auto Wah – Amp Simulation) Off...Tempo Selects the modulation source of the effect balance This effect combines a mono-type wah and an amp simula- –100...+100 tion.

  • Page 204

    086: Amp Sim – Tremolo 087: Cho/Flng – Mt. Dly (Amp Simulation – Tremolo) (Chorus/Flanger – Multitap Delay) This effect combines a mono-type amp simulation and a This effect combines a mono-type chorus/flanger and a mult- tremolo. 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 205: Reverb – Gate

    088: Phaser – Cho/Flng 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.

  • Page 206: Double Size

    091: St. Mltband Limiter 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/Damper Limiter Envelope - Control...

  • Page 207: Vocoder

    Wah Sweep Range –10...+10 R (Modulator) Trim 0...100 Sets the range of Wah Fx:006, Sets the input level of right channel (Modulator) Wah Sweep Src Off...Tempo Formant Shift –2...+2 Selects the modulation source that controls the Wah Sets the height of the frequency for the vocoder effect Drive Mode Overdrive, Hyper-Gain Response...

  • Page 208

    094: Multitap Cho/Delay Tap1 Feedback –100...+100 Sets the Tap1 feedback amount (Multitap Chorus/Delay) 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 –100...+100 delay time and depth for each block.

  • Page 209

    Feedback –100...+100 Speed Switch Slow, Fast Sets the feedback amount Fx:038 Switches the speaker rotation speed between slow and fast. High Damp [%] 0...100% Off...Tempo Sets the damping amount in the high range Selects the modulation source that toggles between slow and fast Input Level Dmod [%] –100...+100 Toggle, Moment...

  • Page 210: Early Reflections, L/c/r Long Delay

    097: Early Reflections High Damp [%] 0...100% Sets the damping amount in the high range Fx:043 This early reflection effect has more precise early reflections Low Damp [%] 0...100% with twice the maximum length of a normal-size effect Sets the damping amount in the low range Fx:043 (Fx:041).

  • Page 211

    100: LCR BPM Long Dly a: 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 212: Hold Delay

    The effect is off when a value for the modulation source Wet/Dry 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. Off...Tempo Selects the modulation source of the effect balance c: RST Control Src, e: Manual RST Control...

  • Page 213

    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 L/Mono Right...

  • Page 215: Appendices, Alternate Modulation Source (ams), About Alternate Modulation, About Alternate Modulation Sources

    9. Appendices About Alternate Modulation Sources Alternate Modulation Source There are 42 Alternate Modulation sources (AMS) that can (AMS) control Alternate Modulation destinations. If you select two or more Alternate Modulation destinations for control by the same AMS, a single source will apply modulation to each of the specified destinations.

  • Page 216: 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 217

    Flt KTrk +/+ (Filter Keyboard Track +/+) JS +Y & AT/2 (Joy Stick +Y & After Touch/2) Flt KTrk +/– (Filter Keyboard Track +/–) The effect will be controlled by the joystick +Y (vertically Flt KTrk 0/+ (Filter Keyboard Track 0/+) upward) and by after touch.

  • Page 218: Alternate Modulation Settings, The Effect Of Alternate Modulation On Various Parameters, And Example Applications

    Alternate Modulation settings The effect of alternate modulation on various parameters, and example When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the applications table below. By using alternate modulation, you can create complex sys- Pitch (Program P2: 2–1a) tems of modulation in which EG, LFO, keyboard tracks, and Pitch can be controlled by the filter/amp EG, controllers, or...

  • Page 219

    • If you select the same controller as an AMS and set negative (–) values of “AMS Intensity,” the phase of the separate intensities for Filter A (Low Pass Filter) “AMS LFO will be inverted. Intensity” and Filter B (High Pass Filter) “AMS •...

  • Page 220: Dynamic Modulation Source (dmod)

    • If EG is selected as the AMS, the oscillator pan will be the LFO frequency will be increased by a maximum of 2 controlled in synchronization with the changes in EG times. If you set “AMS Intensity” to –16 and move the level.

  • Page 221: Dynamic Modulation Source List

    Dynamic Modulation Source List Source name Explanation dynamic modulation is not used Gate1 note on/off P.215) Gate1+Dmpr (Gate1+Damper) note on + damper on/off P.215) Gate2 note on/off (retrigger) P.215) Gate2+Dmpr (Gate2+Damper) note on + damper on/off (retrigger) P.215) Note Number note number Velocity Velocity...

  • Page 222: About The Bpm/midi Sync Function

    About the BPM/MIDI SYNC function effect of 0 as the dynamic modulation source. If “Amt” is a positive (+) value, rotating the knob toward the right will BPM/MIDI SYNC can be used for most effects that have an produce a positive change in the effect, and rotating it LFO, such as 009:St.

  • Page 223: Sw1/2 Assign, Sw1, Sw2 Assign List

    • For Song Play mode, assignments are set by Song Play SW1/2 Assign P2: Controller Setup “Panel Switch Assign” (2–1a). • For Sampling mode, assignments are set by Sampling The following functions can be assigned to the [SW1] or P4: Controller Setup “Panel Switch Assign” (4–1a). [SW2] keys.

  • Page 224: Knob 1...4 B-assign, Realtime Control Knobs B–assign List

    • For Song Play mode, assignments are set by Song Play Knob 1...4 B-Assign P2: Controller Setup “Realtime Control Knob B-Assign” (2–1b). The following functions can be assigned to the REALTIME • For Sampling mode, assignments are set by Sampling CONTROLS [1]-[4] knobs in B-mode.

  • Page 225: Foot Switch Assign, Foot Switch Assign List

    Knob1-A: LPF CUTOFF (Filter LPF Cutoff: CC#74) You can assign the function of an assignable switch (sepa- Control the low pass filter cutoff frequency of the filter. rately sold Korg PS-1 option) connected to the ASSIGN- Simultaneously, CC#74 will be transmitted. ABLE SWITCH jack.

  • Page 226: Foot Pedal Assign, Foot Pedal Assign List

    Foot Pedal Assign You can assign the function that will be controlled by an assignable pedal (separately sold 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 227: Controllers Are Operated

    When one of the TRITON’s controllers is operated, the cor- MIDI transmission/reception responding or the assigned control change will be transmit- ted. Pitch Bend messages will be transmitted only when the when the TRITON’s controllers joystick is moved in the X (horizontal) direction. The opera- are operated tion in each mode is described below.

  • Page 228

    Program mode Song Play mode When one of the TRITON’s controllers is operated, a control When one of the TRITON’s controllers is operated, the effect change message will be transmitted on the global MIDI will apply to the track 1–16 that is selected by “Play Track channel (“MIDI Channel”...

  • Page 229: Transmitted/received

    The following table shows the operations that the TRITON TRITON operations when control will perform when control change messages are received, and the relation between settings and controller movements changes are transmitted/ on the TRITON received CC# Control Value Function Bank select (MSB) 0...127 bank select message MSB...

  • Page 230

    Any control change number (CC#00–95) can be *4 A value of 64 will correspond to the value specified by assigned as the B-mode function of a REALTIME CON- the program parameter. 0 will be the minimum, and 127 TROLS knob. In this case, the transmitted values will all will be the maximum.

  • Page 231

    Corresponds to “Filter/Amp EG Slope Time” (Program P3: Filter 1/2 EG tab, P4: Amp 1/2 EG tab) CC#76: LFO1 speed Corresponds to “LFO 1 Frequency” (Program P5: OSC1/2 LFO1 tab). CC#77: LFO1 depth (pitch LFO1 intensity) Corresponds to “Pitch LFO1 Intensity” (Program P2: OSC1/ 2 P.Mod tab).

  • Page 232: Disk Mode Information, Chunks That Are Supported

    Unless stated otherwise, all data is MSByte first. Instrument chunk G When a Korg format file saved on the TRITON is loaded by If the loop play mode is ForwardBackwardLooping, this will the TRINITY, be handled as ForwardLooping.

  • Page 233

    [4 bytes] Multisample number (0–) [4 bytes] Sample number (0–) [4 bytes] KSF (KORG Sample File) files G Sample filename chunk There are four types of structure for these files. One consists Chunk ID (‘SMF1’) [4 bytes] of a Sample Parameter chunk, Sample Data chunk, and Sam-...

  • Page 234

    .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 235: Various Messages

    Destination multisample already exists Various messages Meaning: A multisample already exists at the destination (save location) multisample. Action: Either delete the multisample at the destination (save location), or change the save destination Are you sure ? multisample number. Meaning: This message asks you to confirm execution. To Destination multisample and source multisample are execute press the OK button.

  • Page 236

    Action: Execute the reading operation once again. If the same error occurs, it is possible that the data on Illegal file description the disk has been damaged. Meaning: The filename that you specified when saving a file Error in writing to medium or creating a directory contained invalid charac- ters.

  • Page 237

    Not enough memory Meaning: While realtime recording in Sequencer mode, there is no more free memory to accommodate the Meaning: When starting realtime recording in Sequencer recorded data, so recording has been forcibly mode, the minimum amount of free memory halted.

  • Page 238

    Sample L and R are identical Meaning: The edit operation could not be executed because Oscillator Mode conflicts (check PROG P1) the destination (save location) L and R sample Meaning: In Sampling mode when you executed “Convert numbers are identical. MS To Program”...

  • Page 239

    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. If you wish to enter event edit- ing, press the OK button.

  • Page 240: Triton-series Midi Implementation

    TRITON-SERIES MIDI IMPLEMENTA- TION...

  • Page 243: Option Boards/memory, About Option Boards And Memory

    Nor will Korg Inc. be responsible for any damages resulting from the loss or destruction of In order to achieve the maximum 64 Mbyte capacity, data.

  • Page 244: Board/memory, Checking After Installation, Modules

    If you have any questions regarding installation, • Please use care in handling option boards/memory. please contact your local Korg distributor . Dropping them or applying pressure to them may damage the components.

  • Page 245: Procedure

    When turning the TRITON upside down, be careful not to loose your balance and drop the instrument. 4 Detach the appropriate cover for the option board/mem- TRITON proX ory you wish to install. Cover “B” When installing the EXB-SCSI or EXB-MOSS, detach cover “A.”...

  • Page 246

    5 Plug the cable into the connector as shown in the dia- 2–A1. Installing the EXB-MOSS gram. Press the cable firmly in until it stops. Be sure that the AC power cable remains disconnected Do not touch any part of the circuit board other than until you have completed all steps of removing the the connector in which the cable is being inserted.

  • Page 247

    6 Insert the SCSI connector of the EXB-SCSI through the 2–A2. Installing the EXB-SCSI opening so that it extends from the rear panel of the TRI- TON. Hold the EXB-SCSI with one hand, and use the two Be sure that the AC power cable remains disconnected screws that you removed in step 5 to fasten the connec- until you have completed all steps of removing the tor from the outside of the rear panel.

  • Page 248

    5 At a slant, press the EXB-PCM firmly all the way into the 2–B1. 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 two EXB-PCM boards can be installed When doing so, pressing the catches of the slot apart to simultaneously.

  • Page 249

    6 At a slant, press the DRAM SIMM firmly all the way into 2–B2. Installing a DRAM SIMM the slot, and raise it to the vertical position until the catches of the slot click into the locking holes of the A maximum of two memory boards can be installed DRAM SIMM.

  • Page 250: Index

    Arpeggio Type 127 Bounce Index Preset Arpeggio Pattern 22 Bounce Pattern 70 User Arpeggio Pattern 23, 126 Bounce Track 63 Load 134 Numerics BPM 56 Save 139 BPM/MIDI Sync function 145, 216 000: No Effect 146, 150 Write 128 Detune (BPM Adj. in Page Menu) 10’s Hold Assign Combination 34...

  • Page 251

    Controller 221 Realtime Control Knobs B–Assign Edit Range Start 88 Convert Effect Global Switch 114 Convert Cue List to Song 53 Erase Convert Multisample To Program 84 Clear, Sampling 90 Convert Position 118 Erase Control Data 66 Damper pedal Rate Convert 93 Erase Measure 63 AMS 210 Convert Position 118...

  • Page 252

    Inputting a tie 62 Song Play 102 KMP file(.KMP) 131, 136, 226 Program, Combination, Drum Kit, Inputting notes 61 KORG format 226 Arpeggio Pattern, Global Setting, Inputting rests 62 Song, Cue List, Track, Pattern, Multi- KSC file(.KSC) 131, 136, 228...

  • Page 253

    Song Play 111 Octave Motion 127 Pitch Slope 8 Octave, Combination 32, 40 Pitch, Sample 7 Master EQ(MEQ) 153, 207 Octave, Program 3, 23 Ribbon 8 Combination 44 Octave, Sequencer 74 Sampling 97 Program 28 Octave, Song Play 108 Shift 71 Sequencer 78 Octave, Drum Kit 6 Song Play 112...

  • Page 254

    Pattern name 71 User All Notes Scale 121 Stereo multisample 81 Program 3 User Octave Scale 121 Stereo sample 81 Program/Combination Cat. 122 SCSI ID 143 Stereo To Mono 85 Rename Arpeggio Pattern 128 Select SW1, SW2 Rename Drum Kit 125 Arpeggio Select 127 AMS 210 Rename Multisample 84...

  • Page 255

    Save 139 Track Edit 61 WAVE file(.WAV) 131, 137, 226 Track Select Write Cur List 52 Write Arpeggio Patterns 128 Sequencer 46, 61 Write Combination 30 Transpose Write Drum Kits 125 Combination 34 Write Global Setting 114 Convert Position 118 Write Program 3 Drum Kit 7, 124 Write Protect 143...

This manual also for:

Triton pro

Comments to this Manuals

Symbols: 0
Latest comments: