Korg Triton Prox Pro Users Manual BasicGuideBook

Triton Basic Manual Triton Basic Manual

Speaker System to the manual 348de461-c32e-4da6-b6b5-ae83a85980a0

2015-02-03

: Korg Korg-Triton-Prox-Triton-Pro-Users-Manual-468914 korg-triton-prox-triton-pro-users-manual-468914 korg pdf

Open the PDF directly: View PDF PDF.
Page Count: 144 [warning: Documents this large are best viewed by clicking the View PDF Link!]

iii
Thank you for purchasing the Korg TRITON proX, TRITON pro, or TRITON music worksta-
tion/sampler. To ensure trouble-free enjoyment, please read this manual carefully and use the
instrument as directed.
The owner’s manuals and how to use
them
The TRITON proX, TRITON pro, and TRITON come
with the following owner’s manuals.
• Basic Guide
• Parameter Guide
• Voice Name List
Basic Guide
First read this manual carefully to gain a basic under-
standing of the instrument and to learn basic opera-
tion.
“Introduction”
explains the function of each part, how
to make connections, basic operation, and gives an
overview of each mode.
“Quick Start”
explains basic topics (hearing the demo
songs, selecting sounds, convenient functions for per-
formance). If you wish to begin playing immediately,
read this section first.
“Basic Functions”
contains mode-by-mode explana-
tions of what you need to know to edit sounds, record
on the sequencer, and record samples. This section also
explains how to use the arpeggiator, effects, and MIDI.
“Appendices”
explains how to install the Korg MIDI
Driver that you will need when connecting the instru-
ment to the TO HOST connector or to a computer, and
lists the specifications etc.
Parameter Guide
The Parameter Guide contains explanations and other
information regarding the operations of the parame-
ters and settings on the TRITON proX, TRITON pro,
and TRITON. The explanations are organized by
mode, page, and tab. Explanations and other informa-
tion on the effects and their parameters are also pro-
vided for each effect.
Refer to this guide when an unfamiliar parameter
appears in the display, or when you need to know
more about a particular function.
Voice Name List
This lists the multisamples and drumsamples that are
built into the TRITON proX, TRITON pro, and TRI-
TON, and the factory preset combinations, programs,
drum kits, and user arpeggio patterns.
Refer to these lists when you wish to know more about
the preloaded sounds.
Conventions in this manual
References to the TRITON proX, TRITON pro, and
TRITON
The TRITON proX, TRITON pro, and TRITON are col-
lectively referred to in this manual as the TRITON.
Switches and knobs [ ]
References to the switches, dials, and knobs on the
TRITON’s panel are enclosed in square brackets [ ].
References to
buttons
or
tabs
indicate objects in the
LCD display screen.
Parameters in the LCD display screen “ “
Parameters displayed in the LCD screen are enclosed
in double quotation marks “ “.
Boldface type
Parameter values are printed in boldface type.
Content that is of particular importance is also printed
in boldface type.
Procedure steps
1
2
3
...
Steps in a procedure are listed as
1
2
3
...
☞
p.
■
These indicate pages or parameter numbers to which
you can refer.
Symbols
, ,
These symbols respectively indicate cautions, advice,
and MIDI-related explanations.
Example screen displays
The values of the parameters shown in the example
screens of this manual are only for explanatory pur-
poses, and may not necessary match the values that
appear in the LCD screen of your instrument.
MIDI-related explanations
CC#
is an abbreviation for Control Change Number.
In explanations of MIDI messages,
numbers in square
brackets [ ]
always indicate hexadecimal numbers.
Malfunctions due to incorrect operation may cause the
contents of memory to be lost, so we recommend that
you save important data on a floppy disk. Please be
aware that Korg will accept no responsibility for any
damages which may result from loss of data.
Also, when digitally recording copyrighted audio
material from a DAT or CD etc., you must obtain per-
mission for use. Please be aware that Korg will accept
no responsibility for any copyright violations which
may occur through your use of this product.
* Company names, product names, and names of for-
mats etc. are the trademarks or registered trade-
marks of their respective owners.
About this manual
Data handling
iv
Table of Contents
About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
Data handling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
Introduction . . . . . . . . . . . . . . . . .1
Introducing the TRITON . . . . . . . . . . . . . . . . . . .1
Main features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Overview of the modes. . . . . . . . . . . . . . . . . . . . . . . .3
Front and rear panel . . . . . . . . . . . . . . . . . . . . .5
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Names and functions of objects in the LCD
screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Basic operation of the TRITON . . . . . . . . . . . . .12
1. Selecting modes . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Selecting a page . . . . . . . . . . . . . . . . . . . . . . . . . . .12
2. Selecting pages and tabs . . . . . . . . . . . . . . . . . . . .12
Selecting a tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
VALUE controllers . . . . . . . . . . . . . . . . . . . . . . . .13
3. Setting a parameter . . . . . . . . . . . . . . . . . . . . . . . .13
[BANK] keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
[COMPARE] key . . . . . . . . . . . . . . . . . . . . . . . . . .14
Popup buttons and popup menus. . . . . . . . . . . .14
Keyboard input . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . .15
1. Connecting the power cable. . . . . . . . . . . . . . . . .15
2. Connecting audio output devices . . . . . . . . . . . .15
3. Connecting audio input devices . . . . . . . . . . . . .15
4. Connecting pedals etc. . . . . . . . . . . . . . . . . . . . . .16
5. Connections to MIDI equipment . . . . . . . . . . . . .16
6. Connections to a computer. . . . . . . . . . . . . . . . . .16
7. Connections to a SCSI device. . . . . . . . . . . . . . . .16
Quick Start . . . . . . . . . . . . . . . .17
Turning the power on/off. . . . . . . . . . . . . . . . .17
1. Turning the power on . . . . . . . . . . . . . . . . . . . . . .17
2. Turning the power off . . . . . . . . . . . . . . . . . . . . . .17
Listening to a demo song . . . . . . . . . . . . . . . . .18
1. Loading the demo song data in Disk mode . . . .18
2. Selecting and playing a demonstration song in Se-
quencer mode. . . . . . . . . . . . . . . . . . . . . . . . . . .19
3. Playing a cue list . . . . . . . . . . . . . . . . . . . . . . . . . .20
Selecting and playing a program . . . . . . . . . . .21
Selecting a program. . . . . . . . . . . . . . . . . . . . . . . . . .21
Selecting and playing a combination . . . . . . . .23
Selecting a combination . . . . . . . . . . . . . . . . . . . . . .23
Using controllers to modify the sound . . . . . . . .25
Joystick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Ribbon controller. . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
SW1, SW2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Lock function . . . . . . . . . . . . . . . . . . . . . . . . . 25
Realtime control knobs [1], [2], [3], [4] . . . . . . . . . . 26
A mode controls . . . . . . . . . . . . . . . . . . . . . . . . . . 26
B mode controls. . . . . . . . . . . . . . . . . . . . . . . . . . . 27
[VALUE] slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Foot pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
ARPEGGIATOR [TEMPO] knob, [GATE] knob,
[VELOCITY] knob. . . . . . . . . . . . . . . . . . . . . . . 28
Using the arpeggiator while you play. . . . . . . . 29
Using the arpeggiator in Program mode. . . . . . . . 29
Settings using controllers. . . . . . . . . . . . . . . . . . . 29
Settings in the LCD screen. . . . . . . . . . . . . . . . . . 30
Using the arpeggiator as you play in Combination
mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Settings in the LCD screen. . . . . . . . . . . . . . . . . . 31
Playing with the RPPR (Realtime Pattern Play/Re-
cording) function . . . . . . . . . . . . . . . . . . . . . . . 33
Simple program editing . . . . . . . . . . . . . . . . . . 34
Performance Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Realtime controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Simple combination editing . . . . . . . . . . . . . . . 35
An example of editing . . . . . . . . . . . . . . . . . . . . . . . 35
Selecting the program for a timbre. . . . . . . . . . . 35
Adjusting the stereo position . . . . . . . . . . . . . . . 36
Adjusting the volume. . . . . . . . . . . . . . . . . . . . . . 36
Basic functions. . . . . . . . . . . . . . 37
Saving data. . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Types of data that can be saved . . . . . . . . . . . . . . . 37
Writing to internal memory. . . . . . . . . . . . . . . . . . . 37
Writing a program or combination . . . . . . . . . . 38
Writing global settings, user drum kits, and user
arpeggio patterns . . . . . . . . . . . . . . . . . . . . . . . 39
Saving on external media. . . . . . . . . . . . . . . . . . . . . 40
MIDI data dump . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Restoring the factory settings . . . . . . . . . . . . . . 42
Loading the preload data. . . . . . . . . . . . . . . . . . . . . 42
Program mode . . . . . . . . . . . . . . . . . . . . . . . . 43
About the pages in Program mode . . . . . . . . . . . . 43
Playing a program. . . . . . . . . . . . . . . . . . . . . . . . . . . 43
P0: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
How a program is organized. . . . . . . . . . . . . . . . . . 44
P1: Edit-Basic
Oscillator settings . . . . . . . . . . . . . . . . . . . . . . 45
Basic program editing . . . . . . . . . . . . . . . . . . . . . . . 45
P2: Edit-Pitch
Pitch settings . . . . . . . . . . . . . . . . . . . . . . . . . . 47
v
P3: Edit-Filter
Filter settings . . . . . . . . . . . . . . . . . . . . . . . . . .48
P4: Edit-Amp
Amplifier settings . . . . . . . . . . . . . . . . . . . . . .49
P5: Edit-Common LFO
LFO settings . . . . . . . . . . . . . . . . . . . . . . . . . . .50
P7: Edit-arpeggiator
Arpeggiator settings . . . . . . . . . . . . . . . . . . . .51
P8: Edit-Insert Effect
Insert Effect settings. . . . . . . . . . . . . . . . . . . . .51
P9: Edit Master Effect
Master Effect settings . . . . . . . . . . . . . . . . . . .51
More about Alternate Modulation . . . . . . . . . . . . .51
Combination mode . . . . . . . . . . . . . . . . . . . . . 52
Pages in Combination mode. . . . . . . . . . . . . . . . . . .52
Playing a combination. . . . . . . . . . . . . . . . . . . . . . . .52
P0: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
How a combination is structured . . . . . . . . . . . . . .53
Basic combination editing. . . . . . . . . . . . . . . . . . . . .53
P1: Edit-Program/Mixer
Timbre 1–8 program, pan and volume . . . . .54
P2: Edit-Trk Param
Settings for status, MIDI channel, and playing
mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
P3: Edit-MIDI Filter
MIDI filter settings. . . . . . . . . . . . . . . . . . . . . .56
P4: Edit-Zone/Ctrl
Layer, split, and velocity switch settings . . .56
P7: Edit-Arpeggiator
Arpeggiator settings . . . . . . . . . . . . . . . . . . . .57
P8: Edit-Insert Effect
Insert Effect settings. . . . . . . . . . . . . . . . . . . . .57
P9: Edit Master Effect
Master Effect settings . . . . . . . . . . . . . . . . . . .57
Sequencer mode . . . . . . . . . . . . . . . . . . . . . . . 58
Features of the sequencer . . . . . . . . . . . . . . . . . . . . .58
About each page in Sequencer mode . . . . . . . . . . .60
The structure of Sequencer mode . . . . . . . . . . . . . .60
Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Cue List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Playing a song (Play) . . . . . . . . . . . . . . . . . . . . . . .62
Other playback . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Recording on a track, and recording on a
pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Realtime recording on a track . . . . . . . . . . . . . . .64
Realtime recording to a pattern . . . . . . . . . . . . . .68
Step recording on a track or pattern . . . . . . . . . .69
Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Track editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Pattern editing . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Song editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Creating and playing a Cue List . . . . . . . . . . . . . . .70
RPPR (Realtime Pattern Play/Recording)
function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
RPPR settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
RPPR playback . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Realtime recording an RPPR performance. . . . .73
Sampling mode . . . . . . . . . . . . . . . . . . . . . . . 75
Features of sampling mode . . . . . . . . . . . . . . . . . . . 75
Pages in Sampling mode . . . . . . . . . . . . . . . . . . . . . 76
How Sampling mode is organized . . . . . . . . . . . . . 76
In Sampling mode . . . . . . . . . . . . . . . . . . . . . . . . . 76
Samples and Multisamples . . . . . . . . . . . . . . . . . 77
Sampling (recording a sample) . . . . . . . . . . . . . . . . 78
Preparations for sampling . . . . . . . . . . . . . . . . . . 78
Manual sampling. . . . . . . . . . . . . . . . . . . . . . . . . . 79
Auto sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Creating multisample indexes and
sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Loop settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
The grid display. . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Sample (waveform data) editing. . . . . . . . . . . . . . . 83
Multisample editing . . . . . . . . . . . . . . . . . . . . . . . . . 84
Editing the indices. . . . . . . . . . . . . . . . . . . . . . . . . 84
Modifying the settings of an index. . . . . . . . . . . 84
Converting a multisample to a program . . . . . . . . 84
Song Play mode . . . . . . . . . . . . . . . . . . . . . . . 85
The pages in Song Play mode . . . . . . . . . . . . . . . . . 85
The structure of Song Play mode . . . . . . . . . . . . . . 85
Playing SMF data . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Playback using the Jukebox function . . . . . . . . . . . 87
Saving a Jukebox list. . . . . . . . . . . . . . . . . . . . . . . 88
Playing along with SMF data . . . . . . . . . . . . . . . . . 88
Global mode . . . . . . . . . . . . . . . . . . . . . . . . . 89
About the pages in Global mode . . . . . . . . . . . . . . 89
Creating a drum kit. . . . . . . . . . . . . . . . . . . . . . . . . . 90
About drum kits . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Editing a drum kit . . . . . . . . . . . . . . . . . . . . . . . . . 90
Disk mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
How Disk mode is organized . . . . . . . . . . . . . . . . . 92
The pages of Disk mode . . . . . . . . . . . . . . . . . . . . 92
Types of media that can be used. . . . . . . . . . . . . 92
Loading data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Types of data that can be loaded . . . . . . . . . . . . 92
Data loading procedure . . . . . . . . . . . . . . . . . . . . 92
Saving data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Types of data that can be saved . . . . . . . . . . . . . 94
Formatting media . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Cautions when handling floppy disks . . . . . . . . . . 95
Arpeggiator settings . . . . . . . . . . . . . . . . . . . . 96
Arpeggiator settings for a program . . . . . . . . . . . . 96
Arpeggiator settings in Combination, Song, and
Song Play modes . . . . . . . . . . . . . . . . . . . . . . . . 98
Creating an user arpeggio pattern . . . . . . . . . . . . 100
About user arpeggio patterns . . . . . . . . . . . . . . 100
Editing a user pattern . . . . . . . . . . . . . . . . . . . . . 100
Dual arpeggiator editing . . . . . . . . . . . . . . . . . . 104
About arpeggiator synchronization . . . . . . . . . . . 105
Effects settings . . . . . . . . . . . . . . . . . . . . . . . 106
Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . 106
Routing settings and effect settings . . . . . . . . . . . 107
Effect settings for a program . . . . . . . . . . . . . . . 107
Effect settings in Combination, Song, and Song
Play modes . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Effect settings in Sampling mode . . . . . . . . . . . 109
vi
Effect settings for the AUDIO INPUT . . . . . . .109
About dynamic modulation (Dmod) . . . . . . . . . .110
MIDI applications . . . . . . . . . . . . . . . . . . . . . .111
About MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Connecting MIDI devices/computers (MIDI con-
nectors) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Controlling an external MIDI tone generator from
the TRITON . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Controlling the TRITON’s tone generator from an
external MIDI device . . . . . . . . . . . . . . . . . . .111
Controlling two or more external MIDI tone gen-
erators from the TRITON. . . . . . . . . . . . . . . .111
Connecting a computer
(TO HOST connector) . . . . . . . . . . . . . . . . . . .112
Connecting an external MIDI sequencer or
computer etc. . . . . . . . . . . . . . . . . . . . . . . . . . .112
Connecting an IBM PC (compatible) . . . . . . . .112
Connecting an Apple Macintosh . . . . . . . . . . . .113
Messages transmitted and received by the
TRITON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
MIDI channels . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Note on/off. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Program Change/Bank Select . . . . . . . . . . . . . .114
After touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Pitch bender . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Control change . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Using RPN to edit . . . . . . . . . . . . . . . . . . . . . . . .119
Controlling the arpeggiator (NPRN) . . . . . . . .120
About system exclusive messages. . . . . . . . . . .120
If notes are “stuck” . . . . . . . . . . . . . . . . . . . . . . .121
Playing the TRITON multi-timbrally from
an external device . . . . . . . . . . . . . . . . . . . . . .122
Synchronizing the playback of the arpeggiator
or sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . .122
Recording musical data from an external
device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122
About GM/GS/XG . . . . . . . . . . . . . . . . . . . . . . .123
About standard MIDI files . . . . . . . . . . . . . . . . .123
Other functions . . . . . . . . . . . . . . . . . . . . . . .125
Tuning to another instrument/Transposing . . . .125
Bypassing the effects . . . . . . . . . . . . . . . . . . . . . . . .125
Specifying the function of the ASSIGNABLE Switch
and ASSIGNABLE Pedal . . . . . . . . . . . . . . . .125
Adjusting the way in which velocity or after touch
will affect the volume or tone . . . . . . . . . . . .126
Creating original scales. . . . . . . . . . . . . . . . . . . . . .126
Changing the scale. . . . . . . . . . . . . . . . . . . . . . . . . .126
Setting the function of [SW1] and [SW2] . . . . . . .127
Setting the B-mode functions of REALTIME
CONTROLS [1]–[4] . . . . . . . . . . . . . . . . . . . . .127
Adjusting the contrast (brightness) of the LCD
screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Sounding a beep when the LCD screen is
pressed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Using the TRITON as a data filer . . . . . . . . . . . . .127
Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
Appendices . . . . . . . . . . . . . . . 129
Installing and setting up the Korg MIDI Driver. 129
Installing the Korg MIDI Driver into
Windows 95/98 and making settings . . . . . 129
Installing the Korg MIDI Driver into
Windows 95/98 . . . . . . . . . . . . . . . . . . . . . . . 129
Korg MIDI Driver settings. . . . . . . . . . . . . . . . . 130
Setting up the Korg MIDI Driver
(Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Installing the Korg MIDI Driver into a
Macintosh. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Setting up the Korg MIDI Driver
(Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Wiring diagram for special connection
cables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . 133
Specifications and options . . . . . . . . . . . . . . . 135
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
MIDI implementation chart. . . . . . . . . . . . . . . . . . 137
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
1
Introduction
Introduction
Introducing the TRITON
Overview
The TRITON is a music workstation/sampler that fea-
tures the
HI (Hyper Integrated) synthesis system
as its
tone generator.
It provides high-quality preset multisamples/pro-
grams/combinations and an effect section, and func-
tionality such as sampling, sequencer, song play, dual
polyphonic arpeggiator, RPPR, and two audio inputs
and six audio outputs.
A rich array of controllers such as the joystick, ribbon
controller, [SW1], [SW2], REALTIME CONTROLS [1]–
[4] knobs, ARPEGGIATOR [TEMPO], [GATE],
[VELOCITY] knobs, and connected pedals can be used
to modify the sound etc. while you play (
☞
p.25).
In addition, options such as a
MOSS tone generator
,
PCM/sampling memory
, or
SCSI interface board
can
be installed to further expand the potential of the TRI-
TON (
☞
p.237 in the
Parameter Guide
).
The TRITON music workstation is a powerful tool for
music production or live performance.
HI (Hyper Integrated) synthesis system
The HI (Hyper Integrated) synthesis system is a PCM
tone generator system with full digital signal process-
ing that guarantees pristine sound, and featuring enor-
mous flexibility in musical extensibility, modulation,
and effect routing.
Tone generator section:
• 32 Mbytes of preset PCM ROM contains 425
multisamples and 413 drumsamples.
Separately sold EXB-PCM series PCM expansion
boards (16 Mbytes PCM ROM) can be optionally
installed to add more PCM data.
• 16 Mbytes of RAM is standard (expandable to a
maximum of 64 Mbytes). Samples/multisamples
that you sampled or edited in Sampling mode or
loaded in Disk mode can be used as sound sources.
• The sampling frequency is 48 kHz, and the
maximum polyphony is 62 voices.
Filter/synthesis section:
• 24 dB/oct Low Pass Resonance type or 12 dB/oct
Low Pass & High Pass type filters can be used. A
wide variety of filter effects can be achieved, from
active sounds with aggressive resonance to subtle
tones using a high pass filter.
• A broad range of editing parameters gives you
minute control over every aspect of the sound.
Effect section:
• Five insertion effects (stereo-in/stereo-out), two
master effects (mono-in/stereo-out), and a three-
band master EQ (stereo-in/stereo-out) can all be
used simultaneously. You can select from 102
types of effect algorithm, and edit them.
• Highly flexible effect routing is possible. Effects
can also be routed freely to the individual outputs.
Alternate Modulation and Effect Dynamic Modula-
tion:
• The synthesis section (filter etc.) provides Alternate
Modulation functionality, and the effect section
provides Effect Dynamic Modulation functionality.
This allows you to freely apply modulation to
parameters that affect the pitch, filter, amp, EG,
LFO, and effects etc.
• LFO and delay time etc. can be synchronized to
MIDI clock/tempo. You can synchronize sounds or
effects to the tempo of the sequencer or the
arpeggiator.
Programs and combinations
• In preset ROM, the TRITON provides 640 user
programs, and 256 programs + 9 drumsets for
GM2 compatibility. When shipped from the
factory, it contains high-quality preset programs
that cover a wide range of musical needs.
The 640 user programs can be modified by adjusting
the numerous editing parameters, the effects and
the arpeggiator, to create your own original pro-
grams.
When the separately sold EXB-MOSS option is
installed, 128 programs for the Korg MOSS tone
generator will also be available.
• For use as the oscillator of a drum program, the
TRITON provides 64 user drum kits and nine GM2-
compatible ROM drum kits. With the factory
settings, preset drum kits that cover a variety of
musical genres are provided. You can create your
own original drum kits by assigning a drumsample
or an original sampled sound to each note of the
keyboard. For each note, you can make filter and
amp settings, and even route the sound through
effects and to a individual audio output.
• It’s easy to create a program using samples/
multisamples that you sampled in Sampling mode
or loaded in Disk mode. These programs can also
be used in combinations or songs. Samples can also
be used as drum instruments in a drum kit.
• The TRITON provides 512 user combinations.
With the factory settings, these contain a wide
variety of preset combinations.
A combination allows you to use layers, splits, or
velocity switches etc. to combine up to eight pro-
Main features
Introducing the TRITON
2
grams together with effects and two arpeggiators, in
order to create complex sounds that could not be
produced by a program. You can also make settings
that include external tone generators.
Sampling
The TRITON provides 48 kHz 16 bit linear mono/ste-
reo sampling functionality. 16 Mbytes of memory are
provided as standard, allowing approximately 2 min-
utes 54 seconds of mono sampling (or approximately 1
minute 27 seconds of stereo sampling). When
expanded to a maximum of 64 Mbytes, you can record
up to four mono samples of 2 minutes 54 seconds, for a
total of 11 minutes 39 seconds of sampling.
For more on the sampling features of the TRITON
(
☞
p.75).
Sequencer
The TRITON provides a high-performance 16-track
MIDI sequencer, with more than sufficient power for
use as a stand-alone sequencer. The sequencer can
serve as the core that brings together the TRITON’s
numerous capabilities, allowing it to serve as an inte-
grated music workstation/sampler.
For more on the TRITON’s sequencer (
☞
p.58).
Song Play
In Song Play mode, SMF (Standard MIDI File) data can
be played back directly from a floppy disk or SCSI
device (when the separately sold EXB-SCSI is
installed). You can play along on the keyboard as you
listen to the SMF playback, and even play the arpeg-
giator in synchronization with the playback tempo of
the SMF.
• Formats 0 and 1 are supported.
• A jukebox function lets you edit the order in which
songs are played back.
Dual polyphonic arpeggiator
• Five preset arpeggio patterns (UP, DOWN, ALT1
ALT2, RANDOM) and 232 user arpeggio patterns
are provided. With the factory settings, these
contain a wide variety of preset user patterns.
In addition to providing conventional arpeggiator
functionality, the polyphonic arpeggiator of the TRI-
TON can respond to the pitches or timing at which
you play the keyboard, and produce a diverse range
of chords or phrases. This can be used to play a vari-
ety of drum phrases (using the “Fixed Note Mode”
that is ideal for drums), bass phrases, or guitar and
keyboard backing riffs. The arpeggiator is also effec-
tive for use with subtly moving pads, synth sounds,
or sound effects.
In Combination mode, Sequencer mode, and Song
Play mode, the TRITON provides dual arpeggiators
that can simultaneously play two arpeggio patterns.
You can apply separate arpeggio patterns to drum
and bass programs, or use keyboard splits or veloc-
ity to switch between arpeggio patterns for an even
more dynamic performance.
RPPR
The TRITON features a RPPR (Realtime Pattern Play/
Recording) function.
In Sequencer mode, this function allows you to assign
preset patterns or user patterns (with a specified play-
back track) to individual notes of the keyboard, and
playback or record that pattern in realtime simply by
pressing the assigned note. Numerous preset patterns,
including patterns ideal for a drum track, are built into
the internal memory.
2 channel audio input / 6 channel audio out-
put
• The two channel audio input allows you to record
samples in stereo. The MIC/LINE level select
switch and the level adjustment knob can be used
to support a wide range of external audio sources
from mic level to line level.
The audio inputs can also be routed through the
effects. You can apply effects while sampling, use
the TRITON as a 2-in/6-out effect processor, or use
it as a vocoder effect that joins the external source
with the TRITON’s internal sounds.
• In addition to the L/MONO and R main stereo
audio outputs, the TRITON provides four
individual audio outputs, for a total of six channels
of audio output. The sound from each oscillator,
drum, timbre/track, or insertion effect can be
routed freely to any output.
TouchView user interface
The TRITON uses a TouchView user interface that lets
you operate the instrument by directly touching a large
320
×
240 pixel LCD screen, for a revolutionary leap in
ease of operation and user friendliness. When selecting
programs, combinations, multisamples, drumsamples,
or effects in the LCD screen, you can also view and
select by categories such as types of instrument.
3
Introduction
The TRITON has a large number of functions that let
you play and edit programs and combinations, record
and play sequence data, record and play back samples,
and manage data on disk. The largest unit used to
organize these functions is called a
mode
. The TRITON
has seven modes.
Program mode
• Select and play programs
You can choose programs from rewritable banks A,
B, C, D, E and F which contain a total of 768 pro-
grams, and non-rewritable bank G (256 programs
compatible with the GM2 standard, and nine drum
programs).
(The 128 programs of bank F can be selected only if
the EXB-MOSS option has been installed.)
• Edit a program
Make settings for the oscillator, filter, amp, EG, LFO,
effects, and arpeggiator.
Select a multisample (the following multisamples
are available)
• 425 internal multisamples (ROM)
• Expanded multisamples (when a separately
sold EXB-PCM series board is installed)
• Multisamples (RAM) created in Sampling
mode
Create drum programs using a drum kit (created in
Global mode)
Combination mode
• Select and play combinations
A combination is a set of two or more programs (a
maximum of eight), and allows you to produce
complex sounds that could not be created by an
individual program.
You can choose combinations from rewritable banks
A, B, C, and D which contain a total of 512 combina-
tions.
• Edit a combination
Make settings for volume, pan, layer/split etc. for
each timbre (program), and make settings for effects
and the two arpeggiators etc.
Sequencer mode
• Use the 16-track sequencer to record and playback
songs.
• Make effect settings for the song.
• You can record a performance using the
arpeggiator(s) into a song or pattern.
Overview of the modes
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
MFX 2
MEQ
Insert / Master Effect
Arpeggiator
OSC 1 Multi Sample - H
Drum Kit
Multi Sample - L
PITCH1 FILTER1 AMP1
OSC 2
Multi Sample - L
PITCH1 FILTER1 AMP1
Multi Sample - H
PROGRAM
PROGRAM
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
MFX 2
MEQ
TRACK 1
TRACK 8
TRACK 2
TRACK 3
TRACK 4
TRACK 5
TRACK 6
TRACK 7
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
Insert /Master Effect
Arpeggiator - A
Arpeggiatpr - B
SEQUENCER / SONG PLAY
PROGRAM
TRACK 9
TRACK 16
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
MFX 1
MFX 2
MEQ
TIMBRE 1
TIMBRE 8
TIMBRE 2
TIMBRE 3
TIMBRE 4
TIMBRE 5
TIMBRE 6
TIMBRE 7
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM Insert /Master Effect
Arpeggiator - A
Arpeggiatpr - B
COMBINATION
GLOBAL MODE
Drum Sample / Sample - L
Drum Sample / Sample - H
Key
Assign
ARPEGGIATOR PATTERN
User Pattern: P0 - 4
DRUM KIT
User Pattern: U00 - 95
Sample
Sample
SAMPLING MODE
Multi Sample
Sample
Sample
Sample
Sample
IFX 1
IFX 2
IFX 3
IFX 4
IFX 5
Insert Effect
AUDIO INPUT
1
AUDIO INPUT
2
Multi Sample
DISK MODE
Introducing the TRITON
4
• You can use a cue list to set up consecutive
playback of multiple songs, and specify the
number of repeats for each song.
• You can use a maximum of 20 cue lists, 200 songs,
and 100 preset patterns. One song can use as many
as 100 patterns.
• The TRITON can be used as a 16-track
multitimbral tone generator.
• Perform using the RPPR (Realtime Pattern Play/
Recording) function, and make settings for it.
Song Play mode
• Playback SMF (Standard MIDI File) data from a
floppy disk or an external SCSI device such as a
hard disk (when the separately sold EXB-SCSI
option is installed), and play along with the
playback if desired.
• Make effect settings for use in Song Play mode.
• The arpeggiator can be used while you play along
with the SMF playback.
• SMF songs can be played back in succession. You
can use the jukebox function to playback songs in
any specified order.
Sampling mode
• Sample sounds from an external audio device or
mic connected to the rear panel AUDIO INPUT
jacks. Insert effects can be applied to the external
input sound while you sample.
• Edit the waveform data you sampled or waveform
data that you loaded in Disk mode, and set loop
points etc.
• Edit multisamples consisting of two or more
samples.
• A multisample can be converted into a program, so
that a multisample created in Sampling mode can
be used in Program, Combination, Sequencer, or
Song Play modes.
Global mode
• Make settings that affect the entire TRITON, such
as master tune and global MIDI channel.
• Create drum kits (64 kits), arpeggio user patterns
(232 patterns), and user scales (16 one-octave scales
and 1 all-note scale).
• Create drum kits using the 413 internal
drumsamples (ROM). You can also use
drumsamples from an optional EXB-PCM series
board (if installed), or samples (RAM) that you
created in Sampling mode.
• Adjust the input level etc. from the AUDIO INPUT
1 and 2. These settings are valid in modes other
than Sampling mode. The TRITON’s effects can be
applied to the external input sound. (The settings
for Sampling mode are made independently
within Sampling mode.)
• Set the function of the assignable pedals and
assignable switches.
• Transmit data dumps of MIDI exclusive data.
Disk mode
• Data of each mode can be saved and loaded using
the floppy disk drive or an external SCSI device
(when the separately sold EXB-SCSI option is
installed).
• Media such as floppy disks or hard disks (when
the separately sold EXB-SCSI option is installed)
can be formatted, and data can be managed by
copying etc.
• Korg format sample data can be loaded and saved.
Akai, AIFF, and WAVE format sample data can be
loaded.
• Songs that you created in Sequencer mode can be
saved in SMF format. SMF files can be loaded as
Sequencer mode songs.
• You can use the Data Filer function (to save/load
MIDI exclusive data).
5
Introduction
Front and rear panel
1. [SW1] key, [SW2] key
These keys are on/off switches for the functions to
which they were assigned in Program, Combina-
tion, Sequencer, Song Play, and Sampling modes.
When on, the LED will light (
☞
p.25).
2. Joystick
This controls pitch or modulation, etc.
Move the joystick up/down or left/right (+Y, –Y,
–X, +X) to control (
☞
p.25).
Various program parameters and effect parame-
ters will determine what is controlled by the joy-
stick.
3. Ribbon controller
Slide your finger to the left or right on this ribbon
controller to control the pitch or modulation
(☞p.25).
Various program parameters and effect parame-
ters will determine what is controlled by the rib-
bon controller.
4. Headphone jack
A set of headphones (standard stereo phone plug)
can be connected here (☞p.135).
The output from the L/MONO and R OUTPUT
jacks can be monitored in stereo through the head-
phones.
5. Floppy disk drive
Insert 3.5 inch 2DD (double-side double-density)
or 2HD (double-side high density) floppy disks
here. Edited data can be saved on a floppy disk,
and the factory preset data, SMF data, or multi-
sampling/sampling data etc. can be loaded from a
floppy disk.
For details on handling floppy disks, refer to
“Floppy disk handling” (☞p.95).
Eject button
To remove a floppy disk, first make sure that the
disk access indicator is dark, and then press this
button. If the disk does not eject when you press
this button, do not attempt to remove the disk by
force. Please contact your dealer.
Front panel
4
3
2
16
78
9
10
11 17
16
15
5
12
13
14
Disk access
indicator Eject button
Front and rear panel
6
6. [VOLUME] slider
This adjusts the volume that is output from the
OUTPUT jacks (L/MONO, R) and the headphone
jack.
7. REALTIME CONTROLS
Use the [REALTIME CONTROLS] key to select A
or B mode for the realtime controllers, and use
knobs [1]–[4] to control the tone, effects, and MIDI
control changes etc. in realtime (☞p.26).
[REALTIME CONTROLS] key
This key selects either A or B mode for the realtime
controllers. The selected mode will light.
[1] knob, [2] knob, [3] knob, [4] knob
In A mode, the function of each knob is fixed. [1] is
the low pass filter cutoff frequency, [2] is the filter
resonance level or the cutoff frequency of the high
pass filter, [3] is the filter EG intensity, and [4] is
the filter/amp release time.
In B mode, each knob will control the function that
you assigned in Program, Combination,
Sequencer, Song Play, or Sampling modes.
8. Mode keys
Use these keys to enter the desired mode.
When you press a key, the LED will light, and you
will enter the mode whose key you pressed
(☞p.12).
[COMBI] key
In Combination mode you can play or create com-
binations.
[PROG] key
In Program mode you can play or create programs.
[SEQ] key
Sequencer mode is mainly for recording/playing
songs. (You can create 16-track sequence data.)
Use this mode when you wish to create an original
song from scratch, or to add to sequence data that
was converted from a Standard MIDI File.
[SAMPLING] key
In Sampling mode you can record samples, edit
the waveform of a sample, and create multisam-
ples. Samples and multisamples created in this
mode can be used by the oscillators of a drum kit
or program.
[S.PLAY] key
In Song Play mode you can playback Standard
MIDI Files from a floppy disk or external SCSI
device (when the separately sold EXB-SCSI option
is installed), and play along with the playback.
[GLOBAL] key
In Global mode you can make settings that affect
the TRITON’s entire system. In this mode you can
also create drum kits and arpeggio user patterns.
[DISK] key
In Disk mode you can save TRITON data on a
floppy disk or external SCSI media (when the sep-
arately sold EXB-SCSI option is installed), and
load data from the above-listed media.
9. [COMPARE] key
Use this key when you wish to compare the sound
of the program or combination that you are cur-
rently editing with the un-edited sound that was
written into memory. You can also use this key to
make “before and after” comparisons when
recording or editing in Sequencer mode (☞p.14).
10. VALUE controllers
The following VALUE controllers are used to set
the value of the selected parameter (☞p.13).
[VALUE] slider
Use this to modify the value of a parameter. This
controller is convenient when you wish to make
large changes in the value.
This slider can also be used as a modulation
source.
[ ][ ] keys
These are used to increase or decrease the parame-
ter value in steps of one. It is convenient to use
these to make fine adjustments.
[VALUE] dial
Use this dial to modify the value of the parameter.
7
Introduction
Numeric keys [0] – [9]
[ENTER] key
[–] key
[./10’s HOLD] key
Use these keys to numerically input a parameter
value. Use numeric keys [0]–[9], the [–] key, and
the [./10’s HOLD] key to enter the value, and
press the [ENTER] key to confirm it. The [./10’s
HOLD] key lets you input a value with a decimal
point. The [–] key inverts the sign (+/–) of the
parameter value. The [./10’s HOLD] key is also
used when you wish to hold the 10’s place while
selecting programs or combinations.
By holding down the [ENTER] key and pressing a
numeric key [0]–[9], you can select up to ten page
menu commands in the current page.
11. LCD screen
The TRITON features a Touch-View system that
uses a touch-panel LCD screen.
By pressing objects that are shown in the LCD
screen, you can select pages, tabs, and parameters,
and set values (☞p.10).
12. [EXIT] key
When in P (page) 1–9 of each mode, pressing the
[EXIT] key will move to P (page) 0 of that mode.
When a dialog box is open, this key, will cancel the
settings made in the dialog box and close the dia-
log box (corresponds to the Cancel button). If a
popup menu or page menu is open, pressing
[EXIT] will close the menu.
13. [MENU] key
Use this key to move between pages. When you
press the [MENU] key, a list of the pages in the
mode will appear in the LCD screen. Press the
desired page, and you will move to that page. You
can also move to a page by holding down the
[MENU] key and pressing the corresponding
numeric key [0]–[9] (☞p.12).
14. SEQUENCER
[PAUSE] key
In Sequencer mode, this key pauses the song or
cue list playback. In Song Play mode, this key
pauses SMF playback. When paused, the LED will
light. Press [PAUSE] once again to defeat pause,
the LED goes off.
[<<REW] key
In Sequencer mode this key rewinds the song or
cue list playback. When you press and hold this
key, the LED will light, and the playback will
rewind. (This will not function during recording.)
[FF>>] key
In Sequencer mode this key fast-forwards the song
or cue list playback. When you press and hold this
key, the LED will light, and the playback will fast-
forward. (This will not function during recording.)
[LOCATE] key
In Sequencer mode, this key returns the song or
cue list playback location to the specified point. In
Song Play mode, this key returns the playback
location of the SMF to the specified point.
If for some reason any “stuck notes” occur, press
this key.
15. SEQUENCER/SAMPLING
[REC/WRITE] key
In Sequencer mode, pressing this key will make
the LED light, and if you then press the [START/
STOP] key, recording will begin (☞p.64).
In Sampling mode, pressing this key will make the
LED light, and if you then press the [START/
STOP] key, sampling will begin (☞p.80).
In Program, Combination and Global modes,
pressing this key will open a dialog box, and if you
then press the OK button, the edited contents will
be written (☞p.38, p.39).
[START/STOP] key
This is the start/stop key for song or cue list
recording and playback in Sequencer mode, and
SMF playback in Song Play mode. (During record-
ing and playback, the LED will blink in time with
the beat.)
In Sampling mode, press the [REC/WRITE] key
(LED lights), and then press the [START/STOP]
key to start/stop sampling. In Sampling P1, press-
ing this key (the LED will light) will sound the
sample.
16. ARPEGGIATOR
These knobs control the performance of the arpeg-
giator in realtime (☞p.29).
[TEMPO] knob
This adjusts the base tempo of the arpeggiator and
sequencer.
[GATE] knob
This adjusts the gate time (note duration) of the
arpeggio notes. At the center position (12 o’clock),
the gate time will be the same as the “Gate”
parameter of the arpeggiator. Rotating the knob
toward the left will shorten the gate time, and
rotating it toward the right will lengthen the gate
time.
Front and rear panel
8
[VELOCITY] knob
This adjusts the velocity (playing strength) of the
arpeggio notes. At the center position (12 o’clock),
the velocity will be the same as the “Velocity”
parameter of the arpeggiator. Rotating the knob
toward the left will weaken the velocity, and rotat-
ing it toward the right will strengthen the velocity.
[ON/OFF] switch
This switches the Arpeggiator function on/off.
When on, the LED will light.
17. [BANK] keys
These keys are used to switch Program/Combina-
tion banks.
PROG BANK: [A], [B], [C], [D], [E], [F], [G]
When selecting programs, use keys [A], [B], [C],
[D], [E], [F] (available when the EXB-MOSS is
installed), and [G]. The LED of the selected bank
will light.
Each time you press [G], you will cycle through
the GM(2) variation banks and the drum bank as
follows: G, g(1), g(2), ... g(8), g(9), g(d), G ... etc.
COMBI BANK: [A], [B], [C], [D]
When selecting combinations, use keys [A], [B],
[C], and [D]. The LED of the selected bank will
light.
In Combination, Sequencer, and Song Play modes
when the edit cell (highlighted area) is located at
the program of a timbre or track, you can use the
BANK keys to select the bank of the program. The
bank LED of the program selected for that timbre/
track will light.
1. AC power supply connector
Connect the included power supply cable here.
After connecting the power supply cable to the
TRITON, connect the other end to an AC outlet
(☞p.15).
2. [POWER] switch
This switch turns the power on/off (☞p.17).
3. SCSI connector (separately sold EXB-SCSI
option)
Use a SCSI cable to connect SCSI-compatible
devices (hard disk drives, CD-ROM drives etc.)
here (☞p.15).
4. TO HOST connector
A special cable (sold separately: AG001B/002B)
can be connected from here directly to your com-
puter, to transmit and receive musical data and
sound settings etc. (☞p.112).
5. MIDI THRU connector
Musical data and sound settings etc. that are
received at the MIDI IN connector are re-transmit-
ted without change from the MIDI THRU connec-
tor.
You can use this to connect multiple MIDI devices
via MIDI cables (☞p.111).
6. MIDI OUT connector
Musical data and sound settings etc. are transmit-
ted from this connector.
Use this to control another connected MIDI device
from the TRITON (☞p.111).
7. MIDI IN connector
Musical data and sound settings etc. are received
at this connector.
Use this to play the TRITON from another con-
nected MIDI device (☞p.111).
8. DAMPER jack
A separately sold switch-type pedal such as the
Korg DS-1H damper pedal can be connected here.
If a DS-1H is connected, it will function as a half-
damper pedal. If another switch-type pedal is con-
nected, it will function as a damper switch. In
order to ensure that the half-damper pedal func-
tions correctly, please adjust the polarity and the
sensitivity (☞p.115, 121 in the Parameter Guide).
Rear panel
9
Introduction
9. ASSIGNABLE SWITCH jack
A separately sold on/off foot switch such as the
Korg PS-1 foot switch can be connected here
(☞p.16).
Its function can be assigned in Global mode,
allowing you to use the foot switch as a modula-
tion controller, to select programs or combinations,
or to start/stop the sequencer (☞p.125).
10. ASSIGNABLE PEDAL jack
A separately sold Korg EXP-2 or XVP-10 expres-
sion pedal can be connected here (☞p.16).
Its function can be assigned in Global mode,
allowing you to use the pedal to control the vol-
ume etc. (☞p.126)
11. [Contrast adjustment] knob
This adjusts the contrast of the LCD screen.
The optimal setting will depend on the height or
angle from which you view the screen display, so
please adjust this as necessary.
12. AUDIO INPUT
These two audio inputs are used when recording a
mono/stereo sample from a mic or external audio
source (☞p.78), or when applying the TRITON’s
internal effects to an external audio source
(☞p.109).
The MIC/LINE level select switch ([MIC-LINE]
switch) and the level adjustment knob ([LEVEL]
knob) allow you to use a wide range of external
audio sources, from mic level to line level.
AUDIO INPUT 1/2 jacks
These are unbalanced phone jacks (☞p.136).
[LEVEL] knob
This adjusts the input level of the AUDIO INPUT
1/2 jacks.
[MIC-LINE] switch
This switches the input level of the AUDIO INPUT
1/2 jacks.
13. AUDIO OUTPUT
Connect these outputs to the input jacks of your
amp or mixer. In addition to the L/MONO and R
main stereo audio outputs, the TRITON provides
four individual audio outputs. The sound from
each oscillator, drum, timbre/track, or insertion
effect can be freely routed to any output (☞p.107–).
(MAIN) L/MONO, R
These are unbalanced phone jacks (☞p.135).
These are the main audio output jacks. By setting
“Bus Select” to L/R, the output from an oscillator,
an insertion effect, an individual drum part, or the
metronome can be output to the (MAIN) L/
MONO and R jacks. When making connections in
stereo, use L/MONO and R. When making con-
nections in mono, use the L/MONO jack.
(INDIVIDUAL) 1, 2, 3, 4
These are unbalanced phone jacks (☞p.135).
These are individual (independent) audio output
jacks. These are individual (independent) audio
output jacks. By several times to make the “Bus
Select” to 1, 2, 3, 4, 1/2, or 3/4, an oscillator, an
insertion effect, an individual drum part, or the
metronome etc. can be assigned to be output from
the (INDIVIDUAL) 1, 2, 3, 4, jacks. The output
from the 1, 2, 3, 4 jacks is not affected by the [VOL-
UME] slider.
1
234
5
67
8
910
11
12 13
Front and rear panel
10
Names and functions of objects in the LCD
screen
The TRITON’s LCD screen features a Touch View sys-
tem that uses a touch panel.
By pressing objects displayed in the LCD screen, you
can select pages, set parameter values, rename pro-
grams and combinations, write data, and perform
many other operations.
References in the TRITON’s owner’s manual to the
“... button” or “... tab” refer to objects displayed on
the LCD screen. References to the “[...] key,” “[...]
knob,” “[...] dial],” or “[...] slider” refer to controls
on the front or rear panel of the TRITON.
a: Current page
This shows the page within the currently selected
mode.
From the left, this displays the mode name, the
page number: name selected in the Jump page,
and the tab name.
b: Edit cell
When you press a parameter in the LCD screen,
the parameter or parameter value will sometimes
be highlighted (displayed in inverse video). This is
called the edit cell, and the highlighted item will
be subject to your editing.
The parameter value of the edit cell can be modi-
fied using the VALUE controllers (☞p.13) or by
using a popup button in the LCD screen. For
parameters that accept a key number or a velocity
value, you can also hold down the [ENTER] key
and play a note on the keyboard to enter the key
number or velocity value.
c: Popup button (1)
When this button is pressed, a popup menu will
appear, showing the parameter values that are
available for selection.
To input the parameter value, press the desired
value in the popup menu.
When a popup menu is displayed, operating a
VALUE controller (☞p.13) will close the popup
menu. If the popup menu is unlocked (see below
“Pin”), it will close if you touch a location outside
the popup menu.
* Popup menu
Pin
This switches the popup menu display between
locked and unlocked.
When locked, the pin will be shown closed, and
the popup menu will remain displayed even after
you press a parameter value. When unlocked, the
pin will be shown opened, and the popup menu
will close immediately when you press a parame-
ter value.
Scroll bar
Use this when you wish to see parameter values
that cannot be displayed in the screen at once.
d: Popup button (2)
When you press this button, a tabbed popup
menu will appear, allowing you to perform the fol-
lowing selections.
• “Bank/Program Select,” “Bank/Combination
Select”: Select programs or combinations by
bank
• “Multisample Select”: Select a multisample for
a program oscillator by category (ROM
multisamples only)
• “Category/Effect Select”: Select an insert effect
or master effect by category
To close the tabbed popup menu, press the OK
button or Cancel button.
a: Current page
b: Edit cell
d: Popup button (2)
c: Popup button (1)
f: Check box
g: Radio buttons
h: Tab
i: Page menu buttone: (category) Popup button
Mode name Tab namePage number: name
Pin
Scroll bar
Press here and slide to left
or right to scroll to the
desired location.
Press here to scroll to left or right.
Press here to scroll to
the corresponding
location.
11
Introduction
e: (Category) popup button
When you press this button, a tabbed popup
menu will appear, allowing you to perform the fol-
lowing selections.
• “Category/Program Select,” “Category/
Combination Select”: Select programs or
combinations by category
To close the tabbed popup menu, press the OK
button or Cancel button.
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.
h: Tab
Press the tab to select a page.
i: Page menu button
When this button is pressed, a list of page menu
commands will appear.
The page menu commands that appear will
depend on the page that is selected.
You can also select up to ten page menu com-
mands by holding down the [ENTER] key and
pressing a numeric key [0]–[9].
The page menu will close when you press the LCD
screen at a location other than the page menu, or
when you press the [EXIT] key.
* Dialog box
The dialog box that appears will depend on the
page menu command that you select.
When selecting a program or combination number
in a dialog box, use the VALUE controllers (☞p.13)
to input the number.
Sometimes a text edit button will be displayed. In
any case, perform the operations directed by the
message in the dialog box.
To execute, press the OK button. To cancel without
executing, press the Cancel button. (The operation
will occur when you press and release the button.)
The dialog box will close. The [EXIT] key corre-
sponds to the Cancel button, Done button, and
Exit button.
After some commands are executed, the previ-
ously-locked page menu will be unlocked auto-
matically, and the page menu will be closed.
* Text edit button
When you press this button, a text edit dialog box
will appear.
Here you can rename text (such as the name of a
program, combination, or song etc.) (☞p.38).
* Page jump menu
In Combination, Program, Sequencer, Sampling,
Song Play, or Global modes, you can press the
front panel [MENU] key to view a list of the pages
in that mode. (As a reminder, the page in which
you were when you pressed the [MENU] key will
have its top right corner bent over.) By pressing
one of the pages shown, you can move to that
page. (You can also move to the corresponding
page by pressing a numeric key [0]–[9].)
When you press the [EXIT] key, P0 will be dis-
played.
* Other objects
To modify the parameter value of an object shaped
like a slider or knob, press it to move the edit cell
to that object, and use the VALUE controllers to
modify the value. In addition, there are also but-
tons similar to the OK button and Cancel button
explained in “* dialog box” which execute an oper-
ation when they are pressed and released, such as
the Done button, Copy button, and Insert button.
Toggle buttons
This type of button will change its function or
switch on/off each time it is pressed.
PLAY/MUTE/REC button in
Sequencer and Song Play mode
SOLO ON/OFF button in Sequencer
and Song Play mode
ON/OFF button for Insert Effect and
Master Effect
Text edit button
Cancel button OK button
Names and functions of objects in the
LCD screen
12
Basic operation of the TRITON
●In order to use a particular function on the TRI-
TON, you must first select the appropriate mode.
Press one of the front panel mode keys ([COMBI]
key – [DISK] key) to enter the corresponding
mode.
Each mode has a large number of parameters, which
are grouped into pages. Each page is further divided
into as many as eight groups. These are referred to as
“tabs.”
Selecting a page
1Make sure that the desired mode is selected.
To select a mode, press the appropriate mode key
([COMBI] key – [DISK] key). Here we will use Pro-
gram mode as an example for our explanation.
Press the [PROG] key.
2Press the [MENU] key.
The page jump menu will appear.
In Disk mode there is only one page, so the page
jump menu will not appear.
3In the LCD screen, press the desired page.
You will jump to the selected page, and it will
appear. As an example here, press P1: Edit-Basic.
• As a reminder, the page in which you were when
you pressed the [MENU] key will have its top right
corner bent over.
• You can also jump to the corresponding page by
pressing a numeric key [0]–[9]. (P0–P9 correspond
to numeric keys [0]–[9].)
• By holding down the [MENU] key and pressing a
numeric key [0]–[9], you can jump directly to the
corresponding page without displaying the page
jump menu.
When you press the [EXIT] key, you will return to
P0 from any page.
Selecting a tab
4Press one of the tabs located at the bottom of the
page.
As an example here, press the “OSC Basic” tab
which is the second from the left.
[COMBI] key: Combination mode
[PROG] key: Program mode
[SEQ] key: Sequencer mode
[SAMPLING] key: Sampling mode
[S.PLAY] key: Song Play mode
[GLOBAL] key: Global mode
[DISK] key: Disk mode
2. Selecting pages and tabs
1. Selecting modes
13
Introduction
• Some pages have no tabs.
5To move to another page or tab, press the [MENU]
key and repeat the procedure from step 2.
The parameter value in the edit cell can be set by using
the front panel VALUE controllers ([VALUE] slider,
[ ][ ] keys, [VALUE] dial, numeric keys [0]–[9], [–]
key, [ENTER] key, and [./10’s HOLD] key). As neces-
sary, you can also use the [BANK] keys and the [COM-
PARE] key.
For some parameters, the value can be set by pressing
a popup button to display the popup menu and then
selecting a parameter value, or by holding down the
[ENTER] key and playing a note on the keyboard to
input a note number or velocity value.
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 modu-
lation or dynamic modulation. (This is active in Pro-
gram or Combination P0: Play when the “Program
Number: name” or “Combination Number: name” (the
large characters in the upper part of the LCD) is
selected).
[ ][ ] keys
Use these when you wish to make small changes in the
value.
[VALUE] dial
Use this when you wish to make large changes in a
value.
Numeric keys [0]–[9], [ENTER] key, [–] key,
[./10’s HOLD] key
Use these when you know the parameter value that
you wish to input.
After using the numeric keys [0]–[9] to input a number,
press the [ENTER] key to finalize the parameter value.
Use the [–] key to enter negative numbers.
Use the [./10’s HOLD] key to enter a decimal point. In
Program and Combination mode P0: Play, the [./10’s
HOLD] key performs the 10’s Hold function. (☞p.21,
p.23)
[BANK] keys
The [BANK] keys are used in Program mode to select
the program bank and in Combination mode to select
the combination bank. In Combination mode, they are
also used to select the program bank for each timbre of
the combination. In Sequencer and Song Play modes,
these keys are used to select the bank of the program
used by each track of the song.
*1 Banks A–D are rewritable user program/combina-
tion banks. The factory settings and the preset pro-
grams/combinations of the separately sold EXB-
PCM series options are provided for banks A–D.
*2 Bank E is also a rewritable user program bank (like
banks A–D). We recommend that you use bank E for
programs that you yourself create. When converting
a multisample created in Sampling mode into a pro-
gram (“Convert MS to Program”), it is best to use
bank E.
*3 Bank F is available if the separately sold EXB-MOSS
option is installed. This bank is only for programs
that use the EXB-MOSS.
*4 Banks G, g(1)–g(9), and g(d) comprise eleven banks.
They contain 256 programs compatible with GM2,
and 9 drum programs. These banks cannot be
rewritten.
Each time you press the BANK [G] key, you will
cycle through banks G, g(1)–g(9), g(d) and back to
G.
Bank G contains 128 programs for the basic GM
sounds. Banks g(1)–g(9) contain variation sounds.
Bank g(d) contains drum programs. In banks which
contain no variation sounds, the basic GM sounds
will be selected. (An asterisk * will be added to the
beginning of the program name.)
3. Setting a parameter
[BANK] key Program Combination
A *1 Bank A (000...127) Bank A (000...127)
B *1 Bank B (000...127) Bank B (000...127)
C *1 Bank C (000...127) Bank C (000...127)
D *1 Bank D (000...127) Bank D (000...127)
E *2 Bank E (000...127) ---
F *3 Bank F (000...127) ---
G *4 Bank G (001...128) ---
Bank g(1) (001...128) ---
Bank g(2) (001...128) ---
:
Bank g(9) (001...128) ---
Bank g(d) (001...128) ---
Basic operation of the TRITON
14
[COMPARE] key
Use this key when you wish to compare an edited pro-
gram or combination sound with the un-edited origi-
nal (i.e., the sound that is written into memory).
When editing a program or combination, press this
key. The LED will light, and the last-written settings
for that program number or combination number will
be recalled. When you press the [COMPARE] key once
again, the LED will go dark and you will return to the
settings that you were editing.
If you edit the settings that are recalled by pressing the
[COMPARE] key (i.e., the settings that are written into
memory), the LED will go dark, and it will not be pos-
sible to return to the previous settings by pressing the
[COMPARE] key again.
In Sequencer mode, you can use the [COMPARE] key
to make “before and after” comparisons immediately
after using realtime recording or step recording to
record a song, or after performing a track edit opera-
tion.
For example, this can be used effectively when real-
time-recording a track for a song.
1Realtime-record a track. (Take 1)
2Once again, realtime-record on the same track.
(Take 2)
3Press the [COMPARE] key. The LED will light,
and take 1 will be recalled.
4Press the [COMPARE] key once again. The LED
will go dark, and take 2 will be recalled.
5If at step 3 you once again realtime-record on the
same track (take 3), the object of the Compare
function will now be take 1. If at step 4 you once
again realtime-record on the same track (take 3),
the object of the Compare function will be take 2.
In this way, the Compare function lets you recall the
previous recording or the previous state of event edit-
ing.
The Compare function is not available Sampling,
Song Play, or Global modes.
Popup buttons and popup menus
You can press a popup button to access a popup menu,
and then set parameter values (☞p.10).
Keyboard input
When inputting a note name or velocity value as the
value of a parameter, you can use the keyboard to
input the setting. Hold down the [ENTER] key and
play the note that you wish to enter as a value. The
note name (number) or velocity value will be input.
When the Global P5: DrumKit page is displayed, you
can hold down the [ENTER] key and play a note to
recall the settings that have been assigned to the note
you played.
In Sampling mode, you can hold down the [ENTER]
key and play a note to recall the index that is assigned
to the note you played.
G001 Acoustic Piano
g(1) 001 Acoustic Piano w
g(2) 001 Acoustic Piano d
g(3) 001 *Acoustic Piano
g(4) 001 *Acoustic Piano
:
g(9) 001 *Acoustic Piano
g(d) 001 STANDARD Kit
G001 Acoustic Piano
:
15
Introduction
Connections
Connections must be made with the power turned
off. Please be aware that careless operation may
damage your speaker system or cause malfunc-
tions.
●Connect the included power cable to the AC power
supply inlet of the TRITON, and then connect the
other end of the cable to an AC outlet.
Connect a set of amplified monitor speakers or your
audio system to output the TRITON’s sound.
If you playback the TRITON through your stereo
audio system, be aware that high volumes may
damage your speakers. Be careful not to raise the
volume excessively.
●Connect the AUDIO OUTPUT (MAIN) L/MONO
and R jacks to the INPUT jacks of your powered
monitor system, etc.
L/MONO and R are the main outputs. If you are
outputting in stereo, make connections to the
(MAIN) L/MONO jack and the R jack. If you are
outputting in monaural, make connections to the
(MAIN) L/MONO jack. We recommend that you
playback in stereo if possible.
●If you wish to output from the AUDIO OUTPUT
(INDIVIDUAL) 1, 2, 3, 4 jacks, connect these jacks
to your mixer, and then connect the mixer output
to the INPUT of your powered monitor system etc.
For details on the output of each jack (☞p.107–
“Routing”).
When sampling in Sampling mode, or when you wish
to apply the TRITON’s effects to an external audio
source in Program, Combination, Sequencer, or Song
1. Connecting the power cable
2. Connecting audio output
devices
3. Connecting audio input
devices
Headphones
CD player, analog record
player, etc.
AC power supply inlet
to an AC outlet
Power cable (included)
Power switch
1
2456
7
3
GuitarMic
Powered monitors, etc.
INPUT
INPUT
OUTPUT
PHONES
Headphones
PHONES
MIC1
BAL
OR
UNBAL
LINE IN 1
LOW CUT
75Hz
18dB/OCT
TRIM
+10dB -40dB
10 60
U
-
1
0
d
B
V
M
I
C
G
A
I
N
LINE IN 7-8
L
R
BAL
OR
UNBAL
MONO
+4
-10
LEVEL
LINE IN 9-10
L
R
BAL
OR
UNBAL
MONO
+4
-10
LEVEL
LINE IN 11-12
L
R
BAL
OR
UNBAL
MONO
+4
-10
LEVEL
LINE IN 13-14
L
R
BAL
OR
UNBAL
MONO
+4
-10
LEVEL
STEREO AUX RETURNS
1
2
1
2
AUX SEND
LEFT(1/MONO) RIGHT ALL BAL/UNBAL
L
R
TAPE
INPUT
TAPE
OUTPUT
MAIN OUTS
L
R
BAL/UNBAL
PHONES
MICRO SERIES 1402-VLZ
14-CHANNEL MIC/LINE MIXER
MIC2
BAL
OR
UNBAL
LINE IN 2
LOW CUT
75Hz
18dB/OCT
TRIM
+10dB -40dB
10 60
U
-
1
0
d
B
V
M
I
C
G
A
I
N
MIC3
BAL
OR
UNBAL
LINE IN 3
LOW CUT
75Hz
18dB/OCT
TRIM
+10dB -40dB
10 60
U
-
1
0
d
B
V
M
I
C
G
A
I
N
MIC4
BAL
OR
UNBAL
LINE IN 4
LOW CUT
75Hz
18dB/OCT
TRIM
+10dB -40dB
10 60
U
-
1
0
d
B
V
M
I
C
G
A
I
N
MIC5
BAL
OR
UNBAL
LINE IN 5
LOW CUT
75Hz
18dB/OCT
TRIM
+10dB -40dB
10 60
U
-
1
0
d
B
V
M
I
C
G
A
I
N
MIC6
BAL
OR
UNBAL
LINE IN 6
LOW CUT
75Hz
18dB/OCT
TRIM
+10dB -40dB
10 60
U
-
1
0
d
B
V
M
I
C
G
A
I
N
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
1
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
2
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
3
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
4
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
5
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
6
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
7–8
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
9–10
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
11–12
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
U
+15
U
+15
AUX
1
MON/
EFX
2
EFX
U
+15
U
+12
-15
-12
U
+15
-15
PAN
SOLO
13–14
MUTE
ALT 3–4
EQ
HI
12kHz
MID
2.5kHz
LOW
80Hz
LR
dB
10
5
U
5
10
20
30
40
50
60
dB
10
5
U
5
10
20
30
40
50
60
dB
10
5
U
5
10
20
30
40
50
U
+10
U
+20
U
+20
1
2
AUX 1 MASTER
PRE
POST
NORMALLED
AUX 1
SELECT
EFX TO
MONITOR
AUX
RETURNS
SOURCE
MAIN
MIX
LEFT RIGHT
CLIP+28
+10
+7
+4
+2
0
-2
-4
-7
-10
-20
-30
0dB=0dBu
RUDE SOLO LIGHT
ALT
3-4
TAPE
ASSIGN
TO MAIN MIX
NORMAL(AFL)
LEVEL SET(PFL)
SOLO
MODE
PHANTOM POWER
CONTROL
ROOM / PHONES MAIN MIX
Effect processor etc.
If you connect a guitar with passive
pickups (i.e., a guitar which does
not contain a preamp), it will not be
possible to sample at an
appropriate level due to the
impedance mismatch. Please route
the guitar signal through a preamp
or an effect processor.
Connections
16
Play mode and output the sound from the OUTPUT
jacks, connect a mic or an external audio source to the
AUDIO INPUT 1 and 2 jacks.
●For details on connections when sampling in Sam-
pling mode (☞p.78).
●For details on connections when outputting from
the OUTPUT jacks in other modes (☞p.109).
Foot pedal connections
A foot pedal controls etc.
Connect a separately sold Korg assignable pedal such
as the XVP-10 or EXP-2 to the rear panel ASSIGN-
ABLE PEDAL jack.
The function controlled by the foot pedal is specified in
Global: P2 “Foot Pedal Assign” (☞p.125). (☞p121, 220
in the Parameter Guide)
Foot switch connections
A foot switch controls sostenuto, soft pedal on/off,
arpeggiator on/off, to select programs or combina-
tions, and to start/stop the sequencer etc.
Connect a separately sold Korg foot switch such as the
PS-1 to the rear panel ASSIGNABLE SWITCH jack.
The function that will be controlled by the foot switch
and the polarity of the foot switch can be set in Global:
P2 “Foot Switch Assign,” and “Foot Switch Polarity”
(☞p.125). (☞p.121, 219 in the Parameter Guide)
Damper pedal connections
A damper pedal applies a damper effect as you play.
Connect a separately sold Korg DS-1H damper pedal
to the DAMPER jack of the TRITON. If a DS-1H is con-
nected, half-damper effects can be produced.
The polarity of the pedal is set in Global P1 “Damper
Pedal Polarity” and the sensitivity is set in Global P1
“Half Damper Calibration.” (☞p.115, 121 in the Parame-
ter Guide)
The keyboard, controllers and sequencer of the TRI-
TON control and play an external MIDI tone generator,
and an external MIDI keyboard or sequencer plays the
TRITON’s tone generator.
●Use MIDI cables to connect the MIDI connectors
of the TRITON to the MIDI connectors of your
external MIDI device (☞p.111).
An IBM PC (compatible) or Apple Macintosh com-
puter can be connected to the TRITON, so that the TRI-
TON’s keyboard, controllers and sequencer can
transmit data to the computer, and so that the com-
puter can play the TRITON’s tone generator.
●Connect the TRITON’s TO HOST connector to the
appropriate port of your computer (☞p.112).
If the separately sold EXB-SCSI option is installed, you
can connect the TRITON to a SCSI-compatible device
(hard disk drive, CD-ROM drive, etc.).
For the EXB-SCSI installation refer to p.237 in the
Parameter Guide.
4. Connecting pedals etc.
5. Connections to MIDI equip-
ment
6. Connections to a computer
7. Connections to a SCSI device
17
Quick Start
Quick Start
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).
1Press the TRITON’s [POWER] switch to turn on
the power.
The LCD screen will display the name of your
model (TRITON, TRITON pro, or TRITON proX),
and the software version.
(The following graphic shows the factory-set LCD
screen of the TRITON. The version number is sub-
ject to change without notice.)
2Turn on your powered monitors or stereo amp.
3Raise the TRITON’s [VOLUME] slider to an
appropriate level, and adjust the volume of your
powered monitors or stereo amp.
1Set the TRITON’s [VOLUME] slider and the vol-
ume of your powered monitor or stereo amp to
zero.
2Turn off the power of your powered monitor or
stereo amp.
3Press the TRITON’s [POWER] switch to turn off
the power.
The mode and page that will be selected when the
power is turned on
The state of the TRITON when the power is turned on
will depend on the setting of “Power On Mode” (Glo-
bal P0: System Preference tab).
If “Power On Mode” is Reset (factory setting), the TRI-
TON will automatically selects the Combination mode
P0: Play.
If “Power On Mode” is Memorize, the TRITON will be
in the mode and page that were last selected when the
power was turned off.
The Memorize setting will remember the mode and
page that were last selected, the combination number
that was last selected in Combination mode, and the
program number that was last selected in Program
mode.
If another mode is selected when the power is turned
on, you can press the [COMBI] key or [PROG] key to
select the P0: Play page with the last-selected combina-
tion number or program number.
The LCD screen when separately sold options or
SIMM modules are installed
The TRITON series allows you to install separately
sold options or SIMM (sampling memory) boards.
When the power is turned on, the
type of installed options will be
displayed. After installing an
option, be sure to check this dis-
play to verify that the option was
installed correctly. If the option is
not displayed here even though it was installed, it was
not installed correctly. Turn off the power and re-install
the option. (☞For details on installing an option, refer
to p.237 in the Parameter Guide)
EXB-MOSS: The EXB-MOSS option is installed.
EXB-SCSI: The EXB-SCSI option is installed.
EXB-PCM Slot1 (****): A PCM expansion board is
installed in EXB-PCM series slot 1. The type of board is
shown in parentheses.
EXB-PCM Slot2 (****): A PCM expansion board is
installed in EXB-PCM series slot 2. The type of board is
shown in parentheses.
SIMM Slot1 (**MB): A SIMM is installed in SIMM slot
1. The capacity of the SIMM is shown in parentheses.
When the TRITON is shipped from the factory, a 16 MB
SIMM is already installed in this slot.
SIMM Slot2 (**MB): A SIMM is installed in SIMM slot
2. The capacity of the SIMM is shown in parentheses.
1. Turning the power on
2. Turning the power off
Turning the power on/off
18
Listening to a demo song
Here’s how to listen to a demo song on the TRITON.
Contents of the disks
The TRITON series comes with two floppy disks
(TNFD-00P and TNFD-01P).
PRELOAD.PCG
• Preloaded data (programs, combinations, drum
kits, arpeggio patterns, global settings)
• Program data (programs using the sampling
function) used by the demonstration songs
When you load PRELOAD.PCG, it will be written
into internal memory. This data is preserved even
if the power is turned off.
When you load PRELOAD.PCG, the data that had
been written before loading this data will be
rewritten. If you wish to keep this data, you must
first save it on a floppy disk before loading PRE-
LOAD.PCG (☞p.40).
PRELOAD.SNG
• Demonstration song and demonstration cue list
data
When you load PRELOAD.SNG, it will be written
into internal sequencer memory. This memory is
volatile, and the data will be lost when the power
is turned off.
When you load PRELOAD.SNG, the data that had
been written before loading this data will be
rewritten. If you wish to keep this data, you must
first save it on a floppy disk before loading PRE-
LOAD.SNG. (☞p.40)
PRELOAD.KSC
• Sample program data used by the demonstration
songs
When you load PRELOAD.KSC, its multisample/
sample data will be written into the TRITON’s
multisample/sample memory. This memory is
volatile, and the data will be lost when the power
is turned off.
Whether or not previously-written data will be
erased when you load PRELOAD.KSC is deter-
mined by the “Select .KSC Allocation” setting.
Refer to step 7 of the following procedure.
1Insert the included “TNFD-00P” floppy disk into
the disk drive.
For details on handling a floppy disk and inserting
it into the disk drive, refer to “Disk mode” ☞p.95.
2Press the [DISK] key (the LED will
light).
You will enter Disk mode.
3Press the Load tab.
The Load window will appear, and file information
will be displayed.
4Press “PRELOAD.SNG.”
The display will be highlighted. This is the demo
song data.
5Press the page menu command button.
The page menu commands will be displayed.
6Press “Load selected.”
A dialog box will appear.
7Press the check boxes to add a check mark.
Check “Load PRELOAD.PCG too.” When the data
is loaded, the .PCG file will be loaded along with
the .SNG file.
Check “Load PRELOAD.KSC too.” When the data
is loaded, the .KSC file will be loaded along with the
.SNG file.
1. Loading the demo song data
in Disk mode
3
5
4
19
Quick Start
The “Select .KSC Allocation” radio buttons specify
how the sample data will be loaded into sample
memory. For this example, select Clear.
If you load with “Select .KSC Allocation” set to
Clear, the sample data will be loaded from the
beginning of the sample memory area.
If you load with “Select .KSC Allocation” set to
Append, the sample data will be loaded into the
unused portion of the sample memory.
If sample memory already contains sample data
that you do not wish to lose, either select Append,
or save the sample data to a floppy disk (☞p.40).
8Press the OK button.
The data will be loaded in the order of PRE-
LOAD.PCG, PRELOAD.SNG, and PRELOAD.KSC.
When the PRELOAD.KSC file begins to load, the
following dialog box will appear.
The sample/multisample data listed in PRE-
LOAD.KSC is contained in “TNFD-01P.”
9Remove the “TNFD-00P” floppy disk from the
floppy disk drive, and insert the “TNFD-01P”
floppy disk.
0Press the LCD screen once.
The LCD display will change. (The newly inserted
floppy disk will be recognized when you press the
LCD screen.)
APress the Select button to resume loading.
BPress the [SEQ] key (the LED will light).
You will enter Sequencer mode.
CPress the [MENU] key.
The LCD screen will show a list of the
pages in Sequencer mode.
For this example, press either “P0: Play/REC” or
numeric key [0]. The P0: Play/REC page will
appear.
DSelect the demonstration song.
Press the “Song No. and name” area to highlight the
song name.
ETo select the first song, press numeric key [0], and
press the [ENTER] key.
To select the second song, press numeric key [1],
and press the [ENTER] key.
You can select songs from a popup menu.
Press the popup button for “Song No. and name”
to access the popup menu.
In the LCD screen, press the song that you wish to
play. The popup menu will close, and the song you
pressed will be selected.
FPress the front panel [START/STOP] key.
The LED will blink and the selected song will play.
GIf you wish to stop playback, press the [START/
STOP] key once again.
2. Selecting and playing a dem-
onstration song in Sequencer
mode
Popup button
Song No. and
name
Listening to a demo song
20
Here’s how to playback the demonstration cue list. A
cue list allows you to playback multiple songs in suc-
cession, and specify the number of times that each
song will be repeated.
1Press the [MENU] key.
The LCD screen will show a list of the pages in
Sequencer mode.
2Press either “P1: Cue List” or numeric key [1].
The P1: Cue List page will appear.
3Press the [START/STOP] key.
4To stop playback, press the [START/STOP] key
once again.
If the last step is End, playback will stop automati-
cally when it reaches that point. If the last step is
Continue to Step01, playback will return to the first
step and continue.
Cue lists can be selected in the same way that
songs are selected. Refer to E and F in the previ-
ous page.
3. Playing a cue list
21
Quick Start
Selecting and playing a program
In Program mode you can select a program from
banks A–G and play it. Here we will show how to
select preset programs. Select various programs and
hear how they sound.
1Press the [PROG] key (the LED will light), and you
will enter Program mode.
2Make sure that P (page) 0: Play is selected in the
LCD screen.
If this page is not selected, press the [MENU] key to
access the page jump menu, and either select “P0:
Play” in the LCD screen or numeric key [0] to dis-
play P0: Play.
3Press “Program Number: name” in the LCD screen
to select the program.
The display will be highlighted.
4Press a PROGRAM BANK [A]–[G] key to select
the bank. (☞p.22 “Program banks of the TRI-
TON”)
For example to select bank A, press the [A] key.
(The LED will light, and the upper left of the LCD
screen will indicate Bank A.)
Bank G is unlike other banks. Each time you press
the [G] key, the selection will cycle in the order of G
→ g(1) → g(2) → g(3) → g(4) → g(5) → g(6) → g(7)
→ g(8) → g(9) → g(d) → G (the LED will light, and
the upper left of the LCD screen will indicate Bank
G, g(1)–g(9), g(d) respectively.
5Use numeric keys [0]–[9] to input the program
number, and press the [ENTER] key. Alternatively,
you can use the [VALUE] dial or [][] keys to
make a selection.
If you press the [./10’s HOLD] key to turn on the
10’s Hold function (the LCD screen will indicate
), the ten’s place of the program number will be
fixed, and you will be able to switch programs sim-
ply by pressing a single numeric key. Each time you
press a numeric key, the one’s place will change.
You can also use the [ ][ ] keys to change the
ten’s place.
To release the 10’s Hold function, press the [./10’s
HOLD] key once again.
Selecting programs from Bank/Program Select
You can select programs from a list organized by pro-
gram bank.
1Press the “Program Number: name” popup button.
A tabbed “Bank/Program Select” popup menu will
appear.
In the graphic, bank A is selected. The center area
shows the programs contained in that bank.
2Press the tabs located at the left and right to select
banks.
3Press program names in the center area to select
programs.
The selected program will be highlighted.
4When you are satisfied with the selected program,
press the OK button to close the popup menu.
If you press the Cancel button, the selection you
made here will be discarded, and you will return to
the program that had been selected when you
opened the popup menu.
Selecting a program
Category
popup
button
Popup button
Program
Number:
name
Selecting and playing a program
22
Selecting programs from Category/Program Select
You can select programs from a list organized by cate-
gory. With the factory settings, the programs are classi-
fied into sixteen categories of instrument (keyboard,
organ, bass, drums etc.).
1Press the Category popup button.
A tabbed “Category/Program Select” popup menu
will appear.
In the above graphic, category 10: FastSynth is
selected. The center area shows the programs con-
tained in that category.
2Press the tabs located at the left and right to select
a different category.
The name of the selected category will be displayed
in full in the upper right.
3Press a program name in the center area to select a
program.
The selected program will be highlighted.
If you wish to change a program to a different cat-
egory, you can set in the dialog box when writing
the program (☞p.39). Category names can be
changed in “Category Name” (Global P4).
4When you are satisfied with the selected program,
press the OK button to close the popup menu.
If you press the Cancel button, the selection you
made here will be discarded, and you will return to
the program that had been selected when you
opened the popup menu.
Other ways to select a program
Using a connected switch to select programs
(☞p.125)
An separately sold on/off type foot switch such as the
Korg PS-1 can be connected to the ASSIGNABLE
SWITCH jack, and used to select programs.
Selecting programs from a MIDI device (☞p.114)
MIDI program change messages can be transmitted
from an external MIDI device, and received by the TRI-
TON to select programs.
Program banks of the TRITON
The TRITON contains program banks A–G.
•Banks A–E each contain 128 programs (numbered
000–127), for a total of 640 programs.
With the factory settings, banks contain a variety of
preset programs that use the internal PCM ROM
multisamples, effects, and arpeggiator patterns etc.
With the factory settings, bank E does not contain
programs. It can be used as a user bank for you to
write programs you yourself create (such as pro-
grams that use multisamples you sampled in Sam-
pling mode).
•Bank F can be used if the EXB-MOSS option (sold
separately) is installed. It can contain 128 programs
(numbered 000–127) that use the MOSS tone
generator. (☞For the program names, refer to the
owner’s manual of the EXB-MOSS option.)
•Bank G contains 256 programs compatible with
the GM2 sound map, and nine drum programs.
This bank is read-only.
Bank G consists of banks G, g(1), g(2)–g(9), and g(d).
The 128 programs from 001–128 can be used. G con-
tains the GM2 original programs. g(1)–g(9) allow
you to select variation programs of the G bank pro-
grams. g(d) lets you select drum programs.
☞For the preset program banks and program names,
refer to the separate Voice Name List.
23
Quick Start
Selecting and playing a combination
In Combination mode you can select a combination
from banks A–D and play it. Here we will show how
to select preset combinations. Select various combina-
tions and hear how they sound.
1Press the [COMBI] key (the LED will light), and
you will enter Combination mode.
2Make sure that P (page) 0: Play is selected in the
LCD screen.
If this page is not selected, press the [MENU] key to
access the page jump menu, and either press “P0:
Play” in the LCD screen or numeric key [0] to dis-
play P0: Play.
3Press “Combination Number: name” in the LCD
screen to select the combination.
The display will be highlighted.
4Press a COMBI BANK [A]–[D] key to select the
bank. (☞p.24 “Combination banks of the TRI-
TON”)
For example to select bank A, press the [A] key.
(The LED will light, and the upper left of the LCD
screen will indicate Bank A.)
When the edit cell is located at the “Bank/Pro-
gram” of a timbre 1–8, pressing a [BANK] key will
allow you to select the program bank for that tim-
bre, and the LED of the program bank selected for
that timbre will light. If you wish to select a combi-
nation bank, make sure that the edit cell is not
located at the “Bank/Program” of timbres 1–8.
5Use numeric keys [0]–[9] to input the combination
number, and press the [ENTER] key. Alternatively,
you can use the [VALUE] dial or [][] keys to
make a selection.
If you press the [./10’s HOLD] key to turn on the
10’s Hold function (the LCD screen will indicate
), the ten’s place of the combination number will
be fixed, and you will be able to switch combina-
tions simply by pressing a single numeric key. Each
time you press a numeric key, the one’s place will
change. You can also use the [ ][ ] keys to
change the ten’s place.
To defeat the 10’s Hold function, press the [./10’s
HOLD] key once again.
Selecting combinations from Bank/Combination
Select
You can select combinations from a list organized by
combination bank.
1Press the “Combination Number: name” popup
button.
A tabbed “Bank/Combination Select” popup menu
will appear.
In the above graphic, bank A is selected. The center
area shows the combinations contained in that
bank.
2Press the tabs located at the left to select banks.
3Press combination names in the center area to
select combinations.
The selected combination will be highlighted.
4When you are satisfied with the selected combina-
tion, press the OK button to close the popup menu.
If you press the Cancel button, the selection you
made here will be discarded, and you will return to
the combination that had been selected when you
opened the popup menu.
Selecting a combination
Category popup
button
Popup button
Combination
Number: name
Bank/Program
Selecting and playing a combination
24
Selecting combinations from Category/Combina-
tion Select
You can select combinations from a list organized by
category. With the factory settings, the combinations
are classified into sixteen categories of instrument
(keyboard, organ, bass, drums etc.). Here the combina-
tions are divided into sixteen categories.
1Press the Category popup button.
A tabbed “Category/Combination Select” popup
menu will appear.
In the graphic, category 00: Keyboard is selected.
The central area shows the combinations contained
in that category.
2Press the tabs located at the left and right to select
a different category.
The name of the selected category will be displayed
in full in the upper right.
3Press a combination name in the central area to
select a combination.
The selected combination will be highlighted.
Press the scroll bar to move to additional pages of
combinations in the selected category.
If you wish to change a combination to a different
category, you can set in the dialog box when writ-
ing the combination (☞p.39). Category names can
be changed in “Category Name” (Global P4).
4When you are satisfied with the selected combina-
tion, press the OK button to close the popup menu.
If you press the Cancel button, the selection you
made here will be discarded, and you will return to
the combination that had been selected when you
opened the popup menu.
Other ways to select a combination
Using a connected switch to select combinations
(☞p.125)
An separately sold on/off type foot switch such as the
Korg PS-1 can be connected to the ASSIGNABLE
SWITCH jack, and used to select combinations.
Selecting combinations from a MIDI device
(☞p.114)
MIDI program change messages can be transmitted
from an external MIDI device, and received by the TRI-
TON to select combinations.
Combination banks of the TRITON
The TRITON contains combination banks A–D.
Each bank contains 128 combinations (numbered 000–
127), for a total of 512 combinations.
With the factory settings, these banks contain a variety
of preset combinations that use programs, effects, and
arpeggio patterns.
☞For the preset combination banks and combination
names, refer to the separate Voice Name List.
25
Quick Start
Using controllers to modify the sound
The TRITON provides a variety of controllers that can
be used to control the tone, pitch, volume, effects, and
arpeggiator etc. in realtime while you play.
You can use the Lock function of SW 1 or 2 to hold
the effect even after the joystick is returned to the
center position. For the procedure, refer to “SW1,
SW2.”
You can use the joystick as a source for alternate
modulation or effect dynamic modulation, to con-
trol program parameters or effect parameters.
Move your finger to the left and right on the ribbon
controller to apply an effect.
Normally, this is used to control pitch, volume or filter
etc.
You can use the Lock function of SW 1 or 2 to hold
the effect even after you release your finger from
the ribbon controller. For the procedure, refer to
“SW1, SW2.”
You can use the ribbon controller as a source for
alternate modulation or effect dynamic modula-
tion, to control program parameters or effect
parameters.
You can use these keys as sources for alternate modula-
tion or effect dynamic modulation to control program
parameters or effect parameters.
These switches can also be used to switch the octave, to
turn portamento on/off, or to lock the position of the
ribbon controller or after touch function.
You can specify the way in which the [SW1] and [SW2]
keys will operate: either Toggle, when the assigned
function will be switched on/off each time the key is
pressed, or Momentary, when the assigned function
will be switched on only as long as you hold down the
key.
In Program mode, the function of the [SW1] and
[SW2] keys can be checked in the P0: Play tab Per-
formance (☞p.27).
When you write a program or combination, the
on/off status of the [SW1] and [SW2] keys is
saved.
For details on making these settings, refer to “Set-
ting the functions of [SW1] and [SW2]” (☞p.127).
The Lock function
Joystick
When the [SW1] or [SW2] key function is set to JS X
Lock, JS +Y Lock, or JS –Y Lock, the sound produced
by moving the joystick can be held even after the joy-
stick is returned to the center position.
When the [SW1] key is set to JS–Y Lock and is operat-
ing as a Toggle switch, the lock function can be used as
described in the following example.
1Move the joystick toward yourself to modify the
sound.
2While continuing to hold the joystick toward your-
self, press [SW1] (the [SW1] key LED will light).
The sound at this point will be held.
3Even if you release the joystick, or move it toward
yourself once again, the sound will remain
unchanged from when the [SW1] key was pressed.
This is the “locked” condition. Moving the joystick
to left or right will produce the normal result.
Joystick
JS(+X): Move the joystick toward the right to apply an
effect. Normally this is used to control the
pitch (bend up).
JS(–X): Move the joystick toward the left to apply an
effect. Normally this is used to control the
pitch (bend down).
JS(+Y): Move the joystick away from yourself to apply
an effect. Normally this is used to control the
oscillator LFO (vibrato).
JS(–Y): Move the joystick toward yourself to apply an
effect. Normally this is used to control filter
LFO (wah).
Ribbon controller
−Y
＋Y
−X ＋X
−X ＋X
SW1, SW2
Using controllers to modify the sound
26
4To release the locked condition, press the [SW1]
key once again.
Ribbon controller
When the [SW1] or [SW2] key function is set to Ribbon
Lock, the sound produced by moving the ribbon con-
troller can be held even after the ribbon controller is
released.
When the [SW1] key is set to Ribbon Lock and is oper-
ating as a Toggle switch, the lock function can be used
as described in the following example.
1Press [SW1] (the [SW1] key LED will light).
2Move your finger to left or right on the ribbon con-
troller. The sound will change.
3Even when you remove your finger from the rib-
bon controller, the sound at that point will be held.
This is the “locked” condition.
4To release the locked condition, press the [SW1]
key once again.
When the [SW1] or [SW2] key function is assigned
to JS X & Ribbon Lock, JS+Y & Ribbon Lock, or
JS–Y Ribbon Lock, both locking functions will
apply simultaneously.
After touch
When the [SW1] or [SW2] key function is set to After
Touch Lock, the sound produced by applying pressure
to the keyboard can be held even after the keyboard is
released.
When the [SW1] key is set to After Touch Lock and is
operating as a Toggle switch, the lock function can be
used as described in the following example.
1After playing a note, apply pressure to the key-
board (after touch). The sound will change.
2While maintaining the pressure on the keyboard,
press [SW1] (the [SW1] key LED will light).
3Even when you apply further pressure to the key-
board, the sound at the moment you pressed [SW1]
key will be held.
This is the “locked” condition.
4To release the locked condition, press the [SW1]
key once again.
These knobs can be used to control the filter cutoff fre-
quency and resonance, the amp and filter EG, volume,
portamento time, pan, pitch LFO, or the send levels to
the master effects, etc.
1Press the [REALTIME CONTROLS] key to switch
the function of the realtime controllers to A mode
or B mode.
Each time you press the key, A mode or B mode will
be selected alternately, and the corresponding LED
will light.
2Rotate the desired knob to control the sound, etc.
A mode controls
In A mode, knobs [1]–[4] will control/edit the follow-
ing functions.
Placing the knobs in the center (12 o’clock) position
will produce the values specified by the program
parameters.
Knob [1]: LPF CUTOFF
Adjust the cutoff frequency of the low pass filter.
When you adjust the cutoff frequency of the filter, the
brightness of the sound will change. The effect will
depend on the settings of the program parameters, but
normally, rotating the knob toward the left will darken
the sound, and rotating it toward the right will
brighten it.
Knob [2]: RESONANCE/HPF
Adjust the resonance level of a low pass filter or the
cutoff frequency of a high pass filter.
The content that is controlled will depend on the filter
type specified by the program.
Realtime control knobs
[1], [2], [3], [4]
The selected mode
will light.
Frequency
HighLow Cutoff
frequency
Level
LPF
27
Quick Start
By adjusting the filter resonance level, you can increase
or decrease the resonance level to add a unique charac-
ter to the sound.
By adjusting the cutoff frequency of a high pass filter,
you can modify the brightness of the sound.
Knob [3]: EG-INTENSITY
Adjust the filter EG intensity (the depth at which the
filter EG is applied).
Rotating the knob will affect the depth of the filter EG.
Normally, rotating the knob toward the left will make
the filter EG apply less deeply, and rotating it toward
the right will make the filter EG apply more deeply.
Since the filter EG will operate based on the cutoff fre-
quency of the filter, knobs [1] and [3] will work
together to control the tonal changes produced by the
filter.
Knob [4]: EG-RELEASE
Adjust the EG release times of the filter and amp. This
will determine the time from note-off until the sound
disappears.
When you operate the knob, the release times of the fil-
ter EG and the amp EG will change. Normally, rotating
the knob toward the left will shorten the release time,
and rotating it toward the right will lengthen the
release time.
When the arpeggiator is running, it is effective to use
this in conjunction with the arpeggiator [GATE] knob
to control the arpeggiated notes.
B mode controls
You can control parameters such as volume, porta-
mento time, pan or filter and amp EG, pitch LFO, and
master effect send levels etc.
In each preset program, appropriate functions are
assigned to the B-mode knobs. The functions that
are assigned can be viewed in the LCD screen.
The B-mode function settings are made for each indi-
vidual program, combination, or song. In Sampling
mode and Song Play mode, the B-mode functions are
set for the entire mode.
For details on making these settings (☞p.127).
Viewing the parameters that are assigned to
[SW1], [SW2], and the realtime control B-mode
In Program mode, the P0: Play shows the functions
that are assigned to [SW1] and [SW2], and to the B-
mode of realtime control knobs [1], [2], [3], and [4].
When a program number is selected in Program
P0: Play, or when a combination number is
selected in Combination mode page P0: Play,
you can use the [VALUE] slider as a source for
alternate modulation or effect dynamic modula-
tion, and control program parameters or effect
parameters.
Velocity
The force with which you play a note can apply an
effect.
Normally this is used to control volume, or the speed
or sensitivity of the EG.
After Touch
An effect can be applied by pressing down on the key-
board after playing a note.
Normally this is used to control volume, tone (cutoff
frequency), or LFO sensitivity etc.
Level
Cutoff
frequency
LPF HPF
Level
Time
Level
Time
Attack Time
Decay Time Slope Time Release Time
Attack Level
Start Level
Sustain Level
Break Level
note-on note-off
Release Level
[VALUE] slider
Keyboard
Functions
assigned to B-
mode knobs
[1]–[4]
Functions
assigned to
[SW1] and
[SW2] keys
Using controllers to modify the sound
28
Note Number
An effect can be applied by the note number (keyboard
location) that you play.
Normally this is used to control volume, tone (cutoff
frequency), LFO sensitivity, and EG sensitivity etc.
This can be used as a source for alternate modula-
tion or effect dynamic modulation, to control pro-
gram parameters or effect parameters.
Damper Pedal
A separately sold Korg switch-type damper pedal such
as the DS-1H can be connected to the TRITON. If a DS-
1H is connected, it will function as a half-damper
pedal. The half-damper function cannot be controlled
by other pedals.
Assignable Foot Switch
A separately sold on/off switch such as the Korg PS-1
foot switch can be connected to the TRITON, allowing
you to turn an assigned function on/off by stepping on
the foot switch.
The function of the foot switch is assigned in Global
P2: Controller “Foot Switch Assign” (☞p.125).
Assignable Foot Pedal
A separately sold Korg expression pedal such as the
EXP-2 orXVP-10 can be connected to the ASSIGNABLE
PEDAL jack, and used to apply an effect.
The function of the foot pedal is assigned in Global
mode P2: Controller “Foot Pedal Assign” (☞p.125).
These knobs control the effect of the arpeggiator in
realtime. For details on the operation, refer to p.29
“Using the arpeggiator while you play.”
Foot pedals
ARPEGGIATOR [TEMPO] knob,
[GATE] knob, [VELOCITY] knob
29
Quick Start
Using the arpeggiator while you play
The arpeggiator is a function that automatically gener-
ates arpeggios (broken chords). Most arpeggiators pro-
duce an arpeggio when you play a chord on the
keyboard.
In addition to this, the TRITON’s arpeggiator is a poly-
phonic arpeggiator that is able to produce a variety of
chordal transformations or phrases based on the pitch
or timing of the notes you play on the keyboard. These
functions let you use the arpeggiator to play a wide
range of patterns including drum or bass phrases, and
guitar or keyboard backing riffs. It is also effective to
use the arpeggiator as part of the sound-creating pro-
cess when creating subtly-moving pads, synth-sounds,
or sound effects.
In addition, the TRITON features a Dual Arpeggiator
that lets you simultaneously use two arpeggio patterns
in Combination mode, Sequencer mode, and Song Play
mode. You can take advantage of this in many ways,
such as applying separate arpeggio patterns to a
drums program and a bass program, or using key-
board split or velocity to switch between two arpeggio
patterns.
The TRITON provides five preset arpeggio patterns
(the standard UP, DOWN, ALT1, ALT2, and RAN-
DOM), and lets you program and store 232 user arpeg-
gio patterns. With the factory settings, these contain a
wide variety of preset user patterns. An arpeggio pat-
tern that you create can also be stored as a user arpeg-
gio pattern.
For the arpeggio pattern names, refer to the separate
Voice Name List.
1Press the [PROG] key to enter Program mode, and
select a program. (☞p.21 “Selecting and playing
a program”)
As you select various programs, you will notice that
the ARPEGGIATOR [ON/OFF] key LED will light
for some programs. (☞p.31 “Linking the arpeggia-
tor to programs”) When you press the keyboard, the
arpeggiator will start.
For other programs, you can press the ARPEGGIA-
TOR [ON/OFF] key (the LED will light) to turn on
the arpeggiator. Arpeggios will begin sounding
when you play the keyboard.
2As described in the following sections “Settings
using controllers” and “Settings in the LCD
screen,” move the controllers or modify the param-
eters to change the way in which the arpeggios are
played.
Settings using controllers
Arpeggiator on/off
●Each time you press the ARPEGGIATOR [ON/
OFF] key, the arpeggiator will be switched on/off.
When the arpeggiator is turned on, the LED will
light, and the selected arpeggio pattern will begin
sounding when you play the keyboard.
The on/off status is saved when you write the pro-
gram.
In Combination, Song, and Song Play modes,
depending on the arpeggiator A, B settings, the
arpeggio may not start when you press the
ARPEGGIATOR [ON/OFF] key to turn it on
(☞p.31).
Adjusting the arpeggiator tempo
Rotate the ARPEGGIATOR [TEMPO] knob to adjust
the tempo. The “=” display in the upper right of the
LCD will change. The tempo can be adjusted over a
range of 40–240. You can also set the tempo by select-
ing “=,” using numeric keys [0]–[9] to enter a tempo,
and pressing the [ENTER] key. The tempo can also be
set by the [VALUE] slider, [VALUE] dial, or [ ][ ]
keys. The LED will blink in time with the specified
tempo.
The knob setting is saved when you write the pro-
gram.
The arpeggio playback speed is affected by the
“Reso” setting (Program P0: Arpeggio tab, or
“Resolution” P7: Arpeg.Setup tab).
If “MIDI Clock” (Global P1: MIDI) is set to Exter-
nal MIDI or External PCI/F, the display will indi-
cate “ =” EXT. The tempo will be synchronized to
an external MIDI device, and it will not be possible
to adjust the tempo on the TRITON.
Using the arpeggiator in Pro-
gram mode
The chord you played on
the keyboard is sounded as
an arpeggio (broken chord)
Using the arpeggiator while you play
30
Adjusting the length of the arpeggio notes
Rotate the ARPEGGIATOR [GATE] knob to adjust the
length of the arpeggio notes. Rotating the knob toward
the left will shorten the notes, and rotating it toward
the right will lengthen the notes. At the center position
(12 o’clock), the note length will be as specified by the
program parameter “Gate” (Program P7: Arpeg. Setup
tab).
The knob setting is saved when you write the pro-
gram.
It is effective to control this in conjunction with the
REALTIME CONTROLS A-mode knob [4] EG
RELEASE.
Adjusting the strength of the arpeggio notes
Rotate the ARPEGGIATOR [VELOCITY] knob to
adjust the strength of the arpeggio notes. Rotating the
knob toward the left will make the notes weaker, and
rotating the knob toward the right will make the notes
stronger. At the center position (12 o’clock), the veloc-
ity will be as specified by the program parameter
“Velocity” (Program P7: Arpeg. Setup tab).
The knob setting is saved when you write the pro-
gram.
It is effective to control this in conjunction with the
REALTIME CONTROLS A-mode knobs [1]–[3]
LPF CUTOFF, RESONANCE/HPF, and EG-
INTENSITY.
Settings in the LCD screen
●In Program P0: Play, press the Arpeggio tab.
Selecting an arpeggio pattern
An arpeggio pattern can be selected from preset arpeg-
gio patterns P000–P004 and user arpeggio patterns
U000–231. With the factory settings, U000–199 contain
a wide variety of preset user arpeggio patterns. For the
arpeggio pattern names, refer to the separate Voice
Name List.
●Press “Pat” (Pattern Select).
Use the [VALUE] slider, [VALUE] dial, [ ][ ]
keys, or popup menu to select the desired arpeggio
pattern. To select a user arpeggio pattern U000–231,
use numeric keys [0]–[9] to input the pattern num-
ber, and press the [ENTER] key (☞p.96).
Changing the interval of the arpeggio notes
The “Reso” (Resolution) parameter in the LCD screen
lets you set the interval between arpeggio notes in a
range of  3 – .
●Press “Reso,” and use the [VALUE] slider,
[VALUE] dial, [ ][ ] keys, or popup menu to
select the desired arpeggio note interval.
Selecting the octave range in which the arpeg-
gio is sounded
Use the “Octave” radio buttons in the LCD screen to
specify the range of octaves in which the arpeggio will
be sounded (☞p.97).
●Press an “Octave” radio button to make your selec-
tion.
Sounding an arpeggio in the order of the
pitches in the chord you played
You can select whether the notes of the arpeggio will
be sounded in the order of the pitches in the chord you
played (regardless of the order in which you actually
played the notes), or in the order in which you played
the notes.
●Press the “Sort” check box in the LCD screen to
make this setting.
Checked: the arpeggio will sound each note in the
order of its pitch, regardless of the order in which
you actually played the notes.
Unchecked: the arpeggio will sound each note in
the order in which you actually played the notes.
Letting the arpeggio continue playing even
after you take your hand off the keyboard
You can select whether the arpeggio will continue
playing when you take your hand off the keyboard, or
whether the arpeggio will stop playing when you take
your hand off the keyboard.
●Press the “Latch” check box in the LCD screen to
make this setting.
Checked: The arpeggio will continue playing even
after you remove your hand from the keyboard.
Unchecked: The arpeggio will stop playing when
you remove your hand from the keyboard.
Synchronizing the arpeggiator to your key-
board timing
You can specify whether the arpeggio will begin at the
moment you play the keyboard, or whether it will
always play in synchronization to the MIDI clock
tempo.
31
Quick Start
●Press the “Key Sync.” check box in the LCD screen
to make this setting.
Checked: When you take your hand completely off
of the keyboard and then play the first note-on, the
arpeggio pattern will start from the beginning. This
setting is suitable when you want the arpeggio to
start from the beginning of the measure as you are
playing in realtime.
Unchecked: The arpeggio will always be synchro-
nized to the MIDI clock tempo.
Sounding both the arpeggio notes and the
notes you play
●Press the “Keyboard” check box to make this set-
ting.
Checked: The notes you play on the keyboard and
the notes played by the arpeggiator will both sound.
Unchecked: Only the arpeggio notes will sound.
Other settings for the arpeggiator
You can also set “Gate,” “Velocity,” “Swing,” and
“Scan Zone.” These parameters are set in Program P7:
Arpeggiator (☞p.97).
Linking the arpeggiator to programs
You can specify whether the arpeggiator settings writ-
ten in a program will change when the program is
switched (check “Auto Arpeggiator”), or whether the
state of the arpeggiator will not change (uncheck
“Auto Arpeggiator”).
With the factory settings, the former is selected. Use
the latter when you want to keep the same arpeggio
pattern running, and change only the program sound.
This setting is made in “Auto Arpeggiator” (Global P0:
Basic tab).
Creating an user arpeggio pattern
Arpeggio patterns that you create can be written to
U000–231.
These can be created in Global P6: User Arpeggio
(☞p.100).
In Combination mode the TRITON provides dual
arpeggiators, allowing you to run two arpeggio pat-
terns simultaneously.
1Press the [COMBI] key to enter Combination
mode, and select a combination. (☞p.23 “Select-
ing and playing a combination”)
As you select various combinations, you will notice
that the ARPEGGIATOR [ON/OFF] key LED will
light for some combinations. (☞p.32 “Linking the
arpeggiator to combinations”) When you press the
keyboard, the arpeggiator will start.
For other combinations, you can press the ARPEG-
GIATOR [ON/OFF] key (the LED will light) to turn
on the arpeggiator.
2As described in the preceding section “Settings
using controllers” and the following section “Set-
tings in the LCD screen,” move the controllers or
modify the parameters to change the way in which
the arpeggios are played.
The ARPEGGIATOR [ON/OFF] key, ARPEGGIA-
TOR [TEMPO] knob, ARPEGGIATOR [GATE]
knob, and ARPEGGIATOR [VELOCITY] knob will
apply to both arpeggiators A and B. Their state is
saved when the combination is written.
Settings in the LCD screen
●In Combination mode P0: Play, press the Arpeggio
Play A tab.
Select the arpeggiator(s) that will run
Use the “Arpeggiator Run” check boxes to specify the
arpeggiator(s) that you want to run. The arpeggiator(s)
that are checked here will operate when the ARPEG-
GIATOR [ON/OFF] key is on. However, the arpeggia-
tor will play a timbre only if the table displayed beside
the check boxes assigns arpeggiator A or B to a T (tim-
bre) 1–8. These settings are made in Combination P7:
Edit-arpeggiator Setup tab “Arpeggiator Assign”
(☞p.98).
Using the arpeggiator as you
play in Combination mode
Using the arpeggiator while you play
32
Arpeggiator-A, Arpeggiator-B
For each arpeggiator A and B, you can make settings
for “Pattern Select,” “Resolution,” “Octave,” “Sort,”
“Latch,” “Key Sync,” and “Keyboard.” (☞p.96)
Other settings for the arpeggiator
You can also set “Gate,” “Velocity,” “Swing,” and
“Scan Zone.” These parameters are set in Combination
P7: Arpeggiator (☞p.99).
Linking the arpeggiator to combinations
You can specify whether the arpeggiator settings writ-
ten in a combination will also be selected when you
switch combinations, or whether the arpeggiator status
will not change when you switch combinations.
With the factory settings, the former is selected. Use
the latter when you want to keep the same arpeggio
pattern running, and change only the combination
sound.
This setting is made in “Auto Arpeggiator” (Global P0:
Basic tab).
Creating an user arpeggio pattern
Arpeggio patterns that you create can be written to
U000–231.
These can be created in Global P6: User Arpeggio
(☞p.100).
Checking the structure of a user arpeggio pattern
Combination B063: Echo Jamm
1Select combination B063: Echo Jamm, and look at
the Arpegg. A tab and Arpegg. B tab.
• Arpeggiator A is assigned to T (timbre) 4, and
arpeggiator B is assigned to T (timbre) 2. When
you play the keyboard, the T4 program B068:
Drum’n’Bass Kit will be sounded by the U168:
Bigbeats 1 arpeggio pattern. The T2 program B053:
Funkin’ Guitar will be sounded by the U096: Stab
Rhythm arpeggio pattern.
• If you uncheck “Arpeggiator Run A” or
“Arpeggiator Run B,” the unchecked arpeggiator
will stop.
If you check it once again and play the keyboard,
the arpeggiator will begin running.
• The “Scan Zone Key” is set so that notes B3 and
below will use arpeggiator A, and notes C4 and
above will use arpeggiator B. (These settings are
made I Combination P7: Scan Zone A/B tab
parameters A and B, “Top Key” and “Bottom
Key.”)
33
Quick Start
Playing with the RPPR (Realtime Pattern
Play/Recording) function
The TRITON’s Sequencer mode provides an RPPR
(Realtime Pattern Play/Recording) function.
Using the RPPR function, a note of the keyboard can
be assigned to a preset pattern or user pattern and a
track that will play the assigned pattern. You can then
playback the assigned pattern in realtime (and record
it, if desired) simply by playing a single note. (Preset
patterns suitable for playing by the drum track are
already provided in internal memory.)
In this section, we will explain how to load an RPPR
demo song, and play it.
As described in steps 1–8 of “Listening to a demo
song” (☞p.18), load PRELOAD.SNG and PRE-
LOAD.PCG.
1Press the [SEQ] to enter Sequencer mode.
2Press the [MENU] key to access the page list.
Either press the P0: Play/REC area, or press
numeric key [0].
The P0: Play/REC page will appear.
3Press the “Song No. and name” area in the display.
The song name will be highlighted.
4Use the numeric key [3], and press the [ENTER]
key.
S003: FEVER will be selected.
You can also select a song from the popup menu.
5Make sure that the RPPR check box is checked.
Checked: The specified RPPR (set in Sequencer P6
Pattern/RPPR RPPR Setup) will function.
Unchecked: RPPR will not function. Operation will
be as in normal Sequencer mode.
6Press a key.
The pattern assigned to that key will playback.
In some cases, the pattern will continue playing
after you release your hand from the keyboard. You
can stop playback either by pressing that key once
again, or by pressing a key in the area of C2 or
below.
Shutdown Key *:
When you play a key in the range of C–1 – C2, the cur-
rently-playing pattern will stop.
Pattern Assignable**:
A pattern and track can be assigned to each of the 72
keys in the range of C#2–C8. If you do not assign a key,
it can be used to play as usual.
As in the example shown in the following diagram,
you can make one key play a drums pattern, another
key a bass phrase, and yet another key play guitar
chords, all by specifying a different pattern and track
for each key.
TRITON proX
TRITON pro
TRITON
Shutdown Keys *
C-1 ... C2
Pattern Assignable **
C#2 ... C 8
C-1 G9
Pattern P000 Track01 (Drums Program)
Pattern U000 Track02 (Bass Program)
Pattern P001 Track01 (Drums Program)
Pattern U001 Track02 (Bass Program)
Pattern U002 Track03 (Guitar Program)
Playing with the RPPR function
34
Simple program editing
Program sounds can be modified and created in Pro-
gram P1: Edit-Basic–P9: Edit-Master Effect. However,
you can also use the “Performance Editor” to perform
simple editing in Program P0: Play as well.
You can also use REALTIME CONTROLS [1]–[4] knobs
to modify the sound.
The sound that you edit using the Performance
Editor or using REALTIME CONTROLS knobs
[1]–[4] in A-mode (or B-mode if CC#70–79 are
assigned) can be saved by writing the program.
If you wish to keep the edited sound, you must
write the program before selecting another pro-
gram or turning off the power (☞p.38).
1Press the [PROG] key to enter Program mode.
2Press the Performance Edit tab.
By using the eight sliders of the Performance Editor,
you can make overall adjustments to the sound.
When you move a slider, multiple program parame-
ters are adjusted simultaneously.
Depending on the settings of the program parame-
ters, the result may not be noticeable.
Octave
Adjust the octave.
Pitch Stretch
Simultaneously adjust the transpose and tune settings
of the oscillator. This allows you to produce a variety
of tonal changes without losing the character of the
original sound.
This Performance Edit function cannot be used on
bank F.
OSC Balance
Adjust the level balance between oscillators 1 and 2.
For programs whose “Oscillator Mode” (Program
P1: Program Basic tab) setting is Single, oscillator
2 will not sound. Only the level of oscillator 1 will
change. For a Drums program, this performance
editor will have no effect.
Amp Level
Adjust the amp level. This will adjust the volume of
the entire program.
Attack Time
Adjust the attack time of the filter EG and amp EG.
This will adjust the speed of the attack from note-on.
In order to maximize the effect of the Attack Time
adjustment, the amp EG Start Level, Attack Level,
Start Level Modulation, and Attack Time Modula-
tion parameters are also adjusted.
Decay Time
Adjust the decay time and slope time of the filter EG
and amp EG.
IFX Balance
This simultaneously adjusts the “Wet/Dry” balance of
all insert effects 1–5. The type of each insert effect is
shown in the LCD screen.
MFX Balance
This simultaneously adjusts the Return 1 and 2 param-
eters of the master effects. The type of each master
effect is shown in the LCD screen.
These can be used to edit parameters such as the filter
cutoff frequency, resonance, the amp and filter EG, vol-
ume, portamento time, pan, pitch LFO, and master
effect send level etc. (☞p.26).
Performance Edit
Parameters assigned to B-mode
of the realtime editor
Performance
editor
Type of Insert
effect
Functions
assigned to
[SW1] and
[SW2] keys
Type of
Master effect
Realtime controls
35
Quick Start
Simple combination editing
A combination is a set of multiple (up to eight) pro-
grams, and allows you to create complex sounds that
could not be produced by a single program.
You can edit a combination in Combination P1: Edit-
program/Mixer–P9: Edit-Master Effect, but can also
make settings for “Program Select,” “Status,” “Pan,”
and “Volume” in Combination P0: Play as well.
If you wish to keep the results of your editing, you
must Write the combination into memory before
selecting another combination or turning the
power off. (☞p.38)
As an example, here’s how to do some simple editing
on combination Bank A064: ModernPiano.
1Press the [COMBI] key to enter Combination
mode.
2Select preset combination Bank A064: ModernPi-
ano.
This combination layers (simultaneously sounds)
the programs of timbre 1 and timbre 2. Timbre 1
sounds B001: Attack Piano, a piano with a crisp
attack. Timbre 2 sounds B081: Vintage EP, a classic
electric piano. These two programs are layered to
produce a piano-type sound that you may have
heard in various contexts.
A timbre consists a of program together with mul-
tiple parameters that control that program. A com-
bination can use up to eight of these timbres.
Selecting the program for a timbre
3Press the Prog. Select tab.
When a timbre’s “Status” is turned Off, the pro-
gram assigned to that timbre will not sound. If the
“Status” is set to INT, the program will sound. Try
setting timbres 1 and 2 alternately to INT and Off,
and listen to the result.
4Now let’s change the program of timbre 2 to a dif-
ferent program. (Make sure that the “Status” of
timbres 1 and 2 are set to INT.)
Press the timbre 2 “Bank/Program” switch (it will
be highlighted).
Use the [BANK] keys, numeric keys [1]–[9],
[ENTER] key, [VALUE] slider, [VALUE] dial, and
[ ][ ] keys to select a program.
Alternatively, you can select a program from a
popup menu. Press the popup button, and select the
desired program from the popup menu that
appears.
5You can also select programs by category. Press
“Category” for timbre 2.
The “Category/Timbre2 Program” select menu will
appear. In this combination, a program from the
“Keyboard” category is selected for both timbres 1
and 2.
An example of editing
Timbre 2
Timbre 1
Only timbre 1 will sound
Only timbre 2 will sound
Simple combination editing
36
●If you wish to select a different program from the
same category, press the desired program. That pro-
gram will be highlighted. Press the scroll bar to see
other programs in the same category.
●If you wish to select a program from a different cate-
gory, press one of the tabs located at left and right to
select the desired category. The full name of the
selected category will appear in the upper right.
Let’s select the 03 Strings category. Press the 03
Strings tab, and then press the desired program to
select it. The program you pressed will be high-
lighted. Press the scroll bar to see other programs in
the same category.
For this example, select A003: Legato Strings. This
will produce a layered combination consisting of a
piano and rich strings.
6If 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 the popup menu was
opened. For this example, press the OK button.
Adjusting the stereo position
7Press the Mixer tab.
8Press timbre 2 “Pan” (it will be highlighted).
Use the numeric keys [0]–[9], [ENTER] key,
[VALUE] slider, [VALUE] dial, or [ ][ ] keys to
modify the value.
With a setting of C064 the sound will be located in
the center. A setting of L000 places the sound at the
far left, and R127 at the far right. With a setting of
RND, the sound will move randomly between left
and right each time a note is played.
Adjusting the volume
9Press timbre 2 “Volume” (it will be highlighted).
Use the numeric keys [0]–[9], [ENTER] key,
[VALUE] slider, [VALUE] dial, or [ ][ ] keys to
modify the value.
If you check “Hold Balance” and adjust the “Vol-
ume” value, the volume balance between the tim-
bres at the time that “Hold Balance” was checked
will be maintained while the volume of all timbres
is adjusted.
37
Basic functions
Basic functions
Saving data
On the TRITON, there are three ways to save data:
writing to internal memory, saving on external media
(floppy disk etc.), and MIDI data dump.
Writing to internal memory
The following data that you edit can be written into
internal memory.
• Program settings
Programs 0–127 in banks A–F
(However, bank F is available only if the separately
sold EXB-MOSS option is installed.)
• Combination settings
Combinations 0–127 in banks A–D
• Global settings (Page 0–4)
• User drum kits 00 (A/B)–63 (User)
• User arpeggio patterns U000 (A/B)–U231 (D)
• User template songs
Song settings such as the song name and tempo,
track settings (☞p.60), arpeggiator settings, and
effect settings can be saved (Write) to internal mem-
ory. However, the musical data for song tracks and
patterns are not saved to internal memory. Further-
more, settings that govern how the musical data is
played back such as “Meter,” “Metronome,” “Play/
Mute,” “Track Play Loop (including Start/End Mea-
sure),” and RPPR settings will not be saved either.
Use the Sequencer mode or Song Play mode page
menu command “Save as User Template Song” to
write this data (☞p.48 in the Parameter Guide).
If multisamples or samples from the RAM bank
are used in the Multisample or Drum Kit of a pro-
gram, you should be aware that these multisam-
ples or samples cannot be written into memory.
This means that if you turn the power of and then
on once again, programs or combinations that use
such multisamples or samples will not sound as
intended. To reproduce such programs or combi-
nations, the necessary multisamples or samples
must be saved on external media (such as floppy
disk), and then reloaded.
Data that you edit in Sequencer, Song Play, or Sam-
pling cannot be saved in internal memory by the
Write operation.
Saving to external media (floppy disk etc.)
The following data can be saved on external media
(floppy disk etc.). If the separately sold EXB-SCSI
option is installed, this data can also be saved on high-
capacity media such as a hard disk etc.
For details on the file format when saving (☞p.139 in
the Parameter Guide).
• Programs, combinations, global settings, drum
kits, and user arpeggio patterns from internal
memory
• Songs, cue lists, and patterns
• Multisamples and sample data created in Sampling
mode
• Standard MIDI Files (SMF)
Sequencer mode songs can be saved as SMF data.
• System exclusive data
System exclusive data received by the TRITON from
an external MIDI device (The TRITON can function
as a data filer.)
• Jukebox lists
Jukebox lists are saved in Song Play mode (☞p.88).
Other data is saved in Disk mode.
MIDI data dump
The following types of data can be transmitted as a
MIDI data dump and saved on an external data filer or
other device.
• Internal memory programs, combinations, drum
kits, arpeggio patterns, and global settings
• Songs, cue lists, patterns
Memory protect
To prevent programs, combinations, songs, drum kits,
and user arpeggio patterns from being overwritten
accidentally, the TRITON provides a Memory Protect
setting that prohibits writing to memory.
Before you save edited data or load data from floppy
disk or other external media, use the following proce-
dure to turn off memory protect (uncheck the appro-
priate check box).
Memory protect must also be turned off before the
above-listed data or a song in Sequencer mode can be
loaded from external media or via MIDI data dump,
and before recording.
1Press the [GLOBAL] key to enter Global mode.
2After pressing the [MENU] key, press either P0:
Basic Setup or the [0] key.
3Press the System Pref. tab.
Types of data that can be saved
Writing to internal memory
Saving data
38
The System Preference page will appear.
4Press the “Memory Protect” check box for the type
of internal memory into which you wish to write
data, so that the box is unchecked.
Assigning a name (Rename)
You can modify the name of an edited program, combi-
nation, song, drum kit, user arpeggio pattern, multi-
sample or sample etc.
You can also modify the category names for programs
and combinations.
These renaming operations can be performed in the
following pages.
For details on the renaming procedure, refer to “Writ-
ing a program or combination.”
Writing a program or combination
A program or combination that you create by editing
its settings in the Performance Editor or in the various
Edit pages can be saved in internal memory. This pro-
cedure is called Program Write or Combination Write.
If you wish to use the edited settings again after turn-
ing the power off, be sure to write the settings into
memory.
There are two ways to write a program or combination.
Before you write data into memory, you must turn
off the memory protect setting in Global mode (☞
“Memory protect”).
Using a page menu command to write
1Press the “Write Program” or “Write Combination”
page menu command.
The Write Program/Write Combination dialog box
will appear.
You can also access the same dialog box by holding
down the [ENTER] key and pressing the [0] key.
The screen shown is for Program mode
If you wish to overwrite the edited settings onto
the currently selected program/combination with
the same program/combination name and pro-
gram/combination category, simply press the OK
button in the dialog box.
2If you wish to modify the program/combination
name, press the text edit button.
The text edit dialog box will appear.
Input the program/combination name.
Programs Program P0...9 Page Menu Com-
mand: Write Program
Combinations Combination P0...9 Page Menu Com-
mand: Write Combination
Songs SequencerP0, 2...4, 7 Page Menu
Command: Rename Song
Cue lists Sequencer P1 Page Menu Com-
mand: Rename Cue List
Tracks Sequencer P5: Track Name
Patterns Sequencer P6: Pattern Name
Multisamples Sampling P0...4 Page Menu Com-
mand: Rename MS
Samples Sampling P0...4 Page Menu Com-
mand: Rename Sample
Drum kits Global Page Menu Command P5:
Rename Drum Kit
User arpeggio patterns Global Page Menu Command P6:
Rename Arpeggio Pattern
Program categories Global P4: Program Cat.
Combination categories Global P4: Combination Cat.
Cursor Character Set
Selects the type of
character.
Character buttons
Shift button
Switches
between
uppercase and
lowercase
Delete button
Deletes the character
to the left of the
cursor.
Cursor buttons
Move the cursor
to left or right.
Space button
Insert a space at the cursor
location.
Clear button
Delete all characters
of the text.
Text
Cancel button, OK button
If you are satisfied with the text
that you input, press the OK
button. If you wish to discard
your input and exit the text edit
box, press the Cancel button.
39
Basic functions
When you have input the desired name, press the
OK button to return to the Write Program/Write
Combination dialog box.
3In “Category,” specify the category of the program/
combination.
The category you specify here can be selected in the
Category/Program Select menu, the Category/
Track Program Select menu, or the Category/Tim-
bre Program Select menu (when choosing a pro-
gram), or in the Category/Combination Select
menu (when choosing a combination).
4Use “To Program” and “To Combination” to spec-
ify the writing destination program/combination
number.
Use the [ ][ ] keys, [VALUE] slider, [VALUE]
dial, numeric keys [0]–[9], or [ENTER] key to make
your selection. Alternatively, you can press the
popup button and use the popup menu to specify
the writing destination bank and program/combi-
nation number.
5To write the data, press the OK button. To cancel
without writing, press the Cancel button.
When you press the OK button, the display will ask
“Are you sure?” When you press the OK button
once again, the data will be written.
Using the [REC/WRITE] key to write
This method can only be used to write to the selected
program/combination number.
1Press the front panel [REC/WRITE] key.
The following display will appear.
The screen shown is for Program mode
2To write the data, press the OK button. To cancel
without writing, press the Cancel button.
About the Edit Buffer
When you select a program or combination in Program
P0: Play and Combination P0: Play, the program or
combination data is called into the “edit buffer.”
When you modify the parameters in P0: Play or in the
edit pages P1–P9, the changes you make will affect the
data in the edit buffer.
If you wish to save this modified data into internal
memory, you must perform the Write operation.
When you perform the Write operation, the data in the
edit buffer is written to the specified program number
or combination number of the specified bank.
If you select another program or combination without
writing, the data of the newly selected program or
combination will be called into the edit buffer, and
your changes will be lost.
When you press the front panel [COMPARE] key
in the edit pages P1–P9 of Program mode or Com-
bination mode, the data from memory (i.e., the
contents that were written into memory) will be
temporarily called into the edit buffer. This allows
you to compare the settings you are editing with
the original un-edited settings.
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 Drum Kits, and Write
Arpeggio Patterns. If you wish to use these settings
after turning the power off, be sure to write the data.
There are two ways to write global settings, user drum
kits, and user arpeggio patterns.
Before you write a user drum kit or user arpeggio
pattern, the Global mode memory protect setting
must be turned off (☞“Memory protect”).
The user arpeggio pattern settings “Tempo,” “Pat-
tern,” “Octave,” “Resolution,” “Sort,” “Latch,”
“Key Sync,” and “Keyboard” are parameters that
are set independently in Program, Combination,
Song, and Song Play mode. These settings are not
saved when you perform the Write operation
described here.
If you moved from Program or Combination mode
and set these parameters, you must return to the
original mode and write them.
Using a page menu command to write
1To write global settings (Global P0–P4), press the
page menu command “Write Global Setting” in
Global P0–P4.
The Write Global Setting dialog box will appear.
To write user drum kits, press the page menu com-
mand “Write Drum Kits” in Global P5.
The Write Drum Kits dialog box will appear.
To write user arpeggio patterns, press the page
menu command “Write Arpeggio Patterns” in Glo-
bal P6.
The Write Arpeggio Patterns dialog box will appear.
The same dialog box will also appear if, in each of
the above pages, you hold down the [ENTER] key
and press the [0] key.
When you Write, the program or
combination settings will be
saved in internal memory.
When you select a program or
combination, its data is called from
internal memory into the edit buffer.
Editing applies to the data in the edit
buffer. Programs or combinations will
play according to the data in the edit
buffer.
Combination
BankA 1...127
Edit Buffer
Write Select
Internal Memory
Edit
Combination
BankA 1...127
Combination
BankA 1...127
Combination
BankA 0...127
Program
BankA 0...127
Saving data
40
The example shown is for Write Arpeggio Patterns
2To execute the Write operation, press the OK but-
ton. To cancel, press the Cancel button.
When you press the OK button, the display will ask
“Are you sure?” Press the OK button once again to
write the data.
Using the [REC/WRITE] key to write
1In the following pages, press the front panel [REC/
WRITE] key. A dialog box will appear.
The example shown is for Update Arpeggio Patterns
2To execute the Write operation, press the OK but-
ton. To cancel, press the Cancel button.
Memory in Global mode
When the power is turned on, the Global mode data is
called from internal memory into the Global mode
memory area. Then when you modify the parameters
in Global mode, the data in the memory area will be
modified. If you wish to save this modified data in
internal memory, you must Write it.
When you write, the data in the memory area will be
written into the global settings, drum kits, and arpeg-
gio patterns of internal memory.
If you turn off the power without writing, the modified
data in the memory area will be lost.
For details on the data that can be saved on external
media (floppy disk etc.) (☞p.37 “Types of data that can
be saved”).
Song data, patterns and cue lists in the TRITON’s
Sequencer mode, and multisamples and samples
in Sampling mode cannot be written into internal
memory. This data will disappear when the power
is turned off. If you wish to keep this data, you
must save it on a floppy disk or on other external
SCSI storage media (if the separately sold EXB-
SCSI option is installed).
Other types of data can also be saved on a floppy
disk, or (if the separately sold EXB-SCSI option is
installed) on external SCSI storage media (maxi-
mum 4 GB), and loaded to restore the original set-
tings even if they have been modified. It is a good
idea to save favorite settings that you create.
As an example, we will explain how to save the
following data.
• Internal memory programs, combinations, global
settings, drum kits, user arpeggio patterns
• Songs, cue lists, patterns
• Multisamples and samples created in Sampling
mode
1If you wish to save the data on a floppy disk, insert
a floppy disk into the TRITON’s floppy disk drive.
For details on floppy disk handling, be sure to refer
to “Cautions for floppy disk handling (☞p.95).
If the separately sold EXB-SCSI option is installed
and you wish to save the data on a hard disk or
other external SCSI media, refer to the EXB-SCSI
owner’s manual, and make sure that the external
SCSI drive etc. is connected correctly.
Format the disk if necessary (☞p.142 in the Parame-
ter Guide)
2Press the [DISK] key. You will enter Disk mode.
3Press the Save tab, and the Save window will
appear.
4If you are saving to external SCSI media, press the
drive select button to select the save destination
drive.
5If the media contains directories, select the direc-
tor in which you wish to save the data.
Global settings: Global P0–P4
User drum kits: Global P5
User arpeggio patterns: Global P6
Editing will affect the data that has
been called into the memory area.
When you Write, the various
Global mode settings will be
saved in internal memory.
When the power is turned
on, the settings are called
into the memory area.
Memory Area
Write Power On
Internal Memory
Edit
Drum Kit
Global Setting Arpeggio
Pattern
Saving on external media
Drive select
button
41
Basic functions
To move to a lower directory level, press the Open
button. To move to a higher level, press the Up but-
ton.
6Press the page menu button, and then press the
“Save All” page menu command.
A dialog box will appear. The contents of the dialog
box and the settings etc. will differ depending on
the type of data that you are saving. For details on
each type of file (☞p.139 in the Parameter Guide).
7Use the text edit button to input a name (☞p.38).
8Use the check boxes to uncheck items that you do
not wish to save.
In order to accurately reproduce the data you cre-
ated, we recommend that you leave all check boxes
checked.
9Press the OK button.
The data will be saved on the specified media, and
you will return to the Save page. The amount of
time required will depend on the amount of data.
If a file with the same name already exists on the
floppy disk, you will be asked whether you want to
Overwrite. If you wish to overwriting, press the OK
button. If you wish to save without overwriting, press
the Cancel button, re-do the operation from step 6,
and rename the data in step 7 before saving it.
The LCD screen will show the files that were saved.
The data will be saved as the following files.
.PCG file
Programs, combinations, drum kits, user arpeggio
patterns, and global settings that were saved in
internal memory
.SNG file
Sequencer songs, cue lists, and user patterns
.KSC file
A file which lists the multisamples and samples
used
Directory
A directory containing the multisamples (.KMP
files) and samples (.KSF files) that are listed in the
.KSC file
Other ways to save
In addition to “Save All,” the page menu commands
include “Save PCG which saves programs, combina-
tions, drum kits, user arpeggio patterns, and global set-
tings; “Save SEQ” which saves only sequencer songs,
cue lists, and user patterns; and “Save Sampling Data”
which saves only multisamples and samples. Select the
appropriate page menu command for the data that you
wish to save on external media.
When using “Save All,” “Save PCG & SNG,” and
“Save PCG” to save combinations, you should also
remember to save the programs used by each tim-
bre (and the drum kits used by the programs) and
user arpeggio patterns at the same time.
Similarly when saving programs, you should also
remember to save the drum kits and user arpeggio
patterns used by the programs.
If your programs or drum kits use multisamples
and samples that were created in Sampling mode,
we recommend that you use “Save All” to save the
data.
When you use “Save PCG” or “Save Sampling
Data” to individually save a program or drum kit,
or a multisample or sample that you created in
Sampling mode, we recommend that you save
them under the same filename in the same direc-
tory. When you use “Load PCG” to load a .PCG
file, the identically-named .KSC file will also be
loaded so that the correct multisamples/samples
will correspond automatically.
When saving .KSC, .KMP, and .KSF files and the
data does not fit on a single floppy disk (or other
volume of media), another dialog box will appear,
and you will be asked to specify the next volume
of media (☞p.141 in the Parameter Guide “Select
other medium”)
The programs, combinations, drum kits, arpeggio pat-
terns and global settings of internal memory, and
songs, cue lists, and patterns can be transmitted as
MIDI exclusive data and saved on a connected MIDI
data filer, computer, or another TRITON.
☞p.119 in the Parameter Guide.
MIDI data dump
Saving data
42
Restoring the factory settings
The factory setting data is referred to as the “preload
data”, and you can restore the factory settings for the
TRITON’s programs, combinations, and global settings
by loading this preload data.
This will rewrite any data that had been written
before loading. If you do not wish to lose this data,
you must first save it on a floppy disk or (if the
separately sold EXB-SCSI option is installed) on
external SCSI media (☞p.40).
1Insert the included TNFD-00P floppy disk into the
floppy disk drive.
For details on floppy disk handling, refer to “Disk
mode” (☞p.95).
2Press [DISK].
You will enter Disk mode.
3Press the Load tab.
You will move to the Load page, and file informa-
tion will be displayed.
4Press “PRELOAD.PCG.” The display will be high-
lighted.
A .PCG file contains programs, combinations, drum
kits, arpeggio patterns, and global setting data.
5Press the page menu button to display menu com-
mands, and select “Load Selected.”
A dialog box will appear.
6If “Load PRELOAD.SNG too” is checked when
you load, the .SNG file will also be loaded when
the .PCG file is loaded.
If you check “Load PRELOAD.KSC too” is
checked when you load, the .KSC file will also be
loaded when the .PCG file is loaded.
For details on the files that are loaded by the .KSC
file, refer to “Listening to a demo song” (☞p.18).
7Press the OK button.
Loading the preload data
43
Basic functions
Program mode
In Program mode you can select and edit programs.
Program mode consists of pages P0–P9.
In P0: Play you can play programs. You can also per-
form simple editing (☞p.34).
In P1–P9, you can edit the parameters of the program
that was selected in P0.
●For details on how to access these pages or modes,
refer to “Basic operation of the TRITON” (☞p.12).
If the separately sold EXB-MOSS has been
installed, you will be able to use bank F. The page
structure and parameter structure of bank F pro-
grams is different than for the programs of other
banks. Refer to the owner’s manual for the EXB-
MOSS.
When it is shipped from the factory, the TRITON is
loaded with a variety of preset programs. You can cre-
ate your own programs by modifying these factory-
preset programs or by creating original programs from
scratch. You can also create original programs using
sample waveforms and multisamples that you
recorded in Sampling mode or loaded into memory in
Disk mode.
Programs that you edit or create can be written into the
640 program memory areas in banks A–E. In Disk
mode, programs can also be saved on external media
such as floppy disk (☞p.40).
The TRITON provides AUDIO INPUT jacks that
allow an external audio source to be input. In
addition to sampling the external audio input in
Sampling mode, you can apply the TRITON’s
effect section to the external audio input in other
modes such as Program mode, or even use
vocoder effects that combine the sound of an oscil-
lator with an external audio source (☞p.109).
(☞p.201 in the Parameter Guide)
All transmission and reception of MIDI data in
Program mode is performed on the Global MIDI
channel. The global MIDI channel is set in Global
mode P1: MIDI “MIDI Channel.”
P0: Play
Here you can select and play programs. You can also
use the Performance Editor to do some simple editing,
and make arpeggiator settings.
Selecting a program
There are three ways to select a program. For the pro-
cedure, refer to the appropriate page.
• Using the controls of the TRITON (“Selecting and
playing a program” ☞p.21)
Selecting by bank/program number
Selecting by program category
Selecting with 10’s Hold
• Using a connected switch (“Other functions”
☞p.125)
• Receiving MIDI program change messages
(“MIDI” ☞p.114)
For the names of the factory-set programs, refer to
the separate Voice Name List.
The Performance Edit tab
• Here you can view the insert/master effect
settings, the functions of [SW1], [SW2] keys, and
the B-mode functions of REALTIME CONTROLS
knobs [1]–[4].
• You can use the performance editor to adjust the
major parameters of Program P1–P9 (☞p.34, or
“Performance Edit” on p.2 in the Parameter Guide).
If you wish to save the program settings that you
P0: Play Select a program, use the Perfor-
mance Editor to perform simple edit-
ing, and select and set arpeggio
patterns.
P1: Edit-Basic Set basic program parameters such
as oscillator and multisample. Set
scale and controllers.
P2: Edit-Pitch Settings related to the pitch, including
the pitch EG.
P3: Edit-Filter Settings related to the filter (tone),
including the filter EG.
P4: Edit-Amp Settings related to the amplifier (vol-
ume), including amp EG and pan.
P5: Edit-Common LFO For each of the two LFO’s provided for
each oscillator, select the LFO type
and speed, etc. (Settings in the pitch,
filter, and amp pages will determine
how deeply the LFO that you specify
here is applied.)
P6: ---
P7: Edit-Arpeggiator Settings for the arpeggiator. (Some of
these are shared with the arpeggiator
settings of P0, and you may edit them
in either location.)
P8: Edit-Insert Effect Select insert effects and make set-
tings for them. Specify the oscillator
routing (send levels to the insert
effects, master effects, and indepen-
dent outputs).
P9: Edit Master Effect Select master effects and make set-
tings for them. Make settings for the
master EQ.
About the pages in Program
mode
Playing a program
Program mode
44
modify using the performance editor, you must
turn off memory protect in Global mode (☞p.37),
and write the program (☞p.38).
The Arpeggio tab
• Use the ARPEGGIATOR [ON/OFF] key to turn the
arpeggiator on/off.
• You can select arpeggio patterns and edit
arpeggiator parameters in realtime while you play.
• You can use the ARPEGGIATOR [TEMPO],
[GATE], and [VELOCITY] knobs to control the
tempo of the arpeggio, the note length, and the
strength of the notes.
For details refer to “Using the arpeggiator while you
play” (☞p.29).
A program consists of the many parameters of P1–P9.
The diagram below shows the structure of a program.
Sound has three aspects: pitch, tone, and volume.
On the TRITON, the Pitch, Filter, and Amplifier blocks
which make up a program correspond to these three
aspects of sound. In other words, adjust the Pitch sec-
tion to modify the pitch, adjust the Filter section to
modify the tone, and adjust the Amplifier section to
modify the volume.
First, make Oscillator settings (P1: Edit-Basic) to select
a multisample waveform that will be the basis of the
sound. Then make pitch settings (P2: Edit-Pitch), filter
settings (P3: Edit-Filter) and amplifier settings (P4:
Edit-Amp) to create the basic program. (This is the pro-
gram as it is used in Combination, Sequencer, or Song
Play mode.) To this, you can add insert effect settings
(P8: Edit-Insert Effect), master effects and master EQ
settings (P9: Edit-Master Effect) to add finishing
touches to the sound. You can also make arpeggiator
settings (P7: Edit-arpeggiator) and controller settings
(P1: Edit-Basic, Controller tab) to create the final pro-
gram.
For programs that are used in Combination,
Sequencer, and Song Play mode, settings for insert
effects, master effects, master EQ, arpeggiator, and
controllers must be made separately from the set-
tings made in Program mode.
OSC Basic : P1 - 2,3 Filter1(A/B) : P3 - 1
Amp1 Level/Pan : P4 - 1
Pitch EG : P2 - 3
Filter1 EG : P3 - 4 Amp1 EG : P4 - 3
OSC1 LFO1 : P5 - 1
OSC 1
OSC 2
Filter1 Mod. : P3 - 2
Filter1 LFO Mod. : P3 - 3
OSC1 Pitch Mod. : P2 - 1
OSC1 LFO2 : P5 - 2
Amp1 Mod. : P4 - 2
Program Basic : P1 - 1
Insert Effect 1 ... 5 :
P8
AUDIO OUTPUT
L/MONO, R
Master Effect 1, 2 :
P9
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
MasterEQ : P9
Oscillator / Pitch Filter Ampilfier Effect
Controller Setup:
P1 - 4
Arpeggiator : P7
OSC1,2
Insert Effect
Master Effect
Individual Output
Routing : P8-1
P1–1 and P2–2 etc. indicate the page tab screens used when editing on the TRITON.
How a program is organized
45
Basic functions
Program editing refers to the process of modifying the
parameters that make up a program to vary the sound
or to set controllers etc.
General program editing can be performed using the
performance editor of Program P0: Play, or using the
REALTIME CONTROLS knobs [1]–[4], but detailed
editing is performed in Program P1–P9.
Use the parameters of P1–P9 to edit the program that
you selected in Program P0: Play. In this section we
will give examples of how to modify representative
parameters in each page, so that you can understand
the operation of each parameter. For details on all
parameters, refer to in the Parameter Guide.
For parameters in P1–P5 that are set indepen-
dently for each oscillator 1 and 2, you can use the
page menu command “Copy Oscillator” to copy
settings from one oscillator to the other. This is a
convenient way to make the same settings for two
oscillators, or to copy settings from one oscillator
to the other.
If you wish to save an edited program into internal
memory, be sure to Write the program. (☞p.38)
If the separately sold EXB-MOSS option is
installed, you will be able to use the special bank F.
The parameter structure of bank F programs is dif-
ferent than that of the other banks. Refer to the
EXB-MOSS owner’s manual.
The Compare function
When P1–P9 are displayed, you can press the [COM-
PARE] to make the LED light. This will recall the
sound that had been written before you started editing.
Press the [COMPARE] key once again and the LED will
go dark, and you will return to the sound that you had
been editing. Use this function when you wish to com-
pare the unedited sound with the results of your edit-
ing.
When the [COMPARE] key LED is lit, editing a
parameter will make the LED go dark, and that
sound will now be the sound that is recalled when
the [COMPARE] key LED is dark.
P1: Edit-Basic Oscillator settings
In P1: Edit-Basic you can make oscillator-related set-
tings. The TRITON provides two oscillators, and for
each oscillator you can select a basic waveform (“mul-
tisample”) and set the pitch. The multisamples pro-
vided by the TRITON include waveforms for musical
instruments such as pianos, as well as special wave-
forms unique to synthesizers. Multisamples reproduce
the complex overtone structure and frequency charac-
teristics that allow us to identify a sound as being
“piano-like” or “guitar-like.”
Program Basic tab
Oscillator Mode
This sets the mode of the oscillator. Single uses one
oscillator and Double uses two oscillators. In the case
of Single the maximum polyphony is 62 notes, and in
the case of Double the maximum polyphony is 31
notes. If you wish to use a Drum Kit to create a drums
program, select Drums.
Voice Assign Mode
Select whether the program will sound in Poly (poly-
phonically) or Mono (monophonically). If this is set to
Poly, you will be able to play chords using the pro-
gram. If this is set to Mono, only one note will sound
even if you play a chord. Normally you will set this to
Poly, but it is effective to use Mono when you are play-
ing sounds such as analog-synth bass or synth lead.
Try switching between Poly and Mono, and listen to
the result.
OSC Basic tab
In this page you can select the multisample for the
oscillator. The TRITON provides 425 multisamples in
its internal ROM memory. For the multisample names,
refer to the separate Voice Name List.
Additional multisamples can be added by installing a
separately sold EXB-PCM series option board. You can
also use multisamples from the RAM memory that you
created in Sampling mode.
Selecting a multisample
The multisample will determine the basic character of
the program.
●Press “Multisample Select” (it will be high-
lighted), and use the [ ][ ] keys, [VALUE]
slider, [VALUE] dial, numeric keys, and [ENTER]
key, [0]–[9] to select the desired multisample.
Basic program editing
Multisample
Select
Program mode
46
If you press the popup button, all multisamples of
internal ROM will be displayed, grouped into fif-
teen categories.
Use the tabs at left and right to select a category,
and select the desired multisample.
About High/Low
You can specify two multisamples for an oscillator, and
use velocity (keyboard playing dynamics) to switch
between the two multisamples. This capability is called
“velocity multisample switching.”
1Select different multisamples for “High” and
“Low.”
2Set the “Velocity M.Sample SW Lo → Hi” parame-
ter to set a value of (for example) 100 for OSC1.
The Low and High multisamples will be switched
at this velocity value.
3Play the keyboard softly, and the multisample
specified for “Low” will sound.
4Play the keyboard strongly, and the multisample
specified for “High” will sound.
5Adjust the “Lvl” (level) for “High” and “Low”
multisamples to set their volume balance.
If you do not wish to use this function, set the
“Velocity 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. This can produce interesting results when used
on sound-effects, etc. Normally you will not check this.
When “Oscillator Mode” = Double
To use OSC2, set “Oscillator Mode” to Double in the
Program Basic tab.
In the same way as for OSC1, you can set High and
Low multisamples for OSC2.
The playback pitch can be set independently. By using
the same multisample with slightly different “Tune”
settings, you can “detune” the oscillators to produce a
richer sound.
It will be convenient to use the page menu com-
mand “Copy Oscillator” to make the oscillator set-
tings match each other.
When “Oscillator Mode” = Drums
In the Program Basic tab, set “Oscillator Mode” to
Drums. When this is set to Drums, you will be able to
create a drum program.
This will select a drum kit instead of a multisample.
The TRITON provides sixteen factory preset drum kits
that are suitable for a wide variety of music. For the
drum kit names, refer to the separate Voice Name List.
Here you can only select a drum kit. To edit or create a
drum kit, use Global P5: Drum Kit (☞p.90).
Velocity Zone tab
Here you can specify the range of velocities that will
sound oscillators 1 and 2. In the example shown above,
the velocity ranges are as follows.
• OSC1 will sound for all velocity values.
• OSC2 will sound only for strongly played notes (64
and above).
• You can use Velocity Multisample Switching in
addition to this (☞“About High/Low”). For this
example, set “OSC1” in “Velocity M.Sample SW
Lo→Hi” to 032 and “OSC2” to 096. The settings are
shown as horizontal lines in the velocity zone
display.
In this example, the multisamples will sound over
four levels.
Velocity values 001–031: sound only the OSC1 Low
multisample.
Velocity values 032–063: sound only the OSC1
High multisample.
Velocity values 064–095: sound the OSC1 High
multisample and the
OSC2 Low multisample.
Velocity values 096–127: sound the OSC1 High
multisample and the
OSC2 High multisample.
47
Basic functions
Controller Setup tab
For each program, this tab lets you make settings for
the [SW1] and [SW2] keys, and for the B-mode of
REALTIME CONTROLS knobs [1]–[4] (☞p.127). (☞p.8,
217, 218 in the Parameter Guide)
P2: Edit-Pitch Pitch settings
Here you can specify how the pitch of the multisample
selected for the oscillator will change. Pitch EG and
LFO settings allow the pitch to varied over time. When
the “OSC Mode” is Single or Drums, only the OSC1
P.Mod. tab is available.
OSC1 Pitch Mod. tab
Pitch
JS(+X) and JS(-X) specify the amount of pitch change
that will occur when the joystick is moved to right or
left, in semitone units. With a setting of +12 the pitch
can be raised a maximum of one octave, and with a set-
ting of –12 the pitch can be lowered a maximum of one
octave.
“Pitch Ribbon” specifies the amount of pitch change
that will occur when you operate the ribbon controller
toward the left or right. With a setting of +12, moving
your finger to the right edge will raise the pitch one
octave, and moving your finger to the left edge will
lower the pitch one octave.
Pitch EG
When the “Intensity” value is set to +12.00, the pitch
EG specified in the Pitch EG tab will produce a maxi-
mum of ±1 octave of pitch change.
Portamento
If “Enable” is checked, portamento will be applied.
Portamento makes the pitch change smoothly when
you play the next note before releasing the previous
note.
The “Time” parameter specifies the portamento time.
As this value is increased, the pitch will change over a
longer time. With a value of 000, there will be no porta-
mento.
If Porta.SW CC#65 is assigned as the function of
[SW1] or [SW2] key, the portamento effect can be
switched on/off by [SW1] or [SW2] key.
LFO 1/2
An LFO can be used to cyclically modulate the pitch
(the “vibrato” effect).
“LFO Intensity” specifies the amount of pitch change
that the LFO will produce. With a setting of +12.00,
vibrato will produce a maximum of ±1 octave of pitch
change.
“JS+Y Int” specifies the amount of vibrato that the LFO
will produce when the joystick is pushed away from
yourself.
“AMS Intensity” specifies the amount of vibrato that
the LFO will produce when an AMS (alternate modu-
lation source) is operated. For example if “AMS” is set
to After Touch, vibrato will be applied when you
apply pressure to the keyboard.
Pitch EG tab
Here you can make settings for the pitch EG.
When you wish to create sound effects etc., set the
pitch EG to make major changes in pitch over time.
To realistically simulate the slight change in pitch that
occurs when a string is plucked or at the attack of a
brass or vocal sound, you can use the pitch EG to cre-
ate a subtle change in pitch at the attack (☞p.10 in the
Parameter Guide).
EG and LFO
When controlling the pitch, filter, and amplifier, the EG
(envelope generator) and LFO (low frequency oscilla-
tor) are used to create time-varying and cyclical
changes.
EG (Envelope Generator)
The TRITON provides a Pitch EG, Filter EG, and
Amplifier EG, which produce time-varying changes in
pitch, tone, and volume respectively.
LFO (Low Frequency Oscillator)
For each oscillator, the TRITON provides two LFO’s
that can be used to apply cyclical change in pitch, tone,
and volume.
Examples of this are “vibrato” (cyclical change in
pitch), “wah” (cyclical change in tone), and “tremolo”
or “auto-pan” (cyclical change in volume).
Level
Time
Attack Time
Decay Time Slope Time Release Time
Attack Level
Start Level
Sustain Level
Break Level
note-on note-off
Release Level
Program mode
48
P3: Edit-Filter Filter settings
The filter allows you to diminish or emphasize speci-
fied frequency areas of the multisample selected for the
oscillator. The tone of the sound will depend signifi-
cantly on the filter settings.
The TRITON lets you choose between two types of fil-
ter for each oscillator. Filter 1 is used for OSC1, and Fil-
ter 2 is used for OSC2. If “OSC Mode” is Single or
Drums, only Filter 1 will be available.
Filter EG and LFO can be used to produce time-vary-
ing changes in the filter.
Filter 1 tab
Filter Type, Filter A, Filter B
Select the type of filter, and specify the “Frequency”
(cutoff frequency) and “Resonance” (resonance level).
•Low Pass Resonance (24 dB/oct low pass filter
with resonance): Make settings for filter A.
•Low Pass & High Pass (12 dB/oct low pass filter
and 12 dB/oct high pass filter in series connection):
Make low pass filter settings in filter A, and high
pass filter settings in filter B.
Low pass filter
This is the most common type of filter, which passes
the low frequency range and cuts the high frequency
range. When the overtones of the high range are cut, a
bright sound will become darker (more mellow).
24 dB/oct and 12 dB/oct refer to the steepness of the
cut. 24 dB/oct means that the gain will decrease 24 dB
in one octave (i.e., as the frequency doubles). A 12 dB/
oct filter would decrease the gain 12 dB in one octave.
The 24 dB/oct filter produces a steeper cut.
High pass filter
This type of filter passes the high frequency range and
cuts the low frequency range. Use this when you wish
to make the sound thinner. However if the cutoff fre-
quency (Frequency) is raised excessively high, the vol-
ume will become very low.
Resonance
When “Resonance” is set to a higher value, the over-
tones in the region of the cutoff frequency will be
boosted as shown in the diagram below, giving a dis-
tinctive character to the sound.
Filter 1 Mod. tab
Controllers and the filter EG can be used to modulate
the filter cutoff frequency that was specified in the Fil-
ter 1 tab. By using a controller to vary the tone or by
using an EG to create time-varying changes, you can
add a rich variety of tonal change to the sound.
Keyboard Track
This varies the cutoff frequency according to the key-
board location that you play.
• When “Ramp Low” is set to a positive (+) value,
the cutoff frequency will rise as you play lower on
the keyboard, making the sound brighter. When
set to a negative (–) value, the cutoff frequency will
fall as you play lower on the keyboard, making the
sound darker.
• When “Ramp High” is set to a positive (+) value,
the cutoff frequency will rise as you play higher on
the keyboard, making the sound brighter. When
set to a negative (–) value, the cutoff frequency will
fall as you play higher on the keyboard, making
the sound darker.
Level
Frequency (pitch)
Overtones included
in the original multisample
Level
Frequency (pitch)
Filter characteristics
Overtones after
passing through
the filter
This area of
overtones will
be diminished
Filter
Frequency
Level
Low Pass
12dB/oct
24dB/oct
High Pass
12dB/oct
Frequency
Level
When resonance is applied
Low Pass
Level
Low resonance value High resonance value
49
Basic functions
• “Intensity to A” and “Intensity to B” adjust the
effect that keyboard tracking will have on filters A
and B (☞p.13 in the Parameter Guide).
Filter EG
Adjust the effect produced by the filter EG, whose set-
tings are made in the Filter 1 EG tab.
• “Velocity to A” and “Velocity to B” adjust the
effect that velocity will have on the filter EG depth.
• “Intensity to A” and “Intensity to B” adjust the
depth of the filter EG.
• “AMS Int to A” and “AMS Int to B” adjust the
effect that AMS will have on the filter EG depth.
These three settings will determine the depth of the
tonal change produced by the filter EG.
Filter A/B Modulation
Set this when you wish to produce tonal change by
using controllers etc. to vary the cutoff frequency.
Filter 1 LFO Mod. tab
Make settings that allow the LFO to produce cyclic
changes in tone (a “wah” effect).
“LFO Intensity to A” and “LFO Intensity to B” will
cause the tone to be modulated.
“JS–Y Intensity to A” and “JS–Y Intensity to B” speci-
fies the depth of the wah effect that is produced when
you move the joystick toward yourself.
“AMS Intensity to A” and “AMS Intensity to B” speci-
fies the depth of the wah effect that is produced when
you operate an “AMS” (alternate modulation source).
For example if you set “AMS” to After Touch, a wah
effect will be produced when you apply pressure to the
keyboard.
Filter 1 EG tab
Make settings for the filter EG, which controls time-
variant changes in tone. Make settings for the EG here,
and set the depth of its effect in the Filter 1 Mod. tab
“Filter EG” parameter (☞p.15 in the Parameter Guide).
Filter EG and Amplifier EG
When the Filter EG changes the cutoff frequency, the
tone will change. However depending on the volume
changes produced by the Amplifier EG, this can be
heard in different ways. For example by changing the
speed at which the tone and volume begin (attack) or
decay, you can significantly vary the character of the
tonal change. It is a good idea to adjust the changes of
both the Filter EG (tone) and the Amplifier EG (vol-
ume) as you proceed with editing. (☞“Amp 1 EG” tab.)
P4: Edit-Amp Amplifier settings
These settings affect the volume. Here you can adjust
the way in which the Amp EG and LFO produce time-
varying and cyclic changes in volume, and how the
controllers etc. will affect the volume.
Amp1 applies to OSC1, and Amp2 applies to OSC2. If
the “OSC Mode” is Single or Drums, only Amp1 will
be available.
For example, the volume of a piano note begins at a
high volume the instant you play the note, and then
decreases gradually. The volume of an organ note
remains constant as long as you continue pressing the
key. The volume of a note on a violin or wind instru-
ment can be varied during the note by the musician
(i.e., by regulating the amount of pressure on the bow
or the force of the breath).
Amp1 Lvl/Pan tab
Amp Level
Adjust the volume of the sound that has passed
through the oscillator, filter, and amp.
Pan
Adjust the pan (stereo position) of the sound that has
passed through the oscillator, filter, and amp. Nor-
mally this will be set to C064. If “OSC Mode” is Dou-
ble and you wish to produce a sense of stereo, you can
use this setting to place oscillators 1 and 2 at the left
and right. With a setting of Random, the sound will be
placed at a random location each time you play a note,
producing an interesting effect.
AMS Intensity
“AMS Intensity” specifies the depth of the panning
effect that will occur when “AMS” is operated.
When “AMS” is set to Note Number, the pan will
change according to the location you play on the key-
board. With a setting of LFO1 or 2, the pan will sweep
from side to side (auto pan). Other settings allow you
to move the oscillator pan by operating a controller.
Volume
Time
Piano
Volume decays gradually
Volume
Time
Organ
Volume remains constant
until note is released
Program mode
50
Use DKit Setting
This is valid when “OSC Mode” is set to Drums. If this
is checked, the pan location specified by the Drum Kit
for each drum sound will be used. If this is unchecked,
all drum sounds will sound at the same location. Preset
drum kits are set to stereo settings. Normally you will
leave this checked.
Amp1 Mod. tab
Keyboard Track
This lets you vary the volume by the keyboard location
you play.
• When “Ramp Low” has a positive (+) value, the
volume will increase as you play lower on the
keyboard. With a negative (–) value, the volume
will decrease as you play lower on the keyboard.
• When “Ramp High” has a positive (+) value, the
volume will increase as you play higher on the
keyboard. With a negative (–) value, the volume
will decrease as you play higher on the keyboard.
Amp Modulation
“Velocity Intensity” is used by most programs to
decrease the volume of softly played notes and
increase the volume of strongly played notes, and this
Amp Modulation parameter adjusts the depth of this
control. Normally you will set Amp Modulation to
positive (+) values. As this setting is increased, there
will be greater volume difference between softly
played and strongly played notes.
LFO 1/2
Specify how the LFO’s will produce cyclic changes in
volume (the tremolo effect).
The volume will be affected by the LFO(s) for which
you set an “LFO Intensity” value.
“AMS Intensity” adjusts the depth by which the trem-
olo effect produced by the LFO will be affected when
you operate an “AMS” (alternate modulation source).
For example if “AMS” is set to JS–Y, moving the joy-
stick toward yourself will apply tremolo.
Amp1 EG tab
Here you can make settings for the amplifier EG that
produces changes in volume over time.
Every instrument has its own characteristic curve of
volume change. This is part of what gives each instru-
ment its identifiable character. Conversely, by applying
a strings-type Amp EG curve to an organ-type multi-
sample, you can produce a sound with a character
unlike a typical organ.
Piano
Organ
Strings
P5: Edit-Common LFO LFO settings
For each oscillator, you can use two LFO (Low Fre-
quency Oscillator) units: LFO1 and LFO2. You are free
to select the type of each LFO and set its speed. The
depth of the LFO1 and LFO2 whose settings you make
here can be adjusted in pages P2: Edit-Pitch, P3: Edit-
Filter, and P4: Edit-Amp.
OSC (1/2) LFO (1/2)
“Waveform” selects the type of LFO. You can choose
from a variety of waveforms, including standard
waveforms such as Triangle, Saw, Square, and Sine, as
well as Step or Random waveforms that produce a
sample-and-hold effect (☞p.20 in the Parameter Guide).
A wide range of variations can also be produced using
the “Offset,” “Fade,” and “Delay” parameters, and by
changing the sign of the “Intensity” parameters in P2:
Edit-Pitch, P3: Edit-Filter, and P4: Edit-Amp. “Fre-
quency” sets the speed of the LFO.
Frequency Modulation
“AMS” can be used to vary the LFO speed. This lets
you change the LFO speed by operating a controller, or
by the EG or Keyboard Track settings.
Frequency MIDI/Tempo Sync.
If “MIDI/Tempo Sync” is checked, the “Frequency”
setting will be ignored, and the LFO will synchronize
to the tempo of the arpeggiator or sequencer. This lets
you produce vibrato, wah, auto-pan, or tremolo that is
synchronized to the playback speed of the arpeggiator.
51
Basic functions
P7: Edit-arpeggiator
Arpeggiator settings
Here you can make arpeggiator settings (☞p.96).
P8: Edit-Insert Effect
Insert Effect settings
Here you can select insert effects and make settings for
them. You can also specify the oscillator routing (the
signal sent to the insert effects, master effects, and
independent outputs) (☞p.107).
P9: Edit Master Effect
Master Effect settings
Here you can select master effects and make settings
for them. The master EQ is also set here (☞p.108).
Alternate Modulation is a type of modulation that can
be used to control various aspects of the sound.
AMS (Alternate Modulation Source) refers to any of
the numerous sources that can control alternate modu-
lation, and includes controllers such as the joystick or
ribbon controller that you physically operate, incom-
ing MIDI data, as well as modulators such as the EG or
LFO.
Since the TRITON allows you apply modulation to a
modulator, this type of control is referred to as “alter-
nate modulation.”
Intensity is a parameter that sets the degree (speed or
depth) to which AMS will control alternate modula-
tion.
Combinations that are frequently used in sequencer
performance (such as using the joystick or ribbon con-
troller to vary the pitch) are also provided as special
parameters separately from alternate modulation.
The TRITON provides 29 types of alternate modula-
tion.
In single mode you can use 29 alternate modulation
destinations of 29 types, and in double mode you can
use 55 alternate modulation destinations of 29 types.
There are 42 AMS sources. (However depending on the
type of modulation, some sources cannot be selected.)
For details on alternate modulation and AMS, refer to
p.209 in the Parameter Guide.
Suggestions on using alternate modulation
When making settings for alternate modulation, think
of the effect that you wish to produce, what type of
modulation will be necessary to produce that effect,
and what parameter of the oscillator, filter, or amplifier
needs to be controlled. Then select a source (“AMS”)
and set the “Intensity.”
If you proceed logically in this way, you will achieve
the desired effect.
For example if you want to “control a guitar-like sound
so that it appears to be approaching feedback when the
joystick is moved away,” you will make settings so that
the joystick controls filter modulation or the resonance
level.
More about Alternate Modula-
tion
Program mode
52
Combination mode
In Combination mode you select combinations and
edit them. Combination mode consists of pages P0–P9.
To play a combination, select P0: Play. In P1–P9 you
can edit the parameters of the combination that was
selected in P0.
●For details on accessing each page or modes (☞p.12
“Basic operation of the TRITON”).
If the separately sold EXB-MOSS option is
installed, bank F programs can be used by the tim-
bres of a combination. For details on the parame-
ters of bank F programs, refer to the EXB-MOSS
owner’s manual.
When the TRITON is shipped from the factory, it con-
tains a wide variety of factory preset combinations that
use the preset programs, preset arpeggio patterns, and
effects. You can create your own combinations by mod-
ifying these preset combinations, or by creating a com-
bination from scratch by starting with an initialized
combination.
Your own programs that use original sample wave-
forms or multisamples that were sampled in Sampling
mode or loaded into the TRITON in Disk mode can
also be used by a combination.
Combinations that you edit or create can be written
into the 512 combination memory areas of banks A–D.
In Disk mode, you can save combinations on a floppy
disk or on other external media (☞p.40).
P0: Play
Here you can select and play combinations. For each
timbre 1–8, you can also select the program and set its
status, pan, and level. You can also make arpeggiator
settings.
Selecting a combination
There are three ways to select a combination. For the
procedure, refer to the appropriate page.
• From the TRITON’s front panel (“Selecting and
playing a combination” ☞p.23)
Selecting by bank/combination number
Selecting by combination category
Selecting with [./10’s HOLD]
• With a connected foot switch (“Other functions”
☞p.125)
• By receiving MIDI program change messages
(“MIDI” ☞p.115)
For the factory-set combination names, refer to the
separate Voice Name List.
Program Select tab
Selecting a program for each timbre 1–8
There are three ways to select a program for each tim-
bre 1–8. For the procedure, refer to the appropriate
page.
• From the TRITON’s front panel (“Simple
combination editing” ☞p.35)
Selecting by bank/program number
Selecting by program category
• By receiving MIDI program change messages
(“MIDI” ☞p.115)
It is not possible to use MIDI program changes to
select a program on a Timbre whose “Status” is
other than INT.
If a program currently being edited in Program
mode is used in a combination, the combination
will use the sound that is being edited.
For the factory-set program names, refer to the sepa-
rate Voice Name List.
P0: Play Select a combination; select a program
for each timbre; set the status, pan, and
level; select and set the arpeggio pat-
tern.
P1: Edit-program/
Mixer
Select a program for each timbre, and
set pan and level. (These are common
to the parameters in P0, and can be
edited from either page.)
P2: Edit-Trk Param Set various parameters for each timbre,
such as MIDI, OSC, Pitch etc.
P3: Edit-MIDI Filter MIDI transmission/reception filter set-
tings for each timbre.
P4: Edit-Zone/Ctrl Key zone and velocity zone settings for
each timbre. Make controller settings. If
the separately sold EXB-MOSS option
is installed, set related parameters.
P5: ---
P6: ---
P7: Edit-Arpeggiator Arpeggiator settings. (These are com-
mon to the parameters in P0, and can
be edited from either page.)
P8: Edit-Insert Effect Select insertion effects and make set-
tings. Specify the timbre routing (send
levels to the insertion effects, master
effects, and independent outputs).
P9: Edit Master Effect Select master effects and make set-
tings. Also make master EQ settings.
Pages in Combination mode
Playing a combination
53
Basic functions
Status
For each timbre 1–8, this indicates the status of MIDI
and the internal tone generator. Normally, you will set
this to INT if you want the TRITON’s internal tone
generator to sound. Turn this Off for unused timbres.
With settings of Off, EXT or EX2, that timbre will not
sound. Settings of EXT and EX2 allow the timbre to
control an external tone generator connected via MIDI
(☞p.35). (☞p.30 in the Parameter Guide)
Mixer tab
Here you can adjust the pan and level of each timbre 1–
8 (☞p.35). (☞p.31 in the Parameter Guide)
Arpeggio Play A/Arpeggio Play B tab
• Arpeggiators A and B can be switched on/off
independently. To turn both arpeggiators on/off,
use the ARPEGGIATOR [ON/OFF] key.
The arpeggiators will function only for timbres 1–8
to which arpeggiator A or B is assigned.
• Arpeggiator parameters including the arpeggio
pattern selection can be edited in realtime while
you play.
• ARPEGGIATOR [TEMPO], [GATE], and
[VELOCITY] knobs will control the tempo, note
length, and strength of the arpeggio notes.
For details refer to “Using the arpeggiator while you
play” (☞p.31).
A combination consists of a variety of parameters that
can be accessed in P1–P9. The diagram below shows
how a combination is structured.
Parameters for each timbre are found in P1–P4. Here
you can bring programs together to create the basic
combination. Finishing touches can be added to the
combination by using insert effects, master effects,
and the master EQ. Effect settings are made for the
combination independently of the settings in Program
mode. To these settings you can add arpeggiator and
controller settings to create the final combination.
Combination editing refers to actions such as re-
selecting the program for a timbre to change the sound,
changing the keyboard area or velocity range that will
sound the program for each timbre, or making control-
ler settings.
Quick editing of a combination can be performed in
the Program Select tab and Mixer tab of Combination
P0: Play, but for detailed editing you will need to use
Combination P1–P9.
The parameters in P1–P9 will affect the combination
that you selected in Combination P0. In the pages that
follow, we will be modifying some of the representa-
tive parameters as we explain their function. For
details on all parameters, refer to the Parameter Guide.
The most effective procedure is to first use P1:
Edit-program/Mixer to select the program for
each timbre. Then use P4: Edit-Zone to specify the
keyboard range for each program (layer, split,
velocity switch etc.). Finally, adjust the volume of
each timbre, and make other parameter settings.
If you execute the page menu command “Solo
Selected Timbre,” only the sound of the selected
timbre will be heard when you play the keyboard.
This provides a convenient way to hear individual
timbres that have been layered. (☞p.31 in the
Parameter Guide)
Parameters
Parameters
Parameters
Parameters
Insert Effect 1 ... 5 : P8 AUDIO OUTPUT
L/MONO, R
Master Effect 1, 2 : P9
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
MasterEQ : P9
Controller Setup : P4- 4
Arpeggiator : P7
Timbre2
Timbre3
Timbre8
Timbre4
Routing : P8-1
Timbre
Insert Effect
Master Effect
Individual Outputs
Timbre1 Parameters
Program
Program
Program
Program
Program
P1–1 and P2–2 etc. indicate the page tabs used when editing on the TRITON.
How a combination is structured
Basic combination editing
Combination mode
54
If you wish to keep a combination that you edited,
you must Write it (☞p.38).
Layer, split, and velocity switch
Within a combination, you can use keyboard location
and velocity to change the program that sounds. The
programs assigned to each timbre can sound in three
ways: as a layer, a split, or a velocity switch. A combi-
nation can be set to use any one of these methods, or to
use two or more of these methods.
Layer
Layer refers to settings which cause two or more pro-
grams to sound simultaneously when a note is played.
Split
Split refers to settings which cause different programs
to sound depending on the keyboard location that is
played.
Velocity switch
Velocity Switch refers to settings which cause different
programs to sound depending on the velocity (key-
board playing dynamics).
On the TRITON, you can use a different program for
each of up to eight timbres, and combine two or more
of the above methods to create even more complex set-
ups.
As an additional possibility, you can set the slope for a
key zone or velocity zone so that the volume dimin-
ishes gradually. This lets you change a split into a key-
board crossfade, or a velocity switch into a velocity
crossfade.
The Compare function
When P1–P9 are displayed, you can press the [COM-
PARE] key to make the LED light. This will recall the
combination that had been written before you began
editing. When you press the [COMPARE] key once
again the LED will go dark, and you will return to the
sound that you had been editing. Use this when you
wish to compare the edited sound with the un-edited
sound.
If you continue editing when the [COMPARE] key
LED is lit, the LED will go dark, and the current
sound will now be the sound that is recalled when
the [COMPARE] key LED is dark.
P1: Edit-Program/Mixer
Timbre 1–8 program, pan and vol-
ume
Here you select a program for each timbre 1–8, and set
its pan and volume. These are the same parameters as
in P0: Play, and can be edited from either page.
Category, Bank/Program
Select the program for each timbre.
Selection of programs via MIDI program change is
disabled in this page.
If a program currently being edited in Program
mode is used in a combination, the combination
will use the sound that is being edited.
Pan
Specify the panning (stereo location) for each timbre. A
setting of C064 will reproduce the oscillator pan setting
of the program. Moving this to left or right will move
the sound to left or right while preserving the pan rela-
tionship between the oscillators. A setting of L000 is far
left, and R127 is far right. (☞p.31 in the Parameter
Guide.)
Volume
Adjust the volume of each timbre 1–8.
Create the overall sound by adjusting the volume bal-
ance between timbres. The “Volume” setting is an
important aspect of creating the sound, and this setting
will have a significant effect on the overall impression
produced by the combination.
Program B
Program A
Layer:
Two or more programs sound
simultaneously.
Program B
Program A
Split:
Different programs will sound in
different areas of the keyboard.
Program A
Program B Keyboard playing dynamics
Velocity Switch:
Keyboard playing dynamics
(velocity) switches between
different programs.
Strong
Soft
Program C
Program D Keyboard playing dynamics
Program B
Program A
Example:
B and C/D are split. In the lower
keyboard range, A and B are
layered. In the higher keyboard
range, C and D are switched by
velocity and layered with A.
Strong
Soft
Program A Program B
Keyboard X-Fade (keyboard crossfade):
As you play from low notes to high notes,
the volume of A will fade out, and the
volume of B will fade in.
Program A
Program B
Keyboard playing dynamics
Velocity X-Fade (velocity crossfade):
As you play with increasingly stronger
velocity, the volume of A will fade out, and
the volume of B will fade in.
Strong
Soft
55
Basic functions
P2: Edit-Trk Param
Settings for status, MIDI channel,
and playing mode
MIDI Channel tab
Status
Select a “Status” of INT for all timbres that you wish to
use. Select Off for unused timbres.
Timbres that are set to INT will sound the TRITON’s
internal tone generator. Timbres set to Off, EXT, or EX2
will not sound. Timbres set to EXT or EX2 can control
an external tone generator connected via MIDI.
MIDI Channel
Timbres that you wish to play from the TRITON’s key-
board must be set to the global MIDI channel. Your
playing on the keyboard is transmitted on the global
MIDI channel, and will sound any timbre that matches
this channel. Normally you will set this to Gch. When
this is set to Gch, the MIDI channel of the timbre will
always match the global MIDI channel, even if you
change the global MIDI channel.
On some preset combinations that use the arpeg-
giator, timbres assigned to the arpeggiator may
not have a “Status” of INT and “MIDI Channel” of
Gch.
The reason for this is that these settings are for tim-
bres that sound only when the arpeggiator is on.
This is a very useful technique for creating combi-
nations that use the arpeggiator. Refer to “Dual
arpeggiator editing” (☞p.104) and to “7–1b”
(☞p.39) in the Parameter Guide, and study the rela-
tionship between arpeggiator assignments, “Sta-
tus,” and “MIDI Channel.”
Bank Select (when Status = EX2)
This setting is valid when “Status” is set to EX2. It
specifies the Bank Select message that will be transmit-
ted from the TRITON.
OSC tab
Force OSC Mode
Normally you will set this to PRG.
If you wish to force a polyphonic program to sound
monophonically, set this either to MN (Mono) or LGT
(Legato). Conversely, set this to Poly if you wish to
force a monophonic program to play polyphonically
(☞p.33 in the Parameter Guide).
OSC Select
Normally you will set this to BTH (Both).
If the timbre is using a program whose “OSC Mode” is
Double, and you want only OSC1 or OSC2 (not both)
to sound, set this to OS1 (only OSC1 will sound) or
OS2 (only OSC2 will sound).
Portamento
Normally you will set this to PRG.
If you want the portamento setting specified for the
program of the timbre to be forced off, set this parame-
ter to Off. Conversely, if you want to forcibly turn the
portamento on, or to change the portamento time, set
this to a value of 001–127 to specify the portamento
time.
Pitch tab
Transpose, Detune
These parameters adjust the pitch of the timbre.
• In a layer-type combination, you can set two or
more timbres to the same program, and create a
richer sound by using “Transpose” to shift their
pitch apart by an octave or by using “Detune” to
create a slight difference in pitch between the two.
• In a split-type combination, you can use
“Transpose” to change the pitch of the program in
each key zone in steps of an octave.
• If you wish to change the playback pitch of a drum
program, use “Detune.” If you change the
“Transpose” setting, the correspondence between
notes and drum sounds will change.
Combination mode
56
Other tab
Delay [ms]
Specify the timing of the delay before each timbre
sounds.
Select the preset combination A127: One Fin-
gerTVShow, and play a single note. Timbres will
sound consecutively, according to their Delay setting.
If you select KeyOff for this parameter, the timbre will
sound when the note is released.
P3: Edit-MIDI Filter
MIDI filter settings
For each MIDI Filter item, you can specify whether or
not the corresponding MIDI message will be transmit-
ted and received. The checked items will be transmit-
ted and received.
For example, suppose that you have a split combina-
tion in which timbre 1 uses a bass program and timbre
2 uses a piano program.
You could uncheck “Enable Damper” for timbre 1, and
check “Enable Damper” for timbre 2.
With these settings, pressing a damper pedal con-
nected to the [DAMPER] jack would apply the damper
effect only to the piano program of timbre 2.
For details on each MIDI filter item, refer to p.35 in the
Parameter Guide.
The MIDI Filter settings do not switch the corre-
sponding function on/off, but merely specify
whether or not that MIDI message is transmitted
and received. For example if portamento is on,
portamento will be applied to the sound of the
TRITON even if the “Enable Portamento SW” is
unchecked.
P4: Edit-Zone/Ctrl
Layer, split, and velocity switch set-
tings
You can make most of the settings necessary for creat-
ing layers, splits, velocity switches, keyboard cross-
fades, and velocity crossfades.
Key Zone tab (key zone settings)
For each timbre, you can specify the range of notes for
which it will sound. Each area that sounds a timbre is
referred to as a Key Zone. By setting key zones, you
can create a combination in which different programs
sound in different areas of the keyboard.
By combining key zones specified for each timbre, you
can create layered or split combinations.
The upper and lower limits for the key zone of each
timbre are set by the “Top Key” and “Bottom Key”
respectively. For example in the following diagram,
timbres 1–3 are set to create a layered and split combi-
nation. This is specified by the key zone settings.
Timbres 2 and 3 create a layer. Timbre 1 and timbres 2/
3 are split between the B3 and C4 note numbers.
1To create a combination like the one shown above,
first use the P0: Play or P1: Edit-program/Mixer
page to select a program for each timbre 1–3.
Select a piano program for timbre 1.
Select a brass program for timbre 2.
Select a strings program for timbre 3.
2In P2: Edit-Trk Param, select the MIDI Channel
tab. Set each timbre you wish to use to a “Status”
of INT, and a “MIDI Channel” of Gch or the global
MIDI channel. (“G” will be displayed following
the channel number.)
3In P4: Edit-Zone/Ctrl Key Zone tab, set the “Top
Key” and “Bottom Key.”
Set timbre 1 to a “Top Key” of G9 and a “Bottom
Key” of C4. Set timbres 2 and 3 to a “Top Key” of B3
and a “Bottom Key” of C–1.
You can also input the value by holding down the
[ENTER] key and playing a note.
As an option, you could specify the range velocities,
so that a portion of timbre 1 overlapped with tim-
bres 2 and 3 (creating a layer), and setting “Top
Slope” and “Bottom Slope” so that the volume
would change gradually between B3 and B4. This
would avoid an abrupt change in sound between
the two keyboard areas.
PianoTimbre 1
Brass
Timbre 2
Strings
Timbre 3
C–1 C4 G9B3
57
Basic functions
Vel (Velocity) Zone tab (Velocity zone settings)
For each timbre, you can specify a range of velocities
for which it will sound. The range of velocities for
which a timbre will sound is called the Velocity Zone.
By setting a velocity zone, you can set up a timbre
which will be sounded only by notes played at a cer-
tain strength, and not by stronger or weaker notes.
By combining timbres that have differing velocity zone
settings, you can create velocity switched combina-
tions.
The upper and lower limits of the velocity zone of each
timbre are determined by the “Top Velocity” and “Bot-
tom Velocity” respectively. The following diagram
shows an example of a velocity switched combination
in velocity will switch between timbres 1 and 2 to play
different programs. Such combinations are created by
setting the velocity zone.
1To create a combination such as shown above, first
use P0: Play or P1: Edit-program/Mixer to select the
program that each timbre 1 and 2 will use.
Select a brass program for timbre 1.
Select a strings program for timbre 2.
2In P2: Edit-Trk Param, select the MIDI Channel
tab. Set each timbre you are using to a “Status” of
INT, and a “MIDI Channel” of Gch or the global
MIDI channel. (“G” will be displayed after the
channel number.)
3In P4: Edit-Zone/Ctrl Vel Zone tab, set the “Top
Velocity” and “Bottom Velocity.”
Set timbre 1 to a “Top Velocity” of 127 and a “Bot-
tom Velocity” of 64.
Set timbre 2 to a “Top Velocity” of 63 and a “Bottom
Velocity” of 1.
You can also input the value by holding down the
[ENTER] key and playing a note on the keyboard.
As an option, you could specify the range velocities,
so that a portion of the two timbres overlapped, and
set “Top Slope” and “Bottom Slope” so that the vol-
ume would change gradually within that area. This
would avoid an abrupt change in sound between
velocities 63 and 64.
Controller Setup tab
For each combination, you can specify the functions of
the [SW1] and [SW2] keys, and the B-mode functions
of REALTIME CONTROLS knobs [1]–[4] (☞p.127).
(☞p.38, 217, 218 in the Parameter Guide)
P7: Edit-Arpeggiator
Arpeggiator settings
Make settings for the arpeggiator (☞p.98).
P8: Edit-Insert Effect
Insert Effect settings
Select insert effects, and make settings for them. Here
you can also set the oscillator routing (send levels to
the insert effects, master effects, and individual out-
puts) (☞p.108).
P9: Edit Master Effect
Master Effect settings
Select master effects, and make settings for them. Here
you can also make master EQ settings (☞p.108).
Strings
Velocity switch
Timbre 1
Timbre 2
Brass 127
64
63
1
Combination mode
58
Sequencer mode
The TRITON contains a 16-track MIDI sequencer.
This sequencer is the center to which the TRITON’s
numerous functions are integrated, allowing it to be
used in a variety of situations including music pro-
duction and live performance.
When you turn off the power, the settings made in
Sequencer mode and the song data, cue list data,
and user pattern data that you recorded are not
backed up. If you wish to keep this data, you must
save it on a floppy disk or external SCSI device (if
the separately sold EXB-SCSI option is installed)
before turning off the power, or perform a MIDI
data dump to save the data on an external data
filer etc.
If you wish to save the programs, track parameters
and effects etc. selected for a song as a template
song, use the page menu command “Save as User
Template Song.”
Immediately after the power is turned on, the TRI-
TON will not contain any cue list data or song
data, so if you wish to playback a song on the
sequencer, you must first load data from floppy
disk or receive a MIDI data dump from an external
MIDI sequencer (☞p.40, 92). (☞p.119 in the Param-
eter Guide)
• The sequencer lets you record a maximum of
200,000 events (note data etc.), up to 200 songs,
and as many as 999 measures per song.
• Up to 20 cue lists can be created.
A cue list is an arrangement of up to 99 songs that
will be played as a chain. You can specify the num-
ber of times that each song will repeat. Songs in a
cue list can also be converted into a single song.
• The RPPR (Realtime Pattern Play/Recording)
function can be used for playback or recording.
• The dual polyphonic arpeggiator can be used for
playback or recording.
•Sixteen different template songs are built-in, and
contain program and effect settings suitable for
various musical styles. Up to sixteen original
templates that you create can be registered as user
template songs.
•Five stereo insertion effects, two master effects,
and a stereo master EQ can be used for each song.
• Sample waveforms that you sampled in Sampling
mode or loaded in Disk mode can be converted
into programs and used in a song.
• If the separately sold EXB-MOSS option is
installed, MOSS tone generator programs can be
played multi-timbrally. (For example, you could
use two bass voices and four electric piano voices.
However, effect settings cannot be made
separately.)
• Timing resolution is a maximum of /192.
•Sixteen tracks are provided for musical data, and a
master track contains time signature and tempo
data that controls the playback.
•A track play loop function lets you loop specified
measures independently for each track.
•150 preset patterns ideal for drum tracks are built
in. In addition, you can create up to 100 user
patterns for each song. These patterns can be used
as musical data within a song, or can be played by
the RPPR function.
• Various methods of recording are supported,
including realtime recording in which your
performance on the keyboard and controllers
(including MIDI control events) is recorded just as
you play, and step recording in which the timing,
length, and velocity of each note can be specify in
the LCD as you input the pitches from the
keyboard.
• The musical data and control events that you
recorded can be edited in various ways (including
event editing and many other edit commands).
• When the “Status” of a track is set to INT or BTH,
an external sequencer can be used to play the
TRITON as a multi-timbral tone generator.
When the “Status” of a track is set to BTH, EXT, or
EXT2, the sequencer of the TRITON can play exter-
nal tone generators.
• Playback can be synchronized with an external
MIDI device.
• The TRITON’s AMS (Alternate Modulation)
capability lets you use control changes for realtime
control of the parameters of the programs used in a
program. Its MIDI Sync. functionality lets you
synchronize the LFO speed to changes in the
tempo.
•Dmod (Dynamic Modulation) functionality lets
you control effect parameters in realtime. You can
also use MIDI Sync. to synchronize the LFO speed
or delay time to changes in the tempo.
• You can assign names not only to the song, but
also to each pattern and track.
• Combination settings can be copied to a song.
• Sequencer data such as a song or cue list that you
create can be saved in the TRITON’s native format,
or transmitted as a MIDI data dump.
• Programs or sample files can be linked and saved
on external media. This data can be loaded when
desired.
• A song you created can be converted into SMF
(Standard MIDI File) data and saved on external
media. SMF songs can also be loaded.
• The PLAY/MUTE/REC buttons and SOLO
buttons let you instantly play/mute any desired
track.
• You can rewind or fast-forward while listening to
the sound.
• The [LOCATE] key lets you move quickly to a
desired location.
Features of the sequencer
59
Basic functions
• The Track BPM Adjust function (playback pitch
adjust) can automatically change the pitch of a
sample/multisample that was sampled in
Sampling mode or loaded in Disk mode so that it
matches the tempo.
About song data
The following two types of song data can be loaded
from floppy disk or other external media into the TRI-
TON’s sequencer.
• Song data saved in the TRITON’s own format
This data cannot be loaded by another device, but
the playback will faithfully reproduce the detailed
settings unique to the TRITON. We recommend that
song data intended for playback on the TRITON be
saved in this format.
• Standard MIDI Files
This format is not able to provide a totally faithful
reproduction of the performance on the TRITON in
the way that the TRITON’s own format does
(although there will be no problem for normal play-
back), but does provide compatibility with other
SMF-compatible devices.
To load song data from floppy disk or save song data
to floppy disk, use Disk mode. (☞p.40, p.92)
Memory Protect
Before you record a track or pattern, or edit the musical
data, you will need to turn off the memory protect set-
ting in Global mode. (☞p.37)
The Compare function
When you perform realtime recording, step recording,
or track editing, this function allows you make before-
and-after comparisons. (☞p.14)
If you continue editing when the [COMPARE] key
LED is lit, the LED will go dark. That musical data
will now be the data that is selected when the
[COMPARE] key LED is dark.
Operations for which Compare is available
• Recording to a track
• Track Edit
All commands other than P5: Page menu com-
mands “Memory Status,” “FF/REW Speed,” and
“Set Location”
• Recording to a pattern
• Pattern Edit
All commands other than P6: Page menu com-
mands “Memory Status” and “FF/REW Speed”
• Song Edit
P: 0, 2, 3, 4, 7: Page menu commands “Delete Song”
and “Copy From Song”
P1: Page menu commands “Convert to Song” and
“Copy Song”
In general, track and pattern event data can not be
returned to its original state.
Comparing song parameters is possible only during
song editing (when executing a page menu command).
Operations for which Compare is not available
• Editing song parameters
(Including “Track Name” and “Pattern Name”)
• Page menu commands other than those listed
above (in Operations for which Compare is
available)
About MIDI
Synchronizing the sequencer with an external MIDI
device
The record/playback tempo of the TRITON’s
sequencer can be synchronized to an external MIDI
device such as a sequencer or rhythm machine
(☞p.122).
Track status settings in Sequencer mode
You can make settings for the TRITON’s sequencer to
specify whether it will sound the internal tone genera-
tor or an external tone generator.
When Track Status is set to INT, operating the TRI-
TON’s keyboard and controllers will sound and con-
trol the TRITON’s own tone generator.
When Track Status is set to EXT, EX2 or BTH, operat-
ing the TRITON’s keyboard and controllers will sound
and control the external tone generator. (The MIDI
channel of the external tone generator must match the
“MIDI Channel” of the track that is set to EXT, EX2 or
BTH.) With a setting of BTH, both the external tone
generator and the TRITON’s tone generator will sound
and be controlled.
If you wish to use the TRITON’s Sequencer mode as a
16-timbre (16-track) tone generator, set each track to
either INT or BTH (☞p.55 in the Parameter Guide).
Sequencer mode
60
●For details on how to access each page or modes,
refer to “Basic operation of the TRITON” (☞p.12).
If the separately sold EXB-MOSS option is
installed, bank F programs can also be used in
Sequencer mode. For details on the parameters of
bank F programs, refer to the EXB-MOSS owner’s
manual.
Sequencer mode consists of the following pages.
Songs
A song consists of 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 the
TRITON.
Tracks 1–16 and the master track each consist of setup
parameters located at the start location, and musical
data within the track.
* When you change the setting during realtime-
recording, this will be recorded as musical data.
This allows the starting settings to be modified dur-
ing the playback.
About each page in Sequencer
mode
P0: Play/REC Play and record songs, and make related
settings. Select the program for each track,
and set pan and level.
P1: Cue List Play, create, and make settings for cue
lists.
P2: Trk Param Parameter settings for each track of a
song. MIDI, OSC, Pitch, etc.
P3: MIDI Filter MIDI message transmission/reception filter
settings for each track of a song.
P4: Zone/Ctrl Key Zone and Velocity Zone settings for
each track of a song. Controller settings. If
the separately sold EXB-MOSS expansion
is installed, settings for related parame-
ters.
P5: Track Edit Edit musical data for song tracks. Specify
track names.
P6: Pattern/RPPR Record and edit patterns for a song. Spec-
ify pattern names. RPPR function settings
for a song.
P7: Arpeggiator Arpeggiator settings.
P8: Insert Effect Select and make settings for insert effects.
Set the routing, insert effects, master
effects, and individual output send
amounts for each track of the song.
P9: Master Effect Select and make settings for the master
effects. Master EQ settings.
The structure of Sequencer mode
Setup parameters Musical data
Tracks 1–16 Tracks 1–16
Bank/Program No. * Note On/Off
PLAY/MUTE/REC Program Change
(including Bank Select)
Pan * Pitch Bend
Volume * After Touch (Poly After)
Track Play Loop Control Change
Loop Start Measure Pattern No.
Loop End Measure
Status
MIDI Channel
Bank Select
(When Status=EX2)
Force OSC Mode
OSC Select
Portamento *
Transpose **
Detune **
Bend Range **
Delay
Use Program's Scale
MIDI Filter
Key Zone
Velocity Zone
Track Name
Arpeggiator Assign
IFX/Indiv.Out BUS Select
Send1(MFX1) *
Send2(MFX2) *
Master track
Time signature *
Tempo *
61
Basic functions
** Musical data (MIDI RPN data) can be used to
change the starting settings during playback.
For details on control changes, refer to p.223 in the
Parameter Guide.
Patterns
There are two types of patterns: preset patterns and
user patterns.
•Preset patterns: Patterns suitable for drum tracks
are preset in internal memory, and can be selected
for any song.
•User patterns: Each song can have up to 100
patterns. When using a pattern in a different song,
use the page menu commands “Copy Pattern” or
“Copy From Song” etc. to copy the pattern. The
pattern length can be specified in units of a
measure.
Each pattern consists of musical data for one track. It is
not possible to create patterns that contain multiple
tracks.
These patterns can be used as track musical data by
being placed in a track (page menu command “Put to
Track”) or copied to a track (page menu command
“Copy to Track”). Alternatively, you can use a pattern
with the RPPR function of a song.
As track musical data of a song
Phrases that are used repeatedly in a song can be
recorded as patterns.
When you place (“Put to Track”) such a pattern in a
song, the musical data of that pattern will be recalled
and played when playback reaches the measure in
which the pattern was played. When using a phrase or
rhythm that occurs repeatedly, you can make more effi-
cient use of memory by creating a pattern and placing
it in multiple locations of the song, rather than actually
recording the same data directly to each location of the
song. However, be aware that if you modify the pat-
tern itself, the playback will be affected for all mea-
sures at which the pattern had been placed.
If you copy (“Copy to Track”) a pattern to a track of the
song, the playback data will be recorded on the track
just as if you had recorded it onto the track in the first
place. This will occupy more memory than if you use
“Put to Track,” but you will be able to edit each loca-
tion of data independently without affecting other
locations, just as when editing normal track data.
The RPPR (Realtime Pattern Play/Recording)
function:
For each song, you can assign patterns to each note of
the keyboard, and play notes on the keyboard to play-
back or record patterns in realtime.
Cue List
A cue list allows you to playback multiple songs in
succession. The TRITON allows you to create 20 cue
lists. Each cue list allows you to connect a maximum of
99 songs in any order, and to specify the number of
times that each song will repeat.
Each unit in a cue list is called a “step,” and each step
contains a song number and the number of repeats.
For example, a song consisting of an introduction, mel-
ody A, melody B, bridge, solo backing, and ending
could be created using a separate song for each unit.
Then you could use a cue list to play the introduction
twice, melody A four times, melody B four times, the
break twice, melody A four times, ... etc. to create the
completed song. When you will need to change the
structure of the song, the cue list function provides an
efficient way to do so.
The page menu command “Convert to Song” lets you
convert the two or more songs in a cue list into a single
song. This allows you to use a cue list to create the
backing, then convert the cue list into a song and add
solo phrases on unused tracks.
Insert Effect 1 ... 5 : P8 AUDIO OUTPUT
L/MONO, R
Master Effect 1, 2 : P9
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
MasterEQ : P9
Controller Setup : P4- 4
Arpeggiator : P7
Routing : P8-1
Track
Insert Effect
Master Effect
Individual Outputs
Track 1 Setup parameters Musical data
Track 2 Setup parameters Musical data
Track 3 Setup parameters Musical data
Track 4 Setup parameters Musical data
Track 5 Setup parameters Musical data
Track 6 Setup parameters Musical data
Track 7 Setup parameters Musical data
Track 8 Setup parameters Musical data
Track 16 Setup parameters Musical data
Master Track Tempo, time signature data
Pattern U00 ... U99
RPPR Setup
: P6
Sequencer mode
62
Playing a song (Play)
When you wish to playback song data on the
sequencer, you must first record song data, or load or
dump song data into the TRITON.
To load song data from a floppy disk etc., use Disk
mode.
1In Sequencer mode, press P0: Play/REC.
2Use “Song No. and name” to select the desired
song (☞p.64).
3Press the [START/STOP] key.
The song you selected in step 2 will begin playing.
Pressing the [START/STOP] key in pages other
than Sequencer mode P1: Cue List or P5: Pattern/
RPPR will start song playback. When the [START/
STOP] key is pressed in P1: Cue List, the currently
selected cue list will begin playing. When the
[START/STOP] key is pressed in P5: Pattern/
RPPR, the currently selected pattern will begin
playing.
4If you press the [START/STOP] key during play-
back, the playback will stop.
Press the [START/STOP] key once again, and play-
back will resume from where it had been stopped.
• Pressing the [LOCATE] key will move to the
specified location.
• Pressing the [PAUSE] key will resume playback.
• Pressing the [<<REW], [FF>>] keys will rewind or
fast-forward. These can be used during playback
or when paused.
The speed of rewind and fast-forward is set by the
“FF/REW Speed” page menu command.
Mute/Solo function
You can use the PLAY/MUTE/REC buttons and SOLO
ON/OFF buttons in the Program Select tab of P0: Play/
REC to hear or mute a desired individual track 1–16.
For example, this can be used when you wish to record
new tracks while listening only to the rhythm section
of the previously recorded tracks.
You can use the page menu command “Solo Selected
Track” to hear only the currently selected tracks. It is
convenient to use this while setting track parameters
or effect settings (☞p.47 in the Parameter Guide).
Make sure that page P0: Play/Rec is opened.
1Press the [START/STOP] key to playback the song.
2Press the Prog. 1–8 tab.
3Press the track 1 PLAY/MUTE/REC button once.
The display will change to “MUTE,” and the play-
back of track 1 will no longer be heard. In this way,
the “mute” function allows you to silence a speci-
fied track.
Press the track 2 PLAY/MUTE/REC button once.
The display will change, and the playback of track 2
will also be muted.
To cancel muting, press the PLAY/MUTE/REC but-
ton once again so that the display changes to PLAY.
Each time you press the button, the display will
alternate between MUTE and PLAY.
4Next press the track 1 SOLO button once.
The display will change, and now only the track 1
playback will be heard. In this way, the Solo func-
tion lets you hear only a specified track. (If both
Mute and Solo are used, the Solo function will be
given priority.)
Press the track 2 SOLO button once.
The display will change, and only the playback of
tracks 1 and 2 will be heard.
To turn off the Solo function, press the SOLO but-
ton once again. Press the track 1 and 2 SOLO but-
tons once each.
The display will change, and the playback of tracks
1 and 2 will be muted. If the Solo function is turned
off for all tracks, playback will be according to the
PLAY/MUTE/REC button settings.
[LOCATE] settings
These settings are made by the page menu command
“Set Location.” You can also set the location during
playback by holding down the [ENTER] key and press-
ing the [LOCATE] key (☞p.48 in the Parameter Guide).
Normally you will set this to 001:01.000. You will
return to the beginning of the song.
When you select a song, the [LOCATE] setting will
automatically be set to 001:01.000.
Other playback
In Sequencer mode, you can also use playback func-
tions such as Loop All Tracks, play Patterns (using the
RPPR function), Track Play Loop, and Cue List.
Playback
63
Basic functions
The process by which your playing on the TRITON’s
keyboard and controllers is captured on the tracks or
patterns of a song as data is called “recording.”
Recording on a track, and recording
on a pattern
Recording on a track
There are two ways to record on a track: realtime
recording and step recording. You can choose from a
further six types of realtime recording.
In addition, you can use event editing to modify data
that has been recorded or to insert data, and use track
editing operations such as Create Control Data to
insert data such as bend, after touch, and control
changes.
Recording on a pattern
There are two ways to record on a pattern: realtime
recording and step recording. For realtime recording,
only one recording type (loop) is available.
In addition, you can use event edit operations to mod-
ify data that has been recorded or to insert data.
The page menu command “Get From Track” can be
used to take musical data from a desired area of a
track, and use it as the musical data for a pattern. Con-
versely, the page menu commands “Put to Track” and
“Copy to Track” can be used to place or to copy the
musical data of a pattern in a track.
Realtime recording
This is a method of recording in which your playing on
the keyboard and your operations of controllers such
as the joystick are recorded in realtime.
This method of recording is normally used one track at
a time, and is called single track recording.
As an alternative, multitrack recording allows you to
simultaneously record multiple channels of data onto
multiple tracks. This is the method you will use when
using the RPPR function to record multiple tracks of
musical data at once, or when you playback existing
sequence data on an external sequencer and record it
onto the TRITON’s sequencer in realtime (☞p.64, p.66,
p.73).
• Overwrite
With this method, the musical data previously on
the track is overwritten by the newly recorded data.
When you perform overwrite recording on a previ-
ously-recorded track, its musical data will be
replaced by the newly recorded data.
Normally you will use this method to record, and
then modify the results by using other types of real-
time recording or event editing.
• Overdub
With this method, the newly recorded musical data
is added to the existing data.
When you perform overdub recording on a previ-
ously-recorded track, the newly recorded data will
be added to the previously-recorded data.
It is best to select this method when you wish to add
control data, or to record tempo data onto the mas-
ter track. This lets you record data without erasing
the existing data.
• Manual punch-in
With this method, the musical data previously on
the track is overwritten by the newly recorded data.
While the song is playing, you can press the [REC]
key or a connected pedal switch at the desired loca-
tion to start or stop recording.
• Auto punch-in
With this method, the musical data previously on
the track is overwritten by the newly recorded data.
First you must specify the area that will be re-
recorded. Then playback the song, and recording
will occur automatically at the specified area.
• Loop All Tracks
This method lets you continue recording as you add
musical data.
Recording will occur repeatedly over the specified
area.
• Multi
Multitrack recording allows you to simultaneously
record onto multiple tracks, each with a different
channel. This method can be used with overwrite,
overdub, manual punch-in, and auto punch-in
recording.
Step recording
This is a method of recording where you specify the
note timing, note length, and velocity etc. in the LCD
screen, and use the keyboard to input the pitches.
Only note-on/off data can be recorded with this
method.
Event Edit and Create Control Data
Note data is the only type of data that can be recorded
in step recording. However as ways to record other
types of data outside of realtime, you can use the Event
Edit and Create Control Data functions.
Event Edit is intended as a way to edit previously-
recorded data, but you can also use it to modify pro-
gram numbers or insert control changes.
Create Control Data is a function that lets you create
and insert controller data that changes smoothly
between two specified values over the specified length
of time. This is used to input bend, after touch, and
control change data etc.
Recording
Sequencer mode
64
Realtime recording on a track
Preparations for recording
Before you begin recording, you need to make track
settings.
Be sure to turn off the Global mode protect setting
(☞p.37).
1In Sequencer mode, select P0: Play/REC, and select
the Program T01–08 tab (or Program T09–16 tab).
2Press “Song No. and name,” and select the song
that you wish to record.
Use numeric keys [0]–[9] to enter the song number,
and press the [ENTER] key. If you press the popup
button, you can select from the popup menu.
If you select a song number that has not yet been
recorded, the Create New Song dialog box will
appear. Press the OK button.
To set the song name, use the page menu command
“Rename Song.” (☞p.38 “Assigning a name
(Rename)”).
3Use “Track Select” to select the track that you wish
to record.
4Use “Bank/Program” or “Category” to select the
program for the track you wish to record.
Use the Prog.1–8 tab to select a program for tracks
1–8, and the Prog.9–16 tab to select a program for
tracks 9–16.
You may find it convenient to use the page menu
command “Load Template Song” and use the set-
tings from a template song (☞p.67).
If necessary, select the Mixer tab and set the pan and
volume. The status and MIDI channel of each track
are set by P2: Trk Param MIDI Ch tab “Status” and
“MIDI Channel.”
It is a good idea to set tracks 1–16 to “MIDI Chan-
nel” 1–16 respectively. (This is the default.) Tracks
that are set to the same MIDI channel will sound
simultaneously when either track is recorded or
played.
Make sure that “Status” is INT or BTH.
5Press the [REC/WRITE] key.
The TRITON will enter record-standby mode.
The PLAY/MUTE/REC button of the track(s) you
specified in step 3 will change from PLAY to REC.
The metronome will begin sounding. If it does not,
use the Preference tab “Metronome Setup” to make
metronome settings. The default values are
“Sound” Only REC, “BUS Select” L/R, “Level” 127,
and “Precount” 2. With these settings, there will be
a two-measure pre-count, the metronome sound
will be output at the maximum level from the L/
MONO and R jacks (and from the headphones), and
will be heard only during recording.
6Set “Tempo Mode” to Manu (manual), and as you
listen to the metronome, use “ =” to set the tempo.
7Set “Meter” to the desired time signature.
8If necessary, set “Reso” (resolution) to the desired
realtime quantize setting (☞p.68).
This completes preparations for recording. The
recording procedure will depend on the “Over-
write” – “Multi (multitrack recording)” setting
explained below. Press the [REC/WRITE] key to
temporarily cancel record-standby mode, and try
out the various recording methods described below.
The time signature will be recorded when you
actually begin recording. If you cancel recording
during recording-standby or during the precount,
the time signature specified in 7 will not be
recorded.
Overwrite
Use this method when recording for the first time.
1Make the necessary settings in “Preparations for
recording.”
2In the Preferences tab “Recording Setup,” select
Over Write.
3In “Location,” specify the location at which you
wish to begin recording.
If no musical data has been recorded it will not be
possible to change the location, so proceed to step
4.
Song No.
and name
Track Select
Category
Bank/Program
Location
65
Basic functions
4Press the [REC/WRITE] key, and then press the
[START/STOP] key.
If “Metronome Setup” has the default settings (refer
to “Preparations for recording” step 5), the metro-
nome will sound for a two-measure pre-count, and
then recording will begin. Play the keyboard and
move controllers such as the joystick to record your
performance.
5When you finish playing, press the [START/STOP]
key.
Recording will end, and the location will return to
the point at which you begin recording.
At this time if you press the [PAUSE] key instead of
the [START/STOP] key, recording will pause. When
you press the [PAUSE] once again, recording will
resume. When you are finished, press the [START/
STOP] key to stop recording.
Overdub
1Make the necessary settings in “Preparations for
recording.”
2In the Preferences tab “Recording Setup,” select
Over Dub.
3For the rest of the procedure, refer to steps 3–5 of
“Overwrite” (☞p.64).
Manual punch-in
1Make the necessary settings in “Preparations for
recording.”
2In the Preferences tab “Recording Setup,” select
Manual Punch In.
3In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
4Press the [START/STOP] key.
Playback will begin.
5At the point at which you wish to begin recording,
press the [REC/WRITE] key.
Recording will begin. Play the keyboard and oper-
ate controllers such as the joystick to record your
performance.
6When you finish recording, press the [REC/
WRITE] key.
Recording will end (playback will continue).
Instead of pressing the [REC/WRITE] switch in
steps 5 and 6, you can use a foot switch connected
to the [ASSIGNABLE SWITCH] jack. Set the Global
P2: Controller “Foot Switch Assign” to Song Punch
In/Out (☞p.125).
7Press the [START/STOP] key.
Playback will stop, and you will return to the loca-
tion that you specified in step 3.
Auto punch-in
1Make the necessary settings in “Preparations for
recording.”
2In the Preferences tab “Recording Setup,” select
Auto Punch In.
3In “M__–M__” specify the area that you wish to
record.
For example if you specify M005–M008, recording
will occur only from measure 5 to measure 8.
4In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
5Press the [REC/WRITE] key, and then press the
[START/STOP] key.
Playback will begin.
When you reach the starting location you specified
in step 4, recording will begin. Play the keyboard
and operate controllers such as the joystick to record
your performance. When you reach the ending loca-
tion you specified in step 4, recording will end.
(Playback will continue.)
6Press the [START/STOP] key.
Playback will stop, and you will return to the loca-
tion you specified in step 4.
Loop All Tracks
1Make the necessary settings in “Preparations for
recording.”
2In the Preferences tab “Recording Setup,” select
Loop All Tracks.
However since multitrack recording is not possible,
the “MultiRec” check box must be unchecked.
3In “M__–M__” specify the area that you wish to
record.
For example if you specify M004–M008, recording
will occur repeatedly (as a loop) from measure 4 to
measure 8.
4In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
Sequencer mode
66
5Press the [REC/WRITE] key, and then press the
[START/STOP] key.
Playback will begin. When you reach the starting
location you specified in step 3, recording will
begin. Play the keyboard and operate controllers
such as the joystick to record your performance.
When you reach the ending location you specified
in step 3, you will return to the starting location,
and continue recording.
The musical data that is loop-recorded will be
added to the previously-recorded data.
6During loop recording, you can press the [REC/
WRITE] key or check the “Remove Data” check
box to erase the specified musical data.
If you press the [REC/WRITE] key during loop
recording, all musical will be removed from the cur-
rently selected track as long as you continue press-
ing the key.
By checking the “Remove Data” check box you can
erase only the specified data. During loop record-
ing, press the note that you wish to delete, and only
the data of that note number will be deleted from
the keyboard as long as you continue pressing that
note.
Similarly, bender data will be deleted as long as you
tilt the joystick in the X (horizontal) direction, and
after touch data will be deleted as long as you apply
pressure to the keyboard.
When you are once again ready to record musical
data, uncheck the “Remove Data” check box.
7Press the [START/STOP] key.
Playback will end, and you will return to the record-
ing start location that you specified in step 4.
If Loop All Tracks is selected, normal playback will
be looped as well.
Multi (multitrack recording)
Multitrack recording can be used with overwrite, over-
dub, manual punch-in, or auto punch-in recording
methods. Here we will explain the procedure for over-
write recording, which is the most commonly used
method. Multitrack recording will record multiple
tracks at once.
When simultaneously recording multiple tracks of
MIDI data from an external sequencer, etc.
1Set the MIDI Clock (Global P1: MIDI “MIDI
Clock”) to External MIDI or External PCI/F, so that
the TRITON will synchronize to the MIDI clock of
the external sequencer (☞p.122).
2Make settings as described in “Preparations for
recording” (☞p.64).
MIDI data of the corresponding MIDI channel will
be recorded on each track whose “PLAY/MUTE/
REC” button is set to REC. (This has no relation to
the settings in “Preparations for recording” step 3.)
When using multitrack recording, refer also to
“Multi Rec” (☞p.50) of the Parameter Guide.
3In the Preference tab “Recording Setup,” select
Over Write.
4Check the “Multi REC” check box.
5Press the Program T01–08 tab and Program T09–16
tab.
The “PLAY/MUTE/REC” button display of all
tracks will read REC. Press the “PLAY/MUTE/
REC” button to change PLAY to MUTE for any
tracks that you do not wish to record.
6In P2: Trk Param MIDI Ch tab “MIDI Channel,”
specify the MIDI channel for each track.
The specified channel of musical data will be
recorded on that track. It is a good idea to set tracks
1–16 to MIDI channels 1–16. (This is the default set-
ting.) Also make sure that “Status” is set either to
INT or BTH.
7In “Location,” specify the location at which record-
ing will begin.
It will not be possible to change the location if the
song is being recorded for the first time, so proceed
to step 8.
8Press the [REC/WRITE] key.
You will be in recording-standby condition.
9Start the external sequencer.
The TRITON’s sequencer will receive the MIDI Start
message transmitted by the external sequencer, and
will automatically begin recording.
0When the song ends, stop the external sequencer.
The TRITON’s sequencer will receive the MIDI Stop
message transmitted by the external sequencer, and
will automatically stop recording. You can also
press the [START/STOP] key on the TRITON itself
to stop 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
triggered by the RPPR function. For the procedure,
refer to “Realtime recording an RPPR performance”
(☞p.73).
67
Basic functions
Using the Track Play Loop function to record
The Track Play Loop function lets you specify a range
of measures over which each track 1–16 will loop
repeatedly during playback.
As an example, we will describe how you can use the
Track Play Loop function to efficiently record tracks.
This is a convenient way to create a basic rhythm sec-
tion.
Here we will explain the procedure of using the Track
Play Loop function to playback a drum track and a
bass track, while you record synth phrases.
1Record a drum phrase on track 1.
Select a drum program for track 1. Set “Track Select”
to Track 01, and record a rhythm pattern of four
measures or more in realtime. Alternatively, you can
place or copy one of the preset patterns.
2When you are finished recording, press the Ply
Loop tab. For track 1, check “Track Play Loop.” Set
“Loop Start Measure” to 001, and “Loop End Mea-
sure” to 004.
Press the [START/STOP] key to playback, and track
1 will continue repeating measures 1–4.
In this case, playback will end with the measures
recorded in step 1. This is because the current
length of the song is the number of measures that
were recorded in step 1. The measure at which
recording ended will be the current length of the
song.
In some cases you will probably want to continue
looping during playback, so that you can rehearse
the phrase that you will record next. In this case,
you will need to specify the length of the song. You
can do this by executing the P5: Track Edit page
menu command “Insert Measure” before you per-
form step 1. For example if you execute this com-
mand with the settings shown below, the song
length will be 64 measures. (If you continue record-
ing for longer than 64 measures, the song length
will be updated to the measure at which you
stopped recording.)
3Record a bass phrase on track 2.
Select a bass program for track 2. In “Track Select,”
chose Track 02, and use realtime recording.
During recording, track 1 will continue repeating
measures 1–4. While listening to the drum phrase,
record (for example) an eight-measure bass phrase.
4When you are finished recording, check “Track
Play Loop” for track 2 also, as you did in step 2.
Set “Loop Start Measure” to 001, and “Loop End
Measure” to 008.
5Next we will record synth brass riffs on track 3.
Select a synth brass program for track 3. Use “Track
Select” to select Track 03, and use realtime record-
ing. During recording, track 1 will continue repeat-
ing measures 1–4, and track 2 will continue
repeating measures 1–8.
Track Play Loop will continue repeating for the
length of the song. If you wish to specify the num-
ber of times that playback will repeat, or to place
different musical data (drum fill-in, etc.) in the
track, the song will have to be expanded as musi-
cal data. To specify the number of times that play-
back will repeat, execute the P5: Track Edit page
menu command “Repeat Measure.”
In the above example, musical events (32 measures
of data) will be created out of measures 1–4 which
were being repeatedly played as a loop by track 1.
Recording the arpeggiator
If arpeggiator A or B is assigned to a track selected by
“Track Select,” and the arpeggiator is running, the per-
formance of the arpeggiator will be recorded on the
track. For details on arpeggiator settings (☞p.98,
☞p.105). (☞p.73 in the Parameter Guide)
Template Song
The TRITON contains sixteen template songs. These
provide program and effect settings etc. that are suit-
able for various styles of music. When preparing to
record, you can load a template into your song to
quickly and easily make appropriate settings.
For details on loading, refer to “Load Template Song”
(☞p.48) in the Parameter Guide.
You can also make changes to a template song that you
loaded, and save frequently used settings as a User
Template Song.
For the saving procedure, refer to “Save Template
Song” (☞p.48) in the Parameter Guide.
Musical data will not be saved in the user template
song.
Track Select
Sequencer mode
68
Copying combination sounds to multiple tracks
You can copy a combination sound to multiple tracks
to record it.
For the copy procedure, refer to “Copy From Combina-
tion” (☞p.48) in the Parameter Guide.
If you wish to use the arpeggiator settings of a
copied combination and record the arpeggiator
performance in realtime, use “Track Select” to
choose a track that uses the global MIDI channel.
When you play the keyboard, it will sound in the
same way as for the combination. When you per-
form multitrack recording, the multiple channels
that are sounded by the arpeggiator will be
recorded in the same way.
However, in the case of multi-track recording
when multiple tracks are set to the same MIDI
channel, this musical data will be combined.
Quantize
The TRITON provides a realtime quantize “Reso”
(resolution) setting (see step 8, ☞p.64) that lets you
correct the timing of musical data as it is being
recorded, and a “Quantize” function (a P5: Track Edit
page menu command) that lets you correct the timing
of musical data that has already been input.
For example, suppose that during realtime recording
you intended to play eighth notes, but that the rhythm
was slightly inaccurate, as shown in figure 1 below. In
such cases, you could set “Reso” (resolution) to , so
that when you realtime-record, the notes will automat-
ically be adjusted to the correct timing as shown in fig-
ure 2.
Alternatively, if data that was recorded without using
realtime quantize plays back as shown in figure 1, you
could select the P5: Track Edit page menu command
“Quantize,” set its “Resolution” parameter to , and
press the OK button to correct the timing as shown in
figure 2.
Realtime recording to a pattern
Before you begin recording a pattern, turn off the
protect setting in Global mode (☞p.37).
When realtime-recording a pattern, a pattern of the
specified number of measures will playback repeat-
edly, allowing you to continue adding musical data to
it.
1In Sequencer mode P6: Pattern/RPPR, select the
Pattern Edit tab.
2Use “Track Select” to select the track.
The pattern will sound with the program and set-
tings of that track.
3In “Pattern,” select the user pattern number U00–
U99 that you wish to record.
4If necessary, set “Metronome” and “Reso” (resolu-
tion).
5Select the “Pattern Parameter” page menu com-
mand.
A dialog box will appear.
6In “Length,” specify the length of the pattern. In
“Meter,” specify the time signature.
7Press the OK button.
This completes preparations for recording.
8Press the [REC/WRITE] key, and then press the
[START/STOP] key.
Pattern recording will begin. Play the keyboard and
operate the joystick or other controllers to record
your performance.
If arpeggiator A or B is assigned to the track selected
in “Track Select” and the arpeggiator is running, the
performance of the arpeggiator will be recorded in
the pattern. For details on arpeggiator settings
(☞p.98, ☞p.105). (☞p.73 in the Parameter Guide)
 
    
Track Select
Metronome
69
Basic functions
If you want the arpeggio to start at the moment
that recording begins, turn off ARPEGGIATOR
[ON/OFF], hold down a chord on the keyboard,
and then start recording. The arpeggiator will start
at the moment that recording begins, and the
arpeggio will be recorded.
When you record to the end of the pattern, you will
return to the beginning of the pattern and continue
recording.
The musical data that is recorded will be added to
the previously-recorded data.
9During pattern recording, you can erase unwanted
musical data by pressing the [REC/WRITE] key, or
by checking the “Remove Data” check box.
For details refer to “Loop All Tracks,” step 6
(☞p.66).
0Press the [START/STOP] key.
Pattern recording will end.
To use a user pattern that was recorded in this way
(or a preset pattern), you can execute “Put to Track”
to assign the pattern to a track (☞p.70 in the Parame-
ter Guide).
A pattern can also be used in the RPPR Setup tab
(☞p.73). (☞p.71 in the Parameter Guide)
In the LCD screen, “USED IN SONG TRACK” indi-
cates how that pattern is assigned to the tracks.
“USED IN RPPR” indicates how that pattern is used
in RPPR Setup (i.e., the keys and tracks to which the
pattern is assigned).
Although you may operate controllers etc. to
record control data in a pattern, you should restore
the control data to its normal value within the pat-
tern. If you fail to restore the normal value, unnec-
essary control data may remain in a “stuck”
position when you place the pattern in a song or
use the RPPR function to play the pattern. How-
ever, the following control data will be automati-
cally reset to the following values when the song
or RPPR function finishes playing the pattern, or
when playback is halted.
Step recording on a track or pattern
To step record on a track, use the P5: Track Edit “Track
Edit” tab page menu command “Step Recording.” To
step record on a pattern, use the P6: Pattern/RPPR
“Pattern Edit” tab page menu command “Step Record-
ing.”
For details on step recording on a track or pattern, refer
to p.61, 69 in the Parameter Guide.
Controller Reset value
Modulation 1 (CC#01) 00 (zero)
Modulation 2 (CC#02) 00 (zero)
Expression (CC#11) 127 (max)
Ribbon controller (CC#16) 64 (center)
Damper switch (CC#64) 00 (zero)
Sostenuto switch (CC#66) 00 (zero)
Soft switch (CC#67) 00 (zero)
EG sustain level (CC#70) 64 (center)
Resonance level (CC#71) 64 (center)
EG release time (CC#72) 64 (center)
EG attack time (CC#73) 64 (center)
Low pass filter cutoff (CC#74) 64 (center)
EG decay level (CC#75) 64 (center)
LFO1 speed (CC#76) 64 (center)
LFO1 depth (pitch) (CC#77) 64 (center)
LFO1 delay (CC#78) 64 (center)
Filter EG intensity (CC#79) 64 (center)
SW1 modulation (CC#80) 00 (zero)
SW1 modulation (CC#81) 00 (zero)
Channel after touch 00 (zero)
Pitch bender 00 (zero)
Sequencer mode
70
Track editing
Track editing is performed using the page menu com-
mands of P5: Track Edit.
Event Edit allows you to modify previously-recorded
data or to insert new data. Track Edit commands such
as Create Control Data allow you to insert bend, after
touch, and control change data, and to delete, copy,
insert and move tracks (☞p.62 in the Parameter Guide).
Pattern editing
Using the page menu commands of the P6 Pattern Edit
tab and the Pattern Name tab, you can use event edit-
ing to modify the recorded data or insert new data,
and execute commands to delete, copy, or bounce pat-
terns (☞p.69 in the Parameter Guide).
Song editing
The page menu commands of P0, 2, 3, 4, and 7 allow
you to rename, delete, and copy songs (☞p.47 in the
Parameter Guide).
A cue list allows you to play multiple songs in succes-
sion. For example you can create a separate song for
each portion (introduction, melody A, melody B,
bridge, and ending) 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.
You can also use this as a jukebox function that will
playback completed songs in the order you specify.
As an example, we will explain the procedure for creat-
ing individual songs for the introduction, melody A,
bridge, and ending, and then using a cue list to bring
these songs together to form a complete song.
1Create separate songs for the introduction, melody
A, bridge, and ending.
S000: Intro (4 measures)
S001: A (8 measures)
S002: Bridge (8 measures)
S003: Ending (4 measures)
Record the songs.
When doing so, first create the program settings,
track settings, and effect settings for one song (e.g.,
S000), and then use the P0 page menu command
“Copy From Song” to copy these settings to the
other songs (S001–S003).
Keep the track settings unified as far as possible.
After the cue list is completed, you can convert it
into a song. When this is done, the track settings of
each song (program, pan, volume etc.) will be con-
verted into musical data and reproduced, but
unless the MIDI channel settings are the same, the
resulting song may not be the same as the cue list
playback.
2Select Sequencer mode P1: Cue List.
With the default settings, song S000 will be selected
for “Step” 01, and End will be selected for “Step” 02.
Editing Creating and playing a Cue List
Step Song Repeat
S000: Intro
S010: A
S011: B
S020 : Bridge
S010: A
01
02
03
04
05
06 S010: A (Solo)
02
04
04
02
04
01
Cue List
Intro Intro A A A A
BBBB Bridge Bridge
AAAA
A (Solo)
71
Basic functions
3Press the Insert button three times. Steps 01–04
will become active.
4Select a song for each “Step” 01–04.
Select S000: Intro for “Step” 01, S001: A for “Step”
02, S002: Bridge for “Step” 03, and S003: Ending for
“Step” 04.
5In “Repeat,” specify the number of times that the
song at each step will repeat.
Set “Step” 01 to 02, “Step” 02 to 04, “Step” 03 to 02,
and “Step” 04 to 01.
6If necessary, check the “Load FX?” check box.
This specifies whether or not the effect settings will
also be changed when the song at that step is
played. If you want the effect settings to change,
check this box. For this example, check “Step” 01.
Depending on the effect settings, a certain amount
of time may be required for the effects to be
switched. If this occurs, the playback will not be
smoothly connected from song to song.
To ensure a smooth transition from song to song,
check “FX Load?” for “Step” 01. Do not check “FX
Load?” for the remaining steps. This way, the
effect settings will be made before playback
begins, and there will be no time lag when cue list
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. We recommend this method if
you will be using a cue list to construct the song.
When you execute the “Convert to Song” page
menu command, the effect settings of the “Step”
01 song will be specified for the song that results
from the conversion.
Even if “Load FX?” is not checked, there may be
cases in which a time lag in the transition between
songs, depending on the musical data of the song.
Also, there may be cases in which the musical data
is not played at the correct timing at the transition
between songs. If this occurs, you can edit the
musical data of the song, or convert the cue list to
a song for playback. If you use “Convert to Song”
to convert the cue list to a song, there will be no
time lag during playback at the transition between
songs, and the musical data will be played at the
correct timing.
• “Step”: The arrow will indicate the currently
playing step. indicates the currently selected
“Step.” If you set “Current Step” while stopped,
the display will change.
• “Measure”: Indicates the starting measure of that
step.
• “Meter”: Indicates the currently-playing time
signature. This cannot be changed.
7This completes the settings. Press the [START/
STOP] key to begin playback from the step speci-
fied in “Current Step.”
Intro (measures 1–4) → Intro (measures 5–8), A
(measures 9–16) → A (measures 17–24) → A (mea-
sures 25–32) → A (measures 33–40) → Bridge (mea-
sures 41–48) → Bridge (measures 49–56) → Ending
(measures 57–60)
• The name of a cue list can be specified by the
“Rename Cue List” page menu command.
• If you wish to use the tempo that is specified by
the song of each step, set “Tempo Mode” to Auto.
If this is set to Manu (manual), playback will use
the tempo that you specify in “ =”.
• If you specify Continue to Step01 for the last step,
the cue list will continue playing back repeatedly.
• If you set “Repeat” to FS, a foot switch connected
to the [ASSIGNABLE SWITCH] jack will control
the timing at which the song stops repeating. Set
“Foot Switch Assign” (Global P2: Controller) to
Cue Repeat Control.
• When you play the keyboard, the program of the
track selected by “Track Select” will sound. If a
different program is selected for each song, the
program specified for the currently playing song
will sound.
Converting a cue list to a song
Although it is not possible to record additional mate-
rial onto tracks in a cue list, you can convert a cue list
to a song, and then record solos etc. to vacant tracks.
You will also need to convert a cue list to a song if you
wish to save it on a floppy disk as SMF data.
●Select the “Convert to Song” page menu com-
mand.
In “To Song,” specify the destination song number
for the converted data. The cue list name will auto-
matically be assigned as the song name of the con-
verted data. (For details and cautions regarding
“Convert to Song,” refer to p.53 in the Parameter
Guide.)
Sequencer mode
72
For details on the RPPR function, refer to “Playing
with the RPPR function” (☞p.33). Here we will give an
example of how to make RPPR settings, and how to
playback and record.
RPPR settings
RPPR settings are made individually for each song. To
use RPPR playback, check the “RPPR” check box. If
this is checked, the RPPR function will be turned on,
and playing the keyboard will cause patterns to play-
back according to the RPPR settings. If the “RPPR”
check box is not checked, the song will play normally
even if RPPR settings have been made.
1Make track settings just as when preparing to
record tracks.
Use steps 1–4 of “Preparations for recording”
(☞p.64) to specify the program for the track.
2In Sequencer mode P6: Pattern/RPPR, select the
RPPR Setup tab.
In this page, the RPPR function will automatically
be on.
3Use “KEY” to select the key to which you wish to
assign a pattern.
You can also select a key by holding down the
[ENTER] key and playing a note. Check the
“Assign” check box. (You can make assignments for
keys C#2–C8. Keys C2 and below are used for stop-
ping the pattern playback, and cannot be assigned.)
4Select the pattern that will playback when you
press the key selected in step 3.
Use “Pattern” to select the pattern type (either Pre-
set or User), and use “Pattern Select” to select the
pattern. A user pattern selected here must have
already been recorded or copied in the Pattern Edit
tab.
5Select the track that will play this pattern.
The pattern will play according to the program and
other settings of the track you select here.
If you wish to play a drum pattern, choose a track
for which a drum program is selected. If you wish to
play a bass pattern, select a track for which a bass
program is selected.
6Set “Mode,” “Shift” and “Sync” to specify how the
pattern will play, and how it will synchronize.
When you press the key to which the pattern is
assigned, the pattern will begin playing. The
method of stopping playback will depend on the
“Mode” setting, but pressing the C2 or lower key
will stop all patterns.
For details on these parameters and on how to stop
the playback, refer to p.71 in the Parameter Guide.
The assigned keys will be shown as a keyboard
graphic in the LCD screen.
Unassigned keys can be used for normal keyboard
performance. Use “Track Select” to select the track
that will be played from the keyboard. For exam-
ple you might assign backing patterns such as
drums and bass to the C#2–B2 keys and use these
keys to control pattern playback, and use keys C3
and above to play solos in realtime. It is a good
idea to keep the assigned keys together in this
way.
RPPR (Realtime Pattern Play/
Recording) function
Song
U00: R&B Shuffle 1
Preset Patterns
User Pattern U00 - U99
✓RPPR
RPPR
RPPR function is on
Normal song playback and recording
P6: Pattern/RPPR page RPPR Setup tab
73
Basic functions
RPPR playback
Here’s how you can use the RPPR function to perform
in the P0: Play/REC page. You can also playback a
song while you perform with the RPPR function.
1In Sequencer mode, select P0: Play/REC.
2Check the “RPPR” check box. The RPPR function
will be turned on. The on/off setting is memorized
for each song.
3Play the keyboard, and patterns will begin playing
according to the RPPR settings.
Keys to which no pattern is assigned can be used
for normal keyboard performance. (When you
change “Track Select,” the track played by the key-
board will change.)
If you wish to trigger the RPPR function from an
external MIDI device, use the MIDI channel that is
selected for “Track Select.”
4To turn off the RPPR function, uncheck the RPPR
check box.
RPPR performance techniques
• Pattern playback for a key with a “Sync” setting of
Beat or Measure will synchronize to the pattern
playback of the first key. (For details refer to
“Sync” on p.71 in the Parameter Guide.)
• Pattern playback for a key with a “Sync” setting of
SEQ will synchronize to the playback of the song.
Start song playback, and then press the key. The
pattern playback will start in synchronization with
the measures of the song.
Synchronization will be lost if you use the
[<<REW] or [FF>>] keys while a song is playing.
If you want RPPR pattern playback to begin at the
moment that song playback begins, it is a good
idea to insert an empty measure containing no
musical data before the song playback begins.
If the song is stopped, the pattern will synchronize
to the timing of the arpeggiator.
• If you are playing the pattern in synchronization
(when “Sync” is Beat, Measure, or SEQ), the
pattern will start accurately if you play the note
slightly earlier than the timing of the beat or
measure. Even if you play the note slightly later
than the beat or measure (but no later than a 32nd
note), it will be considered to have started at the
beat or measure, and the beginning of the pattern
will be compressed so that the remainder of the
playback will be correct.
Realtime recording an RPPR perfor-
mance
Multitrack recording
You can use multitrack recording to simultaneously
record the performance of multiple tracks played by
the RPPR function.
The pattern will be recorded as musical data on the
track used by RPPR.
RPPR settings for recording are made in the P6: Pat-
tern/RPPR tab RPPR Setup. Here if you set “Sync” to
SEQ, the pattern playback will be recorded in synchro-
nization with the sequencer. For details on how the
“Sync” setting will affect the start timing of the pattern
playback (☞p.71 in the Parameter Guide).
With a setting of SEQ, patterns played by the RPPR
function while the sequencer is playing or recording
will start in synchronization with the measures of the
sequencer. The pattern of a key pressed during the pre-
count before recording begins will start simultaneously
with the beginning of recording, and will be recorded.
When recording the playback of patterns triggered
by RPPR, the timing of the recorded events may be
slightly skewed. If this occurs, try setting “Reso”
(Realtime Quantize Resolution) to a setting other
than Hi.
1Using the procedure described in “Preparations
for recording” (☞p.64), make the necessary set-
tings.
Your keyboard performance on keys that are not
assigned to the RPPR function will be recorded on
the track specified by “Track Select.”
2In the P0: Play/REC tab Preference, set “Recording
Setup” to Over Write.
Multitrack recording can be used in Over Write,
Over Dub, Manual Punch In, and Auto Punch In
recording modes. Here we will describe the proce-
dure for the most commonly used overwrite
recording.
3Check the “Multi REC” check box.
4Press the Program T01–08 or Program T09–16 tab.
The “PLAY/MUTE/REC” button of each track will
indicate REC. For the tracks that you do not wish
to record, press the “PLAY/MUTE/REC” button to
select either PLAY or MUTE.
You will record all tracks played by RPPR and the
keyboard performance track selected by “Track
Select.”
Sequencer mode
74
For example if you are using tracks 1 and 2 for
RPPR playback and using track 3 for keyboard per-
formance, you would set REC only for tracks 1, 2,
and 3 as shown below.
5Check the “RPPR” check box.
The RPPR function will be on.
6In “Location,” specify the point at which recording
will begin.
It will not be possible to change the location if you
are recording the song for the first time, so proceed
to step 7.
7Press the [REC/WRITE] key, and then press the
[START/STOP] key.
Recording will begin.
When you press a key to which a pattern is
assigned, that pattern will begin playing. Keys to
which no pattern has been assigned will sound as
usual for the track specified by “Track Select,” and
will be recorded.
If you want a pattern to begin playing at the
moment that recording begins, press the key dur-
ing the pre-count. (Make sure that the RPPR
“Sync” is set to SEQ.)
8Press the [START/STOP] key.
Recording will end, and the location will return to
the point at which you began recording.
9To cancel multitrack recording, uncheck the
“Multi REC” check box in step 3.
Single track recording
You can also use single track recording to record an
RPPR performance.
1Make track settings in the same way as for multi-
track recording.
2In P0: Play/REC, check the RPPR check box.
The RPPR function will be turned on.
3In the same way as for single track recording of a
normal song, use “Track Select” to select the track
that you wish to record.
4In “Location,” specify the point at which recording
will begin.
It will not be possible to change the location if you
are recording the song for the first time, so proceed
to step 5.
5Press the [REC/WRITE] key, and then press the
[START/STOP] key.
Recording will begin.
In the case of single track recording, only the track
specified by “Track Select” will actually be
recorded even if the RPPR performance consists of
multiple tracks. Of the patterns that are assigned
by the RPPR settings, only the performance of the
patterns whose track matches will be recorded.
6Press the [START/STOP] key.
Recording will end, and the location will return to
the point at which recording began.
75
Basic functions
Sampling mode
The TRITON provides high-performance mono/stereo
sampling.
None of the multisample or sample data in Sam-
pling mode is backed up when the power is turned
off. If you wish to keep this data, you must save it
on a floppy disk or external SCSI device (if the sep-
arately sold EXB-SCSI option is installed) before
turning off the power.
Immediately after the power is turned on, the TRI-
TON will contain no multisample or sample data.
If you wish to playback or edit data, you must first
load previously-saved data from floppy disk or an
external SCSI device.
•48 kHz 16 bit linear mono/stereo sampling.
•16 Mbytes of sample (waveform) data memory is
standard, allowing you to sample for
approximately 2 minutes 54 seconds in monaural,
or approximately 1 minute 27 seconds in stereo. By
installing 72 pin SIMM modules, you can expand
the memory to a maximum of 64 Mbytes, which
will allow you to record up to four 2 minute 54
second samples in mono (or four 1 minute 27
second samples in stereo), for a maximum total of
approximately 11 minutes 39 seconds of sampling
time. (For details on expansion, refer to p.237 in the
Parameter Guide.)
•A maximum of 1,000 multisamples and 4,000
samples can be created.
• In Disk mode you can load multisample/sample
data from a floppy disk or SCSI media (when the
separately sold EXB-SCSI option is installed).
• Korg format or AKAI (S1000/S3000) format
sample data, or AIFF or WAVE files can be loaded.
(When this data is loaded into the TRITON, it will
all be handled as Korg format sample data.)
• The external audio source that you are sampling
can be processed by the five insertion effects to
apply effects such as compressor, EQ, or lo-fi. The
LFO frequency or delay time of the effect can be
specified as a BPM value, which is highly effective
when sampling phrase loops etc.
• Both auto sampling and manual sampling can be
performed. With auto sampling, recording will
begin automatically when the input level exceeds a
specified threshold. In either method of sampling,
you can make pre-trigger settings.
• The audio input supports both mic and line level
signals.
• Data that is sampled can be immediately played
from the keyboard. It can also be converted into a
program by a simple operation, and used as an
element of the TRITON’s HI synthesis system.
Multisamples/samples that have been converted
into a program can be used in a combination or
song.
• 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.
• Start, loop start, and end addresses can be
specified in units of a single sample. Loop tune,
reverse playback, and loop lock functions are also
supported.
• The Use Zero function automatically detects zero
cross points, making it easy to find the beginning
or end of the sample, or click-free locations.
• The grid function displays a BPM-based grid on
the waveform display, helping you to create loops
or make waveform edits that match the desired
BPM.
• Each multisample allows you to create up to 128
indices. Each index consists of a sample
assignment, a key zone, an original key, a playback
pitch, and settings such as level.
• The “Keyboard & Index” display lets you edit a
multisample while viewing the assignments and
zones of each sample.
• The playback pitch of each index can be matched
to a desired BPM value by using the BPM Adjust
function (playback pitch adjust) to set the loop
frequency.
• Sample names and multisample names of up to 16
characters can be assigned. Sample names and
multisample names can also be viewed in Disk
mode (☞p.132 “Translation” in the Parameter
Guide).
Features of sampling mode
Sampling mode
76
●For the procedure of entering each page or modes,
refer to “Basic operation of the TRITON” (☞p.12).
Sampling can be performed in any page P0–P8 of
Sampling mode by using the [REC/WRITE] key
and the [START/STOP] key. Recording-related set-
tings such as input level are made by the parame-
ters of P0: Recording, and these settings are valid
for the other pages as well.
The selected multisample or sample can be played
from the keyboard in any page, allowing you to
hear the results of your editing in each page.
In Sampling mode
• An external audio signal from an external audio
device or microphone connected to the AUDIO
INPUT 1 and 2 jacks is passed through an analog/
digital convertor, and recorded (sampled).
• You can edit the waveform and loop settings etc. of
sample data that you sampled or that you loaded
from a floppy disk, CD-ROM etc., in Disk mode.
• You can assign samples to the keyboard to create a
multisample. These samples and multisamples can
be easily converted to a program using the
“Convert MS to Program” page menu command,
and these programs can be used immediately in a
combination or song.
Sampling frequency and bit resolution
As shown in the diagram, sampling reads the level of
the analog signal at fixed intervals along the time axis,
and stores the levels in memory as digital data.
Pages in Sampling mode
P0: Recording Record samples. Select the sample or
multisample to record, make various
recording settings and AUDIO INPUT
settings. View the memory status.
P1: Sample Edit Perform waveform editing etc. on sam-
ples that were sampled or loaded in
Disk mode.
P2: Loop Edit Set sample playback parameters: Start,
Loop Start, End Address, Loop on/off,
and Reverse on/off.
P3: Multisample Edit multisamples. Set and edit the sam-
ple assignments, zone, and original key
etc.
P4: Controller Setup Controller settings.
P5: ---
P6: ---
P7: ---
P8: Insert Effect Select and make settings for the insert
effects used in sampling.
P9: ---
AUDIO INPUT jack
ADC
Insert Effects
Analog/digital
convertor
Sample 0000 ... 3999
RAM (SIMM memory):
16 MB (expandable to 64 MB)
Multisample 000 ... 999
Program
DAC
Digital/analog
convertor
AUDIO OUTPUT
jack
Analog signal Digital signal Analog signal
Digital signal
Floppy disk, SCSI media (Disk mode)
RAM (internal memory)
Used by combinations
and songs
How Sampling mode is orga-
nized
Sampled digital
waveform
Level
Time
Level
Time
Analog waveform
16bit
= 65,536 levels
of data
48kHz
= 48,000 times every second
= 0.0208 mS cycle
77
Basic functions
The “fixed intervals” mentioned above are generally
expressed as the “sampling frequency.” 48 kHz (kilo-
hertz) means that sampling is performed 48,000 times
each second, and that the interval is 1 (second)/48,000
(times) = approximately 0.00002083 (seconds) =
approximately 0.02083 mS (millisecond).
The higher the sampling frequency is, the closer to the
original analog signal the waveform in memory will
be.
Each level is read, and converted into digital data. The
accuracy at this time is determined by the bit resolu-
tion. The infinite number of levels in the analog signal
are converted into digital data with a finite number of
levels. With 16 bit resolution, each level is indicated in
65,536 steps (the sixteenth power of two).
The greater the bit resolution is, the closer to the origi-
nal analog signal the waveform in memory will be.
48 kHz 16 bit sampling is the same quality as in audio
devices such as DAT. A CD uses 44.1 kHz 16 bit sam-
pling, which is a slightly lower sampling frequency.
Samples and Multisamples
Samples
The data that is recorded (sampled) into internal mem-
ory 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.
Samples can be used by multisamples and drum kits.
The TRITON can hold a maximum of 4,000 samples in
its internal memory.
The TRITON can share a single waveform among
multiple samples. This allows you to create multi-
ple samples with different playback addresses
from the same waveform without wasting internal
memory. For example, suppose that you have
waveform data that records a voice saying “One-
Two-Three.” This single piece of waveform data
could be shared by three samples, with the play-
back of sample A producing “One-Two-Three,”
sample B producing “One-Two,” and sample C
producing “Two-Three.” Refer to “Copy Sample”
(p.83) in the Parameter Guide.
Multisamples
A multisample consists of settings that make one or
more samples sound in different areas of the keyboard.
A multisample consist of between one and 128
“indexes.” Each index contains parameters that specify
the sample that will playback, the zone for which it
will playback, the original pitch key, the playback
pitch, and level etc.
Using multisamples
When sampling an instrument that is able to produce a
wide range of pitches, such as a piano, recording just
one sample and using it (playing it back) over the
entire pitch range will not produce a natural-sounding
result. By using a multisample and assigning a sepa-
rately recorded sample to each portion of the pitch
range, you can produce a more natural sound. For
example, you might record one sample per octave, and
assign each of these samples to an index (keyboard
area). All of the instrumental sounds in the TRITON’s
internal preset ROM multisamples are constructed in
this way.
You can use a multisample to arrange multiple phrase
samples or rhythm loops across the keyboard, and play
two or more samples simultaneously. Since a different
phrase could be assigned to each key, you can perform
just as though you were using a pad-type sampler.
Alternatively, these samples could be assigned at one-
octave intervals, and played as phrase variations with
different playback pitches.
The TRITON can hold a maximum of 1,000 multisam-
ples in its internal memory.
A multisample can be selected as the oscillator for a
program, and played as a program. In a combination,
they can be combined with preset programs, and used
in a song. They can be used with the arpeggiator to
produce interesting results (for example, by using the
arpeggiator to automatically play sound effects or spo-
ken samples).
Multisample
Index 001 Index 002 Index 003 Index 004
Index001
Top Key
Index002
Top Key
Index003
Top Key
Index004
Top Key
0000:
Sample A
0001:
Sample B
0002:
Sample C
0003:
Sample D
Program OSC (Single/Double)
Multisample
Drum Kit
Sample Program OSC (Drums)
Sampling mode
78
Preparations for sampling
Connections and settings for a monaural
source
When sampling in monaural from a mic, the output of
an external audio device or mixer, or an instrumental
sound such as guitar or synthesizer, connect the source
to the AUDIO INPUT 1 or 2.
Guitars etc. with active pickups can be input
directly, but instruments with passive pickups (i.e.,
without internal preamps) cannot be sampled at
an appropriate level, due to impedance mismatch-
ing. When connecting such instruments, use a
preamp or effect device.
1Connect the mic or external audio device to the
AUDIO INPUT 1 jack.
2Set the AUDIO INPUT [MIC-LINE] switch to
match the input source. For input sources with a
low input level, such as a microphone, select the
MIC position. For other sources, select the LINE
position.
The AUDIO INPUT [MIC-LINE] switch affects
both the AUDIO INPUT 1 and 2 jacks.
3The AUDIO INPUT [LEVEL] knob will be
adjusted later. For now, set it near the center.
4In Sampling mode P0: Recording, select the Input/
Setup tab.
5In “Audio Input (SAMPLING),” set various
parameters that specify how the signal from the
AUDIO INPUT jack will be received.
• “Level” adjusts the volume. Normally you will set
this to 127.
• “Pan” adjust the panning. For this example set it to
L000.
• Set “BUS (IFX) Select.” If you wish to use the
TRITON’s insert effects to process the incoming
sound, select IFX1–5 here. For this example, select
L/R. The input sound will be sampled just as it is.
Be aware that when you change the setting from
Off to L/R or IFX1–5, the volume level in the
AUDIO OUT L/MONO and R jacks and in the
headphones may rise excessively.
“Input 1” controls the AUDIO INPUT 1 jack, and
“Input 2” controls the AUDIO INPUT 2 jack.
The settings up to this point will cause the sound
from the AUDIO INPUT 1 jack to be output from
the AUDIO OUT L/MONO jack and from the L
channel of the headphones.
6Use the AUDIO INPUT [LEVEL] knob to set an
appropriate level.
If the level is excessive at the TRITON’s input stage,
the display will indicate “ADC OVERLOAD !!”
(analog/digital converter is overloaded). Adjust the
AUDIO INPUT [LEVEL] knob or the output level of
the external audio device just low enough so that
the “ADC OVERLOAD !!” does not appear (i.e., the
maximum level that does not cause an overload).
Connections and settings for a stereo source
When sampling in stereo from a stereo mic, the output
of an external audio device or mixer, or synthesizer,
connect the source to the AUDIO INPUT 1 and 2 jacks.
1Connect the L source to AUDIO INPUT jack 1, and
the R source to jack 2.
2Make the settings described in steps 2–4 of
“Connections and settings for a monaural source.”
3In “Audio Input (SAMPLING),” set various
parameters that specify how the signal from the
AUDIO INPUT jacks will be received.
• “Level” adjusts the volume. Set both Input 1 and
Input 2 to 127.
• “Pan” adjust the panning. Set Input 1 to L000, and
Input 2 to R127.
• Set “BUS (IFX) Select.” For this example, select L/R
for both Input 1 and Input 2.
The settings up to this point will cause the sound
from the AUDIO INPUT 1 and 2 jacks to be output
in stereo from the AUDIO OUT L/MONO and R
jacks and from the headphones. The sound of
AUDIO INPUT 1 will be output from the left, and
AUDIO OUTPUT 2 from the right.
Sampling (recording a sample)
Mic
CD player,
analog record player etc.
LINE OUT
79
Basic functions
4Use the AUDIO INPUT [LEVEL] knob to adjust a
suitable input level. (Refer to step 6 of “Connec-
tions and settings for a monaural source”)
The AUDIO INPUT [LEVEL] knob adjusts both
AUDIO INPUT 1 and 2.
Using an insert effect
The TRITON’s insert effects can be applied to the
sound that is being input from the AUDIO INPUT 1
and 2 jacks, allowing you to record a sample with
effects applied. As an example, we will explain the pro-
cedure for applying an insert effect to a stereo source
and sampling the result.
1Make the settings of step 1 and 2 in “Connec-
tions and settings for a stereo source.”
2Set the “Audio Input (SAMPLING)” parameters.
• Set “BUS (IFX) Select” to IFX1 for both Input 1
and 2.
• Set “Level” and “Pan” to the same settings as in
step 3 of “Connections and settings for a stereo
source.” With these settings, the stereo source
will be sent to insert effect 1 (IFX 1).
3Use the AUDIO INPUT [LEVEL] knob to adjust a
suitable input level. (Refer to step 6 of “Connec-
tions and settings for a monaural source.”)
4In P8: Insert Effect, select the Insert Fx tab.
Up to five insert effects can be connected in series.
Make settings for “Chain,” “Insert Effect,” and the
“Pan” of the sound after it has passed through the
insert effect. For details on the settings, refer to
p.109, 107, and to p.26, 99 in the Parameter Guide.
Examples of settings using the insert effects are
given in “Sample Mode” (p.82) in the Parameter
Guide.
Manual sampling
There are two methods of sampling: manual and auto.
In manual mode, sampling is started by pressing the
[START/STOP] key from the recording standby condi-
tion (entered by pressing the [REC/WRITE] key once).
For the sampling procedure in auto mode, refer to
“Auto sampling” (☞p.80).
1In P0: Recording, select the Input/Setup tab.
2Use the “Recording Setup” radio buttons to select
Manual.
This will select manual recording mode.
3In P0: Recording, select the Recording tab.
4Select “MS” the multisample (MS). For this exam-
ple, select 000: NewMS______000.
Immediately after the power is turned on, 000:
NewMS______000 will be created automatically.
Use the numeric keys [0]–[9] to input the multisam-
ple number that you wish to record, and press the
[ENTER] key. Alternatively, you can press the
popup button and select a multisample from the
popup menu. If you select a new number, the Create
New Multisample dialog box will appear. Press the
OK button.
To specify the name, use the “Rename MS” page
menu command.
Chain
Recording Setup
MS
Recording Level [dB] meter
Recording Level [dB] slider
Sample Select
Sample Mode
Sampling mode
80
5In “Sample Select,” select the sample that you
wish to record. For this example, select ----: ---No
Assign----.
Immediately after the power is turned on, this will
be set to ----: ---No Assign----. You may sample even
in this condition. The sample will be automatically
recorded to a vacant sample number.
If you wish to first specify a sample number to
which the sample will be recorded, use the numeric
keys [0]–[9] and [ENTER] key or the popup menu to
select the number.
A sample will be created automatically when you
record.
A sample name such as 0000: NewSample_0000
will be assigned automatically. This name can be
edited using the “Rename Sample” page menu com-
mand.
If you execute sampling when an existing sample
such as 0000: NewSample_0000 is selected, the new
sample will be sampled to a vacant sample number.
You do not need to be concerned with this setting
even when you continue recording successive sam-
ples.
6Select the “Sample Mode.”
Monaural source: If the “Audio Input (SAM-
PLING)” setting “Pan” is L000, set “Sample Mode”
to L-Mono. If “Pan” is R127, set “Sample Mode” to
R-Mono.
Stereo source: Set the “Sample Mode” to Stereo.
7Press the [REC/WRITE] key.
If an input signal is present, the Recording Level
[dB] meter will move according to the Pan setting in
“Audio Input (SAMPLING).” This is the recording-
standby condition.
In the case of “Connections and settings for a mon-
aural source,” the L meter will move. In the case of
“Connections and settings for a stereo source,” the L
and R meters will move.
Use the “Recording Level [dB]” slider to adjust the
level. For this example, set the slider to the 0.0 set-
ting (☞p.82 in the Parameter Guide).
8At the moment that you wish to begin sampling,
press the [START/STOP] key.
Sampling will begin.
9Sampling will stop when you press the [START/
STOP] key once again.
Sampling will stop automatically when the
remaining amount of memory reaches zero.
0Play the C2 note on the keyboard.
The sample you recorded will play back.
If you wish to continue recording samples, repeat
steps 6–9.
Auto sampling
There are two ways to record a sample: manual and
auto.
With auto, sampling will begin when the input signal
exceeds the specified threshold level. For details on
manual sampling, refer to “Manual sampling” (☞p.79).
1In the P0: Recording, select the Input/Setup tab.
2Use the “Recording Setup” radio buttons to select
Auto.
This will select auto recording mode.
3Set the “Threshold.”
When the input signal exceeds the “Threshold”
level, sampling will begin automatically. The black
triangles at both sides of the Recording Level [dB]
meter display will indicate the specified level.
When you use auto sampling, the attack portion of
the sampled input sound may be lost, depending
on the “Threshold” setting. If this occurs, you can
use “Pre Trigger REC” to sample the sound that
occurs before sampling actually begins. Normally
you will set this to 0, and use it only when neces-
sary.
4In P0: Recording, select the Recording tab.
5Select the “MS” (multisample) (refer to “Manual
sampling” step 4).
6Select the sample in “Sample Select” that you wish
to record (refer to “Manual sampling” step 5).
7Specify the “Sample Mode” (refer to “Manual
sampling” step 6).
8Press the [REC/WRITE] key.
9Press the [START/STOP] key.
When the input signal exceeds the “Threshold”
level, sampling will begin automatically.
0Sampling will stop when you press the [START/
STOP] key once again.
Sampling will end automatically if the remaining
amount of memory reaches zero.
APlay the C2 note on the keyboard, and you will
hear the sound that you sampled.
81
Basic functions
Creating multisample indexes and
sampling
Here’s how to create indexes for a multisample, and
assign a sample to each index.
If desired, you can first create several indexes for a
multisample, and then record a sample for each index.
1In P0: Recording, select the Recording tab.
2Select the “MS” (multisample) (refer to “Manual
sampling” step 4).
3Press the Create button to create an index.
Immediately after the power is turned on, the
“Index” will be indicated as 001/001. This means
that there is only one index. The range that is high-
lighted in the keyboard & Index is the range of the
selected index.
Press the Create button several times. Each time
you press it, an index will be created. The keyboard
display will indicate the zone and original key loca-
tion of each index. The highlighted area is the cur-
rently selected index.
The index that is created when you press the Cre-
ate button is created according to the “Create Zone
Preference” settings of the Preference tab. For
details refer to p.87 and “Create” (p.81), both in the
Parameter Guide.
Immediately after the power is turned on, “Posi-
tion” will be Right, “Zone Range” will be 12Keys,
and “Original Key Position” will be Bottom, so
that indexes will be created as shown below.
If you set “Zone Range” to 1Key, an index will be
created for each note of the keyboard and a sample
assigned to in index. You can then continue sam-
pling. It is convenient to use 1Key when you wish
to sample numerous takes in succession, such as
when recording phrases or rhythm loops.
4Select “Index.”
“Index” can also be selected by holding down the
[ENTER] key and playing a note on the keyboard.
For this example, select 001.
5If you have been sampling previously and one or
more samples already exist, use “Sample Select” to
select the sample that you wish to assign.
Repeat steps 4 and 5 to assign a sample to each
index. Complete the multisample in this way.
When you play the keyboard in the area of an index
to which a sample has been assigned. that sample
will play back.
6If you wish to first create two or more indexes for
the multisample before you start sampling, and
then continue sampling for each of these indexes,
select the index for sampling in step 4, and use
either manual sampling or auto sampling to record
a sample for that index (☞“Manual sampling” or
“Auto sampling”).
Create a multisample by selecting an index and then
sampling.
The number and order of the indexes in the multi-
sample, the zone of each index, and the original
key location can be edited later if desired (☞p.84
“Multisample editing”).
Keyboard & Index
Create button
Index
Sampling mode
82
With the default settings after the power is turned on,
the sounds you sample will automatically be looped
(P0: Recording page Preference tab “Auto Loop On.”)
To edit the loop and other playback address settings
for the sample, use the P2: Loop Edit page.
1Select P2: Loop Edit.
The waveform data for the currently selected sam-
ple will be displayed. It will play back “Keyboard &
Index” when you play the highlighted in the Key-
board when you play the highlighted in the area.
You can use “Sample Select” to select the sample
that you wish to edit. When you do so, the assign-
ment to the index will also change. When you
change indexes, the waveform data for the sample
assigned to that index will appear.
Waveform data for a sample that was sampled
with a “Sampling Mode” of Stereo will be dis-
played in two lines. The upper line is the wave-
form display for the L channel, and the lower line
is for the R channel.
2Specify the start address in “Start,” the loop start
address in “LoopS,” and the end address in “End.”
Press “Start” (it will be highlighted), and use the
[VALUE] controllers to change the setting. The cor-
responding vertical line will move. Set “LoopS” and
“End” in the same way. In the example shown
below, “Start” is immediately before the first wave-
form, “LoopS” is immediately before the second
waveform, and “End” is set to an arbitrary location.
By using the ZOOM buttons you can change the
range that is displayed. When “Start” is high-
lighted, zoom will be performed from the start
address (☞p.88 in the Parameter Guide).
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 settings where noise is less likely to occur
when looping.
3Use the “Loop On” check box to turn loop play-
back on/off. When the box is checked, looping will
be on.
4If necessary, use the page menu command “Trun-
cate” to delete unwanted data that falls outside the
start (or loop start) and end addresses.
Set the parameters, and press the OK button to
execute the operation.
☞p.95 in the Parameter Guide
For cautions regarding “Save to No.” and the
“Overwrite” check box (☞p.83 “A note on saving
samples”).
The grid display
The page menu command “Grid” overlays the wave-
form display with a grid based on the BPM tempo
value. This makes it easy to make loop settings that are
synchronized to the tempo.
In the same way, the grid display can also be used
in P1: Sample Edit. The grid can help you to edit
the waveform in synchronization with the tempo.
1Select the page menu command “Grid.”
Turn the radio button On, set the “Resolution” as
desired, and press the OK button. A dotted grid
will be displayed.
2Set “Grid” to the desired BPM tempo value.
3Set the end address so that it coincides with a dot-
ted line of the grid.
This will cause the loop interval to be the same
length as the BPM value.
The grid display will be based at “LoopS” if looping
is on. If looping is off, the grid will be based at
“Start.”
4To cancel the grid display, select the “Grid” page
menu command, set the radio buttons Off, and
press the OK button.
Loop settings
ZOOM button
Sample Select
Keyboard & Index
Start LoopS End
Loop On: “Start” → “End” → “LoopS” → “End”
→ (“LoopS” → “End”) repeated
Loop Off: “Start” → “End”
83
Basic functions
The grid is displayed according to the playback
pitch of the base key (the key shown in gray in the
“Keyboard & Index” area).
You can select the base key by holding down the
[ENTER] key and playing a note on the keyboard.
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.
1Select P1: Sample Edit.
The waveform data of the currently selected sample
will be displayed. It will play back when you play
the keyboard (in the highlighted region in the “Key-
board & Index”).
You can use “Sample Select” to select the sample
that you wish to edit.
When you change indexes, the waveform data of
the sample specified for that index will be dis-
played.
Sample waveforms that were recorded with a
“Sampling Mode” of Stereo will be shown in two
lines. The upper line is the L channel waveform,
and the lower line is the R channel waveform.
2Use “Edit Range Start” and “Edit Range End” to
specify the range that you wish to edit.
The selected range will be highlighted.
If you wish to audition the selected range, press the
[START/STOP] key.
The waveform will play back at the pitch of the base
key (the key shown in gray in the keyboard dis-
play). You can select the base key by holding down
the [ENTER] key and playing a note on the key-
board.
The ZOOM buttons and the “User Zero” check
box can be used in the same way as in P2: Loop
Edit.
3From the list of page menu commands, select the
desired editing command. Make the appropriate
settings in the dialog box, and press the OK button
to execute.
For details on each command (☞p.89 in the Parame-
ter Guide).
A note on saving samples
In the dialog boxes of some page menu commands,
there is a “Save to No.” setting that lets you specify the
sample number to which the edited sample will be
saved. At this time, a vacant sample number will be
selected automatically, so you will change the setting
only if you want to specify the save destination num-
ber.
If you check “Overwrite” in the dialog box of the com-
mand, the data prior to editing will be deleted, and
will be overwritten by the edited data. Normally, you
will leave this unchecked, so that the data prior to edit-
ing will be preserved as you edit. Samples that are no
longer needed when you have completed your editing
can be deleted by the “Delete Sample” page menu
command.
In Sampling mode, there is no Compare function
that lets you compare the data before and after
editing.
If you wish to preserve the unedited state of the
multisample or sample, use “Copy MS” or “Copy
Sample” (☞p.83, 84 in the Parameter Guide) to copy
the multisample or sample before you begin edit-
ing it.
For some page menu commands in P1 or P2, you
can execute without checking the “Overwrite” set-
ting in the dialog box, so that the sample data pre-
vious to editing will be preserved.
Sample (waveform data) editing
Keyboard & Index
Sampling mode
84
Editing a multisample consists of creating indexes for
the multisample and assigning a sample to each index
(these basic settings can also be performed in P0), edit-
ing operations such as deleting, copying, and inserting
indexes, and detailed settings such as sample level and
pitch for each index.
Multisample editing is performed in P3: Multisample.
Editing the indices
To change the number or order of the indexes, use the
Insert, Cut, Copy, and Create buttons.
1Press P3: Multisample.
2Use Multisample (MS) to select the multisample
that you wish to edit.
3Select the “index.”
You can also select an index by holding down the
[ENTER] key and playing a note on the keyboard.
4Press the buttons to modify the number or order of
the indices, and edit them.
To delete the selected index, press the Cut button.
The Insert button is used in conjunction with the
Cut and Copy buttons. The contents of the index
that was Cut or Copied will be inserted.
The Create button has the same function as the Cre-
ate button in P0: Recording (☞p.81 “Creating multi-
sample indexes and sampling”).
Modifying the settings of an index
1Make the settings described in steps 1–3 of
“Editing the indexes.”
2Set parameters for the selected index.
For details on each parameter, refer to p.96 in the
Parameter Guide.
• Changing the “Top Key” will change the upper
limit of the zone. Simultaneously, the lower limit
of the next-numbered index will also change.
• If you check “Constant Pitch,” all notes in the
index zone will sound the sample at its original
pitch.
• “Pitch” adjusts the sample pitch for each index.
You can use the “Pitch BPM Adjust” page menu
command to set the loop interval to a desired BPM
value (☞p.97 in the Parameter Guide).
In pages P0–P4, you can select and execute the “Con-
vert MS To Program” page menu command. When you
execute this command, the settings of the currently
selected multisample will be converted into a program.
In Program mode you can make filter, amp and effect
settings etc., and play the sample as a program. The
resulting program can be used in a combination or
song.
For details on the “Convert MS To Program” page
menu command (☞p.84 in the Parameter Guide).
Multisample editing
Converting a multisample to a
program
85
Basic functions
Song Play mode
In Song Play mode you can read Standard MIDI Files
(SMF) directly from a floppy disk and play them. If
you simply want to play an SMF without editing it, it
will be convenient to select this mode.
●For details on how to access these pages or modes,
refer to “Basic operation of the TRITON” (☞p.12).
If the separately sold EXB-MOSS is installed, the
special bank F can be used in Song Play mode as
well. For details on the bank F parameters, refer to
the EXB-MOSS owner’s manual.
The parameter settings of Song Play mode are not
backed up when the power is turned off. If you
wish to save the program, track parameter, and
effect settings of the song, use the page menu com-
mand “Save Template Song” to save them. If you
wish to play SMF song data, you must first load it
from external media such as a floppy disk.
As shown in the diagram below, Song Play mode con-
sists of tracks 1–16, effects and arpeggiator.
About SMF
SMF data in format 0 or format 1 can be played back in
Song Play mode.
The TRITON recognizes only files with an extension of
.MID as SMF data. Be sure that the filename extension
is .MID.
About MIDI
Track status settings in Song Play mode
You can select whether the musical data played by a
track, or the data produced by operating the TRITON’s
keyboard and controllers will sound the TRITON’s
internal tone generator, and/or will sound an external
tone generator.
When the “Status” of a track is set to INT, the data
played back by that track and the data produced by
operating the keyboard or controllers of the TRITON
will play and control the TRITON’s internal tone gen-
erator.
The pages in Song Play mode
P0: Program/Mix Play SMF data and make settings.
Specify the program, pan, and level for
each track.
P1: Track Make MIDI and scale settings for each
track. If the separately sold EXB-MOSS
option is installed, set related parame-
ters.
P2: Controller Setup Controller settings.
P3: Select Directory/
Jukebox
Select the directory that contains the
desired SMF, and select the playback
order of SMF files. Create jukebox lists.
P4: ---
P5: ---
P6: ---
P7: Arpeggiator settings
P8: Insert Effect Select and make settings for insert
effects. Make settings for the routing,
insertion effects, master effects, and
individual output assignments of each
track in the song.
P9: Master Effect Select and make settings for the master
effects. Master EQ settings.
The structure of Song Play mode
Insert Effect 1 ... 5 : P8 AUDIO OUTPUT
L/MONO, R
Master Effect 1, 2 : P9
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
MasterEQ : P9
Controller Setup : P2 Arpeggiator : P7
Routing : P8-1
Track
Insert Effect
Master Effect
Individual Outputs
Track 1 Parameter settings Musical data
Track 2 Parameter settings Musical data
Track 3 Parameter settings Musical data
Track 4 Parameter settings Musical data
Track 5 Parameter settings Musical data
Track 6 Parameter settings Musical data
Track 7 Parameter settings Musical data
Track 8 Parameter settings Musical data
Track 16 Parameter settings Musical data
Song Play mode
86
When the “Status” of a track is set to EXT or BTH, the
data played back by that track and the data produced
by operating the keyboard or controllers of the TRI-
TON will play and control an external tone generator.
(The MIDI channel of the external tone generator must
match the “MIDI channel” of the TRITON track that is
set to EXT or BTH.) With a setting of BTH, the external
tone generator and the TRITON’s own tone generator
will be played and controlled simultaneously. (☞p.104
in the Parameter Guide “Status”)
GM/GS/XG playback
When you wish to playback SMF data that is compati-
ble with the GM/GS/XG standards, set “Bank Map”
(Global P0: System Pref. tab) to GM(2) (☞p.123).
(☞p.115 in the Parameter Guide).
Synchronization with external devices
In Song Play mode, the TRITON will be the master (the
controlling device) regardless of the MIDI Clock set-
ting (Global P1: MIDI “MIDI Clock”) (☞p.122).
Mute/Solo function
In P0: Play/Mix, the Program T01–08 and T09–16 tabs
provide PLAY/MUTE buttons and SOLO ON/OFF
buttons that allows you play and mute tracks 1–16 in
the same way as in Sequencer mode.
You can use these when you wish to mute the melody
track and play the part yourself on the keyboard
(“minus-one play”), or when you wish to audition a
track (☞p.62).
You can use the “Solo Selected Track” page menu com-
mand to audition only the currently selected track.
This provides a convenient way to hear the parameter
settings and effect settings of a track (☞p.47, 102 in the
Parameter Guide).
Insert effects and master effects
Refer to “About effects” (☞p.108) (☞p.109 in the Param-
eter Guide).
Direct playback from external media such as
a floppy disk
When you wish to playback SMF data that is com-
patible with the GM/GS/XG standards, set “Bank
Map” (Global P0: System Pref. tab) to GM(2).
1Press the [S.PLAY] key to enter Song Play mode.
2Insert a floppy disk containing SMF data into the
TRITON’s disk drive.
When the separately sold EXB-SCSI option is
installed. If you wish to load data from external
SCSI media such as a hard disk, refer to the EXB-
SCSI owner’s manual, and make sure that the exter-
nal SCSI drive etc. is connected. Also make sure that
the media contains SMF data.
3Press either the [LOCATE], [START/STOP], or
[PAUSE] key.
Data will be loaded from the media.
If you press the [START/STOP] key, the data will be
loaded and playback will begin (the same as in step
6).
4“File Select” will show the SMF filenames.
If there is no SMF data in the floppy disk, or if there
is no SMF data in the currently selected directory, no
filename will be displayed (as shown below).
If no jukebox list has been created, no filenames will
be displayed if the “Jukebox” check box is checked.
Uncheck the “Jukebox” check box.
Playing SMF data
File Select
87
Basic functions
To move to a directory that contains SMF data, press
the [MENU] key, and then press “P3: Select Direc-
tory” to display P3: Select Directory.
If the separately sold EXB-SCSI option is installed
and a hard disk etc. is connected, press the drive
select button to select the drive that contains the
desired data.
Then press the Open button or Up button to move
between levels, and find the desired SMF.
When the SMF file (make sure that the extension is
.SMF) appears in the LCD screen, press the [EXIT]
key, and move to P0: Prog/Mix.
5Press the “File Select” popup button. From the file
list, choose the filename that you wish to play
back.
6Press the [START/STOP] key.
Playback will begin. At this time, all songs dis-
played in the “File Select” popup button will play-
back consecutively (if “Auto Start” is checked).
7Press the [START/STOP] key once again to stop
playback.
Starting/stopping playback for each song
In the P0 Preference tab, uncheck “Chain to next file”
or “Auto Start,” and press the [START/STOP] key.
Playback will begin, and will stop when each song
ends. For details on these settings, refer to p.103 in the
Parameter Guide.
The TRITON 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.
A jukebox list you create will be erased when the
power is turned off, and can not be recovered. If
you wish to keep your jukebox list, refer to the sec-
tion“Saving a Jukebox list” (next page), and save it
on external media.
1Check the “Jukebox” check box.
2Select P3: Jukebox.
If the separately sold EXB-SCSI option is installed
and a hard disk etc. is connected, press the drive
select button to select the drive that contains the
data you wish to play back.
3Use the scroll bar to display the SMF (filename
extension .MID) that will be played first, and
select that file.
4Press the Add button.
The filename you specified in step 3 will appear in
the Jukebox list.
5Select the file that will be played second, and press
the Add button.
Add files to the Jukebox list in the order that they
will be played. A maximum of 100 files (00–99) can
be registered in the Jukebox list.
To delete a file from the Jukebox list, press the
Delete button.
6Press the [EXIT] key to display P0: Play/Mix.
7Press the [START/STOP] key.
The files will playback in the order in which they
were registered.
8Press the [START/STOP] key once again to stop
playback.
Only files in the same directory can be registered
in a jukebox list.
If you perform the following operations while cre-
ating a jukebox list, the jukebox list will be lost.
File Select
Playback using the Jukebox
function
Song Play mode
88
• Change the directory
• Remove the floppy disk
• Change drives
Saving a Jukebox list
Saving procedure
1Use the procedure described above to create a
jukebox list.
2If the separately sold EXB-SCSI option is installed
and you wish to save the list on a hard disk etc.,
use the P3: Jukebox drive select button to select the
drive in which you wish to save the data.
3In P3: Jukebox, select the “Save Jukebox List” page
menu command.
4Use the text edit button to enter a name for the
jukebox list (☞p.38).
5Press the OK button.
The jukebox list will be saved to the media.
Loading procedure
1In the Jukebox page, select a jukebox list (filename
extension .JKB).
2Press the “Load Jukebox List” page menu com-
mand.
The jukebox list will be loaded into the TRITON.
Minus-one play
You can enjoy “minus-one” play by playing back SMF
data, muting a specific part, and playing that part
yourself.
1Playback the SMF data, identify the track whose
part you wish to play, and stop playback (☞p.86).
2In P0: Prog/Mix, select the Prog. 1–8 tab or Prog. 9–
16 tab.
3Use “Play Track Select” to select the track for the
part that you want to play from the keyboard.
When you play the keyboard, the program of the
selected track will be heard.
4Press the “PLAY/MUTE” button to set the track
selected in step 3 to MUTE.
If you want the musical data of the track to playback
in addition to your own playing on the keyboard,
set “Play/Mute” to PLAY.
5Press the [START/STOP] key to begin playback,
and play along on the keyboard with the song.
Arpeggiator
During “minus-one” play, you can use the arpeggiator
for your keyboard performance (☞p.98). (☞p.107 in the
Parameter Guide)
Playing along with SMF data
89
Basic functions
Global mode
In Global mode you can make settings that affect the
entire TRITON, such as user scales, category names,
drum kits, and user arpeggio patterns.
This chapter will describe the procedure for editing a
drum kit. For the procedure of editing an user arpeg-
gio pattern, refer to “Arpeggiator settings” (☞p.96).
For details on the parameters of other pages (☞p.125).
(☞p.113 in the Parameter Guide)
When you play the keyboard in Global mode, the
TRITON will sound as in the previous mode in
which you were previously. Be aware that if you
moved from Sampling mode to Global mode in a
state where the sampling memory contained no
data (such as immediately after the power is
turned on), playing the keyboard will not produce
sound.
When you move from Sequencer or Song Play
mode to Global mode, playing the keyboard will
sound the program or arpeggiator that corre-
sponds to the global MIDI channel (set in Global
P1: MIDI page).
The settings that you edit in Global mode are pre-
served as long as the power remains on, but will
be lost when the power is turned off. The data han-
dled in Global mode can be classified into three
types: drum kit settings (P5), user arpeggio pat-
tern settings (P6), and all other global settings
(P0–P4). Each of these three types of data can be
written into the memory area. In Disk mode, this
data can also be saved on external media such as a
floppy disk (☞p.39).
Global mode does not provide a Compare function
that lets you make before-and-after comparisons
of your editing. Before editing global settings,
drum kits, or user arpeggio patterns, you may
wish to use “Copy Drum Kit” or “Copy Arpeggio
Pattern” to copy the drum kit or user arpeggio pat-
tern to an unused number.
●For details on how to enter each page or modes,
refer to “Basic operation of the TRITON” (☞p.12).
About the pages in Global mode
P0: Basic Setup Basic settings for the entire TRITON.
Audio input settings for use outside of
Sampling mode.
P1: MIDI MIDI-related settings for the entire TRI-
TON.
P2: Controller Controller settings for the pedals etc. con-
nected to the rear panel.
P3: User Scale User registered scale settings. Specify 16
octave scales, and one all-note scale.
P4: Category Name Edit category names for programs and
combinations.
P5: Drum Kit Edit drum kits.
P6: User Arpeggio Edit user arpeggio patterns.
P7: ---
P8: ---
P9: ---
Global mode
90
About drum kits
A drum kit assigns a drumsample (PCM waveform
data for a drum) to each key, and specifies adjustments
in pitch and level etc. for each sample.
The TRITON contains 73 drum kit memory areas. With
the factory settings, 00–15 (A/B) contain preset drum
kits suitable for various styles of music. ROM memory
areas 64–72 (GM) contain nine different drum kits
compatible with the GM2 sound map.
For the factory preset drum kits, refer to the separate
Voice Name List.
In Global P5: Drum Kit you can modify these preset
drum kits, or create your own original drum kit from
an initialized condition. You can also create original
drum kits using sample waveforms that you sampled
in Sampling mode or loaded into memory in Disk
mode.
A drum kit that you edit or create can be written into
one of the drum kit memory areas 00–63. In Disk
mode, you can save drum kits on external media such
as a floppy disk (☞p.39, p.40).
16(C)–31 and 32(D)–47(D) are provided for the
preset patterns of separately sold EXB-PCM series
option boards. Please use 48–63 (User) to write the
drum kits that you create.
Multisample programs and drum kit programs
There are two types of programs: those whose oscilla-
tor uses a multisample, and those whose oscillator
uses a drum kit.
This selection is made by the Program P1: Program
Basic tab “OSC Mode” setting. To use a multisample
for the program, set “Oscillator Mode” to Single or
Double. To use a drum kit, set “Oscillator Mode” to
Drums.
About program parameters
Just as the character and effect processing of a melodic
instrument such as piano, organ, trumpet, and strings
is fundamentally different from that of percussion
instruments such as drums or timpani, the program
parameter structure of a multisample program (“Oscil-
lator Mode” to Single or Double) is fundamentally
different from that of a drum kit program (“Oscillator
Mode” to Drums).
Since it is difficult to convert multisample program
parameters for use as a drum kit (because the filter and
amp settings etc. are made with a multisample pro-
gram in mind), it is best to first select a drum kit pro-
gram in Program mode, and then edit it in Global
mode.
Editing a drum kit
Before editing a drum kit, uncheck the Memory
Protect (☞p.37).
1In Program mode P0: Play, select the program that
you wish to use while editing the drum kit.
Select a drum kit program from the preset programs
etc. If the drum kit that you will be editing is
already being used by a program, select that pro-
gram. (In the separate Voice Name List, programs
that use a drum kit are marked by a symbol.)
When you wish to edit a drum kit, first use Pro-
gram mode to select a program that uses a drum
kit (whose “Oscillator Mode” is Drums), and then
move to this page. A program that uses a drum kit
will have filter, amp, and effect parameter settings
etc. suitable for drum sounds (☞“About program
parameter”).
Set “Octave” to +0 [8']. With a setting other than +0
[8'], the relation between the keys and the sounds
will be incorrect (☞p.6 in the Parameter Guide).
The effects will sound using the settings of the
last-selected program.
When you edit a drum kit, all programs that use
that drum kit will be affected.
2In P5: Drum Kit, select the Sample Setup tab.
3In “Drum kit Select,” select the drum kit that you
wish to edit.
If necessary, use the “Copy Drum Kit” page menu
command to copy settings from a preset drum kit or
a GM drum kit.
GM drum kits 64–72 (GM) cannot be selected here.
(It is not possible to edit or write a GM drum kit.)
If you wish to modify the settings of one of the
drum kits 64–72 (GM), you can use “Copy Drum
Kit” to copy it to 00–63, and then edit the copy.
4Press “KEY.”
5Select the note number that you wish to edit.
You can select a note number by the [VALUE] con-
trollers and also, holding down the [ENTER] key
and playing a note on the keyboard.
The parameter settings for the drumsample of the
selected note number will appear.
Creating a drum kit
d
91
Basic functions
6Refer to the explanations below for the “Sample
Setup tab” and “Voice/Mixer tab,” and make the
desired settings.
The parameters are located in the Sample Setup tab
and the Voice/Mixer tab.
7As necessary, repeat steps 4–6 to set the parame-
ters for each key.
To change the drum kit name, use the “Rename
Drum Kit” page menu command (☞p.38).
8If you wish to save the edited drum kit into inter-
nal memory, be sure to Write the drum kit.
If you turn off the power without writing, your
edits will be lost (☞p.39).
Sample Setup tab
Assign
Normally you will check this. The settings of each
parameter will be valid. If this is unchecked, drum-
sample parameters will not be assigned to that key.
Playing that key will sound the settings of the key to its
right, at a pitch one semitone lower. Use this when you
wish to play a tom or cymbal with the same settings
but with a different pitch.
Velocity Sample SW Lo → Hi
You can specify different drumsamples for High
Drumsample and Low Drumsample, and use velocity
(keyboard playing dynamics) to switch the drumsam-
ple that will sound. This is referred to as velocity
drumsample switching.
☞This function is similar to the velocity multisample
switching of a program (☞p.46 “About High/
Low”).
If you are not using this function, set the “Velocity
Sample SW Lo → Hi” value to 001. When you play,
only the High Drumsample will sound.
Bank
Some EXB-PCM series boards do not contain
drumsamples.
About ROM drumsamples
The TRITON contains 413 drumsamples in its internal
ROM memory.
When you press the popup button, the ROM drum-
samples will be displayed in 15 different categories.
You can use the tabs located at the left and right to
select a category, and choose drumsamples from the
selected category in the LCD screen.
For the drumsample names, refer to the separate Voice
Name List.
Voice/Mixer tab
Exclusive Group
Make this setting when you want to group related
drumsamples together.
For example if the “KEY” to which a open hi-hat and a
closed hi-hat drumsample are assigned are set to the
same exclusive group number, they will be grouped so
that the open hi-hat and closed hi-hat can not be
sounded simultaneously, ensuring that the hi-hat per-
formance will sound natural.
BUS Select (IFX Indiv.Out Assign)
The drumsample assigned to the “KEY” can be sent to
an insert effect or to one of the AUDIO OUTPUT
(INDIVIDUAL) 1–4 jacks.
For example you can specify IFX1 for snare drums and
IFX2 for kick drums, so that different types of drums
are sent to insert effects 1 and 2. Alternatively, you can
set this to 1–4, 1/2 or 3/4 so that only specific drum
sounds are sent to the AUDIO OUTPUT (INDIVID-
UAL) 1–4 jacks.
These settings are valid if “Use DKit Setting” (Program
P8: Routing tab) is checked in the Routing tab of Pro-
gram P8 for the program that uses this drum kit
(☞p.24, 147, 148 in the Parameter Guide).
Pan
This sets the panning. This setting is valid if “Use DKit
Setting” (Program P4: Amp1 Lvl/Pan tab) is checked.
Send 1 (MFX1), Send 2 (MFX2)
These set the send levels to the master effects. This set-
ting is valid if “Use DKit Setting” (Program P8: Rout-
ing tab) is checked.
Other parameters
The parameters in the Sample Setup tab are set inde-
pendently for the High Drumsample and the Low
Drumsample. The parameters in the Voice/Mixer tab
apply to both the High and Low Drumsamples.
If you wish to use the settings from another “KEY,”
you can use the “Copy Key Setup” page menu com-
mand. For details on each parameter (☞p.123 in the
Parameter Guide).
ROM: Select drumsamples from the TRITON’s inter-
nal ROM memory.
RAM: Select samples that were sampled in Sampling
mode or loaded in Disk mode.
EXB*: Select drumsamples from a separately sold
EXB-PCM series option board.
Global mode
92
Disk mode
In Disk mode you can use floppy disks or a connected
external SCSI device (if the separately sold EXB-SCSI is
installed) to save or load various types of data. You can
also make settings related to saving and loading func-
tionality.
For details on connecting an external SCSI device and
setting the ID etc., refer to the owner’s manual for the
separately sold EXB-SCSI option.
The pages of Disk mode
Types of media that can be used
Floppy disks
The TRITON can use MS-DOS format 3.5 inch 2HD or
2DD floppy disks. The capacity of a floppy disk after
formatting will be 1.44 MB (18 sectors/track) for a 2HD
disk, or 720 KB (9 sectors/track) for a 2DD disk. (☞For
details on formatting, refer to p.142 of the Parameter
Guide.)
We recommend that you use 2HD floppy disks.
External SCSI storage media (when the sepa-
rately sold EXB-SCSI option is installed)
If the separately sold EXB-SCSI option is installed, the
TRITON can save data on external SCSI media (maxi-
mum 4 GB) such as a hard disk, Zip, Jaz, or MO drive.
When the EXB-SCSI option is installed, an external
SCSI device of up to 4 GB can be formatted.
This format cannot be executed for media that is
not 512 bytes/block (such as 640 MB MO disks
etc.).
Types of data that can be loaded
The various types of data that can be loaded from
external media (floppy disk etc.) are shown in the illus-
tration on the following page. For details on each type
of data, refer to p.132 in the Parameter Guide.
If the separately sold EXB-SCSI option is installed, data
can also be loaded from media such as a hard disk or
CD-ROM.
Data loading procedure
Loading Programs, Combinations, Drum kits,
User arpeggio patterns, and Global settings
(loading a .PCG file)
As an example, we will explain how to load a .PCG
file. A .PCG file contains programs, combinations,
drum kits, user arpeggio patterns, and global settings
(refer to the lower diagram on the following page).
You will select a .PCG file for loading when you wish
to re-load a set of programs and combinations etc. that
you created and saved by the “Save All” or “Save
PCG” command, or when you wish to restore the pre-
loaded data (factory settings) from the included floppy
disk. You will normally use this method to load a .PCG
file from a floppy disk that was included with the
separately sold EXB-PCM series option or EXB-
MOSS option.
Before loading programs, combinations, songs,
drum kits, and user arpeggio patterns, you must
turn off memory protect in Global mode (☞p.37).
1If you will be loading data from a floppy disk,
insert the floppy disk into the TRITON’s floppy
disk drive.
Please be sure to read “Cautions when handling
floppy disks” for details on handling floppy disks
(☞p.95).
(If the separately sold EXB-SCSI option is
installed) Before loading from external SCSI
media such as a hard disk, refer to the EXB-SCSI
owner’s manual, and make sure that the external
SCSI drive is connected correctly and that the
media contains the file that you wish to load.
Load Load the selected file or directory into
internal memory.
Save Save data from internal memory to exter-
nal media such as a disk.
Utility Rename, copy, or delete a disk or file, cre-
ate new directories, and set the date and
time.
Media Information View information for the selected media.
How Disk mode is organized Loading data
93
Basic functions
2Press the [DISK] key. You will enter Disk mode.
3Press the Load tab.
The screen will appear, and file information will be
displayed.
4If you are loading from external SCSI media, press
the drive select button to select the drive that con-
tains the data to be loaded.
5Select a .PCG file.
The display will be highlighted.
If the file to be loaded is located in a level above or
below the current directory, use the Open button or
Up button to display the file so that it can be
selected.
When you load a .PCG file, the data in the TRI-
TON’s internal memory will be replaced by the
data in that .PCG file (programs, combinations,
drum kits, user arpeggio patterns, global settings).
If you wish to keep the data that is currently in
internal memory, use “Save All” or “Save PCG” to
save it.
6Press the page menu button, and press the “Load
Selected” page menu command.
A dialog box will appear. The display and settings
of the dialog box will depend on the type of file to
be loaded. For details on each type of file, refer to
p.132 in the Parameter Guide.
7If “Load ********.SNG too” is checked when you
load the data, the .SNG file will also be loaded at
the same time that the .PCG file is loaded.
If “Load ********.KSC too” is checked when you
load the data, the .KSC file will also be loaded at
the same time that the .PCG file is loaded.
8Press the OK button and the date will be loaded.
Never attempt to remove the media while data is
being loaded.
Drive select
button
.PCG file All programs 1 program bank
[A–F]
1 program
All combinations 1 combination bank
[A–D]
1 combination
All drum kits 1 drum kit group
[A/B, C, D, User]
1 drum kit
All user arpeggio
patterns
1 user arpeggio
pattern group [A/B, C, D]
1 user arpeggio
pattern
Global settings
.SNG file
1 song
[000–199]
Track
1 user pattern
[U00–99]
Cue list
.EXL file
.JKB file
.KSC file
.KMP file
.KSF file
.MID file
Files that can be loaded
.AIF file
.WAV file
AKAI format program file
AKAI format sample file
DOS directory Undefined DOS file
DOS files DOS file
Up Open
Disk mode
94
Loading a .PCG file from the floppy disk included
with a separately sold EXB-PCM series option
When loading EXB-PCM series programs and combi-
nations, use the following procedure. When doing so,
you will specify the loading destination bank (C, D) in
step 5.
To load the data into bank C, select “C_BANK.PCG.”
To load the data into bank D, select “D_BANK.PCG.”
When you load “C_BANK.PCG,” the programs and
combinations of banks A, B, and C, all drum kits, all
user arpeggio patterns, and global setting data will be
loaded into the internal memory area of the TRITON,
and any prior data will be overwritten.
When you load “D_BANK.PCG,” the programs and
combinations of banks A, B, and D, all drum kits, all
user arpeggio patterns, and global setting data will be
loaded into the internal memory area of the TRITON,
and any prior data will be overwritten.
If you wish to keep the data that is in the internal
memory area, use “Save All” or “Save PCG” to
save it before loading other data.
For the procedure of saving data to a floppy disk or to
external SCSI media, refer to “Saving on external
media” (☞p.40).
Types of data that can be saved
The following types of data can be saved on external
media (floppy disk etc.). If the separately sold EXB-
SCSI option is installed, data can also be saved on
high-capacity media such as a hard disk.
• .PCG files
Programs, combinations, global settings, drum kits,
user arpeggio patterns (the data specified by the
check boxes when saving will be saved).
• .SNG files
Songs and cue lists
• .KSC files
Script file (KSC files) listing the multisamples and
samples created in Sampling mode, with multisam-
ples (KMP files) and samples (KSF files)
• Standard MIDI files (SMF)
Sequencer mode songs can be saved as SMF data.
• System exclusive data
System exclusive data received by the TRITON from
an external MIDI device (the TRITON can be used
as a data filer).
For the icons associated with each file, refer to the
lower diagram on the preceding page.
The TRITON can format a floppy disk or external SCSI
media.
Newly purchased media or media that has been used
by another device cannot be used as it is. Such media
must be formatted before using it on the TRITON for
the first time.
For the formatting procedure, refer to p.143 in the
Parameter Guide.
In the case of a floppy disk, the formatting operation
can be performed on a MS-DOS compatible computer.
In the case of SCSI media, you must use the TRITON to
format the media.
This format cannot be executed for media that is
not 512 bytes/block (such as 640 MB MO disks
etc.).
Saving data
Formatting media
95
Basic functions
When handling floppy disks, please observe the fol-
lowing points. Data loss may occur if a floppy disk is
handled improperly.
Floppy disk type and format
The TRITON can use 2HD or 2DD 3.5 inch floppy
disks.
Floppy disk handling
• Do not open the shutter of a floppy disk or touch
the magnetic surface inside the disk. If the
magnetic disk becomes soiled or scratched, it will
no longer be possible to read data.
• Never transport the TRITON with a floppy disk in
the disk drive. Vibration may cause the disk drive
heads to scratch the floppy disk, making it
unusable.
• Do not allow a floppy disk to be placed near a
device that emits a magnetic field, such as a
television, computer, computer display, speaker, or
power supply transformer. This can erase data on
the disk.
• Do not use or store floppy disks in locations of
excessive temperature or humidity, in direct
sunlight, or in dusty or dirty locations.
• Do not place objects on top of a floppy disk.
• While the disk drive is operating, do not attempt to
remove the floppy disk, and do not subject the
TRITON to physical shock.
Floppy disk write protect
Floppy disks have a small write protect hole that can
be used to prevent data from being erased or rewritten
accidentally.
After saving data to disk, move the write protect tab so
that the hole is uncovered. This will prohibit writing to
the disk, and will prevent the data from being
destroyed accidentally.
Inserting a floppy disk
With the label of the floppy disk facing upward, insert
it into the disk drive. Press the disk inward until it
clicks into place.
Malfunctions will occur if you use excessive force to
insert the disk. Disks must be inserted gently, and
straight in.
Removing a floppy disk
To remove a floppy disk, first make sure that the disk
access indicator is dark. Then press the eject button
and remove the disk.
If the disk does not come out when you press this but-
ton, do not attempt to remove the disk by force. Please
contact your dealer.
Head cleaning
If the heads of the disk drive are soiled, errors may
occur during saving or loading. It is important to clean
the heads regularly using a commercially available
wet-type 3.5 inch double-sided head cleaning disk. For
the cleaning procedure, refer to the owner’s manual for
your cleaning disk.
Cautions when handling floppy
disks
Write permit: Move the tab
so that the write protect hole
is covered.
Write prohibit: Move the tab
so that the write protect hole
is open.
Disk access
indicator
Disk access
indicator Eject button
Disk mode
96
Arpeggiator settings
This chapter describes the procedure for making
arpeggiator settings in each mode. For details on the
arpeggiator function, refer to “Using the arpeggiator
while you play” (☞p.29).
Arpeggiator on/off
Each time you press the ARPEGGIATOR [ON/OFF]
key, the arpeggiator will be switched on or off. When
on, the LED will light. When you play the keyboard, an
arpeggio will play according to the selected arpeggio
pattern.
The on/off setting is stored when the program is
written.
Arpeggiator settings
1In Program P7: Edit-Arpeggiator, select the
Arpeg.Setup tab.
2In “Arpeggiator Tempo,” set the tempo.
You can also rotate the ARPEGGIATOR [TEMPO]
knob to adjust this. The LED will blink at the speci-
fied timing.
If “MIDI Clock” (Global P1: MIDI) setting is set to
External MIDI or External PCI/F, this setting will be
displayed as “ =” EXT. This allows the tempo to
synchronize to an external MIDI device. In this case,
it is not possible to adjust the tempo on the TRI-
TON.
3In “Pattern,” select the arpeggio pattern.
Select from preset arpeggio patterns P000–P004 and
user arpeggio patterns U000–231. You can use
numeric keys [0]–[9] to select user arpeggio patterns
U000–231.
The way in which the pattern is played will depend
on settings such as “Octave” and “Sort.” P000–P004
in the following diagrams show how the arpeggio
will be played when “Octave” is set to 1, and “Sort”
is checked. P004: RANDOM is one possibility.
P000: UP
P001: DOWN
P002: ALT1
P003: ALT2
P004: RANDOM
U000(A/B)–U199 (A/B)
With the factory settings, various arpeggio patterns
are preset. These include a variety of patterns such
as drum or bass phrases, or guitar or keyboard
backing riffs.
Arpeggio pattern names are listed in the separate
Voice Name List.
U200–U215 (C)/U216–U231 (D)
With the factory settings, these do not contain pat-
terns.
If certain separately sold EXB-PCM series option
boards are installed and the included disk is loaded,
Arpeggiator settings for a pro-
gram
UP
DOWN
ALT1
ALT2
RANDOM
97
Basic functions
other arpeggio patterns will be added to U200–
U215(C)/U216–U231(D).
4Make settings for the various parameters.
“Octave”: Select the octave range in which the
arpeggio will be played.
If a user arpeggio pattern is selected, the “Octave
Motion” setting (Global P6: Pattern Setup tab) will
affect the way in which the arpeggio is played.
“Resolution”: Specify the spacing of the arpeggio
notes over a range of 3 – .
“Gate”: Specify the length (gate time) of each note in
the arpeggio. If a user arpeggio pattern is selected, you
can set this to Step. In this case, the value of the “Gate”
setting for each step (Global P6: Pattern Edit tab) will
be used.
This is the setting that will apply when the
ARPEGGIATOR [GATE] knob is in the center posi-
tion (12 o’clock). When setting this parameter,
make sure that the knob is in the center position.
“Velocity”: Specify the velocity of the notes in the
arpeggio. If this is set to Key, the velocity with which
you actually played the note will be used. If a user
arpeggio pattern is selected, you can set this to Step. In
this case, the value of the “Velocity” setting for each
step (Global P6: Pattern Edit tab) will be used.
This is the setting that will apply when the
ARPEGGIATOR [VELOCITY] knob is in the center
position (12 o’clock). When setting this parameter,
make sure that the knob is in the center position.
When a preset user arpeggio pattern is selected,
setting the “Gate” or “Velocity” to Step will add a
sense of groove to the arpeggio pattern.
“Swing”: This adjusts the timing of the even-num-
bered notes in the arpeggio (counting from the first
note), to give the pattern a sense of “swing.”
“Sort”: If this is checked, the notes of the arpeggio
will be sounded in the order of their pitch, regard-
less of the order in which the notes were actually
played on the keyboard (ON).
If this is unchecked, the notes of the arpeggio will
be sounded in the order in which they were actually
played on the keyboard (OFF).
“Latch”: If this is checked, the arpeggio will con-
tinue playing when you remove your hand from the
keyboard.
If this is unchecked, the arpeggio will stop when
you remove your hand from the keyboard.
“Key Sync.”: If this is checked, the arpeggio pattern
will start from the beginning when you play a note
after having released all notes. This setting is suit-
able when you are playing in realtime, and want the
arpeggio to start at the beginning of the measure.
If this is unchecked, the arpeggio pattern will
always be synchronized to the tempo of the MIDI
clock. For details on synchronization, refer to
“About arpeggiator synchronization” (☞p.105).
“Keyboard”: If this is checked, the notes you play
on the keyboard will be heard as well as the arpeg-
giated notes.
If this is unchecked, only the arpeggiated notes will
be heard.
These are linked to the identically-named parame-
ters in the P0: Arpeggio tab. They can be edited in
the same way from either location.
You can use the “Copy Arpeggiator” page menu
command to copy arpeggiator settings from
another program or combination (☞p.23 in the
Parameter Guide).
5In the Scan Zone tab, specify the range in which
the arpeggiator will operate.
“Top Key,” “Bottom Key”: The arpeggiator will
operate when you play keys within the specified
range. Keys outside of this range can be played in
the normal manner, and will not be affected by the
arpeggiator on/off.
Octave: 4
UP
ON, UP
Sort
OFF, UP
Sort
① ③ ② ④
Arpeggiator settings
98
For example, suppose that you set “Pattern Select”
to P0: UP, check “Latch,” set “Top Key” to B3 and
“Bottom Key” to C–1. The arpeggiator will operate
when you play keys in the range of B3 and below.
Since “Latch” is on, the arpeggio will continue
playing even after you release your hand from the
keyboard. You can use the keys above B3 to play
normally in realtime, to the accompaniment of the
arpeggio. To change the chord that is being arpeg-
giated, play a different chord in the range below
B3.
“Top Velocity,” “Bottom Velocity”: The arpeggiator
will operate when you play notes with a velocity
(playing strength) that is within the specified range.
Notes played with a velocity outside this range will
be sounded normally, without regard to the arpeg-
giator on/off.
6If you wish to save the edited program settings to
internal memory, turn off memory protect in Glo-
bal mode (☞p.37), and write the program (☞p.38).
Linking the arpeggiator to a program
If you want the arpeggiator settings written in a pro-
gram to be selected when that program is selected,
check Program for “Auto Arpeggiator” (Global P0:
Basic tab).
In Combination, Sequencer, and Song Play modes, the
TRITON provides dual arpeggiator functionality that
lets you use two arpeggio patterns simultaneously. The
settings in each of these modes are made in the similar
way.
As an example, the following explanation shows how
to make settings in Combination mode. For a detailed
explanation and example settings (☞p.39, 73, 107 in the
Parameter Guide).
The dual arpeggiator functionality lets you do the fol-
lowing things.
• Assign an arpeggiator for each timbre. Choose
from Off, (arpeggiator) A, or (arpeggiator) B.
☞step5
• Independently specify whether A and B will
operate. ☞step6
• Select an arpeggio pattern and set parameters
independently for A and B. ☞step7
• Make Scan Zone settings so that you can use
keyboard range or playing velocity to switch
between normal playing and arpeggiated playing,
or to switch between arpeggiators A and B.
☞step8
• Make settings for timbres that will be silent when
the arpeggiator is not operating, and will sound
only when the arpeggiator is operating. ☞step0
Arpeggiator on/off
Each time you press the ARPEGGIATOR [ON/OFF]
key, the arpeggiator will be switched on or off. When
on, the LED will light. The selected arpeggio pattern
will begin when you play the keyboard. The on/off
setting is saved when the program is written into
memory.
When “Arpeggiator Assign” is Off, turning it on
will not make the arpeggiator operate if “Arpeg-
giator Run are unchecked.
Arpeggiator settings
Select any desired programs for the timbres 1–4 that
we will be using as an example here.
1Select Combination P1: Edit-Program/Mixer.
Select any desired programs for the timbres 1–4 that
we will be using as an example here.
2In Combination P2: Edit-Trk Param, select the
MIDI Channel tab.
For the timbres that you will be using, set “Status”
to INT, and set “MIDI Channel” to Gch or to the
global MIDI channel (set in Global P1: MIDI “MIDI
Channel”).
Arpeggiator settings in Combi-
nation, Song, and Song Play
modes
99
Basic functions
For this example, set timbres 1–4 to a “Status” of
INT, and timbres 5–8 to a “Status” of Off. Set the
“MIDI Channel” of timbres 1–4 to Gch.
3In Combination P7: Edit-Arp., select the Setup tab.
4Set the ARPEGGIATOR [TEMPO] knob to specify
the tempo.
This is the same as for a program (☞p.96). However,
the tempo is shared by both arpeggiators A and B.
5Make “Arpeggiator Assign” settings.
Assign arpeggiator A or B to the desired timbres.
Each timbre will be played by the arpeggiator that
has been assigned to it.
In the example shown in the illustration, arpeggia-
tor A is will play timbres 1 and 2, and arpeggiator B
will play timbre 3.
6Make “Arpeggiator Run” settings.
Check the arpeggiator(s) that you want to operate.
The arpeggiator(s) checked here will run when the
ARPEGGIATOR [ON/OFF] key is turned on.
With the settings shown in the LCD screen for steps
2 and 3, turning the ARPEGGIATOR [ON/OFF]
key on will cause arpeggiator A to operate for tim-
bres 1 and 2, and arpeggiator B to operate for timbre
3. When the ARPEGGIATOR [ON/OFF] key is
turned off, timbres 1–4 will sound as a layer.
If all timbres “Arpeggiator Assign” are Off, or if
neither “Arpeggiator Run” A or B is checked, the
arpeggiator will not function.
7In the Arpeggiator A and Arpeggiator B tabs, set
the parameters for arpeggiators A and B.
The parameters for A and B are the same as for a
program (☞p.96).
8In the Scan Zone tab, specify the range in which
arpeggiators A and B will operate.
The parameters for A and B are the same as for a
program (☞p.97).
You can use keyboard ranges or playing velocity to
operate the arpeggiator, or to switch between arpeg-
giators A and B. By setting the Key Zone tab and Vel
Zone tab parameters of Combination P4: Edit-
Zone/Ctrl to set keyboard ranges and velocity
ranges in conjunction with each other, you can cre-
ate even more variations.
9If you wish to save the edited combination settings
in internal memory, turn off memory protect in
Global mode (☞p.37), and write the combination.
(☞p.38).
0The “Status,” “MIDI Channel” and “Arpeggiator
Assign” settings shown in the LCD screen of steps
2 and 3 can be made so that certain timbres will
sound only when the arpeggiator is running, and
will be silent when the arpeggiator is not running.
Although this is a somewhat sophisticated editing
technique, we will describe the settings of one of the
preset combinations as an example.
Combination A003: Drum’n’Bass Kit
Select combination A003: Drum’n’Bass Kit, and play
it.
Before you play, make sure that the global MIDI chan-
nel (Global P1: MIDI “MIDI Channel”) is set to 01.
• Arpeggiator A is assigned to T (timbre) 7 and 8.
When you play the keyboard, only the T8 program
B068: Drum’n’Bass Kit will be sounded by the
U158 (A/B): Drum’n’Bass 6 arpeggio pattern.
• The arpeggio pattern will use the “Arpeggio Tone
Mode” (Global P6: User Arpeggio, Pattern Setup
tab) Fixed Note, as appropriate for a drum
arpeggio performance. With this setting, the
arpeggio pattern will always be played with the
specified pitches, regardless of the note numbers
played on the keyboard (☞p.127 in the Parameter
Guide).
• The A “Top Key” and “Bottom Key” (Combination
P7: Scan Zone tab) are set so that arpeggiator A
will operate only for notes B3 and lower.
• Arpeggiator A is also assigned to T7, but this is so
that the T8 program B068: Drum’n’Bass Kit will
sound only when the arpeggiator is on.
Notice the timbre settings for T7 and T8
• When the arpeggiator is off, playing the keyboard
will sound timbres that are set to Gch or the global
MIDI channel (in this example, 01). T8 will not
sound since its “MIDI Channel” of 02. T7 will not
sound since its “Status” is Off, even if T7 is set Gch.
• The arpeggiator will be operated by any MIDI
channel assigned to a timbre. In this example, these
are MIDI channels 02 and Gch (global MIDI
Status MIDI Channel Arpeggiator Assign
T7 Off Gch A
T8 INT 02 A
Arpeggiator settings
100
channel). When the arpeggiator is on, playing the
keyboard will cause arpeggiator A (which is
assigned to T7 (Gch)) to run. T8 will be sounded
by arpeggiator A. T7 will not sound since its
“Status” is Off.
• In this example, the “Status” of T7 is Off, so it will
not sound regardless of whether the arpeggiator is
on or off. It is a "dummy" timbre that is used to
make T8 sound only when the arpeggiator is on.
Combination B86: [<Moon Jam>]
Select and play combination B86: [<Moon Jam>].
Before you play, make sure that the global MIDI chan-
nel (Global P1: MIDI “MIDI Channel”) is set to 01.
• Arpeggiator A is assigned to T3, and arpeggiator B
is assigned to T6 and 7. When you play the
keyboard, the T3 program A012: Smooth Sine
Lead will be sounded by the arpeggio pattern
P000: UP. The T6 program A020: House Kit will be
sounded by the arpeggio pattern U161: House 2
BD&SD.
• The A and B “Top Key” and “Bottom Key”
(Combination P7: Scan Zone tab) are set so that
arpeggiators A and B will operate only for the C4
note and above.
• Arpeggiator B is assigned to T7 as well, but this
setting is so that the T6 program A020: House Kit
will sound only when the arpeggiator is on. Refer
to the preceding section “Select and play
Combination A003: Drum’n Bass Kit.”
Linking the arpeggiator to the combination
If you want the arpeggiator settings of a combination
to become active when that combination is selected,
check Combination for “Auto Arpeggiator” in the
Basic tab of Global P0: Basic Setup.
About user arpeggio patterns
The patterns that can be selected on the TRITON’s
arpeggiator are called “arpeggio patterns.” There are
two types of arpeggio patterns: preset arpeggio pat-
terns and user arpeggio patterns.
Preset arpeggio patterns: There are five patterns; UP,
DOWN, ALT1, ALT2, and RANDOM. The operation
of these patterns is fixed, and cannot be edited. (☞p.29
“Using the arpeggiator while you play”)
User arpeggio patterns: There are 232 patterns
U000(A/B)–U213(D) which can develop chords or
phrases in a wide variety of ways, based on the pitches
that you play on the keyboard or the timing at which
you play them. These patterns can be edited.
With the factory settings, U000(A/B)—U199(A/B) con-
tain a diverse assortment of arpeggio patterns (☞the
separate Voice Name List).
In Global P6: User Arpeggio you can modify these user
arpeggio patterns, or create a new user arpeggio pat-
tern from an initialized condition. Edited user arpeg-
gio patterns can be written to internal memory areas
U000(A/B)–U231(D). In Disk mode, they can also be
saved on external media such as a floppy disk. (☞p.39,
p.40)
U200 (C)–U215 (C) and U216(D)–U213(D) are pro-
vided as preset arpeggio patterns for certain sepa-
rately sold EXB-PCM series option boards.
Editing a user arpeggio pattern
When you wish to edit an user arpeggio pattern,
first turn off memory protect by unchecking the
Memory Protect “user arpeggio pattern” check
box in the Preference tab of Global P0: Basic Setup.
If you move here from Program mode, your editing
will apply to the arpeggio pattern specified for the
selected program.
1In Program mode, select a program for which the
arpeggio pattern you wish to edit is selected, or a
program that you wish to use as a basis for editing
the arpeggio pattern.
2Press the ARPEGGIATOR [ON/OFF] key to turn
on the arpeggiator (the LED will light).
Even if you moved to Global mode from a program in
which the arpeggiator was turned off, you can use the
ARPEGGIATOR [ON/OFF] key to turn it on.
Creating an user arpeggio pat-
tern
101
Basic functions
3In Global P6: User Arpeggio, select the Pattern
Setup tab.
4If you moved here from Program mode, A will
automatically be selected for “Arpeggiator Select.”
5In “Pattern,” select the arpeggio pattern that you
wish to edit.
For this example, select an empty user arpeggio
pattern.
If you have moved from Program mode, the arpeg-
gio pattern selected by the program will be dis-
played.
If a blank pattern is selected, playing the keyboard
will not start an arpeggio. Although preset arpeg-
gio patterns P000–P004 can be selected, they can-
not be edited.
When you edit a user arpeggio pattern, the
changes will have an effect anytime that this pat-
tern is used in Program, Combination, Sequencer,
or Song Play mode.
6In “Length,” specify the length of the pattern.
After the pattern has played for the length specified
here at the note interval specified by “Resolution,” it
will return to the beginning. This setting can also be
changed during or after editing. For this example,
set it to 8.
For the preset arpeggio patterns U000(A/B)–
U199(A/B), simply changing the “Length” can sig-
nificantly change the character of the pattern. Try
changing the length and listening to the result.
7Make settings for the “,” “Octave,” “Resolution,”
“Sort,” “Latch,” “KeySync.,” and “Keyboard”
parameters.
These are program parameters, but can be set from
here as well.
If after moving here from Program mode, you mod-
ify these parameters and wish to keep your changes,
return to Program mode and write the program.
These parameters are not saved by “Write Arpeggio
Pattern.”
For this example, make the settings shown in the
illustration 3.
8In Arpeggio Pattern Setup, make settings to spec-
ify how the arpeggio will be played.
These settings can be changed during or after edit-
ing (☞p.127 in the Parameter Guide).
9Select the Pattern Edit tab.
A pattern consists of Steps and Tones.
•Step: A user arpeggio pattern can have a
maximum of 48 steps. The arpeggiator will play
from the first step, at intervals of the note value
specified by “Resolution.” The vertical lines of
the grid shown in the center of the LCD screen
indicate the steps.
Use “Step No.” to select the step. For each step,
specify “Pitch Offset,” “Gate,” “Velocity” and
“Flam.”
•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. Each time you press a [0]–[9], [–], or [./
10’s HOLD] key, the corresponding tone will be
turned on/off. The horizontal lines of the grid
shown in the center of the LCD screen indicate
the tones.
Tone00–09: [0]–[9] keys
Tone10: [–] key
Tone11: [./10’s HOLD] key
Creating an example pattern
1Set “Step No.” to 01, and press the [0] key.
2Set “Step No.” to 02, and press the [1] key.
3Set “Step No.” to 03, and press the [2] key.
4Set “Step No.” to 04, and press the [1] key.
5Set “Step No.” to 05, and press the [3] key.
6Set “Step No.” to 06, and press the [1] key.
7Set “Step No.” to 07, and press the [2] key.
8Set “Step No.” to 08, and press the [1] key.
Arpeggiator settings
102
You can also select “Step No.” by using the
[ ][ ] keys, the [VALUE] slider, the [VALUE]
dial, or the popup menu.
9When you play the keyboard as shown in the illus-
tration, the arpeggiator will begin playing.
Tone 0 corresponds to the pitch of the lowest key of
chord you play on the keyboard. (If “Sort” is
unchecked, it will correspond to the pitch of the
first note you play.)
0For steps 01–08, make settings for “Pitch Offset,”
“Gate,” “Velocity,” and “Flam.”
“Pitch Offset”: This offsets the pitch of the arpeggio
note in semitones up or down. You can input the
same tone for each step, and change the “Pitch Off-
set” value for each to create a melody using a single
tone. (☞“Melody pattern”)
“Gate”: Specify the length of the arpeggio note for
each step. With a setting of Legato, the note will
continue sounding either until the next note of the
same tone or until the end of the pattern. With a set-
ting of Off, the note will not sound.
“Velocity”: Specify the strength of the note. With a
setting of Key, the note will sound at the strength
with which it was actually played.
The “Gate” and “Velocity” settings you make here
will be valid if the “Gate” and “Velocity” parame-
ters (Program P7: Edit-Arpeggiator, Arpeg. Setup
tab) of the program selected in Program mode are
set to Step. If these parameters have a setting other
than Step, the “Gate” and “Velocity” that were
specified for each individual step will be ignored,
and all notes of the arpeggio will sound according
to the settings in Program P7: Edit-Arpeggiator. Be
sure to verify the settings of the program.
Set the “Gate” and “Velocity” by using the
ARPEGGIATOR [GATE] and [VELOCITY] knobs
to the center position (12 o’clock).
ATo change the user arpeggio pattern name, use the
“Rename Arpeggio Pattern” page menu command
(☞p.38).
BIf you wish to save the edited user arpeggio pat-
tern to internal memory, be sure to Write the user
arpeggio pattern (☞p.39).
If you turn off the power without writing, the edited
contents will be lost.
CIf you wish to save the state of the program at the
same time, return to Program mode and write the
program (☞p.38).
Other examples of creating a user arpeggio pat-
tern
Melody pattern
1Set “Step No.” to 01, and press the [0] key.
Set “Pitch Offset” to +00.
2Set “Step No.” to 02, and press the [0] key.
Set “Pitch Offset” to +10.
3Set “Step No.” to 03, and press the [0] key.
Set “Pitch Offset” to +00.
4Set “Step No.” to 04, and press the [0] key.
Set “Pitch Offset” to +00.
5Set “Step No.” to 05, and press the [0] key.
Set “Pitch Offset” to +12.
6For “Step No.” 06, do not enter a tone.
7Set “Step No.” to 07, and press the [0] key.
Set “Pitch Offset” to +00.
8Set “Step No.” to 08, and press the [0] key.
Set “Pitch Offset” to –02.
Chordal pattern
1Set “Step No.” to 01, and press the [0] key.
2For “Step No.” 02, do not enter a tone.
3Set “Step No.” to 03, and press the [1], [2], [3], [4]
keys.
4Set “Step No.” to 04, and press the [1], [2], [3], [4]
keys.
103
Basic functions
5For “Step No.” 05, do not enter a tone.
6Set “Step No.” to 06, and press the [1], [2], [3], [4]
keys.
Set “Gate” to Legato.
7For “Step No.” 07, do not enter a tone.
8Set “Step No.” to 08, and press the [1], [2], [3], [4]
keys.
In Program mode, select an acoustic guitar pro-
gram, and then select the user arpeggio pattern you
create here. In Program P7: Edit-Arpeggiator,
choose the Arpeg.Setup tab and set “Gate” to Step.
Return to the Pattern Edit tab of Global P6: User
Arpeggio. Set “Flam” to positive (+) values for odd-
numbered steps, and to negative (–) values for
even-numbered steps. This will simulate the charac-
teristic nuances of guitar chording.
Drum pattern
Here’s how you can use the arpeggiator to play a
rhythm pattern by using the “Fixed Note” setting that
is ideal for a drum program.
1In Program mode, select a drum kit program.
For this example, select the preset program A036:
Standard Kit.
2In Global P6: User Arpeggio, select the Pattern
Setup tab, and make Arpeggio Pattern Setup set-
tings.
“Arpeggio Tone Type”: Set this to Fixed Note. This
will cause the tone to always sound at the specified
pitch.
“Fixed Note Mode”: If you set this to Trigger All
Tones, playing a single note on the keyboard will
sound all tones.
If you set this to Trigger As Played, the tones will be
sounded according to the notes you play on the key-
board.
3Select the Pattern Edit tab.
Each Tone in the display will be shown as a small
circle.
Now you will can set “Tone No.” and “Fixed Note
No.” Select “Tone No.,” and set “Fixed Note No.” to
the note number that will be sounded by that tone.
For each horizontal line (Tone) in the display, you
will specify the drumsample (note number) of the
drum kit.
Here, set “Tone No.” and “Fixed Note No.” as fol-
lows.
Tone00: C2 (kick)
Tone01: F2 (snare)
Tone02: F#3 (closed hi-hat)
Tone03: G#3 (open hi-hat)
The drumsamples that correspond to each note
number will differ depending on the drum kit. You
will find it convenient to audition the drum sounds
from the keyboard, and then input the “Fixed Note
No.” by holding down the [ENTER] key and play-
ing the desired note.
Creating a drum pattern
1Input the kick (Tone00). Set “Step No.” to 01, and
press the [0] key. Then set “Step No.” to 05, and
press the [0] key.
2Input the snare (Tone01). Set “Step No.” to 03, and
press the [1] key. Then set “Step No.” to 07, and
press the [1] key.
3Input the closed hi-hat (Tone02). Set “Step No.” to
01, 02, 03, 05, 06, and 07, and press the [2] key for
each.
4Input 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.
You can also select “Step No.” by using the
[ ][ ] keys, the [VALUE] slider, the [VALUE]
dial, or the popup menu.
Arpeggiator settings
104
If “Fixed Note Mode” is set to Trigger All Tones,
playing a single note on the keyboard will cause the
rhythm pattern to play.
If “Fixed Note Mode” is set to Trigger As Played,
playing a single note on the keyboard will cause
only the kick (Tone00) to play. Playing two notes on
the keyboard will cause only the kick (Tone00) and
snare (Tone01) to play. In this way, the number of
keys that you play will be played by the same num-
ber of tones.
5Set the parameters for each step.
Use “Velocity” etc. to add accents to the rhythm pat-
tern.
The “Gate” and “Velocity” settings you make here
will be valid if the “Gate” and “Velocity” parame-
ters (Program P7: Edit-Arpeggiator, Arpeg. Setup
tab) of the program selected in Program mode are
set to Step. If these parameters have a setting other
than Step, the “Gate” and “Velocity” that were
specified for each individual step will be ignored,
and all notes of the arpeggio will sound according
to the specified gate and velocity.
Set the ARPEGGIATOR [GATE] and [VELOCITY]
knobs to the center position (12 o’clock).
Dual arpeggiator editing
Here we will use a combination as an example in our
explanation.
For details on how the arpeggiator operates differently
in Sequencer and Song Play modes than in Combina-
tion mode, refer to the following section “note.”
If you have moved from Combination mode, the
arpeggio pattern selected by the combination will be
affected by your editing.
1In Combination mode, select a combination that
uses the arpeggio pattern you wish to edit.
For this example, select a combination to which
arpeggiators A and B is assigned.
2Press the ARPEGGIATOR [ON/OFF] key to turn
on the arpeggiator (the LED will light).
Even if the arpeggiator had been turned off when
you moved here, you can use the ARPEGGIATOR
[ON/OFF] key to turn it on. However, if “Arpeggia-
tor Run” A or B are not checked, and if no timbres
have been assigned in “Arpeggiator Assign,” then
the arpeggiator will not operate.
3In Global P6: User Arpeggio, select the Pattern
Setup tab.
4If you moved here from Combination mode, use
the “Arpeggiator Select” radio buttons A and B to
select the arpeggiator that you wish to edit.
If this is A, your editing will apply to the parame-
ters and user arpeggio pattern of arpeggiator A.
If this is B, your editing will apply to the parameters
and user arpeggio pattern of arpeggiator B.
5Switch between arpeggiators A and B, and edit
their respective user arpeggio patterns.
If you wish to stop one of the arpeggiators, return to
Combination mode, and in P0: Play, select the
Arpeggio Play tab and uncheck the “Arpeggiator
Run” check box.
6To modify the name of a user arpeggio pattern, use
the page menu command “Rename Arpeggio Pat-
tern” (☞p.38).
7If you wish to save the edited user arpeggio pat-
tern in internal memory, you must write the user
arpeggio pattern.
In this case, both user arpeggio patterns will be
written simultaneously. If you turn off the power
without writing, the edited contents will be lost
(☞p.39).
8If you wish to save the state of the combination at
the same time, return to Combination mode and
write the combination (☞p.38).
You can edit a user arpeggio pattern in Sequencer
and Song Play modes in the same way as in Com-
bination mode.
However, when you play the keyboard in Global
mode, the program and arpeggiator of tracks that
match the global MIDI channel (set in Global P1:
MIDI) will be heard.
For example, suppose that you assign track 1 to
MIDI channel 01 and arpeggiator A, and assign
track 2 to MIDI channel 02 and arpeggiator B.
(MIDI channel is set in Sequencer mode P2: Trk
Param by MIDI Ch1–8, 9–16, and is fixed in Song
Play mode.)
Use “Track Select” to select the track that you wish
to play from the keyboard. If you select track 1,
you will be able to play arpeggiator A. If you select
track 2, you will be able to play arpeggiator B. If in
this state you move to Global mode, arpeggiator A
(track 1) will be played if the global MIDI channel
is 01, or arpeggiator B (track 2) will be played if the
global MIDI channel is 02.
When editing a user arpeggio pattern, pay atten-
tion to the global MIDI channel, the channel of
each track, and the arpeggiator assignments, and
make sure that the arpeggiator you are hearing is
the pattern that you wish to edit.
If you moved here from Sampling mode, the
arpeggiator will not turn on. Nor will it be possible
to edit arpeggio patterns.
105
Basic functions
The note timing of the arpeggiator will depend on the
setting of its “Key Sync.” check box.
If this is checked, the arpeggiator will operate at the
timing that you play the first note-on after having
released all notes.
If this is unchecked, the arpeggiator will synchronize
to the timing of the internal/external MIDI clock.
The following paragraphs explain how synchroniza-
tion occurs when the “Key Sync.” check box is not
checked.
Arpeggiator and sequencer synchronization
in Sequencer or Song Play mode
When MIDI Clock (Global P1: MIDI “MIDI Clock”) is
set to “ ” EXT in Sequencer mode, the arpeggiator
will synchronize to the external MIDI sequencer etc.
connected via a MIDI cable.
In Song Play mode, it is not possible to synchronize to
an external MIDI clock.
When the song is stopped:
• The arpeggiator will synchronize to the “” based
on the timing of the internal/external MIDI clock.
• When a Sequencer mode RPPR pattern is playing,
the arpeggiator will synchronize to the “ ” based
on that timing.
When the song is playing or recording:
• The arpeggiator will synchronize to the “ ” based
on the timing of the song.
• In Sequencer mode when the ARPEGGIATOR
[ON/OFF] key is on, and you press a note during
the pre-count before recording to start up the
arpeggiator, the arpeggiator will start from the
beginning of the pattern simultaneously with the
start of recording, and will be recorded.
Synchronization with song start
• When the arpeggiator is on (ARPEGGIATOR [ON/
OFF] key is set to on) and is running, an incoming
Song Start message will cause the arpeggiator to
reset to the beginning of the pattern.
Synchronization with an external sequencer
in Program or Combination mode
When MIDI Clock (Global P1: MIDI “MIDI Clock”) is
set to “ ” EXT in Program or Combination modes, the
arpeggiator will synchronize to MIDI Clock or Start
messages etc. received from an external MIDI
sequencer etc. connected via a MIDI cable.
Synchronization with external MIDI clock
• The arpeggiator will synchronize to the “ ” based
on the timing of the external MIDI clock.
Synchronization with song start
• If the arpeggiator is on and running, receiving a
song start will reset the arpeggiator to the
beginning of the pattern.
Synchronizing arpeggiators A and B
In Combination, Sequencer, or Song Play modes, the
two arpeggiators can be operated simultaneously. At
this time if one arpeggiator is running and the other
arpeggiator (whose “Key Sync.” is not checked) is
started, the second arpeggiator will synchronize to the
“ ” based on the timing of the first arpeggiator.
If “Key Sync.” is checked, arpeggiators A and B
will operate with independent timing.
About arpeggiator synchroniza-
tion
Arpeggiator settings
106
Effects settings
The effect section of the TRITON 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. The effects are categorized as follows.
Categories of the 102 effect types
Effects 000–089 can be selected for IFX1, 2, 3, 4, 5,
or MFX 1 or 2. Effects 090–102 are double-size
effects, and will use twice the processing area of
other effects. They can be selected for IFX2, IFX3 or
IFX4.
In Program mode, insert effects can be used as part of
the sound-creating process, in the same way that the
output sound of the oscillator (OSC) is processed by
the filter and amp to create the final sound. Then the
master effects can be used to apply spatial-type effects
such as reverb. The stereo 3-band master EQ located
immediately before the OUTPUT (MAIN) L/MONO
and R outputs is used to make final adjustments in
tone. These settings can be made independently for
each program.
In Combination mode, Sequencer mode, and Song
Play mode, insert effects can be used to help create the
sound of each timbre/track. The master effects are
used to apply overall spatial processing, and the mas-
ter EQ is used to make overall adjustments in tone.
These settings are made in Combination mode inde-
pendently for each combination, in Sequencer mode
for each song, and in Song Play mode for the entire
mode.
In Sampling mode, the sound of an external source
that is input from AUDIO INPUT 1 and 2 can be pro-
cessed by the insert effects as the sound is sampled.
Settings in Sampling mode are made in “Audio Input
(Sampling)” of Sampling P0: Input/Setup. These set-
tings are valid only within Sampling mode.
The external input from AUDIO INPUT 1 and 2 can be
used outside of Sampling mode. In Program, Combi-
nation, Sequencer, and Song Play modes, the external
input sound can be processed by the insert effects,
master effects, and master EQ.
This means that you can use the TRITON as a 2-in/6-
out effect processor. When 093: Vocoder is selected, the
TRITON can be used as a vocoder effect processor in
which its internal sounds are controlled by an external
mic input.
001–015 Filter and dynamics effects, such as EQ and com-
pressor
016–031 Phase modulation effects, such as chorus and
phaser
032–040 Other modulation and pitch-shift effects such as
rotary speaker and pitch shifter
041–051 Early reflection and delay effects
052–057 Reverb effects
058–089 Mono + mono chain effects that internally connect
two mono effects in series
090–102 Double-size effects
Effects in each mode
Insert Effect 1-5 Master EQ
Oscillator Filter Amplifier
ReturnSend
OUTPUT
L/MONO, R
Master Effect 1,2
Master EQ
ReturnSend
OUTPUT
L/MONO, R
Timbre 1 / Track 1
Timbre 2 / Track 2
Timbre 8 / Track 16
Insert Effect 1-5
Master Effect 1,2
Insert Effect 1-5 Sample
Recording
AUDIO INPUT 1, 2
Insert Effect 1-5 Master EQ
Oscillator Filter Amplifier
ReturnSend
OUTPUT
L/MONO, R
Master Effect 1,2
AUDIO INPUT 1, 2
107
Basic functions
The insert effects, master effects, and master EQ have
the same structure in all modes, but the routing set-
tings 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. In the
pages that follow, we will explain how you can make
routing settings and effect settings in each mode.
Effect settings for a program
Routing
1In Program P8: Edit-Insert Effect, select the Rout-
ing tab.
2Use “BUS Select (IFX/Indiv.Out Assign) to specify
the bus (insertion effect) to which the output of the
oscillator will be sent.
This specifies the bus (or the insert effect) to which
the oscillator output will be sent.
L/R: The output will not be sent to the insert effects.
After passing through the master EQ, the sound will
be sent to AUDIO OUTPUT (MAIN) L/MONO and
R.
IFX1–5: The output will be sent to insert effect IFX 1,
2, 3, 4, or 5.
1, 2, 3, 4, 1/2, 3/4: The output will be sent to AUDIO
OUTPUT (INDIVIDUAL) 1, 2, 3, or 4. It will not be
sent to the insert effects, the master effects, or the
master EQ.
Off: The output will not be sent to AUDIO OUT-
PUT (MAIN) L/MONO, R, or to (INDIVIDUAL) 1,
2, 3, 4. (After passing through the master effects, it
will be output from AUDIO OUTPUT (MAIN).)
Select this when you wish to connect the output to
the master effects in a series connection at the send
levels specified by “Send 1 (MFX1)” and “Send 2
(MFX2).”
For this example, select IFX1.
3“OSC MFX Send” specifies the send level from
each oscillator to the master effects.
This can be set only when “BUS Select (IFX/
Indiv.Out Assign)” is either L/R or Off.
If “BUS Select (IFX/Indiv.Out Assign)” is set to
IFX1–5, the send level to the master effects is set by
“Send 1” and “Send 2” (Insert FX tab) after the sig-
nal passes through the insertion effects.
Insert effects
4Select the Insert Effect tab.
5For IFX1–5, select the effect type for each insert
effect.
When you press the popup button, all effects will
be displayed, organized into six categories. Use
the tabs located at the left to select a category, and
select an effect from that category on the LCD
screen.
Effects 000–089 can be selected for IFX1, 2, 3, 4, 5,
and MFX1 and 2. Effects 090–102 are double-size
effects, and require twice the processing area of
other effects. These can be selected for IFX2, IFX3,
and IFX4.
Each time you press the ON/OFF button, the
insertion effect will be switched on/off. A setting
of OFF will be the same as when 000: No Effect is
selected. The input sound will be output without
any change.
You can use the “Copy Insert Effect” page menu
command to copy effect settings from another pro-
gram etc. Also, you can use “Swap Insert Effect” to
exchange (for example) IFX1 and IFX5.
6Make “Chain” settings.
If the “Chain” check box is checked, the insert effect
will be connected in series. Since the output of the
oscillator is being sent to IFX1 in 2, making settings
as shown in the diagram 4 would connect all five
insertion effects IFX1 → IFX2 → IFX3 → IFX4 →
IFX5 in series, so that these effects would be
inserted into the output of the oscillator.
7Make settings for “Pan,” “BUS Sel. (BUS Select),”
“Send 1,” and “Send 2” for the sound after it has
passed through the insert effects.
If the insertion effects are chained, these settings
will apply after the last IFX.
“Pan”: Set the pan. This is valid only when BUS Sel.
is L/R.
“BUS Sel.” (BUS Select): Specify the output destina-
tion. Normally you will set this to L/R. If you wish
to send the sound that has passed through the insert
effects to AUDIO OUTPUT (INDIVIDUAL) 1–4,
select 1–4, 1/2, or 3/4.
Routing settings and effect set-
tings
Effects settings
108
“Send 1”, “Send 2”: Set the send levels to the master
effects. For this example, set this to 127.
8Select the IFX1–5 tabs, and set the parameters for
each of the selected effects.
For details on the parameters of each effect (☞p.155
in the Parameter Guide).
Master effects
The input levels to the master effects are set by the
“Send 1, 2” levels (step 3 or 7). If “Send 1, 2” are zero,
the master effects will not apply. “Send 1” corresponds
to MFX1, and “Send 2” corresponds to MFX2.
9In Program P9: Edit-Master Effect, select the Mas-
ter FX tab.
0In MFX1 and MFX2, select the type of each master
effect (☞5).
The procedure is the same as when selecting an
insertion effect.
The master effects cannot use double-size effects.
The master effects are mono-in/stereo-out. Even if
a stereo-input effect is selected, it will function as
mono input.
Each time you press the ON/OFF button, the mas-
ter effect will be switched on/off. When OFF, the
output of the master effect will be muted.
AUse “Return 1” and “Return 2” to adjust the output
levels of the master effects.
For each effect, the Wet value of the “Wet/Dry”
parameter is the output level at the effect. The
return value is multiplied with this (“Return” =
127 will be x1.0) to determine the actual output
level of the master effect.
BSelect the MFX1 and MFX2 tabs, and set the
parameters for each selected effect.
For details on the parameters of each effect, refer to
p.155 in the Parameter Guide.
Master EQ
CUse the stereo 3-band master EQ to make final
equalizing adjustments immediately before the
sound is output from the AUDIO OUTPUT L/
MONO and R jacks.
Move the slider for each band to make adjustments.
You can select the Master EQ tab, and adjust the
band frequency of the master EQ (☞p.207 in the
Parameter Guide).
Effect settings in Combination, Song,
and Song Play modes
In Combination, Sequencer, and Song Play modes, you
can specify the routing of each timbre/track to the
insert effects and master effects. These settings are
made in the same way in each of these modes. We will
be using the example of Combination mode in our
explanation here.
Routing
1In Combination P8: Edit-Insert Effect, select the
Routing tab.
2Select “IFX/Indiv.Out BUS Select.” Here you can
specify the bus (insert effect) to which the output
of each timbre will be sent.
The routing, insert effects, and chain settings are
shown graphically in the upper part of the display
screen. In this example, T01 (timbre 1) uses IFX1
and 2. T02 uses IFX2, T03 uses IFX3 and 4, T02 and
T05 use IFX4, and T06 and T07 use IFX5. Selection
of each effect type, the on/off setting, and chain
settings are made in the Insert Effect tab.
3Make settings for Send 1 and Send 2.
For each timbre, you can set the send levels to the
master effects.
This can be set only if “IFX/Indiv.Out BUS Select” is
set to L/R or Off.
The actual send level is determined by multiplying
this by the “Send 1” or “Send 2” settings for oscil-
lators 1 and 2 within the program selected by the
timbre. If the program parameter “Send 1” or
“Send 2” is set to 0, the resulting level will still be 0
even if you raise this send level.
If “IFX/Indiv.Out BUS Select” is set to IFX1–5, the
send levels to the master effects are set by “Send 1”
and “Send 2” (Insert FX tab) following the insert
effects.
Insert effects
Select an effect for IFX1–IFX5, and set “Pan,” “BUS Sel.
(BUS Select),” “Send 1” and “Send 2” for the signal that
109
Basic functions
has passed through each insertion effect. If effects are
chained, the settings after the last IFX in the chain will
be used. “Send 1” and “Send 2” adjust the amount of
master effect that is applied to the signal that has
passed through the IFX. These settings can be made in
the same way as for a program (☞p.107).
Master effects
Master EQ
These settings can be made in the same way as in
“Effect settings for a program” (☞p.108).
Effect settings in Sampling mode
In Sampling mode, insert effects can be applied to an
external audio source connected to the AUDIO INPUT
1 and 2 jacks, and sampled.
Routing
1In Sampling P0: Recording, select the Audio Input
tab.
The parameters in “Audio Input (SAMPLING)”
specify the insert effect to which the external audio
input from the AUDIO INPUT 1 and 2 jacks will be
sent. For details on these settings, refer to “Sam-
pling (recording a sample)” (☞p.78).
Insert effects
Select an effect for IFX1–IFX5, and set “Pan,” “BUS Sel.
(BUS Select),” “Send 1” and “Send 2” for the signal that
has passed through each insertion effect. If effects are
chained, the settings after the last IFX in the chain will
be used. “Send 1” and “Send 2” adjust the amount of
master effect that is applied to the signal that has
passed through the IFX. These settings can be made in
the same way as for a program (☞p.107).
Master effects
Master EQ
The master effects and master EQ cannot be used in
Sampling mode.
Effect settings for the AUDIO INPUT
Even in modes other than Sampling mode, the TRI-
TON’s effects can be applied to the external audio
source connected to the AUDIO INPUT 1 and 2 jacks.
The effect section of the TRITON can be used as a 2-in
6-out effect processor. When 093: Vocoder is selected,
you can use the TRITON as a vocoder that combines
the internal sounds with the sound from an external
microphone.
Routing
In modes other than Sampling mode (i.e., in Combina-
tion, Program, Sequencer, and Song Play modes), the
settings in Global P0: Basic Setup Audio Input tab
specify the routing of the external audio input from the
AUDIO INPUT 1 and 2 jacks.
1Move from Program mode to Global mode.
If you move from Sampling mode to Global mode,
the “Audio Input” settings of Sampling mode will
be maintained, and you will not be able to hear the
results of the settings you make in this page. Be
sure to move from a mode in which the external
audio signal can be input (Combination, Program,
Sequencer, Song Play). In Sampling mode, the set-
tings you make here will not apply. Settings for the
rear panel AUDIO INPUT 1 and 2 jacks in Sam-
pling mode are made in the same way in Sampling
P0: Recording Input/Setup tab “Audio Input
(SAMPLING).”
2In Global P0: Basic Setup, select the Audio Input
tab.
3Set the parameters for Input 1 and 2.
Input 1 corresponds to AUDIO INPUT 1 jack and
INPUT 2 jack corresponds to AUDIO INPUT 2.
“Level”: Set the signal level from AUDIO INPUT 1
and 2. Normally you will set this to 127. If the sound
is still distorted even when this level is lowered sig-
nificantly, it is possible that the distortion is occur-
ring before the AD converter. Adjust the rear panel
[LEVEL] knob or the output level of your external
audio source.
“Pan”: Set the panning of the signal from AUDIO
INPUT 1 and 2. When you are inputting a stereo
audio source, you will normally set Input 1 to L000,
and Input 2 to R127 (or Input 1 to R127, and Input 2
Effects settings
110
to L000). When you are inputting a monaural audio
source, you will normally set this to C064.
“BUS (IFX/Indiv.) Select”: In the same way as for
the oscillator of a program, specify the bus to which
the external audio source from AUDIO INPUT jacks
1 and 2 will be sent.
“Send 1 (to MFX1)”, “Send 2 (to MFX2)”: In the
same way as for the oscillator of a program, specify
the level at which the external audio source from
AUDIO INPUT jacks 1 and 2 will be sent to the mas-
ter effects. This setting can be made only if “BUS
(IFX/Indiv.) Select” is L/R or Off (☞p.107).
If “BUS (IFX/Indiv.) Select” is set to IFX1–5, this is
set by “Send 1” and “Send 2” (Insert Fx tab) after the
sound has passed through the insert effects.
If “BUS (IFX/Indiv.) Select” has a setting other
than Off, and you raise the “Level” value, the
external audio source will be input to the TRITON.
At this time if audio cables are connected to the
rear panel AUDIO INPUT 1 and 2 jacks, noise may
be input to the TRITON via the AD converter even
if no audio input is actually present, and depend-
ing on the settings, may be output from AUDIO
OUTPUT L/R, 1, 2, 3, or 4. If you will not be using
an external audio source, but are using only the
internal sounds of a program, combination, or
song, set “BUS (IFX/Indiv.) Select” to Off, or set
“Level” to 0.
If no audio cables are connected to the rear panel
AUDIO INPUT 1 and 2 jacks, the data that is input
to the TRITON from the AD converter will be set
to zero, and no noise will be output.
Dynamic modulation (Dmod) is a function that lets
you use the TRITON’s controllers or MIDI messages to
control specific effect parameters while you play, to
make the effects change in realtime.
The BPM/MIDI Sync function also lets you control
effect parameters in a similar way. This can be used to
synchronize the LFO speed of a modulation-type effect
or the delay time of a delay-type effect etc. to the
tempo of the arpeggiator or sequencer.
For details on each of these functions, refer to “Appen-
dices: Dynamic modulation” (☞p.214 in the Parameter
Guide).
Setting example:
We will show how you can use dynamic modulation to
control an effect parameter in realtime.
1As described in the procedure for “Effect settings
for a program” (☞p.107), set “IFX1” to 049: L/C/R
BPM Delay. Verify that a delay sound is being out-
put.
2Select the IFX1 tab.
Using Dmod to change the delay level by moving
the joystick away from yourself
1Set “Input Level Dmod” to +100.
2Set “Src” to JS+Y: CC#01. The delay sound will
disappear.
The input level to the effect can be controlled by the
joystick. As you move the joystick away from your-
self, the delay sound will gradually increase.
Using Dmod to modify the feedback level from
[SW1] key
1In P1: Edit-Basic, select the Controller Setup tab,
and set the function of “SW1” to SW1 Mod.: CC#80
(Toggle).
2Return to P8. Set “Feedback Src” to SW 1: CC#80.
3Set “Amt” to +30.
When you press the [SW1] key, the feedback level
will increase, and the delay sound will continue for
a longer time. (Move the joystick away from your-
self so that the delayed sound is output.) The “Amt”
setting specifies the feedback level that will be in
effect when the [SW1] key is pressed. If “Amt” is set
to –10, pressing the SW1 key will reduce the feed-
back level to 0.
Using the BPM/MIDI Sync. function to synchronize
the delay time to arpeggiator tempo changes.
1Set “BPM” to MIDI.
2For L, C, and R, set “Delay Base Note” and
“Times” as desired.
For this example, set “Delay Base Note” to and
“Times” to x1 so that the effect will be easily under-
standable. The delay time will repeat at an interval
of a 8th note.
3Rotate the [TEMPO] knob, and the delay time will
change.
(When you move the joystick away from yourself,
the delay sound will be output.)
4When you turn on the ARPEGGIATOR [ON/OFF]
switch, the arpeggiator will begin playing.
Select any desired arpeggio pattern. When you
rotate the [TEMPO] knob, the delay time will
change in synchronization with the changing tempo
of the arpeggio.
If you rotate the [TEMPO] knob to change the
tempo while the delay is sounding, noise may
occur in the delay sound. This is because the delay
sound becomes discontinuous, and is not a mal-
function.
For some effects, you can synchronize the LFO fre-
quency to the tempo. Set the effect parameters
“BPM/MIDI Sync” to On, and “BPM” to MIDI.
For details refer to p.159 in the Parameter Guide.
About dynamic modulation
(Dmod)
111
Basic functions
MIDI applications
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, perfor-
mance data can be exchanged between the devices,
even if they were made by different manufacturers.
Controlling an external MIDI tone gen-
erator from the TRITON
When you wish to use the TRITON’s keyboard, con-
trollers, and sequencer etc. to play an external MIDI
tone generator, use a MIDI cable to connect the TRI-
TON’s MIDI OUT connector to the MIDI IN connector
of the external MIDI tone generator.
Controlling the TRITON’s tone genera-
tor from an external MIDI device
When you wish to play or control the TRITON’s tone
generator from an external MIDI keyboard or
sequencer etc., use a MIDI cable to connect the MIDI
OUT connector of the external MIDI device to the
MIDI IN connector of the TRITON.
Controlling two or more external MIDI
tone generators from the TRITON
You can use the MIDI THRU jack to simultaneously
control multiple MIDI devices. (This type of connec-
tion should be used to connect no more than three
devices. If you wish to connect a larger number of
MIDI devices, we recommend that you use a MIDI
patch bay as shown in the second diagram below.)
You can also use a MIDI patch bay to control multiple
MIDI devices.
The “Convert Position” setting
On the TRITON, the Global P0: Basic tab parameters
“Key Transpose,” “Velocity Curve” and “After Touch
Curve” allow you to transpose the pitch, adjust the
velocity sensitivity, and adjust the after touch sensitiv-
ity (☞p.113 in the Parameter Guide).
The effect that these settings will have on the internal
sequencer and on the MIDI data that is transmitted
and received will depend on “Convert Position” (Glo-
bal P1: MIDI) setting (☞p.118 in the Parameter Guide).
• When controlling an external MIDI tone generator
from the TRITON, select “Pre MIDI.” The above-
listed settings will affect the MIDI data that is
transmitted. These settings will also affect the data
that is recorded on the internal sequencer.
Connecting MIDI devices/com-
puters (MIDI connectors)
About MIDI
MIDI IN
MIDI OUT
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT MIDI IN
MIDI THRU
MIDI IN
MIDI OUT
MIDI IN
MIDI IN
MIDI patch bay
MIDI OUTMIDI OUT
MIDI applications
112
Incoming MIDI data will be handled with settings
equivalent to “Key Transpose” 0, “Velocity Curve”
4, and “After Touch Curve” 3.
• When controlling the TRITON’s tone generator
from an external MIDI device, select “PostMIDI.”
The above-listed settings will affect the MIDI data
that is received. These settings will also affect the
data that is played back from the internal
sequencer.
Outgoing MIDI data will be handled with settings
equivalent to “Key Transpose” 0, “Velocity Curve”
4, and “After Touch Curve” 3.
Connecting an external MIDI sequencer
or computer etc.
You can play the TRITON’s keyboard and record your
performance on an external MIDI sequencer/com-
puter (connected via a MIDI interface), and then play
back the recorded performance to sound the TRITON’s
tone generator (i.e., using the TRITON as an input key-
board and MIDI tone generator). To do this, connect
the MIDI OUT and MIDI IN connectors of the TRITON
and your external MIDI sequencer/computer to each
other.
Local Control On settings
When connections are made as shown above, turn on
the Echo Back function of the external MIDI sequencer
or computer (so that data received at MIDI IN will be
re-transmitted from MIDI OUT), and turn off the TRI-
TON’s Local Control setting (so that the TRITON’s
keyboard and tone generator will be internally discon-
nected). When you play the keyboard of the TRITON,
the musical data will be transmitted to the external
MIDI sequencer or computer, and then echoed back to
play the TRITON’s tone generator. 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’s own key-
board and again by the data that was echoed-back.
If the arpeggiator function is on, playing the TRITON’s
keyboard will not cause the arpeggiator to operate,
and only the musical data produced by playing the
keyboard will be transmitted. The arpeggiator will
operate only in response to the notes that are echoed-
back and received at MIDI IN. In this way, turning off
Local Control prevents the arpeggiator from operating
in duplicate.
Use this setting when you wish to record on the exter-
nal MIDI sequencer or computer only the notes that
trigger the arpeggiator, and to use the echoed-back
notes to operate the arpeggiator while monitoring your
recording or during playback.
To turn off Local Control, select the Global P1: MIDI,
and press the “Local Control On” check box to
uncheck it (☞p.117 in the Parameter Guide).
When using the TRITON by itself, leave Local Control
turned on. (If this is off when the TRITON is used by
itself, playing the keyboard will not produce sound.)
If you want the note data produced by the arpeg-
giator to be recorded on the external sequencer/
computer, set Local Control on, and turn off the
Echo Back setting of the external sequencer/com-
puter.
By using a special cable to connect the TRITON’s TO
HOST to your computer, and installing the “Korg
MIDI Driver,” you can play and control the TRITON
from your computer. Direct cable connections are pos-
sible with the following computers.
Connecting an IBM PC (compatible)
To connect an IBM PC (compatible) with the TRITON,
you will need a separately sold AG-001B connecting kit
(cable and Korg MIDI Driver software).
1Use the special AG-001B cable to connect the serial
port (COM port) of the IBM PC (compatible) to the
TRITON’s TO HOST connector.
If the serial port of your computer uses a 25-pin
connector, you will need to obtain a 9 pin - 25 pin
adapter.
2In Global P0: Basic Setup, set “PC I/F Baud Rate”
to 38.40 [kBPS]. (☞“PC I/F Baud Rate settings”)
3If you are using Windows, install the Korg MIDI
Driver. For the installation procedure, refer to
“Installing and setting up the Korg MIDI Driver”
(☞p.129).
Sequencer/Computer
MIDI OUT MIDI IN
MIDI interface
MIDI OUT
MIDI IN
Connecting a computer
(TO HOST connector)
COM
IBM PC (compatible)
Special cable (AG-001B)
TO HOST
113
Basic functions
Connecting an Apple Macintosh
To connect an Apple Macintosh with the TRITON, you
will need a separately sold AG-002B connecting kit
(cable and Korg MIDI Driver software).
Macintosh computers that do not have a serial port
(modem/printer) cannot be connected to the TO
HOST connector.
1Use the special AG-002B cable to connect the
modem port or printer port of the Apple Macin-
tosh to the TRITON’s TO HOST connector.
If the application program (sequencer) you are
using has a Clock setting, set it to 1 MHz.
2In Global P0: Basic Setup, set “PC I/F Baud Rate”
to 31.25 [kBPS]. (☞“PC I/F Baud Rate settings”)
3If you will be installing the Korg MIDI Driver
(☞p.131 “Installing the Korg MIDI Driver into a
Macintosh”).
PC I/F Baud Rate settings
1Press the [GLOBAL] key to enter Global mode.
2Press the [MENU] key, and then press the [EXIT]
key to enter P0: Basic Setup.
3Press the System Pref. tab.
4Press the “PC I/F Baud Rate” popup button, and
select the setting that is appropriate for your com-
puter.
31.25 [kBPS]:
Connection to an Apple Macintosh.
34.80 [kBPS]:
Connection to an IBM PC (compatible).
Modem port or
printer port
Special cable (AG-002B)
TO HOST
Apple Macintosh
MIDI applications
114
[...] indicates hexadecimal notation
MIDI channels
MIDI messages can be exchanged when the transmit-
ting and receiving devices are set to the same MIDI
channel. MIDI uses sixteen channels, numbered 1–16.
The way in which channels are handled will differ
depending on the mode.
Program mode and Sampling mode
• Transmission/reception is performed on the global
MIDI channel*.
* The global MIDI channel is the basic channel that
the TRITON uses for MIDI transmission/reception,
and is set by Global P1: MIDI “MIDI Channel.”
Combination mode
• The global MIDI channel is used to transmit/
receive messages for selecting a combination and
turning effects on/off, and to transmit/receive
exclusive data.
• The MIDI channel specified for each timbre (in
Combination P2: MIDI channel tab) is used to
transmit/receive MIDI data for each timbre.
• The MIDI channel specified for each of the insert
effects and master effects is used to control
dynamic modulation, and to control the pan and
send 1/2 after the sound has passed through the
insert effects.
• When you operate the keyboard or controllers of
the TRITON, messages will be transmitted on the
global MIDI channel, and will also be transmitted
on the MIDI channel of any timbre whose “Status”
is set to EXT or EX2.
• Channel messages will be received if they match
the MIDI channel of a timbre whose “Status” is set
to INT (☞p.33 in the Parameter Guide “Status” and
“MIDI Channel”).
Sequencer mode and Song Play mode
• The global MIDI channel is used to transmit/
receive exclusive data and for messages that switch
effects on/off.
• MIDI data of each track is transmitted/received on
the MIDI channel specified for each track (in the
Sequencer P2: MIDI Channel tab).
• The MIDI channel specified for each of the insert
effects and master effects is used to control
dynamic modulation, and to control the pan and
send 1/2 after the sound has passed through the
insert effects.
• When you operate the keyboard or controllers of
the TRITON, messages will be transmitted on the
MIDI channel selected by “Track Select.” However,
messages will be transmitted only if the track
selected by “Track Select” has a “Status” of BTH,
EXT, or EX2. (☞p.46 in the Parameter Guide Track
Select “MIDI”).
• When the sequencer is played back, musical data
of tracks whose “Status” is BTH, EXT, or EX2 will
be transmitted on the specified MIDI channels.
• Tracks whose “Status” is INT or BTH will receive
channel messages of the matching MIDI channel
(☞p.55, 104 in the Parameter Guide “Status” and
“MIDI Channel”).
Note on/off
Note-on [9n, kk, vv]
Note-off [8n, kk, vv]
(n: channel, kk: note number, vv: velocity)
When you play a note on the TRITON’s keyboard, it
will transmit note-on/off messages. When the arpeg-
giator is running, note-on/off messages will be trans-
mitted by the arpeggiator. (If Local Control is off, the
arpeggiator will not transmit note-on/off data. ☞p.112
“Local Control On settings”)
However, most instruments do not receive or transmit
note-off velocity, and neither does the TRITON.
Program Change/Bank Select
Changing the program/bank
Program change [Cn, pp]
(n: channel, pp: program number that allows 128
sounds to be selected)
• Programs 000–127 in banks A, B, C, D, E, and F
correspond to program changes [Cn, 00]–[Cn, 7F].
• Programs 001–128 in banks G, g(1), g(2), g(3), g(4),
g(5), g(6), g(7), g(8), g(9), and g(d) correspond to
program changes [Cn, 00]–[Cn, 7F].
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 P0: Preference tab). With the factory
settings, this will be GM(2). (☞“Bank Map” on
p.115 in the Parameter Guide.)
Simply receiving a Bank Select message will not cause
the program or bank to change. The program or bank
will actually change when a Program Change message
is received.
Messages transmitted and
received by the TRITON
115
Basic functions
Program mode
• In Program P0: Play, program change and bank
select messages are transmitted and received on
the global MIDI channel. These messages are not
received in P1: Edit-Basic – P9: Edit-Master Effect.
Combination, Sequencer, and Song Play modes
• Program change and bank select messages can be
received on the MIDI channel specified for each
timbre/track to select programs on that timbre/
track.
• When you select a combination, program change
and bank select messages will be transmitted by
timbres whose “Status” is EXT or EX2.
• In Sequencer and Song Play modes, program
change or bank select messages will be transmitted
by tracks whose “Status” is BTH, EXT, or EX2
when you select the “Bank/Program” (P0:
Program tab), when you select a song, or when you
return to the beginning of a measure. (☞p.30, 47 in
the Parameter Guide “Bank/Program”–”MIDI”)
• In Combination and Sequencer modes,
transmission/reception can be switched on/off for
each timbre/track. (P3: MIDI Filter and MIDI 1 tab
“Enable Program Change.”) (☞p.35, 57 in the
Parameter Guide).
Selecting combinations
You can use program change and bank select messages
to select combinations in the same way that you select
programs.
• Combinations 000–127 in banks A, B, C, and D
correspond to program changes [Cn, 00]–[Cn, 7F].
• Similarly as for program banks, the internal banks
that correspond to each bank select number will
depend on the “Bank Map” setting (Global P0:
Preference tab). (☞“Bank Map” on p.115 in the
Parameter Guide.)
• In Combination P0: Play, program change and
bank select messages are transmitted/received on
the global MIDI channel. They are not received in
P1: Edit-Program/Mixer – P9: Edit-Master Effect.
All program changes can be turned off in Global
P1: MIDI “MIDI Filter.”
As needed, you can independently turn all program
changes on/off, specify whether or not incoming mes-
sages will be able to change combinations, and turn
reception/transmission of bank select messages on/
off.
• If “Combination Change” is unchecked, the
combination will not change even if a program
change on the global MIDI channel is received in
Combination P0: Play. In this case, the program of
the timbre that matches the MIDI channel of the
received message will change.
• If “Bank Change” is unchecked, bank select
messages will not be transmitted or received
(☞p.118 in the Parameter Guide “MIDI Filter”).
After touch
Channel after touch [Dn, vv]
(n: channel, vv: value)
When you apply pressure to the keyboard after play-
ing a note, an after touch effect will be applied, and
Channel After Touch messages will be transmitted.
When these messages are received, an after touch effect
will be applied.
• After touch for the entire instrument can be turned
off in Global P1: MIDI “MIDI Filter.”
• In Combination and Sequencer modes, after touch
can be switched on/off independently for each
timbre/track (P3: MIDI 1 tab “Enable After Touch)
(☞p.35. 57 in the Parameter Guide “MIDI Filter”).
Polyphonic key pressure [An, kk, vv]
(n: channel, kk: note number, vv: value)
There is another type of after touch called Polyphonic
Key Pressure, which allows after touch to be applied
independently for individual keys. This message can
be used as an alternate modulation source, but cannot
be transmitted by the TRITON’s keyboard. In order to
use this message, it will have to be received from an
external device, or recorded on your sequencer.
The after touch mentioned in this manual refers to
Channel After Touch.
Pitch bender
Pitch bender change [En, bb, mm]
(n: channel, bb: lower byte of the value, mm: upper
byte of the value, together expressing a value of 16,384
steps where 8,192 [bb, mm = 00H, 40H] is the center
value)
When the TRITON’s joystick is moved in the X axis
(left/right), a pitch bend effect will be applied, and
pitch bender messages will also be transmitted. When
these messages are received, a pitch bend effect will be
applied.
The range of pitch change that is produced by
pitch bend messages can also be adjusted via
MIDI. (☞p.120 “Changing the pitch bend range”)
Control change
[Bn, cc, vv]
Transmitted and received as (n: channel, cc: control
change no., vv: value)
Refer to “MIDI transmission when controllers are oper-
ated” (p.221) and “How the TRITON transmits/
receives control changes” (p.223) in the Parameter
Guide.
• Control changes can be turned on/off as a whole in
Global P1: MIDI “MIDI Filter.”
MIDI applications
116
• In Combination and Sequencer modes, the P3:
MIDI Filter settings allow transmission/reception
of control changes to be individually turned on/off
for each timbre/track. For the assignable
controllers ([SW1], [SW2], REALTIME CONTROLS
[1]–[4] knobs, Foot Pedal/Switch), MIDI filter
settings will apply to the control change number to
which each controller is assigned. “Other Control
Change” applies to control changes that are not
covered by the items of the other check boxes (P3:
MIDI Filter) (☞p.35, 57 in the Parameter Guide
“MIDI Filter”).
MIDI CC#00–CC#95 can be selected for the B-
mode of REALTIME CONTROLS [1]–[4] knobs.
Selecting program/combination banks
Bank select (CC#00, CC#32)
☞p.114 “Program Change/Bank Select”
Using the joystick to apply modulation
Modulation 1 depth (CC#01) [Bn, 01, vv]
When you move the TRITON’s joystick in the +Y direc-
tion (away from yourself), Modulation 1 Depth mes-
sages will be transmitted. When these messages are
received, the same effect will be applied as when the
TRITON’s joystick is operated. Normally this will
apply a vibrato effect (pitch LFO).
• In Combination and Sequencer modes,
transmission/reception can be switched on/off for
each timbre/track (P3: MIDI2 tab “Enable JS+Y”).
(☞p.35, 57 in the Parameter Guide “MIDI Filter”)
Modulation 2 depth (CC#02) [Bn, 02, vv]
When you move the TRITON’s joystick in the –Y direc-
tion (toward yourself), Modulation 2 Depth messages
will be transmitted. When these messages are received,
the same effect will be applied as when the TRITON’s
joystick is operated. Normally this will apply a wah
effect (filter LFO).
• In Combination and Sequencer modes,
transmission/reception can be switched on/off for
each timbre/track (P3: MIDI2 tab “Enable JS-Y”).
(☞p.35, 57 in the Parameter Guide “MIDI Filter”)
Other manufacturers use this message for other
purposes (e.g., breath controller, etc.)
Controlling the portamento effect
Portamento time (CC#05) [Bn, 05, vv]
When the above CC# is assigned as a B-mode function
for one of the REALTIME CONTROLS [1]–[4] knobs,
rotating that knob will transmit Portamento Time mes-
sages, and will modify the speed at which the porta-
mento pitch changes. When this message is received,
the result will be the same as when the controller is
operated.
Portamento switch (CC#65) [Bn, 41, vv]
When the above CC# is assigned to [SW1], [SW2] or
the ASSIGNABLE SWITCH, operating that switch will
transmit vv=127 [7F] for ON or vv=0 [00] for OFF, and
the portamento effect will be switched on/off. When
this message is received, the result will be the same as
when the controller is operated. (vv of 63 [3F] or less
will be OFF, and 64 [40] or greater will be ON.) (☞p.217
in the Parameter Guide “SW1, SW2 Assign List”)
• In Combination and Sequencer modes,
transmission/reception of this message can be
turned on/off independently for each timbre/track
(P3: MIDI1 tab “Enable Portamento SW”). (☞ p. 35
and 58 in the Parameter Guide.)
• In Sequencer mode, portamento time/switch
messages will be transmitted by each track whose
“Status” is BTH, EXT, or EX2 when you set
“Portamento” (P2: OSC tab), re-select a song or
SMF, or return to the beginning of a measure.
(☞p.55 in the Parameter Guide “Portamento”-
”MIDI”)
Controlling the volume
Volume (CC#07) [Bn, 07, vv]
When the above CC# is assigned to the ASSIGNABLE
PEDAL or as the B-mode function of a REALTIME
CONTROL knob [1]–[4], operating that controller will
transmit Volume messages, and the volume will
change. When this message is received, the result will
be the same as when the controller is operated.
Expression (CC#11) [Bn, 0B, vv]
When the above CC# is assigned to the ASSIGNABLE
PEDAL or as the B-mode function of a REALTIME
CONTROL knob [1]–[4], operating that controller will
transmit Expression messages, and the volume will
change. When this message is received, the result will
be the same as when the controller is operated.
The volume of the TRITON is determined by multiply-
ing the value of the Volume message with the value of
the Expression message.
If adjusting the Volume message does not increase the
volume as you expect, or if there is no sound, transmit
MIDI messages from an external device to reset the
value of the Expression message (set vv to 127). In
Sequencer mode, this will be reset when the “Loca-
tion” of the song is moved to 001:01.000.
• In Combination mode, Volume messages will be
transmitted by each timbre whose “Status” is EXT
or EX2 when you re-select the combination.
• When you change the “Volume” setting (P0: Mixer
tab) in Sequencer mode or Song Play mode, or
when you re-select the song or return to the
beginning of the song in Sequencer mode, volume
messages will be transmitted by each track whose
“Status” is BTH, EXT, or EX2.
Regardless of the “Status” settings, re-selecting a
song, or returning to the beginning will reset the
internal Volume value to the value specified by
each track (the starting settings), and will reset the
Expression value to the maximum.
You can control the volume independently for
each track. You will normally use Volume mes-
sages to set the initial volume level for each track
(the starting settings), and use Expression mes-
117
Basic functions
sages to create changes in dynamics within the
musical data of the song. (☞p.31, 49 in the Parame-
ter Guide “Volume” - “MIDI)
By using the universal exclusive Master Volume mes-
sage, you can adjust the overall volume without
changing the volume balance between timbres or
tracks. (☞p.120 “About system exclusive messages”)
Controlling panpot (stereo position)
Panpot (CC#10) [Bn, 0A, vv]
(vv: value, where 00 is far left, 64 is center, and 127 is
far right)
When the above CC# is assigned to the ASSIGNABLE
PEDAL or as the B-mode function of a REALTIME
CONTROL knob [1]–[4], operating that controller will
transmit Panpot messages, and the panning will
change. When this message is received, the result will
be the same as when the controller is operated.
• When you set the “Pan” (P0: Mixer tab) in
Sequencer mode or Song Play mode, or when you
re-select the song or return to the beginning of the
measure in Sequencer mode, Panpot messages
(except for RND) will be transmitted by each track
whose “Status” is BTH, EXT, or EX2 (☞“Pan” -
“MIDI” on p.49 and 103 in the Parameter Guide).
Post insert effect panpot (CC#08)
[Bn, 08, vv] (vv: value, where 00 is far left, 64 is center,
and 127 is far right)
When the above CC# is assigned to the ASSIGNABLE
PEDAL or as the B-mode function of a REALTIME
CONTROL knob [1]–[4], operating that controller will
transmit Post Insert Effect Panpot messages, and the
panning of the sound following the insert effect will
change. When this message is received, the result will
be the same as when the controller is operated.
• In Program mode and Sampling mode, this
message is transmitted/received on the global
MIDI channel. In Combination, Sequencer, and
Song Play modes, this message is transmitted/
received on the MIDI channel specified for each
insert effect.
• When you set “Pan (CC#8)” (P0: Insert Effect tab)
in Sequencer mode or Song Play mode, or when
you re-select the song or return to the beginning of
the measure in Sequencer mode, Post Insert Effect
Panpot messages will be transmitted by each track
whose “Status” is BTH, EXT, or EX2 (☞“Insert
Effect” - “MIDI” on p. 76 and 110 in the Parameter
Guide).
Effect control
Effect control 1 (CC#12) [Bn, 0C, vv]
Effect control 2 (CC#13) [Bn, 0D, vv]
When the above CC# is assigned to the ASSIGNABLE
PEDAL or as the B-mode function of a REALTIME
CONTROL knob [1]–[4], operating that controller will
transmit Effect Control 1/2 messages, and the specified
dynamic modulation will be controlled. When this
message is received, the result will be the same as
when the controller is operated.
Although various types of control change can be
selected as dynamic modulation sources, Effect Con-
trol 1 (CC#12) and 2 (CC#13) are dedicated for
dynamic modulation.
Effect 1 depth (Send 2) (CC#91) [Bn, 5B, vv]
Effect 3 depth (Send 1) (CC#93) [Bn, 5D, vv]
When the above CC# is assigned to the ASSIGNABLE
PEDAL or as the B-mode function of a REALTIME
CONTROL knob [1]–[4], operating that controller will
transmit Effect 1 Depth (Send 2) or Effect 3 Depth
(Send 1) messages, and the send level 1 or 2 to the mas-
ter effects MFX1 or MFX2 will be controlled respec-
tively. When this message is received, the result will be
the same as when the controller is operated.
On the corresponding MIDI channels, this will simul-
taneously control the timbre/track setting as well as
the setting following the insertion effect.
• In Combination, Sequencer, and Song Play modes,
the actual send level of the timbre/track is
determined by multiplying this value with the
send 1/2 settings for each oscillator (Program P8:
Routing tab). (☞“Send 1, 2” - “MIDI” on p.25, 26,
42, 75, and 110 in the Parameter Guide.)
• When you adjust “Send 1” or “Send 2” (P8:
Routing tab, Insert Effect tab) in Sequencer mode
or Song Play mode, or when you re-select a song or
return to the beginning of the measure in
Sequencer mode, Send 1/2 will be transmitted by
each track whose “Status” is BTH, EXT, or EX2.
(☞“Send 1, 2,” “Insert FX” - “MIDI” on p.76 and
110 in the Parameter Guide).
Effect 2 depth (IFX1–5 on/off) (CC#92) [Bn, 5C, vv]
Effect 4 depth (MFX1 on/off) (CC#94) [Bn, 5E, vv]
Effect 5 depth (MFX2 on/off) (CC#95) [Bn, 5F, vv]
Separately from the effect on/off settings in each
mode, Global P1: Basic Setup “Effect Global SW”
allows you to turn off insert effects IFX1–5 and master
effects MFX1 and MFX2. If you check “IFX1–5 Off,”
“MFX1 Off” or “MFX2 Off,” the corresponding mes-
sage will be transmitted with vv=0 [00]. If you uncheck
these settings, the corresponding message will be
transmitted with vv=127 [7F]. If you check these set-
tings, the corresponding effect(s) will be turned off as a
group. If you uncheck these settings, the on/off set-
tings of each mode will be used. The same applies to
reception. (vv of 00 is off, and 01 or greater is the origi-
nal setting.) These messages are transmitted/received
on the global MIDI channel. (☞“ON/OFF” - “MIDI”
on p.26 and 27 in the Parameter Guide.)
These messages are defined simply for use in
adjusting the effect levels, and may not have the
same function on another instrument connected to
the TRITON.
Using various controllers for control
Foot controller (CC#04) [Bn, 04, vv]
If the above CC# is assigned as the ASSIGNABLE
PEDAL function, this message will be transmitted
when the controller is operated.
MIDI applications
118
• In Combination and Sequencer modes,
transmission/reception of this message can be
turned on/off independently for each timbre/track
(☞p.35, 57 in the Parameter Guide P3: MIDI2 tab
“Enable Foot Pedal/Switch”).
Ribbon controller (CC#16) [Bn, 10, vv]
This message will be transmitted when the TRITON’s
ribbon controller is operated.
• In Combination and Sequencer modes,
transmission/reception of this message can be
turned on/off independently for each timbre/track
(☞p.35, 57 in the Parameter Guide P3: MIDI2 tab
“Enable Ribbon”).
Controller (CC#18) [Bn, 12, vv]
This message will be transmitted when the TRITON’s
[VALUE] slider is operated.
This is valid in Program P0: Play and Combination P0:
Play when the program or combination number/name
is selected (highlighted).
Knob modulation 1, 2, 3, 4 (CC#17, 19, 20, 21)
[Bn, 11, vv], [Bn, 13, vv], [Bn, 14, vv], [Bn, 15, vv]
If the above CC# are assigned to the B-mode of REAL-
TIME CONTROLS [1]–[4] knobs, these messages will
be transmitted when the knobs are operated.
• In Combination and Sequencer modes,
transmission/reception of this message can be
turned on/off independently for each timbre/track
(☞p.35, 57 in the Parameter Guide P3: MIDI3 tab
“Enable REALTIME CONTROLS Knob 1, 2, 3, 4”).
Controller (CC#83) [Bn, 53, vv]
If the above CC# is assigned to the B-mode of REAL-
TIME CONTROLS [1]–[4] knobs, this message will be
transmitted when the knob is operated.
SW1 modulation (CC#80) [Bn, 50, vv]
SW2 modulation (CC#81) [Bn, 51, vv]
If the above CC# are assigned as the function of [SW1]
or [SW2], operating the switch will transmit this mes-
sage with vv=127 [7F] for ON, and vv=00 [00] for OFF.
(These can also be set as the B-mode functions of the
REALTIME CONTROL knobs [1]–[4].)
• In Combination and Sequencer modes,
transmission/reception of these messages can be
turned on/off independently for each timbre/track
(☞p.35, 57 in the Parameter GuideP3: MIDI3 tab
“Enable SW1,” “Enable “SW2”
Foot switch (CC#82) [Bn, 52, vv]
If the above CC# is assigned as the function of the
ASSIGNABLE SWITCH, operating the switch will
transmit this message with vv=127 [7F] for ON, and
vv=00 [00] for OFF. (This can also be set as a B-mode
function of the REALTIME CONTROL knobs [1]–[4].)
• In Combination and Sequencer modes,
transmission/reception of this message can be
turned on/off independently for each timbre/track
(☞p.35, 57 in the Parameter Guide P3: MIDI Filter
MIDI2 tab “Enable Foot Pedal/Switch”).
When “Foot controller (CC#04)”–”Foot switch
(CC#82)” are operated on the TRITON, the specified
alternate modulation or dynamic modulation etc. will
be controlled. When these messages are received, the
result will be the same as if the controller had been
operated. For “SW1 modulation (CC#80)”–”Foot
switch (CC#82),” vv of 63 [3F] or less will be OFF, and
64 [3F] or greater will be ON.
Damper pedal (CC#64) [Bn, 40, vv]
This message is transmitted when you operate a
damper pedal (separately sold Korg DS-1H etc.) con-
nected 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.
• In Combination and Sequencer modes,
transmission/reception of this message can be
turned on/off independently for each timbre/
track (☞p.35, 57 in the Parameter Guide P3: MIDI1
tab “Enable Damper”).
Sostenuto (CC#66) [Bn, 42, vv]
If the above CC# is assigned as the function of the
ASSIGNABLE SWITCH, operating the switch will
transmit this message with vv=127 [7F] for ON, and
vv=00 [00] for OFF, and the sostenuto effect will be
turned on/off. When this message is received, the
result will be the same as when the controller is oper-
ated (OFF for vv=63 [3F] or below, and ON for vv=64
[40] or above).
Soft pedal (CC#67) [Bn, 43, vv]
If the above CC# is assigned as the function of the
ASSIGNABLE SWITCH, operating the switch will
transmit this message with vv=127 [7F] for ON, and
vv=00 [00] for OFF, and the soft pedal effect will be
turned on/off. When this message is received, the
result will be the same as when the controller is oper-
ated.
Controlling the tone/envelope of a program
CC#70-78 control specific parameters of a program.
For details on the program parameters that correspond
to each control change, and how the TRITON will
respond in each mode when these are received, refer to
“TRITON operations when control changes are trans-
mitted/received” on p.223 of the Parameter Guide.
Low pass filter cutoff (CC#74) [Bn, 4A, vv]
Resonance level/High pass filter cutoff (CC#71)
[Bn, 47, vv]
Filter EG intensity (CC#79) [Bn, 4F, vv]
Release time (CC#72) [Bn, 48, vv]
These messages are transmitted when you operate the
TRITON’s REALTIME CONTROLS [1]–[4] knobs in A-
mode. (They can also be set as B-mode functions.)
119
Basic functions
Sustain level (CC#70) [Bn, 46, vv]
Attack time (CC#73) [Bn, 49, vv]
Decay time (CC#75) [Bn, 4B, vv]
LFO 1 speed (CC#76) [Bn, 4C, vv]
LFO 1 depth (pitch) (CC#77) [Bn, 4D, vv]
LFO 1 delay (CC#78) [Bn, 4E, vv]
These messages are transmitted when assign the above
CC# to the REALTIME CONTROLS [1]–[4] knobs and
operate them.
When you operate these, the corresponding program
parameters will be controlled, and the sound and enve-
lope will change. When these messages are received,
the result will be the same as when the controller is
operated. (When the message has a value vv=64 [40],
the setting will have the value that was set by the pro-
gram parameter.)
• In Combination and Sequencer modes,
transmission/reception can be turned on/off
independently for each timbre/track (☞p.35, 57 in
the Parameter Guide P3: MIDI Filter MIDI2 tab
“Enable REALTIME CONTROLS Knob 1, 2, 3, 4”).
In Program mode, the corresponding program
parameters will be temporarily edited by these
messages. You can Write the program to save the
modified state (except for certain parameters). The
Write operation can also be performed by a MIDI
exclusive Program Write Request message, in
addition to the usual method of using the TRI-
TON’s switches. When you write the data, the val-
ues of the corresponding program parameters will
be rewritten.
The results of receiving these messages will
depend on the instrument. The operation may be
different when a device other than the TRITON is
connected.
Silencing all notes on a specific channel
All note off (CC#123) [Bn, 7B, 00] (value 00)
When this is received, all currently-sounding notes on
that channel will be turned off (as though the keys had
been released). However, the release portion of the
notes will remain.
All sound off (CC#120) [Bn, 78, 00] (value 00)
When this is received, all currently-sounding notes on
that channel will be silenced. While the All Note Off
message allows the release portion of the notes to
remain, the All Sound Off message will silence the
notes immediately.
However, these messages are provided for emergency
use, and are not something that you will use while per-
forming.
Resetting all controllers on a specific channel
Reset all controllers (CC#121) [Bn, 79, 00] (value 00)
When this is received, the value of all controllers on
that channel will be reset.
Using RPN to edit
RPN (Registered Parameter Number) is a type of mes-
sage that allows settings to be made in a way that is
common between instrument manufacturers. (NRPN
(Non-registered Parameter Numbers) and exclusive
messages can be freely used in non-compatible ways
by different manufacturers and models of instrument.)
RPN messages can be used for editing with the follow-
ing procedure.
1Use RPN MSB (CC#101) [Bn, 65, mm] and RPN LSB
(CC#100) [Bn, 64, rr] (n: channel, mm, rr: upper and
lower bytes of the parameter number) messages to
select the parameter.
2Use data entry MSB (CC#6) [Bn, 06, mm] and data
entry LSB (CC#38) [Bn, 26, vv] (n: channel, mm, vv:
upper and lower bytes of the value, together
expressing 16,384 levels) to specify the value.
3You can use data increment (CC#96) [Bn, 60,00] or
data decrement (CC#97) [Bn, 61, 00] (n: channel,
value is fixed at 00) to change the value in steps of
one.
The TRITON can receive the following three RPN mes-
sages (tuning, transpose, and pitch bend range).
Tuning
RPN fine tune [Bn, 65, 00, 64, 01]
This RPN message can be used to adjust the detuning
for a program or timbre (in Combination mode), or for
a track (in Sequencer or Song Play modes).
The procedure is as follows.
1[Bn, 65, 00, 64, 01]: Select RPN parameter 01.
2[Bn, 06, mm, 26, vv]: Use data entry to set the value.
A value of 8192 [mm, vv=40, 00] is center, 0 [mm,
vv=00, 00] is -100 cents, and 16383 [mm, vv=7F, 7F]
is +100 cents.
You can use the universal exclusive Fine Tune
message to adjust the overall tuning that corre-
sponds to the Global P0: Basic Setup “Master
Tune” parameter. (☞p.120 “About system exclu-
sive messages”)
Transposing
RPN coarse tune [Bn, 65, 00, 64, 02]
This RPN message can be used to adjust the transposi-
tion for a program or timbre (in Combination mode),
or for a track (in Sequencer or Song Play modes).
The procedure is as follows.
1[Bn, 65, 00, 64, 02]: Select RPN parameter 02.
2[Bn, 06, mm, 26, vv]: Use data entry to set the value.
Normally only the upper byte is used.
A value of 8192 [mm, vv=40, 00] is center, 6656 [mm,
vv=34, 00] is -12 semitones, and 9728 [mm, vv=4C, 00]
is +12 semitones.
MIDI applications
120
You can use the universal exclusive Coarse Tune
message to adjust the overall tuning that corre-
sponds to the Global P0: Basic Setup “Transpose”
parameter. (☞p.120 “About system exclusive mes-
sages”)
Changing the pitch bend range
RPN pitch bend range [Bn, 64, 00, 65, 00]
This RPN message can be used to adjust the pitch bend
range for a program or timbre (in Combination mode)
or for a track (in Sequencer or Song Play modes).
The procedure is as follows.
1[Bn, 65, 00, 64, 00]: Select RPN parameter 00.
2[Bn, 06, mm, 26, vv]: Use data entry to set the value.
Normally only the upper byte is used.
A value of 0 [mm, vv=00, 00] is +00, and a value of
1536 [mm, vv=0C, 00] is +12 (one octave). Although it
is possible to set a negative value for a timbre/track,
only positive values can be set using RPN messages.
Controlling the arpeggiator (NPRN)
Arpeggiator operations can be controlled using NRPN
(Non Registered Parameter Number) messages. NRPN
messages can be freely used in non-compatible ways
by different manufacturers and models of instrument.
The procedure for using NRPN messages is the same
as for RPN, but you will use NRPN MSB (CC#99) [Bn,
63, mm] and NRPN LSB (CC#98) [Bn, 62, rr] messages
(n: channel, mm, rr: upper and lower bytes of the
parameter number) to specify the parameter.
NRPN arpeggiator on/off
[Bn, 63, 00, Bn, 62, 02, Bn, 06, mm]
This message will be transmitted when you press the
ARPEGGIATOR [ON/OFF] switch. When the switch is
turned ON the data will be mm=127 [7F], and when
turned OFF the data will be mm=0 [00], and the arpeg-
giator will be turned on/off accordingly. (This can also
be specified as a function of the ASSIGNABLE
SWITCH.)
Similarly, the arpeggiator will be turned on/off when
this message is received. (ON when mm is 64 [40] or
greater, and OFF when 63 [3F] or less.)
NRPN arpeggiator gate control
[Bn, 63, 00, Bn, 62, 0A, Bn, 06, mm]
This message will be transmitted when you operate the
ARPEGGIATOR [GATE] knob, and the arpeggiator
gate will change. When this message is received, the
result will be the same.
NRPN arpeggiator velocity control
[Bn, 63, 00, Bn, 62, 0B, Bn, 06, mm]
This message will be transmitted when you operate the
ARPEGGIATOR [VELOCITY] knob, and the arpeggia-
tor velocity will change. When this message is
received, the result will be the same.
About system exclusive messages
Since the way in which these messages are used is left
up to each manufacturer, they are mainly used to
transmit and receive sound data and editing data for
parameters that are unique to a particular instrument.
The TRITON’s system exclusive message format is [F0,
42, 3n, 50, ff, ..... F7]
F0: exclusive status
42: Korg ID
3d: [n=0–F] global MIDI channel 1–16
50: TRITON model ID
ff: function ID (type of message)
– ...
F7: end of exclusive
All models of the TRITON series use the same model
ID. Exclusive data can be exchanged between models
of the TRITON series.
To obtain a copy of the “MIDI Implementation”
which includes MIDI exclusive format informa-
tion, please contact your Korg distributor.
Universal system exclusive
Certain of the system exclusive messages are publicly
defined for a specific use, and these are called univer-
sal system exclusive messages.
The TRITON uses the following six universal system
exclusive messages.
Inquiry message request [F0, 7E, nn, 06, 01, F7]
Inquiry message [F0, 7E, nn, 06, 02, (nine bytes), F7]
When an inquiry message request is received, the TRI-
TON will respond by transmitting an inquiry message
that means “I am a Korg TRITON series instrument,
with system version ...”
GM system on [F0, 7E, nn, 09, 01, F7]
When this message is received in Song Play mode, the
TRITON will be initialized for GM playback.
Master volume [F0, 7F, nn, 04, 01, vv, mm, F7]
(vv: lower byte of the value, mm: upper byte of the
value, together indicating 16384 steps)
This message is transmitted if you assign Master Vol-
ume as the function of the ASSIGNABLE PEDAL or as
a B-mode function of a REALTIME CONTROLS [1]–[4]
knob and operate the controller. This will adjust the
overall volume balance without changing the relative
volume balance between timbres/tracks. When this
message is received, the result will be the same as
when the controller is operated.
Master balance [F0, 7F, nn, 04, 02, vv, mm, F7]
(vv: lower byte of the value, mm: upper byte of the
value, together indicating 16384 steps, where 8192 is
the default position, and lower values will move the
sound toward the left)
When this is received, the overall panning will be
adjusted without changing the relative panning
between timbres/tracks.
121
Basic functions
Master fine tuning [F0, 7F, nn, 04, 03, vv, mm, F7]
(A value of 8192 [mm, vv=40, 00] is center, 4096 [mm,
vv=20, 00] is -50 cents, and 12288 [mm, vv=60, 00] is
+50 cents.)
When this is received, the Global P0: Basic tab “Master
Tune” parameter will be set.
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 semitones, and 9728 [mm, vv=4C, 00] is +12 semi-
tones.)
When this is received, the Global P0: Basic tab “Trans-
pose” parameter will be set.
Transmitting sound settings data (Data Dump)
Data for programs, combinations, drum kits, user
arpeggio patterns, global settings, and sequencer data
can be transmitted as MIDI exclusive messages. The
operation of sending this system exclusive data to an
external device is called a “data dump.”
By performing a data dump, you can store the TRI-
TON’s sounds and settings on an external device, or
rewrite the sounds and settings of another TRITON
series instrument.
There are the following three types of data dump.
• When you use the Global P1: MIDI “Data Dump”
page menu command to dump data, various types
of internal memory data will be transmitted. If this
data is received by the TRITON, the data will be
written directly into internal memory, and it will
not be necessary to perform the Write operation.
(☞“Transmission,” “Reception” on pages 119 and
120 in the Parameter Guide.)
• If the Global P1: MIDI “Enable Exclusive” setting is
checked, selecting a combination in Combination
P0: Play will transmit data for one combination.
Selecting a program in Program Play P0: Play will
transmit data for one program.
This data is the edit buffer data for the currently
selected combination or program. If this data is
received by the TRITON, the data will be written
into the edit buffer, so if you wish to save it to inter-
nal memory, you will need to perform the Write
operation. The Write operation can also be per-
formed by a MIDI exclusive Program Write Request
or Combination Write Request message, in addition
to the usual method of using the TRITON’s
switches. (☞p.37 “Saving data”)
• If the Global P1: MIDI “Enable Exclusive” setting is
checked, data will also be dumped in response to a
Dump Request message. This data is transmitted
and received on the global MIDI channel.
Editing sounds etc.
By using various MIDI exclusive data dumps, you can
rewrite all programs or an individual program. By
using parameter change messages, you can edit indi-
vidual parameters as follows.
Parameter changes
• In Program mode, all parameters other than the
program name can be edited. Performance editor
parameters are included.
• In Combination mode, parameters other than the
combination name can be edited.
Drum kit parameter change/User arpeggio pat-
tern parameter change
• In Global mode, you can edit drum kits and user
arpeggio patterns.
Since the other global parameters or Sequencer mode
data cannot be edited, you will use data dumps to
transfer this data. Data dumping of Sampling mode
data is not supported.
The global MIDI channel is used to transmit and
receive this data.
First check Global P1: MIDI “Enable Exclusive,” so that
exclusive data can be transmitted and received. When
you change modes on the TRITON, a mode change
message will transmitted. When you change programs
or combinations, the parameters for one program or
one combination will be transmitted together with the
program change. When you edit individual parame-
ters, parameter change, drum kit parameter change, or
user arpeggio pattern parameter change messages will
be transmitted.
When these messages are received, the same editing
operation will be performed as on the transmitted
device.
After MIDI exclusive data has been received and pro-
cessed, a Data Load Completed message will be trans-
mitted. The control master device must not transmit
the next message until this message is received (or
until a sufficient interval of time has elapsed).
When you change programs or combinations, or use
parameter changes to edit, the changes will affect the
data in the edit buffer and will not be stored in internal
memory unless you Write, so that the changes will be
lost if you re-select the program or combination. The
Write operation can be performed by a MIDI exclusive
Program Write Request or Combination Write Request
message, in addition to the usual method of using the
TRITON’s switches. (☞p.37 “Saving data”)
If notes are “stuck”
If for some reason, notes become “stuck” and will not
stop sounding, you can usually stop the sound by
changing the mode. If notes played via MIDI are stuck,
you can disconnect the MIDI cable.
MIDI transmits a message called Active Sensing [FE] at
regular intervals. A device that receives this message
will be aware that an external MIDI device is transmit-
ting to it. Subsequently, if no MIDI messages are
received for a certain interval of time, the receiving
device will decide that the connection has been broken,
and will turn off any notes that had been sounded via
MIDI and reset its controller values.
MIDI applications
122
Playing the TRITON multi-timbrally
from an external device
The TRITON can be connected to an external device
and played multi-timbrally in the following ways.
• MIDI messages from the external device can play a
combination (8-part multi-timbral performance).
You can change the overall settings (programs,
levels, and effects) by using program change
messages to switch combinations.
• MIDI messages from the external device can be
used to play a song (using the TRITON as a 16-part
multi-timbral tone generator). However if the
Global P1: MIDI “MIDI Clock” is INT, it will not
be possible to switch the overall settings.
• MIDI Clock messages from the external device can
be used to make the TRITON playback a song (set
“MIDI Clock” to EXT, and run the TRITON’s
sequencer). (☞“Synchronizing the playback of the
arpeggiator or sequencer”) You can change the
overall settings (programs, levels, effects) by using
song select messages to switch songs.
Synchronizing the playback of the
arpeggiator or sequencer
The choice of whether the TRITON will be the master
(the controlling device) or the slave (the controlled
device) is made by Global P1: MIDI “MIDI Clock.”
Using the TRITON as master and the external
MIDI device as slave
Connect the TRITON’s MIDI OUT connector to the
MIDI IN connector of the external MIDI device. Alter-
natively, connect the TRITON’s TO HOST connector to
your computer (☞p.111, 112).
• When you set “MIDI Clock” to Internal, the
TRITON will be the master device, and will
transmit MIDI timing clock messages.
Arpeggiator: The tempo can be controlled from the
TRITON. Simultaneously, the performance of the
arpeggiator will be transmitted via MIDI. (In Com-
bination, Sequencer, and Song Play modes, data will
be transmitted by timbres/tracks whose “Status” is
BTH, EXT, or EX2.) An external tone generator con-
nected to MIDI OUT will sound, and the tempo of
an external sequencer can be controlled.
Sequencer: The musical data can be played back
and controlled on the TRITON. Simultaneously, the
sequencer playback will be transmitted via MIDI
from tracks whose “Status” is BTH, EXT, or EX2. An
external tone generator connected to MIDI OUT will
sound, and the tempo of an external sequencer can
be controlled.
However, since exclusive data cannot be recorded
on the TRITON’s sequencer, you can use the Global
P1: MIDI “Dump Sequencer” page menu command
if the slave device is the TRITON. If the slave device
is another model, you can use the TRITON’s Disk
mode data filer function (“Receive and Save MIDI
Exclusive,” “Load and Transmit MIDI Exclusive
Data”).
Using the external MIDI device as master and
the TRITON as slave
Connect the TRITON’s MIDI IN connector to the MIDI
OUT connector of the external MIDI device. Alterna-
tively, connect the TRITON’s TO HOST to your com-
puter (☞p.111, 112).
• When you set “MIDI Clock” to External MIDI or
External PCI/F, the TRITON will be the slave
device.
Arpeggiator: The tempo will follow the MIDI tim-
ing clock. If you playback the external sequencer,
the TRITON’s arpeggiator will synchronize to the
external timing clock. (☞p.105)
Even if “MIDI Clock” is External MIDI or External
PCI/F and the TRITON is being controlled from the
external device, the performance of the arpeggiator
will still be transmitted via MIDI. (In Combination
and Sequencer modes, the arpeggiator performance
will be transmitted from timbres/tracks whose
“Status” is BTH, EXT, or EX2.)
Sequencer: It will not be possible to control the
playback from the TRITON; playback will be con-
trolled by the external device connected to the TRI-
TON’s MIDI IN. If you wish to playback the
external sequencer to make the TRITON’s
sequencer playback in synchronization to the exter-
nal timing clock, you must first set the same time
signature and starting measure locations on both
devices.
Even if “MIDI Clock” is set to External MIDI or
External PCI/F and the TRITON is being controlled
from an external device, musical data will be trans-
mitted by tracks whose “Status” is BTH, EXT, or
EX2.
Recording musical data from an exter-
nal device
There are two ways in which you can play back an
external sequencer and record its playback on the TRI-
TON.
• Set Global P1: MIDI “MIDI Clock” to Internal,
begin recording, and then start the external
sequencer. With this method, the MIDI messages
will be recorded without the two devices being
synchronized. Since the incoming musical data will
simply be recorded, this method allows the
performance to be reproduced faithfully, but since
measure divisions etc. will not be kept track of, this
method is not suitable if you intend to edit the data
later.
123
Basic functions
• If you set Global P1: MIDI “MIDI Clock” to
External MIDI or External PCI/F, the start of
recording and the tempo etc. will all be under the
control of the external sequencer. Since the two
devices will be synchronized during the recording
process, measure divisions etc. will be accurately
preserved. (You will need to set the time signature
before recording.) However, tempo changes during
the performance will not be recorded, so you will
have to insert any tempo changes later. For normal
multi-track recording, you will use this method.
(☞p.66 “Multi (multitrack recording)”)
About GM/GS/XG
The TRITON supports the GM standard. It also sup-
ports the GM2 sound map (including bank select) with
256 programs and 9 drum programs provided in ROM
banks G, g(1)–g(9), and g(d). (Banks g(1)–g(9) are GM2
variation programs, and g(d) contains drum pro-
grams.)
GM is a standard that ensures basic compatibility of
sounds etc. between different GM-compatible instru-
ments made by different manufacturers, but you need
to be aware of the following.
• The GM System On message is received only in
Song Play mode. (☞p.102 in the Parameter Guide
“GM Initialize”)
Roland GS and Yamaha XG are specifications by which
these respective manufacturers have extended the GM
standard.
The TRITON automatically converts the GS/XG sound
maps to the GM2 sound map, and supports some of
their messages. This allows GS/XG music data to be
played back in Song Play mode etc.
Since the TRITON does not support all of the GS/
XG sound maps or messages, some data may not
be played back correctly.
When you wish to playback a music data conform to
GM/GS/XG format or load it into a song, select the
Global P0: Preference tab and set “Bank Map” to
GM(2).
Converting the GS/XG bank/program maps
to the GM2 bank/program map
• When bank select/program change messages used
by GS/XG are received, they will automatically be
converted to the G, g(1)–g(9), g(d) bank/program
map of the TRITON.
• The same conversion is performed when a SMF is
loaded into a song in Disk mode.
For banks that are used in common by GS/XG, GS
Reset/XG System ON will be received to automat-
ically convert to the optimal bank/program map
for each.
Support for GS/XG part mode exclusive mes-
sages
• In Song Play mode when GS/XG part mode
exclusive messages Drum or MDrm 1–4 are
received, bank g(d) (GM2 drum bank) will be
selected for the specified track.
Until this part mode state is defeated, bank select
messages will no longer be received for the speci-
fied track.
• When an SMF is loaded into a song in Disk mode,
any bank select messages in a track that is set to a
part mode of Drum or MDrm 1–4 will be ignored,
and will not be loaded.
Support for NRPN messages used in GS/XG
music data
The following NRPN messages can be received to
modify the sound.
kk: Drum Inst No. ([0C...6C] corresponds to C0...C8)
* [00, 01...7f] corresponds to Random, L000...R127)
About standard MIDI files
Standard MIDI files (SMF) make it possible for differ-
ent computer programs or musical instruments made
by different manufacturers to exchange time-based
MIDI data. Each standard MIDI file contains one song.
The TRITON supports format 0 (type 0) in which all of
the MIDI data is combined into one track, and format 1
(type 1) in which the data is separated by track.
When a SMF is played back in Song Play mode or
loaded into a song in Disk mode, the program bank
that is selected will differ depending on the Global P1:
System Preference tab “Bank Map” setting. When play-
ing/loading SMF data that conforms to the GM/GS/
XG specifications, set “Bank Map” to GM(2).
Vibrato Rate [Bn, 63, 01, Bn, 62, 08, Bn, 06, mm]
Vibrato Depth [Bn, 63, 01, Bn, 62, 09, Bn, 06, mm]
Vibrato Delay [Bn, 63, 01, Bn, 62, 0A, Bn, 06, mm]
Filter Cutoff [Bn, 63, 01, Bn, 62, 20, Bn, 06, mm]
Resonance [Bn, 63, 01, Bn, 62, 21, Bn, 06, mm]
EG Attack Time [Bn, 63, 01, Bn, 62, 63, Bn, 06, mm]
EG Decay Time [Bn, 63, 01, Bn, 62, 64, Bn, 06, mm]
EG Release Time [Bn, 63, 01, Bn, 62, 66, Bn, 06, mm]
Drum Filter Cutoff [Bn, 63, 14, Bn, 62, kk, Bn, 06, mm]
Drum Filter Resonance [Bn, 63, 15, Bn, 62, kk, Bn, 06, mm]
Drum EG Attack Time [Bn, 63, 16, Bn, 62, kk, Bn, 06, mm]
Drum EG Decay Time [Bn, 63, 17, Bn, 62, kk, Bn, 06, mm]
Drum Coarse Tune [Bn, 63, 18, Bn, 62, kk, Bn, 06, mm]
Drum Fine Tune [Bn, 63, 19, Bn, 62, kk, Bn, 06, mm]
Drum Volume [Bn, 63, 1A, Bn, 62, kk, Bn, 06, mm]
Drum Panpot [Bn, 63, 1C, Bn, 62, kk, Bn, 06, mm]*
Drum Rev Send(Send2) [Bn, 63, 1D, Bn, 62, kk, Bn, 06, mm]
Drum Cho Send(Send1) [Bn, 63, 1E, Bn, 62, kk, Bn, 06, mm]
MIDI applications
124
Song Play mode
• In Song Play mode, the TRITON can playback SMF
data directly from a disk or external SCSI device (if
the separately sold EXB-SCSI option is installed);
i.e., the data will be played back as it is being read,
and does not need to be loaded into memory.
• If the SMF data contains a GM System On message,
the TRITON will be initialized for GM playback
(☞p.102 in the Parameter Guide “GM Initialize”).
Sequencer mode
In Disk mode when you convert a song into a Standard
MIDI File and save it, you can choose either format 0
or format 1.
• If TRITON song data that was saved as a format 1
SMF file is loaded into another device, the track
configuration may be different than it was before
being saved. This is because tracks that contain no
musical data are omitted, and the remaining tracks
are moved into the unused tracks. This will not
affect the playback itself.
• If song data that was saved by another device as a
format 1 SMF file is loaded into the TRITON, the
track configuration may be different than it was
before being saved. This is because tracks that
contain no musical data are omitted, and the
remaining tracks are moved into the unused tracks.
This will not affect the playback itself.
When exchanging sequence data between two TRI-
TON series instruments, we recommend that you save
the sequence data in the TRITON’s native format
(“Save SEQ”).
When sequence data is saved in the TRITON’s native
format, all of the settings and patterns unique to the
TRITON will be saved, which will ensure a higher
level of reproducibility than when the data is saved as
a Standard MIDI File (“Save to Std MIDI File”).
125
Basic functions
Other functions
When you play the TRITON together with other
instruments, or along with music on a CD or tape, you
may need to adjust the tuning so that the pitch
matches. To adjust the tuning, use Global P0: Basic tab
“Master Tune.” The tuning can be adjusted in a range
of –50 – +50 cents (one semitone is 100 cents).
You can also transpose by changing the pitch in semi-
tone steps. To transpose the pitch of the entire TRI-
TON, use Global P0: Basic tab “Key Transpose.” The
pitch can be transposed over a range of ±1 octave.
Here we will explain how to adjust the tuning and
transposition of the entire TRITON.
1Press the [GLOBAL] key to enter Global mode.
2After pressing the [MENU] key, and press the P0:
Basic Setup.
3Select the Basic tab.
4To adjust the tuning, select “Master Tune.” to
adjust the transposition, select “Key Transpose.”
5Use the VALUE controllers to adjust the setting.
You can use numeric keys [0]–[9] to enter a value
and press the [ENTER] key. Alternatively, you can
use the [VALUE] dial, the [VALUE] slider, or the
[ ][ ] keys.
If you want this setting to be preserved after the
power is turned off, save the setting (☞p.39).
Normally, effects are turned on/off within each pro-
gram, combination, or song, or in Sampling mode or
Song Play mode. However if you want the entire TRI-
TON not to use its insert effects or master effects, you
can bypass these effects.
1Press the [GLOBAL] key to enter Global mode.
2After pressing the [MENU] key, and press the P0:
Basic Setup.
3Select the Basic tab.
4To turn off insert effects 1–5, check the “IFX1-5
Off” check box.
To turn off master effect 1, check the “MFX1 Off”
check box. To turn off master effect 2, check the
“MFX2 Off” check box.
If you want this setting to be preserved after the
power is turned off, save the setting (☞p.39).
Set the function of an assignable switch (separately
sold option, Korg PS-1) connected to the ASSIGN-
ABLE SWITCH jack.
This switch can act as a source for alternate modula-
tion or effect dynamic modulation, or switch porta-
mento on/off, control the sostenuto effect, turn the soft
pedal effect on/off, turn the arpeggiator on/off, select
programs or combinations (up/down), start/stop the
sequencer, punch-in/out on the sequencer, or be a trig-
ger to advance the cue list step (☞p.219 in the Parameter
Guide).
• This setting is made in Global P2: Controller “Foot
Switch Assign.”
You can specify the function that will be performed by
an assignable pedal (the separately sold Korg XVP-10
or EXP-2) connected to the ASSIGNABLE PEDAL
jack.
This pedal can be used to control master volume, alter-
nate modulation or effect dynamic modulation, porta-
mento pitch change speed, volume, the pan following
an insert effect, pan, volume, or send levels to the mas-
ter effects (☞p.220 in the Parameter Guide).
• This setting is made in Global P2: Controller “Foot
Pedal Assign.”
You can use this as a source for alternate modula-
tion or effect dynamic modulation, and use it to
control program parameters or effect parameters.
In this case, set “Foot Switch Assign” to Foot SW
(CC#82), and “Foot Pedal Assign” to Foot Pedal
(CC#04).
Here we will show how to make settings that allow an
assignable switch to change programs or combina-
tions.
1Connect a separately sold Korg PS-1 to the
ASSIGNABLE SWITCH jack.
2Press the [GLOBAL] key to enter Global mode.
3After pressing the [MENU] key, and press the P2:
Controller.
4Press the “Foot Switch Assign” popup button, and
press either Program Up or Program Down.
Program Up will cause the next higher program
number to be selected each time you press the foot
switch.
Program Down will cause the next lower program
number to be selected each time you press the foot
switch.
Bypassing the effects
Tuning to another instrument/
Transposing
Specifying the function of the
ASSIGNABLE Switch and
ASSIGNABLE Pedal
Other functions
126
5Set the “Foot Switch Polarity” to the polarity of the
foot switch you have connected.
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.
If you want this setting to be preserved after the
power is turned off, save the setting (☞p.39).
6Either press the [PROG] key to enter Program P:
Play, or press the [COMBI] key to enter Combina-
tion P0: Play. When you press the foot switch, the
program/combination will change.
You can adjust the way in which changes in velocity or
after touch will affect the volume or tone. By changing
this, you can (for example) make the volume of the
notes more consistent even when they are played with
varying velocities (dynamics). Each curve has its own
character, so you can select the curve that is appropri-
ate for your own playing dynamics, playing style, and
the effect that you wish to obtain (☞p.113, 114 in the
Parameter Guide).
1Press the [GLOBAL] key to enter Global mode.
2After pressing the [MENU] key, and press the P0:
Basic Setup.
3Select the Basic tab.
4To change the velocity curve, select “Velocity
Curve” and specify the desired curve.
To change the after touch curve, select “After
Touch Curve,” and specify the desired curve.
If you want this setting to be preserved after the
power is turned off, save the setting (☞p.39).
* This setting will affect the operation of the entire
TRITON.
* Each program has parameters that allow you to
adjust the effect of velocity (playing dynamics), and
the change will depend on the settings of these
parameters. These parameters can be individually
set in detail in Program mode.
You can create your own original scales. You can create
sixteen different User Octave Scales in which the pitch
of each note in the octave is repeated for all octaves,
and one User All Note Scale in which the pitch of each
of the 128 notes can be specified independently.
If you want this setting to be preserved after the
power is turned off, save the setting (☞p.39).
The user scales you create here can be used by specify-
ing the scale for a program, for each timbre of a combi-
nation, or for each track of a song (Sequencer/Song
Play). (☞“Changing the scale”)
You can specify the scale for each program, for each
timbre in a combination, or for each track of a song
(Sequencer/Song Play mode).
These settings are made by “Type” in the following
pages, and by “Use Program’s Scale” for a combination
or song.
Here we will show how to make settings in Sequencer
mode.
1Press the [SEQ] key to enter Sequencer mode.
2After pressing the [MENU] key, and press the P2:
Trk Param.
3Select the Other T01-08 tab or the Other T09-16 tab.
4If you wish to use the scale that is specified for the
program used by a track, check the “Use Program’s
Scale” check box for that track.
Tracks that are not checked will use the scale speci-
fied by Scale “Type.”
5Set “Type” to select the scale for the entire cur-
rently selected song.
If you want this setting to be preserved after the
power is turned off, save the setting (☞p.38, p.39,
and the Parameter Guide p.48 and 102).
Adjusting the way in which
velocity or after touch will affect
the volume or tone
Creating original scales
Changing the scale
Program P1: Edit-Basic, Program Basic
Combination P2: Edit-Trk Param, Other
Song P2: Trk Param, Other T01–08/T09–16
Song Play mode P1: Track, Status/Scale T01–08/T09–16
127
Basic functions
You can specify the function of the [SW1] and [SW2]
keys (☞p.217 in the Parameter Guide).
The functions of the [SW1] and [SW2] keys are set
independently for each program, combination, and
song. In Sampling mode and Song Play mode, the
functions of these keys are set for the entire mode.
You can specify the function that will be performed by
the [SW1] and [SW2] keys, and can also select between
Toggle (when the function will be switched on/off
each time the [SW1] or [SW2] key is pressed) and
Momentary (when the function will be on only while
you continue holding the [SW1] or [SW2] key).
These settings are made by “Panel Switch Assign” in
the following pages.
When you write a program or combination, the
on/off status of the [SW1] and [SW2] keys is mem-
orized.
You can use these keys as alternate modulation or
effect dynamic modulation sources, and control
program parameters or effect parameters.
In this case, you will normally select SW1
Mod.:CC#80 and SW2 Mod.:CC#81.
For an example in which the [SW1] key is specified as
an effect dynamic modulation source for a program
and used to control an effect, refer to ☞p.110.
If you wish to keep these settings after the power
is turned off, you must save them (☞p.38, p.39,
and the Parameter Guide p.48 and 102). However,
the settings of Sampling mode cannot be saved.
You can specify the B-mode functions of REALTIME
CONTROLS knobs [1]–[4].
The B-mode functions are set independently for each
program, combination, or song. The functions in Sam-
pling mode or Song Play mode are set for the entire
mode.
These settings are made by “Realtime Control Knob B-
Assign” in the following pages.
You can use these knobs as sources for alternate
modulation or effect dynamic modulation, and
control program parameters or effect parameters.
In this case, you will normally select Knob
Mod.1:CC#17, Knob Mod.2:CC#19, Knob
Mod.3:CC#20, and Knob Mod.4:CC#21.
Here we will give an example of how knob [1] can be
used to control the filter and amp EG attack of a pro-
gram.
1Press the [PROG] key to enter Program mode.
2After pressing the [MENU] key, and press the P1:
Edit-Basic.
3Press the Controller tab.
4Press the Realtime Control Knob B-Assign “Knob
1-B” popup button, and select F/A Attack.
5Press the [REALTIME CONTROLS] key to select
B-mode, and rotate knob [1]. The EG attack of the
filter and amp will change.
If you wish to keep these settings after the power
is turned off, you must save them (☞p.38, p.39,
and the Parameter Guide p.48 and 102). However,
the settings of Sampling mode cannot be saved.
Use the rear panel contrast knob to make adjustments.
If the Global P0: System Preference tab “Beep Enable”
check box is turned on, a beep will sound when you
press an object in the LCD screen.
MIDI exclusive data transmitted from an external
device can be received by the TRITON and saved on a
floppy disk (the Data Filer function). This is done using
the Disk mode Save tab “Save Exclusive” page menu
command (☞p.141 in the Parameter Guide).
Setting the function of [SW1] and
[SW2]
Program P1: Edit-Basic, Controller Setup
Combination P4: Edit-Zonr/Ctrl, Control
Song P4: Zonr/Ctrl, Controller Setup
Sampling mode P4: Controller Setup
Song Play mode P2: Controller Setup
Setting the B-mode functions of
REALTIME CONTROLS [1]–[4]
Program P1: Edit-Basic, Controller Setup
Combination P4: Edit-Zonr/Ctrl, Control
Song P4: Zonr/Ctrl, Controller Setup
Sampling mode P4: Controller Setup
Song Play mode P2: Controller Setup
Adjusting the contrast (bright-
ness) of the LCD screen
Sounding a beep when the LCD
screen is pressed
Using the TRITON as a data filer
Other functions
128
[MENU] key + numeric keys [0]–[9]
• Access the pages within a mode
[ENTER] key + numeric keys [0]–[9]
• Access the page menu commands in each page (up
to ten items)
[ENTER] key + keyboard
• Input note number values or velocity values
• Select “KEY” in Global P5: Drum Kit, Sequencer
P5: RPPR Setup tab
• Select base key and index in Sampling mode
[ENTER] key + [LOCATE] key
• In Sequencer mode and Song Play mode, set the
current location as the “Location” (equivalent to
the “Set Location” page menu command)
Shortcuts
129
Appendices
Appendices
Installing and setting up the Korg MIDI
Driver
Installing the Korg MIDI Driver into
Windows 95/98
If your application (sequencer) is Windows-compati-
ble, using the Korg MIDI Driver will allow you to use a
Korg tone generator connected to the serial port (COM,
RS-232C) as a MIDI device.
Before you install the Korg MIDI Driver, use the
special serial cable to connect the TRITON and
your computer, turn on the power of the TRITON,
and set the Global P0: System Pref. tab “PC I/F
Baud Rate” parameter to the setting appropriate
for your computer (☞p.112, 113).
If your computer is not fast enough, the data at
MIDI IN may not be received correctly. Windows
NT is not supported.
1In the task bar, click the [Start] button, and then
click [Control Panel].
2In the control panel, double-click the “Hardware” or
“Add hardware” icon, and the “Hardware wizard”
will start up. On Windows 95 click [Next>]. On Win-
dows 98, click [Next>] and when an explanation
appears, click [Next>] once again.
In response to “Do you want Windows to search for
your new hardware?” be sure to select “No,” and
then click [Next>].
3Select “Sound, video, and game controllers,” and
click [Next>].
4Click [Have Disk].
5You will be asked for the drive and directory. Insert
the floppy disk containing the Korg PC I/F Driver
(AG-001B), and input the drive name.
For example if your floppy disk drive is A, type
“A:\”.
Installing the Korg MIDI Driver
into Windows 95/98 and mak-
ing settings
Korg MIDI Driver
130
Click the [OK] button, and then click [OK] again.
6Make settings as described in “Setting up the Korg
MIDI Driver” (below), and click the [OK] button.
7Be sure to restart your computer so that the new
driver becomes effective.
Korg MIDI Driver settings
1In “Control panel,” double-click the “Multimedia”
icon, and the “Multimedia Properties” dialog box
will appear.
Click the “Advanced” tab located at the upper right.
Click the [+] located at the left of “MIDI Devices and
Instrnments” (the display will change to [–]), and
click “KORG PC I/F MIDI Port.”
Then click the [Properties] button.
2“KORG PC I/F MIDI Port Properties” will appear.
Click the [Settings] button.
3Make settings as described in “Setting up the Korg
MIDI Driver” (below), and click the [OK] button. If
you change the settings, you must restart Windows.
Setting up the Korg MIDI Driver (Win-
dows)
1For Serial Port, select the serial port (“COM1” to
“COM4”) to which the TRITON is connected. If you
wish to use the serial port for a different purpose
after installing the Korg MIDI Driver, you can either
select “None” to disable the driver, or “Delete” the
driver and restart Windows.
2If “Independent Synth/MIDI Out” is not checked,
data that is output to Default MIDI will be sent both
to the tone generator and to MIDI OUT. If “Indepen-
dent Synth/MIDI Out” is checked, the operation
will depend on the model of tone generator that you
are using.
Since the TRITON does not support this function,
do not check Independent Synth/MIDI Out.
3Synth Out Messages allows you to select the mes-
sages that will be transmitted to the TRITON. MIDI
Out Messages allows you to select the messages that
will be output from the MIDI OUT of the tone gen-
erator.
Appendices
131
4When you finish making settings, click the [OK]
button. Alternatively, if you wish to cancel the
changes you made, click [Cancel]. If you have made
changes, you must restart Windows.
You can use the Korg MIDI Driver if the MIDI applica-
tion (sequencer) you use runs on Apple MIDI Manager.
If you are using a MIDI application that does not use
Apple MIDI Manager, it is not necessary to install the
Korg MIDI Driver. Set the MIDI output port of your
MIDI application to the port to which the TRITON is
connected, and set the Clock setting to [1 MHz].
In order to use the Korg MIDI Driver, the Apple
MIDI Manager and PatchBay must already be
installed. Use the versions of Apple MIDI Manager
and PatchBay that are included with your MIDI
application. They are not included with the AG-
002B.
When the Korg MIDI Driver is used, the “Modem
MIDI Out/Port setting” dialog box will allow you
to specify the MIDI channels and types of mes-
sages which will be transmitted to the TRITON. If
you do not need this functionality, you can simply
use the Apple MIDI Driver without the Korg MIDI
Driver. When using the Apple MIDI Driver
(☞p.132).
1Copy the KORG MIDI Driver from the disk
included with the AG-002B into the system folder of
your startup disk.
2If there is a copy of Apple MIDI Driver in your sys-
tem folder, either delete it, or move it to another
folder. Be careful not to delete or move the Apple
MIDI Manager.
The KORG MIDI Driver includes the functionality
of the Apple MIDI Driver.
3From the Special menu, select “Restart.”
Setting up the Korg MIDI Driver (Mac-
intosh)
1Start up PatchBay.
If installation has been performed correctly, the
KORG MIDI Driver icon shown above will appear
in the PatchBay window when PatchBay is started
up. (The modem and printer ports will be displayed
differently depending on the setup condition.)
2In PatchBay, double-click the KORG MIDI Driver
icon.
The setup dialog box will appear.
3Check the Port Enable box for the port to which the
TRITON is connected, and specify [1 MHz].
Since the TRITON does not contain a KORG PC IF,
do not select [KORG PCIF].
4Press the [Out Port Setting] button.
The following dialog box will appear. Here you can
select the MIDI channels/messages which will be
output to each port. Only those channels/messages
whose box is checked will be output.
5When you have finished making settings, click the
[OK] button.
6Start up your MIDI application (sequencer), and
drag the mouse from the of the your MIDI appli-
cation’s Out Port to connect it to the MIDI Out of the
MIDI Driver.
For details on using PatchBay, refer to “About
PatchBay...” etc. in the Apple menu.
Installing the Korg MIDI Driver
into a Macintosh
Modem Port
Time Port MIDI In Port MIDI Out Port
Printer Port
Connected Port
Korg MIDI Driver
132
To use the Apple MIDI Driver, you must first
delete or move the Korg MIDI Driver if it exists in
your system folder. Then start up PatchBay, dou-
ble-click the Apple MIDI Driver icon that appears,
check Enabled for the Port to which the TRITON is
connected, set Interface Type to [1 MHz], and close
the dialog box. In PatchBay, drag the mouse from
the OutPort of the MIDI application
(sequencer) to connect it to MIDI Out.
Using PC Exchange to convert SMF data
Most commercially available Standard MIDI File
(SMF) song data is saved in MS-DOS format.
You can use PC Exchange to make MS-DOS format
SMF song files recognizable by the Macintosh.
1In the control panel, open PC Exchange.
The PC Exchange control panel will appear.
2Press the [Add...] button.
The [Specify application associated with DOS exten-
sion] window will appear.
3Input “.MID” into the DOS extension field.
In order to distinguish different types of file, MS-
DOS adds an extension consisting of a period and
three characters to the end of the filename. It is cus-
tomary for SMF data to have an extension of “.MID”
4From the list that appears in the lower part of the
dialog box, select your SMF-compatible MIDI appli-
cation (sequencer).
The selected icon will appear in the Application
field.
5From the [Document type] popup menu, choose
[Midi], and click the [OK] button.
The item which was added to the PC Exchange win-
dow will appear, and has now been registered.
Now when an MS-DOS SMF disk is inserted into
the disk drive, it can be used immediately.
For details refer to the documentation for “Macin-
tosh PC Exchange.”
Wiring diagram for special con-
nection cables
(2) AG-002B (for Macintosh)
Mini DIN 8-pin Mini DIN 8-pin
1
2
3
4
5
6
7
8
2
1
5
4
3
8
7
6
(1) AG-001B (for IBM PC or Compatible)
Mini DIN 8-pin D-SUB 9-pin
3
4
5
8
7
2
5
3
Appendices
133
Troubleshooting
If you experience problems, refer to the relevant item
and take the appropriate measures.
Power does not turn on
• Is the power cable connected to an outlet?.......☞p.15
• Is the [POWER] switch turned on?
Turn on the rear panel [POWER] switch. .........☞p.17
Power is on, but nothing is displayed in the
LCD screen
• Use the rear panel [Contrast] knob to adjust the
contrast of the LCD screen. ...................................☞p.9
Can’t operate the LCD screen correctly
• In Global P0: Basic Setup, execute the “Touch Panel
Calibration” page menu command to adjust the
sensitivity of the touch panel..................... PG ☞p.115
If it is not possible to select this command from the
page menu, enter Global mode P0 (press the
[MENU] key, and then press the [0] or [EXIT] key
to access this), and then hold down the [ENTER]
key and press numeric key [2] to display the dia-
log box.
No sound
• Are connections made correctly to your amp,
mixer, or headphones? ........................................☞p.15
• Is your amp or mixer turned on?
• Is Local Control turned on?
In Global P1: MIDI, check the “Local Control On”
check box. ..................................................... PG ☞p.117
• Is the [VOLUME] slider raised? ...........................☞p.6
• If there is no sound from the OUTPUT
(INDIVIDUAL) 1–4 jacks, make sure that “BUS
Select (IFX/Indiv.Out Assign)” or “Bus Select”
following the insert effect is set to 1, 2, 3, 4, 1/2, or
3/4....................................................................... ☞p.107~
• If specific tracks in Sequencer mode or Song Play
mode do not sound, Make sure that the PLAY/
MUTE/REC button or PLAY/MUTE button is set
to PLAY. ....................................................... ☞p.62, p.88
Make sure that the “Status” is INT or BTH.
....................................................................... ☞p.59, p.85
• Are the Key Zone and Velocity Zone set so that
sound will be produced when you play? .. PG ☞p.59
Notes do not stop
• In Program P1: Edit Basic, select the Program Basic
tab, make sure that the “Hold” check box is
unchecked......................................................... PG ☞p.4
• In Global P2: Controller, make sure that “Damper
Polarity” or “Foot Switch Polarity” is set correctly.
........................................................................ PG ☞p.121
Cannot input sound
• Is your audio source connected to the AUDIO
INPUT 1, 2 jacks?..................................................☞p.78
• Is the AUDIO INPUT [LEVEL] knob raised?
.................................................................................☞p.78
• Is the [MIC-LINE] switch set appropriately?
.................................................................................☞p.78
• If there is no sound in Sampling mode, go to
Sampling P0: Recording, select the Input/Setup
tab, and make sure that “Level” and “BUS(IFX)
Select” are set correctly........................................☞p.79
• If there is no sound in Program, Combination,
Sequencer, or Song Play modes, go to Global P0:
Basic Setup, select the Audio Input tab, and make
sure that “Level” and “BUS(IFX) Select” are set
correctly................................................................☞p.109
Noise or oscillation is heard
• When using an effect on the external audio source
being input from AUDIO INPUT 1 and 2,
oscillation may occur depending on the type of
effect or on the parameter settings. Please adjust
the input level, output level, and effect parameters.
You need to be particularly careful when using a
high-gain effect.
• After a sample edit has been executed, or after a
stereo sample has been recorded, a small noise
may be heard. This has no effect on the audio data
that was edited or sampled.
• When using the BPM/MIDI Sync function to
control the delay time of an effect, noise may occur
in the delay sound. This noise is due to
discontinuities in the delay sound, and is not a
malfunction.
Effects are not applied
• Are the Global P0: Basic tab “IFX1–5 Off,” “MFX1
Off,” or “MFX2 Off” settings checked? ...........☞p.125
• If you are in Combination, Sequencer, or Song Play
modes, and master effects are not applied when
you raise the “Send 1” or “Send 2” of the timbre/
track, does “Return 1” or “Return 2” from the
master effect need to be raised?........................☞p.108
Alternatively, has “Send 1” or “Send 2” for each
oscillator of the program used by the timbre/track
been lowered? ................................................ PG ☞p.24
The actual send level is determined by multiplying
the send setting of each oscillator in the program
Troubleshooting
134
with the send setting of the timbre/track.
Cannot record a sample
• Are one or more SIMM modules installed?
........................................................................ PG ☞p.243
• Is there free RAM area.................................. PG ☞p.81
Select a different RAM memory.................. PG ☞p.81
Delete unneeded samples. ........................... PG ☞p.83
Save important samples before deleting them
.......................................................................... PG ☞p.83
Song does not playback correctly after data is
loaded
• In the dialog box when saving the data, did you
check the check boxes for each item that you
wanted to save? ....................................................☞p.41
• Are the program or combination banks/numbers
the same as when you created the song?
........................................................................ PG ☞p.115
• Did you load the necessary multisamples and
samples?
Playback does not start when you press the
[START/STOP] key in Sequencer mode
• Is the Global P1: MIDI “Clock Source” set to
Internal?........................................................ PG ☞p.118
Can’t record in Sequencer mode
• Is the Global P0: Memory Protect “Song” check box
unchecked?................................................... PG ☞p.118
• Is the Global P1: MIDI “Clock Source” set to
Internal?........................................................ PG ☞p.118
In Song Play mode, a GM/GS/XG-compatible
SMF is not played correctly
• Execute GM Initialize to initialize the settings.
........................................................................ PG ☞p.102
• Is Bank Map set to GM(2)? ........................ PG ☞p.115
• Is “Status” set to INT? .......................................☞p.104
Settings for oscillator 2 are not displayed
• Make sure that the Program P1: Program Basic tab
“Oscillator Mode” parameter is set to Double.
.................................................................................☞p.45
The TRITON does not respond to incoming
MIDI data
• Are all MIDI cables connected correctly?
.............................................................................☞p.111~
• Is the MIDI data being received on the channel on
which it is being transmitted? .....☞p.114, PG ☞p.118
The TRITON does not respond correctly to
incoming MIDI data
• Are the Global P1: MIDI settings “Enable Program
Change,” “Enable Bank Change,” “Enable Control
Change,” and “Enable After Touch” each checked?
........................................................................ PG ☞p.118
• If you wish to receive MIDI exclusive messages, is
the Global P1: MIDI “Enable Exclusive” item
checked? ....................................................... PG ☞p.119
• Does the TRITON support the types of messages
that are being sent to it?
Can’t format a floppy disk
• Are you using a 2.5 inch 2HD or 2DD floppy disk?
• Is the floppy disk inserted correctly?
• Cover the write protect hole of the floppy disk, so
that it is in the “write permit” position.
Correctly insert a 3.5 inch 2HD or 2DD floppy disk
(with its write protect hole covered) into the disk
drive, and format it once again.
Can’s save/load data to/from a floppy disk
• Is the floppy disk inserted correctly?
• Is the floppy disk formatted?
• Is the write protect hole of the floppy disk covered,
so that it is in the “write permit” position?
Correctly insert a 3.5 inch 2HD or 2DD floppy disk
(with its write protect hole covered) into the disk
drive, and perform the save or load operation once
again.
The TRITON does not recognize when MO
media has been exchanged, and does not
correctly display the media information after
the exchange.
• If you are able to switch the mode setting of your
MO drive between PC/AT and Mac settings,
please use PC/AT mode. For details on changing
the mode of your drive, refer to the owner’s
manual for your MO drive.
• If your MO drive does not have a mode setting, or
if the media exchange is not recognized even after
you switch the mode, use the drive select button to
select a different drive, and then re-select the MO
drive.
*Parameter Guide = PG
Appendices
135
Specifications and options
System
HI (Hyper Integrated) synthesis system
Modes
Combination, Program, Sequencer, Sampling, Song
Play, Global, Disk
Tone generator
Waveform memory
32 Mbyte PCM ROM
(425 multisamples, 413 drumsamples)
Expandable via PCM ROM option
(EXB-PCM series is supported)
16 Mbyte user sampling RAM (SIMM)
(expandable to a maximum of 64 Mbytes)
Sampling
48 kHz, 16 bit linear
Maximum sample data memory capacity 64 Mbyte
(with SIMM expansion)
4000 samples, 1000 multisamples
(128 indexes for each multisample
Able to load AIFF, WAVE, AKAI (S1000/3000), Korg
format sample data can be loaded
Effect section
5 insert effects (stereo in/out),
2 master effects (mono in/stereo out),
1 master EQ (3-band stereo), all usable simulta-
neously
102 effect types (available for insert effects or master
effects)
Effect dynamic modulation function
Combinations/Programs
512 user memory combinations (512 presets)
640 user memory programs (512 preset)
256 + 9 drum ROM programs (GM2 sound map
compatible)
Drum Kits
64 user drum kits (16 presets)
9 ROM GM drum kits (GM2 sound map compati-
ble)
Dual polypnonic arpeggiator
Use two arpeggiators simultaneously
(Combination, Sequencer, Song Play modes)
5 preset arpeggio patterns
232 user arpeggio patterns (200 presets)
Sequencer
16 timbres, 16 tracks + 1 master track
Maximum capacity: 200,000 notes
Resolution =192
200 songs
20 cue lists
150 preset patterns, 100 user patterns (for each song)
16 preset/16 user template songs
Supports TRITON format and SMF (formats 0 and
1)
RPPR (Realtime Pattern Play/Recording) function
(One set is available for each one song)
Song play
16 timbres, 16 tracks
SMF (formats 0 and 1) supported
Disk mode
Load, save, utility
Data filter function (save/load MIDI exclusive data)
Loading from CD-ROM (ISO 9660 level1) is sup-
ported
Keyboard
TRITON proX: 88 keys (weighted)
TRITON pro: 76 keys
TRITON: 61 keys
Controllers
Joystick, ribbon controller, [SW1]/[SW2] keys,
REALTIME CONTROLS knobs [1]–[4] and [A/B
mode] key, [VALUE] slider, ARPEGGIATOR
[TEMPO], [GATE], [VELOCITY] knobs and [ON/
OFF] key
User interface
TouchView graphical user interface
(320 × 240 pixel LCD display)
[VOLUME] slider
Mode keys:
[COMBI], [PROG], [SEQ], [SAMPLING], [S.PLAY],
[GLOBAL], [DISK]
Value controllers:
[VALUE] slider, [ ][ ] keys, [VALUE] dial,
numeric keys ([0]...[9], [–], [./10’s HOLD],
[ENTER]
[MENU], [EXIT] key, [COMPARE] key
BANK keys: [A], [B], [C], [D], [E], [F], [G]
SEQUENCER/SAMPLING control keys:
[PAUSE], [REW], [FF], [LOCATE], [REC/WRITE],
[START/STOP]
Audio outputs
AUDIO OUTPUT (MAIN) L/MONO, R:
AUDIO OUTPUT (INDIVIDUAL) 1, 2, 3, 4:
AUDIO OUTPUT HEADPHONE
HI (Hyper Integrated) synthesis system
Polyphony: 62 voices (62 oscillators) in single mode
31 voices (62 oscillators) in double
mode
Filters: 24 dB/oct LPF with resonance
12 dB/oct LPF + HPF
Alternate modulation function
Specifications
Output impedance 1.1 [kΩ]
(L/MONO is 550 [Ω] for mono)
Maximum output level +13.5 [dBu]
Load impedance 100 [kΩ] or greater
Output impedance 33 [Ω]
Maximum output level 25 [mW]
Load impedance 33 [Ω]
Specifications and options
136
Audio inputs
AUDIO INPUT 1, 2
LEVEL [MIC/LINE] switch, [LEVEL] knob
Control inputs
DAMPER (half-damper supported), ASSIGNABLE
SWITCH/PEDAL
Other
MIDI IN, OUT, THRU
TO HOST (Mini-DIN 8 pin I/F)
LCD contrast knob
3.5 inch floppy disk drive
AC power inlet, switch
Support for options
EXB-PCM series PCM expansion board (16 Mbyte
ROM) slots × 2
72 pin SIMM memory slots × 2 (for user sample
memory)
EXB-MOSS
EXB-SCSI
Dimensions (W × D × H)
TRITONproX: 1472.0 × 436.5 × 137 (mm)
TRITON pro: 1281.4 × 348.5 × 122 (mm)
TRITON: 1074.4 × 348.5 × 122 (mm)
Weight
TRITONproX: 28.6 kg
TRITON pro: 16.5 kg
TRITON: 14.2 kg
Power consumption:
26 W
Included items:
AC cable
Preloaded program disks TNFD-00P, TNFD-01P
Expansion boards
EXB-MOSS DSP Synthesizer Board
EXB-SCSI SCSI Interface Board
EXB-PCM01 PCM Expansion Board
- Pianos/Classic Keyboards
EXB-PCM02 PCM Expansion Board
- Studio Essential
Expression/volume pedal:
XVP-10
Foot controller:
EXP-2
Damper pedal:
DS-1H
Pedal switch:
PS-1
Connection kit:
AG-001B MIDI Driver software and computer inter-
face cable for IBM PC compatible.
AG-002B MIDI Driver software and computer inter-
face cable for Macintosh (for models a serial port is
equipped)
Other:
MIDI cable
* Appearance and specifications of this product are subject to
change without notice. (April/’99)
Input impedance 10 [kΩ]
Nominal level LINE +4 [dBu] @ [LEVEL] knob= min.
–30 [dBu] @ [LEVEL] knob= max.
MIC –17 [dBu] @ [LEVEL] knob= min.
–52 [dBu] @ [LEVEL] knob= max.
Maximum level LINE +14 [dBu] @ [LEVEL] knob = min.
–20 [dBu] @ [LEVEL] knob= max.
MIC –7 [dBu] @ [LEVEL] knob= min.
–42 [dBu] @ [LEVEL] knob= max.
Source impedance 600 [Ω]
Options
Appendices
137
MIDI Implementation Chart
Date : 1999. 04. 12
TRITON proX, 
TRITON pro, TRITON
Basic
Channel
Default
Changed
Aftertouch
Pitch Bend
＊＊＊＊＊＊＊＊＊＊＊＊＊＊
＊＊＊＊＊＊＊＊＊＊＊＊＊＊
Polyphonic (Key)
Monophonic (Channel)
Program
Change Variable Range
System
Real Time
Clock
Command
System Exclusive
System
Common
Song Position
Song Select
Tune
Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO : Yes
Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO : No
Aux
Messages
Local On/Off
All Notes Off
Active Sense
Reset
Velocity Note On
Note Off
Note
Number: True Voice
Mode Memorized
Messages
Altered
0 − 127
○ 9n, V=1 − 127
×
○
○
○ 0 − 127
○
○
○ 0 − 127
×
○
○
×
×
○
×
○
○
○
○
○
○
○
○
×
○
×
○
○
×
×
1 − 16
1−16
0 − 127
0 − 127
○ 9n, V=1 − 127
×
○
○
○ 0 − 127
0 − 127
○
○
○ 0 − 127
×
○
○
○
○ 123 − 127
○
×
○
○
○
○
○
○
○
○
○
○
○
○
○
○
Memorized
3
×
［62 notes Music Workstation/Sampler］                 
Sequencer and Arpeggiator data
can transmit all note numbers 0–127
Polyphonic aftertouch transmitted
*A
only as sequence data
*A
When cue list is selected, corresponds to cue list
*1
When cue list is selected, corresponds to cue lists 0–19
*1
*1
*1
Notes
*P, *A, *C, *E: Transmitted/received when Global P1: MIDI Filter (Program Change, After Touch, Control Change, Exclusive) is Enable, respectively.
*1: When Global mode P1: MIDI Clock is Internal, transmitted but not received. The opposite for External MIDI or PCI/F.
*2: LSB,MSB=02,00: Arpeggiator ON/OFF, 0A,00: Arpeggiator Gate control, 0B,00: Arpeggiator Velocity control
*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.
Bank Select (MSB, LSB) *P
Joystick (+Y, –Y), Ribbon, Slider
*C
Pedal, Portamento Time, Volume, IFX pan, Pan
*C
Expression, Effect Control 1/2 *C
Damper, Portamento Sw., Sostenuto, Soft
*C
Sound (Realtime Controls 1–4A: 74, 71, 79, 72)
*C
Switch 1, 2, Foot Switch, Controller
*C
Send 1, 2, Effect ON/OFF (IFXs, MFX1, MFX2)
*C
Data Entry (MSB, LSB) *C
Data Increment, Decrement *C
NRPN (LSB, MSB) *C, *2
RPN (LSB, MSB) *C, *3
Realtime Controls knobs 1–4 B-assign
*C
Sequencer data (receive *C)
All Sound Off, Reset All Controllers
*C
Control
Change
0, 32
1, 2, 16, 18
4, 5, 7, 8, 10
11, 12, 13
64, 65, 66, 67
70 – 79
80, 81, 82, 83
93, 91, 92, 94, 95
6, 38
96, 97
98, 99
100, 101
0 – 95
0 – 101
120, 121
○
○
○
○
1 − 16
1−16
＊＊＊＊＊＊＊＊＊＊＊＊＊＊ 
Function Transmitted Recognized Remarks
*C
*P
*
E*4
Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.
MIDI Implementation Chart
138
Index
Numerics
10’s Hold
Combination 23
Program 21
12 dB/oct low pass filter and 12 dB/
oct high pass filter 48
24 dB/oct low pass filter with reso-
nance 48
A
After Touch 27, 115
After Touch Curve 126
Lock function 26
Vibrato effect 47
Wah effect 49
Alternate Modulation 51
Amp 44
Amp EG 49, 50
AMS (Alternate Modulation Source)
51
Append 19
Arpeggiator 29
Assign 99
Link, Combination 32, 100
Link, Program 31, 98
Octave 97
on/off 29, 96, 98, 120
Synchronization 105
Tempo 29, 96
Velocity 120
Arpeggio
Gate 30, 97, 102
Key Sync. 31, 97
Keyboard 31, 97
Latch 30, 32
Octave 30, 97
Pitch Offset 102
Resolution 30, 97
Sort 30, 97
Swing 97
Velocity 30, 97, 102
Assigning a name 38
AUDIO INPUT 1, 2 106
Audio output/input 15
Auto punch-in 65
Auto-pan 47
B
Bank 13
Combination 23, 24
Program 21, 22
Sequencer 64
Bank Select 55, 114
Base key 83
Bit resolution 76
BPM(Tempo) 50, 82
Brightness of the sound 26, 27
BUS Select
AUDIO INPUT 109
Combination, Sequencer, Song
Play 108
Drum Kit 91
Program 107
Sampling 78, 79, 109
C
Cancel button 11
Category 22, 24, 35
Popup button 11
Chain 107
Check box 11
Combination 23, 35, 53, 99, 104, 106,
108
Copying combination sounds to
track 68
Compare 14, 45, 54, 59
Computer 112
Connections 15, 78, 112
Contrast of the LCD screen 127
Control change 115
Convert Position 111
Convert SMF(Standard MIDI File)
data 132
Copy 63, 68
Copy button 11
Create Control Data 63
Crosses the zero level 82
Cue List 20, 61, 70
Converting a cue list 71
Current page 10
Cutoff frequency 26
D
Damper Pedal 28, 118
Data dump 37, 41, 121
Data filer 127
Delay, Combination 56
Demo song 18
Detune, Combination 55
Dialog 11
Dmod 110
Done button 11
Double 45, 46
Drum kit 90
Drums 45
Drumsample 90
Dual arpeggiator 98
Dynamic modulation 110
E
Edit Buffer 39
Edit cell 10
Effect 117, 125
EG 47
EG-INTENSITY 27
EG-RELEASE 27
Erase
Musical data 66, 69
Event Edit 63
EXB-MOSS 17
EXB-PCM 17
Loading a .PCG file 94
EXB-SCSI 17
Exclusive Group 91
EXL file(.EXL) 93
Expression 116
External sequencer 66
F
Filter 44, 47
EG release times of the filter and
amp 27
Filter EG intensity 27
Filter EG 49
Filter LFO Mod. 49
Floppy disk 92, 94, 95
Foot Pedal 28
Foot Switch 28
Format 94
Format 0, Format 1 85
G
GM system on 120
GM/GS/XG 86, 123
Grid 82
H
Hard disk 92
HI (Hyper Integrated) synthesis sys-
tem 1
High pass filter 27, 48
I
IBM PC (compatible) 112
If notes are “stuck” 121
Index 81
Appendices
139
Input guitar instrument 78
Insert button 11
Insert Effect(IFX) 34, 44, 51, 57, 79,
106, 107, 108, 109, 125
J
Joystick 25, 116
Amount of pitch change 47
Lock function 25
Vibrato effect 47, 116
Wah effect 49, 116
Jukebox 87
Jukebox list
Load 88
Save 88
K
Key Sync. 97
Key Zone 56
Keyboard 31, 32, 97
Keyboard & Index 82
Keyboard crossfade 54
Keyboard input 14
Keyboard Track 48
KMP file(.KMP) 93, 94
Korg MIDI Driver 129, 130
KSC file(.KSC) 93, 94
KSF file(.KSF) 93, 94
L
Latch 97
Layer 54, 56
LCD screen 17
Level
Amp Level 34
AUDIO INPUT 109
OSC Balance 34
LFO 47, 48, 50
Load
.PCG file 92
Disk 94
Floppy disk included with EXB-
PCM series option 94
Jukebox List 88
Local Control 112
LOCATE 62
Lock 25
Loop All Track 65
Loop, sample 82
Low pas Resonance 48
Low pass & High pass 48
Low pass filter 48
LPF CUTOFF 26
M
Macintosh 113
Manual punch-in 65
Manual sampling 79
Master EQ(MEQ)
Combination, Sequencer, Song
Play 109
Program 106, 108
Sampling 109
Media 92
Memory protect 37
Metronome 64, 68
MFX 34
.MID 85
MIDI 111
MIDI channel 43, 55, 114
MIDI filter 56
Minus-one play 88
Mode 3
Selecting mode 12
Monaural source 80
Monophonic 45, 55
Multi (multitrack recording) 66, 73
Multisample 44, 45, 77
Converting a multisample 84
Multi-timbrally 122
Mute 62, 86
N
Note Number 28
Note on/off 114
O
OK button 11
Options 136
Oscillator 44, 45
Oscillator Mode 45
Overdub 65
Overwrite 64
P
Page jump menu 11
Page menu button 11
Pan 49, 117
AUDIO INPUT 109
Combination 36, 54
Drum Kit 91
Program 107
Sampling 78
Specifies each drum 50
Pattern 61
Length of the pattern 68
Pattern Edit 70
PC I/F Baud Rate 113
PCG file(.PCG) 92, 93, 94
Performance Edit 34
Amp Level 34
Attack Time 34
Decay Time 34
IFX Balance 34
MFX Balance 34
Octave 34
OSC Balance 34
Pitch Stretch 34
Pin 10
Pitch 44, 47
Combination 55
LFO 1/2 47
Pitch bend range 120
Pitch EG 47
Pitch, Tone, Volume 44
Place the musical data 63
Play 62, 83, 86
Playing a single note on the key-
board will sound all tones 103
Polyphonic 45, 55
Popup button 10, 14
Popup menu 10, 14
Portamento 47, 55, 116
Preload data 42
PRELOAD.KSC 18
PRELOAD.PCG 18
PRELOAD.SNG 18
Preset arpeggio pattern 96
Program 21
Program change 114
Program Change/Bank Select
114
Program Edit 34, 45
Q
Quantize 68
R
Radio button 11
Range in which the arpeggiator will
operate 97, 99
Realtime control 26, 27, 34
REALTIME CONTROLS [1]–[4]
knob B mode 26, 47, 57, 116, 118, 127
Realtime quantize 64
Realtime recording 63
Pattern 68
Track 63
REC/WRITE 39, 40
Recording control data 69
Recording, Controller 69
Rename 38
Resonance 27, 48
RESONANCE/HPF 26
Restoring the factory settings 42
Reverse 46
Ribbon controller 25, 118
Amount of pitch change 47
Lock function 26
Index
140
Routing
AUDIO INPUT 109
Combination, Sequencer, Song
Play 108
Program 107
Sampling 109
RPPR 33, 72, 72
Check box 33
Playback 73
Realtime recording 73
Setting 72
Shutdown Key, RPPR stop 33
S
Sample 77
Recording 78
Save 40, 83
Sampling 75, 78, 106, 109
Sampling frequency 76
Save 37
.PCG file, .SNG file, .KSC file,
.KMP file, .KSF file, SMF 94
External media 40
Jukebox list 88
Scale 126
Scroll bar 10
Selecting an arpeggio pattern 30, 96
Send 91, 108, 110
Combination, Sequencer, Song
Play 108
Program 107
Sampling 109
Sequencer 58
Setting a parameter 13
Shortcuts 128
SIMM 17
Single 45
Single track recording 63
RPPR 74
SNG file(.SNG) 93, 94
Solo 62, 86
Song 60
Converting a cue list 71
Song editing 70
Song Play 85
Sostenuto 118
Sounding a beep 127
Specifications 135
Split 54, 56
Standard MIDI Files (SMF) 58, 59,
85, 94, 123
Status 35
Combination 53, 55
Sequencer 59
Song Play 85
Step 101
Step recording 63, 69
Stereo 83
Stereo source 80
[SW1], [SW2] 25, 47, 57, 118, 127
Sync.
Arpeggiator 105, 122
MIDI/Tempo Sync. 50
RPPR 72
Sequencer 122
Song Play 86
System exclusive data 94
System exclusive message 120
T
Tab 11, 12
Template Song 67
Tempo 64, 71, 99
Text edit button 11
The mode and page that will be se-
lected when the power is turned on
17
Timbre 35
Select the program for each tim-
bre 54
Time 64, 68
Toggle button 11
Tone 101
Continue sounding 102
Specified pitch 103
Track 63
Track Edit 70
Track Play Loop 67
Transpose 34, 55, 119, 125
Tremolo 47, 50
Tune 34, 119
Tuning 125
U
Use DKit Setting 50
User arpeggio pattern 100
Chordal pattern 102
Drum pattern 103
Melody pattern 102
User Scale 126
User template song 37
V
VALUE controller 13
[VALUE] slider 27, 118
Velocity 27, 46
Velocity crossfade 54
Velocity Curve 126
Velocity drumsample switching
91
Velocity multisample switching
46
Velocity switch 54, 57
Velocity zone 57
Velocity Sample SW Lo→Hi 91
Vibrato 47
Volume 36, 116
Amp 49
Combination 54
Keyboard Track 50
Sampling 78
W
Write 37
ARPEGGIATOR [GATE] knob 30
ARPEGGIATOR [ON/OFF] key
29
ARPEGGIATOR [TEMPO] knob
29
ARPEGGIATOR [VELOCITY]
knob 30
Global setting, User drum kit, Use
arpeggio pattern 39
Program, Combination 38
User template song 37
Z
ZOOM button 82

Navigation menu