Instruction/ maintenance manual of the product Triton Studio Korg
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1 E.
iii This “Parameter Guide” contains explanations and other information regar ding the operations of the parameters and settings on the TRITON STUDIO. The explanations ar e orga- nized by mode, and page. Explanations and other informa- tion on the effects and their parameters ar e also provided for each effect.
iv 1. Program mode . . . . . . . . . . . . . 1 Program P0: Play ......................................... 1 Select and play programs. 0–1: Perf. Edit Select and play programs; use the Performance Editor for simple editing ... 1 0–2: Arpeggio Arpeggio pattern selection and settings .
Program Combination Sequencer Sampling Song Play Global Disk Effect Appendices v 2. Combination mode . . . . . . . . . 33 Combination P0: Play ................................... 33 Select and play combinations. 0–1: Prog. Select Select a program for each timbre .
vi 3. Sequencer mode . . . . . . . . . . 49 Sequencer P0: Play/Rec ................................ 49 Make settings for playing/recor ding a song, and select the program etc. used for each track. 0–1: Prog. 1–8 Program selection, mute, and solo settings for each track .
Program Combination Sequencer Sampling Song Play Global Disk Effect Appendices vii 4. Sampling mode . . . . . . . . . . . 87 Sampling P0: Recording ............................... 88 Make sample recor ding settings such as input level, and basic settings for multisamples and samples.
viii Song Play P8: Insert Effect ........................... 131 Specify the bus for the output of each track, and make insert effect settings. 8–1: Routing 1–8 Specify the bus and the master effect send levels for the output of each track .......
Program Combination Sequencer Sampling Song Play Global Disk Effect Appendices ix 7. Disk mode . . . . . . . . . . . . . . 155 Files, directories, and icons ........................................................... 155 0–1: Load Load the selected file or directory into internal memory .
x 022: St. Env . Flanger (Stereo Env elope Flanger) .............................. 199 023: Stereo Phaser ........................................................................... 199 024: St. Random Phaser (Stereo Random Phaser) ...................
Program Combination Sequencer Sampling Song Play Global Disk Effect Appendices xi 9. Appendices . . . . . . . . . . . . . 241 Alternate Modulation Source (AMS) ................. 241 About Alternate Modulation ..........................................
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Program P0 P1 P2 P3 P4 P5 P7 P8 P9 1 1. Program mode In this mode you can select and play programs. All MIDI data in Program P0: Play is transmitted and received on the Global MIDI Channel “ MIDI Channel ” (Global P1: 1 – 1a).
2 10 ’ s Hold 1 Press the [./10 ’ s HOLD] key to display . The 10 ’ s place of the program number will be held ( fi xed). 2 Now you can press any numeric key [0] – [9] to input the 1 ’ s place of the program number with a single keystr oke.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 3 IFX Balance [ – 10...0...+10] This adjusts the “ W et/Dry ” setting of insert effects 1 – 5 as a whole. W ith an adjustment of +00 , the value of the program param- eters will be unchanged. Positive (+) settings will raise the W et levels above the pro- gram setting, and lower the Dry levels.
4 0 – 3: Sampling Here you can adjust the settings for the analog/digital audio signal input (AUDIO INPUT , S/P DIF , EXB-mLAN), and the settings related to sampling in Pr ogram mode. Y ou can sample either an external audio signal, or a perfor- mance played on the TRITON STUDIO.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 5 Metronome Precount [Off, 4, 8, 3, 6] This speci fi es whether the metronome will sound a count- down when you begin sampling with the “ T rigger ” setting Sampling ST AR T SW . This can be set only if “ T rigger ” is set to Sampling ST AR T SW .
6 The “ Auto +12 dB On ” setting will not affect samples that you recor ded to the internal hard disk etc. when “ Save to ” (0 – 3b) is set to DISK .
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 7 0 – 3D: Select Director y This lets you select the disk (internal hard disk, etc.) and directory on which the W A VE fi le created by sampling will be saved, and specify a fi lename. Y ou will also choose this “ Select Directory ” command when you want to listen to a W A VE fi le that was saved on disk.
8 When legato is on, multiple note-on message will not retrig- ger the voice. If one note is already on and another note is turned on, the oscillator sound, envelope, and LFO will not be reset, and only the pitch of the oscillator will be updated. This setting is effective for wind instrument sounds and analog synth-type sounds.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 9 1 – 2: OSC Basic The multisample(s) (waveform) or drum kit on which the program will be based can be selected her e for oscillator 1 and/or oscillator 2. Internal ROM contains 429 (425: ROM + 4: Piano) differ ent multisamples (preset multisamples) and 153 drum kits.
10 Lvl (High Level) [000 … 127] Speci fi es the level of the multisample. Depending on the multisample, high settings of this parameter may cause the sound to distort when a chord is played.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 11 These settings are made for the selected multisample. If another oscillator or program uses that multisample, that oscillator or program will also be af fected by the changes you make here. 1 Select “ Sample Parameters ” to access the dialog box.
12 1 – 4: Controller (Controller Setup) These settings specify the functions of the [SW1] key , the [SW2] key , and the B-mode functions of REAL TIME CON- TROL knobs [1] – [4] in Program mode. 1 – 4a: Panel Switch Assign These settings assign functions to the [SW1] and [SW2] keys ( “ SW1, SW2 Assign List ” ☞ p.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 13 JS (+X) [ – 60 … +12] Speci fi es in semitone units how the pitch will change when the joystick is moved all the way to the right.
14 The “ LFO1 Intensity , ” “ JS+Y (LFO1 JS+Y Int.) ” and “ AMS (LFO1 AMS) ” settings will be added to determine the depth and direction of the pitch modulation applied by OSC1 LFO1 ( ☞ p.244). LFO2: LFO2 Intensity [ – 12.00 … +12.00] JS+Y Int.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 15 St (AMS1 SW Start) [ – , 0, +] Speci fi es the direction of change in “ Start (Start Level) ” caused by “ AMS1 (Level Mod. AMS1). ” If “ Intensity (AMS1 Intensity) ” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it.
16 Here you can make settings for the fi lters that will be used by oscillators 1 and 2. Y ou can select either a 24 dB/octave low pass fi lter with resonance, or a series connection of a 12 dB/ octave low pass fi lter and a 12 dB/octave high pass fi lter .
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 17 ▼ 3 – 1: Page Menu Command ☞ 0 – 1A: W rite Program, 1 – 1A: Copy Oscillator , 1 – 1B: Swap Oscillator 3 – 2: Filter1 Mod.
18 ters (3 – 4a) are in the “ + ” ar ea, and darker when they are in the “–” area. W ith negative ( – ) settings, the sound will become darker when the EG levels set by Filter 1 EG “ Level ” and “ Ti m e ” parameters (3 – 4a) are in the “ + ” ar ea, and brighter when they are in the “–” ar ea.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 19 Intensity to B (LFO1 AMS Int. to B) [ – 99 … +99] Speci fi es the depth and direction of the ef fect that “ AMS (LFO1 AMS) ” will have on fi lter 1B ( ☞ “ Intensity to A (LFO1 AMS Int.
20 At (AMS SW Attack) [ – , 0, +] Speci fi es the direction in which “ AMS (Level Mod. AMS) ” will affect “ Attack (Attack Level). ” When “ Intensity (AMS Intensity) ” has a positive (+) value, a setting of + for this parameter will allow “ AMS (Level Mod.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 21 3 – 5: Filter2 3 – 6: Filter2 Mod. 3 – 7: Filter2 LFO Mod. 3 – 8: Filter2 EG Make settings for fi lter 2 which controls the sound of oscilla- tor 2.
22 Intensity [ – 99 … +99] Speci fi es the depth of the effect pr oduced by “ AMS (Pan AMS). ” For example if “ Pan (Amp1 Pan) ” is set to C064 and “ AMS (Pan AMS) ” is Note Number , positive (+) values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note (i.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 23 AMS (LFO1 AMS) [Of f, (PEG, FEG, AEG, KT , EXT)] Selects a source that will contr ol the depth by which “ OSC1 LFO1 ” will modulate the volume of oscillator 1 ( “ AMS List ” ☞ p.
24 Br (AMS SW Break) [ – , 0, +] Speci fi es the direction in which “ AMS (Level Mod.AMS) ” will change “ Break (Br eak Point Level). ” If “ Intensity (AMS Intensity) ” is set to a posi.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 25 Here you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter , and Amp of oscillators 1 and 2. There ar e two LFO units for each oscillator . By setting the LFO1 or LFO2 Intensity to a negative ( – ) value for Pitch, Filter , or Amp, you can invert the LFO waveform.
26 5 – 1c: Frequency MIDI/T empo Sync. MIDI/T empo Sync. [Of f, On] On (checked): The LFO frequency will synchr onize to the tempo (MIDI Clock). In this case, the values you speci fi ed for “ Frequency ” (5 – 1a) and Fr equency Modulation (5 – 1b) will be ignored.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 27 7 – 1b: Arpeggiator Setup ☞ Refer to BG p.130. Pattern* [P00...P04, U000(I-A/B)...U506(User)] Selects the arpeggio pattern. U000 (I – A/B) – U506 (User) are r ewritable. Use Global P6 to create arpeggio patterns.
28 1 Select “ Copy Arpeggiator ” to access the dialog box. 2 In “ From ” specify the source of the arpeggio settings (mode, bank, number) that you wish to copy . 3 If you are copying fr om Combination, Song, or Song Play mode, specify whether you wish to copy from A or B .
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 29 If you wish to adjust the pan in realtime during a note and output the sound from AUDIO OUTPUT (INDI- VIDUAL) 1/2 or 3/4, set “ BUS Select ” to IFX1 (or IFX2 – IFX5 ), set “ IFX1 ” (or IFX2 – IFX5 ) to 000: No Effect , and set the “ BUS Sel.
30 Categor y/IFX Select menu: When you press the popup button, a “ Category/IFX Select ” list will appear . Press a tab to select a category of ef fects, and select an effect fr om that category . Press the OK button to execute, or press the Cancel button to cancel.
Program P0 P1 P2 P3 P4 P5 P7 P8 P9 31 ☞ For details on the master effects, r efer to p.182 “ 8. Effect Guide. ” 9 – 1: Master FX Here you can select the master ef fect types, switch them on/ off, specify chain or der , and set the master EQ. 9 – 1a: MFX1, 2 The master effects do not output the dir ect sound (Dry).
32 ▼ 9 – 1: Page Menu Command 9 – 1A: Copy Master Effect This command lets you copy any desired ef fect settings from Program, Combination, Song, Sampling, or Song Play mode. 1 Select “ Copy Master Effect ” to access the dialog box. 2 In “ From , ” select the copy source mode, bank, and num- ber .
Combination P0 P1 P2 P3 P4 P7 P8 P9 33 2. Combination mode In this display page you can select and play Combinations. A Combi allows you to use up to eight programs at once. 0 – 1: Prog. Select (Program Select) 0 – 1a: Bank, Combination Select, 10 ’ s Hold, Categor y , Bank (Bank Select) [Bank INT -A … INT -E, EXB-A.
34 0 – 1b: Selected Timbre Information This displays information on the selected timbre (1 – 8). T (Timbre) [01...08] Indicates the timbre number and the bank/number/name of the program that is selected for the timbr e. Ch [01...16, Gch] Indicates the MIDI channel number speci fi ed for the timbre.
35 Combination P0 P1 P2 P3 P4 P7 P8 P9 ▼ 0 – 1: Page Menu Command 0 – 1A: Write Combination This command writes an edited combination into the TRI- TON STUDIO ’ s internal memory .
36 V olume [000...127] Adjusts the volume of each timbre 1 – 8. The volume of each timbre is determined by multiply- ing this volume value with the MIDI volume (CC#7) and expression (CC#1 1). If “ Status ” (0 – 1c, 2 – 1b) has been set to INT , incoming MIDI CC#7 or CC#1 1 mes- sages will control the volume of a timbr e.
37 Combination P0 P1 P2 P3 P4 P7 P8 P9 0 – 5b: Sampling Setup Source BUS [L/R, Indiv .1/2] T rigger [Sampling ST ART SW , Note On] Metronome Precount [Off, 4, 8, 3, 6] Save to [RAM, DISK] Mode (Sample Mode) [L-Mono, R-Mono, Stereo] Sample Time [min sec] Make settings for sampling in Combination mode.
38 2 – 1: MIDI Channel (MIDI Ch) Here you can make MIDI settings for each timbr e. 2 – 1a: Combination Name, Selected Timbre Information, Timbre Number , Program Categor y Combination Name Displays the bank, number , and name of the combination selected in Combination P0: Play .
39 Combination P0 P1 P2 P3 P4 P7 P8 P9 2 – 3: Pitch Here you can make pitch-r elated settings for each timbre. 2 – 3a: T ranspose, Detune, Bend Range T ranspose [ – 24 … +24] Adjusts the pitch of each timbre in semitone steps. 12 units equal one octave.
40 2 – 4: Other Here you can make various other settings for each timbr e. 2 – 4a: Delay , Use Program ’ s Scale, Scale Delay [ms] (Delay Time) [0000 … 5000, KeyOff] For each timbre, this speci fi es a delay time fr om note-on until the sound begins.
41 Combination P0 P1 P2 P3 P4 P7 P8 P9 3 – 2: MIDI 2 (MIDI Filter – 2) 3 – 2a: Enable JS X as AMS, Enable JS+Y , Enable JS – Y , Enable Ribbon Enable JS X as AMS [Off, On] Speci fi es whether.
42 4 – 1: Key Z (Key Zone) These settings specify the keyboard range in which each timbre will sound. The top/bottom key parameters specify the range of notes in which timbres 1 – 8 will sound, and the top/bottom slope parameters specify the range over which the original vol- ume will be reached.
43 Combination P0 P1 P2 P3 P4 P7 P8 P9 4 – 2a: T op V elocity , T op Slope, Bottom Slope, Bottom V elocity T op V elocity [1 … 127] Speci fi es the maximum velocity value that will sound each timbre 1 – 8.
44 These parameters specify how the arpeggiator will function within the combination. T wo arpeggiators can run simulta- neously . This offers a variety of possibilities, such as applying sepa- rate arpeggio patterns to two sounds that have been assigned as a keyboard split, or using velocity to switch between two arpeggio patterns.
45 Combination P0 P1 P2 P3 P4 P7 P8 P9 ▼ 7 – 1: Page Menu Command 7 – 1A: Copy Arpeggiator This command can copy arpeggiator settings from another location to the current Combi. 1 Select “ Copy Arpeggiator ” to access the dialog box. 2 In “ From ” select the source (mode, bank, number) of the arpeggiator you wish to copy .
46 Y ou can also specify the bus routing for the program used by each timbre 1 – 8. ☞ For details on insertion effects, r efer to p.178 “ 8. Effect Guide. ” 8 – 1: Routing Speci fi es the bus to which the program oscillator(s) used by each timbre 1 – 8 will be sent.
47 Combination P0 P1 P2 P3 P4 P7 P8 P9 8 – 2: Inser t FX Here you can select the type of each insert ef fect, turn it on/ off, and make chain settings etc. 8 – 2a: IFX1, 2, 3, 4, 5 IFX1, 5 [000...089] IFX2, 3, 4 [000...102] IFX1, 2, 3, 4, 5 On/Off [Off, ON] Chain [Off, On] Pan(CC#8) (Post IFX PanCC#8) [L000.
48 ☞ For details on master effects, r efer to p.182 “ 8. Effect Guide. ” 9 – 1: Master FX Here you can select the type of each master ef fect, turn it on/off, and make chain and master EQ settings.
Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 49 3. Sequencer mode In Sequencer mode you can use the built-in 16-track sequencer to play , recor d, and edit songs.
50 Changing the time signature in the middle of a song If you know beforehand the location at which you wish to change time signatures in the middle of a song, use “ Insert Measure ” (5 – 1H) to specify and insert the time signatur e for each measure of the same time signatur e, and then recor d your musical data.
51 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 Reso (Realtime Quantize Resolution) [Hi, 3 … ] This corrects the timing of data as it is r ecorded in r ealtime. (It does not affect pr eviously-recor ded data.) Hi (High Resolution): T iming will not be corrected.
52 When the page menu command “ Solo Selected T rack ” (0 – 1B) is on, its Solo status will be given priority (if ON). When you press “ SOLO ON/OFF ” or the parame- ter of another track, only that track will be soloed, and will sound.
53 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 For details on the content that will be corrected, r efer to “ If the recor ded performance is not repr oduced cor- rectly during playback ” ( ☞ BG p.96). The content described here will be corr ected automatically .
54 0 – 1H: Save T emplate Song (Save as User T emplate Song) This command saves the program selections, track parame- ters, and effect settings etc. of the curr ent song as a user tem- plate song U00 – 15. The settings you save here can also be loaded in Song Play mode.
55 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 0 – 3: Mixer 1 – 8 (Mixer T01 – 08) 0 – 4: Mixer 9 – 16 (Mixer T09 – 16) Here you can set the pan and volume of each track. The pan and volume that you specify here will be used when you playback or recor d from the beginning of the song.
56 Example) When “ Play Intro ” is checked T rack 1 will loop as follows. M001 – M002 – M003 – M004 – M003 – M004 – M003 – M004 … When “ Play Intro ” is not checked T rack 1 will loop as follows. M003 – M004 – M003 – M004 – M003 – M004 – M003 – M004.
57 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 2 In “ Bank , ” specify the bank of sample memory (RAM) into which sampling will be performed. 3 In “ Sample No. , ” choose a sample number where the sampling will be performed. By default, this will be the lowest-numbered of the vacant sample numbers.
58 Auto Punch In Select this method when you wish to automatically re- recor d selected portions of a previously-r ecorded track. If you select Auto Punch In , the display will indicate “ M*** – M.
59 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 1 – 1: Cue List The cue list allows you to playback multiple songs in succes- sion. Y ou can specify a number of repetitions for each song. The TRITON STUDIO allows you to cr eate twenty cue lists. In a single cue list you can freely connect up to 99 songs.
60 Song (Cue Edit - Song) [S000...S199: name/End, Continue to Step01] S000...S199: Speci fi es a song for each step. This cannot be edited during playback. End and Continue to Step01 can be speci fi ed only for the last step of the cue list. End: Playback will stop at the last step of the cue list.
61 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 1 – 1D: Conver t to Song (Convert Cue List to Song) This command converts a cue list consisting of multiple songs to a single song. Although it is not possible to recor d additional tracks into a cue list, you can convert the cue list to a song, and then recor d solos etc.
62 numerous r epeats have been speci fi ed, or if many pat- terns are used by the songs, you should try executing the “ Convert to Song ” command from time to time as you create the cue list, in or der to verify the amount of memory that will be requir ed for the conversion.
63 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 MIDI Channel [01 … 16] Speci fi es the MIDI channel that the track will use to transmit and receive musical data. The MIDI channel you specify here will be the r eceive channel when “ Status ” is INT , the transmit channel when it is EXT or EX2 , and the receive/ transmit channel when it is BTH .
64 ▼ 2 – 5: Page Menu Command 2 – 5A: Detune BPM Adjust When the program selected for a track uses a phrase, rhythm loop multisample (or sample that was cr eated to match a speci fi c BPM in Sampling mode or loaded from disk in Disk mode) you can use this command to change the BPM of the phrase or rhythm.
65 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 Here you can select whether or not to apply fi ltering to the MIDI data received by tracks 1 – 16. For example even if two tracks are r eceiving the same MIDI channels, one can be made to respond to damper pedal activity while the other does not.
66 3 – 5(6)a: Enable Realtime Control Knob 1...4 Enable Realtime Control Knob 1 [Off, On] Speci fi es whether or not the A-mode MIDI control message CC#74 (the TRITON STUDIO ’ s low pass fi lter cutof f fre- quency) and the B-mode MIDI control message will be received.
67 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 4 – 3: V el Z 1 – 8 (V el Zone T01 – 08) 4 – 4: V el Z 9 – 16 (V el Zone T09 – 16) Here you can set the T op/Bottom V elocity parameters to specify the range of velocities that will be sounded by tracks 1 – 16, and T op/Bottom Slope specify the range over which the volume will be adjusted.
68 5 – 1: T rack Edit Here you can make settings for the curr ently selected track, edit previously-r ecorded performance data, and perform step recor ding. When you wish to edit musical data or perform step recor d- ing, specify the desired ar ea. Then select the appropriate page menu command.
69 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 The following table shows the number of clocks repr e- sented by each “ Step T ime ” selection. 5 In “ Note Duration , ” specify the length that the note will actually be held, relative to the “ Step T ime.
70 • Deleting an event Select the event that you wish to delete, and press the Cut button to delete the event. • Moving an event Y ou can use the Cut button and Insert button to move an event (by “ cut and paste ” ).
71 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 5 If you check “ All T racks , ” the speci fi ed type of data will be erased from all tracks. 6 T o execute the Erase Measure command, press the OK button .
72 5 – 1I: Repeat Measure This command repeatedly inserts the speci fi ed measur es for the speci fi ed number of times. When you execute the Repeat Measure command, the measur es will be inserted following the measure speci fi ed by “ T o End of Measure, ” and musical data following the inserted data will be moved backward.
73 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 5 – 1L: Create Ctrl Data (Create Control Data) This command gradually varies continuous-type data (e.g., control change, after touch, pitch bend, tempo) in the speci- fi ed area. 1 In “ T rack Select , ” select the track on which you wish to perform the Create Contr ol Data command.
74 In “ From Measure ” and “ T o End of Measure , ” specify the measures. In “ Beat.T ick ” specify the beat and clock. (By default, “ From Measur e ” and “ T o End of Measure ” will be the range that you speci fi ed in the T rack Edit page.
75 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 5 – 1P: Modify V elocity This command modi fi es the velocity values of notes in the speci fi ed area so that they will change over time accor ding to a selected curve. 1 In “ T rack Select , ” specify the track whose velocity will be modi fi ed.
76 On the TRITON STUDIO you can use preset patterns P000 – 149 , and user patterns U00 – 99 . One song can contain up to one hundred user patterns. Pr eset patterns suitable for use in a drum track are pr ovided in memory , and can be selected from any song.
77 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 ▼ 6 – 1: Page Menu Command 6 – 1A: Step Recording (Loop T ype) Here you can perform step r ecording into a pattern. This is available when a user pattern is selected. 1 In “ Pattern ” and “ Pattern Select, ” specify the pattern.
78 4 In T o: “ Song ” and “ Pattern , ” select the bounce destina- tion song and pattern. For “ Pattern , ” only user patterns U00 – U99 can be speci fi ed. 5 T o execute the Bounce Pattern command, press the OK button . T o cancel, press the Cancel button .
79 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 6 – 3: RPPR Setup Here you can make settings for the RPPR (Realtime Pattern Play/Recording) function. RPPR lets you assign patterns from a song to individual keys, and then playback patterns simply by pressing individual notes on the keyboar d.
80 2 Set “ KEY ” to D2 , and press the Revert button . The “ Pattern (Pattern Bank) , ” “ Pattern Select , ” and “ T rack ” settings that you speci fi ed in step 1 will be cop- ied automatically . 3 Edit only “ Pattern Select . ” Select “ Pattern Select, ” and press the [ ] key to select P01: Pop&Balad 2/Std .
81 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 Here you can specify how the arpeggiator will operate in Sequencer mode. These settings can be made for each song. In Sequencer mode (as in Combination mode), you can run the two arpeggiators simultaneously .
82 • Alternatively, you could choose T rack01 in “ T rack Select ” to run arpeggiator A for tracks 1 and 2, and use an external MIDI device connected to the TRITON STUDIO ’ s MIDI IN to send note data to MIDI channel 3 to play arpeggiator B. The arpeggiator cannot be triggered by the notes played by the sequencer .
83 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 7 – 5b: Scan Zone A/B A: T op Key [C – 1...G9] Bottom Key [C – 1...G9] Specify the range of notes (keys) that will trigger arpeggia- tor A. “ T op Key ” is the upper limit, and “ Bottom Key ” is the lower limit.
84 Send1 (MFX1) [000...127] Send2 (MFX2) [000...127] Here you can adjust the send levels fr om tracks 1 – 16 to mas- ter effects 1 and 2. This is valid when “ BUS Select ” is set either to L/R or Off .
85 Sequencer P0 P1 P2 P3 P4 P5 P6 P7 P8 P9 8 – 4: IFX 1 8 – 5: IFX 2 8 – 6: IFX 3 8 – 7: IFX 4 8 – 8: IFX 5 Set the parameters for the effects selected for IFX 1 – 5 in the Insert FX page ( ☞ p.
86 9 – 2: MFX 1 9 – 3: MFX 2 Here you can set the parameters of the MFX 1 and 2 ef fects that were selected in the Master FX page ( ☞ p.187 – ). 9 – 2(3)a: Ctrl Ch Ctrl Ch [Ch01...16, Gch] Speci fi es the MIDI channel that will control dynamic modulation (Dmod) for the master effects.
Sampling P0 P1 P2 P3 P4 P5 P8 87 4. Sampling mode An over view of sampling on the TRITON STUDIO On the TRITON STUDIO, 48 kHz ster eo 16-bit samples from an external device connected to the AUDIO INPUT.
88 Regardless of the page you ar e in, the selected multi- sample or sample will sound when you play the key- board, allowing you to hear the edited content of that page. When you turn off the power , all multisample and sam- ple data in Sampling mode will be lost.
89 Sampling P0 P1 P2 P3 P4 P5 P8 Y ou can also select an index by holding down the [ENTER] key and playing a note on the keyboard. The index that includes this note will be selected. The key you specify will be the base key , and will be displayed in gray in “ Keyboard & Index ” ( ☞ “ Keyboar d & Index ” ).
90 or “ Insert ” to open the dialog box. So that a new index can be created at the left of index 1, re-set the “ Top Key ” setting, and press the OK button . • Set Zone Range: If you execute “ Create ” when it is not possible to create a new index according to the Create Zone Preference settings, the following dialog box will appear.
91 Sampling P0 P1 P2 P3 P4 P5 P8 For example if Slot 1 contains the factory-installed 16 Mbyte SIMM, and you have installed a 32 Mbyte SIMM in Slot 2 and a 16 Mbyte SIMM in Slot 3, you will be able to select RAM1 (16 Mbyte), RAM3 (16 Mbyte), RAM4 (16 Mbyte), and RAM5 (16 Mbyte) for “ Bank (RAM) .
92 0 – 1d: Recording Level [dB] Recording Level [ – inf, – 72.0... 0.0...+18.0] This adjusts the signal level at the fi nal stage of sampling. When you sample, make sure that the level is as high as pos- sible without allowing the level meter to indicate “ CLIP!!.
93 Sampling P0 P1 P2 P3 P4 P5 P8 5 T o execute the Copy Sample command, press the OK button . T o cancel, press the Cancel button . 0 – 1C: Rename Sample This command lets you modify the name of the currently selected sample. 1 Use “ Sample Select ” (0 – 1b) to select the sample whose name you want to edit.
94 However by executing the “ Convert MS T o Program ” com- mand, you can quickly and easily convert the Sampling mode settings into a new program, without having to make any Program mode settings as described above. 1 Use “ MS (Multisample Select) ” (0 – 1a) to select the multi- sample that you want to convert to a program.
95 Sampling P0 P1 P2 P3 P4 P5 P8 • The stereo sample that was created will be assigned automatically. 0 – 1J: Keyboard Display This command selects the range of the keyboard display . Normally you will select 88Key Normal (A0 – C8) . 1 Select “ Keyboard Display ” to access the dialog box.
96 Example) If data already exists at the move destination multisam- ple number , the multisample will not be overwritten; instead, all subsequent multisamples will be renumber ed upward. Example) If there is no empty multisample number and forwar d movement is not possible, multisamples will be renum- bered downwar d.
97 Sampling P0 P1 P2 P3 P4 P5 P8 If the CDR W -1 option is installed, you can use P5: Audio CD to play back an audio CD. In this case as well, the audio will be input to the TRITON STUDIO as speci fi ed by the settings you make here. The L channel corresponds to Input 1, and the R channel corresponds to Input 2.
98 Metronome Precount [Off, 4, 8, 3, 6] Speci fi es whether the metronome will sound a countdown when you use “ T rigger ” Sampling ST AR T SW to begin sampling.
99 Sampling P0 P1 P2 P3 P4 P5 P8 0 – 3a: Create Zone Preference These settings de fi ne the initial state of the indexes that are created when you pr ess the Create button (0 – 1b, 3 – 1c). Each new index will be created accor ding to the settings you make here, but you ar e free to modify the settings later .
100 Here you can edit sample data (waveform data). Editing operations such as deleting unwanted portions of the wave- form, reversing the waveform, or lowering the sampling fr e- quency can be performed in detail while viewing the “ sample waveform display .
101 Sampling P0 P1 P2 P3 P4 P5 P8 For example if you change the sample address by one, the vertical line in the LCD that indicates the sample address will move in steps of one pixel.) In the vertical axis, you can zoom-in from 1X (full range display) to 512X (or 1024X in the case of stereo display).
102 End: The sample data that lies after the “ Edit Range End ” will be deleted. 5 In “ Save to No., ” specify the save destination sample number . By default, an unused sample number will be selected. The sample number cannot be speci fi ed if “ Overwrite ” is checked ( ☞ p.
103 Sampling P0 P1 P2 P3 P4 P5 P8 2 Select “ Insert ” to access the dialog box. 3 To “ Start ” will indicate the starting address at which the data will be inserted. 4 In “ Save to No., ” specify the save destination sample number . By default, an unused sample number will be selected.
104 1 Use “ Sample Select ” (1 – 1b) to select the sample that you wish to edit, and set “ Edit Range Start ” to specify the starting address. The “ Edit Range End ” setting is ignored. 2 Select “ Insert Zero ” to access the dialog box.
105 Sampling P0 P1 P2 P3 P4 P5 P8 5 In “ Curve , ” specify the way in which the volume will change. Linear: The volume will change linearly . For normal fade-in or fade-out, select Linear . Power: The volume will change non-linearly . When you use “ Mix ” (1 – 1F) to combine a faded-in waveform with a differ ent faded-out waveform (i.
106 4 In “ Resolution , ” select the desired r esolution for the grid. The grid that appears will be determined by this setting and by the “ Grid ” (1 – 1c, 2 – 1c) setting in the page. 5 T o execute the settings, press the OK button . T o cancel, press the Cancel button .
107 Sampling P0 P1 P2 P3 P4 P5 P8 The sample number cannot be speci fi ed if “ Overwrite ” is checked ( ☞ p.101). For stereo samples, use “ Save to No.(L) ” and “ (R) ” to specify the save-destination of the L and R chan- nels. 8 T o execute the Link command, press the OK button .
108 2-1c: Sample waveform display , Star t, LoopS, End, Loop, Rev , +12 dB, Loop Lock, Loop T une, Use Zero, Grid, ZOOM Sample waveform display The waveform of the “ Sample Select ” is displayed here ( ☞ 1 – 1c). Star t (Star t Address) [0000000.
109 Sampling P0 P1 P2 P3 P4 P5 P8 ▼ 2 – 1: Page Menu Command For these commands, no Compare function is available that would let you return to the prior state after execut- ing the command. If you want to retain the original sample when you edit, uncheck the “ Overwrite ” box in the dialog box of the page menu command.
110 As an alternative to the “ T ime Slice ” command, “ Ti m e Stretch ” ( ☞ 2 – 1C) is another way to change the tempo of a rhythm loop or similar sample. Y ou may wish to use this if you don ’ t need to divide the sample and create song performance data for the divided samples.
111 Sampling P0 P1 P2 P3 P4 P5 P8 Sample waveform display : This displays a dotted verti- cal line at the locations where the sample was sliced, and a solid vertical line at the Start, Loop Start, and End loca- tions. When “ Index ” is xxx/yyy , the sample of the selected index will be highlighted.
112 9 Use T ime Stretch to adjust the length of the sliced sam- ples. When you press the Stretch button , T ime Stretch (a function that expands or shrinks the length of a sample without affecting its pitch) will be applied to the sliced sample. If you wish to save the sliced sample as it is, proceed to step 0 without executing T ime Stretch.
113 Sampling P0 P1 P2 P3 P4 P5 P8 In some cases, the sample End address setting etc. may increase the number of measur es in the pattern, so that it no longer loops precisely . In such cases, re-specify the “ Length ” in Sequencer mode “ Pattern Parameter ” (Sequencer 6 – 1c).
114 lated according to the length fr om the start address to the end address (if loop is of f) or from the loop start addr ess to the end address (if loop is on). If you alr eady know the BPM value and the calculated value is incorrect, change it to the correct value.
115 Sampling P0 P1 P2 P3 P4 P5 P8 T ime Stretch requir es vacant samples, multisamples, and relative parameters in or der to execute. Before you execute, make sure that ther e is suf fi cient fr ee space.
116 Sample waveform display : This displays the waveform of the selected sample. If the “ Index ” is other than Result , the locations at which the sample is sliced will be indicated by a dotted line (vertical). If “ Index ” is set to xxx/yyy , the sample of the selected index will be high- lighted.
117 Sampling P0 P1 P2 P3 P4 P5 P8 3 In “ Crossfade Length , ” specify the length of the sample that you wish to crossfade. If you set this as % , “ Crossfade Length ” will be calcu- lated automatically . Specify the proportion of the “ Cr oss- fade Length ” relative to the length between the loop start and loop end.
118 T op Key [C – 1...G9] Speci fi es the highest key in the zone of the index. The zone is de fi ned by this “ T op Key ” ( ☞ 0 – 1b). Range This shows the range of the zone that is determined by the “ T op Key ” setting. The selected sample data will playback within this area.
119 Sampling P0 P1 P2 P3 P4 P5 P8 3 – 2: Preference 3 – 2a: Create Zone Preference Here you can specify the default settings for indices that ar e created by executing “ Cr eate ” (3 – 1c, 0 – 1b). New indexes will be created accor ding the settings you specify here.
120 5 Press the [REAL TIME CONTROLS] key to make the “ B ” LED light. 6 Rotate knob [1], [2] and the panning of the external input sound and the delay will change. Y ou can sample the sound while you modify it. 5 – 1: Audio CD Here you can sample the playback of an audio CD, or copy digital information from an audio CD ( “ ripping ” ).
121 Sampling P0 P1 P2 P3 P4 P5 P8 5 – 1b: Drive, T rack, Index Drive (Drive select) [ID0...6, CDD: Name] Selects the CD-R/R W drive that contains the audio CD that you want to play or rip. Drives other than a CD-R/R W drive cannot be selected here. T rack (T rack Select) [01.
122 Here you can make insert ef fect settings for use in Sampling mode. If you want to apply insert effect IFX1 – 5 to the external audio signal speci fi ed by “ Input ” and sample the result, set the P0: Recording, Input/Setup page Input1 and Input2 “ BUS (IFX/Indiv .
Song Play P0 P1 P2 P3 P7 P8 P9 123 5. Song Play mode In Song Play mode you can load Standard MIDI Files (SMF) from fl oppy disk, the internal har d disk or external SCSI device, or play them directly as they ar e being loaded. A jukebox function is provided to playback these SMF fi les in any order you specify .
124 Program Select (Bank/Program) [INT -A...INT -F , G, g(1)...g(9), g(d), EXB-A...EXB-G] Selects the program that will be used by each track. The lower line will display part of the program name. If “ Program Select ” is selected, you can use the BANK [INT - A] – [EXB-G] keys and the V ALUE controller to select the pr o- gram.
125 Song Play P0 P1 P2 P3 P7 P8 P9 0 – 1D: Save T emplate Song This command saves the programs, the track parameters, and the effect settings etc. as a user template song U00 – 15 ( ☞ Sequencer P0: 0 – 1H). The settings that are saved her e can also be loaded in Sequencer mode.
126 For each track, you can specify the status of the internal tone generator and the scale. 1 – 1: Status 1 – 8 (Status/Scale T01 – 08) 1 – 2: Status 9 – 16 (Status/Scale T 09 – 16) 1 –.
127 Song Play P0 P1 P2 P3 P7 P8 P9 Speci fi es the functions that the [SW1] key , [SW2] key , and the B-mode functions of the REAL TIME CONTROL knobs [1] – [4] will have in Song Play mode. The functions you spec- ify can be used when playing the track selected by “ Play (T rack Select).
128 The contents of this display will depend on the “ Jukebox ” (0 – 1a) setting. Off (unchecked): “ 3 – 1: Select Dir ectory ” will be displayed.
129 Song Play P0 P1 P2 P3 P7 P8 P9 ▼ 3 – 1: Page Menu Command 3 – 1A: Load Jukebox List This command loads the jukebox list that you wish to use. 1 In the directory window , select a jukebox list fi le ( fi le- name extension .JKB), and then select “ Load Jukebox List ” .
130 If tracks 1 – 16 to which arpeggiator A or B are assigned have a track “ Status ” (1 – 1a/2a) of either INT or BTH , they will be played by note data generated by the arpeggiator regar dless of the “ Ch ” (0 – 1b) setting of each track.
131 Song Play P0 P1 P2 P3 P7 P8 P9 7 – 5b: Scan Zone A/B A: T op Key [C – 1...G9] Bottom Key [C – 1...G9] Specify the range of notes (keys) that will trigger arpeggia- tor A. “ T op Key ” is the highest note of the range, and “ Bot- tom Key ” is the lowest note.
132 Send1 (MFX1) [000...127] Send2 (MFX2) [000...127] Specify the send levels from tracks 1 – 16 to master ef fects 1 and 2. This is valid when “ BUS Select ” (8 – 1b) is set either to L/R or Off .
133 Song Play P0 P1 P2 P3 P7 P8 P9 ☞ For details on the master effects, r efer to p.182 “ 8. Effect Guide. ” 9 – 1: Master FX Here you can select the type of each master ef fect, turn it on/off, and make chain and master EQ settings. These set- tings are the same as in Pr ogram mode.
134.
Global P0 P1 P2 P3 P4 P5 P6 135 6. Global mode In Global mode you can make settings that affect the entir e instrument, such as master tuning, MIDI, and memory pro- tect.
136 you wish to make the notes more consistent. However with this curve, control of softly-played notes will be mor e dif fi - cult, so use the curve that is most appropriate for your play- ing strength and style, and the ef fect that you wish to produce.
137 Global P0 P1 P2 P3 P4 P5 P6 0 – 1B: Change all bank references This command changes all program banks speci fi ed for tim- bres in combinations or tracks of songs. 1 Select “ Change all bank references ” to access the dialog box. 2 If you wish to change bank refer ences for combinations, check “ Combination .
138 Power On Mode [Reset, Memorize] Speci fi es the condition at power-on. Reset: The TRITON STUDIO will be in Combination mode P0: Play , and Combination A000 will be selected. Memorize: The location (mode and page) where you wer e when the power was last turned off, and the last-selected program or combination number will be selected.
139 Global P0 P1 P2 P3 P4 P5 P6 When this setting is at Normal, the W A VE fi le playback level on the TRITON STUDIO is set appr oximately 12 dB lower than the maximum digital output level in order to match the level of the oscillators etc.
140 S/P DIF: The digital audio output from an instrument or DA T etc. connected to the S/P DIF jack will be input to the TRITON STUDIO. Use Input1 (below) to make settings for the L channel of the S/P DIF IN connector , and Input2 for the R channel. The S/P DIF input/output supports sam- pling rates of 48 kHz and 96 kHz.
141 Global P0 P1 P2 P3 P4 P5 P6 Auto: The word clock master/slave setting will be made automatically . Manual: The TRITON STUDIO will be the wor d clock mas- ter , and the slave devices will synchronize to the clock of the EXB-mLAN. However if settings are changed on a con- nected external device, the external device will become the master .
142 Module, Nickname, Plug This area displays the module name, nickname, and plug name of the currently-connected input sour ces. Connect This button connects the TRITON STUDIO ’ s input plug to an external device connected to the EXB-mLAN.
143 Global P0 P1 P2 P3 P4 P5 P6 Unchecked (Local Control Off): The TRIT ON STUDIO ’ s keyboard and joystick etc. will be disconnected fr om the internal tone generator . This means that operating the TRITON STUDIO (playing its keyboard and using the joystick, or playing back the sequencer) will not sound its internal tone generator .
144 Use this setting if receiving these messages fr om an external MIDI sequencer would cause the song settings of the TRITON STUDIO to be unwantedly r eset. On (checked): The above Common messages (including Song Select) and Realtime messages will be received.
145 Global P0 P1 P2 P3 P4 P5 P6 T ransmission Do not touch the TRITON STUDIO ’ s switches or turn off the power while data is being transmitted. Data dump transmission procedure 1 Connect the TRITON STUDIO to the device that will receive the data dump.
146 the same global MIDI channel that was used when the data was transmitted. T o set the MIDI channel of the transmitting device, r efer to the owner ’ s manual for that device. 3 Either check “ Enable Exclusive ” (1 – 1b), or display one of the page menu commands of this page.
147 Global P0 P1 P2 P3 P4 P5 P6 3 – 1b: User All Notes Scale T une [ – 99 … +99] Makes independent pitch settings for each of the 128 notes. Adjust the pitch of each of the 128 notes (C – 1 – G9) in one- cent steps. This adjustment is relative to equal temperament.
148 Here you can cr eate drum kits by assigning a drum instru- ment (drum sample) to each key . A drum kit that you create or edit here can be selected in Program mode P1: Edit Basic “ Drum Kit ” .
149 Global P0 P1 P2 P3 P4 P5 P6 ( ☞ ” VNL ” ) RAM: Selects samples that you created in the Sampling mode, or that were loaded into the TRIT ON STUDIO in the Disk mode.
150 S.Offset (Star t Of fset) [Off, On] Rev (Reverse) [Off, On] Level [ – 99...+99] T ranspose [ – 64...+63] T une [ – 99...+99] Cutoff (Filter -Cutoff) [ – 64...+63] Resonance (Filter-Resonance) [ – 64...+63] Attack (Amp-Attack) [ – 64...
151 Global P0 P1 P2 P3 P4 P5 P6 Enable Note Off Receive [Off, On] On (checked): Note-off messages will be r eceived. Normally you will uncheck this. This parameter is valid when “ Hold ” (Program P1: 1 – 1b) is checked (Hold On). In the case of a drum program, you will normally select Hold On.
152 6 – 1a: Arpeggio Select, , Pattern, Length, Octave, Resolution, Sor t, Latch, Key Sync., Keyboard Arpeggio Select [A, B] If you have moved here fr om Combination, Sequencer or Song Play mode and edit an arpeggio pattern, you must select either arpeggiator A or B as the pattern to edit.
153 Global P0 P1 P2 P3 P4 P5 P6 Example) W e will use a “ Arpeggio T one Mode ” Fixed Note pattern on drums. T one 1 is assigned a note number that will sound a kick, T one 2 a snare, and T one 3 a hi-hat. W ith a setting of T rigger As Played , pressing one key will sound only T one 1 (kick).
154 V elocity [001...127, Key] Key: The T one of the step will sound with the velocity at which the key was played. 001 – 127: The speci fi ed velocity value will always be used.
0-1 0-2 0-3 0-4 0-5 0-6 Disk 155 7. Disk mode In this mode, you can save and load various types of inter- nal memory data to and from a fl oppy disk, the internal hard drive, a CDR W -1 option, or a connected external SCSI device. Y ou can also create an audio CD from W A VE fi les and listen to it.
156 .JKB fi les cannot be loaded or saved in Disk mode – only in Song Play mode. When TRITON STUDIO data is saved, one of these fi lename extensions will be added automatically , according to the type of data.
157 0-1 0-2 0-3 0-4 0-5 0-6 Disk 0 – 1d: Open button, Up button Open button When you press the Open button , the dir ectory will open, and the current dir ectory will move one level downward. This can be used when a directory has been selected in the directory window .
158 If data of the speci fi ed bank is completely absent from the .PCG fi le, an error of “ No r eadable data ” will be dis- played, and the load operation will be halted. If the program data of the speci fi ed bank is not found in the .PCG fi le, the program banks of the combination or multi timbres/tracks will not be set.
159 0-1 0-2 0-3 0-4 0-5 0-6 Disk 3) Load Program Bank [Bank I-A...I-E, Bank E-A...E-G]: selected icon All program data of the selected bank will be loaded into the bank you specify . 1 In “ To , ” select the loading destination bank. Bank I-F program data can be loaded only into bank I-F .
160 The selected drum kit can be played from the keyboar d even before you load it. This is convenient when you want to audition the drum kit to be loaded. ( ☞ p.156) 2 In “ T o Drum Kit ” (lower line), select the loading destina- tion drum kit.
161 0-1 0-2 0-3 0-4 0-5 0-6 Disk 17) Load a Song: selected icon Data for the selected song will be loaded into the song num- ber you speci fi ed as the load destination. 1 If you wish to load a song other than the selected song, use “ Song ” (upper line) to r e-select the song to be loaded.
162 Loading sample data The paragraphs 22) Load .KSC, 23) Load .KMP , and 24) Load .KSF which follow explain how Korg format PCM data fi les are loaded into the sample memory (RAM) of the TRITON STUDIO. About the sample memor y (RAM) The TRITON STUDIO is shipped fr om the factory with 16 Mbytes of sample memory (RAM).
163 0-1 0-2 0-3 0-4 0-5 0-6 Disk 22) Load .KSC: selected icon The .KMP fi les and .KSF fi les listed in the .KSC fi le will be loaded as multisamples and samples respectively . The .KMP fi les and .KSF fi les listed in the .KSC fi le are saved in a dir ectory of the same name that is cre- ated automatically at the same time as the .
164 26) Load .W A V : selected icon The selected W A VE fi le will be loaded as a sample. 1 T o load the data, press the OK button . T o cancel without loading, press the Cancel button . The sample will be loaded after the last sample that cur- rently exists in the sample memory (RAM) (Append load).
165 0-1 0-2 0-3 0-4 0-5 0-6 Disk Loading KCD fi les 29) Load .KCD The selected .KCD fi le will be loaded. 1 Press the OK button to load, or pr ess the Cancel button to cancel without loading. The loaded contents will be displayed in the Make Audio CD page.
166 If the data being saved does not fi t on one volume of media When saving a .PCG, .KSC, .KMP , or .KSF fi le, and the data does not fi t on a single fl oppy disk (or other volume of media), the.
167 0-1 0-2 0-3 0-4 0-5 0-6 Disk 0 – 2C: Save PCG This command saves all internal memory programs, combi- nations, drum kits, user arpeggio patterns, and global set- tings as a .PCG fi le. This command is valid only when the current dir ectory is a DOS directory .
168 2 In “ Song, ” so the song that you wish to save. 3 Use the text edit button to access the text input dialog box, and specify the fi lename. By default, the fi rst eight characters (uppercase) of the song name will be assigned automatically .
169 0-1 0-2 0-3 0-4 0-5 0-6 Disk 5 T o export the data, press the OK button . T o cancel with- out exporting, press the Cancel button . 0 – 2l: Save Audio CD T rack List This command saves a track list that you created in the Make Audio CD page.
170 3 “ Copy ” will show the name of the selected fi le or direc- tory . If you wish to change the fi le or directory that will be copied, use the text edit button to move to the text input dialog box, and specify the fi lename that you wish to copy .
171 0-1 0-2 0-3 0-4 0-5 0-6 Disk 5 Specify the initialization format. Normally you should use Quick Format to initialize the disk, and use Full For- mat if an error message of “ Disk not Formatted ” appears. Quick Format: Selects this if the media has already been physically formatted.
172 If the CDR W -1 option is installed, or if a CD-R/RW drive is connected as an external SCSI device, you can create an audio CD in Disk mode. Performances of the TRITON STUDIO ’ s sequencer etc. can be resampled to the internal har d disk etc. as W A VE fi les, and these can be used to create an audio CD.
173 0-1 0-2 0-3 0-4 0-5 0-6 Disk If you select a 44.1 kHz or 48 kHz W A VE fi le, you can press the SAMPLING [ST ART/ST OP] key to play it back. In this case, the lower line will indicate “ (Sam- pling ST AR T/STOP plays selected fi le). ” If you press the Exit button , the dialog box will close, and no further W A VE fi les will be added.
174 2 Select “ Finalize Audio CD ” to access the dialog box. 3 Press the OK button to execute the Finalize command, or press the Cancel button to cancel without executing. 0 – 4D: Erase CD-RW This command erases the audio tracks from CD-R/R W media.
175 0-1 0-2 0-3 0-4 0-5 0-6 Disk Since some CD-R/R W drives do not support this, the volume may not change when you adjust this setting. 0 – 5b: Input Input [Analog, S/P DIF , mLAN] Input1: Input2: Level [0...127] Pan [L000...C064...R127] BUS (IFX/Indiv .
176 ▼ 0 – 6: Page Menu Command 0 – 6A: Scan SCSI device This command allows you to re-mount a connected SCSI device. 1 Select “ Scan SCSI device . ” The currently-connected SCSI devices will be r e-scanned. Once scanning is completed, any valid SCSI device can be selected in “ Drive Select.
Effect 177 8. Ef fect Guide The effects section of the TRIT ON STUDIO consists of fi ve Insert Effects , two Master Ef fects , a stereo, thr ee band Mas- ter EQ , and a Mixer section that controls the ef fect r outings.
178 The TRITON STUDIO does not have an input level meter to detect the effect input level. If the input level is too low , the S/N ratio may decrease. On the other hand, if the input level is too high, clipping may occur .
179 Effect 2. Routing Y ou can use up to fi ve channels (IFX 1, 2, 3, 4, and 5) for the Insert Effects in any mode. 2 – 1. Program mode Use “ BUS Select ” (Program P8: 8 – 1c) to set the destination bus of the oscillator output. L/R: The signal is not sent to the Insert Effects.
180 — Settings for drum Pr ograms — If a drum Program ( “ Oscillator Mode ” Drums ) is selected for timbres in Combination mode and for tracks in Sequencer mode and Song Play mode , you can select DKit for “ BUS Select.
181 Effect If you want to play back an audio CD without applying the TRITON STUDIO ’ s ef fects, set “ Input ” Analog set- tings for Input1 to “ Level ” 127 , “ Pan ” L000 , “ BUS Select ” L/R , “ Send1, 2 ” 000 , and set Input2 “ Pan ” to R127 and the remaining parameters to the same set- tings as for Input1 .
182 4. Controlling the Inser t Ef fects via MIDI Using the Dynamic Modulation (Dmod) function enables you to control all ef fect parameters in real-time during per - formance from the contr ollers of the TRITON STUDIO or a connected MIDI sequencer .
183 Effect 2. Routing Y ou can use up to two channels (MFX1 and 2) for the Master Effects in any mode other than in Sampling mode. (Y ou can- not use the Master Effects in Sampling mode.
184 this time, the actual send levels use these Send 1 and 2 val- ues multiplied by the Send1 and 2 settings for Program oscillators 1 and 2.) If drum Programs ar e selected for timbres in Combination mode and for tracks in Sequencer mode and Song Play mode, you can select “ DKit ” for “ BUS Select .
185 Effect 3 – 3. Chain Direction If you have checked the “ Chain ” box, you can set the direc- tion of the connection here. Y ou can also visually con fi rm the direction on the LCD. 3 – 4. Chain Signal This parameter enables you to select signals routed between MFX1 and 2.
186 Program mode Combination mode, Sequencer mode, Song Play mode, Disk mode Sampling mode Ef fect/Mixer Block Diagram Pan Oscillator 1 Send1 Select from: L/R IFX1 IFX2 IFX3 IFX4 IFX5 1 2 3 4 1/2 3/4 .
Effect 187 Filter and dynamics control effects 000: No Ef fect Select this option when you do not use any effects. The Insert Effect section outputs unpr ocessed signals and the Master Effect section mutes the output.
188 a: En velope Select When L/R Mix is selected for this parameter , the left and right channels are linked to contr ol the Limiter using the mixed signal. If L Only (or R Only ) is selected, the left and right channels ar e linked, and the Limiter is controlled via only the left (or right) channel.
Effect 189 e: Low Offset [dB], f: Mid Offset [dB], g: High Offset [dB] These parameters set the gain of the trigger signal. For example, if you do not want to apply compr ession to the high range, reduce the “ High Of fset ” value down below the “ Thresh- old ” level.
190 a: W ah The W ah parameter switches the wah effect on/off. a: Sw This parameter sets how the wah effect is switched on and of f via the modulation source. When “ Sw ” = Moment , the wah effect is usually turned of f. It is turned on only when you press the pedal or operate the joystick.
Effect 191 d: Band2 Dynamic Gain Src, d: Amt [dB], f: Gain [dB] Y ou can control the gain of Band 2 using the modulation source. 008: St. Graphic 7EQ (Stereo Graphic 7 Band EQ) This is a stereo 7-band graphic equalizer . The bar graph of the gain setting for each band gives you a clear , visual idea of fre- quency responses.
192 a: Frequency Bottom, a: Frequency T op The sweep width and direction of the wah fi lter are determined by the “ Frequency T op ” and “ Frequency Bottom ” settings.
Effect 193 When “ LFO W aveform ” is set to Random , the “ LFO Step Freq ” parameter uses a random LFO cycle. b: LFO Phase [degree] Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling af fect.
194 a: OSC Mode, b: Note Interval, b: Note Fine The “ OSC Mode ” parameter selects the oscillator operation mode. When Note (Key Follow) is selected, the oscillator ’ s frequency is determined based on the note number , allowing you to use it as an octaver .
Effect 195 014: Stereo Decimator This effect cr eates a r ough sound like a cheap sampler by low- ering the sampling frequency and data bit length. Y ou can also simulate noise unique to a sampler (aliasing).
196 Pitch/phase modulation effects 016: Stereo Chor us This effect adds thickness and warmth to the sound by modu- lating the delay time of the input signal. Y ou can add spread to the sound by offsetting the phase of the left and right LFOs from each other .
Effect 197 g: High/Low Split P oint This parameter sets the frequency that splits the high and low range. Only the high range will be sent to the chorus block. h: Feedback Sets the feedback amount of the chorus block. Incr easing the feed- back will allow you to use the effect as a fl anger .
198 020: Stereo Flanger This effect gives a signi fi cant swell and movement of pitch to the sound. It is more ef fective when applied to a sound with a lot of harmonics. This is a stereo fl anger . Y ou can add spread to the sound by offsetting the phase of the left and right LFOs from each other .
Effect 199 022: St. Env . Flanger (Stereo Envelope Flanger) This Flanger uses an envelope generator for modulation. Y ou will obtain the same pattern of fl anging each time you play . Y ou can also control the Flanger directly using the modula- tion source.
200 024: St. Random Phaser (Stereo Random Phaser) This is a stereo phaser . The effect uses a step-shape waveform and random LFO for modulation, creating a unique phasing effect. 025: St. Env . Phaser (Stereo Envelope Phaser) This stereo phaser uses an envelope generator for modula- tion.
Effect 201 026: St. Biphase Mod. (Stereo Biphase Modulation) This stereo chorus ef fect adds two different LFOs together . Y ou can set the Frequency and Depth parameters for each LFO individually . Depending on the setting of these LFOs, very complex waveforms will create an analog-type, unstable modulated sound.
202 “ AUTOF ADE Src ” = Gate1 , “ LFO Frequency [Hz] ” = 1.0 “ LFO Frequency Mod ” = AUTOF ADE , “ Amt ” = 3.0 The effect is of f when a value for the dynamic modulation source speci fi ed for the “ AUT OF ADE Src ” parameter is smaller than 64, and the effect is on when the value is 64 or higher .
Effect 203 a: Control Mode, e: V oice1: Resonance , h: V oice2: Resonance This parameter determines the resonance intensity . When “ Control Mode ” = Manual , the “ Resonance ” parameter sets the intensity of resonance.
204 031: Scratch This effect is applied by r ecording the input signal and mov- ing the modulation source. It simulates the sound of scratches you can make using a turntable. a: Scratch Source, b: Response The Scratch Source parameter enables you to select the modula- tion source that contr ols simulation.
Effect 205 Other modulation and pitch shift effects 032: Stereo T remolo This effect modulates the volume level of the input signal. The effect is ster eo, and offsetting the LFO of the left and right phases from each other pr oduces a tremolo ef fect between left and right.
206 “ Depth ” = 100 , “ Envelope Amount ” = – 100 034: Stereo Auto Pan This Auto Pan effect pans sound between left and right. It is stereo, and shifting the left and right LFO phases fr om each other will simulate the sound of the left and right channels crossing over each other by turns, or chasing each other .
Effect 207 a: Type, a: LFO Phase [degree] Select the type of phaser LFO and tremolo LFO for the “ T ype ” parameter . How the effect sound moves or r otates depends on the type of LFO. Selecting “ LFO Phase ” enables you to of fset the tim- ing of the phaser peak and control a subtle movement and r ota- tion of the sound.
208 037: Detune Using this effect, you can obtain a detune ef fect that offsets the pitch of the effect sound slightly fr om the pitch of the input signal. Compared to the chorus ef fect, a more natural sound thickness will be created. d: Input Level Dmod [%], d: Src This parameter sets the dynamic modulation of the input level.
Effect 209 039: Pitch Shift Mod. (Pitch Shift Modulation) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by pan- ning the effect sound and dry sound to the left and right. This is especially effective when the ef fect sound and dry sound output from ster eo speakers are mixed.
210 When “ Sw ” = Moment , the speaker is rotating. It stops only when you press the pedal or operate the joystick. Rotation will occur when the value of the modulation source is less than 64, and will stop when the value is 64 or greater . b: Sw This parameter sets how the rotation speed (slow and fast) is switched via the modulation source.
Effect 211 042: Auto Reverse This effect r ecords the input signal and automatically plays it in reverse (the ef fect is similar to a tape reverse sound). a: Rec Mode, b: Reverse Time When ” Rec Mode “ is set to Single , you can set up to 1320msec for “ Reverse T ime.
212 044: Stereo/Cross Delay This is a stereo delay , and can by used as a cross-feedback delay effect in which the delay sounds cr oss over between the left and right by changing the feedback routing. 045: St. Multitap Delay (Stereo Multitap Delay) The left and right Multitap Delays have two taps respectively .
Effect 213 046: St. Modulation Delay (Stereo Modulation Delay) This stereo delay uses an LFO to sweep the delay time. The pitch also varies. Y ou will obtain a delay sound with swell and shimmering. Y ou can also control the delay time using a modulation source.
214 a: Control T arget This parameter selects no level control, delay output contr ol (effect balance), or feedback amount contr ol. a: P olarity , b: Threshold, b: Offset, c: Attack, d: Release The .
Effect 215 a: BPM, b: L Delay Base Note, b: Times, c: C Delay Base Note, c: Times, d: R Delay Base Note, d: Times The delay time is the length of the note obtained by multiplying the “ Base Note ”.
216 a: BPM, b: Rhythm P attern W ith the tempo speci fi ed by the “ BPM ” parameter (or the MIDI Clock tempo if “ BPM ” is set to MIDI ), the length of one beat equals the feedback delay time, and the interval between taps becomes equal. Selecting a rhythm pattern will automatically turn the tap outputs on and off.
Effect 217 056: Reverb Room This room-type r everb emphasizes the early re fl ections that make the sound tighter . Changing the balance between the early re fl ections and r everb sound allows you to simulate nuances, such as the type of walls of a room.
218 059: P4EQ – Wa h (Parametric 4-Band EQ – W ah/Auto W ah) This effect combines a mono-type four -band parametric equalizer and a wah. Y ou can change the order of the connec- tion. 060: P4EQ – Cho/Flng (Parametric 4-Band EQ – Chorus/Flanger) This effect combines a mono-type four -band parametric equalizer and a chorus/ fl anger .
Effect 219 061: P4EQ – Phaser (Parametric 4-Band EQ – Phaser) This effect combines a mono-type four -band parametric equalizer and a phaser . 062: P4EQ – Mt. Delay (Parametric 4-Band EQ – Multitap Delay) This effect combines a mono-type four -band parametric equalizer and a multitap delay .
220 063: Comp – Wa h (Compressor – W ah/Auto W ah) This effect combines a mono-type compr essor and a wah. Y ou can change the order of the connection. 064: Comp – Amp Sim (Compressor – Amp Simulation) This effect combines a mono-type compr essor and an amp simulation.
Effect 221 066: Comp – Param4EQ (Compressor – Parametric 4-Band EQ) This effect combines a mono-type compr essor and a four- band parametric equalizer . Y ou can change the order of the effect connection. 067: Comp – Cho/Flng (Compressor – Chorus/Flanger) This effect combines a mono-type compr essor and a chorus/ fl anger .
222 h: Output Mode, i: Routing When W et Invert is selected, the right channel phase of the cho- rus/ fl anger effect sound is inverted. This cr eates pseudo-stereo effects and adds spr ead.
Effect 223 070: Limiter – P4EQ (Limiter – Parametric 4-Band EQ) This effect combines a mono-type limiter and a four -band parametric equalizer . Y ou can change the order of the ef fect connection. 071: Limiter – Cho/Flng (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a chorus/ fl anger .
224 072: Limiter – Phaser This effect combines a mono-type limiter and a phaser . Y ou can change the order of the ef fect connection. 073: Limiter – Mt. Delay (Limiter – Multitap Delay) This effect combines a mono-type limiter and a multitap delay .
Effect 225 074: Exciter – Comp (Exciter – Compressor) This effect combines a mono-type exciter and a compr essor . Y ou can change the order of the effect connection. 075: Exciter – Limiter This effect combines a mono-type exciter and a limiter .
226 077: Exciter – Phaser This effect combines a mono-type limiter and a phaser . 078: Exciter – Mt. Delay (Exciter – Multitap Delay) This effect combines a mono-type exciter and a multitap delay . a [X] Exciter Blend Sets the intensity (depth) of the Exciter effect – 100.
Effect 227 079: OD/HG – Amp Sim (Overdrive/Hi.Gain – Amp Simulation) This effect combines a mono-type over drive/high-gain dis- tortion and an amp simulation. Y ou can change the order of the effect connection. 080: OD/HG – Cho/Flng (Overdrive/Hi.
228 081: OD/HG – Phaser (Overdrive/Hi.Gain – Phaser) This effect combines a mono-type over drive/high-gain dis- tortion and a phaser . Y ou can change the order of the ef fect connection. 082: OD/HG – Mt. Delay (Overdrive/Hi.Gain – Multitap Delay) This effect combines a mono-type over drive/high-gain dis- tortion and a multitap delay .
Effect 229 083: W ah – Amp Sim (W ah/Auto W ah – Amp Simulation) This effect combines a mono-type wah and an amp simula- tion. Y ou can change the order of the ef fect connection. 084: Decimator – Amp (Decimator – Amp Simulation) This effect combines a mono-type decimator and an amp sim- ulation.
230 086: Amp Sim – T remolo (Amp Simulation – T remolo) This effect combines a mono-type amp simulation and a tr em- olo. 087: Cho/Flng – Mt. Dly (Chorus/Flanger – Multitap Delay) This effect combines a mono-type chorus/ fl anger and a mult- itap delay .
Effect 231 088: Phaser – Cho/Flng (Phaser – Chorus/Flanger) This effect combines a mono-type phaser and a chorus/ fl anger . 089: Reverb – Gate This effect combines a mono-type r everb and a gate.
232 Double-size effects (Available for Insert Ef fects IFX2, 3, and 4) 090: Piano Body/Damper (Piano Body/Damper Simulation) This effect simulates the r esonance of the piano sound board caused by the string vibration, and also simulates the reso- nance of other strings that are not being played when you press the damper pedal.
Effect 233 093: V ocoder This effect applies the character of the right channel signal (Modulator) to the left channel signal input (Carrier). A com- mon use of this effect is to pr oduce the sound of various instruments by inputting a voice to the Modulator via a microphone.
234 094: Multitap Cho/Delay (Multitap Chorus/Delay) This effect has six chorus blocks with dif ferent LFO phases. Y ou can produce a complex stereo image by setting a dif ferent delay time and depth for each block. Y ou can control the delay output level via a modulation source.
Effect 235 b: L/R Pitch When you select Up/Down for this parameter , the pitch shift amount for the right channel will be reversed. If the pitch shift amount is positive, the pitch of the left channel is raised, and the pitch of the right channel is lowered.
236 097: Early Re fl ections This early re fl ection ef fect has more pr ecise early re fl ections with twice the maximum length of a normal-size effect (Fx:041). Y ou can create a very smooth and dense sound. 098: L/C/R Long Delay This multitap delay outputs three T ap signals to left, right and center respectively .
Effect 237 100: LCR BPM Long Dly (L/C/R BPM Long Delay) The L/C/R delay enables you to match the delay time with the song tempo. Y ou can set the delay time up to 2,730msec. a: Time Over? > Y ou can set the delay time up to 2,730msec. If the delay time exceeds this limit, the error message “ OVER!! ” appears on the dis- play .
238 a: Time Over? L >, a: R > Y ou can set the delay time up to 1365msec. If the delay time exceeds this limit, the error message “ OVER!! ” appears on the dis- play . Set the delay time parameters so that this message will not appear . “ T ime Over?> ” is only a display parameter .
Effect 239 Master EQ Use P9: Master EQ in Program, Combination, Sequencer , and Song Play modes. Y ou cannot use the Master EQ in Sampling mode. Y ou cannot use the Master EQ for the Insert Effects or Mas- ter Effects.
240.
Appendices 241 9. Appendices About Alternate Modulation Alternate Modulation can be speci fi ed for the following 29 types, in total, 55 alternate modulation destinations shown in the diagram below . (Pitch EG is common to OSC 1 and 2.) AMS (Alternate Modulation Source) can be selected inde- pendently for each of these to apply modulation.
242 AMS (Alternate Modulation Source) List In the above table, the parentheses ( ) indicate the type of sour ce that can be used for each AMS. For example, the “ AMS (Pitch AMS) ” value for OSC1 Pitch (Program P2: 2 – 1a) can be [Of f, (FEG, AEG, EXT)] ( ☞ p.
243 Appendices Flt KT rk +/+ (Filter Keyboard T rack +/+) Flt KT rk +/ – (Filter Keyboard T rack +/ – ) Flt KT rk 0/+ (Filter Keyboard T rack 0/+) Flt KT rk +/0 (Filter Keyboard T rack +/0) Amp KT.
244 Alternate Modulation settings When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below . By using alternate modulation, you can create complex sys- tems of modulation in which EG, LFO, keyboard tracks, and controllers work together .
245 Appendices • If you select the same controller as an “ AMS ” and set separate intensities for Filter A (Low Pass Filter) “ Intensity ” and Filter B (High Pass Filter) “ Intensity, ” you can operate a single controller to simultaneously control the cutoff frequencies of both filters.
246 EG Level - Pitch EG (Program P2: 2 – 3b) Filter EG (Program P3: 3 – 4b) Amp EG (Program P4: 4 – 3b) EG levels can be controlled by keyboar d tracking, control- lers, or tempo etc.
247 Appendices Dynamic Modulation Source List Gate1, Gate1+Dmpr (Gate1+Damper) The effect is at maximum during note-on, and will stop when all keys are r eleased. W ith Gate1 + Dmpr , the effect will remain at maximum even after the keys ar e r eleased, as long as the damper (sustain) pedal is pressed.
248 Moving the knob to the 12 o ’ clock position will produce a effect of 0 as the dynamic modulation sour ce. If “ Amt ” is a positive (+) value, rotating the knob towar d the right will produce a positive change in the ef fect, and rotating it toward the left will pr oduce a negative change.
249 Appendices The following functions can be assigned to the [SW1] or [SW2] keys. Set the “ Panel Switch Assign ” parameters in each mode to make these assignments. • Program P1: Controller page (1 – 4a). • For a combination, assignments are set by Combination P4: Controller page (4 – 4a).
250 The following functions can be assigned to the REAL TIME CONTROLS [1]-[4] knobs in B-mode. Set the “ Realtime Control Knobs B-Assign ” parameters in each mode to make these assignments. • Program P1: Controller page (1 – 4b). • Combination P4: Controller page (4 – 4b).
251 Appendices The A-mode functions of the REAL TIME CONTROLS are fi xed. Knob1-A: LPF CUTOFF (Filter LPF Cutoff: CC#74) Control the low pass fi lter cutof f frequency of the fi lter .
252 Y ou can assign the function that will be controlled by an assignable pedal (Korg XVP-10 or EXP-2 option) connected to the ASSIGNABLE PEDAL jack. • This setting is made in Global P2: Controller “ Foot Pedal Assign ” (2 – 1a).
253 Appendices The following table shows the relation between the MIDI messages that are transmitted when the TRIT ON STUDIO ’ s controllers ar e operated, and the AMS (alternate modulation source) or DMS (dynamic modulation sour ce) that corre- spond to each MIDI message.
254 Program mode When one of the TRITON STUDIO ’ s contr ollers is operated, a control change message will be transmitted on the global MIDI channel ( “ MIDI Channel ” Global P1: 1 – 1a).
255 Appendices The following table shows the operations that the TRITON STUDIO will perform when control change messages ar e received, and the r elation between settings and controller movements on the TRITON STUDIO Any control change number (CC#00 – 95) can be assigned as the B-mode function of a REAL TIME CON- TROLS knob.
256 *1 On the TRITON STUDIO ’ s sequencer , bank select mes- sages are normally speci fi ed as a program change event ( “ Event Edit ” Sequencer P5: 5 – 1B). However in some cases this will be insuf fi cient when you wish to change banks on an external device.
257 Appendices CC#77: LFO1 depth (pitch LFO1 intensity) Corresponds to “ Pitch LFO1 Intensity ” (Pr ogram P2: OSC1/2 P .Mod page). CC#78: LFO1 delay Corresponds to “ LFO1 Delay ” (Pr ogram P5: OSC1/2 LFO1 page). CC#79: Filter EG intensity Corresponds to “ Filter EG Intensity to A, B ” (Program P3: Filter 1/2 Mod.
258 ■ About MIDI MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers.
259 Appendices Connecting an external MIDI sequencer or computer etc. Y ou can play the TRITON STUDIO ’ s keyboard and r ecord your performance on an external MIDI sequencer/computer (connected via a MIDI interface), and then play back the recor ded performance to sound the TRITON STUDIO ’ s tone generator (i.
260 is running, note-on/off messages will be transmitted by the arpeggiator . (If Local Control is of f, the arpeggiator will not transmit note-on/off data. “ Local Contr ol On settings ” ☞ p.259) However , most instruments do not receive or transmit note- off velocity , and neither does the TRITON STUDIO.
261 Appendices • 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.
262 • When you set the “ Pan ” (Sequencer/Song Play P0: 0 – 3a/4a) 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 ( ☞ p.
263 Appendices • In Combination and Sequencer modes, transmission/ reception of these messages can be turned on/off independently for each timbre/track ( ☞ “ Enable SW1, ” “ Enable “ SW2 .
264 2 Use 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 lev- els) to specify the value.
265 Appendices Universal system exclusive Certain of the system exclusive messages are publicly de fi ned for a speci fi c use, and these are called universal sys- tem exclusive messages. The TRITON STUDIO uses the following six universal sys- tem exclusive messages.
266 When you change programs or combinations, or use param- eter changes to edit, the changes will affect the data in the edit buffer and will not be stor ed in internal memory unless you W rite, so that the changes will be lost if you re-select the program or combination.
267 Appendices 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.
268 Suppor t for GS/XG par t mode exclusive messages • 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 mes- sages will no longer be received for the speci fi ed track.
Appendices 269 TRITON STUDIO MIDI IMPLEMENT A TION TRITON STUDIO MIDI IMPLEMENT A TION 12,Oct,2001 Consult your local Korg dealer for more infomation on MIDI System Exclusive implementation. 1.TRANSMITTED DA TA 1-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal |Status| Second Third | Description ( Transmitted by .
270 2.RECOGNIZED RECEIVE DA TA 2-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal Status Second | Third | Description ( Use ..... ) ENA | [Hex] [H] [D] | [H] [D] | | 8n kk (kk)| xx (xx) | Note Off A | 9n kk .
Appendices 271 *4 : r = 0 : Pitch Bend Sensitivity ( Bend Range ) = 1 : Fine Tune ( Detune ) = 2 : Coarse Tune ( Transpose ) For drum program, both of Fine Tune and Coase Tune affect to Detune. Data Entry LSB value has no effect for Pitch Bend Sensitivity and Coarse Tune.
272 A Already connected Are you sure ? B Batter y voltage for Calender IC is low Buffer overr un error occurred Buffer underr un error occurred C Can ’ t calibrate Can ’ t copy/swap double size ef.
Appendices 273 Destination sample already exists Destination sample data used in source sample Can ’ t overwrite Destination sample is empty Destination song is empty Director y is not empty Cleanup.
274 File/path not found Front sample data used in rear sample Can ’ t overwrite I Illegal fi le description Illegal mLAN message Illegal SMF data Illegal SMF division Illegal SMF format Inconver ti.
Appendices 275 Memor y full Memor y over fl ow Memor y protected MIDI data receiving error Multisample L and R are identical N No connection No data No medium No node No recording track speci fi ed .
276 Not enough memor y to load Not enough memor y to open pattern Not enough multisample memor y Not enough relative parameter memor y Not enough sample memor y Not enough sample/multisample locations.
Appendices 277 Root director y is full S Sample data used in other sample(s) Continue ? Sample L and R are identical Sample length is shorter than minimum Sample used in other multisample(s) Continue .
278 There is no plug There is no readable data This file is already loaded T rack is full U Unable to create director y Unable to save fi le W W ord Clock Error ! Y Y ou can ’ t undo last operation.
Appendices 279 In its various data formats, the TRITON STUDIO maintains data compatibility with the TRITON/TRIT ON pro/TRITON proX and TRIT ON-Rack. Data can be exchanged by using a fl oppy disk or other external media to load/save, or by using MIDI exclusive data dump or parameter changes.
280 [2] Parameters that are valid on the TRITON-Rack but invalid on the TRI- TON STUDIO and TRITON 2-1. Program mode Audition Rif f and T ranspose settings • TRITON-Rack → TRITON STUDIO or TRITON (.
Appendices 281 [3] Parameters that are valid on the TRITON STUDIO and TRITON but invalid on the TRITON-Rack 3-1. Global mode parameters of the TRITON STU- DIO and TRITON Beep Foot Switch Assign Foot Pedal Assign Damper Polarity Foot Switch Polarity • TRITON STUDIO or TRITON → TRITON-Rack (.
282 [4] Parameters that are valid on the TRITON but invalid on the TRITON STUDIO or TRITON-Rack 4-1. Global mode parameters of the TRITON PC I/F Baud Rate • TRITON → TRITON STUDIO or TRITON-Rack (.PCG fi le load): The parameter setting is maintained as internal data by the TRITON STUDIO and TRIT ON-Rack, but is ignored.
Appendices 283 Chunks that are suppor ted When loading AIFF fi les When data is loaded into the TRITON STUDIO, the follow- ing four chunks are r eferenced: Common chunk, Sound Data chunk, Marker chunk, and Instrument chunk. Other chunks are ignor ed.
284 About KORG format fi les KORG format fi le structure There ar e three types of fi les: .KMP fi les for multisamples, .KSF fi les for samples, and .KSC fi les which handle the fi rst two as a collection. Similar to the AIFF format, .KMP/.KSF fi les consist of chunks.
Appendices 285 ● Sample parameter chunk ● Sample data chunk • Attributes ● Sample number chunk ● Sample fi lename chunk ● Divided sample parameter chunk ● Divided sample data chunk KSC(Korg SCript) fi le These fi les are text fi les which contain a list of fi lenames for .
286 Please read this before you begin installation Safety precautions W arnings • Before installing an option, be sure to disconnect the power supply cable and the connecting cables to any peripheral devices. Failure to do so could cause electrical shock or may damage the device.
Appendices 287 • When installing the battery , be careful not to drop it inside the device. If you drop the battery inside the device and are unable to retrieve it, please contact your Korg distributor .
288 If you have any questions regar ding installation, please contact your local Korg distributor . OPTIONS SIMM Slot 1...3 (** MB): SIMM ’ s are installed in SIMM slots 1 – 3. The capacity of each SIMM is shown in parentheses. When shipped from the factory , a 16 MB SIMM is already installed in SIMM slot 1.
Appendices 289 4 V erify the location of the slot into which you want to install the EXB-PCM. The seven slots closest to yourself are for EXB-PCM mod- ules. (The three slots furthest fr om yourself are for DRAM SIMM modules.) The notched side of the EXB-PCM is 1 PIN.
290 Installing a DRAM SIMM Before you perform the installation, be sur e to read the for e- going section “ Safety precautions ” and “ Please note when installing an option board/memory. ” A maximum of three memory SIMMs can be installed. A DRAM SIMM will function correctly when installed in any slot.
Appendices 291 Installing the EXB-MOSS Before you perform the installation, be sur e to read the for e- going section “ Safety precautions ” and “ Please note when installing an option board/memory. ” While performing the installation, be careful of any sharp or pointed edges of the TRITON STUDIO or the option board.
292 0 Plug the cable into the connector as shown in the dia- gram. Press the cable fi rmly in until it stops. Do not touch any part of the circuit boar d other than the connector in which the cable is being inserted. A Reversing the procedur e by which you removed the EXB-MOSS/EXB-DI cover , reattach the cover .
Appendices 293 6 Attach the cable as shown in the diagram. Firmly press the cable all the way into the connector . Do not touch any part of the circuit boar d other than the connector to which you are connecting the cable.
294 5 Using the three mLAN installation scr ews (included with the TRITON STUDIO), attach the mLAN installation plate (also included with the TRITON STUDIO) to the EXB-mLAN. 6 Connect the cable you pulled out in step 2 to the EXB- mLAN connector . Firmly press the cable all the way into the connector .
Appendices 295 Press the locations indicated by the arr ows until the unit clicks into place, so that the internal connector is securely connected. 4 When you have completed all of the above steps, turn on the power and verify that the CDR W -1 has been installed correctly .
296 2 Insert the disc Place the disc on the disc tray with its label facing upward, and center ed correctly . 3 Close the disc tray . Manually press the disc tray in until it is completely closed. If the TRITON STUDIO does not r ecognize the disc, re- install the CDR W -1 as described in “ Installing the CDR W -1.
Appendices 297 Replacing the calendar batter y Before you r eplace the battery , you must read “ Safety pr e- cautions ” and “ Cautions when installing the calendar bat- tery. ” While performing this procedur e, be careful of any sharp edge or corner of the TRITON STUDIO or an option board.
298 External SCSI devices (hard disks, r emovable media, etc.) can be connected to the SCSI connector of the TRITON STU- DIO. Data can be saved to a connected hard disk, r emovable media, or CD-R/R W etc. in the same way as to a fl oppy disk, and data can be loaded from a connected CD-ROM.
Appendices 299 The TRITON STUDIO can use packet writing to write to a CD-R/R W . After formatting the media, you can use it in the same way as a fl oppy disk or hard disk.
300 Also, when you execute “ Rate Convert ” (Global 0 – 3G), “ Save to Std MIDI File ” (Disk 0 – 2F) or similar com- mand to save to CD-R, the fi le may not be written in a continuous state even if it is copied from media with a fast access speed such as hard disk.
Appendices 301 Digitally recording the sound of the TRITON STUDIO that has been mixed on a digital mixer to the ADA T 1 Use an ADA T -OPTICAL cable to connect the TRIT ON STUDIO ’ s DIGIT AL OUT connector to the ADA T OPTI- CAL IN connector of the ADA T Optical format-compati- ble mixer .
302 Numerics 000: No Effect 178 , 187 10 ’ s Hold Combination 33 Program 2 12 dB 5 , 6 , 37 , 56 , 57 , 99 , 108 , 138 ☞ Tempo A ADC OVERLOAD !! 5 , 37 , 56 , 98 After Touch After Touch Curve 136 AMS 242 Convert Position 143 MIDI Filter 144 Combination 40 Sequencer 65 AIFF file (.
303 Appendices Chain IFX 30 , 47 , 84 , 179 MFX 31 , 48 , 184 Chain Direction 31 , 48 , 185 Chain Level 31 , 48 , 185 Chain Signal 31 , 48 , 185 Chain to next file 125 Chords strummed on a guitar 154 .
304 F FF/REW Speed 54 Filter 16 AMS 242 Drum Kit Cutoff 149 Resonance 149 Program Filter A/B Modulation, Filter Mod. 18 Filter EG 19 Filter EG, Filter Mod.
305 Appendices M Master Effect (MFX) 182 MFX Balance 3 MFX1 Off/MFX2 Off 136 MFX1, 2 Combination 48 Program 31 Sequencer 85 Song Play 133 Master EQ (MEQ) 185 , 239 Combination 48 Program 32 Sequencer .
306 Positional Cross-fade 42 Power On Mode 138 Priority 8 Priority to play notes 8 Program 1 Auto Arpeggiator 136 Bank Map 137 Combination 34 , 37 , 38 Convert MS To Program 93 Load 157 Memory Protect.
307 Appendices Sync. BPM/MIDI Sync. 177 , 248 Key Sync. Arpeggiator 152 Arpeggio, Combination 36 , 45 Arpeggio, Program 3 , 27 Arpeggio, Sequencer 82 Arpeggio, Song Play 130 Key Sync.
308.
309 Appendices.
310.
K ORG INC. 15 - 12, Shimotakaido 1 - chome, Suginami-ku, Tokyo, Japan. 2002 KORG INC. 1403 FTH Printed in Japan IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used.
An important point after buying a device Korg Triton Studio (or even before the purchase) is to read its user manual. We should do this for several simple reasons:
If you have not bought Korg Triton Studio yet, this is a good time to familiarize yourself with the basic data on the product. First of all view first pages of the manual, you can find above. You should find there the most important technical data Korg Triton Studio - thus you can check whether the hardware meets your expectations. When delving into next pages of the user manual, Korg Triton Studio you will learn all the available features of the product, as well as information on its operation. The information that you get Korg Triton Studio will certainly help you make a decision on the purchase.
If you already are a holder of Korg Triton Studio, but have not read the manual yet, you should do it for the reasons described above. You will learn then if you properly used the available features, and whether you have not made any mistakes, which can shorten the lifetime Korg Triton Studio.
However, one of the most important roles played by the user manual is to help in solving problems with Korg Triton Studio. Almost always you will find there Troubleshooting, which are the most frequently occurring failures and malfunctions of the device Korg Triton Studio along with tips on how to solve them. Even if you fail to solve the problem, the manual will show you a further procedure – contact to the customer service center or the nearest service center
