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Korg TRITON Extreme TRITON Extreme music workstation/sampler Operation Manual

Music workstation/sampler.
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   Summary of Contents for Korg TRITON Extreme TRITON Extreme music workstation/sampler

  • Page 2: About This Manual

    Thank you for purchasing the Korg TRITON Extreme music workstation/sampler . To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed. About this manual The owner’s manuals and how to use them The TRITON Extreme come with the following owner’s manuals.

  • Page 3: Table Of Contents

    Table of Contents About this manual ...ii Introduction... 1 Main features... 1 Front and rear panel... 3 Names and functions of objects in the LCD screen ... 8 Overview of the TRITON Extreme’s modes... 10 About polyphony ... 12 Basic operation... 13 Setup ...

  • Page 4

    Use sampled Wave files to create an audio CD and play it: Media, Make Audio CD, Play Audio CD ... 123 Editing a Wave file: Media, Edit WAVE... 125 Viewing information about media: Media, Media Info... 125 Handling CompactFlash and Microdrive media... 125 Restoring the factory settings ...127 Restoring the factory settings ...

  • Page 5: Introduction

    1,344 high-quality pro- grams that cover a wide range of needs. When the EXB-MOSS option is installed, 128 programs for use with the Korg MOSS tone generator will also be avail- able. • The TRITON Extreme provides 144 user drum kits as well as 9 ROM drum kits compatible with GM2.

  • Page 6

    RPPR • The TRITON Extreme features Korg’s RPPR (Realtime Pattern Play/Recording) function. In Sequencer mode, this function allows you to assign preset patterns or user patterns (with a specified play-...

  • Page 7: Front And Rear Panel

    Front and rear panel Front panel 16 17 1. [SW1] key, [SW2] key These keys are on/off switches, their function can be assigned in Program, Combination, Sequencer, Song Play, and Sampling modes. When on, the key will light (☞p.21). 2. Joystick Various program parameters and effect parameters will determine what is being controlled by the joystick.

  • Page 8

    6. Mode keys Use these keys to enter the desired mode. When you press a key, the key will light, and you will enter the mode whose key you pressed ( ☞ p.10). [COMBI] key Combination mode will be selected. [PROG] key Program mode will be selected.

  • Page 9

    Each time you press the [G] key when selecting a pro- gram, the bank selection will step to the next GM(2) bank or GM drum bank in the following order: G, g(1), g(2)– g(8), g(9), g(d), G, g(1) etc ... The F bank can be only be selected in Program mode, and only if the EXB-MOSS option is installed.

  • Page 10: Rear Panel

    17. Sample memory (RAM) slot cover You can open this cover and install SIMM boards to expand the sample memory (RAM). A maximum of three 32 Mbyte SIMM boards can be installed as sample mem- ory (RAM). (☞PG p.321) 18. Headphone jack A set of headphones can be connected here (stereo 1/4"...

  • Page 11

    (☞PG p.157, 165). 9. ASSIGNABLE SWITCH jack An optional on/off foot switch such as the Korg PS-1 foot switch can be connected here. In Global mode you can specify the function of this switch. For example, you can use it as a modulation con- troller, to select programs or combinations, to start/stop the sequencer, or to set the tap tempo.

  • Page 12: Names And Functions Of Objects In The Lcd Screen

    Names and functions of objects in the LCD screen The TRITON Extreme uses Korg’s TouchView graphical user interface. By touching objects displayed in the LCD screen, you can select pages, set parameter values, rename programs and combinations, write data, and perform many other opera- tions.

  • Page 13

    f: Check box Each time you press a check box, a check mark will be added or removed. When checked, the parameter will function; when unchecked, the parameter will not function. g: Radio buttons Press a radio button to select one value from two or more choices.

  • Page 14: Overview Of The Triton Extreme's Modes

    Overview of the TRITON Extreme’s modes The TRITON Extreme has a large number of functions that let you play and edit programs and combinations, record and play sequence data, record and play back sam- ples, and manage data on media. The largest unit used to organize these functions is called a mode.

  • Page 15

    • Format the above types of media. You can also manage data by copying it, etc. • Korg, AKAI, AIFF, and WAVE format sample data can be loaded. Sample data can also be saved in Korg format, or exported in AIFF or WAVE formats.

  • Page 16: About Polyphony

    About polyphony Tone generators and oscillators Each oscillator in the TRITON Extreme is sounded by one of two Tone Generators. Each tone generator is connected to the various PCM memories as shown in the diagram below. Tone Generator 1 • ROM: Internal PCM ROM (32 Mbytes) •...

  • Page 17: Basic Operation

    Basic operation 1. Selecting modes In order to use a particular function on the TRITON Extreme, you must first select the appropriate mode. Press one of the front panel mode keys ([COMBI] key – [MEDIA] key) to enter the corresponding mode. [COMBI] key: Combination mode [PROG] key:...

  • Page 18

    VALUE controllers [VALUE] slider Use this when you wish to make major changes in the value. In Program mode and Combination mode, this slider can also be used as a control source for alternate modulation or dynamic modulation. (This is active in Program or Combination P0: Play when the “Program Select”...

  • Page 19: Setup

    Connections Connections must be made with the power turned off. Please be aware that careless operation may dam- age your speaker system or cause malfunctions. 3. Analog audio input connections Effect processor etc. 8. Connections to MIDI equipment/computers Power Switch AC power supply 1.

  • Page 20: Connecting The Power Cable

    Connect an optional foot switch such as the Korg PS-1 to the rear panel ASSIGNABLE SWITCH jack. The function assigned to the foot switch and the polarity of the foot switch can be set in Global: P2 “Foot Switch...

  • Page 21: Installing Options

    6. Inserting and removing CF card slot media You can insert a CompactFlash or Microdrive card into the CF card slot, and use it to save or load song data or sam- ple data. When using a Microdrive, you can save the sampled data directly to media.

  • Page 22: Turning The Power On/off

    Turning the power on/off Before you turn on the power, make sure that the desired connections have been made as described in “Connections” (☞p.15). 1. Turning the power on 1 Press the rear panel [POWER] switch to turn on the power.

  • Page 23: Playing And Editing Programs

    Playing and editing programs Program structure When the TRITON Extreme is shipped from the factory, it contains 1,344 programs (excluding the GM2 variation programs). You can create your own original programs by editing these factory-set programs, or by initializing a pro- gram and starting “from scratch.”...

  • Page 24: Playing A Program P0: Play

    Playing a program Here you can select and play programs. You can use the Performance Editor to make simple edits, and also make settings for the arpeggiator, external audio input, and sampling. Selecting a program There are three ways to select a program. For the proce- dure, refer to the appropriate page.

  • Page 25

    4 When you are satisfied with the selected program, press the OK button to close the popup menu. If you press the Cancel button, your selection will be discarded, and you will return to the program that had been selected when you opened the popup menu. Using 10’s HOLD when selecting programs If you press the [./10’s HOLD] key to turn on the 10’s Hold function (the LCD screen will indicate...

  • Page 26

    You can specify the way in which the [SW1] and [SW2] keys will operate: either Toggle, when the assigned func- tion will be switched between on and off each time the key is pressed, or Momentary, when the assigned function will be active on only as long as you hold down the switch.

  • Page 27: Program Editing

    Assignable Foot Switch If an optional foot switch such as the Korg PS-1 is con- nected to the rear panel ASSIGNABLE SWITCH jack, an assigned function can be switched on/off using the foot switch.

  • Page 28: Oscillator Settings P1: Edit-basic

    Oscillator settings Basic settings for the oscillator are made in the P1: Edit- Basic page. The TRITON Extreme provides two oscilla- tors, and for each oscillator you can select a basic wave- form (“multisample”) and set the pitch. The multisamples provided by the TRITON Extreme include waveforms for musical instruments such as pianos, as well as special waveforms unique to synthesiz- ers.

  • Page 29

    3 Adjust the “Lvl” (Level) for High and Low multisam- ples to set their volume balance. If you do not wish to use this function, set the “Veloc- ity M.Sample SW Lo→ Hi” value to 001. Only the High multisample will sound. Rev (Reverse) check box If this is checked, the multisample will be played back- ward.

  • Page 30: Pitch Settings P2: Edit-pitch

    Pitch settings Here you can specify how the pitch of the multisample assigned to each oscillator will change. Pitch EG and LFO settings allow the pitch to varied over time. The OSC1 P.Mod page is valid when “Oscillator Mode” is set to Sin- gle or Drums.

  • Page 31: Filter Settings P3: Edit-filter

    Filter settings P3: Edit-Filter The filter allows you to diminish or emphasize specified frequency areas of the multisample selected for the oscil- lator. The tone of the sound will depend significantly on the filter settings. TRITON Extreme provides Filter 1 for OSC1 and Filter 2 for OSC2.

  • Page 32: Amplifier Settings P4: Edit-amp

    Filter EG Adjusts the effect produced by the filter EG, whose set- tings are made in the EG page. • Use the “Velocity to A” and “Velocity to B” settings to specify the effect of velocity on the filter EG. •...

  • Page 33: Lfo Settings P5: Edit-common Lfo

    Amp1 Mod. page Keyboard Track This lets you vary the volume relative to the position of the key you are playing on the keyboard. • When “Ramp Low” has a positive (+) value, the vol- ume will increase as you play lower on the keyboard. With a negative (–) value, the volume will decrease as you play lower on the keyboard.

  • Page 34: Arpeggiator Settings P7: Edit-arpeggiator

    Arpeggiator settings P7: Edit-Arpeggiator Here you can make arpeggiator settings (☞p.94). Insert Effect settings P8: Edit-Insert Effect Here you can select insert effects and make settings for them. You can also specify the oscillator routing (the sig- nal sent to the insert effects, master effects, and indepen- dent outputs) (☞p.104).

  • Page 35: Playing And Editing Combinations (combination Mode)

    Playing and editing combinations Combination structure When the TRITON Extreme is shipped from the factory, it contains 1,280 combinations. You can create your own original combinations by editing these factory-set combi- nations, or by initializing a combination and starting “from scratch.” You can play a combination and resample your perfor- mance, or sample an external audio source while listening to the sound of a combination.

  • Page 36: Playing A Combination P0: Play

    Playing a combination Here you can select and play combinations. You can select the program for each timbre 1–8 and set its status, pan, and level. You can also make settings for the arpeggiator, external audio input, and sampling. Selecting a combination You can select a combination in any of the following three ways.

  • Page 37: Combination Editing

    Easy arpeggiator editing Arpeggio Play A/Arpeggio Play B tabs • You can switch arpeggiators A and B on/off independently. To turn both arpeggiators on/off, use the ARPEGGIA- TOR [ON/OFF] key. The arpeggiator will operate only on timbres to which arpeggiator A or B is assigned. •...

  • Page 38: Timbre 1-8 Program, Pan And Volume P1: Edit-program/mixer

    Layer Layer refers to settings which cause two or more pro- grams to sound simultaneously when a note is played. Program A Program B Split Split refers to settings which cause different programs to sound on different areas of the keyboard. Program B Program A Velocity switch...

  • Page 39: Settings For Status, Midi Channel, And Pitch Parameters P2: Edit-trk Param

    Settings for status, MIDI channel, and pitch parameters P2: Edit-Trk Param MIDI Ch page Status Here you can specify the MIDI status of the internal tone generator assigned to each timbre. Normally when play- ing the internal tone generator of TRITON Extreme, you will set this to INT.

  • Page 40: Midi Filter Settings P3: Edit-midi Filter

    ● Adjusting the BPM of multisamples or samples cre- ated in Sampling mode If a timbre’s program uses multisamples or samples that you created in Sampling mode (or loaded in Media mode) at a specific BPM value, you can use the page menu com- mand “Detune BPM Adjust”...

  • Page 41: Arpeggiator Settings P7: Edit-arp

    You can also enter these values by holding down the [ENTER] key and playing a note on the keyboard. Key Zone Slope Here you can specify the range of keys over which the original volume will be reached, starting at the top key and bottom key.

  • Page 42: Auto Song Setup Function

    Auto Song Setup function This function automatically applies the settings of the cur- rent combination to a new song. If inspiration for a phrase or song strikes you while you’re playing a combination, you can use this function to start recording immediately.

  • Page 43: Producing Songs (sequencer Mode)

    Producing songs (Sequencer mode) TRITON Extreme contains a 16-track MIDI sequencer. The sequencer acts as a hub, integrating TRITON Extreme’s numerous functions. When you turn off the power, the settings made in Sequencer mode and the song data, cue list data, and any user pattern data that you recorded will not be backed up.

  • Page 44: The Structure Of Sequencer Mode

    The structure of Sequencer mode Sequencer mode is structured as follows. Songs A song consists of MIDI tracks 1–16, a master track, song parameters such as the song name, effect, arpeggiator and RPPR parameters, and 100 user patterns. A maximum of 200 such songs can be created on TRITON Extreme.

  • Page 45: Preparations For Recording

    Sequencer mode page structure Page Explanation P0: Play/REC Play/record songs, and make associated set- tings. Select the program for each track. Pan and level settings. Settings for sampling. P1: Cue List Play, create, and make settings for cue lists. P2: Trk Param Parameter settings for each track of a song.

  • Page 46

    If you are using the TRITON Extreme’s Sequencer mode as a 16-track multi-timbral tone generator, set this parameter to INT or BTH. (☞”Status” PG p.72) In general, you should set “MIDI Channel” to different channels 1–16 for each track. Tracks that are sent to the same MIDI channel will sound simultaneously when either is recorded or played.

  • Page 47: Recording Methods

    Recording methods This section describes the ways in which you can record on the TRITON Extreme. Recording a track There are two ways to record to a MIDI track: realtime recording and step recording. You can choose from six types of realtime recording. On MIDI tracks you can edit the recorded data in various ways.

  • Page 48

    3 In “Location,” specify a location several measures earlier than the point at which you wish to begin recording. 4 Press the SEQUENCER [START/STOP] key. Playback will begin. 5 At the point at which you wish to begin recording, press the SEQUENCER [REC/WRITE] key. Recording will begin.

  • Page 49: Step Recording

    When simultaneously recording multiple tracks using the RPPR function You can use multitrack recording to simultaneously record the playback of multiple tracks that are being trig- gered by the RPPR function. For the procedure, refer to “Realtime-recording an RPPR performance” (☞p.56). When simultaneously recording multiple tracks of MIDI data from an external sequencer.

  • Page 50

    Recording exclusive events Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a track parameter or effect parameter can be realtime- recorded on any track. You can adjust the realtime control- lers, the arpeggiator, make changes to the program vol- ume/pan/mute settings, and adjust the tone –...

  • Page 51

    Using “Put Effect Setting to Track” to switch effects The page menu command “Put Effect Setting to Track” places effect settings into a track as exclusive events. As an example, we will use the preset template song “Acid Jazz” to explain how to use the “Put Effect Setting to Track”...

  • Page 52

    B If you press the [COMPARE] key (the key will light) and play back, you will hear the state of the track prior to executing “Put Effect Setting to Track.” Use the [COMPARE] key when you want to make a before-and-after comparison of the track.

  • Page 53

    9 Press the OK button. Now when you select song 000 and play it back, the track 3 effect will switch to 020: Stereo Flanger from measure 9. 0 Using the [COMPARE] key, you can listen to the pre- vious version, before you performed the “Put Effect Setting to Track”...

  • Page 54: Song Editing Methods

    9 If you want to delete specific data while you continue pattern recording, you can press the SEQUENCER [REC/WRITE] key or check the “Remove Data” check box. For details refer to step 6 of “Loop All Tracks” (☞p.44). 0 Press the SEQUENCER [START/STOP] key to stop recording.

  • Page 55: Naming A Song

    Decide on the number of measures, input the number in “Set Length,” and press the OK button. A new song will be created. Next we will copy the song settings and playback data of another song into this newly created song. 2 Select the page menu command “Copy From Song.”...

  • Page 56

    4 Mute tracks. Press the [EXIT] key to select P0: Play/REC, and access the Program T01–08/T09–16 page. Mute all tracks other than tracks 3 and 4. When you play back, you will hear only the electric piano and guitar performances. 5 As described in steps 1–4, set song S001: VERSE to 008 (8 measures), making it an eight measure song.

  • Page 57: Creating And Playing A Cue List

    Creating and playing a Cue List A cue list allows you to play multiple songs in succession. For example you can create a separate song for each por- tion (introduction, melody A, melody B, chorus, and end- ing) of a composition, and use the cue list to specify the order of each portion and the number of times that it will be repeated to complete the song.

  • Page 58

    playback is started or when switching from song to song. Although it will not be possible to change effect types within the cue list, you can use dynamic modulation or MIDI control changes such as Effect Control to control the effects within the cue list, for example applying reverb more deeply on certain songs, or raising the LFO speed for a specific song.

  • Page 59: Creating And Recording Rppr (realtime Pattern Play/record)

    Creating and recording RPPR (Realtime Pattern Play/Record) This section explains how to assign a pattern to RPPR, and how to play and record. (☞QS p.3 “Performing with the RPPR function”) Creating RPPR data 1 Create a new song. (☞p.50) 2 Specify the program for each track. For this example we will use a template song.

  • Page 60: Rppr Playback

    RPPR playback Let’s use the RPPR you created to perform in the Sequencer P0: Play/REC page. 1 Select Sequencer P0: Play/REC. 2 Check the “RPPR” check box. The RPPR function will be turned on. Set the on/off for each song. 3 Play the keyboard, and patterns will begin playing according to the RPPR settings.

  • Page 61

    Set “Gate” and “Velocity” to Step. Do not check “Key Sync.” Press the ARPEGGIATOR [ON/OFF] key. (The key will light.) 3 In the Sequencer P0: Play/REC, Preference page, check the “Multi REC” check box. If “Recording Mode” is set to Loop All Tracks,” it will not be possible to select Multi REC.

  • Page 62: Recording The Sound Of A Combination Or Program

    Recording the sound of a combi- nation or program Here’s how you can easily copy the settings of a combina- tion or program, and then record. There are two ways to do this. While playing in Program or Combination mode, you can use the Auto Song Setup function to automatically set up a song using the current settings of the program or combination.

  • Page 63: Caution And Other Functions In Sequencer Mode

    When using the “Copy From Program” page menu command, the dialog box will be different. You can specify any track as the copy destination, and “Auto adjust Arp setting for Multi REC” will be replaced by a simple “with Arpeggiator” check-box. Depending on the combination settings, it may be necessary to make additional changes to the track set- tings.

  • Page 64: About Midi

    The Compare function When you perform realtime recording, step recording, or track editing, this function allows you to make before- and-after comparisons. If you continue editing when the [COMPARE] key is lit, the key will go dark. This now becomes the musi- cal data that will be selected when the [COMPARE] key is dark.

  • Page 65: Sampling (open Sampling System)

    • In Media mode, you can load multisample/sample data from various types of media. • Korg format or Akai (S1000/3000 samples, mapped multisamples only) format sample data, and AIFF or WAVE format sample data can be loaded. (Once data has been loaded into the TRITON Extreme, it will all be treated as Korg format sample data.)

  • Page 66: How Sampling Mode Is Organized

    Editing in Sampling mode • In Sampling mode, the sample data you sampled or loaded from various media (including WAVE and AIFF formats) can be assigned to an index (zone) to create a multisample. • The waveform can be viewed in the LCD screen, and edited by a variety of waveform editing commands that include rate convert (down-sampling) and reverse playback.

  • Page 67: Samples And Multisamples

    Samples and Multisamples Samples The data that is recorded (sampled) into internal memory or loaded from a file is referred to as a sample or sample file. Samples consist of the actual waveform data, and parameters that specify how the data will be played back, such as Start, Loop Start, and End Address.

  • Page 68: Preparations For Sampling

    Preparations for sampling The multisample and sample data in the sample memory (RAM) is not backed up when the power is turned off. If you wish to keep this data, you must save it onto a media before turning off the power. When the power is first turned on, memory will not contain any multisample or sample data.

  • Page 69

    4 For Input1 and Input2, set “BUS (IFX/Indiv.) Select” to specify the destination to which the external audio signal you selected in “Input” will be sent. L/R: Send to the L/R bus. IFX1–IFX5: Send to the corresponding insert effect. 1, 2, 3(Tube), 4(Tube), 1/2, 3/4(Tube): Send to the jINDI- VIDUAL 1–4, 1/2, or 3/4 bus(es).

  • Page 70

    2 Use “Trigger” to specify how sampling will begin. The available trigger methods will differ depending on the mode. Sampling mode: Sampling START SW, Note On, Threshold Program, Combination modes: Sampling START SW, Note On Sequencer mode: Sampling START SW, Note On, Threshold, Sequencer START SW Here we will describe the Sampling START SW and Note On that can be used in all modes.

  • Page 71

    In Program, Combination, and Sequencer modes, you can set this parameter using the Sampling page menu command “Select Bank & Smpl. No.”. MEDIA: The sample will be written to the media. If you select MEDIA, you can also select the writing- destination drive.

  • Page 72: Sampling And Editing In Sampling Mode

    Sampling only the stereo input sound from the AUDIO INPUT 1 and 2 jacks while you listen to the sound of the TRITON Extreme (arpeggiator etc.) “Input”: Analog Input1 “BUS Select”: 1/2, “Pan”: L000 Input2 “BUS Select”: 1/2, “Pan”: R127 “Source BUS”: Indiv.1/2 “Recording Level”: 0.0 “Auto +12dB On”: Off (unchecked) ☞PG p.6, 64...

  • Page 73

    Creating multisample indexes and sampling Here’s how to create indexes for a multisample, and how to assign a sample to each index. 1 Select the P0: Recording, Recording page. (Multisample Select) Sample Select 2 Select “MS (Multisample Select),” and create a multi- sample.

  • Page 74: Applying An Insert Effect To A Sample And Resampling It

    Applying an insert effect to a sample and resampling it The process of applying an insert effect etc. to a sampled sound and then sampling it once again is called “resam- pling.” 1 In the P0: Recording, Recording page, assign the sam- ple that you want to resample to “Sample Select.”...

  • Page 75

    7 In the P8: Insert Effect, Insert FX page, set “IFX1” to 052: Reverb Hall, and turn “IFX On/Off” ON. Press the C2 key, and verify that reverb is applied. 8 Press the SAMPLING [REC] key, and then the SAM- PLING [START/STOP] key.

  • Page 76

    If the edit cell is located at “Range Start” or “Range End,” this region will play back. When you finish making settings, press the SEQUENCER [START/STOP] key to stop playback of the audio CD. 7 Verify the region that will be ripped. Select either “Region Start”...

  • Page 77

    8 Adjust the recording level. Press the SAMPLING [REC] key. When you press the SEQUENCER [START/STOP] key to play back the audio CD, the level meter will indicate the volume that will be sampled. If the display indi- cates “ADC OVERLOAD !!,” adjust the “Volume” in the P5: Audio CD, Ripping page.

  • Page 78

    If the “Use Zero” check box is checked, only those addresses where the waveform data crosses the zero level will be found automatically when searching, and can be set. This lets you easily make address set- tings where noise is less likely to occur when looping. 4 If necessary, use the page menu command “Truncate”...

  • Page 79

    4 Choose “REC Audio Input.” 5 Make the following settings for REC Audio Input. Set “Source Audio” to Analog. The external audio input source (the analog audio output of an instrument or other device connected to the INPUT 1, 2 jacks) will be sampled.

  • Page 80

    E Notice that 0000: LOOP1-140BPM-L is selected for “Sample (Sample Select),” and that the sample wave- form data is displayed. The selected sample is a stereo sample. The L and R waveforms will be shown in the upper and lower parts of the sample waveform display.

  • Page 81: Multisample Editing

    Sample (waveform data) editing Editing the waveform data of the sample is done in P1: Sample Edit. You can use commands such as cut, copy, and normalize to edit the waveform data. 1 Select the sample that you wish to edit. Use “Sample Select”...

  • Page 82: Converting A Multisample To A Program

    The Create button has the same function as the Create button in P0: Recording (“Creating multisample indexes and sampling” ☞p.69). Modifying the settings of an index 1 Make the settings described in steps 1–3 of “Edit- ing the indexes.” 2 Set parameters for the selected index. (☞PG p.135) •...

  • Page 83

    5 Press the OK button. The sample will automatically be sliced, and a dialog box will appear. When you play the keyboard, C2 will play the original sample (Source), and D2 and subsequent keys will play the divided samples. While listening to each divided sample, adjust “Sensi- tivity”...

  • Page 84: Sampling In Program, Combination, Or Sequencer Modes

    The silence between samples may become obtrusive if you play back at a slower tempo, or noise may occur between samples if you play back at a faster tempo. To avoid such problems, you can set Stretch “New BPM” or “Ratio” in step 6 to the tempo at which you want to play back, and execute time stretch to adjust the length of each sample.

  • Page 85

    4 Connect your guitar to the rear panel AUDIO INPUT 1 jack. Set the AUDIO INPUT [MIC/LINE] switch to the LINE position, and set the [LEVEL] knob to approximately the center position. Guitar If you are using a guitar with passive pickups (i.e., without an internal pre-amp), the mismatch of impedance levels will make it difficult to sample at an appropriate level.

  • Page 86

    Record an external audio input source while a song plays, and create event data at the same time (In-Track Sampling function) As an example, here’s how the sound of a guitar con- nected to the AUDIO INPUT 1 jack can be added to a song you created.

  • Page 87

    right of the display) below +0.0 to an appropriate level. This adjustment will not affect the output volume, but will affect the data that will be sampled. When you have finished making adjustments, press the SAMPLING [REC] key. 0 Begin sampling. Press the SAMPLING [REC] key, and then the SAM- PLING [START/STOP] key to enter recording-standby mode.

  • Page 88

    6 Select the page menu command “Select Directory,” and specify the destination to which the WAVE file will be written. Use media select and the Open and Up buttons to select the directory in which the WAVE file will be saved.

  • Page 89: Smf (standard Midi File) Playback

    SMF (Standard MIDI File) playback In Song Play mode you can load and play Standard MIDI File (SMF) data directly from media. If you’re playing SMF data, using Song Play mode will provide a higher degree of reproducibility than using Sequencer mode to play the data.

  • Page 90: Playing Smf Data

    Playing SMF data Direct playback from media When you wish to playback SMF data that is compat- ible with the GM/GS/XG standards, set “Bank Map” (Global P0: Basic Setup, System Preference page) to GM(2). If you want to play back from media inserted in the TRITON Extreme’s CF card slot, you must turn off the power before inserting the media.

  • Page 91: Playback Using The Jukebox Function

    Playback using the Jukebox func- tion The TRITON Extreme provides a Jukebox function that can be used to playback SMF data. This function allows you to specify the order in which files in the same directory will be played. Any jukebox list you create will be erased when the power is turned off, and cannot be recovered.

  • Page 92: Playing Along With Smf Data

    Playing along with SMF data Minus-one play You can enjoy “minus-one” play by playing back SMF data, muting a specific part, and playing that part your- self. 1 Playback the SMF data, identify the track whose part you wish to play, and stop playback (☞p.86). 2 In P0: Prog/Mix, select the Prog.

  • Page 93: Settings For The Entire Triton Extreme (global Mode)

    Settings for the entire TRITON Extreme How Global mode is structured In Global mode you can make overall settings that apply to the entire TRITON Extreme, such as master tune, key transpose, effect global switch, global MIDI channel, and system clock. In addition, you can create user drum kits, user arpeggio patterns, and scales, make settings for the damper pedal and assignable foot switches/pedals, and specify category...

  • Page 94: Midi-related Settings P1: Midi

    Specifying the function of the ASSIGNABLE Switch and ASSIGNABLE Pedal Sets the function of an assignable switch such as the optional Korg PS-1 connected to the ASSIGNABLE SWITCH jack. • This is set by “Foot Switch Assign.” This switch can act as a source for alternate modulation or...

  • Page 95: Creating Original Scales P3: User Scale

    If you have connected a Korg PS-1 pedal switch, set this to (–) KORG Standard. If the polarity is not set correctly, the pedal will not function appropriately. 3 Either press the [PROG] key to enter Program P0: Play, or press the [COMBI] key to enter Combination P0: Play.

  • Page 96: Drum Kit Settings P5: Drum Kit

    Drum kit settings What is a drum kit? A drum kit assigns a different drum sample (PCM wave- form data for drum sounds) to each note. If you set a program’s oscillator (specified by “Oscillator Mode”) to Drums, the program will use a drum kit instead of a multisample.

  • Page 97

    6 Use “High Drumsample Bank,” “High Drumsam- ple,” “Low Drumsample Bank,” and “Low Drumsam- ple” to specify the drum sample that will be assigned to this note number. If you have selected a Low Drumsample, use “Velocity Sample SW Lo→Hi” to specify how velocity will switch between the High Drumsample and Low Drumsample.

  • Page 98: Arpeggiator Settings P7: Edit-arpeggiator

    Arpeggiator settings P7: Edit-Arpeggiator This chapter describes the procedure for making arpeg- giator settings in each mode. Arpeggiator settings for a program Arpeggiator on/off Pressing the ARPEGGIATOR [ON/OFF] key will turn the arpeggiator on or off. When on, the ARPEGGIATOR [ON/OFF] key will light.

  • Page 99

    4 Adjust the settings of the various parameters. “Octave”: Selects the octave range in which the arpeg- gio will be played. Octave: 4 If a user arpeggio pattern is selected, the “Octave Motion” setting (Global P6: Arpeggio, Pattern Setup page) will affect the way in which the arpeggio is played.

  • Page 100: Arpeggiator Settings In Combination And Sequencer Modes

    Arpeggiator settings in Combination and Sequencer modes In Combination, Sequencer and Song Play modes, the TRITON Extreme provides dual arpeggiator functionality that lets you use two arpeggio patterns simultaneously. The settings in each of these modes are made in the simi- lar way.

  • Page 101

    Combination D062: Old Vox Organ Although this is a somewhat sophisticated editing tech- nique, we will describe the settings of one of the preset combinations as an example. Select combination D062: Old Vox Organ, press the ARPEGGIATOR [ON/OFF] key to turn it on, and play. Before you play, make sure that the global MIDI channel (Global P1: MIDI “MIDI Channel”) is set to 01.

  • Page 102: Creating An User Arpeggio Pattern

    Creating an user arpeggio pattern About user arpeggio patterns The patterns that can be selected on the TRITON Extreme’s arpeggiator are called “arpeggio patterns.” There are two types of arpeggio patterns: preset arpeggio patterns and user arpeggio patterns. Preset arpeggio patterns: There are five patterns;...

  • Page 103

    • Tone: At each step, a chord consisting of up to 12 tones (Tone No. 00–11) can be sounded. To input tones, select “Step No.” and then use numeric keys [0]–[9], [–], and [./10’s HOLD] to input tones. The “Tone No.” corresponds to the [0]–[9], [–], and [./10’s HOLD] keys as shown below.

  • Page 104

    7 Set “Step No.” to 07, and press the [0] key. Set “Pitch Offset” to +00. 8 Set “Step No.” to 08, and press the [0] key. Set “Pitch Offset” to –02. Chordal pattern 1 Set “Step No.” to 01, and press the [0] key. Set “Gate”...

  • Page 105: Dual Arpeggiator Editing

    8 Input the open hi-hat (Tone03). Set “Step No.” to 04, and press the [3] key. Then set “Step No.” to 08, and press the [3] key. If “Fixed Note Mode” is set to Trigger All Tones, play- ing a single note on the keyboard will cause the rhythm pattern to play.

  • Page 106: Synchronizing The Arpeggiator

    Synchronizing the arpeggiator The note timing of the arpeggiator will differ depending on the state of the arpeggiator “Key Sync.” check box. If this is checked, the arpeggiator will operate at the tim- ing of the first note-on you play from a state in which all keys are released.

  • Page 107: Effect And Valve Force Settings

    Effect and Valve Force settings The effect section of the TRITON Extreme provides five insert effects, two master effects, one master EQ (stereo 3-band EQ), and a mixer that controls the routing of these components. You can choose from 102 types of full-digital effects for each insert effect, and from 89 types for each master effect.

  • Page 108: Routing Settings And Effect Settings

    Routing settings and effect set- tings The insert effects, master effects, and master EQ have the same structure in all modes, but the routing settings will determine how the oscillators of a program or the timbres of a combination or track of a song will be sent to each insert effect or master effect.

  • Page 109

    Master effects The input levels to the master effects are set by the “Send 1, 2” levels (step 3 or 8). If “Send 1, 2” are zero, the mas- ter effects will not apply. “Send 1” corresponds to MFX1, and “Send 2” corresponds to MFX2. 0 In Program P9: Edit-Master Effect, select the Master FX page.

  • Page 110

    Insert effects Select an effect for IFX1–IFX5, and set “Pan (CC#8),” “BUS Sel. (BUS Select),” “Send 1” and “Send 2” for the signal that has passed through each insert effect. If the “Chain” check box is checked, the settings that follow the last IFX in the chain will be used.

  • Page 111

    AUDIO INPUT effect settings In Program, Combination, Sequencer, Song Play, and Media modes, you can apply the TRITON Extreme’s effects to an external audio source connected to the AUDIO INPUT 1, 2, or S/P DIF IN jacks. In these modes you can use the insert effects, master effects, and master EQ.

  • Page 112

    About dynamic modulation (Dmod) Dynamic modulation (Dmod) is a function that lets you use MIDI messages or the TRITON Extreme’s controllers to control specific effect parameters in realtime. BPM/MIDI Sync is another function that controls effect parameters, and is used to synchronize the LFO speed of modulation-type effects or the delay time etc.

  • Page 113: Valve Force Settings

    Valve Force settings Valve Force is an analog circuit that uses a 12AU7 (ECC82) vacuum tube. It uses a single vacuum tube to deliver ste- reo-in/stereo-out operation. By generating the rich overtones and smooth distortion that are typical of vacuum tubes, Valve Force produces natural depth and a fat, driven tone.

  • Page 114

    Valve Force settings for Combination, Song, and Song Play modes In Combination, Sequencer, and Song Play modes, you can set “Placement” to Final or Insert (User 3/4 BUS) just as for a program. If you want to apply Valve Force to a specific timbre or track, set “Placement”...

  • Page 115

    If you want to route the sound through an insert effect and then into Valve Force, set the post-IFX “BUS Sel.” to 3/4(Tube), 3(Tube), or 4(Tube). Use “BUS Sel.” to assign the output of Valve Force. You can send the output to the L/R bus, the insert effect IFX1–IFX5 bus, or the 1, 2 buses.

  • Page 116

    If “Placement” = Insert (Use 3/4 BUS): If you want to send the external audio source to Valve Force, set “BUS (IFX/Indiv.) Select” to 3/4(Tube), 3(Tube), or 4(Tube). If you want to send the signal through an insert effect and then into Valve Force, set “BUS(IFX/Indiv.) Select”...

  • Page 117: Loading And Saving Data, Creating Audio Cds

    Loading and saving data, creating audio CDs, and editing Wave files Types of data that can be saved You can save data by writing it to internal memory, saving it to media, or sending it as a MIDI data dump. In addition to these methods, data stored on media in the CF card slot can be saved to your computer.

  • Page 118: Writing To Internal Memory

    Writing to internal memory Writing a program or combination The programs or combinations that you create by using the Performance Editor or by editing parameters in the various Edit pages can be saved in the internal memory of the TRITON Extreme. This action is referred to as “writing a program”...

  • Page 119: Memory Protect

    Assigning a name (Rename) You can modify the name of an edited program, combina- tion, song, drum kit, user arpeggio pattern, multisample or sample etc.. You can also modify the category names for programs and combinations. These renaming operations can be performed in the fol- lowing pages.

  • Page 120: The Pages Of Media Mode

    Writing global settings, user drum kits, and user arpeggio patterns The settings you edit in Global mode can be written into internal memory. This is done using the operations Write Global Setting, Write User Drum Kits, and Write User Arpeggio Patterns. If you wish to use these edited set- tings after you turn the power off, be sure to write the data first.

  • Page 121: Saving On Media Media, Save

    Saving on media Media, Save For details on the data that can be saved on storage media. (“Types of data that can be saved” ☞p.113). The Media mode Save page is where you save data to media. Song data and cue lists in the TRITON Extreme’s Sequencer mode, as well as multisamples and sam- ples cannot be written into internal memory.

  • Page 122

    1 Prepare the media on which you want to save the data. (☞“Setting up media”) 2 Press the [MEDIA] key to enter Media mode. 3 Press the Save tab to access the Save page. 4 Press “Media Select” to select the save-destination media.

  • Page 123: File Copying, Deleting, And Formatting (media, Utility)

    Using the TRITON Extreme as a data filer The TRITON Extreme can receive MIDI exclusive data sent by an external device, and save this data to media. (This is referred to as Data Filer functionality.) Execute the page menu command “Save Exclusive.” (☞PG p.189) File copying, deleting, and for- matting (Media, Utility) In the Media mode Utility page you can rename, copy, or...

  • Page 124: Setting The Calendar Function

    7 Specify the initialization format. Quick Format: Normally you should use Quick For- mat to initialize the media. Select this if the media has already been physically for- matted, or if you want to format media that has been UDF-formatted by the TRITON Extreme. Since only the system area of the media need be for- matted, this will require less time.

  • Page 125: Loading Data Media, Load

    Loading data Media, Load The types of data that can be loaded from media are shown in the diagram below. (☞For details on each type of data, refer to PG p.177) The Media mode Load page lets you load data from media.

  • Page 126

    5 Navigate to the directory that contains the file you want to load, and select the .SNG file. Press the Open button to move to a lower level, or press the Up button to move to a higher level. The selected .SNG file will be highlighted. 6 Press the page menu button to access the page menu, and choose “Load Selected.”...

  • Page 127: Use Sampled Wave Files To Create An Audio Cd And Play It: Media, Make Audio Cd, Play Audio Cd

    Loading data by individual item or bank The TRITON Extreme lets you load programs and combi- nations individually or by individual banks. Drum kits and arpeggio patterns can also be loaded individually or as a group. This is a convenient way to rearrange combinations in the order in which you will use them during a live perfor- mance.

  • Page 128

    To add the file, press the Insert button. You can continue adding files until you press the Exit button. The files will be added to the track list in the order in which you selected them. If you want to add all the WAVE files in the directory, press the Insert All button.

  • Page 129: Editing A Wave File: Media, Edit Wave

    In “Drive,” select your CD-R/RW drive. “Drive” will indicate Audio CD. Make the following settings to allow monitoring. “Input”: Analog Input1 “BUS (IFX/Indiv.) Select” L/R, “Level” 127, “Pan” L000 Input2 “BUS (IFX/Indiv.) Select” L/R, “Level ”127, “Pan” R127 “Volume” 127 Use “Track”...

  • Page 131: Restoring The Factory Settings

    Restoring the factory settings The preload data stored in the TRITON Extreme can restore all the programs, combinations, drum kits, user arpeggio patterns, and global settings to their original fac- tory settings. The original demo songs can also be re- loaded at any time using this same method.

  • Page 132: Loading The Exb-moss Data

    Loading the EXB-MOSS data After installing the EXB-MOSS, you will need to load the data for it. The TRITON Extreme contains preload data and demo song data for the EXB-MOSS. There are two ways to do this; you can load all of the TRI- TON Extreme’s preload data, or you can load the mini- mum amount of data while erasing as little as possible of the current data.

  • Page 133: Other Functions

    Other functions Setting the function of [SW1] and [SW2] You can specify the function of the [SW1] and [SW2] keys (☞PG p.279). The function of the [SW1] and [SW2] keys can be specified independently for each program, each combination, and each song.

  • Page 134: Using Tap Tempo Control

    Using tap tempo control In Program, Combination, Sequencer, and Song Play modes, you can use the tap tempo function to control the arpeggiator tempo. In Sequencer and Song Play modes you can use this method to control the song tempo. During playback, lightly press the [ENTER] key several times at the desired tempo.

  • Page 135: Appendices

    Appendices Troubleshooting If you experience problems, refer to the relevant item and take the appropriate measures. Power supply Power does not turn on Is the power cable connected to an outlet? ☞p.16 Is the [POWER] switch turned on? → Turn on the rear panel [POWER] switch. ☞p.18 LCD screen The power is turned on, but nothing is shown in the LCD screen.

  • Page 136

    If there is no sound in Program, Combination, Sequencer, Song Play, and Media modes, check that “Input,” “Level,” and “BUS (IFX/Indiv.) Select” are set correctly in Global P0: Basic Setup, Input/ Sampling page; or in the P0: Sampling pages of Program, Combination, or Sequencer modes;...

  • Page 137

    Program, Combination Settings for oscillator 2 are not displayed Make sure that the “Oscillator Mode” (Program P1: Program Basic) parameter is set to Double. ☞ PG p.9 A combination does not play correctly after you load data In the dialog box when you saved the data, did you check the items that you wanted to save? ☞...

  • Page 138: Drum Kits

    Volume of a recorded sample is too low/too high A sample that you resampled with “Recording Level” set at approximately –12.0 (dB) plays back at a lower volume than the volume at which you resampled it. → Did you turn on the “Auto +12 dB On” setting when you resampled? ☞p.67 →...

  • Page 139

    MIDI The TRITON Extreme does not respond to incoming MIDI data Are all MIDI cables connected correctly? ☞ PG p.288 Is the MIDI data being received on the channel on which it is being transmitted? ☞PG p.289 The TRITON Extreme does not respond correctly to incoming MIDI data Are the Global P1: MIDI settings “Enable Program Change,”...

  • Page 140

    → In the case of a CD-R, it may be possible to make the disc be recognized by executing the page menu com- mand “Convert to ISO9660 Format” (Media, Utility page) to convert the disc to ISO9660 format. However depending on the state in which the disc was saved, it may be converted into ISO9660 level 3 format, and may still not be recognized.

  • Page 141: Media That Can Be Used With The Triton Extreme

    UDF format CD-R media can be converted to ISO9660 format. If you have any questions regarding the media that can be used, please contact your local Korg distribu- tor. You may also check the Korg website (http:// Built-in: CF...

  • Page 142: Specifications And Options

    * Sampling to MEDIA requires separately sold media (☞p.137). 4,000 samples, 1,000 multisamples (128 indexes for each multisample) Record/playback/rip CD-DA (audio CD) Able to load AIFF, WAVE, AKAI (S1000/3000), Korg format sample data can be loaded Sample data can be exported in AIFF or WAVE formats Drum Kits...

  • Page 143: Options

    TouchView graphical user interface (320 × 240 pixel LCD display) User interface [VOLUME] slider Mode keys Value controllers [MENU] key, [EXIT] key, [COMPARE] key BANK keys SEQUENCER keys SAMPLING keys Audio outputs AUDIO OUTPUT (MAIN) L/MONO, R AUDIO OUTPUT (INDIVIDUAL) 1, 2, 3, 4 AUDIO OUTPUT HEADPHONE S/P DIF Audio inputs...

  • Page 144: Midi Implementation Chart

    11, 00: V.F. Input Trim, 12, 00: V.F. Ultra Boost, 13, 00: V.F. Tube Gain, 14, 00: V.F. Output Level *3: LSB,MSB=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune *4: In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune, and Master Coarse Tune are supported.

  • Page 145: Index

    Index Numerics 10’s Hold 4, 13, 21, 32 24 dB/oct low pass filter with reso- nance 27 After Touch 22 Alternate Modulation 30 Amp EG 29 Amp Level 28 Amp Mod. 29 Keyboard Track 29 LFO 29 Amp EG 29 Amplifier 23, 28 AMS (Alternate Modulation Source) 26, 28, 30...

  • Page 146

    Load Demo song 127 EXB-MOSS 128 Factory settings 127 File 121 Jukebox List 87 Template Song 47 LOCATE 5, 42, 130 Lock function 22 Loop Sample 73, 74 Loop All Track 44 Low Pass & High Pass 27 Low pass filter 27 Low Pass Resonance 27 Manual punch-in 43 Master Effect (MFX) 30, 37, 105, 106...

  • Page 147

    Tab 9, 13 Tap tempo 7, 74, 90, 130 Template song 39, 113 Tempo 5, 29, 33, 42, 53, 60, 74, 78, 94, 96, 108 Text edit button 9, 114 Timbre 34 Time signature 39, 42, 49, 53, 74, 78 Toggle button 9 Tone 22, 23, 27 User arpeggio pattern 99...

  • Page 148

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

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