Korg TRITON Le Electric Keyboard Parameter Manual

Korg electric keyboard parameter guide.
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  • Page 2: About This Manual, Conventions In This Manual

    About this manual This “Parameter Guide” contains explanations and other information regarding the operations of the parameters and settings on the TRITON Le. The explanations are organized by mode, page, and tab. Explanations and other information on the effects and their parameters are also provided for each effect.

  • Page 3: Table Of Contents

    Table of Contents 1. Program mode ... 1 PROG PAGE MENU ... 1 PROG 1.1: Play... 1 1.1–1: Program ... 1 1.1–2: P.Edit (Performance Editor) ... 3 1.1–3: Arp (Arp. Play)... 4 PROG 2.1: Ed–Basic ... 5 2.1–1: Basic (Prog Basic)... 5 2.1–2: OSC1 ...

  • Page 4: Table Of Contents

    COMBI 3.4: Ed–Vel Zone (Velocity Zone)...40 3.4–1: Vel (Velocity Zone)...40 3.4–2: Slope (Velocity Slope)...40 3.4–3: Review ...40 COMBI 4.1: Ed–MIDI Filter1...41 4.1–1: MIDI 1–1 (MIDI Filter 1–1)...41 4.1–2: MIDI 1–2 (MIDI Filter 1–2)...41 COMBI 4.2: Ed–MIDI Filter2...41 4.2–1: MIDI 2–1 (MIDI Filter 2–1)...41 4.2–2: MIDI 2–2 (MIDI Filter 2–2)...42 COMBI 4.3: Ed–MIDI Filter3...42 4.3–1: MIDI 3–1 (MIDI Filter 3–1)...42...

  • Page 5: Table Of Contents

    SEQ 4.4: MIDI Filter4... 68 4.4–1: M4–1..8 (MIDI Filter4–1 T01...08) ... 68 4.4–2: 4–2..16 (MIDI Filter4–1 T09...16) ... 68 4.4–3: 4–2..8 (MIDI Filter4–2 T01...08) ... 68 4.4–4: 4–2..16 (MIDI Filter4–2 T09...16) ... 68 SEQ 5.1: RPPR ... 69 5.1–1: Pattern... 69 5.1–2: RPPR Setup...

  • Page 6: Table Of Contents

    7. Effect Guide ... 155 Overview ...155 1. Effects in each mode ...155 2. Dynamic modulation (Dmod)...155 3. Effect I/O ...155 Insert Effect (IFX) ...156 1. In/Out ...156 2. Routing...156 3. Mixer ...158 4. Controlling the Insert Effects via MIDI...159 Master Effects (MFX1, 2)...159 1.

  • Page 7: Table Of Contents

    Data compatibility ... 245 Media mode information ... 247 Chunks that are supported... 247 About KORG format files... 248 Option EXB-SMPL ... 253 Memory that can be used with the option board ... 253 Please note when installing an option board... 254 Option board/memory installation procedure ...

  • Page 8: Program Mode, Prog Page Menu, Prog 1.1: Play, Program

    1. Program mode PROG PAGE MENU Use the following procedure to select the desired page from within the current mode. 1 Press the [MENU] key to access the “PAGE MENU.” The “PAGE MENU” will show an abbreviated name for each page. 2 Use the [F1]–[F7] keys at the bottom of the page to select the desired page.

  • Page 9

    Program Select [(A…D)0…127: name, (G, g(d))1…128: name] Selects a program. Choose this parameter, and use the [INC], [DEC] keys, numeric keys [0]–[9], or the [VALUE] dial to select a pro- gram. You can select programs by category, or by using “10’s Hold.”...

  • Page 10: P.edit (performance Editor)

    4 Press “To” to specify the writing destination. You can also use the Bank [A]–[D] keys to select a bank. It is not possible to write to banks G, g(d). If you have edited a program from banks G, g(d) and wish to write it, you must write to banks A–D.

  • Page 11: Arp (arp. Play)

    Decay (Decay Time) This adjusts the Decay Time and Slope Time of the filter EG and amp EG. With an adjustment of +00, the value of the program param- eters will be unchanged. Positive (+) settings will lengthen the Decay Time and Slope Time beyond the values that were set.

  • Page 12: Prog 2.1: Ed–basic, Basic (prog Basic)

    PROG 2.1: Ed–Basic Here you can make basic settings for the oscillator(s). 2.1–1: Basic (Prog Basic) 2.1–1a 2.1–1b 2.1–1c 2.1–1a: Oscillator Mode (Oscillator Mode) [Single, Double, Drums] Specifies the basic program type; whether it will use one or two oscillators, or a drum kit. Single: The program will use one oscillator (Oscillator 1, Filter 1, Amplifier 1).

  • Page 13: Osc1

    Indicates the tonic note of the specified scale. This setting is not valid for Equal Temperament, Stretch, and User All Notes Scale. Random As this value is increased, a greater variance will be applied to the pitch when each note is sounded. Normally you will set this to 0.

  • Page 14

    Each multisample has an upper limit, and may not pro- duce sound when played above that limit. S.Ofs (High Start Offset) This specifies the point at which the multisample will begin sounding. For some multisamples this parameter will have no effect. On (checked): The sound will start from the start offset location that is pre-determined for each multisample.

  • Page 15: Osc2, V.zone (velocity Zone)

    For the procedure, refer to “Select by Category” ( p.2). This command is valid when the 2.1–2b: High, Low parameters are selected under the following conditions. • “Mode (Oscillator Mode)” (2.1–1a) is set to either Single or Double • “High MS Bank” and “Low MS Bank” (2.1–2b) are set to ROM Sample Parameters This is displayed and can be edited if the EXB-SMPL option...

  • Page 16: Audit. (audition), Prog 2.2: Ed–ctrl, Ctrls (controls)

    2.1–5: Audit. (Audition) When selecting preloaded programs, you can play back a pre-specified riff (phrase) that is suitable for the sound of that program. This is called the Audition function. When you press the [AUDITION] key to turn it on, the audi- tion riff will play back repeatedly.

  • Page 17: Prog 3.1: Ed–pitch, Osc1

    In order to maintain compatibility, you are able to set these “invalid” parameters on this instrument. N/A indicates Not Available. Ribbon Lock : N/A JS X&Rbn Lock : N/A JS+Y&Rbn Lock : N/A JS-Y&Rbn Lock : N/A 2.2–1c: UTILITY “Write Program” (1.1–1c), “Copy Oscillator,” “Swap Oscillator”...

  • Page 18: Os1lfo (osc1 Lfo), Osc2

    range of pitch change produced by the pitch EG in a range of ±1 octave ( p.214). As you play more softly, the pitch change will draw closer to the pitch EG levels. Pitch change (level) Note-on Note-on Note-off Note-off Softly played Strongly played with a positive (+) value...

  • Page 19: Eg (pitch Eg)

    3.1–4: OS2lfo (OSC2 LFO) Specifies the amount of pitch change produced by LFO1 and LFO2 for oscillator 1. For an explanation of each parameter, refer to the preceding “3.1–2: OS1lfo.” 3.1–5: EG (Pitch EG) Here you can make settings for the pitch EG, which creates time-variant changes in the pitch of oscillators 1 and 2.

  • Page 20: Prog 4.1: Ed–filter1, Basic

    AMS2 (Level Mod. AMS2) I (AMS2 Intensity) S (AMS2 SW Start) A (AMS2 SW Attack) Refer to the preceding paragraphs “AMS1 (Level Mod. AMS1)”–“A (AMS1 SW Attack).” 3.1–5c: Time Mod. (Time Modulation) These parameters let you use alternate modulation to con- trol the “T (Time)”...

  • Page 21: Mod.1 (filter1 Modulation1)

    Reso.AMS (Resonance AMS) [Off, (PEG, FEG, AEG, LFO, KT, EXT)] Indicates the source that will control the “Resonance (A Res- onance)” level ( p.212 “AMS List”). Intensity (AMS Intensity) Specifies the depth and direction of the effect that “Reso. AMS (Resonance AMS)” will have on the resonance level specified by “Resonance (A Resonance).”...

  • Page 22: Mod.2 (filter1 Modulation2)

    Int. to B (KBDTrk Int. to B) Specifies the depth and direction of the effect on filter 1B produced by keyboard tracking. ( “Int. to A (KBDTrk Int. to A)”) 4.1–2b: Filter EG Int. to A (Intensity to A) Specifies the depth and direction of the effect that the time- varying changes created by the filter 1 EG will have on the filter 1A cutoff frequency.

  • Page 23: Lfomod (lfo Modulation)

    4.1–4: lfoMod (LFO Modulation) Here you can use the filter 1 LFO to apply cyclic modulation to the cutoff frequency of filter 1 (for oscillator 1) to create cyclical changes in tone. 4.1–4a 4.1–4b 4.1–4a: Filter LFO1 Modulation Intensity to A (LFO1 Int. to A) Specifies the depth and direction of the modulation that OSC1 LFO1 (set by “OSC1 LFO1”...

  • Page 24

    R (Release Level) Specifies the change in cutoff frequency that will occur when the release time has elapsed. T (Time): These parameters specify the time over which each change will occur. A (Attack Time) Specifies the time over which the level will change from note-on until the attack level is reached.

  • Page 25: Prog 4.2: Ed–filter2, Basic, Mod.1 (filter2 Modulation1), Mod.2 (filter2 Modulation2), Lfomod (lfo Modulation)

    R (AMS1 SW Release) Specifies the direction in which “AMS1 (Time Mod. AMS1)” will affect the release time. With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time.

  • Page 26

    Use DKit Setting This is valid when “Mode (Oscillator Mode)” (2.1–1a) is set to Drums. On (checked): The sound will be output at the “Pan” set- ting that has been made for each key of the drum kit (GLO- BAL 5.1–3a). When “Mode (Oscillator Mode)” is Drums, you will normally use this setting.

  • Page 27: Eg (amp1 Eg)

    5.1–2b: Amp Mod., LFO1 Mod., LFO2 Mod. Indicates settings to specify how the volume of oscillator 1 will be controlled by velocity, OSC1 LFO1, and OSC1 LFO2. Amp Mod. (Amp Modulation): Velocity Int. (Amp Velocity Int.) With positive (+) values, the volume will increase as you play more strongly.

  • Page 28

    R (Release Time) Specifies the time over which the volume will change after note-off until it reaches 0. Amplifier EG Note-off Attack Level Note-on Break Point Volume Sustain Level Start Level Attack Decay Slope Release Time Time Time Time 5.1–3b: Level Mod. (Level Modulation) These parameters let you use AMS to modulate the amp 1 EG levels that were specified in “Amp 1 EG”...

  • Page 29: Prog 5.2: Ed–amp2, Mod. (amp2 Modulation), Eg (amp2 Eg), Prog 5.3: Ed–lfos

    Amp 1 EG changes (Time) (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track (5.1–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value) Note-on Note-on Note-off Note-off Settings of 5.1–3a: Amp 1 Low-pitched note played with “A,”...

  • Page 30: Os1lfo1 (osc1 Lfo1), Lfo2 (osc1 Lfo2), Lfo1 (osc2 Lfo1)

    Key Sync. On (checked): Key Sync. will be On. The LFO will start each time you play a note, and an independent LFO will operate for each note. Off (unchecked): Key Sync. will be Off, and the LFO effect that was started by the first-played note will continue to be applied to each newly-played note.

  • Page 31: Lfo2 (osc2 Lfo2), Setup (arpeg. Setup)

    5.3–4: 2LFO2 (OSC2 LFO2) This can be used when “Mode (Oscillator Mode)” (2.1–1a) is set to Double. Here you can make settings for the OSC2 LFO2, which is the second LFO that can be applied to oscil- lator 2 ( “5.3–1: OS1LFO1 (OSC1 LFO1)” and “5.3–2: OS1LFO2 (OSC1 LFO2)”).

  • Page 32

    Latch* Specifies whether or not the arpeggio will continue playing after you take your hand off the keyboard. On (checked): The arpeggio will continue playing after you remove your hand from the keyboard. Off (unchecked): The arpeggio will stop when you remove your hand from the keyboard.

  • Page 33: Prog 7.1: Ed–inserfx

    PROG 7.1: Ed–InserFX For details on insertion effect, refer to p.155 “7. Effect Guide.” 7.1–1: BUS These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the mas- ter effects. The following diagram shows the LCD screen when “Mode (Oscillator Mode)”...

  • Page 34: Setup

    4 If you check “Post IFX Mixer Setting,” the “Pan (CC#8),” “BUS Select,” “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” settings that follow the copy source insert effect will also be copied. If you do not check this, only the effect type and its parameters will be copied. 5 To execute the Copy Insert Effect command, press the [F8] (“OK”) key.

  • Page 35: Prog 7.2: Ed–masterfx, Setup

    PROG 7.2: Ed–MasterFX For details on master effects, refer to p.155 “7. Effect Guide.” 7.2–1: Setup Here you can select the master effect types, switch them on/ off, specify chain order, and set the master EQ. 7.2–1a 7.2–1b 7.2–1a: Master Effect Setup The master effects do not output the direct sound (Dry).

  • Page 36: Mfx 1 (master Effect1), Mfx 2 (master Effect2), Meq (master Eq)

    Swap Master Effect This command swaps (exchanges) the settings of MFX1 and MFX2. 1 Select “Swap Master Effect” to access the dialog box. 2 To execute the Swap Master Effect command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. Select by Category Selects master effects by category.

  • Page 38: Combination Mode, Combi Page Menu, Combi 1.1: Play, Combi (combination)

    2. Combination mode COMBI PAGE MENU For details on how to select pages in Combination mode, refer to p.1. Play 1.1: Play Select and play combinations. Select a program for each timbre, and set sta- tus, pan, and level. Select an arpeggio pattern and make settings.

  • Page 39

    Category This is the combination category display. All combinations are organized into sixteen categories. You can select a category, and then select from combinations that belong to that category. To select combinations by category, use “Cat.HOLD” and Utility “Select by Category.” ( PROG 1.1–1a) To specify the category for a combination, use Utility “Write Combination”...

  • Page 40: Prog (timbre Program)

    1.1–2: Prog (Timbre Program) Indicates the program that will be used by each timbre. 1.1–2a 1.1–2b 1.1–2c 1.1–2d 1.1–2a: Bank, Combi Select, Cat.Hold, 10’s Hold, (Tempo) Bank Combi Select (Combination Select) [0…127: name] Cat. (Cat. HOLD) 10’s (10’s HOLD) (Tempo) [040...240, EXT] In the same way as in the Combi page, select a combination and set the tempo of the arpeggiator.

  • Page 41: Mix (mixer)

    If you have selected “Program Select,” selecting Utility “Select by Category” will access the Category/Prog T1…T8 dialog box, allowing you to select a program for each timbre by category. For the procedure of selecting by category, refer to p.2. 1.1–3: Mix (Mixer) Here you can set the pan and volume for each timbre 1–8.

  • Page 42: Arp. A (arpeggio Play A), Arp. B (arpeggio Play B), Combi 2.1: Ed–prog/mixer

    1.1–4: Arp. A (Arpeggio Play A) 1.1–5: Arp. B (Arpeggio Play B) Here you can select the arpeggiator settings for the combina- tion. A combination can run two arpeggiators simulta- neously. Arpeggiator parameters can be edited in 6.1: Edit- Arp., but certain major parameters can be edited in these pages as well.

  • Page 43: Combi 2.2: Ed–ctrl, Ctrls (controls), Combi 3.1: Ed–param1, Midi

    COMBI 2.2: Ed–Ctrl Here you can set the Combination mode functions of the B- mode functions of REALTIME CONTROLS knobs [1]–[4], and [SW1] key, [SW2] key. 2.2–1: Ctrls (Controls) 2.2–1a 2.2–1a: Knob B Assign These settings assign functions (mainly various control changes) to the B-mode of the REALTIME CONTROLS knobs [1]–[4] ( p.221 “Realtime Control Knobs B Assign List”).

  • Page 44: Pitch

    3.1–2: OSC These settings specify how each timbre will be sounded. 3.1–2a 3.1–2a: Force OSC Mode, OSC Select, Portamento Force OSC Mode [PRG, Poly, Mono, LGT] Specifies the “Mode (Voice Assign Mode)” (PROG 2.1–1b) of the program selected for each timbre 1–8. PRG: The settings of the program will be used.

  • Page 45: Combi 3.2: Ed–param2, Other

    3.1–3b: UTILITY “Write Combination,” “Solo Selected Timbre” (1.1–1c) For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.” Detune BPM Adjust If the program of a timbre uses a phrase or rhythm loop multisample or sample that was created in the Sampling mode (using the EXB-SMPL option) is matched to a specific BPM (or was loaded in Media mode), you can use this Util- ity to modify its BPM value.

  • Page 46: Combi 3.3: Ed–key Zone, Key (key Zone), Slope (key Slope), Review

    COMBI 3.3: Ed–Key Zone These settings specify the keyboard range in which each timbre will sound. The top/bottom key parameters specify the range of notes in which timbres 1–8 will sound, and the top/bottom slope parameters specify the range over which the original vol- ume will be reached.

  • Page 47: Combi 3.4: Ed–vel Zone (velocity Zone), Vel (velocity Zone), Slope (velocity Slope), Review

    3.3–3b: UTILITY “Write Combination,” “Solo Selected Timbre” (1.1–1c) COMBI 3.4: Ed–Vel Zone (Velocity Zone) Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and sets the Top/Bottom Slope parameters to specify the range over which the volume will change.

  • Page 48: Combi 4.1: Ed–midi Filter1, Midi 1–1 (midi Filter 1–1), Combi 4.2: Ed–midi Filter2

    COMBI 4.1: Ed–MIDI Filter1 These settings allow you to apply filters to the MIDI data that will be transmitted and received by each timbre 1–8. For example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.

  • Page 49: Combi 4.3: Ed–midi Filter3, Combi 4.4: Ed–midi Filter4

    4.2–2: MIDI 2–2 (MIDI Filter 2–2) 4.2–2a 4.2–2a: JS X/Bend as AMS, Ribbon CC#16 JS X/Bend as AMS Specifies whether or not MIDI pitch bend messages (the X axis of this instrument’s joystick) will be received to control the AMS ( p.212 “Alternate Modulation Source”) effect assigned to JS X.

  • Page 50: Midi 4–2 (midi Filter 4–2), Setup

    4.4–2: MIDI 4–2 (MIDI Filter 4–2) 4.4–2a 4.4–2a: Foot Pedal/Switch, Other Control Change FootPedal/Switch Specifies whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received. The function is assigned in GLOBAL 1.1–3a: System Foot page. This filter setting is valid when a MIDI control change is assigned.

  • Page 51

    Example 2) The “MIDI Channel” (3.1–1a) of timbres 1, 2, 3, 4, and 5 are set respectively to Gch, Gch, 02, Gch, and 03. Their “Status” (3.1–1a) is set respectively to INT, Off, INT, Off, and INT. Assign arpeggiator A to timbres 2 and 3, assign arpeggiator B to timbres 4 and 5, and check “Arpeggiator Run A, B”...

  • Page 52: Zone (scan Zone), Combi 7.1: Ed–insertfx

    6.1–4: Zone (Scan Zone) These settings specify the note and velocity ranges that will operate arpeggiators A and B. 6.1–4a 6.1–4a: Scan Zone A/B Zone Map This shows the “Scan Zone” for each arpeggiator, A and B. Key zone of arpeggiator B Key zone of arpeggiator A C–1–G9 Velocity zone of...

  • Page 53

    Control change #93 can be used to control the Send 1 level, and #91 to control the Send 2, and modify their respective settings. These messages will be received on the MIDI channel specified for each timbre in the 3.1: Ed–Param1, MIDI page.

  • Page 54: Ifx (insert Effect), Combi 7.2: Ed–masterfx, Setup

    7.1–2c: Routing Map, BUS Select This displays the bus to which the programs used by tim- bres 1–8 will be sent. Routing Map This displays the insert effect settings. The routing, the spec- ified effect name, and the on/off status are shown. T01...8: BUS Sel [DKit, L/R, IFX, 1, 2, 1/2, Off] While viewing the map, you can specify the bus where each...

  • Page 55: Mfx1 (master Effect1), Mfx2 (master Effect2)

    7.2–1d: Master EQ Gain [dB] High These are the same as in Program mode. ( PROG 7.2–1: Setup) 7.2–1e: UTILITY “Write Combination,” “Solo Selected Timbre” (1.1–1c), “Select by Category” (PROG 7.2–1d) For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.”...

  • Page 56: Sequencer Mode, Seq Page Menu

    3. Sequencer mode In Sequencer mode you can use the built-in 16-track sequencer to play, record and edit songs. You can also record and play patterns, make settings for the RPPR (Realtime Pat- tern Play Recording) function, play songs that use the arpeg- giators, record patterns, and create Cue Lists to playback multiple songs consecutively.

  • Page 57: Seq 1.1: Play/rec

    SEQ 1.1: Play/REC Here you can select a song, begin to create a new song, or make basic settings such as selecting the program used by each track. 1.1–1: Play.REC (Play/REC) Here you can select a song, make settings for song play- back/recording, and turn RPPR on/off.

  • Page 58

    Tempo Mode [Auto, Manu, REC] Auto: The tempo will follow the tempo of the Master Track. The tempo of the master track can be specified by using “Event Edit” (5.2–1b) with Master Track chosen in “Track Select,” (1.1–1c) or by the REC operation described below. When Auto is selected, it will not be possible to modify the “...

  • Page 59

    Rename Song Here you can rename the selected song. A name of up to six- teen characters can be input. ( BG p.43) Delete Song This command deletes the currently selected song. 1 Select “Delete Song” to access the dialog box. 2 If you wish to execute the Delete Song command, press the [F8] (“OK”) key.

  • Page 60

    If you execute without checking this, only the template song you specified in step 2 will be loaded. 4 To load the template song, press the [F8] (“OK”) key. To cancel without loading, press the [F7] (“Cancel”) key. When you execute, song settings other than Play Loop and RPPR will be copied.

  • Page 61

    Even when this dialog box is not opened, you can set this value to the current location by holding down the [ENTER] key and pressing the [LOCATE] key. GM Initialize This command transmits a GM System On message to Sequencer mode, resetting all tracks to the GM settings (refer to the table below).

  • Page 62: Mix..8 (mixer T01...08), Mix..16 (mixer T09...16)

    The program you select here will be used when the song is played or recorded from the beginning. If the program is changed while recording, the program change will be recorded as musical data, and the program will change dur- ing playback.

  • Page 63: Pref. (preference)

    Volume Set the volume of tracks 1–16. When “Status” (3.1–1(2)a) is INT or BTH, CC#7 Volume can be received to control the volume. The volume of a track is determined by multiplying the MIDI Volume (CC#7) and Expression (CC#11) values. When you change the song or return to the beginning of the song, tracks whose “Status”...

  • Page 64: Seq 1.2: Loop, Loop...8 (track Play Loop T01...08), Loop...16 (track Play Loop T09...16)

    Multi REC On (checked): Multi-track recording mode will be selected. Check this when you wish to record multiple tracks simulta- neously. Use this when you want to record a keyboard performance using a Combi, or to realtime-record an arpeggiator perfor- mance on multiple tracks of differing channels.

  • Page 65: Seq 2.1: Cue List, Cue List

    1.2–1(2)b: UTILITY “Memory Status,” “Solo Selected Track,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy From Combi,” “Load Template Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d) SEQ 2.1: Cue List 2.1–1: Cue List The cue list allows you to playback multiple songs in succes- sion.

  • Page 66

    Cue Edit-Song [S000...S199: name, End, Continue to Step01] This selects the song for the step. It cannot be selected dur- ing playback. You can also select whether playback will end with the last step in the cue list, or whether playback will return to “Step” 01 and continue endlessly.

  • Page 67

    Copy Cue List This command copies the settings of another cue list to the currently selected cue list. 1 Select “Copy Cue List” to access the dialog box. 2 In “From,” specify the copy source cue list. 3 To execute, press the [F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

  • Page 68: Seq 2.2: Controller, Ctrls (controls)

    After executing this command, you can press the [COM- PARE] key to return to the state before execution. Copy Song This command creates a song from a specified portion of a song in a cue list. For example if you have an eight-measure song and want to repeat measures 5–8, you can use this command to create a four-measure song from that portion.

  • Page 69: Seq 3.1: Param1, Midi..8 (midi T01...08)

    SEQ 3.1: Param1 3.1–1: MIDI..8 (MIDI T01...08) 3.1–2: MIDI..16 (MIDI T09...16) Here you can make MIDI-related settings for each track. 3.1–1a 1.1–1c 3.1–1(2)a: Status, MIDI Channel, Bank(EX2) MSB/ Status [INT, Off, BTH, EXT, EX2] This sets the status of MIDI and the internal tone generator for each track.

  • Page 70: Ptch..8 (pitch T01...08), Ptch..16 (pitch T09...16)

    Portamento [PRG, Off, 001...127] Specifies the portamento effect for each track 1–16 ( COMBI 3.1–2a). The portamento setting you make here will be used when the song is played or recorded from the begin- ning. If you change the setting while recording, it will be recorded as part of the musical data.

  • Page 71: Seq 3.2: Param2, Othr..8 (other T01...08), Seq 3.3: Key Zone

    SEQ 3.2: Param2 3.2–1: Othr..8 (Other T01...08) 3.2–2: Othr..16 (Other T09...16) Here you can make additional settings for each track. 3.2–1a 3.2–1b 1.1–1c 3.2–1(2)a: Delay [ms], Use Prog’s Scale Delay [ms] (Delay Time) Specifies a delay time from when a track receives a note-on until it actually sounds.

  • Page 72: Slp..8 (slope T01...08), Slp..16 (slope T09...16), Review, Seq 3.4: Vel Zone

    3.3–3: Slp..8 (Slope T01...08) 3.3–4: Slp..16 (Slope T09...16) 3.3–3a 1.1–1c 3.3–3(4)a: Top Slope, Bottom Slope Top Slope Specifies the key range (12 is one octave) from the top key until the original volume is reached. Bottom Slope Specifies the key range (12 is one octave) from the bottom key until the original volume is reached.

  • Page 73: Slp..16 (slope T09...16), Slp..8 (slope T01...08), Review, Seq 4.1: Midi Filter1

    3.4–3: Slp..8 (Slope T01...08) 3.4–4: Slp..16 (Slope T09...16) 3.4–3a 1.1–1c 3.4–3(4)a: Top Slope, Bottom Slope Top Slope Specifies the range of values over which the volume will be adjusted from the top velocity until the original volume is reached. Bottom Slope Specifies the range of values over which the volume will be adjusted from the bottom velocity until the original volume is reached.

  • Page 74: Seq 4.2: Midi Filter2, M2–1..8 (midi Filter2–1 T01...08)

    4.1–1(2)b: UTILITY “Memory Status,” “Solo Selected Track,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy From Combi,” “Load Template Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d) 4.1–3: 1–2..8 (MIDI Filter1–2 T01...08) 4.1–4: 1–2..16 (MIDI Filter1–2 T09...16) 4.1–3a 1.1–1c 4.1–3(4)a: Damper, Portamento SW Damper CC#64 Specifies whether or not MIDI control change message #64...

  • Page 75: Seq 4.3: Midi Filter3, Seq 4.4: Midi Filter4

    SEQ 4.3: MIDI Filter3 Specifies whether the A- and B-mode operations of REAL- TIME CONTROLS knobs [1]–[4] will be received. MIDI con- trol messages are fixed as the A-mode operation of each knob. In B-mode the knobs correspond to the messages you assign in the 2.2: Controller Controls page.

  • Page 76: Seq 5.1: Rppr, Pattern

    SEQ 5.1: RPPR On this instrument you can use preset patterns P000–149, and user patterns U00–99. One song can contain up to one hundred user patterns. Preset patterns suitable for use in a drum track are provided in memory, and can be selected from any song.

  • Page 77

    Rename Pattern Press the [F5] (“Name”) key to access the dialog box, and rename the selected pattern. You may input up to sixteen characters. ( BG p.43) Step Rec (Loop) Here you can perform step recording into a pattern. This is available when a user pattern is selected. 1 In “Pattern Bank”...

  • Page 78

    Get From Track This command loads musical data from a track into the specified pattern. 1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 In “Pattern Param.”, specify the pattern length of the “get” destination. 3 Select “Get From Track” to access the dialog box. 4 In “From: Song,”...

  • Page 79: Rppr Setup

    5.1–2: RPPR Setup Here you can make settings for the RPPR (Real-time Pattern Play/Recording) function. RPPR lets you assign a pattern from a song to each key, and then playback patterns simply by pressing individual notes on the keyboard. The results can also be recorded.

  • Page 80: Seq 5.2: Track Edit, Track Edit

    Measure: The pattern will synchronize to the measures of the pattern that was started by the first key. This setting is suitable for rhythm, bass or drum patterns. SEQ: The pattern will synchronize to the measures of the sequencer song. Sync settings Key 1 on Key 2 on...

  • Page 81

    5.2–1a: Track Select, Measure (From)/Meas. (To End Track Select Use the cursor keys [ ] to select the track in which you wish to record or edit (or use as the copy source). If you wish to select all tracks, you do not need to select T01...T16.

  • Page 82

    You can even input notes as shown in the following dia- gram. Step Time = Step Time = Press E and C Release E (continue holding C) Deleting a note or rest To delete a note or rest, press the [F6] (“Back”) key. The location will move backward by the amount specified in 4 , and the data in that interval will be deleted.

  • Page 83

    Erase Track This command erases the data from the specified track. However, it is not possible to erase the master track by itself. 1 In “Track Select,” select the track that you wish to erase. 2 Select “Erase Track” to access the dialog box. If you check “All Tracks,”...

  • Page 84

    If in 4 you uncheck “All Tracks” and execute this oper- ation, the measures will not be deleted from the master track. Time signature and tempo data will remain unchanged, and the time signature and tempo of the measures that were moved forward as a result of the Delete operation will change.

  • Page 85

    Copy Measure This command copies measures of musical data from the copy source to the specified measure location. When you execute the Copy Measure command, the track data at the copy destination will be rewritten. 1 Select the copy source song. 2 Select “Copy Measure”...

  • Page 86

    7 To execute the Create Control Data command, press the [F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key. Example: The controller is aftertouch. Starting location is 3:48, ending location is 4:24, and end value is set to 100. This will cause the aftertouch value to begin changing from 3:48, and reach a value of 100 at 4:24.

  • Page 87

    8 To execute the Quantize command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. By varying the Offset and Intensity settings you can cre- ate quantize effects such as the following. Original 100% 100% 100% 100% Quantize Resolution = Offset = 0, Intensity = 100% Quantize Resolution =...

  • Page 88: Set..8 (setup T01–08), Set..16 (setup T09–16)

    Set Song Length This command changes the length of the specified song. When it is executed, the length of the master track will change, and the number of measures played will change. 1 Select “Set Song Length” to access the dialog box. 2 In “Length,”...

  • Page 89

    6.1–1(2)b: Assign Assign This assigns arpeggiator A or arpeggiator B to each track 1– 8, 9–16. When the [ARP ON/OFF] key is turned on, the arpeggiator specified for each track will run, subject to the “Arpeggiator Run” settings and setting here. Off: The arpeggiator will not operate.

  • Page 90: Arp. A (arpeggiator A), Arp. B (arpeggiator B), Zone (scan Zone)

    6.1–3: Arp. A (Arpeggiator A) 6.1–4: Arp. B (Arpeggiator B) Indicates settings for arpeggiator A in the Arp. A page, and for arpeggiator B in the Arp. B page. You can use the “Copy Arpeggiator” utility to copy set- tings from another mode such as Program mode. 6.1–3a 6.1–3(4)a: Arpeggiator–A(B) Setup Pattern...

  • Page 91: Seq 7.1: Insert Fx, Bus..8 (bus T01...08), Setup

    SEQ 7.1: Insert FX For details on insert effects, refer to p.155 “7. Effect Guide.”. 7.1–1: BUS..8 (BUS T01...08) 7.1–2: BUS..16 (BUS T09...16) Specifies the bus to which the program oscillator(s) of each track 1–8, 9–16 will be sent. You can also set the amount of signal that will be sent to the master effects.

  • Page 92: Seq 7.2: Master Fx, Setup

    7.1–3b: Control Channel Control Channel [Ch01...16, All Rt.] Indicates the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2).” An asterisk “*” will be displayed at the right of the channel number Ch01–16 for tracks that are routed to an IFX.

  • Page 93: Meq (master Eq), Mfx1 (master Effect1), Mfx2 (master Effect2)

    7.2–1b: Master FX Chain MFX Chain Direction (Chain Direction) [MFX1 MFX2, MFX2 MFX1] Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) This is the same as in Program mode. Refer to “PROG 7.2–1: Setup.” 7.2–1c: MEQ Ctrl MEQ Ctrl (MEQ Control Ch) Specifies the MIDI channel that will control dynamic modulation (Dmod) for the master EQ.

  • Page 94: Sampling Mode

    4. Sampling mode If the EXB-SMPL option (sold separately) is installed in the TRITON Le, you will be able to use Sampling mode to record 48 kHz stereo 16-bit samples. ( For details on install- ing an option board, refer to p.253.) If the EXB-SMPL option is not installed, pressing the [SAMPLING] key will display a message of “No Sam- pling Upgrade Installed.”...

  • Page 95: Smpl Page Menu, Smpl 1.1: Recording, Sample

    SMPL PAGE MENU For details on selecting pages in Sampling mode, refer to p.1. 1.1: Recording Record samples. Select the sample or mul- tisample to record, and make various recording settings and AUDIO INPUT set- tings. ( p.88) Smpl 2.1: Sample Edit Perform waveform editing and other editing on recorded samples or samples that were loaded into internal memory in Media mode.

  • Page 96

    This parameter can also be set in 2.1: Sample Edit–4.1: Multi- sample. The sampling and editing that you perform in these pages will apply to the index you select here. When first entering the sample page, this value will be 001/ 001.

  • Page 97

    Orig.K (Original Key) Specifies the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key. For example, suppose that you recorded a sample with “Orig.K”...

  • Page 98

    For example if the 16 Mbyte SIMM (sample data RAM) included with the EXB-SMPL option (sold separately) is installed in slot 1 and you install 32 Mbytes in slot 2, you will be able to select “Bank (RAM Bank)” 1 (16 Mbyte), 3 (16 Mbyte), and 4 (16 Mbyte).

  • Page 99

    Count Down (Count Down REC) When you begin sampling with “Mode (REC Mode)” set to Manual, this parameter specifies whether there will be a count-down before sampling begins. Off: When you press the [START/STOP] key from sampling standby mode, sampling will begin immediately. 4, 8, 3, 6: When you press the [START/STOP] key from sam- pling standby mode, sampling will begin after a count- down of the specified length, based on the tempo of “...

  • Page 100: In/pref (input/preference)

    1.1–2d: UTILITY “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) 1.1–3: In/Pref (Input/Preference) Specify the input level from the rear panel AUDIO INPUT 1, 2, and set pan and bus.

  • Page 101

    Delete SMPL (Delete Sample) This command deletes the currently selected sample, or samples that are not mapped to (i.e., used by) any multisam- ple or drum kit, or all samples. 1 Select “Delete SMPL” to open the following dialog box. 2 Use the [INC], [DEC] keys or the [VALUE] dial to select the sample(s) that you wish to delete.

  • Page 102

    Example) If data already exists at the move destination sample number, the sample will not be overwritten; instead, all subsequent samples will be renumbered upward. Move 0003 to 0001 Example) If there is no empty sample number and forward move- ment is not possible, samples will be renumbered down- ward.

  • Page 103

    4 To execute the Copy Multisample command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. When a multisample is copied, the samples assigned to the multisample will also be copied at the same time. At this time, they will be automatically copied to vacant sample numbers.

  • Page 104

    MS To Stereo • The selected multisample will be converted to stereo. The last two characters of the multisample name will be overwritten as -L. • An identical multisample will be newly created, but with the last two characters of the multisample name overwritten as -R.

  • Page 105: Smpl 2.1: Sample Edit, Edit1, Edit2

    SMPL 2.1: Sample Edit Here you can edit the sample data (waveform data) that you sampled or loaded in Media mode. Editing operations such as deleting unwanted portions of the waveform, reversing the waveform, or lowering the sampling frequency can be performed in detail while view- ing the “sample waveform display.”...

  • Page 106

    2.1–2d: ZOOM These buttons let you zoom-in and zoom-out the “sample waveform display” in the horizontal axis (sample addresses) or vertical axis (sample level). : Press the [F4] key to zoom-in vertically. : Press the [F5] key to zoom-out vertically. : Press the [F6] key to zoom-out horizontally.

  • Page 107

    Truncate This command deletes unwanted data that lies beyond the “S (Edit Range Start)” and “E (Edit Range End).” Use this command when you wish to delete silence at the beginning or end of the waveform data. If you wish to delete unneeded (unplayed) sample data after setting the start address, loop start address, and end address, use the Utility “Truncate”...

  • Page 108

    6 To execute the Clear command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. Copy This command copies the sample data from the area between “S (Edit Range Start)” and “E (Edit Range End)” into the sample data buffer. This data can then be used by the “Insert,”...

  • Page 109

    Paste Beginning at the “S (Edit Range Start)” address, this com- mand places the sample data that was loaded into the buffer by “Copy” command. The original data will be deleted, and overwritten by the sample data from the buffer. You can also place sample data into a blank sample.

  • Page 110

    Norm./Level Adj. (Normalize/Level Adjust) This command uniformly modifies the data values (volume) of the data between the “S (Edit Range Start)” and “E (Edit Range End).” “Normalize” will amplify the level of the sam- ple data as far as possible without allowing it to clip (dis- tort).

  • Page 111

    7 If you wish to delete the original sample data and over- write it with the edited sample data, check “Overwrite”. Normally, you will leave “Save to No.” at its default set- ting, and execute without checking “Overwrite.” ( p.99 “...

  • Page 112

    The volume of the two samples can be changed gradually at the transition to gradually mix the samples with each other. This is called crossfade, and can be used to produce a natu- ral-sounding transition between the two sounds. SOUND A SOUND B CROSSFADE LINK Volume...

  • Page 113: Smpl 3.1: Loop Edit, Edit1

    1 Use “SMPL” (2.1–1a) to select a sample. 2 In the Edit2 page “UTILITY,” choose “Grid” to open the following dialog box. 3 Check “Grid” to turn on the grid display. 4 Set “Resolution” to the desired grid interval – . The spacing of the grid will be determined by this setting and by “...

  • Page 114: Edit2

    3.1–1c: UTILITY “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) 3.1–2: Edit2 3.1–2a 3.1–2b 3.1–2c 3.1–2d 3.1–2a: Sample waveform display Sample waveform display The waveform of the “SMPL (Sample)”...

  • Page 115

    3 Range “Start” and “End” will show the range of data that will be edited. 4 Use “Truncate” to select the portion that will be deleted. Front & End: The sample data that lies before the “Start” and after the “End” will be deleted. Front: The sample data that lies before the “Start”...

  • Page 116

    1 Use “SMPL” (3.1–1b) to select the sample that you wish to Time Slice. 2 From the Edit2 page “UTILITY,” choose “Time Slice” to open the following dialog box. 3 Specify the number of quarter-note beats and tempo of the currently selected sample. If you know the BPM of the original waveform, set “Source BPM.”...

  • Page 117

    If you wish to adjust the “S (Start)” or “E (End)” address of a divided sample, it is best to first check “Use Zero.” In general, using zero-cross points to spec- ify sample addresses will make it less likely that clicks or pops will occur, particularly at the end address.

  • Page 118

    It is not possible to make settings that would cause “Src BPM (Source BPM)” or “New BPM” to exceed the range of 40–480. It is not possible to make settings that would cause “Ratio” to exceed the range of 50.00–200.00. Press the [F5] (“Strch”) key to execute Time Stretch.

  • Page 119

    3 Select “Sustaining” as the time stretch method. Press the [F8] (“OK”) key to execute Time Stretch, or press the [F7] (“Cancel”) key to cancel without executing. If the L and R of a stereo sample are different in length, blank data will automatically be added to the end of the shorter sample so that it matches the longer side.

  • Page 120

    0 Save the sample that you created. Press the [F6] (“Save”) key, and the Save dialog box will appear. In “Save to No.,” specify the save destination sample number. By default, an unused sample number will be selected. If “Overwrite” is checked, this cannot be selected.

  • Page 121

    Index xxx: 001...090(zzz: D2...G9)/yyy: 001...090]: Select s the index for the sample whose waveform you wish to display. If you select Source, the original waveform before time- stretching will be selected. If you select Result, the time-stretched sample will be selected.

  • Page 122

    Crossfade Loop When pitched instrumental samples such as strings or winds are looped to sustain a note, the sound will “jump” or “skip” repeatedly during playback if there is a significant difference between the waveforms at the loop start and loop end locations.

  • Page 123: Smpl 4.1: Multisample, Edit1, Edit2

    SMPL 4.1: Multisample Here you can make settings for multisamples. You can create indexes for a multisample, and then assign a sample to each index. (These basic settings can also be performed in 1.1: Recording page.) In addition, you can delete, copy, or insert an index, and perform detailed editing such as adjusting the level and pitch of the sample for each index.

  • Page 124

    Pitch [–64.00...+63.00] Adjusts the playback pitch of the sample in one-cent steps. 0: The sample will sound at the original pitch when the orig- inal key is played. –: The pitch will be lowered. At a setting of –12.00 the pitch will be one octave lower.

  • Page 125: Smpl 5.1: Memory, No. (free Number), Smpl 5.2: Controller

    SMPL 5.1: Memory 5.1–1: Memory (Free Memory) 5.1–1a 5.1–1a: Free Memory This shows the remaining amount of memory (the time available for sampling, the size of the sample files that can be loaded in Media mode, or the size available for editing) in RAM banks 1–4.

  • Page 126: Smpl 7.1: Insert Effect, Ifx (insert Effect), Setup

    5.2–1c: UTILITY “Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) SMPL 7.1: Insert Effect Here you can make insert effect settings for use in Sampling mode.

  • Page 128: Global Mode, Global Page Menu, Global 1.1: System, Basic

    5. Global mode In Global mode you can make settings that affect the entire instrument, such as master tuning, MIDI, and memory pro- tect. You can also edit user scales, drum kit setups, and user arpeggio patterns. If you want the settings you make in Global mode to be backed up when the power is turned off, you must write them into memory.

  • Page 129

    RPN fine tune messages will be received on the MIDI channel for each timbre (in Combination mode) or track (in Sequencer mode). ( “Detune,” “Transpose”: COMBI 3.1–3a, SEQ 3.1–5(6)a.) Velocity Curve This specifies the way in which the volume and/or tone will change in response to how hard the keyboard is struck (velocity).

  • Page 130

    MFX1 Off On (checked): MFX1 will be disabled. Off (unchecked): The Master Effect Setup page (7.2–1) “MFX1 On/Off” settings of Program, Combination, and Sequencer mode will be valid. MFX2 Off On (checked): MFX2 will be disabled. Off (unchecked): The Master Effect Setup page (7.2–1) “MFX2 On/Off”...

  • Page 131: Pref. (system Preference)

    56. 00 R Bank g (d) 120. 00 R/T 62. 00 R 63. 127 R ( Korg MUTE) Value: decimal, R: Receive, T: Transmit Power On Mode Specifies the condition at power-on. Reset: This instrument will be in Combination mode COMBI 1.1: Play, and Combination A000 will be selected.

  • Page 132: Foot

    LCD Contrast This sets the contrast of the LCD screen. Higher values will increase the contrast. If because of the temperature or other reasons, the LCD screen is unreadable when the power is turned on, use the following procedure to adjust the contrast. 1 Press the [EXIT] key three times, and then press the [GLOBAL] key.

  • Page 133

    ASSIGNABLE SWITCH jack. If a Korg PS-1 (sold separately) pedal switch is connected, the pedal switch polarity will be ( ), so select “(–) KORG Standard” for this setting. If you have connected a pedal switch with a positive ( ) polarity, select “(+)” for this set- ting.

  • Page 134: Global 2.1: Midi, Midi

    GLOBAL 2.1: MIDI 2.1–1: MIDI Here you can make MIDI-related settings that affect this instrument. 2.1–1a 2.1–1a: MIDI Setup MIDI Channel Sets the global MIDI channel. The global MIDI channel is used in the following cases. • When transmitting and receiving performance data in Program mode (PROG 1.1: Play) and Sampling mode (if the EXB-SMPL option is installed).

  • Page 135

    PostMIDI: Velocity Curve, After Touch Curve, and Trans- pose will be applied to data before it enters the tone genera- tor. This means that the Velocity Curve, After Touch Curve, and Transpose settings will affect the data that is sent to the internal tone generator when you play this instrument’s keyboard, when the internal sequencer is played back, or when data is received from MIDI IN.

  • Page 136

    AfterT (After Touch) On (checked): MIDI after touch messages will be transmit- ted and received. Off (unchecked): MIDI after touch messages will neither be transmitted nor received. When recording sounds that do not require the use of after touch, you can uncheck this parameter to save memory. This setting has no effect when you use the internal sequencer to playback sequence data that was recorded with after touch data;...

  • Page 137: Global 3.1: User Scale, Octave

    When you save data dumps from this instrument to a MIDI data filer, do not save multiple data dumps together. If this data is saved together, there will be insufficient time for this instrument to write each received portion into memory before the next portion of data arrives, so that it will be impossible to receive all of the data correctly.

  • Page 138: All Notes, Global 4.1: Category Name, P.0..7 (prog.00...07), P.8..15 (prog.08...15), C.0..7 (comb.00...07), C.8..15 (comb.08...15)

    3.1–1b: UTILITY “Write Global Setting” (1.1–1d) For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.” Copy Scale This command copies a preset scale or user scale to the user scale that you wish to edit. For details on the preset scales, refer to “Type”...

  • Page 139

    If you want the edited user categories to be backed up when the power is turned off, you must write them into memory. Select the Utility “Write Global Setting” to access the Write Global Setting dialog box, or press the [REC/WRITE] key to display the Update Global set- tings dialog box and press the [F8] (“OK”) key to write the edited settings.

  • Page 140: High (high Sample)

    5.1–1b: High (High Sample) Drumsample Bank Specifies the bank of the High drumsample. ROM: Select preset Drumsamples. In “Drumsample,” you can choose from 0000: BD-Dry 1 – 0412: Amp Noise. ( VNL) RAM: Samples created in Sampling mode or samples loaded in Media mode can be used as drum samples.

  • Page 141: Low (low Sample)

    Rename Drum Kit This command renames the selected drum kit. You can input a name of up to sixteen characters. ( BG p.43) Copy Drum Kit This command copies the settings of another drum kit to the currently-edited drum kit. Drum kits 24 (GM)–32 (GM) can- not be edited, but you may copy them to another drum kit and then edit them.

  • Page 142: Global 6.1: Arp.pattern, Setup

    Enable Note Off (Note Off Receive) On (checked): Note-off messages will be received. Normally you will uncheck this. This parameter is valid when “Hold” (PROG 2.1–1b) is checked (Hold On). In the case of a drum program, you will normally select Hold On. In this case if “Enable Note Off”...

  • Page 143

    6.1–1b: Lgth, Reso, Oct, Sort, Latch, K.Sync, Kbd Lgth (Length) Specify the length of the arpeggio pattern. After the note value specified by “Reso” occurs for the number of times specified here, the pattern will return to the beginning. This parameter is not valid for preset patterns P000–004.

  • Page 144: Edit

    6.1–1e: UTILITY For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.” Write Arpeggio Patterns This command writes user arpeggio patterns U000 (INT)– U215 (User). 1 Select “Write Arpeggio Patterns” to access the dialog box. 2 To execute the Write command press the [F8] (“OK”) key.

  • Page 145

    Flam Specifies how the note timing will be skewed when two or more Tones are specified in the same step. 00: All Tones will sound simultaneously. +01–+99: The timing of the notes will be skewed in the order of the Tone number. (When “Sort” is ON, from low note to high note.

  • Page 146: Media Mode, Files, Directories, And Icons

    .SNG Song, cue list .MID Standard MIDI File (SMF) .EXL MIDI exclusive data .KMP Korg Multisample Parameter file (Korg format) .KSF Korg Sample File (Korg format) .KSC Korg Script File (Korg format) .AIF AIFF file .WAV WAVE file...

  • Page 147: Media Page Menu, Load

    If the Utility “Translation” (1.1–1f) is checked, the DOS file- name of a .KMP (Korg multisample parameter) file or .KSF (Korg sample file) that is loaded will be replaced in the dis- play by the multisample name or sample name that you specified in Sampling mode.

  • Page 148

    A check mark will appear at the left of “Translation.” With this setting, .KMP (Korg multisample parameter) files and .KSF (Korg sample file) DOS file names will be dis- played as the multisample name or sample name used in Sampling mode (if the EXB-SMPL option is installed).

  • Page 149

    2) Load Programs: All program data from a .PCG file will be loaded. 1 To load the data, press the [F8] (“OK”) key. To cancel without loading, press the [F7] (“Cancel”) key. 3) Load Program Bank [A...D]: All program data of the selected bank will be loaded into the bank you specify.

  • Page 150

    12) Load Arpeggio Pattern [000…199(INT), 200…215(User)]: selected icon All user arpeggio pattern data in the selected user arpeggio pattern block will be loaded into the user arpeggio pattern block you specify as the loading destination. 1 In “To,” select the loading destination user arpeggio pat- tern block.

  • Page 151

    The program bank and program numbers loaded into the song will follow the “Bank Map (GLOBAL 1.1–2a) setting. If “Bank Map” is KORG, bank A will be selected for bank select 00.00 (MSB.LSB). If “Bank Map” is GM, bank G will be selected.

  • Page 152

    Loading multiple files You can use wild cards to simultaneously load two or more .KMP, .KSF, .AIF, .WAV., AKAI Program, or AKAI Sample files from a directory. You can use Utility 23) Load .KMP, 24) Load .KSF, 25) Load .AIF, 26) Load .WAV, 27) Load AKAI Sample File, 28) Load AKAI Program File.

  • Page 153

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

  • Page 154

    ble to export as a .AIF, .WAV format p.150 “Export Smpl AIF/WAV”) If the data that is loaded as a sample contains a loop point, you can set “S.Ofs(Start Offset)” (PROG 2.1–2b, GLOBAL 5.1–1b) on the TRITON Le so that the sound will begin from the loop point.

  • Page 155: Save

    1.1–2: Save Here you can save various data from internal memory to media such as SmartMedia. Use the [F5] (“UP”) key and [F6] (“OPEN”) key to move to the desired directory (i.e., change the current directory), and then select the Utility menu com- mand [F8].

  • Page 156

    Save Sampling Data (Multisamples and Samples) When this command is executed, the following multisample and sample data will be saved to media as Korg format .KMP files, .KSF files, and a .KSC file that collects these files. This is valid only when the current directory is a DOS direc- tory.

  • Page 157

    Normally, it is recommended that you use Save All or Save Sampling Data to save sample data in Korg format (.KSC, .KMP, .KSF). This will allow you to save the data in a way that preserves the state of the multisamples (and the samples that they use) as they exist in internal sampling RAM memory.

  • Page 158: Utility

    1 Select “Export Smpl AIF/WAV” to access the following dialog box. 2 In “Format,” select either AIFF or WAVE as the file for- mat for export. 3 Press the [F5] (“Name”) key to move to the text dialog box, and specify the filename ( BG p.43). 4 In “To,”...

  • Page 159

    filename extension will be copied at the same time: i.e., NEWFILE1.PCG, NEWFILE1.SNG, NEWFILE1.KSC, ... [Example] NEWFILE1.*: NEWFILE1.PCG, NEWFILE1.SNG, NEWFILE1.KSC, ... NEWFILE?.PCG: NEWFILE1.PCG, NEWFILE2.PCG, NEWFILE3.PCG, ... When wildcards are used, only files will be subject to copying. Directories will not be copied. 3 Use the [F5] (“UP”) key and [F6] (“OPEN”) key to select the copy destination directory.

  • Page 160: Media Information

    4 Press the [F5] (“Name”) key to move to the text dialog box, and specify the “Volume Label” ( BG p.43). When the dialog box appears, “Volume Label” will show the volume label that had been specified before format- ting. If a media that has no volume label or a non-DOS media is inserted, this will indicate “NEW VOLUME.”...

  • Page 162: Effects In Each Mode, Dynamic Modulation (dmod), Effect I/o, Effect Guide, Overview

    7. Effect Guide Overview The effects section of TRITON Le consists of a single channel Insert Effect, two-channel Master Effects, a single-channel Master EQ (stereo, three-band EQ) and a Mixer section that controls the effect routings. The insert effect and master effects can be chosen from 89 types of full-digital effect, grouped into the categories listed below.

  • Page 163: In/out, Routing, Insert Effect (ifx)

    The following table shows the parameters related to the level settings: Program mode Input OSC1/2 High, Low Level Filter1/2 Trim Amp1/2 Level OSC1/2 Send1/2 Effect Trim parameter Output Effect W/D parameter Rtn1/2 (Return1, 2) Combination mode Input Volume S1/2 (Send1/2) Effect Trim parameter Output Effect W/D parameter...

  • Page 164

    Use MFX1 Send “Send1” and “Send2” (PROG 7.1–1a) to specify the send level for the Master Effects. This setting is effective if “BUS Select” (PROG 7.1–1a) is set to L/R or Off. If “BUS Select” is set to IFX, use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))”(PROG 7.1–2) for the post-IFX signal ( “3.

  • Page 165: Mixer

    2–3. Sampling mode (if the separately sold EXB- SMPL option is installed) You can sample sound while applying the Insert Effects to the signal input from AUDIO INPUTs 1 and 2. Use “BUS (IFX) Select” (SMPL 1.1–3a) to set Inputs 1/2, and the buses by selecting from L/R, IFX, and Off.

  • Page 166: Controlling The Insert Effects Via Midi, In/out

    3–2. BUS Select This parameter enables you to specify the destination bus for the post-IFX signals. “L/R” is a common setting to send signals to the Master EQ before they are routed to the OUTPUT L/R outputs. Select 1, 2 or 1/2 to route the signals to AUDIO OUTPUT (INDIVIDUAL) 1 or 2 ( p.162 “Individual Outputs”).

  • Page 167: Routing

    2. Routing Two master effects (MFX 1 and 2) can be used in any mode other than Sampling (if the separately sold EXB-SMPL option is installed). If you are not using the Insert Effect in any mode, the Master Effects send levels are determined by the “Send Level 1/2 (MFX2)”...

  • Page 168

    – Setting for drum program – If a drum program has been selected for a timbre in Combi- nation mode or for a track in Sequencer mode, you will be able to select DKit for the “BUS Select” parameter. If this is selected, the “BUS (BUS Select)”...

  • Page 169: Controlling The Master Effects Via Midi, Master Eq, Individual Outputs

    4. Controlling the Master Effects via MIDI You can use the Dynamic Modulation (Dmod) function to control all Master Effects parameters in real-time from this instrument’s controllers or from an external MIDI sequencer. In Program mode, the parameters are controlled on global MIDI channel “MIDI Channel”...

  • Page 170

    Combination, Sequencer mode Effect / Mixer Block Diagram in Combination / Sequencer Mode COMBI/SEQ 7.1: Insert Effect IFX / Indiv.Out BUS Select BUS Select Timbre / Track 1 = L/R BUS Select Timbre / Track 2 = IFX BUS Select Timbre / Track 3 BUS Select Timbre / Track 4...

  • Page 171: No Effect, St.amp Sim (stereo Amp Simulation), St.compressor (stereo Compressor), St.limiter (stereo Limiter), Filter/dynamic

    Filter/Dynamic Filter and dynamics control effects 00: No Effect Select this option when you do not wish to use any effects. The Insert Effect section outputs unprocessed signals and the Master Effect section mutes the output. 01: St.Amp Sim (Stereo Amp Simulation) This effect simulates the frequency response characteristics of guitar amplifiers.

  • Page 172: Mltband Limit (multiband Limiter)

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

  • Page 173: St.gate (stereo Gate), Od/higain Wah (overdrive/hi.gain Wah)

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

  • Page 174

    Level (Output Level) Sets the output level (Source) Selects the modulation source for the output level (Amount) Sets the modulation amount of the output level Lo (Low Cutoff ) Sets the center frequency for Low EQ (shelving type) G (Gain) Sets the gain of Low EQ M1 (Mid1 Cutoff) Sets the center frequency for Mid/High EQ 1 (peaking type)

  • Page 175: St.graphic7eq (stereo Graphic 7-band Eq), St.wah/autow (stereo Wah/auto Wah)

    d: B2 Dyn.G Src, d: (Amount), f: G You can control the gain of Band 2 using the modulation source. Parametric 4EQ - Band2 Dynamic Gain Control -mod +15dB +6dB +6dB Band2 Cutoff –9dB Band2 Gain[dB]= +6.0 Band2 Gain[dB]= +6.0 Band2 Dynamic Gain Amt[dB]= +9.0 Band2 Dynamic Gain Amt[dB]= –15.0 08: St.Graphic7EQ...

  • Page 176: St.rndm Filter (stereo Random Filter)

    a: FreqBottm, a: FreqTop The sweep width and direction of the wah filter are determined by the “FreqBottm” and “FreqTop” settings. Frequency Frequency Top=75 Bottom=60 Top=30 Bottom=25 -mod Higher Higher Zero Zero Frequency Frequency Bottom=75 Top=75 Bottom=25 Top=25 Envelope Time Envelope b: Swp Mode This parameter changes the wah control mode.

  • Page 177: St.exct/enhcr (stereo Exciter/enhancer), St.sub Osc (stereo Sub Oscillator)

    When “LFO Wave” is set to Random, the “Step” parameter uses a random LFO cycle. LFO Frequency LFO Step Freq LFO Step Freq Step-Tri b: LFO Phase Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling affect. +90 +180 [degree] –180 –90...

  • Page 178: Talking Mod (talking Modulator)

    Envelope Pre LPF Sets the upper limit of the frequency range for which very low har- monics are added Envelope Sens (Envelope Sensitivity) Sets the sensitivity with which very low harmonics are added Envelope Shape Sets the oscillator’s volume envelope curve W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source)

  • Page 179: St.decimator (stereo Decimator), St.analogrecd (stereo Analog Record)

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

  • Page 180: St.chorus (stereo Chorus), Pitch/phase Mod

    Pitch/Phase Mod. Pitch/phase modulation effects 16: St.Chorus (Stereo Chorus) This effect adds thickness and warmth to the sound by modu- lating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other.

  • Page 181: Mlttap Chodly (multitap Chorus/delay), Ensemble

    g: Feedback Sets the feedback amount of the chorus block. Increasing the feed- back will allow you to use the effect as a flanger. 18: MltTap ChoDly (Multitap Chorus/Delay) This effect has four chorus blocks with a different LFO phase. You can create a complex stereo image by setting each block’s delay time, depth, output level, and pan individually.

  • Page 182: St.flanger(stereo Flanger), St.rndm Flang (stereo Random Flanger)

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

  • Page 183: St.env.flanger (stereo Envelope Flanger), St.phaser (stereo Phaser)

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

  • Page 184: St.rndm Phasr (stereo Random Phaser), St.env.phaser (stereo Envelope Phaser)

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

  • Page 185: St.biphasemod (stereo Biphase Modulation), St.vibrato (stereo Vibrato)

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

  • Page 186: St.autofd Mod (stereo Auto Fade Modulation), Voice Reso (2voice Resonator)

    “LFO Freq Mod”=AUTOFADE, “ ”=+3.00 (Amount) The effect is off when a value for the dynamic modulation source specified for the “AUTOFADE Src” parameter is smaller than 64, and the effect is on when the value is 64 or higher. The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher.

  • Page 187: Doppler

    W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source) Selects the modulation source of the effect balance (Amount) Sets the modulation amount of the effect balance a: Ctrl, e: V1 Reso, h: V2 Reso This parameter determines the resonance intensity. When “Ctrl”...

  • Page 188: Scratch

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

  • Page 189: Mod./p.shift, St.tremolo (stereo Tremolo), St.env.tremlo (stereo Envelope Tremolo)

    Mod./P.Shift Other modulation and pitch shift effects 32: St.Tremolo (Stereo Tremolo) This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right.

  • Page 190: St.auto Pan (stereo Auto Pan), St.phasr+trml (stereo Phaser + Tremolo)

    34: St.Auto Pan (Stereo Auto Pan) This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases from each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other.

  • Page 191: St.ring Mod (stereo Ring Modulator)

    T Dep (Tremolo Depth) Sets the tremolo modulation depth (Source) Selects the modulation source for the tremolo modulation depth (Amount) Sets the modulation amount of the tremolo modulation depth W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source) Selects the modulation source of the effect balance (Amount)

  • Page 192: Detune, Pitch Shifter

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

  • Page 193: Pitchshft Mod (pitch Shift Modulation), Rotary Sp (rotary Speaker)

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

  • Page 194: Er/delay

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

  • Page 195: Auto Reverse

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

  • Page 196: St/cross Dly (stereo/cross Delay)

    44: St/Cross Dly (Stereo/Cross Delay) This is a stereo delay, and can by used as a cross-feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing. Stereo In - Stereo Out Left High Damp Low Damp Delay...

  • Page 197: St.mod. Delay (stereo Modulation Delay)

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

  • Page 198: St.autopandly (stereo Auto Panning Delay), Lcr Bpm Delay (l/c/r Bpm Delay)

    a: Pol, b: Threshold, b: Offset, c: Attack, d: Release The “Offset” parameter specifies the value for the “Ctrl Target” parameter (that is set to None), expressed as the ratio relative to the parameter value (the “W/D” value with “Ctrl Target”=Out, or the “Feedback”...

  • Page 199: St.bpm Delay (stereo Bpm Delay), Sequence Dly (sequence Delay)

    InLvl Mod (Input Level Dmod [%]) Sets the modulation amount of the input level Src (Source) Selects the modulation source for the input level Spread Sets the width of the stereo image of the effect sound W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source) Selects the modulation source of the effect balance (Amount)

  • Page 200: Reverb, Rev Smth. Hall (reverb Smooth Hall), Rev Wet Plate (reverb Wet Plate)

    InLvl Mod (Input Level Mod [%]) Sets the modulation amount of the input level Src (Source) Selects the modulation source for the input level W/D (Wet/Dly) Sets the balance between the effect and dry sounds (Source) Selects the modulation source of the effect balance (Amount) Sets the modulation amount of the effect balance a: BPM, a: Rhythm...

  • Page 201: Rev Room (reverb Room), Rev Brt. Room (reverb Bright Room)

    Using the “Pre Delay Thru” parameter, you can mix the dry sound without delay, emphasizing the attack of the sound. Reverb - Hall / Plate Type Level Reverb Pre Delay Thru Pre Delay Reverb Time 56: Rev Room (Reverb Room) This room-type reverb emphasizes the early reflections that make the sound tighter.

  • Page 202: Mono Mono Chain

    Mono Mono Chain Effects that combine two mono effects connected in series 58: P4EQ–Exciter (Parametric 4-Band EQ – Exciter) This effect combines a mono-type four-band parametric equalizer and an exciter. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Parametric 4Band EQ Exciter...

  • Page 203

    60: P4EQ–Cho/Fl (Parametric 4-Band EQ – Chorus/Flanger) This effect combines a mono-type four-band parametric equalizer and a chorus/flanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Parametric 4Band EQ Chorus/Flanger Chorus/Flanger Trim Feedback Right LFO: Tri / Sine [PEQ] Trim Sets the parametric EQ input level...

  • Page 204: Comp–wah (compressor – Wah/auto Wah)

    62: P4EQ–M.Dly (Parametric 4-Band EQ – Multitap Delay) This effect combines a mono-type four-band parametric equalizer and a multitap delay. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Parametric 4Band EQ Multitap Delay Feedback Delay Trim High Damp...

  • Page 205: Comp–ampsim (compressor – Amp Simulation)

    64: Comp–AmpSim (Compressor – Amp Simulation) This effect combines a mono-type compressor and an amp simulation. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Compressor Amp Simulation EQ Trim...

  • Page 206: Comp–phaser (compressor – Phaser)

    C/F W/D (Cho/Flng Wet/Dry) Sets the center frequency for Band 3 Sets the bandwidth of Band 3 G (Gain) Sets the gain of Band 3 B4 (Band4 Cutoff) Sets the center frequency for Band 4 Sets the bandwidth of Band 4 G (Gain) Sets the gain of Band 4 W/D (Wet/Dly)

  • Page 207: Comp–m.dly (compressor – Multitap Delay)

    69: Comp–M.Dly (Compressor – Multitap Delay) This effect combines a mono-type compressor and a multitap delay. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Compressor Multitap Delay EQ Trim...

  • Page 208: Limit–cho/fl (limiter – Chorus/flanger), Limit–phaser (limiter – Phaser

    71: Limit–Cho/Fl (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a chorus/ flanger. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Routing Limiter Chorus/Flanger Limiter Chorus/Flanger...

  • Page 209: Limit–m.dly (limiter – Multitap Delay), Exct–comp (exciter – Compressor), Exct–limiter (exciter – Limiter)

    73: Limit–M.Dly (Limiter – Multitap Delay) This effect combines a mono-type limiter and a multitap delay. You can change the order of the effect connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Routing Multitap Delay Limiter Limiter...

  • Page 210: Exct–cho/fl (exciter – Chorus/flanger), Exct–phaser (exciter – Phaser), Exct–m.dly (exciter – Multitap Delay)

    76: Exct–Cho/Fl (Exciter – Chorus/Flanger) This effect combines a mono-type limiter and a chorus/ flanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Exciter Chorus/Flanger EQ Trim LEQ HEQ Exciter Chorus/Flanger Feedback Cho/Flng Wet / Dry Right LFO: Tri / Sine [XCT] Blend (Exciter Blend)

  • Page 211

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

  • Page 212: Od/hg–phaser (overdrive/hi.gain – Phaser)

    81: OD/HG–Phaser (Overdrive/Hi.Gain – Phaser) This effect combines a mono-type overdrive/high-gain dis- tortion and a phaser. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Routing Overdrive / Hi-Gain Phaser 3 Band PEQ...

  • Page 213: Deci–ampsim (decimator – Amp Simulation), Deci–comp (decimator – Compressor)

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

  • Page 214

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

  • Page 215: Phasr–cho/fl (phaser – Chorus/flanger), Reverb–gate

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

  • Page 216: Master Eq

    Master EQ Master EQ Use 7.2: MasterFX MEQ page in Program, Combination modes and 7.2: Master FX MEQ page in Sequencer mode. You cannot use the Master EQ in Sampling mode. You cannot use the Master EQ for the Insert Effect or Master Effects.

  • Page 218: About Alternate Modulation, About Alternate Modulation Sources, Appendices, Alternate Modulation Source (ams)

    8. Appendices Alternate Modulation Source (AMS) About Alternate Modulation Alternate Modulation can be specified for the following 55 alternate modulation destinations shown in the diagram below. (Pitch EG is common to OSC 1 and 2.) The AMS (Alternate Modulation Source) and amount can be selected independently to apply modulation to each of these destinations.

  • Page 219: Ams (alternate Modulation Source) List

    AMS (Alternate Modulation Source) List (PEG) Pitch EG (FEG) Filter EG (AEG) Amp EG (LFO) LFO1 (LFO) LFO2 (KT) Flt KT +/+ (Filter Keyboard Track +/+) (KT) Flt KT +/– (Filter Keyboard Track +/–) (KT) Flt KT 0/+ (Filter Keyboard Track 0/+) (KT) Flt KT +/0 (Filter Keyboard Track +/0) (KT)

  • Page 220

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

  • Page 221: Alternate Modulation Settings, The Effect Of Alternate Modulation On Various Parameters And Example Applications

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

  • Page 222

    • If you select the same controller for “AMS” and set the Filter A (Low Pass Filter) “Intensity (A AMS 1/2 Intensity)” parameter and Filter B (High Pass Filter) “Intensity (B AMS 1/2 Intensity)” parameter to different values, a single controller operation will simultaneously control the cutoff frequencies of the two filters.

  • Page 223

    Amp LFO 1/2 Intensity (PROG 5.1–2b, 5.2) The amp modulation intensity of LFO 1/2 can be controlled by EG, keyboard tracking, controllers, or tempo etc. • If you select EG as the “AMS (LFO1/2 AMS),” the depth of the tremolo effect produced by LFO modulation will change in synchronization with the changes in EG level.

  • Page 224: Dynamic Modulation Source List

    Dynamic Modulation Source You can control certain effect parameters using the joystick, REALTIME CONTROLS knobs, etc. “on the fly.” Controlling effects in this way is referred to as Dynamic Modulation. For example, you can use After Touch to speed up the LFO of the chorus and flanger, or you can use the joystick to acti- vate the wah effect.

  • Page 225

    In Program mode and Sampling mode (if the EXB- SMPL option is installed), dynamic modulation of the insert effect and master effects is controlled on the glo- bal MIDI channel. (In Sampling mode, only the insert effect can be used.) In Combination mode and Sequencer mode, dynamic modulation of the insert effect and master effects are controlled on the MIDI channel that has been specified...

  • Page 226: About The Bpm/midi Sync Function

    About the BPM/MIDI SYNC function BPM/MIDI SYNC can be used for most effects that have an LFO, such as 09:St. Wah/Auto Wah, and for some delay- type effects such as 49:L/C/R BPM Delay. You can apply modulation that is synchronized to the tempo, or specify the delay time in terms of a note value so that the effect will syn- chronize to the tempo of the arpeggiator or sequencer dur- ing a live performance even if you change the tempo.

  • Page 227: Sw1, Sw2 Assign List, Sw1/2 Assign

    SW1/2 Assign The following functions can be assigned to the [SW1] or [SW2] keys. • For a program, combination, or song make the settings in 2.2: Ed-Ctrl/Controller page “SW1/2 Assign” (2.2– 1b). SW1, SW2 Assign List SW1 Mod.(CC#80) (SW1 Modulation:CC#80) SW2 Mod.(CC#81) (SW2 Modulation:CC#81) Porta.SW(CC#65) (Portamento Switch:CC#65) Octave Down...

  • Page 228: Knob 1...4 B Assign, Realtime Control Knobs B Assign List

    Knob 1...4 B Assign The following functions can be assigned to the REALTIME CONTROLS [1]–[4] knobs in B-mode. • For program, combination, or song, make these settings in 2.2: Ed-Ctrl/Controller page “Knob B Assign” (2.2– 1a). Realtime Control Knobs B Assign List No function Knob Mod.

  • Page 229: Foot Switch Assign, Foot Switch Assign List

    Foot Switch Assign You can assign the function of an assignable switch (sepa- rately sold Korg PS-1 option) connected to the ASSIGN- ABLE SWITCH jack. • This setting is made in GLOBAL 1.1: System Foot page “Foot SW Assign”...

  • Page 230: Foot Pedal Assign, Foot Pedal Assign List

    Foot Pedal Assign You can assign the function that will be controlled by an assignable pedal (separately sold Korg XVP-10 or EXP-2 option) connected to the ASSIGNABLE PEDAL jack. • This setting is made in GLOBAL 1.1: System Foot page “Foot Pedal Assign”...

  • Page 231: Are Operated

    MIDI transmission when the TRITON Le‘s controllers are operated The following table shows the relation between the MIDI messages that are transmitted when the TRITON Le’s con- trollers are operated, and the AMS (alternate modulation source) or DMS (dynamic modulation source) that corre- spond to each MIDI message.

  • Page 232

    Sequencer mode When one of the TRITON Le’s controllers is operated, its effect will apply to the track 1–16 that is selected by “Track Select” (SEQ 1.1–1c). If the “Status” (SEQ 3.1–1a/2a) of the track selected by “Track Select” is EXT, EX2, or BTH, a control change mes- sage will be transmitted on the MIDI channel specified by “MIDI Channel”...

  • Page 234

    Joy Stick Realtime Controls MIDI channel messages Note-off Note-on (note number) Note-on (velocity) Poly after touch 0 Bank select (MSB) 1 Modulation 1 # (+Y) 2 Modulation 2 # (–Y) 3 – 4 Foot controller 5 Portamento time 6 Data entry (MSB) 7 Volume 8 Post insertion effect panpot 9 –...

  • Page 235: Transmitted/received

    TRITON Le operations when control changes are transmitted/received Control 0 Bank select (MSB) 1 Modulation 1 2 Modulation 2 4 Foot controller 5 Portamento time 6 Data entry (MSB) 7 Volume 8 Post insertion effect panpot 10 Panpot 11 Expression 12 Effect control 1 13 Effect control 2 16 Controller (CC#16)

  • Page 236

    Any control change number (CC#00–95) can be assigned as the B-mode function of a REALTIME CON- TROLS knob. In this case, the transmitted values will all be 0–127. *1 On the TRITON Le’s sequencer, bank select messages are normally specified as a program change event (“Event Edit”...

  • Page 237

    CC#75: Decay time Corresponds to “Filter/Amp EG Decay Time” (PROG 4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG page) Corresponds to “Filter/Amp EG Slope Time” (PROG 4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG page) CC#76: LFO1 speed Corresponds to “LFO 1 Frequency” (PROG 5.3: Ed– LFOs, OSC1/2, LFO1 page).

  • Page 238: Midi Applications, About Midi

    MIDI applications About MIDI MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers. When MIDI cables are used to connect two or more MIDI devices, performance data can be exchanged between the devices, even if they were made by different manufacturers.

  • Page 239: Messages Transmitted And Received By This Instrument

    generator will be internally disconnected). When you play the keyboard of the TRITON Le, the musical data will be transmitted to the external MIDI sequencer or computer, and then echoed back to play the TRITON Le tone genera- tor. In other words, by turning Local Control OFF, you can prevent notes from being sounded in duplicate, as would otherwise occur if a note were sounded by the TRITON Le’s own keyboard and again by the data that was echoed-back.

  • Page 240

    Bank select MSB (CC#0) [Bn, 00, mm], Bank select LSB (CC#32) [Bn, 20, bb] (n: channel, mm: bank number upper byte, bb: bank number lower byte) • The internal banks that correspond to each bank select number will depend on the “Bank Map” setting (GLOBAL 1.1–2a).

  • Page 241

    Using the joystick to apply modulation Modulation 1 depth (CC#01) [Bn, 01, vv] When you move the TRITON Le’s joystick in the +Y direc- tion (away from yourself), Modulation 1 Depth messages will be transmitted. When these messages are received, the same effect will be applied as when the TRITON Le’s joy- stick is operated.

  • Page 242

    Damper pedal (CC#64) [Bn, 40, vv] This message is transmitted when you operate a damper pedal (separately sold Korg DS-1H etc.) connected to the DAMPER jack, and the damper effect will be turned on/off. If the DS-1H is used, a half-damper effect can be applied.

  • Page 243

    Sostenuto (CC#66) [Bn, 42, vv] If the above CC# is assigned as the function of the ASSIGN- ABLE SWITCH, operating the switch will transmit this mes- sage with vv=127 [7F] for ON, and vv=0 [00] for OFF, and the sostenuto effect will be turned on/off. When this mes- sage is received, the result will be the same as when the con- troller is operated (OFF for vv=63 [3F] or below, and ON for vv=64 [40] or above).

  • Page 244

    When an inquiry message request is received, this instrument will respond by transmitting an inquiry message that means “I am a Korg Future instrument, with system version ...” GM system on [F0, 7E, nn, 09, 01, F7] When this message is received in Sequencer mode, this instrument will be initialized for GM playback.

  • Page 245

    Master coarse tuning [F0, 7F, nn, 04, 04, vv, mm, F7] (Normally only the upper byte mm is used. A value of 8192 [mm, vv=40, 00] is center, 6656 [mm, vv=34, 00] is –12 semi- tones, and 9728 [mm, vv=4C, 00] is +12 semitones.) When this is received, “Key Transpose”...

  • Page 246

    Synchronizing the playback of the arpeg- giator or sequencer The choice of whether the TRITON Le will be the master (the controlling device) or the slave (the controlled device) is made by “MIDI Clock” (GLOBAL 2.1–1a). Using this instrument as master and the external MIDI device as slave Connect the MIDI OUT connector of this instrument to the MIDI IN connector of the external MIDI device.

  • Page 247

    from MIDI OUT according to the local control setting (“Local Control On”) as described below. Local Control On: Notes from the arpeggiator or RPPR will be transmitted from MIDI OUT. Normally you will use this setting. Local Control Off: Notes from the arpeggiator or RPPR will not be transmitted from MIDI OUT.

  • Page 248

    About standard MIDI files Standard MIDI files (SMF) make it possible for different computer programs or musical instruments made by differ- ent manufacturers to exchange time-based MIDI data. Each standard MIDI file contains one song. This instrument sup- ports format 0 (type 0) in which all of the MIDI data is com- bined into one track, and format 1 (type 1) in which the data is separated by track.

  • Page 249: Various Messages

    Various messages Are you sure? Meaning: This message asks you to confirm execution. To execute press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. Can’t calibrate Meaning: Calibration could not be performed correctly. Action: Try again. Can’t open pattern 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.

  • Page 250

    File already exists Meaning: When executing a Create Directory or File Rename operation, a directory or file of the same name already exists on the media. Meaning: When executing the Media mode utility menu command “Copy” without using wild cards, the copy destination contained a file of the same name as the copy source.

  • Page 251

    Medium write protected Meaning: The SmartMedia or other media to which you attempted to save is write-protected. Action: Turn off write protect on the media and execute the command once again. Memory full Meaning: In Sequencer mode when editing a song, track or pattern, the total data of all songs has used up all of the sequence data memory, and further editing is not possible.

  • Page 252

    Not enough multisample memor y Meaning: There is insufficient multisample memory. (The number of multisamples would exceed the maxi- mum of 1,000.) Action: Delete multisamples to increase the amount of free memory. Not enough relative parameter memor y Meaning: There is insufficient memory for relative parame- ters.

  • Page 253

    Selected file/path is not correct Meaning: When loading a KSF file that was split across mul- tiple media, the order in which you attempted to load the files was incorrect. Action: Load the KSF file in the correct order. To view the file number order in which the KSF files were saved, you can check the Utility “Translation.”...

  • Page 254: Data Compatibility

    Data compatibility The TRITON Le can load (and automatically convert) .PCG/ .SNG files from TRITON keyboard models (TRITON/TRI- TON-pro/TRITON-proX) or the TRITON-Rack. However, please be aware of the following limitations and cautions. The category of the programs or combinations may be inappropriate in some cases.

  • Page 255

    Drum Kits TRITON keyboard TRITON-RACK model 00-15(A/B) 00-15(I-A/B) 16-23(C) 16-23(E-A) 24-31(C)* 25-31(E-A)* 32-39(D)* 32-39(E-B)* 40-47(D)* 40-47(E-B)* 48-55(User)* 48-55(E-C)* 56-63(User)* 56-63(E-C)* 64-79(E-E)* 80-95(E-D)* 96-111(E-F)* 112-127(E-G)* 128-143(E-H)* 64-72(GM) 144-152(GM) *: Banks/numbers of a TRITON keyboard model or TRI- TON-Rack whose data is being convert-loaded, for which the TRITON Le has no corresponding bank/number #: TRITON Le bank/number into which the * bank/num- ber will be converted when loading.

  • Page 256: Media Mode Information, Chunks That Are Supported

    Media mode information Chunks that are supported When loading AIFF files When data is loaded into the TRITON Le, the following four chunks are referenced: Common chunk, Sound Data chunk, Marker chunk, and Instrument chunk. Other chunks are ignored. Restrictions on the parameters in each chunk are described below.

  • Page 257

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

  • Page 258

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

  • Page 260: Option Exb-smpl, Memory That Can Be Used With The Option Board

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

  • Page 261: Please Note When Installing An Option Board, Option Board/memory Installation Procedure

    If you are unable to retrieve a screw or part that was dropped inside the instrument, please contact your local Korg distributor. Option board/memory installation procedure Before you perform the installation, be sure to read the foregoing section “Please note when installing an...

  • Page 262

    2–1. Detaching cover “A” for the EXB-SMPL 1 Use a screwdriver to remove one screw from cover “A.” When the TRITON Le is upturned and the rear panel is toward you, cover “A” is the large one at the right. 2–2.

  • Page 263

    8 Attach the flat cable as shown in the diagram. Plug the cable all the way into the connector. When connecting the flat cable, be careful not to touch any part other than the connector on the circuit board. EXB-SMPL Chassis to which the board is attached Connector Connector...

  • Page 264

    Check once again that the board is installed correctly. If you have any questions regarding installation, please contact your local Korg distributor . • EXB-SMPL: EXB-SMPL is installed • SIMM Slot1: If a SIMM is installed in SIMM slot 1, the capacity of the SIMM “(**MB)”...

  • Page 265: Index

    Index Numerics 00: No Effect ...45, 156, 159 10’s Hold Combination...32 Program ...2 ADC OVER! ...92, 93 After Touch MIDI Filter Combination ...41 Sequencer...66 AfterTouch Curve ...122 Convert Position ...127 AIFF file ...7, 87, 139, 146, 150, 151, 247 AIFF format ...146 AKAI format ...133, 141, 147 AKAI Program File ...133, 140, 141, 145, 147...

  • Page 266

    Keyboard Track... 14, 15, 19, 212, 214, 215, 216 Kirnberger (Kirnberger III)... 5 .KMP file... 248 KORG format... 248 Korg Multisample Parameter... 140 Korg Multisample Parameter file... 139 .KSC file... 249 .KSF file ... 248 Latch ... 25, 35, 44, 136 Layer ...

  • Page 267

    Program ...8 Amp Level ...3 Level (Chain Level) ...28 Level (High/Low Level) ...7 OSC Bal (OSC Balance)...3 Rtn 1, 2 (Return 1, 2)...28 Sample...8 Send ...26 Trim ...13 Sampling...93, 116 Sequencer Level (Chain Level) ...86 Send ...84 Level Adj...103 LFO ...5, 22, 23 Filter ...16 OSC...11, 22 Pitch...12...

  • Page 268

    Pure Major ... 5 Pure Minor... 5 Quantize... 79 Reso (Realtime Quantize Resolution)... 50 RAM Bank ... 90 RAM multisample ... 6 REALTIME CONTROLS ... 9, 24, 32, 36, 51, 61, 67, 81, 92, 118, 135, 209, 213, 217, 221, 222, 224, 226, 231, 232, 233, 235, 237 Realtime recording ...

  • Page 269

    Velocity Arpeggiator Combination ...44, 45 Program ...24 Arpeggio ...137 Combination...40, 43, 45 Modify Velocity ...80 Program ...6, 7, 8, 10, 14, 15, 20, 24 Sequencer...65, 66, 74, 80, 81, 83 Velocity Cross-fade ...40 Velocity Curve ...122 Specified location ...127 Velocity SW Lo Hi DrumKit...132 Program ...6 Velocity Switch ...40...

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