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

    References to the TRITON Extreme that can use the BPM/MIDI Sync function. The TRITON Extreme is available in 88-key, 76-key and 61- key models, but both models are referred to without distinc- Example screen displays tion in this manual as “the TRITON Extreme.”...

  • Page 3: Table Of Contents

    Keyboard tracking and controller settings 3–6: Filter2 Mod. Table of Contents to modulate the filter 2 cutoff frequency ..............22 3–7: Filter2 LFO Mod. Filter 2 LFO settings to modulate the filter 2 cutoff frequency ........22 3–8: Filter2 EG Filter 2 EG settings ........

  • Page 4: Table Of Contents

    2. Combination mode..37 Combination P7: Edit–Arp.......49 Make settings for arpeggiators A and B. 7–1: Setup Assign arpeggiators to each timbre ..49 7–2: Arpegg. A Select an arpeggio pattern and make settings for arpeggiator A .......50 7–3: Arpegg.

  • Page 5: Table Of Contents

    3. Sequencer mode ..55 Sequencer P4: Zone/Ctrl........ 76 Specify the note range and controllers for each track. 4–1: Key Z 1–8 Specify the range of keys sounded by each track ............76 4–2: Key Z 9–16 ..............

  • Page 6: Table Of Contents

    Sequencer P9: Master Effect......98 Sampling P5: Audio CD ....... 138 Make settings for the master effects, the master EQ, and Play back an audio CD, and rip samples from an audio Valve Force. 9–1: Master FX Select master effects and turn them on/ 5–1: Audio CD Play back an audio CD and rip .....138 off, and make chain settings ....

  • Page 7: Table Of Contents

    Global P0: Basic Setup.........155 7–4: Arpegg. B Select an arpeggio pattern and make Make basic settings that affect the entire TRITON Extreme, settings for arpeggiator B ..... 150 and make AUDIO INPUT settings for other than Sampling 7–5: Scan Zone Specify the range of notes and velocities mode.

  • Page 8: Table Of Contents

    7. Media mode ... . 175 8. Effect Guide... . . 205 Files, directories, and icons ............175 Overview..........205 0–1: Load Load the selected file or directory into internal memory ........

  • Page 9: Table Of Contents

    021: St. Random Flanger (Stereo Random Flanger) ......228 066: Comp – Param4EQ (Compressor – Parametric 4-Band EQ) ..251 022: St. Env. Flanger (Stereo Envelope Flanger) ......229 067: Comp – Cho/Flng (Compressor – Chorus/Flanger)....251 023: Stereo Phaser ................229 068: Comp –...

  • Page 10: Table Of Contents

    ........285 MIDI applications........288 ■ About MIDI ..................288 ■ Connecting MIDI devices/computers (MIDI connectors)....288 ■ Messages transmitted and received by the TRITON Extreme ..289 TRITON Extreme MIDI IMPLEMENTATION ..299 Various messages........302 Data compatibility........309 Media mode information ......

  • Page 12: Program Mode, Program P0: Play

    EXB-MOSS programs will be available. Category [00...15] The TRITON Extreme provides rewritable banks A–E and Selects the program category. H–N, each containing 128 programs (total 1,536). As non- All programs are classified into one of sixteen categories.

  • Page 13

    10’s Hold Pitch Stretch [–12...+00...+12] This simultaneously adjusts the Transpose and Tune of the 1 Press the [./10’s HOLD] key to display oscillator. This lets you produce a variety of tonal changes The 10’s place of the program number will be held and variations without loosing the character of the original (fixed).

  • Page 14

    IFX Balance [–10...0...+10] With the factory settings, the program categories have been given the names of instruments etc., but you can use This adjusts the “Wet/Dry” setting of insert effects 1–5 as a “Program Cat.” (Global P4: 4–1) to modify these category whole.

  • Page 15

    This lets you sample an external audio signal sent to the L/R bus (specified by “Input” 0–3a), or the sounds sent to the L/ R bus from a performance played on the TRITON Extreme from its keyboard or via MIDI input.

  • Page 16

    INDIVIDUAL 1, 2, 1/2 buses from a performance played on down when you begin sampling with the “Trigger” setting the TRITON Extreme from its keyboard or via MIDI input. Sampling START SW. This can be set only if “Trigger” is set to Sampling START Normally when you want to sample a performance in Pro- gram mode, you will select L/R.

  • Page 17

    Sample Time [min sec] The “Auto +12 dB On” setting will not affect samples that you recorded to the media when “Save to” (0–3b) Specifies the length of time that you want to sample. This is set to MEDIA. You can use “WAVE File Play Level” can be set in units of minutes and 0.001 second.

  • Page 18: Audio Inputs Etc

    0–3D: Select Director y 1 Select “Select Bank & Smpl No.” to access the dialog box. This lets you select the disk (internal hard disk, etc.) and directory on which the WAVE file created by sampling will be saved, and specify a filename. You will also choose this “Select Directory”...

  • Page 19

    1 Select “Auto Sampling Setup” to open the dialog box. c) If you want to change the RAM bank into which the data will be sampled (when using “Save to” RAM), use the page menu command “Select Bank & Smpl No.” (0– 3C).

  • Page 20: Program P1: Edit–basic

    If you want to hear the sound that is being sampled, use Program P1: Edit–Basic INDIV. 1, 2 OUT. Connect AUDIO OUTPUT MAIN L, R, INDIV 1, 2 to your mixer or audio system, and moni- Here you can adjust basic program settings, such as oscilla- tor the output.

  • Page 21

    When legato is on, multiple note-on message will not retrig- Pelog: This is an Indonesian gamelan scale in which an ger the voice. If one note is already on and another note is octave consists of seven notes. turned on, the oscillator sound, envelope, and LFO will not When “Key”...

  • Page 22: And/

    1–2: OSC Basic MS Bank Mbyte Explanation 000–424 TRITON Classic preset multisamples The multisample(s) (waveform) or drum kit on which the program will be based can be selected here for oscillator 1 000–999 RAM multisamples (created in Sam- pling mode or loaded in Media mode) and/or oscillator 2.

  • Page 23

    multisample play backward. Preset multisamples that have 1–2c: Velocity M.Sample SW Lo → Hi a loop setting and RAM multisamples for which you’ve (Velocity Multisample Switch Low → High) made loop settings in Sampling mode will play backward in one-shot mode. Multisamples that are already set to Reverse OSC1 (OSC1 Velocity Switch) [1…127] will simply play back that way.

  • Page 24

    4 Press the Done button to execute, and close the dialog ▼ 1–2: Page Menu Command box. Please be aware that the Compare function is not avail- 0–1A able for this command. 1–1A 1–1B 1–2A 1–3: Velo. Zone (Velocity Zone) 1–2A: Sample Parameters Here you can specify the velocity range at which each oscil- lator will sound.

  • Page 25: 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 26

    For example if you set this to +12 and move the joystick all If [SW1] key or [SW2] key are set to Porta.SW:CC#65, turning the way to the right, the pitch will rise one octave above the [SW1] key or [SW2] key on/off will apply portamento (“AMS List”...

  • Page 27

    LFO2: Release (Release Level) [–99…+99] Specifies the amount of pitch change when the release time LFO2 Intensity [–12.00…+12.00] has elapsed. JS+Y Int. (LFO2 JS+Y Int.) [–12.00…+12.00] Time: AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] These parameters specify the amount of time over which the Intensity (AMS Intensity) [–12.00…+12.00] pitch change will occur.

  • Page 28

    St (AMS1 SW Start) [–, 0, +] At (AMS SW Attack) [–, 0, +] Specifies the direction of change in “Start (Start Level)” Specifies the direction in which “AMS (Time Mod. AMS)” will caused by “AMS1 (Level Mod. AMS1).” If “Intensity affect the “Attack (Attack Time).”...

  • Page 29: Program P3: Edit–filter

    Frequency (A Frequency) [00…99] Program P3: Edit–Filter Specifies the cutoff frequency of filter 1A. Resonance (A Resonance) [00…99] Here you can make settings for the filters that will be used by oscillators 1 and 2. You can select either a 24 dB/octave low This emphasizes the overtone components that lie in the pass filter with resonance, or a series connection of a 12 dB/ region of the cutoff frequency specified by “Frequency (A...

  • Page 30

    3–2: Filter1 Mod. How cutoff frequency is affected by keyboard location and the Ramp setting (“Intensity to A” and “Intensity to B” = +50) Here you can make settings to specify how keyboard track- ing, controllers, and filter 1 EG intensity will control the Fil- Cutoff frequency High Ramp=+99 ter 1 cutoff frequency “Frequency”...

  • Page 31: Cutoff Frequency

    3–3: Filter1 LFO Mod. Intensity to B [–99…+99] Specifies 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 32

    Release (Release Level) [–99…+99] 3–3b: LFO 2 Specifies the cutoff frequency that will occur when the release time has elapsed. Adjusts the depth of the cyclic modulation applied by OSC1 LFO2 (set by 5–2) to the cutoff frequency of filters 1A and 1B Time: (☞LFO 1: 3–3a).

  • Page 33

    Br (AMS SW Break) [–, 0, +] Rl (AMS1 SW Release) [–, 0, +] Specifies the direction in which “AMS (Level Mod. AMS)” Specifies the direction in which “AMS1 (Time Mod. AMS1)” will affect “Break (Break Point Level).” When “Intensity will affect the release time.

  • Page 34: Program P4: Edit–amp

    Intensity [–99…+99] Program P4: Edit–Amp Specifies the depth of the effect produced by “AMS (Pan AMS).” Make settings for amp 1 which controls the volume of oscil- For example if “Pan (Amp1 Pan)” is set to C064 and “AMS lator 1, and amp 2 which controls the volume of oscillator 2. (Pan AMS)”...

  • Page 35

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

  • Page 36

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

  • Page 37: Program P5: Edit–common Lfo

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

  • Page 38

    Offset settings and pitch change produced by vibrato 5–1c: Frequency MIDI/Tempo Sync. Pitch offset = –99 offset = 0 offset = +99 MIDI/Tempo Sync. [Off, On] On (checked): The LFO frequency will synchronize to the Pitch at note-on tempo (MIDI Clock). In this case, the values you specified for “Frequency”...

  • Page 39: Program P7: Edit-arpeggiator, Settings

    7–1b: Arpeggiator Setup Program P7: Edit-Arpeggiator ☞Refer to OG p.94. Here you can make settings for the arpeggiator used by the program. Pattern* [P000...P004, U000(A/B)...U506(User)] You can make settings so that when you select a program, Selects the arpeggio pattern. these arpeggiator settings will automatically switch to the arpeggiator settings that are memorized in the selected pro- P000...P004...

  • Page 40

    Swing [–100...+100(%)] ▼ 7–1: Page Menu Command This parameter shifts the timing of the odd-numbered notes of the arpeggio. 0–1A 7–1A When Resolution = Step 1 7–1A: Copy Arpeggiator This command can be used to copy arpeggio settings from another location to the current program. –50 –25 1 Select “Copy Arpeggiator”...

  • Page 41: Program P8: Edit–insert Effect, The Send Levels To The Master Effects

    put the sound from (MAIN) L/MONO and R, the pan- Program P8: Edit–Insert Effect ning will not move in realtime while the note is sounding. ☞For details on insert effects, refer to p.205 “8. Effect If you wish to adjust the pan in realtime during a note Guide.”...

  • Page 42: And Make Chain Settings

    2 In “From” select the source mode, bank, and number of 8–2a: IFX1, 2, 3, 4, 5 the effect to be copied. IFX1, 5 [000...089] You can select a bank by pressing the BANK [A]–[N] keys. IFX2, 3, 4 [000...102] Selects the type of each insert effect.

  • Page 43: Program P9: Edit–master Effect

    BUS Sel. (BUS Select) Program P9: Edit–Master Effect [L/R, 1, 2, 3(Tube), 4(Tube), 1/2, 3/4(Tube), Off] Specifies the bus to which the sound will be sent after pass- ☞For details on the master effects, refer to p.205 “8. Effect ing through the insert effect. Normally you will set this to L/ Guide.”...

  • Page 44

    MFX1, 2 On/Off [Off, ON] ▼ 9–1: Page Menu Command Switches the master effects 1, 2 on/off. When off, the output will be muted. This will alternate between on and off each 0–1A time it is pressed. 9–1A CC#94 can be used to switch the MFX on and off. A 9–1B value of 0 will be off, and a value of 1–127 will be the original setting.

  • Page 45

    9–2: MFX 1 9–5: VALVE FORCE 9–3: MFX 2 Here you can adjust the Valve Force settings. Valve Force is an analog circuit that uses a vacuum tube (a.k.a., “valve”). Makes effect parameter settings for the MFX1 and 2 effects By using Valve Force either alone, in conjunction with an that were selected in the Master FX page (9–2).

  • Page 46

    You can also use the VALVE FORCE [OUTPUT LEVEL] Placement: Insert (Use 3/4 BUS) knob to set this. Digital Analog Valve Force You can use MIDI NRPN control change messages to Volume On/Off 3/4 (Tube) BUS AUDIO OUTPUT control the VALVE FORCE [ON/OFF] key and the INDIV.

  • Page 47

    Send1 [000...127] Send2 [000...127] These specify the levels at which the signal that has passed through Valve Force will be sent to master effects 1 and 2. These parameters are valid if “BUS Sel.” is set to L/R or Off. You can control these parameters using CC#93 and CC#91, on the global MIDI channel specified by MIDI Channel (Global P1).

  • Page 48: Combination Mode, Combination P0: Play

    2. Combination mode 1 Press the popup button located at the left of “Combina- Combination P0: Play tion Select” to access the Bank/Combination Select menu. In this display page you can select and play Combinations. 2 Press one of the tabs located at the left or right to select a A Combi allows you to use up to eight programs at once.

  • Page 49

    Bank/Program (Program Select) mitted. [A...F, G, g(1)...g(9), g(d), H...N] EXT: Playing TRITON Extreme will not cause it to sound, Specifies the program that will be used by the timbre. but it will transmit data via MIDI to control external MIDI Part of the program name is displayed in the line below.

  • Page 50

    2 Use “Program” to select the copy-source program. ▼ 0–1: Page Menu Command 3 If you check “with Effects,” the insert effect, master effect, and master EQ settings will also be copied. The “Control Channel” of each effect will be set to the MIDI 0–1A channel of the copy-destination timbre.

  • Page 51

    The settings that will be automatically made for the If “Status” (0–1c, 2–1b) has been set to INT, MIDI con- combination are the same as when you execute the trol change #10 (panpot) messages can be received to page menu command “Copy From Combi” (0–1F) with control the setting.

  • Page 52

    TRITON Extreme performance. (☞Program P0: 0–3) Adjusts the signal level at the final stage of sampling in The TRITON Extreme can also be used as a 4-in 6-out effect Combination mode. (☞Sampling P0: 0–1d) processor.

  • Page 53: Combination P1: Edit–program/mixer, Timbre

    0–5A: Auto Sampling Setup Combination P1: Edit–Program/Mixer This command automatically sets sampling-related parame- ters in Combination mode. This is a helpful convenience when you’re resampling your performance on a combina- tion, or when you’re using a combination as a guide while 1–1: Program/Mixer sampling an external source.

  • Page 54: Combination P2: Edit–trk Param, Timbre

    If this is set to EXT or EX2, playing the TRITON Extreme will transmit MIDI messages tings. (If the setting is PRG, CC#05 portamento time on the MIDI channel specified here.

  • Page 55

    12 units equal one octave. When “Status” (0–1c, 2–1b) is INT, this parameter will affect the pitches sounded by the TRITON Extreme. When “Status” is EXT, this parameter will affect the 2 In “From” specify the original BPM value. In “To” spec- note numbers of the MIDI note messages that are trans- ify the desired BPM value.

  • Page 56: Timbre, Combination P3: Edit–midi Filter

    MIDI data on that timbre’s MIDI chan- nel. MIDI transmission and reception settings for the entire 2–4a: Delay, Use Program’s Scale, Scale TRITON Extreme are made in “MIDI Filter” (Global P1: 1– 1b). Delay [ms] (Delay Time) [0000…5000, KeyOff]...

  • Page 57

    3–2a: Enable JS X as AMS, Enable JS+Y, Specifies whether or not the A-mode MIDI control message Enable JS–Y, Enable Ribbon CC#79 (the TRITON Extreme’s filter EG intensity) and the B- Enable JS X as AMS [Off, On] mode MIDI control message assigned to knob [3] will be transmitted and received.

  • Page 58: Combination P4: Edit–zone/ctrl, Timbre, Each Timbre

    Bottom Slope [00...72] Combination P4: Edit–Zone/Ctrl Specifies the range of keys (12 is one octave) over which the volume will be reached starting from the bottom key. 0: The volume will be at the original level from the bottom 4–1: Key Z key.

  • Page 59

    4–4: Controller (Control) 4–2a: Top Velocity, Top Slope, Bottom Slope, Bottom Velocity Here you can set the Combination mode functions of the [SW1] key, [SW2] key, and the B-mode functions of REAL- Top Velocity [1…127] TIME CONTROL knobs [1]–[4]. Specifies the maximum velocity value that will sound each 0–1A timbre 1–8.

  • Page 60: Combination P7: Edit–arp

    TRITON Extreme’s Combination P7: Edit–Arp. arpeggiator. If you want the note data generated by the arpeggiator These parameters specify how the arpeggiator will function to be recorded on the external sequencer, turn Local within the combination. Two arpeggiators can run simulta- Control ON, and turn off the echo back function on neously.

  • Page 61: Settings For Arpeggiator B, Settings For Arpeggiator A

    Latch* [Off, On] ▼ 7–1: Page Menu Command Key Sync.* [Off, On] Keyboard* [Off, On] 0–1A These parameters are the arpeggiator settings for the combi- 0–1B nation. (☞“Program P7: Edit-Arpeggiator”) 7–1A * These parameters can also be set from “0–3(4): Arpegg. 0–1C A(B)”.

  • Page 62: Combination P8: Edit–insert Fx

    If you wish to move the pan of a sounding note in real- Combination P8: Edit–Insert FX time and output it from AUDIO OUTPUT (INDIVID- UAL) 1/2 or 3/4, you must set “BUS Select” to IFX1 You can also specify the bus routing for the program used by (or IFX2–IFX5), select 000: No Effect for “IFX1”...

  • Page 63: Settings Etc, Make Chain Settings

    8–3: IFX 1 2 In the Drum Kit “IFX” popup, select the insert effect to which you want to patch. 8–4: IFX 2 3 To execute the Drum Kit Insert Effect Patch command, press the OK button. To cancel, press the Cancel button. 8–5: IFX 3 To restore the condition of the drum kit, execute IFX1→IFX1, IFX2→IFX2, IFX3→IFX3, IFX4→IFX4, and...

  • Page 64: Combination P9: Edit–master Fx

    9–2: MFX 1 Combination P9: Edit–Master FX 9–3: MFX 2 ☞For details on master effects, refer to p.205 “8. Effect Here you can set the parameters for the MFX 1 and 2 effects Guide.” that were selected in the Master FX page (☞p.217–). 9–1 9–1: Master FX 9–2a...

  • Page 65

    9–5: VALVE FORCE Post-IFX “Send1,” “Send2”: as desired Post-IFX “BUS Sel.”: L/R or 1/2 Here you can adjust the settings of the Valve Force analog Don’t set the post-IFX “BUS Sel.” to 3/4(Tube), since vacuum tube circuit. doing will cause a feedback loop that may produce You can apply Valve Force to single or multiple timbres, unpleasant distortion.

  • Page 66: Sequencer Mode, Sequencer P0: Play/rec, Prog. 9–16

    In addition to recording MIDI data on these tracks, you can 0–1b record and edit patterns. Patterns you create or the preset patterns provided by the TRITON Extreme can be copied to 0–1c a track, or used with the RPPR function.

  • Page 67

    (Tempo)” setting while a song is playing or recording (or Use “Track Name” (5–2) to specify the track name. during standby). When you play the keyboard of the TRITON Extreme Manu (Manual): The “ (Tempo)” setting will be used. and operate its controllers, the internal tone generator REC: Tempo changes will be recorded on the Master Track.

  • Page 68

    mitted on the MIDI channels of these tracks (whose 0–1(2)c: Track Number, Category, Bank/Program, “Status” is EXT, EX2 or BOTH). PLAY/MUTE/REC, SOLO ON/OFF Master Track: The Master Track manages overall sequencer Track Number (1...8 (9...16)) functions such as tempo and time signature. Select the mas- ter track if you want to use the P5: Track Edit page menu Indicates the MIDI track number.

  • Page 69: For Each Track

    SOLO ON/OFF [SOLO ON, SOLO OFF] 0–1D: Delete Song This turns the Solo function on/off. This command deletes the currently selected song. Only the track that is set to SOLO ON will sound. Other 1 Select “Delete Song” to access the dialog box. tracks will be muted.

  • Page 70

    This function makes adjustments depending on the Make sure that the global MIDI channel (Global P1: MIDI, ARPEGGIATOR [ON/OFF] state of the combination. “MIDI Channel”) is set to 01. When you copy a combination that was written with Arpeggiator Run MIDI Channel Correction the arpeggiator turned off, it is assumed that you will...

  • Page 71

    0–1G: Load Template Song Track 1 of all sixteen preset template songs contains a drum category program. (In preset template songs P02, This command loads a template song as a song. P04, P08, and P15 drum category programs are speci- The built-in sequencer contains sixteen different preset tem- fied for multiple tracks.) plate songs (P00–15) that contain preset settings for pro-...

  • Page 72

    0–1I: FF/REW Speed 2 In “Location,” specify the location to which you will move when you press the [LOCATE] key. If you specify This allows you to set the speed at which fast-forward or 001:01.000, you will move to the beginning of the song rewind will occur when you press the [FF] key or [REW] when you press the [LOCATE] key.

  • Page 73: Mixer 9–16, Plyloop 9–16

    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 74

    You can sample either an external audio signal, or a perfor- Sequencer mode, not to individual songs. mance played on the TRITON Extreme. The TRITON Extreme can also be used as a 4-in 6-out effect processor. (☞Program P0: 0–3) 0–7c: Recording Level [dB]...

  • Page 75

    If you check the “Seq.Event” check box, a note event will automatically be created in the track specified by “Track.” Note-on will occur at the location at which sam- pling began, and note-off will occur at the location at which sampling ended. The note event will be created as in “Recording Setup”...

  • Page 76

    DAT player etc. connected to the S/P DIF If you select RAM, the data will be written to sample IN jack will be input to the TRITON Extreme. (P0: 0–7a memory (RAM). If you select MEDIA, the data will be “Input,”...

  • Page 77

    To change the way in which sampling is initiated, Press the OK button to execute “2ch Mix to Media,” or change the “Trigger” setting. If you set this to Thresh- press the Cancel button if you decide to cancel. (☞For old, resampling will begin the instant the input level the parameters and values that will be set, refer to p.66) exceeds the specified value.

  • Page 78

    MIDI M*** (Auto Punch In Start Measure–Auto Punch In End Mea- data it transmits in one pass into the TRITON Extreme’s sure)” at the right, allowing you to specify the range of mea- sequencer (☞OG p.45).

  • Page 79: Sequencer P1: Cue List

    “Track Select.” sion. You can specify a number of repetitions for each song. The TRITON Extreme allows you to create twenty cue lists. This cannot be selected if “Recording Mode” is set to In a single cue list you can freely connect up to 99 songs.

  • Page 80

    Meter (Time Signature) [1/4...16/16] “Step” indicates each step number. The “Step” indicated by symbol is the currently-selected or currently-playing This displays the time signature of the currently-playing step. This can be directly selected by “Song” (1–1c) or “Cur- song. rent Step” (1–1d). When stopped, pressing the SEQUENCER (Tempo) [040...240] [START/STOP] key will cause playback to begin from this...

  • Page 81

    3 To execute the Copy Cue List command, press the OK 1–1d: Insert, Cut, Copy, Current Step button. To cancel, press the Cancel button. When you execute, the setting data of the selected cue list Insert will be deleted, and replaced by the copy-source data. When you press the Insert button, the step data that was 1–1D: Convert to Song (Convert Cue List to Song) temporarily saved in the buffer by the Copy button or Cut...

  • Page 82

    If “Pan” (0–3a/4a) is RDN, it will be converted to C064. sion. In particular if the cue list uses long songs, or if If “Portamento” (2–3a/4a) is PRG, or if “Bend Range” numerous repeats have been specified, or if many pat- (2–5a/6a) is PRG or a negative value, these will not be terns are used by the songs, you should try executing reflected in the conversion.

  • Page 83: Sequencer P2: Trk Param, Track, Midi Ch 9–16, For Each Track, Osc 9–16

    Selects the Voice Assign Mode (Program P1: 1–1b) of the pro- nal tone generator of the TRITON Extreme will sound, and gram selected for each track 1–16 (☞Combination P2: 2–2a).

  • Page 84: Pitch 9–16, Other 9–16

    CC#65 of 127 and CC#05 of 1–127 will be transmitted. ▼ 2–5: Page Menu Command If this is set to PRG, nothing will be transmitted. This data is transmitted and received on the MIDI chan- nel specified for each track by “MIDI Channel” (2–1a/ 0–1A 0–1G 2a).

  • Page 85: Sequencer P3: Midi Filter, Midi 1 9–16

    MIDI data is received. (The effect dynamic modulation function is not affected by these set- tings.) Settings that regulate MIDI transmission/reception of the TRITON Extreme itself are made in MIDI Filter (Glo- bal P1: 1–1b). If the user-assignable controllers that can be filtered in the MIDI 3 and MIDI 4 pages are set to MIDI control changes, filtering will be performed for these control changes.

  • Page 86: Midi 2 9–16, Midi 3 9–16

    Specifies whether or not MIDI control message CC#1 (the +Y high pass filter cutoff frequency) and the B-mode MIDI con- axis of the TRITON Extreme’s joystick, or assigned to B- trol message will be received. mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

  • Page 87: Midi 4 9–16, Sequencer P4: Zone/ctrl, Track, Key Z 9–16

    3–7: MIDI 4 1–8 (MIDI Filter –4 T01–08) Sequencer P4: Zone/Ctrl 3–8: MIDI 4 9–16 (MIDI Filter –4 T09–16) 0–1 4–1: Key Z 1–8 (Key Zone T01–08) 0–1a 0–1b 0–3a 4–2: Key Z 9–16 (Key Zone T09–16) Here you can specify the range of keys that will play tracks 1–16.

  • Page 88: Each Track, Vel Z 9–16, Moss 9–16

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

  • Page 89: Sequencer P5: Track Edit

    ▼ 5–1: Page Menu Command Sequencer P5: Track Edit 5–1G 0–1A 5–1N 5–1H 5–1A 5–1O 5–1: Track Edit 5–1I 5–1B 5–1P 5–1J 5–1C 0–1I Here you can edit MIDI tracks, and the master track. 5–1K 5–1D 0–1J When editing a MIDI track, you can move, insert, and delete 5–1E 5–1Q individual events of note or control change data, or copy,...

  • Page 90

    The following table shows the number of clocks repre- 8 When you are finished with step recording, press the sented by each “Step Time” selection. Done button. If you press the [COMPARE] key, you will return to the condition of before you began step record- ing.

  • Page 91

    5–1C: Erase Track • Deleting an event Select the event that you wish to delete, and press the This command erases the data from the specified track. Cut button to delete the event. However, it is not possible to erase the master track by itself. •...

  • Page 92

    5–1F: Erase Measure 1 Use “Track Select” to select the MIDI track (Track 01–16) that contains the measures you want to delete. This command erases the specified type(s) of musical data 2 Select “Delete Measure” to access the dialog box. from the specified range of measures.

  • Page 93

    1 Use “Track Select” to select the MIDI track (Track 01–16) 2 Select “Repeat Measure” to access the dialog box. that you want to insert data into. 2 Select “Insert Measure” to access the dialog box. 3 In “From Measure” and “To End of Measure,” specify the range of measures that will be repeated.

  • Page 94

    6 To execute the Copy Measure operation, press the OK 4 “Kind” to the type of musical data (event) that you wish button. To cancel, press the Cancel button. to create. Control change: Control change data will be inserted. In this case, use “#”...

  • Page 95

    If you wish to erase all control change data from speci- 6 In “Offset,” specify the number of clock ticks by which fied measures, you can also use “Erase Measure” (5–1F) the data will be moved forward or backward relative to and set “Kind”...

  • Page 96

    2 Select “Shift/Erase Note” to access the dialog box. 3 Specify the range in which note velocity will be modified. “From Measure” and “To End of Measure” specify the measure, and “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “To End of Measure” will be set to the range that you specified in the Track Edit page.) 4 Specify the range of notes that will be affected by the...

  • Page 97: Tone1.2 1–8, Tone1.2 9–16, Tone3.4 1–8, Tone3.4 9–16, Tone5.6 1–8, Tone5.6 9–16

    5–2: Track Name 5–3(4)(5)(6)(7)(8)a: Tone Adjust 1–Tone Adjust 6 Here you can assign a name to each track. Destination [LPF Cutoff...Reverse] 5–1 Assigns a parameter to each of the Tone Adjust controls. 0–1a Value [–99...+99, –199...+199, –12.00...+12.00, –1200...+1200, Off...On] 5–1b 0–1b Specifies the value of the parameter selected in “Destina- tion.”...

  • Page 98

    Filtr EG A (Filter EG Attack) [–99...+00...+99] Dtun 2 (Detune 2) [–1200...+0000...+1200] Filtr EG D (Filter EG Decay) [–99...+00...+99] Adjusts the tuning of program OSC2. This controls the OSC2 Multisample “Tune” parameter (Program P1: 1–2a). Filtr EG S (Filter EG Sustain) [–99...+00...+99] Filtr EG R (Filter EG Release) [–99...+00...+99]...

  • Page 99: Sequencer P6: Pattern/rppr

    Selects the type of pattern. If Preset is selected, it will not be possible to record. You will On the TRITON Extreme you can use preset patterns P000– be able to select and execute the “Copy Pattern,” “Bounce 149, and user patterns U00–99. One song can contain up to Pattern,”...

  • Page 100

    6–1D: Erase Pattern ▼ 6–1: Page Menu Command This command erases the data from the selected pattern. 1 Use “Pattern” and “Pattern Select” to specify the pattern. 0–1A 6–1F 2 Select “Erase Pattern” to access the dialog box. 6–1G 6–1A 6–1H 6–1B 6–1I...

  • Page 101

    4 In To: “Song” and “Pattern,” select the bounce destina- If you press the SEQUENCER [START/STOP] key tion song and pattern. For “Pattern,” only user patterns while the dialog box is open, the selected pattern will U00–U99 can be specified. play back.

  • Page 102

    RPPR patterns on Off (unchecked): That key will sound the currently selected TRITON Extreme, set Local Control OFF. track at the corresponding pitch, just as in normal Sequencer If you want the note data generated by RPPR to be mode.

  • Page 103

    Sync [Off, Beat, Measure, SEQ] 2 Set “KEY” to D2, and press the Revert button. The “Pattern (Pattern Bank),” “Pattern Select,” and Specifies the way in which the pattern playback will be syn- “Track” settings that you specified in step 1 will be cop- chronized when you press the specified “KEY.”...

  • Page 104: Sequencer P7: Arpeggiator, Setup 9–16

    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. 8, 9–16.

  • Page 105: Settings For Arpeggiator A, Settings For Arpeggiator B

    7–3: Arpegg. A • Alternatively, you could choose Track01 in “Track (Arpeggiator A) Select” to run arpeggiator A for tracks 1 and 2, and use 7–4: Arpegg. B (Arpeggiator B) an external MIDI device connected to the TRITON Extreme’s MIDI IN to send note data to MIDI channel 3 In the Arpegg.

  • Page 106: Sequencer P8: Insert Effect, Routing 9–16

    7–5b: Scan Zone A/B Sequencer P8: Insert Effect Here you can make insert effect settings, and specify the bus etc. for the program used by each track 1–16. Top Key [C–1...G9] ☞For details on insert effects, refer to p.205 “8. Effect Bottom Key [C–1...G9] Guide.”...

  • Page 107

    Send1 (MFX1) [000...127] 8–1D: Put Effect Setting to Track Send2 (MFX2) [000...127] This command inserts effect settings into a track as exclusive events. You can use this to make the effect settings change Here you can adjust the send levels from tracks 1–16 to mas- during a song.

  • Page 108

    8–3: Insert FX 8–4: IFX 1 8–5: IFX 2 Here you can select the type of the insert effects, turn them on/off, and make chain settings. 8–6: IFX 3 8–1 8–7: IFX 4 8–8: IFX 5 Set the parameters for the effects selected for IFX 1–5 in the 8–3a Insert FX page (☞p.217–).

  • Page 109: Sequencer P9: Master Effect

    9–2: MFX 1 Sequencer P9: Master Effect 9–3: MFX 2 ☞For details on the master effects, refer to p.205 “8. Effect Here you can set the parameters of the MFX 1 and 2 effects Guide.” that were selected in the Master FX page (☞p.217–). 9–1 9–1: Master FX 9–2a...

  • Page 110

    9–5: VALVE FORCE Example settings) Set “BUS Select” (8–1(2)b) or post-IFX “BUS Sel.” (8–3a) to Here you can adjust the settings of the Valve Force analog insert Valve Force at the desired location. Use Valve Force vacuum tube circuit. “BUS Sel.” (9–5a) to specify the output destination from Valve Force can be applied to specific tracks, either alone or Valve Force.

  • Page 111

    ▼ 9–5: Page Menu Command 0–1A Program 9–5A 0–1I 0–1J...

  • Page 112: Exclusive Events Supported In Sequencer Mode

    Exclusive messages that can be realtime-recorded Exclusive events supported in The following exclusive messages can be realtime recorded. Sequencer mode • Exclusive messages received from an external MIDI device • Parameter changes in Sequencer mode (see table below) You can record and play back exclusive events, and edit •...

  • Page 113

    Sequencer mode track parameters and effect parameters can be controlled by MIDI system exclusive parameter change messages. When an external sequencer is connected and you use the TRITON Extreme in Sequencer mode as a 16-track multi-timbral sound module, you can control these parame- ters via MIDI.

  • Page 114: Sampling Mode

    Program, Combination, and Sequencer modes 1. A performance that makes use of the various functions of On the TRITON Extreme, 48 kHz stereo 16-bit samples from each mode (filters, effects, arpeggiator, sequencer, etc.) can an external device connected to the AUDIO INPUT jacks or be resampled.

  • Page 115: Sampling P0: Recording

    CD-R/RW or external SCSI device (☞OG p.117). 0–1: Recording When the TRITON Extreme is turned on, the sample memory (RAM) will contain no multisamples or sam- Here you can select the multisample that you wish to record, ples, so you will first need to load previously-saved specify the index sample, make settings, select the memory data into RAM before you can edit it or play it back.

  • Page 116

    You can also select an index by holding down the ----: ---No Assign----: No sample is assigned to the index. [ENTER] key and playing a note on the keyboard. The There will be no sound when you play the keyboard. index that includes this note will be selected.

  • Page 117

    Sample memory (RAM) consists of six banks, each with 16 In these cases, a stereo multisample will be created auto- Mbytes. The TRITON Extreme comes with one 16 Mbyte of matically using the following criteria. DRAM SIMM board. In this state, RAM1 will always be 1.

  • Page 118

    Sample Time [min sec] Example 1): Sampling a monaural source connected to AUDIO INPUT 1 without applying internal effects Specifies the amount of time that you wish to sample. This “Input” (0–2a) Analog can be set in 0.001 second increments. This parameter indi- cates amount of remaining memory in the selected memory Input1 “Pan”...

  • Page 119

    ▼ 0–1: Page Menu Command 0–1d: Recording Level [dB] Recording Level [–inf, –72.0... 0.0...+18.0] 0–1A 0–1H This adjusts the signal level at the final stage of sampling. 0–1B 0–1I When you sample, make sure that the level is as high as pos- 0–1C 0–1J sible without allowing the level meter to indicate “CLIP!!.”...

  • Page 120

    3 Specify the sample number of the copy destination. 2 Select “Delete MS” to access the dialog box. When copying a stereo sample, specify both the L and R channels for the copy destination sample number. 4 If you check “with Sample Data”: Executing the copy will simultaneously copy the sample data (waveform data) as well.

  • Page 121

    and -R. If you rename up to fourteen characters of the to the following pan settings: “Amp 1 Pan” L000, and multisample of either the L or the R channel, the other “Amp 2 Pan” R127 (Program P4: Amp 1 Lvl/Pan page multisample name will automatically be renamed.

  • Page 122

    3 To execute the Change Sample Type command, press the if the samples being moved are mapped to (used by) a OK button. To cancel, press the Cancel button. drum kit, those sample numbers will also be automati- When you execute this command, the sample type will cally modified.

  • Page 123

    4 If “Adjust Multisample Assign in Program” is checked 2 Use “Media select” to select the media into which the and if the multisamples being moved are used in pro- data will be written during sampling. grams, the multisample numbers of the programs will 3 Use the Open button and Up button to move between also be reassigned automatically.

  • Page 124

    If you select Initialize: If you select Auto Resample through IFX: Press the OK button to initialize the settings, or press the Cancel button if you decide not to execute. (☞For the parameters and values that will be set, refer to p.114) If you select REC Audio Input: 1) Use “IFX”...

  • Page 125

    DAT etc. connected to the S/P DIF IN jack can be input to according to the settings you make in the dialog box. the TRITON Extreme. The L channel of the S/P DIF input :Settings for analog and S/P DIF (“Input 1” and “Input 2”) will be input as specified by the Input1 setting below, and...

  • Page 126

    0 after a pre-count of 4– Sampling START SW: Pressing the SAMPLING [REC] key 3–2–1–0. will cause the TRITON Extreme to enter sampling-standby The output destination and level of the metronome mode, and sampling will begin when you press the SAM- sound are specified by Metronome Setup (0–3c).

  • Page 127

    ADC OVERLOAD !! 2 If you want to apply an effect, go to the P8: Routing page and set “BUS (IFX) Select” (8–1b) to IFX1–5 to specify The “ADC OVERLOAD !!” indication will appear if the sig- the insert effect that you want to use. Then set “Source nal level from AUDIO INPUT 1 and 2 exceeds the maximum BUS”...

  • Page 128

    0–4: Memory Status 0–3b: REC Sample Preference Auto Loop On [Off, On] 0–1 0–4a On (checked): The recorded sample will automatically be played with looping turned on (☞“Loop” (2–1c)). Auto +12 dB On [Off, On] This setting is used when you sample into sample memory 0–4b (RAM) with “Save to”...

  • Page 129: Sampling P1: 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 sample data (waveform data). Editing Sample waveform display operations such as deleting unwanted portions of the wave- This displays the waveform of the selected sample. The hor- form, reversing the waveform, or lowering the sampling fre- izontal axis is the sample address (time axis), and the verti- quency can be performed in detail while viewing the...

  • Page 130

    will move in steps of one pixel.) In the vertical axis, you can Normally, you will leave “Save to No.” at its default zoom-in from 1X (full range display) to 512X (or 1024X in setting, and execute without checking “Overwrite.” the case of stereo display).

  • Page 131

    The sample number cannot be specified if “Overwrite” is 2 Select “Clear” to access the dialog box. checked (☞p.119). For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R chan- nels. 6 To execute the Truncate command, press the OK button. To cancel, press the Cancel button.

  • Page 132

    2 Select “Insert” to access the dialog box. For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R chan- nels. 6 To execute the Mix command, press the OK button. To cancel, press the Cancel button. If the buffer into which data was placed by the “Copy”...

  • Page 133

    2 Select “Paste” to access the dialog box. Normalize Level Adjust –6dB 3 Use “From” to select the copy-source. RAM: Data copied from the specified region in the Sam- 1 Use “Sample Select” (1–1b) to select the sample that you ple Edit page will be pasted into the sample in sample wish to edit, and use “Edit Range Start”...

  • Page 134

    2 Select “Rate Convert” to access the dialog box. Fade In Fade Out 3 The sampling rate of the selected sample is shown at the right of “Rate.” At the right of the “->” you can select the desired amount of the sampling rate conversion: 2/3, 1/2, 1/3, 1/4 1/6.

  • Page 135

    SOUND A SOUND B 0–1A 0–1G 0–1B 0–1H 0–1C 0–1I 0–1D 0–1J CROSSFADE LINK 0–1E 1–1M 0–1F 1–1N Volume SOUND A SOUND B 1–1M: Grid This command displays a grid in the “sample waveform dis- Time play.” Crossfaded portion (Sound A gradually diminishes, When you set the Grid to On and execute this command, and sound B gradually increases) vertical dotted lines will appear in the “sample waveform...

  • Page 136: Sampling P2: Loop Edit

    5 In “Crossfade Length,” specify the length over which the Sampling P2: Loop Edit crossfade will occur. If you specify a % value, the propor- tion in relation to the entire “Front” Sample will be calcu- lated automatically. If you specify 50%, the last half of the “Front”...

  • Page 137

    These settings will be preserved if you save the sample least eight addresses apart. This setting will be applied as a Korg format sample file (.KSC, .KMP, .KSF). How- automatically when you set the addresses. ever, these settings are ignored by Korg-format-compat-...

  • Page 138

    ▼ 2–1: Page Menu Command 2–1B 0–1G For these commands, no Compare function is available 0–1H 2–1C that would let you return to the prior state after execut- 0–1I 2–1D ing the command. If you want to retain the original 0–1J 0–1K sample when you edit, uncheck the “Overwrite”...

  • Page 139

    be calculated automatically. If the “Source BPM” is not set to 120, due to inaccuracies in the start address (or loop 150BPM start address) and end address, change the “Source BPM” to 120. Source BPM: Specifies the tempo at the original key of Played closer together, but pitch is unchanged 90BPM...

  • Page 140

    In the case of a stereo sample, the L channel sam- Be aware that if you change the “Sensitivity” after ple data will be displayed above, and the R channel sam- adjusting the slice location, the attacks will be re- ple data will be displayed below.

  • Page 141

    9 Use Time Stretch to adjust the length of the sliced sam- Program: If this check box is checked, the multisample ples. When you press the Stretch button, Time Stretch (a will be converted to a program when you save it. Specify function that expands or shrinks the length of a sample the destination program number.

  • Page 142

    To use Time Stretch (Sustaining) If you use “Seq.Event” and “Start Measure” 001, the “Tempo” (☞0–1c) of the track data or pattern data that 1 Select the sample that you wish to time-stretch using the is created will be the value specified by “New BPM” if Sustaining method.

  • Page 143

    as 120 due to inaccuracies in the start address (or loop Start: start address) or end address, adjust “Source BPM” to End: the correct value of 120. Specify the start address and end address of the sample Next, set “New BPM” to 150. The “Ratio” will be calcu- for the currently selected index.

  • Page 144

    To use Time Stretch (Slice) The tempo of the sample created by execution will be cal- culated automatically from the “Ratio” and “Source 1 Select the sample that you wish to time-stretch using the BPM,” and displayed in “New BPM.” Slice method •...

  • Page 145

    Start, and End addresses will be indicated by solid lines Before executing the Slice on a long sample, you should (vertical). first divide the sample into measures. In some cases, it In the case of a stereo sample, the L channel sam- may not be possible to assign the sample to the key- ple data will be displayed above, and the R channel sam- board or edit the slice locations.

  • Page 146: Sampling P3: Multisample

    3 In “Crossfade Length,” specify the length of the sample Sampling P3: Multisample that you wish to crossfade. If you set this as %, “Crossfade Length” will be calcu- Here you can make settings for multisamples. You can create lated automatically. Specify the proportion of the “Cross- indexes for a multisample, and then assign a sample to each fade Length”...

  • Page 147

    Top Key [C–1...G9] Specifies the highest key in the zone of the index. The zone This deletes the selected index. At the same time, the con- is defined by this “Top Key” (☞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 148: Sampling P4: Controller Setup

    Sampling P4: Controller Setup 0–1G 0–1L 0–1H 0–1M 0–1I 0–1J 4–1: Controller Setup 3–1A 0–1K Specifies 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 149: Sampling P5: Audio Cd

    AUDIO INPUT jacks. Make settings as described in “Input” Analog (0–2a), and control the CD playback from the TRITON Extreme. You will need to set Input1 (L channel) and Input 2 (R channel) “Level,” “Pan,” and “BUS (IFX/Indiv.) Select”...

  • Page 150

    ▼ 5–1: Page Menu Command 5–1b: Drive, Track, Index Media (Media select) [CDD: Name] 5–1A Selects the CD-R/RW drive that contains the audio CD that you want to play or rip. 5–1A: Destination Drives other than a CD-R/RW drive cannot be selected Specifies the writing data of the ripped data, and execute here.

  • Page 151: Sampling P8: Insert Effect, Output, Make Chain Settings

    ▼ 8–1: Page Menu Command Sampling P8: Insert Effect Here you can make insert effect settings for use in Sampling 8–1A mode. 8–1B If you want to apply insert effect IFX1–5 to the external audio signal specified by “Input” and sample the result, set 8–1A: Copy Insert Effect the P0: Recording, Input/Setup page Input1 and Input2 ☞Program P8: 8–1A: Copy Insert Effect.

  • Page 152: Sampling P9: Valve Force

    8–3: IFX 1 Sampling P9: VALVE FORCE 8–4: IFX 2 8–5: IFX 3 9–1: VALVE FORCE 8–6: IFX 4 Here you can adjust the settings of the Valve Force analog 8–7: IFX 5 vacuum tube circuit. You can apply the Valve Force circuit when sampling or res- Set the effect parameters for the IFX 1, 2, 3, 4 and 5 effects ampling, and you can also use it in conjunction with an that you selected in the Insert FX page (☞p.217–).

  • Page 153

    Example settings) ▼ 9–1: Page Menu Command You can insert Valve Force at the desired location by setting Input/Setup “BUS (IFX/Indiv.) Select” (0–2a), “BUS (IFX) Select” (8–1b), or post-IFX “BUS Sel.” (8–2a). VALVE FORCE 9–1A “BUS Sel.” (9–5a) specifies the destination of the output from Valve Force.

  • Page 154: Song Play Mode, Song Play P0: Prog/mix, Prog. 9–16

    SMF data and make related settings. When “Jukebox” is checked, you can select SMF files from The TRITON Extreme is able to playback SMF format 0 or the jukebox list in the P3: Jukebox. format 1 data.

  • Page 155

    Program Select (Bank/Program) ▼ 0–1: Page Menu Command [A…F, G, g(1)…g(9), g(d), H...N] Selects the program that will be used by each track. 0–1A The lower line will display part of the program name. 0–1B If “Program Select” is selected, you can use the BANK [A]– 0–1C [N] keys and the VALUE controller to select the program.

  • Page 156

    0–5: Preference 0–1D: Save Template Song This command saves the programs, the track parameters, Here you can make settings for playing SMF files consecu- and the effect settings etc. as a user template song U00–15 tively, and make settings for the metronome. (☞Sequencer P0: 0–1H).

  • Page 157: Song Play P1: Track, Status 9–16, Moss 9–16

    This page is displayed only when the EXB-MOSS option has when “Play (Track Select)” (0–1g) is set to a track whose set- been installed. (☞EM) ting is INT, the TRITON Extreme’s internal tone generator will sound, but MIDI messages will not be transmitted to external devices.

  • Page 158: Song Play P2: Controller Setup

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

  • Page 159: You Want To Play

    3–1c: Media Select Song Play P3: Select Directory/ Jukebox Media Select [CF, HDD, CDD, RDD: Name] Selects the media from which data will be played back. The type of media and the volume label are displayed. The contents of this display will depend on the “Jukebox” (☞“Media Select”...

  • Page 160: Song Play P7: Arpeggiator, Setup 9–16

    ▼ 3–1: Page Menu Command Song Play P7: Arpeggiator Here you can make arpeggiator settings for use in Song Play 3–1A mode. 3–1B You can assign the arpeggiator to the “Play (Track Select)” track, and play arpeggios with the tempo synchronized to 3–1A: Load Jukebox List SMF playback.

  • Page 161

    7–3: Arpegg. A If tracks 1–16 to which arpeggiator A or B are assigned (Arpeggiator A) have a track “Status” (1–1a/2a) of either INT or BTH, 7–4: Arpegg. B (Arpeggiator B) they will be played by note data generated by the arpeggiator regardless of the “Ch”...

  • Page 162: Song Play P8: Insert Effect, Routing 9–16

    7–5b: Scan Zone A/B Song Play P8: Insert Effect Here you can make insert effect settings. You can also spec- ify the bus for the program used by each track 1–16. Top Key [C–1...G9] ☞For details on the insert effects, refer to p.205 “8. Effect Bottom Key [C–1...G9] Guide.”...

  • Page 163: Make Chain Settings

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

  • Page 164: Song Play P9: Master Effect

    9–2(3)a: Ctrl Ch Song Play P9: Master Effect Ctrl Ch [Ch01...16, Gch] ☞For details on the master effects, refer to p.205 “8. Effect Guide.” Specifies 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”...

  • Page 165

    Don’t set the post-IFX “BUS Sel.” to any preceding IFX, 9–5a: VALVE FORCE since doing so will cause a feedback loop that may pro- duce unpleasant distortion. Input Trim [000...127] Ultra Boost [000...127] In the same way, you can insert Valve Force into the input from Audio Input.

  • Page 166: Global Mode, Global P0: Basic Setup

    In Global mode you can make settings that affect the entire If “Convert Position” is set to PreMIDI, the note num- instrument, such as master tuning, MIDI, and memory pro- bers transmitted from the TRITON Extreme will be tect. affected by this setting.

  • Page 167

    1 Select “Write Global Setting” to access the dialog box. affect the data received via MIDI, but will not affect the transmitted data. When you use the TRITON Extreme’s keyboard to play the internal tone generator, the “Convert Position” set- ting will make no difference.

  • Page 168: Protect Settings

    DAMPER jack, here’s how you memory.”) can adjust the sensitivity if the damper effect is not applied The TRITON Extreme contains preloaded data and appropriately. demo song data for the EXB-MOSS. If the EXB-MOSS is Since the half-damper pedal is highly sensitive, please installed, you’ll be able to select this data and load it in...

  • Page 169

    High (+12 dB): Choose this setting if you are playing back a 00. 08 R/T 63. 08 R/T Wave file on the TRITON Extreme and sending it from S/P 00. 09 R/T 63. 09 R/T DIF OUT to be recorded on an external digital audio device.

  • Page 170

    [Off, On] When this setting is at Normal, the WAVE file playback level on the TRITON Extreme is set approximately 12 dB lower This setting protects the internal user arpeggio pattern than the maximum digital output level in order to match the memory.

  • Page 171

    If audio cables are not connected to the AUDIO INPUT DAT etc. connected to the S/P DIF jack will be input to the 1 and 2 jacks, the input to the TRITON Extreme via the TRITON Extreme. Use Input1 (below) to make settings for...

  • Page 172: Global P1: Midi

    • When controlling timbres or effects that have been set to is received from the TRITON Extreme’s keyboard or from an Gch in various modes external MIDI device. By connecting the TRITON Extreme •...

  • Page 173

    Select the Internal setting when using the TRITON Extreme a channel that corresponds to a track whose “Status” by itself, or when you want the TRITON Extreme to be the (Sequencer P2: 2–1a/2a) is set to INT or BTH will switch master (controlling device) so that another connected exter- programs on that track.

  • Page 174

    Alternate Modulation Source (AMS), it can Data dump transmission procedure receive polyphonic after touch to control individual notes. 1 Connect the TRITON Extreme to the device that will Enable Control Change [Off, On] receive the data dump.

  • Page 175

    TON Extreme. * More time will be required if the song data contains If you want the TRITON Extreme to receive data that was exclusive events, since these must be converted. previously transmitted to a MIDI device, you must set...

  • Page 176: Global P2: Controller, Global P3: User Scale

    If a Korg DS-1H (sold separately) damper pedal is connected, Selects the User Octave Scale that you want to edit. the pedal switch polarity will be (↓), so select (–) KORG Stan- dard for this setting. If you have connected a damper pedal Tune [–99…+99]...

  • Page 177: Global P4: Category Name

    3–1b: User All Notes Scale Global P4: Category Name Tune [–99…+99] Makes independent pitch settings for each of the 128 notes. Adjust the pitch of each of the 128 notes (C–1 – G9) in one- 4–1: Program Cat. cent steps. This adjustment is relative to equal temperament. 4–2: Comb Cat.

  • Page 178: Global P5: Drum Kit

    5–1a: Drum Kit, KeySelect, Assign, Velocity Sample Global P5: Drum Kit Here you can create drum kits by assigning a drum instru- Drum Kit [000(A/B)...143(User)] ment (drum sample) to each key. Selects the drum kit that you wish to edit. A drum kit that you create or edit here can be selected in Program mode P1: Edit Basic “Drum Kit”...

  • Page 179

    This parameter will not change the playback direction Bank Drumsample Explanation of a sample for which “Rev” (Sampling P2: 2–1c) is 000...416 TRITON Classic preset drum samples checked. 0000...3999 User drum samples (create in Sampling Level [–99...+99] mode, or load in Media mode) Best 0000...0389 Specifies the volume.

  • Page 180

    5–1D: Copy Key Setup ▼ 5–1: Page Menu Command This command copies the settings of an individual key to another key. You can also copy settings from two or more 5–1A contiguous keys at once. 5–1B 1 Select “Copy Key Setup” to access the dialog box. 5–1C 5–1D 5–1A: Write Drum Kits...

  • Page 181: Global P6: User Arpeggio, Pattern

    Here you can create user arpeggio patterns. (Program P1: 1–1b) is checked (Hold On). In the case of a In this page, the TRITON Extreme will sound as it did in the drum program, you will normally select Hold On. In this mode you were in before entering Global mode.

  • Page 182

    6–1a: Arpeggio Select, , Pattern, Length, Octave, 6–1b: Arpeggio Pattern Setup Resolution, Sort, Latch, Key Sync., Keyboard These parameters are not valid for preset patterns Arpeggio Select [A, B] P000–P004. If you have moved here from Combination, Sequencer or Arpeggio Tone Mode [Normal, Fixed Note] Song Play mode and edit an arpeggio pattern, you must This selects the Tone type of the arpeggio pattern.

  • Page 183

    Example) Be aware that when you execute “Copy Arpeggio Pat- We will use a “Arpeggio Tone Mode” Fixed Note pattern tern,” all settings of the currently selected arpeggio pat- on drums. Tone 1 is assigned a note number that will tern will be overwritten.

  • Page 184

    Velocity [001...127, Key] 6–2B: Copy Step Key: The Tone of the step will sound with the velocity at This command copies the settings of a specific step. The set- which the key was played. tings of two or more adjacent steps can also be copied 001–127: The specified velocity value will always be used.

  • Page 186: Media Mode, Files, Directories, And Icons

    file will be treated as an undefined file when it delete files, and format media. This mode also lets you edit is reloaded back into the TRITON Extreme, and will be han- Wave files, assemble these Wave files into a track list, and dled as a Standard MIDI File.

  • Page 187: Internal Memory

    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...

  • Page 188

    Then press the directory win- tory window. However, this is valid only if the current direc- dow in the LCD screen to make the TRITON Extreme rec- tory is a DOS directory. ognize the media, and select the appropriate directory.

  • Page 189

    If the power has just been turned on, or you want to reproduce the state that was saved, select Clear. .KSC Allocation Internal memory of Internal memory of .KSC file to be loaded the TRITON Extreme the TRITON Extreme after loading before loading KSC000 KSC000...

  • Page 190

    3) Load Program Bank [Bank A...E, H...N]: 1 In “To,” specify the loading destination bank. 2 To load the data, press the OK button. To cancel without selected icon loading, press the Cancel button. All program data of the selected bank will be loaded into the bank you specify.

  • Page 191

    The selected drum kit can be played from the keyboard 3 To load the data, press the OK button. To cancel without even before you load it. This is convenient when you loading, press the Cancel button. want to audition the drum kit to be loaded. (☞p.176) 14) Load Global Setting: selected icon 2 In “To Drum Kit”...

  • Page 192

    The TRITON Extreme does not support all of the GS/ XG sound maps or messages. Depending on the content of the data, it may not play back correctly, but the data itself will be maintained if “Exclusive”...

  • Page 193

    About the sample memory (RAM) The TRITON Extreme is shipped from the factory with 16 Mbytes of sample memory (RAM). (One 16 Mbyte SIMM is installed) By installing SIMM modules into any and all of the three 72 pin slots, you can expand the sample memory Example) A folder contains the following files, and you...

  • Page 194

    Choose “Clear” if you want to reproduce the state in Loading AIFF files and WAVE files which the data had been saved, for example immediately The TRITON Extreme can load AIFF format or WAVE for- after power-on. mat files, which are formats used to save audio data on per- 2 If the current directory contains a .PCG file or .SNG file of...

  • Page 195

    “-L” and “-R,” the “-L” and “-R” will automatically The selected WAVE file will be loaded as a sample. be moved to the end of the TRITON Extreme’s sample name (15th and 16th characters). When you load two files whose sample names are iden- tical except for ending in “-L”...

  • Page 196

    (Program P1: 1–2d) meets the conditions described group zone, oscillator, pitch, filter, amp/pan, and EG will above in 1. be converted into a TRITON Extreme program, or into 3) Program: Programs whose “Oscillator Mode” (Program programs and a combination. (Multisamples will also be P1: 1–1a) is set to Single or Double and whose “OSC 1/2...

  • Page 197

    Content loaded from the .SNG file 5 Use “Append to: Combination” to specify the loading- destination bank and number for the combinations in the 1) Song: Songs whose “Program Select (Bank/Program)” .PCG file. When you execute, only the applicable combi- (Sequencer P0: 0–1b, 2b) uses programs that meet the nations will be loaded into consecutive numbers starting conditions described above in paragraphs 2) or 3) of...

  • Page 198

    Insert the next volume of media and press the LCD 0–2 screen to make the TRITON Extreme detect the media, or use “Media Select” (0–1c) to specify the save-destination media. 3 Press the Select button to continue saving. If the “No ▼...

  • Page 199

    1 Select “Save PCG & SEQ” to access the dialog box. Samples) When this command is executed, the following list of multi- sample and sample data will be saved to media as Korg for- mat .KMP files, .KSF files, and a .KSC file that collects these files.

  • Page 200

    One Sample: The selected sample will be saved as a .KSF device that supports Standard MIDI Files. However if file. you intend to playback the data on the TRITON Extreme, The filename will be the .KSF filename name. we recommend that you use “Save SEQ” to save the data, Initially, the filename will automatically be set to the first...

  • Page 201

    • +12 dB (Sampling 2–1c) This command saves a track list that you created in the Samples that are handled by the TRITON Extreme as ste- Make Audio CD page. The drive and directory locations that reo will be exported as two independent L and R files.

  • Page 202

    3 “Copy” will show the name of the selected file or direc- 0–3: Utility tory. If you wish to change the file or directory that will be Here you can rename, copy, or delete the selected media or copied, use the text edit button to move to the text input file, create a new directory, format, and set the date and dialog box, and specify the filename that you wish to time.

  • Page 203

    ISO9660 format. drive so that it can be used as multiple drives (parti- If a file that was saved by the TRITON Extreme to CD-R is to tions), this data will also be erased. Be sure to double- be loaded by another device, you must execute this com- check before you format.

  • Page 204

    5 Press the OK button to execute the Rate Convert command, or press the Cancel button to cancel without executing. The “Rate Convert” command will require approxi- 2 Use a USB cable to connect the TRITON Extreme to your mately 80 seconds of processing time for a one-minute computer.

  • Page 205

    Finalize operation must be executed after all the desired audio tracks have been written to the CD-R/RW disc. 1 Use a USB cable to connect the TRITON Extreme to your On the TRITON Extreme, the page menu command “Write computer.

  • Page 206

    Free [00:00..., --:--] If you select a 44.1 kHz or 48 kHz WAVE file, you can press the SAMPLING [START/STOP] key to play it Displays the time that remains on the media inserted in the back. In this case, the lower line will indicate “(Sam- CD-R/RW drive selected by “Media Select.”...

  • Page 207

    0–4B: Write to CD Two seconds of silence will be added to the end of each track except the last track. When this command is executed, the WAVE files specified in the audio track list will be written as audio CD tracks. If 0–4C: Finalize Audio CD desired, you can also finalize the disc at this time.

  • Page 208

    CD. Input2: Connect the audio output of your CD-ROM/R/RW drive to the TRITON Extreme’s AUDIO INPUT 1, 2 jacks. Level [0...127] It is convenient to use this method to verify a CD that you [L000...C064...R127]...

  • Page 209

    Wave files that exceed the capacity of Range Start” and “Edit Range End.” the TRITON Extreme’s sample memory (RAM); approxi- Only 44.1 kHz or 48 kHz WAVE files can be played back mately 8,388,588 samples, or 2 minutes 54 seconds of mon- using the SAMPLING [START/STOP] key.

  • Page 210

    Loop On/Off [Off, On] 0–6A: Save WAVE Parameter Specifies whether the WAVE file waveform will be looped. This command saves the state of the WAVE parameters On (checked): The waveform will play repeatedly from (“Loop On/Off,” “LoopS,” “End” 0–6b) to the WAVE file. “LoopS”...

  • Page 211

    (For details on this command and the procedure, refer to refer to “0–6A: Save WAVE Parameter” steps 2 and 3 .) “Sampling P1: 1–1D: Copy.”) 0–6K: Volume Ramp 0–6F: Insert This command modifies the data values (volume) of the This command inserts the data in the edit buffer (obtained “Edit Range Start”–“Edit Range End”...

  • Page 212

    0–6M: Time Stretch (Sustaining) 6 To execute the Time Stretch command, press the OK but- ton. Time Stretch is a function that modifies the tempo by length- The Time Stretch dialog box will appear. ening or shortening the length of the data without affecting the pitch.

  • Page 213

    0–6N: Transfer WAVE to Track 0–6O: Mono to Stere The selected Wave file will be placed in a MIDI track of the This command performs on a Wave file the same function as song in the same way as with In-Track Sampling. performed by the Sampling mode P0: Recording page menu The WAVE file will be loaded into sample memory (RAM), command “Sample Mono To Stereo.”...

  • Page 214: Media

    ▼ 0–7: Page Menu Command 0–7: Media Info (Media Information) This displays information on the media that is selected by 0–7A “Media Select” (0–1c). 0–7A: Scan USB device 0–7 This command mounts a USB device. 0–7a 1 Select “Scan USB device.” The currently-connected USB devices will be re-scanned.

  • Page 216: Effect Guide, Overview, Effects In Each Mode, Effect I/o

    032–040 Other modulation and pitch-shifting effects, such as rotary speaker and pitch shifter or the TRITON Extreme can be used as a 4-in (AUDIO 041–051 Early reflection and delay effects INPUT 1, 2, and S/P DIF IN L, R) 6-out effect processor. The TRITON Extreme can also be used as a vocoder effect (093: 052–057...

  • Page 217: Insert Effects (ifx 1, 2, 3, 4, 5), In/out

    The TRITON Extreme does not have an input level Insert Effects (IFX 1, 2, 3, 4, 5) meter to detect the effect input level. If the input level is too low, the S/N ratio may decrease. On the other hand, if the input level is too high, clipping may occur.

  • Page 218: Routing

    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 219

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

  • Page 220: Mixer

    The following illustration shows an example of bus settings In these modes, you can also use the TRITON Extreme as a in which the samples assigned to a multisample are resam- 4-in/6-out effect processor to modify the external audio pled with IFX1 applied. Set “BUS (IFX) Select” (Sampling input, or use the external audio in conjunction with the P8: 8–1b) to IFX1.

  • Page 221: Controlling The Insert Effects Via Midi

    Using the Dynamic Modulation (Dmod) function enables you to control all effect parameters in real-time during per- formance from the controllers of the TRITON Extreme or a connected MIDI sequencer. You can also control the Pan (CC#8),” “Send1,” and “Send2” parameters in the same way.

  • Page 222: Master Effects (mfx1, 2), In/out, Routing

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

  • Page 223

    Send1 responds to CC#93 and Send2 responds to “Send1 (MFX1)” and “Send2 (MFX2)” will be effective. (At CC#91 on MIDI Global channel “MIDI Channel” (Glo- this time, the actual send levels use these Send 1 and 2 val- bal P1: 1–1a). At this time, the actual send level uses the ues multiplied by the Send1 and 2 settings for Program value of the Send 1 and 2 settings for Oscillators 1 and oscillators 1 and 2.)

  • Page 224: Controlling The Master Effects Via Midi, Mixer, Master Eq

    You can use the Dynamic Modulation (Dmod) function to control all Master Effects parameters in real-time from the 25:75, 100% with the Wet setting, and 0% with the Dry set- TRITON Extreme’s controllers or from an external MIDI ting). The signals with the “Return1” and “Return2” settings sequencer.

  • Page 225: Main Output, Individual Outputs, Valve Force, Placement

    Main Output Valve Force The main L/MONO and R outputs of the TRITON Extreme Valve Force is an analog circuit that uses a 12AU7 (ECC82) are output from the AUDIO OUTPUT (MAIN) L/MONO vacuum tube. The single vacuum tube supports stereo-in/ and R jacks, the S/P DIF OUT (MAIN) jack, and the head- stereo-out processing.

  • Page 226: In/out

    Sampling mode 2–3. Sampling mode If “Placement” is set to Final: Placement: Insert (Use 3/4 BUS) The signal is sent through Valve Force at the last stage of the Digital Analog L/R output. Use this setting to send the sound of a multi- Valve Force Volume On/Off...

  • Page 227: Effect/mixer Block Diagram

    Effect/Mixer Block Diagram Program mode Effect / Mixer Block Diagram in Program Mode P8: Insert Effect P9: Master Effect IFX / Indiv.Out BUS Select Send2 Send1 L/R BUS Oscillator 1 BUS Select = IFX1 Oscillator 2 BUS Select Analog Input 1 = L/R BUS Select Analog Input 2...

  • Page 228: Filter/dynamic, Filter And Dynamics Control Effects 000: No Effect, St. Amp Simulation (stereo Amp Simulation)

    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...

  • Page 229: 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 ☞...

  • Page 230: Stereo Gate, Od/hi.gain Wah (overdrive/hi.gain Wah)

    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 231

    007: St. Parametric 4EQ Output Level 0...50 ☞ Sets the output level (Stereo Parametric 4-Band EQ) Off...Tempo Selects the modulation source for the output level This is a stereo 4-band parametric equalizer. You can select –50...+50 peaking type or shelving type for Band 1 and 4. The gain of Sets the modulation amount of the output level Band 2 can be controlled by dynamic modulation.

  • Page 232: St. Graphic 7eq (stereo Graphic 7 Band Eq), St. Wah/auto Wah (stereo Wah/auto Wah)

    009: St. Wah/Auto Wah d: Band2 Dynamic Gain Src, d: Amt [dB], f: Gain [dB] You can control the gain of Band 2 using the modulation source. (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 233: St. Random Filter (stereo Random Filter)

    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.

  • Page 234: St. Exciter/enhncr (stereo Exciter/enhancer), St. Sub Oscillator (stereo Sub Oscillator)

    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 235: 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...

  • Page 236: 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 237: Pitch/phase Mod, Stereo Chorus, St. Harmonic Chorus (stereo Harmonic 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 238: Multitap Cho/delay (multitap Chorus/delay), Ensemble

    g: High/Low Split Point Wet/Dry 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. –100...+100 Sets the modulation amount of the effect balance h: Feedback...

  • Page 239: Stereo Flanger, St. Random Flanger (stereo Random Flanger)

    020: Stereo Flanger g: High Damp [%] This parameter sets the amount of damping of the feedback in the This effect gives a significant swell and movement of pitch to high range. Increasing the value will cut high-range harmonics. the sound. It is more effective when applied to a sound with a lot of harmonics.

  • Page 240: St. Env. Flanger (stereo Envelope Flanger), 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 241: St. Random Phaser (stereo Random Phaser), St. Env. Phaser (stereo Envelope Phaser)

    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 242: St. Biphase Mod. (stereo Biphase Modulation), 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 243: St. Auto Fade Mod. (stereo Auto Fade Modulation), 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 244: 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 245: 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 246: Mod./p.shift, Stereo Tremolo, St. Env. Tremolo (stereo Envelope 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 247: Stereo Auto Pan, St. Phaser + Trml (stereo Phaser + Tremolo)

    “Depth”=100, “Envelope Amount”=–100 nel will cross over each other. You need to input different sounds to each channel in order for Shimmer this parameter to be effective. Level Dry Envelope LFO Frequency[Hz]=8.0 Envelope Amount[Hz]= –7.0Hz Depth=100 Stereo Auto Pan - LFO Phase Envelope Amount= –100 LFO Phase = 0 degrees LFO Phase = 90 degrees...

  • Page 248: St. Ring Modulator (stereo Ring Modulator)

    Tremolo Shape –100...+100 LFO Frequency [Hz] 0.02...20.00Hz ☞ Sets the degree of the tremolo LFO shaping Fx:020 Sets the LFO speed of the oscillator frequency modulation ☞ Fx:009, Tremolo Depth 0...100 Sets the tremolo modulation depth Off...Tempo Selects the modulation source of LFO speed Off...Tempo Selects the modulation source for the tremolo modulation depth –20.00...+20.00Hz...

  • Page 249: 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 250: Pitch Shift Mod. (pitch Shift Modulation), 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 251: 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 252: Auto Reverse, L/c/r Delay

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

  • Page 253: Stereo/cross Delay, St. Multitap Delay (stereo Multitap 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 254: St. Modulation Delay (stereo Modulation Delay), St. Dynamic Delay (stereo Dynamic Delay)

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

    a: Control Target Panning Freq (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 256: 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...

  • Page 257: Reverb, 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% ☞ Reverb effects Sets the damping amount in the low range Fx:043 Input Level Dmod [%] –100...+100 These effects simulate the ambience of reverberation in con- ☞...

  • Page 258: Reverb Room, Reverb Brightroom, Mono – Mono Chain

    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 259: P4eq – Wah (parametric 4-band Eq – Wah/auto Wah)

    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 connec- equalizer and a chorus/flanger.

  • Page 260: P4eq – Phaser (parametric 4-band Eq – Phaser)

    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 261: Comp – Wah (compressor – Wah/auto Wah), Comp – Amp Sim (compressor – Amp Simulation)

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

    [O] Output Level 0...50 [E] Band3 Cutoff [Hz] 300...10.00kHz ☞ Sets the overdrive output level Fx:006, Sets the center frequency for Band 3 Off...Tempo 0.5...10.0 ☞ Selects the modulation source for the overdrive output level Sets the bandwidth of Band 3 Fx:006 –50...+50 Gain [dB]...

  • Page 263: Comp – Phaser (compressor – Phaser), Comp – Mt. Delay (compressor – Multitap Delay)

    069: Comp – Mt. Delay Wet/Dry Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds (Compressor – Multitap Delay) Off...Tempo Selects the modulation source of the effect balance This effect combines a mono-type compressor and a multitap –100...+100 delay.

  • Page 264: Limiter – P4eq (limiter – Parametric 4-band Eq)

    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 265: Limiter – Phaser, Limiter – Mt. Delay (limiter – Multitap Delay)

    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 266: Exciter – Limiter, Exciter – Cho/flng (exciter – Chorus/flanger)

    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 267: Exciter – Phaser, Exciter – Mt. Delay (exciter – Multitap Delay)

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

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

    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 270: Wah – Amp Sim (wah/auto Wah – Amp Simulation)

    083: Wah – Amp Sim [D] Sampling Freq (Frequency) [Hz] 1.00k...48.00kHz Sets the sampling frequency (Wah/Auto Wah – Amp Simulation) Resolution 4...24 ☞ Sets the data bit length Fx:014 This effect combines a mono-type wah and an amp simula- [D] Output Level 0...100 tion.

  • Page 271: Amp Sim – Tremolo (amp Simulation – Tremolo)

    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 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...

  • Page 272: Phaser – Cho/flng (phaser – Chorus/flanger), 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 273: Double Size, Piano Body/damper (piano Body/damper Simulation), St. Mltband Limiter (stereo Multiband Limiter)

    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 274: Vocoder

    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 Wah Sweep Src Off...Tempo Response 0...100 Selects the modulation source that controls the Wah Sets the speed of the response to the modulator input Drive Mode Overdrive, Hyper-Gain Noise Level...

  • Page 275

    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 276: Rotary Speaker Od (rotary Speaker Overdrive)

    Input Level Dmod [%] –100...+100 Horn/Rotor Balance Rotor, 1...99, Horn ☞ Sets the modulation amount of the input level Fx:037, Sets the volume level balance between the high-range horn and low- range rotor Off...Tempo ☞ Selects the modulation source for the input level Fx:037 ManualSpeedCtrl Off...Tempo...

  • Page 277: Early Reflections, L/c/r Long Delay, St/cross Long Dly (stereo/cross 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 278: Lcr Bpm Long Dly (l/c/r Bpm Long Delay)

    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 279: 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 280: Master Eq

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

  • Page 282: Appendices, Alternate Modulation Source (ams), About Alternate Modulation, About Alternate Modulation Sources

    9. Appendices Alternate Modulation Source (AMS) About Alternate Modulation About Alternate Modulation Sources Alternate Modulation can be specified for the following 29 There are 42 Alternate Modulation sources (AMS) that can types, in total, 55 alternate modulation destinations shown control Alternate Modulation destinations. in the diagram below.

  • Page 283: Ams (alternate Modulation Source) List

    Note Number note number (EXT) Velocity velocity (EXT) Poly After (Poly After Touch) polyphonic after touch (transmitted from the TRITON Extreme only as sequence data) (EXT) After Touch after touch (channel after touch) (EXT) JS X (Joy Stick X) joystick X (horizontal) axis...

  • Page 284

    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 (Vertical Flt KTrk 0/+ (Filter Keyboard Track 0/+) upward) and by after touch.

  • Page 285: 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 286

    • If you select the same controller as an “AMS” and set • If you use a controller such as SW1 or 2 as the “AMS”, separate intensities for Filter A (Low Pass Filter) you can apply the auto-wah effect when desired by “Intensity”...

  • Page 287

    EG Level - Pitch EG (Program P2: 2–3b) Dynamic Modulation Source (Dmod) Filter EG (Program P3: 3–4b) Amp EG (Program P4: 4–3b) You can control certain effect parameters using the joystick, EG levels can be controlled by keyboard tracking, control- ribbon controller, etc.

  • Page 288: Dynamic Modulation Source List

    Dynamic Modulation Source List Source name Explanation dynamic modulation is not used Gate1 note on/off (☞p.277) Gate1+Dmpr (Gate1+Damper) note on + damper on/off (☞p.277) Gate2 note on/off (retrigger) (☞p.277) Gate2+Dmpr (Gate2+Damper) note on + damper on/off (retrigger) (☞p.277) Note Number note number Velocity Velocity...

  • Page 289: About The Bpm/midi Sync Function

    About the BPM/MIDI SYNC function Moving the knob to the 12 o’clock position will produce a effect of 0 as the dynamic modulation source. If “Amt” is a BPM/MIDI SYNC can be used for most effects that have an positive (+) value, rotating the knob toward the right will LFO, such as 009:St.

  • Page 290: Sw1/2 Assign, Sw1, Sw2 Assign List

    SW1/2 Assign The following functions can be assigned to the [SW1] or These settings can be made in Program mode for each [SW2] keys. program, in Combination mode for each combination, and in Sequencer mode for each song. In Song Play Set the “Panel Switch Assign”...

  • Page 291: Knob 1...4 B-assign, Realtime Control Knobs B–assign List

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

  • Page 292: Foot Switch Assign, Foot Switch Assign List

    Foot Switch Assign are fixed. Knob1-A: LPF CUTOFF (Filter LPF Cutoff: CC#74) You can assign the function of an assignable switch (Korg Control the low pass filter cutoff frequency of the filter. PS-1 option) connected to the ASSIGNABLE SWITCH jack.

  • Page 293: Foot Pedal Assign, Foot Pedal Assign List

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

  • Page 294: Controllers Are Operated

    Knob1...4 B-Assign and SW1/2 Assign settings of each mode. If one of the TRITON Extreme’s controllers is operated dur- ing realtime recording, the corresponding or assigned con- The following page describes operation in each mode. (Only trol change will be recorded.

  • Page 295

    The following table shows the relation between the MIDI source) or DMS (dynamic modulation source) that corre- messages that are transmitted when the TRITON Extreme’s spond to each MIDI message. # indicates a fixed function, controllers are operated, and the AMS (alternate modulation and * indicates an assignable function.

  • Page 296: Transmitted/received

    The following table shows the operations that the TRITON TRITON Extreme operations when con- Extreme will perform when control change messages are received, and the relation between settings and controller trol changes are transmitted/received movements on the TRITON Extreme CC# Control...

  • Page 297

    (06H=CC#6), 34H=52 (corresponds to –12), and [B0, 26, Corresponds to “Filter A Frequency” (Program P3: Filter 00] (26H=CC#38, 00H=0). 1/2 page). *3The volume of the TRITON Extreme is determined by Corresponds to “Filter B Frequency” (Program P3: Filter multiplying the Volume (CC#07) with the Expression 1/2 page).

  • Page 298

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

  • Page 299: Midi Applications, About Midi, Connecting Midi Devices/computers (midi Connectors)

    MIDI device to the MIDI IN con- “After Touch Curve” 3. nector of the TRITON Extreme. Connecting an external MIDI sequencer or computer etc. If you want to use the TRITON Extreme as an input key- MIDI IN MIDI OUT MIDI keyboard TRITON Extreme...

  • Page 300

    When using the TRITON Extreme by itself, leave Local Con- • When the sequencer is played back, musical data of trol turned on. (If this is off when the TRITON Extreme is tracks whose “Status” is BTH, EXT, or EX2 will be used by itself, playing the keyboard will not produce transmitted on the specified MIDI channels.

  • Page 301

    8,192 [bb, mm = 00H, 40H] is the center value) “Status” is BTH, EXT, or EX2 when you select the “Pro- When the TRITON Extreme’s joystick is moved in the X axis gram Select” (P0: Program page), when you select a song, (left/right), a pitch bend effect will be applied, and pitch or when you return to the beginning of a measure.

  • Page 302

    Modulation 1 depth (CC#01) [Bn, 01, vv] The volume of the TRITON Extreme is determined by multi- When you move the TRITON Extreme’s joystick in the +Y plying the value of the Volume message with the value of direction (Vertical upward), Modulation 1 Depth messages the Expression message.

  • Page 303

    MIDI channel in Program and another instrument connected to the TRITON Extreme. Sampling modes, and on the MIDI channel specified for Valve Force in Combination, Sequencer, and Song Play modes.

  • Page 304

    (NRPN (Non-registered control change, and how the TRITON Extreme will respond Parameter Numbers) and exclusive messages can be freely in each mode when these are received, refer to “TRITON...

  • Page 305

    NRPN arpeggiator on/off The TRITON Extreme can receive the following three RPN [Bn, 63, 00, Bn, 62, 02, Bn, 06, mm] messages (tuning, transpose, and pitch bend range). This message will be transmitted when you press the ARPEGGIATOR [ON/OFF] key. When the switch is turned...

  • Page 306

    Extreme will respond by transmitting an inquiry message TRITON Extreme’s switches. (“Writing to internal mem- that means “I am a Korg TRITON Extreme, with system ver- ory” ☞OG p.114) sion ...”...

  • Page 307

    When you edit individual parameters, parameter The choice of whether the TRITON Extreme will be the mas- change, drum kit parameter change, user arpeggio pattern ter (the controlling device) or the slave (the controlled parameter change messages or song parameter change mes- device) is made by “MIDI Clock”...

  • Page 308

    The TRITON Extreme supports the GM standard. It also sequencer/computer supports the GM2 sound map (including bank select) with Set the TRITON Extreme to Local Control Off. Set the exter- 256 programs and 9 drum programs provided in ROM nal MIDI sequencer/computer to Echo Back On. With these banks G, g(1)–g(9), and g(d).

  • Page 309

    For banks that are used in common by GS/XG, GS Reset/XG System ON will be received to automatically • If TRITON Extreme song data that was saved as a format convert to the optimal bank/program map for each. 1 SMF file is loaded into another device, the track...

  • Page 310: Triton Extreme Midi Implementation


  • Page 313: Various Messages

    Can’t open pattern Continue ? Various messages Meaning: When you finished recording or editing, it was not possible to allocate enough memory to open the pattern that was Put into the track. (When it must be opened automatically.) If you press the Are you sure ? OK button, the pattern data will be deleted, and the recorded or edited content will be saved.

  • Page 314

    Meaning: When executing the Media mode utility com- (if possible) to convert the file into a format that is mand “Convert to ISO9660 Format,” an error supported on the TRITON Extreme, and then load occurred while rewriting the UDF area. Action: Use other media.

  • Page 315

    Action: Media that was formatted or written by a device is not possible. other than the TRITON Extreme may be impossi- Action: Delete other song data etc. to increase the amount ble for the TRITON Extreme to convert into of free memory.

  • Page 316

    In Global mode, turn off write-protect, and exe- required more than 1,048,576 bytes. Such a file cute the write or load operation once again. cannot be loaded by the TRITON Extreme. MIDI data receiving error Not enough memor y to load Meaning: While receiving MIDI exclusive data, the format Meaning: When you attempted to load a .SNG file or a stan-...

  • Page 317

    Meaning: This is a dialog box displayed when you load a not be executed because a pattern had been put in TRITON Extreme .PCG file that contains drum kit the destination end measure or the source start banks C/D/User or user arpeggio banks C/D, measure, and had not been opened.

  • Page 318

    Selected file/path is not correct Meaning: When loading a divided .PCG file, you attempted There is no readable data to load a .PCG file of the same name that was not Meaning: Either the file size is 0 or the file does not contain divided or had differing contents.

  • Page 319

    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 320: Data Compatibility

    If you save Rack. this state as a .PCG file and load it into the TRITON Extreme, or transmit it to the TRITON Extreme as a MIDI Receive Ext. Realtime Command data dump, the parameter settings will be initialized.

  • Page 321

    Extreme as internal data, but are ignored. If this state is will not sound/operate correctly. saved by the TRITON Extreme as a .PCG file or transmit- • TRITON-Rack → TRITON Extreme, TRITON ted via MIDI data dump, the data will be output with the settings that were loaded or received.

  • Page 322

    The following table shows the bank/number structure for the programs, combinations, drum kits, and arpeggio patterns of the TRITON Extreme, TRITON STUDIO, TRITON, and TRITON-Rack. If data for a bank/number that does not exist on a model is loaded into that model, it will not sound/operate correctly. Care must be taken when loading files, dumping MIDI data, or using MIDI parameter changes between the TRITON Extreme, TRITON STUDIO, TRITON, and TRITON-Rack.

  • Page 323

    Play Intro invalid on the TRITON-Rack • TRITON Extreme, TRITON STUDIO or TRITON → 5-1. Global mode parameters of the TRITON Extreme, TRITON TRITON-Rack (.SNG file load/MIDI data dump): STUDIO and TRITON These parameter settings are maintained by the TRITON- Rack as internal data, but are ignored.

  • Page 324

    Limitations on reception of MIDI data dumps between the TRITON Extreme, TRITON STUDIO, TRITON, and TRI- TON-Rack are described by the table below. Table of limitations affecting MIDI data dump reception between the TRITON Extreme, TRITON STUDIO, TRITON-Rack, and TRITON Receiving device Data dump...

  • Page 325

    [8] Data compatibility with other models 8-2. Parameters that are valid on the TRITON Le but invalid on the TRITON Extreme TRITON Extreme is able to load and simultaneously convert Insert effects (IFX) .PCG/.SNG files that are in KARMA Music Workstation •...

  • Page 326: Media Mode Information, Chunks That Are Supported

    AIFF files Common Chunk The number of channels is fixed at 1 (mono). When data is loaded into the TRITON Extreme, the follow- The sample size is fixed at 16 bits. ing four chunks are referenced: Common chunk, Sound Data chunk, Marker chunk, and Instrument chunk. Other Marker Chunk chunks are ignored.

  • Page 327: About Korg Format files

    If the .KSF filename is “INTERNALnnnn”, internal samples Unless stated otherwise, all data is Big Endian. will be used. ● When a Korg format file saved on the TRITON Extreme is ● Relative parameter chunk 2 loaded by the TRINITY, Chunk ID (‘RLP2’)

  • Page 328

    .KMP/.KSF files which are to be handled together. 10417/9891/9800/9481/9406/9259/8711/8000/7937/ Lines beginning with # are ignored as comment lines. 7813/7418/7350/7111/7055/6945/6534/6000/5953/ The first line of the file must begin with “#KORG Script Ver- 5564/5513/5333/5291/5208/4945/4900/4741/4703/ sion 1.0” and subsequent lines (except for comment lines) 4630/4356/4000/3968/3906/3709/3675/3556/3527/ consist only of filename.

  • Page 329: About Akai Program files

    Key zones can also be crossfaded. If you load an AKAI Program file into the TRITON Extreme with “Advanced Conversion Load” unchecked, a single sample will correspond to each key zone, meaning that a maximum of four multisamples will be used to create a key map in the velocity order of each key group.

  • Page 330: Option Boards/memory/calendar Battery, Please Note When Installing An Option Board/memory

    • Avoid touching exposed metal edges of the circuit damage that may occur from improper use or modifica- board, or portions that need not be handled during tion of this product. Nor will Korg Inc. be responsible for installation. any damages resulting from the loss or destruction of •...

  • Page 331: About Option Boards/memory/calendar Battery, Checking After Installation

    EXB-MOSS (DSP synthesizer board) battery voltage has run low, the LCD screen will show a This adds to the TRITON Extreme a MOSS tone generator message of “Battery voltage for calendar IC is low” that provides thirteen oscillator algorithms, including Stan- when the power is turned on.

  • Page 332: Installing A Dram Simm

    3 Verify the location of the slot into which you will install the DRAM SIMM module. When the TRITON Extreme is shipped from the factory, a 16 Mbyte DRAM SIMM module is installed in the slot located at the rear. If you want to add one or two addi- tional memory modules, install them in the vacant slots.

  • Page 333: Installing The Exb-moss

    While performing the installation, be careful of any sharp or pointed edges of the TRITON Extreme or the option board. 1. Firmly press in at an angle.

  • Page 334

    • 88 key model 9 Use the four screws to attach the EXB-MOSS to the corre- Using a screwdriver, remove four screws from the EXB- sponding brackets inside the TRITON Extreme. MOSS cover, and lift up the cover. EXB-MOSS Screw...

  • Page 335: Replacing The Calendar Battery

    “Battery voltage for cal- endar IC is low” is no longer displayed. While performing this procedure, be careful of any sharp edge or corner of the TRITON Extreme or an You must be sure to perform this check immediately option board.

  • Page 336: Using External Usb Devices, Connecting An External Usb Storage Device, Connecting Your Computer

    USB storage device (CD-R/RW, removable disk, hard disk, be detected. etc.) and save data from the TRITON Extreme to this media or load data from the media into the TRITON Extreme. 3 Use the Media mode Media Select screen to check the You can connect the USB B connector to your computer, and connection.

  • Page 337: Usb-midi Driver Installation And Settings

    Korg USB-MIDI driver using the same procedure. 1 Use a USB cable to connect the TRITON Extreme’s USB B connector to the USB port of your computer. Make sure that the connectors are oriented correctly, and insert them all the way in.

  • Page 338

    5 In response to “Please choose your search and installa- 8 Make sure that KORG TRITON Extreme is displayed as tion options,” you must click “Don’t search. I will choose the Model, and click [Next>] to begin installing the the driver to install,” and then click [Next>].

  • Page 339

    1 On the taskbar, click the [Start] button and then [Control Devices], and click the [Hardware] tab. Panel] to open the Control Panel. From the list of devices, select KORG TRITON Extreme From the Control Panel, open [System] and click the and click the [Properties] button.

  • Page 340: About The Triton Extreme And Driver Ports

    Mac OS X 10.2 or later. Applications on your computer use this port to receive MIDI To set up the TRITON Extreme for use with Mac OS X, fol- messages from the TRITON Extreme (data from the key- low the steps below.

  • Page 341: Packet Writing Support On The Triton Extreme

    Deleting a file merely makes the file appear as if it had been deleted, and will not increase the free area. Also, The TRITON Extreme can use packet writing to write to a each time a file is updated, a new file is added, and pro- CD-R/RW of the USB device.

  • Page 342

    Such data cannot be read by devices that do not sup- port loading of divided files, such as the TRITON and some computers. In the case of a computer, this CD-R data can be read if you can install ISO9660 level 3 com- patible reader software or packet writing software.

  • Page 343: Index

    Audio CD 138 Index Audio CD Track List 190 BPM/MIDI SYNC function 278 Detune (BPM Adj. in Page AUDIO OUTPUT (INDIVIDUAL) Menu) Numerics Combination 44 Auto Sequencer 73 000: No Effect 206, 217 Auto +12 dB On 7, 64, 117 Detune BPM Adjust Auto Arpeggiator 156 10’s Hold...

  • Page 344

    Chain Copy Valve Force 36 Delete Measure 81 IFX 31, 52, 97, 140, 207 Copy, File, Directory 191 Delete MS 109 MFX 33, 53, 213 Copy, Index 136 Delete Sample 108 Chain Direction 33, 53, 213 Copy, Sample data 120 Delete Song 58 Chain Level 33, 53, 213 Copy, Step, Cue List 70...

  • Page 345

    .KMP, .KSC, .KSF file 175, 182, 183, Program 34 197, 201 Sequencer 98 Translation 177 Song Play 153 Initialize Steps 173 Korg format 182, 188, 316 Master Track 56 Input (COMBI, PROG, SEQ, S.PLAY, Master Tune 155 MEDIA) 4, 41, 63, 159, 197 (SAMPLING) 114...

  • Page 346

    Media Pitch Check Medium 193 Arpeggio Pattern Octave Total Size 203 Pitch Offset 172 Octave Motion, Arpeggiator Type 176, 203 Combination Bend Range 44 Media select 7, 112, 139, 148, 176 Octave, Arpeggiator 4, 28, 41, Detune 44 Memory Protect 159 50, 150, 171 Transpose 44 Octave, Drum Kit 12...

  • Page 347

    Program Change Ribbon controller .SNG file 175, 183, 187 MIDI Filter 162 AMS 272 Solo Combination 45 Dmod 277 SOLO ON/OFF 58, 144 Sequencer 74 MIDI Filter Solo Selected Timbre 39 Combination 46 Punch In Solo Selected Track 58, 144 Sequencer 75 Auto Punch In 67 Song 56, 58, 69...

  • Page 348

    User drum kit 12, 167 Zone Range 116 User Octave Scale 165 ZOOM 118, 126, 198 Template song User pattern 88 Load Template Song 60, 144 Preset Template Song 60 User Scale 165 Save Template Song 60, 145 User template song 60, 144, 145 User Template Song 60 Tempo 2, 27, 37, 49, 56, 69, 116, 127, 131, 136, 143, 171...

  • Page 354

    Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer’s or distributor’s warranty. KORG INC. 15 - 12, Shimotakaido 1 - chome, Suginami-ku, Tokyo, Japan.  2004 KORG INC. 1602 GTH Printed in Japan...

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    Como poder mixtiar batería bajo y piano
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    Como poder mixtiar batería bajo y piano